{"title":"Funk","description":"\u003ch1\u003eFunk, hip-hop, R\u0026amp;B, groove...some blues and soul albums are included on this page if they contain some uptempo numbers that get the groove on.\u003c\/h1\u003e\n\u003cp\u003eWe work diligently to make these sections, but it's not a perfect system--items get placed in sections like this one by how we tag the item, and mistakes happen.  \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eNo northern soul--every record nurd has their silly (and\/or meaningful) pet peeve about the naming of a genre when genres can be really helpful to listeners (and often harmful to others) but the Northern Soul tag really bugs us--we know how helpful that tag can be for listeners but feel that naming a genre after the location of the predominantly white audience rather then the location of the artist is lame.  \u003c\/p\u003e","products":[{"product_id":"bradley-charles-victim-of-love-lp","title":"Bradley, Charles - Victim Of Love - New LP","description":"Bradley and writer\/producer\/multi-instrumentalist Thomas \"TNT\" Brenneck returned to Dunham studios and recorded the most exciting Daptone release to date, Victim of Love. On this album, Bradley moves past his \"Heartaches and Pain\" to the great promise of hope and love. Though quite at home among the music that has affirmed Daptone as the world's #1 authority on Soul Music, Victim of Love proves to be a genre-bending masterpiece, picking up where the early 70's Temptations left off and edging boldly forward into psychedelic soul exploration.\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1439946835\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/charlesbradley.bandcamp.com\/album\/victim-of-love\"\u003eVictim of Love by Charles Bradley\u003c\/a\u003e\u003c\/iframe\u003e","brand":"Daptone Records","offers":[{"title":"Default Title","offer_id":33808540622,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/bradleyvictim.jpg?v=1523741598"},{"product_id":"bradley-charles-no-time-for-dreaming-lp","title":"Bradley, Charles - No Time For Dreaming - New LP","description":"Charles Bradley's voice has evolved from a lifetime of paying dues, having nomadically labored for decades at various day jobs from Maine to Alaska--singing and performing in his spare time--before re-settling in his hometown Brooklyn and eventually finding a musical home at Dunham\/Daptone. In his distinctively rough-hewn timbre one hears the unmistakable voice of experience--each note and gruff infection a reflection of his extended, sometimes rocky, personal path. It's only fitting that \u003cb\u003e\u003ci\u003eNo Time For Dreaming\u003c\/i\u003e\u003c\/b\u003es producer Thomas \"Tommy TNT\" Brenneck (also a member of The Dap-Kings and The Budos Band)would recognize in Bradley a kindred musical spirit--a singer whose performances exude both raw power and poignant beauty. Recorded at Dunham Studios, and mixed at Daptone Records' internationally revered \"House of Soul\" Studios, \u003cb\u003e\u003ci\u003eNo Time For Dreaming\u003c\/i\u003e\u003c\/b\u003e is the inspired sound of an awakening.\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3617474445\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"http:\/\/charlesbradley.bandcamp.com\/album\/no-time-for-dreaming\"\u003eNo Time For Dreaming by Charles Bradley\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e","brand":"Daptone Records","offers":[{"title":"Default Title","offer_id":33808592910,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/bradleynotime.jpg?v=1523151187"},{"product_id":"bradley-charles-changes-lp","title":"Bradley, Charles - Changes - New LP","description":"\u003cdiv class=\"gmail_default\" style=\"color: #222222; font-family: arial, sans-serif; font-size: 12.8000001907349px; background-color: #ffffff;\"\u003e\u003cspan style=\"font-family: verdana,sans-serif;\" face=\"verdana, sans-serif\"\u003e2016\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"gmail_default\" style=\"color: #222222; font-family: arial, sans-serif; font-size: 12.8000001907349px; background-color: #ffffff;\"\u003e\u003cspan style=\"font-family: verdana,sans-serif;\" face=\"verdana, sans-serif\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"gmail_default\" style=\"color: #222222; font-family: arial, sans-serif; font-size: 12.8000001907349px; background-color: #ffffff;\"\u003e\n\u003cspan style=\"font-family: verdana,sans-serif;\" face=\"verdana, sans-serif\"\u003eSoul singer Charles Bradley’s star has been on the rise since the release of his widely praised 2011 debut album No Time For Dreaming, and his ascent has continued long after the release of his triumphant second album, 2013’s Victim of Love. Dubbed “The Screaming Eagle of Soul,” the singer is proud to present his highly anticipated third album Changes, on Daptone imprint Dunham Records. The album is named for his popular, “smoldering” (SPIN) cover of the Black Sabbath track. \"I think about the lyrics very closely when I sing ‘Changes’ and get emotional,” notes Bradley. “It makes me think of my mother and the changes in my life since she passed away.” \u003c\/span\u003e\u003cspan style=\"font-size: 12.8px; font-family: verdana,sans-serif;\" face=\"verdana, sans-serif\"\u003eBy now, Charles Bradley’s remarkable, against-all-odds rise has been well documented: how he transcended a bleak life on the streets and struggled through a series of ill-fitting jobs before finally being discovered by Daptone's Gabriel Roth. The documentary Charles Bradley: Soul of America, directed by Poull Brien, follows Bradley’s extraordinary journey during the electrifying and transformative months leading up to the release of debut album No Time for Dreaming. The year following the release of No Time For Dreaming was one triumph after another and Victim of Love saw Bradley emerging from his past heartaches stronger and more confident, overflowing with love to share. Victim of Love went on to receive overwhelming praise and was included on \"Best of 2013\" lists by SPIN, MOJO, Paste, BuzzFeed, Rough Trade \u0026amp; more. The album’s title track was also named one of Rolling Stone’s \"Best Songs of 2013.\" \u003c\/span\u003e\u003cspan style=\"font-size: 12.8000001907349px; font-family: verdana, sans-serif;\"\u003eCharles Bradley has also made a name for himself as a riveting live performer. He’s taken his show to venues and festivals across the globe including Coachella, Glastonbury Festival and Primavera Sound. Bradley’s also performed on famed stages including the Apollo Theater—the same place he saw his idol James Brown perform when he was 14 years old, and the Beacon Theatre where he’s separately supported The Tedeschi Trucks Band and the Afghan Whigs. \u003c\/span\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3567174391\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/charlesbradley.bandcamp.com\/album\/changes\"\u003eChanges by Charles Bradley\u003c\/a\u003e\u003c\/iframe\u003e","brand":"Daptone Records","offers":[{"title":"Default Title","offer_id":33808660174,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/bradleychanges.jpg?v=1543092988"},{"product_id":"sharon-jones-and-the-dap-kings-100-days-100-nights-lp","title":"Sharon Jones and the Dap-Kings - 100 Days, 100 Nights - New LP","description":"Renowned Soul and Funk band Sharon Jones \u0026amp; the Dap-Kings released 100 Days, 100 Nights on their self-owned independent label, Daptone Records. Since the 2005 release of their Naturally LP, the band has continued to build a worldwide following for their raw soulful recordings and blistering live performances. \u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=33074880\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/sharonjonesandthedapkings.bandcamp.com\/album\/100-days-100-nights\"\u003e100 Days, 100 Nights by Sharon Jones \u0026amp; The Dap-Kings\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003eLike the highly acclaimed Naturally LP before it, 100 Days, 100 Nights was recorded in their self-built, self-operated, all analog recording studio in Bushwick, Brooklyn and bares the unmistakable Daptone Soul Sound - highly in demand among music fans and tastemakers alike. In the 2007, producers such as Kanye West, Mark Ronson, Hank Shocklee, and Kenny Dope have been among those who came knocking at Daptone's door seeking the inimitable Dap-Kings sound. The Dap-Kings lend a tougher edge to their own productions for such artists as Rhymefest, Lily Allen, Ghostface Killah and Amy Winehouse. Meanwhile, Sharon Jones herself has passed the time between touring lending her soulful voice to projects for Lou Reed, Rufus Wainwright, They Might Be Giants and others.","brand":"Daptone Records","offers":[{"title":"Default Title","offer_id":3355542650904,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/a0145800625_16.jpg?v=1593211284"},{"product_id":"sunburst-ave-africa-lp","title":"Sunburst - Ave Africa [2xLP + 2 CDs IMPORT] - New LP","description":"\u003cspan\u003eStrut presents a definitive collection of recordings from one of Tanzania’s most revered bands of the early 1970s, Sunburst. \u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3309801531\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/sunburstmusic.bandcamp.com\/album\/ave-africa-the-complete-recordings-1973-1976\"\u003eAve Africa: The Complete Recordings 1973-1976 by Sunburst\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003eCovering their output from 1973 to 1976, this first retrospective features their singles for the Moto Moto and TFC labels, their sole album, ‘Ave Africa’ and an unreleased radio session recorded in Tanzania in 1973. By the time Zairean guitarist Hembi Flory Kongo had formed the band in Dar Es Salaam in 1970 playing “copyright” cover versions, soul and funk had long influenced young musicians in Dar and ‘boogies’, weekly soul events, were commonplace at the city’s clubs. Despite the Tanzanian government banning soul (both music and dancing) through their conservative Ujamaa policy in 1969, Sunburst grew as a band and developed their own musical direction which they later called Kitoto Sound, reflecting the diverse backgrounds of the band members. Lyrical themes included black pride and colonial oppression – the band even played a gig for visiting civil rights heroine Angela Davis. After June 1973, Sunburst gained a national audience through a live session for the state-owned Radio Tanzania, a crucial means for domestic bands to air their work. A month later, they won a band competition in Dar Es Salaam and their popularity in Tanzania grew further. They began recording singles in Kenya, standing apart from the predominantly rumba, jazz or taarab styles sung in local languages at the time. In 1974, Sunburst met Zambian musician Rikki Ililonga from Zamrock group Musi- O-Tunya and he invited them to Zambia. Meeting their later manager, car company employee Peter Bagshawe, they embarked on an ill-fated tour with Kenyan funk band Matata before working on a first full album in 1976 in Lusaka with new band members. The LP came out at the height of the Zamrock scene led by bands like Witch and Ngozi Family but Sunburst offered a more intricate sound as musicians born in six different countries tapped into a multitude of styles, languages and stories. “Our songs support freedom struggles and encourage peasants and workers to work harder,” singer James Mpungo recounted. “Our songs also criticize our people for allowing themselves to be too westernized.” After a handful of further singles for Tanzanian state label TFC, including the popular ‘Banchikicha’, the band split, frustrated by living on “bare minimum earnings” from their music. The result of three years’ painstaking work after tracking down bandleader Hembi Kongo, bassist Bashir and the band’s ex-manager Peter Bagshawe, this overdue retrospective is curated by Thomas Gesthuizen (DJ Gioumanne) of Africanhiphop. com and Dave Tinning of Santuri East Africa. The package features a full band biography alongside rare photos, press cuttings and memorabilia.\u003c\/span\u003e","brand":"Strut Records (Europe)","offers":[{"title":"Default Title","offer_id":12260564860998,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/SUNBURST_FINAL_FRONT_COVER_HI_RES.jpg?v=1532640257"},{"product_id":"bradley-charles-black-velvet-lp","title":"Bradley, Charles - Black Velvet - New LP","description":"\u003cspan\u003e2018.  Black vinyl. Charles Bradley's forthcoming LP, \"Black Velvet\" is an extraordinary collection of 10 tracks making their LP debut. In addition to fan favorites like Charles' covers of Nirvana's \"Stay Away\", Neil Young's \"Heart Of Gold\", and Rodriguez's \"Slip Away\" - this album features 4 never-before-heard tracks from Producer Tommy 'TNT' Brenneck's vaults. Includes download card.\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3085110018\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/charlesbradley.bandcamp.com\/album\/black-velvet\"\u003eBlack Velvet by Charles Bradley\u003c\/a\u003e\u003c\/iframe\u003e\u003c\/span\u003e","brand":"Daptone Records","offers":[{"title":"Default Title","offer_id":18167784800326,"sku":"","price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/LP-DAPT-054.jpg?v=1593927879"},{"product_id":"fields-lee-the-expressions-it-rains-love-lp","title":"Fields, Lee \u0026 The Expressions - It Rains Love [RED VINYL] - New LP","description":"\u003cp\u003eCLEAR RED VINYL!! \u003c\/p\u003e\n\u003ch2\u003eNot a weak moment, going strong and giving it their all from go to whoa.  Essential.  -- winch\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4270137635\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/leefieldsandtheexpressions.bandcamp.com\/album\/it-rains-love\"\u003eIt Rains Love by Lee Fields \u0026amp; The Expressions\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eAt the corner of Living Legend St. and OG Ave. you will find Lee Fields’ house. A home that was built with blood, sweat, and tears, and stands on the unshakable foundation of his god given talent. Lee has been singing for 50 plus years and is undeniably, yet amazingly, at the top of his game. Those who have paid attention know that Lee is part of the class that is directly responsible for the revival of old school funk and soul. He has inspired many of today’s younger artists who are doing their best to carry the torch. As long as the road has been, and heavy as the crown may be, Fields is proving yet again that he’s “still got it”. His latest offering is sure to be a warmly received instant classic. \u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eIt Rains Love is the 2nd album by Lee Fields \u0026amp; The Expressions on Brooklyn’s Big Crown Records and gives us yet another masterclass in soul. Teaming up again with frequent collaborator and producer Leon Michels and his devoted band, The Expressions, they have managed again to take a classic approach and update it. Traditional soul sensibilities are mixed with a hip-hop tinged, sample ready sound that is as much an homage to the old as to the new. Some of the songs sound like they could belong to any of the last 4 decades without it feeling like a throwback, while others are 60’s soul\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003ethrough and through. Lyrically, Lee runs the gamut from gushing admonishments of love to politically charged calls to action, from proclamations of God’s existence to love letters written to his wife. This record marks the fifth studio album from Lee Fields \u0026amp; the Expressions and we are very proud to add it to the already impeccable catalog they have created together. Another strong offering by a man many people consider to be a national treasure, the professor of love himself, Mr Lee Fields. It’s all love baby!\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased April 5, 2019\u003c\/div\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Big Crown Records","offers":[{"title":"Default Title","offer_id":20623352266822,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/a3085067102_16.jpg?v=1672264359"},{"product_id":"moses-lee-how-much-longer-must-i-wait-singles-rarities-1965-1972-lp","title":"Moses, Lee - How Much Longer Must I Wait? Singles \u0026 Rarities 1965-1972 [RED\/TRANSPARENT VINYL] - New LP","description":"\u003cp\u003e\u003cspan\u003eStellar collection of cuts, vocals and instrumentals, both showing the skills of this man, from his guitar chops to his deeply soulful voice, both cutting deep into the groove and deep into the innards of anybody lucky enough to listen...click off the lights and crank this one for a deep listen...Moses moving from Georgia to NYC, the sounds capture both places, especially the former, Southern soul with clarity and crunch, cooking it up with grease and flame, stunning originals and kick-ass covers, each made his own, including stirring instrumental versions of \"Reach Out\" and \"Day Tripper,\" and the vocal cuts just grabbing you where it hurts, where it feels so good, the man from Atlanta pulling in the devil (sometimes dressed in drag) so close you can feel the fire on its breath, shoving the evil back and giving it the gate, slicing through the nonsense of a false life to get to the heart and soul of it all.  If this don't grab you, you might want to give up the ghost.  -- winch\u003cbr\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/CgOgJJ1PBro?si=8Ti24JCfZNYS-xxG\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1801723902\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/leemoses.bandcamp.com\/album\/how-much-longer-must-i-wait-singles-rarities-1965-1972\"\u003eHow Much Longer Must I Wait? Singles \u0026amp; Rarities 1965-1972 by Lee Moses\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1801723902\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/leemoses.bandcamp.com\/album\/how-much-longer-must-i-wait-singles-rarities-1965-1972\"\u003eHow Much Longer Must I Wait? Singles \u0026amp; Rarities 1965-1972 by Lee Moses\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e After reissuing his much sought-after \u003cem\u003eTime and Place\u003c\/em\u003e LP, many questions still remained, but the one asked most was, “where’s “Bad Girl”?!” Not included on his lone LP, “Bad Girl” is an undisputed Southern soul classic—arguably the song LEE MOSES’ legacy rests on. While we may never know all we wish we knew about the man behind the music, we can finally complete the picture of his work. And what tunes they are. How Much Longer Must I Wait? Singles \u0026amp; Rarities 1965-1972 collects all of Lee Moses’ non-album singles and B-sides, plus three never-released tracks together for the first time ever. Most of the material here pre-dates 1971’s Time and Place, reflecting his initial bid for stardom via a series of now-legendary 45s recorded with Atlanta producer JOHNNY BRANTLEY. As for the unreleased recordings—much like the man himself, little is known about them. What remains is an oeuvre that has become synonymous with raw and emotionally charged Southern soul. Essential listening for anyone with a heart.