Review: Conceived for maximum floor-lift, Daje Funk is the namesake of both artist and label; here the elusive but fun-loving moniker brings another four whopper disco edit-remixes to vinyl, further charging the collective body with a haul of kitsch spirituals. Three out of four tracks here are "lovely edited" - intentional or not, we can't resisting stealing such brilliant turns of phrase - by longtime Roman disco purveyor Les Inferno, with the support of a cracking cadre made up of fellow producers and engineers Max Pottini, Emiliano Patrick Legato and Dom Scuteri. Stefano Fusco also handles the B1; and though we don't know the original IDs of any of the tracks here, the vibe is consistently spirited, and the artists only carefully betray their access to the original stems (made eventually obvious by faint vocal delays, extra-thwacking kick EQs, etc.).
Review: Boom! Ultra rare outernational funk reissue action by the new Habibi Funk imprint! Dalton were a late '60s soul band formed in Tunis by a group of American music enthusiasts, and their one and only LP under the Dalton name was independently released and super rare until now. "Alech" nears psychedelic territories thanks to its echoing vocals and trippy percussion, whereas "Soul Brother" is more of a classic soul ballad, but filled with the band's own native roots, of course. Be sure to check, this is hot and recommended for the diggers.
Review: When he moved to Germany in the early 1980s, Hudson People's Reg Hudson quickly connected with Johnny Davis - a funk and soul musician who had originally moved to the country in the 1960s while serving in the U.S Army. They recorded a string of tracks and albums together, though only a small number of these recordings were ever released. 'Expand Your Mind', a gorgeous, synth-enhanced, mid-tempo slab of "groove" music (a kind of warmer, more soulful and generally more organic-sounding sub-genre that sat somewhere between boogie and 80s soul), was one of those - though original copies are very hard to come by. This gem sits on side B of this issue, playing second fiddle to the previously unreleased 'Life's a Party' - a slap-bass, piano-solo-sporting slab of rubbery boogie/jazz-funk fusion.
Review: Ron Hardy's legacy lives on though stories of his legendary DJ sets but also his seemingly endless catalogue of edits and reworks of the tunes he played in his heyday. Here we have another such exhibit in which he flips some classic disco. The original version of 'No Way Back' is riddled with picked guitar licks and dreamy keys while a funky low end moves on this disco-rock gem as brass bursts out for added oomph. Hardy ups the pace, twists it beyond this realm and adds big drum breaks that are Prue bit for dancers. It's a classic in its own right that gets regular plays by more bold and eclectic DJs.
Review: William DeVaughn hears two cuts from his classic D.C. album Be Thankful For What You Got reissued for the first time on 12" since 1974. A rare ode to gratefulness in a world of material gratuitousness, but two lines from the title track of the original eight-track opus resound, and capture the sentiment perfectly: "you may not own a car at all... but remember, brothers and sisters, you can still stand tall!" As sampled by N.W.A, De La Soul, Outkast, Ludacris, Big Tymers, Rihanna, Hip Club Groove and L'Imperatrice, the A-sider is a historical record; its strength lies in its affecting singularity of theme and moral sway, and, on the instrumental side of things, we can say the same of its tight playing and serene sound. Backed by the cream of Philadelphia session groups MFSB (Norman Harris, Vince Montana, John Davis), DeVaughn wax continues to wax poetic over themes of inheritance, love, and compersion; a great foundation laid for the gangster rap that would follow from it.
Review: Originally composed by Don Blackman and recorded by Weldon Irvine in 1975, this rare 70s groove has been reimagined in a brand-new recording that importantly stays true to the essence of the original. The updated version features Natalie Duncan alongside DOS on vocals and the music is arranged by Bluey and showcases a talented lineup of musicians from Incognito who bring a fresh yet faithful twist. It blends soulful instrumentation with a contemporary touch that is sure to connect with all new audiences.
Review: Diplomats of Soul is the duo of Mike Allin and Ralph Tee and they are celebrated not just for their funk and soul expertise but also for releasing a steady stream of soulful gems since 2006 through their Expansions label.Continuing their solo project, they deliver a stunning cover of Barbara St. Clair's rare groove classic 'Teacherman' here. Distinct from their earlier hits, 'Teacherman' continues to redefine their promise by offering two lush 70 soul tracks: one vocal and one instrumental, continuing their tradition of soul innovation with a contemporary and groove-heavy edge.
