MAGIC MIX

funk . soul . jazz . free jazz . broken beat

WEEK STARTING 15 Feb

Genre pick of the week Cover of Fyah by Theon Cross.
Theon Cross strides confidently forth from his crucial role alongside Shabaka Hutchings in the award-winning Sons Of Kemet to unleash one of the vital sounds of 2019. Irresistibly inventive, while at once both serious and witty - Theon Cross plays Tuba like no-one else. An enormous, swaggering bass emanates from his magnificent horn, evoking sweaty clubnights where dance floor bangers sit side by side with intricate arrangements.

Nubya Garcia and Moses Boyd, London’s Jazz golden generation illuminaries, feature heavily. Wayne Francis of Steam Down also guests. Refusing to be shackled by the confines of Jazz, the album draws on London’s vivacious cutural heritage, dipping in and out of grime, afrobeat, electronic, dub, dancehall and Jamaican roots music.

Theon featured recently on the much lauded Makaya McCraven’s ‘Where We Come From’ album. He’s also performed with the likes of Kano, Moses Boyd, Jon Batiste, Pharoahe Monch, Courtney Pine and is a founding figure in South London-based collective Steam

STAFF COMMENTS

Millie says: Theon Cross has been saving this gem for us, after working on other albums from Sons of Kemet and Makaya McCraven. Reaching out to other collaborators like Moses Boyd and Nubiya Garcia, makes Fyah a seamless Jazz album which is just what's needed right now.

South London virtuoso keys wizard Joe Armon-Jones returns with two freaked out dub versions, re-rubbing two entries from his debut for Brownswood earlier this year. ‘Starting Today Dub’ is stripped back and stretched out to maximum effect. ‘Mollison Dub Vocal Version (Feat. Asheber)’ spaces out the original and adds in extra vocals from West London dub staple Asheber.

His debut album, Starting Today, came out in May 2018. Part of the vibrant young jazz scene in London, it brought together a bunch of players under that umbrella. It was praised by Pitchfork, Loud and Quiet and CLASH. In the words of The Wire, it’s "bass-rich music hustle straight out of the London soul-jazz-dance lineage.”


Released in 1973, 'Coffy' was a Blaxploitation film directed by Jack Hill, starring Pam Grier as a female vigilante, who's tag line was 'They call her Coffy and she'll cream you!'
This seven inch  features four killer Roy Ayers jams from the soundtrack, they're all, as you'd expect, heavy on the horns, vibes and wah wah. So, if you want to spend your evenings imagining you're strutting your not inconsiderable stuff across 110th Street, this my good friend, is the record for you.



A mythical and misplaced masterpiece of lost soft rock and acidic folk funk by a one-hit wonderer lost in the wilderness for four decades. From the producer of Margo Guryan, writer behind Wool, Gerry Mulligan collaborator, Tarantino soundtracker and Wendy & Bonnie confidant, ‘Paint A Lady’ now emerges from folkloric obscurity, to bring a wash of soft psychedelic colour to your vinyl collection and quench the repeat requests of a thirsty new found audience waiting for the rain.

Within certain record collecting circles, especially those who gather under the umbrella that covers fragile niches like ‘acid folk’ and ‘soft rock’, it’s difficult to imagine a time when the legendary Susan Christie album didn’t exist. When Finders Keepers Records first shared the unheard 60s songs like ‘Paint A Lady’, ‘For The Love Of A Soldier’ and ‘Echoes In Your Mind’ with a wide-eyed audience thirsty for organic soul and festival friendly acoustic funk, Susan’s new found fanbase instantly felt like they had known these songs all of their lives. Which is why it’s hard to believe that the music on this lost 60s acetate was only pressed 12 years ago.

As the label’s lucky seventh release in an international discography that now surpasses the 100 mark (and one of a small clutch of English language recordings on the label), ‘Paint A Lady’ has slowly become one of Finders Keepers’ most requested re-releases and with this 2018 edition it is technically accurate to say that this pressing is the first-ever reissue of this elusive and essential album.

