[engl] The long-awaited reissue of the best ever album of rare Eastern and psychedelic Jazz music by this famous Hungarian guitarist Gabor Szabo, originally released in 1968. For the first time as extended edition with 2 bonus tracks: radio versions of Fire Dance / Ferris Wheel from the 1969 7” single 7”. Deluxe 8-sided Digipak CD and Gatefold Vinyl come with long, exclusively written inner notes by the famous researcher and biographer Douglas Payne. Remastered by Martin Bowes at Cage Studios (UK). Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage with a deep love of jazz and crafting a distinctive, largely self-taught sound. Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy Rogers cowboy movie to begin playing guitar when he was 14 and often played in dinner clubs and covert jam sessions while still living in his hometown. He escaped from his country at age 20 on the eve of the Communist uprising and eventually made his way to America, settling with his family in California. He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles Lloyd. Urged by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was able to sound inspired during melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the pop-jazz of the Gary McFarland quintet and the energy music of Charles Lloyd's fiery and underrated quartet featuring Ron Carter and Tony Williams. Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired moments and "Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet (1967-1969) featuring the brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums during the late '60s. The emergence of rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found Szabo experimenting with feedback and more commercially oriented forms of jazz. During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting, spellbinding style. From 1970, he locked into a commercial groove, even though records like Mizrab occasionally revealed his seamless jazz, pop, Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times during the '70s, finding opportunities to perform brilliantly with native talents. He was hospitalized during his final visit and died in 1982, just short of his 46th birthday

[engl] In his late teens Rev. Gary Hairston wasn?t only serving the Lord, he was also a member of funk outfit OPUS 7, that recorded the great album ''Thoughts'' in 1979. Although it was distributed nationwide, the group album was not very successful. In 1983 the Winston-Salem, NC native Gary Hairston delivered the now mega rare album ''Chilling Out'', his debut solo-album under the moniker GARY. It was recorded under the auspices of legendary musician/producer Harry Deal at his Galaxie III studios. Now the album is a well sought after electro, funk and boogie classic, and EVERLAND is proud to present the very first and official reissue of this previously almost unobtainable private press nugget.

[engl] When you see some dude having listed an album for sale somewhere for the utterly crazy price of 7500 US$ saying in the item description that he actually does not even want to sell it due to being his favorite piece of music ever, it really must be something special. When you check for other auctions and sales and find this goodie being sold regularily for 650 to 1200 US$, you get your first impression confirmed. This is indeed a really special album. THE GHETTO BROTHERS were not initially a rock band when they formed in the Bronx / NYC back in the late 60s. They were a street gang with mainly Puerto Rican members with a rather political attitude. For example they tried to uplift young black and hispanic people or even stood in between rival gangs to make a truce work. They were certainly not only good guys concerning their actions as they used to plunder a local music store, Mary Lou Records, from time to time where then young Bobby Marin, a leading figure in the field of 1960s Boogaloo music and later on famous record producer up to the present day, used to work in. As the store owner thought about using a shotgun to solve that problem, Bobby Marin convinced him not to do so to avoid that anybody gets hurt and took the chance to speak personally with the gang leader Benji Mendelez who turned out to be the lead singer of a band formed by members of the GHETTO BROTHERS. Meanwhile Benji Mendelez found out about Bobby’s engagement in the music industry and both made an agreement. Bobby would produce an album by THE GHETTO BROTHERS and this is what we now will talk about. In what way is this an outstanding gem of Latin American funky rock music from the steamy, loud and dirty streets of the South Bronx / NYC? Well, it is of course rare as golddust in its original pressing. This is an aspect that makes it interesting for collectors of 70s Music and the seed from which the legendary reputation grows. But does the music really match with the status the album enjoys among music lovers? It does. My first impression was that THE GHETTO BROTHERS were a very talented band mixing earthy garage rock with the one or another occasional fuzz guitar and Latin American sounds and atmospheres to create an exciting, simmering version of current rock music. The garage rock stamp still fits perfectly with this album as the sound is quite basic and vivid, just as if you were standing with the band in a dusty basement room where they either rehearse or play a show to a crowd of frantic youngsters. The music itself is quite relaxed in most parts, with the one or another exception. „Got this happy feeling“ sticks out with flashing rhythms and a cheerful lead vocal line upon a bed of likewise flashing guitars with a funky touch. So these funky elements also make you realize that there is more behind than meets the ear. And when the band goes into sheer groove passages with the percussions and drums taking over the lead role, I am certain nobody will be left on his seat. This song reminds me of a more primitive version, if I can say this, of what SANTANA did a couple of years prior during the time they released their debut album and played Woodstock. And indeed these Puerto Ricans have the talent even to be on par with good old Carlos and his mates, who already were super heroes by the time THE GHETTO BROTHERS released their sole album. No idea who even might be the greater in terms of musicianship and composition values but with a major production this album would probably have given SANTANA a run for their money. But gang life is tough and casualties appeared leading the band to the land of myths and fables. But with many folks who love this music the band stayed for nearly 50 years and this reissue on EVERLAND RECORDS happens as always at the right time to keep the flame burning brightly and maybe even brighter than ever. A few old members, including leader Benji Mendelez, are no longer with us to enjoy the late success of this masterpiece but those who remain will. If you like Latin garage rock such as LAGHONIA from Peru, this is the real deal for you. Grab your copy and celebrate life as this is what THE GHETTO BROTHERS always had in mind.

