{"title":"Funk \/ Soul","description":"","products":[{"product_id":"airto-natural-feelings","title":"Airto - Natural Feelings","description":"\u003cp\u003e\u003cspan\u003eFirst vinyl reissue in over 45 years for a long-lost, pivotal jazz fusion record! This album, originally released in 1970 on the thinly-distributed Skye label, marks Airto's debut as a bandleader and captures the percussionist right at the time he recorded Bitches Brew with Miles Davis, and right before he joined Weather Report for their first album. Indeed, the line-up on this album reflects the fact that Airto had one foot in the NYC jazz scene and one foot in his native Brazil, as bassist Ron Carter joins Airto's countrymen Sivuca and Hermeto Pascoal, along with Airto's wife Flora Purim. The music's a fascinating blend of jazz-funk-fusion and Brazilian tropes, here presented on 180-gram black vinyl, housed inside the original wild, Hieronymus Bosch album art. Limited to 500 copies!\u003c\/span\u003e\u003c\/p\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32227839180866,"sku":"","price":29.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/848064008842_1024x1024_005438c0-9dbe-4c69-847d-17e1bdc586a0.jpg?v=1595456946"},{"product_id":"feelling-kreyol-las-pale","title":"Feeling Kreyol - Las Pale","description":"\u003cp\u003e\u003cspan\u003eStrut present the first ever international reissue of in-demand ‘80s zouk LP ‘Las Palé’ by Feeling Kréyol, out of Guadeloupe.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProducer Darius Denon explains: “This was 1988 and bands like Zouk Machine and Kassav were huge. I had met producer Frankie Brumier when I was performing at festivals and parties and he wanted to record a girl group so we began scouting venues, mainly around the Grande-Terre district in the island’s capital, Pointe-à-Pitre. I ran auditions and picked out the best three voices – Fabienne, Leïla and Yolande. One was singing in a choir and none of them had met each other previously.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRecording at a studio in Le Gosier, Denon trained them to sing the songs and spent around 6 weeks recording the album: “I gave them a couple of compositions that I had planned for my own solo album. I remember that we all got on really well; the sessions were fun.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe title track ‘Las Palé’ was the lead track pushed as a single and achieved modest success domestically. The band did a few promotional performances in the island’s discotheques but, in the end, the album stalled. “Studios were expensive and there was no cheap technology as we have now. So, the producer ended up cutting corners with the production – the mix was not completely\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003efinished and the voices were not synchronised right to some of the tracks.”\u003cbr\u003e\u003cbr\u003eFor Denon, he continued his career to the present day, successfully moving to Paris and breaking through with the hit ‘Je t’emmene’ in 1998. Meanwhile, although ‘Las Palé’ turned out to be Feeling Kréyol’s only recording, the interest in the album has grown in recent years with the title track’s lo-fi charm finding its way into sets by Invisible City and onto Red Light Radio, NTS and more. This first full reissue is remastered by The Carvery and features full original artwork along with a new interview with Darius Denon.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32227875258434,"sku":"LP-STRUT-195","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a3744277554_16.jpg?v=1595455141"},{"product_id":"gil-scott-heron-nothing-new","title":"Gil Scott-Heron - Nothing New","description":"\u003cp\u003eNothing New compiles several unheard pieces Gil Scott-Heron recorded while working on 2008's I'm New Here. Apparently during those sessions, Heron would revisit many of his old songs and create raw, stripped down versions with just his own voice and piano. Six months after his death in 2011, producer Richard Russell revisited the recordings and compiled them for Nothing New. \u003c\/p\u003e","brand":"Thrill Jockey","offers":[{"title":"Default Title","offer_id":32227879845954,"sku":"xllp575","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/81tZfGngyQL._SL1500.jpg?v=1623173453"},{"product_id":"king-elizabeth-and-the-gospel-souls-d-vine-spiritual-recordings","title":"Elizabeth King and the Gospel Souls -  D-vine Spiritual Recordings","description":"\u003cp\u003e\u003cspan\u003e“Going through your trials, I guarantee you, trouble gonna come and you need something. Music soothe your mind. You still be in pain but you can sleep,” says ELIZABETH KING of the power of gospel music, during a conversation upstairs at producer Bruce Watson’s Delta-Sonic Studio in her hometown of Memphis, TN. This first reissue from the D-Vine Spirituals Recordings (Memphis circa late '60s \/ early '70s) showcases King, who has an incredible ability to simmer and then raise the heat. The gospel hit from King’s pen, “I Heard the Voice” is only the tip of the iceberg. Witness her intensity on “Jesus Is My Captain,” with a wah-wah guitar grooving, which also drives the funky “Wait on the Lord.” “Down Here Waiting” is the very definition of a Memphis backbeat. “I Found Him” finds her singing, “I found him to be my hellhound chaser. I found him to be my midnight rider.” The traditional “I’ll Fly Away” is done here a la Chuck Berry’s “Maybellene,” fast and joyful.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32227890298946,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/71XjbdkTXaL._SS500.jpg?v=1597955385"},{"product_id":"konan-antoinette-antoinette-konan","title":"Antoinette Konan - s\/t","description":"\u003cp\u003e\u003cspan\u003eIt makes sense that Antoinette Konan’s eponymous album features nothing more than her ahoko on the cover. The deceptively simple traditional percussion instrument transformed Ivory Coast’s Baoulé music scene when Konan deployed it against a roaring electrified backdrop of synth, bass guitar and drum machines. Released in 1986, the album is a veritable UFO of instrumental force and contemporary pop sensibility landing in a boiling pot of diverse, creative characters inhabiting Abidjan, Ivory Coast (Côte d’Ivoire).\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eKnown as the “Queen of the Ahoko” among Ivorians, Konan single-handedly put the central-Ivorian instrument on the map when she gave it a 20th-century re-introduction. The three-piece wooden idiophone is handmade from a thin, ribbed, flexible stick, against which a smaller chunk of wood is rhythmically scraped. A hollow nutshell held in the non-scraping hand amplifies and manipulates the resulting overtones. Despite the ahoko's diminutive appearance, Konan and her powerful voice have remained at the forefront of Ivorian music for decades now, in an extremely diverse country—approximately 70 indigenous languages—with a competitive, internationally\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e-recognized music industry.\u003cbr\u003eMusic plays an important role in Baoulé cultural life, heard and seen in festivities, funerals and more. They are the largest ethnic group in Côte d’Ivoire and descend from Akan peoples who migrated from present-day central Ghana. Baoulé vocal music is characterized by polyphony, melodies built on parallel thirds and call-and-response. All of this can be heard in Konan’s music.\u003cbr\u003eIn 1976, she got her start with Ivory Coast’s National Television Orchestra (ORTI), backing major Ivorian stars on Podium, a program featuring youth culture hero Roger Fulgence Kassy. By 1980 she was playing in Musicaria, visionary Ivorian bandleader Boncana Maïga’s group. With Maïga, she expanded her creative horizons and learned new approaches. She also worked with influential producer Jimmy Hyacinthe’s band. His artistic agency in Treichville—Abidjan’s music industry epicenter at the time—further inspired Konan. She would hang out there after school.\u003cbr\u003eKonan had a difficult time balancing school and music but enrolled in a music program at INA (National Institute of Arts, where she later also taught classes) and was able to both travel for concerts overseas and study music. Meanwhile, she managed to work with some of Abidjan’s key arrangers and music-makers.\u003cbr\u003eMusic manager Amedé Koko Tanoh, who was also involved in the agency where Konan socialized, provided the original impetus for her to learn the ahoko in 1981 as a way to distinguish herself from other artists. He took her to study with a professional ahoko player, an old woman who began to teach Konan. But she soon brushed the young lady off and wouldn’t teach her any more. Konan continued on her own until her mother asked where she got the instrument. It turned out her mother knew how to play also, so Konan began to study with her mom. She taped her mom’s ahoko playing so she could practice back at university.\u003cbr\u003eDuring this early period, Konan borrowed clothes because she could not afford performance attire. Despite some ridicule she persevered. Music impresario George Tahi Benson, one of her key mentors, told her, “It’s good to dress the way you do. But what if you instead make the difference by promoting the local cloth, the Baoulé cloth.” She again got some negative feedback when she changed to traditional gowns. But it became her trademark look and gradually became trendy among Ivorians all over the country.\u003cbr\u003eKonan’s fingerprints are all over Antoinette Konan, she says, as it was meant to be a highly personal recording. She wanted to portray the suffering, injustice, frustrations, humiliations, personal career struggles, experience of child birth and poverty she sees in society.\u003cbr\u003eTaking on the producer role for the first time, Konan was the architect of her dancefloor-ready neo-traditional sound. But crucial to the recording was arranger Bamba Moussa Yang. A creative and versatile musical mind who was known for his work with legendary Ivorian singer Ernesto Djedje, Konan met him in 1986 after she had already released two albums. Yang brought a touch that matched Konan’s expectations, she says, because he knew her work so well. As she reflects on her long career today, Konan remembers Yang as her favorite arranger.\u003cbr\u003eOver the years Konan’s popularity grew to the upper echelons of Ivorian society: Ivory Coast’s first president Felix Houphouet Boigny’s would regularly invite Konan to perform at official ceremonies with foreign dignitaries. Through her charity and advocacy work on behalf of female musicians, Konan is still a force in the country’s music community. You can see her performing or speaking on television and around the country all the time—yet she still maintains several entrepreneurial projects in the farming sector. Konan has recorded more than 15 albums so far and plans more recordings soon.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":32227890462786,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a4210592353_16.jpg?v=1595455553"},{"product_id":"otis-shuggie-inspiration-information","title":"Shuggie Otis - Inspiration Information","description":"","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227909206082,"sku":"","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/shuggie_inspirationinfo.jpg?v=1595954958"},{"product_id":"pastor-tl-barnett-and-the-youth-for-christ-choir-do-not-pass-me-by","title":"Pastor TL Barnett and the Youth for Christ Choir - Do Not Pass Me By","description":"\u003cp\u003e\u003cspan\u003eThe sequel to Pastor Barrett’s landmark 1971 masterpiece \u003c\/span\u003e\u003cem\u003eLike A Ship…\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003eDo Not Pass Me By\u003c\/em\u003e\u003cspan\u003e finds the young Chicago preacher and his Youth for Christ Choir continuing their genre-bending spiritual journey. Heavy drums, soaring falsettos, euphoric tambourines, sharp horns, and Barrett’s unwavering devotion dance around a 40-strong choir, working together to form sanctified slab of gospel funk. Pressed in a minuscule quantity in 1973, \u003c\/span\u003e\u003cem\u003eDo Not Pass Me By\u003c\/em\u003e\u003cspan\u003e was sold primarily from the pulpit of Barrett’s Mt. Zion Baptist Church, disappearing into Chicago’s south side for 45 years before Numero’s excavation. The ten-song album has been remastered, it’s generic album cover updated to match Barrett’s vision. On the back of the jacket, he insisted on the following words: “After listening to this album you will be glad that you did not pass it by!”