BACK IN STOCK Archives - Guerssen Records

Racional Vol. 2

GuerssenAdmin — Wed, 23 Apr 2025 22:00:00 +0000

The rare second volume of Tim Maia’s Racional album series from the 70s – even funkier and more harder-edged than the first! The record really follows the heavy soul influence that Tim had been hitting on his early 70s albums for Polydor – a strong dose of American funk and R&B, especially from the east coast indie scene – filtered down beautifully by Maia, one of the few cats in Brazil at the time who really knew how to get the sound right – and how to mix it with the best of his local influences! There’s some wonderful grooves here – definitely of the funky Brazilian type you-d know from the Samba Soul generation, but also much more solidly soul, too – given Tim’s fantastic vocals, and strong ear for putting over a tune!

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La Camita

GuerssenAdmin — Wed, 23 Apr 2025 22:00:00 +0000

‘La Camita’ is an incredible Latin funk nugget -recorded in Peru by Traffic Sound and later on by funk pioneers Black Sugar, comprising all the right ingredients to shake dance floors worldwide. Both takes on the song were released on records that today are extremely difficult to find in any condition. Latin party music in all its glory!
TRACKLIST Side A TRAFFIC SOUND -LA CAMITA Side B BLACK SUGAR -LA CAMITA 78

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Racional Vol. 1

GuerssenAdmin — Wed, 23 Apr 2025 22:00:00 +0000

Tim Maia’s fifth album released in 1975 on his own Seroma label. The lyrics are marked by his devotion to the “Rational Culture” and its religious-philosophical cult. Musically, in addition to the evident Brazilian influence, we can find some echoes of soul and funk from masters like Barry White, Marvin Gaye or George Clinton.

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Czarmageddon!

GuerssenAdmin — Mon, 21 Apr 2025 22:00:00 +0000

The LP Is Housed In A Deluxe Gatefold Jacket And Includes A Wax Pack of Eight Czarface Universe Trading Cards!
Hot off their two smashes for Marvel’s blockbuster film Venom: Let There Be Carnage, CZARFACE is back, triumphantly swinging into your universe with their new LP CZARMAGEDDON! Expect many twists and turns as Wu-Tang’s Inspectah Deck and Esoteric go to war with an all-new, all-different soundscape from Czarface producers the Czar Keys. Alt-rap icon Kool Keith shatters the lyrical glass and the enigmatic Frankie Pulitzer, who first appeared on the Venom soundtrack on Czarface’s Today’s Special, is back with guns blazing. Collectors will crash the gates for this all new chapter of the Czarface saga. Includes exclusive trading cards illustrated by Czarface chief artist Lamour Supreme!

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Never Loved A Man

GuerssenAdmin — Mon, 21 Apr 2025 22:00:00 +0000

Brand new deuluxe Vinyl Me, Please re-issue 180 gram vinyl re-issue pressed on purple & white vinyl. An album originally issued in 1967. Including ‘Respect’ & ‘Save Me’ & many others. (Plated at Quality Record Pressings).

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Piñata

GuerssenAdmin — Mon, 21 Apr 2025 22:00:00 +0000

Featuring Danny Brown, Mac Miller, Earl Sweatshirt, Raekwon, Scarface, Domo Genesis, Ab-Soul, Polyester the Saint, BJ The Chicago Kid, Big Time Watts, G-Wiz, Casey Veggies, Sulaiman, Meechy Darko & Freddie KaneFreddie Gibbs is the product of violent, drug-laden streets but unlike most rappers with similar resumes, he brings the block to the booth without inhibition or an exaggerated rap persona. Piñata, a 17 track collaboration with producer Madlib, is the best distillation yet of his transparent approach to making music, combining an at times stark honesty with electrifying talent as a lyricist and performer.
Piñata is “a gangster Blaxploitation film on wax,” says Gibbs, who came up on the streets of Gary, Indiana, the disregarded city previously best known for producing Michael Jackson. Here he is joined by Mac Miller, Earl Sweatshirt, Raekwon, Scarface, Domo Genesis, Ab-Soul and a host of others in setting his soliloquies of the streets alongside film snippets and dusted funk, soul and prog musical tapestries. While this is the latest in a series of single-artist collaborations for Madlib, after Jaylib (J Dilla), Madvillainy (MF Doom) and the street-centric O.J. Simpson with Detroit’s Guilty Simpson, the pairing is unique as it is the first time for Gibbs working with just one producer.
On Piñata, where Gibbs can shift from textbook lessons in robbing and drugging on trackslike “Scarface” and “Knicks,” to perhaps the album’s most personal song, “Broken,” a collaboration with Scarface, who, along with Tupac, DMX and 50 Cent, make up the rapper’s own Mount Rushmore of MCs (“You’re getting a hurricane of all those motherfuckers hitting you at once when you listen to Freddie Gibbs,” he says). “Deeper,” a Gibbs favorite and the third single from the album after “Thuggin'” (2012) and “Shame,” (2013) is an ode to hip-hop in the mold of Common’s “I Used to Love H.E.R.”; “High,” featuring Danny Brown, is self-explanatory and just what you would expect from Gibbs, Madlib and one of Detroit’s finest; while on “Real,” Gibbs addresses an old score just as Michael Corleone settled all family business on baptism day.
As a producer, Madlib, quite simply, is music, and ten years into his career–a time when other artists become comfortable–Gibbs remains restless, focused, with an eye on the competition and their position relative to his ascent. This is because mentally, he’s still on the corner hustling, which would be the downfall of the average rapper. With Piñata, Gibbs confirms that he is anything but average.