Review: DJ Bacon's new edits LP Super Disco Raps takes two forms: firstly as a full-length 16-track LP, and secondly as a selectors' single edition, the latter of which you see here. 'Vol. 2' hears two extra remixes that did make the big disc's cut, but Bacon decided they also suited a limited edition 7" release for good measure. Playability is the implied reason: on the A we've a glossed-out disco scratch-tool remix of Wu Tang Clan's 'Gravel Pit', on which ghostly rap acapellas are laid to a lackadaisical funk beat, and on the B there's a similar version of Ultramagnetic MC's's 'Moe Luv's Theme', which loops and skips about an unmistakable four-beat, wax-scrubbing hook.
DJ Deviant & Swamburger - "Get On The Floor" (3:33)
DJ Deviant - "Where's The Party" (3:47)
Review: DJ Deviant and Swamburger join forces for a double-sided serving of feel-good hip-hop and r&b on this 7" release. 'Get On The Floor' is a surefire party starter, its infectious beat and catchy hooks practically demanding movement and setting the tone for a night of good times. The track is a vibrant blend of classic hip-hop elements and contemporary production, with DJ Deviant's cuts and scratches adding a layer of turntablist flair. On the flip, 'Where's The Party' sees DJ Deviant flying solo, keeping the energy high with a smooth groove and feelgood vibes that are reminiscent of 90s r&b classics. The ever enduring appeal of hip-hop and r&b in full effect.
Review: Originally released in 2017, 'All Night Long' now gets a well-deserved vinyl release on 7". A tribute to the golden era of funk and disco, this release perfectly captures the electrifying energy of the early 80s while keeping things fresh for modern dancefloors. 'All Night Long' is a shimmering fusion of funk, soul, disco and electro, dripping with nostalgia. The groove is infectious, with crisp drum machines, funky basslines and synth stabs that instantly bring to mind classics from the likes of The Whispers or Shalamar. It's the kind of track that oozes retro charm but remains undeniably timeless. On the flip, 'Funkin On The One' shifts gears into a deep funk workout inspired by legends like Zapp & Roger and The Gap Band. Heavy slap bass, talkbox vocals and tight rhythms make this a certified dancefloor bomb, embracing the spirit of 80s funk with authentic precision.
Funkin On The One (feat Funkin' On The One) (4:42)
Review: These are two proper old school dance floor heaters from DJ Friction - yes, the very same - who in 2017 debuted his boogie and modern funk project, Ground Control, with first album Boogie Some More via Sedsoul Records. The glorious tunes feature vocals from David Whitley, Tansy Davis, Adriano Prestel, Ciaan, and Talkboxers Sin2 and CJ and now two tracks from the album come on this exclusive 7". This marks the beginning of a new era for DJ Friction who launches Soulsonic Recordings. Both of these are two more colourful and charming neo-boogie bangers with rich licks, bold basslines and irresistible funk.
Review: The latest release from the TakeFingz label, DJ Katch's 7" single, dives into the blaxploitation soundscape with a fresh twist on a classic 80s hip-hop track. This installment, the fourth in Katch's series, reimagines Grandmaster Flash's iconic 'The Message,' splitting the track into two sidesiScene A and Scene B. Side-1 features an extended funky loop, evoking the feel of a hero driving into the sunset during the credits, while still retaining a vibrant dance floor groove. Side-2 offers a stripped-down, choppier version, perfect for DJs to mix or scratch. Katch's rework celebrates 50 years of hip-hop with his signature style, blending streetwise funk and jazz with distinctive samples and iconic verses. Played by notable DJs like The Allergies and Craig Charles, this release showcases Katch's talent for creating a "furtive" sound, blending classic hip-hop with a touch of cinematic flair.
Review: Japanese talent DJ Koco aka Shimokita is a hardcore 45rpm devotee. They are his chosen tools as a beat-juggling DJ who can do logic-defying things with his grooves. He is a regal on Bloom and already dropped serious heat in January with 'World Famous'. This time he is back with a fresh take on 'Made In New York' which is a 1985 classic by renowned Brazilian funk and jazz pianist Tania Maria. He brings his signature hip-hop flair and creativity with his trusted crew, 45trio, and enlists the dynamic saxophonist King TJ (DA-Dee-MiX) to elevate things further.
Review: The figurative "battle weapon" is a kind of warring sonic heuristic; a dirty, up-your-sleeve musical "tool" made expressly for the MVP DJ to use in times of soundclash-y trouble. The Battle Weapons label know this all too well, and here they welcome new trainee assailant DJ Maars to demo his skills in the colosseum, bridging a fine line of recognisability and productive sample-flippage. 'A Nah Gun Nah Heat' brews Snoop Dogg's 'Drop It Like It's Hot' and Doug E. Fresh's 'La-Di-Da-Di' to delicious acapella effect, whilst 'Feel Like Standing' smashes Ludacris and Marcia Griffiths in an almost fated blend. Why didn't anyone else think of these before?