[engl] The 1980s were a decade where synthesized music was a hip thing and all the handmade trademarks vanished from the scene. Electronic pop was huge and the charts were blocked by an unspeakable number of productions. But as we all know, the music industry and the whole business cannot be predicted, so despite being on par with the best acts from the electronic pop scene, some projects just fell into obscurity right after having released what I would call a true masterpiece. “Mandroid”, the second album by GIFT OF DREAMS is such a gem. Accessible and also memorable tunes with a long lasting effect on the listener invite you to have a joyful time. The backing tracks are all made up by synthesizers and spread a spacey atmosphere from time to time through some really enchanting melodies. There is a catchy beat with all the tracks here, that makes them perfect dancefloor sweepers. Just in case people get to know them and this used to be a difficult effort due to the degree of rarity of the album. But thanks to EVERLAND MUSIC this gap has been closed now and a beautiful reissue comes our way. This is synthie pop for sure, but with a definite soul music expression coming from the powerful vocals. I mean, the album is a product of the time it has been released. Overloaded with sounds from electronic devices it sounds like the musical vision of a thinking machine. But many melodies are traditional blues and soul with a touch of funk, this cannot be denied. And each song is a little piece of art with so many details in the arrangements on which the vocals ride. Futuristic soul music fort he 22nd century probably. Maybe the crew of Spaceship Enterprise will one day dance to this in the crew lounge while heading for the furthest galaxies. GIFT OF DREAMS do not stop before reggae elements and whatever they can add to their songs to make them unique. Actually this album should have been topping the charts in 1983 and staying in the hearts of mankind as an evergreen for every 1980s party. A must have for 80s synthesized pop fans.

[engl] One of the greatest soul funk albums of the 80s, and a darn record to find! The tracks are nice and tight, with sort of a smooth modern soul and a good dancefloor groove. Made by a vast collective of musicians in and around LA in the early eighties who recorded for the KMA and Jam-Power labels. Most famous from that collective became Chuckii Booker who went on to solo fame. Gift Of Dreams recorded two full albums for Jam-Power, this being the first and a bit more soulful of the two. Overall there are already many touches of electro, boogie and funk which makes this music being in such high demand. This beautifully restored reissue contains all the info and illustrations of the very first, full colour and pretty artsy LP-sleeve design. Licensed by David Wooley, Jam Power Records

[engl] Indeed a fantastic find! This steaming gem is a rocking, groovy and intriguing musical escapade! A love at first spin album! This obscure multifaceted album was recorded in around 1976-78 but remained unreleased until now! CHARLSTON GROTTO was a unique, dynamic American band from the late 70s with already more than 15 years of common music up their sleeves, prior to this album. Formed in 1960, they started out as a sort of juvenile surf, and rock’n’roll with a pre-punk aura. They became a well shaped garage, and soul rock band over the years. These tracks from 1976 and 1978 are the vivid proof of their development into a tantalizing musical ensemble that was not so easy to categorize. Funk, soul, powerful rock and the rawness of garage music of the 60s intertwine. This album is intense, haunting with a psychedelic edge that goes beyond the current mainstream funk of the day to challenge the listener, but still give him enough joyful grooves and catchy parts to just rock along to the songs. Captain Beefheart and Frank Zappa are the closest comparisons, if allowed. Their complex arrangements with layers upon layers of percussion instruments and twisted moments effuse attitude all the way. Funk, fusion, soul, rock, jazz are among the ingredients of this powerful sound cocktail. A very colorful affair rich in little details which are the actual heroes of the record. All these details add so much depth to the already convincing funk rock tunes. The leadvocal is unique and shows an affinity to punkrock. He is a non trained vocalist who shouts when necessary, his melodies are sparse but insistent. Only a few years later after the decline of the first wave of punk rock, many former bands of the genre opened their hearts towards funk and dance music to create what was named „New Wave“, but CHARLSTON GROTTO are certainly one of the pioneers in this field. The mixture is adventurous and the playing is skillful, I dare say on par with the best acts on the big stages. A great soundquality comes with this very first release of these invigorating album. “Raw sewage“ is an album that demands more spins on your turntable! It could appeal to people who love the earliest POLICE and later CLASH albums and it certainly is fans of late 70s punkfunkfusion. A long lost classic of the North American underground of the late 1970s.

