TrueSOUL

Copy of Jazz funk soul boogie

Rare Funk & Soul by Super Disco Edits Records

Jazz funk soul boogie

Kel 2

soul

No one else
Needs to know
About this
I can't help
If you don't 
Let me in
And if we don't get lost
We might never find the
Truth within us
I've been waiting so long

Come back to me
And just be by my side
I know I'm wrong
And I'm sorry if I made you cry
I'm not giving up
Yeah I've been doing drugs
Cuz I don't give a fuck
I just wanna forget 
Everything that's making me feel bad
It's making me feel so bad
Yeah it's making me feel so bad
It's so bad 
The demons are filling me up
And I need you back

Nature Trips

SW006: Childhood - Pinballs (Full Version)

Buy 'The Duchess' EP 12" here - http://po.st/asp004

Buy 'The Duchess' EP from iTunes - http://po.st/TheDuchessEP

Buy 'The Duchess' EP 12" from Bleep - https://bleep.com/release/51591-tala-the-duchess-ep

Buy 'The Duchess' EP 12" from Rough Trade - http://www.roughtrade.com/albums/83626

Serbia

Disco Tech - Soul Mix #1

out now for PRE-ORDER www.superdiscoedits.com
this amazing unearthed modern crossover jam from 1975.
limited press so make sure you dont miss out on one.
come over to the website.

Ebony Diamonds "im so lucky" (previously un-issued modern crossover)

I was asked by Tate Collective London to create a track in response to the Turner Prize 2014 nominated artist Tris Vonna-Michell at Tate Britain.

The exhibition finishes on the 4th of January, so head down soon!

 http://www.tate.org.uk/whats-on/tate-britain/exhibition/turner-prize-2014





Baby Grey

Although no major company wanted to pick up “Let’s Go – It’s Summertime”, and “Jody’s Freeze” By James Reese and The Progressions or “Throwing Stones” and “Gee Whiz” by Marlene King, James felt that what he had written and arranged was unique. Therefore he continued to write, using Jazz chords and progressions along with some occasional classical motifs and mixed those elements with danceable rhythms.
 
*( Concerning “Let’s Go – It’s Summertime” Many of the major labels that James talked with in New York said that his writing was "way ahead of my time", and they wasnt wrong!!!
 
 
James Reese was a Public School Band Director during those years, and during his breaks and in the band room he would sit down at the piano and work on ideas for songs. Also, Rosalyn Foster (a college student with a strong voice) had joined The Progressions in the early seventies and James quickly began to write with her voice in mind.
 
 By spring break of 1972 we were ready to go to Memphis, Tenn. We didn’t have a drummer who could make the trip (Willie Hill, AKA B. Hill had moved to LA, California) so James hired a drummer when he arrived.. His name was Willie Hall, one of the Bar Kays drummers and he flowed with us instantly. James remembers recording at night, and then staying up during the daytime working on the string parts.

The final recording sessions that never got released were called 
"joker (where did you come from)"  and "he'll never go".   Its almost criminal to think these two beautifully crafted soul songs, where musicians have put all their time and efforts into, were shelved because so called executives thought them  "ahead of their time"

 
Personnel: William “Chicken” Murphy - Guitar, Willie Hall- Drums and Percussions, Robert Goforth - Bass, James Reese - Piano and Trombone, John Lamkin II - Trumpet and Rudolph Riley - Alto and Tenor Sax. A Couple of String Players from the Memphis Symphony.  Lead Vocals - Rosalyn Foster. 

James Reese And The Progressions He'll Never Go (previoulsy un-issued)

James Reese And The Progressions Joker (previoulsy un-issued soul)

james reese and the progressions you can make it if you try previously un-issued

Afrika Dont Waste your Time (previously un-issued brit funk)

afrika in my arms (previoulsy un-issued brit funk soul)

Back up! Back up! Beatnik City is back with the stone cold solid gold. Craig Charles has been hammering this LP like the boss he is. Northern Beats Vol 1 is unleashed on your badasses like a drunk and happy bear, crashing across your front room in a cloud of talc and breathtaking rare-bare dance moves, apologising with a raised paw for the massive destruction caused. You can't be mad, he’s so cute and cool!

Turn off the telly, get up! Down a gin and join bear, Yes yes, it’s strictly dance o’clock! We want to see your casino knee slide… Yeeeeehar!