The oft overused term ‘mythical’ applies to this album on many levels. Perhaps it’s the woozy nostalgia found within the pop craft of ‘Paint A Lady’ that has led to false rumours that original 1960s copies used to exist on the collectors market, or the bizarre claim that songs like the head-nodding title track and the acid-drenched sound effects on ‘Yesterday Where’s My Mind’ were just a product of a contemporary studio band trying to create a fake folk funk red herring. As a result, Susan Christie and her producer and husband of 40 years, John Hill, have happily taken the repeated phrase ‘unbelievable’ as a compliment to their songwriting skills and foresight.

In all fairness, with a decade to ponder, the original 1969 song titles alone do seem custom- built for the nostalgia market: ‘No One Can Hear You Cry’ might lament the unrequited yearning for a record deal which never quite followed Susan’s won one-hit wonder novelty hit ‘I Love Onions’; similarly, ‘When Love Comes’ might allude to the subsequent 35 year wait for the right label to eventually come along.

‘Echoes In Your Mind’ and the aforementioned ‘Yesterday...’ could easily allude to the haunting melodies that sat in the can on John Hill’s studio shelf while his projects for Margo Guryan, Wool and Pacific Gas & Electric sat proudly in record racks before benefitting successful French cover versions or making their way on to Quentin Tarantino soundtracks. The track ‘Paint A Lady’ itself, complete with its future-proofed sample-worthy rhythm section, seems like the perfect title for a mock rock pseudo psych contender, at which point you eventually step back and see the bigger picture.

These guys were simply one drop too far ahead of their time; a family force of experimental pop perfection that late 60s America simply wasn’t ready for. It is just over 12 years since champion record rustler Keith D’Arcy (who you’ll meet on the inside sleeve) stumbled upon one of the original acetates that led to the final release of ‘Paint A Lady’ and it’s almost a longer 50 years since Susan and John added their final touches to these recordings that tragically went into hibernation for over four decades.

Whether this album has been on your wish-list for what seems like a lifetime, or you are taking your first plunge into this deep puddle, when the needle drops on the first track you’ll find that Susan Christie, John Hill and Finders Keepers have been saving up for a very rainy day.

The Daktaris is a well-disciplined army of two hundred African Bull Elephants marching relentlessly up your business to the beat from Funky Drummer. Or so began the liner notes on the original pressing of this album.

Truth is often stranger than fiction. In 1998 Desco Records—a precursor to Daptone and Soul Fire records—released The Daktaris’ Soul Explosion, ostensibly as a reissue of an unearthed Nigerian LP from the seventies. Though it’s now common knowledge that the story was a bit of a hoax, the record’s significance as a seminal part of the Afrobeat and afro-funk renaissance of the last two decades cannot be denied. The roots of the Budos Band, Antibalas, and uncountable others can be traced back to this enigmatic afro-funk release.

Now, two decades later, Daptone has remastered the album from the original tapes, including a bonus track that had previously only been available on a 45, and featuring extensive all new liner notes by Bosco Mann telling the bizarre true story behind the Daktaris sessions.

'You prayed every night to sweet baby black Jesus that this would happen and it finally has. Pianist Elliot Galvin and I have made an album' - Binker Golding. Binker Golding (the sax in Binker and Moses) is 'Coltranesque' according to John Fordham’s review for The Guardian, and this record sees him forging a new partnership with Elliot Galvin, whose 'technical brilliance is matched with a very British sense of eccentricity' (The Jazz Mann). 'The combination of saxophonist Binker Golding and pianist Elliot Galvin is guaranteed to be awe-inspiring' says London Jazz News, and this full album doesn’t disappoint.

Elliot describes the record as 'high energy and spontaneous', which is definitely on point - an energy it maintains for over 40 minutes. Six new tracks recorded at The Vortex in London, which pull on all Binker’s and Elliot’s technical repertoire and delve into the experimental recesses of the minds of two of London’s young foremost exponents of jazz. Mastered by Noel Summerville, artwork by George Finlay Ramsay and G.S-L Studio. 


STAFF COMMENTS

Emily says: Golding (of Binker and Moses) and Galvin push the physical boundaries of their instruments with techniques reminiscent of those used by expressionist composers. Tracks like “Adaequatio Intellectus Et Rei” and “Aliquid Stat Pro Aliquot” present a flurry of neurotic scratching, clattering and unexpected flourishes. Later on, ‘Non Plus Ultra’ offers a moment of melancholic serenity amidst the chaos. Not an easy listen, but a daring exploration of unique musical textures which might represent the darker recesses of the human psyche.