[engl] The Gunesh Ensemble was founded in 1970 in Ashkhabad, Turkmen Soviet Socialist Republic, then part of the Soviet Union. They started out as a vocal group with supporting musicians from Turkmenistan State Radio and TV. Later several young musicians came to play with them and the band's music became much more modern. The group began to play jazz-rock tightly intertwined with traditional Oriental music. With that new musical style the band participated in some popular festivals around the Soviet Union. They received various awards and became very popular. Gunesh has always been in the process of developing and was one of the first and best local jazz-groups to organically combine the principles of jazz and melodic improvisation. The remarkably beautiful arrangements and polyrhythmic compositions were always further developed thematically. This process was highly praised at the Moscow competition With A Song On Life in 1977 where the ensemble became a prize-winner. The Organizing Committee of the Festival Spring Rhythms in Tbilisi (1980) called out members Rishad Shafi as best drummer and Stanislav Morozov as best saxophonist. This, their very fine first LP was originally released in 1980 on the Soviet state label Melodyja and contains traditional Central Asian music in jazz-rock arrangements plus a Vietnamese singer. The line-up has changed many times. Around 65 musicians have been a member of the group at some point in time.

[engl] Osamu Kitajimas venture on British late 60s pop music with even a typically English sounding pseudonym to make the impression perfect. And this album definitely is a perfect late 1960s British pop album with songs of an extraordinary greatness. It is time that this awesome piece of late 60s style beat and psychedelic rock music gets a proper reissue. This one will be appointed with an awesome leathery cover and comes in a strictly limited edition, available in prsale only.What do we know about this record? It feels like Syd Barret, TBeatles, Twink, The Deviants, T-Rex, Tomorrow and The Small Faces got together for a boozy and smoky jam session out of which a handful of beautiful songs have emerged, ranging from straight, powerful beat tunes towards joyful flower pop anthems with a bubble gum edge with a layover at melancholic folksy singer / songwriter sounds. What most people do not know ist that the participating musicians are only partly British. This album is the brainchild of renowned Japanese world music / ethno jazz rock artist Osamu Kitajima, who later on went to fame under his own name with some extraordinary progressive albums in the later 70s. He spent a year in England around 1970 to 1971 and recorded this album under the monicker of „Justin Heathcliff“, to make the impression of a true British pop / psyche record with a distinctive late 60s feel perfect. It might not have been a commercial starship around the time it got released, but it stood the test of time and even nearly 50 years after it’s initial release this record still flatters our ears with songs of unearthly beauty on par with the above mentioned English legends. More pop than alternative music of 1968 „Justin Heathcliff“ is a great soul journey to a brighter and more colorful time. This is swinging London, not the apocalyptic hippie Utopia of Haight Asbury in late 1967, or the revolutionary street fights in Germany or France. This is music to comfort your mind and make you feel happy. It even goes back to 1966 when The Beatles did „Revolver“. For a 1971 release this is already a retro affair despite only going back to elements who were five years old at most. It does not matter anyway, this is a masterpiece and Osamu Kitajima is a master of colorful UK 60s pop.For all fans of The Kinks, Tomorrow, Manfred Man in the late 60s, The Small Faces, Twink, The Beatles etc.

