Organic Grooves 198 Items

Killer-Funk Compilation voller Highlights aus den Musikarchiven von Josef Weinberger Ltd. in London, mit 16 Tracks von seltenen Library-LPs auf Labels wie JW (Josef Weinberger/ Theme Music), IA (Impress) oder PM (Programme Music). Erste Auswahl unbekannter Titel von Toni Campo, Midas Touch, Trevor Bastow, Sidney Dale oder Vick Flick, zwischen Jazz-Funk, Soul Music, Proto Techno und arabischen Disco-Sounds - mit Open Drum-Breaks, fetten Basslinien und jeder Menge Brass/ Wah-Wah /Orgeln /Vibes /Flöten und elektronischen Effekten.Vergleichbar mit den besten Sounds von KPM, De Wolfe oder Bosworth.

Cooked up in the Blue Note Lab, RMX presents last year’s band-defining masterpiece, GoGo Penguin, re-imagined through the filter of some of the world’s finest producers and remixers.

For RMX the idea was both simple and inspired; commission a remix of every track from last year’s album and present a total re-imagination of the record, a remix, or as the band title it, a RMX.

In the end they went one better; with a remix of every track (and two of one) plus a remix of the track Petit_a, which was originally released only in Japan before surfacing on their Live from Studio 2 digital EP.

The idea behind RMX was also the catalyst for a remarkably inspired collaboration. The Manchester trio's music has always drawn heavily on electronica (alongside jazz, indie and classical influences) and so commissioning ten of their favourite artists to rework their music made perfect sense - and the results are spectacular. One of the very best remix projects you will hear anywhere.

Amongst the many highlights are Squarepusher’s thumping remix of F Maj Pixie, alongside Japanese producers Cornelius and Yosi creating sublime new landscapes with the band’s music on Kora and Embers. James Holden assembles an epic synth odyssey around Totem and Portico Quartet produce a sympathetic reworking of Don’t Go. Band faves Clark and Nathan Fake produce inimitable reworkings as does noted French producer Rone. While American producer Machine Drum turns Atomised into dance floor friendly ‘belter’ which is also the first single. Finally, the band have not forgotten their hometown - Manchester is well represented, with remixes from elder statesman and dance music legend Graham Massey (808 state) and new discovery Shunya, whose enigmatic reworking of To The Nth almost steals the record.

German guitarist, bandleader and producer JJ Whitefield has been spearheading several musical sub-genres over the last two decades. His bands Poets of Rhythm, Whitefield Brothers and Karl Hector & The Malcouns are almost legendary to fans worldwide.

He has been releasing influencial albums on Ninja Tune, Mo'Wax, Daptone, Strut, Stones Throw and Now-Again and is probably one of the most respected German undergound musicians. Now he is reaching new levels of nastiness with his Kraut-Jazz debut for Kryptox music. The new german label that has been created to show what's happening in the growing german Neo-Jazz underground.

Pink colorations and disco pop confections abound on Eva Eva Eva’s self titled 1978 LP, which is the newest reissue on Futuribile in collaboration with Peer-Southern Productions. The LP possess a stunning sense of eclecticism and depth, with dazzling displays of diva dynamism proceeding over a range of textures and moods…shimmering disco, rustic blues, cinematic exotica, ripping rock’n’roll, and candy dipped funk and soul, with touches of cosmic synth occasionally accenting the mix. And sitting deep on the B-side is a wonderful Italian language version of “Stayin’ Alive.”

Seminal Spiritual Jazz from Detroit, 1977. Officially licensed and re-mastered re-issue. Comes with fold-out insert of Ade Olatunji’s Poetry that features on the album and never before seen artwork designed by New Zealand based designer David Broome. File under Free Jazz, Fusion, Spoken Word, Poetry, Conscious
“I remember Detroit being a cultural hotbed in 1977. There was poetry, theater and music everywhere. I remember even a local bar on the east side even had a poetry night. I don't remember a lot of unemployment or blighted neighbourhoods back then The greatest takeaway from my trip to Nigeria, was the term "Oracy." I want to say that Wole Soyinka, was giving a talk about about communicating with illiterate or functionally illiterate people and he was talking about oral literacy, or "oracy," for short. It struck me as a perfect word-- for what I was doing, practising. When we decided to produce a record of poetry and music there was no question that it would be titled "Oracy."

