{"title":"Colemine Records \/l\/","description":null,"products":[{"product_id":"magnolia-cd","title":"Magnolia [CD]","description":"\u003cp\u003eThe studio at 122 West Loveland Avenue was not an unfamiliar space for Steve Okonski, the leader of his eponymous trio Okonski. Ever since the Colemine label set up shop in Loveland, Ohio it has been a host to a number of groups passing through town, including Durand Jones and the Indications who all of this trio's members have connections to. After setting aside some time in winter of 2020, Okonski, trained initially as a classical pianist, invited Michael Isvara \"Ish\" Montgomery and Aaron Frazer to work on an album that was initially planned to be beat driven and fully composed trio instrumentals. After finishing this first session with some improvisations, a second week was booked in the summer of 2021 to try and capture some more of that spontaneous energy. During this session, the tracks were all improvised and recorded live to a Tascam 388 during several late nights at the Colemine HQ. They were structured to allow the group's collective intuition to fully shape the melodies and arcs of the music.The album opens with Runner Up, where a triumphant yet melancholic melody in the piano leads to a more reserved B-section driven by the drums and bass of Frazer and Montgomery. As you journey through the remainder of the album you are met with a plethora of evoked and explored emotions. The calmness one has walking down a moonlit street after midnight, the connection one has for a person who comes into their world for just a moment or a lifetime, and the nerves and catharsis one feels when starting upon a new, unknown journey.Magnolia closes with Sunday, a track that was recorded late into the night at the close of their first recording session. Without the spontaneity of Sunday, the remainder of Magnolia would likely have never come to fruition.Magnolia was composed from the heart and from the spirit of those in the studio those late nights in Loveland. 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Sonically, the track tips it's hat to Ethiopian Jazz and soul of the 70s, like Rose Royce and the Delfonics. The warm vibraphone, sturdy bass line, and vocal reverb create a layered tapestry of sound that wraps around your shoulders and drifts into your ears.The new 45-edit of 'Birthday Song' is for the DJs. It's an upbeat and funky jubilant jam that's ready and waiting to take the place of outdated standards.Both tracks were co-written and produced by Torbitt Schwartz (AKA Little Shalimar) of Run the Jewels, 'Fine Right Here' is a welcome departure to the upbeat nature of 'I Am What I'm Waiting For' whereas 'Birthday Song' is set to be a celebratory go-to.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFine Right Here\u003c\/li\u003e\n\u003cli\u003eBirthday Song (Radio Edit)\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 674862662852\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Colemine Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 4.12.24\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e 7\" Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Kendra Morris","offers":[{"title":"Default Title","offer_id":45455665332422,"sku":"20067","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4299346-3114260.jpg?v=1768499073"},{"product_id":"step-down-cream-colored-vinyl","title":"Step Down - Cream [Colored Vinyl]","description":"\u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eStep Down\u003c\/li\u003e\n\u003cli\u003eThe Other Side\u003c\/li\u003e\n\u003cli\u003eTime to Rebuild\u003c\/li\u003e\n\u003cli\u003eOmnificent\u003c\/li\u003e\n\u003cli\u003eBoardwalk\u003c\/li\u003e\n\u003cli\u003eGandys\u003c\/li\u003e\n\u003cli\u003eHigh Times\u003c\/li\u003e\n\u003cli\u003eLove Age\u003c\/li\u003e\n\u003cli\u003eIn Common\u003c\/li\u003e\n\u003cli\u003eThomas the Cat\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 674862659586\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Colemine Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 4.1.22\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Sure Fire Soul Ensemble","offers":[{"title":"Default Title","offer_id":45455678243014,"sku":"36166","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4124955-2867355.jpg?v=1768499277"},{"product_id":"bread-butter-lp","title":"Bread \u0026 Butter [LP]","description":"\u003cp\u003eThe LP that started it all - and the first ever re-issue pressed at Gotta Groove! Bread \u0026amp; Butter, the first full length LP on Colemine Records and the debut of The Jive Turkeys, is nothing but funky, soulful instrumental goodness from start to finish. Bread \u0026amp; Butter clearly established The Jive Turkeys as the initial benchmark for the old-school funk revival in the Midwest. 