Back catalogue: All genres

Review: "Cramp Your Style" by All The People surely belongs among the canon of all time funk standards, sampled aplenty over the years, included on numerous compilations as well as being the recipient of cover versions from Breakestra and Killer Meters. Originally issued on the Blue Candle label back in 1972, a newly remastered edition of that 7" is now available for any funkateers out there without the 45 in their collections already. Robert Moore's yearning vocal sounds all the better for it too! And don't sleep on the bluesy delights of B side track "Watcha Gonna Do About It?".

Review: "Cramp Your Style" by All The People surely belongs among the canon of all time funk standards, sampled aplenty over the years, included on numerous compilations as well as being the recipient of cover versions from Breakestra and Killer Meters. Originally issued on the Blue Candle label back in 1972, a newly remastered edition of that 7" is now available for any funkateers out there without the 45 in their collections already. Robert Moore's yearning vocal sounds all the better for it too! And don't sleep on the bluesy delights of B side track "Watcha Gonna Do About It?".

Review: We'll never tire of the incredible Brazil45 series on Mr Bongo, which has provided an authoritative window into the rich history of 60s and 70s grooves from South America. Here's a missing joint from the series which took some time to come to fruition - a split release featuring Brazilian Boys on the A side and Rubinho E Mauro Assumpcao on the B. 'Super Herois' is an obscure slice of off-kilter, psych tinged funk from 1975 that has the kind of individual sound which could find favour with a lot of different DJs. 'Tudo Ai' has a more recognisable samba shuffle, but much like the A side there's a subtle twist in the sound which leans towards blues rock and jazz, locking down on the rhythm and creating a low-key party starter in its own unique way.

Review: Some early 70s string-laden, feel good soul from vocalist Mel Britt, which became a sought after item on the UK Northern Soul scene now gets a worthy repress. On the flip Ruby Andrews drops a heartfelt version of ''Just Loving You'' from 1968 - another hard to find soul gem which normally sells for serious money on Discogs!

Review: Get ready for more extended breaks fun with this new edit from the popular Breaks & Beats bootleg 45 series. Unknown cut and paste masters are behind these two special editions, the first of which tackles Brother Soul's 'Cookies' and flips it into a driving funk tune with big, rousing horns and subtle funk riffs. It's a tasteful banger to pump any party and on the flip comes the more subtle and jazz tinged Ramsey Lewis tune 'Back In The USSR.' Noodling keys leave wispy arias in their wake as the bristling rhythm section powers along below.

Review: Another mighty fine reissue here from the masters of just that in the Original Gravity label. It features distorted organ loveliness here that continues with their practice of putting out new music in the style of old soul 7"s. On this split-flip 45, two of the most eminent soul vocalists out today share a side each. St. Louis singer Raye Cole helms the A-side, with her energetic number 'You Gotta Set Me Free' stomping on forward with a shaker-clapping, horn-heavy blues swing. Rachel Maxann - perhaps another alias similar to Nestor Alvarez - brings up the B on a finger-clicking alternate take on 'You Gotta Set Me Free'.

Review: Distorted organ loveliness here from the players over at Original Gravity, continuing on strong with their practice of putting out new music in the style of old soul 7"s. On this split-flip 45, two of the most eminent soul vocalists out today share a side each. St. Louis singer Raye Cole helms th A, with her energetic number 'You Gotta Set Me Free' stomping on forward with a shaker-clapping, horn-heavy blues swing. Rachel Maxann - perhaps another alias similar to Nestor Alvarez - brings up the B on a finger-clicking alternate take on the breakup-piner 'You Gotta Set Me Free'.

Review: Vinyl sampler from the full length of tracks chosen from Bugz in the Attic. Some cool hard to find gems here.

Review: UK born, Australia based DJ and producer Dr Packer is back with more of his on point edits. He tackles some serious disco heavyweights here on Salsoul and first off, disco diva Loleatta Holloway and her mega-hit "Runaway" gets a fresh 2020 update with some soul uplifting studio skills. A heavy funk remix of Rafael Cameron's "Let's Get It Off" is next, with the original still taking centre stage, then the shimmering and glistening disco gold of Ripple's "The Beat Goes On" follows before in-house collective The Salsoul Orchestra also get treated to some elegant orchestral work and a sultry vocal hook.

Review: Some scintillating all-star action here, as nu-boogie star and Star Creature regular Andre Esput joins forces with fellow revivalist synth-funk stalwarts Kappekoff and Reggie Got Beats AKA RGB. 'Sugar' is the kind of colourful, bass guitar-sporting, synth-powered electrofunk goodness that would once have featured on legendary label Solar System - all squiggly lead lines, rubbery bass, tight machine drums and soulful lead vocals for the ever on-point Esput. The quality - and authenticity - of the trio's early '80s sound comes through loud and clear on the flipside instrumental version, which also includes added musical motifs and dub style drops. A genuine neo-boogie banger!

