Outta Sight startet die neue Serie "Rarer Stamps", inspiriert von der legendären "Rare Stamps"-Serie auf dem Stax-Sublabel Volt Records aus den späten Sechzigern. "Rarer Stamps Vol.1" ist den Detroiter Soul-Größen Barrett Strong und Gino Parks gewidmet, mit einigen ihrer besten Aufnahmen und echten Raritäten!

Zehn neue Songs präsentiert das bestens eingespielte Vintage-LoFi-Garage-Duo, das sich für »Come On And Save Me« kurzerhand mit Kontrabassist und Sänger Jory Kinjo in ein Trio verwandelt hat. Verblüffend ähnlich dem knarzigen Charme ihrer Liveshows spielen die drei erfahrenen Performer hier ohne Overdubs und überflüssige Studiotechnik mit viel Charme und Herzblut auf, vom tighten Garage-Blues á la Andre Williams bis hin zu melancholischen Soulballaden passt hier alles minimalistisch perfekt zueinander. Ein wunderbarer und interdisziplinärer Cocktail aus afroamerikanischer Roots-Musik!

"Outta Sight" zaubert uns 16 Titel aus dem legendären All Night Dance-Club in London mit einer Fusion aus R&B, Blues, Jazz, Calypso und Ska, die damals die angesagtesten Sounds der Welt waren und den Weg für die Mod-Generation einläuteten.

Nach Jahren als Frontmann von "Chicano Batman" aus Los Angeles veröffentlicht Bardo mit "Transformation Time" sein Debüt-Soloalbum auf dem legendären Label Stones Throw, home of legendary artists like J-Dilla, Peanutbutter Wolf, Madlib oder Mayor Hawthorne   Mit einer Mischung aus Latin-Rhythmen, Funk-Grooves, Indie-Rock und Punk-Attitüde spiegelt Bardos Musik seine Wurzeln in Kalifornien, Mexiko und Kolumbien wider und schöpft aus einer lebendigen Mischung von R&B und Classic Rock  bis hin zu Cumbia, Vallenato und Salsa.

Back to Black' was the second studio album by English recording artist Amy Winehouse, released October 4, 2006 on Island Records.It incorporates 1960s soul music styles and modern R&B production, with subjective lyrics that concern relationships and reflect on Winehouse's experiences with drinking, sex, and drugs. The album produced several singles, including 'Rehab', 'You Know I'm No Good', 'Back to Black', 'Tears Dry on Their Own', and 'Love Is a Losing Game'.'Back to Black' received positive reviews from most music critics, earning praise for its classicist soul influences, Salaam Remi and Mark Ronson's production, and Winehouse's songwriting and emotive singing style. At the 50th Annual Grammy Awards ceremony, 'Back to Black' won five awards, tying the record (with Lauryn Hill, Alicia Keys, Beyoncé Knowles, Norah Jones, and Alison Krauss) for the second-most awards won by a female artist in a single ceremony. The album won Best Pop Vocal Album, while 'Rehab' won Best Female Pop Vocal Performance, Song of the Year and Record of the Year with Amy Winehouse winning Best New Artist. The album was also nominated for Album of the Year. To date, 'Back to Black' has sold over 10 million copies worldwide.

Purple Vinyl.

Sudan Archives steht für diverse Stile, eine packende Mischung aus kraftvollem, hymnenhaftem R&B und elektronischer Musik. Ihr Violinspiel ist beeinflusst von Nordostafrikanischer Geigenmusik, aber auch Westafrikanische Rhythmen finden den Weg in ihre Musik.Für Athena hat sie mit einer Vielzahl von Songwritern, Produzenten und Musikern zusammengearbeitet. Die Stücke auf dem Album klingen voller denn je, Sudan Archives bleibt sich und ihrem einzigartigen Stilmix aber treu, der ihr so viele Fans auf der ganzen Welt eingebracht hat. Zu sehen: Eine Bronzestatue von Sudan Archives.

2016 Reissue Back in stockGatefold Sleeve

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.

'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.

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!

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

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.

A 22-track collection containing some of the biggest dance craze hits from the Cameo Parkway label. Includes tracks by Cameo Parkway’s biggest stars: Chubby Checker, Bobby Rydell, Dee Dee Sharp, The Orlons, The Dovells, Don Covay and The Turbans. Features 12 Top 40 Hits including #1 chart-toppers like Chubby Checker’s iconic original version of “The Twist”. 2LP pressed on 180g Yellow Vinyl. With an essay by acclaimed Rock & Roll/R&B historian John Broven. Mastered from original archive tapes