Funk | Soul 277 Items

‘Caribbean Roots’ represents a return to his roots for Anthony Joseph, who has always remained true to a powerful, deep-seated sense of his Caribbean identity.

We recommend Matthew E White for no particular reason, just for his beautiful music! Give it a try!

US original.

Japanese pressing without thew OBI!

Promo.

In the fall of 2012, Jones left his small-town in Louisiana for the foothills of Indiana. Alto saxophone in tow he enrolled in the Jacobs School of Music at Indiana University. “Being a singer was never part of the plan,” Jones admits. But soon enough he found his way in front of a rowdy rock-n-roll band belting out a rambunctious rendition of “Dock Of The Bay,” to a basement full of drunken undergrads. That rowdy band unfolded into The Indications—comprised of Aaron Frazer (drums), Blake Rhein (guitar), Kyle Houpt (bass) and Justin Hubler (organ).

Inspired by a handful of dusty and obscure 45s bearing names like The Ethics, Brothers of Soul and The Icemen, The Indications set out to make a record steeped in heavy drums, blown-out vocals, and deep grooves. Gathered around a Tascam 4-track cassette recorder and a case of Miller High-Life, the group spent their Sunday evenings recording into the early hours of the morning.

With comparisons from Charles Bradley and Lee Fields to Al Green, the only thing that separates this band from those greats is their youth. Having now taken their raucous live show all across the US, the band have galvanized a following that are ready to take them to the next level.

Urban Ethiopian music stands out within the African continent thanks to its creativity and originality. Whatever the shade — pop, blues, jazz or soul — it comes from a fusion of local musical traditions mixed with an echo of Western music. It bewitched Ethiopia during the ‘Swinging Addis’ decade before recently winning the favors of a well-informed audience all over the world. This first vinyl volume of Ethiopian Urban Modern Music presents some of the Ethiopian ‘groove jewels’ drawn from the essential CD Ethiopiques series directed by Francis Falceto and published by Buda music.

“It has been a lengthy hiatus, but we have finally finished our latest ‘masterpiece’ and named it after an incredible indigenous-rights movement that is happening right now called Idle No More. I was born and raised in Montreal and spent a lot of time on the Kahnawake Mohawk Indian reservation. Idle No More is probably the most refined piece of music we have made to date. The songs are about the state of the world we live in today. Originally, I was going to call the album Of Madness I Dream, but then I became very enthused about the amazing work of the Idle No More movement. Everyone I asked had never heard of it, so I contacted the leaders of the movement and, with their permission, decided to rename the album Idle No More in hopes that it would increase the world’s awareness of this miracle that is taking place for the indigenous peoples of the world. If you are not familiar with Idle No More, look it up and GET Involved! It took a long time to make, but we are very proud and pleased to bring you this album. I hope that the future will brighten up every time it is played. Ultimately, John and Yoko were absolutely right: Love IS ALL YOU Need! Peace and Love.”—King Bama Lama Khan Emperor of RnB.

Producing under the moniker Isoul8, as well as teaming up with Domu under the Rima alias for the incredible jazz/fusion album 'This World', Volcov is a truly important player in the underground music scene.
Remixing artists such as Frankie Valentine, Azymuth & Taylor McFerrin, running his two labels Archive and Neroli, as well as DJing all over the World has given Volcov a rare knowledge of soul, funk, disco and deep house music; knowledge which is very apparent throughout this album.
'From The Archive' comprises a lovingly chosen collection of obscure Funk, Disco & Boogie tracks, alongside three very special edits produced by the man himself. From Chez Damier's sun-drenched remix of The Urban Crew's 'Go' to Bembe Segue's emotional 'Sun On My Back' via Shuya Okino's disco epic 'Still In Love', this record takes the listener on a joyful journey deep into Volcov's musical mind.

A groovy vibrant jazz / soul / funk soundtrack for an imaginary hard-boiled movie from the 70s!
The varied selection of instruments (organ, flute, moog, bongos, cello, violin, drums, bass, acoustic
and electric guitars etc.) blend flawlessly into each other and make this album an intense and
inspired trip... in fact it may turn into a movie in front of your very eyes! Featuring the legendary
Edda Dell’Orso on vocals and her husband Giacomo on string arrangements!!!

