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From the opening bars of their debut LP, you can tell AJ & The Jiggawatts came to play rough. In a world where mid tempo and middle of the road soul permeates the airwaves, this crew of G.E.D. Soul killers are drawing a line in the sand by making soul music that hits harder, faster and nastier than just about anyone in the game today. AJ Eason's gin soaked vocal howls drip with a carefree carousing not unlike that of a street smart hustler making moves to make ends meet. The band follows suit with highly syncopated melodics, often at breakneck speed, all while maintaining an almost inhuman tightness. Toss all of these elements into a highball glass and garnish with a pinch of rock n' soul and you've got the makings for a serious raw soul cocktail.

When Ajax Tow travels in his Pop Western landscapes, you can be sure there’s always a perfect 70’s road trip soundtrack. Italians cowboys meeting the legendary Miriam Makeba in Rennes suburbs... For his 3rd album The Soul Vegetable Orchestra, Ajax Tow is bringing us on a ten tracks sonic adventure, where many inspirations and references collide. The succession of tracks inspires many feels and moods from sipping a good old bourbon, dance in the kitchen, or gallops though the plains of Napoli. We can found the influence of Danger Mouse paying hommage to the late Ennio Morricone (Roma, 2011), a cinematic side of Shawn Lee and Misha Panfilov, from music library à la JeanClaude Vannier to the Band Voilaa, a little glimpse of pimped Ninja tune, a reworked organic Mo’Wax vibe, all mixed up and spiced up with a Tricky style. This album is also the result of a collaboration with Dan Voisin (Modul-Club, Eighty…) at the production and drums with Rennes city scene musicians who gives a hand on this album: Romain Baousson (Coupe Colonel, Bikini Machine…) on drums, Sax Machine and Racecar (Saxtoys Records) on horns and vocals, Dj Marrrtin (Funky Bijou, Lord Paramour) on beatmaking, Medline (My Bags) on Flûte. As a special guest, the late and legendary Miriam Makeba appears on “Magic Miriam”. “Feel it” is definitely setting a west coast on the LP with a Jurassic 5 inspiration, accompanied by a spicy rhythm, MC Racecar (Sax Machine) flows and lyrics brings even more energy to the track. On “Movie” and “Silence”. Ajax Tow give us a nice taste of his favorite psychedelic blends, romantic and intimate at the same time, where we found back Fuzz guitar with 60’s Eric Clapton style (Cream era) and Pink Floyd synths Flavors. The cinematic style and first notes of “So What” reminds Air first EP and the beautiful bass of “Melody Nelson”. For the dessert, “Smallville” is a kind of wedding cake with 70’s loops sprinkling that brings us to Phillipe Sarde’s La Grande Bouffe soundtrack, but with a more contemporary feeling.

We're back with our 5th release! This time it's the certified dancefloor weapon by Alonzo Turner ‘Whoever Said It?’ Released on a 7 inch with a part 1 & 2, this record has been played on dancefloors worldwide by such players as Rahaan, Sadar Bahar and more, with those selectors favouring the part 2 in the most euphoric moments with that incredible vocal half way through. The record has remained hard to come by for most so we are thrilled to have this one out there as an affordable and great sounding reissue. Remastered as always by Frank at The Carvery and this time released with a vibrant company sleeve and a baby yellow label on the 7 to match the original. "Alonzo Turner was born in Northern California in 1955 and was introduced to music by his church, of which his father was pastor. As a young adult, Turner moves to West Hollywood and at 23, he starts to manage a local rock band while working day and night to write what will turn out to be his first and only release, ‘Whoever Said It’. The song catches the attention of Dave Crawford, A former producer at Atlantic. Like most stuff on Crawford’s label, LA Records, the single never makes it to the charts but helps Turner make a name for himself in L.A. and Orange County where he performs often. There is only speculation about what happened to ‘You’ve Got Something’, the LP on which the song was meant to appear, but five years later Alonzo ends up writing an eponymous piece for Norma Lewis (Shakatak, Charade) on her debut album ‘It’s Gonna Happen’. In 1984, struggling to make ends meet from his music career, Turner takes a part time job at a record store, while also pushing garments to an elite clientele in Beverly Hills, even selling clothes to one of Michael Jackson’s designers. In 1991, aged 38, Alonzo Turner will pass away from illness. Written by a loner who lived in a modest flat filled with antiques and expensive art pieces, ‘Whoever Said It’ is a testament to the idea that love does exist beyond our imagination. While asking who is to blame for spreading the opposite theory, Turner makes this simple yet compelling argument to debunk it: emotions are a motor of action, they literally set us in motion and therefore reality derives its very momentum from them." Alonzo Turner biopic originally written by Omar Krivit via musicismysanctuary.com

Bernadine or Berna-Dean Washington recorded seven singles for producer Dave Bartholomew in New Orleans in the early 60s. A protégée of Earl King, her final single was released on Los Angeles’ GNP Crescendo label in 1964 and is stylistically similar to her previous Imperial and Post 45s. ‘Don’t Try To Tell Me’ and ‘Laughing On The Outside’ were cut for GNP but the company never followed up on her ‘This Is The City’ single.

Both tracks are in a more soulful style than her released sides and are attracting much attention on the current retro R&B scene and with the rare soul crowd also. This is their first public hearing.

In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music - a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic and in full control, Betty paved the way for generations of future artists who said “funk you” to the music industry and social norms. In 1979, when Davis entered an L.A. studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, Is It Love Or Desire, Davis was dropped from her label and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project. With renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce “Choc’let” Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin’ From Passion, was her most musically diverse, blending elements of reggae and calypso (“I’ve Danced Before”), jazz (“Hangin’ Out in Hollywood,” “Tell Me a Few Things”), dark synth-pop (“She’s a Woman”), and even disco (“All I Do Is Think of You”). Equally exploratory are Davis’ vocals, as she trades in her signature sass and snarls for more nuanced stylings. Among the album’s few funk tracks is “Quintessence of Hip,” in which Davis hails musicians like Bob Dylan, Billie Holiday, Stevie Wonder, and John Coltrane, while deftly integrating elements of their work. The song also offers a moment of stark vulnerability, as she sings, “Isn’t rich? Isn’t it queer? Losing my timing so late in my career.” It would prove to be a prophetic line in the months to follow. The mixing process was mired by artistic differences and then cut short, amid the death of Davis’ beloved father. Bereft and exasperated, Davis returned home for the funeral, setting into motion her retirement from the music industry. Crashin’ From Passion, meanwhile, would be shelved for 15 years and licensed for a CD-only release, without Davis’ consent, in the ‘90s. This 2023 edition of the album, made with Davis’ full approval and cooperation, marks its first official release and first time ever on vinyl. The package was designed by GRAMMY®-winning artist, Masaki Koike, while the album cover features an incredible shot of Betty captured in London in the mid-1970s by renowned photographer Kate Simon. Crashin’ From Passion was remastered by Dave Cooley at Elysian Masters and pressed on vinyl at Record Technology, Inc. (rti). The accompanying booklet includes a treasure trove of rare photos from the era, plus lyrics, and new liner notes by writer, ethnomusicologist, and Betty’s close friend, Danielle Maggio, who integrates interviews that she conducted with Davis, marking her last ever interviews.