Kool & The Gang - "Give It Up" (DJ Soopasoul edit) (4:02)
Aretha Franklin - "Rock Steady" (DJ Soopasoul edit) (3:30)
Review: Jalapeno jive maestro Soupasoul had another standout year, in 2024 and only heightened his reputation for crafting exceptional edits that bring new life into funk standards and hidden gems. With a sharp focus on the groove-rich breaks, he is back once again with another instalment that will ignite dance floors everywhere. This time his scorching rework of 'Give It Up' spotlights dynamic horn interplay and soulful jazzy choruses and 'Rock Steady' celebrates Aretha's powerful vocals paired with a killer breakbeat. These finely tuned edits honour the originals while adding fresh energy.
Review: All Right Fresh serve speciality brews of West and East Coast nu-funk, soul and hip-hop. Here they welcome DJ Spinna and J Rocc for the very latest edition in their Wrecka Stow Edits series, which hears two further majestic remixes of classic r&b reelers. First up is Spinna's version of Prince's 'Starfish & Coffee' with the renamed 'Maple Syrup Jam', which strains and thins Prince's already prickly granules to provide that extra ophiuroid zing. Then J Rocc follows up with 'Re Purple Music', also a remix of a Prince cut, 'Purple Music', providing ever further filtrated disco-funk panache.
Review: Toby Gee's Lowrider 7" delivers a fresh spin on two iconic tracks, turning them into fun party-fuelling artillery. On Side-1, the Racked Mix of 'Lowrider' reimagines Cypress Hill's classic into an underground groove, infusing it with a darker, more rhythmic vibe that keeps the original's essence while bringing something entirely new to the table. On Side-2, the Cracker Mix of 'Vanilla Bop' takes Vanilla Ice's 'Ice Ice Baby' and transforms it into a lively jam band groove. The crisp scratches and expertly crafted edits to the original vocals add a layer of excitement, making it a perfect floor filling track that's sure to get attention.
Review: After the critically acclaimed Avoude (5 stars & 'Top of the World' on Songlines, Bandcamp top pick, Le Monde, BBC Radio, Pop Matters), Sol Power Sound proudly presents a scorching remix EP from West African psychedelic powerhouse Dogo du Togo & the Alagaa Beat Band. Rooted in Togo's deep cultural and Vodun traditions, Dogo's sound is reimagined here by a heavyweight lineup of producers. Captain Planet kicks things off with a percussive African house groove, while Sol Power All-Stars ask, What if Prince joined Dogo in 1983? The result? A synth-laced funk HIIT workout. Detroit icons John Beltran and Blair French bring Afro-Brazilian and deep house flavors, before Glenn Echo closes with a mind-bending 12/8 dub trip.
Review: These artists got together back in 1969 to record Let The Sunshine In, a landmark album that blended jazz, rock and soul into a vibrant sound that captured the spirit of its era with its experimental soundscapes and electrifying performances. These two tunes are taken from the album and come on 7" for useful DJ deployment. Driscoll's emotive, soulful vocals pair beautifully with Auger's masterful Hammond organ and the Trinity's dynamic instrumentation. The title track in particular is a real anthem of its day and is sure to make just a s much of a mark all these years on.
Julie Driscoll, Brian Auger & The Trinity - "Indian Rope Man" (3:22)
Brian Auger & The Trinity - "Black Cat" (3:23)
Review: Heavy Jazz Records has licensed this very welcome reissue of one of the most iconic Hammond Mod dancefloor bangers of all time. This limited edition new 45 rpm features Julie Driscoll, Brian Auger & The Trinity's 'Indian Rope Man' on one side, a track packed with driving chord work, vibrant guitar licks, and passionate, intense vocals. On the flip side, Mod enthusiasts will find another gem in the form of 'Black Cat.' This track races forward with raw brass, hard-edged vocals, scintillating drums and epic chord progressions. A true pair of heavy-hitting tracks from the vault, sure to thrill collectors and dancers enthusiasts alike.
