Review: This is one of those raw soul sounds that never goes out of fashion, and thankfully neither does it often disappear from availability. It features two r&b classics, the dancefloor-ready 'Last Night' and the soulful 'Don't Break Your Promises', both originally released on the Rainbow label in the UK and a long-time bastion of Aitken's mastery of blending Jamaican and British influences. The opener draws from The Mar-Keys and Georgie Fame, showcasing r&b's imprint on Aitken's style. 'Don't Break Your Promises' is a Milson Luce cover that gained fame in Jamaica before inspiring numerous versions.
Everybody Loves The Sunshine (instrumental) (4:36)
Review: 'Everybody Loves the Sunshine' represented a pivotal moment for Roy Ayers and Ubiquity as it marked a shift towards a funkier, more relaxed sound in 1976. It is one of his best-loved tunes as a result and always comes out when the weather warms up. That means it also often gets reissued, as it does here, as the track captures the essence of summer through joyful lyrics and a hypnotic groove. Ayers' vibraphone melodies intertwine seamlessly with the band's instrumentation while on the flip us an instrumental that offers a slightly different vibe. It all comes on nice yellow marbled vinyl.
Review: These two classic reggae tracks are now available on 7" vinyl and pressed loud for maximum vibes. Cornell Campbell's opening cut 'Darling Forgive Me' is a heartfelt, soulful tune that showcases his emotive vocals over a smooth, steady rhythm. The song has become a sound system favourite over the years with its emotional plea and captivating melody. On the flip side, The Paragons' 'Baby Some Day' brings a more upbeat vibe with its catchy hooks and harmonious delivery. It is a perfect blend of love and longing, wrapped in a laid-back, rhythmic groove.
The Temptations - "All I Need Is You To Love Me" (3:19)
Review: Soul fans will be delighted with this one from Outta Sight. It serves up two gems from the genre with 'Whenever I'm Without You' up first from Chris Clark. His Motown legacy continues to serve up surprises as this one was discovered only in 2018 despite being recorded back in 1968. Here it makes a glorious vinyl debut backed with another big tune that somehow has never been released before on wax, and that is The Temptations' 'All I Need Is You Love To Me' which was also penned first in 1968. There must have been something in the water to mean neither saw the light of day but at least they do now, some 55 years on.
Review: Timeless digital roots and dub from The Disciples here featuring the late Jamaican singer Creation Stepper, who i most famously well known for his iconic 70s roots reggae classics. This release includes a fresh take on Stepper's 1978 track, 'Kill Nebuchadnezzar' and it is paired with another vocal gem, 'Ozone Layer,' plus two powerful dub versions. Originally mixed and produced by Russ D in The Disciples' studio in 1991, this music finally saw the light of day in 2011 on the Disciples Vintage label where it quickly sold out. Now back on a great sounding 12", this is a must for roots and dub heads.
Review: We're big fans of this label here at Juno HQ as we have said before and how can you not be when it serves up soul as good as this? Mel Day delivers authentic deepness with 'Every Day I Try.' It is a heartfelt lament for lost love that is backed by the accomplished Tito Lopez Combo and some magnificent instrumentation. On the flip side, 'Baby Girl' sees Mel channelling the spirit of Joe Tex with confidence and flair. Produced under license from music maestro Harbans Srih, this vinyl-only release harks back to the golden era of soul music and is sure to prove a timeless modern classic.
Review: This Hawaii-based label consistently delivers soulful gems like this which is why we love it so much. Mel Day brings genuine depth with 'Every Day I Try,' a poignant reflection on lost love, complemented by the talented Tito Lopez Combo and superb instrumentation. On the other side, 'Baby Girl' showcases Mel's confident and stylish channelling of the spirit of Joe Tex. This vinyl-exclusive release, produced under license from the esteemed music maestro Harbans Srih, pays homage to the golden age of soul music and is destined to become a timeless modern classic.
