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Vinyl with many scuffs and hairlines

An American soul vocal group that would goon to shape the sound of pop music muchfarther beyond their imaginations, ThePonderosa Twins Plus One featured twosets of identical teenage twins, Alfred andAlvin Pelham, and Keith and Kirk Gardner,along with Ricky Spicer. The group releaseda couple of singles and a lone album forCleveland's Saru label in 1971, breakingup and disbanding as adolescence waned. Arecent sample darling of both Kanye West andTyler The Creator, "Bound" has revealed thePonderosa Twins Plus One as the real Midwestkid soul deal. Numero is proud to presentthe first official American repressing of theoriginal 1971 release, with fresh remastersfrom the original analog tapes, two previouslyunissued bonus tracks, and a replica tip onsleeve, making this an album you're bound tofall in love with.

An American soul vocal group that would go on to shape the sound of pop music much farther beyond their imaginations, The Ponderosa Twins Plus One featured two sets of identical teenage twins, Alfred and Alvin Pelham, and Keith and Kirk Gardner, along with Ricky Spicer. The group released a couple of singles and a lone album for Cleveland's Saru label in 1971, breaking up and disbanding as adolescence waned. A recent sample darling of both Kanye West and Tyler The Creator, "Bound" has revealed the Ponderosa Twins Plus One as the real Midwest kid soul deal. Numero is proud to present the first official American repressing of the original 1971 release, with fresh remasters from the original analog tapes, two previously unissued bonus tracks, and a replica tip on sleeve, making this an album you're bound to fall in love with.

US reissue.

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

For the first time since 1973, her famed single “Deep Inside. You” is back in print on 7” vinyl, courtesy of Nature Sounds. Taylor’s records were characterized as “a unique musical brew that mixed northern soul with exotic percussion and fuzzy psychedelic guitars.... [in] a range of tempos and stylings from ballads to disco.” Taylor was nominated for the 12th annual Grammy Awards in the category of best R&B vocal performance by a female for the song “You Gotta Pay the Price”. The singles released by Gloria Ann Taylor are well-established rare
treasures in the Soul music canon. Although Taylor was nominated for a
Grammy, performed live on bills featuring The Emotions, Johnnie Taylor,
B.B. King, and The O’Jays, and had a circle of friends that included
Bootsy Collins and James Brown, by the the mid-1970s her career had
stalled and she abruptly quit the music business. Taylor’s records later
became highly sought-after by DJs and rare groove collectors, prized
for a hauntingly soulful sound that mixed northern soul with exotic
percussion and psychedelic guitars.
Gloria Ann Taylor passed away in December 2017 at the ago of 73.
Now, for the first time since 1973, her famed single “Deep Inside You” is
back in print on 7” vinyl, courtesy of Nature Sounds. This limited-edition
pressing of the often-sampled Columbia Records release also includes
the original B-side “World That’s Not Real”.

Another friday dedicated to the black gold!

Previously released as part of a double LP
compilation with her complete output on Selector
Sound and the Deep Inside You EP. However, this is
the first official reissue of the Deep Inside You EP as
it's on stand-alone release.
Soul singer Gloria Ann Taylor has no rags to riches
tale to tell. Her story is one of personal sacrifice,
failed relationships, and missed opportunity. She was
leading a hard knock life before being swept-up by
the flash and promise of a marriage and business
partnership with a successful record producer. She
would be nominated for a Grammy, rub shoulders
with James Brown and Bootsy Collins, and turn
heads from Motown. But in the end she rejected
professional singing, the music business, and the
lifestyle that came with it. Thankfully for music lovers,
before Gloria closed the doors on her singing career,
she left us with some amazing soul songs. Deeply
shaded by gospel roots, her haunting sound clearly
comes from the gut. Gloria did not fake the funk.
Gloria was a partial owner of the Selector Sounds
label, along with her husband/producer Walter
Whisenhunt (previously a right-hand man to James
Brown), and her brother Leonard. They released five
Gloria Taylor singles between 1971 and 1977. They
also released the three-song Deep Inside You EP,
under the name Gloria Ann Taylor and Walter
Whisenhunt’s Orchestra. In the studio Whisenhunt
would work up a unique musical brew that mixed
northern soul with exotic percussion and fuzzy
psychedelic guitars. He moved Gloria through a
range of tempos and stylings from ballads to disco.
Her gritty vocal performance was set to orchestral
arrangements creating a juxtaposition of grandeur
and solace. The pinnacle of their collaborations has
to be the jaw-droppingly epic EP version of “Love Is
a Hurting Thing”; a chugging, string-laden disco
track, that sounds like proto-Theo Parrish

close to NM

US original, Columbia-Terre Haute/Santa Maria pressing.

Vinyl with a couple of light scuffs, closer to VG+
Includes original inner sleeve.
Sticker on cover.

Small light scuff on side B.
Cover with writing, stamp, sticker and stain from prior waterdamage.