Review: Boston's A-grade record digger, funk and soul boffin and master edit maker Kon is back with his Gang for this tidy 7" that also features Rick James. It is once again an edit aided by Kon's long time engineer Caserta, with slick, life affirming jazz tinged and super funky production. Soul Supreme is on keys, the knotted bass comes from Xander Vrienten and together they all serve up a real late summer jam that could be 50 years old. The dub is just as delicious on the flip, with more room for the lux and authentic production and very real musicianship to shine through

Review: Funkyjaws Music launches a new edits series here with four absolute dons of the form on one vital 12". It's Lay Far that kicks off with 'Never Ever Edit' which is all horn-led excitement and upbeat disco claps and kicks before Admin's 'Moon Trippin' takes a more slow and soulful approach. When it comes to edits few are more essential than Chicago's Rahaan who kicks off the B-side with 'Gonna Get Ya', a leggy funk number infused with cosmic synth rays and warm piano chords. Delfonic shuts down with the loose percussive jumbles and jazzy vibes of 'Let's Dance The Spank'. A fine start to the series with volume two already in the works.

Review: Batov Records have proven themselves juggernauts in their ability to stick to a theme; since 2016, they've kept up their Middle-Eastern grooves themed 45's series for a spate of over 13 releases. Les Dynamites and Radio Trip serve up their latest. Hailing from Jerusalem and Israel respectively, both bring influences from dubbed-out Mediterranean bass, Yemeni folk and trip-hop to each tracks, different in style but reconciled by these influences. What's more 'Oud Two' and 'No Oud' are intended as invitations to dance, with both bands intending their respective tracks as rallying calls for Israeli belly dancers and breakdancers.

Review: DC-based label Peoples Potential Unlimited aka PPU is a real favourite for us here. It's got a signature lo-fi funk sound and deals in perfectly ageless sounds with a big heart. Robbie M has been a frequent name in the label's catalogue and is back on this new 7" next to Midnight Express. The latter kicks off with big cosmic disco synths, hip-swinging claps and great vocals. Robbie M's brilliantly boogie-fried 80s electro-funk then appears in the form of 'I Need Good Lovin'' with its seductive vocals and catchy broken beats.

Review: Mukatsuku's latest must-have release offers another opportunity to own early Freddie Cruger AKA Red Astaire favourite "Take It Personally". The wonderfully dusty, smoky and life-affirming hip-hop-soul cut first appeared as a Swedish only CD single in 2001, before later being included on the Stockholm stalwart's 2006 debut album "Soul Search". This time round, the inspired original - all head-nodding beats, sumptuous strings and sugary-sweet vocals from guest Desmond Foster - comes accompanied by a previously unreleased instrumental take. This vocal-free version is superb, offering listeners a chance to wallow in the quality of the Swedish veteran's bumpin' beats and intoxicating, head-in-the-clouds production. In the record box of Danny Krivit,DJ Spinna, Kid Koala and more! Only 300 hand-numbered copies and strictly no repress. Juno copies come exclusively in additional hand stamped kraft paper inner sleeve and branded card outer sleeve. Don't sleep !

Review: Born To Shine fly down under for the first time for a dangerous pair of collaborations from Melbourne's Amin Payne. Teaming up with fellow Aussie Roughsoul, "Bad Juice" lives up to its name as it quenches our thirsts with refreshing looseness and meaty, deviant boogie dynamics. German troupe First Touch tag-up on the B as "Wait A Minute" offers a dreamier departure with layers of keys and vocodered soul weaving in and out of the lolloping groove. Majestic.

Review: Beats & Breaks are slowly working their way through some of the most seminal and scene defining foundational funk cuts. For the 007 release we're treated to a wild jazz excursion as Pleasure and Rusty Bryant get the treatment. "Joyous" (famously edited by DJ Harvey) get its swing polished and really brought to the fore on those shiny rhythm guitar builds while Rusty's king break-buster "Fire Eater" gets extended in all its sleazy Q&A glory. Limited to 300. Them's the breaks!

Review: A unique smashing of worlds between funk and hip-hop, this fantastic, vibrant, red-and-black splatter 7" brings together a host of collaborating greats, all of whom have contributed in major ways to both sounds over the years. With Dan Ubick on guitar (Breakestra, Big Daddy Kane), Julius Augustus on bass (The Sandollars), Dan Hastie on organ (Orgone, Alicia Keys), Steve McCormick on dobro and Professor Shorthair on the cuts and edits - and mastered by Dave Cooley (J Dilla, Madlib) - this is a mournful yet masterful example of live-recorded battle breaks.

Review: DJ Soopasoul's last mash-up was an inspired affair that saw him perfectly fuse tracks by Philadelphia Soul legends MFSB and the Beastie Boys. Here he takes a similar approach, placing the rap vocals from the 1995 hip hop classic "How High" atop a suitably funky, lolloping beat crafted from Clavinet-heavy sections from Stevie party-starting floor-heater "Superstitioun". It works remarkably well on the A-side vocal mix, and those who'd not heard either track would be convinced that there was no mash-up antics going on. Over on side B you'll find an instrumental mix that showcases Soopasoul's editing skills; minus the Hip Hop vocals, is a fine re-edit of the Wonderful jam.