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.

produced by David Axelrod !

- "Message from the Meters" sampled by Eric B & Rakim for "Keep 'em Eager to Listen"

- "Goodbye, So Long" sampled by Brand Nubian for "Hold On",
Lench Mob for "All on My Nut Sac" and
YG for "Ghetto Celeb"

All but one tracks written and produced by Mayer Hawthorne himself. Classic new / old school soul album!

/ dance

long overdue reissue with rock city pioneer Billy Jones.. here's what he had to say about his crew.

...in the early 80's Billy Jones was the lead guitarist for an outstanding group of touring musicians who called themselves 'The Incredible Rock City Band'. They performed on military installations all over the United States for the U.S. Dept. of MWR for more than ten years during the 80's and 90's. ...I'm sure that there are many veterans out there who remember seeing this band at NCO and Officer's clubs back in the day.

'The Incredible Rock City Band' members :
Justice "Jay" Little ...drums/vocal
Karl "Drac" Lane ...bass/vocal/keyboards/guitar
Morris "Mo" Moore ...percussion/vocal/synthesizer
Jerry Herd ...mini-moog/trumpet/keyboards/vocal
James "Whimpy" Cross ...sax/vocal/keyboards
Jerrold Lewis ...vocal/keyboards/bass
Billy Jones ...guitar/vocal

PPU's first long-play LP highlights some of the early beginnings of one of our favorite producers, Uku Kuut. Written and recorded at Uku's home studio in Los Angeles and Stockholm between 1982 & 1989. Some tracks co-written with Maryn E. Coote, famous jazz vocalist who had her beginnings in 1960s Soviet Union. "That's my mom" recalls Uku, "I remember when I was little, sitting under the mixing board at her sessions". Growing up in studios, Uku's love of music production began early, and over the years he has amassed a vast collection of domestic and soviet electronic gear. In true PPU style this LP is a mix of Uku Kuut's raw cassette demos, forgotten masters and unreleased magic.

The first ever retrospective in the west of one of Japan's guitar pioneers, Takeshi Terauchi. Charting his career from the surf boom, to groovy 60s instrumentals, fuzz freak-outs and funk rock.

Two gypsies with pedigree backgrounds in Flamenco got together with a drum machine in a studio during the early 80's and the result was Chipen, a somewhat poppy chart oriented project featuring Peret Reyes the grandson of legendary Catalan Gitano musician Peret (aka "El Rey de la Rumba") and Johnny Tarradellas. "Volao" is a mid tempo effort to bridge Pop and Rumba, mixing catchy funk guitar riffs with elements of Flamenco in unprecedented ways. "Chiribiri" sounds like it could be the theme song to a Catalan morning show or even a Japanese 80's Toyota Camry ad, reeks of stereotype and cliche, except that Chipen is the real deal, as real as the darkness of the hair dye on the cover photo. Extended version of Volao on the B side. Remastered at Manmade Mastering in Berlin.

All the best music has a community underneath it. The extended family around London’s Total Refreshment Centre (trc) connects continents and generations, creating the rich relationships in full effect on Transmissions From Total Refreshment Centre. It’s an eclectic and electric collection that draws from new school jazz, hip hop, dub, soul, funk, and drill: sounds you’ll hear trailing out of cars as they spin up the Kingsland Road or spiraling out of doorways like so much smoke. Turn it up loud to hear the widescreen young cousins of Guru’s landmark Jazzmatazz in full effect: top players from London, Chicago, and Melbourne seeking out new collaborations, new ways of working, or just new tunes, always coming back to that central truth – that we all need each other.

Fusion Folk Jazz classic from Scandinavia, sampled by Madlib for Quasimoto's "Closer" with MF Doom. Tip!

