Review: Fans of the Atlanta and Birmingham soul sound of the 70s take note - this one is for you. 'Paper Man' by Sam Dees and Alpaca Phase III comes from that golden time and has only just been earthed by someone digging in the vault of Moonsong and Clintone Recordings. Sam Dees worked with Alpaca Phase III in 1974 on some music for Atlantic and then this ballad a little later. Dees is the vocalist on 'False Alarms' and anyone who heard his Second To None CD in 1995 will know it. These are two golden soul tunes that will swoon their way into your affections.
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: The Brazil 45 series from Mr Bongo bursts through the picture with yet another rocking 7" fire starter by two vintage pop greats - we have to say, their format simply works. First up is Elis Regina, a Brazilian singer who released a countless pop records back in the '60s, and "Ye Me Le" is a soft, seductive Brazilian soul warmer complete with blasting trumpets and that inimitable South American percussion swagger. Turkey's Senay features on the flip with "En Buyuk Sansin Yasiyor Olman", an incandescent lover's ballad that makes a welcome change to the more widely heard Turkish psych sound of the '70s.
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.
Seun Kuti & Sampa The Great - "Emi Aluta" (Zamrock remix) (3:31)
Seun Kuti & Egypt 80 - "Emi Aluta" (feat Sampa The Great - 45 edit) (3:55)
Review: Afrobeat virtuoso Seun Kuti is soon to release his highly anticipated album, Heavier Yet (Lays The Crownless Head) later this year. It features guest appearances from Damian Marley and Sampa The Great so promises to be a global sensation. Ahead of that, we get a taste of things to come from his distinctive Afrobeat sound with this powerful new work on Milan's Record Kicks. First up here with get the bubbly rhythms of 'Emi Aluta' (Zamrock remix) then 'Emi Aluta' (feat Sampa The Great - 45 edit) comes complete with some hard bars.
Review: 'Shehzadi' (which means "Princess") is an Indo-disco gem featuring Solomon's Hindi vocals over Sababa 5's blend of hypnotic drums, nice pulsing bass, bright electric guitar and sparkling synths in a minor key. It channels '80s nostalgia with a modern twist and so rather evokes a Stranger Things meets Bollywood-type vibe. 'Ranjha' (which means 'Lover') shifts to a Middle Eastern feel with synths that echo traditional instruments like the saz. The upbeat groove complements Solomon's dynamic vocals and is filled with hope while dramatic pauses and an exuberant synth solo from Sophia add extra flair to make for a compelling mix of emotion and energy.
Review: Sangre Joven was originally a side project that was set up to release covers of international disco and funk hits for Discos MAG. The collective was started in Peru in 1974 by sax player Nilo Espinosa who also assembled the Nil's Jazz Ensemble after spending years playing in a jazz quintet in Berlin. 'Zamba Zamba' is a tsingle from 1974 that is a true-to-the-original cover of 'Samba Samba' by Colombian brothers Elkin & Nelson. It brings plenty of exotic sounds with uptempo Latin vibes, elements of descarga and boogaloo and more all served up with a funky rock twist.
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: 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: Detour Records proudly presents the latest single from The Sha La La's, 'Always The Heartache' b/w 'Carpenter Of Love' and 'Straighten Up,' available on all formats, including limited edition 7" vinyl. The A-side kicks off with a fuzz guitar riff that sets a west coast tone, leading listeners through a Mod-infused journey. 'Carpenter of Love' showcases Darron Robinson's powerful vocals alongside a soulful Hammond organ, embodying the spirit of London's Mod scene. The B-side closes with 'Straighten Up,' a fiery 1:30 instrumental, fusing Small Faces-style energy with Booker T's groove for an exhilarating finish.
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: A dynamic duo of Brazilian classics on 7" from Wilson Simonal and Trio Mocoto. On Side-1. you have the infectious samba-MPB hit 'Nem Vem Que Nao Tem' by Wilson Simonal, a standout from his 1967 Alegria, Alegria !!! album. This track gained renewed fame in 2002 when it was featured in the critically acclaimed film City of God, exciting new audiences with its lively rhythms. On the flip side, Trio Mocoto delivers the orchestral-infused gem 'Nao Adianta,' first appearing on their self-titled 1977 Arlequim LP. Known for their collaboration with Jorge Ben on seminal albums like 'Forca Bruta,' this group was instrumental in developing the samba rock sound, blending samba, soul, and rock with an unmistakable sun-kissed flavor. This release is a vibrant celebration of Brazil's rich musical heritage, capturing the essence of two legendary acts in one compelling package.
