Now that's what we call a remix treatment! Soul Supreme enlists a dream line-up for the official remix of "Taking The Stand." The intro line is all there is to say that this 45 is a no-brainer to cop:"Thes Oneis on the beat,Soul Supremecomposed the suite,the Fudgemunkis about to speak."


As a long-time fan of People Under The Stairs and Damu The Fudgemunk, this is a full-circle moment for Soul Supreme. He deejayed alongside Damu in the past, and he has shown his appreciation to both P.U.T.S. and Damu with various tribute mixes. Matter of fact, this release is a full-circle moment for any hip-hop head: this 45 marks the very first time Thes One and Damu can be heard on one record together.

In typical crate-digging fashion, Thes One flips key elements from Soul Supreme's "Taking The Stand" into a neck-snapping beat. The instrumental album version of "Taking The Stand" can be found on the B-side of this 45. The original is a beautifully melodic jazz-funk head-nodder featuring drums by Tamuz Dolev and a spirited guitar solo by Radiohop's Johnny Biner.

"Taking The Stand" originally appeared on Soul Supreme's highly acclaimed instrumental albumPoetic Justice. Released last year, the album channeled his ongoing legal battle with a Norwegian label that stole his music. Fresh off his latest collaborations withRaw Poetic, Damu The Fudgemunk hopped back on the mic for this remix to voice his displeasure about shifty record labels. Damu also laid down cuts for the outro of the track, serving as a tribute to the lateDouble K.


"While you hadMadlib,DOOM, andQuas doing all kinds of esoteric stuff in this beautiful wave of underground hip-hop in the late '90s and early 2000s, these were legends but not people you actually knew.People Under the Stairs were like your friends, kind of, even though you don't know them,"Soul Supreme toldWax Poetics in 2022."They are more like everyday people who make amazing music. (...) Thes OneandDouble K were really honest about who they are. That's something, for me, that I consider one of the most important things in music."The 45 release of "Taking The Stand (Thes One Remix)" shows just that: three like-minded music heads at their most honest and passionate. More

The music of Soul Supreme moves, grooves, throbs, and hits more than ever before. But the colorful sonic palette of Poetic Justice actually sprouted from a dark place: an ongoing battle with an independent label to reclaim his master rights—even today, "Industry Rule #4080" is still in full effect. So copping this record doesn't only support his cause—it's also well worth it for the listener. Poetic Justice features Soul Supreme's biggest line-up of guest musicians to date: including drummer J-Zone, bass player Glenn Gaddum Jr., Gallowstreet's Jeroen Verberne, and Radiohop's Johnny Biner and Euan Jenkins. With Soul Supreme himself on his trusted set-up and a newly added Clavinet, his melting pot of jazz-funk, hip-hop grooves, soulful cuts, and library funk sounds richer than ever before. "I have decided to create a positive outlet for what is a very negative event in my life," he writes in the announcement of Poetic Justice. "I wrote music that reflected how I feel going through this process. No matter what the legal battle results in—I know I have made something beautiful and honest from this terrible experience. At least for myself but hopefully for others to enjoy it as well." Rest assured, Poetic Justice is a record to fully enjoy; from the first heartfelt notes on "Intro (Pullin' Back The Curtain)" to the last thumping drum hits of "I Rest My Case." More

Now that's what we call a remix treatment! Soul Supreme enlists a dream line-up for the official remix of "Taking The Stand." The intro line is all there is to say that this 45 is a no-brainer to cop:"Thes Oneis on the beat,Soul Supremecomposed the suite,the Fudgemunkis about to speak."


As a long-time fan of People Under The Stairs and Damu The Fudgemunk, this is a full-circle moment for Soul Supreme. He deejayed alongside Damu in the past, and he has shown his appreciation to both P.U.T.S. and Damu with various tribute mixes. Matter of fact, this release is a full-circle moment for any hip-hop head: this 45 marks the very first time Thes One and Damu can be heard on one record together.

In typical crate-digging fashion, Thes One flips key elements from Soul Supreme's "Taking The Stand" into a neck-snapping beat. The instrumental album version of "Taking The Stand" can be found on the B-side of this 45. The original is a beautifully melodic jazz-funk head-nodder featuring drums by Tamuz Dolev and a spirited guitar solo by Radiohop's Johnny Biner.

