1
Tete Mbambisa - African Day
2
Tete Mbambisa - Khumbula Jane
3
Tete Mbambisa - Siviwe
4
Tete Mbambisa - Kohinoor
5
Tete Mbambisa - Mr. Mecca
6
Tete Mbambisa - Siyanda
7
Tete Mbambisa - Umsenge
8
Tete Mbambisa - Relaxin
9
Tete Mbambisa - Untitled For Duke Makasi
2LP set in a gatefold sleeve - first edition of 500 copies
Awarded an honorary doctorate from the University of Cape Town in 2023, pianist Tete Mbambisa (84) is a legendary figure in South African jazz. Supported by the cream of the local scene, his albums from the 1970s are among the most cherished vinyl documents from this golden era. A monumental archival undertaking, African Day compiles unreleased recordings from 1976 to resurrect a "lost" Tete Mbambisa double album that falls between his seminal works Tete's Big Sound (1975) and Did You Tell Your Mother (1979).
Born in 1942 and raised in South Africa's Eastern Cape province, Tete Mbambisa’s childhood home served as an informal tavern where social gatherings orbited around the family's carefully curated music collection with live performances by a local pianist. Growing up in this environment, his musical roots are embedded in marabi, the syncopated piano sound that blended cues from American jazz, blues and ragtime with the cultural sensibilities that shape modern South African jazz.
A self-taught musician, it was as leader of the vocal group The Four Yanks in the early 1960s that Tete Mbambisa’s music career began in earnest. With encouragement from Abdullah Ibrahim, he dedicated himself to the piano and went on to record with The Soul Jazzmen in 1969. Mbambisa's two solo recordings from the 1970s were produced by Rashid Vally for the independent As-Shams/The Sun record label. With an abundance of strong material but limited resources, some of the label's prospective releases were not issued at the time of recording. Featuring the intended artwork commissioned for the project in 1976, African Day marks the first major unveiling of unreleased gems from the As-Shams master tape archive. More
Awarded an honorary doctorate from the University of Cape Town in 2023, pianist Tete Mbambisa (84) is a legendary figure in South African jazz. Supported by the cream of the local scene, his albums from the 1970s are among the most cherished vinyl documents from this golden era. A monumental archival undertaking, African Day compiles unreleased recordings from 1976 to resurrect a "lost" Tete Mbambisa double album that falls between his seminal works Tete's Big Sound (1975) and Did You Tell Your Mother (1979).
Born in 1942 and raised in South Africa's Eastern Cape province, Tete Mbambisa’s childhood home served as an informal tavern where social gatherings orbited around the family's carefully curated music collection with live performances by a local pianist. Growing up in this environment, his musical roots are embedded in marabi, the syncopated piano sound that blended cues from American jazz, blues and ragtime with the cultural sensibilities that shape modern South African jazz.
A self-taught musician, it was as leader of the vocal group The Four Yanks in the early 1960s that Tete Mbambisa’s music career began in earnest. With encouragement from Abdullah Ibrahim, he dedicated himself to the piano and went on to record with The Soul Jazzmen in 1969. Mbambisa's two solo recordings from the 1970s were produced by Rashid Vally for the independent As-Shams/The Sun record label. With an abundance of strong material but limited resources, some of the label's prospective releases were not issued at the time of recording. Featuring the intended artwork commissioned for the project in 1976, African Day marks the first major unveiling of unreleased gems from the As-Shams master tape archive. More
More records from Tete Mbambisa
1
Tete Mbambisa - Umthsakazi (The Bride)
2
Tete Mbambisa - Stay Cool
3
Tete Mbambisa - Black Hero's
4
Tete Mbambisa - Dembese (Dedicated To Cyril McGabane)
5
Tete Mbambisa - Unity
Repress!!
The album Tete’s Big Sound emerged during a golden age for local South African jazz recordings in the 1970s. Issued by the independent As-Shams/The Sun label in 1976, it was the first album attributed to pianist Tete Mbambisa as a solo artist. Yet, Mbambisa was already a seasoned composer, arranger, bandleader and performer by the mid-1970s - an artist at the peak of his powers who had patiently cultivated his craft to create his enduring debut.