Vinyl with a couple of light scuffs, close to VG+. Cover with bumped corner

D’Angelo lost his shit over it. Aaliyah’s 3rd favourite track of all time is on it. David Bowie rocked up with it to a TV interview, declaring it “the most exciting sound of contemporary soul music”. In 1996, Lewis Taylor released his self-titled masterpiece. A true modern classic, it’s an album that was years ahead of its time. Forget 25 years ago, it could easily have been made in 2021. An effortless blend of neo-soul, sophisticated pop, smart grooves and laid-back white funk, it enjoyed rapturous reviews from critics and music legends alike. But the album never managed to make an impact and given what was likely a token vinyl release at the time, the original records have long since been near-impossible to find. Lewis Taylor’s Lewis Taylor remains a holy relic for some and criminally unknown to most. Lewis Taylor’s impeccable influences created a dazzling sonic palette: the LP as a whole suggests the visionary brilliance of Prince; the vocal stylings evoke the yearning power of Marvin Gaye; the effortless guitar playing shares the virtuosity of Jimi Hendrix; the haunting tones conjure Tricky; the innovative production and engineering invite comparisons to studio mavericks like Todd Rundgren and Brian Eno; the multi-layered, complex harmonies flash on Pet Sounds-era Brian Wilson; the dark, drama is reminiscent of both Scott Walker and Stevie Wonder; the complex arrangements create textures and moods with the feel of Shuggie Otis on Inspiration Information; the bold experimentation is akin to progressive artists like Faust and Tangerine Dream; the atmosphere is in conversation with Jeff Buckley’s Grace and we could go on.

Originally released on Gloria and her husband Walter Whisenhunt’s label Selector Sound as a 7in single, “Love Is A Hurtin’ Thing” features her soaring vocals
backed by luscious strings, orchestral horns and a searing guitar. On the flip is “Brother Less Than A Man” which sounds like a proto Funkadelic
/Parliament psychedelic funk bomb. Pressed as a 7in single on the House Guests label, it highlights a grittier side of her singing that matches the song’s depth and intensity. Backed by a rhythm section featuring Bootsy Collins and brother Catfish who along with Gloria and her husband founded the label
after leaving James Brown’s band. Look for the similarly titled anthology of Gloria’s ouput on the Selector Sound label to drop later in 2015.

It all started at 16, going to the music Brit School, starting off as a drummer playing all kinds of genres before picking up a guitar as well as piano, realizing he had everything to make music. Within a year, he had released the raw, lo-fi and lush ‘bcos u will never be free’ filled with synths, guitar and gentle melodies. Releasing it all on Soundcloud, it was picked up by Tyler, The Creator and this led to a collaboration on the track “Boredom”, which is the opening to Tyler’s ‘Flower Boy’.

Rex Orange County’s recent album ‘Apricot Princess’ is the sound of falling in love. Over 10 sickly-sweet songs, Surrey-born musician Alex O’Connor encapsulates those butterflies-in-your-tummy feelings with lashings of jazzy piano and tales of tripping head-over-heels for someone. It is utterly joyous.

Repress of her in-demand and sought after 10 track LP compilation with all her Selector Sound 7in output.

180 gram pressing housed in heavyweight tip-on jacket

Amidst much anticipation from collectors, record stores, DJ's and producers alike Gloria Ann Taylor's musical output on Selector Sound have been compiled and will be presented in a deluxe triple-gatefold double LP package complete with photos and extensive liner notes. Soul singer Gloria Ann Taylor has no rags to riches tale to tell. Her story is one of personal sacrifice, failed relationships, and missed opportunity. She was leading a hard knock life before being swept-up by the flash and promise of a marriage and business partnership with a successful record producer.

She would be nominated for a Grammy, rub shoulders with James Brown and Bootsy Collins, and turn heads from Motown. But in the end she rejected professional singing, the music business, and the lifestyle that came with it. Thankfully for music lovers, before Gloria closed the doors on her singing career, she left us with some amazing soul songs. Deeply shaded by gospel roots, her haunting sound clearly comes from the gut. Gloria did not fake the funk.

Gloria was a partial owner of the Selector Sounds label, along with her husband/producer Walter Whisenhunt (previously a right-hand man to James Brown), and her brother Leonard. They released five Gloria Taylor singles between 1971 and 1977. They also released the three-song Deep Inside You EP, under the name Gloria Ann Taylor and Walter Whisenhunt's Orchestra. In the studio Whisenhunt would work up a unique musical brew that mixed northern soul with exotic percussion and fuzzy psychedelic guitars.

He moved Gloria through a range of tempos and stylings from ballads to disco. Her gritty vocal performance was set to orchestral arrangements creating a juxtaposition of grandeur and solace. The pinnacle of their collaborations has to be the jaw-droppingly epic EP version of "Love Is a Hurting Thing"; a chugging, string-laden disco track, that sounds like proto-Theo Parrish.

Ramrock Red Records are proud to present acclaimed singer/songwriter, Pauline Taylor and her hauntingly powerful four track ‘Siren’ EP. Showcasing her soaring, stripped back, grassroots, earthy vocals, the EP is reminiscent of a long lost Alan Lomax recording with rhythmic arrangements which only serve to highlight Pauline’s unshakeable, pitch perfect harmonies. This is a truly remarkable release that will shake you to your core with its honesty, purity and authenticity – Ms. Taylor is at the very top of her game.

The latest release from Soul Step Records is The Local Honeys "The Gospel." This is the latest release as part of the Footprint Series that Soul Step releases in order to preserve and promote old time Country, Bluegrass, and Folk. The Local Honeys are Linda Jean Stokley and Montana Hobbs. They have had a big year, recently dazzling audiences all over Europe opening for Tyler Childers and releasing "The Gospel." They have dedicated themselves to the preservation of old music and the creation of new music.

‘What We Call Life’ is Jordan Rakei’s most vulnerable and intimate album to date. Its lyrics concern the lessons that the New Zealand-born, Australia-raised, and London-based artist learned about himself during therapy, a journey that began two years ago when he started reading about the ‘positive psychology’ movement. These themes manifest on songs like lead single “Family”, which Rakei says is “the most personal” he’s ever been with his lyrics. “I wanted to hit my vulnerability barrier and be really honest. It’s about my parents’ divorce in my mid-teens but still having love for them no matter what,” he explains.