Virginia-born singer/songwriter Nicole Wray has everything you’d want in a singer: an infectious Jackson-5-family-member flare, a range like Aretha’s, and a church upbringing that’s brought a pure, healing texture to her voice. But the struggle she’s been through has made her more than a singer. Nicole Wray is an artist. To know her soul, you have to go back to the beginning. Growing up in Portsmouth was tough at times for Nicole. However, at the age of fifteen, life opened up quickly when Missy Elliot paid a visit to Nicole’s family home to audition her on the spot. Missy was there on the rumored strength and quality of her voice. Instantly blowing her away, she signed and left with Missy that night. Two years later, at age 17, she had a hit gold single off a solid debut album (“Make It Hot”). Suddenly she was part of a team that included late ‘90s R&B and rap royalty: Missy, Aaliyah, Ginuwine, Playa, Timbaland and Magoo. She made it, and fast. However, as rapidly as she achieved success, Nicole then found herself needing to re-make it. By late 2001, her time with Missy and company had run its course. They amicably parted ways and Nicole, once on top of the R&B world, was unsure of what was next. It was a very low, but important, point in her life. While neck-deep in this struggle, Damon Dash and Roc-A-Fella Records called. They signed an album deal and by 2004, in what was starting to be a pattern, just as things were looking up Roc-A-Fella suddenly (famously) split. Once again, industry factors beyond her control took charge. Like a recurring dream, Nicole found herself in a familiar situation. Having just been in the spotlight, and then again back living the “real life.” In 2013, Nicole paired up with London vocalist Terri Walker and released the album “Lady”. Terri parted ways with the group to pursue her own projects shortly after the album’s release–despite rave reviews and upcoming travel dates. Fast forward to now–the transformation from singer-for-hire to pure artist is evident in this new full-length solo release, “Queen Alone”. The record was written and recorded in 10 days at the legendary Diamond Mine Studios, in Queens NY with Leon Michels and Tom Brenneck handling production. Today, after stutter-stepping in and out of the industry, there is a new soul and substance to her songs–all of it from her life. “They Don't Hang Around", tells the story of her post Roc-a-Fella days, “Guilty", is about her brother’s incarceration, “Make Me Over" tells the relatable story of being broke with expensive taste, and ‘Let It Go”, a perfect way to end the record, is about the simple act of letting go and moving on. Almost echoing her new record, Nicole says, “You have to go through something for it to be real.” She has been living with one foot in fame and the other in real life. The result is clear: she’s feeling something real in her music again. And it’s hard for us as listeners not to follow suit.

Followers of soul music might have a pang of recognition on reading the name Frierson. That was the surname of Wendy Rene, whose work was collected into the 2012 LITA anthology "After Laughter Comes Tears", and indeed, Johnnie Frierson is Wendy's brother – a fellow member of her mid-'60s Stax four-piece The Drapels. "But Have You Been Good To Yourself" will come as a surprise to anyone expecting more of the beat-driven R 'n' B Johnnie and his sibling produced – including that compilation's much-sampled title track. A mix of spoken word and gospel songs laid down direct to cassette, these ultra-rare home recordings draw from Johnnie's religious upbringing and his history in the music business, which was interrupted in 1970 when he was sent to fight in Vietnam. Crate digger Jameson Sweiger found Have You Been Good To Yourself and a companion album, Real Education, released under the name Khafele Ojore Ajanaku in a Memphis thrift store, but it was noticeably Frierson's work. They hadn't made it far – they would originally have been sold at corner stores and music festivals in the Memphis area, where Frierson continued to perform and host a gospel radio show, all the while working as a mechanic, laborer and teacher.

The seven songs on Have You Been Good To Yourself are overtly religious; some, such as “Out Here On Your Word,” are strident and faithful; others, like the self-questioning “Have You Been Good To Yourself,” are more meditative. They reflect the difficult situation that Frierson was in when recording, shell-shocked from his time in the military and grieving the untimely death of his son. "He was really trying to find his way," remembers Frierson's daughter Keesha in Andria Lisle's liner notes. "And writing and making music were a way out for him."

The album is now remastered and released professionally for the first time, the message spread by Frierson – who passed away in 2010 – remains undimmed.

180g Colored Vinyl with heavy-duty card sleeve!

One of the finest voices in Southern Soul, George Jackson’s success as a writer meant he wasn’t pushed as an artist and so his vinyl output is disappointingly small. Kent Records is rectifying that with this 12-track LP.

Vinyl with scuffs and hairlines. Still in shrink, but opened, with hype sticker

Record is close to NM.

Clear vinyl. Includes original inner sleeve.Seems unplayed.

Still shrink wrapped but opened just to check the release.
Record is UNPLAYED!

White vinyl. Original inner sleeve. Tiny wear.

Cover close to NM

Fame Records was an off shoot of the renowned FAME Studio, and this special vinyl-only compilation looks at the very best of the label’s work during its first four years.

Helmed by owner Rick Hall, aided and abetted by his team who included Dan Penn, Spooner Oldham and the Swampers house band, this LP collects together some of the very finest music from the birth of southern soul.