-----------------------------------------------------------------------------------------------

Release date: 05/Feb/2016

Blurb by Fat Harry

Beatnik City Records
https://www.facebook.com/BeatnikCity
https://soundcloud.com/beatnik-city
https://hearthis.at/beatnik-city/

Exclusive Release date: 05/02/2016 (Junodownload)

Global Release date: 08/02/2016

9 Daytoner - Stevie Stomp [CLIP]

8 DJ Snatch - Lena In The Water [CLIP]

mighty fire "love" previously un-issued soul from 1979

mighty fire "i wanna talk to you about loving me" previoulsy un-issued soul 1979

Creative Musicians, Vol. 2

Galaxy Medley

Creative Musicians

Let's Go (It's Summertime)

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 whose hit ‘Dancing In The Moonlight’ became a massive hit for the UK band Toploader a couple of decades later. The inbetween points covered jazz, funk, vocal harmony soul and proto-disco. In fact distilled down into this compilation 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. The two men who ran the label, President Terry Phillips and Boo Frazier burned brightly for that half a decade before almost entirely disappearing from the music scene.

You And I - Black Ivory

nowagainrecords.com

This 2/LP gatefold vinyl is available with:
Now-Again Reserve: a deluxe vinyl subscription.

Trombonist, bandleader, songwriter, arranger and producer James Reese never issued an album with his Progressions band, only a series of 45s – some under his own name, some under that of his collaboraors – out of Spartanburg, South Carolina on his Najma label, from the late 1960s until the mid 1970s. He was as ambitious as he was talented, and his ouevre ranges from brutal, deep soul to sophisticated instrumental ballads to jazz-inflected funk. Now-Again’s Egon first discovered Reese’s music on a 24 lock-in in Concord, North Carolina’s legendary record and antique clock repository, Ye Olde Clock Shoppe, in 1999. After he tracked down Reese, he officially reissued two of Reese’s songs on his seminal Stones Throw anthology The Funky 16 Corners. He later issued more of Reese’s music on the Now-Again anthology Loving On The Flipside.

Sourced from rare 45s and multi-track master tapes, Wait For Me: The Complete Works 1967-1972 presents both issued and recently-rediscovered songs in the full-length format, in a cohesive set that shows the brilliance still arising from the American soul and funk sub-strata. Long time Now-Again associate Kenny Dope presents a remix of the song “Throwing Stones,” and Now-Again mastering engineer Jason Bitner presents alternate mixes of various cuts on a bonus second LP, available only to subscribers. Those mixes are also included as part of the 2 CD set that accompanies the vinyl album. Both LP and CD version contain an extensive booklet detailing the trajectory of Reese and his band. Download card for WAV files included with the LP.

James Reese and the Progressions ft. Marlene King - “Throwing Stones (Kenny Dope Mix)"

Speedy Wunderground release their second single, ‘I Was A Dead Duck’ by the Archie Bronson Outfit on May 6th.

The track will be available as a limited edition 7” and includes a dub of the track on the B-Side.

The label released their first single, ‘I Go Out’ by Steve Mason & Emiliana Torrini in February.

In keeping with the label’s ‘manifesto’, the single was recorded and produced by Dan Carey in his South London studio during the course of one day and mixed the following day.

While the track was again recorded live in the dark with smoke and lazers and features the Swarmatron - http://www.youtube.com/watch?v=iJyub78p924 - the ‘label ruling’ of ‘no lunch break’ had to be relaxed during recording when members of the Archie Bronson Outfit complained of hunger.

SW002: Archie Bronson Outfit - Dead Duck Dub

Promo Snipptes M+M v3 (these are heavily edited versions)

“The original process of 're-mixing records' was intended to provide an alternative listening experience which had been optimized for people who went out to dance at Discos. John was one of the early pioneers who loved music, understood his craft and HAD RESPECT FOR THE CREATIVE WORK from which his mixes were derived” 

Patrick Adams – Super Producer. Writer of more than 30 Gold and Platinum records and back to back winner of ASCAP Songwriter of the year award 1996/1997

 This compilation is John Morales’ third for BBE. Few can match his contributions to the world of Dance Music be it soul, funk, disco, to today’s house music.

John Morales is considered one of the true legends of the mix. And his work some thirty years later continues to be cutting edge and inspiring. His epic mix of Universal Robot Bands boogie anthem “Barely Breakin Even”  is the source from which BBE Records got its name.

No attempt has ever been made to summarise the pinnacle of Johns work. This third release on BBE continues that history lesson that John has forged in dance music. He formed The M+M Mix with his late partner Sergio Munzibai, in 1982 till 1990 whose output of over 650 mixes will be unmatched today. John continues The M+M legacy.

From the Rolling Stones to Gloria Estefan, The Temptations, Barry White, Marvin Gaye, James Brown, Hall & Oates, Teena Marie, Aretha Franklin to BBE – we have all been molded by Johns everlasting mix influence, love for his work and his Music..  This superb triple CD presents some of John's finest works, and takes the M+M Mix legacy to yet a higher level. CD1 & 2 feature some of the greatest tracks of all time from the Start of CD 1 and Barry White’s “Never, Never Gonna Give You Up” , to the classic rework of Marvin Gaye’s “I Want You”  which closes out CD2, there are no sleepers here. CD3 also features some of the best from the vaults of the Salsoul and West End labels, anthems like Loleatta Holloway’s – “Hit & Run” to legendary Paradise Garage favorite Loose Joints “Is It All Over My Face?”. 

