Review: Many Hands is a fresh label helmed by Jona Jefferies and Kava that here kicks out an eclectic EP with four tracks from various members of its musical family. Dan Aikido opens with '0800 TXT4 Herb,' a smooth fusion piece that builds a laid-back groove, blending fretless bass, jazzy keys and soulful vocals all reminiscent of Rare Silk's 'Storm.' Ernie Ruso's 'Stroke It' offers slow, sensual r&b infused with P-funky wah-wah effects while DJ Nomad's 'African Boy' brings upbeat pop house next to funky organ and a female reggae MC.Jefferies' closer 'A Change Will Come' samples Dr. Martin Luther King Jr with a rave-inspired beat and soulful piano. Cracking stuff.
Joe Gibbs & The Professionals - "Calico Suit" (3:43)
Review: Althea & Donna combined to beautiful effect on the Joe Gibbs label here with a tune that very much remains an iconic reggae anthem. It was originally released in 1977 and effortlessly captured the spirit of Jamaican music of the day with its irresistible blend of ska, rocksteady and reggae influences. Althea & Donna's stylish vocals are paired with expert production that is full of catchy hooks and neat riffs. The clever lyrics and upbeat rhythm mean it still sounds like a hit as it did back when it did well on the UK charts.
Review: This EP is the first collaborative work by Andrea Belfi and Jules Reidy. Berlin-based and hailing from Italy and Australia respectively, the duo blends compositional precision with improvisational freedom. During a residency at Berlin's Callie's-a 19th-century factory turned arts space-they and engineer Marco Anulli crafted four expansive tracks in which Belfi's masterful drumming interlaces with Reidy's shimmering guitars and electronic textures. The opener layers just-intoned guitar figures over delicate brushwork and climaxes with a synthetic surge and tracks like 'Oben' and 'Alto' explore shifting grooves, propulsive rhythms and dynamic soundscapes.
Review: 333 UK shed backscattered light on another late 1980s anti-apartheid reggae opus, Bionic Singer's 'Botha Warning'. Salvaged from the formerly seafloor dwelling chest that is the Jamaazima label back catalogue, 'Botha Warning' is a star riddim from the late great Osbert "Madoo" Maddo, who was brought up in East Kingston and as a child attended the legendary Alpha Boys School. Over his career he recorded mainly with Joe Gibbs and Errol Thompson, and for Winston Riley's famous Techniques label. The Bionic Singer alias came later, after a move to New York from Jamaica and brief hiatus; releasing on the Bronx-based Jamaazima, 'Warning To Botha' is a bloodthirsty send for South Africa's then prime minister P.W. Botha, set to a sturdy bubbler backing - the track indicts his policies as a key cause for the brutal segregation of the period.
Review: Matasuna Records, based in Berlin, kick off their 2025 with a ladling of fresh soul soma food, this time by Barca's finest one-girl band The Blaxound (Marta Roman), in collaboration with singer John Vermont. Building on irreverent, vintage 60s pop from Spain, whose sound is categorically fiendish to replicate, the two artists have nonetheless managed a close hewing here. 'No Es Por Ti' showcases Vermont's throaty singing, lyrically playing out the eternally relatable breakup trope of "it's not you, it's me." Then 'Qu Ms Te Da?' follows with an affectingly syncopal rhythm, with a tightened snare played only on the 4, heightening the erotic tensity of the scene, driven by shuffling hats alone, whilst the artists' respective cools are kept.
Review: Blundetto unveils a captivating folk single here that features the ethereal voice of French singer Juliette Magnevasoa. 'La Playa' is an acoustic-rich cover of Marie Laforet's 1970 classic and this rendition has a new vocal whose unique timbre adds depth and all-new charm. Together, the artists create a delicate harmony of softness and melancholy and blend soothing tones that evoke timeless beauty. Already heralded as a classic gem, this subtly evolved new version of 'La Playa' offers a serene and heartfelt sound for intimate moments.
Joe Gibbs & The Professionals - "Fight Back" (3:08)
Review: This dual release from Studio 16 and Town & Country offers up some exceptional roots and lover's rock fusion sounds that swell the heart in every way. It is the brilliant Barry Brown who steps up to deliver the vocal on the sick early 80s 'Boxing' rhythm. His rhythmic delivery chimes with the natty chords and earthy guitar riffs as the heavyweight bass meanders away down low. On the flip, it's Joe Gibbs & The Professionals who get busy with a dubbed-out version they name 'Fight Back'. Pure fire, so do not sleep.