\u003c\/span\u003e\u003c\/p\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":32227911270466,"sku":"","price":23.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/atom-1539031113.jpg?v=1595454394"},{"product_id":"sampha-process","title":"Sampha - Process","description":"\u003cp\u003e\u003cspan\u003eSampha hails from Morden, south London and has spent the last six years generously dividing his musical talents across solo and collaborative work. In addition to his own revered solo releases (his debut Sundanza EP, 2013’s Dual EP and “Too Much \/ Without You” single), Sampha contributed majorly to SBTRKT’s acclaimed debut and follow up Wonder Where We Land as co-writer and featured vocalist, and went on to tour worldwide as half of the SBTRKT live show (spanning Glastonbury, Primavera, Coachella, Brixton Academy, Terminal 5...) Equally in demand as a songwriter, singer, producer and player, Sampha has been sampled by and produced for Drake (“The Motion” and “Too Much ft Sampha”), Kanye West (“Saint Pablo ft Sampha”), Beyonce (“Mine ft Drake”), Katy B (“Play ft Sampha”) and FKA twigs (LP1 standout “Numbers”). He also remains a frequent collaborator in the Young Turks family and beyond; from remixing The xx and Chairlift to experimenting in sonics and structure as half of production duo Short Stories (alongside Koreless). Other significant partnerships include Jessie Ware on “Valentine” and Lil Silva (“Salient Sarah” + “On Your Own”).\u003c\/span\u003e\u003c\/p\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32227921526850,"sku":"","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a1b6e2d7.jpg?v=1617640991"},{"product_id":"scott-heron-gil-the-revolution-will-not-be-televised","title":"Gil Scott-Heron - The Revolution Will not Be Televised","description":"\u003cp\u003eScott-Heron, Gil The Revolution Will not  Be Televised\u003c\/p\u003e","brand":"None","offers":[{"title":"Default Title","offer_id":32227922051138,"sku":"","price":27.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/R-1067515-1381470347-4685_jpeg.jpg?v=1596055821"},{"product_id":"simone-nina-forbidden-fruit","title":"Nina Simone - Forbidden Fruit","description":"\u003cp\u003e\u003cspan\u003eThe second album Nina Simone recorded for Colpix, Forbidden Fruit is something of a departure from previous recordings. Gone are the supper club and middle of the road arrangements that had defined her career up to this point, to be replaced by an earthier sound. The material chosen also stretches Nina much more to the limits, with numbers such as House of the Rising Sun, Forbidden Fruit and Gin House Blues being indicative of the material she would make her reputation with during the course of the 1960s. The overall effect is a strong and exceptional album and one of the highlights of her sojourn with Colpix.\u003c\/span\u003e\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227923525698,"sku":"","price":28.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/51pqOafP6-L._SX355.jpg?v=1595954464"},{"product_id":"simone-nina-little-blue-girl","title":"Nina Simone - Little Girl Blue (180gram Green Vinyl)","description":"\u003cp\u003e\u003cspan\u003eLittle Girl Blue is the debut album by jazz singer, pianist, and songwriter Nina Simone. It was released by Bethlehem Records in February 1959. At this time, Simone was in her mid-20s and still aspiring to be a classical concert pianist. She immediately sold the rights for the album to Bethlehem for $3,000.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLittle Girl Blue is an artistic statement by jazz virtuoso Nina Simone that reinvents a wide variety of compositions. Simone's combination of classical training, smoky-alto vocal delivery and the influence of modern jazz make her a novel and inspiring jazz singer and instrumentalist.\u003c\/span\u003e\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227923558466,"sku":"950629","price":27.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/1547447.jpg?v=1615947512"},{"product_id":"solange-seat-at-the-table","title":"Solange - A Seat At The Table","description":"\u003cp\u003e\u003cspan\u003eA Seat At The Table the new album written and performed by Solange Knowles and co-executive produced alongside Raphael Saadiq. Album features new collaborations with Q-Tip, Kelly Rowland, The Dream, BJ The Chicago Kid, Kelela, Tweet, Moses Sumney, Sampha, Sean Nicholas Savage, Nia Andrews, Devonte Hynes of Houston Texas and Lu of Carolina. Solange describes A Seat At The Table as; \"a project on identity, empowerment, independence, grief and healing.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227926638658,"sku":"","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333.jpg?v=1666983096"},{"product_id":"swampe-dogg-love-lose-and-auto-tune","title":"Swampe Dogg - Love, Lose And Autotune","description":"\u003cp class=\"p1\"\u003e“Swamp Dogg is a national treasure.” - Swamp Dogg\u003c\/p\u003e\n\u003cp\u003eIn 1970 the Southern soul music maverick Jerry Williams, Jr. made the most radical move of his career. Frustrated with music business politics Williams reinvented himself as Swamp Dogg, an irreverent anti-hero smashing the conventions of commercial R\u0026amp;B music. Swamp Dogg’s debut release Total Destruction to Your Mind featured a post-apocalyptic take on the Muscle Shoals’ sound, with lyrics inspired by the revolutionary politics and psychedelic drugs of the late ‘60s. The music on Total Destruction to Your Mind stood worlds apart from the formulaic pop tunes Williams started cutting in 1954 under the name Little Jerry, and Swamp Dogg hasn’t looked back since.\u003c\/p\u003e\n\u003cp\u003eBut the music business wasn’t ready for Swamp Dogg, nor was the rest of America. His bizarre album titles and wild cover art turned the average consumer off, while his subversive lyrics earned him a spot on Richard Nixon’s infamous enemies list. Swamp Dogg was not deterred. He seemed to relish operating from the margins of the music business, consequently becoming one of the quintessential outsider figures in American music.\u003c\/p\u003e\n\u003cp\u003eNow, nearly fifty years after his debut release, Swamp Dogg stands on the precipice of another radical reinvention. His latest creation is titled Love, Loss, and Auto-Tune a nine song collection featuring production by Poliça’s Ryan Olson. Love, Loss, and AutoTune finds Swamp Dogg’s bluesy southern soul colliding head-on with 21st Century electronic music production techniques.\u003c\/p\u003e\n\u003cp\u003eThe reference to Auto-Tune in the title is not incidental, the album’s sound is built around Swamp Dogg’s experimentation with the ubiquitous vocal processor. While Auto-Tune has become a fixture of the modern pop music landscape, this is Swamp Dogg’s first major exploration of the device. “Every time I listen to some new music that everybody thinks is the greatest thing since hot biscuits, it's full of Auto-Tune,” Swamp Dogg says. His use of Auto-Tune technology is not gratuitous. Like Kanye West on 808s \u0026amp; Heartbreak, Swamp Dogg utilizes the cold digital tone of Auto-Tune to convey a sense of emotional detachment during the album’s most anguished moments.\u003c\/p\u003e\n\u003cp\u003eAccording to Ryan Olson, Swamp Dogg’s initial attempts at using Auto-Tune were a bit rough around the edges. So Olson called up Justin Vernon to rework the digital effects on Swamp Dogg’s vocal tracks. That process reflects Olson’s own role as producer on Love, Loss, and Auto-Tune. “I went into the studio and laid down the vocals and the rhythms, then I sent those tracks off to Ryan to let him do whatever he wanted,” Swamp Dogg says of the remote collaboration.\u003c\/p\u003e\n\u003cp\u003eGiving up creative control isn’t the norm for Swamp Dogg. A fiercely independent artist, Swamp Dogg is frequently the producer, writer, arranger, and label owner for most of the projects he touches. But Olson’s approach impressed him. “The first thing I thought was this white boy must be crazier than a motherfucker. But I listened to how deep he'd go experimenting with the music and I liked what he was doing,” Swamp Dogg says. Olson adds a range of inventive synth sounds and drum machines to Swamp Dogg’s sonic palette, as well as an impressively artful approach to arranging Swamp’s compositions. The result is a wildly fresh take on the classic Swamp Dogg sound. Swamp Dogg agrees, “I was knocked out by what I heard. I couldn't believe it was me. It's some of the greatest and outrageous music I've ever heard come out of the Swamp Dogg.”\u003c\/p\u003e\n\u003cp\u003eSwamp Dogg has frequently trafficked in the outrageous to attract audience attention, but it’s the quality of his songwriting that has kept fans returning to his work. Swamp Dogg has a gift for writing about heartache. Many fans consider the 1970 collection of breakup songs he wrote and produced for Doris Duke under the title I’m A Loser one of his finest moments as a writer. The songs on Love, Loss, and Auto-Tune rival the tunes presented on Duke’s classic disc.\u003c\/p\u003e\n\u003cp\u003e\"The songs are about being lonely,” Swamp Dogg says of Love, Loss, and AutoTune. The feeling of loneliness is particularly palpable on the hauntingly beautiful “I’ll Pretend,” which features vocals from Justin Vernon. Swamp Dogg describes the song as a character study about “a guy sitting in a restaurant by himself losing his fucking mind because he’s hoping his woman is gonna walk by, but she's at a Ramada Inn somewhere fucking somebody else to death.\"\u003c\/p\u003e\n\u003cp\u003eDespite the record’s overriding theme of loss, Swamp Dogg’s warped sense of humor is still intact. Let’s remember that we’re talking about an artist who released a “greatest hits” album in 1976 filled entirely with new songs! Swamp’s comic side is evident on “$$$ Hunting,” which rolls out with a funky Zapp-like bounce. There’s also “Sex With Your Ex,” where Swamp Dogg extols the benefits of the song’s title theme over random bursts of feedback and noise.\u003c\/p\u003e\n\u003cp\u003eLove, Loss, and Auto-Tune is a gem, a unique and unpredictable moment in the life of a unique and unpredictable artist that some consider a national treasure. “I might be the only one,” Swamp Dogg says. “But I think Swamp Dogg is a national treasure.”\u003c\/p\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":32227931127874,"sku":"","price":19.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/swamppdogg_loveloseeauto-tune.jpg?v=1594578156"},{"product_id":"va-basment-beehive7-inch-the-girl-group-underground","title":"V\/A - Basment Beehive: The Girl Group Underground (Pink Swirl 2xLP)","description":"\u003cp\u003e\u003cspan\u003eWho do we become when we live our dreams? It’s all here—the high hairdos, the dreams and schemes, the tender camp, the wedding bell fantasias and chaste tragedies. Sister acts, studio receptionists, classmates, angelic voices of the 1960s; some legendary, many hidden in the basement of expired rainbows. Gathered on this deluxe double LP are 28 foiled escape attempts, now free to soar in girl group heaven.