LATIN, CUBAN, MOTOWN, SOUL-FUNK





ROY AYERS-  Stoned Soul Picnic.. A really great little album from Roy Ayers -- titled after a famous 60s pop hit, but with a much hipper feel than you'd expect! The group on the album features modernist soul jazz musicians like Herbie Hancock, Gary Bartz, Charles Tolliver, and Hubert Laws -- all of whom work nicely with Roy on the album's expansive approach to the music. The set features a great version of Jobim's "Wave" -- done like we've never heard it before -- plus the original cuts "What The People Say", "Lil's Paradise", and "A Rose For Cindy". MINT; 15.-



HAROLD ALEXANDER-  Sunshine man- A wicked bit of funky jazz from Harold Alexander -- and one of the hardest to find albums on the legendary Flying Dutchman label! The set's got a great sound that's freer than your average jazz funk album of the time -- with some nice traces of post-Coltrane spiritualism, mixed in alongside some sweet electric piano by Neal Creque, and tight funky drums by Pretty Purdie! Tracks are all nicely long, with plenty of cool and sharp changes -- MINT; 15.-



JOE BATAAN- Salsoul-  A landmark album from Joe Bataan - so great, that it made the entire record company change its name! The record has Joe really bursting out after his seminal Latin Soul work of the late 60s -- blending Latin rhythms and American soul into a whole new style of music -- one that Joe called "Salsoul", because of it's mixture of salsa and soul! The blend is fantastic, a real milestone in the NuYorican scene -- and handled perfectly by Joe on every cut! There's some massive Latin funk on here, including the tracks "Latin Strut" and "Aftershower Funk", plus some straighter Latin jazz, like "Sunny Gets Blue Mambo", and a great Latin Soul cut with English vocals called "Johnny". MINT; 16.-



LES BAXTER- Hell’s Belles- Fantastic funkiness! Although Les Baxter's best known for his easy listening work in the late 50's/early 60's, this 1969 biker flick soundtrack is a motherlode of funky funky tracks, and a veritable cornucopia of breakbeats! Highlights include the classics "Hogin' Machine" and "Hot Wind", but there's lots of other nice ones like "Soul Groove" and "Scoobee Doo". The drums are nice and hard, and there's plenty of fuzzy fuzzy guitar to go around nicely! A few tracks have vocals, but the instrumentals more than make up for any weak spots. Essential. MINT; SOLD OUT



BEAT KONDUCTA- Beat Kondukta Vol 3- In India- Hazy beatcraft steeped in Indian soundtrack style funk, strings and percussion from the indefatigable Madlib -- Volume 3 in the increasingly adventurous and conceptual outings of the Beat Konducta! This time out Madlib, er, Beat Konducta is conducting beats, strings & things from India and/or otherwise East -- but the way in which the beats bluntly thump is quintessential Madlib -- you know it and love it from the first beat! 'Lib really breathes fresh life into this approach -- going miles deeper than anyone out there doing the Bollywood-hip hop hybrid -- coming up with a sound all his own. Masterful! "Onthanewthing", "Indian Deli", "Rumble", "Dancing Girls Theme", "Piano Garden", "Dark Alley Incidental Music", "Early Party", "Fifth Chant", "The Rip Off (Scene 3)", and "Sitar Ride" MINT; 22.-


BEGINNING OF THE END- One of the rarest funky records of all time -- the rare second album by Beginning Of The End! This West Indian combo hit it big with their first album on Alston, but this second set, for some strange reason, never really got distributed -- which is a damn shame, because it's every bit as funky as their first! The uniquely choppy rhythms of the group's first album are every bit as great here as on the first set -- and if anything, the band's instrumentation is even better, especially on the guitar, which is wickedly tight, and played with a super-dope flanged-out approach on the solos. Vocals are great too, maybe even more soulful than before, especially on the album's few midtempo cuts -- and the album's a must-have for any fan of the group's funky sound! Titles include "That's What I Get", "Super Woman", "Bluestrain", "Jump In The Water", "Falling Apart At The Seams", and "Trip To Nowhere".  MINT ; 16.-


BEGINNING OF THE END- Funky Nassau- A monster bit of funk that's unlike anything else we can think of! Beginning Of The End hailed from The Bahamas, but don't hold that against them -- because instead of being a Caribbean cliche, they took the best part of the island rhythms, and used them to forge an incredible approach to funk! They've got a choppy sound that's the result of some incredibly dexterous guitar, bass, and drums -- and which you'll recognize instantly from their one-time hit "Funky Nassau", a killer funk track that never gets old, no matter how many bands cover it over the years! That gem kicks off the album, which then rolls into the monster funky "part 2", which is even better! Other titles are equally wonderful -- and include "Come Down", "Surrey Ride", "Monkey Tamarind", and "In The Deep". Essential -- and one that you'll be spinning for years! MINT; 16.-



