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ATHENS OF THE NORTH

Hampshire & Foat

Galaxies Like Grains Of Sand - Reissue

Multi talented UK Jazz Pianist Greg Foat has teamed up with Mercury Award nominated "The Bees" member and multi instrumentalist Warren Hampshire to collaborate on a new LP drawing on their diverse musical influences. Classic British library music, 60s Italian soundtracks & lost Americana combined with touches of modern classical, minimalism, Jazz and Folk. Featuring many members of Greg and Warren's previous bands and one of the U.Ks finest Jazz drummers, Clark Tracy, the LP also features an Edinburgh orchestra and soloists hand picked and scored by the boys. Recorded all analogue onto 2" multitrack in Edinburgh, mixed down by Mattias Glavå at his studio in Gothenburg, Sweden then mastered and cut in Helsinki, Finland, it's truly a European affair. 


TRACK LISTING

Galaxies Like Grains Of Sand 
Lullaby 
The Solar Winds (& Cadenza) 
A Long Way Home
End Song
All Washed Up 
How The Nights Can Fly 
End Song (Reprise)

Absolute smasher of a two-sider 45 out of Waycross Georgia. The 45 was licenced from original band member Michael George & Tim Gillans with help from DJ MR Big Happy & Daniel Mathes. We flipped the sides for the re-issue, the A side now being the more uptempo. 'What About Love' is a melodic spacey floater (you know I'm a fan already) with a brilliant vocal and top sax break. On the flip, 'Dream of a lady' is an absolute killer downtempo floater, I can't stress enough not to sleep on this side, it's a textural dreamy wonder.

TRACK LISTING

1. What About Love
2. Dream Of A Lady

Sometime in 1984, San Diego native Anthony "Antone" Williams found himself sitting alone at Pure Sound Studios, tinkering around with a drum machine. Eventually he landed on a "sinister groove" which would lay the propulsive foundation for his hauntingly melodic tour de force, "Windows of My Mind." Released the following year as a seven-inch single on his own Unity Records label, the song features Antone's otherworldly production. Some have referred to the result as "post punk soul," but we'll let you be the judge.

Coming up in San Diego in the Seventies, part of an extensive musical family, Antone's creative fuse was lit by the sounds of Stevie Wonder, Earth Wind & Fire, and the Jackson 5.. At the age of 13, he was performing in area clubs, making a name for himself. By age 22, he had opened his own recording studio, Pure Sound. The influence of Sly and the Family Stone was decisive for Antone, who took to wearing a star-shaped gold necklace, not unlike the one famously worn by Stone on his epochal 1975 LP High on You.

"Windows of My Mind" was Antone & The Underworld's sole release. Limited to 500 copies and handed out as a promotional tool for a purported album of the same name, the single didn't get much traction. (A story as old as time.) Perhaps the music was ahead of its time and Antone's visionary message will finally sink in 2023. "I didn't want to make a song like Shake Your Booty", he says now. And yet we think that this long-lost record with its "sinister groove" is eminently danceable, almost 40 years later. We challenge you to take a listen to this home-grown 1985 7", remastered directly from the original tape, and make an assessment of your own.

TRACK LISTING

1. Windows Of My Mind
2. Windows Of My Mind (Remix)

Bernetia Miller And The Soul Groovers

You Can Tell Me Goodbye

The insanely rare Georgia rarity 'You Can Tell Me Goodbye' by Bernetia Miller was recorded in Phil Walden's studio (Capricorn Records) in Macon, Georgia. Bernetia remembers a many takes and hard work before they were happy with the record. The Soul Groovers toured extensively, they even had their own little tour bus. The Reissue is taken from the master tapes which Bernetia has held onto for all these years.

TRACK LISTING

1. You Can Tell Me Goodbye
2. I've Gotta Keep On Loving You

The vocalist, saxophonist, composer and arranger Bobby Boyd, arrived in New York at a young age after completing his schooling in Augusta, GA. His musical adventures began in the mid-60s with the release of his debut single "My Type Of Dancin'" on Veep Records in 1965, a fledgling R&B subsidiary label of United Artists. Encouraged by their positive impact on his career, he went on to release his second single "Whatcha 'Gonna Do About It" on Bang Records in 1968.

In 1970, he formed the Bobby Boyd Congress and, feeling that the funk scene in America was over-saturated, took the decision to re-locate to Paris, France. In 1971, they released a single and an exceedingly rare self-titled album on the tiny private-press label Okapi Records, followed by a further single on Disc-AZ in 1972. After four years of life in Paris (where he was joined by touring artists such as the Ohio Players, Lionel Richie with the Commodores and Chaka Khan), Boyd returned to New York leaving the rest of the band to record as Ice (aka The Lafayette Afro Rock Band).

One day he got a lift from Jimmy Boyd, George Benson's manager, who introduced him to George at his home recording studio in the Bronx. The two got on so well that Benson became a life-long mentor and produced tracks which ended up being released in 1976 as a self-titled album on Tiger Lily. The label was basically run as a tax-scam and without promotion coupled with a tiny pressing run, it was pretty much doomed to instant obscurity.

Bobby was introduced to other outstanding artists such as Ralph MacDonald, Roberta Flack, Anthony Jackson, Steve Ferrone and Earl Klugh. As the 1970s came to a close, Bobby performed with artists such as Tony Silvester and Cuba Gooding (of The Main Ingredient) and Ecstasy, Passion & Pain. Athens Of The North have released previously unreleased material from this time, and here we continue to preserve Bobby Boyd's unique legacy and bring his music to a wider audience.

To this day, Bobby can still be found performing at some of New York's finest jazz clubs.

TRACK LISTING

1. Why Are You Cryin'
2. Good Woman
3. Happy Hooker
4. Ain't What You Know
5. 'Cause I Love You
6. Girl, I Can Feel Ya
7. How Do You Hang On To A Dream
8. Let Bygones Be Bygones
9. To Be In Love With Yourself
10. On This Side Of Town

Married around a shared love of machine-led funk, outsider soul, 70s-80s nautica and 21st century basement disco, Bright & Findlay (formed of multi-hyphenate James Alexander Bright and Groove Armada's Tom Findlay) are set to release their debut album 'Everything Is Slow' on 9th June via Athens Of The North.