Barbara Howard's "On The Rise" is more than just another rare soul LP. It's a love story. It's a dream. It was an attempt to break through. And although Barbara certainly never became a star, one song did become a staple in rare soul and funk DJ sets, keeping interest in Barbara Howard just under the surface. And as fate would have it in 2016, a sealed copy of the LP would find its way into Plaid Room Records in Loveland, OH and kick start the revival of her story and her music. In 1968, as an outgrowth of a community movement and talent search program called "Operation Step-Up", Steven Reece wanted to take his community movement to the next level.

This is when the idea of founding an independent label came to mind. The idea was to self-produce quality records and through successful sales attempt to land major label distribution. Steve identified Barbara Howard as the talent and set to producing her record. The idea was to produce an LP with a variety of tracks that could be marketed to a variety of radio formats and markets (gospel, pop, soul, jazz, etc.). And while the record fizzled shortly after its release, Steve and Barbara ended up getting married shortly afterwards making this possibly the most romantic production of a record in soul music history. So via Colemine's reissue imprint Remined Records, we are proud to present to you Barbara Howard's "On The Rise". 


Ishmael Ensemble

Severn Songs 3: The River Feat. Yazz Ahmed

Hot-on-the-heels of their performance on BBC 6 Music, for Gilles Peterson's ‘UK Jazz Special’, at the hallowed Maida Vale studios (alongside Nubya Garcia, Joe Armon-Jones and Fatima), Ishmael Ensemble bring their Bristol-inspired "Severn Songs" project to a triumphant finale. "Severn Songs 3" pays homage the mighty river itself, in both title and mood. Field recordings from the banks of another iconic river - the Ganges - made by keyboardist and co-writer Jake Spurgeon meander in and out of focus, whilst celestial percussion ushers in the full-bodied tone of celebrated jazz trumpeter Yazz Ahmed's horn. The track climaxes in true Ishmaelian fashion with a whirlwind of pulsating synthesizers, crashing drums and hypnotic brass flurries, before easing back into the dulcet rhythm of oars lapping through water.

On the flip, a reprise takes the listener on a much gentler ride. However, the tension and dynamics of this twin version are still very much apparent. Throughout the release, an array of new instruments open up in Cunningham's armoury; most notably bass clarinet, alto-flute and the sarod – leaving the listener just a few strings shy of a full orchestral experience.

As a whole, the "Severn Songs" project has seen Cunningham develop an already diverse palette into something more focused. Tiptoeing between the current British jazz boom and Bristol's rich musical ancestry, the group have found a truly unique and refreshing voice.

"Severn Songs 3" follows media praise, radio airplay and DJ support for the first two 7”s in the series from the likes of Dan Snaith (Caribou), Gilles Peterson, Tom Ravenscroft, DJ Mag, Complex, Self-Titled, The Vinyl Factory and XLR8R.

Musicians:
Pete Cunningham: saxophone, synths, keys
Jake Spurgeon: modular synth, keys, sarod
Yazz Ahmed: flugelhorn
Ross Hughes: bass clarinet, alto flute
Rory O'Gorman: drums
Stephen Mullins: guitar
Jackson Lapes: percussion


STAFF COMMENTS

Emily says: The Ishmael Ensemble craft a hypnotic groove with rich brass motifs, crashing drums and shimmering percussion. While reminiscent of middle eastern tonality and the spiritual jazz tradition, the undulating synth lines bring it firmly into the realms of new UK jazz.

One of the most beautiful soul records Melodies International have reissued as of yet: Jack Jacobs – I Believe It’s Alright. Jack Jacobs grew up in Philadelphia and started out his singing career with an acapella doo-wop singing group before becoming lead singer in some Philly R&B bands. After a while he decided to take up the keyboard so he got a full-sized Hammond B-3 organ, which he used to lug back and forth to gigs from his 3rd floor apartment. Jack is remembered by friends and family as an incredibly talented musician and one of the most soulful vocalists they’ve ever known. Childhood friend and jazz guitar legend Pat Martino recalls: “I’ve had a chance to work with some seriously heavy-duty singers, such as Ray Charles. He (i.e. Jack) was so spontaneously prolific; he was a poet. I can play some things for you right now and you would be shocked to find out he had no idea what he was about to sing. The lyrics were absolutely phenomenal, and they were extremely spiritual in context in terms of the message he was talking about. They were Biblical lyrics; absolutely overwhelming – just incredible”. After Jack moved to Atlantic City in the 1970s, he wrote and recorded “I Believe It’s Alright”, initially released on Libra, a small local New Jersey music label. The record barely got any exposure at the time despite how good it was. It channels honest, raw soul energy in its purest form - a truly uplifting song! Fully licensed and remastered, MEL014 is presented in its original promo 7” vinyl format with the extended version on the flip, accompanied by the latest issue of the Melodies Melozine!

