{"title":"Soul \/ Disco \/ Funk","description":"","products":[{"product_id":"various-a-snapshot-in-time","title":"Various - A Snapshot In Time","description":"\u003cp\u003eBack in September 1962, the only Beatles records in the shops saw them backing Tony Sheridan on a goosed-up version of My Bonnie, Their debut single Love Me Do would be released in October 1962 and the seismic change they brought to music worldwide would occur once the band achieved light speed in 1963. There was, however, before Beatlemania a thriving music culture that dropped anchor in a number of ports. Proto pop charts might be dominated by the likes of Cliff and his Shadows, crooners and sweet looking pop idols who brushed their teeth but R\u0026amp;B was gently finding its way into record racks either through imports or a growing number of home grown cover versions. 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In this album the group rearticulates these themes, however speaking through melody and rhythm. \u003cbr\u003e\u003cbr\u003e“Once a song has lyrics, everyone who doesn’t speak that language is on the outside. We use rhythm and melody to translate the emotions in the album and make it universally accessible,” explains the co-producer\/founder Martin Perna.\u003cbr\u003e\u003cbr\u003eThe album draws on compositions written by several current and emeritus members of the group. “Hourglass” begins with a plaintive and ecstatic tenor saxophone solo before digging into an intense 12-8 groove. The group pivots with “Lo-Life” highlighting the group’s ability to swing a lá Machito or the 1970s Ghanaian dance band leaders like Guedu Blay-Ambolley. \u003cbr\u003e\u003cbr\u003eOthers like “Solace”, “Escape” and “Lo Ceiba,” conjure echoes of the classic Lagos afrobeat sound, albeit spoken with a Brooklyn accent. “Oasis”, the album's finale, is a step into a psychedelic unknown future, with a deep sense of liberatory funk eternally at its core.\u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"DAPTONE","offers":[{"title":"CD","offer_id":53021385720150,"sku":"MRM-00145","price":13.99,"currency_code":"GBP","in_stock":false},{"title":"Vinyl LP","offer_id":54838373155158,"sku":"MRM-06015","price":23.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/d4f8fa73bf4f1127fca25c8d2caa8955.png?v=1775186342"},{"product_id":"aretha-franklin-just-a-matter-of-time-classic-columbia-recordings-1961-1966","title":"Aretha Franklin - Just A Matter Of Time: Classic Columbia Recordings 1961-1966","description":"","brand":"KENT","offers":[{"title":"CD","offer_id":53021388636502,"sku":"MRM-00195","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/CDKEND-325_1200_1200.png?v=1783608513"},{"product_id":"arthur-alexander-the-greatest","title":"Arthur Alexander - The Greatest","description":"\u003cp\u003e\u003cspan\u003eThese recordings are not so much a part of deep soul’s foundation as its corner-stone. If you know them and don’t own them, you will need no persuasion of further purchase. If you don’t know them, you really need to get a shot of Rhythm and Blues, with just a little rock‘n’soul on the side, just for good measure. You may never now get the chance to see Arthur sing his songs in person, but owning “The Greatest” is the next best thing to being there.\u003c\/span\u003e\u003c\/p\u003e","brand":"ACE RECORDS","offers":[{"title":"CD","offer_id":53021388964182,"sku":"MRM-00202","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/CDCHD-922_1200_1200.png?v=1783609123"},{"product_id":"atlanta-hotbed-of-70s-soul-various-artists","title":"Atlanta: Hotbed Of 70s Soul - Various Artists","description":"\u003cp\u003e\u003cspan\u003eStandouts include Miss Louistine’s original version of ‘Con Me’ – surely a contender to be a Deep Soul Treasure, had Dave Godin heard it. 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Over the ensuing decades, the Aura album has grown in stature to become a major soul\/funk collector's item. It features a number of major funk tracks plus funky ballads with female vocals. Standouts include 'Sativa' (heavy 70's funk with waterpipe sound effects and blistering guitar), and the manic fuzz-guitar jam 'Skyrocket.' The lead singer of Aura was Paulette Collins, who still performs around the Bay Area today with an all-girl group called The Taylor P. 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The music he created with his Black Lion Band is amongst the funkiest to arise from Addis Ababa; his recording career, captured in nearly two dozen 7”\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003esingles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this unconquerable East African nation. To date, only four of Mesfin’s songs have been reissued, as part of Francis Falcetto’s Ethiopiques series: This is the first anthology of his music, and the first time he has involved himself in the process.\u003cbr\u003e\u003cbr\u003eEthiopians celebrate an ancient history and civilization, a culture in line with those from the earliest epochs of human history. 