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180 gram audiophile vinyl
Soul, boogie, funk album produced by Michael Stokes
Includes the big club hit "Give Me Your Love"
Reissue for the first time since 1983, celebrating its 40th anniversary

Some records just stop you in your tracks. They resonate with you and feel instantly familiar like an old friend, even on the first listen. Soyuz's third album ‘Force of the Wind’ is one of those records. It holds all the trademarks, beauty, and eccentricities of classic Brazilian recordings, from the 60s and 70s, that we have come to love. Think artists such as Milton Nascimento, Lô Borges, Burnier e Cartier, Arthur Verocai et al. But this record wasn’t made in Brazil and is in fact a brand-new release. Soyuz (which translates as 'union') is a creative collective from Minsk, Belarus, led by composer, arranger, and singer, Alex Chumak, multi-instrumentalist, Mikita Arlou, and drummer, Anton Nemahai. Soyuz's previous albums explored and reimagined the legacy of jazz-oriented, non-English-language pop music of the 20th century. For their third album, there is a stronger focus, and it is influenced by 70s Música popular Brasileira and building bridges from it to present-day Belarus. Alex notes that from the moment he first encountered Brazilian music, he found in it a kind of concentrated emotion that felt as if it were familiar to him from his childhood. This non-verbal emotion and connection between the listener and musician echoes in the music, regardless of understanding of the language the album is recorded in. ‘Force of the Wind’ includes songs sung in Russian and Portuguese as well as instrumental compositions. Its musical palette is both acoustic and electroacoustic: rich warm Rhodes piano, soaring string arrangements, and a controlled drum swagger sounding both relaxed yet super tight. Alongside Alex's sublime vocals, that grace the majority of the tracks, the album features guest performances by multi-talented musician and vocalist Kate NV and rising Brazilian star, Sessa. Alex also recently arranged a number of tracks on Sessa's highly praised 2022 album 'Estrela Acesa'. On the album, the trio is joined by a cast of friends; NY-based musician of Turkish origin percussionist, Cem Mısırlıoğlu, classically trained composer, Simon Hanes, who aided with string arrangements and conducting the string players, Netherlands-based Brazilian multi-instrumentalist, Gabriel Milliet, on flutes. With the collaboration of these friends Soyuz have created nine songs/suites that are subtle and plenitude and like the best albums, leave you aching for more. ‘Force of the Wind’ is an enigma, Brazilian yet not Brazilian, vintage yet still contemporary, out of sync with modern culture yet completely relevant and necessary.

Sonor Music Editions is excited to announce this revived issue of Open Air Parade, one of the most sought-after artifacts from the golden era of Italian library music.

This holy grail was originally released in 1972 on the legendary Sermi Records label (often referred to as SR Records). It features ten tracks composed by Ennio Morricone’s whistler, Alessandro Alessandroni revealing his great talent and unrivaled sense of melody, and two by the brilliant Italian jazz bassist Giovanni Tommaso, also founder and member of the legendary prog-jazz-rock ensemble Perigeo.

Open Air Parade is a masterpiece and rightfully sits among the top five in its genre. It has a beautiful cohesiveness throughout and can only be described as sincere. The music ranges from superb psychedelic lounge funk, compelling groovy jazz beat tunes, and far-ranging mood music with lush arrangements.

It’s an essential album, officially reissued by Sonor Music Editions. This 2024 repress has been carefully remastered, and packed in a thick cardboard sleeve with fully restored artwork using the original painting by Ernst Wilhelm Nay in full fidelity.

180 gram audiophile vinyl
Includes insert
Debut album from 2001, produced by Bilal, Dr. Dre, Questlove, Raphael Saadiq, Jay Dee aka Dilla a.o.
Includes the singles "Soul Sista", "Fast Lane" featuring Dr. Dre & Jadakiss, "Reminisce" featuring Mos Def and Common a.o.
For the first time commercially available on vinyl

The first single dropping from Jimi Tenor's new Timmion album "Is There Love In Outer Space?" kicks off like a desert breeze from Nigerien keyboardist Mamman Sani's 1980s cosmic songbook. Perhaps this is the same kind of panorama that Tenor and Cold Diamond & Mink want us to imagine while traversing the two sides of this vinyl single.At the latest, the psychedelic desert blues guitar solo transports us on a cold Sahara sand dune, watching a magical sunrise on Mother Earth, something only a few humans get to witness. This is the type of jam you can close your eyes to and let those colorscapes of your mind fill the space. The minimal vocal parts come through like a welcoming chant for the Sun slowly creeping up in the horizon, ready to extend its burning arms around all things - living and dead equally.With their new collaborative project, Jimi Tenor and Cold Diamond & Mink breathe a new type of life into each others' tried & tested styles - delivering a natural fusion of cosmic and raw soul music. So hop along in this spaceship, and let it ride!

Some albums are game-changers in a genre. Take OutKast's Speakerboxxx / The Love Below or Primal Scream's Screamadelica, they observe, study, and then flip what an album can mean to a genre or moment in time.

From the very first listen of Rubel’s Latin Grammy-nominated third album As Palavras, Vol. 1 & 2, you can feel its transformative force for the MPB genre. Here we see one of Rio’s brightest stars, fusing the contemporary with the classic, soaking up the richness of Brazil’s musical heritage. The result is a marauding 20-track epic, incorporating traditional styles such as forró, MPB, pagode and samba with modern baile funk, rasteirinha and hip-hop.

