Organic Grooves Vinyl 256 Items

A cult album from 1968 that has long since become known as a groove classic across genre boundaries, now for the first time as a deluxe edition, freshly remastered, with bonus tracks and attractive packaging. Along with Alice Coltrane, Dorothy Ashby was the only world-famous jazz harpist. Thanks to deep grooves and sophisticated orchestral sounds, “Afro-Harping” is her most famous album to date, which is continually breathed new life into thanks to samples and remixes by Pete Rock, Kendrick Lamar, Jay Dee (aka J Dilla), Madlib, Flying Lotus and others. Remastered from the original ¼-inch tapes by Alex Wharton/Abbey Road Studios and featuring eight strong, previously unreleased alternate tracks, including an explosive version of the single “Soul Vibrations”, the classic album is now available for the first time in a high-quality format appropriate to its ever-growing importance.

2-lp: gatefold sleeve, padded black inner sleeves, illustrated eight-page insert with detailed liner notes by Seán Casey/Shindig! magazine.

One of the great line-ups of Art Blakey & The Jazz Messengers coalesced when saxophonist Wayne Shorter joined trumpeter Lee Morgan, pianist Bobby Timmons, and bassist Jymie Merritt, as heard on the 1960 album "A Night In Tunisia". Opening with a fiery version of Dizzy Gillespie’s famous piece, the rest of the set showcased new bandmember originals.

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Monstrous blue-eyed soul / garage double-sider and a must for any rare groove DJ.
250 copies pressed.

Why you'll love it...
"‘I Never Loved a Man the Way I Love You’ runs the stylistic gambit without feeling Franklin is doing things just for show. The album isn’t trying to function as a resumé of her skills. Genre shifts feel organic and natural. “Don’t Let Me Lose This Dream” is built on a bossa nova groove, while “Do Right Woman Do Right Man” has a little country ballad flavor. “Dr Feelgood (Love Is A Serious Business)”—one of four songs penned by Franklin herself—is a bluesy belter. She might have been Queen of the genre, but pigeonholing Franklin in soul is like calling Sugar Ray Leonard just a welterweight. She could shuffle through styles as smooth as velvet. Everything is stamped with her own distinct character."

Tenor saxophonist Hank Mobley had already led nine dates for Blue Note Records by the time he arrived at Rudy Van Gelder’s studio on February 7, 1960 with pianist Wynton Kelly, bassist Paul Chambers, and drummer Art Blakey, but on that day the quartet laid down what would become his masterpiece: Soul Station.
The crystalline six-song set was a showcase for Mobley’s lyrical flow from the breezy opening take on Irving Berlin’s “Remember” through bluesy originals like “Dig Dis” and the title track, and the swinging up-tempo numbers “This I Dig of You” and “Split Feelin’s.” Soul Station endures as a jazz classic for the ages.

Lee Morgan’s 1968 album "Taru" found the trumpeter at a crossroads exploring a variety of styles from modal jazz and post-bop to beautiful balladry and funky boogaloos. The band here is notable for the elevating presence of guitarist George Benson and the addition of tenor saxophonist Bennie Maupin.

BLUE NOTE TONE POET EDITION: Stereo, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, and packaged in a Gatefold Sleeve with deluxe tip-on jacket.

Reissued for the first time ever on 7 inch, having previously only ever been on the Take A Trip Pussycat LP, Latin Blues Band - (I'll Be A) Happy Man. A dynamic dancefloor jazz and boogaloo belter from 1968, with a legendary piano riff and breakbeats that were most famously sampled by DJ Premier for Christina Aguilera’s classic ‘(Ain´t No Other Man)’. The B side houses another boogaloo bomb in the form of ‘Take A Trip’ that will set you back £80+ for an original copy. Yellow label version with white sleeve.

