Funk

Be With presents hen’s teeth extended cuts of two glorious Breakwater classics - “No Limit” and “Do It Till The Fluid Gets Hot”. These super-rare Arista promo-only 12" versions from 1978 have never been commercially available until now. Originals have regularly sold for upwards of £400 in the past 10–20 years so you know how vital this is.Breakwater’s futuristic boogie-funk glider “No Limit” is six and a half minutes of slickness on wax. It’s almost AOR. Like an infinite masterpiece, the chilled opening chords of the intro could go on forever - and they almost do - but when they give way to the power-funk groove, the track just slaps. It sounds so fresh today, over 40 years on, thanks to the smooth, smooth mixing of Jimmy Simpson. In no uncertain terms this is a monster, written by the great Grey and Hanks. That bassline, those keys, the horn section… all the ingredients are there. Ahead of its time by a good 3 or 4 years, some regard “No Limit” as the first 80s groove ever recorded in funk/soul history. A neat trick, given its year of production.On the flip, the six minute version of “Do It Till The Fluid Gets Hot” is an original Philly party jam. A showcase for Breakwater’s phenomenal intensity, this sounds like Parliament’s “Flashlight” on steroids. Acidic synths bleep and warp, blending with triumphant horns, in-the-pocket drums and bumping bass to conjure a truly deep funk groove. Laying deep in the cut, the salacious vocal delivery only adds to the brilliant sleaze.Breakwater had a sonic aesthetic beamed in from the future and these two tracks are just more proof of that. Remastered and cut loud for devastating dance floor dynamite, this vinyl reissue arrives just in time for all those (perhaps imagined) BBQ Boogie Throwdowns. This is a true modern soul double-sider, essential in every wa

In opposite to other Nigerian acts which hardly got known beyond the borders of their homeland, BLO were always very popular in the Western world. Accompanying Ginger Baker of CREAM fame was the first step to break them into the western popular music market of the 70s and what followed could be called an African fairy tale. Still this, their fifth album from 1979, waited a long time for a proper reissue, especially on hot black wax with originals in good conditions fetching prices of 300 Ç and more. EVERLAND MUSIC had merci with the fans of pure late 70s disco funk who adore such killer units as EARTH, WIND & FIRE or HOT CHOCOLATE or probably the then modified TEMPTATIONS which all were leading figures of the real music department in the disco scene. If you say tight, you gotta mean ,tight". Every groove, every note, every harmony sits where it should sit to drive the tune itself further and further with an everflowing energy that hits the legs and the soul of the listener. The tunes are all memorable and you will find yourself humming along those melodies even if the black vinyl is not spinning on your turntable. A goal hardly achieved by the masses of late 1970s disco funk projects. You see, these cats are a real unit, real musicians with an aim aside from just making money. Still this is music to escape harsh reality to. The slick and crisp production helps to make each song swallowing your thoughts and refilling your mind with a flush of colours. The feeling is glamourous and silky, the music ensnares your spirit and cloaks you while your body moves constantly on through the whole time this record spins and spins. Technically well performed, written with a great hand for catchiness, these potential hit songs should be known by each and every fan of 1970s disco funk.

Billy Paul’s “Let The Dollar Circulate” and “East” have never appeared on a legit 12" before. They do now.“Let The Dollar Circulate” is inextricably linked to one of J Dilla’s greatest ever deep productions, whilst the massive “East” has long been a big Harvey tune. Both make full use of the incredible MFSB, the regular group of crack musicians that acted as the house band for the Philadelphia International Sound label at Sigma Sound Studios.Causing glorious damage to discerning dance floors until this very day, Billy Paul's “Let The Dollar Circulate” was first released in 1975 on the album When Love Is New. It has the upbeat, dramatic proto-disco sound of classic Philadelphia soul. Taut, urgent verses of evergreen lyrics that preach the evils of capitalism and environmental destruction, to a thumping, menacing bassline. A gospel-infused chorus releases the tension in an explosion of strings and horns. Dynamite.A richly textured and enduring soul hit, “Let The Dollar Circulate” received a second wind when it was sampled by Dilla for Spacek’s 2005 underground gem “Dollar”.“East” is a fascinating, genre-blending track; a magical, widescreen soul-jazz masterpiece. Mystical and powerful, it’s a pulsating mini-epic with a potent spiritual dimension. “East” was written by Philly bassist and baritone Tyrone-William Brown and appears on 1971’s Going East LP. Lenny Pakula’s atmospheric arrangements are complex but deeply funky, perfectly suited to Paul’s fervent vocals. Gamble and Huff’s production is a brilliant demonstration of their balancing Paul's jazz roots with the funky soul of the day, and seeking to innovate and push musical boundaries.A first-person rumination on slavery, Paul’s thoughtful, deeply moving spoken word introduction unravels as the track reveals its secrets. Against the jazzy backdrop Paul’s delivery is heartfelt, welling up with emotion. Strings cascade and winds howl while the bass prowls along the arrangement. Stunning.Remastered to stunning effect, Be With is delighted to present this vital double-sider from the man ?uestlove called “one of the criminally unmentioned proprietors of socially conscious post-revolution ’60s civil rights music”.