The album exudes a sense of freedom and creativity, playfully and provocatively juggling the familiar with the forward-thinking. The tracks are divided across two records, navigating feelings of love, heartbreak and discovery, whilst balancing themes of violence, passion, irony and affection. Collaborating with some of the country’s most esteemed artists such as Gabriel do Borel, Liniker, Luedji Luna, Tim Bernardes and Ana Caetano, Rubel takes this fusion of styles, subjects and flavours to the global stage.

The grand, forró-blending, choral opener, ‘Forró Violento (Instrumental)’ sets the tone for the album, with references and links between tradition and modernity everywhere to be seen. From the Ana Frango Elétrico produced, funk flexing, samba-soul brilliance of ‘Não Vou Reclamar de Deus’, to the album’s title cut ‘As Palavras’, in collaboration with Tim Bernardes, that melds MPB influences with electronic elements and hip-hop touches.

Across both sides of the album, Rubel’s story-telling gift is given space to shine. ‘Torto Arado’ featuring Liniker and Luedji Luna, beautifully references the racial injustice, tragedy, hope and ambition found in one the most celebrated Brazilian novels of recent times by Itamar Vieira Júnior. Elsewhere, ‘Na Mão do Palhaço’ manifests a satirical march about a suicidal conservative middle-aged man, who is rescued by the miracle of the carnival.

At times the album is gentle and intimate with tracks like ‘Toda Beleza’ featuring Bala Desejo, or the ode to friendship ‘Lua de Garrafa’, composed with the legendary Milton Nascimento. At others, the grooves hit harder, with sounds from the favelas laced within. ‘Put@ria!’, explores the universe of baile funk, with BK’ and MC Carol trading off on the mic, as ‘Rubelía’ moves between reggaeton, funk, and hip hop. The latter is a tribute to a key influence of the album, Spanish star Rosalía and her parallel mix of current with classic.

Ultimately though the beauty of this album lies in its concept. In the midst of a country divided, ‘As Palavras Vol. 1 & 2’ sets out to bring together genres and generations, grounded in rhythms and words that have helped define Brazil through the ages.

“Ikigai, Vol. 1” is the newest EP from Nigerian artist/legend, & Ybnl leader Olamide. The 7-track EP follows the 2023 LP, “Unruly” - his 10th studio album, and represents a compelling chapter in his musical journey. Named after the Japanese concept meaning "a reason to live,” each track promises a unique glimpse into Olamide's evolution, with infectious rhythms celebrating his heritage to lively lyrics. After cementing himself as a titan in the African/Afrobeats genre, Olamide is just focusing on living and enjoying life. Includes the songs “Metaverse,” “Hello Habibi,” & “Uptown Disco (feat. Fireboy DML & Asake).” 1xLP, pressed on Silver In Black Ice Color In Color Viny, and cut at 45 RPMl. First pressing limited to 500.

Happy Milf Records are proud to present Tony Cook’s The Lost Tapes Vol. 1, a 4 track EP, consisting of all original Modern Funk/Proto-House previously unreleased songs. The legendary Tony Cook, one of the most influential artists of Funk music, and James Brown’s drummer, has produced many great records since the early 80’s, from Boogie, Electro Funk, and House Music. This EP showcases the versatility of Tony Cook’s creative repertoire and is a testament to his very unique style of production.

We are always sitting on a handful of unreleased songs that didn't make their way to albums. Listening back to these gems we decided to launch a new series entitled Big Crown Vaults and the first volume features the music of Lee Fields & the Expressions. These tunes were cut during the Special Night & It Rains Love sessions. Listening to these tracks you can imagine how difficult some of these decisions were in the first place to leave them off the albums. An absolute standout is "Regenerate," a song that finds Lee in the country soul realm, a style that Mr Fields, a North Carolina native, flourishes in. A drum break starts the song and then drops into a chorus where El Michels, Paul & Big Bill Schalda belt out the earworm chorus. Lee sings an encouraging tune about finding your way out of a low point in a relationship while The Expressions lay down an airtight groove. "Thinking About You" takes it back to the dance floors with what will surely be a hit at Soul parties around the globe. An uptempo drum break opens the song and Lee launches into a tale about the unbreakable bond with his significant other and how they keep each strong through moments of hardship and pain. People who have seen Lee perform live in the last decade might have been lucky enough to hear his rendition of Little Carl Carlton's "Two Timer". For those of you who haven't heard it, Big Crown Vaults has got you covered. A faithful version of the song showcases Lee's gorgeous voice and the Expres- sion's unwavering groove. Another treat on here is the fuzzed out funk banger "Do You Know" where Fields uses his platform to address some of our societal woes in a "Make The World" style. A deeper from the vaults number is "Out To Get You", an instrumental that Lee never laid down vocals to. Even as just a rhythm track it stands as a testament to The Expressions musical prowess, the band that created 5 studio albums with Lee Fields which will go down in history as stone classics.

KIM Tibbs proudly presents the highly anticipated album THE SCiENCE OF COMPLETiON Volume 1.

Recorded at the legendary Royal Studios in Memphis, TN, USA and co-produced by Lawrence Boo Mitchell, son of the late great Willie Mitchell.

Twenty five musicians played their part on this project and have created the most authentic 70s soul you will ever hear in 21st century music, attention to detail even went as far as retrieving Al Green’s microphone from the original Hi sessions to enhance that vintage sound!