With so many artists being influenced by his style, it would be very easy for Jordan to stay in the same musical lane; but, as in life, he is determined to move his music forward. Such introspective subjects are a departure from Rakei’s last album, 2019’s ‘Origin’. Raising big questions about the way that technology and social media interferes with our sense of humanity, ‘Origin’ received praise from The Observer, Mixmag, Complex, and GQ, earned an unexpected shout-out from Elton John, led to a collaboration with rap legend Common, and saw Rakei give a show-stopping performance for NPR’s Tiny Desk Concert series.

No stranger to collaboration, Rakei is closely associated with friends and collaborators like Loyle Carner (with whom he co-wrote, produced and performed on “Ottolenghi” and the Jorja Smith-featuring “Loose Ends”), Tom Misch and Alfa Mist. He has also joined Chic’s Nile Rodgers for a writing session and recorded with Terrace Martin, producer for Kendrick and Snoop Dogg, and Herbie Hancock. There’s also his tight relationship with the South London dance music scene orbiting Bradley Zero’s Rhythm Section clubnight and label, with Rakei adopting the alias Dan Kye, most recently to offer up an exclusive track for Bonobo’s ‘Fabric presents’ mix and to release his full-length, ‘Small Moments’ album in November 2020. He also recently covered Donald Byrd’s “Wind Parade” for the Blue Note Re:imagined compilation, and earlier this year showcased work from his creative community alongside some of his favourite tracks (including his own covers of Radiohead’s “Codex”, and Jeff Buckley’s “Lover, You Should've Come Over”) in his mix for the esteemed LateNightTales series. He continues to offer up production tutorials and behind-the-scenes insights into his creative process with his fan community on Patreon.

With previously sold-out US and Australian headline tours, as well as performances at iconic venues and festivals – including Glastonbury, Pitchfork Avant-Garde Block Party, Sxsw, Montreux Jazz Festival, two sold out nights at Ronnie Scott’s, and a DJ set at Fabric (under his Dan Kye alias) – Jordan played a triumphant sold-out stop at London’s Roundhouse in 2019. In April 2022 he will embark on his biggest UK and EU tour yet, ending with a massive headline show at London’s 5000-capacity O2 Academy Brixton.

On ‘What We Call Life’ Rakei dives deeper into his sound world, merging electronic with acoustic, and rugged grooves with ambient atmospheres, to create something richer, more detailed, and more textural than before. Rakei, already a practitioner of meditation and mindfulness, was curious about the potential of using therapy for further self-discovery. During the process, he began to learn more about his behaviour patterns and anxieties, and addressed his long-standing irrational phobia of birds – a fear often associated with the unpredictable and the unknown, and something explored in the album’s creative direction and visuals. “As we worked through it, it made me realise I would love to talk about the different lessons I learned from therapy in my music: about my early childhood, my relationship with my parents and siblings, becoming independent in London, being in a new marriage, understanding how my marriage compares to the relationship my parents had”, Rakei says.

Artwork was created by Canadian-born, Los Angeles-based visual artist Justin Tyler Close (who has worked previously with the likes of Laura Marling), who resonated with the themes on Rakei’s album. The image was created in a remote photo shoot, with Rakei sending images over the internet that were projected onto a sheet and photographed by Close. The melancholic images reflect the title of the record, a question that Rakei would sometimes ask himself during a period of his childhood in which he suffered a great deal of anxiety: Is this what we call life? Rather than accepting defeat, the title is today a commentary on the more happy, confident, and assured person and artist that Jordan Rakei is today.

‘What We Call Life’ is Jordan Rakei’s most vulnerable and intimate album to date. Its lyrics concern the lessons that the New Zealand-born, Australia-raised, and London-based artist learned about himself during therapy, a journey that began two years ago when he started reading about the ‘positive psychology’ movement. These themes manifest on songs like lead single “Family”, which Rakei says is “the most personal” he’s ever been with his lyrics. “I wanted to hit my vulnerability barrier and be really honest. It’s about my parents’ divorce in my mid-teens but still having love for them no matter what,” he explains.

With so many artists being influenced by his style, it would be very easy for Jordan to stay in the same musical lane; but, as in life, he is determined to move his music forward. Such introspective subjects are a departure from Rakei’s last album, 2019’s ‘Origin’. Raising big questions about the way that technology and social media interferes with our sense of humanity, ‘Origin’ received praise from The Observer, Mixmag, Complex, and GQ, earned an unexpected shout-out from Elton John, led to a collaboration with rap legend Common, and saw Rakei give a show-stopping performance for NPR’s Tiny Desk Concert series.

No stranger to collaboration, Rakei is closely associated with friends and collaborators like Loyle Carner (with whom he co-wrote, produced and performed on “Ottolenghi” and the Jorja Smith-featuring “Loose Ends”), Tom Misch and Alfa Mist. He has also joined Chic’s Nile Rodgers for a writing session and recorded with Terrace Martin, producer for Kendrick and Snoop Dogg, and Herbie Hancock. There’s also his tight relationship with the South London dance music scene orbiting Bradley Zero’s Rhythm Section clubnight and label, with Rakei adopting the alias Dan Kye, most recently to offer up an exclusive track for Bonobo’s ‘Fabric presents’ mix and to release his full-length, ‘Small Moments’ album in November 2020. He also recently covered Donald Byrd’s “Wind Parade” for the Blue Note Re:imagined compilation, and earlier this year showcased work from his creative community alongside some of his favourite tracks (including his own covers of Radiohead’s “Codex”, and Jeff Buckley’s “Lover, You Should've Come Over”) in his mix for the esteemed LateNightTales series. He continues to offer up production tutorials and behind-the-scenes insights into his creative process with his fan community on Patreon.

