Organic Grooves 247 Items

The Bongo Hop is back with another highly danceable, genre bending and colorful effort. Always navigating back and forth across the Atlantic in search of his musical dreamland, he offers a deeper insight into the making of his music, an organic sounding, almost live approach to his infectiously groovy compositions, topped with impeccable collaborations. (feat Nidia Gongora, Lucas Santtana, Moonlight Benjamin...)

Soul Service is a new label from the Atlanta-based party crew of the same name. For their first trick, they enlist the fine sounds of Italian Afro house and disco man Gledd, who shows his skills across blends of Latin, jazz, house, and world music influences. 'Jazz Con Sabor' opens with lots of frosty cymbals and big horn stabs over shuffling drums, then 'Dile' has a more playful and funky skip to it that soon infects your soul. 'No Lo Quiero Saber' (Latin mix) is deeper, more percussive and packed with sunshine from the expressive vocals.

Following a fallow 2023, a rejuvenated Growing Bin return to your turntable with this sublime collaborative LP from Gosha Martynov & Natasha Sinyakova. On their first foray into the physical, the duo expand the spectral ambience and medicated breaks of their earlier work with lithe touches of organic jazz and Cafe Del Mar cool, creating a complex assemblage of dreamy downbeat and emotive electronica that's entirely easy on the ears.

Opener "Pozhaluysta" seduces with smart syncopation and beguiling melody, its flute and fretwork finding ample space to slip around Natasha's voice, equal parts Cocteau operatics and jazz-club coquette, in an expression of a want beyond words. The mood shifting "Osvobodi Menia" sees the solemn, snaking sound of a sampled duduk drift into an optimism of airy pads and escapist mantra, suspended in reverb until the end of time. "Ya Tebia Zhdala" began life as a break-led experiment, gradually evolving into a romantic and naive sketch rich with splashes of piano and dynamic chorus pads. Naturalist hymn "O Dereve" weaves a dark and intimate tale from the point of view of a veteran tree as its buzzsaw guitar loops blossom into multilayered vocals full of emotion.

Awash with sonar sweeps, sumptuous pads and rolling subs, the titular "Imena Rek" channels post-rave bliss into the hypnagogic anthem the contemporary IDM-ographic have been searching for. Infectious hooks and spaced out pads ride the breakbeat rhythm for a dreamy experimental pop banger from another planet. The sombre sway of "Rany", filtered through the fog of a broken cassette recorder, trance djembe and unpredictable bass tones rivals the finest Motion Ward or In:dex releases for crepuscular charm, while "Smeshno" sees serrated drones sink into a slinking rhythm, playing counterpoint to the tender chords and yearning vocals.

"Iskra" closes out the chiasmus with a return to the organic experience of the opener, the flute and acoustic guitar augmented with nuanced hand percussion and a music box refrain. Listening to this album is like a midnight walk through an ancient forest - an experience which both scares and tempts you at the same time. From touching damp moss to feeling the thick fog with your body and watching mushrooms glow in the dark, 'Imena Rek' guides you through the terrain.

Flawlessly arranged and executed, this LP alludes to a long lineage of innovative downbeat, feels absolutely essential in the present and pushes the trip hop revivalists towards a fascinating future - Gosha Martynov & Natasha Sinyakova have created a timeless piece of music,
but what else do you expect from the Bin?

A1 Pozhaluysta B1 Imena Rek
A2 Osvobodi Menia B2 Rany
A3 Ya Tebia Zhdala B3 Smeshno
A4 O Dereve B4 Iskra

Music by Gosha Martynov & Natasha Sinyakova
Mastered by Sergey Luginin @ Luginin Studio in Moscow
Distributed by wordandsound from Hamburg
Sales notes by Patrick Ryder

