Search "undo+Motas+de+Polvo" 172 Items

Another one from the original dirty south in the ATL. "Love Juices" LP features 9 unreleased tracks from Wilkie and the Wayy, also includes the recording from his sole 7 inch single released in 1983 on the infamous Cold Wave Records, "It Only Happened Once". Feels good to be able to finally tell the band, "It's Happened Again"! Special thanks to Angelo Angione for all your time making this happen and hunting down the DATs, tapes, and reels!

Penrose Records is proud to introduce the newest members of the family, the Inland Empire's own Vicky Tafoya and the Big Beat. Born in Santa Ana and currently residing in Colton, Vicky started singing a capella doo wop in the late 80s for the So. Cal. Doo Wop Society and went on to co-found the Big Beat in 2001. Their debut single on Penrose is a moody minor chord ballad featuring a reverb laden guitar solo and beautiful girl group harmonies behind Vicky's effortless yet haunting vocal about two people longing to be together… Forever.

A third and final volume of Jamaican doo wop & R&B records taken from the late 50s and early 60s.

These records represent a period in which sound-systems were beginning to dominate the island, with Duke Reid and Sir Coxsone Dodd stepping up their rivalry by beginning to make and release their own records rather than rely on US imports for use in their dances. Many of these records are definitely more-or-less imitations of the American records, as the uniquely Jamaican ska sound was yet to take hold - however many of the future stars of ska, rocksteady and reggae were beginning to cut their teeth in the industry on these records, incl. Alton Ellis, Derrick Morgan, Derrick Harriott and more, and provide a unique view into the fledgling independent record industry culture in Jamaica that would prove to be unbelievably prolific and unparalleled for an island of it's size.

Limited Vinyl LP edition! The second volume in a two-part collection of Jamaican doo wop from the late 1950s through to the early 1960 represents a period in which sound systems began to dominate the island, and were starting to step up their rivalry by beginning to record heir own platters rather than rely on imports to gain the competitive edge. With the uniquely Jamaican ska craze yet to fully catch hold, these tracks are largely imitative of the sounds that had been reaching the island from American shores, albeit peppered with hints of what was to come ~ some of the future stars of ska, rocksteady and reggae are starting to cut their teeth here on these records, providing a unique view into the fledgling industry at a time of creative flux.

Repressed by popular demand!
Lauren Laverne's comp of the week on BBC Radio 6 Music w/c 11th Jan.
Guardian feature: https://www.theguardian.com/music/2020/oct/12/a-thousand-teardrops-how-doo-wop-kickstarted-jamaica-pop-revolution-reggae-rocksteady
This collection of Jamaican doo wop from the late 1950s through to the early 1960s represents a period in which sound systems had begun to dominate the island, and were starting to step up their rivalry by beginning to record and release their own platters rather than rely on imported records to gain the competitive edge.
With the uniquely Jamaican ska explosion yet to completely catch hold, these tracks are largely imitative of the doo wop and R&B sound that had been reaching the island from American shores & radiowaves, albeit peppered with hints of what was to come ~ some of the future stars of ska, rocksteady and reggae are starting to cut their teeth on these tracks, providing a great view into the fledgling record industry on the island.

When we released Jazz On The Corner 2 last year Eddie Piller chose a fantastic track by Emmanuel K Rahim & The Kahliqs called ‘Al- Alim (The Knower)’ from his 1972 Cobblestone LP “Total Submission”.

Turquoise Blue Vinyl close to NM

Tramp Records International proudly presents: The 1975 Baltimore Colts Glenn Doughty and his All-Pro Shake & Bake Band! In 1975 Glenn "Shake & Bake" Doughty Wide Receiver for the Baltimore Colts formed the Shake & Bake Band. Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history!

