Organic Grooves Vinyl 254 Items

First official reissue of this Soul classic originally released in 1969 by Spark label.

The Polydor label released a few singles in the late 1960s that became very obscure and unknown, even to researchers. Most of these 7 inches are super psychedelic and very creative, but totally anti commercial. Own compositions, recordings and good productions, always with a top team. These works were not promoted or publicized by the label and very few copies circulated at the time. The impression is that the intention was to freeze or disappear with the artist in question. Vermelho is one of them, a work that is little talked about or known but that always attracts the attention of those who have access to these two tracks. Arrangement by Rogério Duprat, who was proud to have participated in these recordings, with Rafael Moreno on bass, Alberto Niccoli Junior on drums, Bolão on Sax and Marcos Ficarelli, the “Vermelho” on guitar and vocals.

Marcos already knew well the ways of recording and producing an album, having participated in historical groups of Brazilian rock in the 60's such as Top Sounds, Código 90 and Loupha, to name a few. At this stage, he had already acquired good knowledge of recording and studio management. Excerpts such as “And in the hole of the corners, to look for, is what I try in vain” presents the listener with the mood of the dark times of that time, and today seems a premonition about the difficulty of finding this single, even in private collections.

“Parabéns Meu Bem” and “Gira-Gira” are tracks with an advanced rhythm for the time. Drums very well marked, with an original take and very close to North American funk. The bass is consistent and strong and the guitar full of effects and very reminiscent of the sound and energy of Jimi Hendrix, Santana and Blood Sweat & Tears. There is yet another musical layer created by Duprat, who managed to insert a mini orchestra along with the sound mass created by “Banda do Vermelho”.

The Polydor label released a few singles in the late 1960s that became very obscure and unknown, even to researchers. Most of these 7 inches are super psychedelic and very creative, but totally anti commercial. Own compositions, recordings and good productions, always with a top team. These works were not promoted or publicized by the label and very few copies circulated at the time. The impression is that the intention was to freeze or disappear with the artist in question. Vermelho is one of them, a work that is little talked about or known but that always attracts the attention of those who have access to these two tracks. Arrangement by Rogério Duprat, who was proud to have participated in these recordings, with Rafael Moreno on bass, Alberto Niccoli Junior on drums, Bolão on Sax and Marcos Ficarelli, the “Vermelho” on guitar and vocals.

Marcos already knew well the ways of recording and producing an album, having participated in historical groups of Brazilian rock in the 60's such as Top Sounds, Código 90 and Loupha, to name a few. At this stage, he had already acquired good knowledge of recording and studio management. Excerpts such as “And in the hole of the corners, to look for, is what I try in vain” presents the listener with the mood of the dark times of that time, and today seems a premonition about the difficulty of finding this single, even in private collections.

“Parabéns Meu Bem” and “Gira-Gira” are tracks with an advanced rhythm for the time. Drums very well marked, with an original take and very close to North American funk. The bass is consistent and strong and the guitar full of effects and very reminiscent of the sound and energy of Jimi Hendrix, Santana and Blood Sweat & Tears. There is yet another musical layer created by Duprat, who managed to insert a mini orchestra along with the sound mass created by “Banda do Vermelho”.

‘O’Seis’ are the core members of the mighty and legendary ‘Os Mutantes’ – namely Rita Lee and brothers Arnaldo and Sérgio Baptista, accompanied here by Raphael Vilardi, Maria ‘Mogguy’ Malheiros and Luiz Pastura. The record features anthemic, heavyweight, psychedelic rock on ‘Suicida’ b/w deeper, tripped-out MPB-folk on ‘Apocalipse’. Both tracks were written by Rita Lee, assisted by Tobe and Vilardi respectively. The term ‘holy grail’ is a little overused these days perhaps, but this definitely is one. Originally pressed and released by the band themselves in 1966, apparently only a handful of copies are known to exist (sources/numbers vary). The record has changed hands for up to a staggering $5000! Ouch.
Official Mr Bongo reissue. Licensed courtesy of Warner Music UK LTD.

Reissued and remastered with replica artwork - the highly sort after classic rare groove track, 'Iron Leg' by DJ Shadow's favourite Funk band, Mickey & The Soul Generation.

Original copies trade hands for £125+. Black 7" dinked centre hole vinyl.

Following on from the incredible success of 2020's "Teasin' You Again", we're proud to follow that up with one of Willie Tee's greatest double-siders and one of his very rarest 45s. Welcome to the incredible "First Taste Of Hurt" backed with "I'm Having So Much Fun".