Born in 1942 and raised in South Africa's Eastern Cape province, Mbambisa’s childhood home also served as the family’s small business - an informal tavern where social gatherings orbited around his mother’s carefully curated music collection and live performances by a local pianist. His musical roots are thus deeply embedded in marabi - the syncopated piano sound of urban black South African culture in the 1950s that took cues from American jazz, blues and ragtime while fostering the sensibilities that would shape modern South African jazz.
A self-taught musician, it was as the leader of the vocal group The Four Yanks that Tete Mbambisa’s music career began in earnest in the early 1960s. Mbambisa humbly recalls to this period as his education in harmonic structure but his special talent for musical arrangement was quickly recognised and widely admired. With encouragement from Abdullah Ibrahim, he dedicated himself to the piano and was a member of the award-winning Swinging City Six ensemble in 1963 (with the added distinction of receiving the Cold Castle Festival’s piano prize). Mbambisa went on to assemble and record with The Soul Jazzmen in the late 1960s and the group’s sole release Inhlupeko (1969) joined Winston Mankunku’s Yakhal' Inkomo (1968) and Chris Schilder’s Spring (1969) to create a wave of aspirational modern South African jazz albums that expanded the ambitions of artists and labels in the 1970s.
As a record store owner with a direct relationship to the jazz scene, producer Rashid Vally led the charge for the independent labels with early 1970s releases by Gideon Nxumalo and Abdullah Ibrahim on Soultown Records. Rebranding as As-Shams/The Sun for the release of Ibrahim’s Mannenberg - ‘Is Where It’s Happening’ in 1974, Vally’s breakout success found himself at the
helm of an autonomous production enterprise with access to mainstream studios, manufacturing and distribution. As-Shams/The Sun quickly earned a reputation as the home of the vanguard of local South African jazz, offering an unmatched platform for artists to create without compromise and attracting a host of South African jazz luminaries, including Mbambisa, as a consequence.
Leading on piano, Mbambisa enlisted the support of a five-piece brass section with guitar, bass and drums for the January 1976 recording session at Gallo Studios in Johannesburg that yielded
Tete’s Big Sound. The arrangements were meticulously prepared and confidently executed but there was more at stake than personal reputation for Mbambisa as a jazz creator in 1970s South Africa as Vusi Khumalo, writer of the album’s original liner notes, passionately extolls. Tete’s Big Sound was an affirmation of black excellence in modern arts and culture that calmly dismantled the doctrine of a regime that denied equality to black citizens on the basis of race. And while much of Mbambisa’s early work was guided by black heroes from the United States, Tete’s Big Sound articulated a voice that was both proudly South African and unmistakably his own. Reissued in collaboration with Tete Mbambisa and As-Sham/The Sun, Mad About Records’ 2021 edition of Tete’s Big Sound marks the album’s very first international release.
Using a quartet format, Mbambisa recorded a second album for As-Shams/The Sun entitled Did You Tell Your Mother in 1978 and unreleased sessions from this period have yet to be fully issued.
In recent years, Mbambisa has released a pair of live recordings in partnership with the Music Research Centre at the University of York. Turning 80 in 2022, Tete Mbambisa lives in Cape Town and continues to enchant audiences with ad hoc special appearances.
Text by Calum MacNaughton
Under License and Courtesy As-Shams/The Sun Records
___________________________________________________
Mad About Records wants to thank the generosity and collaboration of Rashid Vally and Calum MacNaughton.
___________________________________________________
All Music Composed & Arranged by Tete Mbambisa
Tete Mbambisa - Piano
Barney Rachabane - Alto Sax
Duku Makasi - Tenor Sax
Aubrey Simani - Tenor Sax
Freeman Lambatha - Baritone Sax
Tex Nduluka - Trumpet
Enoch Mthalani - Guitar
Sipho Gumede - Bass
Dick Khoza - Drums
Recorded in the Gallo Studio, Johannesburg (South Africa)
Recording Engineer: Peter Ceronio
Produced by Rashid Vally More
The album Tete’s Big Sound emerged during a golden age for local South African jazz recordings in the 1970s. Issued by the independent As-Shams/The Sun label in 1976, it was the first album attributed to pianist Tete Mbambisa as a solo artist. Yet, Mbambisa was already a seasoned composer, arranger, bandleader and performer by the mid-1970s - an artist at the peak of his powers who had patiently cultivated his craft to create his enduring debut.