Review: Athens Of The North will always be one of our favourite labels no matter what they're serving up. The Edinburgh-based deep diggers this time look to Race 'N Rhythm, which was once upon a time a 12-member jazz group based in Oakland. Jazz-master Rudolph Peters managed the multi-racial band and though they were admired on the vocal live circuit they only ever released one single before later doing an album. 'Space Saver' was recorded in California in 1982 and is a sultry and romantic soul sound with leads and coy rhythms. 'Candybar Superstar' on the backside is a pure fire dancefloor heater with high-energy claps, horns and vocals.

Review: In its 1970's prime, the Buffet Hotel de la Gare de Bamako used to mix a broad and diverse clientele of Bamako's fine society and hookers, Western, Chinese, Russian and Arab businessmen with diplomats and African entrepreneurs. Rail Band's music became the exciting soundtrack of modern Mali, blossoming like a big bright bouquet of tropical flowers. In its heyday, the orchestra pretty much defined by itself the idea of afro-pop.

Musicians such as singer Salif Keita, singer Mory Kante, guitar player Djelimady Tounkara and the late bandleader and sax player Tidiani Kone all graduated from the Rail Band before turning to more or less successful solo careers. The Rail Band got started in october 1969 as a regular orchestra in the railway station premises.

In order to keep up with new forms of fusion music which could be heard in Dakar or Conakry night clubs or "paillotes", trumpet player, sax maestro and bandleader Tidiani Kone recruits some bold element for his orchestra. Both a griot and a jazzman, Tidiani Kone was a former Orchestre National A musician. His main idea was to bring Malian music out of the dead-end of afro-cuban and Western imitations. He took the chance to recruit a young albinos singer, accompanying himself with a cheap Chinese guitar.

Kone was the first one to understand that Salif Keita's voice was pure gold. At the end of 1969, Salif Keita, Tidiani Kone and rythmic guitar player Mamadou Diakite practiced for weeks as a trio in order to forge a repertoire of their own. Other musicians such as guitar player Ousmane Sogodogo and lead guitarist Nabe Baba, timbales player Marius as well as percussion player Abdouramane Koumare soon join in, encouraged by Kone.

In July 1970, the Orchestre du Rail Band de la Gare de Bamako gave its first concert, on a tiny open air stage, with palm trees breeze and stars above them. The Rail Band rapidly became one of the city's main attraction. According to its initial status, the Rail Band must "explore and propel mandingo repertoire in order to aim at the neo-classicism of African chanson". Born in the heart of the Mande griot tradition, Salif Keita knew the classic songs. Soon, the folklore part of the repertoire was more prominent than the blues and afro-latin numbers.
Musicians were paid by the Malian train company, ie by the state, who also owned their instruments. Combining mandingo and bambara traditions, French pop, afro-cuban rhythms, Congolese rumba, American rhythm'n'blues and calypso, the Rail Band's rise to fame was striking, paving the way for numerous modern orchestras to follow. They rehearsed five days a week from 5 to 6 pm, before changing, dining and taking the stage from 9 pm till the last customer left the Buffet, sometimes early in the morning. In order to help empty the premises from its patrons, Rail Band musicians played late night jazz themes, strongly encouraged by Tidiani Kone.

With his saxophone hollering at some distant tropical moon, his heartfelt horns arrangements added a sense of epic grandeur to the Rail Band songs. His bold musical mastery set Salif on orbit while modern instruments and instant melancholy radiate through a song like Massare Mousso. He sings about some impossible love : "If you don't have anything to do, fall in love with a woman who doesn't love you / If you dont have anything to do, fall in love with a man who doesn't love you". His voice was frail but Salif shows evidences of his vocal grandeur to come. In the early 1970's, it seems that the Rail Band knew instinctively how to go down in musical history.
The orchestra took off, thanks to Salif's youthful vocal prowesses and to the sheer intensity and dedication of musicians led by Kon'.

Guitar player extraordinaire Djelimady Tounkara joined the band in 1971 as a new recruit. His arrival enabled the Rail Band to reach new heights in a dazzling ascension of recordings done in a tiny Radio Mali studio. His rumbling electric guitar became one of the band instant trademark. Guinean balafon and kora player Mory Kante also jumped in as the Rail Band was by far Bamako's finest orchestra in the 1970's.
Directly inspired by James Brown's funk achievements, Sex Machine belongs to the band's legend, an incredible cover which is both heroic and mesmerizing. It is a pure slice of raw and spicy Malian funk, one of those "straight to your face" songs with a devastating outcome, courtesy of Mamadou Bagayoko's heavy drums and Cheick's Traore sturdy guitar bass playing. Alfred Coulibaly's Vox organ adds up to the hypnotic mood of the song.

Looking for the Rail Band's trails these days, one has to stop by the old Buffet Hotel de la Gare in downtown Bamako in order to feel the countless, panoramic and moving memories of this unrivalled musical golden age and this masterful orchestra.