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

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

Record Store Day 2021 Drop 2 release limited to 500 ciopies worldwide. A crazy 22-track collection containing some of the biggest dance craze hits from the Philadelphia label that got the world dancing in the early 1960s / Includes tracks by Cameo Parkway’s biggest stars: Chubby Checker, Bobby Rydell, Dee Dee Sharp, The Orlons and The Dovells as well as R&B greats Don Covay and The Turbans / Twelve Top 40 hits including three number 1 chart toppers! / Chubby Checker’s original hit version of “The Twist,” which has the distinction of being the only single of the rock era to reach number 1 twice in two consecutive years, is included / Features an essay by acclaimed rock & roll and R&B historian John Broven / Mastered from the original master tapes from ABKCO’s Cameo Parkway archive / Bespoke printed inner bags including extensive liner notes and period photos

Vinyl with a couple of light scuffs

With OBI and insert.

Wah Wah 45s make a welcome return to the world of re-issues. Having started out over two decades ago releasing dance floor funk from Benny Poole, Cheyenne Fowler and The Googie Rene Combo, and later re-releasing obscure Kompa-funk from Haitian pianist Henri Pierre Noel, they now turn their attention to an overlooked early 90s acoustic soul gem.
About thirty years ago, music teacher and budding producer Alex Boyesen found himself working as part of the Haringey Music Workshop - a community programme and outreach project funded by the local council in Haringey, North London (coincidentally the area in which the Wah Wah head office is now based!).
"Anyone could come and get lessons for free - ranging from piano, sax, guitar, drums, bass, singing and workshops including choral, jazz band and more." Alex Boyesen
It was during that time that Alex came across a young Sam Edwards.
"One day I went into one of the rehearsal rooms and there, by herself, was this girl playing a piano and singing. It was the most incredible voice I had ever heard."
Before long, the pair were playing all over London as a duo with Alex on guitar and Sam on vocals.
"Sam had never had professional training, she was simply an utter natural."
The Haringey Music workshop was connected with other projects in the borough, in particular a community project called the Selby Centre. Here they ran training programs for young people and one of these was a music business course. The idea was that they found an artist, recorded them and then promoted them. One way or the other they ended up picking Alex and Sam to be on their roster.
"My good friend Nixon Rosembert was brought in to oversee the recordings and they hired the Islington Music Workshop to do the recording. We got musicians from the Haringey Music Workshop to play on the sessions and spent a day recording two songs -American CarsandLife. The training workshop had created a label called Progression Music and out the record went."
Three decades later and out of the blue Alex started to get interest again in the record he'd almost forgotten about all those years ago. It had become something of a sought after gem on Discogs, and there seemed to be an interest in that 'acoustic soul' sound once again.
"I got three people asking if they could re-release it and finally here we are with Wah Wah 45s doing the business after all these years."
It was Hospital Records and Wah Wah 45s founder, Chris Goss, who first brought the idea of releasing this record to the table.
"This is a really special record for me, picked up 30 years ago, from a young James Lavelle at Honest Jon's in Ladbroke Grove. Sam Edwards would go on to perform and write songs with North London's Izit, the acid jazz collective fronted by Tony Colman - with whom I have built a music company, these past 25 years. Alex Boyeson worked with Tony at the Haringey Arts Project, who produced a one-off vinyl release of Alex's two compositions back in 1991. Thanks to Alex and Tony, we have been able to clean-up the original audio, uncover photos and lyric sheets to present, with real love and affection, these two lost gems from a bygone era." Chris Goss, Feb 2021.
The project was then expanded by Dom Servini, who got heavy disco legend Ashley Beedle and co-label owner and erstwhile producer Adam Scrimshire in to take on remix duties.
"When approached by Dom Servini to reworkAmerican CarsI had no idea about the history of the original song. After a good listen myself and studio partner Darren Morris set to work and all I can say that it was a lovely experience keeping the vibe of the original but giving it a spaced out feel in true Afrikanz On Marz fashion." Ashley Beedle, Feb 2021.
"Remixing without multi-tracks always brings a bunch of challenges, getting the balance between the bass and drums in the original and what you want to do with your own version. The song really dictates certain things to you.
But it was such a pleasure to explore that with this beautiful song and vocal performance. So many ways to approach it. I just wanted to draw out more of the melancholy in the original and make it an absorbing experience." Adam Scrimshire, Feb 2021.
Perhaps the last word should be given to Alex himself, who's very much enjoying the new lease of life that his music with Sam is getting.
"As I write this we are trying to locate her, she's somewhere singing something, that's all she ever did. Thanks for being part of my life Sam and I am so glad that this small bit of that time is being remembered." Alex Boyesen, Feb 2021.

Cover and vinyl are close to NM.

