MUSIC

Following the 2016 release of "Ethiopian hit parade vol.1", Francis Falceto, founder of the Ethiopian series and Heavenly Sweetness continue their work of reissuing the Ethiopian hit parade series on vinyl. These are very rare vinyls, published at the time in only 300 or 400 copies. After releasing about fifty singles and his first LP (Ethiopian Modern Instrumental Hits AELP 10), the late Amha Eshèté, who passed away this year, undertook in 1972 to collect his best productions released on singles in a series of albums that have become mythical (and unobtainable in original). The first four volumes of Ethiopian Hit Parade were released in September and October 1972, and the fifth in January 1973. The one you have in your hands is volume 2. 1. GETACHEW KASSA "Tezeta (slow+fast)" This double version of "Tezeta", by its success and the controversy it fuelled between outraged conservatives and the young pop guard, stands as a symbol of pre-revolutionary Ethiopia - light music trend. Its fast part is very representative of the upheaval in Ethiopian society: Gétatchèw Kassa gives a version that is totally contrary to tradition, but so much in the tone adopted by the young Ethiopian anti-conformists of 1972. This "Tezeta" was, moreover, Ethiopia's biggest recording success - around 5,000 copies, whereas the big hits had a ceiling of 2 or 3,000 copies, and the small hits a few hundred. 2.MULATU ASTATKE "Munayé” In the Ethiopian musical landscape, Mulatu Astatqé is a personality totally apart, atypical, unique in his genre. Musician, arranger, composer, innovator, mover and shaker, his true uniqueness certainly lies in his action for instrumental music, which is not an Ethiopian tradition. This title "Munayé" is in fact the title that opens the album "Ethiopian modern instrumental hits". He is joined on piano by Girma Bèyènè, Testa Maryam Kidané on tenor sax and Andrew Wilson on guitar, Ivo on bass, Tesfayé "hodo" Mékonnen and Girma Zémaryam on drums, and the strings are undoubtedly those of the Police String Orchestra. 3. TESHOME METEKU "Yezemed yebaed" & "Mote adeladayou" Tèshomè Meteku was something of a meteor. Brother of saxophonist Téwodros Meteku, he recorded only four songs, four exceptional jewels, before leaving for Sweden to continue his studies. He is surely one of the voices that best matched Mulatu Astatqé's arrangements. 4. ABAYNEH DEDJENE "Balendjèrié 5 & 7. ALEMAYEHU ESHETE "Alteleyeshigneme" & "Temhert bété" Along with Mahmoud and Tlahoun Gèssèssè, Alèmayèhu Eshèté is one of the most prolific singers in the Ethiopian discography. A leading vocalist with the Police Orchestra since 1960, he was one of the first artists to leave the institution to join the young guard of independent orchestras, such as the Soul Ekos, or the Alem-Girma band which he founded with the pianist and arranger Girma Bèyènè. Often referred to as James Brown or the Ethiopian Elvis for his looks and stage presence, as well as for his music, Alèmayèhu has long symbolised modernist Ethiopia, enamoured of Rhythm and Blues and Soul music, without abandoning the roots that are so unique to the thousand-year-old Abyssinian nation. 6. MENELIK WOSSENACHEW "Belew bedubaye » 9. ESSATU TESSEMMA and SEYFU YOHANNES "Fikir bekumena » Like Tlahoun Gèssèssè and Abaynèh Dèdjèné, Essatu Tessemma was also a singer attached to the Imperial Body Guard Band, until the 1974 revolution. A native of Soddo Wélayta, he died in the mid-1990s. Unfortunately, Sèyfou Yohannes has left us very few traces (only 6 tracks recorded on vinyl). Born in 1946, he died in the early 1970s before reaching his thirties. A pioneer among independent singers, Sèyfou Yohannes sang in particular with The Soul Ekos, a model of the non-institutional band, very open to Afro-American music and produced by Amha Eshèté. 10. MULUKEN MELESSE "Enbayén terègiw" A precocious phenomenon, Muluqèn Mèlèssè was 13 years old when he began his singing career in 1966. Like many vocalists of his time, he started out in the various police bands before singing with the first non-institutional groups or those formed by club owners. This singer will be the subject of the next volume (31) in the Ethiopian series.