Review: At the start of the COVID-19 shutdown, Rob Hart and David A. Tobin were writing music for an artist's project. When the artist left, they found themselves reflecting not on lost work but on their shared love for music. Their conversation turned to the 90s-a time when hip-hop fused with funk and soul, promoting fun, parties and unity. Inspired by this, Rob created a sound palette echoing the hits of the early 80s and 90s, while David envisioned a local club vibe. In one day, they crafted this song with infectious hooks, nostalgic beats and joyful energy. Rob's production polished the track into a "hands-in-the-air" anthem-a tribute to good times and a beacon of positivity in dark times.
Review: Mr Doris steps up with D-Funk Heat, a release that comfortably balances retro flair with modern groove. The production is sharp, with funky basslines that immediately grab attention, while the crisp drums and infectious synth lines keep everything fresh. Doris's ability to blend dancefloor-ready energy with nuanced musicality shines through, making this a record that's both playful and rich in its sonic textures. There's a sense of ease throughout, a laid-back confidence that invites listeners to move while staying fully immersed in the groove. It's a nod to the past with eyes firmly on the future.
Review: Fresh off the back of X-Ray Ted's debut album Moving On comes this instrumental/scratch tool version of 'Get Loose', one of the record's best-loved non single tracks. Prior to the full album's making and eventual completion, The Bristol-based DJ and producer had spent years honing his craft and refining his signature sound, which drew heavily on soul, funk, hip-hop and breaks; all of which were styles heavily indebted to the street battle breaks culture found in 90s New York and other major cities. 'Get Loose', the seventh track on the record, features British rappers Dr. Syntax and Elemental and is a fiery exploration of what it means to loosen oneself; the track features here in full original form, alongside its locked groove and acapella versions, the former of which samples an oldskool comedy set characteristic of the kinds of sources battle DJs would sift theirs from.
Review: In celebration of 50 years in the performing arts, Idris Ackamoor presents Artistic Being for Record Store Day 2025-a powerful blend of jazz, spoken word and activism. Featuring the voices of acclaimed actor Danny Glover and stage legend Rhodessa Jones, this record captures highlights from the Underground Jazz Cabaret, which was performed during Black History Month 2024 at The Lab in San Francisco. Co-produced by Ackamoor's Cultural Odyssey, the release fuses poetic storytelling with evocative musical textures while reflecting on social justice, identity and resilience. Artistic Being is a profound statement from a visionary artist.
Review: Mr Bongo present a staunch retro vision of Cuban-born violinist Alfredo De La Fe, one of whose sonographic creams was the debut salsa-and-more fusion album, Alfredo. Based between New York and Colombia, Alfredo worked with many of the greats in Latin music, including Eddie Palmieri, Willie Colon and Roberto Roena, as well as disco and soul icons Sylvester and Aquarian Dream. For a debut solo record, Alfredo is a real charm offensive, and a valiant experiment at that, mixing Latin dancefloor crunches with De La Fe's own, unusually additive violin, placed centre stage as he solos. The record - a favourite of legendary New York club The Paradise Garage - tonally shifts past the halfway mark, eschewing the A-side's chroma-jazzy clavier discombobulations for an early four-to-the-floor, daresay proto deep house excursion, 'Hot To Trot'.
Review: This long-lost 1973 album from Graham Dee is a fabled record from the man who was a key figure in the 60s London session scene and later a prolific songwriter and producer, and it is now released on vinyl for the first time. Dee was a renowned session guitarist who played with legends like Jimmy Page and Jeff Beck as well as artists such as John Lee Hooker and The Walker Brothers. After working with them, he became an in-house producer for Atlantic Records and honed a distinctive 'British Soul sound.' In the 70s, he moved to the U.S., writing songs and working at the legendary Muscle Shoals. Mr. Super Cool was only rediscovered in 2019 and it's clear to hear Dee's unique talent on a record that offers a fascinating glimpse into early 70s recording.
Review: Manu Dibango knew how to work a crowd. By the time he hit the stage at Marseille's Theatre La Criee in December 1982, he had long mastered the art of turning a gig into a full-blown celebration. This was the man who took makossa global, who made 'Soul Makossa' an international sensation a decade prior and who could pivot between jazz, funk and African rhythms like it was nothing. The recording, unearthed from the INA archives, captures him in peak form, leading an eight-piece band through a set that refuses to sit still. 'Africa Boogie' is all clipped guitars, tight horns and a bassline that struts like it owns the place. 'Ashiko Oumba' turns the groove alluringly, locking into intricate polyrhythms before erupting into pure brass-fuelled joy. Then there's 'Waka Juju', sprawling across three parts, moving from simmering tension to full-throttle release with the kind of control only Dibango could pull off. He's conducting, shaping the music in real-time, every solo a conversation, every break a setup for the next explosion of sound. Four decades later, the set still feels alive. It's there in the call-and-response with the crowd, the sweat-soaked momentum of a band that knows it's on fire. Dibango, effortlessly cool at the centre of it all, proves once again why his music never ages.