The lead 7” single Where Would I BE Without YOU? released in the Spring of 2022 sold out on pre-order and created a buzz of what is to follow. As well as receiving extensive radio plays, Where Would I BE Without YOU? appeared on many DJ playlists at soul events around the U.K. and beyond.

The eleven original songs penned by Kim herself are a soundtrack to her life, covering a range of themes such as love, hope and faith. A word of warning though, there’s a goodly number of long compositions on this album - their depth, beauty and intricacies simply cannot be edited - hence a double vinyl LP!

Selected track descriptions include -

Loving YOU Makes Life SO Easy! A classic in the making, conjuring the feel of those femme ballads from the mid 70s. When hearing this for the first time you’ll instantly get this as Kim’s monologue intro sets the scene!

Summertime - A dreamy ballad that evokes memories of summer’s gone by. The horn and string arrangement on this opus perfectly add to the theme as Kim gently unfolds her story; the scatting in the second half interspersed with the backing vocals are truly sensational!

Walk TO THE Light - A song about achieving personal empowerment. The string, bass and wah wah guitar intro let’s you know you are in for a musical treat. Kim’s voice builds and builds until she breaks out into a powerful crescendo along with her own Hammond organ playing - this is pure church!

In summary, this is an all killer no filler affair, from the opening drum beat on track one to the final whistle on …i’m Holding ON…!

The Brkn Record is a new project led and produced by Jake Ferguson, the co-founder and bass player for the UK’s foundational deep jazz outfit the Heliocentrics. With fellow Heliocentrics co-founder and legendary drummer Malcolm Catto, Ferguson has been a regular collaborator with globally recognised artists including Archie Shepp, Mulatu Astatke, Melvin Van Peebles, Orlando Julius and many others. The Architecture of Oppression Part 1 represents Ferguson’s debut as a bandleader and orchestrator, and manifests as a committed and soulful response to ongoing and systemic anti-black racism, social oppression and state violence both at home in London and across the globe. Combining poetry, testimony and song with rich and cinematic backdrops, Ferguson has produced a sui generis sound that conjures flavours of Arthur Verocai, Ennio Morricone, classic library productions, Madlib-style deep-jazz beat science, and psychedelic soul. With bandmate Malcolm Catto on drums, Ferguson draws on their long years of collaborative experience in the Heliocentrics to build an album of striking texture and depth. But the album does not only reflect Ferguson’s full-spectrum musical prowess, experience and vision. It is equally a manifestation of his longstanding and high-profile work as a frontline activist for racial justice and social equity in London and beyond. Alongside Malcom Catto, contributors to the album are drawn from the intersecting worlds of community activism, cultural education, politics and music, and include singer and political activist Jermain Jackman, Zara MacFarlane; Chicagoan activist, poet and singer Ugochi Nwaogwugwu; Lee Jasper, longstanding worker for racial justice and former advisor on equalities to the Mayor of London; acclaimed performance poet Dylema; Hackney community leader Janette Collins MBE and Leroy Logan MBE, founder and former chair of the Black Police Association, and the subject of Steve McQueen’s Small Axe episode ‘Red, White and Blue’. The Architecture of Oppression Part 1 is a singular and urgent chronicle of the black British experience, an upful expression of Pan-African creative unity and community solidarity, and a militant and unbending missive from the frontline in the great tradition of The Impressions’ This Is My Country, Irreversible Entanglements Who Sent You?, Max Roach’s We Insist - Freedom Now Suite, or Linton Kwesi Johnson’s Bass Culture. A broken record repeats itself, and never plays through – the music is interrupted or trapped in a cycle by damage to the grooves. But The Brkn Record is a work of healing and protection, and a chance to let the full story be heard – all the way to the end, no skips.

Here we are at the dawn of a new compilation series and we’re kicking things off with an absolute gem that features a selection of hard-to-find records (some impossible to find) and some that have been hiding in plain sight all along. They all share common qualities, being that they are beautiful, soul quenched songs that sing of love, peace and unity.

‘With Love: Volume 1’ has been compiled by Miche and presents a curated selection of rare Brazilian, gospel, modern soul and jazz-fusion fire. We have Brazilian rarities by Alcione and Quientaessencia, UFO gospel by Keith Chism & Light, the jazz-funk/AOR sounds of City Lites taken from a Radio Station album, and the anthemic feel-good emotional soul of Belita Woods to name but a few.

Tracking down artists and musicians from the past is an art form. Like a seagull swooping for treats, sometimes the prizes are easily found, and at other times, it’s the result of very late nights trolling through Facebook profiles, message boards, hitting dead ends and following red herrings, and yet still the search goes on. This compilation is a true labour of love with all the artists tracked down and licensed by Miche. It has long been an ambition of the London based musical connoisseur to compile an album, and like anything that requires craft, care, and knowledge - it takes time. There are many twists and turns in the hunt for those records that make your jaw drop.

In 2018, when just 24, Miche became a music programmer for London’s illustrious Spiritland group of venues. From this musical sanctuary, he was able to listen, learn and meet some of the best selectors from around the world. It was a musical education, and he was particularly drawn to the deep sessions by DJs such as Mark Taylor, George Arthur, Kev Beadle, Patrick Forge, Dr. Bob Jones, and Colin Curtis to name a few. He also used this time to begin running his re-issue label Discs of Fun and Love with co-owner and friend Frederika.

