Funk | Soul Vinyl 307 Items

Alex Puddu pulls an ace from up his sleeve with the new album The Gambler On his 10th solo album Alex Puddu is back and surprises with a strong set of songs, inspired by a mixture of the early 60’s sound of doo-wop vocal harmonies, together with R’n’B and a hint of jazz og surf references. It’s clear that one can unmistakably hear Puddu has a true love for the music of this period; unapologetically his sound references Dion and The Belmonts ,Vince Taylor and his Playboys, The Marcels and classics Movie scores such as West Side Story, The Wanderers, The Incident and Music To Read The Pretenders by Joe Rene Complex. Morricone’s string musicians and the legendary voice of Edda Dell’Orso On The Gambler there are numerous special guest appearances: First and foremost Ennio Morricone’s legendary vocalist Edda Dell’Orso, well known for her singing on the 60’s og 70’s Western soundtracks The Good, The Bad and The Ugly, Once Upon a Time in the West og Giù la Testa. Dell’Orso sings on three songs on the album, while her husband, Giacomo Dell’Orso, has orchestrated the album and conducted a small group of Ennio Morricone’s string musicians under the name of Piccola Orchestra Cinefonica di Roma. With Alex Puddu on guitar, organ and piano, he is joined by Heidi Luke on drums, Henrik Mathiassen on contrabass, Mikael Fleron on saxophone, with Lukas Sherfey (The Movement) Stefan Moulvad (The Sandmen) and Anders Bruus (The Breakers) on electric guitar. Participating on lead vocals are: Steffen Westmark (The Blue Van - on two tracks), Peter Sandorff (Hola Ghost), Jess Møller Rasmussen (Taggy Tones), Duane Hobson (The Moonfires) and the Italian crooner Max Locci.

Original inner sleeve. Original UK/US pressing. 180gr vinyl. Cover and vinyl are close to NM. Small seam split.

Blending influences from 1970s Nigerian Afrobeat with the deepest of street Funk, The Seven Ups are the original 7-piece party band. Expect unrestrained solos by unkempt horns over an unpretentious rhythm section whose only interest is laying it down! This their third album introduces Psych Rock elements to the grinding afroheat!.

Motown's First Ladies of Funk finally release their vinyl
debut, some 45 years after it was originally scheduled!
As the '70s dawned and Motown relocated to the West Coast, the
era of their honey-toned '60s girl groups came to a resounding
halt. The Sisters Love were the antithesis of the traditional
Motown group and came to the label from A&M, armed with a lot
of funk, sass and attitude.
Paired with some of Motown's finest writers and producers - Hal
Davis, Gloria Jones, Pamela Sawyer, Paul Riser and Willie Hutch
- they got off to a rousing start with the gritty "Mr. Fix-It Man"
and went into high gear for the UK only release "I'm Learning To
Trust My Man".
Motown had them playing arenas with The Jackson Five (probably
not their smartest move!), issued the odd single and scheduled
more but Sisters Love's anticipated breakthrough didn't happen.
In 1980 New York DJ Danny Krivit pressed up an extended
eight-minute re-edit of "Give Me Your Love", an old B-side from a
1973 single! That song was somewhat of an underground classic
but the Krivit mix brought in a whole new legion of fans amongst
the rare groove crowd, both in the US and the UK.
Sisters Love had long been rumored to have recorded a complete
album for the Motown subsidiary MoWest. Get On Down Records
combed the vaults with Motown's help and the result is the
original 10 cut album, plus a bonus cut, "Give Me Your Love."
Although Gwen Berry passed away some years ago, the other
three members of the group - Jeanie Long, Lillie Fort and
Vermettya Royster have all been actively involved in this release.

Limited to 300 copies.

The obscure early 70s combo formed by Alessandro Alessandroni, Giuliano Sorgini and Giulia De Mutiis is finally back to the light with this amazing 12'' EP with all their works, including an unreleased gem buried in the archives until today and recorded in the same session of the legendary "Telegraph is Calling" and "My Shade".

Limited to 300 copies.

The obscure early 70s combo formed by Alessandro Alessandroni, Giuliano Sorgini and Giulia De Mutiis is finally back to the light with this amazing 12'' EP with all their works, including an unreleased gem buried in the archives until today and recorded in the same session of the legendary "Telegraph is Calling" and "My Shade".

11 tracks with influences trip hop, Arabic music, soul or delta blues, whose proposals give rise to a lively psychedelism and an ardent shamanism. An experimental album of a rare eclecticism of the unclassifiable Dutch trio My Baby.

Close to NM.

Best DJ in the world J Rocc gives you six bootleg bangers of electro ecstasy as Flaunt Edwards channeling legendary party people like Ron Hardy, Larry Levan, DJ Harvey, and Kraftwerk.

Born in 1941, Rob Franken played in more than just Dutch jazz-circles. People who worked with him describe him as a slightly introvert, but purely musical sorcerer. He had great influence on the people he worked with, not only the younger, but also the elder, like Toots Thielemans for instance, with whom he toured Europe for several years.
Rob Franken liked to experiment with new instruments, and was the first person in Holland who made good use of the electric Fender Rhodes piano. Sadly, he died too young, at the age of 42.

