Funk | Soul 356 Items

Few paper scuffs. Cover is close to NM. With insert

Limited Edition 300 vinyl copies 140 grams for "RSD 2019".
The Italian TRJ Records with "Work Out !" wants to show the intention to preserve vinyl and record stores having produced analog master
for "Soul Clap" that will be released for the "Record Store Day 2019". The Work Out ! with "Soul Clap" explore Jazz, Funk and Soul looking
for the roots of the past, trying to build something delight.

CLUB SOUL PRESENT AN ORIGINAL 'CLASH SINGLE' FEATURING TWO ALAN TOUSSAINT TEAMMATES GOING HEAD-TO-HEAD ON ONE NORTHERN SOUL CLASSICINCLUDING WILLIE HARPER'S SUPERIOR VERSION ON 7" VINYL FOR THE FIRST TIMEINSPIRED BY THE NEW 16-TRACK ALL-NIGHTER LPThe All-Nighter has been an integral part of "the scene" since the phrase Northern Soul first came into popular use following the now legendary Blues & Soul article entitled "The Up-North Soul Groove" in June 1970 by journalist Dave Godin (issue no.36). During the heyday of the Northern Soul scene the All-Nighter was the preferred format for the travelling soul fan. It separated the scene's top venues from the hundreds of regional soul nights in pubs, clubs and community halls across the land. The All-Nighter was the ultimate experience and the only place to hear the best, the rarest and the breaking sounds spun by the leading DJs. It was born in Manchester's Twisted Wheel in September 1963, found its feet (its dancing feet) at the Golden Torch in Stoke-on-Trent from 1970-72, and truly came of age at the Wigan Casino Soul Club from '73 onwards establishing itself as the premier National and even International event of the 70's. Willie Harper's originally unreleased recording of the Toussaint dance classic "Here Comes the Hurt Again", a feature track on the All-Nighter compilation (CHARLYL308), is put into direct competition with its B-side recording from Lee Dorsey of the same track on this new 7" on Club Soul. Both recordings have recently been remastered for a sound that will take Soul revellers back to the heat of '60s dancefloors as though it were yesterday. Presented on dinked vinyl in single sleeve packaging.

UK reissue from 2019. Copy is close to NM!

In the 1950s and 60s, the Cincinnati recording scene was dominated by Syd Nathan’s King label, whose R&B catalogue made it a major player among post-war independents. In its shadow was Fraternity, a smaller concern launched by Harry Carlson in 1954.

The well-respected Carlson set about building an artist roster which reflected his conservative musical taste, scoring smash hits by Cathy Carr and Jimmy Dorsey a couple of years later which established the label as an indie to be reckoned with.

Here, though, we spotlight decidedly non-MOR Fraternity recordings by influential guitar hero Lonnie Mack, soulful girl group the Charmaines, bluesy singer-guitarist Albert Washington, and female duo the 2 Of Clubs.

For those with appetites whetted by this old-fangled 7-inch vinyl sampler, further Fraternity recordings by each of these artists can be found elsewhere in the Ace Records catalogue. For now, though, here’s your chance to enjoy four fine examples of the sound of mid-60s Cincinnati.

still sealed. No. 1587

Arp Frique returns with a brand new release on his imprint Colorful World Records in collaboration with Rush Hour. A compilation of 12 Cape Verdean gems assembled with the help and knowledge of Americo Brito, there is a very special story behind it. Americo Brito, who
features on Arp Frique’s original Nos Magia, is a proud and important member of the Cape Verdean community in Rotterdam. His story reveals the historical connections between radio, vinyl, Cabo Verde and Rotterdam’s international music scene in the 70s and 80s.

Cape Verdean insiders say “we export all they have to other countries, only to import it back again”. Cape Verdeans have migrated all over the world, mainly to cities with big harbours, like New York, Boston and Rotterdam (Holland). Rotterdam became one of the main destinations
(next to Portugal) on the European mainland. When Americo, like many of his friends and relatives moved to Rotterdam, he quickly became infected with the music virus. Surrounded on a daily basis by Cape Verdean music in Portuguese pensions and small hotels, this was where sailors ingested a dose of “sodade” through the interpretations of their beloved music by the local Cape Verdean artists. Americo took to the stage with his band Djarama in the 70s and 80s. The live music scene was buzzing and the Cape Verdean community had their own infrastructure for arranging shows, often in nightclubs where the band had to bring their own soundsystem. Interestingly, Americo didn’t stick to performing and recording music. He found another way to help spread the Cape Verdean magical secret of music across Rotterdam, Holland and beyond: “There was this spot in Rotterdam where all foreign radio stations were housed, all these different nationalities together, Surinam, Cape Verdean, Hindustani…Guy Ramos and some of my other friends made radio in the 80s there. I got involved in their radio activities. Later on I started to work as a technician and eventually as producer and radio DJ for “Radio Voz De Cabo Verde”. Radio became bigger and there were around 4 different Cape Verdean stations active at one point in Rotterdam. instrumental in the development of this was the attic of a Dutch friend, where “Radio Babalu” came to life. Radio has always held a special place in my heart.” Americo’s music collection stems from this era, also aided by his many travels across Europe to cities with Cape Verdean communities. Alongside Rotterdam local, Arp Frique, Americo unveils some of these songs: dancefloor hits and beloved radio gems known in the Cape Verdean scene by younger and older generations alike, and so far undiscovered by a “bigger” audience. The compilation showcases the worldly view of Cape Verdean music, incorporating knowledge from their travels in their compositions. It ranges from the obvious funana and coladeira, to the more unexpected influences of deep disco, new wave, uptempo reggae, jazz-funk and Brazilian pop music; demonstrating just the tip of the iceberg, but what an amazing t(r)ip it is!