"Taking The Stand" originally appeared on Soul Supreme's highly acclaimed instrumental albumPoetic Justice. Released last year, the album channeled his ongoing legal battle with a Norwegian label that stole his music. Fresh off his latest collaborations withRaw Poetic, Damu The Fudgemunk hopped back on the mic for this remix to voice his displeasure about shifty record labels. Damu also laid down cuts for the outro of the track, serving as a tribute to the lateDouble K.


"While you hadMadlib,DOOM, andQuas doing all kinds of esoteric stuff in this beautiful wave of underground hip-hop in the late '90s and early 2000s, these were legends but not people you actually knew.People Under the Stairs were like your friends, kind of, even though you don't know them,"Soul Supreme toldWax Poetics in 2022."They are more like everyday people who make amazing music. (...) Thes OneandDouble K were really honest about who they are. That's something, for me, that I consider one of the most important things in music."The 45 release of "Taking The Stand (Thes One Remix)" shows just that: three like-minded music heads at their most honest and passionate. More

The music of Soul Supreme moves, grooves, throbs, and hits more than ever before. But the colorful sonic palette of Poetic Justice actually sprouted from a dark place: an ongoing battle with an independent label to reclaim his master rights—even today, "Industry Rule #4080" is still in full effect. So copping this record doesn't only support his cause—it's also well worth it for the listener. Poetic Justice features Soul Supreme's biggest line-up of guest musicians to date: including drummer J-Zone, bass player Glenn Gaddum Jr., Gallowstreet's Jeroen Verberne, and Radiohop's Johnny Biner and Euan Jenkins. With Soul Supreme himself on his trusted set-up and a newly added Clavinet, his melting pot of jazz-funk, hip-hop grooves, soulful cuts, and library funk sounds richer than ever before. "I have decided to create a positive outlet for what is a very negative event in my life," he writes in the announcement of Poetic Justice. "I wrote music that reflected how I feel going through this process. No matter what the legal battle results in—I know I have made something beautiful and honest from this terrible experience. At least for myself but hopefully for others to enjoy it as well." Rest assured, Poetic Justice is a record to fully enjoy; from the first heartfelt notes on "Intro (Pullin' Back The Curtain)" to the last thumping drum hits of "I Rest My Case." More

The Amsterdam-based producer, keyboardist, and music-lover Soul Supreme, known for his covers of classic cuts by the likes of A Tribe Called Quest, Mos Def or MF DOOM steps away from the cover format for a moment, and channels his fresh take into remixes of two INI Movement releases. Leaving out the brass, both remixes eloquently underline the low-end essence of the compositions and explore new realms in a special way. The upbeat remix of '52 North' by Gallowstreet and LYMA on the A-side brings a percussion-heavy instrumentation & layers of signature keys to an ode to the city of Amsterdam. Staying close to the original composition, the remix expands the richness and depth, bringing the tune even closer to the dancefloor crowd. On the flipside of the 45, the luscious rework of Shamis & Rebiere's track 'Backpack' brings a laid-back, soulful production to a personal story of co-parenting. We're immersed in a wistful hip hop bounce with a reference to Common, stunning Rhodes solo and an extra guitar layer by Johnny Biner. The vulnerable theme of the original song is accentuated with an alternative ending, leaving us with a feeling of reassurance, love and encouragement. All of that on a limited 7'' with artwork by Dase Boogie, released on Soul Supreme Records in collaboration with INI Movement label. More

Next up in Mr Bongo's Groove Merchant Records reissue series, sees an outing for a much-loved and heavily sampled funk/soul/blues album by Junior Parker. Originally issued under the title The Outside Man on Capitol Records in 1970 with an alternative cover, this reissue replicates the Groove Merchant release titled Love Ain't Nothin' But A Business Goin' On featuring the car cover released in 1971.

The Mississippi-born, Memphis-based blues singer, harmonica player and songwriter Junior Parker (aka Little Junior Parker) had a stellar career in music. Since the early 1950s he released records on labels such as Duke, Mercury, United Artists Records and more. Sadly though, Parker died at the young age of 39 during surgery on November 18, 1971.

Originally released under the alternate title a year before his untimely death, Love Ain't Nothin' But a Business Goin' On is drenched in Parker’s trademark buttery vocals and soulful grooves, swaggering between smokey blues, raw funk outings and orchestrated soul ballads (with sublime arrangements by Horace Ott).

