Space Talk (2023 mix - mixed By Filip Nikolic & Raghav Mani) (5:30)
Space Talk (Dimitri From Paris Spacer dub) (6:38)
Space Talk (extended mix - mixed By Filip Nikolic & Raghav Mani) (6:41)
Review: Asha Puthli's 'Space Talk' is one of those quintessential diggers delights, hardly a secret weapon any more but widely recognised as a magical slice of misfit cosmic disco from the genre's golden era, fronted by Puthli's ethereal vocal. Now the track gets a remix package courtesy of Naya Beat, and the versions aren't to be trifled with. First up comes the mighty Dimitri From Paris, who ladles the funk on thick, trips out the atmosphere and sends the track even further away from terra firma. Flip the record over for Dimitri's even trippier dub when you really want to juice the dance up. There's also a neat and tidy 2023 mix of the track and the original extended mix, making this an essential purchase for those craving the beauty of the OG version as well as those hungry for a classy-as-hell new twist on a dead cert classic.
Review: Rahaan, one of Chicago's finest exports, delivers another stellar collection of dancefloor-focused edits. This four track EP traverses a spectrum of sounds, from disco to house, showcasing Rahaan's signature blend of infectious grooves and soulful energy. 'Project Funk' sets the tone with its undeniable funk flavour, its driving bassline and infectious horns guaranteed to get bodies moving. 'Shangri La' takes a more ethereal approach, its dreamy melodies and hypnotic rhythms transporting listeners to a blissful paradise. On the flip, 'Tribe Dance' injects a tribal-infused energy, its pulsating rhythms and percussive elements creating a primal atmosphere. 'Deeper' closes out the EP with a deep house excursion, its hypnotic groove and soulful chords inviting listeners to lose themselves in the music. With its impeccable selection and expertly crafted edits, this release is a must-have for any discerning DJ or lover of quality dance music.
Review: Founded by Roy Ayers in Cincinnati in 1976 as a vehicle for his songs and productions - though, interestingly, he was never a member of the band RAMP recorded and released one album, 1977's sun-soaked jazz-funk opus, Come Into Knowledge. This fantastic 45 from South Street Records' new South Street Soul offshoot showcases two of the set's most admired and in-demand cuts. Edwin Birdsong and William Allen share production credits with Ayers on 'Daylight', a shuffling, dewy-eyed, afternoon-ready delight whose slow groove, meandering synth solos and blissful female vocals recall another Ayers' classic 'Everybody Loves The Sunshine'. Fittingly, RAMP's fine, soft-focus take on that tune can be found on side B.
Review: Michigan-via-Ohio gospel group Rance Allen have been going for decades, and thanks to Expansion Records, two of their best known tunes now have a chance at relistenership. 'I Feel Like Going' on barely saw a resurfacing on YouTube, but just one listen and we're sure... this is a shockingly important slice of wax, with slapping electronic disco-soul production embedding sax, viola and castanets in what ought to be considered a criminally undersought pair of dance opals. A modern soul masterclass.
Monsieur Van Pratt Le Groove - "El Rap Clap O" (Regroove) (4:40)
Bully Boy - "Fear'n'Loathing In Funk Vegas" (4:34)
Ben Jamin - "Old Time Feeling" (4:50)
Review: French funk lovers Acts of Sedition roll out another tasty double 7" here that features some massive joints from around the world. First up is the Latin heat of Rare Cuts's 'Amigo Bracno' with its big, bright leads, string lushness and percolating, percussive groove goodness all finished with a great Portuguese vocal. Monsieur Van Pratt Le Groove's 'El Rap Clap O' (Regroove) hits a little harder but with similar funk playfulness and some great chord work and Bully Boy then offers the raw and strident funk of 'Fear'n'Loathing In Funk Vegas.' Ben Jamin slows it right down with the sun-kissed late night bliss of 'Old Time Feeling.'
Review: Reflex was a band assembled in the 1980s by drummer David Humphrey from bands including Public Image Ltd. and they put pout their biggest hit 'Funny Situation' privately via Star Records in 1981. Paint A Picture now serve up a first ever fully remastered and licensed reissue of the superb 7". An original will cost you upwards of L200 if you can find it so this is welcome indeed. The record includes an insert with some content on the release, which was made in the same studio and engineered by the same man as the classic Britfunk anthem 'Southern Freeze.' It is similarly tight and funky and will make any floor go off.
