MINT

A covert quickstrike 7" release from the Black Ops camp by label stalwart Frank Booker. Vintage Booker Disco flex on the A, dubby Idjuts-style vibes on the flip.500 copies only - No Repress - No Digital.

"Synthi Time" is perhaps one of the most suitable albums - within Umiliani's incredibly vast discography - to fully appreciate the composing and experimental genius of the Maestro. For once away from the classic soundtracks that made him popular, this project veers away also from refined works of library music such as "Genti e paesi del mondo" (People and countries of the world) or "Problemi d'oggi" (Today's issues), released under the moniker of Zalla. In this case, we like to imagine him absorbed in his Sound Work Shop studio, experimenting with synthesizers with the same enthusiasm of a newbie in search of the perfect sound. Without renouncing to pop(ular) elements, Umiliani seems almost to anticipate (or at least to be fully consistent with) the sound research that will characterize the careers of musicians such as Roedelius and Moebius in Germany.As the same subtitle reveals, this was 'a new way of making music' through the use of the electronic synthesizer - this happening in 1971 - with occasional interventions by the spinet and the Hammond organ. And, with the exception of other little masterpieces such as "Il mondo dei Romani and Tra scienza e fantascienza", the most 'avant-garde' Umiliani can be found here, among tracks such as "Synthi grottesco", the outstanding "Synthetic Water", "Synthi pianola" and "Synthi pastorale", excellent examples of a Maestro exploring new sounds and the future of the music. Often forgotten and overlooked even by those self-proclaimed Umiliani lovers and fans, "Synthi Time" is actually one of his best works.This was 'a new way of making music' through the use of the electronic synthesizer - this happening in 1971 - with occasional interventions by the spinet and the Hammond organ. The most 'avant-garde' Umiliani can be found here, with excellent examples of a Maestro exploring new sounds and the future of the music.

Soul Travellin' takes you on a musical journey of epic proportions, with Gary Byrd providing some early rap lyrics backed by the funkiness of The Jimmy Castor Bunch. Never had a reissue on a 45 until now so pick up a copy now and enjoy the funky horns of the Gary Byrd Experience!

Originally released in 1972

Groove Line Records are proud to add to their 2015 releases of half-speed mastered re-issue singles with both the extended special disco version and instrumental version of Earth Wind & Fire's 1976 funk bomb Getaway gracing each side of a 180g 12” virgin vinyl disc.Looking to gain on his groups critical and commercial success from the early 1970s EW&F's main man Maurice White brought in the legendary Charles Stepney, who had tutored him at Chicago's Chess Records in the 1960s, as the co-producer and arranger on their incredible 1976 album Spirit, which opened up with the formidable funk track Getaway.Co-written by guitarist, vocalist and songwriter Bernard “Beloyd” Taylor (S.O.U.L.) and songwriter Peter Corbelenky around the theme of escapism and self-fulfilment, the primal urgency of Getaway was the ideal composition for White to record with EW&F. White felt the song's energy and positive, uplifting lyrics matched the attitude and ethos of his group perfectly. As a result EW&F created a funk gem both musically and lyrically perfect for the dance floor.The overwhelming immediacy of the multi-layered, arresting intro/bridge suggests the group had almost been held back in the stalls before being allowed to let rip on this classic recording. The urgency and excitement that envelopes the listener from the very first second is immediately taken up a level by the increasing momentum of the ascending riff which quickly reaches fever pitch by the time the track has only reached eight seconds! EW&F's trademark brass sound then takes centre stage on the first chorus with a punching, staccato horn line while the opening vocals invite you to “...leave today, let's getaway.” Concluding with a twelve note harmony of horns (borrowed' by so many dance floor tracks since) the break neck momentum is maintained in to the first verse which introduces, thanks to arranger Charles Stepney, an even more intricate horn line over a funky, viscous rhythm section before Maurice White, Philip Bailey and Verdine White blend effortlessly to deliver the impassioned vocals. The innate funkiness of the whole group is then exposed in an extended instrumental sequence before the bridge, slightly adapted from the intro, introduces the second chorus and verse. On this pass Stepney then cleverly places a third rousing chorus before the group stretch out on another extended instrumental section before verse three. The intensity is ramped up even more with an otherworldly, two second, stand alone synthesizer part added to the bridge, which heralds the extended chorus outro over which the groups vocalists soar until the track fades. And all of this within just over five minutes.The clever arrangement on this track and the complex musicianship displayed on it become even more apparent with the 3 minute 50 second instrumental version on the B-side where you can lose yourself within the intricate rhythms. On its release in the summer of '76 Getaway topped the Billboard R&B charts for two weeks and crossed over to #12 on the Billboard Hot 100 and to this day puts R&B, Funk & Disco fans old and new under its enduring spell.All Groove Line Records releases are fully licensed and taken from the original master tapes, remastered by Nick Robbins at Sound Mastering, and cut by Matt Colton at Alchemy (Mastering Engineer of the Year 2013) using half-speed mastering for optimum sound quality. All vinyl is heavy weight 180g manufactured by Optimal Media in Germany, one of the world’s finest pressing plants.Groove Line Records cut no corners when making sure that each and every one of our releases has the highest quality performance possible.

While clearly talented on the mic, Phillip Wright was much more successful as a producer and songwriter (chiefly for his sister Betty Wright) than he was a solo artist. His sole single from 1976 first enjoyed fresh exposure 10 years ago on Kenny Dope's edit label Kay-Dee but has now returned complete with an instrumental version and a never-before-released extended version. Whichever one you drop, reactions are guaranteed: straight up horn led funk with just a sprinkling of post production disco magic, fans of Cymande or Average White Band will be all over this.

Taken from his debut album, released in 1976, Italian composer legend Presti's rawest funk roots are explored and celebrated to great effect right here. "Funky Bump" lives up to its name beautifully with very neat organ stabs and a relentless groove that's not dissimilar to Grace Jones' "Pull Up To The Bumper". Looking for a much dreamier, dewy eyed jam? Flip for the lavish whirls and swirls of "C. So Buenos Aires"... It couldn't be more 1976 (or Italian) if it tried.

Limited 2015 repress.Has printed label rather than stamped label.