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"acordion_description\" id=\"Release-Detail\"\u003e\n\u003cdiv class=\"d-flex flex-wrap flex-lg-nowrap\"\u003e\n\u003cdiv class=\"product__info-description product__info-description--full product__info-description--open\"\u003e\n\u003cdiv class=\"section_height\"\u003e\n\u003cdiv class=\"release-description\"\u003e\n\u003cdiv class=\"release-description-complete\"\u003e\n\u003cul\u003e\n\u003cli\u003eThe definitive collection of Lee Moses’ legendary non-album tracks available together for the first time\u003c\/li\u003e\n\u003cli\u003eContains three previously unreleased songs, plus the Southern soul classic \"Bad Girl” (both versions)\u003c\/li\u003e\n\u003cli\u003eRemastered audio\u003c\/li\u003e\n\u003cli\u003eLP housed in a deluxe Kraft board jacket with insert\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eDigital mockups are not an exact representation of the colors\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eColor Vinyl Edition pressed on “Day Trippin’” Split Color wax\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\nVincent Lee Moses (March 13, 1941 – January 26, 1998), known as Lee Moses, was an American R\u0026amp;B and soul singer and guitarist. His recordings in the late 1960s as well as his 1971 LP Time and Place, are highly regarded within the deep soul genre. Life and career Lee Moses was born in Atlanta, Georgia, and attended Booker T. Washington High School. In the late 1950s he formed his first band, the Showstoppers. They became a popular live act in the Atlanta area, and were at one time the house band at the Royal Peacock club.\u003c\/div\u003e\n\u003cdiv class=\"section_height\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"section_height\"\u003eMoses moved to New York City in the mid-1960s, where he worked as a session musician and recorded with Johnny Brantley, who co-wrote and produced his first single, \"My Adorable One\", in 1965.  In 1966, he co-produced, with Johnny Brantley, several tracks by a virtually unknown Jimi Hendrix at Abtone Recording Studios in New York City. The tracks were later released as a 4-LP box set titled \"The Genius of Jimi Hendrix\".  In 1967, he recorded three singles – all commercially unsuccessful – for the Musicor label, including \"Bad Girl,\" and an instrumental version of The Four Tops' \"Reach Out, I'll Be There\". He also recorded a version of \"Dark End of the Street\", issued by Gates Records (probably in 1969). Moses' guitar style has been described as \"funky\" and likened to that of Jimi Hendrix, a contemporary of his on the club scene of the mid-1960s. He has also been praised for his \"rough and powerful deep soul singing style\". In 1970, Moses released a single, \"Time and Place\", on the Maple label, a subsidiary of All Platinum Records. This was followed by a nine-track LP of the same name - also produced by Brantley - that included his versions of several classic songs of the period including \"Hey Joe\" and \"California Dreaming\". The album featured several members of The Ohio Players, as well as Moses' own band, the Diciples (sic). Although the album has since been described as \"a revered and highly sought-after lost treasure for deep soul fans and collectors,\" it was a commercial failure at the time.  Moses also worked with fellow Atlanta native The Mighty Hannibal on his 1973 album, Truth. He returned to Atlanta in the early 1970s, and continued to perform locally, but did not record again. He died there from lung cancer in 1998.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"acordion_description\" id=\"Artist-Bio\"\u003e\n\u003cdiv class=\"d-flex flex-wrap flex-lg-nowrap\"\u003e\n\u003cdiv class=\"product__info-description product__info-description--full\"\u003e\n\u003cp class=\"section_title\"\u003e \u003c\/p\u003e\n\u003cp class=\"section_title\"\u003e---------------------\u003c\/p\u003e\n\u003cdiv class=\"section_height\"\u003e\n\u003cdiv class=\"artist-bio-description\"\u003e\n\u003cdiv class=\"artist-bio-complete\"\u003e\n\u003cp\u003eIn New York in the ‘60s that Moses made his greatest bid to find the solo fame he desired. Moses began working there as a session player, even playing frequently with a pre-fame Jimi Hendrix, but his close relationship with producer and Atlanta native Johnny Brantley eventually saw him getting his own break via a series of 45s in 1967 – most notably with covers of Joe Simon’s “My Adorable One”, The Four Tops’ “Reach Out, I’ll Be There” and The Beatles’ “Day Tripper”.\u003c\/p\u003e\n\u003cp\u003eIt was 1971 before Moses’ dream of being at stage front was realized, when he released his Brantley-produced LP\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTime And Place\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efor Maple Records. Recorded with a band including members of The Ohio Players and Moses’ own backing group The Deciples, it was, nonetheless, Moses himself whose star quality shone through, via his scratchy guitar riffs, his throat-ripping vocals and the stirring mood that permeates the LP’s heady mix of funk, soul and R\u0026amp;B.\u003c\/p\u003e\n\u003cp\u003eThe LP did no business, and Moses’ dream quickly crumbled. Though details on his life are scarce, it’s believed he fled New York disenchanted with the music industry, feeling he’d been double-crossed by Brantley both in credit and remuneration for the countless records he’d played on. Back in Atlanta, Moses returned to playing the clubs, married twice, and fell into depression and drug dependency. He died in 1997 at the age of 56.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTime And Place\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003esoon became a much-sought after item for collectors, and its cult has continued to grow over the years. Here, we represent it on deluxe vinyl, with brand new liner notes from Sarah Sweeney including interviews with Moses’ sister and his closest collaborator, the singer and guitarist Hermon Hitson. Through them, Moses becomes a little – but just a little – less of an enigma.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Future Day Recordings","offers":[{"title":"Default Title","offer_id":44516093821089,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/5c64619af1ecd_main.jpg?v=1720036870"},{"product_id":"quintron-too-thirsty-4-love-new-lp","title":"Quintron - Too Thirsty 4 Love - New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 class=\"review-author headline\"\u003e\u003c\/h3\u003e\n\u003cdiv class=\"text\" itemprop=\"reviewBody\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3632616054\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/quintronandmisspussycat.bandcamp.com\/album\/too-thirsty-4-love\"\u003eToo Thirsty 4 Love by Quintron and Miss Pussycat\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\"Anyone who thinks there are no new worlds to conquer in funk obviously hasn't heard of\u003cspan\u003e \u003c\/span\u003eQuintron\u003cspan\u003e \u003c\/span\u003eand his partner in entertainment\u003cspan\u003e \u003c\/span\u003eMiss Pussycat. Rather than find new ways to borrow from old records (which has been the dominant theme in R\u0026amp;B over the past decade or so),\u003cspan\u003e \u003c\/span\u003eQuintron\u003cspan\u003e \u003c\/span\u003ehas constructed a whole new kind of hoodoo out of his bank of beat-up keyboards and cast-off rhythm machines accompanying stories that will strike wonder or fear into your heart, and with\u003cspan\u003e \u003c\/span\u003eMiss Pussycat\u003cspan\u003e \u003c\/span\u003eadding enthusiastic hand percussion and backing vocals to this music (along with what is by all accounts a pretty entertaining puppet show during their live gigs), how can you lose?\u003cspan\u003e \u003c\/span\u003eToo Thirsty for Love\u003cspan\u003e \u003c\/span\u003eis another low-tech, high-energy explosion of enthusiasm from\u003cspan\u003e \u003c\/span\u003eQuintron\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003eMiss Pussycat, and while the cover artwork might lead you to believe these folks have hopped onto the Twilight bandwagon in hopes of courting America's youth, don't fret -- there's no bloodsucking on this album, just lots of groove, and the most frightening story comes in the inspired tale of terror \"The Boss Wants to Party with You\" (accompanied by a churchy organ tone and the most flatulent rhythm sample in history), though the spooky \"Walk to the Harvest\" does come close. If hearing\u003cspan\u003e \u003c\/span\u003eQuintron\u003cspan\u003e \u003c\/span\u003elay down an impressive old-school groove while his backing vocalists chant \"Dirtbag! Dirtbag!\" behind him doesn't warm your heart, or his fake British accent on \"Sunday Night\" doesn't make you laugh, you clearly weren't cut out for this sort of inspired playfulness, but if you're missing the days when creative weirdness didn't have to be pretentious, then\u003cspan\u003e \u003c\/span\u003eToo Thirsty for Love\u003cspan\u003e \u003c\/span\u003emay be just what you're looking for.\" --\u003cspan itemprop=\"author\"\u003eMark Deming\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cspan\u003e \u003c\/span\u003e","brand":"Rhinestone Records","offers":[{"title":"Default Title","offer_id":29220758224966,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/image_d33f5a64-b8e5-4d82-a9d6-83e01de4773e.jpg?v=1561612461"},{"product_id":"sinkane-depayse-new-lp","title":"Sinkane - Dépaysé [IMPORT ORANGE VINYL Marked Down] - New LP","description":"\u003cp\u003eLimited Edition: Orange vinyl.\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2308265289\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/sinkane.bandcamp.com\/album\/de-payse\"\u003eDépaysé by SINKANE\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e \u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\"Under the name\u003cspan\u003e \u003c\/span\u003eSinkane, singer, songwriter, and multi-instrumentalist,\u003cspan\u003e \u003c\/span\u003eAhmed Gallab\u003cspan\u003e \u003c\/span\u003ehas spent over a decade steadily building up a catalog that explores more than anything else his dueling affinities for '70s funk and Aro-pop. Complemented by veins of indie rock, jazz, psych, and reggae, his work has trended toward the biographical and at times, the philosophical. Raised for the most part in the U.S., his narrative bears the complexities of immigration; an African Muslim in origin, he was born in London, lived his early childhood in Sudan, and at the age of five settled with his family in the American Midwest. More so than on any of his previous\u003cspan\u003e \u003c\/span\u003eSinkane\u003cspan\u003e \u003c\/span\u003ereleases, 2019's\u003cspan\u003e \u003c\/span\u003eDépaysé\u003cspan\u003e \u003c\/span\u003edelves deeply into\u003cspan\u003e \u003c\/span\u003eGallab's personal experience as an immigrant in an increasingly divided and discordant American era. The album's title is a French word referring to being \"removed from one's habitual surroundings,\" which succinctly describes the feeling of cultural displacement he'd endured many times throughout his life. Ultimately more celebratory than cynical,\u003cspan\u003e \u003c\/span\u003eDépaysé\u003cspan\u003e \u003c\/span\u003ebegins on a defiantly optimistic note with the rousing funk of \"Everybody\" and its thematic partner \"Everyone,\" a pair of inclusionary tracks praising unity through diversity. Elsewhere,\u003cspan\u003e \u003c\/span\u003eGallab\u003cspan\u003e \u003c\/span\u003ecomes to terms with what he refers to as his duality, merging his competing American and Sudanese cultures on the hard, circular grooves of \"The Searching\" and the colorful Afro-pop of \"Ya Sudan.\" The title cut dramatically pairs serpentine wah-wah guitar leads with a cinematic East-African melody while alternating between English and Arabic lyrics that apparently came to him a dream. Ironically, it's\u003cspan\u003e \u003c\/span\u003eGallab's unfailingly straightforward vocal delivery that provides some of the biggest juxtapositions in his music: the rich palette of soulful musical styles he draws from is often at odds with his strangely plain American diction. Yet, the vivid tones of his African heritage transmuted through his Ohio upbringing are a major part of his story, and with his melting pot of styles, influences, and cultures,\u003cspan\u003e \u003c\/span\u003eSinkane\u003cspan\u003e \u003c\/span\u003esets out to prove that we can be many things at once and still find acceptance and love.\" - Timothy Monger\n\u003cp\u003ein his own words:\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"It’s easy to be angry in moments like now. And that’s OK. But it takes courage to turn that anger into productive energy. The previous Sinkane album, 2017's\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLife and Livin' It\u003c\/em\u003e, was released at a very crazy time: things like the Muslim ban, police shooting unarmed people of color, massive corruption in my native Sudan, fake news, Donald Trump, Brexit and so many other calamities all really forced me to think about my place in the world as a musician. I began to think about how I could use my music in a constructive way — not only to help myself but to help others who feel frustrated and powerless.\u003c\/p\u003e\n\u003cp\u003eI’m not a newbie to hate: I’m black, Muslim and even though I'm an American I'm often made to feel like a foreigner in my own country. And sometimes I\u003cspan\u003e \u003c\/span\u003e\u003cem\u003edo\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efeel like a foreigner — in fact, I once made a whole album, 2012's\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMars\u003c\/em\u003e, about that feeling. I’ve made a lot of music out of my life story but I’ve always kept things vague enough that anyone listening to my music could relate to it on their own terms. And yet I have to admit that I never truly felt satisfied with that. I eventually realized that, in order to truly connect with other people, I first needed to connect with myself on a deeper level than before.\u003c\/p\u003e\n\u003cp\u003eThroughout the making of my new album I kept asking myself the same question: “As an immigrant to America, where do I belong?” So, during the writing process, I worked mainly by myself so that I could ensure the most honest and personal answers to that question. I read books by Joseph Campbell, the late novelist\/cultural theorist Daniel Quinn, Ta-Nehisi Coates, Pakistani novelist Mohsin Hamid, and the late African-American memoirist Philippe Wamba, hoping they’d guide me to some kind of answer. Then, one day when I was wandering around the fertile desert of the internet, I stumbled upon an amazing word: dépaysé.\u003c\/p\u003e\n\u003cp\u003eDépaysé is a French word that basically means “to be removed from one’s habitual surroundings.” By extension, it means to be disoriented, homeless. That's a feeling I relate to very much in these times — and I don’t think I’m the only one who feels this way. That word gave me clarity and made the journey inward that much more exciting.\u003c\/p\u003e\n\u003cp\u003eAfter I finished writing the album I brought the music to my band. Sinkane is an American band comprised of people from all over the world: I am Sudanese, guitarist Jonny Lam is Chinese, keyboardist Elenna Canlas is Filipina, drummer Chris St. Hilaire is Trinidadian, and bassist Michael “Ish” Montgomery is Black American. Our collective experience as children of the diaspora helped bring the music to life in the most honest way possible.\u003c\/p\u003e\n\u003cp\u003eSo here we are.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDépaysé\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis the story of an immigrant’s journey of self-discovery in the Trump era. The music is loud and raw, and it's bursting with energy unlike anything I’ve ever done before. It starts with a call to arms: “Everybody,” a rock \u0026amp; roll song in the spirit of Sly Stone and funky early-'70s Afro-rock bands like the Funkees and the Hygrades. Every day we wake up to another horror story about racism, and it’s left many of us angry, confused and frustrated. But we can change the news for the better. We can show people that a multicolored world is a beautiful one. Celebrating our differences yields beauty in life. And that takes... everybody.\u003c\/p\u003e\n\u003cp\u003eThe second song of the album, the desert blues\/dancehall-tinged “Everyone,” continues that line of thought to its logical conclusion: love is the key to helping us understand one another.\u003c\/p\u003e\n\u003cp\u003eThe psychedelic, groovy East African-inspired title track came to me in a dream: I dreamed I was walking the streets of Omdurman at night, a city along the Nile in my native Sudan, when I heard someone playing guitar and singing in Arabic. It turned out to be my father! He was sitting cross-legged on the ground, under a streetlight in front of my childhood home. His voice sounded hypnotic, raw and powerful as he sang: “I am your life\/And all of our lives\/From within the city until our uprising\/Our days have left us in the city and, with our imagination, we move forward.” He sang that over and over, and I sing those same words in my song. This, along with the rest of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDépaysé\u003c\/em\u003e, has given me peace. I am no longer afraid of the unknown. I’m no longer confused about my duality of my Sudanese and American identities. Now I accept it. And it's made me feel new.\u003c\/p\u003e\n\u003cp\u003e“Ya Sudan” and “The Searching” explore that duality. In “Ya Sudan” I pay homage to my country of origin and in “The Searching” I discuss what it means to move forward from that. Truly understanding one's duality means seeing beyond where you came from: let go of any definition that others put on you and then you can truly see the beauty of your life experience. “Stranger” and “Be Here Now” address one of the most confusing aspects in the diaspora experience: religion. Lots of people have questions about their faith: What does this all mean? After all this work why do I still feel uncertain? What about all the bad people who are like me? And the good who are not? Those questions loom larger when you grow up with people different from you. I wanted to bring this up and let people like me know that they’re not alone in questioning their faith. I also thought it would be funny to spitefully ask God to take accountability for his actions. The Arabic lyrics translate to “Oh God, aren’t you our protector? Help me through these murky waters that seem part of your master plan.”\u003c\/p\u003e\n\u003cp\u003eAs always, I'm inspired by Sly Stone, Fela Kuti, George Clinton and Bob Marley, as well as the beautiful music of east Africa (especially the Dur Dur Band from Somalia, Mulatu Astatkefrom Ethiopia, and Mohammed Wardi from Sudan). These people all spoke their minds confidently in front of a beat that made you dance. They welcomed every kind of person into their worlds with open arms. We live in an often terrible time but that shouldn’t silence our desire to have a good time. To dance. To dream. To love. To be one with the world. To realize that we’re not alone.\u003c\/p\u003e\n\u003cp\u003eI want to make it clear that the world is a better place because of our differences. We’re all strangers in this ever-stranger land of America. We are\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eall\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ethe American Dream.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDépaysé\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a place we can all know as home, with elements of all our homes. It's an act of imaginary cartography — on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMars,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eI called that place “Caparundi,” a place where Africa, North America, South America, Asia, and the Caribbean all meet in joyous harmony. The music is playing there all night long. Come in and dance and sing. And stay for the conversation.