Elemental Music, together with Universal Music Spain presents a new vinyl reissue of “Samba ’68“, the only album released on the Verve label by prolific Brazilian singer Marcos Valle. In 1968, Valle was commissioned by Verve to record his Brazilian hits in English in order to capitalize on the then-huge Getz-Gilberto-Jobim-Mendes-Astrud market. Marcos’ rapid and stunning artistic growth is apparent on this brilliant Bossa Nova album. Fans of Sérgio Mendes and Astrud Gilberto (both of whom recorded tons of Valle tunes) will enjoy it immensely, for “Samba ’68” is definitely one of the ultimate “loungy” records. “Samba ‘68 is a vibrant set of Brazilian pop, indebted to bossa nova and samba but undeniably Americanized for a domestic audience. The result is a joyous album throughout that wears its dated sound quite well. Marcos Valle interprets eleven of his own songs, including Brazilian standards like ‘Chup Chup, I Got Away,’ ‘Batucada’ and ‘So Nice (Summer Samba),’ as well as new tracks like ‘Crickets Sing for Anamaria’ and ‘The Answer.’ The vocal harmonies of his wife (the Anamaria of the song title) provide a beautiful counterpoint to Valle’s voice on several tracks, making Samba ‘68 one of the best Brazilian crossovers of the 1960s.”(John Bush, AllMusic) Marcos Valle was the Renaissance man of Brazilian pop, a singer/songwriter/producer who straddled the country’s music world from the early days of the Bossa Nova craze well into the fusion-soaked sound of ‘80s Brazilian popular music. Though his reputation in America never quite compared to contemporaries like Caetano Veloso, Milton Nascimento, Gilberto Gil, or even Tom Zé. Valle is one of the most important and popular performers in the history of Brazilian pop.

Why you'll love it...
Nina was singular in both her ability and the music she made. She will always be one of the best to ever do it. "Nina Simone Sings the Blues' comes on 180 gram blue vinyl.

Reissue of the 5th studio album by Brazilian jazz legend Antônio Carlos Jobim. Considered one of Jobim’s best albums, this masterpiece peaked at #5 on the Billboard Jazz Albums chart. It features a plethora of star sidemen, such as Dom Um Romão, Claudio Slon, Jerome Richardson, Ron Carter & Urbie Green, among others, as well as superb arrangements by Claus Ogerman.

Tenor saxophonist Hank Mobley had already led nine dates for Blue Note Records by the time he arrived at Rudy Van Gelder’s studio on February 7, 1960 with pianist Wynton Kelly, bassist Paul Chambers, and drummer Art Blakey, but on that day the quartet laid down what would become his masterpiece: Soul Station.

The crystalline six-song set was a showcase for Mobley’s lyrical flow from the breezy opening take on Irving Berlin’s “Remember” through bluesy originals like “Dig Dis” and the title track, and the swinging up-tempo numbers “This I Dig of You” and “Split Feelin’s.” Soul Station endures as a jazz classic for the ages..

This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Why you'll love it...
There is something raw and disruptive about La Lupe and her modalities of performance, something that far exceeds tropes of so-called hysteria and all the gendered and racial scripts that come along with it. Uncontrolled expression opens up new routes; it presses against obligatory composure.

The boleros, boogaloos and salsas of Reina de la Canción Latina contain lessons about love, about a willingness to stay alive, about what it means to push against the confines. Reina de la Canción Latina asks us to listen to La Lupe outside of a binary mode — to look a little deeper, to find her personhood and to search for flashes of freedom wherever we can.

1968, in the Brazilian dictatorship, Fábio released this psychedelic gem LSD (Lindo Sonho Delirante), writed by him and Carlos Imperial.

A soul / garage floor killer till today. Besides the alucinated rhythm, the song was an explicit provocation to the political society of the 60’s.

Donald Byrd’s 1967 album Slow Drag was one of the last pure hard bop records the trumpeter would make before his music began evolving towards fusion. Byrd flies high on this gratifying set featuring alto saxophonist Sonny Red, pianist Cedar Walton, bassist Walter Booker & drummer Billy Higgins.



BLUE NOTE TONE POET EDITION: Stereo, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, packaged in a deluxe gatefold tip-on jacket.

Yes, *that* Al Hirt record. Featuring the godlike "Harlem Hendoo", looped unforgettably by De La Soul for the legendary Buhloone Mind State cut, "Ego Trippin' (Part Two)"!

Al Hirt's infamous Soul In The Horn is inextricably tangled up in crate-digger lore. Originally released in 1967, the album has been in heavy, heavy demand for over 30 years, entirely down to the majestic soul-jazz fire of "Harlem Hendoo". And it's a song so good, so vital, so timeless, that it will always tower above everything else in its proximity. This one track alone is worth the price of admission - even if the cost of entry were $100 or even $1000.