 This is the legacy of the M+M mixes.


      

John Morales
If you grew up in the ‘80s and had even the smallest of passing interest in music, particularly club music, chances are you were very familiar, albeit unwittingly, with the work of John Morales. On the radio, in the record racks and most importantly on the dance floor John’s work (predominantly with studio partner Sergio Munzibai) helped define an era and influence future generations of DJs, producers and artists. 

Born into a hard working Puerto Rican household in the Bronx, New York, at the start of the rock ‘n’ roll era, Morales, like many children of the period was fascinated by this new art-form that was saturating the airwaves and upsetting parents everywhere. So in love with the music he heard, as a 12-year old he persuaded his local record store to give him a part-time job with payment not in dollars, but in 45s. By the time he was old enough to get a full-time job his burgeoning record collection had helped land him one of his first DJ gigs at the influential Stardust Ballroom in the Bronx (his father had earlier owned a bar in Jersey City where John had first got the DJ bug). As his reputation grew Morales was invited downtown to Manhattan to play guest spots at the likes of Pippins, Bentleys, 1018, Limelight and the infamous Studio 54. 

Like many DJs of the ‘70s John ventured into the studio more through need than necessity: “I started to make medleys and remixes because the records in those days were too short, most in the 3 minute range, and being a DJ I needed to get more out of the records I was spinning. I first started to do my edits using the pause button on a Teac Cassette Deck. After many hours of self education I graduated and I purchased a Sony _” reel-to-reel and learned to edit. It was hard work and long hours editing and putting all the little pieces of tape together and making something creative happen. Reflecting now, I realize how important it was to what I would later do. It taught me a lot about what I wanted to do and how to do it, so that by the time I got in a real studio I was virtually a whiz at editing tape much to the amazement of some of the engineers I worked with.” 

His now infamous ‘Deadly Medleys’ and ‘Sunshine Acetate Medleys’ brought him to the attention of New York disco producers Greg Carmichael and Patrick Adams who were impressed by the hunger and desire of the self-taught engineer. “My first credited mix was Inner Life’s ‘Caught Up (In A One Night Love Affair)’, even though I had worked on a few other records before that, but I hadn’t been credited, for acts like the Universal Robot Band and Musique’s ‘In The Bush’.

A meeting at New York’s influential WBLS radio station, where Cuban-born Sergio Munzibai worked as musical director alongside Frankie Crocker  would signal the next chapter in Morales’ career, and resulted in unquestionably the most  prolific remix partnership of the 1980s and 90’s with over 650 mixes  to their name. “We partnered in 1982, when we met at a New York studio called Blank Tapes where I had worked for many years with Bob Blank. Sergio and John’s first record together was Mikki’s ‘Itching For Love’. After that we united and did all our mixes together and the M&M moniker was born.”

Discovering an instant rapport and musical appreciation it translated well into the recording studio where the M&M stamp became synonymous with almost every major dance release of the era. In fact it wasn’t uncommon for the duo to remix upwards of 10 records in any given month. Alongside cult and groundbreaking records for the Fantastic Aleems (‘Get Down Friday Night’), Class Action (‘Weekend’), and of course Jocelyn Brown (‘Somebody Else’s Guy’) they refashioned certified pop smashes for DeBarge (‘Rhythm Of The Night’), Harold Faltermeyer (‘Alex F’), Shakatak (‘Down On The Street’), Miami Sound Machine (‘Dr Beat’), the Temptations (‘Treat Her Like A Lady’) and hundreds more in an eight year period that saw them almost an ever present on the Billboard Dance, R&B or Hot 100 pop charts. Tina Turner, the Rolling Stones, Spandau Ballet, Aretha Franklin, Shalamar, Hall & Oates, Dan Hartman, Candi Staton, Melba Moore, Rose Royce, Billy Ocean, Debbie Gibson, Odyssey, the Commodores and even Peter Schilling and Rod Stewart, in fact just about every major artist of the day was in some way retouched by the hands of Morales & Munzibai. 

“We worked together till around 1988,” John recalls. His solo production projects in the ‘90s included such acts as Debbie Gibson, Brenda K Starr, Denise Lopez, The Thompson Twins, Blow Monkeys, Five Star and Art Of Noise. “Sergio unfortunately passed away in 1991. He was a wonderful person full of life that loved music and was a great people person. Anyone who knew him loved him, and I’m sure wherever he is he’s listening to music.”


JEAN CARN - WAS THAT ALL [SNIPPIT]

JONES GIRLS - YOU'R GONNA MAKE [SNIPPIT]

label owner SUPER DISCO EDITS
www.superdiscoedits.bigcartel.com
www.superdiscoedits.bandcamp.com
producer GUTTER SNYPES
bookings
djsigher@gmail.com