Born in 1942 and raised in South Africa's Eastern Cape province, Mbambisa’s childhood home also served as the family’s small business - an informal tavern where social gatherings orbited around his mother’s carefully curated music collection and live performances by a local pianist. His musical roots are thus deeply embedded in marabi - the syncopated piano sound of urban black South African culture in the 1950s that took cues from American jazz, blues and ragtime while fostering the sensibilities that would shape modern South African jazz.
A self-taught musician, it was as the leader of the vocal group The Four Yanks that Tete Mbambisa’s music career began in earnest in the early 1960s. Mbambisa humbly recalls to this period as his education in harmonic structure but his special talent for musical arrangement was quickly recognised and widely admired. With encouragement from Abdullah Ibrahim, he dedicated himself to the piano and was a member of the award-winning Swinging City Six ensemble in 1963 (with the added distinction of receiving the Cold Castle Festival’s piano prize). Mbambisa went on to assemble and record with The Soul Jazzmen in the late 1960s and the group’s sole release Inhlupeko (1969) joined Winston Mankunku’s Yakhal' Inkomo (1968) and Chris Schilder’s Spring (1969) to create a wave of aspirational modern South African jazz albums that expanded the ambitions of artists and labels in the 1970s.
As a record store owner with a direct relationship to the jazz scene, producer Rashid Vally led the charge for the independent labels with early 1970s releases by Gideon Nxumalo and Abdullah Ibrahim on Soultown Records. Rebranding as As-Shams/The Sun for the release of Ibrahim’s Mannenberg - ‘Is Where It’s Happening’ in 1974, Vally’s breakout success found himself at the
helm of an autonomous production enterprise with access to mainstream studios, manufacturing and distribution. As-Shams/The Sun quickly earned a reputation as the home of the vanguard of local South African jazz, offering an unmatched platform for artists to create without compromise and attracting a host of South African jazz luminaries, including Mbambisa, as a consequence.
Leading on piano, Mbambisa enlisted the support of a five-piece brass section with guitar, bass and drums for the January 1976 recording session at Gallo Studios in Johannesburg that yielded
Tete’s Big Sound. The arrangements were meticulously prepared and confidently executed but there was more at stake than personal reputation for Mbambisa as a jazz creator in 1970s South Africa as Vusi Khumalo, writer of the album’s original liner notes, passionately extolls. Tete’s Big Sound was an affirmation of black excellence in modern arts and culture that calmly dismantled the doctrine of a regime that denied equality to black citizens on the basis of race. And while much of Mbambisa’s early work was guided by black heroes from the United States, Tete’s Big Sound articulated a voice that was both proudly South African and unmistakably his own. Reissued in collaboration with Tete Mbambisa and As-Sham/The Sun, Mad About Records’ 2021 edition of Tete’s Big Sound marks the album’s very first international release.
Using a quartet format, Mbambisa recorded a second album for As-Shams/The Sun entitled Did You Tell Your Mother in 1978 and unreleased sessions from this period have yet to be fully issued.
In recent years, Mbambisa has released a pair of live recordings in partnership with the Music Research Centre at the University of York. Turning 80 in 2022, Tete Mbambisa lives in Cape Town and continues to enchant audiences with ad hoc special appearances.
Text by Calum MacNaughton
Under License and Courtesy As-Shams/The Sun Records
___________________________________________________
Mad About Records wants to thank the generosity and collaboration of Rashid Vally and Calum MacNaughton.
___________________________________________________
All Music Composed & Arranged by Tete Mbambisa
Tete Mbambisa - Piano
Barney Rachabane - Alto Sax
Duku Makasi - Tenor Sax
Aubrey Simani - Tenor Sax
Freeman Lambatha - Baritone Sax
Tex Nduluka - Trumpet
Enoch Mthalani - Guitar
Sipho Gumede - Bass
Dick Khoza - Drums
Recorded in the Gallo Studio, Johannesburg (South Africa)
Recording Engineer: Peter Ceronio
Produced by Rashid Vally More
More records from As-Shams
Skyjack is what happens when a heavyweight South African jazz trio meets a pair of Swiss reed and brass hotshots. Over the course of a decade, this all-star quintet has forged a reputation as an innovative and adventurous force in contemporary African and European jazz. Combining deep grooves with thrilling rides and avant-garde experimentation, Skyjack is a powerhouse both on stage and in the studio.