In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music - a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic and in full control, Betty paved the way for generations of future artists who said “funk you” to the music industry and social norms. In 1979, when Davis entered an L.A. studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, Is It Love Or Desire, Davis was dropped from her label and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project. With renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce “Choc’let” Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin’ From Passion, was her most musically diverse, blending elements of reggae and calypso (“I’ve Danced Before”), jazz (“Hangin’ Out in Hollywood,” “Tell Me a Few Things”), dark synth-pop (“She’s a Woman”), and even disco (“All I Do Is Think of You”). Equally exploratory are Davis’ vocals, as she trades in her signature sass and snarls for more nuanced stylings. Among the album’s few funk tracks is “Quintessence of Hip,” in which Davis hails musicians like Bob Dylan, Billie Holiday, Stevie Wonder, and John Coltrane, while deftly integrating elements of their work. The song also offers a moment of stark vulnerability, as she sings, “Isn’t rich? Isn’t it queer? Losing my timing so late in my career.” It would prove to be a prophetic line in the months to follow. The mixing process was mired by artistic differences and then cut short, amid the death of Davis’ beloved father. Bereft and exasperated, Davis returned home for the funeral, setting into motion her retirement from the music industry. Crashin’ From Passion, meanwhile, would be shelved for 15 years and licensed for a CD-only release, without Davis’ consent, in the ‘90s. This 2023 edition of the album, made with Davis’ full approval and cooperation, marks its first official release and first time ever on vinyl. The package was designed by GRAMMY®-winning artist, Masaki Koike, while the album cover features an incredible shot of Betty captured in London in the mid-1970s by renowned photographer Kate Simon. Crashin’ From Passion was remastered by Dave Cooley at Elysian Masters and pressed on vinyl at Record Technology, Inc. (rti). The accompanying booklet includes a treasure trove of rare photos from the era, plus lyrics, and new liner notes by writer, ethnomusicologist, and Betty’s close friend, Danielle Maggio, who integrates interviews that she conducted with Davis, marking her last ever interviews.

In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music - a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic and in full control, Betty paved the way for generations of future artists who said “funk you” to the music industry and social norms. In 1979, when Davis entered an L.A. studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, Is It Love Or Desire, Davis was dropped from her label and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project. With renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce “Choc’let” Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin’ From Passion, was her most musically diverse, blending elements of reggae and calypso (“I’ve Danced Before”), jazz (“Hangin’ Out in Hollywood,” “Tell Me a Few Things”), dark synth-pop (“She’s a Woman”), and even disco (“All I Do Is Think of You”). Equally exploratory are Davis’ vocals, as she trades in her signature sass and snarls for more nuanced stylings. Among the album’s few funk tracks is “Quintessence of Hip,” in which Davis hails musicians like Bob Dylan, Billie Holiday, Stevie Wonder, and John Coltrane, while deftly integrating elements of their work. The song also offers a moment of stark vulnerability, as she sings, “Isn’t rich? Isn’t it queer? Losing my timing so late in my career.” It would prove to be a prophetic line in the months to follow. The mixing process was mired by artistic differences and then cut short, amid the death of Davis’ beloved father. Bereft and exasperated, Davis returned home for the funeral, setting into motion her retirement from the music industry. Crashin’ From Passion, meanwhile, would be shelved for 15 years and licensed for a CD-only release, without Davis’ consent, in the ‘90s. This 2023 edition of the album, made with Davis’ full approval and cooperation, marks its first official release and first time ever on vinyl. The package was designed by GRAMMY®-winning artist, Masaki Koike, while the album cover features an incredible shot of Betty captured in London in the mid-1970s by renowned photographer Kate Simon. Crashin’ From Passion was remastered by Dave Cooley at Elysian Masters and pressed on vinyl at Record Technology, Inc. (rti). The accompanying booklet includes a treasure trove of rare photos from the era, plus lyrics, and new liner notes by writer, ethnomusicologist, and Betty’s close friend, Danielle Maggio, who integrates interviews that she conducted with Davis, marking her last ever interviews.

Dave Hamilton’s New Day label is one of the most striking in existence, a powerful concoction of red, yellow and black, that matched its pitifully small run of singles. Two of these were by Billy Garner, a Detroit based vocalist who recorded three songs for Hamilton, all of which are funk classics.

Originally issued in 1971, ‘I Got Some’ is seriously down and dirty and was sampled by DJ Premier / Gang Starr. This reproduction of the original single, sees our first 7-inch issue of ‘Part 2’.

Detroit vocalist Billy Garner recorded a trio of killer funk titles for Dave Hamilton in the late 60s, this is the final one to make it to a BGP 45. It is a relentless groove and its original release on New Day is very hard to find. As a special treat it comes with a special New Day label.

Born in Hanceville (Alabama), Canzetta Maria “Candi” Staton possesses one of the most recognizable voices of southern soul due to its characteristic and unmistakable tone. Her musical journey began in the 50s as a teenager singing gospel with the Four Golden Echoes and the Jewell Gospel Trio. In 1967 she made the transition to secular music and two years later started an artistically and commercially successful recording career with Fame Records, under the umbrella of Rick Hall, recording a dozen singles and three outstanding albums. Candi was introduced to Hall by Fame’s main artist Clarence Carter, who eventually married her in 1970. A new chapter began in 1974 at Warner Bros, from which the two songs paired on this record originated. They are now available on 7” for the first time. “Can’t Stop Being Your Fool” is a powerful composition by Phillip Mitchell perfectly suited for her; on the flip side we find “You Bet Your Sweet, Sweet Love”, a country soul masterpiece produced by Dave Crawford. Another essential release on Soul4Real.