A crate staple for any lover of feminine funk, Beehive Breaks gathers 15 sultry singles from across the Numero-verse. From Sandy Gaye's Cruella-synched "Watch The Dog That Brings The Bone" to James Brown's soul sister #1 Marva Whitney, teenage girl gangs The Trinikas and Promise, Miami's queen of soul Betty Wright, plus a previously unissued belter from Chicago's Sonics Band, Beehive Breaks picks up where sister funk left off.

Live at KEXP! is a studio‑live recording captured during Delvon Lamarr Organ Trio’s appearance on Seattle’s KEXP, offering the most direct and unfiltered experience of the band’s signature sound.

NYC発のバンドSay She Sheの最新作からフロア映えする2曲を抜き出した強力な7インチ。グループの代名詞である3人のハーモニーが大きく広がり、ファンクのベースラインが全体を強く前へ押し出すキラートラック「Cut & Rewind」とストリングスやホーンが煌めくアップビートなディスコ・ファンク「Disco Life」を収録。70’sディスコの質感を現代的にアップデートしたディスコデリックなサウンドが際立つ、Say She Sheの個性が凝縮された一枚。

A disciple of mambo innovator Perez Prado, the Cuban-born Modesto Duran was a pivotal figure in Latin dance music’s transitionary mid-century period. His gentle slaps can be heard across dozens of 1950s mega-sellers, from Esquivel to Belafonte, Eartha Kitt to Lena Horne. On his 1960 solo debut, Duran gathers a who’s who of conga-men, including Mongo Santamaría, Willie Bobo, and Juan Cheda, delivering a cinematic and percussive melange of afro-cuban, cha cha, and exotic jazz styles for the discerning listener.

Perhaps one of the most exciting and anticipated projects in the world of heavy instrumental music is Parlor Greens, a fresh organ trio on Colemine Records! You could say that Parlor Greens are greater than the sum of their parts…however, the individual parts are simply stellar on their own. Tim Carman (GA-20) on drums, Jimmy James (True Loves, formerly Delvon Lamarr Organ Trio) on guitar, and Adam Scone (Scone Cash Players, The Sugarman 3) on organ.Scone is perhaps the most tasteful living organist on planet Earth (and beyond) and to watch him play is to truly watch a master at work. He bends the organ to his will like a true mastercraftsman. He’s a veteran of the soul revival scene, having played on many Daptone recording sessions since their inception, but also has learned from some of the legends of soul jazz: Melvin Sparks and The Turbanator himself Dr. Lonnie Smith. Jimmy James needs no introduction to many as he’s been seen all over the world performing with instrumental groups The True Loves and the Delvon Lamarr Organ Trio. Perhaps the most dangerous right hand in all of soul music, his signature funky approach can be identified by even the most novice of music fans, a feat most musicians could only dream of. Tim Carman. The backbone. The pocket. Having cut his teeth touring the world with blues group GA-20, Carman’s expertise in the world of blues shuffles might make him an unlikely candidate to lay the foundation for the funky Parlor Greens, but this debut LP shows otherwise. Steady, heavy pockets and as funky as they come.Parlor Greens started off as an idea before it even had a name. Carman had been chatting with Colemine label boss Terry Cole about their shared love for organ combo records of yesterday on labels like Blue Note and Prestige. Cole said he’d love to have an organ trio be the first project at the label’s new studio, Portage Lounge, located in Loveland, Ohio. So when Carman tapped James and Scone for the session, the stage was set. Carman and Cole had started work a day early to dial in the drum sound, so when the rest of this murderer’s row arrived they hit the ground running. It was instant chemistry. Within the first ten minutes of everyone plugging in, a song was written and recorded, “West Memphis”. And over the next three days, these three maestros conducted a beautiful and soulful symphony straight to tape. As natural and fun as three old friends getting together after a long absence, only this was the first time they had written and performed together. True magic.So this is the result of that session. Eleven cuts. Ten originals. Two sides. All killer, no filler. Straight to the old reliable Tascam 388 tape machine, mixed up nice and dirty for your enjoyment. Parlor Greens are proud to present their debut long player, In Green / We Dream.