Doughty is a Detroit 'Motown' native and All-American from the University of Michigan, that was recently crowned national champion and the winningest college football program in Ncaa History. Doughty and his four world-class athletic teammates formed the heart of the band. The Shake & Bake Band in the mid 70s played live at Baltimore's hottest Clubs with teammates in attendance on Monday nights after Shakin' & Bakin' their opponents on Sunday at Memorial Stadium. Doughty's sports hero was Muhammad Ali. He originated the popular Shake & Bake athletic movement scoring touchdowns. He recited Shake & Bake poetry like Ali to make predictions after games on local and national TV to celebrate Colts victories. His lyrics in his music were used to fire up thousands of his Colts fans and his teammates. Many fans felt the group sounded like WAR the popular funk group from California. Members of the Shake & Bake Band were: Glenn "Dr. Shake" Doughty #7, All-Time Colts leading Wide Receiver, producer, lead singer, congas and lyrics, Ray "RC Cola" Chester, All-Pro Tight End, Super Bowl Champion, Bass, Baltimore, Maryland, David "dt" White, Wide Receiver Lead Guitar, producer, sound technician. Buffalo N.Y., Lloyd "The Bullet" Mumford, Defensive Back Harmonica, Miami Florida, Freddie "Bones" Scott, All-Pro Wide Receiver on percussion, Grady Arkansas, and Bruce "Turn it Loose" Barnett, Drummer and shoe salesman. Randallstown, Maryland. This group of talented stars lead the Colts to its first ever three consecutive Eastern Division Championships.

Between 1975 and 1977 they also became the first group of pro athletes to create two records while playing football together for a NFL team. Their debut 7-inch single from 1976 was cut at 33 1/3 RPM due to the length of the songs. "Shake and Bake Pt.1" lasts for 4:30 minutes while Part 2 stretches out to an incredible 7:00 minutes!

Additionally, "Shake and Bake Pt.1&2" will be featured on the forthcoming "Movements Vol.12" compilation album, due September this year.

Key selling points:
- limited to 500 copies!
- deluxe picture sleeve edition!
- official re-issue, done in cooperation with Glenn Doughty!
- Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history!

The long-awaited repress of the first Radio Maritko 45 “Oriental Shake”, featuring Habibi twist and Alba’s Shake. Exotica and twist mania from the Greek and Italian sixties that shakes all dancefloors! With a brand new layout!

Cover with faint ring wear and small sticker rip off.

2017 reissue. Vinyl is close to NM. Limited edition.

Strut presents the definitive reissues of two all-time classic Caribbean soul and funk albums, The Beginning Of The End’s ‘Funky Nassau’ (1971) and ‘Beginning Of The End’ (1976).
Emerging from Nassau in the Bahamas in 1971, the band was formed around the Munnings brothers (Ray, Leroy and Frank) and the first song they recorded, ‘Funky Nassau’, became a No. 1 Billboard R’n’B hit, selling over a million copies. “We wanted to create something new,” remembers Ray Munnings, “something that was truly Bahamian. We loved funk but wanted to include elements of junkanoo, the indigenous music of The Bahamas.” An album was written within a week and recorded at Criteria Studios in Miami. “We brought in more Bahamian themes, like ‘Monkey Tamarind’, a wild fruit that grows there.”
By the time of their second album in 1976, the band was managed by Don Taylor, also Bob Marley’s manager. “Don took us to Byron Lee’s studio in Jamaica and used Teddy Randazzo (Little Anthony & The Imperials) to direct the sessions,” recalls Munnings. “He gave us more of an uptempo jazz funk sound with Chicago-style horns.” The album led to a run of incredible bad luck. Booked to support Marvin Gaye’s ’What’s Goin’ On’ tour, the US Musicians Union stepped in and ordered a US group to fill the slot. They were then added onto a major Bob Marley tour in 1976 before he injured his foot, cancelling all dates.
These definitive official reissues of ‘Funky Nassau’ and ‘Beginning Of The End’ are remastered by The Carvery from original tapes and feature full length tracks from the studio sessions. Both albums feature a history of the albums and the band by vocalist Ray Munnings, alongside rare photos. ‘Beginning Of The End’ appears on loud-press 2LP for the first time.

Vinyl is close to VG+.

Note: INCOMPLETE!
Record 1: Side A is missing!

Vinyl with a couple of light scuffs

Vinyl with a couple of light scuffs

Why you'll love it...
With the ’60s coming to an end, the revolutionary spirit of the times was so ubiquitous that it simply demanded more from its artists. We started to see this shift in rock ’n’ roll (The Beatles, The Rolling Stones) and in jazz (Lee Morgan, Miles Davis, Herbie Hancock); it was time that pop and soul music followed suit. Marvin Gaye would release the seminal What’s Going On in May 1971, and while What’s Going On was pivotal in allowing Black artists to deliver popular music with a message that spoke to the times, There’s a Riot Goin’ On followed Gaye’s lead, but pushed the boundaries further. Sly Stone challenged what was possible for a Black artist in popular music, both lyrically and sonically.