Review: Sheffield rock royalty Def Leppard build momentous hype for their upcoming tour alongside Journey with the release of their brand new single 'Just Like 73'. Written in collaboration with Rage Against The Machine axeman Tom Morello, the banger comes complete with an absurd music video of computer generated de-aged models of the band and a parachuting Morello making their way to Earl's Court to perform for a massive crowd of adoring fans. Elaborating on the experience, the guitar guru stated - "I had a blast rocking a solo on 'Just Like 73.' I played 'Rock of Ages' in my college cover band almost 40 years ago and here Def Leppard are still killing it in stadiums with a brand-new tune that's one of their best." Pressed on limited 7" wax with an alternative version on the flip, the Leppard evidently still have plenty of sugar in the petrol tank.
Review: Mountain Records are a new funk label, pushing 45's cut with new funk tinged with a modern production sheen. Two label mainstays decorate each side of this one: for the A, Double A asks 'You Feel Alright?' We certainly do, not least thanks to the artist's heavy locking down of sampled big boom drums, funky grooves and evil laughter. The Gaff meanwhile offers up a breakbeat banger to the altar, letting up on bass for a weird, flauting finish. 7"s collectors, watch out.
Review: Roots and reggae masters Partial know which EPs need reissuing and once again they prove that this month by casting it back to 1992 for Earl 16;s revered Natural Roots. For those who were there back then, it is well known that Jah Shaka played the tunes of this EP at every gig for almost 10 years and they never failed to get you moving even though you knew he was still only warming up. An original copy will set you back 50 odd quid so don't sleep on this great sounding reissue, which features the exact same play list as first time round.
Review: Lost in Music: Post Industrial Dreamscape is a powerful film made by British artist Jermaine Francis. This is its soundtrack and it is a collaboration between Tony Bontana and Francis himself. The soundscape mirrors the film's moody and smoky dissonance as it delves into Post-Industrial Britain's social and political landscape through Francis's life. After being inspired by seeing the film, Full Circle saw potential in the track and remixed it into a loose yet mechanical sound with trippy synths and churning bass, while Ukrainian artist Shjva added her own interpretation that is a much more heady and dee bit of techno with cosmic synth overtones and an otherworldly feel.
Review: Jeff Goldblum is a cult movie actor, a famously likeable bloke and also a damn good jazz singer and pianist with many essential works to his name. Now he has released two new singles featuring singer, songwriter and actress Haley Reinhart. Teaming up with his long-time band, The Mildred Snitzer Orchestra, for the occasion, the unlikely but accomplished pair deliver unique covers of Taylor Swift's hit 'Lover' and Loreen's 'Tattoo.' They add completely different musical perspectives to the delightful pop originals and both tunes are sure to appeal to a wide range of music lovers, not just fans of Goldblum.
Heptones - "Ain't That Bad" (with The Supersonics) (2:33)
Tommy McCook & The Supersonics - "Ska Jam" (2:51)
Review: For those truly in the know, rocksteady didn't begin with the legendary producer Coxsone Dodd. If you need any evidence then check out this tidy 7" which presses up a couple of tunes from before his era really began. Originally released in the mid-sixties on Caltone, it is an early jam from The Heptones who were already showing their class by this point. 'Ain't That Bad' is a bright cut with some captivating vocal harmonies as well as majestic horn leads and grooves that recall early ska. On the flipside that comes more to life with Tommy McCook's storming 'Ska Jam'.
Peter Hunnigale & Tippa Irie - "Hard Times" (3:43)
Nick Manasseh - "Dub Hard" (3:42)
Review: The cult figure that is Peter Hunnigale and South London reggae sound system mainstay Tippa Irie have teamed up to deliver a fresh rendition of Pablo Gad's classic riddim 'Hard Times.' This new version is just the fifth release from the Tok 2 label and it arrives on a 7" that showcases both artists' distinctive styles with Hunnigale's soulful vocals and Irie's dynamic DJing making it a real winning sound. The B-side features a dub mix by renowned producer Nick Manasseh, and he adds real dub depth to the track.
The Techniques - "Travelling Man" (with Tommy McCook & The Supersonics) (5:13)
Review: Jamaican rocksteady vocal group The Jamaicans linked with Tommy McCook & The Supersonics back in 1967 for this piece of rocksteady gold. The a-side of this reissue comes with the original Treasure Isle-version of the 1967 festival song. It's heavy, love struck, earthy and organic. The super B-side is a remixed version of the A-sides's backing track, but with the addition of some overdubbed percussion and syndrum parts as well as a sweet but uncredited toasting and DJ appearance by Jah Thomas. Both sound as hot and crucial now as they did all those many years ago.