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That fine collection of US Kent and Modern label 45s was re-vamped for CD in 1994, but that was deleted four years ago due to legal wrangles over one of the tracks, so there’s been an even longer wait for this CD update.\u003c\/p\u003e\n\u003cp\u003eEvery cloud does seem to have a silver disc lining. We have jumped at this opportunity to enhance the sound while expanding the repertoire. Sound reproduction techniques have come on appreciably in the last 15 years and we have found some new tapes that weren’t available before, occasionally with a few extra bars, usually on the fade-outs. We are also now able to give the great Kent public a previously unheard version of Van McCoy’s ‘Sweet Bitter Love’ by the little-known but exceptionally talented Millie Foster, Ruth Davis’ churchy take on the Jim Webb ballad ‘The Smartest Fool’, a big band blues number from master of that genre Ernie Andrews, a weeping blues ballad from the inspired Larry Davis and even a plain and simple love song from Larry Sanders.\u003cbr\u003e\u003cbr\u003eThat’s to add to goodies like the previously unissued gems which have only ever appeared on the first incarnation of the now deleted CD: Jimmy Holiday’s ‘Everybody Needs Somebody’, Joe Houston’s Crescent City-recorded ‘The Last One To Know’ and Kent favourite Willie Gauff \u0026amp; the Love Brothers with their oh so bleak ‘Farewell’.\u003cbr\u003e\u003cbr\u003eFurther research has revealed some interesting facts about Mary Love’s ‘Baby I’ll Come’ single and the differences between Jimmy Holiday’s Diplomacy and Kent 45s. Favourite down-tempo Kent\/Modern staples like Tami Young’s ‘I Don’t Want To Lose You’, Tommy Youngblood’s ‘Why Should I Be The One’ and Jackie Day’s tour de force ‘If I’d Lose You’ still sound fresh and more than worthy of a turntable revival, while songs like Terry \u0026amp; the Tyrants’ ‘Weep No More’, Jimmy Robins’ ‘It’s Real’ and Willie Gauff’s issued Kent 45 ‘Whenever I Can’t Sleep’ will satisfy the most tortured soul.\u003cbr\u003e\u003cbr\u003eKent\/Modern big guns Z.Z. Hill, Clay Hammond, Johnny Copeland and even the mighty B.B. 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Maybe you had to have been there to really feel it – locked into the pirate stations, a regular at the right clubs, or leaning on the counter in the right records shops on a Saturday afternoon – but if you were, there are some tunes that will always vibrate with the underground cultural energy of their time.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBô'vel's 1996 Manchester streetsoul anthem 'Check 4 U' is one of those tunes. The kind of song that makes the over-used phrase 'underground classic' mean something again, it effortlessly distills the sounds of its era into one of the most undeniable, genre-spanning cuts of the mid-1990s. The song resonates with the regional flavours of UK sound-system culture: the sweet club sound of Manchester's vibrant streetsoul scene, the dubwise hip-hop throb of the Bristol movement, and the bass-lore of the reggae sound systems whose wisdom stretched from Leeds to South London and beyond. 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Using the stage name Bra Sello, meaning “brother” and used as a term of affection and respect in the jazz community, he came up in the era of shellac 78s as an exponent of the 1960s sax jive sound that brought the swinging rhythm of kwela into the domain of South African jazz. Despite the injection of American rhythm and blues into South African pop in the late-1960s, Bra Sello’s first releases on vinyl on the CBS label saw him backed by the group Abafana Bentuthuko and holding down an unapologetic township sound.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eJoining the independent Soweto label under producer Cambridge Matiwane in the mid-1970s, Bra Sello recorded two records in the hit-making bump jive style popularised by serious jazz musician Dollar Brand on the one hand and prolific studio group the Movers, operating in funk and soul territory, on the other. Blending modern American and traditional African elements into joyful hip-swinging rhythms, Butterfly (1975) and The Battle of Disco (1977) reflect the vivacity of urban life in South Africa and document an era when dance music was performed by bands as extended jams laced\u003c\/span\u003e\u003cspan\u003e with jaw-dropping solos. With music trends shifting dramatically in the late-1970s, the title of The Battle of Disco was an ironic call to arms in response to the territory that group musicians were beginning to cede to synthesisers and DJs.\u003cbr\u003e\u003cbr\u003eFor enthusiasts of African music from the 1970s, a full appreciation of the continent’s output is incomplete without South Africa’s pop-jazz sound providing a regional counterpoint to the funk experimentation of West Africa. 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