Sly & The Family Stone’s There’s a Riot Goin’ On was synonymous with the anxiety felt by all alive at that time — how to navigate this new decade, after all the turmoil experienced in the last one. It’s a bit of a “purple haze,” really. Artistically, Sly managed to harness the confusion that not only he felt, but that most people were feeling then.

Cover has seam split and small tears along the opening edge.

Vinyl close to VG+

Green vinyl

Conceived in the 1980s in Mexico and brought to California through the border inside of his 6-month-pregnant mother, Rudy de Anda's debut solo record is a love letter to the long historical lineage of rock 'n roll music as interpreted through his multicultural lens. "I write my own story, I don't want to be defined by any scene" de Anda proclaims of his personal journey, and his ability to adapt and flit between cities and cultures is part of why L.A. Record has called his sound "deliberately difficult to classify, familiar but novel at the same time."Since 2005, De Anda has played thousands of shows in various musical projects, but with 'Tender Epoch', tellingly the first recorded under his own name, he has clearly found his own voice with a wealth of stories to spotlight. It's exquisitely crafted pop, with universal messages of heartbreak and loss that still feel appropriate played speeding windows-down on the highway in the coastal sunshine. Above all, De Anda likes to keep people guessing: from the album artwork to the multi-faceted textures of sound, 'Tender Epoch' feels ambiguous to any era, a perfect collusion of old and new that showcases a music historian's knowledge of both past greats and influential peers. Sculpting his own path through a wild ride that feels unlikely to let up, De Anda refuses to settle down or get comfortable, instead carving out a classic record that is sure to set a standard for songwriting to come.

In 2020, Rudy De Anda moved his homebase out of California for the first time. He was headed East. Somewhere in the back of the U-Haul, among the boxes and baggage, was a mostly finished record. Upon arriving in Chicago, Rudy quickly found the final pieces of his new LP, Closet Botanist. The album was recorded in Austin, Texas at the Electric Deluxe recording studio. The space is owned and operated by Adrian Quesada (Black Pumas), who helped produce and engineer Rudy's new LP. "In the past, I've done most of my recording in California," Rudy explained. "The new location changed the vibe. The band and I were 100% focused on the process." Rudy's previous releases have grown synonymous with California sunshine. He was born in Los Angeles and spent most of his formative years in Long Beach. "People often tell me my music reminds them of the beach and the sun," Rudy said of his older songs. Closet Botanist isn't a total departure from Rudy's beachy, psych-rock roots, but it does sound more mature. Rudy points to The Velvet Underground and The Kinks for direct inspiration. "I glorify those bands - I'm a 60s psych-rocker at heart." For the seasoned listener, there's a trail of psychedelic breadcrumbs to find throughout the track list. Rudy dedicates the album to those who love so hard that they neglect to water their own garden. Even in a much colder climate, the closet botanist continues to grow.

Vinyl close to VG+

Writing on cover.

Three of the deepest, freshest instrumentals from the imminent album — featuring the Hypnotic Brass Ensemble on the opener. Sound-wise, this is doubly lethal, as alive and present as vinyl gets: mixed by Mark Ernestus, mastered and cut at D&M, manufactured at Pallas. In a silvered, silk-screened sleeve; a limited one-off.

Vinyl with many scuffs and hairlines. Cover with tape on all spines.

Vinyl with many scuffs and hairlines, close to VG. Cover with edge wear

Sticker on cover.

Recorded in 1971 by a 27-year-old pastor and an after school program choir, Like A Ship is a stirring and powerful meditation on the wayward aftermath of the Civil Rights Movement. Tracked with the help of Chess/Cadet maestros Gene Barge, Phil
Upchurch, and Richard Evans, the album is a mix of euphoric gospel and Mayfield- esque political soul, with sleigh bells, hand claps, and jazzy piano stabs. Sampled by T.I., Kanye, and Khaled, Barrett created a rapturous, crossover gospel classic that’s still wildly relevant.