Joe Gibbs & The Professionals - "Ghetto Skank" (3:00)
Review: In the mid-70s, reggae great Dennis Brown was on a creative high with producer Niney propelling him to stardom. However, around this time, he was transitioning back to working with Joe Gibbs, another masterful studio hand who would later cement Brown's superstar status. Gibbs had previously worked with him on the acclaimed Visions album, and this particular track was likely recorded during that era or slightly earlier. Despite its quality, the tune didn't reach the audience it deserved, largely due to Gibbs' lack of UK distribution at the time. For much of the seventies, Joe Gibbs remained sidelined in England, limiting the global impact of his exceptional productions, but reissues like this do a fine job of underlining his importance.
Joe Gibbs & The Professionals - "Runnings Irie" (4:31)
Review: If you are reading this you will already likely know that Dennis Brown is a reggae don. Even amongst his rich and vital catalogue, 'Money In My Pocket' is a quintessential track produced by the legendary Joe Gibbs and backed by The Professionals. This one really captures Brown's smooth vocal delivery and signature soulful style over an effortlessly catchy, rhythmic groove that takes elements of roots reggae and infills with accessible, polished sound. The lyrics focus on struggles and aspirations so resonate on a deeper level and make this one a long-standing and beloved anthem.
Joe Gibbs & The Professionals - "Peel Head" (2:49)
Review: The sound of dreadlocks, should there ever be such a thing in the abstract, is best put forward by Junior Byles, the Versatiles' lead member, backed up by a shuffling riddim produced by Errol Thompson and Joe Gibbs. 'Dreadlocks Time' hears a relick of their 'Ba Ba Boom' beat, and is a heartwarming song about self-care and respect for one's own hair, with lyrics: "don't try to stop dreading/natty dread time is a-here/don't lose your cool/respect the rules..." The music is just as measured in feel, and the version is just as "natty", so to speak; there's a very well-timed acapella moment thrown in with the version mix.
Review: Talk about being truly timeless. Chicano soul sensation Johnny Benavidez is the kind of artist who can figuratively, and spiritually, transport listeners to a golden age of Doo Wop, funk, and R&B, writing tracks and songs that glide on a smooth, easy listening cloud but still pack plenty of bite when it comes to the nitty gritty. Music to move you in many ways. Grandson of John Lorenzo Guzman (background vocalist for Sonny Powell & The Night-Dreamers), this relationship has a lot to answer for, with Pa encouraging Jr to take up singing and pursue music seriously. We're glad that happened, given My Echo Shadow & Me - a two tracker that could almost be considered retro or pastiche, if it didn't sound so damned fresh. Or at least ageless.
Joe Gibbs & The Professionals - "Golden River" (3:33)
Review: Whether or not it is a coincidence that we are fast approaching 420 and ever more weed-related 7"s are dropping we do not know, but nor do we care. Culture's 'Callie Weed Song' is going to bang whatever day of the year you drop it, so long as you play it loud. It's got carefree keys and ganglier guitars accompanying the traditional reggae groove and some super stoned-sounding vocal musings on top. Joe Gibbs & The Professionals then appear on the flip with something just as summer, laid back and seductive in the form of the great 'Golden River.' Let's not get into what that title may or may not refer to.
David Dingess - "Hyper Love" (Toni Rossano edit) (4:17)
Jaegerossa - "The Buzz" (6:07)
Cruisic - "Inspector Norse" (Slowly remix) (4:47)
FSQ - "This Is Carribean Disco" (A Tom Moulton mix) (6:28)
Review: Midnight Riot help the listener carve out their own personal Balearic headspaces with their new compilation Balearic Headspace, likening the "experience" of Balearic not just to a sound, but an affect, one that cannot be experienced without specific records or specific times and places. Do we believe it to be true? We may or may not, but that doesn't distract from the whopping curation job here, with most tunes on offer consisting of both total newness and reworks/revisions by the Midnight Riot crew; this 12" is a four-track selection of a wider 19-track digital comp. Our highlight has to be the ultra-smeary Tom Moulton mix of 'This Is Caribbean Disco' by Fsq, which floats atop a serious floe of stretched-out axe bubble and echoing crosstick, as its lyrics deal in word-painted themes of being held underwater. As mindfully, cognitively Balearic as it gets!