BLACK IVORY- Baby won't you change your mind- Fantastic ballad soul from one of the greatest groups from the east coast 70s scene! Black Ivory may not have scored as big as some of their contemporaries on the charts -- but to fans of harmony soul, they'll always be kings, and this record is the sort that forever gave them keys to the kingdom! They're working here with writer/arranger/producer Patrick Adams -- back when his main talents were for ballads, not disco -- and Adams perfectly crafted a set of songs to bring out the best side of the group's heavenly vocal talents. Includes loads of wonderful ballads, like "Wishful Thinking", "No Ifs, Ands, Or Buts", "It's Time to Say Goodbye", "Time is Love", and "Baby, Won't You Change Your Mind". MINT; 16.-



BROTHERS UNLIMITED- Who's for the young- A excellent album of southern funk -- and darn rare, too! We know almost nothing about the Brothers, but they're a 14 piece combo with a tight ensemble funk sound that clearly shows roots of both the Memphis and Muscle Shoals scene where the album was recorded. There's a lot of fuzzy guitar, almost in a Detroit Westbound mode -- but the band's also got a sweetly southern funk style, with lots of organ bubbling underneath the tracks, punctuated by some pretty tight drum work. A really wild one -- and the kind of record that makes your jaw drop when you realize that some lucky A&R guy was actually able to get an underground soul album released by a major label! Titles include "Got To Get Over", "Life, Dreams, Death", "Get Away", "Take Me Back", and a great psychedelic cover of Willie Dixon's "Spoonful". (Plus, the back cover's got a photo of the band eating at a big table -- with the words "Excuse their appearance, but the cameraman caught them at suppertime. You understand.) ;  MINT; SOLD OUT



BRUTE FORCE- Same- The one and only album by this righteous funky combo from Ohio! Although Brute Force were an American group of the late 60s, they've got a sound that brings in traces of the African rhythms that were bubbling under at the time -- similar to some of the best London groups of the post-colonial years, like Cymande, Demon Fuzz, or Asiko. There's often a jagged and jazzy style on the bottom of the grooves, topped with brighter horn flourishes, and combined with a vocal approach that has some slight folksy touches -- very hip, progressive, and as righteous as you'd expect from the cover! Sonny Sharrock sits in on some tracks, and the titles include "Some Kind Of Approval", "Doubt", "Ye Le Wa", "Do It Right Now", "The Deacon", and "Monster". MINT; SOLD OUT



BUDOS BAND- Same- A brilliant mix of Afro and deep funk styles -- the kind of grooves you'd get if Fela Kuti hung out with The Meters in the late 60s! Budos Band recall the genius of 90s deep funk combo The Daktaris -- and have a similar love of older African rhythms touched by a newer indie funk sound -- a complexity in the group's well-arranged horn parts, but a simplicity to their rhythms that makes the album cook like some of our favorite classics from years back. Sax and trumpet lines are mixed nicely with heavy percussion and a fair bit of organ at the bottom -- creating a murky groove that has a bit of New Orleans in the mix, but also has most of the instruments stepping along with the rhythm -- in a very cool take on the Africa 70 sound. Tracks are all instrumental, and all incredible -- and the record's one of the freshest we've heard from the deep funk underground in years -- a second-generation set that gets way past simple copycat funk and into its own unique groove! Titles include "Budos Theme", "Ghost Walk", "King Charles", "Eastbound", "Across The Atlantic", "Up From The South", "TIBWF", and "Monkey See Monkey Do". MINT; 18.-



BUDOS BAND- 2-One of the hippest groups going in the deep funk underground -- a combo who play way more than just conventional funk -- and who manage to embrace a whole host of classic influences at once! Echoes of older Latin, African, and soundtrack-styled grooves sift together beautifully in this second album from The Budos Band -- all in an approach that's totally unified, and which borrows the best elements from other modes to create a whole new Budos-styled sound! The album's all instrumental, but it's far more evocative than most vocal funk sessions we can think of -- and the group's horns are tighter than ever, with a slightly exotic feel that creates some real otherworldly moments. Titles include "Ride Or Die", "Budos Rising", "Chicago Falcon", "King Cobra", "Origin Of Man", "Deep In The Sand", "My Girl", and "Mas O Menos". MINT; 18.-



BWANA- Same- An insanely wonderful bit of Latin funk! The groove is super heavy, and falls somewhere in between NuYorican soul and Chicano Power rock -- with a sound that's pretty close to Black Sugar, but a little bit more psychedelic, due to the heavy guitars and keyboards in the grooves. Hard congas take the lead on most of the tracks -- especially the cut "Chapumbambe", which starts with a nice breakbeat. Other tracks include "Tema De Bwana", "Motemba", "La Patada", and the massive Latin soul cut "Lolita". MINT; SOLD OUT