\u003c\/span\u003e\u003c\/p\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":32227938566210,"sku":"NUM075lp-C2","price":33.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/atom-1538589393.jpg?v=1614193699"},{"product_id":"va-numero7-inch-escape-for-synth-city","title":"Various Artist -  Numero: Escape for Synth City","description":"\u003cp\u003e\u003cspan\u003eA hero’s quest worth of staccato synths, crack house Casios, off-brand drum machines, minimal Morricone, four-track fantasia, and a variety of other speculations on what the 1980s thought the future would sound like.\u003c\/span\u003e\u003c\/p\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":32227938861122,"sku":"","price":18.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/R-13312564-1551886958-2437_jpeg.jpg?v=1594410879"},{"product_id":"va-yia-talent-hunt-winners","title":"V\/A - Bedford-Stuyvesant Youth In Action Talent Hunt Winners","description":"\u003cp\u003e\u003cspan\u003eBig Crown Records is proud to present the reissue of one of Brooklyn’s most sought after “holy grail” soul records, YIA Talent Hunt Winners. Youth in Action, Inc. (YIA) was formed in 1963 when the Central Brooklyn Coordinating Council received a grant to develop a youth services program in the Bedford-Stuyvesant community. It was originally organized to identify and address the social problems that were leading to the high crime rate in Bed-Stuy. Recently the Smithsonian Museum of African American History released an archive of footage filmed by a community activist, which shows the real-world effects of the group’s efforts: young people engaged in sports, the arts, and other activities to better themselves and their world. The appearances by Jackie and Bobby Kennedy\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003epoint to the group's relationship to the Great\u003cspan\u003e \u003c\/span\u003e\u003cspan id=\"package_description_0\" class=\"peekaboo-text\"\u003eSociety programs of President Lyndon B. Johnson. What there is no mention of in either the NMAAHC’s collection of YIA materials nor in the Brooklyn Public Library’s also extensive collection is this talent show and the record that came to be because of it.\u003cbr\u003eLocal vocal groups chose tunes to cover from the era (1964 - 1968) ranging from The Rascals to The Intruders, from The O’Jays to Billy Stewart. All of these groups were backed by a local act called The Thrillers Band. The winners of the talent contest were then invited into the studio to record their versions which would be pressed up on this record and given away to local radio and TV stations. The hope of the whole thing was that this would help the young groups get discovered by producers and record labels and start their professional music careers. The intro to the album is Reverend Horace Tyler congratulating the winners and asking them “to just remember, when you reach the top and become our big stars of tomorrow, don’t forget YIA”.\u003cbr\u003eWhat this album may lack in fidelity and production it more than makes up for in charm. The engineers at the recording sessions pump in pre recorded applause and screaming to give the it the feel of the day of the contest while the young groups sing their hearts out, clearly giving their all. From today’s perspective, soul music fans will lose it over the choices of covers on this record and the killer, raw, innocent performances of them by these local Brooklyn groups. The Channels 4, Carla \u0026amp; The Carlettes, The United Souls, Sharon Seabrook \u0026amp; The Starlettes, and The Destinations all won that day and got to take place in this record. It makes you wonder, and even pine for the performances of the groups who didn’t make the cut, even if just to find out what tunes they covered, or better yet, were their original songs written by some of them for this contest?\u003cbr\u003eIt is with great pleasure that we make this available to the public again. This is a truly rare record, and an awesome piece of New York History.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":32227939418178,"sku":"BCR087lp","price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a0399607767_16.jpg?v=1615828004"},{"product_id":"victoria-adia-silences","title":"Adia Victoria - Silences","description":"\u003cp\u003e\u003cspan\u003eTwo years after the release of her critically-acclaimed debut. Beyond the Bloodhounds, Nashville-based modern blues woman Adia Victoria returns with Silences. The album was recorded with Aaron Dessner (The National) at his studio in upstate New York. Throughout the album's 12 tracks, Victoria brings the topics of mental illness, drug addiction, sexism, and all the elements that consume the day-to-day lives of women attempting to make a world of their own.\u003c\/span\u003e\u003c\/p\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":32227940728898,"sku":"","price":18.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/silences_adiavictoria.jpg?v=1596053400"},{"product_id":"washington-kamasi-heaven-and-earth","title":"Kamasi Washington - Heaven and Earth","description":"\u003cp\u003e\u003cspan\u003eHeaven and Earth is the fourth studio album by American jazz saxophonist Kamasi Washington. It was released on June 22, 2018, through Young Turks Recordings.\u003c\/span\u003e\u003c\/p\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32227942826050,"sku":"","price":57.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/61KCUJT_jlL._SL1200.jpg?v=1594696983"},{"product_id":"woods-jamila-legacy-legacy","title":"Jamila Woods - Legacy! Legacy! (2xLP)","description":"\u003cp\u003e\u003cspan\u003eIn the clip of an older Eartha Kitt that everyone kicks around the internet, her cheekbones are still as pronounced as many would remember them from her glory days on Broadway, and her eyes are still piercing and inviting. She sips from a metal cup. The wind blows the flowers behind her until those flowers crane their stems toward her face, and the petals tilt upward, forcing out a smile. A dog barks in the background. In the best part of the clip, Kitt throws her head back and feigns a large, sky-rattling laugh upon being asked by her interviewer whether or not she’d compromise parts of herself if a man came into her life. When the laugh dies down, Kitt insists on the same, rhetorical statement. “Compromise!?!?” she flings. “For what?”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eShe repeats “For what?” until it grows more fierce, more unanswerable. Until it holds the very answer itself.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOn the hook to the song “Eartha,” Jamila Woods sings “I don’t want to compromise \/ can we make it through the night” and as an album, Legacy! Legacy! stakes itself on the uncompromising nature of its creator, and the histories honored within its many layers. There is a lot of talk about black people in America and lineage, and who will tell the stories of our ancestors and their ancestors and the ones before them. But there is significantly less talk about the\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eactions taken to uphold that lineage in a country obsessed with forgetting. There are hands who built the corners of ourselves we love most, and it is good to shout something sweet at those hands from time to time. Woods, a Chicago-born poet, organizer, and consistent glory merchant, seeks to honor black people first, always. And so, Legacy! Legacy! A song for Zora! Zora, who gave so much to a culture before she died alone and longing. A song for Octavia and her huge and savage conscience! A song for Miles! One for Jean-Michel and one for my man Jimmy Baldwin!\u003cbr\u003e\u003cbr\u003eMore 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.\u003cbr\u003e\u003cbr\u003eJamila 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. 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.”\u003cbr\u003e\u003cbr\u003eSoul 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.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":32227948036162,"sku":"JAG342lp","price":23.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a2334189316_16.jpg?v=1594403643"},{"product_id":"yola-walk-through-fire","title":"Yola - Walk Through Fire","description":"\u003cp\u003e\u003cem\u003eWalk Through Fire\u003c\/em\u003e\u003cspan\u003e, the debut album from Yola, establishes her as the queen of country soul from the first note. The Dan Auerbach–produced album is a contemporary twist on a traditional sonic tapestry of orchestral strings, fiddle, steel, and shimmering tremolo guitars. \u003c\/span\u003e\u003cem\u003eWalk Through Fire\u003c\/em\u003e\u003cspan\u003e is a career-defining and genre-bending release from one of the most exciting emerging British artists in music today. Yola’s arresting vocals captivate with sincere tales of heartache and loves lost, forgotten, and broken.\u003c\/span\u003e\u003c\/p\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":32227949150274,"sku":"","price":19.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/71W9mac3fxL._SL1250.jpg?v=1594753558"},{"product_id":"v-a-pacific-breeze-2-japanese-city-pop-aor-boogie-1972-1986","title":"V\/A - Pacific Breeze 2: Japanese City Pop, Aor \u0026 Boogie 1972-1986","description":"\u003cspan\u003eWhen Light In The Attic released Pacific Breeze: Japanese City Pop, AOR \u0026amp; Boogie 1976-1986 in 2019, it was the first collection of its kind to be released outside Japan. It proved to be just what music fans had been waiting for—a compilation of sought-after tracks that had been nearly impossible to obtain unless you were well-connected with dealers and collectors, or traveled regularly to the countless record stores in Japan. With Pacific Breeze 2: Japanese City Pop, AOR \u0026amp; Boogie 1972-1986 we dig deeper into those sounds of bubble-era Japan. From the proto-City Pop funk of BREAD \u0026amp; BUTTER and EIICHI OHTAKI to the crate-digger favorites ERI OHNO and PIPERr, the latest entry in Light In The Attic’s Japan Archival Series brings another set of sought-after tunes, most of which have never before been available outside of Japan. TOMOKO ARAN and ANRI, also included in this compilation, are just a few of the artists who have gained popularity in recent years thanks to Vaporwave, the meme-genre that heavily samples Japanese City Pop to create its particular aesthetic.\u003c\/span\u003e","brand":"Light In the Attic","offers":[{"title":"LA Twilight Colored Vinyl","offer_id":38510538981545,"sku":"","price":55.0,"currency_code":"USD","in_stock":false},{"title":"Indie Exclusive Violet Sky Colored Vinyl","offer_id":38510539014313,"sku":"","price":45.0,"currency_code":"USD","in_stock":false},{"title":"2xLP Sunny Seaside Splatter Vinyl","offer_id":43650191524096,"sku":"LITA179-1-3","price":45.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/5e5ff24fd5e2a_main.jpg?v=1596643407"},{"product_id":"albert-ayler-new-grass","title":"Albert Ayler - New Grass","description":"\u003cspan\u003eAlbert Ayler’s 1969 album New Grass has been misunderstood from the day of its release. The album finds Ayler experimenting with soul music and digging back into his R\u0026amp;B roots (he started his career playing saxophone with Chicago bluesman Little Walter), fusing it with the avant-garde free jazz (the one element of the record which garnered consistent praise) and adding the vocals of Rose Marie McCoy, The Soul Singers and Ayler himself. As if predicting the divisiveness of the record to follow, Ayler speaks directly to the listener and explains that New Grass is nothing like his albums before — that it is of “a different dimension of his life” — in the album opener “Message from Albert.” New Grass deserves reconsideration, if not for the heavy grooves and surprising arrangements,then for its bravery in challenging norms of the time; by the ‘60s, jazz was well-accepted as a uniquely American art form, while soul as a genre was very much still seen as primitive. Ayler melds them together and creates something novel, adventurous, and completely his own. At the time of its release, despite its divisive reception, New Grass helped break down the unnecessary walls dividing genres and revealed music’s potential freedoms. The album has gone on to influence generations of Jazz, R\u0026amp;B, Funk, Hip Hop, Post Punk, No Wave and unshrinking artists like Pharaoh Sanders, Alice Coltrane, Funkadelic, Jungle Brothers, Red Krayola, Sonic Youth and Mark E. Smith. Third Man Records can’t recommend this record highly enough. We are confident that it won’t take but one listen for you to understand New Grass is an undeniable healing force.