Formed in Hakata before relocating to Tokyo in 1984, Akebonojirushi quickly established themselves as one of the most adventurous acts in Japan’s underground music scene. The six-piece band defied easy categorization, blending sharp-edged New Wave textures with the groove and freedom of Funk-Jazz, then distilling it all into daring, unpredictable Pop songs. Originally released in 1987 on the influential DIW label, Paradise Mambo captured the energy of a vibrant era when Japanese musicians were fearlessly expanding the boundaries of sound. Brimming with angular rhythms, infectious basslines, and a playful yet avant-garde spirit, the album remains a shining document of 80s Japanese postmodernism—both accessible and experimental, danceable yet completely uncompromising. Now reintroduced to a new generation of listeners, Paradise Mambo stands not only as a time capsule of the bubbling Tokyo music scene of the late 80s, but also as a timeless example of bold creativity. This reissue shines a spotlight on a band that deserves renewed recognition for their adventurous vision and genre-blurring artistry.

'Soundwriters: The Incomplete Guide to Indonesian Diaspora Music (1969–1989)' is a book and catalogue devoted to artists whose work shaped the cultural life of postcolonial Netherlands, yet rarely entered official archives; cataloguing 62 rare and overlooked releases by Indonesian diaspora artists recorded in the Netherlands and Suriname, from soul and funk to reggae and pop. "Written by Michiel Sekan with additional research by Harry “Munir” Septiandry, the book combines historical analysis with personal reflection. Essays move between migration histories, colonial legacies, family memory, and music culture. At its core sits a catalogue of sixty two releases that document the range of sounds created by Indo-European, Moluccan, Papuan, Javanese Surinamese, Peranakan, and broader Indonesian diaspora communities. Soul, funk, pop, reggae, rock, and protest songs appear side by side. Together they form an aural record of resistance, adaptation, and creativity across continents. Printed in Jakarta and published by Jiwa Jiwa in three languages, Dutch, English, and Indonesian, Soundwriters positions music as both archive and testimony. It asks how sound preserves stories when written records fall short, and how listening can reconnect personal memory with shared history. The project extends beyond the page through exhibitions, listening rooms, documentaries, and public programs in the Netherlands and Indonesia. Michiel Sekan is an Amsterdam based DJ, curator, and multidisciplinary artist. Through his platform Jiwa Jiwa he researches and presents music from the Indonesian archipelago and diaspora across radio, exhibitions, publishing, and club culture. His work links record collecting with archival study and personal history. Soundwriters is his first book."

I-Robots presents Echoes Of Italy - The Age Of Voom Voom Music - Turin Dancefloor Express, on Space Echo Records. "Voom Voom Music was an independent Italian record label based in Turin, founded and managed by record producer Ivo Lunardi (Turin, December 6, 1940 – December 9, 2010). A pivotal figure in the Piedmont music scene, Lunardi was active both as a DJ and as the owner of several disco clubs. The label operated for several years in the latter half of the 1970s, releasing mainly productions connected to the Italian dance and pop scene. Since 2016, the original master tapes from the Voom Voom Music catalog have been owned by Gianluca Pandullo (I-Robots), a close friend of Ivo and Luca Lunardi. Through his labels Opilec Music and Turin Dancefloor Express, Pandullo oversees their preservation and historical enhancement."

This is that absolute stank-face filth: hard, espionage drama-soul and tough, jazzy street-funk. Hogan, The Hawk & Dirty John Crown sounds like the soundtrack of a blaxploitation movie from the early 70s and, packed with funky fusion and smoother orchestral numbers, it is basically that.

Featuring a veritable who's who of killer library break snakes - Alan Parker, Alan Hawkshaw (under sneaky alias William Parrish), Simon Haseley, Reg Tilsley and Gordon Grant - it's not hard to see how this commands over £350 on secondary markets.

