IN STOCK
1LP - BEAT JAZZ INTERNATIONAL
2022

IN STOCK
1LP - NOW-AGAIN RECORDS
2024

IN STOCK
1LP - BIG DAWG RECORDS
2024

IN STOCK
2LP - FAT BEATS RECORDS
2024

IN STOCK
7 INCH - UNCLE HOWIE RECORDS
2023

IN STOCK
ULTRA CLEAR
2LP - UNCLE HOWIE RECORDS
2023

IN STOCK
1LP - GRILCHY PARTY
2023

IN STOCK
TWO COLORED DISCS
CUSTOM RETRO VIDEO GAME-INSPIRED PACKAGING
2LP - ROSTRUM RECORDS
2008 => 2023

IN STOCK
2LP - PINK SIIFU
2021 => 2023

IN STOCK
2LP - UBIQUITY RECORDINGS
2020

IN STOCK
1LP - RAP VACATION
2020

IN STOCK
2LP - TRU SOUL RECORDS
2013 => 2020

IN STOCK
2LP - GET ON DOWN
2000 => 2025

PRESENTED IN AN OPAQUE GREEN WITH BLACK AND ORANGE SPLATTER PRESSING HOUSED IN A DELUXE GATEFOLD JACKET

TRACKLIST
A1. Anything Is Possible
A2.You Nasty
A3. Pimp Shit
A4. Just Like Dope (feat. E-40)
B1. Call Me Daddy
B2. Recognize Game (feat. Chyna)
B3. She Know (feat. The Nation Riders)
B4. 2 Bitches
B5. All The Time
C1. Where They At (feat. Captain Save ‘Em)
C2. Don't Hate The Player
C3. Be My Dirty Love
C4. Nation Riders Anthem
D1. Old School
D2. You Nasty (Instrumental)
D3. Pimp Shit (Instrumental)
D4. 2 Bitches (Instrumental)

DESCRIPTION
One year after coming out of early retirement and releasing his 11th studio album Can't Stay Away, Too $hort dropped his 12th studio album You Nasty in the year 2000. With over twenty years in the game, Too $hort don't stop mackin' or rappin' and spits his pimp game over West Coast funk-laden tracks with some Dirty South influences for the Y2K. Get On Down in partnership with Sony Music's CERTIFIED is proud to present You Nasty for the first time on vinyl. The album is pressed on colored vinyl with 3 bonus instrumentals and packaged in a deluxe gatefold jacket.

IN STOCK
2LP - GET ON DOWN
1991 => 2024

PRESSED ON "DAY-GLO WASHED" COLORED VINYL
PACKAGED WITH A FOLD-OUT ALBUM ART POSTER AND NUMBERED OBI
LIMITED TO 1000 COPIES

TRACKLIST
A1. What Is A Booty • A2. Mistadobalina • A3. The Wacky World Of Rapid Transit
B1. Pissin' On Your Steps • B2. Dark Skin Girls • B3. Money For S.. C1. Ahonetwo, Ahonetwo C2. Prelude C3. Dr. Bombay • C4. Sunny Meadows • D1. Sleepin' On My Couch
D2. Hoodz Come In Dozens • D3. Same Ol' Thing • D4. Ya Lil' Crumbssnatchers


DESCRIPTION

In the early 90s gangsta rap dominated on the West Coast led by N.W.A., Above The Law, CMW, Ice-T, and Bay Area artists like Too $hort. The East Coast had harder acts like EPMD and Kool G Rap, alongside politically and socially conscious groups like Public Enemy, BDP, and Poor Righteous Teachers. In contrast, groups like De La Soul, A Tribe Called Quest, and Brand Nubian emerged with a more positive and laid-back vibe. It was during this time frame that Oakland, CA’s Del The Funky Homosapien (PKA Del Tha Funkee Homosapien) emerged incorporating elements and styles akin to The Native Tongue's East Coast Hip-Hop with a P-Funk-influenced West Coast vibe.
I Wish My Brother George Was Here debuted in 1991 under Del’s cousin Ice Cube’s Street Knowledge imprint. The album was quite the opposite of "Street Knowledge" with 14 tracks of funk-filled beats and Del spitting humorous stories as an outsider to the gangsta rap scene. The amazing production was overseen by Ice Cube’s production crew The Boogie Men who also produced Da Lench Mob’s Guerillas In Tha Mist the following year. I Wish My Brother George Was Here set the stage for the success of other West Coast acts like The Pharcyde and helped Del to bring forward his crew of Hieroglyphics with Souls Of Mischief and Casual. I Wish My Brother George Was Here is a classic from the lead single “Mistadobalina” to the jazz sample cut of “The Wacky World of Rapid Transit”, to the trippy P-funk laced “Sunny Meadowz” and the hard-hitting “Hoodz Come In Dozens” with a touch of freestyle rap on The Meter’s sampled track “Same Ol’ Thing". Del delivers a no-skips funky light-hearted album that has stood the test of time.
Get On Down is proud to bring back this West Coast classic on vinyl. The album is pressed on “Day-Glo Washed” double-colored vinyl packaged with a fold-out album art cover poster and numbered OBI limited to 1000 copies.