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Morris's latest record for Karma Chief strips away the veneers of layered production and slick sounds to create an album that may be Kendra at her most authentic, one in which the creative process is vibrant, beautiful, and messy, buoyed by heart and the imperfectly perfect now. A concept album in reverse, Next ties Kendra's cast of characters (including her band: guitarist Supremo \"Premo\" Massiv, bassist Monti Miramonti, and drummer Chauncey Yearwood) to a vintage board game in the spirit of Milton Bradley's finest retro dice-rolling moments. Travel along Next's block-to-block journey, and this universe reveals itself as a mosaic of corals, creams, and pale lilac tiles. You can hear the sonic palette resonate with Morris's influences and inspirations. Decades of New York sounds and voices bend and blend at the seams of these tracks-a world where the Brill Building and Warhol's Factory thrive on the same block while Blondie and the Frightnrs explore rocksteady sounds. Doo-wop and boom-bap soundtrack a UHF network's worth of cut-and-paste stylings, all the while paced by Morris, an artist equally at home behind the lens as she is in front of a microphone. Next is an album of firsts. The album's extended gestation provided Morris with an opportunity to explore her ideas and demos. \"I've been living in this record for over a year,\" says Morris. \"I've always been a writer, and [Next] was a chance to write a record from scratch on my own.\" The New York (by way of Loveland, Ohio) production is co-helmed by Kendra Morris and Leroi Conroy. It's production trades the steel and chrome sleekness for a more personal and scaled-down sound, exposing the songcraft. While earlier albums were awash in IMAX-level cinematic sweep, Next explores Kendra's perspective with a handheld 8mm kinetic energy, all the while showcasing the dynamic, soulful range of her powerhouse voice - equal parts Roberta Flack, Betty Wright, and Minnie Riperton. With recording done at Portage Studios in Loveland and additional vocals recorded at Kendra's Brooklyn apartment, the symmetry is as poignant as it is reflected in the home cooking vibe throughout. \"I wrote and recorded my demos right here at this desk with my guitar, drum loops, and my Casio keyboard,\" Morris reflects. \"To then have Leroi come here, stay a few doors down, and record the vocals felt right and right now and I'm also playing guitar [on Next] which I'm excited about, too.\" Much like the best board games, you may end your journey where you began it, but the path you take along the way is where moments are made. Additional guests on the album include Ray Jacildo of Jr. Thomas and the Volcanos, lending his organ and piano to lo-fi reggae banger \"Flat Tire.\" It's a track that traces the throughline from Kingstown to Bushwick and back again all with Morris' signature AM radio-ready vocals. Kendra Morris and Karma Chief Records invite you to play along with Next, a sonic journey where the roll of the dice means excitement and adventure. Explore the world, tile by tile, meet new friends like Jerry \u0026amp; Roger, help the gang with a \"Flat Tire,\" or read a letter to \"Dear Buddy.\" Maybe you can avoid crossing paths with \"Bill.\" It's Next, complete with 10 tracks and hours of fun for the whole family. Some assembly required. 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Fronted by bandleader and son of East Los Angeles Joey Quinones, the group has quietly chipped away at the sounds of R\u0026amp;B and soul for the last half-decade. Quinones and his crew have continuously created a distinctive vibe that explores all aspects of a timeless genre, bringing together their interpretation of music through an unmistakable modern lens.With their most recent effort, the aptly titled Sinseerly Yours (Colemine 2024), the band recorded most of the album live in the studio. With Quinones on vocals and keys, vocalist Adriana Flores, Christopher Manjarrez on bass, Francisco Flores on guitar, Bryan Ponce on guitar and vocals, Luis Carpio on drums and vocals, saxophonists Eric Johnson and Steve Surman, and Jose Luis Jimenez on trombone, Thee Sinseers achieve their most fully realized sound to date.All of the album's stunning tracks were recorded in a converted studio space in Rialto, California, known as Second Hand Sounds. This space, which used to be a dentist's office, allowed the group to experiment with their sound like never before-this time, the group managed to take a series of big swings, only to emerge with a fuller, more pronounced version of themselves. Despite those new strides, the band remains wholly committed to it's sonic aesthetic while injecting it's brand of vibrant 21st-century cool.Of course, the group has never been the type to shy away from their influences as they expertly toggle between '60s pop vis-à-vie early Beatles records to obscure dancehall Jamaican tunes-all fully extrapolated and reinterpreted through modern Chicano soul sound that the group has built their everlasting repertoire on.Quinones and bandmates have continued to apply what they've learned from their previous releases and their relentless touring schedule throughout the country. It's clear here that the work is paying off, putting to practice their musical chops thoroughly with all members expertly honing their sound. 