This beautifully presented reissue, part of Be With's fresh campaign with the legendary library label Music De Wolfe, is well overdue.

Be With Records proudly presents this limited-edition 140g LP (just 750 copies worldwide), remastered by Simon Francis from the original Music De Wolfe tapes. Originally released on Rouge—a subsidiary of the esteemed British library label—the album features the in-house talents of composers Chris Rae and Frank McDonald under the Soul City Orchestra moniker. Pressed at Record Industry in Holland with restored iconic artwork, it captures driving instrumental funk-rock enhanced by dramatic strings.

Vinyl only, no digital.

The Meditation Singers - Let Them Talk
Charlie Brown - The Whole World Is Watching
Martha Bass - Since I've Been Born Again
The Williams Singers - So Good To Be Alive
The Faithful Wonders - Ol' John (Behold Thy Mother)
The Salem Travelers - Crying Pity And A Shame
The East St. Louis Gospelettes - Soon I Will Be Done
Power And Light Choral Ensemble - Stand Up America, Don't Be Afraid
The Masonic Wonders - Just To Behold His Face
The Majestic Choir & The Soul Stirrers - Why Am I Treated So Bad
The Jordan Singers - My Life Will Be Sweeter
Lucy Rodgers - I'm Fighting For My Rights
The East St. Louis Gospelettes - I'll Take Care of You
The Williams Singers - Don't Give Up
The Soul Stirrers - Don’t You Worry
The Meditation Singers - I've Done Wrong
The Jordan Singers - Lord Have Mercy,
The Kindly Shepherds - Lend Me Your Hand
The Violinaires - Groovin' With Jesus
Cleo Jackson Randle - Life In Heaven Is Free
The Violinaires - Mother’s Last Prayer,
The Inspirational Singers - Bless Me
The Bells Of Joy - Give An Account At The Judgement
Stevie Hawkins - Same Old Bag
The Soul Stirrers - Striving <br></p><iframe width="560" height="315" src="https://www.youtube.com/embed/e0ir310Wgjg?si=BLxdm50wxY4bUb1c" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe><iframe width="560" height="315" src="https://www.youtube.com/embed/cwieVtLLXjo?si=T3fhiTPfFsWdQ2e1" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe><iframe width="560" height="315" src="https://www.youtube.com/embed/fdnj8mrVfXY?si=XNVcgoqS7a-8J4sG" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>

I Against I is the third studio album from Bad Brains, originally released in 1986 on SST Records. It remains influential to this day, inspiring countless punk, ska, reggae, and hardcore bands with its innovative sound and uncompromising attitude.

This reissue marks the eighth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains’ recordings. The audio was mastered by Dave Gardner and pressed at Furnace Record Pressing.

Connecting Wasulu hunter music, griot praises, Senufo pastoral dances, Fula and Mandingo repertoire alongside Western psychedelia, blues and afro-beat, Zani Diabaté’s Super Djata Band was among Mali’s top orchestras of the 1980s. On their 1982 album, Diabaté enshrines himself within the pantheon of mythical West African guitarists, hypnotically picking through eight vivid compositions on his path to godhead status.

From the dawn of doo-wop to the death of disco, the Notations saw - and sang - it all. Persisting through changing trends and technologies, on major labels and minor ones, produced by both Syl Johnson and Curtis Mayfield, nothing could stop the Notations from representing Chicago's Southside for decades. The first overview of their indie label golden age, Still Here 1967-1973 finds the Notations at a musical crossroads, turning from simmering R&B ballads to socially-conscious soul. Offering up a platter of golden-dipped harmonies, inventive arrangements, and super-powered soul, the Notations survived as unheralded legends in their own time.

Inst ver. of El Michels Affair x Black Thought (The Roots)'s Album "Glorious Game"

Shintaro Sakamoto's new album ‘Yoo-hoo’, his first release in about three and a half years, reflects his overseas live experiences over the past few years while showcasing a diverse sound incorporating blues, mood songs, 60s soul, surf instrumentals, funk, and more. Furthermore, the lyrics, captured through his unique perspective, are truly one-of-a-kind. The new album, containing ten tracks including the October digital single “To Grandpa” and the November digital single “Is There a Place for You?”, is now complete.

