MUSIC

Ebalunga!!!, Everland and Dundgol invite you to discover the rich and diverse world of Mongolian music. "Mongolian Music from 70s - vol. I" opens the gates to the golden era of Mongolian music. This period, spanning from the 1970s to the early 1980s, is considered as the brightest and most influential period in history of Mongolian music. During this time, Mongolian musicians started using new instruments and technologies, such as electric guitars and synthesizers, which led to the emergence of new and exciting sounds in Mongolian music. "Mongolian Music from 70s - vol. I" is an excellent representation of this period, with strong rhythms, memorable melodies, and vivid arrangements that combine traditional Mongolian melodies and instruments with elements of Western rock music. The new release also includes experiments by Mongolian musicians with new genres such as funk, disco and soul, bringing fresh and modern sounds to Mongolia. This outstanding compilation will allow you to dive into the golden era of Mongolian music and enjoy its variety and uniqueness. Fans of Mongolian music as well as music collectors who like digging the musical history of foreign countries will love this compilation! "Mongolian Music from 70s - vol. I" is a wonderful mark in history of Mongolian music, with all it's amazing beauty and versatile instrumentations and vocals. Don't miss out on this incredible journey into the heart of Mongolia's music heritage!

A decade of Non-Aligned beats, soul, disco and jazz 1969-1979. - First ever beats, breaks and rare grooves compilation from ex Yugoslavia - Eastern European diggers delight - Remastered straight from the vaults of Jugoton - Raw funk, psych, prog rock, orchestral disco, big band jazz funk and more... Yugoslavia - six republics, four decades, one dictator and a single record label that ruled them all: Jugoton (Zagreb, Croatia). Jugoton was by far the country's largest label with the strongest and most diverse output that stretched from Balkan roots to contemporary trends and the sound of tomorrow . The early days of Yugoslavia featured strong censorship but by the end of the 60's the Communist party views softened up by a large degree. Westernized music already had a solid presence and first James Brown influenced compositions were released. Yugo funk, a term coined by DJ’s and crate diggers from the Balkans, encompasses a wide variety of performers and genres: from the 60's merseybeat rock bands, prog rock groovers and big band jazz orchestras to the late 70's sophisticated 4x4 funk and essentially everything in between. Jugoton Funk Vol.1, a first of its kind, celebrates the pioneer years of funk infused music released by Jugoton. While in pursuit of these treasures all over the Balkan region and beyond, the compilation’s selectors, Dr. Smeđi Šećer & Višeslav Laboš, both active as DJ's and crate diggers from the sole beginnings of the ex-Yu craze, wanted to capture the authentic and idiosyncratic funk sound of Jugoton and Yugoslavia. So here it is, comb your moustache, light up a fat one, turn up the amplifier and headbang away to these amazing tunes remastered from original master tapes dug out of the Jugoton vaults (now Croatia Records). - Compiled by Dr. Smeđi Šećer & Višeslav Laboš.

The rare second volume of Tim Maia’s Racional album series from the 70s – even funkier and more harder-edged than the first! The record really follows the heavy soul influence that Tim had been hitting on his early 70s albums for Polydor – a strong dose of American funk and R&B, especially from the east coast indie scene – filtered down beautifully by Maia, one of the few cats in Brazil at the time who really knew how to get the sound right – and how to mix it with the best of his local influences! There’s some wonderful grooves here – definitely of the funky Brazilian type you-d know from the Samba Soul generation, but also much more solidly soul, too – given Tim’s fantastic vocals, and strong ear for putting over a tune!

James Ray kickstarted his career as a teenager in 1959 after he left Washington DC for New York, but debut single "Make Her Mine" flopped. Two years later, songwriter Rudy Clark discovered Ray and got him signed to the Caprice label, the resultant "If You Gotta Make A Fool Of Somebody" a top-30 hit that the Beatles covered in early live sets. Ray's self-titled debut album had that hit and the equally appealing follow-up, "Itty Bitty Pieces," as well as "I've Got My Mind Set On You," later successfully covered by George Harrison. An overdose would tragically cut short Ray's career, this sole LP a testament to his enduring talent.