IN STOCK
NEON YELLOW
2LP - SONY / VMP
1992 => 2022

IN STOCK
PURPLE & ORANGE MARBLE
2LP - NOW AGAIN / VMP
2016 => 2022

BIS => 2025 07 25
NEON YELLOW
1LP - REPRISE / VMP
1974 => 2021

IN STOCK
LIMITED TO 1000 COPIES
BLACC TATTOO INK-IN-CLEAR COLORED VINYL
GATEFOLD JACKET
NUMBERED OBI
2LP - GET ON DOWN
2014 => 2024

IN STOCK
LIMITED TO 500 HAND-NUMBERED COPIES WORLDWIDE
CLEAR TEAL WAVE COLORED VINYL
1LP - NEXT RECORDS
2024

IN STOCK
COLORED VINYL
GATEFOLD JACKET WITH FULL LYRICS
2LP - GET ON DOWN
1992 => 2024

IN STOCK
1LP - CINEMATIC MUSIC GROUP
2015 => 2024

IN STOCK
PINK VINYL WITH BLACK SPLATTER
RUN PRESSED AT 45 RPM
140-GRAM VINYL
HOUSED IN A 24PT REVERSE BOARD JACKET 
1LP - NOVELTY RECORDS
2023

IN STOCK
2LP - COALMINE RECORDS
1998 => 2024

IN STOCK
2LP - NATURE SOUNDS
2024

IN STOCK
SOLID RED COLOURED VINYL
1LP - ROCAFORT
2024

IN STOCK
PRESSED ON RED, WHITE AND BLACK DOUBLE COLORED VINYL
COMMEMORATIVE NUMBERED OBI
LIMITED TO 2000 COPIES
2LP - GET ON DOWN
1993 => 2023

IN STOCK
FRUIT PUNCH COLORED VINYL
HAND NUMBERED OBI LIMITED TO 2000 COPIES 
1LP - GET ON DOWN
2009 => 2023

IN STOCK
1LP - MADLIB INVAZION MUSIC LIBRARY SERIES
2023

IN STOCK
2LP - GET ON DOWN
1992 => 2017

IN STOCK
1LP - 600 BLOCK RECORDS 
2023

IN STOCK
2LP - NOW-AGAIN RECORDS
2001 => 2009

IN STOCK
2LP - SELECT RECORDS
1991 => 2023

IN STOCK
RSD 2023
1LP - NOW-AGAIN RECORDS
1969 => 2023

IN STOCK
1LP - CULTURES OF SOUL
2020 => 2021

BIS => 2025 07 25
1LP - NATURE SOUNDS
1998 => 2018

IN STOCK
2LP - DELTRON PARTNERS
2001 => 2017

IN STOCK
1LP - NOW-AGAIN RECORDS
197? => 2022

IN STOCK
BLACK FRIDAY
1LP - MADLIB INVAZION
2011 => 2023

IN STOCK
1LP - NOW AGAIN
1970s => 2022

BIS => 2025 07 25
1LP - VINTAGE VIBES / MA DUKES OFFICE
2017

BIS => 2025 07 25
2LP - VINTAGE VIBEZ / MA DUKES OFFICE
2018

IN STOCK
1LP - GET ON DOWN
1984 => 2022

BIS => 2025 07 25
2LP - GET ON DOWN
CHICKEN & BROCCOLI COLORED
1996 => 2022

IN STOCK
1LP - MASS APPEAL
2019

IN STOCK
1LP - EXPANSION
1982 => 2020

IN STOCK
1LP - VAMPISOUL
1971 => 2022

IN STOCK
2LP - TUFF KONG RECORDS
2014 => 2022

IN STOCK
1LP - SILVER AGE
RSD 2022 - DROP 1
2022

IN STOCK
2LP - STONES THROW
2016

IN STOCK
1LP - SILVER AGE
2018 => 2022

IN STOCK
1LP - NOW-AGAIN
1975 => 2022

IN STOCK
1LP - MADLIB INVAZION
2021

IN STOCK
2LP - WORLD PSYCHEDELIC FUNK CLASSICS
2010

IN STOCK
1LP - AIR VINYL
2021

IN STOCK
2LP - GET ON DOWN
1992 => 2014

IN STOCK
1LP - NOW AGAIN
2015 => 2021

IN STOCK
1LP - BRICK RECORDS
2013

IN STOCK
1LP - NOW-AGAIN
2019 => 2024

IN STOCK
2LP - NOW AGAIN
2010

IN STOCK
1LP - ALBINA MUSIC TRUST
2021 02 26

BIS => 2025 05 02
1LP - TRU SOUL RECORDS
2020

IN STOCK
1LP - NOW AGAIN
1976 => 2012

IN STOCK
1LP - MADLIB INVAZION
2020

IN STOCK
2LP - BBE
2020

IN STOCK
2LP - BBE
2016

IN STOCK
1LP - EVERLAND
2019

IN STOCK
2LP - BBE
2020

BIS => 2025 06 27
1LP - DISCOS NADA
1973 => 2022

TRACKLIST
A1 Cau– Coisa E Tal
A2 Liliana – Prá Quem Sabe Das Coisas
A3 Renato Mendes– Aldeia
A4 Marcão – Mutação
A5 Cau– San Fernando
A6 Eulalia – Fim De Noite
B1 Cau– Último Canto
B2 Cau– De Você No. 2
B3 Vera – Rosas E Garrafas
B4 Liliana (– De Você No. 1
B5 Renato Mendes– Milagre Azul