Like the previous work, this album was recorded primarily with members of the Shintaro Sakamoto Band: Yuta Suganuma on drums, AYA on bass & backing vocals, and Toru Nishinai on saxophone & flute. Guest player Mami Kakudo participates on marimba for two tracks. Recording engineer/mastering: Soichiro Nakamura. Artwork: Shintaro Sakamoto.

A silken, minimalistic stream of electrified soul, Magnetic Eyes is Jeff Phelps’ peerless contribution to the tapestry of analog drum machine music that graffiti’d the mid-‘80s. Tracked in his Missouri City, Texas, bedroom studio in 1985, Phelps effortlessly steeps together the electro stylings of Afrika Bambaataa with the matured caress of Anita Baker’s soulful R&B. This 2021 edition presents fresh remasters of the album’s second mix, completed after discovering flaws in the initial 1985 pressing, all housed in replica tip-on jacket with artwork that remains just as evocative as the music it represents. Enjoy this technically perfect, artist-approved version of a visionary techno-adjacent masterwork.

Antigone is a chilling look at our already-alternate reality, coming from inside Eiko Isibashi’s own head. Her band brings a wide array of sounds and moods, shading pop, funk and jazz, ambient, electronic and musique concrète in a bittersweet latticework. Interlocking her new songs in seamless long-play flow with the compositional ambitions of her acclaimed soundtrack work, Eiko’s expressions are epic and intimate. 2025 will never be the same!<iframe style="border: 0; width: 350px; height: 406px;" src="https://bandcamp.com/EmbeddedPlayer/album=507708664/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless><a href="https://eikoishibashi.bandcamp.com/album/antigone">Antigone by Eiko Ishibashi</a></iframe>

Looking for a fresh 45 to spin this holiday season? Look no further than your friendly neighborhood organ trio Parlor Greens! Their take on The Black On White Affair's classic version of Auld Lang Syne on the a-side, which absolutely crushes. Scone tears the organ to shreds leaving nothing left but a few stockings and some wrapping paper.

Flip to over to close the night with a beautiful and mellow instrumental version of William Bell's "Every Day Will Be Like A Holiday." Two sides to this very merry coin.

Strut are proud to announce the first ever internationally released new studio album by one of the all-time legends of Nigerian music, Orlando Julius, in a mouth-watering new collaboration with London super-group The Heliocentrics. At his club residency in Ibadan, Orlando Julius was one of the very first to begin fusing US R&B with traditional highlife during the mid-‘60s with his Modern Aces band. His ‘Super Afro Soul’ album from ’66 set the blueprint for a whole generation of Afrobeat and Afro funk stars and, in an illustrious career, Julius met and played with Louis Armstrong, The Crusaders, Hugh Masekela and Lamont Dozier among others, famously co-composing the classic ‘Going Back To My Roots’ in 1979 whilst based in the USA. For ‘Jaiyede Afro’, Julius takes us back to his own roots, revisiting several compositions from his early years which have never previously been recorded. The title track recalls his experiences as a boy: “My mother would go to group meetings with other women. They would sing together and play drums, I would play along with them and we would sing this song together.” Infectious chant ‘Omo Oba Blues’ is a traditional song sung at Julius’ school which he re-arranged in 1965 for his Modern Aces band. The epic Afrobeat jam ‘Be Counted’ stems from his years in the USA: "This was written around 1976 while I was living on the Westcoast. I did start recording it for the ‘Sisi Sade’ album around 1985 but it was never finished." Other tracks include ‘Buje Buje’ and ‘Aseni’, both re-worked arrangements from his rare ‘Orlando Julius and The Afro Sounders’ album from 1973. Recorded at the Heliocentrics’ fully analogue HQ in North London, the band follow their memorable collaborations with Mulatu Astatke and Lloyd Miller by taking Orlando’s sound into new, progressive directions, retaining the raw grit of his early work and adding psychedelic touches and adventurous new arrangements. They also contribute live favourite, the James Brown cover ‘In The Middle’ and a series of memorable shorter interludes.

