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As one of the most enigmatic figures of the 1970s Italian soundtrack and library music network Emma De Angelis and her short recording career provides thirsty fans of speedball psychedelic rock and drum heavy instrumental funk with a tight discography rivalling many of the long-standing bastions of the otherwise male-orientated business.
Born in Rocca di Papa, near Rome, into a flourishing musical environment, Emma was the younger sister of future award winning composers Guido and Maurizio De Angelis, a duo who, under names like Oliver Onions and Dream Bags, would write chart-topping lyrical theme tunes for a wide range of Italian crime, Giallo and Spaghetti Western films featured alongside full scores by Ennio Morricone and the Magnetic System composers (Bixio Frizzi Tempera).
With encouragement from her brothers, Emma, who would also write music under the pseudonym of Juniper, would record a tight clutch of solo-penned material and seldom credited studio contributions to Guido And Maurizio’s film commissions, such as the score for Giuliano Carnimeo’s ‘Simone e Matteo: Un gioco da ragazzi’ (aka ‘Convoy Buddies’). While simultaneously pursuing a career as an illustrator and set designer the De Angelis family contacts would lead Emma to the offices of Romano Di Bari, whose up-and-coming Flirt label was finding success providing custom-built mood music for use in TV and film. Alongside important composers like Alessandro Alessandroni, Gerardo Iacoucci and A. R. Luciani, the young Emma Di Angelis would record a small number of tracks for a compilation called ‘Underground Mood’ (credited in the small print to E De Angelis - not to be confused with Italian singer Edoardo De Angelis). It is from this rare LP that the record you are now holding is compiled. Within the Flirt family of labels Emma De Angelis would also share schedules with other important female composers such as Daniela Casa and Giulia ‘Kema’ De Mutiis - both of whom have appeared on dedicated Finders Keepers releases.
The tracks on this record provide us with a rare glimpse into Emma De Angelis’ short musical career before she became a full time visual artist. With an unknown personnel or studio date it is easy to speculate a potential family jam in Piero Umiliani’s Sound Workshop studio in 1972. One only has to take a listen to Guido And Maurizio’s instrumental theme ‘Gangster Story’ from Enzo G. Castellari’s 1973 thriller ‘High Crime’ (which later appeared on Tarantino’s ‘Death Proof’ soundtrack) or the trippy title theme to Paolo Poeti’s kinky 1976 drama Inhibition to spot the family resemblance.

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.

The missing link between her Barry and Columbia singles, “I Can’t Stand It” b/w “Only Yesterday” is Thelma Jones with her back against the wall of an empty and indifferent Holiday Inn lounge and nothing to lose. Washed out of the recording business by the age of 30, Jones and her then-husband/manager James Hazley relocated to Tampa to work the hotel circuit and figure out what—if anything—was next. Following a chance encounter with Blair Mooney, Jones was invited to workshop a few stray originals at his Studio 70 compound in 1972. “He seemed to believe in me more than I did at the time,”Jones remembered of the Tampa studio impresario. Jones signed with Columbia a few years later and hightailed it out of The Big Guava, leaving two sides of country-politan soul on the shelf to be forgotten about. This Eccentric Soul 45 is a first time issue, carrying the banner of Mooney’s Gimp label and mastered directly from the original analog tapes.

** Ultra-rare Soul / Deepfunk 45 **
One of Washingtons finest 45s meets rarity and quality head on. Although rarity is not the main reason for us here at Tramp to re-release something, obviously it adds some fun to the game knowing that original copies of both William Cummings 45 RPM singles sell for a four-figured amount - if they turn up at all.

Crystal Winds legendary sophisticated soul LP first released on the privately pressed Cash Ear label in 1982, it's mad to me these amazing tracks have never made it to 45 yet so time to put that right, the classiest of classy 70s soul sides for your Djing and listening pleasure, you all know how much I love floaty 70s joints, not sure it gets better than this.

The key figures behind Crystal Winds were Paul Coleman and M.C. (Morris) Brown, both alumni of the band Rasputin's Stash which had had two albums out in the mid-'70s which had done reasonably well for Atlantic subsidiary Cotillion and Chicago indie Gemigo, respectively. Between them, keyboardist Coleman and saxophonist Brown wrote the vast bulk of the album (guitarist Martin Dumas co-wrote Lover's Holiday with Brown, and one J.Lagrone is added to the credits of So Sad and Signs of Winter's Time) and handled the male lead vocals, with the distaff element provided by Theresa Davis. Brown wrote the horn arrangements, the pair did the string arrangements, and legendary concertmaster Rich Tufo (associated with Curtis Mayfield and other Curtom acts including Linda Clifford) was also on hand for the album (credited with conducting and orchestrating both strings and horns). Guitarist Dumas had also been a member of Rasputin's Stash, as had drummer E.Frank Donaldson (who plays on two tracks).

In the 70s ‘Happiness Is Here’ was the standard, Motown-influenced, Northern Soul play by legendary Detroit artist Tobi Lark. By the 80s and 90s soul fans tastes had matured and the slower and deeper ‘Challenge My Love’ took over to such an extent that it was the go-to Lark recording. The final twist was the discovery that its flip, the moody and bluesy ‘Sweep It Out In The Shed’ was a new floor-filler to spin to the R&B-loving dancers. What was considered a moderately-priced collector’s item is now fetching four figure sums. Our Repro recreates that longed-for pressing, but with a colourful twist.

Paul Tillman Smith is a significant figure within in the music community of Oakland/Berkeley, California. His connections and collaborations read like a who’s who of famous musicians. As leader of 70s Buddah Records group ‘Vitamin E’ and then onto ‘Bridge’, the subsequent band cut an album in 1981 for the CBS distributed Bang label that never saw the light of day. It was released by First Experience Records as a double LP and CD in 1999 and is recognised as being one of the finest unreleased discoveries within its genre. Izipho Soul are thrilled to release on a 7” for the first time two gems from this magnificent body of work. Crying FOR Love written by Paul Tillman Smith and Michael Robinson is perfection personified, from the production through to the lyrical content - and of course the sublime vocals of Debravon Lewis (rip) the tone of her voice will move you to tears. On the flip is Listen, penned by Paul Tillman Smith - a tour de force rendition by the late great Freddie Hughes with Sonny Lewis on sax, adding that extra touch of class.

Originally released in 1971, Detroit's 'El Count Executives' epitomise the mythical, spoken sentiment of love through their only single, 'Pot Of Gold' & 'Nothing Comes To a Sleeper (But A Dream)', written & released by Ohio native, Kennedy Hollman, on his record label 'Gemini", aptly named after his astrological sign. Hollman, who had his debut single 'l've Got Style' in 1967, recorded as 'The Mints', later known as 'The Imperial Wonders', became a leading figure amongst the Cleveland circuit. His initial release by 'El Count Executives', recorded in Detroit at Gary Rubin's 'Pioneer Recording Studio', was shortly followed by 'The Soul In-Pressions', released on 'Aquarius', another astrologically tipped label ran alongside Henry Watkins, Jr. & James Lately. Towards the late 70s, Holman was part of Detroit's Soul/Disco act, 'Solid Solution' Now available as a limited 7" single for the first time in over 50 years, kindly licensed from the Holman estate’

Born in rural Mississippi and associated with Memphis, versatile entertainer Rufus Thomas is a legendary figure, having been a tap-dancer, comedian, and DJ before recording for Satellite in 1961—the label that soon became Stax. Thomas’ improvised hit, ‘The Dog,’ led to immortal follow-up, ‘Walking The Dog,’ so massively popular that it became the centerpiece of his debut LP, an irresistible blend of funk and soul with lashings of Thomas’ trademark humour. Whether with originals or standards like ‘Ya Ya’ and ‘Land Of 1,000 Dances,’ Thomas keeps the action tight and in addition to both ‘Dog’ hits, there is further installment, ‘Can Your Monkey Do The Dog,’ co-penned with Stax’s Steve Cropper. A killer set!

Limited orange/black splatter vinyl!Back in 2004, Vampisoul was extremely honoured to play a role in the return to recording of the legendary Joe Bataan, which fully materialized in the acclaimed album "Call My Name", written and produced by Daniel Collás (The Phenomenal Handclap Band, Incarnations). Today, the song that marked the return of Joe Bataan finally makes it into a 7" single for the first time."This whole project grew out of a song called 'Cycles of You', which I had written around 2000-2001 with the guitarist and bassist of my band at the time, Easy. The chord progression and vocal melody really reminded me of Bataan, and it occurred to me that it wouldn't be impossible to get him into the studio to do a guest vocal if we ever recorded it. I had met Bataan a few years before at a small, family-reunion style show at the Nuyorican Poets Cafe in my neighbourhood, where he not only still sounded great, but was also gracious and easy to talk to.By the time we got around to recording with Easy, the band was about to break up but we still had the studio booked. We all agreed that we didn't want to continue as a band, but at the same time, it would be a shame to never record what we had been working on. Around this time Bataan was playing out again, so I went to the show to see him and find out if he'd be interested in doing some vocals with us. He was agreeable, so we decided to turn it into a Joe Bataan session and do 'Cycles of You'.When I got the opportunity from Vampisoul to do a full album, I was hoping Bataan and I could write some songs together, but our schedules proved tough to coordinate. I figured the best way to go about it was to do most of the work and just have him come sing on it. I thought this might be a little weird for him, since he is used to writing and producing most of his own records, but he was open to it.The rhythm section was a band called TransLove Airways that I formed in 2002. We got really tight and developed a great sound that was, to me, equal...

James Enard was raised in Lafayette and got his start with the Ohio based group "Perfect Element". This all happened during the groups session time in Louisiana recording with Jimmie Mouton and Michael Lockett (Two essential figures form Louisiana).

James played an important role with the group and actually wrote their song "Let Me Be The One For You

" while he was laid up in the hospital. He parted ways from them after the group made it clear they didn't want to tour even turning down a gig to open for Prince in New Orleans. He linked up with a fella named Kennith and started Kingdom Records and released "How Close". James and Kennith had a falling out over creative differences and as luck would have it James was invited to play at the Apollo with a group "For U2 See".

The final mixes on both tracks were by Nigel Lowis who has also worked with, Burt Bacharach, Lord Andrew Lloyd Webber, Stevie Wonder, Luther Vandross, Mariah Carey, Celine Dion, to name but a few!



Northern Soul legend Lorraine Silver who is unbelievably now 70 years of age recorded ‘lost Summer Love’ for PYE Records when she was 13 years old in 1965. Whilst not a chart hit this record went on to become an iconic track at the legendary Wigan Casino in the 70’s & was re-released on Casino Classics label and sold in excess of 30,000 copies. Now in 2022. BMG /Universal have launched a new series The Pye Northern Soul Singles and they selected Lorraine Silver as their first artist. So for the first time ever all 4 of Lorraine’s tracks which she recorded for PYE have been released together on a mini album and amazingly Spotify produced listening figures of almost 50 Thousand streams in first week of release

Lorraine knew nothing of her iconic Northern Soul status until the late 80’s so she has an amazing back story

Universe City's 1976 12 inch promo release, featuring 'Can You Get Down' and 'Serious', gained cult status in the disco scene. Produced and arranged by John Davis, the limited release and the subsequent demand over several decades, fuelled in part by regular plays from tastemakers like Sean P and Dave Lee, highlight the enduring popularity and influence of this particular record within the disco community. John Davis, a highly influential figure in the disco music scene, particularly during the 1970s. As a composer, arranger, and producer, Davis played a crucial role in shaping the sound of disco and funk music that can be heard throughout this release. Presented here officially for the first time since it’s limited promo release 48 years ago, this exclusive RSD release, lovingly remastered will be an essential purchase for any disco lover! Mint copies regularly changing hands for £100, this is a 'do not miss!' Delivered in a glorious Universe City band sleeve, limited to 500 units.

Limited vinyl edition of 150 copies / Hand-stamped marbled 10″ / Single Sided

Italian duo HUMA returns to Angis Music with a brand new, ultra-limited single-sided 10″ featuring “Gentle Frames”, the ultimate dancefloor anthem. To record this special jam, they’ve joined forces with Brothermartino, old friend of the label and key figure in the Italian underground scene, who has enriched the magical atmosphere of the track with his flute, turning it into a potent blend of jazz, funk, and broken beat with a retro-futuristic flavor. Don’t miss it!