\u003c\/p\u003e\n\u003cp\u003eSincerely,\u003c\/p\u003e\n\u003cp\u003eAhmed Gallab\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"City Slang","offers":[{"title":"Default Title","offer_id":29240378261574,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/SINKANE.jpg?v=1562146044"},{"product_id":"professor-longhair-mardi-gras-in-new-orleans-new-lp","title":"Professor Longhair - Mardi Gras in New Orleans (1949 - 1957) - New LP","description":"\u003cp\u003e\u003cspan\u003eReissue of an anthology originally issued in 1981, housing cuts from 1949 - 1957.\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1838725381\/size=small\/bgcol=ffffff\/linkcol=0687f5\/artwork=none\/track=294424529\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/professorlonghair.bandcamp.com\/album\/the-bach-of-rock\"\u003eThe Bach of Rock by Professor Longhair\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1838725381\/size=small\/bgcol=333333\/linkcol=0f91ff\/track=1007488534\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/professorlonghair.bandcamp.com\/album\/the-bach-of-rock\"\u003eThe Bach of Rock by Professor Longhair\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1838725381\/size=small\/bgcol=333333\/linkcol=0f91ff\/artwork=none\/track=4091929440\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/professorlonghair.bandcamp.com\/album\/the-bach-of-rock\"\u003eThe Bach of Rock by Professor Longhair\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Plenty of rarities are featured on\u003cem\u003e \u003c\/em\u003e\u003c\/span\u003e\u003cem\u003eMardi Gras in New Orleans\u003c\/em\u003e\u003cspan\u003e, making it a valuable cross-section of \u003c\/span\u003eProfessor Longhair\u003cspan\u003e's early releases. Both sides of the pianist's first two 78s for Star Talent Records are aboard, as well as sides he cut for Mercury, Federal (\"Curly Haired Baby,\" \"Gone So Long\"), Wasco (\"East St. Louis Baby\"), Atlantic, and Ebb.\" -- \u003c\/span\u003eBill Dahl\u003c\/p\u003e\n\u003cp\u003e\"Justly worshipped as a founding father of New Orleans R\u0026amp;B,\u003cspan\u003e \u003c\/span\u003eRoy \"Professor Longhair\" Byrd\u003cspan\u003e \u003c\/span\u003ewas nevertheless so down-and-out at one point in his long career that he was reduced to sweeping the floors in a record shop that once could have moved his platters by the boxful. That\u003cspan\u003e \u003c\/span\u003eLonghair\u003cspan\u003e \u003c\/span\u003emade such a marvelous comeback testifies to the resiliency of this late legend, whose Latin-tinged rhumba-rocking piano style and croaking, yodeling vocals were as singular and spicy as the second-line beats that power his hometown's musical heartbeat.\u003cspan\u003e \u003c\/span\u003eLonghair\u003cspan\u003e \u003c\/span\u003ebrought an irresistible Caribbean feel to his playing, full of rolling flourishes that every Crescent City ivories man had to learn inside out (Fats Domino,\u003cspan\u003e \u003c\/span\u003eHuey Smith, and\u003cspan\u003e \u003c\/span\u003eAllen Toussaint\u003cspan\u003e \u003c\/span\u003eall paid homage early and often).  Longhair\u003cspan\u003e \u003c\/span\u003egrew up on the streets of the Big Easy, tap dancing for tips on Bourbon Street with his running partners. Local 88s aces Sullivan Rock, Kid Stormy Weather, and\u003cspan\u003e \u003c\/span\u003eTuts Washington\u003cspan\u003e \u003c\/span\u003eall left their marks on the youngster, but he brought his own conception to the stool. A natural-born card shark and gambler,\u003cspan\u003e \u003c\/span\u003eLonghair\u003cspan\u003e \u003c\/span\u003ebegan to take his playing seriously in 1948, earning a gig at the Caldonia Club. Owner Mike Tessitore bestowed\u003cspan\u003e \u003c\/span\u003eLonghair\u003cspan\u003e \u003c\/span\u003ewith his professorial nickname (due to\u003cspan\u003e \u003c\/span\u003eByrd's shaggy coiffure).  Longhair\u003cspan\u003e \u003c\/span\u003edebuted on wax in 1949, laying down four tracks (including the first version of his signature \"Mardi Gras in New Orleans,\" complete with whistled intro) for the Dallas-based Star Talent label. His band was called the Shuffling Hungarians, for reasons lost to time! Union problems forced those sides off the market, but\u003cspan\u003e \u003c\/span\u003eLonghair's next date for Mercury the same year was strictly on the up-and-up. It produced his first and only national R\u0026amp;B hit in 1950, the hilarious \"Bald Head\" (credited to\u003cspan\u003e \u003c\/span\u003eRoy Byrd \u0026amp; His Blues Jumpers).  The pianist made great records for Atlantic in 1949, Federal in 1951, Wasco in 1952, and Atlantic again in 1953 (producing the immortal \"Tipitina,\" a romping \"In the Night,\" and the lyrically impenetrable boogie \"Ball the Wall\"). After recuperating from a minor stroke,\u003cspan\u003e \u003c\/span\u003eLonghair\u003cspan\u003e \u003c\/span\u003ecame back on Lee Rupe's Ebb logo in 1957 with a storming \"No Buts - No Maybes.\" He revived his \"Go to the Mardi Gras\" for\u003cspan\u003e \u003c\/span\u003eJoe Ruffino's Ron imprint in 1959; this is the version that surfaces every year at Mardi Gras in New Orleans. \u003cspan\u003eOther than the ambitiously arranged \"Big Chief\" in 1964 for Watch Records, the '60s held little charm for \u003c\/span\u003eLonghair\u003cspan\u003e. He hit the skids, abandoning his piano playing until a booking at the fledgling 1971 Jazz \u0026amp; Heritage Festival put him on the comeback trail. He made a slew of albums in the last decade of his life, topped off by a terrific set for Alligator, \u003c\/span\u003eCrawfish Fiesta\u003cspan\u003e.  \u003c\/span\u003eLonghair\u003cspan\u003e \u003c\/span\u003etriumphantly appeared on the PBS-TV concert series Soundstage, co-starred in the documentary Piano Players Rarely Ever Play Together (which became a memorial tribute when\u003cspan\u003e \u003c\/span\u003eLonghair\u003cspan\u003e \u003c\/span\u003edied in the middle of its filming; funeral footage was included), and saw a group of his admirers buy a local watering hole in 1977 and rechristen it Tipitina's after his famous song. He played there regularly when he wasn't on the road; it remains a thriving operation.  Longhair\u003cspan\u003e \u003c\/span\u003ewent to bed on January 30, 1980, and never woke up. A heart attack in the night stilled one of New Orleans' seminal R\u0026amp;B stars, but his music is played in his hometown so often and so reverently you'd swear he was still around.\"  -- \u003cspan\u003eBill Dahl\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eTracks A1 to A7 rec. 1949\u003cbr\u003eTracks A8 to B2 rec. 1951\u003cbr\u003eTrack B3 rec. circa 1952\u003cbr\u003eTrack B4 rec. 1952\u003cbr\u003eTrack B5 rec. 1954\u003cbr\u003eTracks B6 to B8 rec. 1958\u003c\/span\u003e\u003c\/p\u003e","brand":"Nighthawk Records","offers":[{"title":"Default Title","offer_id":29351654195270,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/files\/R-11071420-1509306497-8540.jpg?v=1724883511"},{"product_id":"brasher-liz-painted-image-new-lp","title":"Brasher, Liz - Painted Image - New LP","description":"\u003cp\u003e2019.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2084317068\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/lizbrasher.bandcamp.com\/album\/painted-image\"\u003ePainted Image by Liz Brasher\u003c\/a\u003e\u003c\/iframe\u003e\n\u003cp\u003eSolid set of soul music, clearly aware of the past (Stax for example) yet no museum piece, Brasher delivers a collection of gems that your grandmother, your daughter and your brother are all bound to love. \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eNorth Carolina sends us another gift, this one called Liz Brasher.    - Winch\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"Liz Brasher\u003cspan\u003e found her voice while singing in the choir of her all-Spanish church in North Carolina. After relocating to Memphis with a new appreciation for the South and its rich musical history, Brasher tapped into the city's creative scene to mold something of her own.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIt's easy to hear Memphis' retro-soul influences threaded throughout \u003cem\u003ePainted Image\u003c\/em\u003e, which was recorded in the city's historic Ardent, Royal and Electraphonic Recording studios. The pulse of a golden era when Stax and Sun Records were cutting hit after hit beats loudly throughout the record, but \u003cem\u003ePainted Image\u003c\/em\u003e is far from a resurrection of a bygone era. Brasher's use of sharp and poetic storytelling, often punctuated by biblical imagery, brings an engaging and uniquely modern perspective. It builds impressively on Brasher's 2018 EP Outcast.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"The fiery, unapologetic \"Blood of the Lamb\" kicks off with a triumphant horn section, rumbling organ and rolling electric guitar as Brasher speaks her truth: \"I am dressed in black \/ I walk in white,\" she sings. \"Thoughts unclean \/ I speak of light \/ Who are you to tell me who I am?\"\u003c\/p\u003e\n\u003cp\u003e\"Backed by an expertly arranged string section, \"Cold Baby\" showcases Brasher's innate ability to project a complicated mix of human emotions onto a shimmering and complex vocal performance. She dives into overwhelming love and devotion in the blissful \"Air,\" while the groove-driven \"Body of Mine\" explores themes of mortality while embracing the unknown. The record closes with\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePainted Image\u003c\/em\u003e's simmering title track, which picks through the ashes of a dying relationship. Even at her most uplifting, Brasher isn't afraid to explore and accept life's darker moments.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003e\"All of these elements come together in Brasher's ardent, echoing vocals, as she thoughtfully dissects an array of sounds and styles, from fierce rock and roll to melodic gospel devotionals. At every turn, \u003c\/span\u003e\u003cem\u003ePainted Image\u003c\/em\u003e\u003cspan\u003e finds beauty in the fragility and conflict inherent to the human condition.\" - Lorie Liebig\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eRating: 4 out of 5 stars\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eSoul music, especially of the classic variety, can roughly be divided into Northern and Southern styles. It may be a simplistic and not entirely scientific distinction but the smoother, more commercial music of Motown and Chicago is contrasted against the tougher, grittier, rawer approach of Southern soul emerging from the Stax and Hi labels and others.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eIt won’t take long to slot Liz Brasher’s impressive debut in the latter category, especially because she records for the bluesy Fat Possum imprint. It’s little surprise that Brasher has spent most of her life in the South, born and raised in North Carolina, now calling Memphis home. The singer-songwriter released a well-received six track EP in 2018 that helped land her opening slots with diverse acts including the Psychedelic Furs and The Zombies. Two tunes from that harder-rocking introduction are repeated here, along with nine new compositions that find Brasher moving in a darker yet more soulful direction.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv id=\"aniBox\"\u003e\n\u003cdiv id=\"aniplayer_aniviewJS437140662\"\u003e\n\u003cdiv id=\"anibid\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"viewdeos-player\"\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\"Opener “Blood Of The Lamb” sets up a sparse guitar lick counterpointed by crisp horns in a spiritually based swamp burner with Brasher’s husky voice leading the charge. Members of Memphis’ retro-leaning Bo-Keys with veteran keyboardist Al Gamble lay down the limber grooves as Brasher unleashes her sensual, supple voice, splitting the difference between\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eDusty In Memphis\u003c\/i\u003e-styled pop (“Every Day”), upbeat Sam \u0026amp; Dave-influenced gospel laced R\u0026amp;B (“Living Water”), and Steely Dan-ish jazz\/pop, some with religious overtones (“Hand To The Plow”).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\"Nothing breaks four minutes which keeps the music short, tight and forceful without extended solos to distract from Brasher’s bellowing, throaty voice. When she hits a slow Otis Redding ballad vibe on “Cold Baby,” aided by a five-piece string section, and sings, “My flesh has been aching\/ My world has been shaking” to a lover “with a “heart made of stone” that she knows is no good for her, the effect is galvanizing. She’s determined to cement a relationship on “Heaven \u0026amp; Earth” (“Let’s rock this\/ Let’s roll\/ You know I’d follow anywhere you go”), singing with the intensity and determination of a woman who knows what she wants and how to get it. Scott Bomar’s distorted guitar provides the basic riff for “Body Of Mine,” a tight slab of funked-up soul as Brasher sings, “One day I’m gonna be somebody\/ Walk into the light” with forceful fortitude. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\"It’s still early in 2019, but with the striking, often churchy\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ePainted Image\u003c\/i\u003e, the half-Dominican\/half-Italian southerner Liz Brasher sketches a claim as a breakout Americana soul-singer with crossover potential.\" - Hal Horowitz\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e \u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2084317068\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/lizbrasher.bandcamp.com\/album\/painted-image\"\u003ePainted Image by Liz Brasher\u003c\/a\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Fat Possum Records","offers":[{"title":"Default Title","offer_id":29390252441670,"sku":"","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/brasher.jpg?v=1562804544"},{"product_id":"thad-jones-mel-lewis-live-on-tour-switzerland-new-lp","title":"Jones, Thad \/ Mel Lewis - Live on Tour [1969] Switzerland [MARKED DOWN] - New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eThis was first released as a CD in 1995 as \u003cem\u003eBasle, 1969,\u003c\/em\u003e and then reissued by Sonny Lester and his Groove Merchant label.  \u003c\/span\u003e\u003cspan\u003eThe arrangements are credited to trumpeter Thad Jones, and most of the compositions too, and even when they are doing Ellington's \"Come Sunday,\" Jones is clearly leading the proceedings.  Of course, I don't know Jones' voice well enough to recognize it, and the horn in the spotlight might belong to one of the other players.  The closer is credited to saxophonist Jerome Richardson and especially comes across to be a wonderful group effort focusing on both the groove and the individuals, as if perhaps Thad said, \u003cem\u003ehey I've got the arrangements and our horn charts will punch it home, but this is the band's chance to group up and show your stuff\u003c\/em\u003e. While this album contains the song \"Groove Merchant\" not all Groove Merchant offerings were really what one thinks of as 1960s' groove, as this releases shows.  This is big band.  Of course the band was formed in the 1960s so groove informs, and bop clearly comes to the front when the orchestra drops to the back.  The closer \"Groove Merchant\" is still big band, but it's also pure groove.  In fact, this helps provide a history lesson: the 1960s and 1950s influenced this music, and when those influences show, you're also (and perhaps mainly) seeing how this big band style laid down the foundations of the jazz of the 1950s and 1960s--bop and groove.  Since drummer Lewis was co-leader of the band, the rhythm section plays a big part and drives the music forward, but Lewis made the wonderful decision to avoid solos so the spotlight remains on the other players and we don't have to sit through any of those awkward drum solos.  (This may seem rather forward thinking but it actually might be respect for the past.  The idea of clipping the solos and focusing on rhythm might be remembered as a 1970s response to all the excess in progressive rock and jazz fusion, a lesson that was especially important with punk and funk and influenced nearly all musicians since the 1970s, but we must remember that focusing on rhythm and making everything part of everything was a strive to return to the fun music of the early 1960s, and it's important to recognize that all that music of the 1960s came from black music of the previous decades, from Bo Diddley back to New Orleans jazz.)  Anyway, getting back to this record: big band ain't my bag, but if it is yours, this is worth grabbing, nearly changed my mind about big band and certainly provided an appreciation for this team of musicians, has all that big-band punch and plenty of room for individual players to speak up and let their voice be heard.  Thad Jones and all the other horn players, \u003c\/span\u003epianist Roland Hanna, even bassist Richard Davis get plenty of space to showcase their solos while still staying grounded in the groove.  - winch \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(This album is missing a few cuts that were included on the 1995 CD, but apparently this features all the best cuts because the following review is for the 1995 CD and all the \"highlights\" called out in the review are included on this vinyl release from 2008.)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"This live concert, broadcast over Swiss radio features the \u003c\/span\u003eThad Jones\u003cspan\u003e\/\u003c\/span\u003eMel Lewis\u003cspan\u003e Orchestra at its prime. The remarkable all-star group includes two first trumpeters (\u003c\/span\u003eSnooky Young\u003cspan\u003e and \u003c\/span\u003eAl Porcino\u003cspan\u003e) and such soloists as trumpeters Richard Williams, \u003c\/span\u003eDanny Moore\u003cspan\u003e and \u003c\/span\u003eThad Jones\u003cspan\u003e, trombonist \u003c\/span\u003eJimmy Knepper\u003cspan\u003e, \u003c\/span\u003eJerome Richardson\u003cspan\u003e on soprano, Jerry Dodgion on flute and alto, baritonist \u003c\/span\u003ePepper Adams\u003cspan\u003e, pianist \u003c\/span\u003eRoland Hanna\u003cspan\u003e, bassist \u003c\/span\u003eRichard Davis\u003cspan\u003e and tenor great \u003c\/span\u003eJoe Henderson\u003cspan\u003e whose short stint with the band was long enough to include this European tour. Highlights of the superior set include \"Second Race,\" \"The Waltz You Swang For Me,\" \"Don't Get Sassy\" and \"Groove Merchant.\" Highly recommended to fans of the band, this Swiss CD can be found with a bit of a search.\" - \u003c\/span\u003eScott Yanow\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Groove Merchant","offers":[{"title":"Default Title","offer_id":29414333153350,"sku":"","price":6.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/thad_and_lewis.jpg?v=1563383820"},{"product_id":"diddley-bo-s-t-new-lp","title":"Diddley, Bo - s\/t - New LP","description":"\u003cp\u003ereissue of 1958 Chess release that housed his hits from the 1950s.  Essential.  One more time: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eEssential.