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In just over a minute, Opening, the aptly titled first track, encapsulates a sense of what's to come for those along for the adventure. Sci-fi synth waves build into the sophisticated sounds that saturated radios and hifi sets as the space race mounted in the late 1960s, culminating in a big band brass arrangement which catapults GFO into a new sonic era. The dramatic scene is set by Megan Mancini's vocals on Eyes of Love as the story of a landlocked lover whose heart is held hostage by a cosmonaut ready for take off into uncharted territory unfolds. Seth Applebaum, Ghost Funk Orchestra's commander in chief who composes, produces and arranges the music in his upstate New York subterranean lab, has always had a latent fascination with space and space travel. Midway through penning the instrumentals which would become the backdrop of GFO's fifth album, he became aware that Internet Archive had made the sound footage of those Apollo to Mission Control transmissions accessible in the public domain, which, once he started listening, gave him the idea of using that narrative as a binder for the music which was coming to life. The process became painstaking - the footage was filled with long silences, punctuated by surprisingly casual commentary on the cosmos. Applebaum's commitment to the voyage drew him into a kind of historical tourism in which he studied film, photos and music from the era. He was struck by the gusto with which new technology was embraced in pop culture of the day, and honored that tradition in the creation of A Trip To The Moon, skilfully using a blend of digital recording techniques to cobble together orchestrations incorporating 60s \u0026amp; 70s analog keyboards and the guitar sounds reminiscent of early surf bands from the 50s and 60s. We also hear a nod to the 90s surf punk band \"Man or Astro-man?\", who used vintage sound bites in their music, tying their likewise cosmologically themed concept albums together with clips from vintage sci-fi and B movies. This appealing device of using sound bites from films and tv shows as a container for a body of music was also heavily featured on \"Little Steven's Underground Garage\" radio show, to which Applebaum listened faithfully in his formative years. As the 15 compositions which make up A Trip To The Moon took shape, Applebaum brought his now seasoned band into the studio with a new found confidence acquired by touring heavily on the success of 2022's A New Kind of Love. On A Trip To The Moon we hear a departure from the clean production path of GFO's earlier releases, delivering studio performances on which the players \"let rip\", breathing life and their personal voices into the songs. Mancini's vocals are once again juxtaposed alongside those of Romi Hanoch. The horn section of saxophonist Stephen Chen, trumpeter Billy Aukstik, flutist Mike Sarason and James Kelly on trombone is joined by guest Stuart Bogie who augments the lush orchestrations with his spectacular reedmanship. Will Marshall weaves cinematic strings throughout. The audio-montages are bound at a deeper level by an intangible quality which can only be described as the thing that happens when a band eats, sleeps and plays together around the world. The uncanny thing to this writer, having witnessed in real time the 1969 moon landing on a big black \u0026amp; white TV which was wheeled into my classroom, is that A Trip To The Moon instantly transports me to that time, capturing and evoking all the feelings of excitement of being alive at that moment. 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You could say that Parlor Greens are greater than the sum of their parts however, the individual parts are simply stellar on their own. Tim Carman (GA-20) on drums, Jimmy James (True Loves, formerly Delvon Lamarr Organ Trio) on guitar, and Adam Scone (Scone Cash Players, The Sugarman 3) on organ. Scone is perhaps the most tasteful living organist on planet Earth (and beyond) and to watch him play is to truly watch a master at work. He bends the organ to his will like a true mastercraftsman. He's a veteran of the soul revival scene, having played on many Daptone recording sessions since their inception, but also has learned from some of the legends of soul jazz: Melvin Sparks and The Turbanator himself Dr. Lonnie Smith. Jimmy James needs no introduction to many as he's been seen all over the world performing with instrumental groups The True Loves and the Delvon Lamarr Organ Trio. Perhaps the most dangerous right hand in all of soul music, his signature funky approach can be identified by even the most novice of music fans, a feat most musicians could only dream of. Tim Carman. The backbone. The pocket. Having cut his teeth touring the world with blues group GA-20, Carman's expertise in the world of blues shuffles might make him an unlikely candidate to lay the foundation for the funky Parlor Greens, but this debut LP shows otherwise. Steady, heavy pockets and as funky as they come. Parlor Greens started off as an idea before it even had a name. Carman had been chatting with Colemine label boss Terry Cole about their shared love for organ combo