[engl] SHORT: A crown jewel of the US American soul music of the 1960s. The earthy production and vivid feeling makes this album way more tangible for fans of the genre than most polished and slick major productions. A true gem for all collectors of underground soul from the USA. DETAILS: Oh, sweet soul music, you make my life so wonderful. Well, especially when I have the pleasure to rediscover long lost treasures from the late 60s soul music scene that were not the obvious albums by the obvious bands or artists like Four Tops and Marvin Gaye but appeared and fell under the radar despite the great quality of the songs. Now here we have Freddy Butler, a man with a smooth and soft, yet powerful voice that you will be able to recognize from a dozen or more soul singers oft he same era. A kind expression lies on his face when you look at him smiling from the cover of his sole album “With a dab of soul” released in 1967. Original mono copies of this gem already fetch 150 US$ or even more when they turn up in a more or less good shape. So it was time for a vinyl reissue and this comes from Dutch label Everland Records. And they dug out a vinyl treasure par excellance here. “With a dab of soul” is a jewel of Northern Soul or Street Soul far from the mainstream productions of the 1960s big labels that held most positions in the charts. It has this earthy feeling, a simmering atmosphere that highlights its authenticity. This man is for real and his music comes as honest as music can. For sure he offers sweet ballads, steaming dancers and thoughtful tunes with a certain pop appeal just as many of the mainstream acts also did but the vivid production that only focuses on the main instruments such as drums, bass, guitar, piano, blues harp and a sparingly used brass section with Mr. Butler’s vocals upfront makes this feel like something real. Freddy Butler has this lush voice that pushes the songs with great emotions into the heart and soul of the listener. This power and his charisma make him an outstanding star at the sky of soul music but this album makes one thing crystal clear. Talent alone will not bring you fame and fortune. Being on par musically with all the big names will not get you to the top positions of the charts. We can only thank Everland Records for dragging this album by the long gone Freddy Butler back to the light. Soulfanatics who love a good mix of moods will certainly enjoy these tunes. Freddy Butler puts an emphasize on the song, the melody and the longevity of his works rather than just going for a hot blooded groove that stays with the listener as long as the song lasts. He wanted to create anthems for a generation to come and voil’, here we go. As good as everything the FOUR TOPS have ever put on vinyl, as good as BABY HUEY might have been if he just stayed with us for longer than just 26 years. These are songs so timeless that they will always sound fresh and vivid when you give this record a spin. And be sure, this album won’t let you go with just the occasional round. You feel like one turn per side is not enough when you are in the mood for good soul music. There were even two 45s released from this album, “There was a time / This thing” and a promo 7? “That’s when I needed you / Give me lots of lovin'”. Just to mention that. Band and singer of course are top notch, musicians who really deserve the title. They play with passion and fire while staying precise at any moment. On top of the instrumental substructure you will find vocals with a great range and good variety of intensity levels. Freddy Butler was a crooner who could sing like a gentleman and be a savage the next moment. He always had the situation under control and knew to bring in the right emotion at the right time. They don’t make them like this anymore. He should be listed with the greatest of his genre whenever people talk about soul music. And now go and buy your copy of this jewel.

[engl] SHORT: A sacredly rare but utterly joyful example of lush soul pop that recalls the best songs of artists like Barry White. An entirely handcrafted piece of naturally happy music made for the cuddly moments of the day, but still with compositions that are lasting with the listener for a long time. A must have. DETAILS: L.V. Johnson was a very active composer, singer and instrumentalist since the early 70s and probably beyond but did only release his debut album at the ripe age of 35 in 1981. A soft and silky soul pop effort named “We belong together” which goes up to 500 US$ when it could be found in mint condition. EVERLAND MUSIC, home of the greatest but most rare black music, have mercy on us and give us a nice reissue on black wax. The deeper, powerful voice of Mr. Johnson strongly reminds me of the also late Barry White but still the songs carry the sign of L.V. Johnson in every note played on this album. What we get here is soul music with a pop approach, clothed into several layers of silky sound arrangements with string section, horn section and some synthesizers giving this album a nearly symphonic expression. Beneath the surface we find an utterly precise rhythm section hammering a captivating, yet catchy groove. The album creates an atmosphere of utter joy and deep relaxation. Every song here feels so lightweight despite the depth of the actual composition and the intense emotions expressed through the very rich and fervently blared vocals. And as you will realize quickly, everything here is still handmade, crafted by utterly talented and professional musicians. The sound is perfect, it builds a closed up surface and while you can dig through it and discover all the little details in the depth of each song, it makes the composition appear in it’s entirety and this is what you will first experience when you put this goodie on your turntable. Finally again one might say. All these songs here have this special factor that make them outstanding anthems of soul pop. As I mentioned before, this music will give you relief when you spin the record as it only expresses joy of life and shines in bright colours, while the songs are meant to be classics of their genre on par with the greatest hits that ever climbed up the pop charts. A perfect record to either listen to, or to play at a party as it will never get intrusive, but still lacks the superficiality of many pop productions. This is true music created with love and passion and if you love the softer side of soul music, like the band AIR or Barry White, you will find your personal Eldorado here. And now let me drift away peacefully and leave you with this gem on your turntable.