\u003c\/span\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32414522572866,"sku":"","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/TMR-638_Albert-Ayler_New-Grass.jpg?v=1598646705"},{"product_id":"brother-theotis-taylor-s-t","title":"Brother Theotis Taylor - s\/t","description":"\u003cspan\u003eBrother Theotis Taylor is a 92-year-old spiritual singer and piano player known throughout South Georgia and beyond for his powerful voice and heavenly falsetto. His music took him from his home in Fitzgerald, Georgia, to the stage with Sam Cooke and the Soul Stirrers, to Harlem’s Apollo, and even to Carnegie Hall. Though his releases are limited to six stunning and rare singles on the Pitch label and a single small-press LP, his recorded archive is vast. For much of his life, Brother Taylor kept a reel-to-reel recorder atop his piano at home. “The music just comes down on you,” Brother Taylor told us late last year. “You always have your machine where you can catch everything. ‘Cause what you can catch today you can’t remember tomorrow.” Brother Taylor recorded himself on his DIY home setup only when he was inspired by a higher power, often fasting and praying for days before recording. These intimate home recordings were digitized in 2020 and are being heard for the first time with this release. Revisiting these old songs brought Brother Taylor to tears. “[When I hear this music] I pick up the same spirit that I did it in. And you see me cryin’. It made me feel good ‘cause I know I did it and I did it well. And I want to see it get out, because if it made me feel good, it make somebody else feel good. Right? This is spiritual music.” Download comes with three bonus tracks and 8-page large format liners with oral history interview and archival photos. Housed in gold foil emobssed jackets.\u003c\/span\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32414527094850,"sku":"","price":23.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/5eed030bd6234_main.jpg?v=1598646940"},{"product_id":"the-awakening-hear-sense-and-feel","title":"The Awakening - Hear, Sense and Feel","description":"\u003cspan\u003eThe Awakening were the only “group” recorded by Black Jazz, for which they made two albums; those two releases happen to be among the most collectible in the label’s entire catalog, which, given the value Black Jazz titles command in the open market, gives one an idea just how sought-after these records are. Recorded in 1972, Hear, Sense, and Feel marked the band’s debut, and featured the same line-up that played on next year’s Mirage. Being from Chicago, The Awakening’s line-up unsurprisingly boasts a heavy connection to the AACM (Association for the Advancement of Creative Musicians) collective that claimed The Art Ensemble of Chicago among its most esteemed artists; in fact, both bassist Reggie Willis and tenor saxman\/flautist Ari Brown were AACM members and appeared on albums with Muhal Richard Abrams, Lester Bowie, and Anthony Braxton among others. The other members of The Awakening, on the other hand, hailed from the city’s soul jazz scene, specifically Young Holt Unlimited, for whom co-leaders trumpeter Frank Gordon and keyboardist Ken Chaney played (trombonist Steve Galloway played on Melvin Jackson’s soul jazz classic Funky Skull). And it is that sweet spot, somewhere between the free jazz and Afrocentric explorations of the Art Ensemble and the rhythm-heavy soul jazz sound being recorded at Chicago-based labels like Brunswick and Cadet, that Hear, Sense and Feel lands. Which explains why this album sells for hundreds of dollars online if you can find it at all. Real Gone Music’s first-ever LP reissue is pressed on black vinyl at Gotta Groove Records with lacquer cutting by Clint Holley and Dave Polster at Well Made Music. Mike Milchner at Sonic Vision Mastering has remastered the album for both CD and vinyl, and both formats feature liner notes by Pat Thomas, author of Listen, Whitey! The Sights and Sounds of Black Power 1965-1975, that set the scene for both the label and the band. A lost gem worthy of all the attention we think this reissue is going to get!\u003c\/span\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32420440309826,"sku":"","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/R-3332545-1541434533-3958_jpeg.jpg?v=1598895626"},{"product_id":"kamasi-washington-the-epic","title":"Kamasi Washington - The Epic","description":"\u003cspan data-mce-fragment=\"1\"\u003eThe band are all from Los Angeles, mostly South Central, and \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eits members - who call themselves variously “The Next Step” and the “The West \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eCoast Get Down” - have been congregating since they were barely teenagers in a backyard \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eshack in Inglewood. Washington, 32, has known Bruner since he was two. The rest \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003emet, at various stages, by the time they were in high school. The hours they \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ehave put into the music, playing together and practicing alone, total cumulatively \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ein the tens of thousands.“Nothing compares to these guys,” says Barbara Sealy, \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ethe former West Coast director of the Thelonious Monk Institute of Jass, who \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ehas championed Kamasi and his compatriots from the beginning. “I challenge any \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003egroup to go out on stage with them and see if they can keep up with it... \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eKamasi is at the top of his game, and only getting better.” “ These young \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eguys,” the rapper Common says, “remind me of why I love music.”And the story\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Epic tells, without words but rather through some combination of magic, \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003emastery, and sheer force of imagination, is the story of Kamasi Washington and the \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eNext Step and their collective mission: to remove jazz from the shelf of relics \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eand make it new, unexpected, and dangerous again.\u003c\/span\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32451147300930,"sku":"LP-BF-050","price":54.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/KamasiWashington-TheEpic.jpg?v=1600193557"},{"product_id":"kamasi-washington-harmony-of-difference","title":"Kamasi Washington - Harmony of Difference","description":"\u003cspan data-mce-fragment=\"1\"\u003eEarlier this year, avant-garde jazz titan Kamasi Washington premiered Harmony of Difference, an original six-movement suite, as part of this year’s Whitney Biennial. The EP is the first new music from Washington since his universally acclaimed 2015 debut album The Epic. Harmony of Difference explores the philosophical possibilities of the musical technique known as “counterpoint,” which Washington defines as “the art of balancing similarity and difference to create harmony between separate melodies.” Washington’s suite includes visual elements married to the musical works and draws voraciously on jazz for its foundation. Each of the first five movements is its own unique composition. “Truth,” the sixth movement, fuses all five compositions into one simultaneous performance. Beyond the artistic impulse to expand the possibilities within counterpoint, Washington wanted to create something that opened people’s minds to the gift of diversity. In his own words, “my hope is that witnessing the beautiful harmony created by merging different musical melodies will help people realize the beauty in our own differences.” “Against a backdrop of “fake news,” chemical warfare and presidential missteps, Washington’s 13-minute opus thrives with gospel-infused power, resting alongside his previous work while occupying new sonic space…. The huge scale makes his music feel like a sacred offering in bleak times” - Pitchfork Best New Track “a liberation theology for fearsome times” - New York Times “We can count on the man Kamasi Washington to deliver peace in the form of jazz” - The Fader “an expansive, winding new song...’Truth’ unfurls with breezy piano chords, soulful electric guitar counter-melodies, wordless choral chants and washes of the bandleader’s smoldering saxophone.” - Rolling Stone\u003c\/span\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32451158736962,"sku":"LP-YT-171","price":18.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/YT-171-1.01.jpg?v=1600193824"},{"product_id":"fela-kuti-fela-live-with-ginger-baker","title":"Fela Kuti - Fela Live With Ginger Baker (Red Vinyl)","description":"\u003cspan data-mce-fragment=\"1\"\u003eOriginally recorded in 1971 Fela Kuti and his band, Africa 70, were joined by the rock drumming juggernaut Ginger Baker. The 4 track LP highlights the best aspects of these two musical giants at their peak.\u003c\/span\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32451174924354,"sku":"LP-KFR-2003LE","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/720841206316.jpg?v=1600194021"},{"product_id":"charles-bradley-changes","title":"Charles Bradley - Changes","description":"\u003cspan face=\"verdana, sans-serif\" style=\"font-family: verdana, sans-serif;\" data-mce-fragment=\"1\"\u003eSoul singer Charles Bradley’s star has been on the rise since the release of his widely praised 2011 debut album No Time For Dreaming, and his ascent has continued long after the release of his triumphant second album, 2013’s Victim of Love. Dubbed “The Screaming Eagle of Soul,” the singer is proud to present his highly anticipated third album Changes, on Daptone imprint Dunham Records. The album is named for his popular, “smoldering” (SPIN) cover of the Black Sabbath track. \"I think about the lyrics very closely when I sing ‘Changes’ and get emotional,” notes Bradley. “It makes me think of my mother and the changes in my life since she passed away.” \u003c\/span\u003e\u003cspan face=\"verdana, sans-serif\" style=\"font-family: verdana, sans-serif;\" data-mce-fragment=\"1\"\u003eBy now, Charles Bradley’s remarkable, against-all-odds rise has been well documented: how he transcended a bleak life on the streets and struggled through a series of ill-fitting jobs before finally being discovered by Daptone's Gabriel Roth. The documentary Charles Bradley: Soul of America, directed by Poull Brien, follows Bradley’s extraordinary journey during the electrifying and transformative months leading up to the release of debut album No Time for Dreaming. The year following the release of No Time For Dreaming was one triumph after another and Victim of Love saw Bradley emerging from his past heartaches stronger and more confident, overflowing with love to share. Victim of Love went on to receive overwhelming praise and was included on \"Best of 2013\" lists by SPIN, MOJO, Paste, BuzzFeed, Rough Trade \u0026amp; more. The album’s title track was also named one of Rolling Stone’s \"Best Songs of 2013.