Review: Athens of the North has a famously busy rate of release and so it is no surprise that they keep that up even in the first months of the year. A slew of singles and an album are all dropping at the same time and this is one of them - yet another gold standard reissue, this time of Charles Barnwell's band The Funnybone Express. This 7" is a superb bit of deep funk with hints of modern soul that were huge back in the day and are sure to be so all over again now.
Review: Future Flight could be describable as a 'rare' band, fading to obscurity after the release of their earliest disco/boogie album in the early 80s. Known as 'Hip Notic Lady', collectors and DJs have fantasised, salivated, and tussled over the project ever since learning of its ultra-limited original run. Despite the obscurity of the project, its members were made up of many-a-fixture in the romantic world of American soul, from Lamont Dozier to David Swanson. Perhaps harking to an oncoming reissue of the entire LP, Expansion Records here offer up a 7" reissue of the albums two choicest cuts; the title track and 'Dues', both of which emblematise the album's distinctly swank style.
Review: Here's something rather tasty: a joint release between Expansions and Philadelphia International that brings together two hard-to-find tracks from Philly Soul group The Futures. On the A-side you'll find rare groove scene favourite "Ain't No Time Fa Nuthin", a typically sumptuous and musically rich affair that places the group's inspired soul vocals at the centre of a sugary-sweet Philadelphia Soul groove. B-side "Party Time Man" is a more traditional vocal soul stomper from the turn of the '70s, with sweeping strings and punchy horn lines tracking the group's sweet, sweet harmonies, which is great for getting the dancefloor going.
Review: French label Boogie Butt gets us moving and grooving once more with a tasty new EP in the form of The Boogievison EP. It features a lead single from Ian Ash & Ella May, 'I Want To Thank You,' which pairs some jazzy chord work with a low-slung and warm house groove. The bass is funky and the vocals are seductive. It comes as an instrumental as well as a more direct and harder-edged Mr Doris & D-Funk remix. On the flip is Jessie Wagner & Fostin meet Ian Ash with 'Try Again,' a lovely soulful house groove with sublime and emotive vocals over another lush bass guitar. All very sweet tunes, these.
Jerome Oscar & Oscar Worldpeace - "(Why You So) Green With Envy" (4:49)
Franc Moody - "Cristo Redentor" (5:20)
Review: Oscar Jerome, Oscar Worldpeace and Franc Moody have got new music coming on the latest Blue Note Re:imagined compilation this year which is already getting us hella excited. Before we hear what is sure to be a contemporary great, we get treated to a couple of singles from it on this tidy 45 rpm. Jerome Oscar & Oscar Worldpeace go first with '(Why You So) Green With Envy' which fuses jazz styles for across the age with Worldpeace's tight and thoughtful bars. On the flip side is Franc Moody with 'Cristo Redentor' which balances jazz's traditional past with its freshest future.
Review: More scorching hot soul sounds here from Original Gravity who look to Jodie and Floyd James and the GTs for their latest dose of 7" goodness. Jodie is in powerful form on the a-side as she delivers an empowering vocal over fast paced and chested-puffed drums that will steamroller all in their wake. This soul anthem has class and depth with some slick guitar solos and big horn energy. Floyd James & The GTs step up on the flip side with 'Johnnie's Blues' which is full of Hammond organ chords and 60s guitar riffs.
Review: The seventh in this series of 7" singles is by Bristol and Avon's Kinlaw and Franco Franco and it is a rare mix of sounds with R&B, Italian rap and twisted basslines all defining the tracks. 'Crocs On The Plough' is industrial and experimental in its production - earth-shattering bass, police sirens, and soot-black synths, but background chords bring light as the vocals are delivered with guttural rawness. On the flip, the OSVMVSM version slows things right down to a crawl and the distorted synths and crunchy textures take on even more otherworld character.
Jorge Ivan Martin - "Yo Tambien" (feat Frank Santiuste - Born74 & Fradinho remix) (4:57)
Fradinho - "Iberica Latina" (4:59)
Review: Eclectic Beats Music is building up a fine head of steam and the sixth outing is a tidy 7" featuring two red-hot Latin broken beat cuts. The opener is a collaborative remix from Born74 and Fradinho who do a superb job of flipping Jorge Ivan Martin's original gem 'Yo Tambien Baile La Conga' into something more contemporary with fresh broken beats, plenty of steamy Latin flavours all finished off in electric fashion with Frank Santiuste's trumpet solos. Flip this one over and you will find Fradinho unearth an easier cut and again update with some compelling broken beats and funk as well as a rich bassline and silky synth solos.
Review: Octave Japan collaborate with legendary illustrator Hiroshi Nagai to oversee and handle the artwork for a rare single reissue. Sourced from the vaults of the OG T.K. Records, to whom Nagai has been listening since day dot, The Perfections' super rare 1973 cut 'Love Storm' is a swelling romantic soul sundry from the Milwaukee muses, with impressive vocal glidings from the band's lead singer Harold Stewart lending to an unexpected mondegreen - we first heard "can't keep living this lifestyle" as the incorrect lapsus of "can't keep living this love storm". On the B-side comes Funky Nassau's 'Bahama Soul Stew', a much-loved modern rarity first released in 2005, much-loved indeed thanks to its 4x4 swag-bag and mellifluous Hammond dexterities.
Review: QB Legend Blaq Poet of Screwball fame's all new Blaq Dawn album has been produced in its entirety by Furio and features some old school scratching through done by DJ Clif and DJ Tray. This is dark and menacing hip hop with edgy synths and low slung grooves that keep you locked on. The lyrics are storytelling and the beats cinematic with plenty of scene-setting skits in between the main tunes. Cuts like 'Who Want Beef?!' and 'No Questions' are some of the standouts amongst many here.
