SMOOVE レコード& CD

Review: Smoove returns with another addition to his renowned Multitrack Rework series, offering a stripped-down bass and drums workout to open, with a seven-minute version of 'Engine Number 9'. The flipside sees him take on a classic with an extended reworking of 'Got To Be Real', starting with an open drum intro before breaking down the brass arrangements and highlighting the impeccable vocal harmonies. As usual, Smoove's deep understanding of groove and arrangement shines through, making this a must for anyone who appreciates his masterful touch on the funkier side of reworks.

Review: Smoove AKA Jonathan Scott Watson brings us Bizarre Cut 'N' Paste Ride for the most recent Wack Records release. The producer is known for using his cut up style of east coast flavor. On the A-side, 'Bizarre Cut 'N' Paste Ride' uses Pharcyde tracks and edits them seamlessly like a DJ would. Focusing in on the original instrumentals, he creates a jazzy sound with them. 'Summer Cyde' expands upon this theme while using the all-time classic 'Passin Me By' in the mix. This is like having a dub plate of Pharcyde cuts to your own personal bag. Sounds like these will never get old.

Review: Smoove returns with his label Wack Records and delivers two killer cuts straight from the heart of Motown. Utilizing original multitrakcs from the home of Rick James and The Supremes, Smoove gets his swirv on and delivers two uptempo hip-hop bangers, curveball-tinged with the instrumental backings of Motown. On the A, 'Empty World', we hear an attention-grabbing Nas mashup ('Life's A Bitch'), while the aforementioned artists are equally as well fused on the much more positive B-side.

Review: Smoove's latest LP, the retro-modern funk take that is First Class, is primed for a spacious yet packed dancefloor. Smoove's deft emulatory production skills are once again put on full display, collecting vocal samples and original backing tracks from genres like funk, jazz, soul and hip-hop to produce something to the tune of 15 or so remixes. Bustling interpretations of Kraak & Smaak, Una Mas Trio, and Brenda Boykin render this a headsy yet unpretentious dance dazzler.