\" \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eCharles Bradley has also made a name for himself as a riveting live performer. He’s taken his show to venues and festivals across the globe including Coachella, Glastonbury Festival and Primavera Sound. Bradley’s also performed on famed stages including the Apollo Theater—the same place he saw his idol James Brown perform when he was 14 years old, and the Beacon Theatre where he’s separately supported The Tedeschi Trucks Band and the Afghan Whigs. \u003c\/span\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32451215884354,"sku":"","price":18.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/charlesbradley_changes.jpg?v=1600194954"},{"product_id":"roland-haynes-second-wave","title":"Roland Haynes - Second Wave","description":"\u003cspan data-mce-fragment=\"1\"\u003eThis 1975 album is one of a kind in lots of ways. First, it’s keyboardist Roland Haynes’ only album. But more importantly, Second Wave has a sound—and line-up—unlike pretty much any other jazz fusion album to come out before or since. Anchored by a fantastic rhythm section of Carl Burnett (Cal Tjader, Vince Guaraldi and most notably Gene Harris and The Three Sounds) and Henry “The Skipper” Franklin (leader on a couple of Black Jazz titles still to come, plus Ornette Coleman, Don Cherry, Hugh Masekela, and many others), the album features dueling Fender Rhodes tickled by Haynes and Kirk Lightsey, who played with everyone from Chet Baker to Pharoah Sanders to Sonny Stitt, not to mention a bunch of Black Jazz dates. The cascading sound of the two electric pianos, one (Lightsey’s) often driven through a wah-wah pedal, gives Second Wave a special vibe all its own; there are not horns or guitars getting in the way of these mindblowing keyboard jams. Some folks might hear a little ‘70s-era Miles Davis when Joe Zawinul, Chick Corea, Keith Jarrett and\/or Herbie Hancock were in the band, and Hancock’s own Head Hunters album comes to mind (as well later fusion dudes like Jan Hammer and Bill Bruford), but Second Wave is sui generis. Our Real Gone reissue is remastered for CD and vinyl by Mike Milchner at Sonic Vision, with LP lacquer cutting by Clint Holley and Dave Polster at Well Made Music, and features new liner notes by Pat Thomas, author of Listen, Whitey! The Sights and Sounds of Black Power 1965-1975, that include a couple of quotes from drummer Burnett and bassist Franklin. First ever time reissued on vinyl!\u003c\/span\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32511582404674,"sku":"","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/LP-RGM-1108.jpg?v=1603227802"},{"product_id":"sen-morimoto-s-t-mystery-color-2xlp","title":"Sen Morimoto - s\/t ( Mystery Color 2xLP )","description":"\u003cspan data-mce-fragment=\"1\"\u003eSen Morimoto is the gleaming new self-titled Double LP from Chicago multi-hyphenate producer, instrumentalist, and songwriter, Sen Morimoto. His breakout debut LP Cannonball! (Sooper Records, 2018) earned acclaim for its fresh take on “jazz rap” (Pitchfork), and brought Morimoto to national and international attention, including two tours in Japan and a national US tour with 88Rising (Joji, Rich Brian). Morimoto also produced the breakout 2019 debut Next to The Sun by KAINA (Sooper Records), and as her band director, crisscrossed the US on tour with Sleater-Kinney, Cuco, and Durand Jones amongst others. As a result, Morimoto wrote much of his new album in transit and gazing out of windows, informed by an uncertainty between waking life and fantasy. The cohesive pop radiance and relentless soul sensibility imbued on Sen Morimoto firmly establishes Morimoto as a dynamic songwriter with yet another refreshing take on pop music. Across 15 songs, Morimoto’s vocal hooks swim within an ethereal fount of synth, guitar, saxophone, and drum machines, and are bolstered by features from Lala Lala, KAINA, Joseph Chilliams (Pivot Gang), Qari, and NNAMDI. Sen Morimoto wrote, produced, and recorded the album himself, and is a co-owner of Sooper Records.\u003c\/span\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":37366988308649,"sku":"","price":28.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a3559778958_16.jpg?v=1604431446"},{"product_id":"sparkle-division-to-feel-embraced","title":"Sparkle Division - To Feel Embraced","description":"\u003cspan data-mce-fragment=\"1\"\u003eA vibrant electronic fusion of lounge, jazz, and disco is maybe not the first (or fifth) thing you would expect to hear from one of the world’s most renowned modern composers and ambient tape loop pioneers, but upon first listen, it makes so much sense that one wonders why it didn’t happen sooner.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAfter years of producing and mentoring slews of young artists in 1990s Williamsburg, Brooklyn, William Basinski moved to Los Angeles. There he hired a young studio assistant, Preston Wendel, who eventually introduced his own works to the curious composer. That spawned a creative partnership that inspired Wendel to persuade Basinski to haul out his saxophone. Five years later, SPARKLE DIVISION has arrived with their enchanting debut album, To Feel Embraced.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eProduced by SPARKLE DIVISION at Basinski’s Musex International in Los Angeles, the duo were joined by a few notable friends: Mrs. Leonora Russo (who Basinski affectionately calls “the true Sicilian Sparkle Division, my Brooklyn Mom, the Queen of Williamsburg”) offers her sparkling voice to “Queenie Got Her Blues”; fabled free-jazz icon and genuine bodhisattva, the late Henry Grimes, contributed upright bass and violin to the aptly-named “Oh Henry!” (“Lotta babies gonna be born from this one,” Henry and Margaret Davis\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eGrimes playfully declared); and London vocalist Xeli Grana offers her ethereal voice to the album’s meditative title track.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eConceived and nearly completed in 2016, the increasing environmental and political infernos gave Basinski and Wendel cold feet about unleashing a record intended to be fun, loving, and prone to bouts of euphoria. But as Basinski exclaimed, “Well, damn it, if the time ain't right now, it never will be! Let’s do this!”\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":37366994239657,"sku":"","price":21.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/download_25_4134f62f-f268-45d3-9e32-814284abc393.jpg?v=1604431620"},{"product_id":"charles-bradley-no-time-for-dreaming","title":"Charles Bradley - No Time for Dreaming","description":"\u003cspan data-mce-fragment=\"1\"\u003eCharles Bradley's voice has evolved from a lifetime of paying dues, having nomadically labored for decades at various day jobs from Maine to Alaska--singing and performing in his spare time--before re-settling in his hometown Brooklyn and eventually finding a musical home at Dunham\/Daptone. In his distinctively rough-hewn timbre one hears the unmistakable voice of experience--each note and gruff infection a reflection of his extended, sometimes rocky, personal path. It's only fitting that \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eNo Time For Dreaming\u003c\/i\u003e\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003es producer Thomas \"Tommy TNT\" Brenneck (also a member of The Dap-Kings and The Budos Band)would recognize in Bradley a kindred musical spirit--a singer whose performances exude both raw power and poignant beauty. Recorded at Dunham Studios, and mixed at Daptone Records' internationally revered \"House of Soul\" Studios, \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eNo Time For Dreaming\u003c\/i\u003e\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e is the inspired sound of an awakening.\u003c\/span\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":37562372522153,"sku":"","price":18.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/6864351381.jpg?v=1605842331"},{"product_id":"badge-epoque-ensemble-self-help","title":"Badge Epoque Ensemble - Self Help","description":"\u003cspan data-mce-fragment=\"1\"\u003eToronto’s BADGE ÉPOQUE ENSEMBLE announce sophomore album Self Help out November 20th on Telephone Explosion Records. Recorded live in the months before lockdown, Self Help is an exploratory record that dances across time and genre, guided by fidgety miniatures and jazz inflected collage. While constructed from the inspiration of soul, funk and film music, BÉE mediate those influences having first digested them through the productions of Madlib \u0026amp; the RZA. Throughout, the band pool together their instrumental chops, moving from fluid and serpentine R\u0026amp;B to meditative, minimalistic piano, evoking a contrast of virtuosity and self-surrender.\u003c\/span\u003e\u003cspan class=\"break\" data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eA sticker on the sleeve tells us Self Help “combines jazz-funk and mysticism,” a signpost to where its musical and spiritual concerns align. The jazz-funk component translates to arresting hooks in sideways song forms: echoes of Gainsbourg spooled through Azymuth-style Brazilian jazz and punctuated by the whip and snap of Steely Dan. “The Sound Where My Head Was,” the instrumental centrepiece, exemplifies present-wave jazz but also ancient sounds, giving off the mothballed air of a Hiroshi Yoshimura record in a library-music archive.\u003c\/span\u003e\u003cspan class=\"break\" data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eSelf Help’s mysticism emerges in broad and specific ways, denoting not only a search beyond cliché and intellect but also an inquiry into the beat, the spirit, the one will. This isn’t new territory for them: TURNBULL—the artist formerly known as SLIM TWIG, who writes and performs with U.S. GIRLS and various other Toronto concerns—named the group’s Nature, Man \u0026amp; Woman EP after the Alan Watts book. Building these songs from his drafts over three weekends at Toronto’s\u003c\/span\u003e\u003cspan class=\"break\" data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ePalace Sound studio, the ensemble was free to tap out of the city and into some other place, taking up residence in a collective mind maze.\u003c\/span\u003e\u003cspan class=\"break\" data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe album produces, in equal measure, familiar surprises and the surprisingly familiar. Intoxicated jazz riffs swerve left at phantom intersections. Rhythms cut loose and tie you in knots. But wired in to each song is a sense of gentle accumulation, making every featherlight flourish weigh a ton.\u003c\/span\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":37629764763817,"sku":"","price":26.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/5f52798d255ad_main.jpg?v=1606768720"},{"product_id":"betty-davis-s-t","title":"Betty Davis - s\/t","description":"\u003cp data-mce-fragment=\"1\"\u003eOne can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R\u0026amp;B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can’t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThere is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago – we live in an age that’s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn’t get sexy with their “Lady Marmalade” for another year while Millie Jackson wasn’t “Feelin’ Bitchy” until 1977. Even Tina Turner, the most obvious predecessor to Betty’s fierce style wasn’t completely out of Ike’s shadow until later in the decade.