\u003cbr\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/RX1_lAiwvo0?si=_cikn5Wkj7oNRaSD\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/HlRR6jDtJJQ?si=473ZmZdf4lhQWjiz\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 class=\"review-author headline\"\u003e\u003c\/h3\u003e\n\u003cdiv class=\"text\" itemprop=\"reviewBody\"\u003e\n\u003cp\u003e\"Bo Diddley\u003cspan\u003e \u003c\/span\u003ewas one of the founders of the form -- and he did it like no other.\u003cspan\u003e \u003c\/span\u003eDiddley\u003cspan\u003e \u003c\/span\u003ehad only one real style, that being the\u003cspan\u003e \u003c\/span\u003eBo Diddley\u003cspan\u003e \u003c\/span\u003ebeat: a syncopated, rhythmic drive, loaded with tremolo. There are 12 examples of it on this record, and that is about all you need. It's one of those records that, after listening to just a few cuts, will find you tapping the beats on every available surface.\u003cspan\u003e \u003c\/span\u003eDiddley's guitar and vocals have a gruff feeling that recalls bluesmen such as\u003cspan\u003e \u003c\/span\u003eWaters, yet he has his own style. Buttressed by drums, funky piano, and usually maracas, it's absolutely infectious. This is one of the greatest rock sounds that you're likely to hear, and it's all on this one record.\" -- Matthew Greenwald\u003c\/p\u003e\n\u003cp\u003e -------------\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\"It's tempting to say that Bo Diddley recorded 11 full-length albums, each one better than the last; but that would be denying the pure, unsurpassed genius of his first,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBo Diddley. \u003c\/em\u003eMusic historians have wasted so many perfectly good words trying to explain the significance of Bo Diddley. \"Bo Diddley liberated the blues from the 12-bar form and melded it to an insistent, infectious rhumba beat,\" they bleat. \"Diddley was the progenitor of all that was to come in the evolution of rock and roll,\" blah blah blah blah.Listen: Why is eating a plateful of ribs and dripping all over your hands and clothes fun? BECAUSE IT JUST IS. Why is walking around with cotton candy in one hand and a blue, helium-filled balloon on a string in the other fun? BECAUSE IT JUST IS. Bo Diddley is fun BECAUSE HE JUST IS.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBo Diddley\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(the album) was rock and roll's Big Bang, dripping with sinew and grease and humor and understated swagger. The simplest ingredients - a guitar, a drum, and some maracas - were packed in a gunny sack and slung over the shoulder of some smiling guy with a slick process and a wild plaid jacket, who took it and ran headfirst into oncoming traffic. Reckless, yet crazy cool. He made it sound easy. Geniuses can do that.  No doctoral thesis will explain Bo Diddley, the man or \"Bo Diddley,\" the album. You won't find the answer in some scholarly article called The Epistomological Roots of \"Diddy Wah Diddy\" or something like that, in your dog-eared copy of the Journal of the American Institute of Ethnomusicology. Bo Diddley just is. \u003cem\u003eBo Diddley.\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(the album) is not an option, it's mandatory. We'll be imposing fines on anyone who thinks otherwise, so best to pick up a copy if for no other reason than to avoid a big hassle later on. We're not kidding!\u003cbr\u003e- Rock and Roll's most iconic album, PERIOD. - audiophile pressing from the original Chess\/Checker masters in glorious mono - Faithful reproduction of the original artwork Cut by Kevin Gray at Cohearent Audio.\"\u003c\/p\u003e\n\u003cp\u003eIncludes:\u003c\/p\u003e\n\u003cp\u003eBo Diddley • I’m A Man • Bring It To Jerome • Before You Accuse Me • Hey! Bo Diddley • Dearest Darlin’ • Hush Your Mouth • Say Bossman • Diddley Daddy • Diddy Wah Diddy • Who Do You Love • Pretty Thing\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Sundazed Records","offers":[{"title":"Default Title","offer_id":29426608308294,"sku":"SKU-31867","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/LP-5443_900.jpg?v=1645728197"},{"product_id":"nrbq-brass-tacks-new-lp","title":"NRBQ - Brass Tacks - New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eThe latest from the Q.  German import.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"On \u003c\/span\u003eBrass Tacks\u003cspan\u003e, \u003c\/span\u003eNRBQ\u003cspan\u003e's third album since \u003c\/span\u003eTerry Adams\u003cspan\u003e re-formed the group in 2011, the group sounds more like the old \u003c\/span\u003eNRBQ\u003cspan\u003e than ever, and given how great that band was, that's a fine thing. Now as always, \u003c\/span\u003eAdams\u003cspan\u003e is a tremendously gifted keyboard man, songwriter, and vocalist, and he's fired up his bandmates with the sound and feel that was the band's trademark, and while one would rightly expect the songs \u003c\/span\u003eAdams\u003cspan\u003e wrote to recall classic \u003c\/span\u003eQ\u003cspan\u003e, the tunes contributed by guitarist \u003c\/span\u003eScott Ligon\u003cspan\u003e and bassist \u003c\/span\u003eCasey McDonough\u003cspan\u003e fit the band's traditional template so well that it seems spooky at times, as if they've been channeling the spirits of \u003c\/span\u003eAl Anderson\u003cspan\u003e and \u003c\/span\u003eJoey Spampinato\u003cspan\u003e. But just as importantly, \u003c\/span\u003eAdams\u003cspan\u003e and his bandmates -- \u003c\/span\u003eLigon\u003cspan\u003e, \u003c\/span\u003eMcDonough\u003cspan\u003e, and drummer \u003c\/span\u003eConrad Choucroun\u003cspan\u003e -- have achieved the sort of musical interplay, comfortable but deeply intuitive, that has always been \u003c\/span\u003eNRBQ\u003cspan\u003e's greatest gift, and that comes through loud and clear on these performances, which are too accomplished to suggest these guys are just aping the old lineup's style. \u003c\/span\u003eNRBQ\u003cspan\u003e's mix of rock \u0026amp; roll, jazz, and R\u0026amp;B is as singular and as satisfying as ever, and this wouldn't sound out of place next to much of the classic lineup's recordings, no small accomplishment. As usual, \u003c\/span\u003eAdams\u003cspan\u003e has brought in a handful of sneakily witty tunes, including the ode to credit card debt \"Greetings from Delaware,\" the \u003c\/span\u003eSun Ra\u003cspan\u003e homage \"Places Far Away,\" and the rollicking \"I'm Not Here,\" while \u003c\/span\u003eLigon\u003cspan\u003e's sweetly easygoing \"I'll Be Alright\" is a gem and \u003c\/span\u003eJim Hoke\u003cspan\u003e of \u003c\/span\u003ethe Whole Wheat Horns\u003cspan\u003e contributes \"I'd Like to Know,\" a beautifully downbeat bit of lovelorn pop. One might expect this edition to \u003c\/span\u003eNRBQ\u003cspan\u003e to develop more of a unique personality by now, but there's no arguing that they're doing what they do very well indeed, and \u003c\/span\u003eBrass Tacks\u003cspan\u003e suggests this lineup has a lot of life in it yet.\" - \u003c\/span\u003eMark Deming\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Clang!","offers":[{"title":"Default Title","offer_id":29446803226694,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/NRBQ_brass.jpg?v=1564365196"},{"product_id":"matthews-milt-milt-matthews-inc-used-lp","title":"Matthews, Milt - Milt Matthews Inc. - Used LP","description":"\u003cp\u003eNew vinyl.  Old stock.  Rare soul\/funk 1970. \u003c\/p\u003e\n\u003cp\u003eVaried set, but it's full of DIY charm from go to whoa and features some standout numbers that stand above the others.   It looks like a folk or folk blues set, but it's North Carolina soul, with electric organ and electric guitars.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"...an overall excellent album by\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eMilt Matthews Inc.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\"Milt Matthews\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ewas born in North Carolina, but relocated to Washington, DC in the mid-60s, where he worked as a session guitarist and songwriter.\u003c\/p\u003e\n\u003cp\u003e\"His 1970 debut LP is an outstanding example of the intersection of soul, folk and funk, which was bubbling up into the zeitgeist at the time.\u003c\/p\u003e\n\u003cp\u003e\"Matthews spends the album working out all manner of mellow grooves, sounding like a soulful singer-songwriter in the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBill Withers\/Lou Bond\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003etradition, but with a solid, funky underpinning.\u003c\/p\u003e\n\u003cp\u003e\"‘It Ain’t Your Fault’ is one of the more upbeat tunes on the album, mixing jazzy lead guitar with organ and nice, solid rhythm section locked into the groove.\u003c\/p\u003e\n\u003cp\u003e\"Matthews talent as a vocalist is well-displayed in his version of the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eO.C. Smith\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e‘Little Green Apples’. Here we have a song that I thought I never needed to hear again, yet Matthews takes it and really digs in, playing with the tempo and delivering an epic reading of the song that clocks in at over eight minutes. It’s rare to hear someone get their hands on a ‘standard’ and really do something interesting and new with it, and Matthews really makes the song his own.\u003c\/p\u003e\n\u003cp\u003e\"Try and get your hands on a copy of the album, which is excellent from start to finish.\u003c\/p\u003e\n\u003cp\u003e\"Oddly enough, Matthews second LP ‘For the People’ moves in a more psych-rock direction and is sought out by collectors of the genre.\" - Larry (Funky16Corners)\u003c\/p\u003e","brand":"Commonwealth United Records","offers":[{"title":"Default Title","offer_id":29448071610438,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Matthews_Milt_-_Milt_Matthews_Inc..jpg?v=1564380961"},{"product_id":"free-tillman-my-way-home-new-lp","title":"Free Tillman - My Way Home - New LP","description":"\u003ch1\u003e BACK TO BLACK: 100%. \u003c\/h1\u003e\n\u003ch1\u003e100% of the sale of this item goes to the artist.  In other words, you pay 10 buck, artist gets 10 bucks.\u003c\/h1\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003e----------------------------\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"My Way Home is an instrumental album that tells the story of a person finding his way home and everything that entails. \u003c\/span\u003e\u003cspan\u003eThe story begins with our protagonist going about his everyday life knowing that something is wrong. He wants to move to the big city and become an artist but his girlfriend wants to stay.  \u003c\/span\u003e\u003cspan\u003eAfter some back and forth he decides he needs to leave but before long he realizes that the big city could not care less about his dreams. He starts having second thoughts. He misses his girl and after a few too many drinks he decides to head back “home”.  \u003c\/span\u003e\u003cspan\u003eIt’s at that point that opportunity knocks and he realizes that it wasn’t his hometown or his girlfriend that he missed: it was the comfort. Unfortunately comfort isn’t going to lead him to the life he wants. In the words of Phonte Coleman “Do you really want to win, or just look good losing?”\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2419152872\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/freetillman.bandcamp.com\/album\/my-way-home\"\u003eMy Way Home by Free Tillman\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Free Tillman","offers":[{"title":"Default Title","offer_id":34801038557345,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/a0133306080_10_6cf1f43d-49c9-4308-9082-ac44f51bbd3b.jpg?v=1564653727"},{"product_id":"porter-david-sweat-love-used-lp","title":"Porter, David - Sweat \u0026 Love - Used LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eVG: some wear to both vinyl and sleeve, some crackle between songs; sleeve has ugly drill hole in bottom left corner.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDavid Porter: Under appreciated living legend from the world of North American music...born and raised at the center of it all in Memphis, staying in his hometown to become songwriting partner of Isaac Hayes in the 1960s, house composers for Stax, they penned most of Sam \u0026amp; Dave's hits, “Soul Man\" and \"Hold On! I'm Coming, Porter’s name ending up on the credits of hundreds of songs. While his songs traveled the world, he remains dedicated to his hometown, founding the Memphis-based Consortium MMT, a nonprofit organization seeking to develop the music industry in Memphis.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003ePorter has a street named after him in Memphis and was awarded the Governor's Arts Award for his achievements including founding The Consortium MMT venture.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eEven fans aren’t always aware that he recorded his own albums at Stax, like this one just added to greennoiserecords.com, not surprisingly an enjoyable set, of course focusing on the many sides of falling hard, falling in and falling out, slow-burning waterbed soul and mid-tempo funky numbers, focused on originals by Porter and Ronnie Williams, featuring the Memphis Horns and a group of musicians called Ebony Web (who released at least one single on Hi in 1972), all enjoyable with several highlights.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Enterprise \/ Stax","offers":[{"title":"Default Title","offer_id":29506992832582,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/David_Porter.jpg?v=1565926702"},{"product_id":"damon-lochs-black-monument-ensemble-where-future-unfolds-new-lp","title":"Locks, Damon Black Monument Ensemble - Where Future Unfolds - New LP","description":"\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3239489699\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/intlanthem.bandcamp.com\/album\/where-future-unfolds\"\u003eWhere Future Unfolds by Damon Locks - Black Monument Ensemble\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003eWhere Future Unfolds is a new work spirited by Chicago-based sound \u0026amp; visual artist Damon Locks. Starting as a solo sound collage piece (where Locks pulled samples from Civil Rights era speeches and recordings to create an improvisational pallet for performance on his drum machine), over 4 years the project has blossomed into his 15-piece Black Monument Ensemble – featuring musicians (including Angel Bat Dawid on clarinets and Dana Hall on drums), singers (alumni of the Chicago Children's Choir), and dancers (members of Chicago youth dance company Move Me Soul). Where Future Unfolds is a live capture of the ensemble's epic debut at the Garfield Park Botanical Conservatory on the West Side of Chicago. Recalling the spirits of Phil Cohran's Artistic Heritage Ensemble, Eddie Gale's Black Rhythm Happening, Archie Shepp's Attica Blues, and Public Enemy's It Takes a Nation of Millions to Hold Us Back, the album presents an inspired, innovative \u0026amp; immediate intersection of gospel, jazz, activism \u0026amp; 808 breaks.\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003e\"The music moves easily between Afrofuturist gospel—typified by the spacy synths of “Which I Believe It Will” and the luminous electro beats of “Which I Believe I Am”—and hip-hop grime. “The Colors That You Bring” sets the choir’s soulful harmonies against wavering strings and murky boom-bap drums, like a civil rights protest movie scored the RZA. Upping the intensity, sampled fragments of archived speeches are embedded in the songs; on “Solar Power” a voice proclaims, “There's no black person on this planet that will disagree with freedom.” These spoken snippets give the album a militant edge, recalling interludes from the classic Public Enemy records, where speeches from social reformers like Frederick Douglass were fused with steely breaks.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003e\u003cem\u003e\"Where Future Unfolds\u003c\/em\u003e began as a retelling of the Civil Rights movement of the ’50s and ’60s, but as the title suggests, it is also concerned with what is to come. At one point we hear the sweet, youthful voice of Rayna Golding—the daughter of Black Monument Ensemble singer Monique Golding—leading the choir in a vow: “I can rebuild a nation no longer working out.” The line comes to encapsulate the tenor of the album: gritty sentiments that radiate an optimistic glow. In the way that music from old eras can be sampled and repurposed into new forms, Locks’s majestic work strives to reach better days by looking back and learning from the past.\"\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003c\/h3\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eBlack LP in a heavyweight tip-on gatefold jacket *coated in metallic gold foil* with our standard dome-patterned inner-sleeve, and our Japanese-style obi strip. With 4 art prints.\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e2019\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eMusicians:\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003eAngel Bat Dawid (clarinets), Dana Hall (drums, percussion), Damon Locks (electronics, bells, voice), Arif Smith (percussion).\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eSingers:\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003ePhillip Armstrong, Monique Golding, Rayna Golding (on \"Rebuild A Nation\"), Eric McCarter, Tramaine Parker, Lauren Robinson.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eDancers:\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003eAnna Martine Whitehead, Raven Lewis (Move Me Soul), Cheyenne Spencer (Move Me Soul), Mary Thomas (Move Me Soul), Bryonna Young (Move Me Soul), Tiarra Young (Move Me Soul).\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eLyrics \u0026amp; Compositions by: Damon Locks.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eRecorded \u0026amp; Mixed by: Charlie Mammoser.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003eMastered by: Casey Rice \u0026amp; David Allen.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eCostumes Designed by: Jamie Hayes at Production Mode.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003ePhotography by: Daris Jasper \u0026amp; Chris Hershman\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eAlbum Art by: Damon Locks\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003eLayout \u0026amp; Liner Design by: Craig Hansen\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eRecorded Live at Garfield Park Conservatory, as part of Red Bull Music Festival, Chicago, November 15th, 2018.\u003c\/div\u003e","brand":"International Anthem Recording Company","offers":[{"title":"Default Title","offer_id":29519863808070,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Locks_Damon_Black_Monument_Ensemble_-_Where_Future_Unfolds.jpg?v=1631495671"},{"product_id":"obnox-niggative-approach-new-lp","title":"Obnox - Niggative Approach - New LP","description":"\u003cmeta charset=\"utf-8\"\u003eOn this one, Obnox slinks into a groove, the room filled with his signature fuzz, living room concoctions and basement noise, but this room is traveling in a groove carved out by the ancestors, reversed up the Mississippi and into the rivers that feed into it, a moving room on a chugging train called Obnox from Ohio. -- winch (green noise)\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=971894483\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/obnox12xu.bandcamp.com\/album\/niggative-approach\"\u003eNiggative Approach by Obnox\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003eSome segment of the allegedly savvy music world has either slept on Cleveland’s Lamont Thomas aka OBNOX or continues to damn him with some faint “prolific garage rocker” praise is nothing sort of criminal. OK, not WAR CRIMINAL, but certainly a brand of cultural c(r)ock blockery that neither historians or your kids will look kindly upon.