Review: For his latest trick, cheeky scamp The Reflex has turned his attention to the Herbie Hancock tune that inspired countless 1980s kids to don a tracksuit, grab a pair of Adidas Shelltoes and hurl themselves around like the Crazy Legs crew. Naturally, his version of 'Rockit' is a body-popping treat that subtly extends and rearranges sections - especially those containing Hancock's jammed-out synth parts - and adds a few tasty breakdowns before unleashing the now familiar melody. Over on the flip the French producer takes his scalpel to the Isley Brothers, providing a fine multi-track edit and extension of the group's much-loved, guitar-solo sporting proto-disco soul number 'That Lady'.
Review:
Ultra Vybe is one of the many superb soul labels to operate out of Japan. This time they turn their attention to the sounds of the 70s soul vocalist Clarence Reid. He had a slew of hits and two of them make it on to this 7". First is 'Rockin Chair' from his 1975 album It Keeps in Raining. It's mid tempo, warm and well swung with a louche vocal turn. ''Till I Get My Share' is a more direct cut with a passionate vocal and big horn stabs over prickly rhythms. It's one of his earlier singles from 1972 but still bangs in 2021.
Review: Eastside Edits is back with yet another infectious disc's worth of funky disco edits for DJs and collectors alike. Welcoming a fresh throng of international talent, this eighth edition hears up-and-coming Indonesian producer Rhework appear alongside renowned UK duo Suckaside. The former's 'Street Sounds' channel the effortless bustle of square-blocked, gridlocked city streets, where steam rises from manhole covers, taxicabs trailblaze yellow light trails, and funk clubs roar as loudly as underground subway systems. Suckaside's B-side is a call-and-responsive version of equal calibre, though it does clock in at a slower tempo.
Review: Isabel Roberts' mid-80s single 'Love Situation' featuring Robert Chandler, is revitalized on this limited 12" release, part of Backatcha's 'Hot Vinyl' reissue series. These UK electric-boogie-synth-funk tracks are essential for any dancefloor. 'Love Situation' is a smooth, soulful jam with a catchy melody, perfectly complemented by Chandler's vocals. The instrumental version on the same side allows the groove to take center stage, making it ideal for those crucial dancefloor moments where the music needs to shine on its own. On Side-2. 'Just Fall in Love,' continues the vibe with a romantic, yet danceable track that's just as versatile. The inclusion of its own instrumental version ensures this 12" is a complete package, offering both vocal charm and instrumental grooves. 80s fans of the groove will surely find some enjoyment with these on their turntable.
Review: For decades, the humble disco re-edit has offered wannabe-producers a way into music production. In recent years, there's been an upsurge in house 'edits' too - a trend that has seen countless producers combine bits of classic and obscure cuts with their own peak-time ready grooves. This debut from the previously unknown Jay Rook fits into that category. Check first opener 'Master Wonnin', where Rook turns what appears to be a classic Highlife jam into a bouncy, bass-heavy Afro-house workout, before further refining the same attractive, sun-splashed formula on 'Eme (Yeah Yeah)'. Over on side two, Rook changes tack on 'Do God a Favour', adding a touch of hip-swinging, disco-flexed gospel-house flavour to a bluesy old soul-jazz cut, while 'Jesus Saved Me (Glad)' is a filter heavy disco-house re-wire of a righteous gospel number.
Review: Roundtree hit hard with the few joints they gifted to the disco world. Led by songwriter and producer Kenny Lehman, they dropped an album and a couple of singles in 1978, but then made a surprise return in 1982 for a one-shot drop of boogified perfection on Aria. 'Hit On You' is one of those simply perfect jams with a nasty bassline and all the hooks you could wish for, and Groovin clearly know what they're after as they lead with the dub mix on the A side for this reissue. There's also the remix version of the track, and an additional retouch from Moplen thrown in for good measure to give you a prime cut three ways - no bad thing in our book.
Review: Dynamite Cuts has got a couple of Roy Ayers Ubiquity projects in the fire this month - a brilliant 7" double pack as well as this 45rpm. Both sides of this one rather take quite different paths to your affections. 'A Tear To A Smile' is high-speed and complex funk for the dance floor with loopy rhythms and Roy's mad vibes playing over the top next to some neat bass work. Flip it over and you'll find the much more deep and laid-back 'Time & Space' with its lavish cosmic keys and jazz vocals all working you into a star-gazing lather.