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMs. Davis’s unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song “Uptown” for the Chambers Brothers before marrying Miles Davis in the late ‘60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix — personally inspiring the classic album ’Bitches Brew.’\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBut her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty’s career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn’t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as “If I’m In Luck I Might Get Picked Up” and “Game Is My Middle Name.” The album Betty Davis was recorded with Sly \u0026amp; The Family Stone’s rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.\u003c\/p\u003e","brand":"Light In The Attic","offers":[{"title":"Default Title","offer_id":38510571454633,"sku":"","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/large_550_bettydavis-bettydavis-cover.jpg?v=1611627078"},{"product_id":"donnie-joe-emerson-dreamin-wild-baby-blue-lp","title":"Donnie \u0026 Joe Emerson - Dreamin' Wild (Baby Blue LP)","description":"\u003cp data-mce-fragment=\"1\"\u003ePacific Northwest isolation mixed with wide-eyed ambition, a strong sense of family and the gift of music proved to be quite the combination for teenage brothers Donnie and Joe Emerson. Originally released in 1979,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eDreamin’ Wild\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis the sonic vision of the talented Emerson boys, recorded in a family built home studio in rural Washington State. Situated in the unlikely blink-and-you-missed-it town of Fruitland and far removed from the late 1970s punk movement and the larger disco boom, Donnie and Joe tilled their own musical soil, channeling bedroom pop jams, raw funk, and yacht rock.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSpurred on their high school’s music program, Donnie and Joe received a further push from their lifelong farmer father, who drew up a contract stating that he’d support his sons lofty ambitions with their very own recording studio as long as they focused on original material, sage advice for a man with zero experience in the music business. After taking out a second mortgage to help cover costs, Don Sr. also built his children a 300-capacity concert hall (dubbed Camp Jammin’) replete with ticket booth, stage, and fully functioning snack bar. The only problem was that the projected audience never quite materialized, despite a prime time TV profile entitled “The Rock And Roll Farmers” from nearby Spokane, Washington. Even the Emerson brother’s school pals were nonplussed at their privately pressed long player; hand distributed to local music stores, but not as far as Seattle, five hours away from their rural home. Somewhat rejected by the muted response, but never surrendering, both Donnie and Joe continued down a musical path and are still active as performers today.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis rare slice of bedroom-funk gets the usual Light In The Attic treatment with newly remastered audio, detailed liner notes, and expanded original album art with loads of photos from the Emerson’s collection. Be sure to also check out the short documentary (above),\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eRock and Roll Farmers\u003c\/em\u003e.\u003c\/p\u003e","brand":"Light In The Attic","offers":[{"title":"Default Title","offer_id":38510587084969,"sku":"","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/large_550_Donnie_JoeEmerson_DreaminWild_325.jpg?v=1611627321"},{"product_id":"v-a-pacific-breeze-japanese-city-pop-aor-boogie-1976-1986-beach-ball-vinyl-color","title":"V\/A - Pacific Breeze: Japanese City Pop, AOR \u0026 Boogie 1976-1986","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003ePacific Breeze\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003edocuments Japan’s blast into the stratosphere. By the 1960s, the nation had achieved a postwar miracle, soaring to become the world’s second largest economy. Thriving tech exports sent The Rising Sun over the moon. Its pocket cassette players, bleeping video games, and gleaming cars boomed worldwide, wooing pleasure points and pumping Japanese pockets full of yen.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eJapan’s financial buoyancy also permeated its popular culture, birthing an audio analog called City Pop. This new sound arose in the mid ’70s and ruled through the ’80s, channeling the country’s contemporary psyche. It was sophisticated music mirroring Japan’s punch-drunk prosperity. City Pop epitomized the era, providing a soundtrack for emerging urbanites. An optimistic spirit buzzed through the music in neon-bathed, gauzy tableaus coated with groove-heavy strokes.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003ePacific Breeze\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis an expertly compiled collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between. Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMany of the key City Pop players evolved from the Japanese New Music scene of the early ’70s, as heard on Light In The Attic’s acclaimed\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eEven a Tree Can Shed Tears: Japanese Folk \u0026amp; Rock 1969-1973\u003c\/em\u003e, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, “Deconstructing the line between imitation and authenticity.” Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.\u003c\/p\u003e","brand":"Light In The Attic","offers":[{"title":"Standard 2xLP","offer_id":39884970066089,"sku":"","price":35.0,"currency_code":"USD","in_stock":false},{"title":"Beach Ball 2xLP","offer_id":39884970098857,"sku":"","price":54.0,"currency_code":"USD","in_stock":false},{"title":"Cassette","offer_id":42631387414784,"sku":"","price":15.0,"currency_code":"USD","in_stock":false},{"title":"Summer of Fun 2xLP (Blue, Green Pink Vinyl)","offer_id":43650193293568,"sku":"LITA163-1-1.2","price":45.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/large_550_tmp_2F1548958036956-h1jtoij0pd7-065adccee812e0f27d47a0492a00122b_2Flita163_cvrs.jpg?v=1611627653"},{"product_id":"betty-davis-they-say-im-different","title":"Betty Davis - They Say I'm Different","description":"\u003cp data-mce-fragment=\"1\"\u003eOne can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R\u0026amp;B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can’t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThere is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago – we live in an age that’s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn’t get sexy with their “Lady Marmalade” for another year while Millie Jackson wasn’t Feelin’ Bitchy until 1977. Even Tina Turner, the most obvious predecessor to Betty’s fierce style wasn’t completely out of Ike’s shadow until later in the decade.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMs. Davis’s unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song “Uptown” for the Chambers Brothers before marrying Miles Davis in the late ’60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix — personally inspiring the classic album\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eBitches Brew\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBut her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty’s career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn’t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHer 1974 sophomore album\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eThey Say I’m Different\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003efeatures a worthy-of-framing futuristic cover challenging David Bowie’s science fiction funk with real rocking soul-fire, kicked off with the savagely sexual “Shoo-B-Doop and Cop Him” (later sampled by Ice Cube). Her follow up is full of classic cuts like “Don’t Call Her No Tramp” and the hilarious, hard, deep funk of “He Was A Big Freak.”\u003c\/p\u003e","brand":"Light In The Attic","offers":[{"title":"Default Title","offer_id":38510630895785,"sku":"","price":22.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/large_550_bettydavis-imdifferent-cover.jpg?v=1611627882"},{"product_id":"jackie-shane-any-other-way-2xlp","title":"Jackie Shane ‎– Any Other Way (2xLP)","description":"\u003cspan data-mce-fragment=\"1\"\u003eKnown by genre aficionados as one of the greatest singers and most riveting stage presences in soul music, Jackie Shane has remained largely unknown outside Toronto, where her career briefly flowered in the 1960s. Beyond her unmistakable gift of the gab, Shane is a pioneer of transgender rights, born in a male body but unabashedly living her entire life as a woman at a time when to do so seemed unthinkable. Any Other Way is the first artist-approved collection of Ms. Shane's work, collecting all six of her 45s and every highlight from the legendary 1967 live sessions at the Sapphire Tavern, including three mind blowing, previously-unreleased tracks. Rob Bowman's 20,000 word essay is Jackie's first communication with the public in nearly half a century, telling for the first time ever Jackie Shane's story in her own words.\u003c\/span\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":39452541288617,"sku":"","price":26.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/anyotherway_jackieshane.jpg?v=1615829142"},{"product_id":"tommy-mcgee-im-a-stranger-2xlp","title":"Tommy McGee - I'm A Stranger (2xLP)","description":"\u003cspan data-mce-fragment=\"1\"\u003eJust as Al Green’s \"Back Up Train\" was pulling out of Grand Rapids, Michigan, for a whistle stop tour to the top of the charts, producer Palmer James began eyeing another Furniture City branch line: Tommy McGee. The result was 1976’s Positive-Negative, the creative apex in a career littered with endless bottoms. 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Self-actualized artists and visionaries followed, reflecting and refracting their own interpretations as if translated by Samuel Delaney or Octavia Butler. This unwieldily titled collection documents ten successful experiments in privately-issued sci-fi soul music, lonely transmissions from a planet in a state of cultural fugue. Packaged in a one-way portal to the further limits of expression. Some assembly required.\u003c\/span\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":39452560326825,"sku":"","price":26.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/61cwjCtxBJL._SL1000.jpg?v=1615829473"},{"product_id":"rupa-disco-jazz-1","title":"Rupa - Disco Jazz","description":"\u003cspan data-mce-fragment=\"1\"\u003eBarely disco and hardly jazz, Rupa Biswas’ 1982 LP is the halfway point between Bollywood and Balearic. Tracked in Calgary’s Living Room Studios with a crack team of Indian and Canadian studio rats alike, Disco Jazz is a perfect fusion of East and West. Sarod and synthesizer intricately weaving around one another for 37 transcendent minutes, culminating in the viral hit “Aaj Shanibar.” Remastered from original analogue source material and with he permission and blessing of the producers and performers.\u003c\/span\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":39452594700457,"sku":"NUM805lp","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/atom-1572897864.jpg?v=1615829927"},{"product_id":"el-michels-affair-return-to-the-37th-chamber","title":"El Michels Affair - Return to the 37th Chamber","description":"\u003cp data-mce-fragment=\"1\"\u003eThe wait is over, Return To The 37th Chamber is El Michels Affair’s highly anticipated follow up to 2009’s underground cult classic Enter the 37th Chamber. Churning out classic records since then for the likes of Lee Fields, The Arcs, The Shacks, and tons more, it is clear that EMA’s signature sound is stronger \u0026amp; sharper than ever.