The main ingredient to a good duet is that of
mutual respect, professional admiration, even
love, which often shines through a particular
performance, and the pairings of Louis
Armstrong with Bing Crosby on the relaxed
“Gone Fishing”, or with Velma Middleton on
“Honeysuckle Rose” or with “The Voice” Frank
Sinatra on “Ad-Lib Blues”, or Ella Fitzgerald
on “Summertime”, the great Louis “Satchmo”
Armstrong significantly being the common
denominator in each duo. Also included are two
rare duets with Billie Holiday on “My Sweet
Hunk O’ Trash” and “You Can’t Lose A Broken
Heart,” while Armstrong and bandleader Louis
Jordan perform an entertaining version of the
classic “You Rascal You”.

Back in the day a very young Clyde Alexander went into the studio with Gary Davis and Sanction at the behest of Mr. Peter Brown. The cut they laid down that day has been sought after and filling dance floors ever since. Gary Davis and his neighbor Truck constructed what many believe to be the ultimate hook in "Gotta Get Your Love". Gary's lavish yet simple arrangement and Trucks lyrics are backed with one of the most solid bass lines you'll ever hear over a beat so steady it's like bedrock. This record is so tight it's hard to believe every player at this session was in their teens when this was laid down on tape. That is with the exception of Gary Davis who was the elder statesman of this outing at the advanced age of 24. Give this one a spin and you'll understand how Gary and his crew from Camden made history that afternoon in '79.

PPU providing yet again with 10 more selections from the archives of estonian funk front man!

Reissue of this italo disco rarity from 1984 with Flemming Dalum & F. Ricci remixes.

An Italo Disco rarity from 1983 with remixes by Flemming Dalum and Vanzetti & Sacco!

Return to the weird. Barnikle·Freee homegrown sunny Hollywood Florida glitch funk. Co-Writer for Central AYR Productions. Sesh player studio dude and master level multi-string bassist from the Brown Note. Mr. Lapham is the current weapons creator/illustrator/character for Peoples Potential Unlimited. Warning the recording "Koincidence" is an unruly sonic journey and needle wrecker reaching beyond comfortable tones for most lightweight stereo brands. PPU will not be held responsible for damages incurred to any audio equipment while enjoying this record.

Gorgeous electro boogie, nothing less then you would expect from PPU!

1979 self release from Donald "Dohnnie" Walker, originally pressed as a 7inch single on his own imprint Posh Records/Plush Music.

Previously unreleased sessions from mother/son recording pioneers Uku Kuut and Maryn Coote. Contains an alternate tape mix of "Mayday" from the peoples potential unlimited release UKU KUUT "Vision of Estonia" (PPU-034) LP.

/ one cold vibe

compilation of the rarest synth funk, go-go, boogie feat. Expression, All Party People, By My Side and Jimmy Bennett & The Family

/ me and the gang lets start the dance

I’m Ready is Lucky Peterson's most bluesy and arguably one of his most accomplished records, the first in the series on Verve after leaving Alligator Records. Recorded in 1992 and produced by John Snyder, the album brings a decidedly modern twist to blues standards such as Muddy Waters' "I'm Ready", Willie Dixon's "You Shook Me", Little Walter's "It Ain't Right" and Howlin' Wolf's "Who's Been Talking". They blend happily with Peterson's original compositions such as "Junk yard", "Tribute to the king", "Nothing but smoke" or "Spankin' leroy". On Wurlitzer electric piano, Hammond organ, guitar and vocals, this versatile and gifted musician is at his prime here.



This 140-gram vinyl is the first international vinyl reissue, pressed at Optimal, and is presented in a wide-spine, single-sleeve jacket.

Re-issue of this sought after ’85 italo classic with Flemming Dalum and Hysteric edits.

An Italo disco rarity from 1985 is now finally available again as a 12“ maxi single! With Flemming Dalum and Hysteric remixes.

Circuitry is... Electro Wayne & Lo Joe

Written, Composed, Produced and Arranged by Circuitry for Circuit Shock Productions.
Recorded Live at: Short Circuit Studios 1985-1987
Drum Machines: Roland TR707, Roland TR808, Oberheim DMX,Kawai r50e
Keyboards:Roland Jx10, Yamaha Dx7 & Dx 5, Roland Jx-3p,Oberheim Matrix.