The sequel to Pastor Barrett’s landmark 1971 masterpiece Like A Ship…, Do Not Pass Me By finds the young Chicago preacher and his Youth for Christ Choir continuing their genre-bending spiritual journey. Heavy drums, soaring falsettos, euphoric tambourines, sharp horns, and Barrett’s unwavering devotion dance around a 40-piece choir, working together to form sanctified slab of gospel funk. Pressed in a minuscule quantity in 1973, Do Not Pass Me By was sold primarily from the pulpit of Barrett’s Mt. Zion Baptist Church, disappearing into Chicago’s south side for 45 years before Numero’s excavation. The ten-song album has been remastered, it’s generic album cover updated to match Barrett’s vision. On the back of the jacket, he insisted on the following words: “After listening to this album you will be glad that you did not pass it by!”

Recorded in 1971 by a 27-year-old pastorand an after school program choir, Like AShip is a stirring and powerful meditationon the wayward aftermath of the CivilRights Movement. Tracked with the helpof Chess/Cadet maestros Gene Barge, PhilUpchurch, and Richard Evans, the albumis a mix of euphoric gospel and Mayfieldesquepolitical soul, with sleigh bells, handclaps, and jazzy piano stabs. Sampled byT.I., Kanye, and Khaled, Barrett createda rapturous, crossover gospel classic that'sstill wildly r elevant.

Original US PR-Presswell Pressing. Big seam split in bottom spine.

Cover and blue vinyl are close to NM.

Forget the magician! Featuring Michael Orr front and center in all of his 70s slickness : Love Will Rise!

Best known for his work with soul diva FAY, as well as his iconic, and incredibly rare 1976 album Spread Love (see above), Michael Orr’s talents seem immeasurable. Backed by his hometown band, Book of Life, the two combine in a funky explosion the likes of which hasn’t been seen since! Crate diggers will recognize the name of album closer “Spread Love” from Orr's 1976 album of the same name, yet this is a somehow even funkier recording of the same tune, with a leaner groove and harder beat. Danceable funk has always been Orr's speciality, but he seems to turn the dial up to 11 with this interpretation.

The other side of the Michael Orr coin is title track “Love Will Rise”. With smooth grooves, gentle drumming, and the ever present baritone of Michael Orr himself, the song is a relaxed affair, calling to mind the preacher-esque photo of Orr on the cover. As slick and soulful as it is, the grooves remain unparalleled, unifying the album in a strangely poetic way. Don’t miss Michael Orr and The Book of Life’s Love Will Rise, available on limited edition vinyl with a Japanese obi-strip attached!

10 tracks

An impressive live album by Marvin Peterson who was one of the finest trumpetersin the 60's-70's is making its return on vinyl format. These tracks were performed by the band led by Hannibal Marvin Peterson, though he had yet to add "Hannibal" to his name at the time of recording. Here, he performed with eight musicians in his hometown of Texas, and theirperformance crossed the boundaries of jazz, soul and funk with skilled musicians. These included organistEugene Carrier who also participated in the BB King Band and drummer Emry Thomas who would later participate in the band led by Johnny "Guitar" Watson.

With a glance at the cover art, you can get a sense of the powerful and passionate live recording that brought joy to its many fans. The opening "Groove for Otis" (m1) with a jazz-funk whose edgy beat excites rare groove fans. "Our Groove" (m4) is also a fine track whichhas a slick bassline and Eugene'sorgan fusing in harmony. P-vine are very proud to be repressing this record with its intimate feeling akin to being there in the crowd as the mighty Peterson walks up to take center stage.

2009 reissue. Limited edition

A 7-inch reissue of a song that revolutionized the history of Japanese rock and pop music from SHOW BOAT, a label that has become an unavoidable part of the city-pop and new music scene, has been reissued in its original form.

Hoshikuzu", which was covered by Ann Sully in 2010, is a Japanese pop classic with a laid-back arrangement of American roots music, southern swamp, and R&B rhythms. The B-side features “Dixie Fever”, a sinuous rendition of a New Orleans funk groove.

The original was released in 1977 and was co-produced by Haruomi Hosono. It is an important reissue in the path of the “Tropical Trilogy” that led to “Taian Yoko” (‘76) in the previous year and “Haraiso” (’78) in the following year.