[engl] 1967 was a year where musical development went faster than lightspeed with so many new styles emerging from the basements of the musical hotspots in the USA and Europe such as London, San Francisco, Los Angeles, New York City and many more. A year where pop music was colorful and went without boundaries. And in between were Manny Corchado, his orchestra and a guy named Tito Jimenez, who might be a prominent figure in the later 60s “Boogaloo” movement but I am not certain for nothing could be found on the internet, neither about Manny nor about Tito. Mystical figures who released only one beautiful record and collectors item among fans of latin dance music of the 1960s which fetches prices over 200 USD for a copy in good shape. So why is this such a legendary piece of music’ If you ever experienced the Boogaloo sound of the days when San Francisco was the ultimate capital of popular music and the place where more hippies and kids gathered than anywhere else on this planet, you will certainly understand. Boogaloo came from the streets of Harlem where Afro American and Afro Cuban musicians lived and partied together and therefore Rhythm & Blues, Rock’n’Roll and Latin dance music like Son Cubano merged into another until a new exciting sound emerged from the backstreet halls to hit the clubs. Jazzy elements like saxophone solos in the Bebop style, shaking and whirling percussions that were taken straight from the Cuban music of the times when the Son Cubano orchestras were huge and the whole city of Havanna was a simmering dance floor, straight elements of current rock and pop music, everything that was cool from both worlds became one big sound for a moment. And Manny Corchado, his orchestra and the mysterious Ramon “Tito Jay” Jimenez were at the pulse oft he movement. One of the greatest pieces on this album is “Pow wow”, a hot blooded latin pop song with vocals singing one single but very memorable line in Spanish language with a few spoken words added in both, English and Spanish. The hypnotic and nearly manic drumbeat at the beginning, the howling of the “Indian” warriors, the words spoken by the chieftain before the straight pop rhythms set in, everything is just in the right place to create an atmosphere that will grab one’s mind and move him. The tune is powerful and energetic despite being more mid paced. The brass section gives a latin big band flair, the “Indian” sounds” add an exotic touch. Amazing song and as catchy as such a song has to be. While “Pow wow” made up the middle of this record we jump over to “Chicken and booze”, a three minute instrumental with a furious saxophone as howling lead instrument and the brass section laying down great melodies on the rhythmical substructure that obviously finds its roots in the Afro Cuban dance music, just in a more straightened up way. This is in fact a fusion sound that will leave nobody sitting on his chair but twirling around on the floor. Or let us check “Up and down”, third position on this album. The whole song is jumping and swinging, the brass melodies are catchy and soulful with a direct link to Latin American traditions, the middle section is made of percussions only which hypnotize the listener and there are saxophone and trumpets going into solo duels with each other. This is a frantic dancer, a hot groover, a steamy dancefloor sweeper. Whatever you call this piece of music, it haunts you, it comes as close to primal music in some parts as it can and goes back to the sweaty dance halls of the 1950s in Havanna or in US cities. All in all the band is a tight unit that knows to lay down a thrilling groove by ejecting a complex network of percussion and drum figures upon which the melodies grow straight into the listeners’ soul. The vivid production gives you the impression to be right in the middle of the dancing crowd while the band plays there live and in colour upon the stage. It still provides everything the listener needs. A crystal clear sound that shows every instrument, every single percussion beat and the power that makes this record so intense. Just in case you are a fan of Latin music such as Salsa or Son Cubano, grab a copy. Just in case you wonder what was going on in 1967 aside from the obvious psychedelic and heavy rock sounds, well, grab a copy. Or if you love what two years later Carlos Santana and his band have created by adding wild rock elements, then go for Manny Corchado, his orchestra and Tito Jimenez who might not have any of Carlos’ smoking lead guitars or Gregg Rollie’s infatuting organs but will enchant you with their spirit. This current reissue on Everland Records will hopefully activate a whole new generation of Boogaloo / 60s Latin Pop fans to discover an album that was made to become a classic.