However, it would be an error to dismiss this record as merely a one tracker, loaded as it is with dope samples for adventurous beat makers. Certainly the funkiest Al Hirt record, it definitely lives up to the "soul" in the title. Thanks to composer Paul Griffin and arranger Teacho Wiltshire, Hirt got uncharacteristically free and groovy throughout. It comes on more like an obscure KPM library funk record than the easy listening Al was notorious for.

A Louisiana trumpeter and band leader who made Allen Toussaint’s “Java” famous, Al Hirt was also known for TV themes, Dixieland, Swing and being a minority owner of the New Orleans Saints. Unlike every other Al Hirt record - and despite most "diggers" claiming otherwise - this here gem is genuinely hard to come across "in the wild". Normally, you can't give Al Hirt records away, except this particular one, which raises pulses in the crate digging community to life-threatening levels. For every owner claiming to have found their copy for a dollar, there's scores more claiming to have *never* unearthed one in the field. So, paradoxically, you can consider this the most tricky-to-pull "thrift store record", ever. This is why we're finally making it available for everyone, not just those with endless hours to spend scouring the global goodwills!

Soul In The Horn represented an expressive detour into authentic soul-jazz for Al Hirt. Throughout, we're struck by a fierce, fiery energy that's otherwise absent from his typically easy listening work. Without question, the slinky, magical "Harlem Hendoo" is the standout, here. It's also the reason why the record is so scarce and commands awe among crate diggers, sounding like something from an obscure and deeply revered spiritual jazz record. As is often the case, the true genius of the song is tricky to do justice to; it's like a minor miracle of songwriting and performance that simply swooned down from the heavens on the back of horns, bells and harpsichord. It's one of the sweetest musical compositions ever recorded inside a studio - it's only failing is that it's just too short. Sampled brilliantly by De La Soul, it has also been used by The Roots for "Stay Cool" and Nightmares On Wax for "Damn".

The rest of the record makes for a mighty fine listen. From the opening cover of Booker T. & The MG's "Honey Pot", to the propulsive, ultra-funky "Mess Around", it's nothing but a good time. Given its title, the elegant stepper "Calypsoul" sounds exactly as you'd hope whilst the melancholic, wistful "Long Gone" hurts so good. Truly, this is just dying to be looped up, Al's muted playing capturing a soulful longing only horns can often achieve. The bluesy, slo-mo swing of "Sweetlips" oscillates between cool disaffection and swelling pride whilst the graceful, low-key funky "Girl" closes out the A-Side in the fine style. Ushering in the B-Side, the brief but brilliant strut of "Love Ya' Baby" shines brightly before the skipping funky-jazz of true highlight "Sunday-Goin' To Meetin' Time" demands both your attention and your dancing shoes. The mellifluous piano-funk of bass and horn-drenched "Snap Back" serves as the sumptuous prelude to "Harlem Hendoo"'s main character energy before the irrepressible, upbeat R&B of "Ludwig" closes out this quite remarkable album. An album deserving of a place in every serious record collection.

The audio for Soul In The Horn has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. This is after-hours music. Let it speak for itself. Listen. Listen to the soul in Al Hirt's horn.

Limited edition of 200 copies for the 2023 Summer of Jazz campaign, focused on South-African jazz. Only available at HHV.