Born in 1941, Rob Franken played in more than just Dutch jazz-circles. People who worked with him describe him as a slightly introvert, but purely musical sorcerer. He had great influence on the people he worked with, not only the younger, but also the elder, like Toots Thielemans for instance, with whom he toured Europe for several years.
Rob Franken liked to experiment with new instruments, and was the first person in Holland who made good use of the electric Fender Rhodes piano. Sadly, he died too young, at the age of 42.

A master of the mixing board, from the late '60s until the '90s Bernard Estardy was the wizard of French musical recordings. As head of CBE studios, he shaped everything from Gérard Manset's concept albums to Claude François' hit singles, Françoise Hardy's delicate tear-jerkers and Michel Sardou's soul-stirrers. This "giant" had his hand in the whole range of mainstream French music by making his studio a veritable playground for experimentation. His legendary album 'La Formule Du Baron,' released in 1969, and the eight LPs of production music he made between 1974 and 1978 for Tele Music are vivid proof.

26 early Rock'N'Roll songs by Ike & Tina Turner, Ruth Brown, Bo Diddley, John lee Hooker, Muddy Waters, etc.

We could get some more copies for a lower price, so we also lowered your price. A bargain! /

In the early seventies, Hank Swarn and Shirley Nanette collaborated to form Never Coming Back. Swarn had been on the road for five years, lending his guitar-backing talent to Earl Grant and his band. While on tour, he wrote some tunes that were ultimately released on the Never Coming Back album. Al Nanette approached Hank about putting together a record with Shirley, who was also keen on getting in the studio. Luckily, Swarn already had songs to bring to the session. With the support some talented local musicians, the album was recorded–mostly in one or two takes–in a little over a week. Unfortunately, the album saw little exposure. Needless to say, this tremendous effort by Nanette, who continues to sing and perform in Portland, has touched the hearts of many who’ve recently heard the album for the first time.

Sealed copy with a stuffed / bent corner!

Sealed copy.
Cover corners slightly dented.

Sealed copy.
Cover corners slightly dented.

Nobody could have suspected the path that Clarence Henry Reid
would take during the 1960s. During this time he worked as
a singer/songwriter and producer for the likes of KC & The
Sunshine Band, Bobby Byrd, Gwen McCrae, and various others.
He would also release his own compositions, including the deep
soul classic "Nobody But You Babe", which would become a
sampling favorite of KRS-One, Erykah Badu, DMX, and more.
Though Reid maintained a reputation as a consummate
professional among the romantic soul crowd, outside of
his day-job he turned a complete 180, writing and performing
humorous, deliberately raunchy and sexually-explicit parodies of
songs. These parodies would be relegated strictly to friends at
parties, and wouldn't see a wide audience until the 1970s hit.
In 1971 Reid would gather a collection of studio musicians,
including famed R&B sidemen Timmy Thomas & Benny Latimore
on keys, and Little Beaver on guitar, to finally commit these
parodies to wax. In order to protect his identity as a songwriter
Reid took on the stage name Blowfly, and dressed as a comic
book super villain for live performances and photos. From there
he would release numerous studio albums of similarly crude
parodies throughout the 70s and 80s, which were enormously
popular as party records. These records would also go on to
become a wealth of sampling fodder for artists like Jurassic 5, The
Pharcyde, DJ Shadow, Eazy-E, and many more, as well as lead
Reid to collaborate with artists as varied as soul contemporary
King Coleman, to former Dead Kennedys frontman Jello Biafra, to
ganja-centric rapper Afroman.
1978's Blowfly's Disco Party was no less lewd than its
predecessors, putting a funky-disco spin on Reid's signature
blend of explicit parodies, and deliberately cheeky tracks. No
track is safe from Reid's dirty lyrics, as he parodies classic
Motown hits, Delta blues songs, and even his own discography.
(His naughty spin on his own deep soul hit "Nobody But You,
Babe", becomes "Nobody's Butt But Yours, Babe".)

Raw gospel stuff! Most of the recordings included here were published in 45's or 78's for less known independent companies, some by tiny local labels and sometimes paid by the church congregation itself.

Still sealed. Sticker residue. Tiny corner wear. Limited edition Clear vinyl.

Moniquea's Yes No Maybe is an album that is steeped in the synthesizer-heavy aesthetics of 1980's R&B funk (often referred to as "boogie") but is modern enough to move past the "retro" label into something that builds a fresh sound upon the blueprints created by seminal 80's acts such as Prince, Midnight Star, or Evelyn "Champagne" King. YNM was released at the height of the 'modern funk' movement, as championed by Dam Funk & carried on by a small but dedicated cadre of artists such as Moniquea herself, & album producer XL Middleton. Having been out of print and growing evermore scarce in the second hand market, a reissue was all but inevitable.

Having noticed that Christmas tends to be an annual event and that vinyl is suffering a resurgence, we here at Ace have put the two together and extracted 14 blues, R&B and doo wop sides from our Christmas R&B compact disc and turned them into a seasonal platter.