Original founding members of New England's premier reggae band, The I-Tones; Jon Gorr (Keyboardist), Tony Allen (Drummer), and RAM (Vocalist) released their side project "It's No Lie" in 1983 on Massmedia Records.

incl. mix by Victor Rosado

Seminal Afro-dub album "Dr. Afrodub" by Ghanaian Ekowmania aka Ekow Alabi Savage. The drummer, percussionist and singer who's played with Jimi Tenor & Kabukabu for more than 20 years explores the fields of classic Roots Reggae, Afro and Dub as well as uptempo modern African rhythms and ballads. This Jimi Tenor produced album is an expansion of Ekowmania's tribute song to Kwame Nkrumah (which is also released as 7" with different versions) and Tenor's electronic loops, which they developed into a full album in guitar player Lauri Kallio's country side studio in Kiikala, Finland. The album kicks off with a very heavy, club-ready and UK reggae-styled album mix of "Kwame Nkrumah", following up with 200% intensity on the voodooesque rhythm explosions of "Twerk Your Mind", then taking a 360 degree turn with the smoothness and laidback vibes of "Kiikala Reggae". Throughout its 9 cuts "Dr. Afrodub" always approach the balance of beautiful song writing and intensity in rhythm and melody, visiting the excellent and classically crafted 70's Roots tune "Dub Souljah", the upfront & tempo-fueled "Lagos Heavy" and ending with DJ Sotofett's mix of the albums ballad "Me Know". CUT With Excellence BY Timmion Cutting LAB IN Helsinki Finland.

Previously unreleased live album recorded at the 1966 Newport Jazz Festival



The Newport Jazz Festival had always brought the best out in Nina Simone. When she took to that famous stage on July 2, 1966, the audience was treated to the full range of her artistry—from the opener, a breathtaking version of “You’ve Got To Learn” to a uniquely swinging take on “Mississippi Goddam”. Unwilling to let her leave the stage, and after sustained applause, her fans were rewarded with the show-stopping encore, “Music For Lovers”. This previously-unknown and unreleased recording makes it clear why hearing Nina Simone in concert was a once-in-a-lifetime experience. Liner notes are by Shana L. Redmond, scholar and author.

PPU and Flickk back with this highly anticipated reissue featuring both of his sought after 7"s on one PPU platter. This second round finds Flickk assuming his Sherlock Holmes alter ego as a private investigator on "Prime Suspect", and an attentive human body mechanic on "Body Shop". Both were previously self-released in the mid 80s on Flickk's on West Coast label.

Red hot Modern Soul 45 recorded in Memphis, Tennessee in 1985. Big thanks to Robert Garcia @mrbighappy & Daniel Mathis @quartzwatches for the research and words on this one!!

Brotherhood Band was started by Ernest Coleman(EC) and Clint Hyson, who met thorough a US Navy band called "Mid-South", which was the US Navy's premier musical organization operating out of Millington, Tennessee (20 min outside of Memphis). The group initially played as an instrumental jazz band. In keeping up with the times, they shifted gears towards a more contemporary sound. Shortly after, they decided to cut a single. Enter "Nicci's Theme", which is the B-side here and it's a beautiful jazz tune EC wrote for a girl he fell in love with. This song was supposed to be his door way in, but he actually never opened the door with her.

A few weeks later Clint called EC and played this syncopated bass line for him over the phone. And then EC being the ladies man that he was wrote the lyrics to "Leather Pants" to it. Part of the lyrics read "The pants they stretch, but they don't bust. Enough to make a blind man cuss", but it originally read as, "The pants they stretch, but they don't bust. Enough to make a Preacher cuss". The song was ready, but they needed to find a singer. That's when member Richard Owens mentioned that he had a young cat back in Atlanta named Taji. In a gamble Taji drove up to Memphis for the Sunrise recording studio session to record the track. According to EC when Taji laid the vocals down he took the song to the next level. In fact it was so impactful that EC, who is now a Grammy producer, still references Taji's sessions when working with new artist.

After the single dropped the group played at Memphis hot spots, Bills Twilight Lounge and Club No Name. EC even had an idea to host a local leather pants contest as a way to promote the song. This lead to a frenzy of women seeking to be "Miss Leather Pants".

/ he's the greatest dancer