DESCRIPTION
According to Disk Union / Think Records that just made a CD reissue of this record:
"Mysterious Acid Bossa Psychedelic Folk masterpiece recorded in 1971 and released in 1973 on a small Brazilian label. Recorded by students of the law school in São Paulo, under the influence of "Sgt. Pepper's" mixed with Bossa Nova. It's a chaotic yet delicate and sophisticated.
I can't imagine it being composed or recorded by amateur musicians that they were, except by Renato Mendes, who has been active as a first-class musician since the Jazz Bossa period and was a brazilian pioneer recording an album using a Moog synthesizer in 1974. It can be said that it greatly contributes to the miraculous perfection of this work.
Known among record collectors as a record that attracts not only Brazilian music fans but also Psychedelic and Acid Folk fans, the original version is a gem and sells for over USD1000."
One of the rarest and most enigmatic LPs in the Brazilian discography from the 1970s, Pra Quem Sabe das Coisas, released in 1973 by the label EBRAU (Editora Brasileira Artistas Unidos), finally has a refined reissue and its mysteries revealed, exactly half a century later, considering that it was recorded in 1971, but put in the market as a 12-inch record only two years later.
During a telephone chat packed with affectionate memories, Cau Pimentel (Cláudio Gama Pimentel), singer, songwriter and occasional guitarist with great sensibility and talent whose main professional activity involves criminal law, brought to the surface a story of passion for music that allowed great friendships to flourish, in the bubbling environment at the University of São Paulo’s Largo do São Francisco Law School, where he graduated as a lawyer. It was at the famous Coral da USP choir that the group gathered. The shared talent for music, by the way, explains the title “pra quem sabe das coisas” – for those who know the stuff. When the subject was popular music, Cau, Marcão, Benê, Bi, Vera, Eulália e Liliana were unquestionable amongst their peers.
Over two years, between 1969 and 1971, the group of instrumentalists and singers develop the repertoire recorded on the LP. They also have a crucial support: the polished assistance of Renato Mendes (1939 – 2013), Cau Pimentel’s cousin and one of the most celebrated organ players in the country, established in samba-jazz albums such as Renato Mendes & Seu Orgão (Mocambo, 1963) and Orgão de Vanguarda (Chantecler, 1965).
Gathered by Cau, the tracklist of Pra Quem Sabe Das Coisas remains, 50 years later, impactful and hard to label. The vocal harmonies, the sophistication of the arrangements and the existential density of the lyrics produce an atmosphere of rare beauty and unusual perception of aesthetic unity, as this is a collective record. A curiosity that might explain the difficulty in finding original copies of the LP: a significant share of the batch of 500 unities, which was paid by the XI de Agosto Students Union, was distributed amongst relatives of the artists and students at São Francisco law school.
Below, Cau Pimentel reveals other mysteries of this small treasure of Brazil’s best popular music.
---The complete interview with Can is part of the record insert.---

BIS => 2025 06 27
1LP - DISCOS NADA
2021

TRACKLIST
1. Onirico 07:27
2. O Contar de Uma Raga 14:29
3. Raga na Amazônia 11:39
4. Solaris 10:34

DESCRIPTION
It is rather fascinating Jocy de Oliveira's journey as a creative and sensitive inhabitant of our planet. She is a masterful composer, interpreter, multimedia artist, and storyteller. Her pieces are influenced by the avant-garde of the 20th century and all cultures and languages on Earth, emphasizing the importance of feminism, science, and the environment.
Jocy started composing at the age of six and was introduced to piano studies at a very young age by her mother who was a poet and pianist.
Her talent and dedication brought her to work alongside eminent 20th-century music masters such as Igor Stravinsky, Oliver Messaien, Luciano Berio, Claudio Santoro, John Cage, Xenaxis and Karlheinz Stockhausen.
This became a vital experience in her artistic life and she performed world premieres of works by many of these great composers.
Jocy witnessed and experienced the rupture of several paradigms of Western music. She incorporated serialism and electroacoustics, dialogued with ritualistic music and indeterminacy that boomed in the revolutionary 1960s. Along this path, joining her fascination with theatricality and the desire to tell stories, she immersed herself and subverted the language of traditional opera, following her heart and her instincts over nine operatic pieces.
This album is dedicated to a production that goes from the mid-1980s to the early 1990s. That was a very troubled period in the artist's life in the face of the significant loss of her father, followed by health problems, accidents, and staying away from her main instrument, the piano. She chose to give up her pianist career and intensify her authorial production. She explored the multiple possibilities of multimedia and multidisciplinary language, composing and presenting, among other pieces, two "magical operas" of great relevance, from which we selected pieces and extracts to be part of this album.
Fata Morgana (1987) is an electroacoustic opera that elaborates the imaginary and mythologies linked to the feminine sacred, associated with the cosmology of contemporary physics. The show features a collection of dream memories and images, giving emphasis to ritualistic gestures.
“Inori – to the sacred prostitute” (1993) also rescues matriarchal values based on the diversity of languages, cultures, races, beliefs, and religions. The lunar set celebrates the mysteries of the unconscious through a language open to fate and experimentation.
On side A, “Oniric” from the opera Fata Morgana (1987) presents electronic music performed in real-time along with voice. It’s interesting to note the presence of electronics in real-time unifying the album’s concept.
Jocy uses a Yamaha TX and DX7 synthesizer, instruments that permeate all selected parts.
The following pieces are two ragas : “Telling of a raga” from the same opera, and on side B “Raga in the Amazon ” plus “Solaris”, segments from the opera “Inori – to the sacred prostitute”.
All tracks are unreleased on vinyl. During a conversation , Jocy told me: “Raga is used by me in the sense of emotion, color, not exactly as musical modes in Indian music, although there is a search for the universe energy and human being integration. This was very much what I felt when I heard Carnatic music in India. There is dignity and respect there which make us feel an integration with the cosmos.”
As a curator, another of my focuses for this album is experimentation that confronts the limits between composition and indeterminacy. Speaking about Stockhausen in her book “Dialogue with letters” (SESI-SP, 2014) she says: “Mantra for two pianos by Stockhausen is one of his works that most fascinates me for certain qualities that sounds like improvisation and, are strictly determined. A challenge for pianists.” Jocy brings much of that focus to her Ragas.
The first title for this release was “Extratos Oníricos”, but during production, the composer sent us the following message: “I was thinking about the project of LP from the ‘80s and I believe the best title could be “Raga na Amazônia.”
I think the title would be more up-to-date, although I presented many concerts and events in the 70s and 80s focusing environmental questions, we still need to continue fighting for Amazon.”
About experimental music, in her same book, Jocy clarifies that "John Cage said that the word experimental should not describe an act in terms of future judgment, as to its success or failure, but should be applied to an act whose result is unknown"
During an interview at “Dialogue with composers” project, organized by the Brazilian Symphony Orchestra (OSB) in December 2020, Jocy spoke about the importance of music in her life: "I don't think of music as a career, but as a destiny. I express myself through music because this is my way of manifesting myself. It is my voice, my cry, my groan. ”
Paulo Beto