Durand Jones & The Indications

Don't You Know

The lead single from the sophomore LP from Durand Jones & The Indications has everything you could ask for. Dual lead vocals from Durand Jones and Aaron Frazer, danceable beat, and super sweet soul harmonies that won't soon leave your ear or turntable. It's familiar yet modern and it's truly beautiful seeing these guys push soul music forward with their second LP. For fans of Lee Fields, Charles Bradley, Leon Bridges.

FORMAT INFORMATION

7" Info: Limited indies-only orange 7"

Chaka...Chaka...Chaka...Chaka Khan! That's right folks, the queen of funk returns, only this time it's her who's doing the rocking! Her first solo LP in twelve years, "Hello Happiness" sets Chaka's timeless voice (Still impeccable) to an empowering collection of songs featuring cutting edge production from co-writer Switch (proving there's more to life than fidget!).
The Piccadilly camp flipped its collective lid when the obscenely limited 12" of Fatback-sampling lead single "Like Sugar" landed last summer (Massive props to Jason Boardman for dropping it at the Nado 20th Birthday!), and now a full length LP is here, I'm struggling to contain myself. If the cynical out there wrote "Like Sugar" off as a fluke, they're about to get slapped silly by the finest funk record in years.
Opening salvo "Hello Happiness" and "Like A Lady" (check out those Belle Epoque strings) update Chaka's classic sound with some pristine modern production, while "Don't Cha Know" erupts into some hard rocking, trap rattling, gospel organ mutant made for scaring the neighbours. Skipping to the flip, the rough and tough funk continues via "Too Hot", this time with a NOLA blues flavour which is frankly irresistible. Next up it's "Like Sugar", the Fatback chopping, B-boy big beat hit of the last decade, not just a high point on this LP, but on recent pop music in general. "Isn't That Enough" finds Switch exploring his Black Ark fascination, cooking up a humid dub disco groove for Chaka to turn inside out with her powerhouse vocals. Last but not least, we're in end of night soul territorie via the "Long Train Running", "M.P.B."  vibe of "Ladylike", a sultry, snaking shuffler for dancing upclose. 
Long live the Queen!





STAFF COMMENTS

Patrick says: After over a decade out of the limelight, a Chaka Khan comeback seemed unlikely, and the quality of "Like Sugar" took everyone by surprise (best pop single of the teens?). Well, that was no flash in the pan, and this whole LP bangs, covering a variety of styles, showcasing Chaka's sensational voice, and marrying the vintage and cutting edge perfectly.

A proud New Yorker, Emily King spent her first three decades living on the same Midtown block. She loved her home, her family, her friends and her life there. But last year, when she finally resolved to challenge herself by moving out of her comfort zone, positive changes started taking shape immediately. In Upstate New York, the fresh air and fresh mentality gave her the proper space and perspective to create what would become the album of her career. Its name: ‘Scenery’.

Without a doubt, King has carved out such a space for herself. With ‘Scenery’, she has challenged herself to create new roots, both in physical form as well as sonically. “For me, ‘Scenery’ is about taking a chance and having an adventure, with themes of independence, confidence, and self-reliance throughout, and having a sense of freedom and self-worth,” she says. “I’m really proud of this record because we took time to make sure it was right. We let time pass in between creating, recording, and listening, so that my true judgment can be revealed, ego goes away, and you see it for what it is. Sometimes you have blinders on because you want it to be good so badly. When I listen to this record there are no cringe-y moments. I’m proud of the process.”

STAFF COMMENTS

Barry says: From sashaying, finger-clicking soul, swooning funk and low-key rhythmic R&B to longing acoustic ballads, anthemic indie-pop and snappy guitar-led minimal melodicism, Emily King pulls of every key change with absolute skill and an impeccable ear for a tune.