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Talking To The People

GuerssenAdmin — Mon, 21 Apr 2025 22:00:00 +0000

There’s always a risk you run, when championing a record like Talking to the People, of overstating your case. There’s generally an easy-to-grapple-with reason why something that the vast majority of the listening public hasn’t listened to hasn’t been heard. Poor distribution, something slightly missing in the singles, critical misunderstanding, bad timing; all those things have coalesced to make many deserving records lose out on their just desserts.
But pressing play on Talking to the People really does feel like something revelatory, something transcendent. It’s like if the Bar-Kays of the early ’70s had a woman on the mic, or if Funkadelic leaned more into rock, or if Sly Stone had half the budget. It’s an album that feels contemporary — it almost predicts Black genre experimentalists like SAULT — but also fits so neatly in with everything happening in Detroit and Memphis funk in 1973. It failed to find an audience because the audience it predicts — the musical omnivore who could see the strands between everything — hardly existed in earnest by then.

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Felona And Sonora (ITA Version Clear Red) (DEL)

GuerssenAdmin — Mon, 21 Apr 2025 22:00:00 +0000

Third LP in three years and substantially third center in a row, this was “Felona and Sorona”, the definitive consecration record for Le Orme, who became dominators of the Italian progressive rock scene, a status that still resists the inexorable passing of the years. The long opener “Sospesi nell’incredibile” shows how rules have definitely been broken: “Felona and Sorona” can therefore be seen as a statement of freedom and artistic independence, waved in front of an even wider audience. In 1973 in fact the so-called ‘new avant-garde pop’ was so popular as to influence the famous artists (such as De André with “E tutti morimmo a stento” or Battisti with “Amore e non amore”) and many musicians were not afraid to break barriers, album after album. “Felona and Sorona” is, in short, a masterpiece, of those who are made only once in a lifetime, impossible to replicate and therefore even more unique and special. The album was released in two versions, one sung in Italian and the other in English on lyrics written by Peter Hammill from Van Der Graaf Generator. This is the Italian edition, a faithful replica of the original edition on clear blue vinyl.

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Ruff Draft: Dilla’s Mix

GuerssenAdmin — Mon, 21 Apr 2025 22:00:00 +0000

When Ruff Draft saw its initial release in 2003, J Dilla possessed production skills on par with anyone in hip-hop – technically and creatively. “At the top of his game,” says longtime friend and collaborator, Karriem Riggins. After years of building while modestly deferring to others of both greater and lesser notoriety, Dilla finally completed the first solo endeavor on his own label, entirely on his own terms. The significance of such an autonomous success often gets overlooked, and partly accounts for why Ruff Draft is one of the lesser-referenced entries in Dilla’s oeuvre. “It’s a mysterious little project,” says his mother, Maureen Yancey. “But out of his entire career, that was the happiest time.” Prior to recording the EP, Dilla found himself at a crossroads. Estranged from his label, MCA, and separated from the mother of his youngest daughter, frustration abounded both personally and professionally. Dilla spent parts of 2002 and 2003 working on an album for MCA that featured his rapping over contributions from other producers with whom he had connected and whose music he respected. At the time, he was known primarily for his beats, yet reviled for his MCing by most anyone not from his hometown of Detroit. The project was to be an intentional freak of the industry. The project would go on to spur his collaborative album with Madlib, Jaylib, and would first showcase the template that he would take to his greatest heights with 2006’s Donuts. The Stones Throw reissue of Ruff Draft from 2008 featured remixes of the songs from the album, done without Dillaís involvement. This version of the album takes Dillaís mixes of the album and restores his vision for the project. “Straight from the mothafuckin’ cassette,” as he phrased the sound he was going for on the EP’s intro.

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Fragments of Light (Clear Blue)

GuerssenAdmin — Mon, 21 Apr 2025 22:00:00 +0000

Listening today to the music produced by Sensations’ Fix, a project founded and directed by Franco Falsini in ’70s, can’t just leave anyone indifferent. Already in the mid-’60s, Falsini was full-time involved in musical activities: a tireless traveler and experimenter, an artist with uncommon curiosity and intuition, after having lived for some time in the United States and England, he finally established again in Italy where he gave shape to Sensations’ Fix and signed a contract with Polydor for the release of six records in five years. Often associated with the sound of Tangerine Dream and the so-called German ‘cosmic couriers’, Sensations’ Fix were much more than mere clones of something already existing.

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