This record was first discovered in Los Angeles in 1976 primarily for "I'm Having So Much Fun" which drew interest from the Northern Soul crowd, but then "First Taste Of Hurt" started catching on in wider circles. These days "First Taste Of Hurt" is the key side with a truly international audience across several scenes. An original Gatur copy of this will set you back £5000 and even the UK Grapevine reissue will cost you the best part of £100 these days. Expect another across-the-board Willie Tee smash which will match perfectly with "Teasin' You Again" and sell to many audiences.

Deep/Mod Funk heavy hitter previously comped on Le Beat Bespoke and a deep Jamaican Soul cut increasingly in-demand among progressive Northern/Rare Soul deejays.

Limited Edition for Record Store Day 2019! Often quoted as being one of the greatest Soul records of all-time, “Open The Door To Your Heart” was Darrell Bank’s first release and biggest hit. A one-off UK issue copy on London Records recently sold for a huge £14,543 in 2014 and is testament to the quality of the song and recording. Here, for the first time ever, is the previously unissued instrumental version by the Funk Brothers - the Solid Hitbound musicians including Rudy Robinson, Uriel Jones, Eddie Willis, Bob Babbit and Dennis Coffey. This work of art will be reissued on the original Revilot label.

Johnnie Mae Mathews is fondly referred to as being 'The Godmother Of Detroit Soul' as she was responsible for creating at least 8 different Detroit record labels and for discovering and nurturing many future Motown artists in their early years. In fact she was a major source of inspiration for the young Berry Gordy, founder of Motown. We are delighted to finally be releasing what many people consider to be the pinnacle of independent Detroit Soul music, the impeccable and gut-wrenching 'I Have No Choice', the defining record of Johnnie Mae Mathews many recordings with the equally impressive 'That’s When It Hurts' on the flip. 'I Have No Choice' is a record that has finally hit the heights it always deserved after being a cult record for almost 50 years and is now commanding a staggering £1200-1500 for a decent original copy for those lucky enough to be in that league. This will be a historic RSD release with comprehensive notes and photos from Johnnie Mae Mathews expert Richard Gilbert. If you’re a Soul music fan, then this record is indispensable. Full picture sleeve featuring Johnny herself in full swing, with liner notes, and fully remastered, heavyweight vinyl 45.

The last of the collaborative LPs Miles Davis recorded with Gil Evans for Columbia, Quiet Nights is easily the most controversial. Following the success of Sketches Of Spain, Davis and Evans aimed to further the Latin explorations, this time pointing to Brazil, as heard on the adaptation of Antonio Carlos Jobim’s ‘Corcovado’ and Joao Gilberto’s ‘Aos Pés Da Cruz,’ with its stellar Ron Carter bass accompaniment, though some were surprised by the brevity of the proceedings, including Miles himself. Nevertheless, those who get to know the album will appreciate its intricacies, the product of the pair’s unique creative chemistry.

When this album was first released in 1969, the young combo around vibraphonist and singer Andre Tanker conveyed a new style mix, which apparently naturally merged quite different musical influences into a new whole. At the centre of the music of the Andre Tanker Five was jazz in its Caribbean, Trinidadian style, a combination of the modern jazz of those days and the sounds of the extremely popular steeldrum bands of the time. A very decisive addition is typical for Trinidad: Calypso. Calypso stands for the attitude to life of this young generation of musicians, for the 'Good Time Feeling' and the desire to incorporate danceable Caribbean rhythms and Afro-Latin grooves into their individual style.
Although the original sounds of the young Andre Tanker Five are deeply rooted in the music of the West Indies, Afro-American elements always remain in the foreground. The young combo is musically equally at home in the Caribbean as in the 'hip' jazz clubs of the US megacities and the juke joints of the south with their sultry blues as well as the soul dance halls in Detroit or Memphis. The combination of vibraphone and electric guitar plus bass/drums is also rather unusual in those days. Not a pure instrumental album, 'Afro Blossom West' delivers some surprising vocals - rather unusual for a groove-jazz-based project with a sophisticated rhythmic sound.
Bandleader and vibraphonist Andre Tanker is considered a very creative and versatile musician. His exciting improvisations are a dominant feature of this group. Party In The City, Lena and Swahili are original compositions of which he sings the first two himself. Guitarist Clarence Wears is a gifted accompanist and effective soloist. His sometimes 'funky soul style' is more reminiscent of 'Memphis' than 'Trinidad'. Bass player Clive Bradley, who also plays piano and guitar, is a fine all-round musician who knows his music to the limit, and the rhythm section around Kester Smith (drums and timbales) and Mikey Coryat (congas) are able to provide the necessary power, but they can also play softly and subtly when the mood demands it.
As the album's name suggests, the combo refers deeply to the music and rhythms of Africa, whose roots - when shifted to the West - have produced the calypso, blues and Afro-Latin rhythms heard on this LP. We have had the album reworked from the original master tapes for this limited high quality LP edition by mastering expert Tom Meyer. New liner notes by Ron Reid shed light on the history of Andre Tanker, his combo and the circumstances that led to this creative product!