Sometimes the cynical knock compilations, there is certain snobbery amongst some about the original pressing, but music shouldn't just be about lucky collectors giving over large sums of money to record dealers. It's also about a bridge to the past, a celebration of the legacy of somebody’s art, and a second chance for initially overlooked work to shine. As with all the best compilations, it has been compiled with love…

” First up is “After the rain”, a stunning & superb mellow groove led by the master flautist Sam Most. On this track Frank and Sam share the vibe in every way, the super sexy Flute & Rhodes grooves, solos give this track the 10/10. This track is so infectious in its wonderfulness, it puts it in my top ten jazz chillers All-time. Essential. Blue Moon” a superb Jazz bass sample intro, Sam Most on the Saxophone with Bobby Shew backing up on the Flugelhorn, this is a Jazz delight!! Moving from Latin grooves to 4/4 vibes which such ease. Frank’s Rhodes solo creeps up on you at the end, love it. Sunday Jazz gem.“Cloudburst” PT1, is an organic track that opens with a wonderful Rhodes chord sequence that just gets me, every time ooooh! Introduce bass by Harvey Newmark to the laid-back groove intro, then Boooom!! Let’s shift it up a gear, Rhodes clav vibe and super funky drums set the pace, with funky horns to complement that groove, Smokin’ jazz funk!! Once the Flute comes in this track has taken me to the clouds and back. Part two kicks back right into the groove, a perfect club cut, with Frank on the Rhodes, Harvey on the Bass groove, this is one heavy groove.

Limited to 2800 copies.

Brian Bennett is one of instrumental music's true cult figures. Drummer for Cliff Richard & The Shadows, Bennett also is the composer of some of the most collectible production music albums ever made, and for over 40 years has been a sought-after composer for TV and film. But of all his projects, his 1978 release "Voyage (A Journey into Discoid Funk)" is probably his most beloved, a truly pioneering "space disco" recording inspired by Brian Eno but wielding a groove all its own. Despite its absolutely eye-popping Discogs stats, our release marks its first vinyl reissue outside of Australia, and its first-ever release on colored vinyl (blue with black swirl), complete with original gatefold jacket art.

Side ONE 1. Voyage 2. Solstice 3. Chain Reaction Side TWO 1. Pendulum Force 2. Air Quake 3. Ocean Glide

Celebrating the 20th Anniversary of Grammy-award, multi-platinum artist Jill Scott's debut album, Who Is Jill Scott? Who Is Jill Scott? Words and Sounds Vol. 1 is the debut album by the R&B-soul singer-songwriter, originally released in 2000 The album was nominated for Best R&B Album at the 2001 Grammy Awards, whereas "Gettin' in the Way", "A Long Walk", and "He Loves Me (Lyzel in E Flat)" were nominated for Best Female R&B Vocal Performance in 2001, 2002, and 2003, respectively. The album has been listed as one of the best albums of the 2000s by Slant Magazine.

Dynamite Cuts is proud to reissue these amazing super funky grooves from this iconic funk & soul legend Carl Sherlock Holmes. This release is a 7” gatefold version, with a Q&A with Mr. Holmes on the inner sleever, about this iconic band.

Includes Breaks, rare groove clubs’ classics and a wonderful little soul gem.

2x45 pack - perfect for DJs & collectors

Limited edition for Schwarzer Freitag Record Store Day 2018! Only 1 per customer!

Another friday dedicated to the black gold!

Limited edition for Schwarzer Freitag Record Store Day 2018! Only 1 per customer!

Another friday dedicated to the black gold!

Limited edition for Schwarzer Freitag Record Store Day 2018! Only 1 per customer!

Another friday dedicated to the black gold!

Limited edition for Schwarzer Freitag Record Store Day 2018! Only 1 per customer!

Another friday dedicated to the black gold!

One of the most gifted, visionary, and enduring talents ever launched into orbit by the Motown hit machine, Marvin Gaye blazed the trail for the continued evolution of popular black music. Moving from lean, powerful R&B to stylish, sophisticated soul, to finally arrive at an intensely political and personal form of artistic self-expression. His work not only redefined soul music as a creative force, but also expanded its impact as an agent for social change. We present hits and highlights from two classic live performances where Gaye delivers a forceful retrospective that takes the audience back and forth across an impeccable career.Get Yer Vinyl Out presents a stellar selection of hits performed live, culled from two vintage broadcasts, professionally remastered and lovingly restored. Presented with background notes and timeline photos. Side 11 What’s Going On? 4.11 * 2 I Heard It Through The Grapevine 1.45 ** 3 I’ll Be Doggone (medley) 1.11 * 4 Let’s Get It On 2.46 * 5 Come Get To This 3.48 * 6 Trouble Man 5.41 * 7 Too Busy Thinking About My Baby 2.22 ** 8 How Sweet It Is (To Be Loved By You) 1.38 * 9 Ain’t That Peculiar / You’re A Wonderful One 2.15 **Side 21 Can I Get A Witness 1.12 * 2 Got To Give It Up 9.33 ** 3 Inner City Blues (Makes Me Wanna Holler) 6.51 ** 4 Stubborn Kind Of Fellow 1.37 * 5 Distant Lover 5.18 ** 6 Hitch Hike 1.04 **

Sons of Kemet returns in 2021 with their new album Black To The Future. The follow up to 2018’s Mercury Prize nominated breakout release Your Queen Is A Reptile. This is their 4th record, and 2nd on impulse! Compared with ”Your Queen is a Reptile”, this album has featured vocalists and more of an emphasis on fuller compositions and arrangements. Guest artists include Kojey Radical, Moor Mother, Angel Bat Dawid, Joshua Idehen, D Double E.

