毎回マニアまでをも驚かせる激レア盤までをも復刻してしまう恐るべきレーベルJazzmanより、またもや驚愕の1枚がリイシュー!!海外で3000ドルもの値段が付いたという恐るべきラテンジャズ激レア盤Ricardo Marrero & The Group「A Taste」がジャケ付きで完全復刻!!ゆったりとしたビートに柔らかなフルートの音色にピアノのバッキング、そしてコーラスが心地よい「Get Yourself Together」に加え、軽快に刻まれるラテンパーカッションいエレピがエモーショナルなソロを繰り広げるキラーラテンジャズの「Babalonia」等、収録曲の全てが素晴らしい!!!限定プレスにつき早い者勝ち!!

Digitally remastered reissue for this album by one of the most underrated Soul producers of the '70s. Hutson replaced Curtis Mayfield in 1971 as the lead singer in the Impressions and stayed with them until 1973, when he followed in Mayfield's footsteps and launched his own solo career. Originally released in 1982. Seven tracks. WSM.

Glenn Jones is an American R&B/soul singer.

The Brothers Johnson were an American funk and R&B band consisting of American musicians and brothers George ("Lightnin' Licks") and Louis E. Johnson ("Thunder Thumbs"). They achieved their greatest success from the mid-1970s to early 1980s, with three singles topping the R&B charts ("I'll Be Good to You", "Strawberry Letter 23", and "Stomp!").

Nightcruising is an album by the Memphis, Tennessee-based R&B group The Bar-Kays, released on Mercury Records in November 1981. The album reached number six on the Billboard R&B albums chart. The band embraced a more up to date sound with keyboards and synthesizers with this album, and it was much better received by fans than their previous release. Nightcruising is considered one of the Bar-Kays' best albums, and was their third to be certified Gold for sales of over 500,000 copies.

Fellin's From Within by Joe Thomas

This product is manufactured on demand using CD-R recordable media. Amazon.com's standard return policy will apply.

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

Engineered at Calgary’s Living Room Studios in 1982, “Disco Jazz” was the only release Rupa put out, working with a crack team of Canadian disco muscle and Indian studio talent to create the perfect fusion dish. East meets West, guitar meets sarod, soul meets funk and psych meets disco as Rupa and her crew groove their way through four far out moments of dance floor brilliance.
Opener “Moja Bhari Moja” locks us into a frankly irresistible bassline, before the wild guitar riffs, spectral synth lines and trippy sitar create a kaleidoscopic visionquest for our collective third eye. Rupa‘s echo drenched vocals arrive right on time to seal the deal and steal the show, securing the much coveted ‘cosmic disco killer’ title all records should aspire to. “East West Shuffle” does exactly what it says on the tin, fusing transcontinental tonalities into a smooth jazz funk simmer before “Aaj Shanibar” closes out the A-side with the kind of cinematic sunset disco all the Balearic heads go wild for. If it weren’t for the expert tabla and psychedelic sitar, you’d be forgiven for thinking this was one of those flamenco disco bombs you’d hear in a peak time Mison set.
Stretching itself suavely over the whole of the B-side, “Ayee Morshume” is the kind of cosmic disco journey only the most experienced trippers should attempt – a heads down, hands aloft groove-voyage through endless solos and enchanting vocals. Chances of finding an original copy are way beyond slim, and on the rare occasion they turn up on the second hand market you’re looking at the top end of three figures. It’s a special record, and you’re never gonna get a better chance to bag a copy – don’t sleep!

大贯妙子，日本流行乐坛实力派女将，词曲全才。
本作是她的早期经典，于1977年发行的第二张大碟。
1976年，sugar babe解散。大贯妙子投奔NIPPON CROWN旗下的PANAM厂牌。随即发行了处女大碟<Grey Skies>，反响不俗。1977年7月，这张<Sunshower>问世。超豪华的制作班底包括细野晴臣、伊藤银次、后藤次利、山下达郎、坂本龙一等。其中坂本龙一参与了全部的编曲，以他最拿手的合成器编配方式，为专辑增添了浓郁的迷幻氛围。
Sunshower的全部词曲几乎都由大贯妙子自己包办，再次展现了其强大的音乐创作实力。这张大碟开启了大贯妙子音乐生涯的高峰期。之后她转投了RCA/AIR唱片，在那里有当年sugar babe时期的队友山下达郎。
此专辑限定版于2007年10月8日发行。

Shaila is back with a long awaited follow up to her award winning ‘Back To Life’ album. This new LP ‘Under My Skin’ is chock-full of smooth haunting slow jams, mellow Mid Tempo’s, and high energy club anthems!! Her distinctive voice and unique song writing style shines through on this collection of rich, warm, contemporary Soul & R&B cuts that you will need in your playlists for years to come!!

Ethiopian Knights is an album by American trumpeter Donald Byrd featuring performances by Byrd with Thurman Green, Harold Land, Bobby Hutcherson, Joe Sample and others, recorded for the Blue Note label in 1971.
The AllMusic review by Steve Huey awarded the album four stars and stated "Even if it isn't quite as consistent as Kofi and Electric Byrd, Ethiopian Knights is another intriguing transitional effort that deepens the portrait of Byrd the acid jazz legend"
Bass – Wilton Felder
Composed By – Donald Byrd
Design – Dave Bhang
Drums – Ed Greene (2)
Engineer – Henry Lewy
Guitar – David T. Walker, Greg Poree
Liner Notes – Bill Quinn (4)
Organ – Joe Sample
Photography By, Art Direction – Norman Seeff
Piano – William Henderson
Producer – George Butler
Remix, Engineer – Rudy Van Gelder
Tenor Saxophone – Harold Land
Trombone – Thurman Green
Trumpet – Donald Byrd
Vibraphone – Bobby Hutcherson

Slipping through the cracks of infinite timelines, Man from the Future just can't put his past behind him. His journey can be filed as a score for breaking the space-time continuum as written by the Polyrhythmics releasing their sixth full-length studio release coming out on Color Red on May 8, 2020. Continuing the band’s exploration across genre and stylistic lines, Man from the Future documents them at their most evocative and cinematic yet.
Spurring particles from their previous LP Caldera, Man from the Future rises out of the ravine to tell a tale that paints vivid stories that bridge the gap between the past, present, and future tying them together on one plane. That imagery alone plays into the writing process behind the album. Reflecting Caldera, there is music featuring and authored by each member of the band on this record. With tunes penned by each of the eight members of the ensemble, each paints their own account with the Man from the Future and etches their mark in the continuum. Also much like Caldera, the music for Man from the Future was composed at a mountain retreat, this time in the Mysty Mountain Properties alongside the Skykomish River in Barring, WA. During their stay at this ranch compound, the band got snowed in, hunkered down, and spent the 72 hours running grooves and melding ideas together. “Time was not an issue,” explains drummer Grant Schroff.

Jazzy Sport 也是个山寨..