Review: Boom Bap Classics does exactly what it says on the tin once more here. For the eighth time, it has chosen some real heat to offer up on 7" as King Tee and The Alkaholiks feature with two of their golden era boom-bap gems. 'Bus Dat Ass' has a mix of raw and dusty drum breaks and big, bouncy bars that bring a party feel. On the flip things get more slow and dirty, the bars are less playful and more serious and the production features squelchy bass and hypnotic Middle Eastern melodies. Two gems, to be sure.
Review: This is one of a pair of new slabs of wax from Amsterdam's Sound System and label of the same name, King Shiloh. It features an array of modern dub and reggae talents and first up, Lavvosti & Black Omolo offer the modern sheen of 'Red Gold Green'. Kare's 'Better Days' rides the same rhythm but with more stylised and soulful vocal turns that empower with every bar. Jah Works dubs things out with a ton of effects and Tiger Simeon & Brada Jahziel layer in storytelling bars. Brasspect brings a fresh horn-led sound that is romantic and hypnotic and Roots Mechanic pairs things right back to an 80s sounding Jamaica dub vibe.
Barbara Lewis - "Baby What Do You Want Me To Do" (2:36)
Tony & Tyrone - "Please Operator" (2:48)
Review: US American soul singer and songwriter Barbara Lewis had a smooth style that very much influenced rhythm and blues during her 60s heyday. She began writing songs at the age of just nine and as a teen, recorded with producer Ollie McLaughlin. Her best known tunes club high in Billboard charts and include 'Hello Stranger' and 'Baby I'm Yours' but here it is the swinging sounds and swooning stings of 'Baby What Do You Want Me To Do' which gets pressed up alongside Tony & Tyrone's Northern Soul gem 'Please Operator' which is more raw and urgent soul.
Manasseh meets The Equalizer - "Conspiracy Dub" (3:44)
Review: Nick Manasseh and Jeremy The Equalizer pillage their vast vaults for a bunch of rare dubs here that date all the way back to 1998. The spaced out and heady originals 'Next Step' and 'Next Dub', are backed by two further gems in 'The Ark' and 'Conspiracy Dub'. These two have The Equalizer on production and date from a few years later in the early 90s. All four of these solid saes are perfectly designed to be played loud and proud of proper sound systems. This is their first time on vinyl.
Review: The peerless Partial is back with some brilliantly deep cuts from Nick Manasseh and Jeremy The Equalizer. A-side cut 'Absentee' showcases a robust part-digital rhythm and some warming dub low ends that are finished in style with Danny Red's commanding vocals weaving in and out of the mix to a heady effect. The single was originally a track from their popular 1993 album, and here it is served up on 7" next to a rare B-side dub mix that fleshes things out, adds plenty of reverb, and generally makes for more horizontal and heady listening.
Review: The Top Ranking crew has pulled another doozy out of the bag here. Freddie McKay's 'Mope & Cry' finds the vocalist at his most vulnerable and expressive. It was originally released in 1974 during the golden era of Jamaican music and is steeped in rich harmonies with a rolling bassline with gently skanking guitar that cushions McKay's aching vocals. With a voice that effortlessly conveys sorrow and resilience, he delivers a timeless tale of love lost and emotional survival. The killer dub on the flip makes this one a no-brainer.
Review: Sunset's reissue series of Harry J releases continues with this gem from the late, great Freddie McKay's 1986 collaboration with The Jah Apostles, one of the last productions to feature the singer - who seamlessly navigated from the early ska days right up to the digital era - before his untimely death in November of the same year. McKay's soulful vocals ride effortlessly over the Apostles' mesmerising rhythms here, meaning that it is impossible not to be transported listeners to the golden shores of Jamaica at sundown. As is so often with the case with reggae, there's a dubbed out version on the flip - we wouldn't have it any other way.
