Review: Here's a killer reissue from the Soul Jazz archives which is finally getting a repress. It's hardly surprising when the reissue becomes as sought after as the holy grail original jam from 1970, a sublime instrumental anthem of soulful, skanking perfection with Cedric Im Brooks flexing his sax in glorious style over a beautifully rough n' ready rhythm. It was shortly after this recording was laid down Brooks went on to form The Mystic Revelation of Rastafari with Count Ossie, which tells you all you need to know about the heritage we're dealing with here.
Review: Mr Bongo's gold-standard Brazil-45 series turns up more irresistible musical goodness here with steamy underground bubbler 'Quero Ver Voce Sambar'. This is thought to be the only ever recording by Homero Franca and it came originally on a 7" in 1976. It's warm, soulful, quite deep for Latin music and has great vocals. On the flipside is the more fiery Silvinha tune 'Mas Nao Deixe De Ir' with the raw vocals and big horns all making for a great call and response chorus with soulful samba sounds to spare.
Golden Boys - "Segura Na Cintura Dela (O Gaviao)" (2:38)
Silvio Cesar - "Beco Sem Saida" (2:21)
Review: Mr Bongo's essential Brazil 45s series notches up release number 89 via a blast of heavy dancefloor pressure that touches on both Brazilian funk and samba-rock. On the A-side you'll find Golden Boys' 1975 gem 'Segura Na Cintura Dela (O Gaviao)', an irresistible slab of full-throttle, orchestra-sporting, Hammond-heavy samba-funk marked out by strong group vocals and some superb musical arrangements. Over on the flip you'll find another classic from the same producer (Milton Miranda), Silvio Cesar's 1971 carnival masterpiece 'Beco Sem Saida' - an infectious excursion that found fame in the 2000s when Drumagick sampled it on 'Sambarock'.
Review: Izipho Soul has got another release together here that is sure to fly off the shelves as quickly as all their others. It's two tunes taken from a now hard-to-find 2007 album by prolific musicianship and sometimes Diana Ross collaborator Richard Hartley & Soul Resurrection called Face II Face. Phil 'Phillet Of Soul' Ward is the man who has selected them and he's picked real doozies. 'Jesus Makes Me Happy' is a slow motion and sentimental rhythm for dancing at sundown while 'Heart & Soul' is a sentimental ballad.
Review: Mr Bongo's crucial Brazil series hits a 94th volume here with vocal and instrumental group Os Carbonos from Sao Paulo. The band had a long and fruitful career that started in the 60s and ran on into the 80s. This offering is a tune from later on in their time and it is a prime slice of Brazilian boogie with funk drums, vamping chords and hip swinging claps all designed to bring the good ties and the sunny vibes. The bass-driven a-side is the one, but the flip from Sandra Sa is a special kind of sentimental soul sound.
Review: Mr Bongo's Brazil45 series continues apace with this 95th entry, which carries two separate sides to keep any Latin-minded DJ very happy indeed. 'Mar Afunda' is a dancefloor delight from Os Novos Crioulos which originally came out on the group's self-titled album on Pirata in 1976. It's shuffling and sublime, sure to get a plethora of ID requests and shimmying moves from the people with their ears tuned in. On the flip we get Supersom TA's 'Brasileira Roxa', a sunny slice of samba fun which originally came out in 1972 and features more cuica flexing than you could ever dream of.
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: Limited white vinyl repress.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's party-starting floor-heater 'Superstition'. 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 vocals, is a fine re-edit of the Wonder-ful jam.
Review: Tel Aviv's premium funk exporters Sababa 5 have built their name on a Middle Eastern funk sound which now get embellished with the addition of Hoodna Orchestra's full-throttle brass section. On 'Eilat 22' they hold down a sizzling breakbeat groove and maintain their signature guitar twang and freaky synth flourishes underneath the bold horn stabs. 'Elifelet 23' is a lighter affair with some catchy licks and an insistent groove which doffs its cap to the JB's as a vehicle for their own synth flourishes and some big chops from the Orchestra.
Review: Sababa 5 are a funk band from Tel Aviv who tap into their position in the Middle East to create a dynamic, outernational sound, and they're continuing a hot streak on Batov with this crucial collaboration with Turkish singer Candy Dogan. Dogan is currently a member of the jazz department at Istanbul University, and she sought out the band after hearing their music and noting its similarities to Turkish music. Already an alternative pop sensation on her own terms, Dogan slots into the Sababa 5 sound beautifully, resulting in a must-check 7" single that hopefully signals the start of an enduring partnership.