After hearing James' 2019 single 'Tigers Roar' on the radio, Tom reached out to see if they could work together on some new music for Groove Armada's last studio album 'Edge Of The Horizon'. While three tracks from these sessions made the album, the two concurrently struck up a friendship in creating a musical language of their own, leading them to form the beginnings of a new partnership tagged Bright & Findlay.

The first Bright & Findlay release, 2021's 'Slow Dance' EP, was Gilles Peterson included it in his tracks of the year, they recorded a Block Party mix for Huey Morgan and it also received support from Don Letts, Tom Ravenscroft, Bill Brewster, Dam Funk (Apple Music), Bluey (STR4RA/Incognito), KCRW, Triple J and beyond.

With a blueprint laid out, the pair began work on more songs, initially exchanging sketches back and forth between their respective studios before adding and subtracting, layering and finessing an album's worth of music. The pair share production and instrumental work across the record, with James taking vocals and guitars and Tom's ear for arrangement proving second to none.

Opening with the low end arpeggio of 'Hello In The Dark (Standing)', the instant earworm groove of 'Fireflies', and the underground soul hit 'Slow Dance'; the album has a stunning move and feel to it, packed front to back with sunshine boogie, cosmic disco and lashings of Balearic funk.

'When I Look Into The World' is the beautifully melancholic downbeat highlight of the album, featuring a touching string arrangement from James that counterbalances Tom's strong bassline. It comes across like a rediscovered private press record, hidden in a dark basement since the early 80s. Tom says "James sent this to me as a demo with just him and his guitar. We've built it into something that tugs at the heartstrings". James adds "The world has been and always will be a beautifully chaotic and equally troubling place. For me this song wraps up the light and shade of life on Earth as a human".

Club needs are also accounted for with the Dâm-Funk inspired 'Space & Time' and the Metro Area vibe of 'NY Disco (Smile)'. Tom says "As the name suggests, 'NY Disco' is inspired by the Brooklyn disco scene, Morgan Geist, Environ, all that good stuff. All my vintage synths make a guest appearance on this one".

All the artwork for the album and singles is by James (who works under the Fuzzy & Magic tag) and ties back into the feel of their sound. James states "I was inspired by a visit to Charmouth last summer with my family. The rocks and ancient stones we found on the beach worked so well as micro sculptures whilst I was listening back to the mixes of the record. There was a real light and shade texture from the stones that I felt complimented the music and songs".

TRACK LISTING

1. Hello In The Dark (Standing)
2. Fireflies
3. Slow Dance
4. When I Look Into The World
5. Flowers
6. Everything Is Slow
7. It's Only Rain
8. Leave It All Behind
9. Space & Time
10. NY Disco (Smile)
11. Doom

Wendy Walker & Legal Assault

We've Got One

One of the finest tracks from Anthony Brightly's work with a young Wendy Walker. This track has always been a personal favourite, so whilst working with Anthony on another project we thought why not do a nice little 45 of this classic. Flipped with Legal Assault's, 'Nice & Slow' also from the Sir George label, this is another long time spin, it's a no-brainer all Killer 45. Strictly AA

TRACK LISTING

1. We've Got One
2. Nice & Slow (feat. Dan-Elle)

Greg Foat has always had a great reverence for the musicians that featured on the records he has collected over the years. Whether they were players from the great European library catalogs, Italian soundtracks, American Jazz but most of all British Jazz. One of his all-time favourites being the beautiful tone of Art Themens Saxophone…

After Art had played on a few sessions for Greg both were keen to record an LP together. Plans were hatched during lockdown and everyone headed to Edinburgh as soon as allowed, to an unassuming metal door that leads to a renowned studio with a large live room with a stunning Neve desk. Chamber Studio has a long Edinburgh heritage, known for recordings from Mogwai to everyone's favourite The Vaselines.


Greg & Art wanted to do something experimental so they brought in an interesting and challenging mix of new musicians along with a large pile of synthesizers and effects pedals. The result is a fantastic melting pot of melodic, harmonic and rhythmic ideas and motifs. 'Off-Pisté' is a masterpiece!

TRACK LISTING

1. Fresh Snow
2. La Partida
3. Off Piste
4. Yrsno
5. Sis No Hyp
6. Apres Ski

Ben And The Tight Squeeze Band

Thumping For You

Another two deepfunk/soul tracks from Benjamin Robinson of Coco and Ben fame's tape archive. You might be forgiven for thinking is 45 is unreleased, but there is only enough copies of the original small hole pressing out there to count on one hand.

'Thumping For You' is a hypnotic floaty soulful funk banger with that catchy guitar that reminds you right away of the Coco and Ben connection, and the loose vibe just hits the dancefloor.

Brandon's song keeps the hypnotic loose vibe going for the flip, I can see me late night dancing to this one outside in the hills this summer.

TRACK LISTING

1. Thumping For You
2. Brandon's Song

Sometimes after hoping and dreaming for so long, miracles really do happen. Athens of the North have gifted us this marvelous Marion Javius track and we couldn’t be more grateful.

‘Roll on 15 years and I was speaking to my record fiend and friend David Haffner who helps with releases on AOTN. It turned out he had been sitting on the multi-track tapes for Marion Javius for some time and was cool with us doing a 45. Having multi-track was an opportunity for me to fix the little bug bears with the OG mix. On first listen, I was delighted to hear a vocal take without the "Shamwooon" on the chorus, so myself and Linkwood got on the case to rebuild an ECLA version without the Game Show bar ends and "Shamons" that had been haunting me for years.’

Enjoy this special seven knowing all is right in the world now this is here!


TRACK LISTING

1. Waiting In The Wings (East Cost Love Affair Mix)
2. Waiting In The Wings

Ben And The Tight Squeeze Band

AM Funk

Two Killer unreleased Memphis deepfunk tracks from Benjamin Robinson of Coco and Ben fame's tape archive, working with Robert Garcia & Daniel Mathis on all of Bens tracks has been amazing, to find quality unreleased material is always the dream. 'AM Funk' is a driving disco tinged Sisterfunk club banger that I have been smashing dance floors with since I got the tapes transferred. On the flip 'Summer Rest' is a more floaty instrumental soul funk track, also rock solid. You know the score.

