BGP Vinyl & CDs

Review: Parliament-Funkadelic offshoot project Brides Of Funkenstein was masterminded by George Clinton but fronted by Lynn Mabry and Dawn Silva, whom originally served as the two core backing singers for Sly & The Family Stone. Funk Or Walk was their cyber-augmented opening statement as a duo, combining archly histrionic vocals with truncated funk struttage, and crossing into wonky hi-NRG at points. The record’s wonky and experimental bent epitomises the P-funk sound whose name Clinton helped coin, and which is finessed in the myriad usages of ARP String and Hohner Clavinet, best heard on the light-handed claps of ‘Birdie’ or the polyvalent brass-off ‘Amorous’. The weird brides of Parliament did go on to record two further great records, but this is by far their chef-d'oeuvre.

Review: Classic jazz funk album from the legendary Johnny 'Hammond' Smith with a special version with six previously unissued bonus out-takes. Released in 1975 and his 32nd long player, it heralded a fresh chapter in his career that saw him exploring more electronic instrumentation and deeper shades of funk in a similar way to Roy Ayers or Bob James. The result was a timeless document that carries motifs of many of today's artists; the harmonies of "Can't We Smile?", for instance, smack of Plantlife while the punctuated piano work and mirrored squiggling synths on "Song For The Family" echoes with Flying Lotus-style whim. Also a key source of breaks for many junglists, Gears is a historic document that's not only played a strong role in electronic music but still sounds incredible today.

Review: Lonnie Liston Smith's third LP with the Cosmic Echoes, from 1974, was the second to mark his discovery of the success-driving formula that was spiritual jazz-funk. The record's impact has indeed resounded through the decades, like a chakra-prodding gong. Though for all its crystal-clear recording and effortless performances, Expansions is perhaps best known as a precursory informant on clubland, prophesying some of the most storied developments in electronic dance music and its uses of jazz. The phasy drums on 'Shadows', zilling fills of 'Voodoo Woman', and of course the banging suspensions of 'Expansions', have been sampled the world over by electronica musicians - a trend which begun not long after the record's release on Flying Dutchman.

Review: Legendary keyboardist Lonnie Liston Smith worked with jazz greats like Dakota Staton, Max Roach, Abbey Lincoln, and Roland Kirk, formed a notable partnership with Pharoah Sanders and Leon Thomas, toured Europe with Gato Barbieri and played Fender Rhodes with Miles Davis, all before putting out his own solo album. Smith's debut, Astral Traveling, released on Bob Thiele's Flying Dutchman label features his Cosmic Echoes and includes life-affirming cosmic jazz tracks like 'Let Us Go Into The House Of The Lord' and 'In Search Of Truth.' This reissue includes a gatefold sleeve and liner notes by jazz critic Nat Hentoff.

Review: Lonnie Liston Smith's legacy in the world of spiritual jazz, soul and funk is huge, but he remains an often overlooked figure only discovered by those with a dedication to the music. As such, his albums are always worthy of reissue to hopefully reach more ears in need of the gifts they possess, and while Expansions is rightly considered his landmark offering, this swift follow up with The Cosmic Echoes is just as essential. Just melt into the bubbling, fast-slow reverie of 'Beautiful Woman' and let Smith's exquisite talents carry you away. If you already know the music, then take a chance to cop a freshly remastered edition, and if you're not familiar with Smith's work then take this golden opportunity to expand your horizons.

Review: Johnny Lytle was a key figure in the early acid jazz scene who became renowned for his anthem 'Selim.' The Ohio vibraphonist also gained fame with his 1965 album The Village Caller on Riverside and after it closed he teamed up with label owner Orrin Keepnews for two albums on Detroit's Tuba. Ace reissued The Loop last year, and now BGP does the same with New And Groovy featuring a stellar lineup: Milt Harris (organ), Wynton Kelly (piano), George Duvivier (bass), Jimmy Cobb (drums), Montego Joe (congas), and Lytle on vibes make this a gem that includes original tracks like 'The Snapper' and 'The Pulpit,' plus the radical reworking of Miles Davis' 'Miles.' Though poorly distributed in 1967, this record has been acclaimed by DJs like Gilles Peterson.

Review: One of Gil Scott-Heron's most renowned live performances gets a reissue here via BGP. Performing his then best-known musical poetry hits at the time - at an obscure venue on East 125th Street & Lenox Avenue in Harlem, New York - Small Talk At 125th And Lenox was officially Scott-Heron's first album. It was received by a small audience, and contained such greats as 'The Revolution Will Not Be Televised', 'Brother', 'Evolution' and 'Paint It Black'. Backed by hand drums and jazz piano, our favourite from this classic has to be 'Who'll Pay Reparations On My Soul?', a musical-philosophical masterpiece that nails the unquantifiability of psychic grief.