Review: Sao Paulo's Junior Dread brings his world reggae excellence to this latest gem from Red Peak Sound. The collaboration began when J.Brenner met Junior at Minneapolis' Word Sound Power Festival back in 2022 and soon after they began making music and it led to two powerful tracks act were finely crafted through extensive mixing and testing. On the A-side here is a slow, heavy stepper evoking a vision of resilience atop Babylon's heart, paired with a dubwise mix that strips the rhythm to its core. The B-side offers a meditative one-drop rhythm and uplifting lyrics and is also accompanied by a swirling dub version that transcends space and time.
Review: The latest release from Peckings Records features two classic tracks that exemplify the golden era of reggae. On the A-side, Alton Ellis and Phyllis Dillon deliver a heartfelt rendition of 'I'm Just A Guy,' showcasing their harmonious vocals and timeless appeal. The B-side presents Joya Landis's 'I Love You Baby,' a soulful tune that complements the A-side's emotive tone. This 7" single is a must-have for collectors and reggae enthusiasts, offering a nostalgic journey into the rich musical heritage of the genre.
Review: Emma Noble, the emerging soul singer from London, delivers a powerful performance on the girl group soul anthem 'Unstoppable'. Her second single, it's poised to become a next-gen floor-filler; catch us playing it on repeat, *in flagranti*, after it premiered on Craig Charles' BBC6 Soul Show in early 2025. 'Going Going Gone' backs it up on the B-side, as the first single from FPE's upcoming album Waves. Hearing rising Australian singer-songwriter and pop genius J Mahon on vocal duties, the track's catchy brass sections combine with J's androgynous soul vocals, and evokes the sounds of young Motown artists in the style's 60s adolescence.
Jeff Silna - "It's Always Something With You" (4:14)
Review: Favorite Recordings unearth two rare gems from the AOR Global Sounds series on this 7" single. Jonathon Hansen's track, recorded in 1978, captures a soulful AOR sound with heartfelt lyrics inspired by the breakup of his band. Backed by a close-knit group of musicians, the recording feels both intimate and timeless. On the flip, Jeff Silna's contribution channels the energy of Miami's TK Studios, blending funk-inspired grooves with smooth, melodic arrangements. Both tracks are a testament to the creativity of their era, lovingly reissued for collectors and fans of vintage soul.
Joe Gibbs & The Professionals - "The Road Is Rough" (2:58)
Review: When reggae vocalists The Heptones joined legendary producer Joe Gibbs, they collaborated with the Now Generation band to create the incredible track 'Hypocrites.' This truly lovely song stands out as one of The Heptones' finest works while also being a standout reggae classic. The track captures a powerful message and features Leroy's heartfelt performance over lovely organ work and catchy ridders. This notable period in The Heptones' career was preserved on two exceptional albums released by Joe Gibbs, including Heptones and Friends which is well worth finding for a showcase of their impressive work from the era.
Something New (extended Smooth version By Philip Ward) (5:21)
Review: Texas-based jazz harpist Cindy Horstman quietly released Fretless in 1995, a self-assured exploration of jazz textures and instrumental elegance. Tucked among its originals is 'Something New', a standout soul jazz cut that drifts with mid-tempo grace, elevated by James Kings', well, fret-free vocal perforations. Horstman's harp is hardly heard here on this album salvaging; instead, she procured 'Something New', steeped in street and smooth soul, with tuned claves and electronic triangles abounding. Pressed on clear vinyl and limited to 300 copies, this small-batch reissue offers a welcome return for a quietly majestic moment in 90s jazz-soul fusion.
Lost Girl (Marc Hype & Jim Dunloop Late Night rework) (3:32)
Special Technique Of Love (Jim Dunloop Shaolin Soul edit) (3:08)
Review: The mighty Dusty Donuts return to Queensbridge where they encounter a 'Lost Girl' featured on a legendary mixtape by one of QB's finest. This bouncy, choppy Marc Hype & Jim Dunloop Late Night Remix is sure to ignite any gathering. On the flipside, the vibes shift from Queensbridge to Staten Island and bring a special sound to work the crowd - this heavy soul classic arrives in true Shaolin style with choppy, dark soul chords and classic hip-hop beats. It's a track that commands attention with the drums but also locks in head and heart.