TRACK LISTING

1. AM Funk
2. Summer Rest

With 'Parallel Light', AndrewWasylyk offers an alternative mix album to 2020's spiritual-jazz and neo-classical masterclass in melody, 'Fugitive Light And Themes Of Consolation'. This new LP, his third with Athens Of North Records, is as much a different perspective as a companion piece.

The ten songs still circle landscapes for meaning, channelling half-heard melodies and misremembered memories; caught somewhere between settling down and setting out towards the shining levels of the estuary and beyond. Each magnifying the bold, expansive arrangements of FL&TOC with layers are lifted and peeled away.

The soft-focus glow of gently pressed piano keys, the well and wash of strings and brass remain, but the deduction of instrumentation serves to highlight the ornate and offers comfort with this new found space. In the warmth reshaped, a romanticism illuminated.

At the essence of these reframed compositions Wasylyk's blue and gold, mellifluous refrains prevail. It's a seamless, sublime flow from a restless artists and an album quietly reawakened.

STAFF COMMENTS

Barry says: Love a bit of Wasylyk, me. For those of you that loved Parallel Light, this is MORE of that stunning loveliness, brimming with moments of tension and release and the same tender melodies. Reworked versions still swim with the soul of the original LP but with the background and textures pulling into view a whole world of harmonic variation.

TRACK LISTING

1. A Further Look At Loss (Alternate Mix)
2. Last Sunbeans Of Childhood (Alternate Mix)
3. Fugitive Light Restless Water
4. The Violet Hour (Alternate Mix)
5. Everywhere Something Sublime (Alternate Mix)
6. In Balgay Silhouettes (Alternate Mix)
7. Awoke In The Early Days Of A Better World (Alternate Mix)
8. (Half Light Of) The Cadmium Moon
9. Black Bay Dream Minor (Alternate Mix)
10. Lost, Aglow

2023 Starts with a doubler sided disco action from East Coast Love Affair - Taking the vocal from obscure Minneapolis lo-fi band 'Quiet Storm' master tape (Big up Numero Group) and building a whole new deep disco 45. 'Get Down' is deep dance floor chugger using the O.G studio gear that would have been used at the time, strictly analog business. On the flip, 'Can You Deal' is a more uptempo boogie joint. Both killers as always. Lots more from ECLA this year!!

TRACK LISTING

1. Get Down (feat. Quiet Storm)
2. Can You Deal (feat. Quiet Storm)

Undisputedly one of the best, across the board crowd and D.J pleasing rare Disco 45s ever cut to vinyl, two sides of AAA grade party smashers. Cut as loud and Deep as we could manage , this fully licenced 45 won't be around long, it sells itself, don't hang about, no repress.

TRACK LISTING

1. You Can Win
2. Let's Go

James Enard was raised in Lafayette and got his start with the Ohio based group "Perfect Element". This all happened during the groups session time in Louisiana recording with Jimmie Mouton and Michael Lockett (Two essential figures form Louisiana).

James played an important role with the group and actually wrote their song "Let Me Be The One For You" while he was laid up in the hospital. He parted ways from them after the group made it clear they didn't want to tour even turning down a gig to open for Prince in New Orleans. He linked up with a fella named Kennith and started Kingdom Records and released "How Close". James and Kennith had a falling out over creative differences and as luck would have it James was invited to play at the Apollo with a group "For U2 See".

TRACK LISTING

1. How Close
2. How Close (Remix)

Race 'N Rhythm was originally a 12 member jazz group out of Oakland. The members were multiracial, which inspired the name.

The group was managed by jazz-master Rudolph Peters. He also owned the small Oakland based record label "Northstar Records." After playing the local jazz circuit for a few years, the group decided to put out their first and only 7" single. Luckily for Race 'N Rhythmthey were under the guidance of Harvey Scales's right hand "William Scott Harralson.", William was a brilliant soul pianist and songwriter. Aside from all the work he did with Harvey Scales, he also co-produced two amazing Bay Area record grails; 'Debravon Lewis - The Little Things" and 'The Stars - (We Are The Star's)'.

With the local success of the single, the group signed on to record a full album titled "Album One". Members Sharon Nance and Gerald Goudeau worked closely together, finding romance, and eventually they got married. They became the driving force behind the groups further success. For decades Race 'N Rhythm played and toured Japan, Canada and all the United States. Sharon and Gerald continued working together until Sharon's passing last October.

TRACK LISTING

1. Space Saver
2. Candybar Superstar

Channelling his considerable improvisational skills to evoke notions of island life, his concept was to create something that could work equally well in the wilds of the Western Isles as in the sunnier spots of the world that we all yearned to escape to at that time. The more he played with this idea of groups of islands, of archipelagos the world over, the more it also became about people themselves experiencing isolation as individuals, while still feeling a sense of togetherness with others in the same boat.

Working a little at home but mainly here at Athens of the North studios, he would come in each day over the course of a few weeks and just hit record, playing at times almost without mind. Sometimes the mood would call for keys, strings, or drums through delays for days and days. Often, the music would happen by chance as much as by design. One rule he tried to adhere to was to not overthink things, capturing moments honestly with minimal editing or digital processing.

What we've ended up with is a beautiful, spontaneous, timeless and honest meditation on what it is to be at once both alone and part of a larger whole.

TRACK LISTING

1. Braidbit
2. SoLong SoFar
3. Ambergris
4. Zeniba
5. Cave Code
6. Selkie Road
7. Open Sea
8. HomeWords
9. Landmasses
10. Circles

Arthur Ponder, a life long Macon, Georgia resident, started his singing career in the 60s replacing Otis Redding in Johnny Jenkins & The Pinetoppersafter Otis went solo. Although he gigged extensively, he did not actually make it onto a record until around 1970. Presented here, we have mostly his 80s Modern Soul output Solo and with local group Side Show, some with was released on 45 others remain unreleased till now. Special thanks to Angelo Angione who went above and beyond to help with this project and Arthur Ponder - The Prince of Georgia Soul.

