All Funked Up

https://gourmandisque.bandcamp.com/album/gmd003
@gourmandisque
@t-heobr 

Gourmandisque releases its third digital EP and the label's first VA, "GMD 003", featuring Doublure, Theo BR, Pépé Elle and Pilù. The release develops progressively from trance-infused house, into UK Garage, finally reaching a bewitching melodic techno. 

GAB premieres 'Darkest Light' from London-based Theo BR. As founder of 3 Feet Deep and co-founder of Aurore 404, Theo BR has been instrumental in building the London-Paris UKG connection. His contribution to GMD003 flips Lafayette Afro Rock Band's classic melody sampled most-recognisably by Jay Z and Public Enemy.

GMD003

Darkest Light

PREMIERE: Theo BR - Darkest Light [Gourmandisque]

George and Gwen McCrae - The  Rub (soul69 re-rub)

http://www.mrbongo.com/product/a-night-at-the-jazz-rooms-compiled-by-russ-dewbury-cd-1236

21 years after starting what is the world’s longest running consecutive club session – the Brighton Jazz Rooms – comes this celebratory compilation album on Mr Bongo Records presented by its founder Russ Dewbury.

Musically the Jazz Rooms did not follow any fad or fashion. Rather it created its own and this has been the key to its success and is reflected in the album's track selection. If it's good, it gets played at the Jazz Rooms.

Over the years, just about everybody in the scene has manned the decks at the night. Luminaries include Gilles Peterson, Baz Fe Jazz, Paul Murphy and guests from all over the world such as Rainer Truby, Kyoto Jazz Massive, Espen Horne and many more. Legendary US keyboardist Weldon Irvine described it as "an international brotherhood" while Straight No Chaser Magazine called it "a legendary affair that all should attend."

Originally signed to BGP Records as A+R chief, Dewbury was instrumental in the rediscovery of artists including Jean Jacques Perrey and Terry Callier, who he subsequently managed. His own albums include the compilations Africa Funkand Club Africa on Strut Records and Freedom Time and Jazz Bizniz on Counterpoint Records. His last compilation Pulp Fusion/Africa Funk released on Harmless Records achieved significant sales around the globe.


Sarah Webster Fabio - Sweet Songs

http://www.mrbongo.com/product/spaced-out-ten-original-disco-funk-grooves-cd-1164

This collection of underground dance music covers tracks released between 1975 and 1983 from both sides of the Atlantic. The tracks chosen for this compilation introduce some of the pioneering few who expanded the horizons of disco to incorporate elements of dub, funk, electro, jazz and Latin. In some ways many of the artists featured here foresaw the birth of successive musical genres. There is no disputing that they were all well ahead of their time and with the recent trend of similarly inspired house they sound as fresh today as they did then.

The music chosen for this album were the underground classics that made the scene what it was in the heady of days of the Paradise Garage and the Loft in NYC and the Warehouse in Chicago where DJs such as Arthur Baker and Francois Kervorkian could be heard spinning such tracks.

On disc two (CD version only) Masters at Work add their touches to one of their favourite tracks while Harvey and Underdog take on the Disco Dub band and come up with two very different interpretations which will work on today’s dancefloors. 

Disco Dub Band - For The Love Of Money

Calling or dealing with the government sux

your call will be ignored

Justice!!!

Only the victim remains the victim while the truth slips thru the system, yet the goodness never sees the light of day.

So we fight for what is right, against injustice day and night, to achieve this goal that’s the only way.

Somebody’s colorful, someone is faceless, someone is powerful, somebody’s tasteless, this one that one the other one, we all are beautiful let’s face it.

If you ask me my name I’ll tell you the same, Justice.
we’re looking for truth to save all the youth, Justice.

To stop the radical way of strife, which matters to every life.
then we’ll see the end of all that is wrong.

Change your mindset change the laws, change your concept eve the flaws, so together we can all stand tall.

Somebody’s colorful, someone is faceless, someone is powerful, somebody’s tasteless, this one that one the other one, 
we all are beautiful let’s face it
we can change it.

If you ask me my name I’ll tell you the same, Justice.
we’re looking for truth to save all the youth, Justice.
let’s make up our mind we don’t have much time, Justice.
there’s no one to blame we all are the same, Justice.

Single

Justice ft. Trombone Shorty

Soul Makossa

House of the Rising Funk

Perception Productions, a New York based label that ran from the late 60s through until 1974, was a strangely eclectic affair. Its roster stretched from a radical Afro-American poet through to the pop band King Harvest. The inbetween points covered jazz, funk, vocal harmony soul and proto-disco. In fact distilled down into the compilation this sampler is taken from, the label provides us a view of Manhattan’s black music scene of the period, from the established greats to the fresh young things who would make their mark in the coming years.
His greatest moments at the label came with Black Ivory which was the group that also first introduced the musical world to the genius of Leroy Burgess. Both Burgess and Adams are today lauded as some of the most important figures in the history of dance music, Adams with his songwriting and productions on his own P&P label and for scores of others. Burgess as a performer – often with Adams – and also as a songwriter and producer. Black Ivory were formed when Harlem native Leroy Burgess met his then girlfriends brother Larry Newkirk and discovered that he had a group called the Mellow Souls, after hearing Leroy’s voice Larry asked him to join the group. by the time they joined Today the group consisted of Leroy, Russell Patterson and Stuart Bascombe. They recorded two albums for the Today ‘Don’t Turn You Around’ and ‘Baby, Won’t You Change Your Mind’. We’ve lifted all three tracks we use from their debut album, which was recorded in New York and at Sigma Sound in Philadelphia. The strings and uplifting choruses on ‘Surrender’ and ‘You Keep Asking Me Questions’ certainly reflect the emerging Philadelphia sound, whilst ‘You and I’ shows the group’ roots in vocal harmony singing. Their greatest success came after leaving Today to go to Buddah, most notably their dance classic ‘Mainline’ from 1979.
The Fatback Band’s history is very much that of how street funk developed in New York. Bill Curtis had been in New York since the early 50s, and had been an on the road drummer who had played behind all the big stars of the time either on tours that travelled around the country or as part of the legendary Apollo Theatre’s house band. By the late 60s he was working out of Queens, providing bands for all sorts of events from club gigs to weddings, from covering chart hits to playing calypso. He also had his own label for which he provided the main band, known after the label – and Bill’s drumming style- as The Fatback Band. Tiring of never being paid as an independent label he decided to hand that task over to someone else and signed to Perception in 1971. Their first breakthrough came when with the release of their debut album ‘Let’s Do It Again’ the track ‘Going To See My Baby’ was picked out by New York’s number one soul DJ Frankie Crocker who started playing it on his show. With his support the group broke through with hits such as ‘Njia (Nija) Walk’ from their second album ‘People Music’. They were rapidly picking up an audience and their final release for the label ‘Dance Girl’ was proving to be very popular when Perception went bust and the record was lost. Fatback then signed to Spring’s ‘Event’ label and went on to massive international success with amongst others ‘Spanish Hustle’ and ‘I Found Lovin’.

Let's Get a Groove On

Lee Fields

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