1970 album that marked a milestone in the history of Peruvian tropical music comprising an outstanding repertoire of Cuban rhythms as a response to the trends of the moment: boogaloo and Colombian cumbia.Guitarist Pancho Acosta lead the band and Kiko Fuentes delivered the vocals across some juicy descargas and guarachas.In the late sixties, a generation of young Peruvian musicians, who were fans of tropical sounds, chose Cuban rhythms over the onslaught of boogaloo and Colombian cumbia. This musical movement attracted a legion of young followers, mostly from popular districts of Lima.In 1969, percussionist Domingo Guzmán Villanueva was commissioned by the MAG record label to get together a group to revive Cuban musical tradition. To lead the project he recruited, Francisco "Pancho" Acosta, founder and guitarist of the Company Quinto. The new group was baptized Los Kintos, in a nod to their desire to carry on playing in the Compay Quinto style. The link between the two groups appears on this first album, as the group's name is written in two different ways: Los Kintos, on the front cover; and Los Quintos, on the back.Recordings began in 1969 and included the stunning 'Descarga Kinto', Richie Ray and Bobby Cruz's original 'Pancho Cristal' -renamed here 'Pancho Guzmán- and Cuban classics from the repertoire of the historic Trio Matamoros like 'Lágrimas Negras' or 'Mentiras', all with lead vocals by Kiko Fuentes.The success of their concerts would take them on tours across the country, always recognized as outstanding figures of Cuban music in Peru.This reissue brings back an album that marked a milestone in the history of Peruvian tropical music and revives the fame of the group's legendary live performances. First time vinyl reissue.

Colored Vinyl with a couple of light scuffs. Cover signed by the band on the back. Copy n° 061/300

Freestyle Records drop another UK boogie 12" rarity from Eddie Capone's Treatment, this time the previously white label-only "Only You Know What I Like" from 1985. Limited to 300 copies worldwide.
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A mainstay of the UK's reggae, soul, funk & rock circuits since the early 1970s, Eddie Capone has played with a diverse and revered collection of acts; Chairmen of the Board, The Foundations, Black Velvet, The Elgins, Arthur Brown's Kingdom Come, Arthur Lee's Love, Billy Preston and Edwin Starr to name but a few. Eddie was also part of short-lived group Casablanca, with David Costa & Barry Clarke of early 70's folk-rockers Trees, signed to Elton John's Rocket Record Company.
Eddie founded the Treatment band in the early 1980s bringing in a revolving cast of singers and players, and created the Treatment Records imprint out of his own Black Rock studio in South East London in 1982. Releasing a string of singles - with efforts from Eddie Capone's Treatment, a side-project with singer Beryl Marsden as Salt & Pepper, and a single from Norwegian group Wave - Treatment Records then followed this up in 1985 with the 12" release of "I Won't Give You Up" with Diane Jones brought in on vocal duties. This received solid support amongst DJs and radio at the time, and was quickly followed with this solid slice of white label-only UK boogie-funk that has since become a favoured deep cut on the selectors circuit.
Treatment Records continued through the 1980s through to early 1990s releasing Eddie's music, both as a solo artist and as part of collaborative side-projects, and Eddie has continued to write, perform and produce music from his home studio right through to the present day. As a committed community figure & activist in South East London, Eddie has since 2014 re-started Treatment Records under the name of 3G Treatment - bringing together three generations of people from the local area to ensure young artists & musicians have access to the expertise and experience of their elders for support and encourage successful careers in the industry.

Hailing from Los Angeles, Jimmy Tamborello has been a key figure in refining what today is considered electronica for over 20 years. "The Seas Trees See" is the first of two Dntel albums to be released in 2021 by Morr Music in collaboration with Les Albums Claus: a free-floating and rather loose stroke of musical genius, giving ambience a whole new meaningful context. It combines crackles and hiss with deep, yet modest, synths and poignant, yet elegant, vocals and lyrics. "Away", its counterpart album, will follow later in 2021. It will showcase Dntel's unapologetic love for pop music from a long-gone era, presenting yet another aspect of his multi-faceted personality. Dntel has always covered many musical grounds - from the pop-infused hits on "Life Is Full Of Possibilities" (Plug Research, 2001) to his much more abstract works on "Aimlessness" (Pampa Records, 2012), "Human Voice" (Leaving Records, 2014), and his electronics for The Postal Service (Sub Pop). Whatever his style - Tamborello has retained his very own musical voice.When it comes to producing music, it can be a good idea to get away from the studio and find a more relaxed environment. Inspiration does not necessarily require huge bass bins. Fewer pieces of gear make it easier to really focus on ideas first and let them be. After recording "Hate In My Heart" - his most recent album, released in 2018 - this way, Tamborello continued working in that fashion, mainly jamming and getting ideas together for upcoming live shows. One of the first results of this creative process was the opening track of "The Seas Trees See" - a cover version of "The Lilac and the Apple", originally recorded by Californian folk singer Kate Wolf in 1977. Tamborello turns the acapella song into a vocoder-like extravaganza. Working with the original recording, the track perfectly sets the tone for what "The Seas Trees See" turns out to be - a quiet yet mesmerizing journey through sound and emotion, bringing together his very own sound design, disguised samples and an...

Plus 4 Unreleased Bonus Songs! This is a band project from the late 1960s with a very young Bobby Marin, a leading figure in the invention of BOOGALOO music, a cocktail of Latin music, Rhythm & Blues, Soul and Rock’n’Roll oft he day clearly geared towards the western pop music that made the top of the charts. As he grew up on 107th Street in Harlem / NYC he and his mates played a game called Stickball during the day which is a street variation of baseball originating from the New York area while at night he rehearsed with a doo wop ensemble named THE LATIN CHORDS and others from his team got together in a percussion group in buildings on the opposite site of the street. It was no miracle that both groups soon merged into one act that became the 107TH STREET STICKBALL TEAM producing this sole LP in 1969 with a 7“ decoupled probably upfront that featured the two album tracks „On old Broadway“ and „Mojo shingaling“. Well shaped originals of the full length vinyl go for 200,00 € now as a mono pressing, while even those which fetch lower prices never fall beyond 100,00 €. Therefore this reissue on Everland Records suits us fans of outstanding 1960s music fairly well with even four bonus tracks added that band leader Marin unearthed from his personal vaults. This is clearly a typical album in the field of BOOGALOO music of the later 1960s. Western popular music such as beat with British roots, American soul music with lush arrangements and orchestration and the well known elements of bossa nova, salsa, cha cha cha and merengue team up in an exciting sound that gave us some very intense albums during the short span of it’s real popularity in between 1966 and 1969 around NYC but also far out in the latin world. The anthems of one’s life in the Bronx or in Harlem given by the likes of Tito Puente could be felt pouring out of the relaxed, yet intensely pulsating rhythms from drums and percussion on this record while the melodic constructions on top of this groundwork were either soul inspired such as with the hauntingly dreamy opener „On old broadway“ with a great pop appeal and beautiful horn section and vocal arrangements, had a bluesy approach such as the ballad „Look to me“ in three – quarter time at first but adopting a latin melody and cha cha cha beat towards the end of the song or showed a 1960s pop beat affinity with the vocal melodies on top of a bed of ever grooving mid paced salsa rhythms with powerful horns accompanying the basic structures as you can hear it in the two minute shorty you put a hurt in my heart. But this was only one side oft he coin. There were even more traditional latin songs to be found here which were even sung in Spanish. „Toma Guajira“ could easily be an evergreen on the dancefloor in every bar in Havanna. The mixture was breathtaking for you did not get away from dancing and twirling to the enthralling rhythms upon which sometimes the instruments could take a frantic path such as the organs or the saxophone in the soul inspired instrumental „Barbara with the kooky eyes“, which has this typical late 60s atmosphere. Wherever you put the needle in the groove the music will grab you by the heart and legs. The four bonus tracks fit well with the original album and if you would not know they were added only for this reissue you would never realize they would have stayed unreleased for about 50 years. „Come live with me“ is a hot blooded latin groover with a late 50s soul and doo wop feel merged with cumbia and salsa elements. The melodies drag you straight into the clubs of Cuba’s capital. „Rosemary with the funny knees“ is rather modern soul pop and Northern soul of the day in which more of these Cuban aspects appear for a moment but with the late 60s sound prevailing. It feels like the band drifts from one one world into the other and back without losing a beat. „Hey mama“ is a cross of 60s doo wop vocal music and Latin sounds that makes up a prototypical boogaloo style dance floor sweeper. „Lost in the jungle“ adds some 1950s exotica elements to the haunting 60s pop with latin rhythm groundwork and once more frantic performances from the horns and the singers make it an instant classic. I could go on raving about this album but instead I recommend to buy a copy of the reissue and get the full boogaloo experience. If I should limit myself to only one record from this style it would certainly be this.

Rare Seattle Electro-Funk Boogie
Originally Released & Privately Pressed in 1983
First ever vinyl reissue
180g Clear vinyl limited to 100 copies (lita Exclusive)
A central figure in Seattle’s fading disco scene, radio DJ, producer, engineer, writer and multi-instrumentalist…Tony Benton was the driving force behind the Seattle soul-funk sound during the late 70s & 80s. Starting off his career at the age of ten he learned how to play the piano and then finally got to take a music class in the 7th grade. Having access to an electric piano made him fall in love with the thought that he could make his own music. At the age of 16 Tony and his friends already formed their first band called 'Crystal Clear' and were making up songs in his basement. Things would really start of when Tony Benton teamed up with his group to form the avant-boogie group Teleclere who went on to release their first single in 1982 (Fantasy Love / Ultra Groove). That’s when Tony started playing all of the other instruments and thus earning him the title ‘multi-instrumentalist’. Teleclere was all about creating and performing original music, there was no music scene in Seattle at that time for a black artist or group who played original compositions. Rap-music was also emerging and clubs slowly started to switch from live performances to deejays. Through the success of their independent EP release, Teleclere followed up a year later with their Affection/Defection album which created a serious hype. This gave them the chance to regularly open at concerts for national artists in halls and clubs. They played at nightclubs, bars, festivals, private parties and did mini tours in the Washington State cities & Canada…including opening for Grammy-award winning soul-star Peabo Bryson (performing for a crowd of 3,000 in their hometown Seattle) Sadly, radio would not play their music so folks never really had the chance to hear it unless they saw them perform live (they always won the crowd over). To add insult to injury, venues and the likes started to mainly book cover bands playing top 40 music. Disappointed by this Tony Benton became a radio personality but would continue to record and perform under the name 'Teleclere' with various players and vocalists for many years to come. Only a handful of his tracks recorded were released in the end. Thankfully we are left with the unique audio-document that is the Affection/Defection LP. The album took the scene by storm in 1983 and sounds like a sci-fi space odyssey unfolding on an intergalactic dance floor…a chopped and slapped slice of 80ies electro-funk, sensual soulful serenades, pulses of Innervisions-worthy bass, top of the line vocals and a plethora of vocoder magic. Also included is the hit ‘Steal Your Love’ that was featured on the acclaimed 2014 Light In The Attic compilation ‘Wheedle’s Groove Volume II: Seattle Funk, Modern Soul And Boogie 1972-1987’. Tidal Waves Music (in collaboration with the Numero Group) now proudly presents the first ever vinyl reissue of this fantastic private pressed Seattle electronic soul/funk album (originally released in 1983 on Telemusic Productions). This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork and obi strip.

Second reference of Gutifunk Achilisound Discos is a time bomb built in the old way. Conceptually conceived as a sound library LP, Combo Alex Melero has had the fortune of bringing together jazz geniuses such as Jorge Pardo or Chip Wickham and essential rumba figures such as Manuel Malou (Los Golfos) or Jack Chakataga in his Madrid studio to recreate fourteen cannon shots of Latin funk and rumba rock.

Instrumental versions of essential classics such as “The Night of the Wolf” by Al Foster, the rumba hit by Paco de Lucia on the voice of the Marismeños “Caramba, Carambita”, the coveted jazz funk “Restless” by I Gres or the sabroso tasty “Chévere” by Joe Quijano & Orchestra that here join Alex's compositions that leave us speechless like “Hustle”, “Gipsy” or “Street Jungle”. Inadvertently he has allowed us to hear the missing link between Rabbit Rumba and The Meters. An essential album that did not find a label in its day and that we wanted to recover in the original format of this type of disc, do not look for it on digital platforms.

Musicians Alex Melero: Guitar, Bass, Synths, Percussion, etc... David Chino: Drums. Jack Chakataga: Percussion. Jorge Durán: Vibraphone. José Álvarez: Keys. Chip Wickham: Flute. Manuel Malou: Spanish Guitar, Rhythmic Clapping. Roberto Lorenzo Elekes: Trombone. Roberto Cantero: Tenor Sax, Flute. Pablo Flub: Baritone Sax. Martin: Trumpet.