The LP features hits by Clarence Carter and Jimmy Hughes, Northern soul classics from James Barnett and Art Freeman, recordings by Dan Penn and Spooner Oldham as well as a plethora of cuts appearing on vinyl for the very first time.

Two albums in a single sleeve with two lavishly illustrated inner bags including extensive notes.

We are both proud and excited to present this highly sought after early 80's gem, originally created as a showcase project for young artists and composers by a community music organisation in Texas.

Originally referred to as the 'Pop Music Lab', the Peoples' Workshop was formed in 1976 at Texas Southern University as a space for students to compose and perform, free from the constrains of Western classical music education.

Swiftly gathering momentum, in 1980 the organisation was granted non-profit status and in 1983, moved off the TSU campus. The Workshop has since grown in size and scope, becoming the first Black-founded organisation to present shows in major performance venues around the Greater Houston area.

Houston Talent Expo '82 features original compositions by members of The Peoples' Workshop, performed exclusively by musicians from Houston. The songs vary in style, but remain centered around gospel, funk and soul; music and lyrics with a powerful positive message. Many of the artists featured remain active today around the world, working with such acts as Alice Coltrane and The Charles Mingus Band among others.

Houston Talent Expo '82 comprises a truly special collection of songs born from the struggle, true to the spirit of togetherness that underpins The Peoples' Workshop, written and performed by astonishing young talents.

“The re-release series of original Ethiopian classic vinyl continues — the finest Ethio jazz by Mahmoud Ahmed and his band from 1975 plus two tracks from 1978. The liner notes: ‘Melancholy blues, piercingly minimalist country airs, brassy, danceable urban jazz, heart-wrenching, off-key crooners: a rich and stirring patchwork of sounds, crossing Afro-beat, Latino-swing moves and Eastern arabesques (Anaïs Prosaïc).’ Such were the first — informed and enthusiastic — opinions of the music press when the first strains of modern Ethiopian music sounded on our shores. This was in 1984-1985. Such a positive note, struck about such a country at such a time, created plenty of reverb. The country had been so thoroughly trashed by the media’s feeding-frenzy, which spewed out a mix of horror and pious pity, bitter denunciation and humanitarian appeals, wallet-tickling clichés and refusal of identity. In one brutal swoop, TV-reality transformed Ethiopia into a cursed nation, forsaken by God and by man. In contrast to these tragedies, but in the same hackneyed tones, Mahmoud Ahmed’s life resembles an edifying fairy-tale where destiny, talent and achievement combine to triumph over poverty, fate and the evil eye. Biography, history and legend, with the help of God, infallibly weave the lesson of merit rewarded. But who can argue, in spite of the mockery that celebrities invariably draw, when faced with one of the greatest voices in all of Africa? Once upon a time, there was a street urchin in Addis Ababa, who started off as a shoe-shine boy and went on to become one of his country’s biggest stars, opening the door to Ethiopian music to Western audiences.” — Francis Falceto

A few years ago the world discovered a unique sound coming from the distant Ethiopian capital Addis Abeba. The emotional blow was only matched by the brightness of this original and magnificent discovery. The Ethiopiques series directed by Francis Falcetto and edited by Buda Musique provides a comprehensive landscape of this subtle musical universe where local and western cultures do magnify each other. This new Ethiopian Urban Modern Music release follows the first Soul & Groove installment and keeps revealing some essential parts of the modern Ethiopian puzzle. An unequalled soul funk signature until today.

Copy close to NM

Magic Source is a project led by producer Björn Wagner (The Mighty Mocambos, Bacao Rhythm & Steel Band, Mocambo Records), who is renowned for creating an authentic and hard-hitting raw funk sound. Following a few acclaimed single releases on Favorite Recordings over the past few years, the French label deeply wanted to collaborate further with the German combo, for a special and exclusive project bringing their music on new paths. This new project is a step towards a new style: Analog-Electronica, or so called Cosmic-Disco sound. Recorded on a 16-track reel-to-reel tape, EARTHRISING combines raw unedited live band recording, with the refined production aesthetics of the Disco era, including the use of vintage synthesizers, group chants and processed acoustic percussions, for an organic club feeling. While maintaining an un-edited, but highly hypnotic four-on-the-floor groove, Magic Source leaves the old beaten track of cheesy Disco-Pop and overheard Dance classics.

This marks Outta Sight's second visit to Station Road. “Wigan”, another uniquely themed set featuring classic oldies from the playlists of founding Northern Soul jocks Russ Winstanley, Richard Searling and crew at the legendary Wigan Casino.

Songs Volume One is a collection of material written, produced and recorded by Dwight Sykes on 4-Track Cassette, in his home studio L.U.S.T. Productions.

Copy is close to VG+!

Produced, Composed, All Instruments Performed By SUPERSTRUCTURE (Todd Osborn)