Optimal pressing.
The fourth album by Sault scored 97/100 at Metacritic and is the most beloved album at HHVs Supreme 100 of 2020 list, chosen by 150 journalists, musicians, label makers and record collectors.

Sault - Untitled (Rise), released in September 2020, is the follow-up to Untitled (Black Is) and serves as a companion piece to that earlier album. While Untitled (Black Is) focuses on themes of Black identity, struggle, and resilience in the face of systemic racism, Untitled (Rise) takes a more hopeful and celebratory approach. It explores empowerment, joy, and community, offering a sense of uplift and liberation alongside the weightier topics of social justice.

Untitled (Rise) retains the genre-blurring approach that defines Sault’s music, blending soul, funk, Afrobeat, gospel, R&B, and dance rhythms. However, the tone of Rise is generally more upbeat and celebratory compared to the heavier, introspective nature of Black Is. The album captures the feeling of dancing through adversity and finding joy despite the struggle. Its rhythms are infectious, and many tracks are designed to feel anthemic, with powerful group vocals and chants reinforcing themes of collective strength.

Lyrically, Untitled (Rise) touches on similar themes to Black Is, such as Black empowerment, pride, and resistance, but it emphasizes victory and triumph. The album feels like a call to action, but also a celebration of perseverance, healing, and unity.

Key Tracks:
"Strong" – A powerful and uplifting anthem about resilience and overcoming adversity. It features a driving rhythm and empowering lyrics, with group vocals that evoke a sense of unity and strength.
"Fearless" – A rhythmic, upbeat track with Afrobeat-inspired grooves, it’s a call to reject fear and embrace courage, a recurring theme in the album.
"I Just Want to Dance" – One of the standout tracks, this song blends disco-funk elements with a carefree energy, symbolizing the need for joy and release even amidst struggles.
"Free" – A slower, more reflective song that underscores the desire for freedom—both personal and societal. It’s soulful and deeply emotional, with heartfelt vocals.
"Rise" – The title track serves as a rallying cry, encouraging listeners to rise above oppression and celebrate their identity and power. The song's infectious rhythm and group chants amplify the message of empowerment.
Tone and Emotional Arc: Where Black Is may have felt heavy with its focus on the injustices faced by Black people, Rise balances that with a more optimistic and celebratory tone. It conveys a message that while the fight for justice continues, there is always room for joy, self-love, and communal solidarity. The album often feels like a soundtrack to liberation, pairing its socio-political themes with music that’s meant to inspire movement, whether literally on the dance floor or metaphorically in terms of social action.

The flow of the album is dynamic, shifting between more meditative moments and high-energy, danceable tracks. The rhythmic pulse is a constant thread, grounding the album in African and diasporic traditions, while the vocal arrangements often feel like modern spirituals or chants for a collective uprising.

The production, likely spearheaded by Inflo, is tight and minimalist, yet rich in texture. Sault’s signature use of layered vocals, often with group harmonies and chants, continues to play a central role in Rise, contributing to the communal, uplifting feel of the album. As always, Sault’s members remain largely anonymous, though Cleo Sol and Kid Sister are thought to have contributed vocally to the project.

Untitled (Rise) was met with widespread critical acclaim, much like its predecessor. Reviewers praised the album for its optimism and energy, viewing it as a necessary counterpart to Black Is. While Black Is was seen as an urgent protest album, Rise was lauded for its focus on joy, hope, and empowerment, making it feel like a musical celebration of survival and thriving.

The duality of these two albums—Black Is and Rise—allows Sault to capture a full spectrum of the Black experience, from pain and protest to resilience and celebration. Together, they form a powerful artistic statement on the complexities of identity and struggle.

The fourth album by Sault scored 97/100 at Metacritic and is the most beloved album at HHVs Supreme 100 of 2020 list, chosen by 150 journalists, musicians, label makers and record collectors. Currently repressed and soon back in stock.

Portland finest practitioners of Great Black Music offering to the planet! All Is Sound could not be a more apt title for this. Through saxophone, cello, piano and flutes The Cosmic Tones Research Trio created a truly beautiful record. All Is Sound breaks new ground. At its heart it's healing / meditation music, but the Gospel and Blues roots are in there too...as well as hints of forward-looking Spiritual jazz. As sincere a record as you could ever hope for. Music is indeed the healing force of the universe.

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.

The story of a passion distilled between saxophonist/composer Jean Vernheres and the label of instrumentalists with Hip Hop accents "Black Stamp Music", "Héritage Mélodies" is the 1st Ethno-Jazz opus from the label and its saxophonist, a signature of openness and "So Cool" blends at the crossroads of Groove and timeless Jazz.Rodney Lager

