Review: Blue Mode and El Chavo present two fantastic new cover versions. The A-side is of course one of the biggest tunes of the grunge era, and is here lent a jazzy, funky, groovy alteration by Blue Mode - though it is an ostensible Nirvana cut, the band were influenced by everything from the Gap Band to Louie Louie and a fair smattering of 80s indie here. This production by Chip Wickham mixes a swinging 60s Blue Note vibe and acid jazz refrains, brings it bang-up-to-date with contemporary nu-jazz. Side B is a boogaloo Latin jazz version of the Lonnie Smith track 'Hola Muneca', beloved of the acid jazz era's foremost DJs, and formerly released on a now impossible-to-find 7" single that shifts for crazy prices.
Review: Brazil 45s hit the quarter century in their run and show no sign of stopping. It's an all-girl affair on this one as two hugely popular and prolific singers take a spin under Mr Bongo's spotlight. Elizabeth (often known as Elizete) lays down a steamy samba flavour that gets raunchier as the track develops. Elza, meanwhile, gets busy on a Bossa tip as a carnival of percussion and horns go toe-to-toe with her sharp, sexy staccato vocals. Powerful.
Review: Reissued from the original Sedsoul 7" first laid down in 2010, and then a further digital 'House Session' edition in 2015, Cool Million and Eugene Wild are again 'Back For More'. Clearly, the Danish-German production duo, when in collaborative cahoots with r&b singer Wilde, are prone to redound to milking the dance for all it's worth; we gather that for as long as this tune is out, they'll always want their seconds and thirds, else they wouldn't eat, so to speak. So too does this third edition of the stellar, four-alt-mix 'Back For More' prove just as funky as it did at the moment of its original release fourteen years ago; Wilde rides the groove with serious flux, assuring the fulfilling of said prophesied return against spiccato strings and a curvaceous synth bass. There's even a karaoke version on there too, just in case you'd like to flaunt your underground soul intel at your next knees-up.
Review: Private Stock Records is slowly but surely building up a golden catalogue of funk magic. This fourth EP is another high-class double dose that opens with Cutso's 'Fallen Love (Woo Woo)', a swirling slow burner of a tune with heavy, languid drums and twisted vocal samples that eventually coalesce into a warming party vibe. Excel's 'Had To Shut You Down' is a glorious soul gem with lush Philly strings and ornamental arrangements that raise your spirits and elevate your mood with its seductive grooves, not to mention a classic r&b vocal sample.
Make Me Move (feat Chelsea 'Chesta' Blake - Boogie version) (4:50)
Here's To You (feat Jolie Davenport) (4:39)
Review: As E Live, Eli Hurwitz is such a big part of the Star Creature Universal Vibrations family that they gave him his own sub-label, Elivity Records. His latest fantastic 45 doesn't appear on either of those imprints, but rather parent label Tugboat Editions. For those who like authentic-sounding revivalist boogie, we'd recommend picking this up - both tracks are re-inventions of old tunes with E Live's colourful, synth-powered twist. Check first 'Make Me Move', where glossy female vocals rise above a squelchy bassline, shimmering synths and unfussy drum machine percussion. Even better though is Hurwitz's flip-side cover of Skyy classic 'Here's To You' - a boogie gem that he re-invents as as a deeper, smoother and dreamier slab of neo-boogie squelchiness.
Review: This one is a rare soul gem that has not been easy to find on 7" for 40 years. It is one of the countless masterpieces that were produced by the great studio legend Larry Mizell who made it for Alabama born soul singer Brenda Lee Eager. She later relocated to Chicago and sang with Jerry Butler in his back up group Peaches and dueted with him on their million-selling duet 'Ain't Understanding Mellow'. Brenda did more backing singing with the likes of Ray Charles, Diana Ross, and Stevie Wonder and wrote songs recorded by Bobby Womack, Aretha Franklin and Gladys Knight before laying this one down in 1974.