BIS => 2025 06 27
1LP - DISCOS NADA
1986 => 2021

TRACKLIST
1. Fragmentos 08:31
2. Sol da Manhã 04:53
3. Dia Claro 05:08
4. Tua Casa, Minha Casa 03:40
5. Quarto 05:49
6. Sala 04:38
7. Cozinha 02:08
8. Pela Janela 02:23

DESCRIPTION
Brazilian percussion is a universe apart. The fusion of African and Brazilian cultures and rhythms has generated many talented musicians who have gone deep into Brazilian roots to search for its essence and thoroughly research all of our diversity. Many of the percussionists have been transformed into an "export products” worshiped worldwide: Airto Moreira, Naná Vasconcelos, Djalma Corrêa, Fernando Falcão, Pedro “Sorongo” Santos and Marco Bosco, among many others.

Marco Bosco started his personal journey in the 70s, but the biggest impact happened when he released his first solo work, Metalmadeira (1983), a journey made up of acoustic and electronic textures, sons of nature, vocoders, synthesizers and sequencers.
Fragmentos da Casa, his second solo album, had a striking concept, explained by the artist himself, from the original press release : “Antagonizing the synthesized universe of digital equipment and instruments to an acoustic aesthetics; plus emphasizing the timbristic characteristics of percussion: Fragmentos da Casa is a musical interpretation of a journey - one night and one day - through the rooms of an imaginary house”
Reissued for the first time, Fragmentos da Casa was originally released in 1986, by Carmo, owned by Egberto Gismonti. Carmo also released albums by Gismonti, Piry Reis, Fernando Falcão, Nando Carneiro and André Geraissati, among others.

In 1986, or Marco Bosco's percussive arsenal was unique and extremely peculiar, containing chizanzhi, caxixis, purrinhola, requo-requo, shequeres, berimbaus and lingo drum, among other instruments.

This fusion of acoustic and synthetic, promoted by some Brazilian artists in the 80's and celebrated worldwide, still brings memories to the percussionist. For him, the arrival of those electronic gadgets "was the best thing that happened on the planet".

This reissue includes a reproduction of the original artwork, new testimonies by Marco Bosco and a a long article signed by Bento Araujo, author of the series of books Lindo Sonho Delirante, which investigates audacious and fearless music produced in the Brazilian underground.


BIS => 2025 06 27
1LP - DISCOS NADA
1985 => 2020

TRACKLIST
1. Falando Alto 03:36
2. No Dia Em Que Partiram 01:48
3. A Lua, As Estrelas 03:48
4. Não Imagino 02:10
5. Lá Dentro 02:39
6. Peixe Pedra 02:16
7. Amor Platônico 03:03
8. Conversa (Bonus Track) 02:49
9. Intervalo 02:44
10. Ciência 05:29
11. Ar de Amor 03:26
12. Sem Teto 03:03
13. O Poeta 00:58
14. SP5 4R (Base) 04:06
15. Pallazo Uno (Bonus Track) 02:26

DESCRIPTION
1985 was one of the most important years in Brazil's recent history, when the country was freed from more than 20 years of military dictatorship. The youth took the lead and finally Brazil entered the world show business circuit with Rock In Rio festival. But the real revolution was happening in the underground and this record is a proof of that.
One of the people in charge was the musician, composer, poet, writer, scriptwriter and speaker from Rio de Janeiro Ronaldo Tapajós, who was always involved with experimental and avant-garde music. His trajectory begins in the mythical 1968, when, as part of the the duo Rô and Carlinhos, he released an emblematic single containing the song “O Gigante” - perhaps the first Brazilian bad trip recorded on vinyl and a shrewd criticism of the society's “square” habits.

Cinema was an experimental and avant-garde piece released in early 1985. In many ways it’s an example of the new Brazil that was reborning after 21 years of darkness under Military Dictatorship. Musically, it was a pioneer album for Brazilian music, mixing acoustic and synthetic sounds.
This rare adventure in Brazilian music was released independently in 1985, financed by the artists themselves. The original small press sold-out, belonging now to record collectors around the planet. For the first time Cinema is re-released on vinyl, with two extra and unreleased tracks found after decades.
Remastered from the original tapes, this reissue includes reproduction of the original graphic art, new testimonials from the four members of the project and a long article signed by Bento Araujo, author of the book series Lindo Sonho Delirante, which investigates audacious and fearless music created in the Brazilian underground.
According to Cinema’s LP press release: “in the era of visual music, Cinema is sound”. In terms of sound, listening to this album feels like diving into an intriguing anguish of trying to understand how the relationship between technology available at that time (1983-1984) and the more organic instruments happened, this duality between synthesizers/effects with percussion, woodwind instruments, piano and clarinet. In other words: how was the coexistence between the synthetic and the acoustic? This paradox seems to seduce collectors, DJs and enthusiasts of Brazilian music from the 80's around the world.
This fictional soundtrack has a dark mood, as if a fog of dark and ambient music insisted on staying on top of cheerful patterns of Afro-Brazilian percussion, or conceptual synth pop.