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u2028\u2028‘Niggative Approach’ — a knowing nod to Ann Arbor’s other N.A. (with an opening cameo from John Brannon) is the 7th album in Bim’s astonishing unbeaten streak that began with 2011’s ‘I’m Bleeding Now’ and shows no immediate sign of ending. While Thomas’ past genre-defying works have brazenly taken a torch to such record store bin cards as “punk”, “psych”, “hip hop”, “funk”, “new arrivals” and “MISC. O”, ‘Niggative Approach’ is his most bold, fully realized statement to date. There’s no one in what’s left of the underground with a sharper take on the ties that bind these genres, and no eyewitness to the nation-going-to-shit as quick to stand up and throw down than Obnox. If you wanna settle for half steps, by all means, be our guest, but ’Niggative Approach’ shouldn’t merely challenge you to imagine the possibilities, but maybe even get your hands dirty in making them happen.\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eThey’ve all been bold expressions of his wide vision. But his third, 2014’s Louder Space, was a true breakthrough. The hip-hop and R\u0026amp;B strains that course beneath his noisy one-man garage rock came into sharper focus on that record, his first made in a proper studio. It also showed that Thomas could delve deeper into specific sides of his persona—in this case, by crafting legit rap jams—without sacrificing the many styles of which he’s capable.  The three Obnox albums that Thomas made after\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLouder Space\u003c\/em\u003ewere solid and diverse, but *Niggative Approach feels like its true spiritual follow-up. The album is heavily focused on beats—Thomas has drummed in many vital Cleveland post-punk outfits—and filled with earworm-ready grooves. If Louder Space  was his hip-hop album, Niggative Approach is his funk platter, bubbling with big bass lines and filled with studio touches like horn sections and keyboard accents. There’s still a lot of punk spirit here; the album’s title nods to hardcore legends Negative Approach, whose singer John Brannon opens and closes the album with spoken exhortations to Thomas. But Niggative Approach is first and foremost about groove. Many of Thomas’s grooves are so simple and powerful they feel instantly classic, as if he plucked them from some hidden vault of magic funk tricks. They also help create some of the most upbeat music he’s ever made. After Brannon’s brief invocation, *Niggative Approach *opens with three tracks ripe for blasting from car windows while cruising down beachside strips. “Hardcore Matinee” is positively bouncy, while “Jack Herer” sounds like a dream take on Curtis Mayfield's \"Freddie's Dead.\" “State to State” soars on a funky guitar line, chiming keyboard chords, and Thomas’s multi-voiced hums. Things even get romantic during “Carmen, I Love You,” a groove-ballad that Thomas could’ve sung while lying on the grass staring at clouds.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e---------------------------\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eGenre bending at its finest. Lamont Thomas, the one-man band that is Obnox, creates a deep, heady stew of noise, punk, funk, hip-hop, and R\u0026amp;B that is somehow polished as much as it is complete chaos. The album opens with a sample from Negative Approach’s John Brannon—hence the play on the album title and song title—and slowly, song by song, steeps into a deep trance of thick bass, a spattering of horns, keyboard synth, and Parliament-esque funk. It’s punk yet also completely not punk, and it’s dumbfounding how seamlessly lines get blurred. This particular album continues Thomas’s evolution into broad, spacey territory that is undeniably diverse. It can speak to many different audiences, and it’s totally enthralling. -- Razorcake\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"12XU Records","offers":[{"title":"Default Title","offer_id":29566359076934,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Obnox_-_Niggative_Approach.jpg?v=1584387315"},{"product_id":"obnox-know-america-new-lp","title":"Obnox - Know America - New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eObnox continues to keep it raw and real, acid-rock punk and garage fuzz funk, harrowing and burrowing, spreading out and the moving in, dynamo of the machinery and the diamond of the drill bit targeting in on some specifics.  Another essential listen from the one and only from Sandusky.  -- winch (green noise)\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=768839804\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/evernever-records.bandcamp.com\/album\/know-america\"\u003eKnow America by Obnox\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003eOne thing is for sure, if only half the artists out there had even a fraction of the talent and drive of Thomas, music would be better for it.\" - Noisey\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"lightweightBreak\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\"His music is alive in a way few records are these days – complex, emotional, and political in a way that resists sloganeering and cuts to the quick of what matters.\" - Pitchfork \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003eComing at you direct from Cleveland, Ohio, Lamont “Bim” Thomas has transitioned seamlessly from journeyman sticksman in some of the state’s finest bands (This Moment In Black History, Unholy Two, Puffy Areolas, Bassholes, etc.) to the full-on phenomenon known as Obnox. From\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003ea foundation of dirt-level garage punk, Thomas sculpts deep cuts out of blown-out beats, redline guitar damage, and soulful singing, as if your local gospel choir had been raised on a steady diet of The Pagans and Back From the Grave comps. Incredibly, 'Know America' -- Obnox’s fifth\u003cspan\u003e \u003c\/span\u003efull-length -- is the second of three albums to come out in 2015. In addition, 'Know America' is the first of two albums this year on NYC label-to-watch Ever\/Never Records. Part of an ambitious Ever\/Never 2015 release schedule, 'Know America' secures Obnox’s top ranking\u003cspan\u003e \u003c\/span\u003eamongst the creme de la creme of the worldwide underground.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e'Know America' is a loose concept album, something like Thomas’ deep soul take on 'Pump Up The Volume' or 'Airheads'. Right at the start, on “Signal Takeover,” Obnox is hijacking the radio waves. A DJ that sounds suspiciously like Thomas, let us know that we are tuned to\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003e“Radio 420\u003cspan\u003e \u003c\/span\u003eWEDE” and that we better prepare for some “trunk punk.” In case you haven’t picked up what he’s laying down, Thomas informs you that the LP you just slapped on your turntable is “reefer on wax.”\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eThe beat-driven “Grease” is a statement of purpose -- a manifesto of sorts -- as Thomas sings “This is the party where I like to be\/Thank you for coming and inviting me.” To Thomas, music is a two-way street. You’re either coming towards him looking for a good time, or heading away\u003cspan\u003e \u003c\/span\u003ewith a big fat smile on your face. “Cracked Up” is pure Midwest basement punk, more tuneful than it has any right to be. That’s Obnox’s secret ingredient -- good songs. Simple as that. Finding Thomas in a vulnerable mood, the gorgeous “Menocause” is a stately reverie, a peek\u003cspan\u003e \u003c\/span\u003ebehind the curtain. If it were thirty years ago, Spaceman 3 would be covering this wonder of slomo guitar fuzz and minimal percussion. In the vein of 'Louder Space' hit “Molecule,” “Loudpack” is another resounding success in Obnox’s all-natural blending of hip-hop and noise\u003cspan\u003e \u003c\/span\u003erock. Slammin’ beats, big bass hits and a guitar so grimey you’d have to get on your hands and knees with a toothbrush to scour its grout clean. “Loudpack” is exactly the kind of block-buster that dudes who drive around with the windows open and the stereo up should be cranking from\u003cspan\u003e \u003c\/span\u003etheir overtaxed sound-systems. Firmly making it his own, the Obnox cover of Columbus mainstay Tommy Jay’s “Village Idiot” amplifies the main guitar hook into a twist on the Breeders’ alterna-rock smash “Cannonball,” and too bad it’s not the ‘90s because Obnox could\u003cspan\u003e \u003c\/span\u003ehave competed for play on MTV -- at the very least Beck would have played him during a guest hosting gig on '120 Minutes'.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e“Hillbilly Intervention” is a station break that inverts the typical hip-hop skit into a crackerbaiting segment that also functions as a breather. And you’ll need that moment of rest before Obnox busts into “Freaky,” a two-minute barnstormer originally by Canadian cuddlecore queens\u003cspan\u003e \u003c\/span\u003eCub -- Thomas injects the song with booty-shaking low end making it seem like some recently unearthed Sly Stone b-side. On “Life Long Vine,” Thomas is in spooky mode, recalling the vaguely sinister moods of early Pink Floyd and Pretty Things. “Situation Comedy,” written by\u003cspan\u003e \u003c\/span\u003eCleveland spazz-pop maestro Mikey Machine, is where everything boils over, soaking you in scalding-hot rock action.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eWorking as his own mixmaster, Thomas keeps the radio dial spinning with a heavy-as-dirt version of Bo Diddley classic “Power House.” The album ends with every DJs favorite part of the 24 hour cycle -- “Safe Harbor” -- a haven for bold, free speech and in-your-face music pushed into the red. Obnox is on his home court here, sovereign territory even. Thomas is not only familiar with the lay of the land, he’s out there discovering new horizons with each new release. Know America is another feather in the man's cap. Onward and upward!\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\u003c\/div\u003e","brand":"Ever\/Never Records","offers":[{"title":"Default Title","offer_id":29566396596294,"sku":"","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Obnox_-_Know_America.jpg?v=1592416578"},{"product_id":"obnox-boogalou-reed-new-lp","title":"Obnox - Boogalou Reed - New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003e\"I\u003c\/span\u003ef you had to force a standard narrative on Obnox, the solo project of Cleveland’s Lamont \"Bim\" Thomas, it might go something like this: prolific, lo-fi one-man band steps into a proper studio to make his most accessible and acclaimed album—last year’s wide-ranging, hard-hitting *Louder Space—*and must grapple with how to follow that peak. The problem with that story is that Thomas isn’t much of a grappler when it comes to making records. \u003cem\u003eBoogalou Reed\u003c\/em\u003e, released less than a year after \u003cem\u003eLouder Space\u003c\/em\u003e, finds him still cockily speeding along, cranking out high-octane, hip-hop-influenced garage rock like it’s a spiritual calling. \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003e\"Even if Thomas is a song-making factory, \u003c\/span\u003e\u003cem\u003eBoogalou Reed\u003c\/em\u003e\u003cspan\u003e sounds nothing like an assembly line. In contrast to *Louder Space—*his first full-on exploration of his rap leanings—this is more of a straight-up garage-punk album, filled with hyper-fuzz guitars, stomping beats, and snarling vocals. That’s reflected in some of Thomas’s rock-history-sniffing song titles: \"Cynthia Piper at the Gates of Dawn\", \"Too Punk Shakur\", the title track. Judged solely on the scale of how hard it rocks, \u003c\/span\u003e\u003cem\u003eBoogalou Reed\u003c\/em\u003e\u003cspan\u003e is a head-rinsing success.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"But Thomas has been at his craft too long to settle for anything that simple. He knows the value of head-down rock action, but he also knows how to layer that with something more complex. Most of these 15 tracks are miles-deep sonically, with guitars piled high, beats thickened into gunshots, and vocals that morph hip-hop fire with punk frenzy. The result is just as varied—albeit in a sneakier way—as \u003cem\u003eLouder Space\u003c\/em\u003e. Blink and you might miss the twists and turns, as Thomas dives into sultry noise-R\u0026amp;B (\"Situation\"), stoner grunge (\"Protopipe\"), rap-metal (\"Watching You\"), organ-driven '60s rock (\"Empire\"), and even a demolishing cover of \"Ohio\" that beats Neil Young at his own guitar-growl game.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003e\"What glues all these sides of Obnox together is the way Thomas infects every moment with electricity. The lightning-bolt energy that courses through \u003c\/span\u003e\u003cem\u003eBoogalou Reed\u003c\/em\u003e\u003cspan\u003e’s 15 tracks is a kind of genre of its own, a sonic signature that Thomas can fit many styles into without losing the mark of his bold handwriting. As he \u003c\/span\u003eput it\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003erecently, \"White cats can get into it. Hip-hop niggas can get into it. Punks can get into it. Indie rock dude, he’s already in. Noiseheads. It’s all in there.\" Yet none of those categories takes over; you never get the sense that Thomas is trying on costumes or speaking a second language. His supreme confidence steamrolls any worries of dilettantism.\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003e\"Steamrolling is basically Thomas’ job now. Since launching Obnox after years spent in some of Ohio’s best garage bands, he’s slammed forward with all the force of a smoke-blowing engine. (He’s already got another record on the way soon, a \"punk rock concept album\" called \u003cem\u003eKnow America\u003c\/em\u003e about taking over a radio station.) But that steamroller metaphor doesn’t catch how Thomas’ music is as subtle as it is pummeling. His business is all about charging forward, but his art is about more than just the moment.\"  - Marc Masters\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\u003c\/div\u003e","brand":"12XU Records","offers":[{"title":"Default Title","offer_id":29566423531590,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Obnox_BoogalouReed.jpg?v=1567130938"},{"product_id":"orquesta-akokan-s-t-new-lp","title":"Orquesta Akokán - S\/T [MARKED DOWN] - New LP","description":"\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1103010905\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/orquestaakokan.bandcamp.com\/album\/orquesta-akok-n\"\u003eOrquesta Akokán by Orquesta Akokán\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eStraight out of Havana, Cuba – a blazing presentation of deeply soulful mambo reminiscent of Benny Moré and banda gigante of\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"peekaboo-text\"\u003ethe 1940’s and 50’s. Their latest self titled album boasts all original songs and was recorded at the historic state Areito Studio with Cuba’s finest players, young and old.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003eDaptone Records is proud to introduce Orquesta Akokán, a big band collective of Havana’s top musicians both young and old, joining forces with some of the most creative and spirited talents of New York’s Latin music scene. Born out of a shared vision by singer José \"Pepito\" Gómez, producer Jacob Plasse, and arranger Michael Eckroth, the group reinvigorates the sound of the golden era of Cuban mambo with a bold new energy.\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased March 30, 2018\u003c\/div\u003e","brand":"Daptone Records","offers":[{"title":"Default Title","offer_id":29597338632262,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Orquesta_Akokan.jpg?v=1567888432"},{"product_id":"gay-ben-lamar-downtown-castles-can-never-block-out-the-sun-new-lp","title":"Gay, Ben LaMar - Downtown Castles Can Never Block the Sun [DELUXE EDITION] - New LP","description":"2025 edition: With obi strip, printed inner and 4-page 11\" insert.\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2780930414\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/intlanthem.bandcamp.com\/album\/downtown-castles-can-never-block-the-sun\"\u003eDowntown Castles Can Never Block The Sun by Ben LaMar Gay\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\"Downtown Castles Can Never Block The Sun\" is as much a 'greatest hits' as it is a 'debut album' for Ben LaMar Gay. It's a collection of music composed, performed \u0026amp; produced by the anomalous Southside Chicago-born, sometimes Brazil-residing artist, compiled from 7 albums he made over the last 7 years but never made the effort to actually release.\u003cbr\u003e\u003cbr\u003eWith its title taken from the mantra Ben repeats across several tracks on \"Grapes\" (1 of the 7 aforementioned albums), \"Downtown Castles Can Never Block The Sun\" is our effort to channel the rainbow of sonic expressions, art \u0026amp; poetry beaming from the ark of his unreleased catalogue into a cohesive \u0026amp; communicable compilation. It's as good of an introduction to Ben LaMar Gay as we could fit onto a single LP. To call it \"eclectic\" would only scratch the surface. This music is everything. \u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003ecredits\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased May 4, 2018\u003cbr\u003e\u003cbr\u003eCompiled \u0026amp; Sequenced by Scott McNiece \u0026amp; Ben LaMar Gay.\u003cbr\u003e\u003cbr\u003eMastered by David Allen.\u003cbr\u003e\u003cbr\u003eCover Art \u0026amp; Photos by Maren Celest.\u003c\/div\u003e","brand":"International Anthem Recording Company","offers":[{"title":"Default Title","offer_id":30234538213513,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Gay_Ben_LaMar_-_Downtown_Castles_Can_Never_Block_Out_the_Sun.jpg?v=1569056495"},{"product_id":"gawd-status-joker-starr-x-king-kashmere-firmamentum-new-lp","title":"Gawd Status (Joker Starr x King Kashmere) - Firmamentum - New LP","description":"\u003ch3\u003ehand numbered run of 500 on gold vinyl.  UK import.\u003c\/h3\u003e\n\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3558063446\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/gawdstatus.bandcamp.com\/album\/firmamentum\"\u003eFirmamentum by Gawd Status\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"trackInfo\" class=\"leftColumn\"\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003eFirmamentum’ (out 30th August) is the debut album from Gawd Status aka King Kashmere and Joker Starr. Fronted by lead singles “Heavy Metal” and “The Alchemist ft. Fae Simon”, the LP showcases Gawd Status’ versatility and eclecticism as an unconventional producer\/MC duo, delivering a killer and off-kilter record that lies in between the worlds of hip-hop, psychedelia and soul.