Review: Earl 16, renowned for collaborations with reggae icons like Lee Perry and Augustus Pablo, delivers a standout slice of early 90s digital roots here on the crucial Partial label. Originally featured exclusively on his 1992 album Boss Man (or, as it was known on the CD release, "Roots Man"), this track showcases Earl's distinctive production prowess. 'African People - HIM Speech' pairs conscious lyrics with a sleek digi dub vibe and future atmosphere. For this reason, Earl 16's influence extends through the reggae universe thanks to partnerships with Mikey Dread, Leftfield, and Dreadzone, all of which help to cement his legacy in the genre.
Review: Many of you reading this may recognise this song from Dennis Brown's rendition on his iconic Visions LP, but this version actually predates that one. It was originally penned by Winston MacAnuff, also known as the Electric Dread, and features vocals by Earl Sixteen. It has previously debuted as a 7" on Gibbs' Belmont label in 1975, while Sixteen went on and recorded it again for Derrick Harriott on the Wild Flower label a year later. This rendition is often considered the definitive cut, but we shall leave you to decide on that one.
Review: Legendary guitarist Earl Slick is well known for his long-standing partnership with David Bowie and now he releases a remixed version of a track featuring Bowie on vocals. It comes on 7" coloured vinyl and celebrates a collaboration that produced plenty of iconic rock music that was well detailed in Slick's recent autobiography Guitar. In it, he recalls how Bowie spontaneously offered to sing on the track and that led to an unforgettable recording session. The remixed version honours their creative chemistry and brings Bowie's voice back to the forefront.
Review: Missouri man Early Turner is the latest to be celebrated on the always sharp Tramp label. This was his first record in the late 70s, right on the cusp between trad funk and the emergent sound of boogie. 'S'port City Rock' is a sweat-inducing dancefloor cut with a deadly on-the-one groove and some serious bass, letting just a few choice synth zaps to sneak into the mix but keeping things primarily organic. 'Sunshine' is a softer soul number - the perfect sentimental foil to the serious get-down on the A-side.
Review: First released way back in 1980 on the album of the same name, 'Coming To You Live' is one of the most beloved dancefloor jams in the sprawling catalogue of sorely missed soul-jazz organist Charles Earland. Here reissued on seven-inch (and therefore presented in edited form), the track blurs the boundaries between Latin-tinged disco and jazz-funk - all heady female group vocals, heady horns, spacey Herbie Hancock synths and infectious grooves. Over on the flip you'll find original B-side 'Street Themes', a breezier, similarly Latin-tinged jazz-funk cut that features some sensational keys-playing from Earland. In a word: essential.
Review: Death Is Not The End sublabel 333 Records reissue, in their estimation, one of the key 45s in the output of Prince Jazzbo's Ujama label, active in the late 1980s, and which preceded and perhaps presaged the oncoming digidub movement of the 90s. At this point, the artist known as Earlando Neil aka. Early B was a favourite fixture of Jazzbo's roster, famously channelling a proto-digital sound before the advent of digital dub production proper would unfortunately eclipse him. 'Imitator' is one such originator and version: a gruff, monophonic, bassy dancehall dragger, pon which B's vocal toasts are effortless to the point of burnt and hair-raising, and the basses sound like blowpipes; clock the synth bell too, also heralding the digital revolution to come.
Review: Earthtones have got a new albumin the way and this is the very first and very tasty teaser single from it. This one is actually a collaboration with longtime friend and co-producer Oliwa and it has a stunning lead vocal that is full pf passion and heart ache and comes from Colombian-Canadian talent Lido Pimienta. The drums are slow, heavy and cumbia influenced extra bass synths, keys, guitars and drums all making it feel contemporary as well as traditional. We're told "the vision of this track is one of upliftment of womxn and femmes everywhere."
Review: Athens of the North 'house band' East Coast Love Affair recently returned to action with 'I'm So Glad', a driving disco-funk outing tailor-made for sweaty club sessions. For this speedy follow-up, they've recruited effortlessly soulful vocalist Theo Suess and musically flipped the script. Built around skittish lo-fi beats, immersive chords and bubbly synth-bass, 'Tonight' sits somewhere between deliciously deep house and lo-fi boogie. It's genuinely brilliant, with Suess providing an immaculately emotive lead vocal on the A-side main mix. The flip-side 'Dub' is superb, too, with snippets of Suess's vocals echoing across an enveloping, loved-up instrumental backing track.