TERRY CALLIER- What color is love- Possibly the greatest album ever by the legendary Chicago soul singer Terry Callier! Terry's rich mellow voice is mixed with superb arrangements from the Cadet studio team, with Charles Stepney at the head, and the result is completely sublime. The songs are longer than on earlier albums -- and spun out with a complex groove that mixes equal parts of jazz, folk, and soul with the soaring spiritual vibe that was running through the Chicago scene at the time. The first side alone is the stuff that legends are made of -- with classic tracks like "Dancing Girl", "What Color is Love", and "You Goin' Miss Your Candyman" all in a row, sewn together in a wash of love, soul, and emotion that you'd be hard pressed to find on any other album from the time. Other tracks include "I'd Rather Be With You", "Just As Long As We're In Love", and "You Don't Care" -- and the whole album's a masterpiece beyond compare! MINT; SOLD OUT


CANDIDO- Thousand finger man- Stone lost Latin funk! This is Candido's rarest -- and it's a killer batch of conga-heavy grooves, recorded in the late 60s for Solid State, and featuring a very groovy set of mod Latin arrangements by Joe Cain. The band features organ, guitar, bass, horns, and some upfront conga solos from Candido. Tracks are longer than usual for this sort of album -- and there's a lot of strange elements floating through the tracks, in a very nice way! Titles include "Thousand Finger Man", which has some especially firey conga breakdowns, plus "Jump Back", "Soul Limbo", "Tony's Theme (from Lady In Cement)", and "Come On Choo Choo Train". MINT; 16.-



CANE AND ABLE- Same- A fantastic bit of tripped out funk! Cane & Able were one of the many groups that came out of the collective surrounding the Lafayette Afro-Rock Band in the early 70s -- and like that group, Cane & Able draw on a wide range of influences to create a heavy funky sound. The album mixes the African influences used by the LARB with more of a hard soul vocal approach, with some cuts sounding a bit like material from Atlantic albums of the late 60s, but handled with more of a fuzzy edge. Includes a great funky reading of Wilson Pickett's "Don't Knock My Love", a cover of "Who's Gonna Take The Weight", and the long tripped-out groover "Girl You Move Me"! MINT; 18.-



JIMMY CASTOR BUNCH- It's just begun- Wickedly fuzzy funk! Jimmy Castor recorded in a lot of different styles during the 70s -- but the one he used on this album is still his best! The record's a non-stop guitar-heavy batch of classic funk tracks -- and it features the storming break track "It's Just Begun", the funky goofy "Troglodyte", and plenty other nice moments like "Bad", "LTD", "I Promise To Remember", and "Psychee". Fuzzy guitar meets heavy drums meets some of the most insane lyrics ever on a mainstream funk album! One of our most requested records -- and for good reason! If you've ever bought a lousy Jimmy Castor album -- throw it away, and buy this one! MINT; 15.-



CATALYST- One of the hippest funky jazz combos of the 70s -- stepping out here in their amazing debut for Cobblestone records! Catalyst had a groove that was unlike most of their contemporaries -- a sound that was often jazzier than some of the tighter funk artists on labels like Kudu or Prestige, with some deeply spiritual leanings in the solos -- but also a style that was still pretty tight and focused, not as far out as some of the headier groups on the Strata East label. There's loads of great choppy rhythms and tight-edged grooves on the record -- thanks to Fender Rhodes from Eddie Green, reeds from Odeon Pop, bass from Al Johnson, and drums and percussion from Sherman Ferguson. Skip Drinkwater produced the session at Sigma Sound, and it's definitely got some of his hallmark appreciation of rhythm in the mix -- on titles that include "Ain't It The Truth", "New Found Truths", "East", "Catalyst Is Coming", "Jabali", and "Salaam". MINT ; 15.-


COUNTS- Love sign- Quite possibly the most righteous work ever from The Counts -- a move away from the heavier funk of their Westbound years, and a shift into some great jazz-based material! The vibe here draws heavily on the electric keyboard scene of the early 70s -- with echoes of Lonnie Liston Smith's spaciness that trip through some of the album's best longer numbers -- mixed with the harder grooves that The Counts first cut on their legendary singles in Detroit. The blend of modes is really great -- and gives the album a depth and quality that goes way beyond their other album for Aware, and which shows a side of the band that never would have emerged on Westbound! Titles include the massive 9 minute long "Counts Medley" -- stone cold instrumental jam with heavy drums, cool organ, and a very soulful sound -- plus the spacey "Love Sign", the ensemble jamming "Riding High", and the tracks "Too Bad", "Sacrifice", and "Just You Just Me". MINT; SOLD OUT