In 1975, singers Bruce Ruffin, Bobby Davis and Dave Collins - the latter of reggae duo Dave & Ansel Collins - came together to form Chain Reaction, a short-lived UK harmony soul group who recorded their only album ‘Indebted To You’ for Gull in 1977. This sought after session includes their popular version of Lamont Dozier ‘Why Can’t We Be Lovers’, the sweet soul single ‘’Never Lose Never Win’ and the non album single ‘This Eternal Flame’. Rare groove alert: The electric funk of ‘Hogtied’ is the top of the crème here, with a bass line reminiscent of Aaron Neville ‘Hercules’, a sumptuous clavinet and a majestic wah-wah guitar.

Such an elusive British artist, Christine Harwood was sailing the sea of lone folk singers with a sole album of rare beauty. Released in 1970 on small british label Birth, Nice To Meet Miss Christine is still an exercise in pure beauty, a dramatic/magic affair that materialized into thin air and suddenly was gone. Featuring a who’s who of the british prog and psych-folk scene – the late King Crimson alumni Ian McDonald on sax and flute, drummer extraordinaire Pete York, Nucleus and Jody Grind bass player Roger Sutton, Strawbs guitar player Dave Lambert – the album is more than a miraculous rendition of the (acid) folk revival venturing on more audacious territories, as shown in the rare groove of standout track Wooden Ships. Blue eyed soul and yacht rock fanatics take note !

Includes booklet!

A double LP by this pianist/producer from Los Angeles who worked with DJ Jazzy Jeff, Raphael Saadiq, Chris Daddy Dave, Amp Fiddler and many more.

With Darondo’s passing in 2013 the world truly lost a singular and unique talent. “Didn’t I” was undoubtedly his most beloved and well-known song making the rounds in Soul collectors’ circles for some time and reaching a much wider audience with numerous placements on TV and movies including the iconic show “Breaking Bad.” Three producers from across the globe have paid him homage by adding their touches and flavor to the classic tune. French producer GUTS remix was previously included on a limited double 7in EP called “Brand New Revolution”. His take on the tune became a summer time favorite with it‘s laid back groove and Darondo’s emotion-tinged vocals layered on top. Florent F also from France, adds some heavier live drums to create a harder-hitting version on his mix. Hailing from Montreal, Canada, noted edit and remix producer Dave Allison’s version picks up the tempo, highlighting the groovier elements of the track transforming the soul tune to a dancefloor mover.

With OBI and insert. Cover and vinyl are close to NM.

Japanese pressing with OBI.

With promo sticker. Cut corner. Original US pressing.

The Days of Mars is the debut album from artists Delia Gonzalez & Gavin Russom. It was released on October 10, 2005. All the music was created by layering live takes of custom built synthesizers and other instruments."DFA duo skips stones across the same cosmic lake as forefathers Tangerine Dream, Terry Riley, and Mike Oldfield. (...) Still, in a landscape full of seen and unseen phenomena, where the unknown seems almost passé, Gonzalez and Russom make music for taking things in stride. By turns bleak and beautiful, this is music for a new, but vaguely familiar world." - Pitchfork

Guitar virtuoso Dennis Coffey's first LP for Westbound Records was released in 1975, and is a tour de force in funky guitar wizardry unlike anything else. While Coffey's technical fireworks remain the centerpiece of the record, some of the rawer psychedelic elements of his earlier work are replaced by a slicker, more produced sound. This new style clearly lays the groundwork for Coffey's transition, as the 70's progress, into a more commercial, disco-oriented sound on his own recordings, as well as on his writing and production work for other artists such as CJ and Co. This long overdue reissue, retitled Finger Pickin Good, was remastered by Dave Gardner and includes the previously unissued bonus track "What It Is It Ain't".

40th Anniversary Edition
Pressed on Baby Blue Wax
LP include detailed liner notes by Dave Segal, interviewing the Emersons plus unseen photos
Housed in gatefold “tip-on” jacket, with insert and includes download card for full album

“‘Baby’ has been a staple on just about every playlist/mixtape I’ve assembled in the past 3 years. It is nothing short of sublime.” – Ariel Pink
“This is one of those LPs that helps one understand why people bother to even look for records to begin with… lovely, surprising mix of folk, soul, psych and funk.” – Oliver Wang, Soul-Sides
Pacific Northwest isolation mixed with wide-eyed ambition, a strong sense of family and the gift of music proved to be quite the combination for teenage brothers Donnie and Joe Emerson. Originally released in 1979, Dreamin’ Wild is the sonic vision of the talented Emerson boys, recorded in a family built home studio in rural Washington State. Situated in the unlikely blink-and-you-missed-it town of Fruitland and far removed from the late 1970s punk movement and the larger disco boom, Donnie and Joe tilled their own musical soil, channeling bedroom pop jams, raw funk, and yacht rock.
Spurred on their high school’s music program, Donnie and Joe received a further push from their lifelong farmer father, who drew up a contract stating that he’d support his sons lofty ambitions with their very own recording studio as long as they focused on original material, sage advice for a man with zero experience in the music business. After taking out a second mortgage to help cover costs, Don Sr. also built his children a 300-capacity concert hall (dubbed Camp Jammin’) replete with ticket booth, stage, and fully functioning snack bar. The only problem was that the projected audience never quite materialized, despite a prime time TV profile entitled “The Rock And Roll Farmers” from nearby Spokane, Washington. Even the Emerson brother’s school pals were nonplussed at their privately pressed long player; hand distributed to local music stores, but not as far as Seattle, five hours away from their rural home. Somewhat rejected by the muted response, but never surrendering, both Donnie and Joe continued down a musical path and are still active as performers today.
This rare slice of bedroom-funk gets the usual Light In The Attic treatment with newly remastered audio, detailed liner notes, and expanded original album art with loads of photos from the Emerson’s collection. Be sure to also check out the short documentary (above), Rock and Roll Farmers.