BIS => 2025 06 27
1LP - DISCOS NADA
1989 => 2020

TRACKLIST
1. Instante de Gelo 01:53
2. Dona Roxa 03:22
3. Das Matas 04:53
4. Pantano 09:08
5. Here We Go Again 03:58
6. Carabecht 03:02
7. Terra Batida 03:04
8. Caracol 07:19
9. Pequena Dança (Bonus Track) 01:35
10. Butterflies (Bonus Track) 02:54

DESCRIPTION
Brazilian underground music in the 1980s produced fascinating and mysterious records, where organic and regional percussion finally gained electronic and synthetic nuances. Songs were processed electronically and acted in harmony with drumming and dissonant guitar interventions. This was a too bold recipe to be understood in Brazil at that time, dominated by pop music and the first signs of lambada fever and country music.
Despite being an ideal time for independent production, the music contained in Caracol was so anti-commercial that things seemed to happen in a parallel universe for the duo João de Bruçó and R.H. Jackson.
Caracol is one of the first examples of fusion between Brazilian percussive music and electronics. Synthesizers, samplers and sequencers were still a novelty in Brazil in the 1980s, but João de Bruçó and R.H. Jackson created an avant-garde masterpiece.
Using popular references and an eagerness to escape any retro / stylistic cliché that came to haunt Brazilian youth music at that time, they plunged into an audacious, intuitive and improbable sound journey in Caracol.
João de Bruçó started out as a drummer, playing from jazz to forró. Then he studied Brazilian folklore, worked in circuses and wrote tracks for theater, dance performances and TV. Studying percussion and the relationship between dance and music, he discovered new instruments and possibilities. R.H. Jackson also started out as a drummer and percussionist. He studied cinema, video and electronic composition. He also created soundtracks and researched Brazilian folk dances and candomblé. Jack was already an avid user of several technological innovations and was one of the few in Brazil in the 1980s who dominated computer programming, samplers and sequencers.
Caracol was recorded between 1988 and 1989. João was responsible for the percussion, accordion and a series of objects, such as a copper vase with water, seeds, animal hooves, snorers, springs, bells, marbles and a metal mug, plus piano and a toy clarinet. Jack took care of electronic programming, samplers, sound treatments, synthesizers, subtractions and guitars. Both were in charge of vocals.
This rare adventure of Brazilian music was released independently in 1989, financed by the artists themselves.
The original small pressing sold-out, belonging now to record collectors around the planet. For the first time Caracol is re-released on vinyl, with two extra tracks found after decades!
Remastered from the original tapes, this reissue includes a reproduction of the original graphic art, new testimonies from Alex Antunes (from Akira S. & as Garotas que Erraram), João de Bruçó and RH Jackson and a long article signed by Bento Araujo, author of the book series Lindo Sonho Delirante, which investigates audacious and fearless music created in the Brazilian underground.
“What draws most attention in Caracol is the choice of intuition as a creative and compositional process. Despite the sound and timbristic result being marked by a lot of simplicity, at the same time it oozes multiplicity. The voices, processed electronically, merge with a drumming of surdos, repiniques and the dissonant interventions of a guitar. The vocals are onomatopoeic and modal, like a kind of indigenous tribal ritual. Whoever wants to classify the album will have difficulties. In many moments, the choices and sounds are so primitive, that one could hardly think of it as avant-garde. But those who put pre-concepts aside - and use only their ears and musical sensitivity - will be delighted ”

IN STOCK
1LP - SILVER AGE
2024 => 2025

TRACKLIST
A1. The Hunt for Czarface
A2. Rocket Science
A3. Here’s Some Homicide (feat. Ice-T)
A4. Cold Wave
A5. People Want Sugar
A6. Willrow Hood
A7. Top Men of Rap
B1. Mecha and the Sole Brother
B2. Genuine Lifestyle
B3. Off The Bone
B4. Space Cowboy
B5. Aladdin’s Castle (feat. Mega Ran)
B6. Giving Back to the Universe

DESCRIPTION
After endless requests for a Czarface and Dr. Octagon collaboration, the comic book inspired supergroup Czarface takes a turn for the cosmic, creating a funky full length adventure with the spacey Kool Keith! When the record is playing, they become a counterpart character that can even give the mighty Czarface a run for his money- Stress Eater! You can expect a rich blend of what makes both acts so special: block-rocking beats and bizarre, mind-bending lyricism...all served up with a cover from Czarface artist Lamour Supreme.

BIS => 2025 06 27
1LP - BGP
2025

TRACKLIST
SIDE ONE
1. SIX MILLION DOLLAR MAN THEME – Richard "Groove" Holmes
2. SUPER STRUT - Cookin' Bag
3. WORK SONG - The Pazant Brothers
4. PEACE & LOVE - Lonnie Liston Smith & The Cosmic Echoes
5. SKULL SESSION - Oliver Nelson
SIDE TWO
1. MAMA SOUL - Harold Alexander
2. HEAD START - Bob Thiele Emergency
3. THEME FROM THE MEN - Joe Bataan
4. PUT IT WHERE YOU WANT IT - Pretty Purdie
5. DRIFTING - Chucky Thurmon & Pharris Wheel

DESCRIPTION
What it is, is funky! When the acid jazz scene ruled the world it looked for its inspiration in places that other jazz fans tended to overlook. The soul jazz of the late 60s and early 70s. The music of lounge bars and small clubs that fuelled the night life of black America. This compilation brings together ten examples of the sound and is a high quality listen from start to finish.
In the post-bebop world jazz was often condemned as an intellectual music aimed at the head not the feet, but a strain of the music was always for dancing, coming straight from the legacy of the big bands, and always tipping its head to what was going on in the R&B charts. The tracks included here all stay true to that legacy.
So whether we have Lonnie Liston Smith’s plea for 'Peace & Love' with its Bob Marley echoing horn lines, or Joe Bataan as band leader covering Isaac Hayes' 'Theme From the Men', this is music allied with the contemporary sounds of the day. Oliver Nelson's synth heavy 'Skull Session' or his TV hit 'Theme From The Six Million Dollar Man' covered by Richard ‘Groove’ Holmes show this. At the heart of these recordings are the rhythms − and as such Bernard Purdie is the star either as a solo artist or simply as the man behind the kit with Harold Alexander.
This is Funky Jazz is an entry ticket to a party that everyone should want to be invited to.