DUKE LUMUMBA- Jungle Funk-Do yourself a favor, and buy this album -- you won't be disappointed! The record is a gem all the way through -- a really unique mixture of LA soul jazz and African rhythms, with a sound that's almost like Hugh Masekela sitting in with the Jazz Crusaders! Of course, there's a lot of Jazz Crusaders in the set -- as Wilton Felder plays electric bass on the album, giving it a fantastic loping groove -- but there's also plenty of unique albums on the record, especially its way of approaching the rhythms with a sly, syncopated groove that's immediately infectious! Duke's trumpet solos are great, and they're augmented by tenor work by Chester Washington and trombone by George Bohannon -- all nicely grooving on the album's brilliant blend of jazzy tracks. Titles include "Jungle Funk", "Afrikaloo", "Akagruge", "Like It Is", "Mafam", and "Peace Brother". Somebody put this one on CD -- and do us all a treat! MINT; 18.-



EARL VAN DYKE- Earl of funk- Surprising (but lucky!) reissue of this great lost album of funky organ grooves, originally recorded by Earl Van Dyke for Motown's Soul subsidiary. The groove is very hard and funky, with organ instrumental renditions of tracks like "Cissy Strut" and "Thank You Falletinme Be Mice Elf Again", plus some great groovy originals like "Fuschia Moods", "The Stingray", "The Whip a Rang", and "The Flick", which was a hit single for Earl. There's this crazy audience noise in between tracks, and the whole thing has a nice tight "live" feel to it. ; MINT; 15.-



BOBBY FORRESTER- A lost funky organ groover -- and a rare one too! Bobby Forrester may not look like a funky cat, but this set grooves like some of the best early 70s work by Jack McDuff, Jimmy McGriff, and Groove Holmes -- hitting hard with some really funky tracks that have made the album a must-have with collectors for years. The sound here is really great and nicely stripped down -- Bobby grooving on Hammond with drums by Johnny Kirkwood and guitar by Elijah Williams Jr -- all coming together in a totally solid sound that has plenty of funky riffs, nice drums, and soaring organ lines! Includes the classic groover "Uncle Funky", a great cover of "Sanford & Son Theme", and the cuts "Blues For Razz", "Don't Misunderstand", and "Funky Fly". MINT; SOLD OUT


 
FRITZ THE CAT- The funky freaky soundtrack to Ralph Bakshi's animated feature Fritz The Cat -- a really messed-up little film based around the original character created by Robert Crumb! Like the movie, the album's got a very skittish kind of feel -- leaping from one genre to the next with each different track -- but mostly featuring some older numbers from the Fantasy catalog, plus some key newer tracks for the set that are nice and funky! Original tunes include the bad-rapping "Fritz The Cat", by Ed Bogas and The Watson Sisters + the instrumentals "Duke's Theme" & "Bertha's Theme" by Ray Shanklin, and "The Riot" and "Winston" by Ed Bogas. Also includes "Love Light Of Mine" by The Watson Sisters, "Black Talk" by Charles Earland & "Mamblues" by Cal Tjader. MINT; SOLD OUT



EDDIE FISHER- Madly tripped out guitar funk -- and a real turning point in the career of guitarist Eddie Fisher! Eddie began his career as a straighter guitarist on the St Louis scene -- and although his first album for Cadet was a relatively traditional soul-jazz outing, this one's a wild batch of tripped-out guitar licks! The band's a fuzzy psychedelic one -- not in a rock-styled way, but more in an early George Clinton kind of mode, with plenty of rumbling bass at the bottom, warm electric piano lines, nicely placed drum beats, and Eddie's fuzzbox guitar snaking and wah wah-ing over the top! Eddie arranged and produced, and the record's a perfect batch of kicked-back stoner funk numbers that go on and on and on and on! Titles include "Land Of Our Father", "Beautiful Things", "East St Louis Blues", "Another Episode", "Either Or", and "Jeremiah Pucket". MINT; SOLD OUT


GEORGE FREEMAN- New Improved Funk- The title certainly gets it right -- as the album's one of the funkiest ever from guitarist GeorgeFreeman, and one of the few to really hit that messed-up groove he was working in the clubs before his mid 70s retreat to Chicago! The style here is often all over the map -- a mix of soul jazz and funkier numbers, but often served up with less of the direction than you'd get on Prestige, and even less of that on Groove Merchant -- more in a raw small combo mode, with Freeman's guitar hitting plenty of raspy notes and weird solo excursions that keep even the mellower tunes exciting! The record features 2 different groups -- one with John Young on piano, the other with Bobby Blevins on organ -- and brother Von Freeman plays tenor sax on the whole set, although not nearly in the spotlight as George! (Definitely in keeping with something that Von told George many years back -- quoted to us by George -- "When you've got your own album, make sure that people know that you're the star!") Titles include "New Improved Funk", "Daffy", "Happy Fingers", "Confirmed Truth", "Guitar Lover Man", and "Big Finish".  MINT; 15.-