\u003cbr\u003e\u003cbr\u003eFeaturing on the record, fellow UK MCs Micall Parksun and Big Cakes (who has collaborated with the Godfather of grime Wiley) team up on politically-charged, Thabo Mbeki-inspired “I Am An African”. While Anyway Tha God, one half of the Jones Brothers with Joker Starr, flows hard over “Amplified Science”. “Messiah Hybrids” showcases the duo delivering what they do best, a conscious straight-up hip-hop banger.\u003cbr\u003e\u003cbr\u003e‘Firmamentum' covers topics of madness, slavery, the rise of A.I., false Gods, the transmutation of matter, Joker Starr elaborates, “I will always talk about different modes of creation, God, Spiritual beliefs and theories. Firmamentum touches on a bunch of theories ranging from flat earth to aliens”. King Kashmere adds, “production-wise, the sort of psychedelic vibe is something it just grew into… it’s pretty interesting how art can grow and shape context over time”.\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased August 30, 2019\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\u003c\/div\u003e\n\u003cbr\u003e\u003cbr\u003e","brand":"TruThoughts Recordings","offers":[{"title":"Default Title","offer_id":30340713087113,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Gawd_Status_cover.jpg?v=1570064059"},{"product_id":"seratones-power-new-lp","title":"Seratones - Power [CLEAR VINYL Louisiana rock 'n funk] - New LP","description":"\u003cp\u003euh-oh, look out...Louisiana is kicking down your door and coming into your house, and you will welcome them with both arms, smoking set of rock 'n funk from the land that invented most of that anyway.  Bring it back home.\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4117184317\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/seratones.bandcamp.com\/album\/power\"\u003ePOWER by Seratones\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"trackInfo\" class=\"leftColumn\"\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased August 23, 2019\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003eWe, the Seratones, are four musicians highly skilled in the art of rocking your socks off, bringing the house down, and \u003c\/span\u003e\u003cspan class=\"peekaboo-text\"\u003eblowing\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan class=\"peekaboo-text\"\u003e\u003cspan\u003e \u003c\/span\u003eyour mind. Our goal is to make your musical experience replenish your faith in the power of Rock \u0026amp; Roll. Cheers to all our fans and friends for believing in the power of music!\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\n\u003cbr\u003eAJ Haynes - Vocals, Guitar\u003cbr\u003eAdam Davis - Bass, Backup Vocals\u003cbr\u003eJesse Gabriel - Drums, Percussion, Vibraphone, Backup Vocals\u003cbr\u003eTyran Coker - Keyboard, Piano, Synth, Guitar, Backup Vocals\u003cbr\u003eTravis Stewart - Guitar, Backup Vocals\u003cbr\u003eMatt Combs - Strings\u003cbr\u003e\u003cbr\u003e------------------\u003cbr\u003e\u003cbr\u003eProduced by Bradley Shultz - A Small House Production\u003cbr\u003eAdditional Production on “Crossfire” by Chris Sunday\u003cbr\u003eRecorded by Jeremy Ferguson at Battle Tapes Recording, Nashville, TN\u003cbr\u003eMixed by Claudius Mittendorfer\u003cbr\u003eMastered by Adam Grover at Sterling, Nashville, TN\u003cbr\u003e\u003cbr\u003eA\u0026amp;R: Kim Buie \u0026amp; Chris Sunday\u003cbr\u003eManagement: Kim Ross at Quartz Management\u003cbr\u003eBooking: Matt Hickey at High Road Touring \u0026amp; Alex Bruford at ATC Live\u003cbr\u003eStylist: Annika White\u003cbr\u003eDesign \u0026amp; Layout: Matt Etgen and Nate Treme\u003cbr\u003e------------------\u003cbr\u003e\u003cbr\u003eWe are beyond grateful for Kim Ross, Elizabeth Gregory, Matt Hickey, Alex Bruford, Jason Klein \u0026amp; Fender, C\u0026amp;C Drums \u0026amp; Bill and Jacob Cardwell, Shreveport Music Co, Lottie Haynes, Hope Medical Group, Todd \u0026amp; Adrienne Gabriel, Lewis Pesacov, Jesse Phillips, Jeremy Ferguson \u0026amp; Bear Ferguson, Kim Buie, John Allen \u0026amp; our New West Records Family. Special thanks to Chris Sunday and Brad Schultz, we love you dudes. Most importantly we want to express our gratitude to our extended family--our fans. We couldn't do this without your continued Love and support.\u003cbr\u003e\u003cbr\u003e------------------\u003cbr\u003e© \u0026amp; P 2019 New West Records, LLC. 2923 Berry Hill Dr., Nashville, TN 37204. All rights reserved. Unauthorized duplication is a violation of applicable laws.\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\u003c\/div\u003e","brand":"New West Records","offers":[{"title":"Default Title","offer_id":30340722294921,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Seratones_album.jpg?v=1589641340"},{"product_id":"shelton-naomi-the-gospel-queens-cold-world-new-lp","title":"Shelton, Naomi \u0026 the Gospel Queens - Cold World - New LP","description":"\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=825302393\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/naomisheltonandthegospelqueens.bandcamp.com\/album\/cold-world\"\u003eCold World by Naomi Shelton \u0026amp; The Gospel Queens\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 class=\"review-author headline\"\u003eReview by\u003cspan\u003e \u003c\/span\u003e\u003cspan itemprop=\"author\"\u003eMark Deming\u003c\/span\u003e\n\u003c\/h3\u003e\n\u003cdiv class=\"text\" itemprop=\"reviewBody\"\u003e\n\u003cp\u003eGospel and rhythm \u0026amp; blues have long been close siblings even if they don't always acknowledge each other in public -- many early R\u0026amp;B hits were essentially secularized versions of classic sacred numbers, and dozens of soul stars got their start singing with gospel groups -- so it certainly makes sense that the soul revivalists at Daptone Recordings would open their arms to the talents of\u003cspan\u003e \u003c\/span\u003eNaomi Shelton, who has sung both Saturday night and Sunday morning music over the course of her career that's spanned six decades.\u003cspan\u003e \u003c\/span\u003eShelton's second album for Daptone,\u003cspan\u003e \u003c\/span\u003eCold World, mixes elements of traditional gospel with '60s-influenced soul, and while there's less of a churchy feel to this album than 2009's\u003cspan\u003e \u003c\/span\u003eWhat Have You Done, My Brother?, it certainly fits in with the mindset of acts like\u003cspan\u003e \u003c\/span\u003eCurtis Mayfield\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003ethe Staple Singers, who weren't afraid to add some Christian-leaning commentary to their music. \"Sinner,\" \"Heaven Is Mine,\" \"Humble Me,\" and the title track all have the slinky feel of vintage soul (Shelton's longtime musical director\u003cspan\u003e \u003c\/span\u003eCliff Driver\u003cspan\u003e \u003c\/span\u003eand Daptone chief\u003cspan\u003e \u003c\/span\u003eGabriel Roth, the latter of whom wrote six of the album's 12 numbers, have helped give this music a groove that's authentic yet unforced), while\u003cspan\u003e \u003c\/span\u003eShelton's voice -- compassionate and muscular, with just a hint of sass -- has both the power and the emotional heft to bring these tunes to life, not so much preaching as offering her audience advice about life lessons she learned the hard way.\u003cspan\u003e \u003c\/span\u003eShelton's style makes a virtue of her maturity while showing off an energy and passion one would expect from a much younger woman;\u003cspan\u003e \u003c\/span\u003eCold World\u003cspan\u003e \u003c\/span\u003eis an example of what Daptone and the retro-soul crowd are doing right, and it's an authoritative and affecting piece of work.\u003c\/p\u003e\n\u003c\/div\u003e\n----------------------------\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"trackInfo\" class=\"leftColumn\"\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003eLike many gospel and rhythm and blues singers, Naomi Davis grew up singing with her sisters in their Alabama church. She has \u003c\/span\u003e\u003cspan class=\"peekaboo-text\"\u003ealso\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan class=\"peekaboo-text\"\u003e\u003cspan\u003e \u003c\/span\u003espent much of her life in the soul clubs around New York so it’s clear that her singing is equally influenced by both facets of her life. This is soul music – informed by the church, perhaps, but soul music nonetheless, relatable to all.\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased July 29, 2014\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e------------------\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003eFive years after her Daptone debut, soul veteran Naomi Shelton returns with her second album with the Gospel Queens. \u003c\/span\u003e\u003cem\u003eCold World\u003c\/em\u003e\u003cspan\u003e covers a lot of ground stylistically, but Shelton confidently ties everything together with songs that address social issues and paint the world bleakly.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eaomi Shelton\u003cspan\u003e \u003c\/span\u003ehas been singing the Lord’s praises longer than most of us have been alive. Born in the early 1940s, she began performing with her sisters at their small church in Midway, Alabama. After graduating high school and discovering soul music, she moved first to Florida and then to New York City, where she continued singing in church but also held court in Brooklyn nightclubs under the name Naomi Davis. Like many African American singers at the time, her repertoire balanced the secular and the spiritual, the worldly and the heavenly. Even though her singing career spans half a century, her recording career has been much shorter. In 1999, she and an old friend\/collaborator named Cliff Driver formed a gospel group that attracted the ear of Gabriel Roth. At the time he was running a label called Desco, for which Shelton recorded two sides; when it folded, she signed with his new venture,\u003cspan\u003e \u003c\/span\u003eDaptone Records.\u003c\/p\u003e\n\u003cp\u003eShe’s been a major presence on that label’s roster, touring the world with the Daptone Super-Soul Revue and singing with the Sugarman 3. Never quite as popular or as prolific as\u003cspan\u003e \u003c\/span\u003eSharon Jones\u003cspan\u003e \u003c\/span\u003e(who is Daptone’s flagship act), Shelton has proved a powerful vocalist and performer even into her 70s. In 2009, she finally released her debut full-length for the label,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWhat Have You Done, My Brother?,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewhich closed with a soul-stirring cover of\u003cspan\u003e \u003c\/span\u003eSam Cooke’s “A Change Is Gonna Come”. Five years later, she’s finally following it up with\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCold World\u003c\/em\u003e. As the title suggests, Shelton is concerned not just with the individual sinner but with the sad state of the world. Faith is never a private matter; because it informs how we treat ourselves and others, it is a social concern.\u003c\/p\u003e\n\u003cp\u003eConsequently, Shelton is drawn to songs that address social issues and paint the world bleakly. “It’s a Cold, Cold World” describes the back-stabbings and betrayals among humans (“They’ll step on you every every day!”) and points to a certain carpenter as the truest friend possible. With Shelton and the Gospel Queens (Bobbie Jean Gant and Edna Johnson, plus newcomer Angel McKenzie) delivering a lively call and response, the song itself sounds steeped in ‘70s R\u0026amp;B, as though making a conscious nod to the heyday of the\u003cspan\u003e \u003c\/span\u003eStaple Singers. Yet, the conviction in their voices rescues the song from any sense of nostalgia, lending it some persuasive topicality beyond its musical reference points.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eRoth, producing under his alias Bosco Mann, has put together a band of R\u0026amp;B veterans to back Shelton and the Gospel Queens on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCold World\u003c\/em\u003e. If they weren’t such fine players, sensitive to the cadence of Shelton’s vocals and the sentiments of these songs, you might think they were hired for their historical connections to artists who likewise blended the secular and the spiritual. Driver himself has played with Sam Cooke and\u003cspan\u003e \u003c\/span\u003eSolomon Burke; bass player Fred Thomas was a\u003cspan\u003e \u003c\/span\u003eJB\u003cspan\u003e \u003c\/span\u003ein the 1970s. Somehow, the music occasionally sounds too Daptone, as though these backing tracks could have been created for Jones or anyone else on the roster. That shouldn’t reflect on Shelton, but should suggest either the label’s somewhat limited sound or Roth’s too-familiar production style.\u003c\/p\u003e\n\u003cp\u003eBut the band cover a lot of ground on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCold World\u003c\/em\u003e, toggling between the reggae-tinged rhythms of “Sinner” and the breezy groove of “Everybody Knows (River Song)”, a cover of the 1965 O.V. Wright tune. Still, it’s Shelton who confidently ties everything together and insinuates a larger story arc in the sequencing: a journey that begins in doubt (“Sinner”) and ends with salvation and gratitude (“Thank You Lord”). If her label defines itself by the past tense, Shelton understands that gospel is rooted in the present (the tribulations we face today) and the future (the promise of eternity in heaven). It may seem like a minor distinction, but on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCold World,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eit’s the difference between revival and revivalist.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\u003c\/div\u003e","brand":"Daptone Records","offers":[{"title":"Default Title","offer_id":30673631248521,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Naomi_Shelton.jpg?v=1571039796"},{"product_id":"burnside-r-l-wish-i-was-in-heaven-sitting-down-new-lp","title":"Burnside, R. L. – Wish I Was in Heaven Sitting Down – New LP","description":"\u003cp\u003eOuch! one listen to this and you'll chuck all your Eric Clapton, Black Keys... in the trash. This is the shit, the shit you need.  - winch\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBtw, this rl burnside record is so fucking good ! -- Will\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1751022692\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/rlburnside.bandcamp.com\/album\/wish-i-was-in-heaven-sitting-down\"\u003eWish I Was in Heaven Sitting Down by R.L. Burnside\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"leftColumn\" id=\"trackInfo\"\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003eR.L Burnside is the ultimate paradox of blues music--he is the last genuine performer of raw Mississippi hill country sound, as well as the most cutting edge crossover artist the blues has had in the past 30 years. Wish I Was In Heaven Sitting Down proves it. It is the accumulation of 73 years of hard-earned experience and contains some of R.L.'s best singing ever. His voice has gained maturity and depth, while his phrasing is detailed and emotional.\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased October 24, 2000\u003cbr\u003e\u003cbr\u003eProducer – Andy Kaulkin (tracks: A1 to A3, A5 to B4), Antony Glenn (tracks: A1, B5), Brad Cook* (tracks: A2, A5), Bruce Watson (2) (tracks: A4), Iki Levy (tracks: A5), John Porter (tracks: A2, A3, A6 to B4), Matt Johnson* (tracks: A4)\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\u003c\/div\u003e","brand":"Fat Possum Records","offers":[{"title":"Default Title","offer_id":30898437324937,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/RL_Burnside_I_wish.jpg?v=1571558834"},{"product_id":"burnside-r-l-burnside-on-burnside-new-lp","title":"Burnside, R. L. – Burnside on Burnside [Aqua Vinyl] – New LP","description":"\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1403706735\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"customHeaderWrapper\"\u003e\n\u003cdiv class=\"band-navbar-wrapper flex\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"trackView leftMiddleColumns has-art\" itemscope=\"\" itemtype=\"http:\/\/schema.org\/MusicAlbum\" data-tooltips='{\"dash_seen\":null,\"tooltips\":[]}'\u003e\n\u003cdiv id=\"trackInfo\" class=\"leftColumn\"\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003eAll tracks recorded live in Portland, OR at the Crystal Ballroom Jan. 21, 2001, except 3, 10-12 recorded live in San Francisco, CA at the Great American Music Hall, Jan. 24, 2001.\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased October 23, 2001\u003cbr\u003e\u003cbr\u003eWritten-By – R.L. Burnside (tracks: 1 to 3, 5, 7 to 12)\u003cbr\u003eRecorded By – Steve Beatty (3)\u003cbr\u003eProducer – Bruce Watson (2), Matthew Johnson (4)\u003cbr\u003eMastered By – Mark Yoshida\u003cbr\u003e\u003cbr\u003eVocals, Guitar – R.L. Burnside\u003cbr\u003eDrums – Cedric Burnside\u003cbr\u003eGuitar – Kenny Brown (2)\u003cbr\u003e\u003cbr\u003eMixed at the Money Shot in Water Valley, MS.\u003cbr\u003eMastered at AudioGraphic Masterworks in Memphis, TN.\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eR.L. Burnside’s first break came in the early ‘90s when the documentary film based on author Robert Palmer’s book Deep Blues featured R.L. as one of its highlights. Subsequently Palmer produced R.L.’s Too Bad Jim for the fledgling Fat Possum label. Along with Junior Kimbrough’s All Night Long, Too Bad Jim was one of the most important and influential blues albums of the ‘90s. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eToo Bad Jim brought R.L. to the attention of post-punk musician Jon Spencer. R.L. toured extensively with the Jon Spencer Blues Explosion and this led to the collaboration between the two, the result was A Ass Pocket of Whiskey, a teenage party record. Ass Pocket of Whiskey made R.L an unlikely champion in the indie rock world.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn 1997 R.L. released Mr. Wizard, Fat Possum’s debut record on their new distribution label Epitaph. The album featured R.L’s hardcore touring mates, grandson Cedric Burnside and adopted son Kenny Brown.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn 1998 R.L. released Come On In, which pitted his raw blues against modern electronica, courtesy of producer Tom Rothrock (Beck, Elliot Smith). The album was a critical and commercial success, and one of its tracks, “It’s Bad You Know,” became a respectable radio hit and was featured in The Sopranos and on its soundtrack.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn the year 2001, R.L. Burnside was still breaking down boundaries, and bringing the blues to where it had never gone before. Listen up.