The album also features three Beatles cover versions in the form of ‘Taxman’, ‘Lady Madonna’ and ‘Tomorrow Never Knows’. For 'Taxman', Parker completely reinterprets the song taking into a New Orleans funk realm, a sample of which was used as the main hook line on Cypress Hill's classic 'I Wanna Get High'. Elsewhere, 'Tomorrow Never Knows' is flipped into a tripped-out, psychedelic soul-swamp blues ballad, whilst 'Lady Madonna' is given a funky blues makeover.

As shown with Cypress Hill’s use of ‘Taxman’, since the ‘70s Parker’s legacy has been immortalised for future generations through the deep well of samples that his music has become a source of. Tracks from Love Ain't Nothin' But a Business Goin' On have been sampled by some of the biggest names out there, such as A Tribe Called Quest, DJ Shadow and De La Soul.

A seriously smooth album oozing with soul and emotion from a Blues Hall of Fame inductee, Junior Parker’s Love Ain't Nothin' But A Business Goin' On is a superb example of the early ‘70s crossover funk/soul sound. More

9-piece powerhouse Nubiyan Twist embark on a fresh musical odyssey with their vibrant fourth album 'Find Your Flame’. Over 12-track the band seamlessly weaves together global grooves, soul and jazz; expertly intertwined with electronic elements, horn-led melodies and spontaneous improvisation.

Tracklist
1.1Lights Out (Ft. Nile Rodgers)
1.2All The Same (Ft. Ria Moran)
1.3Woman
1.4You Don't Know Me (Ft. Corto Alto)
1.5Carry Me (Ft. Seun Kuti)
1.6Battle Isn't Over
1.7So Mi Stay
1.8Pray For Me Part
1.9Pray For Me Part
1.10Reach My Soul
1.11Find Your Flame
1.12Slow Breath (Ft. Mamani Keïta) More

‘Carolina’ is the Brazilian virtuoso Seu Jorge's debut full-length album from 2002. Originally released under the title ‘Samba Esporte Fino’, its release and subsequent international acclaim dovetailed with Seu Jorge’s ascent into movie stardom. He is probably best known outside of Brazil for his work on Wes Anderson’s 2004 film 'The Life Aquatic with Steve Zissou’, in which he played a starring role and his Portuguese covers of David Bowie records were a highlight of the soundtrack. Having initially found fame thanks to his standout performance as Knockout Ned in the revered movie ‘City of God’. ‘Carolina’ would cement his global fame and launch an illustrious musical career that has earnt him a Grammy nomination.

Co-produced by Mario Caldatto of Beastie Boys and Planet Hemp fame, the album presented a vibrant, contemporary combination of samba and funk, backed by guitar, bass, drums, percussion, and horns. It kicks off with one of Seu's most loved tracks 'Carolina', an anthemic feel-good classic with timeless energy, ending in a sing-along crescendo. Other highlights included the Brazilian-Funk of 'Mangueira' reminiscent in places of Tim Maia with its 80s inspired vibe, and the catchy jazzy-samba of 'Tu Queria' which always ignites the dance floor. More

Repress!
One of the finest soul and funk releases of the past 18 months.” Clash Magazine

“Soothing, atmospheric, disquieting.” MOJO Magazine

“Wonderful deep grooves.” Shindig

There is something simultaneously both brand-new and retro about 'All News Is Good News’ - the debut album from Melbourne's instrumental soul group Surprise Chef. It sounds like something dreamt up by lo-fi cousins of David Axelrod and Janko Nilovic, with dramatic Library-music-esque cinematic arrangements echoing both light and dark, delving into moments of dissonance and positivity. There is a meticulous education of 1970’s soul on display that touches on the legacies of the great composer / producers, yet at the same time, this is a truly contemporary record that could have only been made now.

The first limited pressing of 'All News Is Good News’ was released on the band's own 'College Of Knowledge' imprint in November 2019. It slipped rapidly into the collective consciousness of underground music lovers around the world, with all copies selling out within a week and becoming a firm favourite at Mr Bongo HQ in the process. We felt Surprise Chef had made something very special, a future-classic, and that needed to be heard well beyond those lucky enough to have bagged those limited first copies.

Formed at the end of 2017, Surprise Chef have grown within the fertile, creative, and supportive Melbourne music scene. Whilst the band is comprised of four core members, the album features friends and family as guest instrumentalists on flute, saxophone, vibraphone, congas, and assorted percussion; all adeptly recorded by engineer Henry Jenkins from the band Karate Boogaloo. The warm-raw-authenticity of the album was captured in the recordings live to tape over a handful of sessions in the band’s home studio in Melbourne’s inner-northern suburb of Coburg. As band member Lachlan Stuckey explains “All of the music we record is tracked live to tape, simply because so many of the records we love most were made that way".