Atlanta’s original Eccentric Soul labels, Jesse Jones’ Tragar & Note concerns captured critical regional R&B, soul, and funk from 1968-1976. Compiling 34 tracks and sprawled across two LPs, this 15 year anniversary deluxe edition appears on vinyl for the first time. Featuring rare-as-hens-teeth 45s by Eula Cooper, Tee Fletcher, Richard Cook, Frankie & Robert, Tokay Lewis, Nathan Wilkes, Chuck Wilder, Bill Wright, Sonia Ross, Sandy Gaye, Four Tracks, Young Divines, and several others we can’t fit on a hype sticker.

This is the story of two sisters who nurtured a dream for half a century and never let it die. Vicki and Ronni Gossett launched their musical career as teenagers in Whittier, California in 1966. They called themselves the Female Species. Members came and went; their base of operations moved to Las Vegas, back to LA, and over to Nashville. Along the way their sound transformed from garage rock to lounge to country-pop, the only constant being an innate mastery of hooks and harmony. These ladies had it. Along the way, they crossed paths with The Carpenters, Paul Revere & The Raiders, The Judds, and seemingly half of the industry's power players, rebuffing all untoward advances, focused always on their craft. In the 1980s they became staff songwriters for music publishing companies in the hit-making business. Relentless pushing landed them a once in a lifetime audition before the court of RCA’s top executives — the kind of new talent showcase that almost never happens after 30. Vicki and Ronni were by then in their 40s. Tale of My Lost Love is the whole story from beginning to end of two sisters who gave everything to their dream, yet never made a single record... until now. Sometimes great music just isn’t enough to break through — until it is. Numero Group is thrilled and proud, at long last, to introduce Female Species.

The music could score a romantic drama, an action thriller, or a modern twist on a classic film noir. The spare, cascading vocals accentuate the lush instrumental orchestrations composed, performed, arranged and produced by multi-instrumentalist Seth Applebaum, whose latest brainchild was conceived and conceptualized during The Great Pause of 2020, a time of tension, bewilderment and isolation. Evoking the grooviness of an era which preceded his arrival on earth, Applebaum draws upon sonic devices of mid-century exotica and the succinct but dense arranging style of the leaders of the pop orchestras which dominated the hit parades of the 60s and early 70s. He blends impressions of this bygone era with an expression of his actual experiences as a young filmmaker coming of age in the 21st century, citing influences such as Sharon Jones and The Dap Kings and Antibalas. A New Kind of Love encompasses a reverence for the past without attempting to recreate it. I Each song on Ghost Funk Orchestra’s 3rd album, A New Kind of Love, due to be released on Colemine Records … 2022, resonates like the soundtrack to a scene from an imaginary movie. The music could score a romantic drama, an action thriller, or a modern twist on a classic film noir. The spare, cascading vocals accentuate the lush instrumental orchestrations composed, performed, arranged and produced by multi-instrumentalist Seth Applebaum, whose latest brainchild was conceived and conceptualized during The Great Pause of 2020, a time of tension, bewilderment and isolation. Evoking the grooviness of an era which preceded his arrival on earth, Applebaum draws upon sonic devices of mid-century exotica and the succinct but dense arranging style of the leaders of the pop orchestras which dominated the hit parades of the 60s and early 70s. He blends impressions of this bygone era with an expression of his actual experiences as a young filmmaker coming of age in the 21st century, citing influences such as Sharon Jones & The Dap Kings and Antibalas. A New Kind of Love encompasses a reverence for the past without attempting to recreate it. In the tradition of the “production forward” discographies of such record makers as David Axelrod and the Mizell Brothers, it’s easy to visualize Applebaum as a “mad doctor” figure, hunkered down in a studio channeling this musical representation of his inner world into the 12 compositions which make up A New Kind of Love. His writing stretches his psyche to explore a terrain in which to capture emotional notes of love going well, love gone sour, manifesting love songs based in ghostly affairs. While the studio is obviously a wondrous happy place of experimentation and creativity for Applebaum, he’s a band guy too (having actually fronted punk outfit The Mad Doctors). Applebaum has the wherewithal to bring his dreamy material to the 10 piece all star Ghost Funk Orchestra, leading them to breathe life into this sophisticated body of work which heralds the celebration of a new era for the group. Ghost Funk Orchestra will be touring in concert this summer and fall to celebrate the release of A New Kind of Love, an album which is sure to stand the test of time.