THE GATURS- Wasted-  An essential bit of funkiness from this obscure New Orleans funk combo! The Gaturs' frontman was keyboardist Willie Tee -- who went on to greater fame as a jazz and session player -- but we like him best at this early point, when he was wailing away on organ in a tight choppy small group setting. The Gaturs clearly deserve any praise you could heap on them -- and their work on this album's a perfect match with the New Orleans funk of Eddie Bo and The Meters. Most of the material was recorded in New Orleans, but only ever issued on 7" singles -- and this is the first LP that the group have ever had under their name. Titles include "Cold Bear", "Booger Man", "Gatur Bait", "Hunk Of Funk", "Funky Funky Twist", "Wasted", and "Yeah, You Right". MINT; SOLD OUT



MARVIN GAYE- Trouble man- Marvin Marvin Marvin -- just when we thought you couldn't impress us any more, you took it to the next level! Trouble Man is a heck of a wonderful surprise from an artist that most folks really only knew as a singer -- a fantastically funky blacksploitation soundtrack, conceived and composed by Marvin himself, with some arranging help from Gene Page, JJ Johnson, Jack Hayes, and Leo Shuken. The album's filled with great cuts -- including the landmark "T Plays It Cool", plus other gems like "Don't Mess With Mister T", "Main Theme From Trouble Man", "The Break In", and "T Stands For Trouble". Very funky, very sophisticated, and very soulful! MINT; 15.-



JONAS GWANGA & AFRICAN EXPLOSION- Who?- A rocketing bit of South African funky soul -- and of the few great records released on Ahmad Jamal's short-lived Jamal label! The session's a lot hipper than some of the South Africanthe US around the same time -- and the feel here is almost more in a London post-colonial mode, with a strong criss-crossing of elements, but also a good sense of roots. There's an undercurrent of funk, too -- tightly vamping rhythms, killer percussion, and it's peppered with sharp jazz solos from Gwangwa on trombone and Du Du Pukwana on sax -- an overall groove that's almost like some of thethe early 70s! Some cuts feature vocals from Mamsie, and titles include "Dark City", "Switch #2", "Switch #1", "Szaba Szaba", "Kwatula", "Chant", "Who", and "African Sausage". work that was issued in Perception/Today label jazz funk of MINT; SOLD OUT



THE HEADHUNTERS- Survival of the fittest- A landmark bit of jazz funk -- from one of the greatest backup groups of the 70s! Herbie Hancock first brought The Headhunters to light -- working with the San Francisco-based combo that included Bennie Maupin, Mike Clark, Paul Jackson, and Bill Summers -- using their sound to give his work the right dose of funk it needed to reach new audiences during the decade. This album's the first to feature the group on their own, without Herbie -- and if we don't mind saying so, they sound even better without him! The whole thing's a wonderful mix of jazz funk grooves and very unusual rhythms -- and the record contains the monster full length version of "God Make Me Funky", which is 9 minutes and 35 seconds of non stop funk, plus the cuts "If You've Got It, You'll Get It", "Magic", and "Here & Now". MINT; SOLD OUT


THE HEADHUNTERS- Straight from the gate- The second album by this legendary 70s funk combo -- best known as Herbie Hancock's backing band, but sounding great here on their own. The album's much more of a solid soul effort than the first one -- which was great, but felt more like Herbie Had stepped out of the studio for a minute or two. The vocals are better, with more of a feel for the lyrics -- and the songs themselves are a great mix of funk and smooth soul. There's still plenty of tight jamming and cool electronics -- and the group still includes Mike Clark, Bennie Maupin,and Paul Jackson. Includes the sample cut "I Remember I Made You Cry", plus "Pork Soda", "Dreams", "Straight From The Gate", and "Mayonnaise". MINT; 16.-



HIDDEN STRENGTH- A killer bit of funky soul from Hidden Strength -- an uptempo 70s group with a very tight groove! The group are clearly in the mode of Earth Wind & Fire -- extremely proficient instrumentally, grooving together in a righteous style that has plenty of jazz, but which is also going for a more straight ahead soul-based approach. Hidden Strength are best known for their classic groover "Hustle On Up (Do The Bump)" -- a killer track with a nice funky bus stop groove and some great moog -- but the whole album's pretty darn sweet, with other tracks that include "It Didn't Have To Be This Way", "Angel Of Love", "I Don't Want To Be A Lone Ranger", "I Wanna Be Your Main Man", "All We Need Is Time", and "Happy Song". MINT; 16.-