The results are a captivating journey of instrumental cinematic-soul that will connect with the hardened Axelrod, Truth & Soul, El Michels Affair, and Daptone's fans, as well as the open-minded first-time listener. We are very excited to share this first slice of Surprise Chef’s world, with plenty more magic from these guys coming around the corner very soon. More

LP DELUXE EDITION
180g. VINYL + HARD CARDBOARD COVER + OBI + DOWNLOAD CARD

An essential album for lovers of Brazilian boogie

During the 1970s, Marcos Valle moved to the US, tired of living under the repressive military dictatorship in Brazil. He collaborated with musicians like Leon Ware and Chicago in Los Angeles.

Upon returning to Brazil in the 1980s, he recorded “Vontade de Rever Você" where he explored all the musical influences he had received in the US, particularly Boogie, Soul, and Funk. For this recording, he collaborated with musicians such as Sivuca, Peter Cetera from Chicago, Robson Jorge, and Jose´ Roberto Bertrami from Azymuth.



Licensed by Som Livre

Tracklist:
Side A: A1. A Paraíba Não É Chicago – A2. Bicho no cio – A3. Velhos Surfistas querendo voar – A4. Campina Grande
Side B: B1. Sei lá – B2. Pecados de Amor – B3. Garimpando – B4. Não pode ser qualquer mulher More

Repress!
Official half-speed mastered re-issue of British trumpeter and bandleader Ian Carr's iconic jazz-fusion-rock hybrid ‘Belladonna’ from 1972.

Originally released on the Vertigo label, complete with collectable ‘swirl' record centre design, this sought-after jazz-rock-fusion rarity features some of the cream of the UK jazz musicians of the 70’s. Comprised from groups such as Nucleus, Brian Auger's band, Soft Machine, Stan Tracy group, the players included Brian Smith (tenor and soprano saxophones, alto and bamboo flutes), legendary guitarist Allan Holdsworth, Dave MacRae (Fender electric piano), and bassist Roy Babbington, to name but a few.

Seen as a benchmark point in Ian Carr's career, 'Belladonna’ is awash with atmospheric excursions and ethereal qualities, as well as a darker fusion aesthetic and prog-rock sensibility from Holdsworth's exceptional guitar playing. The moody, yet funky, vibe of the album has echoes of Miles Davis' electronic era à la 'In A Silent Way'.

The album is best enjoyed played in its entirety. There are ebbs and flows with certain tracks shining along the way. Standouts include the beautiful down-tempo track 'Summer Rain’, which has a soundtrack / library style brilliance and emotional electric piano soloing. Though recorded in the 70’s, the track has a timeless sound, a melancholic funk so often used in hip-hop and beat tape productions to this day. ‘Mayday's Shaft-like long extended intro builds the drama until the percussive release when the drums drop at over three minutes in.

To give a record of such quality the treatment it deserves, we have once again been lucky to enlist the service of mastering and lacquer cutting engineering don Miles Showell at Abbey Road Studios, to cut a brand-new half-speed master and let the music speak for itself. More

We are so proud to be able to Offically release tracks from this mighty funky film score by JJ Johnson. Loaded with breaks and samples. Four tracks taken from the Willie Dynamite film score

A Keep on movin on - featuring Martha Reeves

B Willie D - featuring Martha Reeves

A Willie Chase / BBoy breaks and funky groove

B Parade Strut / Sampled by Massive attack for the classic "Unfinished symphony"

2x7 black vinyl x600 More

The song that marked the return of Joe Bataan in 2004 finally makes it into a 7” single for the first time. Recorded at the Daptone studio this is a dancefloor favourite by the King of Latin Soul!

Back in 2004, Vampisoul was extremely honoured to play a role in the return to recording of the legendary Joe Bataan, which fully materialized in the acclaimed album "Call My Name", written and produced by Daniel Collás (The Phenomenal Handclap Band, Incarnations). Today, the song that marked the return of Joe Bataan finally makes it into a 7” single for the first time.