Review: Roy Ayers made a number of killer disco cuts in the late 1970s, though few are quite as essential as 'Running Away', which has now been reissued by South Street Disco. Built around an instantly recognisable (and much-sampled groove), the extended 12" version is rich in rubbery, rising and falling bass, clipped guitars, spacey Rhodes motifs, superb lead vocals from Ayers and even better backing vocals courtesy of the female quintet who would later become Eighties Ladies (who's superb 'Tell Him' was reissued in 2020). Turn to the flip for another chance to savour Fever album-opener 'Love Will Bring Us Back Together', a deeper and more low-down disco groover that boasts some seriously good Clavinet riffs and another inspired Ayers' vocal.
Review: The Barefoot Beats crew return with outing number 14 and once more it is music for sunny climates. Aroop Roy takes care of the A-side of this 10" with 'Fankiando Taniador', the Latin flavoured deep cut disco and funk roller with 80s horn stabs and rumbling bass all topped with a red hot vocal full of flair. It's pure Brazilian heat that is perfect for outdoor dancing and Bernardo Pinheiro's 'Expresso Amor' then brings more sunshine goodness with its slinky disco house beats and swinging hand claps all irresistible to anyone with a heart.
Review: Sababa 5's latest release, featuring tracks 'Bezani' and 'Ashkamoni' on Batov Records, reaffirms their position as pioneers in Middle Eastern psychedelic grooves. With a discography boasting two albums, an EP with vocalist Shiran Tzfira, and several highly sought-after 45s, Sababa 5 continue to push boundaries in the global grooves scene. 'Bezani' takes listeners on a captivating sonic journey, blending electric synths and percussion-driven rhythms in a mesmerizing fusion of early electronic sounds and Persian folk influences. The track's 6/8 rhythm creates an immersive atmosphere that defies traditional genre categorisation. On 'Ashkamoni,' Sababa 5 showcases their versatility with a rockier edge, infused with a rocksteady swing. The dynamic melody builds tension, while enthralling solos from the lead guitar and synth highlight the band's exceptional musical talent. Drawing from their collective experience supporting various international artists, Sababa 5 delivers a tight sound that seamlessly merges diverse musical elements.
Sanctuary - "Disconnect" (extended Disco instrumental) (6:25)
Willie J & Co - "Boogie With Your Baby" (extended Disco mix) (6:21)
Unknown Tape - "Familiar Time & Place" (Chicago mix) (7:05)
Unknown Tape - "Familiar Time & Place" (Detroit mix) (7:09)
Review: The shadowy Edit & Dub crew don't talk about their releases, so it can be difficult to ascertain whether the tracks they're showcasing are long-lost originals, or new edits of ridiculously rare records. Either way, the label's latest EP features versions of some seriously hard to find treats, starting with a fine 'extended disco instrumental' of Sanctuary's 'Disconnect', a fine disco-boogie jam from 1980. They then deliver a (we think) previously unreleased 'extended disco' mix of Willie J & Co's killer 1976 disco-funk gem 'Boogie With Your Baby'. On the B-side we're treated to two takes on the mysterious 'Familiar Time and Place' by Uknown Tapes: a 'Chicago Mix' which sounds like late 80s Windy City acid house smothered in spacey deep house chords and intergalactic electronics and the mid-80s techno-tinged 'Detroit Mix'.
Review: Sukuma by Sandy B & LJ Simon is a delightful blend of electronic funk and house music, released with an accompanying remix by Eddie C. On Side-1, the original track exudes a downtempo funk vibe infused with elements of house music, creating an irresistible groove reminiscent of 80s funk. Lead vocals by Sandy B add a dynamic and soulful dimension to the track, enhancing its overall energy and appeal. On Side-2, Eddie C's remix of 'Sukuma' injects fresh energy into the mix with additional dance elements that elevate the funk party to new heights. The remix lively rhythms and a captivating main synth line that transports listeners to a vibrant dancefloor atmosphere. With its infectious beats and charm, 'Sukuma' and its remix offer a unique chance to wow the dancefloor with something different and fun.
Review: This is the first release on Boston funk superstar Saucy Lady's own label Dippin' Records, collecting two nu-disco bits, and a few alternate versions, all with a skippy, retro flair. Produced by Saucy Lady herself, alongside Yuki "U-KEY Kanesaka, the A-sider 'Why' comes as an electronic space disco version of Carly Simon's original. Meanwhile, the flip's 'One More Night' reinterprets the original song by Phil Collins as an uptempo banger, side-by-side with a retake by Daisuke Miyamoto.
