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Some proper jazz funk here. Ron Trent executive produced EP that reminds of bands like Atmosfear. With its debut EP on the Future Vision label, is the band created by artist, writer and producer Jared Hines in collaboration with executive producers Ron Trent and Jonesy.Inspired by the Jazz Funk elements of UK outfit Atmosfear and the alternative Disco sounds of Dinosaur L, presented here on this EP are five tracks that embrace the energy of “live” dance music. Reminiscent of the early 80’s Boogie sound, A Band Called Flash will surely capture the attention of the more eclectic, global dance floor.

BACK IN STOCKIt all started in a local club in Pine Bluff, Arkansas where Mojo and Spider played in their first group together, Zodiac, in the mid 70s. Spider played lead guitar, and Mojo held the brass section.Sam "Spider" Rice was also the music director for a vocal group called "La Pinch" which included vocalist Gary Pinchom (Pinch). As the 80s approached La Pinch was looking for a new sound. After relocating to the East Coast "The Pinch" was born.New York and Jersey was quite a change. Spider wanted to write a song to address the drug abuse he was seeing all around him. "Shot Out was a street term we used to describe someone with an excessive drug habit", recalls Spider. "We built a voice box from a horn driver, a couple of switches, and some tubing".They had some money stashed from a Zodiac gig and picked up a Prophet 5 and Roland drum machine. After recording the track in 1981, the song was mastered at the legendary Power Plant in NYC. That would prove to be the major limitation for the release, since they were out of money now and could only afford to press 200 copies of the 7".Distributed in Texas and locally on the East Coast, "Shot Out" would be the only release from The Pinch... UNTIL NOW! Re-mastered for the first time on 12" vinyl, this 80s funk masterpiece is finally back on wax.

It's been six years since Nosaj Thing, the producer born Jason Chung, appeared among the vanguard of Low End Theoryaffiliated producers from Los Angeles. His debut LP Drift, a sleek and futuristic record shot through with a sense of melancholy, was hailed as a landmark record for the "beat scene", both embodying its aesthetic and transcending it with its focus on mood, texture on tone as much as on beats. Pitchfork called it "gorgeously haunted", and Resident Advisor said it "exists in its own dimension."If Drift was an impressive full-length debut, then Home, its 2013 follow-up and Nosaj Thing's first record for Innovative Leisure, consolidated that potential. Now, Fated is the sound of an artist whose sound has had time to mature. By stripping away anything he didn't deem strictly necessary, Chung harnessed a sound notable for its directness and emotional potency. Guest appearances are rare, save for vocals from Chicago rap phenomenon Chance The Rapper on 'Cold Stares', his unusually grave cadence deepening the paranoia of the already tense track, and Whoarei on 'Don't Mind Me'.

Reissue of 1984 disco-boogie track featuring Loni Gamble. B side has a Tom Noble edit.Original copies on the Sound Modification label go for about $500.Incurredible reissue

Spectrum Records proudly introduces its debut 45 with this collaboration between XL Middleton, one of the most emblematic producers of the L.A modern funk scene and Ghost, the L.A. based French producer, turntablist, and founder of Spectrum Records.

London native Sven Atterton electrifies us with his debut eight song instrumental EP, 'The Cove'! This deep composition and delicate arrangements are a intimate introduction to a dialogue that is unique to Sven Atterson alone. The sophistication of his funk baptizes you from the very first bar, to the point where you can almost feel the ocean mist on your face.

PLAzA is the sound of Johan Churchill, a vintage drum machine and synthesizer freak, churning out a hybrid of playful acid house, boogie-funk, and italo, and often pairing it with a fine wine. Armed with the Oberheim DX drum machine, a 707, 202, Prophet 600, OB-8, Roland jx-Sp, and countless others, PLAzA corralled and manipulated this arsenal of electronic friends to create the Party Games EP in his home studio, The Voyeur's Loft, in San Francisco. The EP additionally features Moon B handling remix duties on the track "Night Lines", taking the track to an extra "nocturnal" location.

The Year Was 1972 And The Paths Of A Young Songwriter And A Record Label Owner Were Destined To Cross Paths. After Spending A Couple Of Years At Curtis Mayfield'S Curtom Records In His Hometown Of Chicago, Ron Grace Ventured To The Northern Suburb Of Waukegan, Illinois. After Recording Projects At Plynth Studios In Libertyville, Studio Owner Tom Izzo Intoduced Ron Grace To Morris "Ronnie" Moore, Owner Of The Tra-Mor Record Label. The Two Instantly Messed And Grace Produced A Single On Tra-Mor'S Lone Srtist At The Time, Ernest Jones. That Session Resulted In "I Can'T Live Without You" B/W "Broken Dreams". The Record Made A Bit Of Local Noise And Subsequently Became A "Northern Soul" Collectable In The U.K. After Making Grace A Partner At Tra-Mor, Moore Wanted To Expnd His Artist Roster. Grace Then Called On His Curtom Colleague, Cliff Curry Of The Notations. Cliff Proceeded To Connect Them With Group That He Had Often Worked With -The Procedures.Consisting Of Fred Escobar, Billy Sims, Robert Smith, And Anthony Mcdaniels, The First Release Of The Procedures Was A Tune Co-Writen By Fred Escobar And Brad Bobo-"Magic Mirror". The Arrangement Was Done By Chicago Legend Tom Washington(Tom Tom '84). Backed With The Instrumental Track, The Record Was Barely Noticed. For The Second Release In 1975, Ron Grace Offered A Une He'D Written And Cut On Himself A Year Earlier. His And Fred'S Voices Were Close Enough That It Stayed In The Original Key. "Give Me One More Chance" Would Be The Procedures Next Single, Backed With A Revamped "Magic Mirror". At This Time, The Procedures Themselves Were Revamped, With The Addition Of Walter Jones (Five Crowns: Notations) Replacing Anthony Mcdaniels. Tom Tom'S Arrangements Were Brilliant. The Sessions Were Cut At Gary Hedden'S Hedden Est Studios In Nearby Schaumburg. The Session Musicians Were Comprised Of Who'S Who Of Chicago Studio Players. Included Were The Likes Of Phil Upchurch, John Bishop, Bernard Reed, Quinton Joseph, Murray Watson, Sol Bobroy, Etc. -Veterans Of Many Brunswick, Chess And Curtom Recording Sessions.Alas, A Lack Of Distribution And Promotion This Record Hidden In Darkness, But This Kay-Dee Release Brings It Into Thee Light For A New Generation That Values Music Of A Bygone Era With New Mixes From Kenny Dope From The Original Multi Track Masters.