TRACK LISTING

1. Lonely Girl (feat. Side Show)
2. Sexy Lady
3. If You Want My Love
4. My Love
5. Let's Get Together For The Wrong We Have Done
6. Whatcha Gonna Do About It
7. You Are The One For Me (feat. Side Show)
8. Oh Baby Why You Want To Make Me Cry
9. You Talk Too Much
10. It's You Girl

The final William Stuckey release unfortunately did not make it on time for the man himself who sadly passed last year, with support of his family we are very happy to do this 45 justice.

The previously unreleased 'Everything That's Good In Life' A Very suitable unreleased track up there with his finest moments, it's got everything that would have made this a classic over the years and no doubt will make it a future classic for years to come, flipped with an alternate 7" Mix of 'Hold Me Close' this is a rock solid 45. You know what to do.

TRACK LISTING

1. Everything That's Good In Life
2. Hold Me Close (7 Inch Mix)

Norfolk & Midnight Love

Mamas Baby Boy / You Are My Doll Baby

One of America's finest guitarists, Gordon Banks is most well known as Marvin Gaye's tour bass player in the 70s and co-writer in the 80s (as well as becoming his brother-in-law). He has also played with New Birth, Edwin Hawkins & Gladys Knight & The Pips. Norfolk and Midnight love were Gordon's post Marvin (Passed in 84) local bands, these two tracks were recorded between 86-88. You can hear Gordon's writing skills coming through with a far more late 80s pop vibe, like late Marvin joints, which I love.

Personally it's an honour to work with such a huge talent, Gordon's bass playing on 'Life is For Learning' still give me goosebumps every time.

STAFF COMMENTS

Millie says: Disco heaven with Norfolk & Midnight Love seven, loved up soulful happiness pressed on wax right here for your listening pleasure. A welcomed reissue of these two tracks, more where that came from please

TRACK LISTING

1. You Are My Doll Baby
2. Mamas Baby Boy

Billy Bruner is not only Tulsa's OG soul man, but he also wrote the best 80s soul tribute to his home city, T-U-L-S-A, not just a great nod but an earworm of the highest order. Flipped (as we love to do) with an unreleased ballad called 'I Want To Hold You' found in the archive. It came from a rough tape so we have done our best to bring it back to life, we pulled it off pretty, so don't sleep on the B-Side kids.

STAFF COMMENTS

Millie says: Be still my beating heart! All the right amounts of disco, romance and 80's soul. It's not that often that the B-side is as good as the A but this is just divine on both. Highly highly recommend.

TRACK LISTING

1. T-U-L-S-A Song
2. I Want To Hold You

Homegrown Syndrome

Got The Love

Home Grown Funk was also known as "Homegrown Syndrome," a controversial name bestowed to them. Before heading to LA they gigged all over Memphis. Some of the members were from an earlier 70s group called "Brothers Unlimited" and had earlier ties during the 60s with the "Memphis Invaders" (a peaceful civil rights activist group).

With aspirations of pushing Homegrown further, a few members including Jerry Jones made the move out west. It was LA 1977 when they were introduced to Ike Tuner through a mutual friend "Ricky G". It was a casual meetup. Then one night Ike had his son Ike Jr. go check them out while performing at the Soul Train hangout spot "Maverick Flats". Ike Jr. praised their performance to Ike and he had them come out to his Inglewood studio. The group walked into the studio with a funky track already playing and that's when Jerry Jones improvised this opportunity and started singing. Ike then turned and said… "Who is that singing?" Jerry said, "Thats me." Then Ike replied " YOU BIG MUTHAF***A! You could be my new Tina." From that point the group cut bunch of tracks with Ike over the years up until they're feature on his 1980 album "The Edge."

In 1981 Perry Kibble (Keyboardist for Taste Of Honey) was at "Concerts In The Park" and heard Home Grown Funk performing. He linked up with the group and got them a deal with Arista. During this time they recorded their hit track " Confrontation." Perry suggested that the group change their name because he didn't want another group with the work "Funk" in it and hence "Homegrown Syndrome." They also use the Arista studio to cut an unreleased acetate with tracks "Got the love" and "Party Vibes" which we have here

TRACK LISTING

1. Got The Love
2. Party Vibes

One of the bangers of Dave Haffners amazing disco with a feeling comp on 45, one of San Diego's finest independent disco 45s. Make sure and check the LP on the incredible Cordial Records, with unreleased tracks.

TRACK LISTING

1. Disco Thing
2. Your Love

During the production of two singles (This being the first) unfortunately William Stuckey passed away, below are some words from my partner in the project Brian Sears regarding our work with him pm his LP.

Brian Sears - I'm not one that likes to write but I wanted to say a few things about William Stuckey. William Stuckey passed away last in August 2021 at age 73, and is an artist that I've been working with since last summer. He was a key fixture in the Little Rock music scene and most notably was one of the driving forces behind the legendary True Soul label. Lee Anthony, the owner of True Soul Records, once told me that William Stuckey was the most talented musician he had ever worked with, and if you know anything about that label or Lee Anthony, that's quite a compliment.


When I reached out to William last summer about re-releasing his material, he ignored my calls and messages. Fortunately, I was able to reach his son, Erreyon who was kind enough to listen to me. I've worked a lot of terrible sales gigs in my past and "getting to the point" is sometimes a hard thing to achieve, especially when you're trying to talk about the music business and music that's 50 years old. But the point was simple, his music matters and deserved to be preserved. This resonated with William and Erreyon and they gave Euan Fryer and myself a chance.There was a memorable handoff of the master tapes in a parking lot and from that point forward I knew William Stuckey trusted me. Trust is something he had to do a lot in his life due to the fact that he was visually impaired and I'm thankful he trusted us. As I wrote before, there was a long process of transferring the tapes, but it was successful, and the album has never sounded so good. William had incredible hearing and was able to pick out details most might not detect. He was gifted and that shined through his own playing and voice through copious recordings. Speaking with him after he finally heard the newly remastered album, the way he had intended for it to sound, is something I'll never forget. Moments like that are really the reason why I feel so compelled to work with older musicians that didn't get a fair shake the first time.