Judson Moore & The Al Tog Staff - "Everybody Push & Pull" (3:11)
Review: Soul Junction revisits the Scot-Tees Capri master tapes here to unveil two previously unreleased tracks. First is 'My Sweet Polly' by The Scott Brothers, a late 60s dance tune inspired by Howard Scott's former girlfriend. Coupled with this is a studio version of Judson Moore's "Everybody Push & Pull," a crossover hit influenced by Rufus Thomas. The Scott Brothers evolved from the 'Elpeccios' in 1958 to the Scott Brothers Band in 1963 and were instrumental in Chicago's music scene. Their label, Capri Records, produced hits like 'We Like Girls' and worked with legends like Garland Green. Judson Moore was a veteran singer who thrived under their mentorship and went on to leave a lasting legacy.
Review: A superb 12" slab of rare South London British jazz funk, originally released in the UK in 1984 by Jamaican-born producer Tony Williams, the man behind the seminal Funk Masters' jazz-funk masterpiece, 'Love Money'. Now heard again, 'Keep On Searching For Love' is emblematic of London's 80s dub disco sound, with its every constituent part recorded, arranged and processed to the discotheque-addict's letter. Gated snares and acapella croons abound, with the uplifting vocals of Linda Taylor shining as brilliantly as star at the peak of its supernova. The flipside instrumental, 'Eastern Lady', comes complete with hypnotic bassline, drum machines, synths and stabbing horn lines; both tracks have been lovingly remastered from tape and now come exquisitely repackaged for you to enjoy. Gotta keep on!
Review: George Semper's 1984 album Themes For Television, Sports and Aerobics is one of the most brilliantly bonkers you're ever likely to hear. It featured the veteran jazz-man reach for the most intergalactic-sounding electronic instruments he could find and lay down a series of short, library music style missives that still sound like the product of some kind of demented acid trip. The people behind Dynamite Cuts are obviously fans, because they've decided to stick a small selection of cuts from the hard-to-find album on this tidy 7" single. On the A you'll find the deep space, jazz-fired electro-lounge madness of "Pretty Lady", while the flip boasts two shorter cuts: jazzy synth-scape "Universe" and spacey ambient doodle "Extraterrestrial Search Contact Tones".
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.
Review: The second Shuggy Edits 7" to hit the shelves in 2024, and the fifth overall, this esteemed edits series by the otherwise mysterious Shuggy nonetheless makes for one of the most in-demand around. This time we've two further funk and soul come bombastic hip-hop edits to contend with: first up is a version of Baby Huey's 'Hard Times', a tromboning 1971 strut by the American singer whose sole LP for Curtom Records was instrumental in the development of hip-hop; Shuggy lends the a harder, steeple-high, needlepoint edit-edge. This is further teased out on the B-side, whose 'Harder Times' hears a phat breakbeat and brass bass parp further teased out to frighteningly formidable effect.
Labi Siffre - "I Got The" (New New Super Heavy Funk edit) (4:25)
Banbarra - "Shack Up" (New New Super Heavy Funk edit) (3:28)
Review: As soon as you drop the needle on this one you will recognise it as a sample source for one of the biggest hip hop tunes of the last 30 years. That tune was of course by Eminem, but Jay-Z and Miguel also used it in their own work. It is originally by veteran UK soul sensation Labi Siffre and features sweet beats and a rugged riff. On the flip, Banbarra's 'Shack Up' brings some raw funk vibes with chugging drums and belting vocals, and both of these versions are New New Super Heavy Funk edits by the Soopastole label's in-house namesake.
Review: Another example of a classic disco track being thrust into the modern age thanks to TikTok, Silk's 'I Can't Stop (Turning You On)' was recently flipped by LF System in 'Afraid to Feel', turning the slow-burning Philly soul bopper into a hyper-speed house banger. For fans of that original sample, being able to hear the sultry vocals of Debrah Henry being manipulated by bpm. The Philadelphia septet hit the nail square on the head with this sensual love make that is so detracted from it's descendant that you're about to have two new favourite songs.