Heavyweight 180gr Clear Vinyl

On Clear Vinyl

Heavyweight Clear Vinyl

Heavyweight 180gr Clear Vinyl

Heavyweight Clear Vinyl

Heavyweight 180gr Clear Vinyl

Linda “Babe” Majika’s insanely brilliant Don’t Treat Me So Bad is a tight six tracks of blistering electro-flavoured bubblegum and synth-drizzled solar-powered machine-funk. It has become increasingly hard to find, with copies currently moving for over £200. But this is definitely a case of eye-watering price equalling heart-thumping quality. Once of the Hot Soul Singers, Don’t Treat Me So Bad was Linda’s debut LP as a solo artist. It was produced by Ace Mbuyisa of boogie-funk maestros Freeway and was originally released on Umkhonto Records in South Africa in 1988. The enormous “Let’s Make A Deal” is probably the best known track here, and it’s definitely the best one if you ask us. Linda’s vocals drip with attitude over warm, breezy synths and an urgent, edgy electro beat to create a timeless club-ready bomb that sounds as fresh as ever. But the rest of the album is far from filler. Opening track “Kunzima (Tabalaza Mjita)” instantly brings the sunshine vibes, strutting out the gate with that unmistakable South African steppers groove. It’s a deceptively simple song, with multiple instrumental elements arriving and taking leave with admirable restraint. “It’s Our Home” is a powerful showcase for Linda’s vocals, enhanced by some life-affirming call and response backing vocals throughout. In fact they’re a joyous presence on the whole album. The insistent pipes and swirling, bubbling synths of title track “Don’t Treat Me So Bad” follow. A spacious proto-piano house banger that closes out the first side in phenomenal fashion. Arriving as track two on the second side, “Unga B’Omthemba Umuntu” has the unenviable task of following the huge “Let’s Make A Deal”. It does the job with class, bringing the tempo down to a mid-paced tropical bounce with lilting harmonies and welcome traces of hi-life guitar. Wonderful stuff. “Playboy” is is another unbeatable head-nod groover rounds out the set wonderfully. That bassline high in the mix is to die for, and the chorus will make any dancefloor smile. As ever, Simon Francis on mastering duties elevates this release, adding heft and elegance in all the right places with his customary deft touch. The memorable cover art, in which Linda appears straight out of the 1950s with her polka dot skirt and butter-wouldn't-melt pose, has been faithfully restored. But don’t let the innocent styling fool you - Don’t Treat Me So Bad is the work of one badass woman who can hold her own, and then some

Sunshine colored vinyl (Yellow/Orange swirl) with deluxe gatefold package // When The Greyboy Allstars convened in 1994, the legendary California jazz-funk revivalists flaunted the carefree essence of their collective youth. Their fabled residency at San Diego's Green Circle Bar spiraled into a series of concerts that stretched toward dawn, as they triangulated their take on the revolutionary funk of Grant Green and Idris Muhammad, Leon Spencer and, of course, James Brown's infamous J.B.'s. In subsequent years, they played hundreds of shows, becoming a tireless party syndicate that delivered a new brand of spirited instrumental exploration. A quarter-century later, with those late nights of abandon long since passed, past and present will again intersect for Greyboy Allstars this summer with the release of Como De Allstars, their ecstatic and elastic first new album in seven years Recorded in a three-day burst, "Como De Allstars" is an exuberant reminder of the playful sense of power that has forever been their hallmark. It also acknowledges our anxious times. The record begins with its title track, a rallying cry for perseverance in the face of oppression, for fighting for the ability to not just survive but thrive. Delivered in unison over an undaunted rhythm section, the first track on the record "Como De Allstars" (available now) is a stirring and timely testament to the revolutionary origins and powers of jazz, funk, and their boogaloo blend-and the Greyboy Allstars' continual ability to deliver them. Later this summer will see the first-ever reissue of the revelatory and electrifying debut LP, 1994's "West Coast Boogaloo", recorded in a single blistering session with J.B.'s trombonist Fred Wesley.