IN STOCK
7 INCH - SECRET STASH
2025

- First ever reissue of this massively collectable gem.
- Hits two highly active collectors markets at once, Low Rider Soul Oldies + Northern Soul.
- Hand numbered limited edition pressing of 500 units. When they're gone, they're gone!

TRACKLIST
I’m Hurt
Lov'h

DESCRIPTON
To crate diggers, he’s Tyrone Thomas, the man behind Tyrone Thomas and the Whole Darn Family’s “Seven Minutes of Funk”—one of the most sampled tracks in music history. But dig a little deeper, and Northern Soul and Low-Rider Oldies devotees know him better as Little Tommy, a teenage sensation who cut his teeth in the ’60s on August Moon’s Sound of Soul label. Now, Secret Stash Records is thrilled to present the first-ever reproduction of this Richmond, VA native’s 1964 debut, “I’m Hurt” b/w “Lov’h.” Clean copies of this rare gem easily fetch over $200, and for good reason. Originally released when Thomas was only 16, “I’m Hurt” became a Low Rider Oldies anthem, while “Lov’H” has fueled Northern Soul all-nighters for generations. This limited pressing—only 500 hand-numbered units—pays homage to Little Tommy’s early impact, preserving a slice of soul history that’s as rare as it is timeless.

IN STOCK
7 INCH - UBIQUITY RECORDS
2024

- First release since 7 inch singles with Lovemonk label in 2022.
- Recently signed with Griot agency for EU touring in 2025.
- Limited 7 inch pressing.

TRACKLIST
La Cuota
Darling

DESCRIPTION
La Cuota b/w Darling is the lead-off single for El Combo Batanga's second full-length album and debut with Ubiquity Records. La Cuota on the A-side kicks the doors down with its undeniable energy and harkens back to the funkier moments in Fania's catalog with Ray Barretto. Darling on the B-side is an intense slow burn, a captivating Latin sweet soul ballad bursting with emotion and longing. El Combo Batanga is a musical explosion at the intersection of Afro-Cuban rhythms and Latin funk. A group of powerful musicians who blend son, timba, Latin soul, and boogaloo for people to enjoy.

IN STOCK
RSD 2025
1LP - UBIQUITY RECORDINGS
1993 => 2025

- Heavy-weight LP jacket with Obi-strip, Orange vinyl with Grey splatter
- Quantity: 1500
- This Record Store Day release is the first vinyl repress of this album since 1993.

TRACKLIST
A1 Ruffneck Jazz
A2 Panacea
A3 Singles Party
A4 La Jolla
B1 On The Strip
B2 Freestylin'
B3 Lite Bake
B4 Outerlude

DESCRIPTION
Originally released in 1993 as the debut full-length album for Greyboy, it marked his introduction as the first artist on the fledgling Ubiquity label, which had been founded only three years prior. This landmark album helped establish Greyboy (along with his guest musicians, most notably Karl Denson) as an artist/producer who would go on to define the West Coast Acid Jazz/Rare Groove scene that was already burgeoning in the UK. This Record Store Day release is the first vinyl repress of this album since 1993.

IN STOCK
1LP - 180G
2025

For all fans of the Wamono series!
Rare and killer Japanese soul funk tunes.
180g heavy vinyl pressing, reverse board jacket.
Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.
Fully licensed Nippon Columbia masters.
Text and track-by-track liner notes by Kazunori Harada.

TRACKLIST

SIDE A
1 - Mieko Hirota - Soul Lady (4’14”)
2 - Shinji Maki & Black Jack - Nabeyoko Soul (4’08”)
3 - Tan Tan - Happy Day (3’04”)
4 - Kenji Niinuma - Airenki (3’20”)
5 - Hatsumi Shibata - Furui Fuku Nanka (3’07”)

SIDE B
1 - Strawberry Jam - Arimasen (4’12”)
2 - Mieko Hirota - Anata Ga Inakute Mo (3’03”)
3 - Akira Yasuda & Beat Folk - Kaeroka Kaeroka (Single version) (3’41”)
4 - Miki Hirayama - Hatachi No Koi (3’17”)
5 - Masaaki Sakai - Baby, Yuki Wo Dashite (2’38”)

DESCRIPTION
At the start of the 60s, a new wave of gospel-influenced jazz started to emerge, with hits such as Art Blakey & The Jazz Messengers' "Moanin'" and Cannonball Adderley's "Work Song" epitomizing this evolution in the genre. The terms "soul jazz" and "funky jazz" were coined as a way to describe this new sound that was making an impact in the US and also on the other sides of the Atlantic and Pacific oceans.

In 1964, Ray Charles made his first visit to Japan. Then, in 1968, Martha & The Vandellas and Stevie Wonder set foot in the country, followed by Sam & Dave in 1969, Ike & Tina Turner in 1970, and B.B. King in 1971. The TV show "Soul Train" also began airing in Japan in the early 1970s. A watershed moment happened in 1973 when Sammy Davis Jr. was cast in a TV commercial for Suntory whisky — and the influence of the US Black entertainment world had really landed, with soul, jazz, and funk artists becoming household names.