A mostly upbeat selection that will certainly help you and yours get through these fraught times.

Blues stars like B.B. King and Lowell Fulsom, with their ripping up-beat guitars join forces with the mellower mistletoe sounds of Hadda Brooks and Jesse Belvin.

This positive view of seasonal goodwill was probably down to the fact that all these sides were cut in Los Angeles in the warm California sun.

2023 Repress

Two seminal 12" mixes of a pair of enormous tracks from The Whispers. Both boogie/street-funk flavoured, these sought-after versions have never been paired on the same record. Side A features the notorious anthem "Keep On Lovin' Me" (the one with *that* life affirming video) whilst Side B houses the outstanding, semi-slept-on "Turn Me Out".

Though Spencer Wiggins did not make the R&B charts until his Fame 45 ‘Double Lovin’’ in 1970, it is his eight Goldwax singles, released in the latter half of the 60s, for which he is rightly famous among soul fans. They epitomise Memphis soul, veering from deep melancholic ballads to raucous uptempo groovers.

Wiggins’ fans dig every aspect of his music; his voice is ideal for the southern soul sound. That genre is close to the blues and ‘Lover’s Crime’, his first 45 on the Bandstand subsidiary, was an early Isaac Hayes composition of that ilk. ‘Sweet Sixteen’, which was unreleased until 1977, is a full-on blues, but presumably not issued by Goldwax as they wanted to keep Spencer known as a soul singer, even though he excels on the number. Goldwax’s strong country influence is apparent on ‘I Never Loved A Woman (The Way I Love You)’ which certainly rivals Aretha’s breakthrough single from a couple of years previously. ‘Once In A While (Is Better Than Never At All)’, written by ex-country singer and Goldwax boss Quinton Claunch and George Jackson’s ‘Old Friend’ are also in the country bag.

The dramatic ballad ‘Uptight Good Woman’ was penned by Dan Penn, Spooner Oldham and Jimmy Johnson and is probably Wiggins’ best-known recording; it is a highlight of his live performances. Penn and Oldham also provided ‘Take Me Just As I Am’, another stand-out track. ‘He’s Too Old’ and ‘I’m A Poor Man’s Son’ are vibrant, warm-hearted numbers taken at a jaunty pace, still very much southern soul; ‘Lonely Man’ is the only song which hints at Detroit’s influence and has consequently cost Wiggins’ 45 collectors appreciably more than the norm.

Wiggins’ career suffered by being in the shadows of James Carr at Goldwax and that may have been the reason why Claunch, a very fair-minded man, let this superb singer move to nearby Fame, along with some Goldwax tracks they had already cut on him in those studios. He also had artistic success at Sounds of Memphis in 1973; unissued tracks from there as well as Goldwax have strengthened his reputation. He is primarily a preacher now but his 2010 appearance at the Cleethorpes rare soul weekender demonstrated he is still a great performer and he recently completed a successful two-date visit to London and Manchester with his brother, manager and fellow singer Percy.

From the opening bars of their debut LP, you can tell AJ & The Jiggawatts came to play rough. In a world where mid tempo and middle of the road soul permeates the airwaves, this crew of G.E.D. Soul killers are drawing a line in the sand by making soul music that hits harder, faster and nastier than just about anyone in the game today. AJ Eason's gin soaked vocal howls drip with a carefree carousing not unlike that of a street smart hustler making moves to make ends meet. The band follows suit with highly syncopated melodics, often at breakneck speed, all while maintaining an almost inhuman tightness. Toss all of these elements into a highball glass and garnish with a pinch of rock n' soul and you've got the makings for a serious raw soul cocktail.

„Cool“ is the second album by Otis Junior and Dr.Dundiff on Jakarta Records.

Otis and Dundiff both are originally from Louisville, Kentucky. They only met shortly before they released their first work together. Sometimes musicians take their time to find a formula, to carve out a way in which they create. Not those two. It was an instant creative connection, a artistic bond from the get go which makes them produce classic song after classic song. Otis once summarized their working approach like this: "As with our previous works, the concepts for the songs and album were born from Dundiff presenting me with broad ideas (instrumentals and titles) and allowing me to define them through my own perspective (with lyrics and melodies)“.

Dundiff's organic yet hard hitting productions compliment Otis Junior soulful timbre perfectly. Around 60% of the sounds on the album are played live while 40% are based on samples which shows how the music is created within two different musical birthplaces. the result is too Hip Hop to be Soul and vice versa but it is sitting very well in between these chairs.

When Otis Junior and Dr.Dundiff approach an album production they always try to establish an ongoing theme for the album. Their latest work deals with the concept of „Cool“ and the contemplations about what it means to “be cool” to others versus actually feeling cool, calm, and comfortable in life. Thereafter, the album follows a subtle growth towards the latter. Beginning with an overt contemplation on what it means to be cool, the first half of the album speaks from that insecure perspective. Becoming more sure as the album develops, it ends not with a contemplation on being cool, but whether or not people are perceived accurately at all.

The album’s artwork was done by Simone Cihlar who is also the driving creative force behind Anderson .Paak’s and Tom Misch’s visuals.