HIGHLIGHTS:First solo LP by the talented Peruvian artist Betico Salas, lead trumpet player of the great Sonora de Lucho Macedo, one of the best ensembles playing Cuban repertoires in the early '60s.This 1966 album features Alfredo Linares on piano and sonero vocals by Benny del Solar, and combines a mix of guarachas, guanguancó and even cumbias. Betico Salas would later release two more albums and become a legendary trumpet player in Peruvian musical history.First time reissue.- DETAILS:Alfredo Linares on piano and sonero vocals by Benny del Solar stand out on this album. Benny del Solar sings lead vocals on the cumbia of Argentine origin 'Nos vamos a casar'; the Colombian 'Lo que pasa es que la banda está borracha', a continental hit since the early sixties; the guaracha 'A los muchachos de Belén', by Puerto Rican musician Tito Rodríguez; the guaracha 'Ritmo del amor'; the elegant Cuban guaguancó 'Así namá', also well known for Tito Rodríguez's rendition; and the cumbia 'Qué le digo a mi mujer'. Singer, César Gonzales, who would have an extensive career in Peruvian tropical music, sang lead vocals in the guaguancó by the Sonora Matancera 'Lindo Omelenko' and the bolero 'El árbol', a hit for the singer Roberto Ledesma, also recorded that same year by Peruvians Carmita Jiménez, Anamelba, Raul del Mar and Lucho Macedo himself, who decided to sing for his new record label.The mythical singer Johnny Arce, years later known as Mr. Macondo, also appears on the album on the two guarachas: 'La renga', a composition by Esther Forero, known as La novia de Barranquilla; and 'Yo soy candela', a composition by the Colombian Ray Rodríguez.Finally, 'La chola' is a cumbia by Peruvian composer Tomás Benítez; and 'Mambo Jazz' is a version of the descarga 'Yayi's instant mambo', an innovative instrumental track performed by Puerto Rican Willie Rosario, who recorded it in the United States at the start of 1966 with his own orchestra.Betico Salas would later release two more albums and bec...

Record Store Day 2020 Release.
Limitation: 500 copies.

Long sought after by collectors, DJs and lovers of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG stuio sound for today's aficionados to enjoy like it was 1969 all over again.

Jack Wilson was a talented, jazz pianist. Wilson's music had elements of hard bop, swing, cool jazz and soul-jazz, and it was all tied together by his tasteful playing and soulful appeal. This album is an exceptional and fresh album by two exceptional musicians. Jack Wilson and Roy Ayers have an instinctive and uncomplicated sense of showmanship that goes hand with awareness appreciation for their audience, and an enthusiasm for their music. It repays all the cents spent to buy this record.

Los Syn were born in 1966 in Chile, formed by four young lads from the US whose parents were working in Santiago at the time, and they released this sole 45 before all going back to the US next year. The record is practically nowhere to be found, and such an amazing example of teen garage folk-punk the way we all lose our head for.

Limited reissue of 500 copies, with an insert with liners by Gary Pilgram (bass player), and two postcards with unseen photos!

180 gram vinyl

Born Booker T. Washington White, Bukka’s trajectory as a blues performer follows a familiar template for his
time. Born in Mississippi, maybe in Houston, MS – maybe in Aberdeen, MS – maybe in 1902, maybe in 1909
or even 1906 he recorded throughout the 1930s. Bukka even recorded while incarcerated in the Mississippi
State Penitentiary aka Parchman Farm. Asked about his time at Parchman White commented “Well, I mostly
played guitar.”
During the 1940s and 50s as Blues moved from the Delta to Chicago, from rural to urban, Bukka’s career went
dormant. And then, like many of his time, his talent was “rediscovered” in the early 60s, in no small part thanks
to a brilliant guitarist in his own right, John Fahey. Performances and all new recordings happened throughout
the 60s, building interest in Bukka White’s Delta roots. This compilation of White’s best early material was first
issued in 1969 (1970 in the US), collecting Bukka’s 78s recorded for Vocalion and Okeh. His influence on rock
performers of that day cannot be understated. He opened for rock bands he’d inspired at venues like The
Fillmore, played his instrument in such a fashion that some said it’s like he was trying to destroy that guitar, his
most famous guitar, a 1933 National Duolian, was even known as “Hard Rock.” And then there’s the fact that
his song “Shake‘em On Down” was so influential on Led Zeppelin that they, “borrowed” from the song for both
“Hats Off To Roy Harper” and “Custard Pie.”
Bukka White was many things, a strong influence on his cousin B.B. King, a cotton picker, a mule driver, a hobo,
a player in the old Negro Leagues, a boxer, a preacher, a convict, a factory laborer and, as celebrated here,
one of America’s blues pioneers.