Meeting William Stuckey face to face earlier this summer was one of the highlights of my year. We laughed and hung out at his place where he had lived for the past 50 years. I told him his music was internationally known and the re-release was well received. He was humble and felt like a long lost friend that I hadn't seen in a long time. I'll never forget that. I told him I wanted to take some photos, and I'm so glad I did.We had a good time and it was a beautiful summer night and as I left his place his neighbours noticed me walking to my car and wanted to chat, so we talked briefly and it ultimately lead to one of them getting into their car and cranking "The First Time" on the stereo system in their driveway. I wasn't sure if Stuckey could hear it from his house, but part of me knew he probably could and hearing his song echo in the background as I drove off and thinking about Stuckey and the time we shared and his music being appreciated by so many, even in that moment, is a wonderful memory. I'd like to think he was smiling.His music and legacy will live on forever.
Rest in peace to a great one.

TRACK LISTING

1. The First Time
2. The First Time (Instrumental)

'Language Of The Birds' LP was recorded solo shortly after completing 'Galaxies Like Grains Of Sand' and 'The Honey Bear' with jazz pianist Greg Foat. 'Language Of The Birds' is noticeably influenced by Warrens love of walking the countryside and woodlands on the Isle of Wight. It's also influenced by his interest in Catastrophism/ Extinction events and the use of Symbolism employed in the Art, Architecture and Writings used to communicate knowledge of such events to subsequent civilizations.

Warrens personal folk musings hint at 60s Psychedelic Folk but with a deeper connection to nature and the part we all play within it, it's impossible not to be drawn into his music and artwork which provokes memories of old children's books, Fairy tales, and the transportive paintings associated with them.

TRACK LISTING

1. Eve Of The Deluge
2. The Falling Rain
3. Zep Tepi
4. Then It Was Gone
5. From Lonely Hours
6. I Just Didn't Think You'd Care
7. Autumn's Draw
8. They Glide The Hills
9. Only A Moment
10. Wu Wei

A collector and DJ from Dallas, Texas, Chad "High-C" Burnett of Rehash Media, first exposed Bartell's "Top Going Down, Bottom Going Up" in the "Excavations" section of the Rehash web site in December of 2001. For all intents and purposes, the 45 had been unknown to collectors but caused a quite a stir while everyone who heard it searched for more copies. The 45 remained out of reach until February of 2004 when noted British collector/DJ Ian Wright turned up a copy and began to play the 45, giving it further exposure by way of a radio show featured on the deepfunk.org web site.

Hailing from the small farming town of Ashburn, GA (population roughly 4400) noted as the "Peanut Capital of the World", young Nathan Bartell had grown up around music, playing trumpet in the school band and jazz band. After graduating from high school in 1962, Bartell moved to Atlanta where he found and enjoyed a thriving music and night club scene, catching then local acts such as Gladys Knight, The Tams, as well as the many touring acts that came through town and played clubs like The Palladium, The Pink Pussycat, The Casino and The Royal Peacock

The point at which the story truly begins to take shape was a fateful night in the summer of 1967 at a nightclub on Bankhead Highway near Northside Drive. The house band was doing its thing, but the crowd was thinking about Wilson Pickett's current hit "Funky Broadway" as they kept shouting for the band to perform the song. After some discussion amongst the band, a few of the musicians decided they knew the song well enough to give the people what they wanted, provided somebody knew the lyrics, as their singer did not. Bartell took the stage, and must have done the job right, as he continued performing with bands in clubs all over Atlanta such as The Oasis, and the most important of Atlanta nightclubs, The Royal Peacock.

By April of 1968, following the assassination of Martin Luther King Jr, Bartell was married to a woman who also came from Ashburn. She didn't care much for Atlanta, so the couple moved back home to Ashburn. Music was still boiling in Bartell's blood, however, and it wasn't long before he began singing with a group called Eddie and the Cascades from just up the road in the (even smaller) town of Cordele. Eddie and the Cascades performed in clubs around South Georgia until the band broke up in 1972. Despite the length of the band's existence, sadly, the opportunity to record never presented itself.

Toward the end of Bartell's time with Eddie & the Cascades, he met Jesse Boone, whose musical legacy was already well underway. Boone brought Bartell into his studio with members of his own band, The Astros, to record his first Soul-Po-Tion single "Ooh Baby, I Love You", which was backed with "If I Could Win Your Love". According to Bartell, the single sold quite well regionally, and Hi Records approached Jesse Boone about releasing the single nationally. Boone declined the offer, hoping to draw more attention to his label and boost the momentum of his Soul-Po-Tion label. While sales were apparently good enough to attract a nationally distributed label, this one is quite possibly his most obscure 45.

Capitalizing on the regional success of "Ooh Baby I Love You", Bartell toured around the southeast, often with Jesse Boone & the Astros, playing dates in Florida, Louisiana, Mississippi, Alabama and the Carolinas. Touring, as it can certainly do with young musicians, began to take a toll on Bartell's marriage, which was splitting up by the time he was ready to record his second single. Soul-Po-Tion label mate Freddie Wilson, following his own debut single "What Would It Be Like", had written a new song, which Jesse Boone listened to with Bartell in mind. "Top Going Up, Bottom Going Down" was a song that fit very well with what Bartell was feeling at the time, so Boone put him in the studio with Soul-Po-Tion's house band to record Wilson's composition. Where Freddie Wilson's style was very much from the mould of James Brown, Bartell gave it a more personal touch. That said, Bartell admits that the single's flip side "Johnny and John" was basically a blatant attempt to cash in on the success and sound of Johnnie Taylor, particularly through the use of reverb and echo effects.

Playing on the "Top Going Down…" session were O.C. Glaydens (a.k.a. A.C. Raven, a.k.a. O.C. the Wildman) on guitar, Johnny Badden on bass, Bruce Jones on saxophone, and a fella with the last name of Caldwell on drums. Nathan doesn't remember Mr. Caldwell's first name, but if he was Boone's first call drummer for Soul-Po-Tion recording sessions, then this is a man who clearly needs more attention. Even some of the less significant Soul-Po-Tion singles some top shelf drumming.