Judson Moore & The Al Tog Staff - "Everybody Push & Pull" (3:11)
Review: Soul Junction revisits the Scot-Tees Capri master tapes here to unveil two previously unreleased tracks. First is 'My Sweet Polly' by The Scott Brothers, a late 60s dance tune inspired by Howard Scott's former girlfriend. Coupled with this is a studio version of Judson Moore's "Everybody Push & Pull," a crossover hit influenced by Rufus Thomas. The Scott Brothers evolved from the 'Elpeccios' in 1958 to the Scott Brothers Band in 1963 and were instrumental in Chicago's music scene. Their label, Capri Records, produced hits like 'We Like Girls' and worked with legends like Garland Green. Judson Moore was a veteran singer who thrived under their mentorship and went on to leave a lasting legacy.
Review: The Tito Lopez Combo brings together some of London's finest musicians and here is led by the renowned drummer Harbans Srih, who gained fame for his performance on the iconic Starsky & Hutch theme with the James Taylor Quartet. On this one, 'Bostin ' Norton' gets going with some steamy and seductive sax notes which rise out of a bubbly funk brew. 'Play It Again Sam' los it don t more pensive and prying melodies which unfurl at their own pace of icy cymbals and deep drums.
Review: T Rex, and Mark Bolan, will forever be remembered as one of the all-time greatest British rock 'n' roll bands. Perhaps what's so remarkable is just how varied the outfit's output during their decade-long tenure as cult then chart-topping heroes, moving from the psychedelic folk movement into the heady world of glam rock as the 1960s drew to a close. Those who haven't explored their full back catalogue should do so as a matter of urgency. Tanx and Zinc Alloy and the Hidden Riders of Tomorrow are two bonafide gems therein, both albums reflecting the broad influences that helped forge such a unique sound for the group. 'The Groover', and its B-side, 'Midnight', appeared on neither, released only as a standalone 1973 single, but have regularly been attached to special edition versions of those LPs. Now's the chance to own them in their original format.
Review: Hope & Faith Records returns with fresh releases featuring the "Standing Tall Riddim," a new production in the early 70s roots reggae style. There are three in all and this one is from the female harmony trio from the renowned Basque reggae band Tacumah. They perfectly pay homage to the roots reggae era while adding new school touches with both tracks rolling deep and authentically with soulful vocal stylings up top that ledge deep into your heart.
Review: This one is such an evergreen classic that it is never long between reissues. The Take Vibe EP is musician Laurence Mason and he here mashes together the sounds of Dave Brubeck and Dave Greenfield of The Stranglers - it started on YouTube and got over one million hits, so then made it to vinyl and keeps selling out. On the flip is a romantic, late night jazz version of The Police classic 'Walking On The Moon', making this a real collector's item.
Review: This one is such an evergreen summer classic that it sells out whenever it reappears and gets reissued on a regular basis. Last time was last summer but now the rays are back in our lives we're glad it is available one more. Brazilian jazz vocalist Tania Maria is a true icon with a huge back catalogue of music behind her. Here, Soul Brother look back to her 1983 album Come With Me and lift a pair of pearlers for this vital 7". 'Come With Me' is a sundown slinker, with Maria's airy tone gliding over the sprightly piano chords while on the flip 'Lost In Amazonia' is a joyous, scat-powered slice of jazz funk with incredible slap bass flex. Essential summer grooves.
Review: The Tartans deliver a powerful double A-side single on the Reggae Fever label here with 'Awake The Town' unfolding in under three minutes. It's earthy, dusty with vintage reggae rhythms creating an irresistible groove as the buttery smooth vocals fill you with good vibes and the natty keys rumble on. On the flip side, Claudette Thomas's 'Roses Are Red' offers a more ska-tinged groover with a loopy rhythm and more lovely vocals that are sunny, carefree and have a romantic vibe. Both tracks blend sweet melodies with reggae riddims which carry you away without a care in the world.
Review: Vodkast Records continues to put a focus on Georgian musicians here with a new EP composed and performed by Tedi, while Zesknel also offers up three remixes. These are experimental sounds from the word go: 'Peru' is all fizzing textures and live jazz drums with moody spoken words, 'Upper Manuality' is a raw techno stomper with a sense of dystopian menace and 'Saturn' is a lithe, dubby and deep space techno interlude. 'Detunator' brings curious, clean synth modulations and shuffling rhythms. The remixes all bring dark energy and otherworldly motifs.