One of a number of sessions cut at the Choreographers' Workshop, this 1963 set established Sun Ra's Arkestra as a New York band, sonically coupled to developments in the decidedly urbane downtown arts underground. The stargazing clamor of the music reflects the intensity of a cultural crossroads where concrete and dust pervade any skyward view, from East 3rd Street to Mars and beyond. One of Sun Ra's rarest releases, it had negligible circulation through records shops. While most of the Saturn output couldn't get any rarer or mysterious than it already was, 'When Angels Speak of Love' was released in 1966 it was the most elusive and mysterious in the Sun Ra catalog. It's speculated that the record was issued in two micro runs, with estimates around 150 copies. Hard core collectors around the world had been searching for this gem to no avail until Evidence Records' released a CD of the music in 2000. This updated offering utilizes the actual master tapes and we get to hear the Arkestra in it's cosmic mid-60's prime via mono and stereo fidelity.

Drums and Electric Bass album from two modern monsters. Double platter affair at 45rpm. Hard-panned for your super-enjoyment, allowing you to listen to each instrument distinctly, together or panned to your liking. Don't ask. Just buy.

Reaching For Our Star b/w Run Between The Raindrops (While My Teardrops Fall).A trio of Kansas City soul sweepers, fromthe sprawling mid west burg's storied Cavern,Damon, and Forte concerns. Bumpand the Soul Stompers' 1970 sweet souldouble sider "I C an Remember" was atail pipe-dragging, low rider classic in themaking, had it ever been released. A fewyears later Jerald "Bump" Scott took hisnew group to Cavern's subterrane an confinesto cut the group harmony masterpiece"Living In The Past," but remainedunissued prior to Numero's discovery ofthe Cavern tapes. As disco was cresting atthe top of the next decade, Sharon Revoaltracked her James Brown meets JamesBond stepper "Reaching For Our Star"_the last 45 released on Marva Whitney'speerless Fortelabel.

Reaching For Our Star b/w Run Between The Raindrops (While My Teardrops Fall). Semi Opaque Natural VINYL.A trio of Kansas City soul sweepers, fromthe sprawling mid west burg's storied Cavern,Damon, and Forte concerns. Bumpand the Soul Stompers' 1970 sweet souldouble sider "I C an Remember" was atail pipe-dragging, low rider classic in themaking, had it ever been released. A fewyears later Jerald "Bump" Scott took hisnew group to Cavern's subterrane an confinesto cut the group harmony masterpiece"Living In The Past," but remainedunissued prior to Numero's discovery ofthe Cavern tapes. As disco was cresting atthe top of the next decade, Sharon Revoaltracked her James Brown meets JamesBond stepper "Reaching For Our Star"_the last 45 released on Marva Whitney'speerless Fortelabel.

Natural Grass Colored Vinyl.A trio of Kansas City soul sweepers, fromthe sprawling midwest burg's storied Cavern, Damon, and Forte concerns. Bumpand the Soul Stompers' 1970 sweet souldouble sider "I Can Remember" was atail pipe-dragging, low rider classic in themaking, had it ever been released. A fewyears later Jerald "Bump" Scott took hisnew group to Cavern's subterranean confines to cut the group harmony masterpiece "Living In The Past," but remainedunissued prior to Numero's discovery ofthe Cavern tapes. As disco was cresting atthe top of the next decade, Sharon Revoaltracked her James Brown meets JamesBond stepper "Reaching For Our Star"_the last 45 released on Marva Whitney'speerless Forte label.

Black Vinyl. A trio of Kansas City soul sweepers, fromthe sprawling midwest burg's storied Cavern, Damon, and Forte concerns. Bumpand the Soul Stompers' 1970 sweet souldouble sider "I Can Remember" was atail pipe-dragging, low rider classic in themaking, had it ever been released. A fewyears later Jerald "Bump" Scott took hisnew group to Cavern's subterranean confines to cut the group harmony masterpiece "Living In The Past," but remainedunissued prior to Numero's discovery ofthe Cavern tapes. As disco was cresting atthe top of the next decade, Sharon Revoaltracked her James Brown meets JamesBond stepper "Reaching For Our Star"_the last 45 released on Marva Whitney'speerless Forte label.