Review: The star-studded Sai Galaxy project returns, bringing together West African legends Steve Monite and Rob with multi-instrumentalist Simon Durrington, guitar maestro Alfred Bannerman, and Egypt 80 trumpet player Bade, for a second EP of vital Afro-disco and soul. Following up 2020's 'Get It As You Move' EP, the likes of 'Sometimes It Rains', the homonymous 'Okere', the truth-to-power 'Rich Man, Poor Man', and the live and swinging coda 'Hold Me Tonight' paint a multifaceted picture of a trio, equally as concerned with groove delivery as they are with narrative storytelling. Most emblematic of Sai Galaxy's approach is their inspiration by analog production techniques of similar Afro-soul albums from the 1970s and 80s, adding a modern touch informed by Simon Durrington's Digital Afrika project.
The O'Jays - "Now That We Found Love" (Soul Flip edit) (4:17)
Review: After a pause since last March, Soul Flip Edits returns with a fresh new logo and a highly anticipated new Soul Flip outing on 7" vinyl. To mark this comeback, the much loved label has reimagined a classic: Sam & Dave's 'Soul Man' and they have givien it a punchy update that stays true to the original's vibe. On the B-side, they've reworked 'Now That We Found Love' by The O'Jays by adding a smooth touch that promises to keep dancers moving. Both tracks bring timeless soul energy with an enhanced twist so are two perfectly "flipped" soul anthems ready for the party.
Review: The super Tramp label has done it again here with another mighty soul 7" that packs an irresistible punch. These cuts are super hard to find and fairly pricey for anyone who manages to unearth them, though they have been out on the superb Feeling Nice Vol.4 compilation album. Donnie Sanders is in top form here with 'Shing-A-Ling Baby' starting with big raw horns perform a smooth and low slung bassline arrives and things get moving with swagger. 'Naptown USA' is a more upbeat and party starting funk cut with big organ chords.
Review: This 7" delivers two rare treasures from the early 70s Latin underground, showcasing a blend of innovation and groove. Side-1 is an electrifying gem from 1971, driven by its creative vocal delivery and rhythmic Latin funk foundation. The track's raw energy and unique arrangement make it an irresistible dancefloor favorite. On Side-2, a 1973 classic merges Brazilian jazz with funk and soul, delivering a sophisticated yet infectious groove. Its lush instrumentation and smooth melodies create a heady, distinctive atmosphere, reflecting the musical experimentation of the era. Two tracks that encapsulate the spirit of a dynamic scene.
Review: Wow, classics don't come much more special than this. A like-for-like repress of the 1970 RCA release, both sides here are soaked in Scott Heron's raw troubled soul. The endlessly sampled, hugely powerful and perfectly funky "Revolution" remains almost as poignant and prophetic as it was the day it was penned. "Home Is Where The Hatred Is" is much more personal and reveals his talent as a singer as much as the lead track boasts his poetry and ability to deliver a strong message.
Review: Gil Scott-Heron's 'Pieces Of A Man' was the first LP recorded by the poet and musician, made and released in 1971. Owing to the album's importance, BGP have released two of its most standout tracks, the title track and 'Think I'll Call It Morning', on a limited 7" that will doubtess prove exceptionallyy handy for DJs who need to get straight down to business.
Review: Fresh from 68: Atlanta family trio Scott Three only ever recorded two singles and remained something of a local sensation thereafter. It's a shame as there's a real Jackson Five feel to their delivery, especially on "Running Wild" where the session band breaks down and each member pops above the dense music bed. "Gotta Find A New Love" takes a much bluesier tact with rougher instrumentation and an almost rocky build on the choruses. Spotted passing hands for sizeable sums on one bidding site, this is the first time it's been pressed in over 45 years.
Review: Back in the 60s and 70s, library music exploded as a genre. It saw plenty of talented musicians make extra cash by laying down endless instrumental grooves for use in TV, film and radio. The King Underground label is now digging into the vast vaults for a new series of releases of some of the finest sounds from the era. The first 45 features tracks considered to be 'dramatic' from John Scott and Tony Kinsey. Scott's 'Milky Way' opens up with cosmic chords and sweeping strings that take you to the stars while 'Star Voyage' has a more busy lead. Kinsey's 'Kaleidoscope' builds the tension with multiple movements from several instruments.
Review: Izipho Soul and Rena Scott have had a long and fruitful relationship that continues with this new 7". It offers up two new takes on a classic tune from Scott which tells of 'the inevitable frustrations of a long distance love affair.' The original is a big soul number with plenty of golden synths and mid-tempo 80s drums that hark back to the heyday of r&b. On the flip is The Nigel Lowis mix of 'You're So Far Away' which strips away some of the noise and makes the track a deeper, smoother, more seductive soul jam with a rather familiar baseline.