With previously sold-out US and Australian headline tours, as well as performances at iconic venues and festivals – including Glastonbury, Pitchfork Avant-Garde Block Party, Sxsw, Montreux Jazz Festival, two sold out nights at Ronnie Scott’s, and a DJ set at Fabric (under his Dan Kye alias) – Jordan played a triumphant sold-out stop at London’s Roundhouse in 2019. In April 2022 he will embark on his biggest UK and EU tour yet, ending with a massive headline show at London’s 5000-capacity O2 Academy Brixton.

On ‘What We Call Life’ Rakei dives deeper into his sound world, merging electronic with acoustic, and rugged grooves with ambient atmospheres, to create something richer, more detailed, and more textural than before. Rakei, already a practitioner of meditation and mindfulness, was curious about the potential of using therapy for further self-discovery. During the process, he began to learn more about his behaviour patterns and anxieties, and addressed his long-standing irrational phobia of birds – a fear often associated with the unpredictable and the unknown, and something explored in the album’s creative direction and visuals. “As we worked through it, it made me realise I would love to talk about the different lessons I learned from therapy in my music: about my early childhood, my relationship with my parents and siblings, becoming independent in London, being in a new marriage, understanding how my marriage compares to the relationship my parents had”, Rakei says.

Artwork was created by Canadian-born, Los Angeles-based visual artist Justin Tyler Close (who has worked previously with the likes of Laura Marling), who resonated with the themes on Rakei’s album. The image was created in a remote photo shoot, with Rakei sending images over the internet that were projected onto a sheet and photographed by Close. The melancholic images reflect the title of the record, a question that Rakei would sometimes ask himself during a period of his childhood in which he suffered a great deal of anxiety: Is this what we call life? Rather than accepting defeat, the title is today a commentary on the more happy, confident, and assured person and artist that Jordan Rakei is today.

A ho, ho, heatrock of a holiday 45 that burns well beyond the Christmas season. Pat Van Dyke is a multi-instrumentalist, composer, producer, and band leader who has gathered praise from the likes of Wax Poetics, Flea Market Funk, Gilles Peterson, Bobbito Garcia, Pitchfork, and more. These recordings of his with vocalist Jeff Taylor serve as a sureshot dose of blue-eyed soul—best enjoyed fireside with a light snowfall. At the very least fire up that burning log on the television. This is that warm, analog sound you've come to expect from Van Dyke. Lush vocals, soulful saxophone, and a cherub choir complete that classic Christmas Sound on this limited-edition 45. Both tracks are originals and both are mastered by the legendary K-Def.

Soul singer Gloria Ann Taylor (gat) released only a small amount of music during her brief career. Although she never achieved the commercial success or stardom of many of her contemporaries at the time, she has now become a cult sensation. With a voice that emoted love, agony, and haunting spirituality, she became a pioneer of genre-bending sound that laid the groundwork for what would become disco, R&B, and modern soul music.

In 2015, Ubiquity’s Luv ‘n Haight label issued the “Love is a Hurtin’ Thing” album that made her otherwise highly scarce music widely available to a worldwide audience. In turn, a whole new generation discovered GAT, and her music surged, finding its way into DJ sets, along with garnering numerous exemplary reviews on sites such as Pitchfork and NPR. GAT, though happy with the success of the reissue of “Love is a Hurtin’ Thing” remained private and out of the spotlight and the music industry. In 2016, with some coaxing, GAT returned to the studio to record three new songs she had written. With only two instruments, her piano, and her voice, GAT gave over what would be her final contribution to the world of music. “Be Worthy,” “Rich or Poor,” and “Tough Suzanne” were born from that same love, heartache and spirituality that GAT had always tapped into as an artist, but now with the maturity of a life long-lived. GAT never made it back to the studio to hear the result of her vision; she passed away in 2018 without the backing band or vocals ever recorded. It took several more years and the genius of technology and engineering to bring GAT’s final tracks back to life. The “Be Worthy” 7-inch is a magnificent ending to the legacy of the soul singer that knew love is a thing we could never live without, even if it is a hurtin’ thing.

Yellow vinyl version!

Hailing from Moss Side, Manchester, this young talent has been steadily building a rep for himself over the past few years as one of the UK's most exciting soul vocalists, with his releases encompassing an eclectic assortment of alternative R&B, future soul, hip hop and D&B. Influenced by an array of neo-soul artists, such as D'Angelo and Anderson .Paak, his own soulful style has already seen him tour and collaborate with a number of UK peers; working on projects with label-mates Children of Zeus & Australia's REMi, and supporting the likes of Etta Bond & The Mouse Outfit, as well as performing sell-out headline solo shows in Manchester and London, and playing various festivals across Europe, including the We Out Here festival very recently.

Since he began developing his music in 2017, [ K S R ] has had support from the likes of 1Xtra, BBC Radio 1, BBC Introducing, Mixmag, NTS, Reprezent, Unity & Soho Radio, in addition to featuring on a slew of D&B tracks with artists like Lenzman, BCee, Emba & Redeyes. The collab with Emba was recently named a 'Kiss FM Future Selection' courtesy of Hybrid Minds and features have been supported on Spotify's 'New Music Friday' and 'Mandem - Kings' amongst others. His debut release 'Unfiltered' appeared on Polarface Records in 2019, which was followed by single 'Flex With Me' (also produced by Tyler Daley from Children of Zeus) then an independent second EP, 'Take Control', followed in late 2020 (during the pandemic) which amassed over 500k streams. Additionally to the releases, he was recently recruited by Manchester United as part of their 21/22 season kit announcements, as well as working with Nike and Size? on a special MCR-themed Air Force 1 release.