All killers and no fillers on this fabulous 1969 Motown masperpiece. It is a shame that Jimmy lived in the shadow of those other Motown singers such as Marvin Gaye and Stevie Wonder. It really is one of Motown's best albums!

180g vinyl.

180 Gram Vinyl!

heavily sampled classic funk album!!

- "In the Middle" sampled by Chubb Rock for "Organizer"

- "The Chicken" sampled by 2 Live Crew for "I Ain't Bullshitin'",
Big Daddy Kane for "Calling Mr. Welfare",
CEO for "Hit Me with the Beat" and
Main Source for "Think"

- "Why Am I Treated So Bad" sampled by The Associates for "From the Ground Up"

- "Soul Pride" sampled by Digable Planets for "9th Wonder (Blackitolism)",
Mad Flava for "Gotz ta Flow ta This",
Mr. X & Mr.Y for "1956",
Peshay for "Psychosis" & "Vocal Tune" and
Roni Size for "Hot Stuff"

A few copies arrived with a seamsplit Cover. We're therefore selling it on a reduced price.

Sahib, besides being an undisputed leader and releasing records for prestigious European and American labels, was one of the key members of the prestigious Kenny Clarke Francy Boland Big Band.

Formed in 1964 in Watts, California, U.S. and based in Los Angeles, the original members were the texan twin brothers Wallace Scott and Walter Scott plus Gordy Harmon, Marcus Hutson and Nicholas Caldwell. In 1973 Gordy Harmon injured his larynx in a driving accident and was replaced by Leaveil Degree. Planets Of Life was the result of the incoming change, a vocal soul-funk masterpiece from a renewed harmony group. Often compared to the Isley Brothers, due to Scotty Scott vocal similarities to Ronald Isley, the band was an excellent r&b combo, turning lately into an electric funk vibe with a clear Temptations twist.

Fully licensed ! Ltd to 500 copies. Singer and guitarist Ram John Holder was born in. 1939 in Georgetown, British Guiana, then moved to Cincinnati in 1954, and to the East Coast to work as folk blues singer in the early 1960s. In 1963, he took residency in England where he recorded several albums. Released in 1969 Black London Blues is surely is masterpiece. A socio-political manifesto the album chronicles the trials and tribulations that were the result of being a black-immigrant in London, and it contains all the pathos and pain one can imagine. Self-conscious, as concept albums often are, the record is almost like an audio A-Z or pub guide. It’s funky and represents his own black experience. It is a must have for all the blues revivalist out there, a record to rank along the lines of early Mike Cooper and american stalwarts like Eugene McDaniels or Sixto Rodriguez !

180 gram vinyl!

The virtuoso trombonist Albert Mangelsdorff was one of the prominent figures of European Jazz of the 60s – 70s. Eastern influences with a perfect blend of Western culture characterized this album recorded in Frank- furt after the groups Asian tour. “Now Jazz Ramwong” sees the group in its best shape: alto saxophonist Gunther Kronberg, tenor saxophonist Heinz Sauer, bassist Gunter Lenz and drummer Ralf Hubner. A really mind-blowing mix of jazz, folk and Eastern sounds. The album contains “Three Jazz Moods”, a jazz adaptation of Ravi Shankar’s music.

The soundtrack to this 1969 German sexual comedy was produced by Improved Sound Limited, showcasing their killer blend of experimental pop, blues, rock, jazz, funk and easy listening, augmented with tape effects, phasing, distorted guitar... Groovy songs influenced by 60's beat and psychedelia.

Newly mastered sound by Jörg Scheuerman. Comes complete with an insert with photos and liner notes. Limited to 500 copies only.