There has always been a Reggae influence in the music of El Michels Affair. From their cover of “Hung Up On My Baby” done in a Reggae style, to the general sound and approach that permeates Leon’s production style. While recording Bailey’s 2020 Ekundayo album, they did some straight forward reggae tunes inspired by different eras alongside some modern R&B tracks that would fit more comfortably next to Frank Ocean than Jacob Miller. It is this same notion that old and new can live so comfortably together that birthed the idea of Ekundayo Inversions. Traditional dub came out of reggae in the late 60s and early 70s when pioneers like King Tubby and Lee Perry started taking the multi track recordings of songs and running them back through the board adding effects and additional instrumentation. These recordings are called “dubs” or “versions” and are typically instrumentals with flourishes of vocals from the original tracks. El Michels decided to use the blueprints left behind and make something using the influences of today. He wound up straying so far from the traditional format that it didn’t seem right to use the word ‘Dub’, hence Ekundayo Inversions. All the songs are tied together by WhatsApp messages between Leon and Liam that perfectly narrate the story of this record and their working relationship. One of the highlights on Ekundayo Inversions is a guest appearance from the legendary Lee “Scratch” Perry on the “Ugly Truth” version. L$P switches between singing and talking, proclaiming his powers one minute and playing with the track’s title the next. On “Awkward take. 2” Leon takes one of the most experimental songs from Ekundayo and actually straightens it out. A track that once seemed to be floating in space has now been anchored by the addition of drums and bass. “Faded”, a version of “Paper Tiger”, is given the full EMA treatment with the addition of emotive horns over an uncomfortably sparse rhythm track peppered with Liam’s voice drenched in delay and echo. “Champions” features a verse from Black Thought of The Roots and halfway through, El Michels sends the rhythm section 50 years back. At the end of the day, Ekundayo Inversions is a testament to how strong the original songs are. Whether they’re in a R&B style, reggae style, stripped down to their bare bones, or loaded with production, the songs will move you.

First making waves with the almost cult level ‘Hype Williams’ project, and then more recently solo and as part of the group Babyfather, the new 8 track LP sees Dean Blunt step back into the shadowy role of producer for a new band called Blue Iverson. It’s a vibesey one, this; digging a vein of smoke-hazed living/bedroom feels in eight parts that could almost be passed off as a Dam-Funk jam. Well, almost, but there’s still something off kilter and economical about the fidelity and mixing of the recording that hints it’s from the UK, or is even made to sound like the private pressed soul obscurities picked out by PPU. Hotep strongly reminds of those lush soul bits from Yves Tumor’s Serpent Music or even selected Letherette cuts released on Alex Nut’s namesake label. The image of Lauryn Hill on the sleeve is a cherry on the cake.

Bristol’s four-piece outfit Quade announce their debut album, ‘Nacre’, out 17th November via AD93. ‘Nacre’ is the culmination of three years of work from the band, the blueprints of their songwriting and sound firmly established in the sprawling, haunting and yet hopeful record. Traipsing between gothic expansiveness and cosmic psychedelia, the record cannot be pinned down into one recognisable place. By the album’s close, the listener may be left wondering whether it was all a memory or a dream. The recording and production of the record was collaborative, with the band drawing upon the services of Jack Ogbourne and Larry ‘Bruce’ McCarthy - two divergent pillars of Bristol’s music community - for engineering and mixing respectively.

Throughout the mid- to late-80s, Sade was the smoothest of operators in British soul music, her unmistakable sophisti-pop sound scoring hits on both sides of the Atlantic and throughout Europe. As this German TV show, she could recreate those slick records live on stage with ease. This live catches her riding that first wave of success, delivering intimate, jazz-imbued performances of her breakthrough hits.

