Download card included. Ten years after our initial survey of Afro-Latin accented rhythm & blues from the mid-century, Jazzman proudly presents a fourth installment, packed with as many musical surprises as the first. With music plucked from an era spanning the late 1940s into the early 60s, Jukebox Mambo IV highlights yet again the unparalleled musical creativity of the post war era, and shows how the infusion of afro-latin rhythms was key to these revolutions. Lovingly and painstakingly researched and curated, the album boasts 23 tracks, many previously uncompiled, touching on jazz, blues, doo wop, calypso, rock & roll, gospel and more. Featuring individual track notes for every song along with some never seen before photographs of the artists, Jukebox Mambo Vol IV maintains the same high production values of each previous volume, and indeed the wider Jazzman catalogue.

Liner notes reference the New Orleans Funk series as well as Saturday Night Fish Fry (New Orleans Funk And Soul) and New Orleans Soul (The Original Sound Of New Orleans Soul 1966-76), previously released on Soul Jazz Records.

'For Dancers Forty' feiert 40 Jahre seit der bahnbrechenden LP 'For Dancers Only', und greift wieder diverse Labels in Los Angeles auf. Wie auf der legendären KENT 001 repräsentiert die Compilation wieder Soul Stomper, Rhythm & Blues-Buster, 60s Grooves und himmlische Harmonien. Die Sweethearts schmücken unser Cover mit einem kürzlich entdeckten Farbfoto aus den Archiven von Moderns Chefingenieur Bill Lazerus. Abgesehen von ihrem lebhaften 'This Couldn't Be Me' lieferten sie den Background für viele der 60er-Jahre-Aufnahmen des Stalls. Klassisch, schwarzes Vinyl!

 

Eine Sammlung der verlorenen Aufnahmen von Fast Eddie - eine der aufregendsten Live Bands des frühen 80ziger Mod Revival mit Rhythm’n’Blues Einflüssen. Produziert Acid Jazz Gründer Eddie Piller ist diese Sammlung ein wichtig Zeitzeugnis des Mod Revival und der Acid Jazz Records Geschichte.

Limited Icy Blue Color VinylInvludes Mp3 Download Card For Thee Sacred Souls, the first time is often the charm. The band’s first club dates led to a record deal with the revered Daptone label; their first singles racked up more than ten million streams in a year and garnered attention from Billboard, Rolling Stone, and KCRW; and their first fans included the likes of Gary Clark Jr., The Black Pumas, Princess Nokia, and Timbaland. Now, the breakout San Diego trio is ready to deliver yet another landmark first with the release of their self-titled debut on Daptone Records. “Every step of the way has just been so organic,” says drummer Alex Garcia. “Things just seem to happen naturally when the three of us get together.”Indeed, there’s something inevitable about the sound of Thee Sacred Souls, as if Garcia and his bandmates—bassist Sal Samano and singer Josh Lane—have been playing together for a lifetime already. Produced by Bosco Mann (aka Daptone co-founder Gabriel Roth), Thee Sacred Souls is a warm and textured record, mixing the easygoing grace of sweet ’60s soul with the grit and groove of early ’70s R&B, and the performances are utterly intoxicating, with Lane’s weightless vocals anchored by the rhythm section’s deep pocket and infectious chemistry. Hints of Chicano, Philly, Chicago, Memphis, and even Panama soul turn up here, and while it’s tempting to toss around labels like “retro” with a deliberately analog collection like this, there’s also something distinctly modern about the band that defies easy categorization, a rawness and a sincerity that transcends time and place.

Das neue Album von Stimulator Jones frisch aus seinem Home Studio - in limiterter Auflage auf Vinyl.Auf seinem neuen Album 'Round Spiritual Ring' kreiert Stimulator Jones eine friedvollen und positiv-gestimmten Ausblick in die Zukunft und als Gegensatz zu persönlichen Problemen. Aufgenommen ion Roanoke, Virgina in seinem Home Studio, ließ er sich von der Umwelt seiner Heimatstadt und seiner einzigartigen Instrumentensammlung inspirieren.

