COFFRET II, 25 ANS AVANT NOVA. 25 CD, 300 TITRES ULTIMES DE NOVA ENTRE 1956 ET 1980. Et si Nova avait existé 25 ans avant ? oe ? Après le succès de coffret des 25 ans, nous récidivons, avec un coffret 25 ans avant Nova. 25 CD pour couvrir la période 1956 à 1980 et explorer tous les genres jazz, soul, reggae, rock, world music, etc…

The title and sound of 100 Miles from Memphis can’t help but recall Dusty in Memphis, Dusty Springfield’s 1969 blue-eyed soul classic, but Sheryl Crow’s 2010 album isn’t quite a strict homage to Dusty. Crow draws from many of the same ‘60s sources as Springfield, but she also dabbles in reggae (thanks to the chunky guitar of Keith Richards on “Eye to Eye”) and digs into the cool, seductive ‘70s groove of Hi, channeling Al Green on a sleek reworking of Terence Trent D’Arby’s “Sign Your Name,” complete with support from Justin Timberlake. Add to this the extended funk coda of “Roses and Moonlight,” the hippie singalong of “Long Road Home” and one of Crow’s signature good-time social-conscious raising anthems in “Say What You Want” and 100 Miles from Memphis boasts a considerably more expansive palette than Dusty in Memphis, yet it’s all bonded by its smooth, soulful groove due in part to the co-production from Doyle Bramhall II and Justin Stanley.

Widely and rightly regarded as one of the best ever soul and funk bands, the now legendary Average White Band tore-up the rule book and conquered the US, UK and International charts with a series of soul and disco hits between 1974 and 1980. AWB’s repertoire has been a source of inspiration and influence for many R&B acts and they are one of the most sampled bands in history, remaining relevant today, continuing to reach new generations of younger audiences. Snoop Dogg, Fatboy Slim, Ice Cube, Puff Daddy, TLC, Rick Ross, will.i.am and Mark Ronson amongst countless others, have all borrowed sections of their grooves. Cover To Cover / Soul To Soul, is a collection showcasing their take on classic recordings, both Soul and otherwise and demonstrates why they were totally embraced as an authentic R&B band in the USA. Cover To Cover…. also includes for the first time on vinyl, their 2017 recording of The Isley Brothers ‘Harvest For The World’, which was produced by and features Chris Jasper. Average White Band remain highly influential and this collection, shows why they have remained so powerfully important.

Acid Jazz Records continue their exclusive licensing agreement with Albarika Store, the legendary record label that defined the sound of Benin and influenced the entire region of West Africa and beyond.

This compilation features some of the best solo material from the Parliament/Funkadelic crew during the late '70s and '80s under the direction of George Clinton. Ever the entrepreneur, Clinton had farmed his aggregate of loose booties to no less than five respective (major) labels. While technically Parliament was recording for Casablanca and Funkadelic was signed to Warner Bros., Clinton's short-lived Uncle Jam imprint was issued and distributed by Columbia/Epic. It is here that listeners find the 15 tracks – nine of which are making their debut in the digital domain – that comprise Six Degrees of P-Funk: The Best of George Clinton & His Funky Family (2003).

Lovers Rock, the title of Sade's first album of the 21st century, could be taken on many levels. Never before has the singer infused more mainstream rock elements (prominent strummed guitars) into her music as evidenced by the first single, "By Your Side." That's not to say that she has eschewed her own tried-and-true brand of smoky, dusky ballads. The singer/songwriter is reunited with co-producer Mike Pela and musician/songwriters Andrew Hale, Stuart Matthewman, and Paul S. Denman; and Lovers Rock finds them all in fine form. "Somebody Already Broke My Heart," "Every Word," and "Lovers Rock" are vintage Sade.

Can it get any better? If aliens came down needing to know what funk was all about, in all its talented, embrace-anything-and-everything, screw with your head and get your butt down glory, then this is a prime candidate for what to give them. The man, his voice, his bass, the backing of a prime core band including his guitarist brother Catfish, Fred Wesley, and Maceo Parker leading the brass – beautiful, hilarious, and just plain great. This one-disc collection could easily be a two-disc or more if one wanted to include every last highlight from Collins' up-down-all-around career – his work with James Brown alone is beyond the bomb – but when it comes to solo work, this is as perfect a place to start as any. Drawing mostly on the albums done with the active help of George Clinton in the late '70s, Back in the Day is a model for what a good compilation should be. Sound is excellent throughout, while full details on who plays what and where, along with where everything came from in the first place, all appear in exhaustive detail. The liner notes, meanwhile, come from longtime funk road manager (Brown, Prince, plenty of others) Alan Leeds, explaining every step of Collins' wonderful story.

Anthology essentially replicates the previous collection Greatest Hits and adds singles from There's a Riot Goin' On and Fresh to the end of the album. Where Greatest Hits didn't follow chronological order, Anthology presents every single in the order it was released – and, with the exception of the latter-day singles and the inclusion of "Don't Call Me Nigger, Whitey," that is the major difference between the two collections…

Big Break Records is proud to present Delegation’s The Promise Of Love. Featuring the alternative tracks chosen for the US release and all the non-album single sides from that period, as well as comprehensive liner notes from Christian John Wikane incorporating new interviews with Bailey and Gold, this is essential listening for all Soul, Disco and Pop fans.