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Lee Moses was a huge talent and if he’d had the big hit album he richly deserved, Time And Place would’ve been it. A self-taught multi instrumentalist, Moses cut his teeth in the clubs of Atlanta, the ‘Motown of the South’, where he frequently performed alongside his contemporary Gladys Knight (who reportedly wanted him for the Pips, but couldn’t pin him down).It was, however, in New York in the ‘60s that Moses made his greatest bid to find the solo fame he desired. Moses began working there as a session player, even playing frequently with a pre-fame Jimi Hendrix, but his close relationship with producer and Atlanta native Johnny Brantley eventually saw him getting his own break via a series of 45s in 1967 – most notably with covers of Joe Simon’s "My Adorable One", The Four Tops’ "Reach Out, I’ll Be There" and The Beatles’ "Day Tripper".It was 1971 before Moses’ dream of being at stage front was realized, when he released his Brantley-produced LP Time And Place for Maple Records. Recorded with a band including members of The Ohio Players and Moses’ own backing group The Deciples, it was, nonetheless, Moses himself whose star quality shone through, via his scratchy guitar riffs, his throat-ripping vocals and the stirring mood that permeates the LP’s heady mix of funk, soul and R&B.The LP did no business, and Moses’ dream quickly crumbled. Though details on his life are scarce, it’s believed he fled New York disenchanted with the music industry, feeling he’d been double-crossed by Brantley both in credit and remuneration for the countless records he’d played on. Back in Atlanta, Moses returned to playing the clubs, married twice, and fell into depression and drug dependency. He died in 1997 at the age of 56.Time And Place soon became a much-sought-after item for collectors, and its cult has continued to grow over the years. Here, we re-present it on deluxe vinyl, with brand new liner notes from Sarah Sweeney including interviews with Moses’ sister and his closest collaborator, the singer and guitarist Hermon Hitson. Through them, Moses becomes a little – but just a little – less of an enigma.

Makam madness gives way to instrumental prog on this burned-out last album, released in 1976, by Turkey's Anadolu Pop heroes.Mogollar was the band that never had a singer attached for long, and yet even more than Baris or Erkin, they consciously highlighted what was different about the new sounds of the era.Incredible fusion of ancient Anatolian melodies and instruments with prog/psych including ocassional piercing fuzz guitar. Recommended to anyone into John Berberian, Devil's Anvil and vintage Turkish psych.Remastered sound. Includes liner notes by Angela Sawyer.

Long Island's AIR only made one album. As solitary statements go, it's exceptional. Divinely elevated by Googie Coppola's beautiful voice, this transcendent masterpiece of soulful jazz-rock fusion has become increasingly tricky to track down. 45 years on from its initial release, Be With Records finally make it available again on vinyl.The highlights are many and memorable. From the irresistible groove of "Mr. Man" to the heavenly piano vocal of "Jail Cell"; from the funk-fuelled brass breaks in "Man Is Free" to the haunting, unforgettable "Sister Bessie", it is easy to understand why this record has been long revered amongst aficionados.Yet the entire record is without weakness and, therefore, selecting standout tracks seems redundant. If ever there was an album to surrender to in full, this is it. A perfect blend of rock and jazz, the record's greatest asset is surely Googie's uniquely expressive voice - the like of which we'll never hear again.Much like the music contained within, the original jacket was a thing of total beauty, presented as a lavish gatefold with a distinctive die-cut logo on the front flap. Accordingly, in keeping with the quality of all Be With reissues, this has been painstakingly recreated, along with the original liner notes. Sonically, Simon Francis' dextrous mastering adds real clarity and muscle throughout and, as ever, it has been pressed at a reassuringly weighty 180g.Treasured by 'selector' luminaries such as Jeremy Underground, MCDE, Floating Points and Hunee, this startling record is beloved by everyone who has heard it. Buying the original - if you can find it - would set you back a small fortune so Be With's latest archival release is one that is already being warmly welcomed from all corners of the global record-buying community.

Music From Memory hit it just right yet again- this time it's Richenel from the Netherlands who's lost tracks get the dusting off. 6 tracks of funkified lo fi bliss... For their first release of 2017 Music From Memory present the work of a Dutch musician for the first time with an EP of tracks by singer Richenel taken from his debut album 'La Diferencia'. Originally released in 1982 on the cult Amsterdam cassette only label Fetisj the tracks on Music From Memory’s release are alternate takes drawn from Richenel’s personal copy of the album and feature two original compositions which didn’t make it onto the original Fetisj tape.Studying set and costume design whilst making a name for himself as a singer and performer in Amsterdam’s underground clubs, Richenel played with several disco acts and cultivated an extravagant cross-gender stage persona before connecting with members of the local label. Hooking up through their time together at the Rietveld art academy in Amsterdam, Fetisj was an experimental multi media collective which revolved around a loose mix of various young artists and musicians. Having developed a house band with artists going by a number of different pseudonyms the label set up their own small makeshift studio and would produce and sell the cassettes through their distribution network and at events across the city. Recorded amongst the turmoiled punk and squatter scene of Amsterdam against a backdrop of drugs and social unrest, the ‘La Diferencia’ sessions reflect a unique mix of punk aesthetics with a synthesized ‘bedroom’ funkiness.A somewhat illustrious figure in Dutch pop history with his flamboyant appearance as well as having one of the more exceptional male voices to come out of the country, Richenel would go on to record a number of successful albums and hit singles in the Netherlands and beyond. This largely unknown album on Fetisj however, seems to embody the spirit of another time; a particularly unique and richly creative moment in Amsterdam’s musical and cultural history and one that is deserving of a much wider audience. Co-compiled by Orpheu de Jong this six track EP will be followed later with further works from Richenel and the Fetisj label.

Awa Poulo is a singer of Peulh origin from Dilly commune, Mali, near the border with Mauritania. Largely pastoral and often nomadic, Peulh- (or Fula-)speaking peoples are found from Senegal to Ethiopia but predominate in the Sahel region of West Africa.Awesome Tapes From Africa releases Poulo's newest recording of highly virtuosic folk-pop, fresh from the studio, broadcasting her vision of Peulh music beyond the grazing grounds and central markets of her remote home region in southwestern Mali. It's not very common to find a female singer performing publicly among the Peulh. But Poulo's mother's co-wife is Inna Baba Coulibaly, who is a celebrated singer most Malian music fans know. Coulibaly herself was brought into music by forces outside her control when a regional music contest required an entry from her village and she was chosen to be a singer. So, set in motion by a surprising series of events, young Poulo's entree into the music world was auspic ious as she gained popularity across the region. After several locally released tapes and CDs, this record is Poulo's first internationally-distributed record. On Poulo Warali, she and her band combine the hallmarks of Peulh music—warm flute floating over cross-rhythmic n’goni (lute) riffs and resonant calabash gourd hand percussion—with broader Malian sounds like lightly-distorted guitar and a heavier, rollicking inertia. Shapeshifting layers of rhythm and woody overtones match Poulo’s commanding voice in a jocular yet deliberate dance. This is a relatively rare example of Malian Peulh music played in a modern, cosmopolitan context, reflecting the mixed society of Dilly, where Bambara, Soninke and Peulh-speaking people live among each other. Poulo’s conscious lyrics about community concerns speak to the distinctive identity of her broadly-flung people. While Peulh represents less than 10% of Mali’s melting pot of languages, the dynamic music here powerfully resonates well beyond the linguistic borders

Lovely overlooked funk/soul LP, originally released on Alwest in 1980 - now reissued.