It's now time for a new extended project from Roosevelt Kazaula Sigsbert - better known as [ K S R ]. 'Peace + Harmony' is a solid set of alternative R&B, produced by Dom Porter and mixed by Eric Lau. Six tracks in all, including the single, 'Harmless' (which received support from the likes of Mr. Scruff (Worldwide FM), BBC Manchester and Victoria Jane (bbc Radio 1), was 'Track Of The Week' on 1Xtra/BBC Introducing, and saw the video racking up several thousand plays in its first weekend) and follow-up 'cgwy' featuring Children of Zeus on a brand new interpretation of their classic track 'Get What's Yours'. From the intro track 'I Wonder', to the downlow future soul of 'Lily Apart', to the autobiographical vibes of 'Born In '98', to the closing track 'Given Summer', also featuring the vocals of Ayeisha Raquel, each track on the EP is of course laced with Roosevelt's unmistakable silky smooth vocals, and is set to join his already impressive catalogue of underground soul classics such as 'Alien Boo', 'Stylin' and 'New Love'.

[ K S R ] says "my third EP, [ P E A C E + H A R M O N Y ] is a collection of my thoughts and experiences from my journey throughout the last two years of my life. Lots of aspects of my life changed over 24 months, along with everyone around the globe. When we were thrown into the unknown at the start of 2020, I stepped away from music for a while as I couldn't find any peace in my creativity and needed to evolve. I finally started to feel cohesive with my songwriting and music, and I could feel harmony between myself and my art once again."

What do Tyler the Creator, Mantronix, Stetsasonic, DJ Shadow, Eric B and Rakim, Brand Nubian, Jay-Z and N.W.A. have in common?

What do UK Apachi and Shy FX, DJ Zinc, Bukem, Ganja Kru, Lemon D Ice, Dillinga, Photek, 4-Hero, Congo Natty, Krome and Time, Roni Size, Skream and Shut Up and Dance have in common?

Not to mention The Prodigy, Squarepusher, Leftfield, Oasis, Aphex Twin, Calvin Harris, Dua Lipa, David Bowie, Primal Scream, Lady Gaga and Dizzee Rascal?

Answer: They have all sampled The Winstons’ ‘Amen, Brother’!

The Winstons’ ‘Amen, Brother’ is THE most sampled drum break in the history of music (over 5000+ according to whosampled.com) and has shaped the history of electronic music ever since its creation in 1969.

This is the official release of the Winston’s ‘Color Him Father’ album, out of print for fifty years on vinyl, a glorious break-heavy album of soul, funk and gospel featuring the single ‘Color Him Father’, ‘Amen, Brother’ and loads more! The fully remastered album is housed in exact-reproduction original sleeve and design and comes with 4 extra bonus tracks that the group released only as singles. There is also a very special one-off first pressing only of this album that comes with an exclusive one-sided 12” of ‘Amen, Brother’ featuring a specially extended break mix of the classic tune.

Lost soul phenomenon Lewis Taylor's Numb finally arrives on double vinyl! One of UK soul’s most fascinating artists, most enigmatic figures and most under-appreciated talents, Andrew Lewis Taylor is a prodigious multi-instrumentalist and eclectic polymath. He enjoys a fiercely loyal following which, over the years, has included celebrity champions like Bowie, Elton and D'Angelo. Numb is Taylor's sixth album, initially released on his own label Slow Reality (an anagram of his name) and licensed to Be With for this long-awaited physical edition. It captures Taylor's wholly unique, intoxicating take on lush, late-night psychedelic soul music.

Lewis wrote and recorded these 10 brand new tracks after a 17 year break from making music, although the album came together over a two-year period. The years away have done nothing to dull Taylor's unique musical vision. He still astounds. The lyrical themes, however, have shifted. Understandably, more than a decade and a half of soul searching and unflinching self-examination cannot fail to influence this most honest of songwriters, and boy does it show. Numb marks a return to the darker, more mysterious side of his output: "Brian Wilson-channels-Smokey Robinson atmospheres", as Mojo put it recently.

After playing a rapturously received gig at the Bowery Ballroom in NYC in 2006, Lewis unceremoniously walked away from music and disappeared completely. An interview in 2016 shed light on some of the reasons for Taylor’s withdrawal from the business, but there was no hint of a return anytime soon. Then in June 2021, news emerged out of the blue that he was readying new music alongside Sabina Smyth with whom he had worked first time around.

On Numb, Lewis deftly balances stark, soul-bearing lyrics with moody mid-tempo pop-soul sheen. He deals candidly with depression, mental turmoil, even thoughts of suicide - clearly more personal than Taylor's earlier songs. The music is rich, warm and layered, with infectious melodies and hooks that stick with you. A true grower of an LP, it really does reward repeated listens. As Jim Irvin in Mojo reflected, "despite the depths these plumb, it's a curiously uplifting experience, unfurling like a concept album about life's challenges with an optimistic beauty at its heart."

Triumphant dubwise horns ring out yet, almost instantly, “Final Hour” takes on a dark, downbeat vibe. With lyrics that confront (and, seemingly, confound) death head-on, Lewis ensures the groove is still there, the beats still swing and your head still nods, strings glissade. Woven around delicate yet insistent piano and subtle strings over a killer bassline, the title track “Numb” is a good example of the lyrical themes throughout the album. As Taylor reflects, "So removed I feel no pain / And for all I know I could be having the time of my life" with a coda that feels very much in conversation with Brian Wilson's finest harmonies. "Feels So Good" is sophisticated 90s-sounding soul of the highest order. The music and vocals feel simultaneously optimistic and despondent. Downlifting. A neat trick, and one Lewis has been so adept at over the years. "Apathy" is a mini-epic, a symphonic-soul gem which builds and glides and, eventually, soars. “Worried Mind" is another slow-builder, creeping out the gate in a sketchy, discordant fashion before climbing to half-crescendo but never quite breaking free of its disorientating restraint.