Review: Willie Tee is one of those New Orleans artists whose records are hard to find and expensive. He is the perfect subject of special record store day reissues and that's what we get here from the Gatur label. 'Concentrate' is some high-class mellow magic from 1980. The backside tune is another doozy with more New Orleans mellow funk bringing to mind the quality of Roy Ayers., It all makes for a 7" you simply cannot find anywhere online for any money whatsoever and thus a crucial one to snap up before it's gone again.
Review: Should you be able to find original copies of the two dusty-fingered classics featured on this "45", your bank balance was be significantly smaller. Of course, just because something is rare and expensive doesn't make it good, but Jimmy Thomas's 1969 cut 'Springtime' is genuinely brilliant. Released when funk-rock was arguably at its height, it sees the legendary soul man belting out Alan de Roches' lyrics over a Hammond-heavy fusion of soul, funk and Hendrix-style heavy rock. This time round, it comes backed with a relatively hard to find - on vinyl, at least- chunk of reggae/soul/rhythm & blues from iconic Jamaican singer Owen Grey. It's superb, of course, but we still prefer the incendiary A-side.
Review: Peckings presents a stunning reissue here for lovers of roots and reggae. This 45rpm features The Three Tops and the legendary Alton Elli who is one of reggae's most cherished voices. On the A-side here, 'Do It Right' showcases The Three Tops' silky harmonies over a classic rocksteady rhythm and delivers a pure golden-era Jamaican vibe that takes you there in an instant. The flip side offers Alton Ellis' soulful and heartfelt rendition on a tune that solidifies his status as a reggae don. Both tracks exude real charm even now all these years on and are worthy additions to any box of 7" heat.
Review: Originally called The Take 5, Timebox hails from Southport, Lancashire. This quintet's use of organ and vibraphone helped to heighten their obvious love of soul and jazz influences which were always reflected in their repertoire. Before signing with Deram, they recorded a standout rendition of Dizzy Gillespie's 'Soul Source' for the Piccadilly label and here we get their superbly raw and direct 'Beggin' tune, a real piece of 60s gold. On the flip, The Quik's 'Ben's Apple Crumble' brings more brilliance to a crucial 45.
Review: London-based Tokyo Riddim Band is a fusion of cultures, uniting three generations of Japanese female musicians with London's eclectic soundscape. Their vibrant performances merge reggae drums, funky basslines, and City Pop guitar, all live and dubbed-out on stage, creating a cultural phenomenon in the reggae scene. Following their debut single's success, "Denshi Lenzi," Tokyo Riddim Band presents "Canoe Boy," a hypnotic Japanese new wave reggae track. Originally penned by Japanese punk rock pioneer PANTA in 1980 for Tomoko Kuwae's album, this gem makes its single debut now. Dubby and funky, Tokyo Riddim Band's rendition, enhanced by Prince Fatty's dubwise touch, features siren machines, extended solos, and a groovy outro.
Sulking In The Hallway Outside The Cafeteria (4:11)
Review: Luke Wyatt's Torn Hawk project has always been hard to pigeonhole, with the American producer frequently combining admirable experimental instincts and a love for dusty, distorted sounds with a desire to foreground melody and associated musical niceness. Both sides of his musical personality combine on this six-track EP for Fixed Rhythms. The highlight - for us at least - is the surf guitar solo-laden moody epic 'Oh Yeah (Cop Collab)', where waves of gritty, psychedelic and weirdo noises rise above dense sonic textures and rolling beats. That said, there's plenty to set the pulse racing elsewhere across the EP, including the outstanding-fi workout 'Make Things So Complicated', the dubbed-out beat science of 'Dirty Black Satin' and the experimental breakbeat madness of 'Sulking In The Hallway Outside The Cafeteria'.