On "Winds Of War And Peace", conductor Lowell Graham takes the National Symphonic Winds ensemble through a program of stirring orchestrations and marches. "Liberty Fanfare" was composed for the centennial celebration of the Statue of Liberty in 1986. The fanfare set the stage for one of the most spectacular celebrations in America's history. Samuel Barber's "Commando March" composed in 1943, represents Barber's first band work. Written in a quadruple meter, this work utilizes the constant contrast of dotted and triplet rhythms. Roger Nixon's "Festival Fanfare March" was recognized for superb composition by the American Bandmasters Association in 1973. It is a work that's technical, bright in color and effervescent in spirit. The album also includes "Victory at Sea", "El Camino Real", "A Santa Cecilla" and "Symphonic Dance No. 3". Although the 33 1/3 reissue of this recording by Analogue Productions was outstanding, our 45 RPM version raises the quality bar even higher. With wider grooves, you'll hear sound that reveals more depth and space to the orchestra as a whole, as well as individual instruments. This disc sports more detail, more human presence, more of what we as audiophiles, listen for. Graham, a native of Greeley, Colorado, has earned recognition as one of America's most talented young conductors. He graduated from the University of Northern Colorado with both his Bachelor of Arts and Master of Arts degrees. He was also the first person to be awarded the Doctor of Musical Arts Degree in Orchestral Conducting from the Catholic University of America. Graham has led orchestras and bands on record and in performance throughout the world. He is the current conductor and commander of the United States Air Force Tactical Air Command Band.

TRANSPARENT GREEN, CLEAR & BLACK MIXED VINYL.

No matter how provocative, edgy and anti-hero the guy was, every French person of every age loved and still loves Serge. He isn' t like anyone else. For many French people, Gainsbourg belongs in their national heritage alongside wine, the Tour de France, gastronomy and the Eiffel Tower! His influence on pop music is enormous. Numerous national and international artists of today are indebted to him, including Beck, Air, Nouvelle Vague, Sonic Youth, Vive La Fête and Goldfrapp. He was both a top composer and a top lyricist with a real gift for wordplay. This collection from the late fifties/early sixties recalls the era when the world became acquainted with Gainsbourg' s brilliant songs like "La Poinconneur Des Lilas", "L' Eau A La Bouche" and "Black Trombone".

Sswan presents their first outing Invisibility is an Unnatural Disaster a raucous jaunt of free jazz on the premiere fire music label 577 Records. The music is rooted in the Black American art form of jazz, stemming into the branches of free improvisation, noise and experimentalism while pushing to the edges of each idiom. The idiosyncratic playing of guitarist Jessica Ackerley starts off the album’s title track and jumps headfirst into a Hendrix-tinged duo with drummer Jason Nazary. Patrick Shiroishi quickly joins in to take the energy up a notch with soprano sax wailing in both mimicry and opposition to Ackerley’s phrasing. Just as the wall of sound is beginning to crack an abrupt halt shifts the energy and Luke Stewart’s crawls dialogue with the smearing spattering trumpet solo from trumpeter Chris Williams. Sswan is an ensemble that consistently augments sonic themes and pushes the bounds of standard quintet instrumentation while simultaneously executing a unique musical language that is elevated through a strong group chemistry. ‘Pattern Phases’ takes the listener on a tour of the various sound worlds accessible to each group member. Communication exists on the level of sound and velocity rather than pitch and harmonic information. Sensitive listening and each members ability to paint with different non-pitch vocabulary creates a perfect breathe of fresh air after the tour de force of “Invisibility is an unnatural disaster”. The record is rounded out with a synthesis of questions posed in tracks 1 & 2 on “A miracle’s worth”. A beautiful piece with cleansing drones and much earned exploration of tonality is led Ackerley’s chordal work. The muted trumpet of Williams’ blends warmly and helps to guide the listeners journey through the forest of harmony into Luke Stewarts arco bass.

According to one strain of folklore surrounding the record, Fiona insisted that the name, Tidal, was taken in part because of its phonetic proximity to the funny emptiness of “Title.” But given the wild power of the thing that had come out her, she must have known this magnetism needed proper naming. What primeval force is more fitting than the tides to preside over such a magnificent airing out of wounds?

Nothing is quite solid on Tidal anyway, and despite the ferocity, it is always a peaceful album, like the lapping of waves. The hypnotizing pull of these highs and lows make Tidal even easier to sink into; it is a record that swells and rages on an instinctual level. It remains one of the most important artistic distillations of female trauma because of the way she harnesses her pain, transforming it into a quiet source of power.

Central AYR Productions.. Recorded in various places and others spaces, mostly around Orlando Florida. Multi-Instrumentalist and Vocalist, Anthony Cole is the latest chapter of the PPU family album. AYR, pronounced "air", was formed in 1993. AC recalls "those were very productive and indulgent periods of my life", "the next level in black light". We've got countless hours of 4-track cassette recordings to sort through, these were the first few standout tracks, presented to you in their unedited entirety. Stay tuned for more of the what we call Dirt Music, only in the underground, building on where PPU began.

Last chance, last repress.

“We present our first ‘Untitled’ album to mark a moment in time where we as Black People, and of Black Origin are fighting for our lives. RIP George Floyd and all those who have suffered from police brutality and systemic racism. Change is happening… We are focused.”

Sault - Untitled (Black Is), released in June 2020, is one of the most celebrated albums from the collective Sault. The album came out during a pivotal moment in global discussions about race, equality, and justice, particularly following the murder of George Floyd and the resurgence of the Black Lives Matter movement. This context significantly shapes the thematic and emotional resonance of the record.

Untitled (Black Is) blends a wide array of genres, including soul, R&B, Afrobeat, funk, spoken word, and gospel, creating a sound that feels both timeless and contemporary. The album is deeply rooted in Black identity, pride, and struggle, making it a powerful statement on racial injustice and resilience. Lyrically, the album addresses themes of systemic racism, police brutality, Black empowerment, community, self-love, and the importance of unity.