LRK are excited to announce their latest limited edition 45 (lrk-28) release:

Dylan Chambers - I Can Never Get Enough/Comin' Up

Dylan Chambers is a vintage pop/R&B/soul singer, songwriter and guitar player from Arlington, TX. After graduating high school, Dylan got accepted to the Berklee College of Music in Boston but ended up moving to LA to work on his music career. He has since shared the stage and worked with numerous artists such as Haley Reinhart, Brett Young, Sabrina Carpenter, Gavin DeGraw, Dave Koz, Three Dog Night, etc. and toured around the country with ABC's hit television show "Dancing With The Stars" as a featured singer/guitarist on their 2014-15 National Winter Tour. For the past five years, Dylan has traveled around the world as a guest artist aboard the "Dave Koz and Friends" Live at Sea Jazz Cruise. As a songwriter, Dylan co-wrote jazz legend Herb Alpert's first single "Skinny Dip" off of his album, "Slow Down Turbo" for Indonesian rapper Rich Brian as well as country star, Brett Young's "Kiss by Kiss". Live TV appearances include the Radio Disney Music Awards, Access Hollywood, Hallmark's Home and Family, and The Today Show. Since 2020, he has released over a dozen singles as a solo artist which he co-produced with longtime friend and musical collaborator, Stefan Lit (Lil Nas X, One Direction, Andy Grammer). Throughout the years, he has shared the stage with Flatland Cavalry, Charley Crockett, Molly Tuttle, Haley Reinhart, Sabrina Carpenter, Delvon Lamar Organ Trio, and Prep. As a songwriter, Dylan has written tracks for UMI and Rich Brian, and he's also collaborated on singles with Cory Wong from Vulfpeck, G. Love and Special Sauce, and Alex Lambert

The Earth Girl Helen Brown Center For Planetary Intelligence Band (E.G.H.B.C.F.P.I.B.) is pleased to join forces with In the Red Records and Empty Cellar Records, presenting the first vinyl release of their proto-lanetary series Four Satelittes Vol. 1. Double gate-folded LP (three sides + etching), the release is a collection of songs and information from the band’s 2017 consumer recycled cassette series: Spring: Mercury: Fire, Summer: Mars: War, Fall: Saturn: Communication, and Winter: Venus: Love.

The band, related media artists and technicians includes: Heidi Alexander, Jamie Barron, Jamin Barton, Eric Bauer, Aylin Beyce, Emilee Booher, Ryan Browne, Tim Cohen, Grace Cooper, Dave Cousin, Brad Caulkins, Mikal Cronin, Bart Davenport, Brigid Dawson, John Dwyer, Chris Fallon, Lars Finberg, James Finch Jr., Davin Givhan, Dylan Hadley, Dustin Hamman, Kiran Harlow, Wilder Harlow, Graeme Gibson, Tahlia Harbour, Anna Hillburg, Douglas Hilsinger, Warren Huegel, Emmett Kelly, Nora Keys, Shannon Lay, Raven Mahon, Rusty Miller, Charlie Moonheart, Jack Name, Ethan Novikoff, Tim Presley, Ty Segall, Dave Sitek, Sean Smith, Sonny Smith, Kelley Stoltz, Enrique Tena, Alica Vanden Heuvel, Lida Vanden Heuvel and Mikey Young.

It is fitting to have Eddie & Ernie on both sides of a Deep Soul single as they were original label founder Dave Godin’s ultimate Deep Soul act. Both tracks were recorded in the late 60s but first came out on our Eddie And Ernie CD in 2002. It is a tribute to their excellent quality that we release them on this vinyl series now.

The first ever vinyl LP compilation of songs by the great Eddie and Ernie! The duo produced tons of great singles throughout the 60's and early 70's. This LP features a couple dance numbers, but mostly slow dramatic soul ballads reminiscent of the best moments of more well known acts like Sam and Dave and Otis Redding. Some pretty eerie soaring vocals and existential lyrics of the highest order. Under appreciated in their time, Eddie and Ernie are two of soul musics greatest talents! Old school "tip on" record cover and classy black inner sleeve. One time limited pressing.

Energy MC2 began as an energetic bunch of 10 and 11year old neighborhood kids, who initially formed a band under the name of ‘Congressional Funk’ while still attending elementary school. The founding members were Vincent Bonham, Opelton Parker (the brother of Ray Parker Jr), brothers Ufuoma and Eric Wallace, with the later addition of Fred Gordon. Within months of the group’s formation, they began entering and winning local talent shows in between performances at local churches and backyard parties. A little over a year later, they initially became the backing band for local recording artists Mad Dog & The Pups going on to feature on their earliest Magic City releases “Hep Squeeze” (MC-007) (which they provided the horn section on) and the follow up release “Funky Monkey” (MC-009). A change of name to ‘The Soulful Hounds’ followed which they are credited as on the instrumental flipside of Mad Dog & The Pups vocal version of “Why Did You Leave Me Girl” Magic City (MC-012). The age of band members now ranged from 11 to13 year old, and featured the four founding members with the addition of Leslie Bass, (Fred Gordon by then having left the group). Between recording sessions they continued playing their own stage shows mainly covering hit songs of the day. During one particular performance, Barrett Strong and Norman Whitfield made an approach to Mad Dog & The Pups and The Soulful Hounds with an invitation to join Motown. Unfortunately, the kids were already under contract to Magic City and label owners Ernest and Barbara Burt was not about to let one of their acts go to a rival label.

After leaving Magic City, the band went through a several changes in both name and personnel and became one of the biggest bands on the local Detroit music scene. At this point the band hired a bass player Ben "Rat Bass" Adkins, who brought with him the name of his former band, ‘Energy’. Then by borrowing Albert Einstein’s formula for special relativity (E=MC2) which they added to their inherited name ‘Energy’ in doing so they were able distinguish themselves from Adkins former band. Energy MC2 also from time to time featured three female members Marlene Rice, Gwen Laster and Patricia King who played violin, viola, xylophone and bells. These girls would often provide background vocals when required. They were primarily recruited to add a string section to the band and became affectionately known as the MC3 Orchestra.

Ben Adkins later left the band, going on to play with Creative Source, Lonnie Smith and The Jackson’s (he, being Jermaine Jackson's replacement). ENERGY MC2 soon after began to seriously record original material which included the previously unissued 70’s dance track “If You Break It” which gained a belated 45 release on Soul Junction Records in 2016 to great acclaim. The group line up on “If You Break It” included Vincent Bonham, Ufuoma Akil-Wallace, Arnell Carmichael, Ernestro Wilson, Opelton Parker, Gordon Carlton, Eric Wallace, Leon Lopez, Marvin Carlton and Marlene Rice. While an earlier session had yielded two further unissued tracks firstly “Other Side Of The Mirror” featuring the same line up of musicians as “If You Break It” but with the addition of a second female vocalist Gwen Laster, this too also gained a belated release as the flipside of the SJ536 45 release. While the second song “Juliane” a beautiful mellifluous soulful ballad which featured Arnell Carmichael, Vincent Bonham, Ufuomo Akill- Wallace, Eric Wallace Gordon and Marvin Carlton on it’s recording. (“Juliane” was to also gain a belated release on the now long deleted Soul Junction compilation album “We Got A Sweet Thing Going On” Volume 2 SJCD 5011).