The brighter "Please" presents a more hopeful mood, with the refrain "I still believe" ringing out as Lewis harmonises with himself. "Brave Heart" quietly struts from step one, as Lewis's falsetto swaggers over a downtempo backdrop with ace echoey drums, beautiful strings and serene electric guitar. Closing out Side C, "Is It Cool" answers its own (non-) question with a spellbinding five and a half minutes of swoonsome deep soul that oscillates between a restrained, barely-there backdrop and a lushly full musical accompaniment of acoustic and electric guitar and organ over bass and slick drums. The penultimate track "Nearer" is a magical, soul-stirring ballad in which Lewis sings of reaching a sweet salvation and achieving a peace of mind. If the hairs on the back of your neck aren't standing up by the midway point, you might need to check your pulse. Album closer and true tear-jerker "Being Broken" places Lewis's gorgeous voice high in the mix and the wordless falsetto and melodies invite you to ponder what Pet Sounds might sound like if it were refashioned as a dubby 21st Century electronic soul album. Astonishing.

Simon Francis’s vinyl mastering spreads out the ten tracks over a double LP so, as ever, nothing is compromised. And as usual, the records have been cut by Cicely Balston at Air Studios and pressed at Record Industry. Turn it up and let the Lewis Taylor sound envelop you.

Continuing our 35th Anniversary series, reissuing foundation Acid Jazz records on Color Vinyl, we’re excited to present a new, remastered, clear vinyl edition of The James Taylor Quartet’s seminal debut ‘The Money Spyder’.

Taking the form of a classic soundtrack, the album perfectly encapsulates the sound of acid jazz on one record – heavy, organ-driven instrumentals led by Hammond maestro James Taylor. The sublime mixture of Booker T-styled grooves and Lalo Schifrin-inspired soundtrack elements.

Johnnie Taylor was an accomplished soul artist despite having little instrumental skill and he rarely wrote any of his own material. He was known variously as the ‘Blues Wailer’ and the ‘Philosopher Of Soul’ and recorded over 30 albums and 120 singles throughout a career that cemented his status as one of the leading male soul vocalists during the late sixties and throughout the seventies.

He started his recording career mid-50s with the doo-wop group The Five Echoes and gospel groups The Highway Q.C.’s and then in 1957, The Soul Stirrers, replacing Sam Cooke who had left the group for a solo career. Taylor followed that path a few years later signing for Cooke’s SAR label. and had a minor hit in 1962 with “Rome Wasn’t Built In A Day”.

in 1964 he moved to Stax Records where he started as a blues artist enjoying many fruitful years, most notably with “Who’s Making Love” selling more than a million copies. Following the unfortunate demise of Stax in 1976 he moved to Columbia Records where he went platinum with the hit “Disco Lady” (ironically not a disco track at all) and the album from which it came ‘Eargasm’ (1976) was a commercial peak he would never scale again. However, he continued with many collectable releases before moving to Beverly Glen Music in the early eighties and then Malaco Records in 1984, where his style became the more soul-blues based sound that was synonymous with the label. He remained with them until he died of a heart attack in Dallas aged 66 in 2000.

“Let’s Get Back On” Track comes from the CD ‘Gotta Get The Groove Back’ (1999) produced (and co-written with Charlie Brooks) by Frederick Knight, who also used the same backing track some 7 years later with his production of the David Sea track “Stay In My Arms” which was a modern soul favourite and will help to register the significance of this earlier production. It is now available as a vinyl release for the first time. It was taken from his final album although Malaco released ‘There’s No Good In Goodbye’ posthumously in 2003

Bobby Bland

Robert Calvin Brooks, known professionally as Bobby "Blue" Bland spent his early career in Memphis, developing a sound that mixed gospel with blues and R&B and was known as the ‘Lion Of The Blues ‘and the ‘Sinatra Of The Blues’. His father abandoned the family not long after his birth and he acquired his name from his stepfather, Leroy Bland. His formative musical years were centered around the Beale Street scene and he was scouted by Ike Turner for Modern Records.

His progress was interrupted by a two year stint in the US Army and when he returned to Memphis he signed for Duke Records, run by Don Robey. Bland was illiterate and Robey helped him sign his contract which only gave him half a cent per record sold instead of the industry standard of 2 cents. He had his first hit in 1957 and continued a successful run of R&B chart entries without breaking through into the mainstream markets and was ranked number 13 of the all time chart-topping artists in Joel Whitburn’s “Top R&B/Hip-Hop Singles: 1942-1995”.

Duke Records sold out to ABC and with them he managed to return to the R&B charts but he still couldn’t succeed in the pop charts. In 1985 Bland signed for Malaco who were specialists in the Southern black music sound and he recorded many albums and toured for them, frequently with B.B. King, and was inducted into the ‘Rock And Roll Hall Of Fame’ in 1992.

Whilst “Heart Open Up Again” was a vinyl release in 1985 it was not chosen to be the single release from the Tommy Couch & Wolf Stephenson produced album Members Only (1985). This beautiful ballad, penned by George Jackson/Robert Miller/Michael Wooten, was never before released as a single and is a fabulous pairing with the topside - two of the best from two of the all-time greats.

Steve Hobbs (Solar Radio / Totally Wired Radio)

The 70s Funky Northern Soul masterpiece by New York-born soul singer Judy Freeman is reissued for the first time on 7"

Ted Taylor was chronically unappreciated throughout his career. "Somebody's Always Trying" by Ted Taylor is a magnificent uptempo dance floor filler with a pounding rhythm, powerful drums, rocking horns and a great frantic, exasperated vocal. This stuff makes you immediately say, “Who is this?”