close to NM

Peter Brown is one of the ultimate in Harlem underground music business entrepreneurs. From the 70s, all through the 80s he had a stream of releases on a plethora of labels, but ultimately under the P&P banner. From soul, to disco to the birth of hip hop, he covered all the street sounds of New York and in a series of comps Demon are exploring his legacy. P&P soul and funk covers the 1970s with a number of rare, sought after masterpieces and some equally essential obscurities. From the former category we have the magnificent ESP by Four Below Zero, Dennis Mobley's Rare Groove instrumental version of Superstition and Florence Miller's soul floor filler 'The Groove I'm In' Super rare funk is present from Wild Honey, Smokey Brooks and Flame & The Sons. The roots of disco is well represented with Magnetic Touch's original version of Ain't No Big Thing and Ella Hamilton's I'm Gonna Fool You. Released on double 180g vinyl, if you bought the originals they would cost you many thousands of pounds.

First there is the hooligan chantwell, up for anything in the hurly-burly of carnival proper; and then the casual reporter, firing off postcards to Trinidad about taxis, flashy booze, fast women and football in Manchester, with homesickness and grievance nestled just behind the optimism, pride and tentative senses of belonging.
There is the bearer of news from home, in detailed accounts of murders, tales of stupid local coppers, and reminiscences about food and particular mango trees; the political thinker, considering racism and Africa; and the diarist, with his vivid tales of infidelity, and disclosure of the break-up of his marriage, and his desire to get away.

One foot in the UK, the other in Trinidad; but the man himself somewhere in-between. Kitch In The Jungle, nobody around. A ‘diasporic explorer’; a key twentieth-century witness, alongside such hallowed figures as Samuel Selvon and Edward Kamau Braithwaite.

Though in frustration Kitch would sometimes take over double-bass duties himself, the musicianship of Rupert Nurse, Fitzroy Coleman and co is top-notch. The original glorious sound is down to Denys Preston, recording for Melodisc, often at Abbey Road Studios (where we transferred and restored the 78s compiled here).

Presented in a lovely gatefold sleeve, with a full-size booklet containing superb, specially-commissioned sleevenotes by Kitch biographer Anthony Joseph, and fabulous, previously-unseen photographs

Still deeper forays into the musical landscape of the Windrush generation.

A dazzling range of calypso, mento, joropo, steelband, palm-wine and r’n'b. Expert revivals of stringband music, from way back, alongside proto-Afro-funk.
An uproarious selection of songs about the H-Bomb and modern phones, prostitution and Haile Selassie, mid-life crisis and the London Underground, racism and solidarity, the Highway Code and a 100% West Indian Royal Wedding.

For example some frantic British-Guianan joropo music-hall about Eatwell Brown from Clapham, who starts out biting off a piece of his mother-in-law’s face at a party, then devours everything in his path… a chunk of Brixton Prison, a Union Jack, a policeman’s uniform. Or Marie Bryant — collaborator of Lester Young and Duke Ellington — taking time off from skewering the South African PM Daniel Malan at her West End revue, to contribute some arch, swinging filth about uber-genitalia.

Superior sound, courtesy of Abbey Road, D&M and Pallas; lovely gatefold sleeve; full-size booklet, with full notes, and fabulous previously-unseen photographs, including a set from the family archive of Russ Henderson (who led the first, impromptu Notting Hill Carnival march, in 1966).

The latest volumes in this much-loved, highly-acclaimed series presenting the music of the Windrush milieu: the post-war, London recordings of West Indians and West Africans, in the first wave of modern migration to Britain.

‘One of the delights of the age’ (Songlines).
’Superlative’ (Mojo); ’superlative’ (Independent); ’sensational’ (Observer).
‘Hugely evocative and poignant’ (Daily Telegraph); ’sheer joy from start to finish’ (Sunday Telegraph); ‘a witty and joyous testament’ (Guardian).
‘Impeccably curated and packaged’ (Wire).

***** Mojo, ***** Times, ***** Independent, ***** Daily Telegraph, ***** Evening Standard, ***** Metro.

Presented as a luxurious mini-book — all paper, no plastic — with suspended card sleeves for the discs. Forty pages of fabulous, previously-unseen photos and full notes, including a terrific, specially-commissioned essay by Kitch biographer Anthony Joseph.