Coke Bottle Clear vinyl.A trio of Kansas City soul sweepers, fromthe sprawling midwest burg's storied Cavern, Damon, and Forte concerns. Bumpand the Soul Stompers' 1970 sweet souldouble sider "I Can Remember" was atail pipe-dragging, low rider classic in themaking, had it ever been released. A fewyears later Jerald "Bump" Scott took hisnew group to Cavern's subterranean confines to cut the group harmony masterpiece "Living In The Past," but remainedunissued prior to Numero's discovery ofthe Cavern tapes. As disco was cresting atthe top of the next decade, Sharon Revoaltracked her James Brown meets JamesBond stepper "Reaching For Our Star"_the last 45 released on Marva Whitney'speerless Forte label.

Black Vinyl.A trio of Kansas City soul sweepers, fromthe sprawling midwest burg's storied Cavern, Damon, and Forte concerns. Bumpand the Soul Stompers' 1970 sweet souldouble sider "I Can Remember" was atail pipe-dragging, low rider classic in themaking, had it ever been released. A fewyears later Jerald "Bump" Scott took hisnew group to Cavern's subterranean confines to cut the group harmony masterpiece "Living In The Past," but remainedunissued prior to Numero's discovery ofthe Cavern tapes. As disco was cresting atthe top of the next decade, Sharon Revoaltracked her James Brown meets JamesBond stepper "Reaching For Our Star"_the last 45 released on Marva Whitney'speerless Forte label.

Sdban Records is proud to present Doo's Blues, a collection of previously unreleased radio recordings capturing Serbian jazz trumpeter, composer and band leader Dusko Goykovich (1931-2023) at the moment he definitively established himself as one of Europe's most distinctive jazz artists.

Dusko Goykovich was born and raised in Jajce, Bosnia and Herzegovina, at the time part of the Kingdom of Yugoslavia. He studied at the Belgrade Music Academy from 1948 to 1953, playing trumpet in Dixieland bands and joining the big band of Radio Belgrade at the age of 18. After leaving Yugoslavia in 1956, Goykovich spent the next ten years developing his sound. Moving to Frankfurt he first established himself on the West German jazz scene, where he played with the renowned big bands of Kurt Edelhagen and Kenny Clarke & Francy Boland. Then, after appearances at the world's largest jazz festivals such as Comblain-la-Tour in Belgium, Antibes in France and Newport, Goykovich moved stateside where he spent four years studying at the world famous Berklee College and worked with the likes of Woody Herman and Maynard Ferguson.

Returning to Europe in the mid-sixties Goykovich soon introduced the world to his innovative Balkan jazz sound with Swinging Macedonia (1966), an album characterised by the melancholic melodies and sophisticated rhythms reminiscent of his native land. Today Swinging Macedonia still stands as one of the most important and sought-after works of European folk inspired jazz and demonstrates how Goykovich was not merely an excellent instrumentalist, but also a gifted composer and versatile artist in his own right.

Not long after Swinging Macedonia's release Goykovich was invited to record two sessions for BRT (Belgian Radio & TV), which he performed with three different ensembles. For the first session, recorded in late January of 1967, Goykovich was accompanied by Belgian vibraphonist Fats Sadi's quartet. Later that same day Goykovich was also joined by the BRT Jazzorkest, Belgium national radio's in-house jazz orchestra then playing under the direction of alto saxophonist Etienne Verschueren. Less than two months later Goykovich found himself once again ensconced in BRT's Brussels studios, this time heading up an international quintet that also included Bent Jædig (tenor saxophone and flute), Scott Bradford (piano), Jimmy Woode (bass) and Al Jones (drums).

Whilst the metaphor 'jazz with an accent' has been widely used to describe the music that European jazz artists created in the 1950s and 1960s, it fails to do justice to the entirely new language that Dusko Goykovich was developing. No mere dialect Goykovich's jazz was a delicate, multi-layered language, one that owed just as much to the folk music of the Balkans as it did to the modern music of America. And to the blues. For this is Doo's Blues.