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis time, in addition to re-interpreting the Wu compositions for a live band, EMA pays homage to the production and sonic fog that makes a RZA beat so recognizable. Producer and bandleader Leon Michels recorded the album completely analog, sometimes hitting 6 generations of tape before it was ready for mixing, giving the Return to The 37th Chamber it’s own hazy sound. Adding to the unique fidelity, the record is laced with psychedelic flourishes, “John Carpenter” synths, heavy metal guitars, triumphant horns, and traditional Chinese instruments that make up for the lack of the Wu’s superlative vocals. From start to finish it’s a dark trip that walks the line between RZA’s timeless hip-hop aesthetic and the cinematic soul EMA has become known for.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEl Michels Affair tackles some classics like 4th Chamber and Wu Tang Aint Nuthin to Fuck Wit, as well as some deeper cuts like Ol Dirty Bastard’s Snakes, Raekwon’s Verbal Intercourse, and Shaolin Brew, Wu-Tang’s contribution to the St. Ide’s Hip Hop endorsement campaign from 1994. This time El Michels brings some of the Big Crown family along for the ride. Lee Fields handles vocal duties on Snakes and is joined by Shannon Wise of The Shacks for their version of Tearz, which pays as much homage to the Wendy Rene sample as it does to the Wu-Tang Clan. Lady Wray makes an appearance on the cover of Method Man’s hit, All I Need, lending her vocal prowess to what gave the Wu one of their biggest hits of all time. Interspersed throughout the record are some original interludes that are like the “rug that ties the room together,” giving Return To The 37th Chamber a cinematic narrative that makes it a proper El Michels Affair record and not just a collection of covers.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe vinyl version of Return To The 37th Chamber is presented with 4 different hand painted covers. The originals were painted on two sewn together flour sacks in Accra, Ghana by Heavy J and Stoger, two artists who are legends in the Ghanaian Mobile Cinema scene and regular contributors to the Deadly Prey Gallery’s collection in Chicago.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFrom the music to the presentation, this album is a perfect example of what can only be achieved through diversity. The end result is as much a kaleidoscope of influences and multiculturalism as the city it was recorded in. El Michels Affair is once again, “sounding out the city” that raised them, pulling elements of art and culture from across the country and around the globe to create an album truly unique in its own right.\u003c\/p\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":39568708501673,"sku":"BCR017lp","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/download_33_3900bf15-e932-480b-b4b7-5b9ad68f88cb.jpg?v=1617120748"},{"product_id":"serpentwithfeet-deacon-opaque-brown-vinyl","title":"serpentwithfeet - Deacon (Opaque Brown Vinyl)","description":"\u003cspan data-mce-fragment=\"1\"\u003eserpentwithfeet is not only imagining, but exploring a world wherein Black love is paramount. His new album, DEACON, is \"a study rather than a story,\" delving into Black, gay love and the tenderness present in the best companionships, romantic or otherwise. Fully self-actualized and more devoted than ever to personal fulfillment, DEACON highlights his growth as a songwriter, which he credits to taking a more straightforward approach to expression. Spending time with pop songwriters and observing how they traverse language encouraged serpent to take more risks lyrically, resulting in more purity. Raised by religious parents in Baltimore, serpent's flair for theatrical themes and gospel sensibilities can be traced to the Black church, a place where the artist had his earliest experiences with glamour and the ornate. Well-executed vocal flourishes and the implementation of a quickening vibrato are just a few of the skills he picked up during his time in a Pentecostal choir. He proudly follows in the tradition of R\u0026amp;B artists whose gifts were helmed in the church, and he approached DEACON with an undeniable passion and reverence for the genre. In his love for love, serpentwithfeet is offering a look into the soul of a man who articulates his passion in a warmer, gentler way. He's become wholly confident in his gift and messaging on DEACON, which is to be expected when one gives vent to maturity. Through his music, he allows compassion to be the backbone of his art, as he communes with his most loving self.\u003c\/span\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":39568791273641,"sku":"","price":23.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/serpentwithfeet-DEACON.jpg?v=1617122141"},{"product_id":"floating-points-pharoah-sanders-the-london-symphony-orchestra-promises","title":"Floating Points, Pharoah Sanders \u0026 the London Symphony Orchestra - Promises","description":"\u003cp data-mce-fragment=\"1\"\u003eAmerican jazz saxophonist and Sam Shepherd collaborate with The London Symphony Orchestra - Compelling experimental jazz fusion on David Byrne's innovative Luaka Bop.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eSam (Floating Points): Pharoah... \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003ePharoah: Huh...? \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eSam: Were you asleep? I'm sorry... \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003ePharoah: No no... I was listening... and dreaming... and listening to music in my head...\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003e Sam: Oh wow... sorry. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003ePharoah: Many times, people think I might be asleep... but in fact, I am just listening to music in my head. I'm always listening... to the sounds around me... and playing, in my mind... and sometimes I dream. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eSam: What were you dreaming about? \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003ePharoah: I'm on a ship. In the ocean. Bears coming around smoking cigars. The bears are singing, ‘We have the music. We have what you're looking for. * * * \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003ePharoah: How you like that take, Sam? \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eSam: It's cool. I think the bit in the middle, where it stops again...I think you can hear...We were both kind of confused. I like it as well because it sounds like two musicians that are trying to guide each other. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003ePharoah: I think that's it right there. It came out different. It came out good though. Sam: You happy? \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003ePharoah: Yeah, I'm cool with it. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eSam: Okay. Yeah, I think your playing is beautiful.\u003c\/span\u003e\u003c\/p\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":39568970940585,"sku":"","price":28.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a2975740667_16.jpg?v=1617125619"},{"product_id":"v-a-kearney-barton-architect-of-the-northwest-sound-2xlp","title":"V\/A - Kearney Barton: Architect  of the Northwest Sound (2xLP)","description":"\u003cp data-mce-fragment=\"1\"\u003eWhen Seattle-based recording engineer Kearney Barton died in 2012, the 80 year-old studio veteran had spent the past 50 years recording the cream of the Seattle music scene through the decades. The Fleetwoods, Quincy Jones, The Ventures, The Wailers, The Sonics, Ann Wilson (Heart), The Frantics, The Kingsmen, and Dave Lewis to name a few. Barton also captured Seattle’s vibrant 1960s-70s R\u0026amp;B and soul scene, including Black On White Affair and Soul Swingers, among others, as documented in Light in the Attic’s Wheedle’s Groove series. In his later years Barton’s old school reputation drew in contemporary bands like Young Fresh Fellows, The Smugglers, The Minus 5, and The A-Bones into his studio. Essentially, when a local unknown band wanted to make a demo tape, or record their debut album, or perhaps someone just wanted to capture their uncle playing banjo or their kid sister’s first songs, they’d go to Barton’s studio.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThere were 7,000 reel-to-reel tapes piled up in Barton’s house at the time of his passing. The University of Washington carefully cataloged these tapes, and former Sub Pop employee Dan Trager (who had learned the art of recording from Kearney years earlier as a student) began listening and taking notes. With input from a team drawn from the university and Light in the Attic, Dan compiled a shortlist of essential tracks that would form the basis of this compilation.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eKearney Barton: Architect of the Northwest Sound is a comprehensive document of Seattle in the 1960s, 70s, and 80s. It is also a testament to Barton’s life-long dedication to the art of recording. It includes long out of print recordings originally released by local labels such as Jerden, Topaz, Piccadilly, and Etiquette Records. It covers a wide range of genres: sitar and balalaika players, gospel church choirs, unknown garage bands, steel drums, obscure soul artists and teenage a cappella singers. There’s also some familiar names here: Sonics, Wailers, a young pre-Heart Ann Wilson, Larry Coryell making his first ever studio recordings with Chuck Mahaffay, the Hudson Brothers long before they were on TV.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“However diverse, there is a commonality that stands out among his recordings: hardcore analog fidelity,” says University of Washington archivist John Vallier. “It sounds like you are in the room with the drums, bass, guitar, and vocals. The mix is minimum. It’s a raw, sonic reality, even if the band is poppy and jangly. It’s an honest sound that doesn’t sugarcoat what’s being performed. That’s Kearney, too.”\u003c\/p\u003e","brand":"Light In The Attic","offers":[{"title":"Default Title","offer_id":39874969010345,"sku":"","price":32.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/large_550_tmp_2F1576715443974-im1wfbk2b7-f26f0bf3e64518dc19ac93690f90ef87_2Flita168_cvr_hiRez.jpg?v=1618336342"},{"product_id":"andre-josi-amandla-180-gram","title":"Andre \u0026 Josi - Amandla (180 gram)","description":"\u003cp data-mce-fragment=\"1\"\u003eHaving shown talent for playing guitar at a young age, Josi Ndlovu (Zimbabwe) started his first rock band “The Movers” (who were very popular within the local scene) in 1968. By the early 70s, Josi was already an acclaimed guitarist and a member of the revolutionary rock bands “Wells Fargo” and “Eye of Liberty” who were critical opponents of the racist Rhodesian government.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eProsecuted and harassed by the police for being a supporter of the independence movement, Josi Ndlovu had to move to Lusaka (Zambia) in 1975…it was here that he met his musical soulmate (Osibisa collaborator and bassist extraordinaire) André Abrahamse from South Africa. They started playing together in several local acts together with drummer Peter Lungu (from “Born Free” and later in the legendary Zamrock band “Witch”).