Orgōne is a pillar of West Coast soul music, maintaining an unmissable touring presence for more than a decade. The group’s arresting intensity, impeccable playing style, and undeniable, irresistible chemistry have earned them the reputation as one of the tightest bands of the modern era. Fresh off of doubling as the studio band for discodelic sensation Say She She and circling the globe as the live band for their wildly successful world tour, Orgōne is back in California and coming in hot with Chimera, a fire-breathing spectacle of psychedelic Afro-soul. Produced by Sergio Rios (Neal Francis, Say She She), Chimera is an electrifying, dream-like odyssey, tripping through the hazy swamps of New Orleans, weaving textures of entrancing voodoo soul, thrumming Afro-funk, and stoney psych-rock. In Chimera, the heavy-hitting new LP from Orgōne, out February 9th, 2024 on 3 Palm Records, the Los Angeles-based outfit carves tough, gritty, infectious grooves into heady dance rhythms. Taking its name from a mythical beast with the head of a lion, the body of a goat, and the tail of a serpent, Chimera conjures a state that is at once trance-like and heart-poundingly exciting. The album offers a spellbinding mix of cathartic instrumentals, dub voyages, and soulful vocal performances by Jamie Allensworth, Terin Ector, and Congolese musical alchemist Mermans “Mofaya” Mosengo. Known for their gripping instrumentals and incendiary live show, the band is firing on all cylinders and the earned confidence of this time-tested, cult-favorite crew is on display throughout Chimera. Describing the process of producing and engineering this psych-funk showcase, guitarist and Orgōne co-founder Sergio Rios says, “The album really took form organically. It’s raw and dark with a hopeful thread throughout that’s highlighted by the incredible soul singers we work with. There's a looseness to most of the cuts, giving the album the feeling of a shadowy dream.” With Chimera, the band has tapped into a deeper version of themselves. The sounds are fresh yet classic, the grooves are ferocious and infectious, and the vocal performances are captivating. The album opens like a heady puff of smoke in the face with “Hallowed Dreams,” drawing the listener into a state where reality blurs and the music takes control. The focus track, “Zum Zum,” is a hooky Afro-funk dance floor heater that synchronizes your heart rate to its propulsive percussion, the hypnotic rhythm building into a raucous, psychedelic climax. Mermans “Mofaya” Mosengo sings in his native Lingala, jabbing and weaving around the rhythm section’s chugging force with his gruff and soulful voice. On the raw and rousing “Tula Muisi (Dance Like Them),” a tapestry of Afrobeat and heavy psych-rock bolsters Mosengo’s call for unity and respect, which translates to “Hear the music, and dance like them.” On “Lies & Games,” Terin Ector brings yearning soul vocals to this righteous lament of the rocky road to redemption over grimy rhythm guitar, spaced-out synths, breakbeat-worthy drums, and haunting Wailers-inspired backing vocals. “Parasols” is a jaunty, head-bobbing slab of greasy New Orleans funk, and a heartfelt nod to Josie-era Meters and the unmistakable early 70s-era production of Allen Toussaint. The instrumental serves up a punchy, slightly tipsy rhythm that sways with sweetly melodic gospel-tinged organ. Drawing on multicultural influences of Afrobeat, Southern soul, psych-rock, and raw funk, Chimera bridges the darkest reaches of psychedelia to the highest peaks of joyful dance music. With easy SoCal swagger, deep New Orleans roots, and a profound reverence for the sounds of the African diaspora, Orgōne creates a unique, transporting experience that feels untethered to any single place or time. Relentlessly vibey and immersive from start to finish, Orgōne’s newest LP feels like a sustained hypnagogic hallucination — the place between waking and sleep where reality is fluid and anything feels possible. From its inception, Orgōne has always been a chimera — a multifaceted creation and the physical manifestation of impossible quixotic dreams. Chimera will delight fans of early Orgōne while showcasing the band’s effortless and endless ability to shape-shift. It’s an electrifying, mesmerizing record sure to exceed expectations and keep the listener rapt. For fans of Altun Gun, Khruangbin, King Gizzard and the Lizard Wizard, Witch, Goat & Monophonics.

Shades of Yesterday is the new covers album by DJ Harrison – 11 tracks that pay homage to his musical heroes, representing some of his most treasured childhood memories, out February 9th on Stones Throw. It was created over several years at his home studio Jellowstone, where he also created his previous two Stones Throw albums, 2021’s Tales from the Old Dominion and 2017’s HazyMoods. The announcement comes with a new song, too. “L’Anthropofemme” is a cover of French group Syntaxe.“L’Anthropofemme” was first introduced to DJ by Tyler, the Creator during an L.A. studio session where the two artists shared some of their most loved songs. Last year, Harrison shared “Lil Birdie”, a cover from Vince Guaraldi’s iconic A Charlie Brown Thanksgiving special, and a cover of Donald Fagen’s “IGY”, which he decided to record after opening for the Steely Dan legend in his hometown of Richmond, Virginia. While DJ Harrison has spent his career as a sought-after collaborator, playing in the funk-jazz fusion outfit Butcher Brown and collaborating with Pink Siifuu, Joyce Wrice, and winning two Grammy nominations for his work with Kurt Elling, Shades of Yesterday was created solo, with Harrison playing almost every instrument himself.