Licensed by Sony Music Portugal

Monster rare boogie funk from Dallas band Popsicles recorded in 1983 at Robin Hood Studios in Tyler, Texas and released on the studio imprint. Produced by TV director Allen Morris and audio engineer Robin Hood Brians, Popsicles debut grail and finest double-sider returns cut from the master tapes. More info soon.

To celebrate 10 years of one of London’s most loved underground club nights, Tangent, Mr Bongo are thrilled to launch this new compilation series. Crafted by its two residents, John Gómez and Nick the Record, it aims to transmit a taste of Tangent’s spirit. A party rooted in inclusivity and open-mindedness, whose name captures the spontaneous switches in musical direction that are a defining element of their nights. For the compilation, the pair have cherry-picked a selection of their prized, rare and dancefloor-ready tracks from around the globe, that have soundtracked the past decade of parties.

Friends for close to 20 years, music lovers, record obsessives and internationally renowned DJs in their own right, John and Nick have two lifetimes worth of musical knowledge to draw from. John a long-standing NTS Radio resident and compiler for Music From Memory. Nick one of the UK’s go-to record dealers, resident DJ since the ‘90s at one of Japan’s pioneering parties, Life Force, and co-captain / co-edit-expert of Record Mission with Dan Tyler (Idjut Boys).

In 2014, the pair decided to bring some of Life Force’s grassroots principles to the UK, whilst channelling underground clubbing institution Plastic People’s meticulous attitude to sound. Tangent grew from being a small gathering of friends, to an established fixture in London’s nightlife, whilst always maintaining a strict no guest DJ policy. “As London’s clubs have become increasingly reliant on international guests, we wanted to emphasize the importance of a club night growing through its residents”, John and Nick reflect. With 10 years of the duo at the helm, an intimate connection between DJ and dancefloor has been built, allowing for freedom of expression on both sides of the decks.

Tangent reaches around the globe and across different eras to make connections that stimulate emotional reverberations in the unfamiliar. Where the blissfully Balearic ‘Laberinto’ by Miguel Perikás, goes hand-in-hand with the Cameroonian hip-house of King B.’s ‘Love is Crazy’. The thundering ‘Amek Amek’ by L'Innovateur Djoe Ahmed et le Zoukabyle, rubs shoulders with the soulful Caribbean-influenced touch of Champagn’s ‘Bel Ti Négress’. And Pellegrin El Kady’s afro-cosmic ‘Seiva de Carnaval’, crosses paths with Kajou’s Kompa disco anthem ‘Tet Chajé’.

Tangent’s longevity is in part down to it having always embraced contemporary sounds. The sub-rattling bass of Srirajah Sound System’s stunning Molam dub stepper ‘Si Phan Don Lovers Rock’ and the slow, woozy mantra of leftfield dancehall explorer Androo’s ‘Lyriso’, are two shining examples.

This compilation represents an ongoing dialogue between past and present, transporting listeners to the heart of a pure musical experience, where open minds and open hearts are eager to follow the tangent.

To celebrate 10 years of one of London’s most loved underground club nights, Tangent, Mr Bongo are thrilled to launch this new compilation series. Crafted by its two residents, John Gómez and Nick the Record, it aims to transmit a taste of Tangent’s spirit. A party rooted in inclusivity and open-mindedness, whose name captures the spontaneous switches in musical direction that are a defining element of their nights. For the compilation, the pair have cherry-picked a selection of their prized, rare and dancefloor-ready tracks from around the globe, that have soundtracked the past decade of parties.

Friends for close to 20 years, music lovers, record obsessives and internationally renowned DJs in their own right, John and Nick have two lifetimes worth of musical knowledge to draw from. John a long-standing NTS Radio resident and compiler for Music From Memory. Nick one of the UK’s go-to record dealers, resident DJ since the ‘90s at one of Japan’s pioneering parties, Life Force, and co-captain / co-edit-expert of Record Mission with Dan Tyler (Idjut Boys).

In 2014, the pair decided to bring some of Life Force’s grassroots principles to the UK, whilst channelling underground clubbing institution Plastic People’s meticulous attitude to sound. Tangent grew from being a small gathering of friends, to an established fixture in London’s nightlife, whilst always maintaining a strict no guest DJ policy. “As London’s clubs have become increasingly reliant on international guests, we wanted to emphasize the importance of a club night growing through its residents”, John and Nick reflect. With 10 years of the duo at the helm, an intimate connection between DJ and dancefloor has been built, allowing for freedom of expression on both sides of the decks.

Tangent reaches around the globe and across different eras to make connections that stimulate emotional reverberations in the unfamiliar. Where the blissfully Balearic ‘Laberinto’ by Miguel Perikás, goes hand-in-hand with the Cameroonian hip-house of King B.’s ‘Love is Crazy’. The thundering ‘Amek Amek’ by L'Innovateur Djoe Ahmed et le Zoukabyle, rubs shoulders with the soulful Caribbean-influenced touch of Champagn’s ‘Bel Ti Négress’. And Pellegrin El Kady’s afro-cosmic ‘Seiva de Carnaval’, crosses paths with Kajou’s Kompa disco anthem ‘Tet Chajé’.

Tangent’s longevity is in part down to it having always embraced contemporary sounds. The sub-rattling bass of Srirajah Sound System’s stunning Molam dub stepper ‘Si Phan Don Lovers Rock’ and the slow, woozy mantra of leftfield dancehall explorer Androo’s ‘Lyriso’, are two shining examples.