As Bartell remembers, the Freddie Wilson song was written specifically for Bartell to record. This indeed may be the case, but it is also possible that Freddie Wilson presented the demo to Boone for himself. What exactly happened next is something of a mystery. Either Boone specifically wanted the song to be recorded by Bartell, or Bartell's 45 came out before Wilson tried to do a polished version beyond his original rough demo recording. No matter how exactly the series of events transpired, Boone clearly did not want the two versions competing for sales against each other, much less on his own record label. Either theory is plausible. Regardless, Nathan Bartell's classic 45 emerged from the small label in Albany showing exponentially more style and musicianship than his debut.

Back to 1975 now…. While Bartell continued the southeastern club circuit, Jesse Boone was setting up a new record label, Albradella. The label kicked off with a couple of singles from Florida artist Chuck Roberson, but Bartell came back in 1976 with his new band, The Shandells, to record the "Moving On" single, with the b-side, "Sitting Alone". "Moving On" is a driving up-tempo funky soul dancer, with a deep ballad on the flip featuring Melvin Roberts on lead vocals. One more single was released on the Albradella label in 1979, "That's My Girl" parts 1 and 2 and "Someone Like You" b/w "Running Through the Night".

For a good part of the early 1980s, The Shandells worked both on their own, and backing other musicians on tour, such as Z.Z. Hill while he toured for his 1982 album "Down Home". The work with Z.Z. Hill put Bartell in touch with Tommy Cough of Malaco, who Bartell cites as an important mentor and influence in aspects of his career ever since. This influence has had no greater impact than in helping Bartell start up his own label, Eureka Records, an endeavor which he undertook in 1985 and continues to operate today.

Eureka was started when Bartell had approached Jesse Boone with the idea of recording in a new studio rather than Boone's own studio. Boone was not not keen on releasing recordings on his labels which were not produced in house, which is understandable when you own the studio and the label. So, Bartell and his band went to Sunbelt Sound Studios and began to record songs for an album which was to be titled "Let Me Love You". It seems that nine songs were cut in 1987 for this project. Unable to take them back to Albradella, Bartell started his own Eureka Records and published his songs under his own Co-Rey Music. Of the nine songs recorded, only four would actually see their eventual release on vinyl, as two 7" singles. But even with the Eureka label off the ground, Bartell did not sever his friendship or business ties with Jesse Boone.

By 1987, the Soul-Po-Tion and Albradella labels were both out of business, for the most part. Boone set up a new but short-lived venture called Vanity Records, which seems to have been for the express purpose of putting together one last project with Nathan Bartell. This is how Bartell's only R&B album was released. There was, however, one slight problem. Bartell's name is nowhere on it. Instead, Boone named the artist Timothy Gaye. The exact reason for this is still unknown though Bartell casually dismissed this decision as "one of Jesse's marketing ploys". The album is comprised of songs written by Boone, Roshell Anderson, Homer Chambers, a version of Eddie Floyd's "Knock On Wood" and a track written by Bartell's brother Keith, who also handles lead vocals on the song "Million Dollar Baby". The Jesse Boone-penned "If I Ever Fall In Love Again" b/w "Knock On Wood" was released as the only single from the album, which is slightly ironic since "Giving Good Loving" is easily the strongest track on the album.. One last single on the Vanity label followed the album, with Bartell (under his own name again) providing the song "Someone Like You" but sharing space with Chuck Roberson's "I Feel It Coming" on the flip side.

Bartell continued performing in night clubs, but not traveling as much, when a fateful turn ended his secular music career. Bartell went through a series of seemingly random religious encounters, the death of his 19 year old son who was coming home from his first year of college, and a collapsed lung. In 1991 Bartell was hospitalized with a recurrence of his lung ailment. While in the hospital, Bartell became born again and cites his acceptance of Jesus as what finally healed him for good. During this time, he also endured the death of his youngest son, who died at the age of 17. Bartell prayed to God that if he could make it through all of these events, he would never sing R&B music again. Music was still what Bartell wanted to do with his life, however, and formed a Gospel group called Nathan Bartell & Reality. Crossing the bridge between the traditional Gospel quartet style and a more contemporary sound, Reality has recorded three albums since 1995, and all on his own Eureka label and is still performing at Gospel events in Southern Georgia today.

TRACK LISTING

1. Top Going Down
2. I Feel It Coming
3. Sitting Alone
4. Jody & John
5. Someone Like You
6. Moving On
7. I Want Your Love
8. Mystery Lady
9. See Me Cry
10. Ooh Baby, I Love You
11. If I Could Win Your Love
12. If I Ever Fall In Love Again

Doug Payne is a graduate of LaGuardia High School of Music & Art (also known as FAME) in Manhattan NY, and Howard University in Washington D.C. He performed as a member of the Sister Sledge tour ("We are Family") has produced several recordings for quite a few East Coast acts and worked as the Music Director for The Dreamlovers, Eddie Holman, The Coasters and the house-band for the Atlantic City television show Chat-24.

We are happy to present two of his self released singles in full on one long 12". She Is On The Money is a A+ Boogie floor filler this previously unreleased in this full version massive 15 Mins long mix direct from master tape. On the flip we have Doug's first single "Holiday" which was previously 45 only and very hard to find, plus some other mixes of "She is On The Money" from a second tape, HEAT!

STAFF COMMENTS

Millie says: Holidaaaaay! Ultimate boogie dancefloor filler right here for you folks, drenched in soul-disco-boogie goodness. ‘She Is On The Money’ you can’t not move to, it’s impulsive. An absolute must.

TRACK LISTING

1. She Is On The Money (Unreleased Full Version)
2. Holiday
3. She Is On The Money (Alternate Version)
4. She Is On The Money (7 Inch Mix)
5. She Is On The Money (Instrumental)

Peoples Pleasure

Dreaming Our Lives Away / A Feeling Inside

Two of the best tracks from one of the Rarest 70s soul LPs on the planet, 500 copies only with a nice brand free label. One time press. The finest floaty modern soul you can buy.