Incognito - "Freedom To Love" (Atjazz Astro remix) (5:25)
MRMILKDEE & Jill Rock Jones - "2 Positions" (Sean McCabe Cosmos dub) (5:22)
Harold Matthews Jr & Sean McCabe - "Metronome" (Turbojazz remix) (6:16)
KV5 & Kaidi Tatham - "Shook Up" (5:03)
Review: Reel People Music breaks new ground, in more ways than one, with the launch of fresh compilation series Broken, Deep & Dope. A spin-off from acclaimed compilation brand Soulful, Deep & Dope - introduced back in 2015 - this new series sees the much-loved independent imprint pushing further at the boundaries of soulful music. All with that customary Reel People feeling. Broken, Deep & Dope 2024, the series' first instalment, unleashes 20 superlative examples of the soulful 'bruk' (broken beat), nu beat and nu jazz sound that has so innovatively informed contemporary dancefloors around the world since its inception back in late '90s West London.
Review: The world can always do with more love and J Diggns delivers that on the A-side if this new jam on Digger's Delight with a refreshing remake. Blending the iconic Skull Snaps drumbeat with a melodic summer vibe, this track revisits a Bush Babee's classic from 1996 featuring Mos Def. At 93 BPM, it's a perfectly paced treat for classic hip-hop lovers. On the B-side, J reimagines the '96 Coolio remix with an "Atomic Dawg" vibe. Infused with classic samples and dancehall twists, it pays homage to "one nation under a groove" while delivering hard-hitting beats for the streets.
Review: In a rare backwards castling and killer checkmate, Friendly Records boldly re-press one of J Dilla's most beloved cuts, 'Geek Down', which appeared on his landmark Donuts LP. Known for its sample of the 2001 dark funk tune 'Charlies Theme' by The Jimi Entley Sound, this indelible, ringed hors d'oeuvre was essential for the critics' collective assessment that the 2005 LP was his magnum opus. Trailing pink sprinkles behind it, 'Geek Down' made Dilla's name. Sadly, the title would seem predict the artist's death just three days after the record's release. Dilla was a true productive geekazoid, and it shows in this track, with its untameable, above-the-law Western guitar wahs and tense, lilting strings keeping the goosebump hairs stood aright. The originally sampled track appears on the B, still only part-revealing the magic trick.
Review: Ja-Ge George is a rather little-known dancehall artist who has turned out only a few releases over the last 20 years. He hails from Japan and is part of the Rub-A-Dub Market crew and now he is back with a new single that comes on Far Eastern label Lawson Entertainment. 'Down Beat Rule' blends new school and contemporary raga and dancehall into a classic-sounding cut with some rhythmic vocal stabs, natty, polished chords and broken tumbling beats to amp up any crowd. On the flip, it becomes a high-energy jungle workout powered by blistering breakbeats.
Review: The Jackson Sisters are next up on the latest 45 from Tower Vinyl, which has in recent times done a superb job of serving up some timeless and effective vintage soul sounds from across different niches and eras. This one kicks off with the well high energy sound of 'Miracles' with its big vocals, bigger drums and raw horns that are well known to cinema goers everywhere. 'Boy You're Dynamite' is a more raw and emotive sound with a striped back rhythm but superbly gut wrenching vocal deliveries.
Review: Chad Jackson and Hallmighty deliver a fresh take on classic sounds with Jazz Be Good To Me on Battle Weapons France. This hip hop/R&B release features two creative tracks. Side-1 showcases Chad Jackson's 'Jazz Be Good To Me,' a lively hip hop groove that echoes the late 80s and 90s, when dance music was a key component of the genre. Jackson updates the early 80s classic by the S O S Band with a vibrant, contemporary twist, making it a perfect fusion of old and new. On Side-2, Hallmighty presents 'What Is Stormy Love,' a masterful mash-up of Haddaway and Diana Ross & The Supremes. This track is produced so seamlessly that it feels like an original song from the late 60s, blending vintage soul with modern production techniques.
Janet Jackson - "Got Til Gone" (feat Joni Mitchell & Q-Tip - DNA edit) (4:43)
Black Eyed Peas - "Joints & Jam" (DNA edit) (3:45)
Review: Two iconic tracks, each remixed with finesse by the DNA crew. On Side-1, 'Got Til It's Gone' receives a fresh edit that enhances its laid-back groove and lush, genre-blending aesthetic. The DNA touch subtly amplifies the track's timeless charm to a higher level. Side-2 offers 'Joints & Jam (DNA Edit)', revisiting their breakout underground hit with a polished edge. The remix retains the track's infectious energy while elevating its funky, soulful essence, capturing the group's pre-megastardom authenticity. Together, these edits highlight DNA's ability to preserve the originality of each track while delivering a cohesive and modern reimagining. Neat work.