SOL DISCOS is extremely happy to introduce the second volume of their Message In Our Music compilation series, selected by WAXIST. This album is the result of more than two years of work in researching the original recordings, the artists involved & licensing the different songs. Focusing once again on the Modern-Soul genre, the album brings back to light eight extremely rare songs from the mid-70's to the mid-80's, all officially licensed.
From the heavy synth Gospel Boogie of Sharnell Morton's "You Are My Shining Star", to the magnificent Network & Co private Disco "Spirit Of The Boogie", most of these songs are highly difficult to find on their original format, not to mention at a decent price. Direct Connect Shun’s "He's No Good" records have been destroyed in a flood, and the few copies which have sold on the Internet reach the 3 figures price tags for example. Also, the album is proud to introduce to a wider audience some lesser known but exceptional recordings such as Janice "Nikki" Harrison's "Magic of Love", which is taken from a Broadway musical produced & composed by Ted Wortham - who also composed for Philadelphia International Recordings artists such as Teddy Pendergrass, Anthony White or Jean Carn.
Message In Our Music Vol.2 has been fully remastered, and features interview based liner notes, along with never seen before pictures of the artists selected.

Back in 1968 a pair of Germanic behind-the-scenes sound librarians called Horst Ackermann and Heribert Thusek left a tiny, but indelible, pinprick on the history of German Pop in the misshaped form of a sexy horror cash-in concept album called Dracula’s Music Cabinet. Shelved at a micro-cosmic axis where Krautrock meets lesbian vampire Horrortica and easy listening meets psychedelia the delayed reaction of this mutant concoction eventually exploded in the mid-1990s in the hands of a generation of ‘record diggers’ sending currencycrushing tremors through the wallets of mods, rockers, hip hoppers, psych nuts and kraut kompletists around the plastic-pillaging planet. The vinyl junkies had resurrected a monster, but, like addicts do, they ravenously sucked it dry and moved on looking for the next fix to feed their habit. Luckily for some, Ackermann and Thusek were also creatures of habit. And it wouldn’t take a genius to figure out that they were holding the next dose, but by the turn of the millennium the mad scientists had been given a thirty-five-year head start on the pop archeologists and their mythical sequel was literally light-years ahead of their previous draconian installment... Encouragingly the unclosed cabinet left a shiny white clue in the form of it’s closing track Frankenstein Meets Alpha 7... Perhaps space was the place. Always read the label. The Ackermann and Thusek duo were far from dynamic. They were undercover agents hiding behind user-friendly mock-rock monikers and, like most B-Musicians, the only way to sniff them out would be to read the small print. But when an unidentified record on an unknown label with a title like Science Fiction Dance Partycrops up in the Eins Deutschmark crates it’s not exactly rocket science - although the track titles might suggest otherwise. The End Of A Robot, Monster On Saturn 1, Galactic Adventures Of The Outer Space Fleet , The Whistling Astronauts, Death Rays Out Of The Universe’.. The telltale signs are all there and if that vintage psycoplasmodic Colored Vinyl doesn’t clench the deal then what will. When rumours about a space-age follow-up to Dracula’s Music Cabinet hit the straße Deutsche-o-phile diggers fingers started twitching nervously

Favorite Recordings proudly presents an exclusive eponymous LP by Brazilian singer and composer George Sauma Jr., originally produced in 1985. Imagine a never-marketed release on which you’d hear not only the beautiful and genuine George’s songs but also the work from two figures of the Brazilian Music Golden Age: Arthur Verocai and Junior Mendes! A much-needed album for all Brazilian connoisseurs. Back in the days, George Sauma Jr. was a young artist from Rio de Janeiro, learning on his side how to play chords and compose songs since he was 10. Still at the university, he’s influenced by Brazilian artists like Cassiano or Tim Maia, deeply fascinated by the arrangements and the “levada” (the groove) of all these new Brazilian songs. Simple and romantic music that resonated to his soul and creativity. Around 1985, the story took an unexpected turn. George tells: “Dna Deyse Lucidy, the mother of Junior Mendes was a candidate for deputy and went to my father’s company to advertise. When I saw her, I shouted, “I’m a big fan of your son!” ” Of course, she could not praise more the work of her son. On her advises, George went to his studio on Rua Siqueria Campos at Copacabana. Junior loved the project and sent him to Arthur Verocai to improve the arrangements. Without money, the decision was taken to record everything at Junior Mendes’ studio on an 8-channel mixer. It was a small set-up but the emotions were there! George surely had other plans for some of his songs but without the budget, they ended up doing everything the best they could. And they did very fine with a top-notch team of musicians: Paulo Black on Drums, Arthur Verocai on Guitar, Ricardo Do Canto on Bass and Helvius Vilela on Keyboards. Leaving the studio with the tapes, George tried to knock doors of international labels, but none did even dare to give him an answer. With less than 1000 copies pressed back in the days and without any distributor or label behind him, he went with proud to record stores, but received nothing than a strong reality check regarding the difficulties for a young Brazilian artist to achieve something on the saturated market of the 80s. Even for free, record stores didn’t want it. In the end, he ended up giving copies to friends and families, knowing deep inside that the songs were good! George tells: “I decided to leave, calm and conscious. I’ve still made three more albums, however on tapes, as it was more affordable. This time, just for my pleasure…”. Thirty-five years after, it’s with great emotion that this first album by George Sauma Jr. is now made available as Vinyl LP with its original offset printed innersleeve & CD.

Rare Seattle Electro-Funk Boogie
Originally Released & Privately Pressed in 1983
First ever vinyl reissue
180g Clear vinyl limited to 100 copies (lita Exclusive)
A central figure in Seattle’s fading disco scene, radio DJ, producer, engineer, writer and multi-instrumentalist…Tony Benton was the driving force behind the Seattle soul-funk sound during the late 70s & 80s. Starting off his career at the age of ten he learned how to play the piano and then finally got to take a music class in the 7th grade. Having access to an electric piano made him fall in love with the thought that he could make his own music. At the age of 16 Tony and his friends already formed their first band called 'Crystal Clear' and were making up songs in his basement. Things would really start of when Tony Benton teamed up with his group to form the avant-boogie group Teleclere who went on to release their first single in 1982 (Fantasy Love / Ultra Groove). That’s when Tony started playing all of the other instruments and thus earning him the title ‘multi-instrumentalist’. Teleclere was all about creating and performing original music, there was no music scene in Seattle at that time for a black artist or group who played original compositions. Rap-music was also emerging and clubs slowly started to switch from live performances to deejays. Through the success of their independent EP release, Teleclere followed up a year later with their Affection/Defection album which created a serious hype. This gave them the chance to regularly open at concerts for national artists in halls and clubs. They played at nightclubs, bars, festivals, private parties and did mini tours in the Washington State cities & Canada…including opening for Grammy-award winning soul-star Peabo Bryson (performing for a crowd of 3,000 in their hometown Seattle) Sadly, radio would not play their music so folks never really had the chance to hear it unless they saw them perform live (they always won the crowd over). To add insult to injury, venues and the likes started to mainly book cover bands playing top 40 music. Disappointed by this Tony Benton became a radio personality but would continue to record and perform under the name 'Teleclere' with various players and vocalists for many years to come. Only a handful of his tracks recorded were released in the end. Thankfully we are left with the unique audio-document that is the Affection/Defection LP. The album took the scene by storm in 1983 and sounds like a sci-fi space odyssey unfolding on an intergalactic dance floor…a chopped and slapped slice of 80ies electro-funk, sensual soulful serenades, pulses of Innervisions-worthy bass, top of the line vocals and a plethora of vocoder magic. Also included is the hit ‘Steal Your Love’ that was featured on the acclaimed 2014 Light In The Attic compilation ‘Wheedle’s Groove Volume II: Seattle Funk, Modern Soul And Boogie 1972-1987’. Tidal Waves Music (in collaboration with the Numero Group) now proudly presents the first ever vinyl reissue of this fantastic private pressed Seattle electronic soul/funk album (originally released in 1983 on Telemusic Productions). This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork and obi strip.

The debut of Hamburg trio Cloud Management stages the meeting of three proven exceptional figures: Thomas Korf and Sebastian Kokus have been responsible for some stunning leftfield neo-kraut releases with their band Love-Songs in recent years; Ulf Schütte has been one of the most productive, and innovative protagonists of experimental electronic music in Germany for many years (see Datashock, Phantom Horse, or his most recent collaboration with G. Steenkiste/Hellvete on Umor Rex, for example). Following Love-Songs" highly acclaimed collaboration with Schütte, "[Spannende Musik]", released in 2021, the formation of Cloud Management as a group in its own right marks a new beginning, which is celebrated with the long player on Altin Village & Mine.

Dirg Gerner's debut album "Simple Man" is a soulful masterpiece and an essential addition to your collection, offering a much-needed introspective escape in these trying times. It’s timeless music, but with an old school feel and an eye on the sonic potentials of tomorrow. The elusive maverick, of Chilean and German descent, has previously gained recognition and support from renowned figures such as Benji B, The XX, Gilles Peterson and Ommas Keith. This new body of work, featuring jazz trumpeter Theo Croker, is serving jewel after jewel of silky harmonies and plain-spoken wisdom, which makes it a must-listen for anyone seeking authentic and soul- nourishing music.

Al Massrieen: Disco, Funk and modernized Arabic Pop from Egypt

In the beginning of Habibi Funk, our search was focussed on vinyl records. Around a year ago though, we got to the point where we realized that it became substantially harder to discover music, that we enjoyed and hadn’t heard before. It became apparent that it was time to start looking for other formats. Cassette tapes were the obvious alternative. These were introduced in the arabic world around the late 1970s. In some countries they took over a bit earlier, in others a bit later, but eventually they pushed the vinyl format out of the market in the 1980s. In Egypt this trend already even started in the late 1970s.

Al Massrieen was one of the first bands I learned about once I discovered the tape format for myself. They were really popular in Egypt in the 1970s and the more of their music I found on either tapes or Arabic pirate mp3 sites, the more I was becoming a fan. Only very few bands from the region can match the band’s versatility as well as their strive for innovation. Hany Shenoda is the man behind the Al Massrieen band. He is a reknown figure of the Egyptian music scene and has worked with everyone from Abdel Halim Hafez to Mohamed Mounir. Al Massrieen was his attempt to introduce his ideas of modernizing Egyptian music, heavily encouraged by Naguib Mahfouz (Egypt's only winner of the Nobel Price for literature) after discussing his ideas with him.
Al Massrieen's sound goes from lush disco like “Sah” to psych rock like “Horreya” or incredible jazz fused pop on songs such as “Edba Mn Gded”. I was shocked to realize the band seemed to be hardly known outside Egypt, even though I feel they're at least on the same level as Ahmed Fakroun. An relative obscurity which I largely attribute to the fact that their releases never have been pressed on vinyl (apart from a Greece best of LP which wasn’t a strong compilation of the group’s songs). One way or another it felt like this band and especially their composer, band leader and overall brain Hany Shenoda was in need to get some recognition outside of Egypt. The release is fully licensed from the band and comes with an extensive booklet with liner notes, interviews and unseen photos.

One of the rarest and most sought after South African recordings of the early 1970s, available again for the first time since its original South African release – the swinging township groove of The Jazz Clan’s 1973 debut LP, Dedication

Die-hard fans of South African jazz speak about The Jazz Clan in hushed tones. One of the dozens of South African groups who styled themselves as ‘jazz dignitaries’ – like the Jazz Giants, the Jazz Ambassadors, or the Jazz Ministers, for instance – their two widely separated studio albums for Gallo (Dedications and Makwenkwe, released in 1973 and 1976 respectively) are extremely hard to find, and were never repressed after their initial runs. Until now their work has graced neither re-release nor compilation. But they were no also-rans. They may have left a small recorded footprint, but it was an impressive one, epitomised by their hard-swinging 1973 debut, Dedication – a tough, swinging soul-jazz set with distinct African touches which is counted by those in the know as among the best South African jazz recordings of the era.