A bag full of rare rhythm & blues, mod-jazz, soul, and mid 70s funk. Side A starts with rhythm & blues and jazz from the 1960s. The first three tracks were pulled from hopelessly obscure 7" singles. Macy & Company are responsible for the first 'aha' moment. Their version of 'Sixteen Tons' would have certainly astounded even Tennessee Ernie Ford. A truly fantastic version indeed! 'Snatchin' It Back' completes the first side with a furious big band jazz cut. Side B is all about mod-jazz. 'Undun' is just like 'Big Boy' a sure-shot for any dancefloor. Rare Groove DJs will have a lot of fun spinning these tunes in a club. Admittedly, the next one is a strange cut. 'See How You Are' was recorded on a whim when they two composers were spontaneously pulled into a studio. High time for 'aha' effect #2. Many bands have tried their hands on a cover version of the Lee Morgan jazz classic, one of them being Mr. Palumbo. Listen closely to Dianne Elliott's contribution as it is a highlight for sure despite the fact von Frau Elliott. Side C begins with 'aha' effect #3 and a fantastic cover version of Gerald Wilson's 'Viva Tirado'. 'Blue Jamaica', is the second track on Movements 11 were a vibraphone is the lead instrument. 'Bawana Jinde' is a wild, wailing blast of percussive instrumental explosion while 'The Creeper' is the perfect choice to finish this side. Side D is reserved for proper 1970s funk. The flip side of Reunion's sole 45rpm single was included on a previous Tramp compilation album. 'A Brighter Day' has not been compiled yet. 'Real Life', 'Syrene' and 'Breezy' are all prime examples how mid 70s funk has to sound . A dream for B-Boys and B-Girls. Those of you who have been enjoying the detective work of the people behind the label over the past 18 years know that the Movements series can be easily considered as the flagship compilation series on Tramp. So, after having listened to the entire selection of this brand new volume we sincerely hope that we will have achieved our aim to surprise, delight, and enlighten you once again!

Yaoundé, in the 1970´s, was a buzzing place. Every neighbourhood of Cameroon´s capital, no matter how dodgy, was flled with music spots but surprisingly there were no infrastructure to immortalise those musical riches.The country suffered from a serious lack of proper recording facilities, and the process of committing your song to tape could become a whole adventure unto itself. Of course, you could always book the national broadcasting company together with a sound engineer, but this was hardly an option for underground artists with no cash. But luckily an alternative option emerged in form of an adventist church with some good recording equipment and many of the artists on this compilation recorded their frst few songs, secretly, in these premises thanks to Monsieur Awono, the church engineer. He knew the schedule of the priests and, in exchange for some cash, he would arrange recording sessions. The artists still had to bring their own equipment, and since there was only one microphone, the amps and instruments had to be positioned perfectly. It was a risky business for everyone involved but since they knew they were making history, it was all worth it. At the end of the recording, the master reel would be handed to whoever had paid for the session, usually the artist himself..and what happened next? With no distribution nor recording companies around this was a legitimate question.More often then not it was the french label Sonafric that would offer their manufacturing and distribution structure and many Cameroonian artist used that platform to kickstart their career. What is particularly surprising in the case of Sonafric was their willingness to take chances and judge music solely on their merit rather than their commercial viability. The sheer amount of seriously crazy music released also spoke volumes about the openness of the people behind the label.But who exactly are these artists that recorded one or two songs before disappearing, never to be heard from again? Some of the names were so obscure that even the most seasoned veterans of the Cameroonian music scene had never heard of them. A few trips to the land of Makossa and many more hours of interviews were necessary to get enough insight to assemble the puzzle-pieces of Yaoundé’s buzzing 1970s music scene. We learned that despite the myriad diffculties involved in the simple process of making and releasing a record, the musicians of Yaoundé’s underground music scene left behind an extraordinary legacy of raw grooves and magnifcent tunes.The songs may have been recorded in a church, with a single microphone in the span of only an hour or two, but the fact that we still pay attention to these great creations some 50 years later, only illustrates the timelessness of their music.

ltd edition comes with colored vinyl, incl. Mp3 download code

One of the San Antonio groups not featured on the Numero label's Eccentric Soul: The Dynamic Label was the Royal Jesters. That's because they recorded for two of Abe Epstein's other labels, Cobra and Jox, and they eventually set up labels of their own and briefly mingled with larger labels Bell and Bang. With English Oldies, Numero rounds up over two-dozen cuts from the locally beloved Chicano group, including solo material from members Dimas III and Joe Jama. This emphasizes the group's pre-Tejano years, with 1962's "I Never Will Forget" presumably the earliest selection and 1972's "Back to You"/"Theme for a Lonely Girl" possibly the latest. Going by those inclusions and the group's other output during that decade, it's evident how smoothly the Royal Jesters evolved from the emulation of doo wop and early Motown to a harmonically rich cross-genre act that would not have been out of place on a nationwide tour with Malo or the Doobie Brothers, had they ever ventured outside the Lone Star State. The heart of the anthology is the Royal Jesters' earlier work, mostly aching ballads ideal for teen dances that gracefully float and gently bounce. "I Won't Love You Again" and their cover of "Take Me for a Little While," at minumum, deserved to spread far outside San Antonio. The Impressions-like "I've Got Soul" (a personal pride anthem) and a steaming version of Willie Bobo's "Spanish Grease" (the set's hottest dance inclusion) are fine, too. The booklet contains an in-depth essay that is typical of Numero's high standards, but there is no track information beyond songwriting credits. Only a few release dates can be identified by scouring the text. Includes Mp3 Download Code

16 Early 60's Instrumental Shakers

Debut album by PM Warson, including two of his 2021 singles. Manufactured in Hamburg on circa 140 g vinyl and sold world-wide. First production had matte, dry covers whereas the second round is manufactured with shiny covers. Vinyl comes in a hard-paper inner sleeve with a photography on the front and track and personel listings on the back.