Great retrospective of Lil Bob And The Lollipops' discography. Classic Louisiana swamp soul / R& B, recorded in the early to mid 1960s. Includes the popular dance floor fillers "I Got Loaded" and "Stop," as well as some real beautiful obscurities. Ballads and stompers to make life better. Old school "tip on" cover.

US original.

Hailing from Las Vegas, Johnny Ruiz and the Escapers offer up two sides of the haunting group sounds, sure to scratch the itch of doo-wop and soul enthusiasts alike. Adorning the a-side is 'Sorry', a stark, creeping, dirge like ballad with a sparse rhythm track that swings eerily underneath Johnny's sublime lead and the Escapers plaintive harmonies, creating a hypnotic vibe that will have you dropping the needle over and over again. Continuing with the dark vibes but picking up the pace a couple of BPMs, 'The Prettiest Girl' brings a measure of hopefulness to the tune, evoking the earnest, lovelorn memories of youth. A must for fans of Nolan Strong and the Diablos Fortune Records output.

Vinyl with light scuffs and hairlines. Cover with a bent corner and light creasing. Copy n° 323 / 500

US original.
Sleeve has stickers, edge wear.lpsm

The complete works, including newly discovered recordings, by South Carolinian funk/soul bandleader James Reese, a jazz-inflected producer as ambitious as he was talented. Trombonist, bandleader, songwriter, arranger and producer James Reese never issued an album with his Progressions band, only a series of 45s – some under his own name, some under that of his collaboraors – out of Spartanburg, South Carolina on his Najma label, from the late 1960s until the mid 1970s. He was as ambitious as he was talented, and his ouevre ranges from brutal, deep soul to sophisticated instrumental ballads to jazz-inflected funk.
Now-Again’s Egon first discovered Reese’s music on a 24 lock-in in Concord, North Carolina’s legendary record and antique clock repository, Ye Olde Clock Shoppe, in 1999. After he tracked down Reese, he officially reissued two of Reese’s songs on his seminal Stones Throw anthology The Funky 16 Corners. He later issued more of Reese’s music on the Now-Again anthology Loving On The Flipside. Sourced from rare 45s and multi-track master tapes, Wait For Me: The Complete Works 1967-1972 presents both issued and recently-rediscovered songs in the full-length format, in a cohesive set that shows the brilliance still arising from the American soul and funk sub-strata. Included among them is a remix of the track “Throwing Stones” from longtime Now-Again associate Kenny Dope. Also comes bundled with an extensive booklet detailing the trajectory of Reese and his band. Download card for WAV files included with the LP.

Over the past twenty years, when musicians and producers in Southern California have needed fresh R&B, funk, or hip hop beats, they’ve called on drummer Jake Najor. A former bandmember of Breakestra, Incredible Moses Leroy, and The Styletones, Najor has performed or recorded with scores of noteworthy artists, including TV on the Radio, Raphael Saadiq, Kelis, Joss Stone, Big Daddy Kane, De La Soul, Karl Denson, Rodriguez, and Empire of the Sun.

When not on tour, the San Diego native performs with a wide network of local musicians, including as a member of the house band for The Redwoods record label. It’s with the Redwoods that the veteran drummer has taken the lead on a new project, Jake Najor and the Moment of Truth. While most of Najor’s career has been spent contributing percussion in service to the visions of his collaborators, with his debut record, In the Cut, Najor has been the one enlisting players from his musical cohort as well as some cherry-picked, heavy hitters on the LA funk/soul scene to flesh out ten tracks of original grooves, ranging from soulful cinematic instrumentals to hard hitting funk jams.

The album’s lead single, High Costa Living, lands in the latter camp. It features an accomplished roster of west coast funk players, including a potent brass section led by trumpeter/arranger Todd Simon (Antibalas, Ziggy Marley, Quantic), and including James King (Fitz and Tantrums), Elizabeth Lea (Tedeschi Trucks Band), and Sam Robles (Jungle Fire), behind the gritty vocals of MixMaster Wolf (Breakestra). High Costa Living sets the tone for a record loaded with dynamic performances to match the syncopated rhythms laid down by So Cal’s go-to beatmaker. Jake Najor and the Moment of Truth “In The Cut” brought to you by The Redwoods record label, drops March 29, 2019.