Hand-picked 60s she-pop from UK Philips, Fontana and Mercury, including many titles new to CD.

Famed as one of the tight-knit group of musicians the Funk Brothers, who played on the vast majority of Motown’s 60s records, Jack Ashford was the percussionist and vibes player who augmented that infectious beat so successfully.

After his time at Motown he co-founded Pied Piper Productions with Shelley Haims and when that folded in 1967 started his own Just Productions. The infectious beat continued to propel many of their releases but the main songwriters – Jack, Lorraine Chandler and George Rountree – added great new melodies and well-crafted songs and then a big injection of Motor City funk. They unearthed talented singers like Eddie Parker, Sandra Richardson and the Smith Brothers and even employed Jack’s own voice. Parker’s ‘I’m Gone’ and ‘Love You Baby’ are considered the epitome of ampheta-soul by UK devotees, who have adored the records since the early 70s. The Smith Brothers’ output is all high class and their full take of ‘Things Won’t Be The Same’ (which shares the backing track of Sandra Richardson’s ‘After You Give Your All’) is available for the first time. Similarly the new version of Jack Ashford’s recording ‘I’ll Fly To Your Open Arms’, by the Family Brick, debuts here; it is a masterful slice of sophisticated, uptempo Detroit soul.

Then a new singer in the city, Billy Sha-Rae’s ‘The Story Of My Life’ sees its first vinyl outing and the mysterious Ray Gant & Arabian Knights’ reading of ‘Don’t Leave Me Baby’ is considered the ultimate rendition of this superb song.

Al Gardner knew Jack at Sport/Boss Records and his ‘Sweet Baby’ has been a big collector’s item for decades. Also, from the late 60s comes a terrific uptempo version of ‘I Need Your Love (To Satisfy My Soul)’, originally only known as an acetate by the Stylists; it was later cut at a slower pace by Lee Rogers on Premium Stuff.

The LP is rounded off by Jack’s own take on ‘Let Me Take Care Of Your Heart’, a remarkably fine recording that the Smith Brothers would later cover on a Shield 45.

The most comprehensive compilation on the actuality of the experimental music scene in Switzerland.Interactions: A Guide to Swiss Underground Experimental Music is a double compilation curated by Luis Alvarado and published by Buh Records, that brings together 27 works by more than 30 artists from the current experimental music scene in Switzerland, in a variety of sounds, ranging from free improvisation, ambient and industrial music, to synthesizer music, sound collage and more, which gives an account of an intense activity of the Swiss underground that runs through cities such as Zürich, Bern, Geneva, Lausanne, Basel, Biel, Chiasso and Lucerne.This compilation includes works by Rudolf Eb.er, Martina Lussi, Papiro & Yanik Soland, Manuel Troller, Niton, Therminal C, JMO, Flo Stoffner, Christian Müller, Erb/Loriot/Morishige, Noijzu, Christian Kobi, Alvear/Bondi/d'incise, Julian Sartorius, Joke Lanz, Jason Kahn, Tout Bleu, Belia Winnewisser, Souharce, Laurent Güdel, Dave Phillips, Denis Rollet, Gilles Aubry, Jen Morris, Le Pot, Purpura and Francisco Meirino.This project is part of Incidencias Sonoras: COINCIDENCIA experimental music & sound art platform, by the Swiss Arts Council Pro Helvetia.TRACKLISTSIDE AA1 Rudolf Eb.er - Tod am Bach 02:59A2 Martina Lussi - Pool 03:32A3 Papiro & Yanik Soland - Nozomi 03:45A4 Manuel Troller - Hologram 03:15A5 Therminal C - Sputnik Crash 02:23A6 JMO - Take a Break 02:30A7 Niton - Serote 03:59SIDE BB1 Christian Müller - London Study #2 02:43B2 Flo Stoffner - Carmensac (for Anna) 04:32B3 Erb-Loriot-Morishige - Ice 03:48B4 Noijzu - Invisible 03:05B5 Christian Kobi - I 03:29B6 Alvear-Bondi-d'incise 04:06SIDE CC1 Julian Sartorius - Ziggli 02:17C2 Joke Lanz - Dutschke 03:14C3 Jason Kahn - Nearly You 03:16C4 Tout Bleu - Souviens-toi 03:09C5 Belia Winnewisser 03:34C6 Souharce - Assurance Maladie 04:06C7 Laurent Güdel - State Music N°1 03:26SIDE DD1 Dave Phillips - Categorical thinking... 02:32D2 Denis...

"Hot recordings from the golden era of the Italian sexy comedy film scene"! Early Sounds Recordings, in collaboration with the historical Italian label "Eleven" and A. Dallera, puts together a compilation of some of the rarest and sought after disco and funk records inspired by the Italian sexy comedy era.

"Hot recordings from the golden era of the Italian sexy comedy film scene"! Early Sounds Recordings, in collaboration with the historical Italian label "Eleven" and A. Dallera, puts together a compilation of some of the rarest and sought after disco and funk records inspired by the Italian sexy comedy era.