The expansive American experience Lonnie Holley quilts together across his astounding new album, MITH, is both multitudinous and finely detailed. Holley’s self-taught piano improvisations and stream-of-consciousness lyrical approach have only gained purpose and power since he introduced the musical side of his art in 2012 with Just Before Music, followed by 2013’s Keeping a Record of It. But whereas his previous material seemed to dwell in the Eternal-Internal, MITH lives very much in our world — the one of concrete and tears; of dirt and blood; of injustice and hope. Across these songs, in an impressionistic poetry all his own, Holley touches on Black Lives Matter (“I’m a Suspect”), Standing Rock (“Copying the Rock”) and contemporary American politics (“I Woke Up in a Fucked-Up America”). A storyteller of the highest order, he commands a personal and universal mythology in his songs of which few songwriters are capable — names like Bob Dylan, Joni Mitchell, Joanna Newsom and Gil Scott-Heron come to mind. MITH was recorded over five years in locations such as Porto, Portugal; Cottage Grove, Oregon; New York City and Holley’s adopted hometown of Atlanta, Georgia. These 10 songs feature contributions from fellow cosmic musician Laraaji, jazz duo Nelson Patton, visionary producer Richard Swift, saxophonist Sam Gendel and producer/musician Shahzad Ismaily.

Holy Hive released two full length albums and one EP in the short span of 3 years and then they decided to disband. In 2019, while recording their debut album world renown harpist Mary Lattimore was in NY. They got together in the studio on a whim and wound up recording their Harping EP in a few days. They followed that up with their 2020 full length debut Float Back To You which became an instant cult classic and defined their unique “Folk Soul” sound. Frontman Paul Spring’s tender falsetto and maverick guitar playing over Homer Steinweiss’ incomparable drumming and production proved to be a match made in heaven and created a sound that piqued the ears and charmed the hearts of all those who heard it. By the time they started recording their sophomore album COVID, commitments, and life started taking their toll on the band. Spring and Steinweiss took their sound and pushed it way forward on their eponymous 2nd album keeping the anchor of their sound they established while exploring where else they could take it. Unbeknownst to the public by the time that record was released the band was done and had moved on to other things individually. While fans will undoubtedly not like this news, we will all have the timeless music they made while together, and, prolific they certainly were… Big Crown Vaults Vol. 3 : Holy Hive digs into the treasure trove of unreleased recordings and pulls some that never saw their way to vinyl and in all honesty, this is not even half of what is in there. These recordings were made during their two album sessions largely, some were recorded before they even signed to Big Crown. The compilation kicks off with the tune that started it all on the label, their smashing cover of The Invincibles “This Is My Story” that was previously only on a 7”. “Love It Is Not Love”, “Middle Of The Night”, “Celeste”, and their cover of “Kingdom Of The Sun” all feature guest vocals by Shanny of The Shacks who had started playing bass with them at their live shows and sitting in on a lot of the recording sessions. “The Shame” features Robin Pecknold of Fleet Foxes on bass and El Michels Affair on flute, the latter also plays on “A Perfect Space”. At one point in time the would turn the live show over to Paul Spring who would perform the Irish folk tune “Red Is The Rose” in a traditional style with just him singing and playing acoustic guitar and then launch into their rendition of the song that is on Float Back To You. That stripped down version is featured here on Vaults Vol. 3. The comp finishes poetically with “End Of Time” and it is unlikely that we will ever release the rest of what is sitting in the vault. On behalf of ourselves and all the fans we’d like to take this time to thank Holy Hive for the gorgeous music they made together. We will continue to enjoy it forever. Of course as individuals everyone involved from the core members to the people who lent their talents to certain songs continue to make music. Find them, follow them, enjoy their music.

Sister Rosetta Tharpe is often referred to as "the godmother of rock and roll" for her pioneering guitar technique, use of distortion/reverb, and a 1963 UK tour with Muddy Waters that has been cited as a huge influence by Eric Clapton, Keith Richards, and Jeff Beck. Though she reached more widespread notoriety across the world in the '50s and '60s thanks to the folk/blues revival and her beloved status among UK blues and rock musicians, it's her early recordings from the late '30s and early-mid '40s that are the most brilliant, visceral, and emotional of her career. This excellent collection compiles 18 of those amazing gospel and R&B sides into one place. Essential.

Featuring amazing covers of tracks by artists such as Leon Ware, Mtume, Archie Bell, The Gap Band, Lowrell, Prince, Starvue, Bobby Caldwell & The Isley Brothers, there is not a filler in site, essentials all the way.