The production, helmed by the collective’s enigmatic core (likely led by producer Inflo), features stripped-down yet layered instrumentation, with driving basslines, handclaps, and rhythmic percussion forming the backbone of many tracks. The vocals are often communal, with group chants and harmonies giving the album a spiritual, anthemic quality.

Key Tracks:
"Stop Dem" – A politically charged track with a pounding Afrobeat rhythm, addressing police violence and systemic racism head-on.
"Hard Life" – A soulful, melancholic reflection on the hardships faced by Black people, with haunting vocals and minimal production that highlights the emotional weight of the message.
"Wildfires" – A standout song on the album, this track blends silky, understated vocals with a powerful message about injustice and violence against Black lives. Its soulful and reflective tone gives it a timeless feel.
"Miracles" – This track offers a sense of hope and redemption, emphasizing the resilience and strength found within the Black community, despite the hardships faced.
"Black" – A declaration of Black pride and power, this track serves as one of the album’s central anthems, celebrating Black identity and culture while recognizing the challenges that come with it.
Cohesion and Impact: The album flows like a meditation on Blackness, weaving together not just music, but spoken word interludes and chants, creating a narrative arc that goes from pain to empowerment, from struggle to solidarity. The use of group vocals, chants, and Afrocentric rhythms throughout gives the record a communal and collective feel, emphasizing the idea of togetherness and unity.

One of the most distinctive aspects of Untitled (Black Is) is how it balances anger and frustration with hope and healing. While it directly addresses the oppression and violence faced by Black people, it also offers moments of joy, strength, and affirmation. The album is a call for action, but also for love and understanding.

As with previous releases, Sault maintained their air of mystery with Untitled (Black Is), releasing the album without much fanfare or explanation about the contributors. However, it's widely speculated that key figures like Inflo, Cleo Sol, and Kid Sister played significant roles in its creation. The album's timing and thematic focus made it especially impactful, with its messages resonating deeply during a time of global reflection on race and justice.

Untitled (Black Is) was met with critical acclaim, hailed as one of the most important albums of 2020. Critics praised its boldness, its timely themes, and its ability to mix protest music with a sense of spiritual uplift. The album was seen as not only a response to the times but as a work that stands in a long lineage of Black music addressing societal ills, from civil rights-era soul to modern-day protest anthems.

The Wings rock band was a child of circumstance born as a result of the Nigeria- Biafra war. It was the official band of the Biafra Air Force that was originally called the” BAF WINGS” The group became a formidable force to be reckoned with in the music scene barely three years later. With three successful singles and a long playing (LP) album to our credit, the way to stardom seemed within reach, Having wrapped up an engagement at Akuma on the night of Dec 27th, 1974, Spud, Okey and I set out for Aba the following morning in my car which I was driving but as fate would have it, the car got involved in a fatal accident at Azara - Obiato. Spud who sat at the back seat died on the spot. Okey who sat in the front seat was taken to several hospitals but passed on two and a half years later. I escaped luckily with minor injuries Our assets comprising the musical instruments, an electric generator and a ford transit bus had remained under the control of Arinze but the curtain was finally drawn when i learnt that Arinze was about to launch a new wings band within weeks. I fought gallantly to repossess my possessions but when eventually the crises deepened two factions, the Super Wings and the original wings emerged.

The Tribe co-founder’s debut, lacquered directly from his master tapes in an all analog transfer by Bernie Grundman. The definitive reissue of this Spiritual Jazz album which set the stage for his Vibes from the Tribe The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos. In the words of the collective themselves, “Music is the healing force of the universe.” Included in an extensive, oversized booklet, Larry Gabriel and Jeff “Chairman” Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe’s mid-1970s heyday.

The influential Detroit pianist’s sole 1970s album. Remastered and lacquered by Bernie Grundman. Now-Again presents the denitive Tribe Records reissues. Deep, Spiritual Jazz of the highest order. The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos. In the words of the collective themselves, “Music is the healing force of the universe.” Included in an extensive, oversized booklet, Larry Gabriel and Jeff “Chairman” Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe’s mid-1970s heyday.

The late 1980s in the rainbow nation was a time when disco was mutating into what was becoming known as Bubblegum: pop music aimed at the black population of South Africa.
Bubblegum was a response to Western styles like disco and the fast spreading house music which originally came from the black ghettos of Chicago and New York. When the second Summer of Love took over the UK in 1988, first house, and other electronic music styles conquered South Africa as well. DIY - do it yourself - a motto that had already appeared in the punk movement, lifted the young local scene to the next level. With a minimal set up - keyboards, some drum machines and samplers it was suddenly possible to make music without having to rent expensive studios.
1 of 3 12" in a compilation of tracks from The ON label which was active in South Africa between 1987-1992, an era following the end of the apartheid regime and defining the new sound of Young Black South Africa in the early 90s