Once you dig down into the history of the group, this is no surprise: the players that comprised the Jazz Clan were veterans. And they thought big – their first incarnation during the 1960s had been as a 16-piece, and they had held down a residency at one of Nelson Mandela’s regular haunts, the Planet Hotel in Fordsburg. The original leader, drummer Gordon ‘Micky’ Mfandu, had been a regular on the Johannesburg jazz scene since the early 1960s and had recorded with figures including Gideon Nxumalo, and the famous Blue Notes; along with bassist Mongezi Velelo he had also been a member of the revered Soul Giants unit. Baritone player Cornelius Khumalo had also played with Chris McGregor and the Blue Notes in the pit band of the musical play Mr Paljas, and had also recorded with township legend Zakes Nkosi. Also in the line-up, and handling most writing duties on this disc, was the great trumpeter Peter Segona – a quicksilver hornsman, Segona later sought exile in Europe, where he played with musical luminaries across the continent including Chris McGregor’s Brotherhood of Breath, Cymande, and Manu Dibango.

By the 1970s Mfandu was dead, murdered in Soweto, and the group had consolidated as a septet – the late drummer is memorialised here on closer ‘Micky’. South African jazz was moving toward electrified funk and bump, and the new township style of Dollar Brand was just around the corner. But Dedication captures the acoustic jazz sound of the early 1970s in its pomp – a handful of tightly wound songs jostling for space, blending uptempo soul-jazz sensibilities with Latin influences and pronounced township jazz accents, the latter especially audible in Dimpie Tshabalala’s piano vamps, Jeff Mpete’s pattering hi-hat emphases, and the unmistakably South African swagger and dip of the horns on cuts like ‘Rabothata’. It is music on the brink of a transition, looking ahead but still dedicated to the sound of the golden years, and it could have been made nowhere else on earth but in Soweto.'

Transferred from the master tapes by Gallo in South Africa. Mastered for release by D&M. Pressed at Pallas. Fully licensed from Gallo South Africa.

Renata Lu is a bit of a mystery figure... She only made a few albums in the 1970s and sang backup on many more such Tim Maia and Nonato Buzar but for whatever reasons never seemed to make it into the MPB upper echelons. Debuted solo in 1971 on her self-titled album for Copacabana Records with a heavyweight fusion of US style soul and funk with added Latin percussion. This features Renata Lu singing over a hybrid samba/boogaloo backing track rich in jaunty bass, rasping horns and jazzy electric piano riffs. Rare LP finally reissued on a deluxe edition. One of the landmarks of Funk Carioca.

Little Barrie And Malcolm Catto Team Up For Seven Tracks Of Breaks And Sci-Fi Fuzz For Maverick Producer Madlib's Label

Quatermass Seven, the meeting of minds between guitarist Barrie Cadogan, bassist Lewis Wharton and drummer Malcolm Catto represents a re-birth of sorts for Little Barrie, with these their first recordings since 2017’s Death Express and the untimely passing of their gifted drummer and friend Virgil Howe. As Lewis explains, the sessions played a part in the healing process, a way to re-connect through music without any intentions to necessarily come away with a finished record. “It was good to get in the studio again after such a long break especially as we didn’t go in with any agenda or expectations,” he explains. There was no preconceptions that we would make a new Little Barrie record, it was just an opportunity to work on some things Barrie had written for fun with zero pressure.” With most tracks recorded live with minimal overdubs, and produced by Malcolm at his Quatermass studios, The Heliocentrics’ main man brings new flavour to the band’s rhythm section by blending his power behind the drum kit and his expansive skills behind the mixing desk to take Little Barrie’s music forward into new territories. Recorded on Catto’s treasure trove of analogue gear, and mastered onto ¼” tape, the overall effect is guitar, bass and drums finding a sweet spot where genres collide, delivering a record that takes the influences of the past and pushes them towards somewhere more contemporary. “I definitely hear in Barrie’s songs a lot of common musical ground’” explains Malcolm. “It felt like a great thing to do, work with Malcolm while we’re figuring out what we wanna do,” Barrie concludes, “let’s just go in and do some playing and see what happens, and we came out with more than we ever intended.” Quatermass Seven delivers a dark, deep and expansive set of grooves, layered with frazzled and flawless guitar and flowing melodies, as well as pointing toward a future of exciting new musical opportunities. “Still here, so fine, just a little darker state of mind” sings Cadogan on ‘Steel Drum’, words which sum up hope in times of uncertainty, whilst unintentionally offering a perfect description of Quartermass Seven.

Transcendent Yemenite interpretations of Bollywood soundtracks from 1982. An ultra-rare album by Jacky Mckayten who combines his own Yemeni heritage together with popular Indian music from film. A deep journey amidst tablas, sitars, and electric guitars, through heartbreaking songs of love and betrayal. McKayten was a highly influential musical figure in Israel yet remained largely underrated until his recent untimely death. This is his most powerful work, reissued for the first time, from the original master tapes, excavated by Fortuna Records.

Not so long ago Marlena Shaw was a forgotten figure. The talented vocalist had made several LPs for respected labels such as Cadet and Blue Note, and she'd performed regularly throughout the '60s and '70s. But she hardly had what you might call diva status. Falling into the unfortunate category that slips uneasily between soul and jazz, she was accepted - but not especially admired - by aficionados of either genre. Then came the '90s, and an open-minded enthusiasm for soul and jazz - and more importantly - everything in between - soon changed that. Marlena Shaw became an icon, and the diva status soon blossomed amongst her new-found soul-jazz fans.

Respect is a word that means much to any singer. The artist who stands up in the bright lights before an audience that has handed over their hard-earned cash has only their physical presence and naked voice to rely on. There is no hiding when you're on stage, you're the focus of attention and everybody is gawping at you. The singer yearns to communicate and entertain, and in return not only asks for appreciation and acceptance, but respect. To this end Marlena Shaw has endured decades of singing in the shadows, and she has only recently finally found her niche.

On Disc One we have 'California Soul', probably the most enduring and well-known of her many songs, but just a few seconds listening will tell you that it is much more than that. It's already a classic amongst those who have already seen the light and have danced and swayed to its timeless swing. Upon hearing it all lovers of soul, jazz – or any other kind of good music - will feel an aural glow as warm as the Californian sun. The song 'Liberation Conversation' on the flip was only ever available on her highly revered 1969 LP 'The Spice of Life'. This is where the 'Blues ain't nothing but a good woman gone bad' launches into an irresistible, relentless uptempo funk groove.

Disc Two showcases 'Wade in the Water', an ancient song rumoured to have been developed and popularised by slaves in the American south. The message is to pass on the notion that by fleeing in a bid for freedom through streams and rivers, the scent that bloodhounds use to follow their victims will be obscured. Marlena's version has long been a favourite dancefloor filler since its 45-only release back in 1966.

'Woman of the Ghetto' is one of her best-known songs and ends the set on the other side. The opening number from 'The Spice of Life', it's since been recognised for the classic it is, and as such has been afforded anthemic status. We release the original 45 version here, as used to promote the LP back in the day.

This special 2x7" product from Jazzman is dedicated to the memory of Marlena Shaw, b. 22 September 1939, d. 19 January 2024.

For the past 20 years, NO FORMAT! has been cultivating the idea of an artisanal and homemade label, supporting artists who stand out with unexpected projects. Its motto, "You never know in advance what you"ll fall in love with", has guided its direction from the outset. Its high standards on the quality of the sound has become its trademark, while one of the mainstays of its work is the development of collaborations between artists from diverse backgrounds. For its 20th anniversary, a new guard of electronically-inspired artists takes over the NO FORMAT catalog for an original remix album, specially created for the occasion. 10 iconic tracks from the label are reimagined by 10 young, talented, emerging and/or established producers, carefully chosen on each track. While Pan-African trio Toto Bona Lokua"s music is reworked by British-Ghanaian afro-bass pioneer Hagan, South African vocal duo Msaki x Tubatsi is reimagined through a remix by amapiano heavy-weight Vigro Deep. Blick Bassy"s delicate Cameroon folk turns into an afro-club anthem produced by Moonshine collective leading figure Vanyfox ; Haitian-American neo-jazz artist Melanie Charles electrifies "Kouzen" by Haitian Canadian singer-songwriter Mélissa Laveaux ; renowned sound artist Sofie Birch transforms Koki Nakano"s delicate piano into an ambient soundscape. Japanese house pioneer Shinichiro Yokota gives a new spin on electro-jazz collective Asynchrone, which was inspired by Ryuichi Sakamoto"s work. "NO FORMAT! Remixed (2004-2024)" is both a celebration of 20 years of music and creation, bringing this beautiful and curated catalog into a vibrant and festive compilation, and a step towards the label"s next 20 years.

The first in a four-volume retrospective of Kuduro and tarraxinha pioneer DJ ZNOBIA.Incoming unto the world for a very long time from the musseke of Rangel, home of Casa da Mae Ju, in the Angolan capital of Luanda, one if not the pivotal visionary of his country's music electronic and digital modernism - DJ Znobia, o/um/an inventor.Usually considered the first purveyor of the fluency regarding tarraxinha (drinking in its foundational slow shuffle from the city of Benguela), as well as a main player in free thinking, spontaneous, funny, depressive, silly, melancholic, hilarious all encompassing beats within kuduro, batida, techno and beyond, his influence as a producer, DJ, MC and public figure has had a great imprint in Angolan culture for the better part of the last three decades.This venture went through over 700 tracks of his archive (more than double are lost in the meantime between his and the NNT library) in order to collaboratively select a fiercely representative albeit balanced affair from his pro-duction, between instrumentals for sung kuduro, instrumental kuduro/batida, sung and instrumental tarraxinha, and other creative styling from the late 90's to the mid 2000's. Forms now heard around the world which started here, with Znobia a decisively influential contributor, along with several of his peers and collaborators, which will be also in evidence in this four volume retrospective.His story is way too far flung for this endeavor to try and make a simple narrative out of it. You have to be him, you have to be within this territory, and we ask of the people who will approach to ask him what has happened with the history of this music and what is the current reality at ground zero Luanda, as he is a mirror and visionary of its streets, in a country with such complicated dynamics and brutal treatment of its citizens.To try to put in a clean slate for this conversation, let's talk to a genius of street music. Your question. First, here's the opening collection of what we have to shar...

In the chaos of our every day, it can be difficult to find time for pause. Knee-jerk reactions have become the norm, while the instantaneous fog clouding our culture urges us to move along, to step away from the present moment. Mexico City-based songwriter and instrumentalist Estrella del Sol wanted to craft a space where there is finally room to breathe, and time to arrange the patchwork of our reality. On new album Figura de Cristal, she encourages fragility, and celebrates the delicacy of our ever-evolving selves.Estrella del Sol is known for her work in shoegaze band Mint Field, hailed for their tender exploration of sentimentality and grief. While Mint Field propel their themes with oozing, amplified guitars and commanding vocals, del Sol's solo work blossoms in a quieter, more electronic space. "I wanted to experiment more with my vocals and mainly synth sounds, always trying to find a different sound," she explains. The result is a patient and nurturing collection of songs that remind us of the importance in taking our time. Her first solo album, Un espacio de lo imaginario, released in 2020 and recorded in the first two months of the pandemic, introduced del Sol'sethereal side. Expansive vocal dynamics dance carefully through gentle melodic structures, showcasing the intimacy of del Sol's soloarrangements. Figura de Cristal builds upon this intimacy, adding a blanket of subdued yet glittering drones, haunting electric guitars and celestial vocal textures. It was written, recorded and produced entirely by Estrella del Sol at her home in Mexico City, with cello contributions by experimental composer and personal friend Mabe Fratti and mixed by Mint Field bassist Sebastian Neyra. The album includes field recordings of Estrella del Sol's surroundings, namely her neighborhood in Mexico City. By including these miniatureportraits of her reality, Figura de Cristal acts as a kaleidoscopic interrogation into what it means to be alive, and how others figure into the images we create for ourselves. By usi...

Liberated Brother was the debut album from Weldon Irvine, and remains a landmark jazz release from the multi-talented explorer of sound. Originally released in 1972, over the course of eight tracks Irvine weaves through a collage of genre and instrumentation, fusing elements that would come to define his pioneering jazz-funk sound.

The album features Irvine’s early instrumental jazz before his decidedly conversational approach on the follow-up album Time Capsule. The title and opening track 'Liberated Brother,' with its playful Latin arrangements introduces the first half in spritely fashion, and mellows as Irvine's piano sets the mood for “Here’s Where I Came In” - a track where sombre tones feel luxurious, and conscious instrumentation tests the waters, spreading weight evenly across the soundscape. Guitarist Tommy Smith emerges as a singular figure at the start of side B with 'Gloria' - a timeless guitar composition so wholesome with its delicate simplicity, it attests the level of musicianship that keeps Irvine company across these tracks. The two then strike up a jazz-funk partnership on the subsequent “Homey” with their respective keyboards and guitar.

