Brand New Selection Of Extended 12" Mixes Of Soul, Funk & Disco Classics. Soul music (often referred to simply as soul) is a popular music genre that originated in the United States in the late 1950s and early 1960s. It combines elements of African-American gospel music, rhythm and blues and jazz. Soul music became popular for dancing and listening in the United States, where record labels such as Motown, Atlantic and Stax were influential in the civil rights era. Soul also became popular around the world, directly influencing rock music and the music of Africa.
Dope funk, psychedelic soul and acid jazz from New York City '70-'74. UK compilation featuring 20 soul, funk and jazz classics from the legendary underground label best known for their acts, the Fatback Band and Black Ivory who are both represented here along with Dizzy Gillespie, Bobby Rydell and many more. Original vinyl from Perception and it's twin label today goes for a small fortune and has been sampled by DJ Shadow and KRS-One. Double slimline jewel case. 2000 release.
Funk of Ages is the second solo album by former Parliament-Funkadelic keyboardist Bernie Worrell. The album was released in 1990 by Gramavision Records. The album includes contributions by numerous guest musicians including David Byrne, Herbie Hancock, Keith Richards, Vernon Reid and Phoebe Snow, as well fellow P-Funk band mates Bootsy Collins, Maceo Parker, Gary Cooper, Doug Duffey and Mike Hampton.
Thinking big, Bootsy Collins’ 2011 effort is a conceptual trip, a funky history lesson brought to life by the P-Funk veteran, his rock-solid band, and a slew of guest stars, ranging from rapper Ice Cube to professor Cornel West. In between, there’s funk-rock shredding from freaky and frequent collaborator Buckethead, some psychedelic storytelling by way of an old Jimi Hendrix interview, plus better-than-expected prose from both Rev. Al Sharpton (on the cultural magnificence of James Brown) and Samuel L. Jackson (on how the funk era was a Renaissance for the hood). Underneath it all, the P-Funk jams pop and stroll with that same old swagger, while Bootsy himself beams down his wild bits of Mothership wisdom, including “It’s recess time, so put a smile on your mind” (“Don't Take My Funk”) and “If you wanna lead the orchestra, you’re gonna have to turn your back to the crowd” (“Siento Bombo”).
Funky female soul galore – a killer set of rare tunes that's one of the best sets of this type we've ever stocked! The SuperFunk crew at BGP have gone through the rich array of labels handled by the company – pulling out some massive tunes that really push our understanding of female soul – taking things way past the obvious hits and girl group numbers, into hard and heavy-stepping territory that we really love!
Opening with the Head Hunters version of "Watermelon Man" and closing with the electro-embracing crossover hit, "Rockit," Mr. Funk is a semi-random skip across Hancock's Columbia recordings, and it technically spans 1973-1983 (at least going by release dates), rather than the 1972-1988 range printed on its cover.
No fan of classic funk (or of the "rare groove" school of dance music) will be able to look at this album without starting to drool – the period-piece cover art; the Jimmy Walker hats and bell-bottoms; and the presence of such magic names as Fred Wesley, Pee Wee Ellis, Bobby Byrd and Clyde Stubblefield (not to mention the insanely funky bassist Bootsie Collins who is better known as a charter member of Parliament/Funkadelic but is also a J.B.'s alumnus) – all of it will lead the perceptive groovehound to anticipate an hour or so of irresistibly booty-shaking funk. And that's exactly what you get: no frills, no synthesizers, basically no acknowledgement of change in the pop music world. From the greasy "Do the Doo" to the CD bonus track, "Mistakes and All," which ends the program, Bring the Funk on Down delivers almost nothing but hardcore, horn-heavy old-school funk (with a couple of brief and uninspiring excursions into ballad territory another James Brown tradition). Highlights include the slowly simmering title track and the archetypal "Born to Groove" but the album is really pretty consistent. The only downside is the absence of Maceo Parker who plays only on the final track. Highly recommended.