TRACK LISTING

1. Dreaming Our Lives Away
2. A Feeling Inside

Linkwood & Other Lands

Face The Facts

I can't actually remember why we decided to do this project other than ask ourself, why had it not been done years ago? let's do it! Linkwood and Other Lands are well known from their various outings on Firecracker, Night Theatre, The Nuclear Family, Rush Hour, Dekmantel, AOTN and many other labels, both talented musicians and fierce producers. The plan was simple, drop them into the mostly finished Athens of the North studio and cross the streams….

The results are nothing short of spectacular but putting them into words or genres on paper is somewhat of a challenge. Folding modular textures, post-punk, Electro, House and Techno even ending in some lush Balearic business, they have moulded their years of experience and translated it into something new.

What strikes me when listening to the LP is both their voices have come through in this production. Other Lands guitar work and Vocal and Linkwood deep sense of Rhythm and structure. The recording of this LP was just pre-covid which seems strange as it fits now so well. Like a dream of what it would be like to be out In the city night in all its different factions.



STAFF COMMENTS

Barry says: This shimmering dancefloor stormer from Linkwood & Other Lands hits all the high points of a night out, the slow start, blistering, groove-filled highs and slow, languid finish. Brilliantly satisfying, and perfectly crafted.

TRACK LISTING

1. Theme For City
2. First Take
3. Porty
4. Face The Facts
5. 3VSR
6. Meet In The Middle
7. Don't Throw It
8. Gold Leith
9. Downright
10. Varial
11. Shapes
12. Silver Nows
13. Up Wrong

Recording at Malcom Catto's analogue studio has been an ambition of Greg's for a long time, not only for the studio itself but for Malcolm's skill using this vintage equipment, very few people can achieve such an incredibly big sound.

Earlier this year we grabbed the chance to get the full Greg Foat group joined by Binker Golding (Binker and Moses) on Tenor Saxophone, Malcolm Catto on drums and Hugh Harris (The Kooks) on Guitar on the session.

Moving to a more rhythmic space, you could call it Jazz funk or Fusion, but labels suck so just listen and appreciate the pure sense of space Malcom achieves with this recording. Instruments float in space, aided by the Vintage EMI desk and a host of valve equipment which has taken Malcolm a lifetime to collect. In amongst the more rhythmic pieces we also have some classic Foat style compositions; 'Lake Kussharo' and 'The Dreaming Jewels' as emotive and personal as ever, a feeling that can only be expressed and articulated in music. These past few years will no doubt be looked back on with great favour in musical history, with prolific and high quality output in all his various projects this LP is his crowning achievement of 2019. A strong year indeed!




STAFF COMMENTS

Matt says: Foat without Hampshire? Still a delectable prospect I assure you, as the esteemed UK jazz luminerie moves through fusion and funk with a confident stride. Warmed through some classic vintage equipment this is raw Foat!

TRACK LISTING

1. Sapphire Dreams
2. Eric's Breakdown
3. The Door Into Summer
4. Not That It Makes Any Difference
5. Lake Kussharo
6. Kushiro River
7. This Is Not Necessarily My Answer, But
8. The Dreaming Jewels 

Companion 45 to the forthcoming unreleased LP of L.A soul singer, composer and producer LaRombé. We transferred all of larombes tapes in Holywood and pulled sa ton of Amazing track starting with this the original full-length masters of Modern Soul Grail 'You're The Best' (Running an extra one and a half mins) flipped with a previously unreleased track 'Train Of Thought. You know the score, 6k for an OG.

STAFF COMMENTS

Millie says: Finallllllyyy! The long awaited LaRombé is here at last. Full on funky-goodness, so much energy it could fill a room instantly. Make sure you play this one nice and loud!

TRACK LISTING

1. You're The Best
2. Train Of Thought

Part two of our nod to the world of library from Athens of the North introduce Greg Foat journeys into the world of synthesis with good friend James Thorpe. This new LP was recorded in the old Bees Studio on the Isle of Wight earlier this year, a special, different piece of work which I was delighted to receive on ¼ inch tape without warning. Greg's output continues to be prolific without ever tiring, he never plays it safe and is always looking forward whilst having an ear for our musical-heritage.





TRACK LISTING

1. Elementary Physiology, Pt. 1
2. Elementary Physiology, Pt. 2
3. Balloon Ride
4. Circadian Rhythms
5. Diametrically Opposed
6. Grockle Box
7. Living The Dream
8. Platform Game
9. Stacey's Theme
10. Photosynthesis
11. Chronobiology 

Nubia

The Time Is Right

    'Chicano Soul Floaters' has to be one of the smaller sub genres of Disco but Nubia is probably the best example you're likely to hear this side of the Atlantic any time soon.
    It's a perfect summer record that will soundtrack your rainy, gale force wind, barbeque with aplomb.
    AOTN managed to secure the master tapes from original writer George Rivera so it sounds as good, if not better, as the day it was recorded.






    JOB's musical journey started as students at the famed Booker T Washington High School in Tulsa, Oklahoma. United by a shared love of soul music and sweet harmonies, singers James Davis, Ollie Carbin, and singer-songwriter & musician Billy Bruner began to jam together and eventually formed their own band, J.O.B and, upon graduation in 1977. set to work building a reputation by playing local parties, venues and fashion shows. Very quickly the word of mouth on J.O.B became so strong that they were offered a house band gig at North Tulsa's most popular after hours spot, The Point After. During their tenure at the famed late night spot many bigger acts came to see J.O.B when in town. Tulsa's own Gap Band, Chaka Khan, and Bootsy's Rubber band all paying homage to the trio.
    Good quality quarter inch recordings from 1977 are thin on the ground so I can only imagine AOTN delight when this turned up. So, sit back grab a beer and transport yourself back to Saturday evening, 20 August 1977.

    TRACK LISTING

    Keep On Smiling (Live)
    Just A Song (Live)
    Love Everything About You (Live)
    Valentine Love (Live) 

    Nobody

    I Saw You / Heaven's Love

    Mind blowing Minneapolis boogie, there is so much to this story but let's start with their original 1982 press release:

    "Hot group, NOBODY, definitely going somewhere!

    During the 1960s the American popular music scene was overtaken and dominated throughout most of the decade by a creative surge emanating from Detroit. "The Sound Of Young America" was Motown. As Motown declined another inspired voice took up the slack. Under the direction of Kenny Gamble and Leon Huff, Philadelphia International, aka "The Sound Of Philadelphia" (TSOP), became the new voice under the early and mid-70s.