On Clear Vinyl

On Clear Vinyl

On Clear Vinyl

Rare 1980 Electronic Funk album from Portland - Featuring Roger Sause (Kenny G) - First ever vinyl reissue since its original release in 1980 - 180g vinyl - Black Vinyl Edition Limited to 500 copies // Roger Sause (Born in Portland, Oregon) is a musician, songwriter and producer with several gold and platinum recording credits to his name. He started playing the piano as soon he was able to reach for the keys. Turned out he was a natural talent, in 1969 (at the age of 9) he was playing in kiddie garage pop bands and around 1974 (still in his teens) he was already composing his own music! Roger Sause was quickly developing his own sound and started experimenting/recording on the 4-track with local Portland engineer Doug Durbrow_Roger had written a bunch of songs that were ready to Shock the world! Roger Sause then pulled some of his buddies from High School: bassist Joe Plass, drummer Billy Bradford, lead vocalist Malcolm Noble and Terrence Wooten on guitar. Several other renowned artists (like Marlon McClain) were to be included in the recordings and live line-ups through the existence of SHOCK_but these school friends would serve as the core in the early years of the band (including Roger's brother: Steve Sause). The band SHOCK was now ready to conquer the world_and the rest is what they call "history". In 1979 and with the financial help and support of their families (and from Doug Durbrow who by now had started the Nebula Circle Records imprint), the band recorded a 7" EP that would serve as an introduction to the public. By handing out copies to stores, promoters, clubs and radio stations word quickly got out about this new sensation called SHOCK. Fired up by the initial success of this 7'' EP, they released their first full-length album Electronic Funk on the Nebula Circle label in 1980 (this LP also includes longer versions of both tracks from their first 7"EP)_Roger and the band considered this small and unpretentious album just a 'starting point'_however, no one could predict back then that this 'first opus' would become one of the most sought-after and highly-rated Funk albums ever! With SHOCK now having a successful album under their belts (and a hit on local radio) they got signed to Fantasy Records where they released three more albums. Several other singles/hits quickly followed and they would find themselves opening for top acts from the likes of Tina Turner, James Brown and Tower Of Power. Rolling Stone magazine picked SHOCK as one of the top ten new artists of the decade. Although the band did follow up with said subsequent hits, a constellation of factors eventually brought the first chapter of the SHOCK project to a close (there would be reunions eventually, later in the decades to follow). Band leader/ keyboardist Roger Sause, producer/guitarist Marlon Mclain, and bassist Joe Plass began writing, recording and touring with smooth jazz star Kenny G. Over time, Roger would become Kenny's musical director. The main core-group of SHOCK are still more or less involved in the funk and R&B music scene_some members (including Roger) would eventually form the band 'Hypertension' who recorded for Atlantic Records. In the early 1990s Roger Sause and Marlon Mclain both moved to Los Angeles, Roger formed a live music production company called Perfect World Entertainment, and Marlon started to work with the Grammy Award winning Dazz Band, En Vogue, The Ohio Players and a myriad of other elite artists. On the recordings we are presenting you today (Electrophonic Funk from 1980) you can clearly hear the JB & Parliament-Funkadelic grooves Roger Sause and his gang were influenced by. Both critics and fans agree that the songs on this classic album truly stand out because of the raw funk-energy-field that surrounds them_The SHOCK sound was the perfect hybrid of P-Funk and heavy synth bass with falsetto vocals. This album has it all_from the melancholic modern soul in It's Over, electrifying Boogie Disco shockers as Dance And Have Some Fun and Nite Life, all the way down to nasty P-funk influenced tracks like The Dog. This LP is a total 'must have' for any fan or collector! Tidal Waves Music now proudly presents the first ever vinyl reissue of this fantastic electronic funk album (originally released as a limited 1000 copies pressing back in 1980 on Nebula Circle Records). 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 (500 copies) supervised by Roger Sause himself and featuring the original artwor

On White Vinyl

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THE PRINCE ESTATE И WARNER RECORDS ПРЕДСТАВЛЯЮТ РАСШИРЕННОЕ РЕМАСТИРОВАННОЕ ПЕРЕИЗДАНИЕ ЭПОХАЛЬНОГО ДВОЙНОГО АЛЬБОМА ПРИНСА «SIGN O’ THE TIMES». Лимитированное делюкс-издание на четырех 180-граммовых пластинках в бокс-сете