FORMAT INFORMATION

LP includes MP3 Download Code.

Robert Montgomery

Love Song About You

Robert used musicians from Ripple to record four self penned songs as a vanity project which remained unissued, two of which have since been released as a Soul Junction 45 the modern soul dancers ‘Time Of The Day/Take Me High’ (SJ537). While a third track, the excellent ballad ‘Love Song About You’ made it’s initial debut as part of the popular ”We Got A Sweet Thing Going On “ (Volume 3) cd compilation series to great acclaim, following requests for it to put on a 45 we have duly obliged placing it back to back with Robert’s remaining previously unissued track the more dance orientated “I Love You So” complete with girl backing singers. Thus in doing so, we have now completed the trilogy of Robert Montgomery’s recording output.

Now one of the leading lights in the UK’s new generation of soulful, genre-fluid artists, the Leeds-born and now London-based 12-piece collective Nubiyan Twist have created their finest recordings to date, effortlessly weaving together elements of jazz, soul, hip hop, African styles, Latin, dub, hip hop and electronics in a flow of thought-provoking and life-affirming music.

Recorded at the band’s own self-built Henwood Studio in rural Oxfordshire, the album effortlessly moves through different voices from the band’s circle. The inimitable, timeless vocals of Nubiya Brandon lead the way on the album’s title track about breaking preconceptions and promoting equality, “Where you from? I’m from wherever I be.” Saxophonist Nick Richards vocals the killer first single from the album about inner turmoil and a search for the truth, ‘Tell It To Me Slowly’ while rising Ghanaian star K.O.G. appears on the Afro jams ‘Basa Basa’ and ‘They Talk’. Percussionist Pilo Adami (Nina Miranda / Afrosamba) voices the infectious bossa-jazz jam ‘Borders’. The band also draft in two African legends for guest duties with the original Afrobeat maestro Tony Allen on ‘Ghosts’ and Ethio jazz pioneer Mulatu Astatke contributing vibes on the sinuous ‘Addis To London’. “The depth of talent and ideas that every member of this group has brought to the table for this album is incredible,” says producer and orchestrator Tom Excell. “Conceptually, ‘Jungle Run’ is all about connecting different people and cultures whilst exploring the journey of individuals. This album is the pinnacle of everything we have done to date and to collaborate with the godfathers of Afrobeat and Ethio Jazz and celebrate their music in a modern context was very humbling.”


Prescription Pricing Authority

1-2-1 / Lucky Duck

    The Prescription Pricing Authority duo hails outta London town and delivers the second 7" inch release ever on Gamm. Big, ballsy disco occupies side A, rich in strings, timpani and fat ass bass. It's the kinda raw disco that DJs like Zaf (Love Vinyl) and Mark Grusane (Chicago) like to spin out in the field. On the flip we take a jazz-funk tangent, "Lucky Duck" riding a sophisticated arrangement full of wild flute lines, rampant slab bass and wacked out wah-wah guitar, not to mention the dozens of keyboard lines that litter the mix. Surely big for the Southport Weekender crowd and all the soul all day traditions. Pop yer dancing shoes and hit the floor!

    Ahead of the imminent second instalment of the Soul Sega Sa! compilation, Bongo Joe hits us with a sweet 7" boasting two of the greatest moments in Mauritian music.
    Unique character and overexcited singer Roland Fatime (also known as Ti L’Afrique) began his career on the Mauritian scene in the early 70’s, along with the group Features of Life, with Eric Nelson’s saturated electric guitar and Raoul Lacariate’s untamed rhythms; Fatime sparked a new raw, funky and explosive Séga style.
    His superb Séga-Blues lo-fi tune “Bal Souki Souki" is reissued on this very 7” along with another nugget buried on the island: “Soul Reggae Prisonnier” by Ramone, Ti l’Afrique’s ex-rival! In the same blues and soul vein, this Séga immerses us in a dramatic story of judicial error and prison environment, which are unfortunately all too familiar with some mauritian musicians!

    As a radical jazz artist, Steve Reid played with an extraordinary group of artists - Miles Davis, Sun Ra, Fela Kuti, James Brown, Ornette Coleman, Lester Bowie and many more. He began his career as a teenager in the 1960s as a drummer at Motown. Reid was born in the South Bronx and grew up in Queens, New York, three blocks away from John Coltrane.