P-vine is thrilled to be reissuing Liberated Brother as a limited edition LP with newly remastered audio, and an iconic Japanese obi strip attached.

The Rhythm Makers's Soul On Your Side is flawless proto-disco funk. The Bronx-based band - that later went on to form heavyweight disco outfit GQ - originally released this treasure in 1976 and it's long been a hard to find record. It's also rare to find a record this hard. Captivating funk at its rawest, no doubt.

Storming out the gate with the rollicking Loft/Garage staple "Can You Feel It (Part 1)", the listener is immediately put on notice that this LP is just a little bit special. The title track, "Soul On Your Side", is a classic dancer and the basis of GQ's future hit "Disco Nights". But it's perhaps "Zone", a huge Baldelli track, that the record is best known for. Hypnotic psyched-out cosmic-disco / cosmic funk, it's an unrelenting groove that really thrusts the party into hyperdrive. With doses of scintillating Latin and pulsating African rhythms driving the pumping tune, atop an unstoppable bassline and imaginative, soul-slathered keyboard figures, it's basically a full-on funk assault. You might need a lie-down after this.

But there's no let-up on the B-Side, immediately grooving thanks to "Funk-N-You", a laidback glider that just rolls in the sleek style. Gorgeous harmony skills are displayed on "Street Dreamin'". Beautiful and gritty funk, by turns. "You're My Last Girl" is an airy ballad with two leads before the legendary "Monterey" enters the fray. A much-sampled instrumental and heavy disco-funk nugget, it contains an amazing B-Boy drum break making the whole LP worth the price of admission. "Can You Feel It (Part 2)" closes out this spectacular set.

The Rhythm Makers had been gigging around New York City since the late ’60s, having initially come together as Sabu and the Survivors, named after bassist Keith “Sabu” Crier. They eventually - for this album at least! - settled on The Rhythm Makers and cut one record for the small De-Lite subsidiary Vigor. The core lineup featured Crier, keyboardist Herb Lane, drummer Kenny Banks and rhythm guitarist Rahiem Leblanc.

Mastered for vinyl by Simon Francis, cut by Cicely Balston for Alchemy at AIR Studios with artwork restored at Be With HQ, this new edition should hopefully bring this album into the homes and record boxes of many more people.

Steve Moore's Lovelock is back with Washington Park, a gorgeous suite of instrumental lounge music that can only be described as synth exotica. A real departure for Steve, this is a more mellow, soothing sound and can be regarded as Lovelock's response to these dystopian times.

New York-based multi-instrumentalist/producer/film composer Steve Moore is probably best known for his synthesizer and bass guitar work as Zombi, together with Anthony Paterra. Yet his Lovelock alias has been quietly blowing minds and warming hearts for a decade plus now. His latest effort, Washington Park, was not initially meant to be a Lovelock album. But Steve was posting little snippets of his work on Instagram and people started asking him: "is this new Lovelock?" It was at this point that Steve had an epiphany, of sorts. "It occurred to me that Lovelock can be whatever I want it to be. So yeah, maybe this new lounge/exotica record is, in fact, Lovelock."

Washington Park creeped out in a very low-key, early lockdown fashion and there wasn't much of a reaction. Says Steve, "I just self-released it and all my usual suspects were down with it, but it didn't really make it outside of my own circle." Yet many of the Balearic heads in Europe were indeed on it and Be With were most certainly listening. So, when we struck a deal to do the vinyl version of Burning Feeling, we couldn't resist asking about Washington Park.

Gentle opener "It Means Love" grooves along in the laconic style, conjuring carousel innocence and complimented by dreamy, spiritual sax and syrupy synth strings over a digi-soul beats. Title-track "Washington Park" glides smoothly in much the same vein, almost like a slightly more acidic, squelchier version of the preceding track with more insistent organ. Swoon. Closing out Side A, steady ambient gem "We'll See" is all gorgeous, soft pads with plaintive guitar and organ giving way to soaring digital strings over that metronomic drum machine soul.

Flip for the eerily brilliant "Seduction", a track which starts like a minimalist slice of Tommy Guerrero-esque guitar and drum machine soul but soon takes on a more menacing bent as Steve leans into his long-held predilection for horror by creating a slow-mo haunted house jam. The tempo (and temperature) rises with "Center Square", a Latin rhythm section and a sensual sax rubbing up against hot and heavy organ and string action. Steamy! To round things off, the ominous creeping groove of "Rhythm 77" feels like exotica-in-excelsis.

Washington Park was recorded over the first few months of the pandemic, during the spring of 2020, against the backdrop of his kids being out of school which meant daily walks and bike rides through Washington Park in Albany. It was during these moments of family activity and gentle movements, trying to make sense of the chaos engulfing his world, that Steve formed the ideas that led to this album. To make it manifest, he used all his old Roland beat boxes (CR-78, Rhythm 77 and Rhythm 330, Rhythm Arranger) plus a Chamberlin Rhythmate for all the percussion. Basslines were usually performed with his Moog Source or Minitaur and for pads and brass he used his Sequential Prophet 600 and Roland Juno 60. Strings came via a variety of old stringers - Korg Polysix, Elka Rhapsody, Crumar Orchestrator and Solina String Ensemble - and he also used his Fender Strat and Yamaha Custom saxophone.

Steve is a huge fan of exotica and that's clearly where this album is coming from. The likes of Martin Denny, Les Baxter and Henry Mancini can all be discerned here. As Steve explained, "I spent a lot of time listening to that stuff in the 90s and I figured it was time to let those influences show." You're going to be glad he did.

Mastering for the Washington Park vinyl edition was overseen by Be With regular Simon Francis before being cut by Cicely Blaston of Alchemy Mastering at AIR Studios and pressed in the Netherlands by Record Industry.

Violence is the self-titled third album from Baltimore born/ New York based artist, multi-instrumentalist, and cult figure Olin Caprison.. Their compositions are known for vivisecting and seamlessly merging the idiosyncratic features of hip hop, metla, RnB, and electronica, creating a language all their own. A dense multilayered opus, the album takes us on a journey through religious ceremony, nightmarish visions, and the forgotten corners of a decaying cityscape, leading us to the celebratory catharsis of the club. Entirely written, produced and performed by Violence, the project is an ambitious and singular vision that takes their unique sound to transcendent new places. The album initiates with Small Body, a solemn hymn inspired by the procession of nurses encircling a congregation in black pentecostal tradition. It's freeform chanting and syncopated body percussion invoke the trancelike rhythms of call and response music. A hollowed chamber of reverence that pulls us deep into the vision of the album. It's followed by Reptile, a horrifying slab of industrial intensity that merges multiple narratives seen throughout history to interrogate a side of victimhood not usually explored. A baroque masterpiece of intricate instrumentation and celestial theatre, guitar melodies blast across a delicately woven tapestry, reflecting the manic, distorted, and unstable mindset of the central figure. Carved in Stone is an ode to Baltimore, Violence's hometown, a brooding rap song that ends in an electronic symphony. Using Violence's signature cinematic orchestration to tell the story of a particular alleyway in Baltimore, a loveless place filled with the debris and detritus of ill fated hedonism, the fragments of escaped traumas like broken bottles glistening under street lamps. I Write Letters to You Everyday and Burn Them in the Fires of My Pride is the celebratory finale. Its gloriously chaotic polyrhythms, inspired by callbacks and prehistoric song structures, mix with the affectations of club music in refere...

First there is the hooligan chantwell, up for anything in the hurly-burly of carnival proper; and then the casual reporter, firing off postcards to Trinidad about taxis, flashy booze, fast women and football in Manchester, with homesickness and grievance nestled just behind the optimism, pride and tentative senses of belonging.
There is the bearer of news from home, in detailed accounts of murders, tales of stupid local coppers, and reminiscences about food and particular mango trees; the political thinker, considering racism and Africa; and the diarist, with his vivid tales of infidelity, and disclosure of the break-up of his marriage, and his desire to get away.

One foot in the UK, the other in Trinidad; but the man himself somewhere in-between. Kitch In The Jungle, nobody around. A ‘diasporic explorer’; a key twentieth-century witness, alongside such hallowed figures as Samuel Selvon and Edward Kamau Braithwaite.

Though in frustration Kitch would sometimes take over double-bass duties himself, the musicianship of Rupert Nurse, Fitzroy Coleman and co is top-notch. The original glorious sound is down to Denys Preston, recording for Melodisc, often at Abbey Road Studios (where we transferred and restored the 78s compiled here).

Presented in a lovely gatefold sleeve, with a full-size booklet containing superb, specially-commissioned sleevenotes by Kitch biographer Anthony Joseph, and fabulous, previously-unseen photographs

* Record Store Day Europe / UK 2019 Exclusive Release!
* Originally released on Westbound Records in 1973
* Pressed on 180gm vinyl
* Limited to 1,000 copies

By the time singer-songwriter Albert Washington went to record the tracks that would be released on his career-defining LP, Sad and Lonely, in 1973, he was already a veteran on the recording scene. He had singles recorded on a dozen labels, in styles ranging from gospel to blues and soul. Washington (born in Georgia, 1939) made his own guitar out of a gasoline can using rubber bands as strings at the age of seven. After the family moved to Cincinnati, Albert started going to clubs in the area where he was exposed to artists from the likes of B.B. King and Sam Cooke who would inspire him to become a performer. By the mid 1960’s, Washington had started his recording career, cutting several singles for various labels. His 1964 recordings for the VLM label, including the song he wrote called ‘Haven't Got a Friend’, got him noticed in England, and this in turn led to a deal with Fraternity Records in 1966. Lonnie Mack later joined Washington on several singles for Fraternity recorded in 1969. In 1970, he released two singles on the Jewel label before finally recording his first LP (Sad and Lonely) for the Detroit-based label ‘Eastbound Records’ in 1973. Recorded with the Memphis Horns, the tracks on Sad and Lonely are prime southern gospel-infected soul, funk and raw Albert King style blues…bearing the heavy influence of both James Brown’s funk and Otis Redding’s Memphis soul. Albert’s music is full of lament, urban hustle and lost love, the precise guitar strokes alongside Washington's soaring vocals create the mood for the blues to invade the funk parts. The female backup singers’ harmonies are the cherry on top and the album is a funky emotional onslaught with relentless dance grooves from start to end. The outpour of talent featured here on ‘Sad and Lonely’ was carefully produced by Bernie Mendelson (Donald Austin, Melvin Sparks, Ceasar Frazier), engineered by Ronnie Capone (Stax) and then mastered by the legendary Howard Craft. Because of complications from diabetes (Washington lost his sight and went completely blind) he had to put his musical career on and off hiatus…but despite the crippling effects and the tragedies that befell him over the course of his life, Albert remained an upbeat, positive figure. Washington continued to perform in blues clubs around Long Island prior to dying of complications from diabetes on October 23, 1998. ‘Sad and Lonely’ was originally released on Eastbound (whose parent label Westbound had hitmakers such as Funkadelic & the Ohio Players on its roster in 1973). This rare album has now attained a cult status and fetches hefty sums on the collectors-market. Now it’s finally back available as a limited deluxe 180g vinyl edition (1000 copies) featuring the original artwork. Released exclusively for Record Store Day (UK & Europe) 2019, available in participating stores on April 13.

Sault returns with a new album featuring Michael Ofo and Little Simz. NINE will be limited to a short press run of 16,000 units, never to be re-issued again!

Sault - Nine is the fifth studio album by the mysterious collective Sault, released in June 2021. Like their previous albums, Nine arrived with little prior notice or traditional promotion.
Nine continues Sault's tradition of blending genres like soul, R&B, funk, Afrobeat, and post-punk, but it has a darker, grittier, and more confrontational tone than its predecessors. The album delves deeply into themes of trauma, mental health, inner-city struggles, violence, and survival, with a particular focus on life in Black urban environments.

The sound of the album reflects this shift in tone, with raw, minimalist production that pairs heavy basslines and hypnotic rhythms with layered vocals, spoken word segments, and atmospheric soundscapes. The music feels urgent, intense, and emotionally charged, offering a stark contrast to the more celebratory tone of Untitled (Rise).

Key Themes: Nine paints vivid portraits of life in marginalized communities, particularly in cities like London, where systemic inequality, violence, and hardship are everyday realities for many. The album’s title, Nine, is believed to refer to Nine Elms, an area of London, although it could also symbolize the "nine lives" concept, reflecting the resilience and survival instincts of those in tough environments.