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e1. Shake ‘Em On Down\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Skinny Woman\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Miss Maybelle\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Rollin’ \u0026amp; Tumblin’\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. Long Haired Doney\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. Walkin’ Blues\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e7. He Ain’t Your Daddy\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e8. Bad Luck And Trouble\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e9. Jumper On The Line\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e10. Goin’ Down South\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e11. Alice Mae\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e12. Snake Drive\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fat Possum Records","offers":[{"title":"Default Title","offer_id":30899168247945,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/burnside_on_burnside.jpg?v=1623214460"},{"product_id":"burnside-r-l-come-on-in-new-lp","title":"Burnside, R. L. – Come On In – New LP","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3813378908\/size=small\/bgcol=333333\/linkcol=2ebd35\/track=3640536830\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/rlburnside.bandcamp.com\/album\/come-on-in\"\u003eCome On In by R.L. Burnside\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3813378908\/size=small\/bgcol=333333\/linkcol=2ebd35\/track=3284940729\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/rlburnside.bandcamp.com\/album\/come-on-in\"\u003eCome On In by R.L. Burnside\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3813378908\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/rlburnside.bandcamp.com\/album\/come-on-in\"\u003eCome On In by R.L. Burnside\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e \u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003eThis has some great raw blues that will please most fans of blues as well as fans of other brands of music, but some blues purists might wanna stick with some of Burnside's other recordings.  On the other hand fans of gut-bucket funk and garage punk blues will want to grab this one with both hands!\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e$2.00 Initial Charge\u003cbr\u003e\u003cbr\u003e30¢ per 1\/5 mile\u003cbr\u003e\u003cbr\u003e20¢ Per Minute Stopped or Slow Traffic\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased September 25, 1998\u003cbr\u003e\u003cbr\u003eProducer, Recorded By, Mixed By – Martin Tino Gross* (tracks: 1, 3, 5, 7, 9 to 13)\u003cbr\u003eMastered By – Mark Yoshida\u003cbr\u003e\u003cbr\u003eTracks 1, 3, 5, and 9 mixed at Funhouse.\u003cbr\u003eTracks 2 and 11 mixed at the Money Shot Water Valley, MS.\u003cbr\u003eTrack 8 recorded in 1968.\u003cbr\u003eTrack 12 mixed at Audio Magic.\u003c\/div\u003e\n\u003cdiv class=\"trackView leftMiddleColumns has-art\" itemscope=\"\" itemtype=\"http:\/\/schema.org\/MusicAlbum\" data-tooltips='{\"dash_seen\":null,\"tooltips\":[]}'\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fat Possum Records","offers":[{"title":"Default Title","offer_id":30899181420681,"sku":"","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Burnside_come_on_in.jpg?v=1602476238"},{"product_id":"burnside-r-l-mr-wizard-new-lp","title":"Burnside, R. L. – Mr. Wizard – New LP","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=233279902\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/rlburnside.bandcamp.com\/album\/mr-wizard\"\u003eMr. Wizard by R.L. Burnside\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cdiv class=\"trackView leftMiddleColumns has-art\" itemscope=\"\" itemtype=\"http:\/\/schema.org\/MusicAlbum\" data-tooltips='{\"dash_seen\":null,\"tooltips\":[]}'\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e“R.L. gets tired easily these days and welcomes a tornado's help in finishing the job he started. Tidal waves, volcanoes, and yes, even wars - they are all his buddies. From town to town, country to country, they move on with a consistent beat, guitars yelling and screaming with the voice of God, and the Wizard sitting on a chair of skulls with any old guitar and moaning, \"well, well, well,\" at a bewildered audience.\" - Excerpt from Liner Notes\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased March 11, 1997\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cem\u003e\"R.L. Burnside's blues ain't no kid glove, overproduced live shit. This is evil, wicked, mean and nasty. And that's why it's so cool.\"\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e- The Music Scene\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fat Possum Records","offers":[{"title":"Default Title","offer_id":30899305218185,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/burnside_wizard.jpg?v=1571628454"},{"product_id":"burnside-r-l-a-bothered-mind-new-lp","title":"Burnside, R. L. – A Bothered Mind – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eGive me a little time to think, while I mix me another motherfucking drink.\u003cbr\u003e- RL Burnside\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eNew pressing of this bottle of 200 proof, skunk and funk, stang with fangs, moving like a king snake across the dirty, slapping the dust from an old hat, chugging like a choo choo train, chopping at black coal to feed the steam to move the locomotion, blues and rhythm, swampy shuffle and even some hip hop, raw and ready, electric and electrifying, this is the slap of a callous palm upside the head of the blues purists.  this is the blues and nothing but. -- winch (green noise)\u003c\/span\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3585327433\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/rlburnside.bandcamp.com\/album\/a-bothered-mind\"\u003eA Bothered Mind by R.L. Burnside\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e \u003c\/p\u003e\n\u003cp\u003e1. Detroit Boogie, Pt. 1\u003c\/p\u003e\n\u003cp\u003e2. See What My Buddy Done\u003c\/p\u003e\n\u003cp\u003e3. Shake 'Em on Down\u003c\/p\u003e\n\u003cp\u003e4. Goin' Down South\u003c\/p\u003e\n\u003cp\u003e5. My Name Is Robert Too\u003c\/p\u003e\n\u003cp\u003e6. Someday Baby\u003c\/p\u003e\n\u003cp\u003e7. Go to Jail\u003c\/p\u003e\n\u003cp\u003e8. Bird Without a Feather\u003c\/p\u003e\n\u003cp\u003e9. Glory Be\u003c\/p\u003e\n\u003cp\u003e10. Goin' Away Baby\u003c\/p\u003e\n\u003cp\u003e11. Rollin' and Tumbln'\u003c\/p\u003e\n\u003cp\u003e12. Stole My Check\u003c\/p\u003e\n\u003cp\u003e13. Detroit Boogie, Pt.2\u003c\/p\u003e\n\u003cp\u003eInstant Download with Purchase of CD or LP\u003c\/p\u003e","brand":"Fat Possum Records","offers":[{"title":"Default Title","offer_id":30899310821513,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/burnside_bothered.jpeg?v=1623214457"},{"product_id":"peebles-ann-straight-from-the-heart-new-lp","title":"Peebles, Ann - Straight From The Heart - New LP","description":"\u003cp\u003eEssential 1971 set, some insane understated guitar and then keyboard coming to the front on the mini bridge, horns helping punch it home, rock solid rhythm section for the foundation that backs Ann without getting in the way.  That's just the opening cut, and the set never lets up, slinking in close and taking hold, grabbing you right from the get go and never letting go, \u003cmeta charset=\"utf-8\"\u003estaying strong from go to whoa.  Talk about totality and tight, in the pocket, bass, drum, and guitar in sync with Ann as she takes it all in and makes it her own, beauty and grit, funk and soul.  -- winch (green noise)\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=634545499\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/annpeebles.bandcamp.com\/album\/straight-from-the-heart\"\u003eStraight From The Heart by Ann Peebles\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIf Al Green is heads on the Hi Records coin, ANN PEEBLES is tails. The signature female artist on the legendary Memphis soul and R\u0026amp;B label, Ann Peebles rocked the pre-disco '70s with songs of love, lost love, and love straight up taken. Released in 1972, Straight From The Heart preceded by just two years Peebles' über-classic, I Can't Stand The Rain, proving the young, soon to be American R\u0026amp;B icon didn't need worldwide fame and record sales for a license to be fierce and provocative (see the album track \"I Feel Like Breaking Up Somebody's Home Tonight\").\u003c\/p\u003e","brand":"Hi Records \/ Fat Possum Records","offers":[{"title":"Default Title","offer_id":30901114994825,"sku":"","price":22.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/annstraight_36872425-a48f-4e77-b009-452bd1ada4f2.jpg?v=1571721912"},{"product_id":"copy-of-payton-asie-worried-new-lp","title":"Payton, Asie – Worried - New LP","description":"\u003cbr\u003ethe hip stand on their high horses and folks crowd around them all crazy with admiration and chuck them buckets of money...musicians trying to do what Payton did so much without getting credit or money....so so much better...rural blues: yes...gut-bucket boogie: yes...killer rock n roll...rawbone rhythm \u0026amp; blues...Asie does all that, often all that at the same time. -- winch\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=99324731\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/asiepayton.bandcamp.com\/album\/worried\"\u003eWorried by Asie Payton\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003eRecorded 1994\u003cbr\u003e\u003cbr\u003eAsie Payton died of a heart attack on May 19, 1997, in Holly Ridge, Mississippi. It occurred in the early afternoon, while he was driving a tractor in the same fields he’d worked most of his sixty years. For all of 1995 and most 1996, Fat Possum tried unsuccessfully to convince Asie that the world outside Mississippi needed to hear him. But despite living below the poverty level and desperately needing the easy money of a gig, he could not be lured away from Washington County for more than a couple of hours. Fat Possum succeeded in recording Asie twice: once at Junior Kimbrough’s club, and once at Jimmy’s Auto Care, Fat Possum’s old studio. Obviously, all the songs on Worried were recorded during these two sessions, and originally intended to be demo tapes. At the time, all we knew about Asie was that he lived in a shotgun shack — no phone, no a\/c; and that whenever the fields were dry enough for tractor tires, he was working in them. When they were too wet, Asie was impossible to find. He lived in Holly Ridge almost all of his life and, like his father before him, spent Saturday nights playing in one of the two small grocery stores that qualify Holly Ridge for a name on the map– a place, instead of just a county-road intersection. \u003cbr\u003e\u003cbr\u003e","brand":"Fat Possum Records","offers":[{"title":"Default Title","offer_id":30946004729993,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/asie_worried.jpg?v=1571805416"},{"product_id":"songhov-blues-resistance-new-lp","title":"Songhoy Blues – Résistance [MARKED DOWN] – New LP","description":"\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=816472979\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless\u003e\u003ca href=\"http:\/\/songhoyblues.bandcamp.com\/album\/r-sistance\"\u003eRésistance by Songhoy Blues\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"trackInfo\" class=\"leftColumn\"\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan class=\"title\"\u003eSonghoy Blues\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003cspan class=\"location secondaryText\"\u003eBamako, Mali\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003cspan class=\"location secondaryText\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003eSonghoy Blues has always been about resistance. We started this group during a civil war, in the face of a music ban, to create something positive out of adversity. As long as we have music left in us and something to say, we'll keep fighting each day with music as our weapon, our songs as our resistance.\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased June 20, 2017\u003cbr\u003e\u003cbr\u003eSonghoy Blues are:\u003cbr\u003eAliou Toure - Vocals \/ Guitar\u003cbr\u003eGarba Toure - Guitar \/ Vocals\u003cbr\u003eOumar Toure - Bass \/ Vocals\u003cbr\u003eNathanael Dembele - Drums \/ Vocals\u003cbr\u003e\u003cbr\u003eAll Songs Composed \u0026amp; Written by Songhoy Blues\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\u003c\/div\u003e","brand":"Fat Possum Records","offers":[{"title":"Default Title","offer_id":30946040250505,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Songhov.jpg?v=1571805981"},{"product_id":"t-model-ford-bad-man-new-lp","title":"Ford, T-Model – Bad Man – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMr. Ford souped up like a T-Model roadster and stripped down to frame, rims, rubber and powerplant, kicking it over and kicking it out, getting it and getting down, slinking into it like a king crawl snake, sinking fangs into it and shaking it every which way but loose, coming at you like a tail-dragging gator wetted down with swamp water.  Some of the last copies of the 2016 pressing.\u003c\/span\u003e --winch (green noise)  \u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=196485589\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/t-modelford.bandcamp.com\/album\/bad-man\"\u003eBad Man by T-Model Ford\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"trackInfo\" class=\"leftColumn\"\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003eJames \"T-Model\" Ford cannot read these notes. He has been shot, stabbed, and poisoned. His ankles wear the ragged scars of chain gang shackles. He learned the hard way.\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\u003c\/div\u003e","brand":"Fat Possum Records","offers":[{"title":"Default Title","offer_id":30946055323785,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/t_model_ford_bad.jpg?v=1604378423"},{"product_id":"t-model-ford-pee-wee-get-my-gun-new-lp","title":"T-Model Ford – Pee-Wee Get My Gun [RED VINYL] – New LP","description":"\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4044748729\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless\u003e\u003ca href=\"http:\/\/t-modelford.bandcamp.com\/album\/pee-wee-get-my-gun\"\u003ePee Wee Get My Gun by T-Model Ford\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003eWhen asked how many times he'd been to jail, T-Model responded, \"I don't know. How many?\" He seemed to think it might be a trick question. Upon realizing it was't, he answered to the best of his ability. \"every Saturday night there for awhile.\"\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased May 20, 1997\u003c\/div\u003e","brand":"Fat Possum Records","offers":[{"title":"Default Title","offer_id":30946058207369,"sku":"","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/T_model.jpg?v=1571807100"},{"product_id":"williams-elmo-hezekiah-early-takes-one-to-know-one-new-lp","title":"Williams, Elmo \u0026 Hezekiah Early – Takes One to Know One - New LP","description":"\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3637199140\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless\u003e\u003ca href=\"http:\/\/elmowilliamsandhezekiahearly.bandcamp.com\/album\/takes-one-to-know-one\"\u003eTakes One To Know One by Elmo Williams and Hezekiah Early\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis album contains some of the noisiest and most unapologetically down-home blues recorded in the post-war era. Hezekiah Early and Elmo Williams are both semi-professional musicians, but both play and sing as if their life depended on it, with force and power. The blues this duo plays are decidedly modern (even post-modern), and would appeal to any fan of Sonic Youth's white noise rock and Captain Beefheart's Dadaesque R\u0026amp;B. Williams' guitar on \"Hoopin' and Hollern'\" sounds like it was played through a completely fired amp, and Early's harp on \"Insane Instrumental\" sounds like a trucker grinding gears. But that doesn't mean the duo can't conjure up some soul. William's gospel-ish \"Let It All Go\" closes the album.- John Duffy of Allmusic\u003c\/span\u003e\u003c\/p\u003e","brand":"Fat Possum Records","offers":[{"title":"Default Title","offer_id":30979715924105,"sku":"","price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Elmo_Williams.jpg?v=1571979011"},{"product_id":"johnson-syl-uptown-shakedown-new-lp","title":"Johnson, Syl – Uptown Shakedown – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"content\"\u003eSylvester Thompson\u003c\/div\u003e\n\u003cdiv class=\"head\"\u003eProfile:\u003c\/div\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cdiv class=\"readmore initialized uncropped\" id=\"profile\"\u003eb. 1st July 1936, Holly Springs, Mississippi, U.S.A.\u003cbr\u003e\u003cbr\u003eAmerican funk\/soul\/blues singer and music producer.\u003cbr\u003e\u003cbr\u003eJohnson sang and played with blues artists\u003cspan\u003e \u003c\/span\u003eMagic Sam,\u003cspan\u003e \u003c\/span\u003eBilly Boy Arnold,\u003cspan\u003e \u003c\/span\u003eJunior Wells\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003eHowlin' Wolf\u003cspan\u003e \u003c\/span\u003ein the 1950s, before recording with\u003cspan\u003e \u003c\/span\u003eJimmy Reed\u003cspan\u003e \u003c\/span\u003efor\u003cspan\u003e \u003c\/span\u003eVee Jay Records\u003cspan\u003e \u003c\/span\u003ein 1959. He made his solo debut that same year with\u003cspan\u003e \u003c\/span\u003eFederal Records (2), a subsidiary of\u003cspan\u003e \u003c\/span\u003eKing Records (3)\u003cspan\u003e \u003c\/span\u003eof Cincinnati, backed by\u003cspan\u003e \u003c\/span\u003eFreddie King\u003cspan\u003e \u003c\/span\u003eon guitar.\u003cbr\u003e\u003cbr\u003eHe then began recording for\u003cspan\u003e \u003c\/span\u003eTwinight Records\u003cspan\u003e \u003c\/span\u003eof Chicago in the mid 1960s. Beginning with his first hit,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eCome On Sock It to Me\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ein 1967, Johnson dominated the label as both a hitmaker and producer.\u003cbr\u003e\u003cbr\u003eLike other black songwriters of the period, several of his records at this time explored themes of African-American identity and social problems in songs including\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eIs It Because I’m Black\u003c\/i\u003e, which reached Number 11 in the R\u0026amp;B charts in 1969.\u003cbr\u003e\u003cbr\u003eIn 1971,\u003cspan\u003e \u003c\/span\u003eWillie Mitchell\u003cspan\u003e \u003c\/span\u003ebrought Johnson to\u003cspan\u003e \u003c\/span\u003eHi Records, for whom he recorded three albums and a number of singles. Produced in Memphis with the Hi house band, these yielded music of power and enduring value, including the hits\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eWe Did It\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eBack for a Taste of Your Love\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eTake Me to the River\u003c\/i\u003e, his biggest success, reaching Number 7 on the R\u0026amp;B charts in 1975. However, at Hi Johnson was always to some extent in\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.discogs.com\/artist\/25261-Al-Green\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eAl Green\u003c\/a\u003e’s shadow commercially, if not artistically.