This compilation represents an ongoing dialogue between past and present, transporting listeners to the heart of a pure musical experience, where open minds and open hearts are eager to follow the tangent.

To celebrate 10 years of one of London’s most loved underground club nights, Tangent, Mr Bongo are thrilled to launch this new compilation series. Crafted by its two residents, John Gómez and Nick the Record, it aims to transmit a taste of Tangent’s spirit. A party rooted in inclusivity and open-mindedness, whose name captures the spontaneous switches in musical direction that are a defining element of their nights. For the compilation, the pair have cherry-picked a selection of their prized, rare and dancefloor-ready tracks from around the globe, that have soundtracked the past decade of parties.

Friends for close to 20 years, music lovers, record obsessives and internationally renowned DJs in their own right, John and Nick have two lifetimes worth of musical knowledge to draw from. John a long-standing NTS Radio resident and compiler for Music From Memory. Nick one of the UK’s go-to record dealers, resident DJ since the ‘90s at one of Japan’s pioneering parties, Life Force, and co-captain / co-edit-expert of Record Mission with Dan Tyler (Idjut Boys).

In 2014, the pair decided to bring some of Life Force’s grassroots principles to the UK, whilst channelling underground clubbing institution Plastic People’s meticulous attitude to sound. Tangent grew from being a small gathering of friends, to an established fixture in London’s nightlife, whilst always maintaining a strict no guest DJ policy. “As London’s clubs have become increasingly reliant on international guests, we wanted to emphasize the importance of a club night growing through its residents”, John and Nick reflect. With 10 years of the duo at the helm, an intimate connection between DJ and dancefloor has been built, allowing for freedom of expression on both sides of the decks.

Tangent reaches around the globe and across different eras to make connections that stimulate emotional reverberations in the unfamiliar. Where the blissfully Balearic ‘Laberinto’ by Miguel Perikás, goes hand-in-hand with the Cameroonian hip-house of King B.’s ‘Love is Crazy’. The thundering ‘Amek Amek’ by L'Innovateur Djoe Ahmed et le Zoukabyle, rubs shoulders with the soulful Caribbean-influenced touch of Champagn’s ‘Bel Ti Négress’. And Pellegrin El Kady’s afro-cosmic ‘Seiva de Carnaval’, crosses paths with Kajou’s Kompa disco anthem ‘Tet Chajé’.

Tangent’s longevity is in part down to it having always embraced contemporary sounds. The sub-rattling bass of Srirajah Sound System’s stunning Molam dub stepper ‘Si Phan Don Lovers Rock’ and the slow, woozy mantra of leftfield dancehall explorer Androo’s ‘Lyriso’, are two shining examples.

This compilation represents an ongoing dialogue between past and present, transporting listeners to the heart of a pure musical experience, where open minds and open hearts are eager to follow the tangent.

Sales notes to follow
Sales notes to follow
Sales notes to follow
Sales notes to follow

Bryson Tiller

A punky romp with a beast of a chorus, JTQ here kicking up some dust with a tune that hails back to James' time in the Prisoners supporting The Ramones on a UK tour in 1986. James recalls 'The Ramones were one of the most incredible things I've ever seen, I watched their entire show, 3 hrs, every night on the tour and as a 21 yr old it made a huge effect on me. I've waited to being 60 yrs old to find a way to somehow act on that. Although I'd say JTQ have always had a punky Rock n Roll thing going on our live gigs.' This whole thing now feels completely new and fresh. a real discovery. Despite having always being there on some level.

Kool Customer is a collaborative project from B. Bravo and Bay area singer Rojai that brings together the sounds of future funk, 80s boogie, and a little bit of strip club sleaze.

B.Bravo is a 2010 graduate of Red Bull Music Academy with releases on Brownswood, Frite Nite and Ernest Endeavors.

Support from the likes of Benji B (bbc Radio 1), Gilles Peterson, DaM Funk, Sweater Funk Collective .

B. Bravo's shared the stage with artists like Chromeo, Dam-Funk, Flying Lotus and serenaded crowds across the world with his bass heavy outer space boogie and dirty grinding synth grooves at festivals like Sxsw, Detroit Electronic Music Festival, and Sonar in Barcelona.

Rojai (pronounced "row-juh") is a San Francisco born singer emerging as a leading voice in the modern funk scene with a vocal range from a raspy, percussive island vibe, to silky r&b.

As a frontman for Kool Customer and Latin-funk outfit Bayonics, Rojai has proven himself adept at crooning on any groove in his soulful timbre.

Being legally blind hasn't slowed down Rojai's ability to write, record and perform. He has channeled his life experience into songwriting and singing, creating music with a spirit and soul that inspires.

Extensive sync history include Awkwafina Is Nora From Queens, Netflix's Fatherhood, as well as 3 unique songs featured on Tyler Perry's Sistas and more

New on Outta Sight, an official reissue of the Gloria Jones classic “Tainted Love”. The song originates from 1964, then made a household favourite from 1981 when made a hit by Soft Cell. Gloria’s 1965 release in the USA was originally a B-side to a non-hit, and it took ten years for it to be discovered in the UK where it was played on the Northern Soul scene. It’s the Motown-like rhythms and arrangements that made it relevant. Gloria re-recorded it herself in 1976, and while still not a hit, the song in NME’s Top 500 greatest of all time and Gloria dubbed ‘The Queen of Northern Soul’. She was in a relationship with Marc Bolan at the time of his fatal accident. This single is coupled with another northern soul favourite, the Holland/Dozier/Holland song “There’s A Ghost in My House” by Motown artist R. Dean Taylor. It was originally recorded in 1966 and reached No.3 in the UK Charts (1974)