records of yesterday on labels like Blue Note and Prestige. Cole said he'd love to have an organ trio be the first project at the label's new studio, Portage Lounge, located in Loveland, Ohio. So when Carman tapped James and Scone for the session, the stage was set. Carman and Cole had started work a day early to dial in the drum sound, so when the rest of this murderer's row arrived they hit the ground running. It was instant chemistry. Within the first ten minutes of everyone plugging in, a song was written and recorded, \"West Memphis\". And over the next three days, these three maestros conducted a beautiful and soulful symphony straight to tape. As natural and fun as three old friends getting together after a long absence, only this was the first time they had written and performed together. True magic. So this is the result of that session. Eleven cuts. Ten originals. Two sides. All killer, no filler. Straight to the old reliable Tascam 388 tape machine, mixed up nice and dirty for your enjoyment. 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It's a masterstroke of impassioned message-music exploring ageless themes of inequity, love, and togetherness. A fateful February 2023 encounter with Grammy Award-winning recording engineer Boo Mitchell (Mark Ronson, Bruno Mars, Al Green) at Royal Studios created a spark that sent the band back to Kansas City with new musical conviction. By November, the band had returned to record all-new Southern Soul-inspired songs in the legendary Memphis studio.The ever-powerful female trio fronting the band-Paula Saunders, Seyko Groves, and Shon Ruffin-has been the hallmark of The Freedom Affair's sound and identity, and their collective vocal prowess is on full display ranging from tough to tender, touching on heartache and hope. The experience at Royal studios convinced the band that there isn't a better room to record horns. The \"one take\" horns of Pete Carroll on trumpet and Brett Jackson on saxophone prove their years together as a unit have paid off with their precision and lines written to meet the vibe perfectly. With rhythm section personnel remaining the same from their debut album Freedom is Love, a shift in instrumentation moves Chris Hazelton from bass to his primary instrument of the Hammond B3 organ along with various keyboards. Branden Moser swaps in the bass, which also happens to be his primary instrument, from his former rhythm guitar. Cole Bales continues to dig into timeless riffs on lead guitar, and Dave Brick maintains the backbone with the heavy boom-bap on drums. This album has cemented The Freedom Affair's sound: enduring melodies with rich arrangements, backed by a gritty pulse.Royal was the perfect site for this album, and the band took full advantage of the studio's history by incorporating studio tools and relics throughout the process. With only four days to fully track the ten-song album, the band insisted on using the same Ampex 1\" tape recorder that produced all the Hi Record hits from 1974 and prior to preserve authenticity. It was the first time the machine had been used for an album since 1974. The limitations and quirks of using vintage, analog gear made way for magic moments that shape the album's charm. The record calls fresh attention to classic Southern Soul with all the coziness and warmth you'd expect from listening to Al Green or Ann Peebles, captured in the very same room. 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Deep from the rusted steel mills of Youngstown Ohio, we bring you the much-anticipated reissue of the melting debut from the Scone Cash Players. It's the same organist that brought you the screaming organ on all those Daptone favorites from The Sugarman Three. Scone was behind that organ bench on the modern classics as follows. \"Sugar's Boogaloo\", \"Soul Donkey\", \"Pure Cane Sugar\", and \"What the World Needs Now.\" Adam Scone entered the studio on Dunham Street in Brooklyn. He was wearing a blue Adidas jump suit. The studio had just opened. At the helm were his old compadres from The Dap-Kings. Namely Thomas Brenneck, Eric Kalb, Homer Steinweiss and lan Hendrickson-Smith. They make up the \"Bliss Machine\" behind Scones's groove. It was a truly rare moment to catch these masters of music and taste in between tours of Sharon Jones and Charles Bradley. Tommy put the mics around. Scone powered up the organ. The analog tape machine turned and turned until they couldn't turn any more. These songs were recorded. We worked all day and all night. Tears were shed. Espresso was made. There was beer on tap. 3 days of life were taken to make this album. We will never get them back. They were distilled to 40 minutes of pure emotion. It's a tale of woe. It's a tale of leaving art for responsibility. It's a farewell to an era. It's a journey that the Hammond B3 organ wasn't accustomed to. You can't compare this album to any other organ record. Don't expect to hear what you want. Free your mind. Be open. Your world is going to feel the heat of the BLAST FURNACE! It never quite feels how you want it to. 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