[engl] Mariah was a Japanese outfit in the field of art pop, way back in the very late 70s and early 80s with 5 albums up their score from 1980 to 1983. The album from 1979 entitled as "Mariah" was actually made before the band Mariah was formed, and was released as a solo album by Yasuaki Shimizu. The album at hand is the fifth and for the time being last album in this row, released as a double vinyl back in 1983. Original copies, that are at least in very good condition, are hard to find. The brand new reissue on Everland, unlike the original and the first vinyl reissue from 2015, comes housed in a thick and artfully designed gatefold sleeve with OBI, which finally does justice to the progressive spirit of the music you will find here. The musical basement of Utakata No Hibi is a fusion of dreamy synthesizer pop and haunting new wave music, that could be found all around the globe back in 1983. In the vein of TEARS FOR FEARS or more adventurous DAVID BOWIE stuff, with a touch of KRAFTWERK or even BRIAN ENO here and there, but all this gets spiced up with an atmosphere of Japanese traditionalism, with a few bits and pieces from the old music from this Far East island, which sounds so magic to us Westeners. The progressive, wacky art pop of this project was led by the popular Japanese composer and musician Yasuaki Shimizu, a relentlessly exploratory saxophonist who even dared to rework Johann Sebastian Bach’s cello suites for saxophone. As brilliant as this man is, the music on „Utakata No Hibi“ turns out to be. And the master himself approved and much appreciated the brandnew remastering of this album by assisting a highly professional team of sound engineers who dusted off the ancient tape reels. For certain the record sounds and feels 80s through and through, electronic to the very rhythmical bone of each song sugar coated with catchy melodies that resemble Japanese classic and Enka music, which is a kind of folksy pop music. The listener gets directly drawn into a feverish dream of steaming Far Eastern cities and their darkest and most depraved corners where you find everything cheap in sleazy bars and unlighted backyards and alleys. The next moment he strolls through a beautiful Japanese park surrounded by a sea of blossoms. This change in mood and style you will experience in the sparsely instrumented tune „Shisen“, which indeed comes closest to classic Japanese folk tunes without any too catchy and pop oriented melodies. But we certainly find these harmonies allover the album. Some tunes even feel like ancient BEACH BOYS compositions and Brian Wilson creations played by a then contemporary electronic pop act and sung in Japanese. An amazingly colorful album with songs that are based on solid substance rather than cheap pop structures. This is music for the bold listeners and music lovers and this awesome reissue should quickly find it’s way into the record collections of 80s synth and art pop aficionadoes. Yasuaki Shimizu did what he wanted with MARIAH, pushed the borders of popular music further than anybody would have thought. Listen to a track like „Shonen“ with a repetitive rhythm pattern that hypnotizes you and somehow silky melodylines by saxophone and synth piano upon which a female voice sings in a very spiritual way. Praising pop or whatever this can be called, it is sheer magic put in music. I wonder if this would have made it into the charts back then, but you never know. It is a piece of musical art that shall be listened to. Grab your copy now!!!

[engl] Mutima is the debut album led by bassist Cecil McBee recorded in 1974 and first released on the Strata-East label. In his review for AllMusic.com Michael G. Nastos called it "A landmark recording in early creative improvised modern music" and states "McBee as a pure musician has staggering technique, rich harmonic ideas, and an indefatigable swing, but it is as a composer that he is set apart from other musicians of this mid-'70s era… Mutima (translated as "unseen forces") undoubtedly solidified his stature and brilliance as a major player". Dustygroove.com now calls it: “A great bit of spiritual soul jazz – and one of the few albums as a leader recorded by the legendary bassist Cecil McBee! Cecil's joined here by a large group of players that includes Billy Hart on drums, George Adams on tenor, Onaje Allen Gumbs on piano, Jimmy Hopps on percussion, Art Webb on flute and Dee Dee Bridgewater on vocals – adding in just a touch of soulful color to the record as she did on a few other 70s sides like this.” Plus: “The music's got that essential Strata East sound, with a rich and spiritual vibe on all tracks, and slight bits of funk hiding somewhere in the mix! Tracks are long and freely expressive – but never too outside, either.” A long lost classic we call it. And this latest reissue is the best vinyl version ever since it first appeared almost 45 years ago!