The Mankunku Quartet's 1968 album 'Yakhal' Inkomo’ clocks in at just over 30 minutes of jazz perfection. This compact, and to-the-point, album would sit comfortably in amongst some of the best works in the catalogues of any of the quintessential jazz labels such as Blue Note, Prestige and Impulse. 'Yakhal' Inkomo’, however, was originally released on the South African record label World Record Co., which resulted in it becoming an elusive and sought-after piece for jazz collectors. First press copies sometimes fetch as much as £1,000 on the collectors' market. It has been long regarded as one of the finest South African jazz albums and DJ / broadcaster Gilles Peterson cemented this when he included it in his "best of genre" focussed radio show, 'The 20 - South African Jazz'. Tenor saxophonist Winston "Mankunku" Ngozi recorded the session on 23rd July 1968 at the Manley van Niekerk Studios, in Johannesburg. It was recorded by Dave Challen and produced by Ray Nkwe. The session is built up of two original works by Mankunku on the A-side, 'Yakhal' Inkomo' & 'Dedication (To Daddy Trane and Brother Shorter)', and on the B-side, the Horace Silver composition 'Doodlin', and a John Coltrane number 'Bessie's Blues'. What is striking is how the Mankunku-penned compositions not only hold their own next to Silver and Coltrane but they are, arguably, the better tracks on the record - a testament to the beautiful writing and playing of Mankunku. 'Yakhal' Inkomo' features the great musicians; Agrippa Magwaza on bass, drummer Early Mabuza, and pianist Lionel Pillay. Pillay was of Indian descent, making this a mixed-race group, thus the very recording of the album was an act of resistance as it broke the apartheid restrictions of the time. The title of 'Yakhal’ Inkomo' means “the bellow of the bull”, the Black audience would have understood this as coded community symbolism and an act of protest but it escaped the attention of the white government. For this edition, we have enlisted the services of Abbey Road Studios mastering, and lacquer-cutting engineer Miles Showell to cut a special half-speed master from the audio taken off the original master tapes. Miles has previously worked on our Arthur Verocai, Marcos Valle and Ian Carr re-issues, and once again we are blown away by the richness and clarity of Miles' work. We have also presented it as a replica copy using the cover artwork and labels from the primary World Record Co. original version. On the sleeve notes, Ray Nkwe the producer and the President of the Jazz Appreciation Society of South Africa writes "This is the LP that every jazz fan has been waiting for" and Ray was not wrong, it's a stone-cold timeless jazz classic.

Originally issued in Stereo on Prestige LP (PR 7190) Subsequently reissued in the Prestige/New Jazz budget subsidiary label Status (ST 7190) The John Wright Trio John Wright (piano), Wendell Roberts (bass), Walter McCants (drums). Recorded at Rudy Van Gelder Studios in Englewood Cliff, New Jersey, August 30, 1960 Engineered & mastered by Rudy Van Gelder Cover photo & design: Esmond Edwards Back-liner notes: LeRoi Jones Recording supervised by Esmond Edwards

“South Africa’s lost jazz history contains many an overlooked classic. But even within that hidden tradition, there are few albums that suffered such an unlucky fate as Spring, the monumental 1968 debut album by pianist Ibrahim Khalil Shihab, formerly Chris Schilder.

Though Shihab was only twenty-two when Spring was recorded, he was already a lynchpin of the Cape Town scene, and the album was to be his first major statement as leader and composer. It is a magnum opus gilded by the presence of the upcoming saxophonist Winston ‘Mankunku’ Ngozi, who was soon to find huge acclaim with the hit album Yakhal’ Inkomo.

Three months of touring southern Africa in 1968 honed the band to the point that this entire album was recorded within the just two hours of allocated studio time. This album was repressed just once before the master tapes were destroyed by an ignorant record company executive. While it has remained out of print since then, the album was ‘kept alive’ as an ‘add-on’ to a 1996 CD of Mankunku’s Yakhal’ Inkomo. As a result, many modern jazz lovers still incorrectly believe these five compositions come from Yakhal’ Inkomo.

With this edition of Spring, Matsuli Music corrects an historic wrong. This edition of Shihab’s stunning debut, produced with the blessing of the man himself, is the first time it has been properly available in over forty years, and the first time it has ever been available outside South Africa. Restored and presented with new liner notes by Valmont Layne, Spring can now be seen for what it is: a peerless masterwork of Cape Jazz, blessed by the presence of the great Mankunku, but truly animated by the subtle vision and original musical spirit of its creator, Ibrahim Khalil Shihab.”

• The monumental 1968 debut album by pianist Ibrahim Khalil Shihab, formerly Chris Schilder.

• Almost lost recording is back on vinyl after more than 50 years.