Sdban Records is an independent, groove-obsessed record label based in Ghent, Belgium. The label started off as a 60's and 70's compilation and reissue label. The very first release, the acclaimed 'Funky Chicken: Belgian Grooves from the 70's', was a milestone right away. Recent releases include reissues and retrospective compilations from artists like André Brasseur, René Costy, and Jack Sels, as well as the compilations 'The Belgian Soundtrack' and 'Hip Holland Hip', which respectively cover the musical connection of Belgium with cinema and modern jazz in the Netherlands between 1950 and 1970. Doo's Blues was compiled by Lander Lenaerts, a DJ and writer who plays an important part in documenting the rich jazz history Belgium has to offer.

Colpo Grosso third volume is a powerful and sensual edits wax that you need it!

Legofunk 12" series is back in action with this fantastic 2 tracks Ep from Da Lukas & Massimiliano Troiani.

Ethio-jazz pioneer Mulatu Astatke joins the Hoodna Orchestra, Tel Aviv"s number one Afro funk collective, melding his enchanting vibraphone playing with their brass heavy force across seven original compositions that play tribute to the classic Mulatu sound while forging fresh paths. Produced by and featuring Dap-King Neal Sugarman, the results are gritty, yet majestic, soulful and uplifting.

Ethio-jazz pioneer Mulatu Astatke joins the Hoodna Orchestra, Tel Aviv"s number one Afro funk collective, melding his enchanting vibraphone playing with their brass heavy force across seven original compositions that play tribute to the classic Mulatu sound while forging fresh paths. Produced by and featuring Dap-King Neal Sugarman, the results are gritty, yet majestic, soulful and uplifting.

Time It Was Always Time, the debut duo release from Berke Can Özcan & Jonah Parzen-Johnson on We Jazz Records, is a refreshing and full-throated expression of joy and curiosity. In a year when 76 countries hold national elections and we find ourselves in an existential battle against apathy and cynicism, this effortlessly authentic album offers an innocent reminder that the antidote to stagnation is curiosity and the fuel for change is the joy of building something transformative together.

Arthur Russell first visited The Gallery in 1976 with his then boyfriend Louis, who introduced him to Nicky Siano. Arthur became a regular at the space and one night as Siano was playing “Turn the Beat Around”, which had just been released, Arthur waved at him from outside the booth and asked to come in. Nicky opened the door and Arthur suggested they make a record like this together. This ended up being a huge step for Siano as it marked the first ever production by a DJ making a record from scratch.

Arthur had written a song and had an arrangement for it so they assembled a band featuring Wilbur Bascomb who was one of Nicky’s favorite bassists, as well as, Allan Schwartzberg, David Byrne, Miriam Valle, Peter Gordon and Peter Zummo who were all friends of Arthur’s. Russell played the cello and piano – and that was the band. They recorded throughout 1977 and the “Kiss Me Again” 12 inch was finally released in 1978 on Sire Records selling more than 300,000 copies.

Week–End Records is proud to release the first ever reissue by this outstanding disco production. Remastered from the original tapes. With liner notes by David Byrne, Nicky Siano, Peter Gordon and Peter Zummo.

Fukuoka-based soul unit YOHLU's latest single is now available as a 7-inch release on the up-and-coming label Special 10 Records! The cover was drawn by Ho Chi Minh City-based illustrator Daniel Tingcungco. The EP couples the reggae~lovers rock Side A “mokuren,” which takes a step forward into a new realm from the traditional sound based on soul, R&B, and hip-hop, and the straight pop Side B “melty,” which shines with its chorus work.