The project has taken almost 2 years with the help of many musicians, singers and producers from the scene. A special shout out goes to Peter 'Honeyvoice' Hunnigale for going the extra mile and doing many introductions.

Little is known about the mythical band ‘Heart-Soul & Inspiration’ and their band leader, L.A. drummer and producer Vince Howard…The crooning Howard got his start in 1957 on Herb Newman’s Era label where he released a bunch of excellent Doo Wop, Funk & Soul singles. Over the ensuing decade Howard slowly began piecing together his “Orchestra” consisting of bassist Jimmy Soul, guitarist Ron Carr, and pianist John True. Howard’s Heart-Soul & Inspiration Orchestra cut their self-titled (and only) album in 1974 for John Spriggs’ Los Angeles-based Viscojon concern under the watchful eye of R&B godfather Johnny Otis. The result was the birth of an astonishing piece of art filled with playful sexy moans, climaxing grooves and soulful hooks. One of the many highlights on the album (and clocking in at an epic eleven minutes), Vince Howard’s “I’m Gonna Love You More” is a tantric reimagining of Barry White’s 1973 sexually charged classic. Where White was content delivering a subtle and syrupy innuendo, Howard transformed the break-heavy track into a meandering funk workout. Sadly, after their Barry White/Isaac Hayes facsimile LP failed to gain traction, the group released their final recordings—“Funk on Down” b/w “Fallen Angel”—for Viscojon in 1975 which became a hit among prominent DJ’s in the nightclub circuit. This ushered in the end for Howard’s Heart-Soul & Inspiration project. After the band split up, Vince Howard went on to pursue his acting career and landed roles in television shows such as Star Trek, Knight Rider, Cheers, Mission: impossible and starred in classic films including Trouble Man and Lethal Weapon. Talk about a career switch! Heart-Soul & Inspiration was a true example of a bright light burning out way too quickly. Thankfully we are left with the unique (and very rare) document that is their self-titled album. Almost impossible to get ahold of…a well-deserved reissue has been long overdue. This is an album that deserves a prominent place in every serious Funk & Soul enthusiast’s record collection! Tidal Waves Music (in collaboration with The Numero Group) now proudly presents the first ever vinyl reissue of this rare Soul-Funk album (original copies tend to go for large amounts on the secondary market) originally released in 1974 on Viscojon Records. Now finally back available as a limited 180g vinyl edition (limited to 500 copies) complete with the original artwork and obi strip. As an extra bonus feature, the limited color vinyl versions of this reissue will also include an exact reproduction of their classic 1975 ‘Funk On Down/Fallen Angel’ 7inch EP.

Smoky soul honesty from gifted Hawaiian jazz singer Maryanne Ito. Brimming with good vibes, this

“Although she’s won both a Na Hoku Hanohano Award and “Best International Pacific Artist” at New Zealand’s Pacific Music Awards for her 2014 debut, the confines of the studio never quite captured the magic that happens when soul/jazz singer Maryanne Ito performs in front of a live audience. 

Pure, honest, powerful. You can feel it regardless of the stage, the players, or the songs. We knew someone needed to make a live album with her... so we did. 

On November 1, 2017, Maryanne and her band performed all new material for friends and family at the Atherton, an intimate venue amidst the bustle of Honolulu city life. It was an experience nothing short of magical — you can hear it in the record. 

Maryanne Ito has performed throughout the globe, including New Zealand, London, and New Orleans when Gilles Peterson and his Worldwide FM crew hosted Maryanne and artists like Doug Wimbish, King Britt, Amp Fiddler, and Tank & The Bangas for the Six of Saturns music festival.”

First vinyl reissue since ’79 for the mystique-shrouded composer and his enigmatic songstress! Songstress Moon Ji-young remains one of the most enigmatic figures of Korea’s 70’s gayo scene. Her debut release from SRB Records would be her sole record. The record was produced in 1979 with SRB-affiliated composer/arranger Yon Seok-won at the helm. In addition to 5 songs for Moon, Yon also included tunes that had been released through his solo and group projects, the Outsiders among them. Standout tracks include the title track ‘Love Tactics‘, gained a new following upon its rediscovery among fans of 70’s K-Funk, the 2-part epic ‘Tree in Winter’, and the noir-inspired blues/jazz tune ‘Terminus’. The instrumental ‘When Love Comes and Goes’ is another interesting track that foreshadows Yon’s later excursions into jazz-based New Age/Ambient territory. Included as a bonus track is the killer funky banger ‘Unwavering Heart’ by the Outsiders.。

"As a discarded record collection of notorious Cafe Extase crossed their path, Left Bank constructed their own warped version of club music. The era was acid-jazz, p-funk and rare groove, the records covered in thick layers of mold and dust. Recorded a few streets from where the action once took place, Kelder Extase forms a musical resurrection of a basement that has disappeared."