The album tackles a range of topics, including:

Trauma – Several tracks reflect on the lasting impact of violence, poverty, and systemic oppression on mental health.
Community – There’s a strong focus on community dynamics, exploring both the unity and tensions within these spaces.
Resilience and Survival – Like much of Sault’s work, Nine reflects the endurance and strength required to navigate difficult environments.
Key Tracks:

"London Gangs" – A hard-hitting track with a pulsating, tense rhythm, addressing gang culture, violence, and the survival mentality of growing up in tough urban environments.
"You from London" – Featuring British rapper Little Simz, this track offers a sharp, introspective look at identity and the contradictions of growing up in a city like London, where cultural pride and struggle are deeply intertwined.
"Fear" – This song explores the psychological impact of fear, particularly how it’s experienced by people living in environments shaped by violence and deprivation.
"Bitter Streets" – A slower, more reflective track that focuses on the emotional toll of life on the streets, with a hauntingly beautiful melody that contrasts with the bleakness of its subject matter.
"Alcohol" – A deeply personal track, this one touches on themes of addiction, self-destruction, and the attempts to cope with life’s hardships through substance abuse.
Spoken Word and Storytelling: Nine incorporates spoken word interludes that add to its storytelling dimension. These segments often feature reflections on life in inner-city London, painting vivid images of the struggles and dynamics in urban spaces. The storytelling aspect makes the album feel more documentary-like, giving it a raw and real-life feel.

Production and Collective Identity: As with all Sault projects, the production on Nine is minimalistic yet impactful, with tight, looped rhythms, bass-heavy grooves, and layered vocals. The collective continues to maintain their air of mystery, avoiding traditional credits and public appearances. Producer Inflo is believed to be a central figure behind the sound, with vocal contributions from Cleo Sol, Kid Sister, and others, although these aren’t always confirmed.

Nine was well-received by critics, who appreciated its raw honesty and the way it dealt with heavy topics. It was seen as a necessary exploration of trauma, violence, and mental health in marginalized communities, delivered with Sault's trademark blend of musical innovation and emotional depth.

In sum, Nine stands out as one of Sault’s most emotionally intense and thematically challenging albums, offering a stark but poignant look at survival, trauma, and community in urban environments.

Libreville Records presents Totāl Cuevas, a seminal compilation album of legendary DJ Guy Cuevas's own music. Guy Cuevas is a French-Cuban writer, musician, and DJ, pioneer of the art of modern DJing. A key figure on the Paris night scene, Guy Cuevas gained a cult status as the resident DJ of the mythical nightclub Le Palace, gathering thousands of people every night under his booth, shepherding them with his music towards euphoria. He also collaborated with a great number of Fashion brands, such as Yves Saint Laurent, Kenzo, Dior, Hermès and many more. In the early 80s, Guy Cuevas released a handful of records, channeling his hedonism and natural grandeur into his sound, creating a unique music of his own. Totāl Cuevas brings together music from his three singles Ebony Game (1981), Obsession (1982), and Gallo Negro (1984), and includes previously unreleased alternate mixes. Guy Cuevas’s most iconic output, "Obsession - The Nassau Mix" (mixed by François K) gets a fresh new reboot with "Obsession - The Paris Version". Remastered from the master tapes.

Founded in early 70s by historical Rai TV trumpeter and composer Cicci Santucci (Looking Around, On The Underground Road etc.), New Tape grown up during the golden period of Italian music production and was dedicated to experimentation of new forms of sound, always hailing from the solid Jazz basis of the musicians and theme music inspiration. Andrea Galtieri aka Cavalier Piscopo sequenced the very best shots from the whole label production including exclusive liner notes, with an explosive mix of Jazz-Rock, Bossa, spellbinding groove and raw Experimental stuff.
"A leading figure in the Italian Jazz scene, Francesco 'Cicci' Santucci worked as trumpeter in the legendary Rai TV orchestra for over 20 years. He was renowned for collaborations with such international jazz legends as Lionel Hampton, Gato Barbieri, and Kenny Clarke – that is until his foray into the avant-garde progressive experience of The Living Music, a project founded by his brother Umberto. During these same years, he took part in important Italian jazz sessions like "Looking Around", "Mondo Operaio", and "On The Underground Road", with his close colleague Enzo Scoppa.
It was just around this period of great music production and experimentation that Cicci founded his own label, the NEW TAPE, in the very early '70s. His goal was to dedicate himself to composing library music with a new expression of music, less linked to hard bop or American standards, but rather more focused on the new sounds of the time that brought the listener closer to modern vibes, like jazz-rock and avant-garde music.
"Mixed Grill" opens this series, composed by the maestro's alias, 'Girosan', along with Lesiman (a.k.a. Paolo Renosto) who added a more esoteric and captivating atmosphere, closer to English progressive rock. "Rengran Mix" and "Tropical" follow, with music by Paolo Renosto and the old avant-garde connoisseur, Romolo Grano. This work gave way to electronic instrumentation and weird experimentation, and was built on a rich rhythmical carpet – tropical percussions, rock and blues inspired vibes, sleazy psych, and jazz improvisations. Music from “Rengran Mix” was also used as the soundtrack for the TV programme "Futili Motivi", and also featured the great backing sound of I Marc 4 with the accompaniment of Nora Orlandi's warm vocals.
The trademark of the label, and the most important production, is the fourth album, "Mirage" by Cicci Santucci and Enzo Scoppa themselves. This record is an explosive mix of elegant jazz, funk, and psychedelia, where every instrument finds its expressive space. We can clearly hear the connection on both the 'On the Underground Road' and 'Looking Around' albums, recorded that same year, bringing that unmistakable underground jazz dopeness typical of the magical duo of Santucci and Scoppa.
The last album of the series is "Appunti Di Guerra" by the mysterious 'Ruscigan' – a very obscure alias which probably belongs to Renosto and Guido Baggiani. This work features complex and dramatic sounds properly composed for war scenes and gloomy atmospheres, with a large assortment of percussion, distorted effects, and tape manipulation – an album that foreshadowed what would become industrial music.
With a ridiculously small pressing of only 100 copies per title, NEW TAPE is among the most interesting discoveries to date in terms of original production library music, and as a result, a very respectable journey begins inside the creative underground jazz of 1970s."
Andrea Galtieri

Songs about the unity of Sudan, peace between Muslims and Christians and the fate of war orphans, backed by grooves equally taking influence from Arabic sounds, American funk as well as neighboring Ethiopia.

Kamal Keila was among the first artist we met in Sudan during our two trips to Khartoum and Omdurman last year. He is one of the key figures of the Sudanese jazz scene that was a vital part of the musical culture in Sudan from the mid 1960s until the islamist revolution in the late 1980s. When we meet Kamal he luckily presented us with two mold covered studio reels.
Each tape included five tracks. One with English lyrics and another with Arabic ones. Musically you can hear the influence of neighboring Ethiopia much more than on other Sudanese recordings of the time, as well as references to Fela and American funk and soul. His lyrics, at least when he sings in English which gave him more freedom from censorship, are very political. A brave statement in the political climate of Sudan of the last decades, preaching for the unity of Sudan, peace between Muslims and Christians and singing the blues about the fate of war orphans called „Shmasha“.
A note inside one of the boxes specified the track titles, durations and the fact that the sessions were recorded on the 12th of august 1992. Both sessions stand as a hearable testament how Kamal Keila stuck to a sound aesthetic from decades ago, while incorporating current events into his lyrics.
Kamal Keila’s album is the first in a series of releases covering the Sudanese jazz scene on Habibi Funk. Be on the lookout for albums by The Scorpions and Sharhabeel coming soon.

From the first notes of King Comfy, Tim Carman Trio play jazz like it was supposed to be played: hot, sweaty, and a damn good time. Recorded in one day on the floor of The Record Co. in Boston MA, this LP opens up the door to what jazz is really all about. “Jazz doesn’t have to be so academic. It can be a party. It doesn’t have to be about playing a million complicated notes that only schooled musicians would enjoy. I went in focusing on groove, sound, and simplicity,” says bandleader/ drummer Tim Carman (ga-20). That’s exactly what the listener gets from this trio: straightforward grooves with a sound that blows the roof off the joint. Drawing inspiration from notables such as Big John Patton, Brother Jack McDuff, Babyface Willette, and Freddie Roach, they open the door to a very special party that we’re all invited to. In fact, it’s a ten-track jazz party that’s swinging, upbeat, and funky as hell. Consisting of eight original songs and two covers, the entire record itself gives off a live feel. Tim Carman Trio could be playing at Club Mozambique, The Lighthouse, The Cliche Lounge, The Front Room, or any jazz club on the circuit during the late sixties or early seventies, but they’re playing in your living room right here in the present day, and you’ve got a front row seat. On this record, as with their freshman Keylime LP, the trio did not rehearse before the sessions. They would figure out a tune and cut it in one or two takes. It’s about the process, old and new. TC3 does a top-notch job of preserving a style while adding their own feel from start to finish. With Tim Carman on drums, Ken Clark on organ, and Steve Fell on guitar, these three accomplished musicians have done more than release a jazz record, finding and perfecting a formula that most can not even buy. They’ve put together an homage to the true essence of great jazz music, one that the aforementioned greats would be proud of. King Comfy pays respect to the past and is a real jazz party, just like it should be.

Broc Recordz is proud to announce the album "Puzzled" by the legendary JJ Whitefield, you'll immerse yourself in the enigmatic universe of this master of funk and psychedelism. Across 13 tracks, you will discover all facets of this musician hailing from Munich, ranging from raw funk to krautrock. JJ Whitefield is an iconic figure in the music scene, having played an essential role in diverse projects such as the mastermind behind Poets Of Rhythm, Karl Hector, The Whitefield Brothers and his essential role in the recent careers of Ebo Taylor, embryo and witch“. "Puzzled" is the perfect opportunity to delve into his unique musical world.

In the wake of their acclaimed comeback album Figures (2020), Aksak Maboul took a playful sideways step to create this total work, a 63-minute, continuous suite of fifteen pieces, which could be described as an experimental audio play.The thread running through Une aventure de VV (Songspiel) is Véronique Vincent"s text, an enigmatic philosophical-poetical tale unfolding through monologues and dialogues, spoken and sung by a series of characters.The music was written & arranged by Marc Hollander and features his characteristic genre-hopping tendencies: strands of electronica, pop, jazz, collage, techno, ambient, improv, krautrock, contemporary classical & systems music are merrily woven together, in the inimitable Aksak Maboul style.The album"s subtitle, Songspiel, highlights its theatrical/musical aspect: the work pays oblique homage to the those experimental radio plays that once emerged from the creative workshops of the BBC, the RTF and the RAI, and especially to those German Hörspiels which, at their best, might combine spoken word, instrumental or electronic music, songs and sonic research.The album features appearances by Alig Fodder, Audrey Ginestet & Benjamin Glibert (Aquaserge), Lætitia Sadier (Stereolab), Blaine L. Reininger (Tuxedomoon), Don The Tiger, and the members of AKsak Maboul"s current live line-up.

Last chance, last repress.

Sault - 5 is the debut album by the mysterious collective Sault, released in May 2019. It was the first in a series of albums that would establish the group's signature blend of genres, including funk, soul, R&B, post-punk, Afrobeat, and electronic influences. The album received critical acclaim for its fresh sound, combining socially conscious themes with infectious grooves and rhythms.

The album features minimalist yet impactful production, with prominent basslines, funky guitar riffs, and layered vocal harmonies. The vocals are often delivered with a cool, detached style, which contrasts with the emotional and sometimes politically charged lyrics. Themes of identity, love, power dynamics, and the Black experience are present throughout the album.

Sault's 5 also stands out for its stripped-down approach to instrumentation, emphasizing rhythm over complexity, and allowing space for the vocals to shine. The tracks have a raw, DIY aesthetic, reminiscent of post-punk and underground soul movements, yet they feel timeless and modern.

Key Tracks:
“Up All Night” – One of the most well-known songs from the album, it’s a funky, high-energy track with danceable grooves and infectious hooks.
“Don’t Waste My Time” – A song that encapsulates the band’s ability to blend catchy melodies with a gritty, almost industrial sound.
“Why Why Why Why Why” – This track combines soulful vocals with a driving rhythm and contemplative lyrics about the struggles of life.
“Let Me Go” – A standout song about freedom and independence, with minimalist production that places focus on the emotional delivery of the vocals.
Mystery Around Sault: At the time of this release, very little was known about the members of Sault, which only added to the intrigue. The group has kept a low profile, eschewing traditional promotion and rarely giving interviews or detailed credits for their music. It’s widely believed that the producer Inflo is a central figure in the collective, with vocal contributions from artists like Cleo Sol and Kid Sister, though these have not always been officially confirmed.

