Ebony Evans - "Loving You Is All I Wanna Do" (4:38)
Lewzarius - "Step Up" (4:54)
Review: Ebony Evans is a superb soul talent who for this single worked with Manny Campbell who wrote and arranged. Originally recorded in 2004, 'Loving You Is All I Wanna Do' appeared on the Luv's Fire CD Maxi Single and later on a full album in 2006 through Coastal Records but now debut on vinyl thanks to Soul Direction. On the flip side, Lewzarius' 'Step Up" shines as a rich collaboration between Campbell and Haran Griffin, who is best known for 'Movin' Much Too Fast.' Atlanta-born Lewzarius recorded this track during his time at Coastal Records in the late 90s.
(Don't Worry) If There's A Hell Below, We're All Going To Go (6:02)
People Get Ready (4:20)
Getting Over (2:14)
I'll Bet You/California Dreamin' (3:43)
Popcorn/Oye Como Va (5:50)
I Love You For All Seasons (3:04)
East Of Java (2:06)
Walk On By (2:40)
Review: How much soul and funk does East of Underground deliver? A lot, that's how much. This raw and righteous gem from 1971 was originally issued by the US Army and handed out to troops during the Vietnam War, which means that original copies are insanely rare and pricey. Thankfully, this reissue brings it back to the people, minus the less memorable Soap LP. What remains is pure fire: gritty covers of Curtis Mayfield, Funkadelic, James Brown and more, all of which are played with heart and urgency by a group of enlisted musicians. Bonus fact: their take on The Fuzz's 'I Love You for All Seasons' became the backbone of US trap star 21 Savage's 'A Lot.'
Review: This work by Alf Emil Eik is a serene and soothing soundtrack for moments of relaxation, meditation or peaceful ambience. Eik's ethereal melodies transport listeners to a realm of inner peace and timeless beauty. Each track blends intricate layers of sound and evokes serenity and wonder while the harmonies resonate deeply within your soul. Uplifting yet introspective, the music invites reflection on the beauty of life and the mysteries of existence. A fusion of classical, ambient and new age influences abound here and prove Eik to be a master composer.
Review: In the last few years, Livy Ekemezie's sole album - a private-press Nigerian Afro-funk and Afro-disco gem from 1983 - has become a genuinely in-demand item within the record collecting community. It has been reissued once before - back in 2017 - but even that pressing has become highly sought after. This edition, then, is well worth picking up. Putting a distinctive Nigerian swing on disco-funk, it boasts a string of insatiable, floor-friendly highlights - not least opener 'Get It Down' (where William Onyeabor style Moog synth sounds hit the ear), the down-low heaviness of 'Holiday Action', Afro-disco anthem 'Friday Night' (which has been re-edited on several occasions in the past) and the decidedly heavy 'Night Party'.
Review: If you don't know (well, even if you do know it is still true), Californian multi-instrumentalist Brian Ellis is Egyptian Lover's keyboard player, and is also a member of Campus Christi with Peanut Butter Wolf. He steps out alone here with a new and outlier funk album that shows off his idiosyncratic style. It is a raw and dense sound that mixes up bold funk and gritty psychedelic soul while embracing the darker edges of both styles. Along the way, Ellis explores themes of truth, authenticity and the pitfalls of wealth while reflecting on the cost of giving away one's heart. Tracks like 'The Real Deal' and 'Money Drives Me Crazy 'capture these ideas with unfiltered emotion.
Review: California multi-instrumentalist, Egyptian Lover's keyboard player and experimental producer Brian Ellis follows up his Quarantine Tapes with his first full-length solo album in four years. Unfortunately, we'll never have a lifetime supply of Brian's music, although that's forgivable since recorded music media also incorporates the genius invention that is playback, which means even one purchase can last for a lifetime as long as you keep your record in good nick! This one is a swirling bomb of bombast funk and dodgy-output psychedelic soul, one that is unafraid of the murkier ends of each sound. Ellis muses on the nature of truth, authenticity, dirty money and the consequence of leasing one's heart out, as on 'The Real Deal' and 'Money Drives Me Crazy'.
B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition
Lifetime Supply (3:40)
Lonely Wealth (3:28)
The Real Deal (3:34)
This Is For Real (4:31)
Money Drives Me (Crazy) (3:54)
Comfort Zone (3:10)
First One's Free (2:28)
Empty Bed Memories (4:27)
Blurred (3:32)
Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***
If you don't know (well, even if you do know it is still true), Californian multi-instrumentalist Brian Ellis is Egyptian Lover's keyboard player, and is also a member of Campus Christi with Peanut Butter Wolf. He steps out alone here with a new and outlier funk album that shows off his idiosyncratic style. It is a raw and dense sound that mixes up bold funk and gritty psychedelic soul while embracing the darker edges of both styles. Along the way, Ellis explores themes of truth, authenticity and the pitfalls of wealth while reflecting on the cost of giving away one's heart. Tracks like 'The Real Deal' and 'Money Drives Me Crazy 'capture these ideas with unfiltered emotion.
Review: Eramus Hall recorded their debut, and eventually only, album in 1980; the band was allegedly named after a building in Chicago, named "Eramus Hall", that George Clinton of Parliament saw in the street. The record evolved to become one of the most sought-after of the modern soul era, despite the flashpan profile of the band itself (as were many George Clinton P-funk offshoots). This owed in part to its clarion, crystalline production, held down by Clinton himself, and which served to spell out the nascent funk, soul and r&b sound bubbling over the broth pot's lip that was Westbound Records, Detroit. Now working from the original master tapes at the iconic 54 Sound studio in Detroit, the recordings have been restored and remastered, doing justice to a convergent, then not yet defined r&b sound.
Review: To mark the 35th birthday of this album it has been reissued on vinyl in different colours, so take your pick. As any funk lovers will know, Come Away with ESG is the Bronx sisters' pioneering debut album and a genre-blurring masterpiece that is accepted to have very much helped shape hip-hop, house, and post-punk with its signature minimalist funk. ESG's raw, stripped-down approach offered a fresh alternative to traditional funk in that it was free of horns and heavy organ. Decades later, their influence remains undeniable and has inspired countless artists across multiple genres. This record is all the proof you need that the magic of rhythm isn't just in the beats-it thrives in the spaces between them.
Review: This special The 35th-anniversary reissue of Come Away with ESG celebrates the groundbreaking debut album by the Bronx sisters. It's a proper genre-defying classic that shaped hip-hop, house, and post-punk with its signature minimalist funk. ESG's stripped-down sound is built on raw drumbeats and hypnotic bass lines and defies traditional labels with a more groove-driven, horn and organ-free alternative to funk. Their influence spans decades and has inspires artists across several genres which is why Come Away remains a classic and one that proves that true rhythm lies in the spaces between the beats.
Review: To celebrate the 35th anniversary of this iconic album, it has been reissued on vinyl in various colours including this organ neon sizzler. Come Away with ESG was the groundbreaking debut from the Bronx-based sister group and is recognised as a genre-defying classic that played a pivotal role in shaping hip-hop, house and post-punk. ESG's minimalist funk, stripped of horns and heavy organ, offered a fresh take on the genre. Decades later, their impact is undeniable, influencing artists across multiple styles. This album is a testament to the power of rhythm-not just in the beats, but in the spaces between them.
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