MONK HIGGINS- Same- An excellent batch of soulful and funky instrumental tracks -- super-dope 70s work from funky arranger Monk Higgins! The album grooves in the best blacksploitation soundtrack mode -- as Monk plays tenor sax and organ in the set, over slinky stepping arrangements that feature Paul Humphrey on drums, and Freddy Robinson on guitars -- all coming together with Monk in a sweet LA style of early 70s funk! The groove is funky, yet laidback at the same time -- and with some soulful backing vocals behind the instrumentation on a number of cuts -- really the perfect sort of approach for a hip crime or action soundtrack. Tracks include "Little Mama", "If", "Highway No 101", "Walking In My Sleep", "Can't Stop", and the classic "Black Fox"! MINT; SOLD OUT



MELVIN JACKSON- Funky Skull- One of our favorite albums of all times & a legendary testament to the greatness of the Chicago music scene in the late 60s! Melvin Jackson was the bassist in Eddie Harris' very successful group of the time -- and his playing on Eddie's trippy and funky records for Atlantic is one of the factors that made them so great. Here, he's working with an acoustic bass, amplified with electronics like a Varitone sax -- and this strange-sounding instrument is set up in a hip group that mixes Cadet funky studio players (Phil Upchurch, Morris Jennings, Jody Christian) with some of the brighter young players of the AACM (Roscoe Mitchell, Lester Bowie, and Leo Smith.) Jackson's bass is looped through all sorts of crazy effects, and the result is this amazing blend of avant garde playing and groovy rhythms that is beyond compare! The album includes great reworkings of two Eddie Harris funk tracks -- "Bold and Black" and "Cold Duck Time" -- plus monster originals like "Funky Doo", "Say What", "Dance Of The Dervish", and "Funky Skull (parts 1 & 2)". MINT;  18.-


KASHMERE STAGE BAND- Out of gas.. but still burning- A stunning batch of funky big band tracks from the Kashmere Stage Band -- sounding a lot fuller than on their first LP -- thanks to an expanded lineup that gives them a whole new sound! The group are grooving here in a mode that's a lot like classic 70s blacksploitation soundtrack work -- with a full ensemble that features funky drums, electric bass, and keys in the rhythms, plus lots of tight funky horns over the top! Tracks are long, and groove with a jazzy flourish that we wouldn't have expected so strongly -- hitting hard on plenty of nice nice numbers that include "Kash Register", "Do Your Thing", "Angel", "The Zero Point", and "Getting It Out Of My System". MINT; 16.-



KASHMERE STAGE BAND- Zero point- When these guys say "stage band", they aren't kidding -- as the group's got so many members, there's barely room left on the stage for the instruments! That doesn't stop the record from being plenty darn funky, though -- as the sound is right, tight, and outta site -- every bit as great as the group's famous funky 45s, and with a similarly hard Texas take on deep funk! The album's got some wonderful covers of famous soul hits, plus a few hip originals -- and there's some great moments that show the group hitting a more ambitious jazzy feel, one that recalls some of the hipness of the Chicago sound of The Pharoahs! Titles include "Al's Tune", "Scorpio", "Masquerade", "Walk On By", "All Praises", "Thank You", "Do Your Thing", and "To All The Beautiful Black Women". MINT; 16.-


THE LATINAIRES- Camel Rock- Killer Latin soul! This record is one of the hardest to find from the late 60's boogaloo era, and it's a massive stormer filled with tasty grooves! The band is small and tight, with a 2-sax frontline, for an extra-soulful sound. Vocals are in English and Spanish, and the album wails away like a siren out of control. Things kick off with the organ-heavy instrumental, "Camel Walk" -- then they leap into one of the catchiest vocal numbers ever from Fania, the tasty "Afro-Shingaling" -- which starts with Ray Ramirez shouting "I just come from Africa -- and I learned to do the Shing-a-ling!" Other nice ones include "Chevere", "Guajira", and "Creation" -- but the whole thing's great! MINT; SOLD OUT



MANDRILL- Mandrill is..- A fantastic bit of hard jamming funk from Mandrill -- rougher than later work, with a mix of soul, jazz, and Latin influences, all coming together in a mode that reminds us of early 70s LA groups like War or El Chicano. The best element of the album's the mix of keyboards, bass-driven rhythms, and flute -- which cuts across the top of the heavy jams in a light way that really spices things up! Tracks include "Cohelo", "Ape is High", "Universal Rhythms", "Central Park", and "Git It All". MINT; 18.-


SABU MARTINEZ- Afro temple- Percussionist Sabu Martinez is one of the all-time greats of Latin music -- and this record is probably the rarest he ever cut! The album came out of Sweden, where Sabu was residing during the 70s -- enjoying some success as an expatriot jazz player in the European scene. The album mixes Latin grooves and hard funk in a way that's rarely been duplicated, and which has ensured Sabu a place in the funk hall of fame for all time! Breakbeat fanatics have always sought out the album for the cuts "All Camels Hump" and "My Cristina" -- but the whole thing's a stunning batch of hard percussion grooves, and it's well worth its rare reputation! Other tracks include "Para Ti, Tito Rodriguez", "Martin Cohen Loves Latin Percussion", "My Son Johnny & Me", and "Wounded Knee". MINT; 18.-