Light Cycle is the band's third recorded outing and documents a seasoned outfit at its most ambitious and accomplished. Featuring compositions from all members of the group, the album is a multidimensional creature with a big heart and a powerful imagination. Part science fiction adventure, part sentimental journey, Light Cycle reconciles expansive cosmic soundscapes with a deep grounding in memory and folklore.
Issued as a double-LP on the As-Shams/The Sun label, Skyjack joins both a catalogue and tradition of groundbreaking South African jazz dating back to the 1970s. The album's cover features the work of esteemed Cape Town artist Igshaan Adams.
Saxophone – Marc Stucki
Trombone, Kudu Horn – Andreas Tschopp
Piano – Kyle Shepherd
Double Bass – Shane Cooper
Drums – Jonno Sweetman More
Light Cycle is the band's third recorded outing and documents a seasoned outfit at its most ambitious and accomplished. Featuring compositions from all members of the group, the album is a multidimensional creature with a big heart and a powerful imagination. Part science fiction adventure, part sentimental journey, Light Cycle reconciles expansive cosmic soundscapes with a deep grounding in memory and folklore.
Issued as a double-LP on the As-Shams/The Sun label, Skyjack joins both a catalogue and tradition of groundbreaking South African jazz dating back to the 1970s. The album's cover features the work of esteemed Cape Town artist Igshaan Adams.
Saxophone – Marc Stucki
Trombone, Kudu Horn – Andreas Tschopp
Piano – Kyle Shepherd
Double Bass – Shane Cooper
Drums – Jonno Sweetman More
1
Black Disco - Spiritual Feel Riding The Blue
2
Black Disco - Pops Blue
3
Black Disco - Night Express Single Version
4
Black Disco - Kids In The Dark
5
Black Disco - Dawn Single Version
6
Black Disco - I'm Organized
7
Black Disco - Yasmeens Blues
8
Black Disco - Dark Clouds Part 1
Essential South African jazz, funk and soul - An anthology dedicated to the legendary Black Disco ensemble. Distilling the group’s recorded output into a single commemorative document, Discovery 1975-1976 compiles cuts from the lauded Night Express album alongside rare gems from the group’s long-out-of-print first and third albums. The newly remastered selection features previously unissued single versions of the mighty “Night Express” itself, a funk juggernaut with piercing flute whistles and rapturous sax cries as well as “Dawn” from the album Black Disco 3, a trippy, flute-driven awakening of soft light and gentle colours.
With a Yamaha organ and a dream, Pops Mohamed started his musical journey in the mid-1970s as the bandleader and composer of Black Disco, creating a hip melange of chill-out jazz with futuristic drum machine sounds and spiritual overtones. His cosmic organ transmissions were accompanied by two of the most sought-after session players on the South African scene, the sax and flute wizard Basil Coetzee, who had risen to fame in 1974 as one of the soloists on the hit “Mannenberg,” and Sipho Gumede, the young bass prodigy who was already rubbing shoulders with the old guard at the outset of his career. Backed at first with polyphonic beats from Mohamed’s electric organ and later taking on a drummer, Black Disco created a signature sound and a trilogy of innovative albums in a burst of studio creativity between 1975 and 1976.
On the heels of their epic various artists compilation, As-Shams Archive have produced a doozy of a compilation of some very essential South African jazz. More
With a Yamaha organ and a dream, Pops Mohamed started his musical journey in the mid-1970s as the bandleader and composer of Black Disco, creating a hip melange of chill-out jazz with futuristic drum machine sounds and spiritual overtones. His cosmic organ transmissions were accompanied by two of the most sought-after session players on the South African scene, the sax and flute wizard Basil Coetzee, who had risen to fame in 1974 as one of the soloists on the hit “Mannenberg,” and Sipho Gumede, the young bass prodigy who was already rubbing shoulders with the old guard at the outset of his career. Backed at first with polyphonic beats from Mohamed’s electric organ and later taking on a drummer, Black Disco created a signature sound and a trilogy of innovative albums in a burst of studio creativity between 1975 and 1976.