One album into their career in 1969, Mutantes showed few signs of musical burnout after turning in one of the oddest LPs released in the '60s. Similar to its predecessor, Mutantes relies on an atmosphere of experimentation and continual musical collisions, walking a fine line between innovation and pointless genre exercises. The lead track ("Dom Quixote") has the same focus on stylistic cut-and-paste as their debut LP's first track ("Panis et Circenses"). Among the band's musical contemporaries, Mutantes sounds similar only to songs like the Who's miniature suite "A Quick One While He's Away" -- though done in three minutes instead of nine, and much more confusing given the language barrier. The album highlights ("Nao Va Se Perder por Ai") and ("Dois Mil e Um") come with what sounds like a typically twisted take on roots music (both Brazilian and American), complete with banjo, accordion, and twangy vocals. Though there are several other enjoyable tracks, including "Magica" and a slap-happy stomp called "Rita Lee," there's a palpable sense that the experimentation here isn't serving much more than its own ends. If the first album's relentless eclecticism did in fact occasionally result in dry passages, it's especially true here

While stationed in Germany in the RAF during the late 1950s and early 1960s, York-born alto and soprano saxophonist Trevor Watts met the drummer John Stevens, with whom he would form the Spontaneous Music Ensemble upon returning to the UK in 1965, which became an important vehicle for British free improvisation. Watts’ spin-off project Amalgam came two years later with Stevens and bassist Jeff Clyne, previously in the Jazz Couriers with Ronnie Scott; their debut LP Prayer For Peace is jazz improv at its most melodic, an unpredictable album of varying shades, with three unique takes of the song ‘Judy’s Smile.’

ark Wirtz' most famous output was recorded during the mid/late '60s when he was working as an in-house producer for EMI at Abbey Road. His 'Mood Mosaic' LP and the unfinished concept album 'A Teenage Opera' (a single off this LP, 'Grocer Jack', was actually released in 1967) provided Wirtz with an iconic status. However, his lesser known 1966 album 'Latin A Go-Go' is the one to have if you aim to hit the dancefloor. To get an idea of the music, think of wild cocktail parties in sunny California in the mid-'60s, cosmopolitan hotel lounges in Copacabana or the hippest clubs in Swinging London.
The LP co-features the likes of Barbara Moore (from the legendary library music album 'Vocal Shades And Tones') and Jim Sullivan (Lord Sitar).

“This LP with Sexteto Caracas will be, from now on, the favorite of all parties with a happy atmosphere, because through its interpretations it has that rhythm and party flavor that we all want to hear and dance to” reads the back cover of the original edition of the great album that the El Palmas Music label has the enormous pleasure of reissuing on vinyl, respecting every detail of its original art.

Ritmo y Sabor de Fiesta Con El… Sexteto Caracas, was launched in 1969 by a small Venezuelan label (Discos Diana), it appeared when salsa was already a consolidated popular phenomenon in the country. The era of the rage of the tasty crossover of genres with guaguancó and boogalú and even soul, of the “superdiscotecas with cinematic sound and psycho-delirious dance floor”, as was announced in the promotion of a show at El Palacio del Baile when Caracas was experiencing an impressive cultural explosion.

In this context, the only album by Sexteto Caracas was released, a group of young but seasoned musicians through dozens and dozens of shows, with a luxury musical director (Abiezer M. D'Aubeterre, better known as “Ajoporro”, also in charge of the piano and guitar) and the voice of Alfredo Antonio, who had previously ventured into pop music as the singer of the group Chicles.

Sexteto Caracas was born in the mid-60s as the initiative of the timbalero Jesús “Chui” Osuna, who conditioned his own house for the group's rehearsals, and it established itself as it added concerts in that Caracas of great musical revelry until it reached its unique album, a collector's item that El Palmas Music proudly recovers, faithful to its objective of cultural archeology and revaluation of artists who deserve a privileged place in history. ________________________________________

Blind musician Hrant Kenkulian (1901-1978), generally known as Oudi Hrant was a master of the oud (fretless lute) who was probably best known for his taksims. He was an Armenian born in Adapazar, a city close to Istanbul which had a large Armenian population before the Genocide of 1915. After WWI, Hrant's family settled in Istanbul. Hrant started out singing in the church choir, but soon moved on to the oud. He made his career in Istanbul, but he toured the US in 1950, and did a world tour in 1963 to Paris, Beirut, Greece, America, and Yerevan, Soviet Armenia. He was a teacher of many Armenian-American oudists including Richard Hagopian. He was the pride of the Armenian people, and many consider him to be the most soulful oudist ever to emerge from Turkey. Released in 1964 on jazz label Prestige the record shows the stunning classical inspiration of the musician.

Sahib, besides being an undisputed leader and releasing records for prestigious European and American labels, was one of the key members of the prestigious Kenny Clarke Francy Boland Big Band.