Review: Amongst fans of Brazilian music, Sivuca is arguably best known for his 1973 cover of "Ain't No Sunshine" - later a favourite on the rare groove scene - which re-casts the Bill Withers classic as a sumptuous chunk of shuffling samba sunshine. Here, the track gets reissued as part of Mr Bongo's brilliant Brazil 45s series, alongside his lesser-known - but no less impressive - cover of Edu Lobo's "Ponteio".
Review: Electronic funk eclectics Skeewiff deliver their take on the classic folk song Misirlou on this 7". The average plebeian music fan will know this melody from Black Eyed Peas' hit song Pump It, but only real heads know of the melody's true hazy origins as a bazaar-style ditty from the Eastern Mediterranean (and now you do too), cropping up in the early 20th Century - or perhaps even earlier - in the context of tsifteteli and belly dances. Skeewiff's version is pumping and spacious, mixed effortlessly to provide the utmost focus on the surf-rocky lead guitar, recalling Dick Dale's version from 1962. Of course, too, there's a cover of The Winstons' Amen Brother on the B.
Review: Unearthed from Portland's Albina district, this release revives a slice of 1975 funk that deserves the spotlight. These horn-led tracks balance tight rhythm with unfiltered joy, capturing the raw energy that defined Deep Funk's early days. Both sides are undeniable gems, blending weighty grooves with an effortless flow. This is a limited release, pressed on 7" vinyl with a dinked centre and capped at 500 copies, each packaged in a picture sleeve. It's a vital reissue for those who appreciate the power of funk in its most genuine formigritty, vibrant, and timeless.
Review: The 12th release on Mr. Bongo's signature 45s series saw a reissue of two foundational releases in Brazil's modern popular music category; now the record hears a second round, fresh again off the master metal lacquer. On the A, we hear Brazilian samba luminary Elza Soares covering Jorge Ben's classic 'Mas Que Nada' - albeit with a hoarser vocal tone, such was Soares' signature voice, one which only led to a whopping 34-album career. B-sider Elizabeth, by contrast, upholds a mystery; the artist was nicknamed "Gatinha do Mato" ("jungle cat"), and recorded 'Vou Falar-Lhe Francamente' at some indeterminate point in 1960s Sao Paolo, when and where Brazilian local styles blended with funk and rock.
Review: Formed in 2017, the Sokratis Votskos Quartet is fast becoming one of the leading lights in Greek jazz. Later in the year they'll be releasing a brand new album on Jazzman, from which this tasty double A-side is taken. "Almopian Etude" is a veritable humid summer breeze of a track: a loose and languid fusion of spiritual piano motifs, languid double bass, bustling drums and alternately snaking and intoxicating horn solos. B-side "Sevenates" is an altogether funkier proposition, with cyclical saxophone motifs increasing in intensity over a jumpy, piano-driven rhythm track. It's not exactly jazz-funk, but it's certainly travelling in that direction. Either way, it's ace.
Review: Stroom has another great audio curiosity on its hands here with this 7" from Sonoko. She is a Japanese artist who works in the worlds of ambient and ambient, chanson and elevator, experimental and folk. Both of the cuts here are uplifting sounds that will bring some joy to the gloom of this season. They were made by the artist somewhere in the 90s with 'Meditation' a sensuous sound with hotel lobby piano playing and delicate vocals while 'Un homme et une femme' has a more icy and cold electronic sound with delicate keys twinkling like snow.
Review: The latest limited-edition salvo on Jazzman's contemporary jazz offshoot Jazz45 comes courtesy of Soren Skov Orbit, a Copenhagen-based outfit formed by saxophonist Soren Lyhne Skov and pianist Peder Vind. The two tracks stick closely to the project's founding principles of fusing global musical traditions with modal jazz. A-side "Orbit Bound", where hissing cymbals, hypnotizing piano motifs, plodding double bass and ear-catching saxophone solos cluster around a droning bass clarinet, is probably the pick of the pair, though the more straight-up, trad-jazz warmth of "NV" is also very enjoyable. As debut outings go, it's hugely impressive; here's hoping we hear more from Skov and Vind in the months and years ahead.