Central, “the closest salsa band to the club scene,” releases its long-awaited full-length album on analog LP!! Two of Central's biggest hit singles, DJAVAN's classic “Samurai” and Stevie Wonder's “Pastime Paradise,” have been a hit with DJs and core listeners all over the world. The long-awaited full-length album will be released in November! The album features their own original songs in various languages (Spanish, English, Japanese, etc.), as well as the album title track “Flor De Roble,” an excellent original instrumental song, and the full versions of the two hit singles that were previously released! Dance to the hot Tokyo Latin Soul of Central, celebrating the band's 25th anniversary!!

Give your record player a treat every now and then and let it play one hit after the other. And not just any hit, but the thirteen biggest, most relaxed, most swinging and most sentimental by Dean Martin. On this LP with stylish cover artwork, “That's Amore,” “Ain't That A Kick In The Head,” “Volare,” “Sway” and other catchy tunes are just the mega-classics among his work, which is not exactly lacking in classics. Freshly remastered, they sound as brilliant as if they were recorded yesterday.

- Limited Edition of 350 copies
- Thick high quality picture sleeve with hype sticker
- Previously unissued on vinyl, recorded in 1986

The Outer Edge is excited to announce the release of an intense and previously undiscovered funk rap / boogie single, featuring two tracks recorded in 1986.

While researching for his book on 80s funk music in Germany, DJ Scientist explored bands from Bavaria that collaborated with GIs. One of these bands is Grand Slam, a group that remains active to this day. The band’s leader, Toby Mayerl, lived near a US Army base in Amberg, where he fell in love with funk after hearing Roger Troutman and Zapp. He soon became part of two groups: Total Control and Grand Slam.

Originally led by guitarist Harry Zawrel, Grand Slam had a “European” funk sound similar to Talking Heads or Level 42. However, in 1985, Mayerl took over the band and merged it with Total Control, a mixed group that included African-American soldiers. From that point on, they shifted towards a heavier funk and soul sound, continuing to work with musicians from the GI community. By late 1986, they had enough material to record their debut album, Make My Day. Although published by the independent label Kerston, the album was only available on cassette, primarily sold at their concerts in early 1987.

DJ Scientist managed to track down an original copy of this ultra-rare tape in the MUZ archive in Nuremberg. "What I heard blew my mind," he said. "The cassette featured seven raw, well-produced funk and soul jams with fantastic arrangements and vocals." As an old-school funk and disco rap collector, he was immediately captivated by the track "Goin' Out," which features GI rapper Calvin E. Flagg. This song evokes the energy of early recorded rap singles from labels like Enjoy or Sugar Hill Records.

On Side B, the second track from the unheard debut album, ‘Don’t Let You Down,’ offers another glimpse of what we've been missing. This uptempo boogie-funk track features lead vocals by Aletha Mcbryde, Calvin E. Flagg, and Oliver Allwardt, along with thrilling synths and a lively brass section - perfect for turning up the volume.
Both tracks have been remastered from the original master tapes, which Toby Mayerl fortunately still had in his archive. The artwork for the release is inspired by original band posters, with the Grand Slam logo taking cues from Bootsy's Rubber Band’s Body Slam! cover from 1982. This limited vinyl pressing is capped at just 350 copies.

- Intense Funk Rap / Boogie single
- Fully Licenced, recorded in 1986
- Transferred from original master tape
- Mastered by Frederic Stader

Housed together in a stunning 380gsm board slipcase with a matt laminate soft touch finish and a UV spot varnish on the beloved Be With logo, we proudly present the Be With 10 Years record and book package.

Record contains 10 exclusive never-before-on-vinyl tracks from 10 Be With family members. 310mm square softcover book printed on a 350gsm woodfree uncoated board. Book block printed on 120gsm Dadong Lucky Bird woodfree uncoated paper. 140gram vinyl with a 380gsm jacket. 1000 copies only for the world, no repress!

THE RECORD: JOYRIDE

10 tracks for 10 Years of Be With from 10 of our favourite artists we've ever worked with over the past decade. As a happily "all over the place" label, the music, accordingly, had to be varied in vibe and style.