Following a later move to Atlanta GA, Energy MC2 signed on with The Greer Agency who also represented, The Commodores, Brass Construction, Mother's Finest, New Birth, Brick, Little Richard etc. This association led the band to perform it's own brand of Pop, R&B, Funk and Jazz throughout the Southern states, from Arkansas to the Carolinas. Sometime during 1974 several members of Energy MC2 boarded a Greyhound bus and took a road trip to Los Angeles. During their week-long stay in L.A. Vincent Bonham, Ufuoma Akil-Wallace, Arnell Carmichael, Ernestro Wilson, Opelton Parker, Eric Wallace, Gordon and Marvin Carlton joined lead guitarist Ray Parker Jr in a recording session that produced amongst others the following two songs the mellifluous “You And Only You” and “Love To Make Love To You” featuring Arnell Carmichael on lead vocals. A session that was to remain unissued in the can that was until a chance meeting many years later between UK Record Dealer and DJ Dave Thorley. Ufuoma Wallace allowed Dave to hear this unissued session and it was Dave who brought this session to the UK Soul Junction label’s attention. Later on Vince Bonham and Arnell Carmichael parted company with their fellow Energy MC2 members to join Ray Parker Jr and Jerry Knight in forming the band ‘Raydio’, they were also later joined by Arnell’s brother Darren London Carmichael. A teenage Ray Parker had learnt his trade as a member of Hamilton Bohannon’s House Band at Detroit famous 20 Grand Theatre during the late 60’s. Into the 1970’s he featured as a session guitarist on many of Holland, Dozier and Holland’s Invictus and Hotwax sessions with his noticeable “Choppy” guitar style being very prominent on Honey Cone’s number one single “Wants Ad’s”. Ray’s work also featured on Lamont Dozier’s first two ABC albums. Further session work with Stevie Wonder was to follow, an association that was to prompt Ray to permanently relocate to L.A. Once there he also became a part of Barry White’s Love Unlimited Orchestra. In addition to the previously mentioned artists Ray’s work and writing credits can be found on a plethora of other recording artists sessions, for example The Temptations, Michael Henderson, Herbie Hancock, Gladys Knight & The Pips, and Rufus & Chaka Khan. Ray’s first bona fide song writing hit came in 1974 with a song he co-wrote with Chaka Khan “You Got The Love”. Raydio scored a #8 billboard hit with “Jack & Jill” from the Arista album of the same name during 1978 while a second single from the album “Is This A Love Thing” reached # 20 in the same year. Their 1979 Album ‘Rock On’ spawned the hit single “You Can’t Change That” reaching #9 on billboard. By 1980 Jerry Knight had left to persue a solo career and the group became Ray Parker Jr & Raydio. Three more top 40 hits followed, “Two Places At The Same Time” again from the album of the same name #8 on Billboard (1980) and from the groups final studio album two singles “The old Song” reaching #21 on billboard and their biggest hit and title track from the album “A Woman Needs Love (Just Like I Do)” reaching #4 on Billboard both in 1981 at which point the group broke up with Ray Parker wanting to go solo.

Ray Parkers solo career would see him score six top 40 hits including “The Other Woman” reaching #4 in the pop charts and the song that he will be forever associated with “Ghostbusters” the title track of the box office hit film of the same name a#1 Billboard hit for 3 weeks in 1984. Given only 2 days to write the title song Ray duly obliged but he never actually sings the word “Ghostbusters” following his question “Who you Gonna Call” it’s the crowd on the set that reply “Ghostbusters”! Ray also became involved in small screen and video acting roles.

In 2014 original members Arnell Carmichael and Vincent Bonham joined by James Carmichael and a up and coming young singer Giovanni Rogers revived “Raydio” featuring as a support act on several major tours. As for the other members of Energy MC2, Ufouma Wallace went on to play with artists such as The Four Tops, The Temptations and Michael Henderson. Eric Wallace and Ernestro Andre' Wilson both played with Michael Henderson's touring band. Eric Wallace played and recorded with Stevie Wonder. Ernestro Wilson also played with the Franklyn Sisters Areatha and Carolyn, as well as Cheryl Lynn and Bettye LaVette amongst others. Other group members, Gordon Carlton, twin brothers Jimmy and Jerome Ali, cousin Kenny Colton and Ernestro Wilson again became the band for ‘Parlet’ (part of the P-Funk family) that helped George Clinton land the Mothership!

Energy MC2 first 45 “If You Break It/Other Side Of The Mirror” first saw the light of day during 2016 and a follow up 45 of two further songs was never far from my thoughts but I was always told that those were Ray Parker Jr’s arrangements and that I would need to deal with him. Over the ensuing years of involvement in securing licensing deals I finally got a contact number for Ray, and duly called him up (and yes he does have the Ghostbusters theme tune as his ringtone!). The Energy MC2 lost session was just a vague and distant memory to Ray but after sending him a copy of the tape transfer to listen to the memories soon came flooding back. Ray was only too pleased to agree to my proposal exclaiming let’s do it Dave it sounds like fun! and so the Energy MC2 stories circle is now complete.

Words by: David Welding & Vincent Bonham

180gr vinyl is close to NM

How does one express the bone-chilling loneliness of having lost the love of his or her mate, even as the relationship continues in the present tense? We would venture to say that “Element Of Love”, the inaugural 45 on S’plat Records, and the record debut of vocalist Gervis Myles, pretty well answers the question. The song and the performances elevate this record well beyond many efforts which seem to get lost in the mannerisms of soul, but ultimately miss the point. Gervis Myles tears into the song, which has the feeling of a scorching King Records hard soul lament from, say, 1960. He moans, shouts, unleashes falsetto outbursts, and hits ever more impossibly high non-falsetto notes as the song goes on. Bootsy Collins commented: “Y’all takin’ me back while moving forward. I love the way you funkin’ with me!” The band, which we call “Suite Crude Revue”, consists in this instance of Andrew Spadofora on saxophone, whose solo work on the record contributes considerably to its searing intensity, John Paul Simons (upright bass), Bryan Rogers (piano), Dave Schoepke (drums) and Daniel Zelonky on guitar. The B side, “I’m Thirsty,” is a rhythm and blues stomp about drinking away “woman problems.” Standout piano work from Rogers and a blistering solo by Spadafora, in addition to the raw vocal performance, make one want to …. drink! Written, arranged, and produced by Daniel Zelonky (aka Low Res).