On 17th March Beat Machine Records present ‘Drifted Entities (Vol. 2)’ – the second instalment in a pair from the mind of genius abstract sound painter Antonio Marini, AKA Healing Force Project. Whereas ‘Vol. 1’ had a dubwise expanse between the primordial space-grooves, here Marini jettisons the former’s amorphous flow, upping the tempo and intensity in an abstract yet funky style. Bearing the hallmarks of a true musician and a scientist, here he splices and assembles myriad sources, effortlessly blurring the lines between jazz funk, jungle and broken beat, making complex ideas work with formidable fluidity. Spring-heeled basslines meet brass, piano, rhodes, and FX, which bob and weave around the detailed framework of beats; the elements dancing freely and independently, but also interlocking and rotating like cogs. At points the album brings to mind Chris Cunningham and Aphex Twin’s strange automaton ‘Monkey Drummer’ video, and at others it recalls the latter’s ‘Drukqs’, only more 70s and wigged out. This is not so much ‘Bug In A Bass Bin’, more a hundred alien critters jumping all over Billy Cobham’s kit. Using ‘Music Is The Healing Force Of The Universe’ by Albert Ayler as an inspirational foundation, Marini believes that via study, experimentation, and the breaking down of traditional patterns, a remedy begins to radiate through sound. Delving into his world is to embark on his spiritual and musical mission, opening a door to the cosmos, encountering a fathomless presence that simply exists, continuously, whether anyone is listening or not, like a sonic Schrödinger's cat.

For nearly a decade now, Italian born artist Antonio Marini has been going through a sonic adventure known as Healing Force Project. Drawing inspiration from “Music Is The Healing Force of the Universe” by the sax player Albert Ayler, Antonio uses musical experimentation to break down traditional patterns. The creative process becomes a tool to “dismantle modern life boundaries and find a spiritual remedy in the music itself “. His work is extremely hard to pin down as it embraces a diverse spectrum of genres: dabbling into the electric period of Miles Davis and the avant-garde jazz of Anthony Braxton, adding a dash of groovy 70’s funk and slowed down echoes in the style of Lee Scratch Perry. Most important is also Antonio’s passion for electronics, traceable in the distorted sounds and hypnotic rhythms that reference to artists such as The Black Dog and Autechre

Jazz Codes is Moor Mother"s second and latest album for Anti- and a companion to her celebrated 2021 release Black Encyclopedia of the Air. Jazz Codes uses free jazz as a starting point but the collection continues the recent turn in Moor Mother"s multifaceted catalog toward more melody, more singing voices, more choruses, more complexity. In its warm, densely layered course through jazz, blues, soul, hip-hop, and other Black classical traditions, Jazz Codes sets the ear blissfully adrift and unhitches the mind from habit. Through her work, Ayewa illuminates the principles of her multidisciplinary collaborative practice Black Quantum Futurism, a theoretical framework for perceiving and adjusting reality through art, writing, music, and performance, informed by historical Black ontologies.The songwriter, composer, vocalist, poet, and educator Camae Ayewa spent years organizing and performing in Philadelphia"s underground music community before moving to Los Angeles to teach composition at the University of Southern California"s Thornton School of Music. She released her debut album as Moor Mother, Fetish Bones, in 2016, and has since put out an abundance of acclaimed music, both as a solo artist and in collaboration with other musicians who share her drive to dig up the untold. She has performed and recorded with the free jazz groups Irreversible Entanglements and the Art Ensemble of Chicago, and made records with billy woods, Mental Jewelry, and YATTA.

Letta Mbulu was lucky when she emigrated from South Africa, where blacks were troubled and ridiculed by the Apartheid system. She was lucky to rescue a recording deal with A&M records, and even the label's founder, Herb Albert, produced the record, Johnny Mandel did the orchestrations, and Quincy Jones wrote the liner notes. However, it wasn't only luck - Letta Mbulu's talents as a singer are such that they couldn't be overheard. Her husband, Caiphus Semenya, also from South Africa and a musician, helped her throughout. There's Music in the Air from 1976 features songs varying in tempos and moods and languages, and there's a mellow aura of purity and peace, almost innocence, that captures the listener.

Ten years into his role as poster boy for pop soul and peak-hour R&B, Syl Johnson did an unlikely about-face and cut the most inspiring and powerful song he'd ever touch. Issued on 45 in September of 1969, "Is It Because I'm Black" struck an immediate chord within the black community, forcing the song up the charts by sheer volume of call-in requests. It would be Syl's biggest hit for Twinight, climbing as high as #11 on the Billboard R&B chart during its 14-week stay, marking the defining moment of what had become more than just an occupation. Syl had his hands on a career and worked tirelessly rehearsing his next opus, an album of songs reflective of the changing times. With "Is It Because I'm Black" still bolding the pages of Billboard, the coming LP's title appeared to Syl plain as day _ or, in this case, black as night. Issued in April 1970 _ a full 13 months before Marvin Gaye's What's Going On _ Is It Because I'm Black can rightly be called the first black concept album, a distinction few give it credit for. But that factoid, whatever its meaning then or now, failed to inspire music buyers: Johnson's record never got a whiff of the two million copies Gaye's did in its first year of availability. Syl lays the blame squarely on the record's lack of marketability to a white audience. The album's cover didn't exactly move units either. Photographer Jerry Griffith dragged Syl to a burned-out building on 43rd Street to shoot the back cover image, and he finger-painted the iconic title over a stock photo of an eroding brick wall. The title track, coupled with the politically charged "I'm Talking About Freedom" and ghetto conscious "Concrete Reservation" sealed the album's cool reception as the work of an "angry black man." Which is unfortunate, as "Together Forever," "Come Together," and "Black Balloons" are positively uplifting, forming their own pot of gold at the end of a grayscale rainbow. The album's closer burns the brightest. "Right On" devolves into a full-on party track, ending with Syl riffing on the line "I'm gonna keep on doing my thing," as if to answer his critics before their needles reached the run-out groove.