We start with a gorgeous acoustic folk track from Thomas Almqvist. I first heard this when our dear friend Andre Allday - who first suggested and then facilitated the Nyanser reissue - played it during our release party for the record at the amazing Hosoi in Stockholm. As something to grab your attention from the off, it's a pretty good opener, I reckon - it'll stop you in your tracks.

We move into an almost totally "lost" Lewis Taylor track, known to and beloved by only his hardest of hardcore fans. Before now, it has only ever seen the light of day on some obscure late 90s CD of "lullabies" compiled by Joan Armatrading. Us neither!

Mic Murphy from Sass/The Mighty Soulmates/The System (!!!) allowed us to use an unreleased track from his mysterious late 90s period. He sent over 7 stunning tracks and, over breakfast one winter morning with my two sons, Rocco and Bruno, the 3 of us selected the track that made us bounce the most while chomping on our cereal.

In deep fall of 2023, myself and Steven (The Funky Paramedic™) had the great pleasure of visiting Tony Henry, leader of the legendary Manchester 80s soul-funk act 52nd Street (those who "put the dance into Factory") to speak some more about a forthcoming retrospective that's been in the works for 5 years now. Fear not - it's coming! Anyway, we went into Tony's amazing studio and he played us the track you hear, here. A demo originally meant for Phyllis Hyman (I mean, come on!), he's very kindly let us use it for this record. A thousand thank yous. It's sensational.

Side A closes out with an elegant exclusive from our favourite Japanese duo, Coastlines, a tropical jazz-funk-fusion track that only they can so effortlessly craft. Sublime.

Side B opens with another total exclusive, and the title track of this compilation. "Joyride" is like some kind of swinging, G-Funk library from the Californian master of modern cinematic soul - Maston. We love everything about this dude. Speaking of California, next up is possibly the coolest ex-pat Manc in all of the Golden State.

Kenny Dickenson's instant classic "Stupid Rain" knocked me out the first time I heard it. The way it starts as a beautifully ornate ambient piece before introducing the barest of pulses to then segue into a full slo-mo cosmic chugger just gets me every time. Man's a genius.

Our great friends from Wilco, Pat and John, comprise The Autumn Defense. Two of the nicest humans in the game and "Bluebirds Fall" is chiming folk-rock at its finest. What they do best and, beyond a tiny-run CD EP decades ago, this is the only way to own this majestic stunner.

Stimulator Jones is a Stones Throw artist who we've loved ever since the epochal "Soon Never Comes" graced our ears. We're putting out his archive beats and when I asked if he had anything fresh that hadn't yet found a home, he sent over a modern / spiritual jazz movement that just blew me away. It's here.

We round out the compilation with a staccato funk-rock track from a Prince alumnus, the one and only Andre Cymone. If this track isn't blasting from radio stations from Dublab to Gilles to NTS then there's no justice in the world.

Of course, as is our way, none of these tracks have ever appeared on vinyl before. This is the only way to own them on wax. Pretty cool. As ever, all we ever want to hear is music with soul and personality. And that's what's contained here. We think we've nailed it. We think you'll like it too.

THE BOOK: LABOUR OF LOVE

Created in conjunction with the editor and design team behind Disco Pogo, Labour Of Love is our first ever book and serves as a brilliantly rich and varied document of Be With's first 10 years. It surveys our entire catalogue with the artwork for every single release faithfully reproduced in full colour accompanied by Rob's inimitable reviews.

The book contains fresh, exclusive interviews with Ned Doheny, Leon Ware, Lewis Taylor, Tommy Guerrero, Wally Badarou, Steve Moore, Pete Fowler, Kimiko Kasai, Tony Henry (52nd Street), The Autumn Defense, Coastlines and The Mighty Soulmates.

There's also fantastic contributions from a whole host of well regarded fans of the label. We have Gilles Peterson on Ned, Trevor Jackson on Nucleus, Efficient Space on Steve Hiett and the joy of collaboration in a competitive industry, Bill Brewster on Marti Caine, Balearic Mike on Kylie and Lou Hayter on her beloved Air.