Sababa 5 return to their roots on Ça Va Ça Va - a melting pot of Middle Eastern and Mediterranean sounds, layered with psych-soaked guitars, cosmic synths and heavy, driving grooves. A pure dose of party energy and nostalgia from Batov Records’ finest.

With four albums already behind them, Sababa 5 have earned global support, from Songlines magazine and BBC Radio 6 Music tastemakers including Gilles Peterson, Jamz Supernova and Iggy Pop to France’s FIP Radio and Radio Nova, for their unique blend of traditional Middle Eastern celebration music with psychedelic grooves, funk, jazz, rock, and international vocal collaborations spanning Japan to India. The Paris-based group have taken this sound to stages across Europe, including Reeperbahn Festival and Dresden’s Super Fest.

Ça Va Ça Va is the band’s hafla album – a return to the wedding and event celebration music that first shaped Sababa 5. Recorded in Paris, it draws directly from the sounds of hafla – the joyful, communal music heard at Middle Eastern weddings, parties and festive gatherings – with a sprinkling of influences from the wider Mediterranean. The group utilise their classic combination of electric guitar, bass, drums, organ, and synths to transform these ideas into vibrant melodies, dance-ready rhythms, and a spirit of abundance and togetherness.

Opening track “Bienvenue” sets the tone with a mysterious, longing guitar solo before bursting into an irresistible rhythm and jubilant guitar motif. It flows seamlessly into “Allô”, straight into wedding-riot territory – a fast-rising instrumental that showers the dancefloor with energy as it builds around a hypnotic, arpeggio-driven riff.

The album is almost entirely original material, with two key exceptions: “Ypárcho” (I Exist), a beautiful instrumental journey inspired by a classic Greek song traditionally performed by Stelios Kazantzidis, and “Asunsan”, an instrumental flip of the much-loved Sababa 5 collaboration “Nasnusa” with Yurika Hanashima.

Another impressive step in the Sababa 5 story, Ça Va Ça Va captures both joy and longing – the unmistakable warmth of Eastern Mediterranean celebration and the band’s surf-rock edge – sounding more confident, spirited and deeply rooted than ever.

“I think one of the most exciting things about the reintroduction of Horizon Unlimited is the fact that young folk love our music, and are surprised at the upbeat tempo, and the lyrics, which are not only of today, but also very futuristic as well. Horizon Unlimited was our last album with Decca that came out in 1979. It’s been a long time since then and this really is part of a much longer story, but amongst one of the most significant things I remember was that we, The Lijadu Sisters, paid for all the studio and band session fees. At the time, this was unusual, and not the arrangement we had with that record label. We were originally meant to record at Decca West Africa in Lagos, but when we got to the studio, no one had told us that it was being upgraded – from eight tracks to twenty-four. So, we brought everyone to London and made the album there instead.” –Yeye Taiwo Lijadu

Arriving late November. The San Francisco-based psychedelic soul band Monophonics’s 2015 masterpiece Sound of Sinning returns as a 10th anniversary edition via Colemine Records — the revered label praised by Shintaro Sakamoto and regarded as a true descendant of Numero Group, carrying the torch for today’s indie soul. Building on the foundation of early funk and Sly & The Family Stone influences showcased on their prior album In Your Brain, this work expands its vision to embrace Northern soul, doo-wop, rock & roll, psych-pop, and even cinematic lyricism, achieving a hallucinatory breadth. Produced by Kelly Finnigan and Ian McDonald and recorded on an old Tascam 8-track, its sound bears the tactile warmth of soul’s golden age while radiating a distinctly modern sheen. This is music charged with an energy that bends the boundaries of time — far beyond “heritage.” Oscillating between sin and pleasure, dream and reality, it unspools like filmic memory, endlessly replayed, allowing the listener to experience a “modern classic.” A cornerstone and true masterpiece in the Monophonics’ path.