\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Hi Records \/ Fat Possum Records","offers":[{"title":"Default Title","offer_id":30981053874313,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/syl.jpg?v=1572063083"},{"product_id":"clay-otis-i-cant-take-it-new-lp","title":"Clay, Otis – I Can't Take It – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"The shadows of both\u003cspan\u003e \u003c\/span\u003eAl Green\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003eAnn Peebles\u003cspan\u003e \u003c\/span\u003elooming large over Hi, the record label's second league will always remain criminally overlooked. Being second to a soul superstar and a critics' favorite isn't necessarily a bad thing, though, as quality control at the label was always on a high level. A case in point is the sampler of sorts Al Bennett released on his own Cream imprint after buying the Hi catalog from Willy Mitchell in 1977. Titled A History of Soul, the double album contained strong single releases and non-album tracks by Hi second-leaguers\u003cspan\u003e \u003c\/span\u003eO.V. Wright,\u003cspan\u003e \u003c\/span\u003eSyl Johnson, and\u003cspan\u003e \u003c\/span\u003eOtis Clay. The latter's appearance proved most promising, as both 1973's \"I Didn't Know the Meaning of Pain\" and \"The Woman Don't Live Here No More\" from 1974 indicated the promise of a rewarding follow-up to his 1972 debut album,\u003cspan\u003e \u003c\/span\u003eTrying to Live My Life Without You. However, these songs weren't included on\u003cspan\u003e \u003c\/span\u003eClay's follow-up,\u003cspan\u003e \u003c\/span\u003eI Can't Take It. Instead, his final Hi album reprises \"Home Is Where the Heart Is,\" his first ever recording for the label. It quite possibly served as a means of reacquainting the public with\u003cspan\u003e \u003c\/span\u003eOtis Clay, since a five-year hiatus separated his lone two albums for Hi. During this period he kept himself busy with his own label. Apart from \"Slow and Easy,\" the album was comprised of leftover sessions from 1972. Still,\u003cspan\u003e \u003c\/span\u003eI Can't Take It\u003cspan\u003e \u003c\/span\u003efares strongly in opener \"Pussyfootin' Around,\" the scorching ballad \"House Ain't a Home (Without a Woman),\" and the gut-wrenching title track. As always, the Hi house band does an ace job.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBorn on 11th February 1942 in Waxhaw, Mississippi, U.S.A.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDied on 8th January 2016, U.S.A.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eHe moved to Chicago to start his career, where he started singing in gospel groups. In 1965 he was signed at \u003c\/span\u003eOne-derful\u003cspan\u003e. When this label folded, in 1968 he moved at \u003c\/span\u003eAtlantic\u003cspan\u003e's \u003c\/span\u003eCotillion\u003cspan\u003e and in 1971 at \u003c\/span\u003eHi Records\u003cspan\u003e. He kept on recording all through the 70's and 80's at various labels.  \u003c\/span\u003e\u003cspan\u003eHe was one of the 2013 inductees to the \u003c\/span\u003e\u003cb\u003eBlues Hall Of Fame.\u003c\/b\u003e\u003c\/p\u003e","brand":"Hi Records \/ Fat Possum Records","offers":[{"title":"Default Title","offer_id":30981074321545,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Otis_clay.jpg?v=1572063920"},{"product_id":"wright-o-v-into-something-cant-shake-loose-new-lp","title":"Wright, O.V. – Into Something (Can't Shake Loose) - New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 class=\"review-author headline\"\u003eReview by\u003cspan\u003e \u003c\/span\u003e\u003cspan itemprop=\"author\"\u003eQuint Kik\u003c\/span\u003e\n\u003c\/h3\u003e\n\u003cdiv class=\"text\" itemprop=\"reviewBody\"\u003e\n\u003cp\u003eO.V. Wright's secular career started off in 1964 with \"That's How Strong My Love Is.\" Wright's delivery proves to be in the same league as the more famous version by\u003cspan\u003e \u003c\/span\u003eOtis Redding. After a few short spells in jail for narcotic offenses during the mid-'70s,\u003cspan\u003e \u003c\/span\u003eWright\u003cspan\u003e \u003c\/span\u003ere-emerged in 1977 with\u003cspan\u003e \u003c\/span\u003eInto Something (Can't Shake Loose). It was his first album for Hi, although producer\u003cspan\u003e \u003c\/span\u003eWillie Mitchell\u003cspan\u003e \u003c\/span\u003ehad overseen many of his Backbeat sides from the earlier days. For this comeback, the producer made sure\u003cspan\u003e \u003c\/span\u003eWright\u003cspan\u003e \u003c\/span\u003ewas supported by nothing but the best, from\u003cspan\u003e \u003c\/span\u003ethe Memphis Horns and Strings\u003cspan\u003e \u003c\/span\u003evia the rhythm section of Grimes and all three Hodgeses to the background vocals of Rhodes-Chalmers-Rhodes. Even\u003cspan\u003e \u003c\/span\u003eJames Brown\u003cspan\u003e \u003c\/span\u003eturned up for piano duties, but let's assume he's just a namesake. Obviously not as strong as the Hi albums\u003cspan\u003e \u003c\/span\u003eMitchell\u003cspan\u003e \u003c\/span\u003emade with\u003cspan\u003e \u003c\/span\u003eAl Green\u003cspan\u003e \u003c\/span\u003eor\u003cspan\u003e \u003c\/span\u003eAnn Peebles, it's still an example of genuine Southern soul. Highlights include \"I Feel Love Growin',\" the aforementioned medley, and the gospel-influenced title track with its chilling prologue. The medley would reappear integrally on\u003cspan\u003e \u003c\/span\u003eO.V. Wright Live, with an extra addition of \"You're Gonna Make Me Cry.\" \u003c\/p\u003e\n\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3192340108\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/ovwright.bandcamp.com\/album\/into-something-cant-shake-loose\"\u003eInto Something Can't Shake Loose by O.V. Wright\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\n\u003c\/div\u003e","brand":"Hi Records \/ Fat Possum Records","offers":[{"title":"Default Title","offer_id":30981088346249,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/O.v._wright.jpg?v=1572065092"},{"product_id":"mitchell-willie-driving-beat-new-lp","title":"Mitchell, Willie - Driving Beat – New LP","description":"\u003cp\u003eReissue of 1966 LP.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e1. Everything is Gonna Be Alright\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Nick-O-Demus\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. The Time Ain't Long\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. The Champion - Part 1\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. I'm Moving On Now\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. Stone Face\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e7. That Driving Beat\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e8. The Champion - Part II\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e9. Doing The Stroll\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e10. Pep Talk\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e11. Fat Cat\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e12. Smiley\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/PP8aVdvuCaI?si=5x6p7BQQZCt77PlF\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e\u003cbr\u003e","brand":"Hi Records \/ Fat Possum Records","offers":[{"title":"Default Title","offer_id":30981144707209,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/FP_WillieMitchell_DrivingBeat_grande_4626eb31-99a9-421a-b0f7-3f8a8ce3bb88.jpg?v=1572068371"},{"product_id":"mitchell-willie-its-dance-time-with-willie-mitchell-new-lp","title":"Mitchell, Willie - It's Dance-Time with Willie Mitchell [Lavender Marbled] – New LP","description":"\u003cp\u003eReissue of 1965 LP.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e \u003c\/p\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3413547622\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/williemitchell.bandcamp.com\/album\/its-dance-time\"\u003eIt's Dance Time by Willie Mitchell\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e","brand":"Hi Records \/ Fat Possum Records","offers":[{"title":"Default Title","offer_id":30981144903817,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/willie_mitchell_dance.jpg?v=1572067395"},{"product_id":"mitchell-willie-oh-baby-you-turn-me-on-new-lp","title":"Mitchell, Willie - Ooh Baby, You Turn Me On  – New LP","description":"\u003cp\u003eReissue of 1967 LP. \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2010550000\/size=small\/bgcol=ffffff\/linkcol=0687f5\/track=668092578\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/williemitchell.bandcamp.com\/album\/ooh-baby-you-turn-me-on\"\u003eOoh Baby, You Turn Me On by Willie Mitchell\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2010550000\/size=small\/bgcol=333333\/linkcol=0f91ff\/track=1220088970\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/williemitchell.bandcamp.com\/album\/ooh-baby-you-turn-me-on\"\u003eOoh Baby, You Turn Me On by Willie Mitchell\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e","brand":"Hi Records \/ Fat Possum Records","offers":[{"title":"Default Title","offer_id":30981145198729,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/willie_mitchell_oh.jpg?v=1572067625"},{"product_id":"mitchell-willie-robbins-nest-new-lp","title":"Mitchell, Willie - Robbin's Nest – New LP","description":"\u003cp\u003eReissue of 1970 LP.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e \u003c\/p\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4115989545\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/williemitchell.bandcamp.com\/album\/robins-nest\"\u003eRobin's Nest by Willie Mitchell\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e","brand":"Hi Records \/ Fat Possum Records","offers":[{"title":"Default Title","offer_id":30981152768137,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Willie_Robbin_s.jpg?v=1572068606"},{"product_id":"seratones-get-gone-new-cd","title":"Seratones - Get Gone - New CD","description":"\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1965109340\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/seratones.bandcamp.com\/album\/get-gone\"\u003eGet Gone by Seratones\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\n\u003cp\u003eLouisiana is kicking down your door and coming into your house, and you will welcome them with both arms, smoking set of rock 'n funk from the land that invented most of that anyway.  Bring it back home.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"trackInfo\" class=\"leftColumn\"\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003eGet Gone, the potent debut album by the Shreveport, Louisiana natives in Seratones, makes a strong case that this little-known corner of the state is fertile ground, musically speaking. A.J. Haynes (vocals), Connor Davis (guitar), Adam Davis (bass) and Jesse Gabriel (drums) serve up a combination of Southern musicality, garage rock ferocity, and general badassery.\u003cbr\u003e\u003cbr\u003eHaynes’s powerful singing voice, first honed at Brownsville Baptist Church in Columbia, Louisiana at age 6, rings across every track. Davis’s bass and Gabriel’s playing propel every song with the grit, energy, and rawness of punk, the feeling of soul, and occasionally, a little jazz swing. The other Davis offers a clinic in guitar riffs, from swaggering blues to searing interstellar leads.\u003cbr\u003e\u003cbr\u003eRecorded at Dial Back Sound studios in Mississippi, Get Gone is all live takes, a portrait of the Seratones in their element. Add the soul and swagger of a juke joint with the electricity coursing through a basement DIY show, and you’d begin to approach the experience of seeing this foursome live. The well-paced, multi-faceted set showcases a band dedicated to sonic exploration. “Don’t Need It,” which opens with a muscular swing and tight guitar lines, builds into a monster finish with a nasty corkscrew of a guitar line\u003cspan class=\"bcTruncateMore\"\u003e. “Sun,” a brawny thrasher, courses with huge, raw voltage riffs. “Chandelier,” a mid-tempo burner and vocal workout by Haynes, goes from croon to a crescendo that would shake any crystals hanging from the rafters.\u003cbr\u003e\u003cbr\u003eShared history in the city’s music scene brought the Seratones together a few years ago. All four had played together with one or another in various local punk bands, bonding through all-ages basement shows, gigs at skate parks and BBQ joints, and late nights listening to jazz and blues records. In a city of multiple genres, no fixed musical identity and a flood of cover bands, these adventurous musicians carved out their own path, personifying the do-it-yourself ethos. The group was quickly recognized after forming, winning the Louisiana Music Prize in 2013.\u003cbr\u003e\u003cbr\u003e“Shreveport is always shifting its identity,” says Haynes. “You can do a lot of different things when it seems like every band is its own genre.”\u003cbr\u003e\u003cbr\u003eSeratones’s music, created with collaborative songwriting and spontaneous creativity, is certainly their own, due perhaps in part to Shreveport’s unique sonic geography. The city sits at a nexus roughly equidistant from Memphis soul, Mississippi Delta Blues, and New Orleans jazz, with Texas swing located just over the nearby state border. The band’s sound draws from those touch points and more, ranging from Black Sabbath to Kind of Blue. They’ll happily connect the dots between Ornette Coleman and Jello Biafra.\u003cbr\u003e\u003cbr\u003eSeratones have different names for the amalgamation of styles found on their debut: Their own “expression of freedom,” music that’s “all about waking people up,” a safe space to feel what you want. However you choose to describe it, Get Gone is unexpected and unbowed, a head-snapping showcase of the twin pillars of Southern music, restlessness and resourcefulness.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased May 6, 2016\u003cbr\u003e\u003cbr\u003eProduced by Jimbo Mathus\u003cbr\u003eAdditional production on tracks 3, 7, 10, \u0026amp; 11 by Clay Jones\u003cbr\u003eEngineered by Bronson Tew \u0026amp; Scott Bomar at Dial Back Sound, Water Valley, MS\u003cbr\u003eAdditional engineering on track 9 by Darren Osborn at Sandbox Recording Studio, Shreveport, LA\u003cbr\u003eMixed by Clay Jones at Pete's Room, Oxford, MS\u003cbr\u003eMastered by Matthew Barnhart at Chicago Mastering, Chicago, IL\u003cbr\u003eBand photography by Shannon O'Rear\u003cbr\u003eArtwork by Nate Treme\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\n\u003ch3\u003e\u003cspan class=\"tags-inline-label\"\u003eTags\u003c\/span\u003e\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"trackInfo\" class=\"leftColumn\"\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\n\u003ch3 class=\"license-label\"\u003e\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\u003c\/div\u003e","brand":"Fat Possum Records","offers":[{"title":"Default Title","offer_id":31013451563145,"sku":"","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/seratones_get.jpg?v=1572817405"},{"product_id":"skyy-skyy-line-used-lp","title":"Skyy – Skyy Line – Used LP","description":"\u003cp\u003esleeve: VG\u003cbr\u003evinyl: G+  (good listening copy, considerable wear but nothing extreme, still has a sheen and sounds good.)\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePretty classic disco funk, with emphasis on the latter.  Includes their biggest hit \"Call Me.\"\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 class=\"headline\"\u003eArtist Biography by\u003cspan\u003e \u003c\/span\u003e\u003cspan itemprop=\"author\"\u003eRon Wynn\u003c\/span\u003e\n\u003c\/h3\u003e\n\u003cdiv class=\"text\" itemprop=\"reviewBody\"\u003eA New York City octet, one of three funk and\/or disco bands in which producer\/keyboardist\u003cspan\u003e \u003c\/span\u003eRandy Muller\u003cspan\u003e \u003c\/span\u003ewas involved. The original lineup featured\u003cspan\u003e \u003c\/span\u003eDenise, Delores, and\u003cspan\u003e \u003c\/span\u003eBonny Dunning\u003cspan\u003e \u003c\/span\u003eas vocalists, with guitarists\u003cspan\u003e \u003c\/span\u003eSolomon Roberts\u003cspan\u003e \u003c\/span\u003eand Anibal Anthony Sierra, keyboardist\u003cspan\u003e \u003c\/span\u003eLarry Greenberg, bassist\u003cspan\u003e \u003c\/span\u003eGerald Lebon, and drummer\u003cspan\u003e \u003c\/span\u003eTommy McConnell.\u003cspan\u003e \u003c\/span\u003eMuller\u003cspan\u003e \u003c\/span\u003eorganized the group and they recorded for Salsoul from the late '70s until 1984. Their biggest hit was \"Call Me\" in 1981, an R\u0026amp;B chart-topper. They could do sweeping funk tracks, dance-oriented cuts, or light ballads, although they never enjoyed the crossover success of a group like\u003cspan\u003e \u003c\/span\u003eAtlantic Starr.\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Salsoul Records","offers":[{"title":"Default Title","offer_id":31203436888201,"sku":"","price":1.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/skyy.jpg?v=1573192397"},{"product_id":"libretto-ride-to-dat-12-ep-new-lp","title":"Libretto – Ride to Dat 12\" Maxi Single EP – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch1\u003e BACK TO BLACK: 100%. \u003c\/h1\u003e\n\u003ch1\u003e100% of the sale of this item goes to the artist.\u003c\/h1\u003e\n\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3605983016\/size=small\/bgcol=333333\/linkcol=2ebd35\/track=3394646040\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/bretto.bandcamp.com\/album\/ride-to-dat-feat-guilty-simpson-12\"\u003eRide To Dat Feat. Guilty Simpson 12\" by Libretto\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003efeaturing \"Da Bump!\" and 6 versions of the title track, including 3 instrumental versions.\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2306169783\/size=small\/bgcol=333333\/linkcol=2ebd35\/track=3775206821\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/liquidbeat.bandcamp.com\/album\/ride-to-dat-ft-guilty-simpson-12-maxi-single\"\u003eRide To Dat ft. Guilty Simpson 12\" Maxi Single by Libretto\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3605983016\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/bretto.bandcamp.com\/album\/ride-to-dat-feat-guilty-simpson-12\"\u003eRide To Dat Feat. Guilty Simpson 12\" by Libretto\u003c\/a\u003e\u003c\/iframe\u003e","brand":"Slum Funk \/ Liquid Beats","offers":[{"title":"Default Title","offer_id":31208480211081,"sku":"","price":4.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/libretto.jpg?v=1573362213"},{"product_id":"libretto-volume-new-lp","title":"Libretto – Volume – New 12\"","description":"\u003cp\u003eA1 Volume (Main) \u003cbr\u003eA2 Volume (Radio) \u003cbr\u003eA3 Volume (Instrumental) \u003cbr\u003eA4 Volume (Acappella) \u003cbr\u003eB1 Slumfunk (Main) \u003cbr\u003eB2 Slumfunk (Radio) \u003cbr\u003eB3 Slumfunk (Instrumental) \u003cbr\u003eB4 Slumfunk (Acappella)\u003c\/p\u003e","brand":"Dim Mak Records","offers":[{"title":"Default Title","offer_id":31208483192969,"sku":"","price":5.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-703501-1261264575_jpeg.jpg?v=1573362922"},{"product_id":"booker-t-the-m-g-s-green-onions-new-lp","title":"Booker T. \u0026 the M.G.s – Green Onions – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003ePropelled by Booker T. Jones' smoky organ and the funky guitar bursts of Steve Cropper, \"Green Onions\"--the first chart-topper by Booker T. \u0026amp; The MG's--slithered across the 1962 airwaves, followed immediately by an album every bit as savory. Hot on the heels of that first MG's smash, here's a second helping, \"Mo' Onions,\" as well as the exquisite pop delights of \"Stranger On The Shore\" and the unsurpassed after-hours smolder of \"Behave Yourself.\"\u003c\/p\u003e\n\u003cp\u003eThe original\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eGreen Onions\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eLP by the peerless Booker T. \u0026amp; The MG's: exact reproduction on High-Definition Vinyl, mastered from the absolute vintage analog tapes, and so lip-smacking delicious it'll make you cry.\u003c\/p\u003e","brand":"Sundazed Music","offers":[{"title":"Default Title","offer_id":31310519238793,"sku":"","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/LP5079-300.jpg?v=1575677142"}],"url":"https:\/\/store.greennoiserecords.com\/collections\/soul-funk.oembed?page=23","provider":"Green Noise Records","version":"1.0","type":"link"}