We Got To Hit It Off (Dimitri From Paris Liberated Woman mix) (6:35)
We Got To Hit It Off (Dimitri From Paris Liberated Woman dub) (6:44)
We Got To Hit It Off (Opolopo mix) (5:45)
We Got To Hit It Off (Opolopo Deeper mix) (7:43)
Review: Millie Jackson emerged from the Deep South before properly coming of age in the grit of Newark, New York, but her voice always sounded like it was made for the spotlight i bold, sharp, and unfiltered. Across the 70s, she carved out a singular space in soul and funk with her fearless delivery and barbed wit, speaking plainly about lust, betrayal and resilience long before it was fashionable to do so. Her run on Spring Records placed her alongside The Fatback Band and Joe Simon, where she balanced tender ballads with club-ready burners, always laced with her signature no-nonsense bite. 'We Got To Hit It Off', first released in 1979, sits squarely in that lineage i a disco-soul gem with just enough snap to make it timeless. Spring Revisited brings Jackson's original into sharp new focus: Dimitri From Paris uses the original session tapes to craft a mix full of glitz and muscle, while Opolopo offers two flips i one smouldering and stripped, the other buoyant and synth-heavy. These versions don't only overwrite the source, but underline its brilliance for new rooms and younger ears.
Review: R Zee Jackson's 'Row Fisherman Row EP', released on Jamwax, is a smooth fusion of roots and lovers rock. Born in Clarendon, Jamaica, Jackson (also known as Esso Jaxxon or Castro Pink) eventually moved to the United States in 1973 and later settled in Canada. There, he connected with key figures in the reggae scene, including Oswald Creary of Half Moon Studio, Doug of Comfort Sounds, and the legendary Jackie Mittoo. The EP kicks off with the title track, 'Row Fisherman Row', a melodic roots rock jam enriched with smooth dub elements. The warm, laid-back groove sets the tone, followed by 'Blackheart Man', where a deep, wobbling bass carries a more traditional reggae sound. On Side-2, 'Long Long Time' is a spiritual, echo-heavy vibe that exudes class and depth. Jackson continues to contribute to the reggae community as both a performer and producer, keeping the spirit of roots music alive.
Review: Accomplished keyboard player Hank Jacobs enjoyed much renown on the American West Coast live music circuit at the height of the soul era, having already scored a recorded instrumental hit with 'So Far Away' in 1964. His subsequent gigs as a session musician might've proven him capacious only for life in showbiz as a sideman, but this possibility would be firmly and permanently negated by 'Elijah Rockin' With Soul'. The record emerged by lucky chance from a recording session with arranger Arthur Wright, and Jacobs afterwards went on to make four further releases on Alton Scott's Call Me label at Wright's behest. Now, spanning two favourite Jacobs 'sides with different regional appeals, this new one from Kent Soul hears 'Elijah' as the A track - a precocious future compliment for the Northern soul scene - and 'East Side', an instru *mental* recording with a walloping full-colour sound, more propitious to the LA scene.
Review: Aloha Got Soul is pleased to announce Bitta Attack, the newest release from Jah Gumby. Based in Palolo Valley, Honolulu, the producer and multi-instrumentalist brings shimmering musical diversity and crate-digging sensibility to his four-track EP. Two high-energy, progressive reggae tunes, 'Dine An' Dash' and 'Influencers.m.h.', trace a link to his 2018 release Humility: The Vibes of Jah G, a double LP that presented Gumby's masterful ability to craft rich arrangements with overwhelming instrumental density. Continuing this tradition, Bitta Attack hears an expansion of Gumby's galaxy, introducing listeners to his love of freestyle music, the electronic New York dance genre made popular in the late 1980s and early 1990s. Both tracks derive heavily from freestyle's rhythm, cadence and synth-heavy production, though it fuses this with Jah Gumby's already established yet unique style, resulting in something unlike anything you've ever heard before.
Roots Defender Riddim Section - "No Justice Dub" (4:18)
Kojo Neatness - "Bun Dem Down" (4:02)
Roots Defender Riddim Section - "Dub Dem Down" (4:19)
Review: Jah Mason and Kojo Neatness bring an authentic island flavour to this solid 4/4 roots rhythm that was crafted by the Roots Defender Riddim Section. The track features soulful horn arrangements as well as mesmerising guitars and keys by Black Steele and Maestro Inyaki. Originally recorded as a full band piece in Brixton over a decade ago, it underwent multiple stages to perfect its organic vibe for sound system heads. The multitrack was then taken to Ital Soup studio in South London where Petah Sunday served up a brilliant analogue mix while also adding some mind-blowing dubs all of which have already made their mark.
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