Review: Spasibo welcomes Russian outfit the Soul Surfers who word on the street says have a studio full of vintage, Soviet-era gear. Using library music as their source, they bring their own psychedelic twist with deeply funky grooves and have done now for over a decade. Here they kick off with a seven-plus minute medley of 16 tracks that mix up soul from all eras with wah-wah sounds and real emotion. They repeat the same trick on the flipped with 17 tracks all featuring in a journey through space and funk that leaves you in awe.
Review: German sextet "SOUND" recorded a standout set in Frankfurt in 1978, immortalised on the LP "Jazzlife" at Night (Vol.1). Singled out was their composition 'Sound Spirit,' a dancey, post-bop jazz track where Volker Burkhardt's tenorsax soulfully wails in a Coltrane fashion over Werner Bauer' syncopated keys and Heli Kneipp's and Athur Greaves' driving percussion and drumming, intertwined with Jann Meyer's funky bass. All culminate in this super groovy contrapuntal track that often takes you nicely by surprise. Now this seminal piece arrives in a limited edition 7" of 300 on Tramp Records, the small but significant home of some of Germany's best reissued funk, soul and jazz on vinyl. Nat Adderly's 'Sweet Emma' was one of "SOUND's" other distinctive tracks that night, and it too resurfaces on the B side. This upbeat version may teeter on a 'trad' jazz precipice, but as the saxophone takes the cornet parts of the original, its tonality draws the listener in. These tracks already command attention from the discerning contemporary jazz community, and now again available is a must for those who like both upbeat or downtempo late 70s jazz.
Review: Dan 'The Drum' Spalding, known for his house and rave DJ sets, teams up with dance music producer Ronnie Turner and DJ/vocalist Emma Noble to reinvent Coffee's 1980 disco take on 'Casanova'. Originally sung by Ruby Andrews in 1967 and penned by Jo Armstead, the trio's version channels a retro, jazzy vibe that could easily pass for a lost Blue Note gem from the '60s. Their fresh spin breathes new life into both versions, delivering a timeless, love-infused track that's sure to keep dancefloors moving. It's cleariCasanova isn't done yet.
Review: Sun Atlas is a mysterious ensemble whose origins remain elusive. Listening to their music, you wonder whether they could have been based in Los Angeles, New York, Marrakesh or somewhere else entirely. Their only tangible existence is found on this 45, but it's a brilliant one which showcases their irresistible sound. Afrobeat, ethiojazz, surf, cinematic soul, crime jazz and funk and hip-hop breaks all colour these tunes as Sun Atlas create a razor-sharp, genre-defying mix that speaks volumes without saying much. Their music is full of drama and tension, narrative and diverse rhythms and it all adds up to an enigmatic vibe. This release proves that sometimes, the sound itself is all that matters.
Review: Coming quickly of the release of the single in March, newcomer jazz-funk band Surprise Chef's 'Velodrome' get a limited 7" acetate release by their label Big Crown. Backsided on the B with the track 'Springs Theme', this is a laid back, easygoing instrumental piece, with a heavy drum break and an earworm synth line guaranteed to have you humming it long after the song is over.
Review: Rich gutsy soul from a man who's regularly described as Brazil's James Brown, "O Journalerio" is a blueprint funk jam. Released in 1971 (on his hyper-rare album BR-3) it's all about the orchestrated swing, bluesy groove and Hammond licks so lavish you need to towel on every listen. Flip for Som Tres... An off-shoot of the Sambalanco Trio, it's the sound of Cesar Camargo Mariano controlling a restrained rolling slice of filmic instrumental funk where horns, keys and drums gather momentum with big band drama. Neither have been released on 45" before, making this all the more special.
Geno Washington & The Ram Jam Band - "If This Is Love (I'd Rather Be Lonely)" (2:40)
Stuart Smith - "The Drifter" (2:55)
Review: Geno Washington & the Ram Jam Band were an U.K. based soul band, active between 1965 - 1968. Born William Francis Washington in Evanston, Indiana, Geno joined the airforce marching band and, after leaving high-school, was transferred to England - a week before his 18th birthday. His previously unreleased session recording featured here is 'If This Is Love (I'd Rather Be Lonely)' Also featured is 1965 Northern Soul number 'The Drifter', another unreleased Pye recording originally recorded in America in 1965. It was released in the U.K. the next year, where it was covered by English-Canadian Long John Baldry.
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