Sault - 5 marks the beginning of the collective’s prolific output, which would continue to evolve with subsequent albums like 7 (2019), Untitled (Black Is) (2020), and more.

Dive into the soulful world of Little Beaver with the long-awaited reissue of his 1972 debut
album, Joey. Released on Cat Records, this album showcases the unmistakable talent of a
musician who not only crafted the unforgettable guitar riff in Betty Wright's "Clean Up
Woman" but also delivered the #2 R&B hit "Party Down."
Joey stands out as a masterful blend of Rhythm & Blues, Soul, and a touch of Funk & Blues,
enriched by lush orchestrations that elevate each track. The album features the enchanting
title track "Joey," which was produced by Betty Wright, "I'm Losin' the Feelin'," later covered
by Gwen McRae, and the deeply evocative "Katie Pearl," adding layers of soulful resonance
that speak directly to the heart.
Before his solo breakthrough, Little Beaver was a revered figure in the Miami Soul scene,
known for his work as a bassist and guitarist since his early teens and as an arranger who
brought magic to the music he touched. This release not only showcases his formidable skills
as a guitarist but also highlights his deep, intuitive sense of songwriting that draws listeners
into the emotional landscapes of his songs.
This reissue isn't just a return to the shelves; it's a celebration of a profound musical legacy
that continues to resonate. Whether you're a long-time fan or new to his music, Joey by
Little Beaver is an essential addition to your collection, offering a timeless journey through
the depths of soul music. Don't miss the chance to experience this seminal album,
beautifully remastered to capture the original warmth and spirit of Little Beaver's early work.

A delicate, slinky figure with a powerhouse voice, Ann Peebles occupied a special place among the many great talents that roamed the halls of Memphis' iconic Hi Records in the 1960s and 1970s. While producer Willie Mitchell was the company's heart, musicians the Hodges Brothers its soul, and Al Green its top star, it was Peebles who gave the label its first national success, and a lasting female identity. Over the course of seven albums and dozens of singles for Hi, Peebles expressed a complex range of moods and emotions in her music. Her songs were alternately pleading and defiant and destructive, but always, utterly soulful.

Escaping the Soviet through music is a running theme for the "Groove of Essr" compilation. Funk Embassy returns with the second volume that includes 11 tracks from 1973-1984. Some hide meaning between lines, others offer solace on the dancefloor. It's an ongoing journey to uncover these jewels and meet their makers. Majority of the tunes will be released for the first time. The 12-inch comes with a 30-page booklet that provides background stories and quotes from the artists.
The "Groove of Essr" project has garnered attention around the globe. From the first volume released in 2019, tracks were picked up by Gilles Peterson, Mehmet Aslan, Zag Erlat and DJ Tahira to name a few. During the production of this album, two of the most influential figures in Estonian funk and soul passed on: Marju "Maryn" Kuut (1946-2022) and Tõnu Aare (1953-2021). We dedicate this album to them.

Released on the famed tax scam label Tiger Lily in 1976, Sounds Of The City Experience’s self-titled debut album is a rare groove treat with original pressings often reaching astronomical figures on the second-hand market. Its quality carries over into the sound with its richness of character pushing beyond what must have been a very limited recording budget. The members, whose anonymity today stands in stark contrast to the instant fame they generate on the record, go from strength to strength across these ten tracks, and craft some of the most catchy and enticing soul and funk of the 70s. P-vine is excited to be reissuing the album for a limited edition LP package with an iconic Japanese obi strip attached.

Remember that period at the turn of the century when people were talking about Lounge, Exotica and Easy Listening? It was the so-called Cocktail Generation phenomenon, of which VIP 200, a quartet formed in Italy in 1999, was the ultimate expression as a band. The most important input came from the reissues and compilations of Italian soundtracks that debuted with great success at the time, and VIP 200's interpretations of them were genuine, rustic and rich in atmospheres that led back precisely to music for the image. Even cinema, like Quentin Tarantino, has been fascinated and inspired by that sound by quoting it several times. The comparison and real meeting of VIP 200 with the Marc 4 as well as Alessandro Alessandroni and the legendary Piero Umiliani was fundamental. Soon after, they were also called from abroad by cult figures who wanted to interact with them such as German composer Peter Thomas with whom they recorded in Saint Tropez, DJ Maxwell Implosion and sessions in Capri with Miss Maki Nomiya of the Pizzicato Five for her solo record. It was a period of transition, the word "easy" that started from the Adriatic Riviera via Rome and Milan had made its way to Berlin, London and Tokyo. Their live shows, as well as their first and only record re-released for the first time on double gatefold vinyl by Cinedelic with many outtakes, alternated between danceable moments with fast rhythms such as shake, beat and soul funk, to more ethereal and psychedelic, to softer and more ironic ones. They loosely and spontaneously re-presented songs that before then no one had ever performed live with a band; 10 years later Calibro 35 would get there. All strictly from Italian composers or their own.Strong was the "fetishist" component that pushed them to research original instruments of the vintage, design, sound and atmosphere to be created. An iconographic record of the period, a must-have for those who lived through it and for those who want to understand its essence. Limited editions on double vinyl with gatefold cover

Highlights:For The First Time A Sample Of The Essential Work Of Mesías Maiguashca, Covering A Period That Goes From 1967 To 1989.This Release Includes Historical Pieces Of Electronic Music, Such As "El Mundo En Que Vivimos" (1967) Or "Ayayayayay"(1971), Which Are Early References For Electronic Music In Latin America.Description:Mesías Maiguashca Is A Relevant Figure On The Map Of Contemporary Avant-Garde Composers. Born In Ecuador But Currently Based In Germany, He Has Been A Composer Who, Since The 60s, Would Constantly Expand His Possibilities In Fields Such As Electronic Music (Where He Stands Out As A Pioneer), Mixed Works, Expanded Interdisciplinary Pieces And The Creation Of Unconventional Instruments, Where The Encounter Between His Country Of Origin's Popular Folkloric Tradition And The New European Music Has Produced A Universe Of Tension, As Fascinating As It Is Startling.Mesías Maiguashca: Música Para Cinta Magnética (+) Instrumentos (1967-1989) Presents For The First Time A Sample Of The Essential Work Of Maiguashca, Covering A Period That Goes From 1967 To 1989. This Is The First Of A New Collection, A New Series Of Albums That Seeks To Document The Extensive Recorded Work Of Maiguashca, With Pieces That Date From The Mid-60s To The Present. This First Release Is A Good Introduction To Understand The Various Aesthetic Options Developed By The Artist Throughout His Career. It Includes His Historical Pieces Of Electronic Music, Such As "El Mundo En Que Vivimos" (1967) Or "Ayayayayay"(1971), Which Are Early References For Electronic Music In Latin America, And Also Mixed Pieces, Such As "Intensidad Y Altura" (1979) For Six Percussionists And Magnetic Tape, "The Wings Of Perception" (1989) For A String Quartet And Tape, And "Nemos Orgel" (1989) For Organ And Magnetic Tape.As The Critic Fabiano Kueva Has Pointed Out: "During Six Decades Of Musical Creation, Maiguashca Has Outlined Diverse Aesthetic Axes, Raising Questions About The Aural Experience And Generating A Sound...

Coloured Vinyl edition!

Remember that period at the turn of the century when people were talking about Lounge, Exotica and Easy Listening? It was the so-called Cocktail Generation phenomenon, of which VIP 200, a quartet formed in Italy in 1999, was the ultimate expression as a band. The most important input came from the reissues and compilations of Italian soundtracks that debuted with great success at the time, and VIP 200's interpretations of them were genuine, rustic and rich in atmospheres that led back precisely to music for the image. Even cinema, like Quentin Tarantino, has been fascinated and inspired by that sound by quoting it several times. The comparison and real meeting of VIP 200 with the Marc 4 as well as Alessandro Alessandroni and the legendary Piero Umiliani was fundamental. Soon after, they were also called from abroad by cult figures who wanted to interact with them such as German composer Peter Thomas with whom they recorded in Saint Tropez, DJ Maxwell Implosion and sessions in Capri with Miss Maki Nomiya of the Pizzicato Five for her solo record. It was a period of transition, the word "easy" that started from the Adriatic Riviera via Rome and Milan had made its way to Berlin, London and Tokyo. Their live shows, as well as their first and only record re-released for the first time on double gatefold vinyl by Cinedelic with many outtakes, alternated between danceable moments with fast rhythms such as shake, beat and soul funk, to more ethereal and psychedelic, to softer and more ironic ones. They loosely and spontaneously re-presented songs that before then no one had ever performed live with a band; 10 years later Calibro 35 would get there. All strictly from Italian composers or their own.Strong was the "fetishist" component that pushed them to research original instruments of the vintage, design, sound and atmosphere to be created. An iconographic record of the period, a must-have for those who lived through it and for those who want to understand its essence. Limited editions on double vinyl with gatefold cover

Compiled by label founder Dom Ore Miles Away: One is a collection of tracks that spans continents, era and genres. Rooted in soul this compilation features recordings from legendary musical figures side-by-side with perhaps lesser-known soulful gems – all beautifully bought together in one cohesive long player.
Setting the tone is Idris Muhammad's spiritual-jazz recording I'm A Believer before moving into the modern soul and funk selections Miles Away have built their reputation around. We have the crossover-soul rarity Yes It's You by Eugene Smiley, the remarkable foot-to-the-floor soulful dance cut She's So Good by Solid Gold Revue, enduring soul funk explosion No Communication by True Transfusion, the gospel-infused Fantasy Ride by Uneda Dennard & the full length extended version of Superstar by Ruth Waters. Many tracks appearing here for the first time since their original release.
On the second disc the compilation begins to weave a slightly different direction compared to the output from Miles Away thus far. Here you'll find soundtrack and library music cuts from the likes of Czech artist Milan Kymlicka, renowned Argentinian composer Oscar Lopez Ruiz and noted Italian song-writer Paolo Zavallone alias Bimbo E I Milionari (edited by Ric Piccolo). Oddities and curiosities come in the form of Be My Friend by Laine August - an 80s electro-pop gem courtesy of Freeez keysman Andy Stennett. There's the stripped back street-soul-sounding Deeper by Colour and the breezy Latin American sounds of Paulina Virgo's Vale Valor. Finishing the set is Lady Africa Margaret Singana's timeless cover of the Stretch track Why Did You Do It.
Painstakingly researched and officially licensed from the artists, producers and labels that originally put out this wonderful music. In-depth liner notes go into great detail about each artist depicting their histories, stories and music - something which has been at the heart of Miles Away from day one. This music deserves to live on long in the memory!

Warehouse fund, latest copies ever available ! Be quick or be dead ! Much has been written about the creator of the Salsoul Orchestra and one of the key figures behind the "Philly Sound", but who is he really? What led him to create the works that would help shape disco and dance in the 70’s and 80’s and still allow him to be sought out by the likes of Masters at Work and The Pet Shop Boys as we enter a new millennium?

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.

“Things happen for a reason, man.” - Leo Nocentelli

At just fourteen, Leo Nocentelli was backing up Otis Redding. Soon after, he was playing on hits for Lee Dorsey, The Supremes, and The Temptations. As an original member of The Meters, Leo wrote instant classics “Cissy Strut” and “Hey Pocky A–Way,” but his greatest moment on record may be totally unknown, until now…

Recorded at Cosimo Matassa’s Jazz City Studio in New Orleans in the early ‘70s and then lost to the ages, Another Side is one of Leo Nocentelli’s most personal and definitive moments ever cut to tape. A mixture of funky folk and rootsy, raw emotion (think Bill Withers and James Taylor meeting Allen Toussaint at Link Wray’s Three Track Shack), this previously unheard album shines like the sun on a spring day on the New Orleans fairgrounds. Backing Nocentelli is an all-star line-up of New Orleans royalty, including Allen Toussaint (piano), James Black (drums), and both George Porter Jr. (bass) and Zigaboo Modeliste (drums) of The Meters. Deeply introspective, the album features nine original songs by Nocentelli, plus a soulful rendition of Elton John’s “Your Song.” Half a century later, these recordings sound just as fresh and engaging as the day they were recorded.