Review: Originally planned for release last year to mark the 50th anniversary of the album's creation, Gil Scott-Heron's most renowned full-length returns in stunning, audiophile quality sound. This time round, the album has been stretched across two discs, both of which have been pressed at 45rpm for louder sound. Created by Scott-Heron and musical sparring partner Brian Jackson with the assistance of producer Bob Thiele, Pieces of a Man remains an incredible album, with a string of classic cuts - think 'Home is Where The Hatred Is', 'The Revolution Will Not Be Televised' and 'Save the Children' - being joined by such lesser-celebrated delights as the fizzing 'Lady Day and John Coltrane', the blissful 'I Think I'll Call It Morning' and 'A Sign of the Ages'.

Review: Gil-Scott Heron was at the peak of his powers when he recorded Free Will as a follow-up to career highlight Pieces Of A Man. Originally released in 1972, it's steeped in the song craft of its predecessor and charged with the polemic that elevated his work to some of the greatest to ever shine a light on the Black American experience. The likes of 'Speed Kills' show just how tender Scott-Heron could be, while 'Did You Hear What They Said?' Ranks as one of the most heartbreaking tracks he ever committed to tape. 'The King Alfred Plan' and 'No Knock' prefigure rap as the legend's impassioned poetry rides on the rawest of percussion tracks. It's, quite simply, a masterpiece.

Review: Originally released on Flying Dutchman in 1973, Leon Thomas' Blues and the Soulful Truth is an outstanding slice of soul funk from one of the genre's all time greats. Thomas came to fame working with Pharoah Sanders on 'The Creator Has A Master Plan', but on this album he was in full flight writing his own songs, backed up by Pee Wee Ellis as a conductor and with Bob Thiele as producer. Thomas had an unflinching approach to his message, best heard on incredible cuts like 'Shape Your Mind To Die', but there's tenderness to match the toughness. Just listen to the sweetness of 'China Doll' on this long overdue reissue and take in the full spectrum of the Leon Thomas sound.

Review: This new compilation comprehensively celebrates the work of Bob Thiele, producer extraordinaire and founder of the jazz, funk and soul label Flying Dutchman, which incubated various transnationally renowned talents such as John Coltrane, Gil Scott-Heron, Duke Ellington and Pharoah Sanders. Cycling through each of Thiele's discoveries as though they were akin to scientific breakthroughs like new radioactive isotopes or the wheel, BGP has compiled a monumental collection of greats here, with lesser-cited curveballs from bossa nova great Gato Barbieri, phat instrumental scatter Harold Alexander and Thiele's own Bob Thiele Emergency also in tow.

Review: If you have a penchant for proper funk from the genre's prime era, then This Is Street Funk is for you. It's one in a series of compilations that have been put together to appeal to vinyl lovers and features two sides packed with tunes hand-picked with TLC from Ace and compiled by Dean Rudland, who has also penned the liner notes that one with it. This one sums up the sound of Black American in the 70s with soul and streetwise attitude colouring the funk next to a mix of fatback drums, syncopated bass, rhythmic guitars and explosive vocals. Plenty of names you would expect all feature such as Fatback Band and Millie Jackson, Billy Garner and Billy Sha-Rae, Fame Gang and Larry and Tommy and more.

Review: This Is Retro Soul 1969-1979 offers a vivid journey through the golden age of soul, spanning from the late 1960s to the late 1970s. Featuring a carefully curated selection of tracks, the album highlights the creativity and innovation of artists like Isaac Hayes, Millie Jackson and cult figures like George Jackson and Darrow Fletcher. From the deep emotion of ballads to infectious dance grooves, each track offers a fresh experience for both longtime soul fans and those new to the genre. Songs like Millie Jackson and Isaac Hayes' duet 'Sweet Music, Soft Lights And You' and George Jackson's 'Love Highjacker' evoke the elegance and passion of the era. Meanwhile, rarer gems like Cesar's 'See Saw Affair' and Ty Karim's 'Lightin' Up' reveal the depth of the soul scene's more obscure talents. The diversity of this collection, blending funk, r&b, gospel and jazz influences, creates a lively and sophisticated atmosphere. This Is Retro Soul is more than a trip down memory laneiit's a timeless reminder of the depth and brilliance of soul's most innovative period, inviting listeners to rediscover this iconic music anew.

Review: This Is The Breaks is a 12-track journey through the history of influential breaks in jazz, funk and soul. Each track featured has not only shaped the golden age of sampling but continues to be used by contemporary artists. The album opens with Millie Jackson's 1974 version of 'If Loving You Is Wrong I Don't Want To Be Right', famously sampled in 2023 by NLE Choppa. It also includes Debbie Taylor's soulful 'Let's Prove Them Wrong', used by JID in 2021. The collection highlights the enduring appeal of atmospheric tracks like Little Ann's 'Deep Shadows', which has been sampled by Grand Puba, Loyle Carner, and others. DJ Premier's masterful use of Joe Simon's 'Drowning In The Sea Of Love' for Gang Starr's 1997 hit 'You Know My Steez showcases his unparalleled production skills. Classic breaks like Lowell Fulsom's 'Tramp' and Fatback Band's 'Gotta Learn How To Dance' add to the album's richness, alongside iconic cuts from Bernard Purdie and Lonnie Liston Smith. These original songs continue to inspire, making This Is The Breaks a timeless celebration of musical innovation.