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Asha Puthli

She Loves To Hear The Music

    From her early days raised as a youth in Bombay, Asha Puthli initially trained in Indian classical music and opera, but over time gravitated towards contemporary western pop, upon discovering talents like Nat King Cole, Ella Fitzgerald, and Dusty Springfield. After making a name for herself in her native country, she found her way to New York, where she happened upon John Hammond of CBS Records. Hammond would introduce Puthli to the avant-garde legend Ornette Coleman, who utilized her unique vocal stylings on his 1971 record Science Fiction.

    Her work on the album earned widespread praise, and though It didn't lead to further work in the United States, it did bring her a record contract in Europe. After her self-titled debut in 1973, Puthli wasted little time in recording her next album, heading back into the studio, and re-emerging with 1975's She Loves To Hear The Music. Building on the eccentric amalgamation of pop, avant-garde, jazz, and proto-disco that her debut contained, her sophomore release once again featured production from constant collaborator Del Newman, as well as a new array of covers ranging from Cole Porter to Van McCoy to Neil Sedaka

    Baby Huey

    Baby Huey Story : The Living Legend

      James Ramey, better known by his self-depreciating stage name Baby Huey, was a potently flamboyant presence in Chicago's soul scene during the 1960s. Though he suffered weight problems throughout his life due to a glandular disorder, he was easily recognizable for his appearance, which featured an enormous afro, and long, flowing African robes. He and his band The Babysitters were a wildly popular and successful local act across Illinois, cutting numerous 45 singles, without releasing a single full-length album. A chance audition with Donny Hathaway and Curtis Mayfield of Curtom Records would change everything for the band. Though the two of them were pleased with the group, they opted only to sign Baby Huey without the Babysitters.

      Huey would go on to spend much of 1970 recording a studio debut of psychedelic soul and funk music, comprised largely of covers of tracks by Mayfield, Sam Cooke, and others, plus two original compositions. During this time the now 400-pound singer struggled with addiction to alcohol and heroin. Huey would not see the release of his debut album, dying at the age of 26 from a drug-related heart attack. So many years after its 1971 release, Baby Huey's studio album Baby Huey: The Living Legend went on to become a cult phenomenon, a massive influence to hip-hop artists and fans, and is now considered a classic of its era. Tracks from the album have been a treasure trove of sample material for artists like A Tribe Called Quest, Wu-Tang Clan, DJ Shadow, and The Chemical Brothers to name just a few. Additionally Huey's own vocal style, which dabbled in sing-song melodies and self-referential rhyming, has been said to have influenced the development of rapping itself

      This is the one and only solo LP released by the Roy Ayers Ubiquity guitarist / keyboard player (he played on the "Lifeline" LP and Ayers' classic "Running Away"), but what an LP it is! Originally released in very small numbers on the tiny New York label Chiaroscuro, this LP became a holy grail item for jazz-funk collectors, mainly because it includes the CLASSIC track "Sweet Power Your Embrace", which is a total anthem. But this ain't just a one track pony! Elsewhere, the fucking insane Theo Parrish play "Free" brings an uptempo spiritual vibe to any DJ set, and the hyperactive title track which killed it for Kruder and Dorfmeister back in the day. It was as rare as hens teeth for the longest time, but luckily for us Soul Brother reissued the LP with its original artwork (apart from the Soul Brother logo and barcode on the back) in 1999. It's taken long enough to get another pressing, but you're in for a treat.


      David says: I've mostly found that most stuff that gets reissued and described as a 'long, lost, classic' is usually lost for a reason. This however, IS a straight up jazz funk masterpiece and is equal to, if not better, than anything Mason's previous employer, Roy Ayers put out around the same time.

      Grandmaster Flash & The Furious Five

      The Message

      In the whole history of hip-hop music, few groups can claim to have been as influential and important as Joseph Saddler's group Grandmaster Flash & The Furious Five. Many of the genre's signature elements and trademarks can be traced back to the supergroup founded by the Grandmaster; their discography was among the first to feature recordings of scratching and turntablism, their's was the first to feature songs with political and social commentary, they were the first to refer to rappers as "MC's", some might even say they were the group that first coined the term "hip-hop."
      Though Grandmaster Flash & The Furious Five was considered the number one hip-hop group on their home turf of New York City, they only maintained a following on a local level, performing and releasing singles exclusively on the East Coast. It wasn't until the release of Sugar Hill Gang's "Rapper's Delight" that the group realized they could break into the mainstream. After signing with Sugar Hill Records, the group released their debut album The Message in 1982. Bolstered by Flash's deft turntablism, rappers Melle Mel, Kidd Creole, and Keef Cowboy's vocals, and production which sampled everything from Chic to the Tom Tom Club to The Jimmy Castor Bunch, The Message was a revelation of sorts.
      More than simply being a Billboard hit for the group, the album helped cement hip-hop's credibility with mainstream audiences, and is considered a major achievement in hip-hop history. The album's title track was especially praised, and is considered one of the greatest rap tracks in music history.


      Patrick says: All killer no filler OG block party business here. Fresh from the era when popping a hydrant was totally acceptable, "The Message" sees Flash & the Five doing their thing in wild style boasting gem's 'Scorpio', 'It's Nasty' and 'The Message'.