On the heels of their epic various artists compilation, As-Shams Archive have produced a doozy of a compilation of some very essential South African jazz. More
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Al Hirt - Mess Around
3
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Al Hirt - Long Gone
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Al Hirt - Girl
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Format Notes: 2024 first time vinyl reissue, remastered audio with original artwork, 140g vinyl
Track List:
A1 Honey Pot
A2 Mess Around
A3 Calypsoul
A4 Long Gone
A5 Sweetlips
A6 Girl
B1 Love Ya' Baby
B2 Sunday-Goin' To Meetin' Time
B3 Snap Back
B4 Harlem Hendoo
B5 Ludwig
Release Notes:
Yes, *that* Al Hirt record. Featuring the godlike "Harlem Hendoo", looped unforgettably by De La Soul for the legendary Buhloone Mind State cut, "Ego Trippin' (Part Two)"!
Al Hirt's infamous Soul In The Horn is inextricably tangled up in crate-digger lore. Originally released in 1967, the album has been in heavy, heavy demand for over 30 years, entirely down to the majestic soul-jazz fire of "Harlem Hendoo". And it's a song so good, so vital, so timeless, that it will always tower above everything else in its proximity. This one track alone is worth the price of admission - even if the cost of entry were $100 or even $1000.
However, it would be an error to dismiss this record as merely a one tracker, loaded as it is with dope samples for adventurous beat makers. Certainly the funkiest Al Hirt record, it definitely lives up to the "soul" in the title. Thanks to composer Paul Griffin and arranger Teacho Wiltshire, Hirt got uncharacteristically free and groovy throughout. It comes on more like an obscure KPM library funk record than the easy listening Al was notorious for.
A Louisiana trumpeter and band leader who made Allen Toussaint’s “Java” famous, Al Hirt was also known for TV themes, Dixieland, Swing and being a minority owner of the New Orleans Saints. Unlike every other Al Hirt record - and despite most "diggers" claiming otherwise - this here gem is genuinely hard to come across "in the wild". Normally, you can't give Al Hirt records away, except this particular one, which raises pulses in the crate digging community to life-threatening levels. For every owner claiming to have found their copy for a dollar, there's scores more claiming to have *never* unearthed one in the field. So, paradoxically, you can consider this the most tricky-to-pull "thrift store record", ever. This is why we're finally making it available for everyone, not just those with endless hours to spend scouring the global goodwills!
Soul In The Horn represented an expressive detour into authentic soul-jazz for Al Hirt. Throughout, we're struck by a fierce, fiery energy that's otherwise absent from his typically easy listening work. Without question, the slinky, magical "Harlem Hendoo" is the standout, here. It's also the reason why the record is so scarce and commands awe among crate diggers, sounding like something from an obscure and deeply revered spiritual jazz record. As is often the case, the true genius of the song is tricky to do justice to; it's like a minor miracle of songwriting and performance that simply swooned down from the heavens on the back of horns, bells and harpsichord. It's one of the sweetest musical compositions ever recorded inside a studio - it's only failing is that it's just too short. Sampled brilliantly by De La Soul, it has also been used by The Roots for "Stay Cool" and Nightmares On Wax for "Damn".
The rest of the record makes for a mighty fine listen. From the opening cover of Booker T. & The MG's "Honey Pot", to the propulsive, ultra-funky "Mess Around", it's nothing but a good time. Given its title, the elegant stepper "Calypsoul" sounds exactly as you'd hope whilst the melancholic, wistful "Long Gone" hurts so good. Truly, this is just dying to be looped up, Al's muted playing capturing a soulful longing only horns can often achieve. The bluesy, slo-mo swing of "Sweetlips" oscillates between cool disaffection and swelling pride whilst the graceful, low-key funky "Girl" closes out the A-Side in the fine style. Ushering in the B-Side, the brief but brilliant strut of "Love Ya' Baby" shines brightly before the skipping funky-jazz of true highlight "Sunday-Goin' To Meetin' Time" demands both your attention and your dancing shoes. The mellifluous piano-funk of bass and horn-drenched "Snap Back" serves as the sumptuous prelude to "Harlem Hendoo"'s main character energy before the irrepressible, upbeat R&B of "Ludwig" closes out this quite remarkable album. An album deserving of a place in every serious record collection.
The audio for Soul In The Horn has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. This is after-hours music. Let it speak for itself. Listen. Listen to the soul in Al Hirt's horn.