Holy Hive, the group that coined the genre Folk/Soul, comes out swinging with this monster of a two-sider. The A side "Oh I Miss Her So" is pulled from their recently released Harping EP: a drop dead gorgeous tune of love and longing, featuring the harping of Mary Lattimore. The tune serves as a testament to The Hive's gift for songwriting and arrangement, taking the listener on a ride from the first notes of Paul's falsetto to the outro featuring Dave Guy's (The Roots) gorgeous trumpet solo. The B Side is The Hive's crushing cover of Sunny & The Sunliners' classic "If I Could See You Now". Homer's world renown drumming provides an instant dance floor backbone to the tune while Paul's signature vocals add a welcome twist giving the original version a proper run for its money. This cover is pulled from the forthcoming Big Crown Records label compilation "Dear Sunny" a collection of Sunny covers done by the roster of Big Crown artists.

Cover has a cut corner.

First ever reissue of highly collectible Funk / Boogie album from 1984!

We are proud to present a true gem on our label: the first-ever vinyl reissue of the highly collectible Shake It - Make It Loose LP by J.D. (Puma) Lewis. Originally released on the infamous Metrovynil label in 1984, it stands as the best and most authentic boogie/80s funk album ever produced in Germany.

However, little is known about this legendary release, and the credits are sparse and often confusing. In reality, Shake It - Make It Loose was a collaboration between just two musicians: John Davis (R.I.P., later one of the real voices behind Milli Vanilli for producer Frank Farian) and Reginald Hudson (of Hudson People). Both were first-class, highly talented musicians and composers from the U.S., who spent most of their lives living and working in Southern Germany.

Hudson describes their creative process: "It was just me and Johnny, playing all the instruments. Johnny handled the bass, guitar, and vocals, and we programmed the drum machine together. Most everything else was keyboards." He recalls that Genre: Funk / Boogie / Disco

- they spent only six or seven days recording the album at Hartmann Digital Studio.
- Contains 2 previously unissued bonus tracks
- Deluxe gatefold sleeve

The combination of their musicianship and the cutting-edge technology at the studio resulted in a masterpiece of pure, state-of-the-art funk and boogie. The album features all the hallmarks of great 80s music: fresh synths, drum machines, and powerful lead vocals from John Davis. Upbeat tracks like "The Cat (Puma)" and the title track sit comfortably alongside more soulful songs like "Tears" and "Hearts of Gold," while "Dancing Shoes" remains one of the era's catchiest dance tracks.

Still, Shake It - Make It Loose holds a few mysteries. Why was it released under the unusual name J.D. (Puma) Lewis? And what's the story behind tracks like "The Cat"? While J.D. Lewis stood for John Davis Lewis's full legal name, Hudson sheds light on the "Puma" connection: "At the time, I was working as a promotions manager for Puma sportswear. Jörg Dassler, son of Puma founder Rudolf Dassler, was a friend of mine and financed our studio sessions." As said, these sessions took place at Hartmann Digital, a state-of-the-art studio in Untertrubach, Bavaria, where iconic artists like Nena, Yello, Visage, DAF, and Soft Cell recorded.

The use of such an expensive studio would have been out of reach for the two musicians without Puma's backing, which also explains why there is a title like "Dancing Shoes." When we had licensed the track for the Boogie On The Mainline compilation in 2018, we had the chance to speak with John Davis (who sadly passed away in May 2021 due to COVID-19). Davis revealed that there were plans to make a video for the song in collaboration with Puma, but those plans fell through. In the end, the album was signed to the Deggendorf-based Metrovynil label.

Interestingly, the original contract reveals that the first version of the album only contained six tracks. Metrovynil added two more: "Sexy Highschool Lady," a track Davis recorded solo, and "Party Rap" by The Dynamite Two, which had no connection to Davis or Hudson at all. The album's credits also list a "Fred Fiore" as the person "who made all of this possible." Hudson, who sees himself as the producer, has no idea who Fiore was - likely another fabrication from the label. "That's just the kind of thing Metrovynil did," Hudson comments with some regret.

Despite the behind-the-scenes confusion, the music spoke for itself. The original pressing looked and sounded fantastic, featuring a stylish cover shot of John Davis in a sharp suit. Now, with this first-ever vinyl reissue, we're thrilled to include additional photos and more background information in a deluxe gatefold sleeve.

This reissue includes all six tracks from the original Hartmann Digital sessions, plus two bonus tracks. From the original reel tapes, we unearthed additional material that Hudson and Davis produced together in the early to mid-80s. We're excited to share the previously unreleased tracks "Life's A Party," and "Walk Out On Me." The digital version of the reissue will also feature two more songs: "Red Drops" and "Pick It Up Off The Ground."

Shake It - Make It Loose is a classic boogie-funk album that belongs in every serious funk and disco collection. It showcases the undeniable talent of two true musicians and stands as a testament to the friendship between Reg Hudson and John Davis.

Soul/Disco/Funk single here for the first time ever on vinyl! The independent label Six Nine Records Ltd. UK, based in Newcastle upon Tyne, proudly presents J Daw featuring Tim Tucker and SkyFunker and the two magnificent electro boogie tracks "Flying First Class" and "Shake That Fnkn Booty”. Definitely not to be missed as it is a limited UK press with small hole and full colour printed picture cover!

Jackie Dee’s ‘Who’ was one of many great tape finds from Detroit producer Dave Hamilton’s vault in the 90s and first came out on CD in 1999. In 2015 Ace licensed that version to Colemine Records in the USA who issued it on their First Light subsidiary. That disc is now deleted and fetching a high price. In recent years we have found the multi-track tape with an extended version of the recording and an instrumental take on it that features Dave Hamilton’s vibes-playing. The vocal side is a full one minute and forty seconds longer than the original release.

The recent find of four Joe Graham recordings in the GRC/Aware tapes has shown there was much more to Joe’s talents than the southern soul of his 60s Chant recordings and the synthesiser, electro pop he recorded for various Atlanta labels in the 80s. ‘Higher Than High’ is a soulful disco number featuring a relentless beat. The track already has a strong following, thanks to advance plays in Europe and the UK from DJ Dave Thorley. This track, along with three other numbers, were recorded around 1976 for the GRC stable – just as the company was floundering so badly that the songs were left as unmixed multi-track tapes. Now mixed the demand for this one will be high.

We’ve taken the opportunity of including another excellent, unreleased at the time, recording from the revered John Edwards. ‘It’s Got To Be The Real Thing For Me This Time’ is an uptempo Sam Dees song, unheard until the 1990s release of the first batch of GRC/Aware tapes

Limited Edition.
Black Vinyl Edition.

Cover as new with a dented corner.
Record is close to VG+.

Little Ann’s ‘Who Are You Trying To Fool’ was unknown until the late 90s when Ace acquired Dave Hamilton’s tapes and this glorious soul dancer was discovered. It has since sold out two Kent 45 releases and due to demand we have resurrected it. This time it is on a TCB repro label, which is the imprint it would have been issued on, had Dave had the finances to cover it.