We explore the development of the Be With logo and also take an insider's look at the journey of a typical Be With record; from the mastering stage with Simon Francis, cutting it up with Cicely Balston, the artwork ordeals with Chris Stevenson, pressing matters with Record Industry, slinging product with ace distributors Word And Sound, stocking product with our favourite London record shop When Spaceships Appear and even packing records for direct orders with our very own Funky Paramedic.

There's also an irreverent look at the legendary Reissue Request Line over on Facebook, with many hints at things to come.

Beautifully designed and printed, the book is a large format (310mm square) softcover gem, printed on a 350gsm woodfree uncoated board. It's been block printed on 120gsm Dadong Lucky Bird woodfree uncoated paper. It's housed in a stunning 380gsm board slipcase with a matt laminate soft touch finish and a UV spot varnish on the beloved Be With full colour logo.

Zacc Harris's Chasing Shadows, out November 15, 2024, captures the essence of a fleeting yet decisive moment, with intricate, cinematic compositions inspired by the natural world. Following the success of Small Wonders-a DownBeat 4-star album and Best of the Year pick-Chasing Shadows showcases Harris's symbiotic quintet, blending melodic depth and harmonic complexity. It is a testament to the guitarist's continued evolution as an emerging voice in contemporary jazz.

Merope's most experimental and open-minded full length to date, Vėjula is a celebration of collaboration and playfulness, and features appearances from Shahzad Ismaily, Laraaji and Bill Frisell. Like its predecessors, the duo's fifth album still roots itself in Lithuanian folk forms, but sprouts out spiritedly from that point into unfamiliar landscapes, muddling ancient themes with contemporary philosophies, concepts and technology. Delicate instrumental sequences and ethereal vocals are woven into a rich tapestry of subtle synth work and evocative field recordings. On 'Kouma lil', Indrė Jurgelevičiūtė and Bert Cools experiment with digital images of the kanklės (a traditional Lithuanian chordophone), and Jurgelevičiūtė's voice, blurring the boundary between the organic and the artificial, while on 'Suiakmo, French percussionist Toma Gouband adds percussion from his custom-made sounding stones to Jurgelevičiūtė's gentle words and Cools' surreal, sensuous electronics. 'Vėjula' is an album that reaches into the unknown without loosing its tight grip on the past. Merope are in a new creative phase of their career, and they've never sounded quite so universal, or so vital.

Acid Jazz Records' leading group 'Brand New Heavies'. Two finest tracks are included in the ep from their masterpiece album "Heavy Rhyme Experience Vol. 1", a integration between the band's sound and a host of other stellar artists such as Main Source, Gang Starr, The Far Side and Black Sheep.

You could say The 1968 Tapes is Jazz Sabbath's third album on which the trio, helmed by longtime Black Sabbath/Ozzy Osbourne keys and guitar player Adam Wakeman, present 7 new exploratory jazz arrangements based on Black Sabbath tracks from the period 1970-1973. You can also choose to believe the album's liner notes: Although never released until recently, Jazz Sabbath's music has been finding its way to millions for over 50 years. Through a vicious cycle of personal tragedy and plagiarism the songs intended to change the jazz world ended up giving birth to a much darker sound. Now a third recording from the Sixties has resurfaced, perhaps their most important one. Their very first recording was rejected by the label; the label manager said it was too experimental and had no hit potential. However, these tracks were also blatantly presented as 'original songs' by that band from Birmingham a few years later. Whether they copied them from live bootlegs or if they got their hands on the mix, it doesn’t really matter. Their lasting popularity, even in the crude way they were covered, only proves just how monumental these songs were and how record labels are often wrong. With the truth now finally out there and that Birmingham band exposed as the musical charlatans they are, Jazz Sabbath have finally mastered the 1968 tapes to present their best work to the public.