Review: Melbourne, Australia based sextet The Traffic, headed up by Ivan 'Choi' Khatchoyan, serve up a special MJ feature funk 45. Presented in a special pressing in red vinyl with black splatter, we get awesome renditions of Michael Jackson tracks 'Beat It' and 'Thriller' from his iconic Thriller album from 1982. The big band energy of the players make these cover versions worthy your attention, with a killer horns section imitating the king of pop's falsetto to great effect.
Review: South London's Trambeat return with a double punch of funk and soul on LRK Records 13 years after first being formed by Graham Potter and Des James. The Croydon-based band brings classic Northern Soul energy with sharp modern flair to their latest 7", featuring 'Blow Up The Groove' and 'All Killer, No Filler'. Both channel dancefloor euphoria with turbocharged horns, breakneck grooves and bold vocals over strutting basslines and all-nighter anthems. Trambeat's shift from DIY collective to stage-commanding soul machine is great, and if their debut 'Don't Hold Back' teased their potential, this release kicks the doors wide open.
Review: Georgia's Tony Troutman is behind this super hard to find and super coveted modern soul tune. It has been bootlegged many times before but this is an official pressing for Record Store Day 2023. 'What's The Use?' is super feel good, with gloriously sunny horns, nice loose percussion and organic, woody drums all topped off with Tony's buttery and emotive vocals. If you prefer to keep it more subtle, then the instrumental on the flip has you covered. Do not sleep on this soul gem.
Review: The Record Store Day drops are coming in thick and fast now and for hip-hop fans this is a heavy one. Neither of these tunes have ever been on a 45 rpm together before. They are classics from the legendary Philly crew with hard breaks and headier bars on 'My Part Of Town' set over a jostling bassline and tough hits. On the flip is 'Mountain's World' which is a deeper and more vibes-joint with less in your face energy and a smarter wordplay as well as some super scratch-work.
Review: Manuel Tur's Intertextual release gets pulled apart and rebuilt here by some fine remixes for the Spaced Repetitions label. The first out of the blocks is 'Omina' (DJ Counselling remix) with its layers of sugary and crystalline synth over supple house drums. 'Flakon' (All Is Well remix) slows things down to a dubbed-out world of downtempo bliss, 'Slow White' follows a similarly slow-burning route thanks to Yuu Udagawa's poised and dreamy remix and 'Shadowgraph' comes live with some psychedelic synth swells over yet more mid-tempo and percolating beats, which are one again the work of Yuu Udagawa.
Ongakudo/Droga Muzyki (feat Kanetsugu, Prykson Fisk, DJ 1an, DJ Eprom) (3:54)
1-18-6 Wakabayashi Setagaya-Ku (feat DJ Eprom) (3:13)
Review: This project, which translates to "The Way of Music" in English, is a collaborative initiative spearheaded by Groh, founder of the esteemed Polish hip-hop label JuNouMi which was established in 2002. It marks a fusion of talents between Polish and Japanese artists and commenced with Twardowski crafting music using samples from Japanese albums followed by the inclusion of MCs KANETSUGU and Prykson Fisk. DJs 1an from Tokyo and DJ Eprom from Warsaw joined the ensemble while the design, handled by Magorzata "Mauko" Korczak, explores Japanese Shod? calligraphy. This 7" release marks the start of a new Polish-Japanese collaborative series with more to come.
Review: Tweak's latest is another fine trip through rhythm, texture and atmosphere across three originals that are couched in broken beat. 'Generation' leads with lovely laidback grooves and a warm, gloopy bassline as precise electronics merge with a hint of vintage soul. The 'Red Rover' (Rework) is another sunny, horizontal sound with bubbly broken beats and lush flutes adding the hook, then 'Fathorn' explores darker, more tribal rhythms with deep bass and ritualistic percussion. Raw Deal's Freedom Time Remix of 'Fathorn' takes it further with some fluid grooves and expressive brass top notes next to glowing, golden Rhodes chords. A fantastically feel-good and fuzzy sound.