Jamila Woods has a voice and lyrical sensibility that transcends generations, and so it makes sense to have this lush and layered album that bounces seamlessly from one sonic aesthetic to another. This was the case on 2016's HEAVN, which found Woods hopeful and exploratory, looking along the edges resilience and exhaustion for some measures of joy. Her new album, Legacy! Legacy! is the logical conclusion to that looking. From the airy boom-bap of "Giovanni" to the psychedelic flourishes of "Sonia," the instrument which ties the musical threads together is the ability of Woods to find her pockets in the waves of instrumentation, stretching syllables and vowels over the harmony of noise until each puzzle piece has a home. The whimsical and malleable nature of sonic delights also grants a path for collaborators to flourish: the sparkling flows of Nitty Scott on "Sonia" and Saba on "Basquiat," or the bloom of Nico Segal's horns on "Baldwin." More than just giving the song titles the names of historical black and brown icons of literature, art, and music, Jamila Woods builds a sonic and lyrical monument to the various modes of how these icons tried to push beyond the margins a country had assigned to them. On "Sun Ra," Woods sings "I just gotta get away from this earth, man / this marble was doomed from the start" and that type of dreaming and vision honors not only the legacy of Sun Ra, but the idea that there is a better future, and in it, there will still be black people.  Soul music did not just appear in America, and soul does not just mean music. Rather, soul is what gold can be dug from the depths of ruin, and refashioned by those who have true vision. True soul lives in the pages of a worn novel that no one talks about anymore, or a painting that sits in a gallery for a while but then in an attic forever. Soul is all the things a country tries to force itself into forgetting. Soul is all of those things come back to claim what is theirs. Jamila Woods is a singular soul singer who, in voice, holds the rhetorical demand. The knowing that there is no compromise for someone with vision this endless. That the revolution must take many forms, and it sometimes starts with songs like these. Songs that feel like the sun on your face and the wind pushing flowers against your back while you kick your head to the heavens and laugh at how foolish the world seems.

LP version. Reissue, originally released in 1974. This extraordinary album, which Mono-Jazz are re-issuing on the occasion of RT 30 (the celebration of Right Tempo's thirty years of activity), is a tribute to the great Trinidadian pianist Sonnie Taylor who in these recordings, accompanied by the singer Bunnie Foy, expresses all his musical nature connected to Africa and the spiritual roots of jazz music. Many of you will recall Mayfra Combo, well, the leader of that seminal soul jazz ensemble was Sonnie Taylor. "I'm a Harlem Flower," says Bunnie. "I was born right in Harlem, where I've listened to an infinite number of popular songs of all kinds since I was a child. That's why I learned to sing spirituals, blues, classic and modern jazz pieces by Billie Holiday and Ella Fitzgerald, and even calypso and African music. These are things that are all equally familiar to me. On this record, for example, I interpret a Gershwin medley but also 'Go Down Moses' which is spiritual, 'Uelelé' which is an Angolan piece, and 'Way-O Comin' Home' which comes from the Caribbean." Her real name is Shirley, but the nickname -- which in Italian means bunny -- grew up with her. She arrived in Italy in 1968 after a very flattering career start, during which she collaborated with famous names such as Dizzy Gillespie and John Coltrane. When she decided to settle in Milan she had already been to France, Switzerland, Germany, Belgium and North Africa. Sonnie Taylor, the distinguished pianist and organist who leads the nine recordings contained herein, is a native of Trinidad. He has performed in England, Spain and Italy with a rhythm and blues ensemble. He currently leads a quintet that plays Afro-Cuban music. For about a year he has been working with Bunnie Foy on her concert tours.

New York's Cleopatra label gets the Numero treatment. Hailing from Tommy Falcones swarm, Beehive lead Vickie & The Van Dykes were the sound of the coming youth revolt—Vickie had rock 'n' roll in her bones and rawhide in her voice. "I Wanna To Be a Winner," and "Outcast." were songs tailored to her rebellious personality.