You could say The 1968 Tapes is Jazz Sabbath's third album on which the trio, helmed by longtime Black Sabbath/Ozzy Osbourne keys and guitar player Adam Wakeman, present 7 new exploratory jazz arrangements based on Black Sabbath tracks from the period 1970-1973. You can also choose to believe the album's liner notes: Although never released until recently, Jazz Sabbath's music has been finding its way to millions for over 50 years. Through a vicious cycle of personal tragedy and plagiarism the songs intended to change the jazz world ended up giving birth to a much darker sound. Now a third recording from the Sixties has resurfaced, perhaps their most important one. Their very first recording was rejected by the label; the label manager said it was too experimental and had no hit potential. However, these tracks were also blatantly presented as 'original songs' by that band from Birmingham a few years later. Whether they copied them from live bootlegs or if they got their hands on the mix, it doesn’t really matter. Their lasting popularity, even in the crude way they were covered, only proves just how monumental these songs were and how record labels are often wrong. With the truth now finally out there and that Birmingham band exposed as the musical charlatans they are, Jazz Sabbath have finally mastered the 1968 tapes to present their best work to the public.

You could say The 1968 Tapes is Jazz Sabbath's third album on which the trio, helmed by longtime Black Sabbath/Ozzy Osbourne keys and guitar player Adam Wakeman, present 7 new exploratory jazz arrangements based on Black Sabbath tracks from the period 1970-1973. You can also choose to believe the album's liner notes: Although never released until recently, Jazz Sabbath's music has been finding its way to millions for over 50 years. Through a vicious cycle of personal tragedy and plagiarism the songs intended to change the jazz world ended up giving birth to a much darker sound. Now a third recording from the Sixties has resurfaced, perhaps their most important one. Their very first recording was rejected by the label; the label manager said it was too experimental and had no hit potential. However, these tracks were also blatantly presented as 'original songs' by that band from Birmingham a few years later. Whether they copied them from live bootlegs or if they got their hands on the mix, it doesn’t really matter. Their lasting popularity, even in the crude way they were covered, only proves just how monumental these songs were and how record labels are often wrong. With the truth now finally out there and that Birmingham band exposed as the musical charlatans they are, Jazz Sabbath have finally mastered the 1968 tapes to present their best work to the public.

Two iconic 80s Disco/Boogie anthems of the era are set for a re-release on 12-inch vinyl via RCA, with a fresh mix from Brooklyn-based producer, Mike Maurro.

Keni Burke - Risin' to the Top (A Mike Maurro Mix)

'’Risin’ to the Top’, originally released in 1982 on Burke’s third solo album, ‘Changes’, has become Burke’s most successful hit as a solo artist since departing from his former band, Five Stairsteppers. Countless producers have utilised the song as a choice sample for their own tracks with artists such as Mary J. Blige, LL Cool J, Madlib and more.

Maurro’s mix works the stems and gives the record some fresh guitar licks alongside new percussive elements, whilst maintaining a heavy lean into the sensual, laid-back swing of the original.'

Evelyn ‘Champagne’ King - I'm In Love (A Mike Maurro Mix)

'The flip side sees the release of Evelyn 'Champagne' King’s hit single ‘I’m In Love’, originally released in 1981 and taken from King’s fourth studio album of the same name. A feel-good, sing-a-long anthem, once again given a fresh feel thanks to Maurro’s new take on the record.

Both tracks serve as trump cards to whip up any dancefloor at the right time'

So happy to be able to bring you An amazing rare groove collection from the one and only Sweet Charles. 3 tracks for the album including "I Like it like that" first time on vinyl, plus "Soul Man" only came out on 7" Styrene back in the 70s, leaving one more.... "Yes its you" the sunshine club classic and rare groove mover !!

x600 copies Don't Miss OUT on this one !!!!

German beat music at its best! For the first time on 45!
A-side is Funk
B-side is Garage-Psych-Rock
Limited to 300 copies.