U-Roy, The Jamaicans, Tommy McCook & The Supersonics - "Peace & Love" (2:37)
Tommy McCook & The Supersonics - "The World Needs Love" (2:08)
Review: Both tracks on this crucial new drop from Duke share a common theme of love and harmony, which were of course the cornerstones of reggae and part of the reason it has such an enduring appeal as the universal need for compassion and unity has never diminished. In fact, it might be more needed now than ever. First, 'Peace & Love' by U-Roy, The Jamaicans, and Tommy McCook & The Supersonics is a timeless cut with U-Roy's toasting sat next to horn-driven rhythms that were first released in the 1970s. Similarly, Tommy McCook & The Supersonics' "The World Needs Love" captures the essence of70s reggae, with McCook's smooth saxophone leading the instrumental arrangement.
Review: The Vondells were from Union City, home to fellow soul stars of the day The McCoys. The group released just one single back in 1968 on Tommy Wills' Airtown Custom label and it became a classic on the Northern Soul scene that is now a rare and in-demand gem. This reissue brings it back to the fore and it sounds as good as ever with its lush melodies and sweeping emotional resonance. On the flip, Tommy Wills steps up with 'Sweet Soul' which is another real heart melter that cannot fail to worm its way into your affections.
Review: This tasty new 7" from Charly has been compiled and annotated by DJs Richard Searling and Dave Evison. It is part of a series that is celebrating Mr M's Golden Anniversary and marks five years in the game. On one side is Sandy Wynns's 'The Touch Of Venus' and on the flip is The Furys (sadly not the family of former lineal world heavyweight boxing champion Tyson, because that would be fun) with 'I'm Satisfied With You' which is not exactly a hugely ringing endorsement of love but a superb sound none the less.
Watermelon Man (CD1: Omaha Civic Auditorium music Hall, Omaha, Ne, 17th November 1975 Kjso-FM)
Hang Up Your Hang-Ups
Steppin' In It
Bubbles
Shkere
Heartbeat
DJ Intro/Chameleon (CD2: Ivanhoe Theater, Chicago, Il, 16th February 1977 Wxrt-FM)
Hang Up Your Hang-Ups
Maiden Voyage
It Remains To Be Seen
Review: This double CD showcases two live radio broadcasts from jazz hero Herbie Hancock, and each one was recorded two years apart. The first disc features the early Headhunters lineup delivering dynamic jazz-funk with tracks from Manchild and a fresh take on the classic 'Watermelon Man.' The second disc highlights the skills of Jaco Pastorius on bass, and he is joined by James Levi in a tight rhythm section. Herbie Hancock and Bennie Maupin lead with powerful performances including an electrifying version of 'Chameleon.' Together, these recordings capture Hancock's innovative mid-seventies jazz-funk sound in all their glory.
Review: This 1965 collaborative album brings together some of the international music world's finest talents. Featuring Nara Leao's soothing vocals, Edu Lobo's striking guitar and Tamba Trio's vibrant harmonies, 5 Na Bossa captures the essence of Brazilian bossa nova and jazz with a warm and sunny inflexion. With iconic tracks like 'Reza' and 'Zambi' bringing Latin jazz flair, and Edu Lobo's 'Estatuinha' offering more ruminative folk sounds, this is a brilliant album for those who like South American sounds in all their many guises. The album was recorded live at the Paramount Theater in Sao Paulo and is truly essential listening.
Review: Eternal ambient maestro and frequent collaborator Jonny Nash links up with renowned Tarawangsa player Teguh Permana for this new album which was recorded over the course of March 2020 in Bandung and Amsterdam. Tarawangsa is sacred music from Sunda, Indonesia and lends this album a truly lush meditative feel, with heart aching notes ringing out over Nash's plaintive piano chords. It's sparse but devastatingly absorbing as the five fantastic tracks all bring to mind thoughts of death, passage from one life to another, the changing seasons and eternal passage of time.
Review: Minneapolis' Chris Bartels aka Blurstem, and Philadelphia's Andrew Tasselmyer of the likes of Hotel Neon and Gray Acres have hooked up once more for a second collaborative album Midnight Letters. This album's starting point was original concepts played out on guitar which were then processed and experimented with through an ages-old analog tape machine. Add in an array of iPad audio processing apps, samplers, and Ableton software and you have a perfect mix of tools to serve up a sonic journey that perfectly merges the old with the new. The resulting ambient soundscapes are immersive and sparse but packed with subtle details that convey all manner of emotions.
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