Nippon Columbia played a pivotal role during this turning point. The company had contracts with Buddah Records and Blue Thumb Records, releasing notable works by artists such as Gladys Knight & The Pips, Curtis Mayfield, The Crusaders, and The Pointer Sisters. At the same time, the label was also releasing several Japanese soul, jazz, and funk projects under the lead of music director Jiro Inagaki. Inagaki, a saxophonist who began his professional career in the early 1950s, honed his skills at U.S. military camps, where he shared his love of music with the Black servicemen. In the 1960s, he played with drummer Hideo Shiraki's band, which was widely considered to be Japan's representative group of the funky jazz movement. Later, Inagaki went on to pursue more cutting-edge sounds with his Soul Media project, including being a pioneering figure in the "jazz rock" genre. By working closely with Inagaki and his various musical projects, Nippon Columbia really placed the company at the center of an exciting and important period in Japanese music.

In 1965, Nippon Columbia opened a recording studio in Tokyo's Akasaka neighborhood. Akasaka was also home to the first ever discotheque in Japan, the legendary MUGEN, which ran from 1968 to 1987 and where many acts performed, including Con Funk Shun, the Bar-Kays, Ike & Tina Turner, B.B. King, Sam & Dave, Three Degrees, and Edwin Starr, as well as many local Japanese singers and musicians. This melting pot of creativity in the area led to the recording of many singles and albums by Japanese artists that were infused with the sounds of soul and funk. Most of these recordings were not available outside of Japan and remain rare and unknown musical gems. The selection you are holding in your hands is an explosive collection of 10 essential tracks released by the legendary Nippon Columbia label between 1969 and 1977, capturing the raw, unapparelled energy that was flowing through the air of the Akasaka streets at this electrifying time. Enjoy!

BIS => 2025 07 04
2LP - GET ON DOWN
1994 => 2025

PRESSED ON PINK & PURPLE
PSYCHEDELIC SWIRL-COLORED VINYL

TRACKLIST
A1. Say Ahhh...
A2. Mind Melt
A3. Buttersweet Loving
A4. River Of Freedom
B1. Somebody
B2. When You Told Me You Loved Me
B3. Stay In Bed, Forget The Rest • B4. Call Me
C1. Music Selector In The Soul Reflector
C2. Sampladelic
C3. Bring Me Your Love
C4. Picnic In The Summertime
D1. Apple Juice Kissing
D2. Party Happening People
D3. DMT (Dance Music Trance)
D4. What Is This Music?

DESRIPTION
When one makes mention of Deee-Lite, the 90's house-funk trio of Lady Miss Kier, and DJs Dmitry and Towa Tei, invariably their Billboard smash single “Groove Is In The Heart” will come up, and for good reason. With its Herbie Hancock-sampling bassline, some classic rhymes from Q-Tip, and guest vocals by Parliament-Funkadelic legend Bootsy Collins, the song became an indelible classic of 90s music, a massive commercial hit for Deee-lite and is widely considered one of the greatest dance songs of all time. Although a massive success for the group, “Groove Is In The Heart” led to some pigeonholing from critics and reviewers, who had specific expectations for future records.
Rather than deliver more of the same free-wheeling, breezy dance music of World Clique, Deee-lite took a more politically-minded approach with their second album, spurred largely by front-woman Lady Miss Kier, who had a lengthy history of political activism prior to forming the group. 1992's Infinity Within rendered several Dance-chart hit singles, but was not as commercially or critically lauded as its forebear.
Deee-lite were undaunted by their change in commercial fortune, regrouping with the addition of junglist DJ Ani, replacing the absent Towa Tei to record their third record. 1994's Dewdrops In The Garden was the result of their efforts, which struck a remarkable balance between the celebratory grooves of World Clique, and the social justice-driven Infinity Within. Lady Miss Kier had done a lot of world-traveling in the time between albums, and the material in Dewdrops was a reflection of her experiences, applying a spirit of global togetherness to their house-funk grooves.
Regrettably, Dewdrops In The Garden was not a commercial success, yet it still managed to render its share of #1 Dance Chart singles; the atmospheric techno bounciness of “Bring Me Your Love”, and the spacious funk-house track “Call Me.” Though Deee-lite would disband soon after Dewdrops In The Garden's release, the record remains an unheralded favorite among dance music devotees for its coupling infectiously bright, and soulful melodies, with banging dance-floor grooves, and unshakably optimistic vibes.

IN STOCK
RSD 2025
1LP - NOW-AGAIN RECORDS
1994 => 2025

GIMISUM FAMILY Hits For Record Store Day In A Silver & Clear Galaxy Colored Vinyl Pressing With A 12 Book

TRACKLIST
A1. Glock Tight
A2. Silent Night
A3. Caught Them Tricks Slippin' (feat. 211)
A4. Skinny But Dangerous (Remix)
A5. Sweet Stangin'
A6. Bounce Thru The Hood
B1. Tha Park (feat. 211 & Lady B)
B2. Act A Damn Fool (Drinking Bumpy Face)
B3. Make A Nigga Like Me Run Into Yo Ass (feat. Lady B)
B4. Undercover Police
B5. Pimpin' & Robbin' (feat. 211)

DESCRIPTION

Now-Again reissued six essential albums from the ’90s Memphis Rap scene in 2024, each licensed directly from the artists. This is the seventh, a classic by the scene’s center, Kingpin Skinny Pimp and his Gimisum Family and their self-titled album, recorded in 1994.
This album, like all Memphis Rap titles reissued by Now-Again, were originally released on rare tapes, only distributed in and around Memphis. This is the first time this album appears on LP; and is pressed on limited edition galaxy silver & clear colored vinyl, and comes in an OBI wrapped jacket that contains an over- sized 12 page book that details the historical precedent, genesis and arc of this important American musical scene.