Review: You can always rely on Super Disco Edits for exactly that. The long-running label's 68th such serving is from the Ebony Rhythm Funk Campaign and features a couple of their previously unreleased joints. Opener '69 Cents' brings slick and sleek afro drumming with some splendid horn sections powering things along. A smooth and soulful vocal ride in amongst the drum grooves and takes you on a fine trip. On the reverse is 'That Is Why,' which slows things down a little and gets more loved up. The backing vocals lend the whole thing an air of class as the lining trumpets soar and the mellifluous chords sink you in deep.
Review: Here comes a sweet slice of dub reggae courtesy of the late Sid Bucknor's studio and the gorgeous vocal work of The Ebony Sisters. On 'Tell Love Hello If You See Him', they're singing a Gamble & Huff creation originally performed by Mellow Moods and released by The North Bay in 1971. It's a bittersweet but ultimately feel-good tune backed by a pitch-perfect riddim, which Bucknor sends out in an understated style for the dub version on the flip. Some of the finest reggae tunes in history are the heartbreak ones, and so it goes on this golden 7".
Review: The Ebonys' debut single, 'Back In My Arms' showcases their rich vocal harmonies and the soulful production that would define their future work. Recorded in 1968 and released in 1969 under Raymond Waterhouse's Avis label, this single may not have charted, but it laid the groundwork for the group's later success at Philadelphia International Records. Both tracks reflect the distinct r&b flavour of the late 60s, blending heartfelt lyrics with lush arrangements by the late Roland Chambers. 'Back In My Arms' features a yearning narrative, highlighting the group's emotional depth, while 'I Can't Help But Love You' brings a smoother, romantic vibe that perfectly showcases their vocal prowess. Now remastered, this edition brings fresh life to a long-overlooked gem, allowing listeners to appreciate the foundation that led to The Ebonys' future hits.
Review: Ed Black, aka "edbl," is an increasingly prominent hip-hop and R&B artist and composer who has emerged from South London's indie music scene alongside luminaries like Jorja Smith and Jamie Isaac. His sound, a blend of lo-fi soul and hip-hop akin to Jordan Rakei and Tom Misch, garnered attention when Spotify UK featured him on their New Music Friday cover. Additionally, Music Business Worldwide Magazine nominated him as one of The Hottest Independent Artists In The World and now he backs up that potential with 'The Way Things Were,' featuring the mellifluous vocals of Isaac Waddington.
Review: It's time to don your leathers and strap in for another ride on go-slow master Eddie C's Read Motorbike. This time out the Canadian deep disco specialist kicks off his latest 7" with 'D8 With The Rain.' As always it is a super smooth groove that is smartly embellished with dusty old samples that tug at the heart. 'Sweet Honey' is a sunny one with plenty of joyous little chords and a carefree groove that flaps and slaps away down low. Easy to love, hard to pull-off grooves once again from the evergreen Eddie C.
Review: Irie Ites is a French label that is back with two more reggae heavyweights and frequent musical sparring partners in the form of Eek-A-Mouse and King Kong. They tackle a relic of the 'Murderer/Hot Milk' rhythm, a production that will take you back to the 80s reggae sound in an instant. 'Musical Ambassador' comes first and is a happy-go-lucky sound with some slow, dubby drums and lazy hits as well as stylised vocals, while the flip from King Kong, 'Money Could A Buy' fleshes it out with more reverb and natty guitar riffs that hang in the air above the cavernous low end.
Review: The Egyptians, a soul vocal group from Cincinnati, Ohio, active in the 70s, featured members Rod Hinton and Paul White. Their very rare release from the mid-70s, Thanks To You Part 1 & 2, has been properly reissued with new artwork, making this desirable and expensive original 45 accessible again. Side-1 offers 'Thanks To You' (part 1), a beautiful soul ballad with exceptional vocal harmonies, powerful horn sections and stellar backup performances. Side-2 transforms the song into an instrumental jam that captures the wild soul and funk vibes of the early 70s. This freeform rendition incorporates jazz elements and boasts a big sound, while nodding to part 1, creating a brilliant, unique version for the same 7". A rare gem that is sure to get a lot of attention with this new look reissue.
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