EUGENE MC DANIELS- Headless heroes of the apocalypse- A monster album that's gone onto influence a generation -- but which was barely recognized at the time! Singer Eugene McDaniels had scored big with some pop hits in the 60s under the name Gene McDaniels -- but here, he steps out in a righteous batch of offbeat funk tunes -- filled with politics, offbeat rhythms, and some very weird instrumentation. The whole thing's awash in moody, jazzy changes -- of the style that showed up often in samples by Tribe Called Quest, Beastie Boys, and other artists who drew keen inspiration from this record. Titles include the massive "Jagger the Dagger" -- plus "The Lord Is Back", "Lovin Man", "Headless Heroes", "Freedom Death Dance", and "Supermarket Blues". MINT; 18.-


SILVESTRE MENDEZ- Oriza- Fantastic stuff -- a New York Latin interpretation of Santerian rhythms! The groove on the set is very percussion-heavy, and recorded in a heavy 1950s Afro-Cuban approach that has drums mixing with vocals mixing with maracas, bongos, claves, cow bell, and an assortment of other percussion instruments. The set's got a great mix of spiritual energy and Latin rhythms, touched by a bit of 50s New York jazz -- and titles include "Obanlaese", "A Bailar Oriza", "Africa", "Laye, Laye", "Nueva Oriza", and "Malambo". MINT; 18.-



PHIL MOORE & THE AFRO LATIN SOULTET- Afro Brazil Oba!- A very unique little record -- and one with a sublime blend of Latin, soul, and vocal styles! record's a fair bit more sophisticated than most other efforts like this from Thethe 60s -- thanks to a strong batch of talents that includes Gil Fuller on arrangements, Phil Moore III on piano, Leni Groves on vocals -- and a host of small combo players who include Joe Pass on guitar, Hadley Caliman on tenor and flute, and Francisco Aquabella on percussion! There's a warmly soulful west coast jazz sound here that's perhaps the strongest aspect of the record -- a style that steps off nicely from the hipper side of LA, but throws in a few Latin influences -- making for a really great sound that's totally fresh, and which really makes this record stand out from the pack! Titles include a great version of "What Is Wrong With Groovin", plus "Midnight Blue", "Batucada", "I Want Your Kiss", "Lavender Lady", and "The 8th Day".. MINT; 18.-


MUSTAFA OZKENT- Insane grooves from arranger Mustafa Ozkent -- an artist who was to Turkey what Lalo Schifrin was to the US in the 70s! Like Lalo, Mustafa had a great ear for mixing funkier rhythms and fuller orchestrations -- often with odd instrumental twists and turns that bubble over with a fair bit of electricity over heavy percussion -- kind of in an Incredible Bongo Band way, but with some moogier touches overall! The record's an instrumental masterpiece through and through -- filled with enough heavy breaks to satisfy even the pickiest crate-digger, but also the more complicated arrangements to appeal to fans of funky 70s soundtracks! Titles include "Uskudar", "Burcak", "Dolana", "Carsamba", "Lorke", "Ayas", "Emmioglu", and "Karadir". MINT; SOLD OUT



OCHO- Same- The rare first album by Ocho -- and a killer batch of Latin tracks that breaks down all definitions of the music! Ocho were a seminal group in the NuYorica scene of the early 70s -- blending soul, funk, Latin, jazz, and other styles into a groove that was perhaps a bit too complicated for the audiences of their time, which might be why they're only finally getting their due these days. This first record's excellent all the way through -- with loads of great little numbers like "Flautira", "Undress My Mind", "Coco May May", "Suena Tu Bongo", "Que Pelota", and "Oriza". There's a great mix of electric piano, percussion, vibes, and some pretty sharp work on tenor and flute! MINT; 18.-



ARSENIO RODRIGUEZ & THE AFRO-CUBANO SOUND- Viva Arsenio- An incredible record and very unique -- cut around the same time as Arsenio's rare boogaloo album for Tico Records! Like that session, this one has a style in which Arsenio is featured in a larger group -- playing with a raspy edge that really steps out in front of the fuller instruments and voices! The group's a great one -- playing here with a few early Latin Soul touches, and in a way that mixes together different modes in a really unusual approach to the grooves. Arsenio's sound is still quite rootsy, but the larger backings are quite tight -- and often done with a nod to more popular soul modes of the time. The whole thing was put together by producer Bert Berns, with arrangements by the great Artie Butler -- and it's got a freewheeling New York groove that's as close to Latin Soul as Arsenio ever came! Includes Latin Soul versions of "Hang On Sloopy" and "La Bamba", plus the tracks "La Yuca", "Tres Marias", "Randy", "Vaya P'al Monte", and "El Elemento Del Bronx", a groovy guaguanco track! MINT; 18.-