"This whole project grew out of a song called 'Cycles of You', which I had written around 2000-2001 with the guitarist and bassist of my band at the time, Easy. The chord progression and vocal melody really reminded me of Bataan, and it occurred to me that it wouldn't be impossible to get him into the studio to do a guest vocal if we ever recorded it. I had met Bataan a few years before at a small, family-reunion style show at the Nuyorican Poets Cafe in my neighbourhood, where he not only still sounded great, but was also gracious and easy to talk to.

By the time we got around to recording with Easy, the band was about to break up but we still had the studio booked. We all agreed that we didn't want to continue as a band, but at the same time, it would be a shame to never record what we had been working on. Around this time Bataan was playing out again, so I went to the show to see him and find out if he'd be interested in doing some vocals with us. He was agreeable, so we decided to turn it into a Joe Bataan session and do 'Cycles of You'.

When I got the opportunity from Vampisoul to do a full album, I was hoping Bataan and I could write some songs together, but our schedules proved tough to coordinate. I figured the best way to go about it was to do most of the work and just have him come sing on it. I thought this might be a little weird for him, since he is used to writing and producing most of his own records, but he was open to it.

The rhythm section was a band called TransLove Airways that I formed in 2002. We got really tight and developed a great sound that was, to me, equal parts Heart, Shocking Blue, Brian Auger and Rare Earth. To this core group I added pieces from a few other local bands: The Middle Initials, who are a great Temptations/Main Ingredient-style vocal group, and members of an incredible Latin band called Grupo Latin Vibe, who were responsible for almost all the percussion. There was also some fine trombone playing by Aaron Johnson of Antibalas and great flute work by Neal Sugarman and my cousin Sonny.

Preparing for “Call My Name” I listened to a lot of different records from the mid to late 70s and thought about how they were actually getting those sounds and how Bataan's vocal style would fit with them.

The “Call My Name” sessions took place when Daptone had just moved to Bushwick, its classic location. Gabe Roth and I had been acquaintances for a few years at that point, and since I didn't have a studio of my own, he was my first call whenever I had any recording to do. He was yet to become the legendary figure at the center of the Daptone/Truth & Soul universe, and the recordings he would do with Amy Winehouse were still a few years away.

The reactions to this album were gratifying. Diehard fans accepted it as a welcome addition to the canon and regularly compared it to some of my favorite records of Bataan's. At one point a New York radio station's listener poll listed two songs off of the album in the top ten of all-time best-loved Joe Bataan songs, and Ry Cooder enthusiastically mentioned “Call My Name” in a Wall Street Journal interview.”

Daniel Collás, producer of “Call My Name" More

Now that's what we call a remix treatment! Soul Supreme enlists a dream line-up for the official remix of "Taking The Stand." The intro line is all there is to say that this 45 is a no-brainer to cop:"Thes Oneis on the beat,Soul Supremecomposed the suite,the Fudgemunkis about to speak."


As a long-time fan of People Under The Stairs and Damu The Fudgemunk, this is a full-circle moment for Soul Supreme. He deejayed alongside Damu in the past, and he has shown his appreciation to both P.U.T.S. and Damu with various tribute mixes. Matter of fact, this release is a full-circle moment for any hip-hop head: this 45 marks the very first time Thes One and Damu can be heard on one record together.

In typical crate-digging fashion, Thes One flips key elements from Soul Supreme's "Taking The Stand" into a neck-snapping beat. The instrumental album version of "Taking The Stand" can be found on the B-side of this 45. The original is a beautifully melodic jazz-funk head-nodder featuring drums by Tamuz Dolev and a spirited guitar solo by Radiohop's Johnny Biner.

"Taking The Stand" originally appeared on Soul Supreme's highly acclaimed instrumental albumPoetic Justice. Released last year, the album channeled his ongoing legal battle with a Norwegian label that stole his music. Fresh off his latest collaborations withRaw Poetic, Damu The Fudgemunk hopped back on the mic for this remix to voice his displeasure about shifty record labels. Damu also laid down cuts for the outro of the track, serving as a tribute to the lateDouble K.


"While you hadMadlib,DOOM, andQuas doing all kinds of esoteric stuff in this beautiful wave of underground hip-hop in the late '90s and early 2000s, these were legends but not people you actually knew.People Under the Stairs were like your friends, kind of, even though you don't know them,"Soul Supreme toldWax Poetics in 2022."They are more like everyday people who make amazing music. (...) Thes OneandDouble K were really honest about who they are. That's something, for me, that I consider one of the most important things in music."The 45 release of "Taking The Stand (Thes One Remix)" shows just that: three like-minded music heads at their most honest and passionate. More