    In 1969, Reid refused to enlist to the Vietnam war and was arrested as a conscientious objector and given a four-year prison sentence. On his release in 1974, he formed the Legendary Master Brotherhood and the independent record label, Mustevic Sound, to release his debut LP ‘Nova’.

    At the start of the 21st Century, Steve Reid began a successful collaboration with Kieran Hebden (Four Tet), who Reid referred to as his “musical soul mate,” resulting in a number of joint albums. Steve Reid died in New York in 2010. Subsequently, the Steve Reid Foundation was set up in his name, to help aspiring musicians and artists.

    DJ Dom Ore makes the move into the reissue market here, launching his new Miles Away Records with a fresh pressing of Rokk's 1975 classic "Patience". Heavily influenced by Gil Scott-Heron's 'The Bottle’, this is a true cult dance floor anthem that has never been reissued as a stand alone single. 
    Main men James Dockery and Arthur Monday had been jamming out since 1964, but Rokk only came into being with the mid seventies arrival of La Marco Nesbit & Denny Lash. Soon enough the fourpiece signed to Vee-jay International and recorded an album which lay in the vaults for over 30 years. That LP, "I Want To Live High" housed these two flute-led bombs, skirting the periphery of jazz, funk and soul with a giddy class.


    Eddie Russ was an important figure to emerge from the vibrant underground jazz scene that thrived in Detroit in the early 1970s, existing in the cultural and economic desolation of the city after the departure of Motown in the late 1960s. This scene included the musical collective Tribe (including members Wendell Harrison, Marcus Belgrave, Phil Ranelin, Harold McKinney and Doug Hammond) and Kenny Cox’s Strata Records. Eddie Russ’s ‘Fresh Out’ was first released in 1974 on the independent Jazz Masters record label. As well as including the classic jazz dance cut ‘The Lope Song’, Eddie Russ’s ‘Fresh Out’ featured the debut of the group The Mixed Bag who subsequently recorded for both Tribe and Strata Records.

    The Sisters Love

    Give Me Your Love / Try It, You'll Like It

    Originally released as a B side on Motown’s Mowest label in 1973, 'Give Me Your Love' has been in demand and played on various club scenes since the early 80’s and has maintained its popularity. Original copies now sell for £150 to £200 if you are lucky enough to find a clean copy. This is a fantastic slice of danceable Soul produced by Gloria Jones and Paul Riser. It was written by Curtis Mayfield whose own version appeared on the Superfly soundtrack. The track was sampled by Queen Latifah, Ruth Joy, Stereo MC’s and Robbie Williams and Kyle Minogue in their song ‘Kids’, amongst others. On the flip side is their great version of Willie Hutch’s song ‘Try It, You'll Like it’.

    The New Creation

    The Fish Song / Elijah Knows

    The New Creation were a five piece ensemble made up of family members Robert James Randle (Aka Rasheed Shakoor Sr) his son Keith Randle (aka Rasheed Shakoor Jr) their nephew/cousin Mel Houston. Mel’s stepfather William Cooper (aka Wali Ali) and a fifth unrelated member Wayne E-2X.
    The creator of The New Creation was William Cooper a guitarist who had previously worked with Norman Whitfield at Motown and had toured with The Undisputed Truth and The Jackson Five. He had also been employed by HB Barnum as part of Areatha Franklin’s touring band an association that would be relevant in The New Creation’s story.

    The concept of The New Creation began sometime during 1973 when Robert James Randle penned the song “The Fish Song” ( credited as Robert 51-X) and William Cooper penned the song “Elijah Knows” amongst other material that never really got past the demo stage. Adding teenage cousins Mel Houston (Bass Guitar) and Keith Randle (Conga drums) and Wayne E-2X , The New Creation began performing through their affiliation to the African America political and religious movement , The Nation Of Islam with no lesser a person than Muhammad Ali, as a support act to his Celebrity Boxing Promotion Tours. They also toured as a support act to one of Philadelphia’s most well known soul groups, The Delfonic’s.
    During the summer of 1974, under the tutelage of HB Barnum, The New Creation entered the Devonshire Recording Studio’s in North Hollywood to lay down the basic tracks of the above two songs with HB later adding the horn arrangements. The group pressed 2000 copies (plus a later 500) on their own Salaam label. They initially began to seek out radio airplay, unfortunately this wasn’t to be too forthcoming as the majority of radio stations considered “The Fish Song” to have been recorded as a commercial song , (which the group had no intention of) and demanded extortionate fees to promote. Therefore The New Creation were left with no choice but to promote their own product which they did by mail order and appearances throughout Los Angeles, Chicago, Denver (Colorado), Cleveland and New York selling their 45, for $5 each complete with a homemade promotional brochure.