Lloyd Altamont Thomas Robinson recorded many songs as a singer first for Studio One in 1963 and later for many labels and Jamaican producers including Duke Reid, Lloyd Daley, Sir JJ and more. Robinson was part of the duo Lloyd and Devon, whom had quite a few good songs under their belt including a hit for Derrick Morgan's Hop label, "Red Bum Ball.". With Glen Brown, under the name Lloyd & Glen, he wrote and recorded many outstanding Rocksteady & early Reggae tracks, some quite heavily influenced by black Soul including the two sublime tracks featured here. He went on to record the big dancehall hit “Cuss Cuss” in 1984 on the Harry J. label. He died in 2013 in the Kingston Public Hospital. He was 68 years old. Glenmore Lloyd Brown, began his career as a vocalist in Sonny Bradshaw’s jazz group before recording duets with Hopeton Lewis, Dave Barker, and Lloyd Robinson. Later, Brown became the founder and owner of the Reggae/Dub labels Pantomine and South East Music. A sought after producer he worked with many with many Reggae greats including U Roy, Gregory Isaacs, Big Youth, I-Roy, Prince Jazzbo, Johnny Clarke, Lloyd Parks, and Little Roy. The heavy rhythms of his Dub productions resulted in his being known as "The rhythm master". He died at the Far Rockaway Center for Rehabilitation and Nursing in New York City on 4 October 2019, at the age of 75. As “Lloyd & Glen”, they composed, sang and recorded together about 15 tracks, ranging from Ska to Rocksteady to Soul on a variety of labels between 1966 and 1968. Most of these songs are outstanding, many are just sublime with a strong American Soul influence. In the late 50s & 60s, Jamaica was Rhythm & Blues/Soul crazy. Many Jamaican artists regularly performed and recorded tracks in these styles along with Rocksteady and Reggay. Very few though could do it as well Lloyd & Glen...

Melvin Davis’ ‘Wedding Bells’ 45 - first issued on the Ke Ke label out of Detroit in 1964, was an early Dave Hamilton project that he collaborated with Melvin for. Both sides are noteworthy, ‘It’s No News’ has particularly amusing lyrics over a dance-friendly rhythm.

mess/age is the music of Kyoto-based friends Khan Brown and Ohhki. Formed in 2021, their unique sound was developed by chance with a circuit bent karaoke machine. Now combine that with logic beats, familiar breaks, Casio tones and their signature echo poetry, and you have songs that will be stuck in your head for a lifetime. We have warned you about "Hi Wo Kaou."!

In February of 1976 Eddie Carmichael left the group “The Voshays” after catching the bandleader/manager stealing from the band. Derry Shepherd and Duncan Bethel left at that time also. About a week later I asked Derry if he would be interested in starting another band and he said sure. At that point Duncan Bethel agreed to participate and he recruited his friend Flynn Emanuel to play trombone. Derry was the manager of the cafeteria at Sears Department Stores in The Pompano Fashion Square Mall and he met Sandy Ficca who was the manager at Chess King Men’s Clothing Store in the same mall. Sandy also agreed to join the group and we auditioned bass players and chose Dave Segal and only one keyboard player auditioned and that was Bob Groszer. We now had all of the personnel for the group and we commenced rehearsing in the recreation center in Pompano Beach, FL at Westside Park. We did a few “Chitlin’ Circuit“ gigs to fine tune the band and music and then moved over to the beach circuit. While there we would perform spring and summer months at “The Ocean Mist” on the Strip in Fort Lauderdale, FL and for the fall and winter months the Big Daddy’s 8600 Club on Miami Beach. After 18 months of constant gigging I suggested that the band go into the studio and record some original music. Now all we needed was some serious financial support and songs. I met a man by the name of Jerry Bullard and convinced him to back the project. We formed our own independent label “Get Off Records” and publishing company “Situated Music”. At that point Dave Segal and Sandy Ficca left the group and Bruce Saddler who was the drummer for The Voshays joined us on the drums for the first two recordings. Sandy Ficca returned as drummer and brought in his old friend and bandmate Daryl Walker to play Bass on five of the six remaining songs. We recorded the entire album in five days at SRS Studios and Triad Studios both in Fort Lauderdale, FL in August of 1977. The first single “Give It Up (Let Yo Funk Fly Free) was a winner released only in the New York tri state area where in two weeks it reached number 16 in the top 100 and was poised to go number one nationwide on the R&B charts in the next two weeks. Henry Stone, owner of TK Records in Hialeah, FL wanted to sign the group as did many other major record labels including Maurice White of Earth, Wind & Fire. But the usual problems of the music business reared its ugly head and the record was pulled from all radio airplay and the group who became disenfranchised with the business of the industry decided to call it quits. Derry Shephard went into Gospel Music production, Sandy Ficca went on to become the drummer for the Pop/Rock recording artists “Firefall”. Daryl Walker is a session player and music teacher, I did studio sessions and played in several cover bands and toured internationally. Bob Groszer toured with Sly Stone and other legendary recording artists. Dave Segal went on to start New York Bass Works in New York. Flynn Manuel became a music teacher in The Broward County School District and Bruce Saddler and Duncan Bethel left the Music industry completely. We were young and not good business people at that time and did not understand the rules of do’s and don’ts of the music industry. But we had three talented songwriters, a great arranger, a killer band and all the financial support that we needed. Looking back if we only had an experienced manager I truly believe Mirror would have gone on to create some great music over the years that followed. Peace and love all the time,

rare blaxploitation soundtrack album

The debut 7" from Wax Thematique label founder and producer Nathan Womack, merges the Sublime Frequencies label's knack for detecting the most interesting sounds from far-flung zones and Madlib's cosmopolitan, funky sonic travelogues. Side A's "Past But The Dream", was constructed from records found on a Vinyl digging trip in Bangkok, Thailand. It moves with that sidewinding swagger common to Far East Asian groups of the '60s for whom rock was not second nature—and it comes out sounding fresher for that obstacle. Side B's “Nanjing Road” is smoldering songcraft that goes down like an elixir of baroque prog magic from 1971 Italy. Re-built and sampled from vinyl discovered in an underground electronics market in Guangzhou, China, this is exit music for a film that makes you swallow your heart. -Dave Segal

1st installment of the Diggin' East series

Mastered in Seattle by Mell Dettmer Layout and Design by Nathan Womack

Nicky Prince has never been bound by musical genre. The Milton Keyes born and raised. Vocalist has the versatility to fit any vibe while not compromising her signature sound. Although best known for her Garage hits with Zed Bias in the early 2000s, Nicky was performing and recording with various acts well before the height of Garage’s popularity. She started her career singing in Soul and Funk bands, and over the last two decades has lent her voice to Electro, Hip-Hop, Drum & Bass, House, and Ska tracks. In 2009 Nicky graced listeners with her debut solo EP “See What You Mean.” Within only five tracks the singer-songwriter displays impressive range, from the up-tempo, energetic funk of “I’m Hearing You” to a bluesy rendition of Nina Simone’s “Don’t Let Me Be Misunderstood,” to the hushed tones of the EP’s sole acoustic number, “Balancing Scales.” She is backed on this effort by her band Soul Selecta, which includes renowned UK session players Dave Baldwin on Hammond organ and Robert ‘Skins’ Anderson on drums/percussion. Sadly, the release was criminally slept-on.