• Heavyweight 180g vinyl with remastered audio, inner sleeve with photographs and new notes by Valmont Layne

"The Blue Yusef Lateef" - Yusef Lateef (ts, fl, perc, voc); Sonny Red (as); Blue Mitchell (tp); Kenny Burrell (g); Hugh Lawson (p); Buddy Lucas (hca); Cecil McBee, Bob Cranshaw (b); Roy Brooks (dr); strings and vocal group

Yusuf Lateef was a leading representative of world music, long before world music was known as such in the jazz, pop and rock community. He integrated all kinds of oriental instruments in his jazz music, such as the koto, bamboo flute and tambura and also – as in this case – in his blues compositions. His saxophone playing is also flawless too and full of wonderful textures, hard and impulsive at one moment, cool and exotic at the next.
On this album Lateef explores, in a painterly way, the border areas of the blues, in all their various guises and addresses both eastern and western cultures. "Juba Juba" begins with a drumbeat on a slave ship, the tempo builds up slowly and agonizingly, and is only penetrated by Lateef’s plaintive flute and background voices singing »freedom, freedom, freedom«. After such a gloomy beginning the classical blues number "Like It Is" comes over like a breath of fresh air, with its superb string quartet as the foundation. The R&B contributions on the other tracks testify to Lateef’s skilled excursions into the realm of the blues, while the truly adventurous tracks such as "Back Home" and the mystic, Chinese odyssey "Moon Cup" weave a magical net of sheer pleasure. "The Blue Yusef Lateef" is in every possible way absolutely breathtaking. It is a milestone as a jazz album. As a blues album it is quite unique. But as a musical work of art it is a glorious and genial masterpiece.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com.
All royalties and mechanical rights have been paid.

Recording: April 1968 in RCA Studios, New York City by Ray Hall
Production: Joel Dorn

HIS CLASSIC SECOND ALBUM WITH HECTOR LAVOE AS LEAD VOCALIST AND IT SET THE PATH FOR BOTH MEN AS ONE OF THE GREATEST SALSA DUOS IN HISTORY.

Os Mutantes' debut album that made the psychedelic sound popular in Brazil.

Not macht erfinderisch! Das Album “Heavy Sounds” war eigentlich als Trio-Session mit dem Gitarristen Larry Coryell geplant gewesen. Als dieser aber kurzfristig erkrankte und nicht im Studio auftauchte, spielten Schlagzeuger Elvin Jones und Bassist Richard Davis ad hoc eine fast zwölfminütige Duo-Version von “Summertime” ein. Die restlichen Nummern nahm das Gespann einen Tag später mit Verstärkung des Saxofonisten Frank Foster und des Pianisten Billy Green auf, wobei Elvin Jones in “Elvin’s Guitar Blues” höchstpersönlich den Gitarrenpart übernahm. Es sollte seine einzige Aufnahme als Gitarrist bleiben.

Verve BY Request Serie: remastert, audiophiles 180-Gramm-Vinyl von Third Man Pressing/Detroit, Gatefold Sleeve.

The Jungle, regarded as one of the best of B.B. King's many albums, is being reissued on P-vine! Recorded in 1961-62, at the height of his career, and released on Kent after he moved to ABC, six R&B charting hits came from this album. All of the songs are superbly crafted, and are truly the king of the blues. Slow songs such as '5 Long Years' are typical of B.B.'s music of this era. You can't talk about B.B. King without listening to this album!

sampled by Afu-Ra, Diamond D ...

The only one of tenor saxophonist Tina Brooks’ albums as a leader to be released during his too-brief lifetime, 1960’s True Blue is a hard bop masterpiece featuring Brooks’ distinctive compositions performed by an exceptional quintet with Freddie Hubbard on trumpet, Duke Jordan on piano, Sam Jones on bass, and Art Taylor on drums.



Blue Note Classic Vinyl Edition: Stereo, mastered from a digital source by Kevin Gray, manufactured at Optimal (180 g), padded inner sleeves.

In April 1966, the duo of Graves and pianist Don Pullen played at Yale University. As John Corbett writes in the liner notes, "This performance was something of a turning point for Graves. Until then he had been working in other people's bands or collective ensembles. He was phenomenally busy. In 1965 alone, he recorded with Nyaq (two LPs), Giuseppi Logan Quartet, Paul Bley Quintet and Lowell Davidson Trio, and he made his first recording released under his own name, Percussion Ensemble. Every one of these is important in its own way, but none of them quite anticipate how radical was the music that he and Pullen would unleash that evening in New Haven." Originally released on the artists' own Self-Reliance Program label, this legendary one-night performance would be split into two volumes: In Concert At Yale University and Nommo. While rooted in African rhythms, Graves' music has its own sense of time. As the drummer stated in a 1966 DownBeat interview, "Time was always there, and the time I see is not the same as what man says time is. It works by impulsion."