    With the groups growing popularity came the need for more rehearsals which sometimes lasted till three in the morning the teenage members of the group parents feared this would compound upon their High School work and so pulled them out of the group. They were replaced briefly by older members before the group broke up for good.

    The New Creation’s “The Fish Song/Elijah Knows” is now a highly regarded and sought after 45 with sweet and harmony soul collector’s in Europe and it’s native USA.


    Steve 'Doc' Willoughby

    All My Life

    In 1978 multi talented New Jersey singer songwriter Steve Willoughby recorded an incredible piece of sweet, soulful and orchestral disco, arranged by his good friend, the late great Tony Camillo, ‘All My Life’ will make you feel good about living and loving!
    The original version will whet your appetite for the main event; an extended version which has been miraculously restructured by Phillip Ward, building to a mind blowing crescendo, never heard before until now!

    In the summer of 2017, Kees Berkers (Baby Galaxy, YAYAYA) & Yves Lennertz (Bounty Island) started writing and recording songs in a ballet school in a remote village atthe foot of the Plateau of Doenrade near Alpaca Mountain. Being avid record collectors, with both members having a collection spanning almost every musical era and genre, details from many different genres seep through in their music. Using South East Asian music from the 60 ́s and 70 ́s as a main inspiration, whilst also bringing their individual musical backgrounds and interests to the table, the recording spree resulted in a remarkable set of songs mixing world music, disco, funk and electronic music.


    STAFF COMMENTS

    Patrick says: The best Bongo Joe in aaages for me this! On the A-side Yin Yin cook up a slow rolling syrup groove, then get deep into molam organs and thai guitar, coming on strong like a Khuruangbin - Paradise Bangkok collab. They save the real magic / madness for the B-side though, sending us into the stratosphere with the wild "Dis Ko Dis Ko", a street market "I Feel Love" with lunatic guitar licks and echo drenched vocals.

    Timi Yuro

    As Long As There Is You / It'll Never Be Over For Me

    Timi Yuro was an American singer and songwriter. She was born into an Italian-American family in Chicago. In the 50s the family moved to Los Angeles where after performing in clubs she landed a recording deal with Liberty Records. In 1962 she was invited by Frank Sinatra to support him on tour, and the following year her album “The Amazing Timi Yuro” was produced by Quincy Jones. Then came the release of the single “It’ll Never be Over For Me” (400,000 hits on Youtube) acknowledged by northern soul fans as among the greatest of the genre. Original copies on Liberty have sold for £1,300. While scaled down her music career to focus on being a mother, she also became Reggie Kray’s favourite singer and is referenced in the Kray Twins movie “Legend”.

    For some time now in the continual hunt for new DJ material to play in the jazz scene we have been coming across great tracks by current artists that are often only available on digital or CD format, and have been cutting dubplates so we can play them in Jazz Dance gigs. "Modern Jazz Dance Classics" aims to provide DJs with this new music on vinyl and thus inject new music into the jazz dance scene. If you are a DJ we hope you will find some of these tracks indispensible in your set, and if you are a collector we hope you will find this a great listen and addition to your collection. There are tracks from all over the world carefully selected to make a great set and selection.


    RT @brownswood: Swindle - No More Normal / Brownswood from Piccadilly Records https://t.co/HrEKvHYRFW via @PiccadillyRecs
    Mon 18th - 8:03
    Let the Saturday shopping commence. We’re open until 6pm. https://t.co/KL1FeNcZ4F https://t.co/UHSnkkRpSV
    Sat 16th - 10:30
    The new self titled album from @LadytronMusic is out today. It’s their first album in seven years on Ladytron Music… https://t.co/8kbjEmO9hd
    Fri 15th - 4:37
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