Review: A short name hides a long story - Detroit-born Chad Hughs graduated from the same high school as Diana Ross, going onto become a multi-talented musician as well as a teacher and composer. The fourth release from cd exclusive vinyl pressers Jai Alai, collectors can now own this unique 7" containing two completely different sides of Sir Wick from his two albums. A side's title track 'Seal My Heart' contains the vocal talents of Sedalia Marie, with layered vocals and a baseline that makes this pure soul song feel deeply cinematic. The B side has been decades in the making, selected from a fully orchestrated musical in the works since 1996, finally being recorded and completed in 2017. These two tracks are deeply sentimental ditties of doting young love, and now two rare soul ballads from a musical luminary are available for the first time on a 45. What better soundtrack to date night than these?
Review: The Jalepeno label is a famously fiery funk outlet that serves up more of that dance floor heat here. It comes from Skeewiff's One Sample Short Of A Lawsuit EP back in 2000 and gets pressed to its own tidy 7" here. As the title of that EP suggests, this is music that mashes up the past with a serious of sizzling samples over driving rhythms. 'Shake What Your Mama Gave Ya' is real horn led b-boy stuff with crashing breaks, and on the flip is 'Man Of Constant Sorrow' with its nagging and iconic vocals over a more country-fried funk beat.
Review: A limited red vinyl edition of Sofian producer Skill's skilful 'Tribute To The Godfather', a simple yet effective 7" breaks edit outlining just how much tension and suspense can be fleshed out of a James Brown drum sample. Mr. James Brown, undoubtedly the linchpin of funk, is said to have been so tyrannically dictatorial during recordings that he would fire session drummers in a flash if they were slightly behind. Only a man with gangsta-level gusto could have squeezed this breakbeat out of a young Clyde Stubblefield, signalled by a decided "hit it now" from our sequin-flared compere.
Review: An impressively retro-feeling "breaksoul" choice from London label Digga Please?, once again delivering on their promise to bring the finest in funk, soul, disco, rap, b-boy breaks and "all that good shit". First released in 2004 on the iconic Freestyle Records, 'Get It On' is a bona fide cut & paste classic, its break-do backbeat and slippery funk vamps harking a filtered Rhodes line; here an obscure r&b libretto sings demonstratively, warning us of an incumbent detailing of her preferred mode of frisking: "this is how we like to get it on!" The record then segues into a timeless Gil-Scott Heron sample and breaks-tastic track slathered in sax, attesting to a so-called coolness that can be tapped by anyone willing to ease into it: "hipness is not a state of mind, it's a fact of life".
Review: A 7" reissue of the 1968 funk/soul-jazz single by Jimmy Smith, one of the most influential jazz keyboardists and organists of all time. Coming about at a comically Afrofuturistic career highpoint, 'Stay Loose' is an immediately arresting jazz funk cut, documenting Smith's insistence that the listener stay loose, open-minded, soft of heart. Of course, without such an attitude, the spirit of funk simply cannot be inherited.
Review: Longtime disco editor Smoove played his first cards right with Wack Records in 2007, and now he returns to the imprint after decades with another raw-cut, redone diamond; a synth-driven slab of filth-funk reflecting the talents of 80s soul mogul Bobby on vocals. On the flip, things speed up as Smoove flips Mrs Jackson's vocals into a razor-sharp electro funk rework, loaded with punchy edits, Mantronix-inspired stutters, and warped stabs that twist the track into club-ready territory.
Review: Jonathan Watson aka Smoove sees his version of "one of the greatest posse cuts of all time" - or so say reissuers Wack Records - re-pressed for the masses to hear. One half of the British funk and hip-hop edits duo Smoove & Turrell, the former of the two made, but never released, this wicked remix of Heavy D & The Boyz's 'Don't Curse' sometime in the late 2000s. Now released as though it were an official posse cut, it comes backed by a flip of Kool G's 'Rich & Famous', equally bouncy and decadent as they come.
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 & Turrell return with a killer single, which opens with the gospel backing of label mate Izo FitzRoy before John's incredible voice and social lyricism and Smoove's unmistakeable production lift us up into 'The Light'. Legendary US Blue Note keyboard genius Ronnie Foster joins the party as only he can; one of the very few instrumental guests Smoove has ever wanted (or needed) beyond his own band. With frontman John Turrell repurposing the cynicism towards the powers-that-be - be it the media or parliament - to positive ends, this is a veritable paean and urgent call to "rise above it and let the light shine in", in his own words.
