Rare funk from the Indianapolis scene of the early 70s, the long-overdue release of material recorded by a really hard-jamming, horn-heavy combo! Amnesty have a sound that's awash in the best large group influences of the time, a bit of Earth Wind & Fire, a bit of Parliament/Funkadelic, but also a grittier, more guitar-based groove at times too, one that rumbles heavily at the bottom of the rhythms, with a sound that's like Norman Whitfield-era Motown, taken to much greater extremes! There's actually a lot more Detroit going on in the work than Indy, but the horns also have a jazzier, more open-ended quality too, not just parts penned for simple funky rhythms, but ones that show some influence from the more righteous side of the jazz spectrum. The material was all recorded on two dates in 1973, but only issued two years ago for the first time, and together, the tracks are a great example of a hip group from the underground, really letting loose with a great sense of freedom.

2018-2019号外乐团首发“先蹦起来”跨年巡演EP。 上海首张独立放克迪斯科轻松低保真EP镭射小碟。 这是放克星球特产，一包献给耳朵的跳跳糖，开封后请尽快服用，尽情蹦迪。

Andrew Mayer Cohen, better known by his stage name Mayer Hawthorne, is a Grammy-nominated American singer, producer, songwriter, arranger, audio engineer, DJ, and multi-instrumentalist based in Los Angeles, California. Cohen also performs and records in the groups Tuxedo and Jaded Incorporated.

一部1997年在美国影坛受到好评，并扬名欧美的杰出枪战片，根据美国畅销小说家埃尔莫尔．伦纳德的小说《神奇之力》改编而成。导演是拥有众多影迷和祟拜者的昆丁．塔伦蒂诺，他曾执导过《水库狗》、《黑色通辑令》。女主角杰基．布朗由好莱坞黑人女红星帕姆．格瑞尔担当，另外剧中还有一大批明星。布朗是一名为黑社会效力的漂亮的空中小姐，在错综复杂的黑社会斗争中她巧妙地保全了自己的生命，并将穷凶极恶且想致她于死地的上司送上了法庭。在这斗争中还交杂着她奇特浪漫的爱情，整个故事惊险剌激，一气呵成。
在诸多电影中客串了一气，担任露面十分钟后即遭击毙的角色多个之后，好莱坞怪才昆汀·塔伦蒂诺又拍出了他的新片《危险关系》。
与以往一样，故事仍由暴力开头，暴力结尾，讲述了一名小有不轨的黑人女性杰基·布朗在遭黑社会追杀之下，以沉着和不动声色的手段加以反击的故事。
故事节奏缓慢，光线阴暗，画面感强烈而压抑，是塔伦蒂诺影片中最闷最具冗长感的一部。若耐下心来观赏，到结尾时会体验到一种奇特而悠长的回味，发现在不知不觉间已被完全地带入电影，陷进了那个令人呼吸都缓慢迟滞的空气氛围，而电影结束，亦会感到与主人公同样的解脱和释放感。但是对于塔伦蒂诺来说，这仍是一种冒险的行为，喜欢他节奏鲜明，佻达混球气质的影迷也许会对《Jakie Brown》失望，而真正能捱过一部电影的半部，少之又少。加上罗里罗嗦的台词，更使人厌烦不已。毕竟，塔伦蒂诺之所以为众人所推崇追逐，就是因为他是那个《落水狗》、《黑色小说》里的塔伦蒂诺。缓慢，已经并非今日年轻观众的喜好。