More
Track List:
A1 Honey Pot
A2 Mess Around
A3 Calypsoul
A4 Long Gone
A5 Sweetlips
A6 Girl
B1 Love Ya' Baby
B2 Sunday-Goin' To Meetin' Time
B3 Snap Back
B4 Harlem Hendoo
B5 Ludwig
Release Notes:
Yes, *that* Al Hirt record. Featuring the godlike "Harlem Hendoo", looped unforgettably by De La Soul for the legendary Buhloone Mind State cut, "Ego Trippin' (Part Two)"!
Al Hirt's infamous Soul In The Horn is inextricably tangled up in crate-digger lore. Originally released in 1967, the album has been in heavy, heavy demand for over 30 years, entirely down to the majestic soul-jazz fire of "Harlem Hendoo". And it's a song so good, so vital, so timeless, that it will always tower above everything else in its proximity. This one track alone is worth the price of admission - even if the cost of entry were $100 or even $1000.
However, it would be an error to dismiss this record as merely a one tracker, loaded as it is with dope samples for adventurous beat makers. Certainly the funkiest Al Hirt record, it definitely lives up to the "soul" in the title. Thanks to composer Paul Griffin and arranger Teacho Wiltshire, Hirt got uncharacteristically free and groovy throughout. It comes on more like an obscure KPM library funk record than the easy listening Al was notorious for.
A Louisiana trumpeter and band leader who made Allen Toussaint’s “Java” famous, Al Hirt was also known for TV themes, Dixieland, Swing and being a minority owner of the New Orleans Saints. Unlike every other Al Hirt record - and despite most "diggers" claiming otherwise - this here gem is genuinely hard to come across "in the wild". Normally, you can't give Al Hirt records away, except this particular one, which raises pulses in the crate digging community to life-threatening levels. For every owner claiming to have found their copy for a dollar, there's scores more claiming to have *never* unearthed one in the field. So, paradoxically, you can consider this the most tricky-to-pull "thrift store record", ever. This is why we're finally making it available for everyone, not just those with endless hours to spend scouring the global goodwills!
Soul In The Horn represented an expressive detour into authentic soul-jazz for Al Hirt. Throughout, we're struck by a fierce, fiery energy that's otherwise absent from his typically easy listening work. Without question, the slinky, magical "Harlem Hendoo" is the standout, here. It's also the reason why the record is so scarce and commands awe among crate diggers, sounding like something from an obscure and deeply revered spiritual jazz record. As is often the case, the true genius of the song is tricky to do justice to; it's like a minor miracle of songwriting and performance that simply swooned down from the heavens on the back of horns, bells and harpsichord. It's one of the sweetest musical compositions ever recorded inside a studio - it's only failing is that it's just too short. Sampled brilliantly by De La Soul, it has also been used by The Roots for "Stay Cool" and Nightmares On Wax for "Damn".
The rest of the record makes for a mighty fine listen. From the opening cover of Booker T. & The MG's "Honey Pot", to the propulsive, ultra-funky "Mess Around", it's nothing but a good time. Given its title, the elegant stepper "Calypsoul" sounds exactly as you'd hope whilst the melancholic, wistful "Long Gone" hurts so good. Truly, this is just dying to be looped up, Al's muted playing capturing a soulful longing only horns can often achieve. The bluesy, slo-mo swing of "Sweetlips" oscillates between cool disaffection and swelling pride whilst the graceful, low-key funky "Girl" closes out the A-Side in the fine style. Ushering in the B-Side, the brief but brilliant strut of "Love Ya' Baby" shines brightly before the skipping funky-jazz of true highlight "Sunday-Goin' To Meetin' Time" demands both your attention and your dancing shoes. The mellifluous piano-funk of bass and horn-drenched "Snap Back" serves as the sumptuous prelude to "Harlem Hendoo"'s main character energy before the irrepressible, upbeat R&B of "Ludwig" closes out this quite remarkable album. An album deserving of a place in every serious record collection.
The audio for Soul In The Horn has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. This is after-hours music. Let it speak for itself. Listen. Listen to the soul in Al Hirt's horn.