Review: Cordial serve up some previously unreleased funky and soulful vibes from the much loved West Coast group Seaquence. These are high speed and hugely cosmic affairs with squealing synths reaching for the skies over driving rhythm sections. 'Visions Of My Love' opens up and is a short but potent bit of soul power with lung busting vocals and great horns. 'Life' on the flip side is more mellifluous, with acrobatic vocals rising and falling over more great horns and splashes of jazzy drum work.
Review: The red hot 45 series from Dynamite Cuts continues apace with more gold carefully dug out from the rich archives of George Semper. This is the first time ver these tunes have been on 7", and the pressing is limited to 600. "Got To Find A Way To Make Some Money" is a sentiment we can all relate to right now. The tune will certainly lift your spirits though with its rousing vocal harmonies, cheery trumpets and vibe spreading soul sounds. "The Weight" (instrumental) is more intense, somehow, with bristling rhythm sections and lo-fi organs all serving up the heat.
George Semper - "Knowbody's Gonna Love You (Like The Way I Do)" (demo version) (2:19)
Joanne Vent - "Knowbody's Gonna Love You (Like The Way I Do)" (unreleased Acetate version) (2:11)
Review: On their previous deep dives into the archives of Trindadian-American multi-instrumentalist and producer George Semper, Dynamite Cuts has largely focused on reissuing obscure, private-press releases. Here they go one step further, offering up two unheard versions of Semper composition 'Knowbody's Gonna Love You (Like The Way I Do)'. On the A-side you'll find Semper's demo version, a cheery chunk of summery soul bliss blessed with fantastic group vocals, a superb lead vocal from the man himself, and some deliciously chiming melodies. Over on the flip you'll find a fuzzy, more horn-heavy soul version from vocalist Joanna Vent that was previously pressed to an acetate but never released
Review: 1974's cult classic 'Bebek' is a stunning example of Anatolian rock, crafted by the legendary Baris Manco and his iconic band Kurtalan Ekspres. Sung by Sevil & Ayla, two stars from Turkey's golden era of cinema, this record fuses Turkish folk with psychedelic rock in a way that is both unique and interesting. On Side-1 'Bebek', stands out with its powerful strings and bassline. Sevil and Ayla's haunting vocals tell a tragic tale of a mother losing her child to an eagle, adding emotional depth to the groovy instrumentation. On the flip side, 'Irgat' offers a groovy, rider-like rhythm, highlighted by a brilliant keyboard solo and an infectious break, making it a hidden gem for dance floors. This reissue revives a timeless piece of Turkish musical history, appealing to both crate diggers and modern listeners.
Review: .US soul combo The Sextones duo have plenty of authentic soul chops - so much so that this one sounds like it could be a long lost 60s classics. But no, it's a new tune from their forthcoming album. The first press sold out instantly and so a reissue is already here. First up is 'Without You' which is an uptempo burner, showcasing playful call-and-response vocals, xylophone and horns over an unapologetically locked-in rhythm section. Turn it over for 'Love Can't Be Borrowed', a mid-tempo slice of soul magic that muses on relationship difficulties.
Review: The Shake & Bake Band's Shake & Bake is an undeniable invitation to hit the dancefloor. Side-1 kicks off with 'Shake & Bake (part 1),' where the band lays down a groove that's nothing short of exhilarating. The track stands out for its originality, offering a vibe that feels almost hedonisticiperfect for those looking to experience something fresh and exciting. On Side-2, 'Shake & Bake (part 2)' strips things down, bringing in a hoedown-like twist with the addition of a harmonica. The drumming intensifies, building excitement as the funkiness truly shines through in this version. Overall, Shake & Bake delivers two distinctive takes on a groove that will keep the energy high and the dancefloor moving.
Review: This one from The Sharpees's is a mythical gem among vinyl collectors that has long been revered in the Northern Soul scene. The story began when UK dealer John Anderson discovered an acetate titled 'Go On and Laugh' in Chicago with no artist name. It was sold to DJ John Vincent, who credited it to the Just Brothers, fuelling further curiosity. Years later in 2016, USA label Secret Stash unearthed the mystery by revealing the artist as The Sharpees who were known for hits like 'Do the 45' and 'Tired of Being Lonely'. Now, Anorax reissues this limited edition 7" alongside 'Tired of Being Lonely' to feed enduring demand.
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