IN STOCK
RSD 2025
1LP - RED SCARE INDUSTRIES
2005 => 2025

Total Is Presented For RSD 2025 In A Black With White Accent Colored Vinyl Pressing With The Bonus Cut “Be Stag”

TRACKLIST
A1. Radio
A2. So Cool
A3. Stupid Games
A4. Fall For Me
A5. Crashing
A6. So Far Away
A7. Be Stag
B1. Go Away
B2. Rebound
B3. Blood Bath At Burger King B4. Veronica
B5. Repeat Offender
B6. A Bomb
B7. So Far Away

DESCRIPTIONN

20 years ago this record put Teenage Bottlerocket on the map, and after an agonizing wait, it’s finally back! Your patience will be rewarded on Record Store Day, as this special anniversary edition has a bonus track and comes on limited black with white accent colored vinyl. These guys have done it all since their Total days: Warped Tour, Europe, Japan, Australia... truly an international act, and one of the hottest
vinyl sellers in modern punk. 1-2-3-4!

BIS => 2025 07 25
1LP - NOW-AGAIN RECORDS
2025

TRACKLIST

A1. Del Jones - The Last Letter
A2. Herb Johnson - Where Are You
A3. Will You Be There - Timothy McNealy
A4. Little Beaver - Do Right man
A5. Soul Superiors - Trust In Me Baby
A6. Outback - Strangers In Our Homeland
A7. The Montecarlos - If You Leave

A8. Words Of Wisdom - You Made Me Everything
B1. Soul Charges - My Heart Beats For You
B2. The Power Of Attorney - I'm Just Your Clown
B3. James Reese - Throwing Stones (Kenny Dope Mix)
B4. Richard Marks - I'm With You Love
B5. Bonnie Floyd - You're My Everything
B6. The Ledgends - A Fool For You
B7. Apple & The Three Oranges - Moonlight


DESCRIPTION
This anthology follows Now-Again's Loving On The Flipside, issued more than a decade ago. And that anthology itself got its start in a different time, a decade even earlier - the era in which Now-Again's Egon and his friends chased down funk 45s and the odd LP for their testosterone riddled, aggressive sound. Often times the funk song on one of their chosen is would be the throw-away b-side, the hasty afterthought the band cobbled together the night before hitting - or while in - the studio because they'd put all of their energies into writing the amazing ballad that would ensure their entry in soul's history books.
Every once in a while, that funk song they coveted could have been - in an alternate universe - a ballad. The Third Guitar's "Baby Don't Cry," El Pooks* "I Could Do The Impossible" and Spider Harrison's "Beautiful Day" all fit into this category. That realization notwithstanding, more often than not they shined over the ballads to get to the tough stuff.
Then they started flipping those funk records over to find some loving on the flip side. Some marvellous tunes were there to be found.
This is the long awaited follow up. Contained within this anthology are some of the greatest soul ballads that go sweet with a beat - or, to follow our tagline, epitomize "sweet funk." Most of these songs have never been compiled. Some have never been issued in any form. Some, like the Ledgends entry here, were sampled to great success (in that case for Freddie Gibbs and Madlib's "Deeper"). Some haven't been sampled, but, like Herb Johnson's entry, are patiently awaiting their day.
It should go without saying that we're proud to present this music in good conscience; with the full participation of everyone but the most obscure names contained within. And, for those who we've not yet been able to contact, this is our message: We've found your brethren, we've placed them beside you on an album that we hope you feel is befitting of your collective contri- butions to soul music and now we're just waiting for you. Though the music you recorded is from the years past, vour time is now.

BIS => 2025 06 20
7 INCH - SEDSOULCIETY RECORDINGS
2024

IN STOCK
2LP - JELLOWSTONE
2014 => 2024

IN STOCK
PRESSED ON ORANGE SWIRL COLORED VINYL
GATEFOLD JACKET WITH A FOLDOUT LYRIC SHEET
2LP - GET ON DOWN
1996 => 2024

BIS => 2025 07 18
1LP - 180G
2024

BIS => 2025 07 04
GATEFOLD
JACKET WITH LYRICS
2LP - GET ON DOWN
1996 => 2024

IN STOCK
7 INCH - BENNY REID PRODUCTIONS
2022

IN STOCK
1LP - STONES THROW
2024

IN STOCK
1LP - TIMEC / PARIS DJS
2024

IN STOCK
180G VINYL
1LP - VAMPISOUL
1989 => 2024

IN STOCK
1LP -VAMPISOUL
1961 => 2024

IN STOCK
GATEFOLD SLEEVE WITH EXTENSIVE SLEEVE NOTES
2LP - SOUL JAZZ RECORDS
2024

IN STOCK
1LP - NATURE SOUNDS
2024

BIS => 2025 07 11
LIMITED TO 300 COPIES
CREAM & ORANGE SPLATTER
1LP - DRINK SUM WTR
2024

IN STOCK
1LP - VAMPISOUL
1971 => 2024

IN STOCK
RSD 2024
1LP - SUNFISH RECORDS
2024

IN STOCK
RSD 2024
LIMITED EDITION 4.000 COPIES
3LP - CULTURE FACTORY
2024

IN STOCK
RSD 2024
OPAQUE BLACK AND APPLE RED COLOR IN COLOR PRESSING
FULL COLOR OBI
2LP - GET ON DOWN
1993 => 2024

IN STOCK
RSD 2024
1LP - NOW-AGAIN RECORDS
2024