Only Love Can Hurt Like This (Off The Cuff) (3:43)
It's The Not Knowing (Exposed version) (3:31)
Only Love Can Hurt Like This (feat Treddy Swims) (3:54)
Review: A gatefold curacao blue vinyl reissue marks this album's tenth anniversary, inviting fans to revisit her channelling 40s, 50s, 60s and 70s influences, from doo-wop to disco, with the Pharrell Williams-produced 'Can't Rely On You' leading the charge. The album's homage to bygone eras is evident and the execution does a brilliant job of capturing the spirit of its inspirations. Tracks like 'Only Love Can Hurt Like This' and 'Mouth to Mouth' highlight Faith's vocal prowess and occasional emotional depth. The album's more upbeat numbers, provide the energy needed to balance out the more soulful songs and ballads. Overall, A Perfect Contradiction offers a nostalgic look at retro styles. The reissue's striking curacao blue vinyl adds a visually appealing touch to complete the product nicely,
There's Nothing More Human Than Failure (interlude) (1:21)
Bad Woman (2:37)
Cry On The Dance Floor (4:12)
Say My Name (2:50)
Let It Ride (3:10)
The Big Bang Ending (interlude) (3:51)
Eat Shit & Die (2:42)
Divorce (1:30)
Hate When You're Happy (3:52)
Enjoy Yourself (2:43)
I Am Enough (3:55)
Mirror To Mirror (interlude) (0:43)
Already Broken (3:54)
Review: The famously fun loving and colourful pop queen Paloma Faith shows a whole new life with her latest album The Glorification Of Sadness. As the title suggests, it is a captivating exploration of melancholy transformed into artistry with her signature soulful vocals and emotive delivery from and centre. They find Faith navigate themes of heartbreak and resilience with raw honesty and theatrical flair as each track unfurls like a cinematic journey adorned with lush orchestration and poignant lyricism. It's an album of bittersweet beauty. From the haunting to the empowering, always with a poignant narrative that celebrates the complexities of human emotion.
Review: The Family Tree's transcendent disco gospel classic We Shall See Him As He Is gets a special and much-deserved reissue here for Record Store Day 2024. It originally debuted in 1979 and since then has grown in stature as a soulful delight that embodies the vibrant gospel disco scene of Baltimore. With original copies commanding prices exceeding $300, this reissue means you can cop it for a reasonable price and revel in its rare gospel charms. Tracks such as 'Psalm 150' and a captivating disco rendition of Stevie Wonder's 'As' are standouts. This one has been remastered and comes on nice on heavyweight vinyl.
B-STOCK: Sleeve damaged but otherwise in excellent condition
We Shall See Him As E Is (4:00)
Give It Up To Jesus (3:09)
God Is Big Enough (3:19)
As (4:35)
Jesus (4:50)
Never Be The Same (4:32)
150th Psalm (4:21)
Brand New Day (3:41)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
The Family Tree's transcendent disco gospel classic We Shall See Him As He Is gets a special and much-deserved reissue here for Record Store Day 2024. It originally debuted in 1979 and since then has grown in stature as a soulful delight that embodies the vibrant gospel disco scene of Baltimore. With original copies commanding prices exceeding $300, this reissue means you can cop it for a reasonable price and revel in its rare gospel charms. Tracks such as 'Psalm 150' and a captivating disco rendition of Stevie Wonder's 'As' are standouts. This one has been remastered and comes on nice on heavyweight vinyl.
Review: Hailing from Philadelphia, the Eraserhood Sound label has been fostering a particularly cosmic bend of synths and soul music which is primarily rounded out by their in-house band, Fantasy 15. Following a string of on-point singles, the group now coalesce for a hotly anticipated debut album which delivers on the promise of those early drops. Drop in on 'Ray Gun' and let the thick swathes of brain-tickling synths send you stratospheric - this is hot and heavy boogie colliding with the loftiest prog and coming up trumps. There is a luscious vocal cut featuring Kendra Morris, but primarily this is an instrumental trip to take you very far out indeed.
Review: It was on October 20th in 2009 that then-rising Fresno rapper Fashawn made waves with his debut album, Boy Meets World. The project showcased heartfelt storytelling as well as skilful lyricism and soulful production exclusively handled by Exile. Fashawn's audio biography remains as relatable and fresh today as it was upon release and so to celebrate its 15th anniversary, Dirty Science Records and Coalmine Reissues present a special edition reissue of this timeless LP. Limited to 100 units, the black double album comes with hand-numbered hype stickers while Frank DeMaria redesigned the artwork and layout using original photos by the legendary B+.
Review: This collaboration between Fashawn and Little Vic is a gritty yet sophisticated journey through life's trials and triumphs. Fashawn, hailing from the streets of Fresno, California, brings an unapologetic realism to his verses, detailing his path from struggle to success. Little Vic, with roots in Long Island, New York, provides a sonic backdrop that perfectly complements Fashawn's storytelling, his production seamlessly blending hard-hitting boom bap beats with live instrumentation. Tracks like 'One Eyed King' and 'Victim' showcase the raw energy and lyrical prowess of Fashawn, while 'Autumn In New York' and 'Spaghetti Western' offer moments of introspective beauty and cinematic atmosphere. With its diverse soundscapes and powerful lyricism, this album is a reminder of the resilience of the human spirit and the transformative power of music.
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