[engl] SHORT: Hot and groovy jazzfunk that turns every dancefloor into a simmering witch cauldron on Side A, meeting silky soul pop ballads on Side B. A catchy and memorable affair that will give you goosebumps as long as you are a fan of funk and soul on the threshold from the 1970s to the golden era of pop, the 80s. For fans of Lionel Richie, Stevie Wonder, The Four Tops, The Temptations, Stanley Clarke, Hot Chocolate and the likes. It’s the first album of the later Blues legend Mel Waiters. DETAILS: Swirling synthesizers drag your mind into space, the slapped bass guitar throbs like a frantic pulse and there are hissing percussions that back up the slick drum sound. Here we go, straight forward into the 1980 album by the MEL PRODUCTION BAND, a private release that reaches high prices if a copy ever appears for sale somewhere and that comes as a product of it’s time. This is club music made for discos, soul pop that has all the great trademarks, as those tunes that would storm the charts only a few years later, it heads into two different directions with two steaming, yet slick power funk songs successing the intro on side A and three soul pop ballads on the flipside. While these B Side tracks invite you to dive into an ocean of lush melodies and complex arrangements that form accessible and especially memorable tunes with overwhelming vocal performances, the three jazzfunk compositions on the A side make you jump up from your seats and dance your soul out. The slapped bass guitar can be found in all three tracks, the vocals are a mix between singing and shouting in a joyful, euphoric way. Mostly simple phrases get repeated over and over again to create something like a disco mantra for everybody who is in for a wild dance. It is all glitter here and and a never ending party. You still find musical greatness in these dance songs, for the performance is just wild and the musicians are up on par with the greatest of their genre, tight and determined, still passionate in their playing and they truly love their music, their funk. So, this is a beast first and then turns into a beauty for side two. Since the original private press simply never ever turns up these days, this new reissue on EVERLAND MUSIC is more than welcome to rediscover this rare gem. Take your time to listen and take your time to dance for this album is a great occasion for both. The sound on this record is clean and slick, but vibrant. The music has the real feeling, everything is handmade and you can hear it. Even the synthesizer carpet sounds like coming from the gifted hands of a real keyboard wizard. A blast to spin on your turntable.

[engl] Mr. O.T. Sykes is often and fondly called ?The Singing Dentist? but it?s far from a joke. Dr. Sykes, who till this day never gave up his day job, chooses to do only top quality music. He will not sell out to an already overcrowded pop-market as this extremely well respected and very soulful LP from 1981 so eloquently proves. Within an international circle of connoisseurs O.T.Sykes ranks among the very best of soul singers. This is true soul music to the max and is written, played and produced by Jeffrey Singleton (The Frat / Frat Band / Autofrat) and Mr. Sykes himself, plus the cream of the rich music scene in Memphis, TN. Original copies are now really hard to come by so this long overdue and most carefully prepared reissue is more than welcome. - Marc Janssen, www.everland-music.com

[engl] This well produced strong disco funk album is a hidden gem. The original is on many wants lists and rarely turns up. Heady disco funk from the glory days of the Miami soul scene in the 70?s. This smoking album by the group Obatala is tight in a good way. Core funk energy mixed with some added strings and horns. A mode that's funky club, but never straight disco at all. Titles include ''April'', ''Shades Of September'', ''Disco Party'', ''Funk-A-Fried'', ''Tight Rope'', and ''Work It Out''. A killer set throughout! - Marc Janssen, www.everland-music.com > Licensed by Henry Stone Music, Inc.

[engl] A more of world music, a more of ethno and definitely a more of progressive fusion rock approach is what marks „Masterless Samurai“, the second album by Japanese prog warrior Osamu Kitajima. He takes his vision of his country's traditional music being merged with the progressive rock and jazz music of the west even one step further, than he did with his previous albums. Excessive flute lines of Eastern origin, funky intricate grooves and fiery synthesizer eruptions are the basic ingredients for most of these impressive instrumental downhill. The fusion share in this sound is strong and still all the exotic elements from Japanese classic music pull each song far out of the mass of similar acts emerging in the late 70s. Now we leave behind the PINK FLOYD comparison and go for the Canterbury jazzrock scene with CARAVAN and SOFT MACHINE as leading figures and Osamu Kitajima definitely fit in between these giants due to his creativity and manifesting vision of a progressive world rock music. Don't take the rock element as utterly physical heaviness. The album rocks but in a more delicate way. The sparkling lines of the electric piano can tell where this record goes. And even a rather gentle tune like the instrumental ballad „Floating garden“ shows a wicked and progressive edge with expressive sax runs, cool twists and turns despite the all in all relaxed atmosphere.