Here, My Dear is a studio double album by soul musician Marvin Gaye, released December 15, 1978 on Tamla Records. Recording sessions for the album took place at Marvin's Room in Hollywood, California from 1976 to 1977. A deeply personal and controversial album, Here, My Dear is notable for chronicling Gaye's ill-fated first marriage to Anna Gordy. Here, My Dear was initially a commercial failure, while receiving some critical favor from music writers. However, critical recognition of the album has improved significantly following further examinations by critics and compact disc-reissues. In 2003, the album was ranked number 462 on Rolling Stone magazine's list of the 500 greatest albums of all time.
By 1976, the relationship between Marvin Gaye and his first wife, Anna Gordy, had become estranged and was far from being repaired. Marvin, who was now carrying on an open relationship with singer Janis Hunter, and Anna often accused each other of infidelity over the years before his relationship with Hunter. Shortly after Marvin and Janis welcomed the second of their two children, Frankie, in November 1975, Anna filed for divorce. At this time, Marvin was running low on money because of an extravagant spending habit to support his lifestyle which included, among other things, a fleet of cars, several homes in and outside the country, and an increasing cocaine habit. Marvin's spending habits had made it impossible for the singer to pay Anna money for alimony and child support for the couple's only son, Marvin III. Marvin's attorney Curtis Shaw came up with a solution to Marvin to give half the royalties he would earn from his next project to Anna. After agreeing to the deal, the singer went into his recording studio in an effort to give Motown a "lazy, bad" album starting sessions in the spring of 1976. However, as Marvin set on making the "lazy" album, the singer's deep emotions and bittersweet feelings for his soon-to-be former wife took over the music.
Songs included in the album didn't just deal with the singer's troubling marriage ("I Met a Little Girl", "Anna's Song", "You Can Leave, But It's Going To Cost You") but with other deep issues including anger management ("Anger"), Jesus ("Everybody Needs Love", "Time to Get It Together"), solace ("Sparrow"), space (the loosely funky "A Funky Space Reincarnation") and new love ("Falling In Love", the one song dedicated to Marvin's new wife, Janis). An Allmusic reviewer later wrote of the music:
...the sound of divorce on record — exposed in all of its tender-nerve glory for the world to consume... Gaye viciously cuts with every lyric deeper into an explanation of why the relationship died the way it did... Musically the album retains the high standards Gaye set in the early '70s, but you can hear the agonizing strain of recent events in his voice, to the point where even several vocal overdubs can't save his delivery.[1]
—Allmusic
The project was worked on for a year and was initially held back by Marvin, fearing that the project was too personal to be released. However, because of Motown's demands for Marvin to put out an album, as he had often delayed releases and it had been over two years since his last record, the sensually erotic I Want You, the singer decided to put out the album as promised in December 1978.
When Here, My Dear was released in the end of 1978, it was panned by consumers and critics alike, who called the album "bizarre" and "un-commercial". The album's lack of success angered Gaye to the point that he refused to promote it any further. Motown stopped promoting Here, My Dear in early 1979, by which point Gaye had gone into self-imposed exile. Ironically, around the same time, Marvin's relationship with second wife Janis had also fallen apart and the couple separated sometime in 1979. Upon hearing the album, a visibly upset Anna Gordy considered suing Marvin for invasion of privacy but, according to People magazine, later recanted that decision. In 1994, the album was re-released due to increased attention on Marvin's life to commemorate the tenth anniversary of the singer's untimely death, and reached number-one on Billboard's R&B catalog chart. The original album peaked at number four R&B and number twenty-six pop becoming Gaye's lowest-charting studio album of the 1970s. Initial response to the album was mixed, as most critics described it as weird. However, Gaye's lyrical honesty over the laid back disco grooves of Here, My Dear was praised by many. Robert Christgau of The Village Voice wrote of the album:
...this is a fascinating, playable album. Its confessional ranges from naked poetry ("Somebody tell me please/Why do I have to pay attorney fees?" is a modernist trope that ranks with any of Elvis Costello's) to rank jive, because Gaye's self-involvement is so open and unmediated, guileless even at its most insincere, it retains unusual documentary charm. And within the sweet, quiet, seductive, and slightly boring mood Gaye is at such pains to realize, his rhythmic undulations and whisper-to-a-scream timbral shifts can engross the mind, the body, and above all the ear. Definitely a weird one.[14]
—Robert Christgau
The album was re-evaluated in the years following its original release, and is today seen as a landmark in Gaye's career. It was voted one of the greatest albums in music history by Mojo Magazine (1995) and Rolling Stone magazine's critics poll (500 Greatest Albums of All-Time) (2003), among others. This reassessment was influenced by the album's subsequent re-release. On February 15, 2008, Hip-O Select reissued Here, My Dear as a two-disc Expanded Edition including a song cut from the original album, "Ain't It Funny How Things Turn Around", which was remixed by funk legend Bootsy Collins. Disc two featured remastered and alternate versions of the songs from the album remixed by contemporary soul producers such as Salaam Remi, Questlove, Prince Paul, DJ Smash and others.
Side one
"Here, My Dear" – 2:48
"I Met a Little Girl" – 5:03
"When Did You Stop Loving Me, When Did I Stop Loving You" – 6:17
"Anger" (Delta Ashby, Gaye) – 4:04
Side two
"Is That Enough" – 7:47
"Everybody Needs Love" (Ed Townsend, Gaye) – 5:48
"Time to Get It Together" – 3:55
Side three
"Sparrow" (Ed Townsend, Gaye) – 6:12
"Anna's Song" – 5:56
"When Did You Stop Loving Me, When Did I Stop Loving You (Instrumental)" – 6:03
Side four
"A Funky Space Reincarnation" – 8:18
"You Can Leave, But It's Going to Cost You" – 5:32
"Falling in Love Again" – 4:39
"When Did You Stop Loving Me, When Did I Stop Loving You (Reprise)" – 0:47

Songs in the Key of Life is the eighteenth studio album by American singer, songwriter and musician Stevie Wonder. It was released on September 28, 1976 by Tamla Records, a division of Motown. The double album has been regarded by music journalists as the culmination of Wonder's "classic period" of recording.

Soil, the debut album from New York-via-Maryland singer serpentwithfeet, is astounding, as it surrounds Josiah Wise’s arching voice with audacious electronic orchestrations that compound the feelings of which he sings. And now, he has pulled the layers back on Soil Reprise, a two-track EP that reveals a pair of songs in piano-and-voice form. They are gorgeous, especially the mix of plaintive balladry and background vocal acrobatics during “Messy.” Give it a listen now, and see serpentwithfeet at Big Ears 2019.

2013年のフジロック最終日の大トリにして3時間に渡る伝説的なライヴから早2年。トップミュージシャンからなる現行ファンクのオールスター、レタスもアルバム『クラッシュ』を完成! 結成20年を超える凄腕バンドによる3年ぶりとなるアルバムは名前の通り、聴くものを圧倒する!

Digitally remastered and expanded edition of this classic in demand 1977 Jazz Funk album from multi Grammy nominated Patrice Rushen. This album pre-dates her big commercial successes like 'Forget Me Nots' and shows her more as an incredible keyboard player in a similar style to Herbie Hancock's work of the time. On this album, Patrice introduced her vocals on the track 'Let Your Heart Be Free' which crossed over to a Soul audience. On 'Shout It Out', she is joined by some great musicians including James Gadson, Al McKay and Bill Summers, but the real highlight is Patrice's keyboard playing which is outstanding throughout. The album deserves its place amongst the best Jazz Funk albums of all time. Soul Brother Records. 2009.