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Reissued for the first time this ultra-rare reggae album originally released in 1974. Considered by many to be the first reggae “lovers” album ever, signed by the producer and Singer Clement Bushay and the reggae singer Carl Bert. As guests The Cimarons, Jackie Parris, Junior English, Dego Sensation. Engineers: Steve Wadey, Clem Bushay and Lee Perry … Four unreleased tracks from the original version are included here!
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Timmy Thomas - Why Can't We Live Together (Ben Liebrand T-Connection Remix)
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Timmy Thomas - Why Can't We Live Together (1981 Bootleg)
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Ben Liebrand ups the bpm’s for his mix. He creates a percussive jam that pumps with pure emotion. Absolute club class.
Included on this release is Ben’s (now admittedly taking ownership after 43 years) 1981 Bootleg which chugs with soul and funk goodness. More
Ben Liebrand ups the bpm’s for his mix. He creates a percussive jam that pumps with pure emotion. Absolute club class.
Included on this release is Ben’s (now admittedly taking ownership after 43 years) 1981 Bootleg which chugs with soul and funk goodness. More
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Emotional Rescue's vital Konduko reissue series sadly comes to an end here with a look at the label's final years. In those days it moved away from reggae, disco and boogie towards an enduring electro sound that had a vast and lasting impact on the Miami scene. The biggest tune from that time was when Noel Williams linked with local songwriter Lawrence Dermer aka Der Mer for the track reissued here. 'Fall Out' soon became a hit with its driving electro-funk rhythms. The original sits next to the later Fresh '86" mix as well as a NAD disco mix from Dan Tyler, best known as one of the Idjut Boys. It's an irresistible package of body-popping electro with hooks for days.
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Harry Thumann - Chicago
Repress!
Taking a break from their usual Italian remit, Best Record turn their attention to an overlooked pioneer from the annals of German electronic music history. Harry Thumann was based in Munich, and primarily worked as a studio engineer, but his own recorded work was vitally important too. An early adopter of MIDI, and with a propulsive electronic disco sound that was right at the cutting edge of the times, the four "experiments" Best have gathered here represent some of the most potent dancefloor jams he created - full-fat technicolour fever dreams for the fabulous and flamboyant. More
Taking a break from their usual Italian remit, Best Record turn their attention to an overlooked pioneer from the annals of German electronic music history. Harry Thumann was based in Munich, and primarily worked as a studio engineer, but his own recorded work was vitally important too. An early adopter of MIDI, and with a propulsive electronic disco sound that was right at the cutting edge of the times, the four "experiments" Best have gathered here represent some of the most potent dancefloor jams he created - full-fat technicolour fever dreams for the fabulous and flamboyant. More
A modern day mashup classic from AMERIGO GAZAWAY that takes the Afrobeat rhythms and music of FELA KUTI and mixes it with the rap stylings of DE LA SOUL. Awesome.
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Melvo Baptiste ft. Dames Brown - Sweat
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Lovebirds - Burn It Down (Club Mix)
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Art Of Tones & Inaya Day - Give My Love
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Young Pulse & Fleur De Mur - Smooth Sweet Talker
Following several releases that continue to establish Glitterbox as the hub for independent house and disco worldwide, four sought-after mixes that have soundtracked the label's parties appear on wax for the first time. Leading Glitterbox Jams Volume 7 is label head Melvo Baptiste alongside Detroit trio Dames Brown with the infectious 'Sweat', a track that made waves in 2023 with its irresistible rhythms and stellar vocals. Marking their first original track on the label, Lovebirds ‘Burn It Down’ showcases the Berlin-based duo as the house and disco authorities that they are. Next up, Art Of Tones & Inaya Day make dancefloor magic with their uplifting collaboration 'Give My Love', before sensual earworm ‘Smooth Sweet Talker’ by Young Pulse & Fleur De Mur closes out the compilation. This four-track package once again shows the disco, funk and soul sound of Glitterbox at its very best.
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King Sporty / The Extra Funk Factory - Fantasy
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King Sporty / The Extra Funk Factory - Fantasy (Instrumental)
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King Sporty / The Extra Funk Factory - Fantasy (Jonny Rock Discomix)
The last of the Konduko series from Emotional Rescue arrives now and quite possibly it is the best of the lot from Noel Williams. His 'Fantasy' saw him work with Larry Dermer aka Der Mer on what is an effective and catchy electro jam that operates at the higher end of the tempo chart with some classic vocoder vocal action to really make it pop. Despite being released originally in 1984 this one still bangs with its emulated TR-808 beats and nagging melodies. The instrumental heightens that and then the Jonny Rock Discomix shuts down with long-form rework that shows why the DJ, editor and all-round amiable bloke is so well regarded.