This 1967 set, recorded live at Boston’s Jazz Workshop, showcases virtuoso guitarist Szabó—a veteran of Chico Hamilton’s and Charles Lloyd’s bands—at the top of his game on a diverse program featuring standards (“What Is This Thing Called Love”) and pop hits (“The Beat Goes On”) as well as the original and psychedelic-tinged jam, “Space.”



Verve BY Request Series: remastered, audiophile-quality 180-gram vinyl from Third Man Pressing/Detroit, gatefold sleeve.

Andrew Hill’s 1968 album Dance With Death stands as one of the most gratifying though under-recognized sessions of the brilliant pianist’s discography featuring his singular compositions performed by a versatile quintet with Charles Tolliver, Joe Farrell, Victor Sproles, and Billy Higgins.

Blue Note Tone Poet Edition: Stereo, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, packaged in a deluxe gatefold tip-on jacket.

In his 1967 DownBeat review of the initial release, Amiri Baraka wrote: "The music is beautiful on this album... These two players... are making some of the deepest music anywhere. It wants nothing."

Peter Margasak included the album in his list of "Favorite Albums of 2020," and wrote: "Essential coupling of two insanely rare duo albums from a 1966 concert at Yale University: Pullen at his most ferocious and probing, Graves making a huge step in establishing his radical approach to polymetric movement."

In a review for Point of Departure, John Sharpe commented: "The five pieces represent a true dialogue... Although intensity levels vary, the exchanges remain resolutely non-melodic and non-metric throughout... Even after all this time the music still challenges preconceptions. It remains a classic of the genre and deserves to be widely heard."

Thurston Moore included Nommo in his "Top Ten From The Free Jazz Underground" list, first published in 1995 in the second issue of the defunct Grand Royal magazine, calling the interplay between the musicians "remarkable."

Best known for his work with Charles Mingus, pianist Horace Parlan began recording for Blue Note in 1960 with an excellent run of hard bop classics including Speakin’ My Piece, a quintet date featuring a frontline of Stanley Turrentine on saxophone and Tommy Turrentine on trumpet with the rhythm team of George Tucker on bass and Al Harewood on drums.



Blue Note Classic Vinyl Edition: stereo, all-analog, mastered by Kevin Gray from the original master tapes, pressed on 180g vinyl at Optimal, padded inner sleeve.

A multi-instrumentalist who reconfigured jazz many times during his long career, Yusef Lateef came to prominence in the late 1950s, after having toured with Dizzy Gillespie. Jazz Mood dates from 1957, when his Quintet had some of Detroit's finest, including Alice Coltrane's brother Ernest Farrow on bass and future Jazz Messenger Curtis Fuller on trombone. The use of an argol on 'Metaphor' and a rabat and finger cymbals on 'Morning' point to Lateef's Islamic grounding and his belief that music serves a higher purpose; this edition has bonus track 'Passion,' from the equally excellent Before Dawn. Rich, deep, and varied, this is required listening for all serious jazz heads.

/ Bar Kays 'soul finger'

The Show Stoppers was formed in 1967 by Alex Burke and Laddie Burke (Yes! they were brothers of Solomon Burke...) who joined with fellow brothers Timmy Smith and Earl Smith, all of them were students of Germantwon Highschool (Philadelphia). They are best remembered for their 1967 hit "Ain't Nothin' But A House Party" and they have recorded a bunch of 7" EP/Sge until they disbanded in 1972. This EP contains four of their best songs.

First released in Brazil in 1960 this is Joao Gilberto's second studio effort. A seminal album that just one year later introduced Bossa Nova to the United States. Joao Gilberto, one of the true masters of the genre, displays a great selection of songs including various Tom Jobim's classic gems such as "Samba de Uma Nota Só" ("One Note Samba"), "Corcovado" and "Outra Vez". An essential piece of work in the whole history of Brazilian music.

Star Trek to soulstress - Lieutenant Uhura aka Nichelle Nichols was a groundbreaking actor, singer and trailblazer and these two standout tracks sound as sweet as they did over 50 years ago.
A valuable collectable must for Soul, Northern fans & well as any true Trekkie...original copies are changing hands for £250+.
Remastered and reissued on 7 inch with large / dinked centre hole in Epic generic paper sleeve.

180 gram vinyl!