    As is becoming quite apparent, the 1980s belong to the Twin Cities. Most people thought it would stop with Prince. It hasn't. A new band called Nobody is making sure that it doesn't. And although the group has been wrapped in mystery ever since they started just four months ago, their recently released demo tape (which will shortly be pressed on vinyl) is a monster that has music insiders buzzing with enthusiasm, "Right now nobody knows who we are. Once we become established, however, we will be casting a highly creative shadow that will be profound, and that other people will have to live up to," says the group.

    The band has seven members: two vocalists-one male and two keyboard players, one guitar, bass and drums. All but one of the members are from the Minneapolis / St. Paul area, providing how fertile our sometimes mild little town can be. They've all had a diverse amount of experience-from jazz to funk - but their music doesn't fit any particular category. Some of Nobody's members even started out in the church, which gave their music a genuinely soulful feeling that can't be denied.

    Nobody was primarily put together by the female lead vocalist; a lady who's sung with manyTwin City jazz and gospel greats. But beyond anything else the band is a team. A team with a mission. A mission to bring quality music to the community. Many of you will soon get to judge the sounds of their debut songs for yourself. KMOJFM is getting ready to add the single "I Saw You" to its playlist, and WLOL's music director said he "loved it." Along with the airplay will be an appearance on Scott Thompson's "Showcase" on KWTN

    Meanwhile the group's manager, Jordanna Gold is keeping busy on both coasts attempting to hook up a deal with one of the major labels for this dynamic, multi-talented group that many people say will be busting out by grammy time."


    Starting out in late 1960s Chicago as The Fantastic Epics, the young, small group serviced dives of the oft-romanticised Chitlin' Circuit - with all its attendant racial tensions and segregations, rubber-cheque promises and 45 calibre resolutions - before being split up by the military draft. Former Rasputin's Stash band member, Paul N. Coleman himself narrowly escaped transportation to Vietnam, however, and spent his term on home soil instead, expanding his musical chops under the tutelage of an army bandsman with an ear for jazz; a little sunshine in a otherwise cloudy epoch.

    After coming out of the service the band reformed straight away. Despite apparent opportunities afforded by hard-earned major management and recording deals, the 1970s seemed to consist of little more than rare peaks of spiritual reward among expanses of misfortune. Whole album recordings were shelved following ownership squabbles between Motown and Atlantic, master tapes vanished seemingly forever and heavy nationwide touring schedules were endured without profit, the group even travelling a thousand miles to one venue they found closed due to race-riots there the day before. While supporting The Impressions in a hometown stadium, Paul was dragged offstage by overzealous front-row fans and had half the beard torn from his face. Hence the group being renamed after the infamous Rasputin. He was, as Paul plainly states: "a man very hard to kill."

    Luck eluded them still. The official new name of the band, now an eight-piece, was actually Rasputin Stash. However, after finally having inked a solid album deal with Atlantic's Cotillion subsidiary in 1971, the band's mood was blighted anew as industry members struggled with its pronunciation. A label executive mistakenly added the apostrophe and 's' on its first release and the band got stuck with an irksome misnomer for the remainder of its career. The two evergreen, soulful funk albums the band recorded, an eponymous debut and 1974's 'The Devil Made Me Do It' on Gemigo Records, are rightfully hailed as classics of their day and sold respectably, but without furnishing the band with fiscal dues. An increasingly weathered Coleman would eventually drag the band's contract home to Chicago once more, to Curtis Mayfield's own Curtom imprint, for a couple of single releases around 1977 - but with another renaming of the band, to R-Stash. Before too long the Stash, however it was spelled, was spent. Paul would form another local group, Crystal Winds, for one superb, independently-released 1984 album before slipping unceremoniously out of the broader public eye and into the realms of the obscure.

    The previously unheard mid-1970s recordings here, lifted from two disparate sessions, are ostensibly a third and perfectly-realised Rasputin Stash album, if only one of several we might have otherwise heard. Well-earthed, but with a honed commercial polish, it stands as testament to the drive and talent of someone whose travails might have felled a lesser man.

    Paul, whose spirits have been renewed by a flurry of recent rediscovery and interest, is still indefatigably working for anyone who wants his music and now fully understands the achievements of which he can be justifiably proud: "One: being able and lucky enough to record your ideas and emotions on wax for the world to experience. Two: a legacy, very important. Three: to have gained the knowledge and experience to call myself, and to be, a good musician. I still keep the dream going by writing and programming my tail off in hopes to get great music to other artists. Causing or creating interest in the music industry and signing contracts is an achievement that many never, ever experience. These types of achievements, I guess, are the things that keep musicians going in a world of uncertainty."


    TRACK LISTING

    1. Love And Happiness 
    2. Get Down 
    3. Oo Girl 
    4. Dance With Me 
    5. Dark Moon 
    6. Everybody's A Masterpiece 
    7. Sweet Vibe
    8. Party Lights [clip]
    9. Boogie 
    10. Confusion 
    11. Pick Up The Apple

    Lew Kirton

    Something Special / Love, I Don't Want Your Love

      Athens Of The North reach release number 8 in fine form, continuing to deliver nothing but dancefloor brilliance for all the rare groove, jazz-funk, soul, disco and boogie heads out there in vinyl land. This latest 7" features two essential cuts from early 80s love machine Lew Kirton previously only available on unwieldy and thinly pressed LP. Remastered for the occasion, Lew is bigger and bolder than ever, prepare for some serious seduction. On the A-side, "Something Special" gifts us a private screening of Lew Kirton's 'the amorous adventures of an early 80s club soul lothario', as the soul man hurls his big vocals over a smooth and buoyant post disco groove. There's a touch of Love Unlimited Orchestra in there, but Lew's emotion adds a raw touch which veers away from the polish of the Barry White vehicle. On the flip is Lew's straight up jack of Gloria Gaynor's "I Will Survive", a pure shameless anthemic dancefloor disco smasher that's certain to demolish dancefloors all over the globe with that catchy guitar line and Lew's massive vocals. 



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