Following on from the successes of their first two LPs, "Kalba" and "Small Small", Isaac Birituro & The Rail Abandon return with the "Kontonbili EP". A collection of seven tracks that trace the traditional West African roots of their sound whilst adding their unique touch, largely courtesy of Isaac's xylophone, Sonny Johns' folky embellishments and the vocal prowess of powerful Ghanaian songstress Wiyaala.

The lead single "Hado Deeli" roughly translates to "My Rival" and is a vibrant discussion between two rivals, one of whom is always making a fuss about anything and everything, even when things are all good! "Gargar", with its collaboration of xylophone, whistles, Wiyaala's effervescent vocals and relentless groove represents, quite literally, the band's "joining together" for this EP. In contrast, "I Know" sees Sonny Johns takes over lead vocal duties to lament the breakdown of a relationship accompanied by muted horns and Wiyaala's soothing backing vocals. "Nimmbalia" continues in a mellow and reassuring tone before emerging as one of the most uplifting and simultaneously fierce cuts on the EP! The traditional version of "Bawa" - the original take of which can be found on last year's "Small Small" LP - strips things back a little, before culminating in a battle of xylophone, whistles and choir. "Yeri Villa" has a wonderfully laid back, sun drenched feel with some truly beautiful vocal refrains, and finally - only available on the digital version - comes the deeply percussive and trance inducing "Darpeny", rounding off a rather stunning EP from this cross continental outfit.

All tracks feature Ghanaian singer, song-writer, model and actor, Wiyaala. With a strong fanbase in Africa and beyond, "the lioness" made her mark on Wah Wah 45s and BBC 6 Music last year when she featured on the A-listed "Senye", described as "perfection" by Annie Mac and "pure joy!" by Tash LC.

We're all unabashed fans of Steely Dan so we take Steely Dan covers seriously. Mainly "why bother"? You can't improve on perfection right? However, when we heard Deep Heat's scintillating version of "Do It Again" we changed our minds. A totally brilliant funkier version of Steely Dan's first-ever hit which stands loud and proud in re-interpreting this classic song into something much more appropriate for today's more sophisticated dance-floors.

Originally released on the tiny Detroit label, Cu-Wu, original copies soon ran out. There is currently just one available in the entire world for $1000 and that'll be gone in a blink. The smart money says hold on for a mint reissue on the original label.

A great socially-conscious flip too, the uptempo funky "She's A Junky (Who's To Blame)". All in all, this is a killer double-sider and will also appeal to Steely Dan collectors and enthusiasts across the board. Expect strong demand. I mean who wouldn't want this within their collection? Absolute banger. Both sides!

To round out the year, Los Angeles' own Night Owls are hitting the decks once again with their next re-imagined soul classic, this time digging deep in the crates and taking on Lee Moses’ 1970s Maple Records version of the Herman Hitson classic "Got That Will." Flipping this rare soul cut into an early Dancehall-inspired banger, producer & guitarist Dan Ubick brought in powerhouse singer Gina Murrell (Wailing Souls, U-Roy, The Ethiopians, Orgone) to match the new energy and direction brought by Night Owls' rhythm section of Ubick, Wilder, Colie, and Rivas. But like the old Ginsu knife adverts...that’s not all - this go ‘round Ubick also enlisted Kingston's own legendary deejay Ranking Joe (Greensleeves, Trojan, Joe Gibbs, etc.) to bless the track with his signature rhythmic, ad-lib stylings, giving this rendition an even sharper edge.

The flip side features a proper Version in “Got that Dub" mixed by Night Owls keyboard maestro and engineer Roger Rivas complete with dubbed-out Space Echoes, verb splashes, SynDrum hits and drum 'n' bass sections and a completely different vocal take from Ranking Joe showcasing even more of his signature, razor-sharp wordplay. “Got that Dub" gives this Night Owls re-imagined deep soul classic extended life and is primed for a late 70’s/early 80’s sound system set, blasting loud and turned to eleven so all you deejays and selectors make sure to grab doubles before they are gone!

Surfing on the wave of 1980’s Nippon’s bubble of electronics and economics, fashion and the femme fatale, explosion of its pop culture and computerized technopop, and the world’s sudden fascination with everything Japan, a group of young studio musicians stemming from Tokyo’s downtown of Akihabara and Kanda came together for ad hoc recording sessions between 1982-1986. Their goal… produce the next domestic hit album, a travelogue of city pop inspired by the urban yet lonely sprawl of now globally admired Asia. Yet their vision of the concept album under the City Heights moniker never came to see the light due to the group’s sudden disbandment after the tragic loss of love.