[engl] This is the third album by Osamu Kitajima, one of Japan's most prolific artists from the ethno rock, world music and progressive department. You can certainly not divide all the mentioned stylistic aspects from each other for they were all incorporated in a homogenious sound and complex arrangements. It is the same with his other albums like „Benzaiten“ and or his fourth „Masterless Samurai“; traditional Japanese music meets Western jazzrock and progressive sounds to form a new style unheard by most people in Western countries at the time. Osamu Kitajima easily plays with elements of reggae and funk, fusion jazz and colorful pop while staying true to his Japanese roots with bits and pieces of traditional melodies and the use of old Asiatic instruments. The Japanese influence makes this music uniqe and still it gets as close to Western rock and pop sounds as it could. An adventurous journey through the world from East Asia to West Africa and to the steaming metropolises of the UK and USA is your reward when you put this perfectly produced album onto your turntable. The former PINK FLOYD comparison coming with „Benzaiten“ is not totally out of place with this selftitled 1977 album here but there is much more latitude in the allover style. Osamu Kitajima gathers a few well talented musicians around him on this record despite playing and arranging most of the instrumental passages himself. He, the multi instrumentalist who discovered progressive rock music in the early 70s during a stay in London where he released a first album under the monicker „Justin Heathcliff“ before moving to California around the mid 70s. And this group of musicians creates something special that sticks out of the mass of similar art pop and fusion bands in the late 70s. Osamu Kitajima is something like the Japanese answer to Mike Oldfield, and others equal in vision and output!

[engl] These special editions are only available in presale - Only the preordered copies will be manufactured! Presale starts NOW and ENDS on 31st MAY 2019 – Release date end of June – order now. In late June 2019 Everland Music will release a mindblowing, strictly limited and hand numbered boxset with Osamu Kitajima's first 5 highly acclaimed and superrare albums. All 5 albums are taken from the ORIGINAL MASTERS, provided by Mr. Kitajima himself. All LPs come in embossed, coated and hotfoil printed superheavy 1200g/m2 carton covers. The 5 LPs will be housed in a beautiful box with magnetic lock, the box will also contain all inserts of the original LPs. About OSAMU KITAJIMA and his first 5 albums: Osamu Kitajima was born in Chigasaki, Japan on February 3rd 1949 and studied classical guitar and piano already in his childhood days. Later on in the 1960s, when Beat and Rock music became the hot stuff in the popular music circuit, he joined his cousin's band "The Launchers" with his brother, before graduating from university. Osamu's cousin, Y?z? Kayama, is a famous Japanese film actor and musician. In 1971, when Osamu was already a successful composer of TV advertising jingles, he moved to England for a year and developed an obsession for British Rock music, especially in the Psychedelic field. The Beatles, The Bee Gees, Jimi Hendrix, Deep Purple and The Zombies became his major influences and inspired him to start a solo career under the name „Justin Heathcliff“, which he adopted for it’s typical English sound. His 1971 eponymous album was a typical Pop Psyche effort for it’s time, but not long after he returned home to Japan, Osamu abandoned the English sounding name and further on merged Western Progressive and Electronic music with Japanese Folk sounds. Shinchugoku (1972) - This is a beautiful early 1970s Psychedelic Folk Rock effort, on which Osamu Kitajima cooperated with Fumio Miyashita (aka FAR OUT) and members oft he very popular FAR EAST FAMILY BAND, to create a bunch of mind altering colorful tunes with a mellow, yet intense approach. Benzaiten (1976) - This album is called his masterpiece by many aficionadoes of 1970s Progressive Rock, with it’s mixture of haunting Japanese Folk elements and skillfully played spacey Rock music that takes you on a spiritual journey to the center of your mind. Osamu (1977) - His third album marks another change in direction. Still Japanese elements and some haunting melodic Space Rock elements flow gently into another, but by incorporating Jazz, Funk and even Reggae, Osamu broadens the whole musical colour palette by far. Masterless Samurai (1980) - Osamu completely abandons the Space Rock aspects here and takes a turn into Jazzrock with a Progressive edge, that he still combines with these totally exotical sounding Japanese Folk elements. Dragon King (1981) - The step from Masterless Samurai to Dragon King has not been such a big one as it has been with the albums before. We experience a softer version of Osamus Jazzrock / Japanese Folk Fusion, that often even shows Soul Pop aspects, typical for it’s time.

[engl] A compelling slice of Canadian funk from the late 70s – a group and album who were inspired by the righteous power of James Brown's famous Payback album – but who come across here with a warmer, clubbier feel overall! There's a nice degree of boogie in the mix, but the overall approach is definitely funk – with bumping basslines underneath tight horns, including plenty of sweet Fred Wesley-styled trombone. Yet other club elements come into the mix too – keyboards and a bit of strings at times, which warm things up nicely alongside the tighter bottom rhythms – but always in a way that's still relatively funky overall. Most cuts have an instrumental focus – but there's also female chorus vocals on a number of tracks too.