What makes Another Side even more extraordinary, however, is the fact that the album—which could have easily become a classic in the ‘70s singer-songwriter canon—sat untouched for decades; miraculously surviving the devastating blow of Hurricane Katrina, only to be found 2,000 miles away at a Southern California swap meet in 2018 by record collector Mike Nishita. The album’s incredible journey is documented in the liner notes by Sam Sweet (New York Times, Los Angeles Times), who spoke with Nocentelli and Nishita about the recording process and re-discovery of the tapes. Sweet’s full notes appear in the release’s accompanying booklet, alongside handwritten lyrics by Leo Nocentelli. The first pressing of the vinyl edition will feature gold-foil treatment on cover and spine. Rounding out the package are original designs and layout by the multi GRAMMY®–winning designer Masaki Koike.

While Nocentelli was embedded in New Orleans’ R&B scene, he was also deeply inspired by the late 1960s and early 1970s rising singer-songwriters, and soon found himself exploring sounds that were miles away from his band’s hard-edged funk riffs. Whenever he had downtime from session work and shows, Nocentelli spent much of 1971 recording his newly-found, reflective, diaristic songs at Matassa’s Jazz City studio. Backed by longtime Meters bandmate George Porter Jr. on bass, Nocentelli crafted the lineups for his sessions to match the tone of the material. When he needed a pianist, he’d call Toussaint. For percussion on the slower songs, he used drummer Zigaboo Modeliste, but many of the tracks featured James Black—a frequent collaborator of Toussaint’s and a member of Ellis Marsalis’ jazz group, whom Nocentelli recalls as an “unbelievable” musician. The recording, which Nocentelli fondly refers to as his “country-and-western-album,” paints a picture of a young man yearning to find a sense of purpose. “I was going through some changes which were reflected in the songs that I wrote during that time,” he tells Sweet. Among them is the mid-tempo “Getting Nowhere,” in which he expresses a sense of frustration, as he watches others find success around him. Similarly, “Till I Get There” details a man who is struggling to persevere in his goals. In the soaring “Tell Me Why,” meanwhile, the singer contemplates the existence of God. Other songs center around fictional characters. “Pretty Mittie,” for instance, is sung from the perspective of a farmer who longs to give up his arduous life for the city. “You’ve Become a Habit” is about a man who falls for a sex worker named Fancy. “Riverfront” is based on stories that singer Aaron Neville shared, about his days working on the New Orleans waterfront. Nocentelli also chose to perform one cover: Elton John’s breakthrough hit, “Your Song.” The guitarist made the recently-released ballad his own—infusing it with a loping, head-nodding cadence, ever so tastefully “funkdafied” in true New Orleans fashion. By the time that the album was finished, The Meters were busier than ever. They had just signed a record deal with Warner Brothers and were now the official house band at Toussaint’s studio, Sea-Saint. There, they not only backed artists on Toussaint’s Sehorn label but had also become the go-to session musicians for every major artist that recorded in New Orleans. Rather than focus on a solo career, Nocentelli poured his energies into The Meters’ next album. Eventually, time moved on, as did Nocentelli, and he decided to store his unreleased solo album at Sea-Saint for safekeeping. In 2005, when Hurricane Katrina devastated New Orleans, Sea-Saint was among its victims. While Toussaint (who passed away in 2015) had sold the hallowed studio in the mid-90s, hundreds of his archived recordings remained in the building. The new owner salvaged what he could from the flooded building, shipping everything to a storage facility in Southern California. Boxes of tapes sat there for more than a decade before moving to another unit, which foreclosed a year later. The contents were purchased in a blind auction and, days later, sold at a swap meet. The fact that record collector Mike Nishita just happened to be there was pure kismet. Nishita, a DJ and brother to “Money Mark” Nishita (of Beastie Boys fame), recognized the Sea-Saint label on the boxes and purchased all 673 master tapes at the swap meet. He inspected the contents with his friend Mario Caldato Jr., the longtime audio engineer for the Beastie Boys. In addition to masters from Irma Thomas, Dr. John, Lee Dorsey, and Toussaint, there was a quarter-inch reel with Nocentelli’s name on it. As Caldato and Nishita played it back, they knew they had something special. “There was nothing else like it,” writes Sweet. “An acoustic album by the greatest funk guitarist who ever lived. It was the tape Mike would play for people to show them how special the collection was. The best album in the vault was something nobody knew existed.” Eventually, Nishita and Nocentelli connected, “He was so grateful, so sincere,” recalls Nishita. “I just kept thinking about how this music needs to be heard... Especially when you look at all the things that had to fall into place for these tapes to survive and be discovered this way.” As Nocentelli simply puts it, “Things happen for a reason, man.” And now, Light in the Attic is thrilled to give this remarkable record the spotlight it so rightly deserves. 50 years later, all is not lost.

Dive into the soulful world of Little Beaver with the long-awaited reissue of his 1972 debut
album, Joey. Released on Cat Records, this album showcases the unmistakable talent of a
musician who not only crafted the unforgettable guitar riff in Betty Wright's "Clean Up
Woman" but also delivered the #2 R&B hit "Party Down."
Joey stands out as a masterful blend of Rhythm & Blues, Soul, and a touch of Funk & Blues,
enriched by lush orchestrations that elevate each track. The album features the enchanting
title track "Joey," which was produced by Betty Wright, "I'm Losin' the Feelin'," later covered
by Gwen McRae, and the deeply evocative "Katie Pearl," adding layers of soulful resonance
that speak directly to the heart.
Before his solo breakthrough, Little Beaver was a revered figure in the Miami Soul scene,
known for his work as a bassist and guitarist since his early teens and as an arranger who
brought magic to the music he touched. This release not only showcases his formidable skills
as a guitarist but also highlights his deep, intuitive sense of songwriting that draws listeners
into the emotional landscapes of his songs.
This reissue isn't just a return to the shelves; it's a celebration of a profound musical legacy
that continues to resonate. Whether you're a long-time fan or new to his music, Joey by
Little Beaver is an essential addition to your collection, offering a timeless journey through
the depths of soul music. Don't miss the chance to experience this seminal album,
beautifully remastered to capture the original warmth and spirit of Little Beaver's early work.

Composer and keyboardist Ricardo Marrero was a prominent figure in the New York Latin music scene during the 1960s and 70s. His debut album was released by TSG Records, and due to the label's characteristics, only a limited number of copies were manufactured. The rarity of the original pressing, coupled with the exceptional quality of its music, has sometimes led it to be dubbed as "the ultimate destination for rare groove collectors." Revered not only by rare groove enthusiasts but also by fans of Latin, bossa nova, funk, and soul, its splendid sound continues to shine as an enduring masterpiece that shows no signs of fading.

In 1980, four years after the release of their debut LP, Synchronized, Timeless Legend released ‘I Was Born To Love You’. Its subtle groove and timeless disco sensibilities have long captivated crate diggers and fans of rare groove alike - catapulting prices for their 7” singles to the four-figure range. But one listen and it's clear to see why fanatical listeners have spent a considerable portion of their life savings on these records. From sweet soul ballads to mellow dance tunes, the Ohio four piece vocal unit truly does it all - and boy, do they look good while they do it. For the first time ever, P-vine has collected ‘I Was Born To Love You’ with the songs from their other 7” singles to create Timeless Legend’s other LP! Available on limited edition vinyl with an obi-strip, this record is sure to become a timeless legend of its own!

Last chance, last pressing.

Cleo Sol - Rose in the Dark is the debut studio album by British singer-songwriter Cleo Sol, released on March 27, 2020. The album was produced by Inflo, who is also a key figure in the Sault collective. Rose in the Dark established Cleo Sol as a powerful voice in neo-soul and modern R&B, offering a soothing and reflective collection of songs that explore themes of love, self-discovery, and resilience.

The album blends soul, R&B, jazz, and folk influences, marked by warm, organic instrumentation with a retro feel, featuring lush strings, gentle piano, and smooth rhythms. Cleo Sol's voice is central to the album's sound, with its soft, emotional delivery giving the tracks an intimate and reflective tone.

Lyrically, Rose in the Dark centers on themes of love, personal growth, self-worth, and healing. The songs are largely introspective, with Cleo Sol reflecting on relationships and personal challenges, often with a focus on finding inner strength. There’s a sense of vulnerability and emotional honesty throughout the album, which resonates deeply with listeners.

Key Tracks:
"Rose in the Dark" – The title track, a soulful and introspective song about navigating love and finding inner peace.
"Why Don’t You" – A standout track that combines a classic soul sound with a modern twist, addressing themes of self-worth and being true to oneself.
"When I’m in Your Arms" – A tender, love-infused track that showcases Cleo Sol’s ability to capture the warmth and comfort of love through her soulful voice and minimalist production.
"Her Light" – A reflective track about empowerment and self-awareness, encouraging self-love and growth.
Critical Reception: Rose in the Dark was met with widespread acclaim from critics who praised Cleo Sol's soothing voice, the album's timeless sound, and the introspective lyricism. Many noted the calming and healing quality of the album, especially during its release in 2020, a year marked by uncertainty and upheaval. The minimalist production allowed Cleo Sol's vocals and lyrical content to shine, making the album a standout in contemporary soul music.

The album was produced by Inflo, who has been instrumental in shaping the sound of both Cleo Sol’s solo work and the output of the Sault collective. Rose in the Dark shares the same organic, soulful production style found in Sault’s albums, though it feels more intimate and personal due to its focus on Cleo Sol's own journey.

Rose in the Dark has been hailed as a modern soul classic, with its focus on healing, love, and emotional clarity resonating with a wide audience. It’s a highly personal work that highlights Cleo Sol’s talent not only as a vocalist but also as a thoughtful and introspective songwriter.

This album set the stage for her later work, including Mother (2021), where she continued exploring deeply personal and emotional themes

Last chance, last repress.

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

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

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

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

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

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

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

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

"Dr. John's Gumbo" is the fifth album by New Orleans singer and pianist Dr. John, a tribute to the music of his native city. The album is a collection of covers of New Orleans classics, played by a major figure in the city's music.
"Dr John's Gumbo" was released in 1972 and is in many ways a tribute by Dr. John, aka the Night Tripper, to his hometown New Orleans. It features excellent interpretations of New Orleans traditionals ("Iko Iko", "Tipitina", "Junko Partner" and "Stack-O-Lee") and contemporary R&B written or played by the likes of Huey Piano Smith ("Blow Wind Blow" and "Huey Smith Medley") Earl King and Earl Gaines ("Big Chief", "Let The Good Times Roll" and "Lonely Lonely Nights").
Dr. John delivers a strong set of infectious songs drenched in good vibes and spiced with a pinch of voodoo. His eccentric (stage) appearance adds unique color to his stature as master of the ivories and as an entertainer.
This great album receives the full Analogue Productions reissue treatment here, starting with Kevin Gray's remaster from the original analogue tapes. Then we back that up with 200-gram plating and pressing on super-silent vinyl by our own Quality Record Pressings. Finally it's all housed in a tip-on gatefold jacket from Stoughton Printing. Deluxe all the way; you'll be estatic with the results!

BBE Music presents a brand new album celebrating one of Philadelphia soul music’s most iconic figures, Teddy Pendergrass, remixed by pioneering producer and engineer, John Morales.

This exploration of 1970s Philly soul at its apex focuses on one of the era’s defining voices, Theodore DeReese Pendergrass. Born in Philadelphia in 1950, Pendergrass sang church music at age two, and was ordained a minister at ten years old. Having learned drums and played in local bands during his teens, at 20 he was hired as a drummer for the Blue Notes by group leader Harold Melvin. After being spotted singing along onstage, he was soon appointed lead singer, and the rest is history…

The masterful, revealing remix work of John Morales affords these classic songs improved clarity, allowing each individual player more space to be heard and modernising the recordings without ever losing sight of the original spirit. The virtuoso quality of the songwriting, production, arrangements and performances shine forth anew, and so do some of the music’s subtler qualities and nuanced, sometimes conflicted, subtexts that might have been overlooked in the most conventional view of Pendergrass in his prime.

Curated authoritatively, remixed with love and passion, John Morales’ collection revisits our relationship with Teddy’s and Gamble & Huff’s music as compellingly and immersively as when it was new. Teddy’s timeless force resides equally in his talent for portraying truthfully the joys and hurts, beliefs and doubts, blessings and challenges of our lives, and in the bravery of confronting them all with an honesty that is still utterly extraordinary.

US original.
Sleeve has light ring-wearand edge wear.
LP has surface marks.