Review: Originally released by Ohio on 7" in 1978, this lesser known moment in late 70s funk and soul gets a beautifully crafted reissue as it resurfaces after 47 years. Side-1's 'Get Together' is a joyous, horn-driven soul anthem. Its infectious energy, party-ready vibe and well-balanced backing vocals create a timeless feel. The lead vocals shine brightly, supported by a tight groove that keeps the track irresistibly uplifting. On Side-2, 'Once I Leave' shifts gears into a downtempo, sublime expression of soul, the slower tempo allowing the song's emotion to take centre stage, complemented by delicate instrumentation that evokes a sense of longing and introspection. A forgotten treasure brought back to life.
Review: Four Flies present the first ever 45rpm to be taken from Giuliano Sorgini's masterpiece album Zoo Folle. The library and soundtrack specialist cooked up some irresistibly groovy and funky sounds on the record and two of the best are picked here for serious DJ deployment only. 'Mad Town' opens up with some killer and funky drum breaks with a slick flute line adding extra pizzazz up top. It's a psyched out number for big dance floor moments an on the flip, 'Ultima Caccia' is a more Afro-tinged and tribal number with blissed out drums from Giuliano and some mad funky percussion by session player Enzo Restuccia.
Review: Outta Sight's latest monthly rare soul missive contains hard-to-find and overlooked classics from "hard-hitting" New Jersey vocal group Soul Brothers Six and New Orleans Rhythm and Blues man Willie Tee. It's the former's wonderfully sweet and loose "I'll Be Loving You" (first released in 1966, fact fans) that takes pride of place on the A-side, serving up a lightly sauteed soul take on the rhythm and blues template. Willie Tee's 1967 jam "Walking Up A One Way Street", a summery affair blessed with a superb horn section, leisurely groove and brilliant lead vocal from the man himself, can be found on the B-side.
Review: The Soul Motivators back up their widely acclaimed 2020 album 'Do The Damn Thing' with a new 7" that shows no dip in form whatsoever. The killer double-sided 45rpm is defined by the big, lung-busting and soul-searching vocals of Shahi. The a-side 'It Is What It Is' is well crafted with high grooves and rousing chords all making you want to dance. Lyrically it echoes the ups and downs of all our everyday lives. Reverse it and you'll find 'Raise a Glass' - a hard-hitting deep funk track.
Review: Long-lost Tidewater soul classic 'An Extraordinary Dream' gets a welcome reissue here by Symphonical with input from the last surviving band member Larry Gray. This timeless love song was recorded in 1969 at Charlie McClendon Studios and was the first of two singles by Gray and his group, The Soul Seekers, which was made up of five Huntington High alumni who helped shape the region's musical scene. Led by Gray who was fresh from five years at Stax Records with Otis Redding, the group backed numerous touring acts and this single was produced under Wilson Harrell's Check Productions. It's a lovably forlorn and low-slung soul sound with heavy-hearted melodies, horns and aching vocals.
Review: The Soul Surfers share their debut 7" on Broc Recordz, following a promising entree working with various raw funk and soul greats, including with Jack Nilovic on his 'Maze of Sounds' compilation, not to mention appearing on the first volume of the recent Two Tales For The Mind V/A. 'High Roller' and its counterpart 'Big Slick' are two large, roomy, instrumental sonic gateau slices, on which an outsized four-string occupies the front and centre of both mixes, to megalomaniac, almost gluttonous effect. All else follows naturally; plucks, snares and FX licks resound, as we're left to contemplate the ingenious front cover by Italian artist Riccardo Bettazzoni.
Review: Not to be confused with the independent funk and soul exhumers Strut Records, who were acquired by the !K7 monopoly in 2008, Strut Records (here recorded as Strutt) was a short-lived North Carolinian, now apparently resurrected, record label active in the early 1970s and exclusively dedicated to the work of the band the Soulfull Strutters. The Fayetteville octet drove a rousing bargain with the soul stomper 'Let Your Feelings Go', indeed seeming to incite the mass-reflexive impulse buy (and with no remorse) by entreating the listener to abandon all emotional valence and make a kind of Kierkegaardian leap of faith - not only into the void of love, but into a commitment to dancing and dancing well, as well as into copping the record. Clever.