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King Sporty / Fashion Funktion - Sun Country
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King Sporty / Fashion Funktion - Sund Country (Instrumental)
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King Sporty / Fashion Funktion - Sund Country (40 Thieves Disco Mix)
Here comes Emotional Rescue and Konduko's last in their series of Noel Williams/King Sporty reissues, this time looking at later electro productions and the hip-hop/boogie influenced 'Sun Country'. Vocals and co-production come from Williams' long-time partner Betty Wright and as well as a vocal and instrumental mix there's a longform remix by Bay Area disco dub stalwarts, 40 Thieves.
By this point in his career, the godfather of Miami Bass had travelled a long way from his Jamaican roots in reggae and soul, paying homage to the warm climbs of the Sunshine State and laying down a much copied template using the TR-808 drum machine create the electronic emulations of the breakbeat, claps accenting the backbeat and trademark low frequencies shaking the floorboards. The instrumental stretches the arrangement, emphasising the interplay between electronics, bass, vocal samples, scratching and fx, the voice transformed into a percussive element in its own right. The flip sees 40 Thieves flexing their understated understanding of electro funk, making for a rounded, generation-jumping package. More
By this point in his career, the godfather of Miami Bass had travelled a long way from his Jamaican roots in reggae and soul, paying homage to the warm climbs of the Sunshine State and laying down a much copied template using the TR-808 drum machine create the electronic emulations of the breakbeat, claps accenting the backbeat and trademark low frequencies shaking the floorboards. The instrumental stretches the arrangement, emphasising the interplay between electronics, bass, vocal samples, scratching and fx, the voice transformed into a percussive element in its own right. The flip sees 40 Thieves flexing their understated understanding of electro funk, making for a rounded, generation-jumping package. More
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Various Artists - A1. Melvo Baptiste ft. Jamie 3:26 & Annette Bowen - Gonna Be Alright
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Various Artists - A2. Mousse T. ft. Davie - Take It Back
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Various Artists - AA1. Riva Starr - How It Feels
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Various Artists - AA2. Shakedown & Bootsy Collins - Funky And You Know It (Shakedown Work That Mot
Following a string of releases that have cemented Glitterbox as the hub for independent house and disco worldwide, four sought-after mixes that have soundtracked the label's parties get a special outing on vinyl for the very first time. Who better to open Glitterbox Jams Volume 6 but head honcho Melvo Baptiste, featuring esteemed selector Jamie 3:26 & Annette Bowen with ‘Gonna Be Alright’, an instant classic that showcases the label’s very best. Next up, German hit maker Mousse T. and Davie ‘Take It Back’ to Summer of 2023 with their soulful house release, before East London house master and Snatch! Records owner Riva Starr’s ‘How It Feels’ lands on wax for the first time. Closing out this collection of Glitterbox favourites is a collaboration between legends, Shakedown & Bootsy Collins and the Shakedown Work That Mother Mix of ‘Funky And You Know It’. This four-track package from the Glitterbox camp is one you do not want to miss.
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Common vs S Wonder - Intro Theme (I Wonder)
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Common vs S Wonder - I Was Made To Love H.E.R.
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Common vs S Wonder - Living For The Chi-City
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Common vs S Wonder - Resurrection To Higher Ground
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Common vs S Wonder - Bad Girl feat. Kanye West
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Common vs S Wonder - The Sixth Superstition
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Common vs S Wonder - Innervision Intermission
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Common vs S Wonder - Sugar By The Pound
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Common vs S Wonder - For Once In My Life feat. Erykah Badu
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Common vs S Wonder - Like They Used to Say
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Common vs S Wonder - God Bless the Freestyle (Interlude)
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Common vs S Wonder - The Light (I'm Yours) feat. Bobby Caldwell
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Common vs S Wonder - Southside feat. Kanye West
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Common vs S Wonder - Pop's Rap feat. Lonnie Lynn Sr.
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Common vs S Wonder - The Sixth Wonder (Bonus Track)