MAURICIO SMITH- Bitter Acid- A killer album of hard instrumental Latin soul tracks -- one of the few albums ever done by funky reed player Mauricio Smith! On the set, Smith plays flute, alto, and soprano sax -- and the record's filled with short little groovers that have a nice choppy sound, and lots of heavy conga work by Marcelino Valdes and Victor Pantoja! Other instrumentation includes organ, trumpet, and guitar -- blasting out with some really mad rhythms, and very much in keeping with the crazy 60s work of Joe Cain, who arranged the whole thing. The album's got a sound that's very much in keeping with it's funky ghetto cover -- and titles include "Hot Peppers", "Viva Guajira", "More Bread", "Mambo For Mauricio", "Puttin You Down", and "El Green Hornet". Excellent!. MINT; 18.-



SOUTH FUNK BOULEVARD BAND- Same- One of the hippest albums ever issued on the Crazy Cajun label -- a great Texas set from a group who mix up equal parts jazz, soul, funk, and rock -- all in a blend that's a bit like some of the hip combos on the Fable Records label from Austin at the same time! There's a cool kind of genre-crossing style going on here -- and while the album's not an all-out funk affair, it more than makes up for that lack with some great deep soul vocals. Titles include the great two-part "I Got To Make It", which really gets jamming on the second half -- plus "All Is Well When All Is Love", "You Let Me Down", "I Settled For Less", "All These Things You Are To Me", and "Honey Bee". MINT; 18.-


SUGARMAN THREE- Soul Donkey- Whomp! It's a stormer! Killer killer killer! No kidding, this album's a monster -- and it's one of the heaviest slices of funk we've heard in ages! Pardon the exclamations, but we're telling the truth -- and this classic by the Sugarman Three is a must-have for any fan of funky jazz and jazzy funk. The group's usual lineup has been expanded to a hard, heavy sextet -- with organ, tenor, guitar, flute, and percussion all going to town like a house on fire, or (more appropriately) like the best of the lost little combos that we usually sell on funky 45s! The drummer's totally sock-solid, and the organ and guitar riffs wail so hard your windows will break (Dusty Groove not to be held responsible for damage!) Every cut's a winner -- and this will be the best present your ears have had all year! Titles include "Soul Donkey", "Chicken Half", "Double Back", "Pull My Cart", "Out A Sight", "So Long Donkey", "Turtle Walk", "Mullin Around", and more. Great stuff!.MINT; SOLD OUT


THE TRUE REFLECTION- Where I'm coming from- An excellent group from the 70s East Coast scene -- with a heavy harmony sound that should have made them famous! The record was cut during the prime early days of the Sigma Sound Studios -- and the record features arrangements by Philly greats like Norman Harris, Ronnie Baker, and Vince Montana, all working here in a mode that's similar to that applied to The Spinners after they made their move to Atlantic. It's the band's harmonies that really take the cake, though -- as they mix together deep-rooted Temptations-esque righteous vocals with sweeter harmonies in the New Jersey falsetto mode. The style is very compelling, and great on just about every cut! Titles include "Society", "That Was Yesterday", "It Really Hurts", "Look At All The Lonely People", and the great cut "Whispers" MINT; 18.-


WHATNAUTS- On the rocks- Heavenly harmony soul! This is the 3rd album by this famous east coast vocal group -- and it's completely impossible to find in the original (which makes the reissue even more essential!) The record has a great mix of heavy soul tracks -- like "Only People Can Save The World" and "Why Can't People Be Colors Too?" -- plus some great mellow ballads, like "You Forget Too Easy", "Blues Fly Away", and "I'm So Glad I Found You". The reissue's got the full original cover, which has the band sitting on some rocks (real ones), superimposed in a champagne glass! And as with their other records, the production and a fair bit of the songwriting was handled by George Kerr, the master of the east coast harmony sound -- so the sound is amazingly soulful! MINT; 18.-



CHARLES WRIGHT & The WATTS 103rd St Rythm- Express yourself-  A masterpiece of messed-up LA funk -- and one of the crowning moments in the career of Charles Wright & The Watts 103rd Street Rhythm Band! Charles and crew do an excellent job with all the tracks -- most of which are more open ended than some of their earlier ones, and run on for longer than usual with some good trippy instrumental moments that really stretch out the groove from their funky 45 days. The album includes the stoner funk classic "High As Apple Pie", done here in two "slices", plus the classic "Express Yourself", a monster number that still sounds great every time we hear it -- even though it's been used on commercials and sampled plenty of times over the years! Other tracks include "I'm Aware", "Love Land", and "I Got Love"; MINT; 16.--







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