While “See What You Mean” was available on streaming services and CD, the EP never received the vinyl treatment. So, rather than simply reissuing the project, Nicky has teamed with KU to offer what she calls a “reincarnation” of her debut on wax.

Now retitled “Listen Up,” this underrated affair has had new life breathed into it. To bring out the best in the original recordings, each song has been meticulously remastered by Christian Obermayer at Strype Audio. Then to fill out the 12”, Nicky has added a handful of unreleased songs, including a heavy groove cover of Michael Jackson’s “I Can’t Help It,” which sees her reconnect with Zed Bias; a punchy, funked up tune titled “Listen Up;” and the original version of “Balancing Scales” that reveals what the track sounded like before it was stripped down to just guitar and vocals. This offering perfectly captures Nicky’s distinct tastes and inspirations. Further, it fills a hole in your record collection that you didn’t know was there until now.

Two funky steppers from Niki Dave & Afro Kids! First ever reissue of rare seventies music from Burundi!

Original US pressing. Still in shrink but opened with hype sticker. Tiny corner wear and some paper scuffs. Original inner sleeve.

This slice of Louisiana deep Southern soul has taken on a life of its own since Dave Godin included it on his first “Deep Soul Treasures” CD, and the single has shot up to well over three figures in value.

In 2021 the song is the subject of a cover version by the-name-to-drop Lady Blackbird and we felt it was about time that it was reissued in its original format.

Still sealed. Trifold cover with braille.

New music from Philadelphia’s recently rediscovered soul powerhouse Ron Aikens and his backing band the Hip Tones is a soon-to-be classic double sider. Following in the traditional “soul 45 rpm” single format, a sweet ballad side with a funk side on the flip. Here is the first physical release from the forthcoming LP “Ron And The Hip Tones”. The lowrider soul feel on “Tear On My Chin '' comes from a brainstorming session with Ron, producer P. Maxwell Ochester, and the two main songwriters Dave Cope & Fred Berman. It tackles heartache, pain, and loss coupled with the slow grinding groove only true heartache can produce. On the flip you will find a nod to Ron’s former band, Power Of Attorney and their breakout single “Changing Man” which inspired the uptempo groove and catchy flute part. Hinting at the classic Philly Soul style, there are lush strings and as an added bonus the impactful and powerful message delivered by Philadelphia poet Ursula Rucker.

New music from Philadelphia’s recently rediscovered soul powerhouse Ron Aikens and his backing band the Hip Tones is a soon-to-be classic double sider. Following in the traditional “soul 45 rpm” single format, a sweet ballad side with a funk side on the flip. Here is the first physical release from the forthcoming LP “Ron And The Hip Tones”. The lowrider soul feel on “Tear On My Chin '' comes from a brainstorming session with Ron, producer P. Maxwell Ochester, and the two main songwriters Dave Cope & Fred Berman. It tackles heartache, pain, and loss coupled with the slow grinding groove only true heartache can produce. On the flip you will find a nod to Ron’s former band, Power Of Attorney and their breakout single “Changing Man” which inspired the uptempo groove and catchy flute part. Hinting at the classic Philly Soul style, there are lush strings and as an added bonus the impactful and powerful message delivered by Philadelphia poet Ursula Rucker.

Soul Flip returns with label boss DEL Gazeebo breathing fresh life into a couple of absolute classics: SAM & DAVE's "Soul Man" gets more DJ friendly with a big badass edit and THE O'jays' version of "now That WE Found Love" with the strings from the album version that were missing from the 7".

It's been a while, but after some significant restructuring behind the scenes, Soul Flip is back in the groove, with a fresh new look, and more sweet, soulful sounds.



Chapter 16 of the Soul Flip story sees Del Gazeebo breathe fresh life into a couple of absolute classics, steering them directly at the dancefloor.



First up for the Soul Flip treatment is Sam & Dave's "Soul Man", Del somehow making an already big tune even bigger, and very much more DJ-friendly.



On the flip, Del takes the O'Jays original version of "Now That We Found Love" & injects it with fresh energy. It also retains the glorious strings from the album version that was edited out from the original 7" (UK only) release.

One of the bangers of Dave Haffners amazing disco with a feeling comp on 45, one of San Diego's finest independent disco 45s. Make sure and check the LP on the incredible Cordial Records, with unreleased tracks.

These sides are prototypical for the "Sounds Like Santana" genre coined at the Friends of Sound record store in Austin, TX years ago. Heavy Latin Rock fusion on these tracks, with just a pinch of Jazz thrown in for good measure. "Evil Deeds" starts right into it the moment the needle hits the groove on your turntable - heavy organ, percussion, shakers, and guitar all greet your ears. Moving into the track you get the typical shredding guitar solo, organ solo, and a sax solo, for good measure. "Time and Space" starts with a nod to the classic Dave Brubeck "Take Five" and continues on an adventure into a more psychedelic groove and more of a Rock vibe. Time changes and tempo shifts and big solos round out the side.

These sides from 1970s band Smith & Gordera are prototypical for the "Sounds Like Santana" genre coined at the Friends of Sound record store in Austin, TX years ago. Heavy Latin Rock fusion on these tracks with just a pinch of Jazz thrown in for good measure.

"Evil Deeds" starts right into it the moment the needle hits the groove on your turntable - heavy organ, percussion, shakers, and guitar all greet your ears. Moving into the track you get the typical shredding guitar solo, organ solo, and a sax solo, for good measure.

"Time and Space" starts with a nod to the classic Dave Brubeck "Take Five" and continues on an adventure into a more psychedelic groove and more of a Rock vibe. Time changes and tempo shifts and big solos round out the side.