Led by the guitarist come arranger-producer Hasegawa Joe (Jô) and keyboardist Katsurag Mariko, the City Heights sessions drew form Tokyo’s musical melting pot of early 1980s with a distinct blend of jazz, funk, boogie, spiced with a local touch of Nippon’s finest electronic instruments.

Now, restored, remastered and occasionally redubbed by Japanese music connoisseur Sten Saluveer aka Mildhans, this second, highly anticipated volume will take you on a journey through the love-longing nights of Aoyama, to the festive matsuri bustle of Jô’s hometown of Kanda, the Jasmine dreaming of Taipei, and a quirky nod to a then legendary musical superhero.

Since their debut LP in 2018, The White Blinds have been steadily making a mark on the soul-jazz scene by consistently offering a unique style to the classic organ trio format. Building on that foundation, The White Blinds proudly announce their sophomore LP "PRESHEATECHA!" (pronounced pre-she-ate-cha), featuring ten original compositions stretching out even further to blend the familiar elements of soul-jazz with funk, Latin, and reggae undertones. From the body movin' and hip-shaking single "Cal High" to the Jackie Metoo-inspired "Struttin,'' rounded out with the Chester Thompson'esque organ-driven "Bay To L.A.," this LP showcases both strong songwriting and tasteful musicianship from start to finish. With the signature open drum tones of Michael Duffy to the gritty guitar stylings of Matt Hornbeck rounded out with the low-end and soaring melodic passages of organist Carey Frank, The White Blinds hold their own in the ever-evolving world of what it means to be an organ trio. "PRESHEATECHA!" is a step forward, pushing the limits of a group whose music can best be described as instrumental soul-jazz with a backdrop of Los Angeles flair.

A band who’s been gradually making a dent in the West Coast music scene, Mestizo Beat is pushing forth with a brand new 45 that further expands on their core sound to fuse the old with the new while paying homage to the greats who came before. “Left Behind b/w I Want You” is no exception.

Taking inspirational elements from Roy Ayers, Isaac Hayes, George Benson, Eric B and Rakeem, Mestizo Beat teamed up with longtime friends Jamie Allensworth and Terin Ector to bring a fresh set of vocals and lyrical element to the bands mostly previous instrumental catalog. On Side-A we find “Left Behind”, an original collaboration between Mestizo Beat and Jamie Allensworth (Jungle Fire, Orgone, Night Owls) who’s soulful vocals and wide range takes us strait to those late night after hour jams complete with a Benson inspired guitar solo by Aquiles Magaña and vibraphone additions by Tim Felten (Sure Fire Soul Ensemble). Left Behind’s lyrical elements are about leaving wherever you are in pursuit of something you can't quite explain, but you'll know in your soul when you find it. The song is a constant state of wandering in search of where you're meant to be while the clock keeps ticking adding a sense of urgency. Then, Side-B, hits it hard with a cover of Marvin Gaye’s “I Want You” featuring Terin Ector (Organ, Moswen, Soluzion) on lead and Jamie Allensworth this time providing backup support. While staying close to the original but with added production value and vintage synthesizer strings soaring over top, these two songs together, along with production out of the band’s home studio, Spc#166 in Topanga Canyon, CA, take this record to new heights for a true “double A-side” slab of wax.

Mestizo Beat is a musical group and production team founded by brothers Aquiles and Agustin Magaña. Both songs mixed by Claudio Cueni and mastered by John Golden.

The White Blinds bring you their latest installment in F-Spot Records Homage 45 Series.A group of musicians who can surely take things up a notch, Michael Duffy, Matt Hornbeck, and Carey Frankdon't disappoint.Side-A features the burning classic Brown Bag by Ivan Boogaloo Joe Jones, with a subtle twist to the arrangement in true White Blinds fashion. Side-B features the all original tune Muddy Water which could have easily been written in the golden years of 60’s soul jazz. A nice mid tempo feel that’s a favorite around here. This tune really stands out andhighlights the songwriting craft of Duffy, Hornbeck, Frank, and instrumental Organ Trio music.

Cliff Beach has been performing live for more than 15 years in Los Angeles. This DC native teamed up with longtime friends and collaborators, Mestizo Beat, to bring you two sides of pure funk-soul goodness! Side-A features “Confident” which is a powerhouse of a tune. Produced and led by Aquiles Magaña, this collaboration draws on sounds from early 1970’s funk, soul, and R&B. Beach’s vocal reminds us of a young Stevie Wonder that is a perfect summertime jam. “Penny Candy” on the flip is a more swampy New Orleans inspired track. Driven by the piano sounds of Dan Hastie (Orgone) and rhythms of Agustin Magaña, this base glues the whole ensemble under Beach’s boogie funk vocal stylings, to really turn things up!

/ She Loves Me So

US original mono pressing.

Still sealed with hype sticker.

close to NM