Review: Ottawa's Afro-jazz-funk collective returns with a limited 7" showcasing two dynamic tracks that highlight their genre-blending prowess. Originally released in 2014 on Inner Fire, 'One Life To Live' kicks off Side-1 with an exhilarating fusion of funk, Latin and Afro rhythms. The track's lively horn arrangements and tight percussion create an infectious groove, balancing intricate musicianship with danceable energy. On Side-2, 'Kingdome Come' dives deeper into jazz territory, merging Afro-Cuban jazz with jazz-funk and Latin jazz elements. The result is a richly textured piece that moves fluidly between laid-back grooves and vibrant, rhythmic bursts. The percussion is sharp, and the brass shines with both restraint and exuberance, highlighting the band's ability to navigate complex arrangements while maintaining a relaxed, natural flow.
Review: Dynamite Cuts lives up to its name once more by unearthing a deep funk treasure here, and they do the right thing and serve it up for the first time ever on its own 7". Sound Investment's 'Funky Skunk' is a raw and rhythm-heavy rarity previously confined to album-only status. It's bursting with tight grooves, gritty breaks and irresistible energy and is a dream for DJs, collectors and crate-diggers. On the B-side, 'Dirty Man' keeps the heat alive by delivering more deep-fried funk goodness. Both cuts showcase the band's raw musicianship and groove-driven spirit. Authentic funk vibes don't come much better than this.
Review: Edwin Starr's poignant and bright original funk number 'Time' gets a notable reissue via Soul Brother, once again casting a retrospective light on the American Motown boy wonder's advanced songwriting capabilities and out-the-box subject matters. Never one to shy from important messages, 'Time' perhaps rivals Starr's 'War' in its laser-focused singular theme, yet this time errs more existential and metaphysical than political; here Starr muses on father time and his obscurant curtain, pondering the fact that the ticking clock is indeed something that all human subjects feel, yet not all sense the gravity of until it's too late. On the B comes the comparatively righteous romantic march, 'Running Back & Forth', which by comparison lilts through jovial croons and lovestruck reveries.
Review: Dynamite cuts are in the midst of releasing a fresh series of De Wolfe library grooves, owing to the esteemed Dutch library's impressive catalogue of obscurios which nonetheless still provide ample source material for DJs, samplers, and obsessives. These two grooves are lifted from the original, said-to-be-mega-rare Formula album by Barry Stoller, from 1972. 'Long Weekend' and 'Design' are equally tooly movers, not just rhythmic weapons, but also gateway drugs to Stoller's extensive back catalogue of distilled, two-minute-long ideas.
Review: Barbados-born Richard Stoute set out on his 60-year long musical career at the age of just 12. He put out only one album in that time back in 1974 and some superb singles. This new 7" from Wirl - his original label - features two of them with 'Vehicle' the most well-known. It is Caribbean funk with expressive horns and his seductive vocals front and centre. It's become an expensive grail these days for good reason. 'I Hate To Do This Woman Wrong' on the flip is a much more slow and more sentimental number with deeply romantic grooves and heartfelt vocal tones from Stoute.
Review: During the disco era, there were numerous albums by one-off studio collectives that have since gone on to become sought-after items amongst collectors. One of those is undoubtedly the sole, self-titled album from Stratavarious, a 1976 set produced by sometime Philadelphia International Records arranger John L. Usry. This must-check "45" features two versions of one of the album's highlights: laidback, Latin-tinged, occasionally jazzy number 'Nightfall'. You'll find the extended seven-inch edit on the flip, where celestial female backing vocals and languid trumpet solos rise above a samba-tinged beat and luscious orchestration. Japanese producer T Groove provides an arguably even better A-side re-edit which is a little more groove-based while retaining all of the track's detailed, intricate musicality.
Review: R. Ackley is the man behind this particular Status project - there are many others in various genres - and he is credited with just one release - 1977's Girl, which has become a cult classic in the world of funk and soul. It was written alongside C. Barton and is a glorious bit of lavish and immersive soul with a tricky rhythm section firing out minimal but punch rhythms under the AOR-style vocals. It's cosmic and Beatrice and perfect for so many settings. On the flip is 'Wild Woman' written with S. Bourne and it is another heater well worth having, especially as an original of this will cost you well over 300 quid.
You Can't Turn Me Away (Produced By Roy Ayers) (4:32)
Review: Sylvia Striplin has been heavily sampled by all manner of artists over the years. Here one of her biggest hits 'Give Me Your Love' is presented on a 7". The A-side is the one with its big funky licks, low-slung bass line and celebratory riffs all finished off with the glorious vocal itself.
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