      Robert Johnson

      King Of The Delta Blues Singers Vol. 2

        The story of influential blues musician Robert Leroy Johnson is the stuff of music legend. Stories go that as a young man in rural Mississippi he became part of a Faustian pact with The Devil to become a blues musician. Whether the tale was true or not does not take away from the immense legacy Johnson brought with him. Even though his recordings were released more than a decade and a half before the inception of rock and roll music, they provided a solid blueprint for the genre, as well as guitar techniques that were revolutionary at the time.

        The music world rediscovered Robert Johnson in 1961, with the release of King Of The Delta Blues Singers, which kickstarted the blues rock movement, and was considered a badge of coolness at the time. Nine years later, as blues-inspired artists like Led Zeppelin and Eric Clapton were riding high, Columbia Records decided the time was right to release a second volume of King Of The Delta Blues Singers. Like its predecessor, the songs on volume two were recorded in the span of 1936 and 1937, and consisted primarily of Vocalion Records master recordings, but with the addition of five previously unreleased tracks and alternate takes. Though the follow-up was not as popular or influential as the first, it was still a critical smash, containing the blues standards "Sweet Home Chicago" and "Love In Vain", and has been listed by Rolling Stone magazine as one of the 500 Greatest Albums of all time.

        The Ramones

        Leave Home

          The Ramones' self-titled debut was released in 1976 to glowing praise and acclaim from music critics, and the development of the punk rock scene in the US and UK. The band were hailed as the next big step in the development of rock music, and correctly predicted their debut would be a massive influence for musical acts to follow. Those that were hooked by their debut wouldn't have long to wait for the band's follow-up, which came a mere nine months after The Ramones was released. Leave Home did not receive the massive critical acclaim that The Ramones' debut album had, but it still received rave reviews from the publications of the day. Immediate attention was paid to the album's production values, which was more crisp and polished than their previous works, and put them yards ahead of their fellow punk contemporaries in terms of sound quality. The band themselves were significantly more comfortable and together in Leave Home's sound, with vocalist Joey Ramone tackling heavier melodies, guitarist Johnny Ramone's guitar attack sharpening over the tracks, and the normally minimalist drummer Tommy Ramone adapting a slight swing to his beats. The songs themselves were no slouch either; among them were eventual fan favorites like "Gimme Gimme Shock Treatment", "Pinhead", and "Carbona Not Glue", which would later be removed from subsequent album releases due to a trademark complaint. Though the album doesn't maintain the same legendary status as the debut or their pinnacle Rocket To Russia, it's agreed that Leave Home is an essential part of The Ramones' discography, and not an album to be passed by

          Willie Colon

          Cosa Nuestra

            After bursting onto the scene at the early age of 17, Willie Colón has gone on to become a revered icon of salsa and bolero music, collaborating with the likes of Celia Cruz, Soledad Bravo, Rubén Blades, and even David Byrne during a long and successful career.  His numerous collaborations with vocalist Héctor Lavoe are considered some of the greatest works of Latin music of all time, and have rendered a slew of gold and platinum records. Critics tend to agree that one of his finest works came in 1970, with the release of "Cosa Nuestra". Smooth and brisk tracks like "Ausencia" and the Latin club track "Che Che Colé" were huge hits among New York's barrio youths, bolstered by Lavoe's potent vocal flair, and Colón's slick, trombone-heavy production. It was their first gold-selling record, and served to cement the duo's legacy as Latin music icons.

            Carole King

            Her Greatest Hits

              Her Greatest Hits is the first comprehensive collection of hits from folk-pop songstress Carole King. Twelve of King's greatest works recorded from 1971 to 1976, the album is a sterling introduction to the discography of one of the definitive female singer-songwriters of the 1970s. Billboard smashes like "It's Too Late", "Jazzman", and "Nightingale" are just a small sample of the soft rock staples to be found within, which feature contributions from the likes of Tom Scott, James Taylor, Joni Mitchell, Curtis Amy, and others. 

              Robert Johnson

              King Of The Delta Blues Singers

                The story of influential blues musician Robert Leroy Johnson is the stuff of music legend. Stories go that as a young man in rural Mississippi he became part of a Faustian pact with The Devil to become a blues musician. Whether the tale was true or not does not take away from the immense legacy Johnson brought with him. Even though his recordings were released more than a decade and a half before the inception of rock and roll music, they provided a solid blueprint for the genre, as well as guitar techniques that were revolutionary at the time. Robert Johnson's music was only available on Grammophone singles until 1961, which saw the release of a definitive compilation of Johnson's recordings.

                King Of The Delta Blues Singers was a collection of 16 mono recordings cut from 1936 to 1937, and is widely considered the linchpin for the electric blues and blues-rock movement of the 1960s. The album was a critical smash, a badge of coolness during the time, and is now considered one of the greatest albums of all time. It was the first album to be inducted into the Blues Hall of Fame, and greatly impacted the development of artists like Bob Dylan, John Mayall, and Eric Clapton, who most famously had a smash hit on rock radio with his band Cream's cover of "Cross Road Blues

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                PREORDER: Mr. Fingers 'Cerebral Hemispheres' Larry Heard follows up that spectacular 12" w…
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                A definite hit here @PiccadillyRecs Gonna be on the shop player for some time to come I think.....
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                We also got this today, what a lovely surprise with our 7's, thanks @courtneymelba, and @Milk_Records xox
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