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn 1977, Josi \u0026amp; André decided to go to Lagos (Nigeria) where they found many fellow Zimbabwean and South African students in exile. It was a total culture shock and really rough on the both of them…but they got lucky and were able to stay with some friends they had worked with in London (Themba Matebese and Uwandile Piliso of T-Fire fame). It was also here that they were approached by the Nigerian label “Boom Records” who booked them to record at the Decca Studios in Lagos (home to many other renowned recording artists such as Fela Kuti, Manu Dibango and Ofege). The result of these recording sessions was “Amandla” (the Ndebele word for ‘Power’).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe now legendary “Amandla” studio project is one of the most interesting collaborations between dissident, exiled musicians during the apartheid era…a very engaging album which talks about the liberation movement in Zimbabwe (which was under British colonial rule), ‘people-power’ as a concept and the walk towards freedom by any means necessary. Banned from radio and distribution (because of its political content) in their native countries, the record however did very well in Nigeria.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWith the ‘Amandla’ album under their belts, André \u0026amp; Josi continued their traveling adventures to Botswana, Cape Town, and many other cities\/countries…touring, recording and playing with influential artists from the likes of Rikki Ililonga, Tony Allen and Anna Mwale. André to this day keeps on composing and producing music for TV, film and various other audio projects. Josi Ndlovu passed away on September 7th, 2000…he will forever be in our hearts.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOn “Amandla” the listener will find many genres blended together very successfully…a lot of smooth chordal Afro-soul, Blues soloing, Afro-disco-reggae with a dominant funk feeling surrounding it and a\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan class=\"caps\" data-mce-fragment=\"1\"\u003eLOT\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eof rock influences! Their groovy tunes went down smoothly on the dance floor and one can clearly hear the Fela Kuti-influenced beats pouring out of (Lagos scene regular) Buttley Moore’s fantastic drum work. Other influences are also very diverse…from acts and styles that include Zamrock, Earth Wind and Fire, Isaac Hayes, Miles Davis, Jimi Hendrix, Sly Stone, local folk music, etc. All of this makes the album a total must-have for any collector and fan of the afro-beat-funk genre.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTidal Waves Music now proudly presents the\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan class=\"caps\" data-mce-fragment=\"1\"\u003eFIRST\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eever vinyl reissue of this fantastic Afrobeat album (originally released in 1979 on Boom Records Nigeria). 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 (limited to 500 copies) complete with the original artwork.\u003c\/p\u003e","brand":"Light In The Attic","offers":[{"title":"Default Title","offer_id":39876120510633,"sku":"","price":26.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/large_550_tmp_2F1606247125422-2sdgkmug336-8146f904540e7362ecb54eca85cd00c2_2FAmandla_frontcover.jpg?v=1618338602"},{"product_id":"tony-newton-mysticism-romance","title":"Tony Newton - Mysticism \u0026 Romance","description":"\u003cp data-mce-fragment=\"1\"\u003eTony Newton (born 1948) is a multi-instrumentalist from Detroit, MI who began his professional career at the age of thirteen, playing bass guitar with blues legends like John Lee Hooker and T-Bone Walker. Discovered by Motown executive Hank Cosby while playing the Detroit blues circuit at the age of 18, he became the touring bassist with Smokey Robinson and the Miracles on the famed 1965 European ‘Motown Review’ tour. Within two years, Newton became the Miracles’ musical director.Tony Newton also toured and recorded with other Motown artists such as The Supremes, Marvin Gaye, Stevie Wonder, The Jackson 5 … and countless others. Earning the nickname “the Baby Funk Brother” he left his trademark of solid, hard driving and deftly clever grooves on such timeless hits as “Where Did Our Love Go,” “Baby Love,” “Stop In The Name Of Love,” “Nowhere to Run,” “ABC,” “Never Can Say Goodbye,” “Don’t Leave Me This Way,” and many others. Next to his impressive body of work for Motown, Newton can be heard on several hit singles from labels like Invictus-Hotwax and Stax. Later, Newton gained recognition as a member of both the acclaimed jazz-rock fusion group: The New Tony Williams Lifetime (headed by Miles Davis’ drummer Tony Williams) and the the British hard rock group: G-Force (with veteran guitarist Gary Moore).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTony Newton’s first solo album ‘Mysticism \u0026amp; Romance’ (1978) has both elements of his impressive musical past and his vision for the future. The P-Funk-esque bass grooves and fusion jazz-rock vibes, combined with spacious synths, unusual instruments and an all-round cosmic approach make this a unique and\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan class=\"caps\" data-mce-fragment=\"1\"\u003eVERY\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eintriguing album. What’s equally impressive on this album are the guest musicians featured on it. On piano\/synth we have Sylvester Rivers (Aretha Franklin) and Alan Pasqua (Quincy Jones), on the guitars we have Charles Ferring (Barry White) and Ray Parker Jr. (Ghostbusters !!!), and last but not least we have Danny Spanos (Sly and the Family Stone) on drums.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTidal Waves Music now proudly presents the first ever vinyl reissue of ‘Mysticism \u0026amp; Romance’ since its release in 1978. Remastered and supervised by Tony Newton himself, this official reissue is now available as a deluxe 180g vinyl edition (limited to 500 copies) with insert containing exclusive \u0026amp; extensive liner notes.\u003c\/p\u003e","brand":"Light In The Attic","offers":[{"title":"Default Title","offer_id":39876358733993,"sku":"","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/large_550_tmp_2F1548466657071-5bw206ctjlk-62e2a5ceab3707b5fec15f5852b57b57_2FTony_Newton_frontcover.jpg?v=1618338991"},{"product_id":"bernard-purdie-soul-is-pretty-purdie","title":"Bernard Purdie - Soul  is...Pretty Purdie","description":"\u003cp data-mce-fragment=\"1\"\u003eBernard “Pretty” Purdie is an American drummer that needs little introduction. At an early age, he began hitting cans with sticks and learned the elements of drumming techniques from overhearing lessons being given. Considered an influential and innovative soul-jazz-funk musician, he is known for his precise musical timekeeping and his signature\/unique drumming techniques… considered one of the greatest drummers of his generation, in 2013 he was inducted into the ‘Modern Drummer’ Hall of Fame.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn 1961 he moved from his hometown to New York City where he was contracted to play session work for James Brown (Purdie can be heard on the albums ‘It’s a Man’s Man’s Man’s World’, ‘Cold Sweat’, ‘Say It Loud-I’m Black and I’m Proud’ and ‘Get on the Good Foot’). These JB sessions display some of the most sophisticated and driving shuffles ever recorded for Brown’s catalogue. Purdie then started working with Aretha Franklin as her musical director in 1970 and held that position for five years as well as drumming for Franklin’s opening act, King Curtis. Bernie Purdie was credited on countless albums (spanning several decades) by legendary artists like Nina Simone, Herbie Hancock, Isaac Hayes, Quincy Jones, Miles Davis, John Lee Hooker, Steely Dan, Cat Stevens, B.B. King, The Rolling Stones and Gil Scott-Heron.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePurdie recorded his first solo album Soul Drums as early as 1968 and other milestone solo albums include Purdie Good (1971), Soul Is … Pretty Purdie (1972) and the soundtrack for the blaxploitation film Lialeh (1973). With such an extensive body of work (Purdie laid down the beat on over 3000 recordings) it comes as no surprise that his rhythms have appeared as samples on groundbreaking tracks from high profile acts such as The Chemical Brothers, Massive Attack, Beck, DJ Shadow, The Prodigy …and many others.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eToday we are extremely proud to present you the official reissue of Mr. Purdie’s long time out of print 1972 classic: Soul Is … Pretty Purdie. The album (featuring an all-star lineup of guest musicians) is a fantastic mix of Purdie’s own material and cover versions of classics by Aretha Franklin, Marvin Gaye \u0026amp; Bill Withers. The rhythm section, wah-wah guitars and growling horns constantly supply the funk for this uber funky jam while a probing bass and Pretty Purdie’s trademark beat helps showcase his considerable talents on this career-defining album. Purdie’s rasping, a world-weary vocal which is full of hurt and hope lifts the album up to unseen heights. Washes of dramatic Hammond organ stabs of keyboards and pounding drums grab your attention. It’s as if Pretty Purdie’s all-stars are determined to surpass everything that’s gone before. Melodic and joyous, you can’t help lose yourself in a band at the top of their game.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOriginally released on Flying Dutchman Records in 1972, now back available as a limited deluxe 180g\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan class=\"caps\" data-mce-fragment=\"1\"\u003eCLEAR\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003evinyl edition (250 copies) packaged in a gatefold jacket with obi strip \u0026amp; featuring the original artwork.\u003c\/p\u003e","brand":"Light In The Attic","offers":[{"title":"Default Title","offer_id":39876730454185,"sku":"","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/large_550_tmp_2F1610136148505-mpmj2zn8mg9-cd9cf8f73ff2aaefbe8d92ddf9574e91_2FSoul_is_Pretty_Purdie_frontcover.jpg?v=1618340111"},{"product_id":"gary-bartz-ali-shaheed-muhammad-adrian-younge-jazz-is-dead-6","title":"Gary Bartz, Ali Shaheed Muhammad, Adrian Younge - Jazz is Dead 6","description":"\u003cspan data-mce-fragment=\"1\"\u003eThere's early work with Eric Dolphy and McCoy Tyner in Charles Mingus' Jazz Workshop, work with Max Roach and Abbey Lincoln, a stint in Art Blakey's Jazz Messengers, and also one with Miles. There's his groundbreaking and highly influential Ntu Troop albums of the early 70s and his jazz-funk work including two classic albums with the Mizell Brothers, one of which supplied A Tribe Called Quest with a sample that was smooth like butter. That's not to mention appearances on beloved albums by Pharoah Sanders, Donald Byrd, Norman Connors, Roy Ayers, Gene Ammons, Phyllis Hyman, Jackie McLean and many others. 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Although initially pursuing opera after returning from serving in World War II, Hawkins eventually sharpened his focus on the darker side of R\u0026amp;B and jazz, using macabre stage props, absolute wildman persona and expert voice imitating the blare and squeal of saxophones. His most notable chart-topper was the boozy, raucous 1956 hit \"I Put A Spell On You,\" which was banned by many radio stations for its suggestive groans and grunts. All things considered, Screamin' Jay Hawkins is considered one of the earliest pioneers of what would become shock rock. Recorded in 1969, years following his big hits, Screamin' Jay Hawkins' third album What That Is! showcases Hawkins in one of his most rowdy and compelling stages of his artistic career. With a killer backing band featuring the great Earl Palmer on drums for most of the cuts and Herb Ellis guesting on a few. 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