Review: Back in 2018, Sticky Buttons dipped into the vast back catalogue of Nigerian synth-funk supremo Dizzy K Falola and served up Sweet Music, a superb double-vinyl retrospective of his hard-to-find work. As the title makes clear, this is the inevitable sequel - a similarly impressive collection largely made up of tracks first showcased on the artist's final three albums of the 1980s. The music on show is colourful, attractive and effortlessly soulful, with Falola expanding his trademark Afro-boogie and Afro-synth sound via references to US r&b, soca and synth-pop. Highlights include, but are in no way limited to, the superb 'Afrikan Jamboree', Afro-electro gem 'Traffic Jammer', the stuttering excellence of 'Bad Boy' and the percussion-rich 'Dance Africa'.
Review: Weldon Irvine was a pioneering musician whose innovative style and emotionally powerful melodies earned him admiration across generations and genres, from 1970s jazz and soul to 1990s club and rare groove scenes. Known for his versatility, Irvine left behind a legacy of timeless tracks and this best-of album, curated from his extensive catalogue, features eight standout songs that showcase his genius. The always-sensitive P-VINE presents this special collection in style and offers a comprehensive glimpse into the depth and breadth of Irvine's musical contributions, all of which highlight his lasting impact on the music world.
Review: Adding to the fervour around Japanese city pop - the genre is still a clogged but speculative seep for reissuers, who are keen to capitalise on the mainly Tokyo-born genre's still underground, under-recognised reserves of music - comes DJ Nutoya with a fresh and terse ten-tracker compilation: Tokyo Bliss. This breezy selection centres on the all-rounder genre's favourite international foci, boogie and funk: frissonic formulas for sensational home listening. Most tracks here make their debut on vinyl outside of Japan; from Buzz's pristine tremolo'er 'Garasumado', to Keiko Toda's escape-noteworthy 'Fade In' and Yuji Mitsuya's delirious summer disco dirge 'After Five At Caf-Bar', this is an impeccable curation job.
Review: DJ Notoya returns with another expertly curated selection of Japanese gems, this time delving into the funky, soulful, and city pop sounds of King Records. Spanning the years 1974 to 1988, this compilation is a treasure trove of forgotten classics and hidden gems, a sonic time capsule that transports listeners back to the neon-lit streets and vibrant nightlife of 1980s Japan. Buzz's 'Garasumado' kicks things off with an infectious groove and funky guitar riffs that could rival any Western funk classic. Mami Ayukawa's 'Sabita Gambler' adds a touch of soulful sophistication, her smooth vocals gliding over lush instrumentation. Keiko Toda's 'Fade In' is a city pop gem, its dreamy melodies and catchy hooks evoking a sense of carefree optimism and urban cool. Elsewhere, Johnny Yoshinaga's soulful ballad 'The Rain' provides a moment of introspection, while Kumiko Sawada's disco-infused 'Your Love's Away' will get you moving and grooving. The compilation closes with the feelgood sounds of Masatoshi Kanno's 'Day By Day', a perfect encapsulation of the city pop aesthetic.
Review: This new album is Dowdelin's therapeutic best and one that delves into themes of depression, life's highs and lows and resilience. Along the way, it blends Caribbean rhythms with jazz, electronic music and percussive soul to make for an ever evolving and intriguing trip through moments of struggle and hope that mirror those in everyday life. Sung in Creole, French and English, each track weaves rich melodies with deep emotion and makes for a powerful exploration of mental well-being. Dowdelin's take on well crafted funk is where tradition meets modernity and the result is a sound that is both healing and invigorating.
Review: Brian Auger's Streetnoise was originally recorded in 1969 with Julie Driscoll and The Trinity. It stands proud as a genre-blurring work of jazz, rock, folk and soul greatness that found the group moving beyond their r&b and jazz roots. Instead, Auger and Driscoll crafted a progressive, avant-garde yet deeply soulful record in which Driscoll's haunting vocals contrast beautifully with Auger's instrumentation. The gatefold sleeve was designed by Hunter S Thompson collaborator Ralph Steadman and was inspired by Hogarth's satirical etchings which in turn reflects the album's artistic ambition. Streetnoise features dynamic instrumentals like 'Ellis Island', great reinterpretations of 'All Blues' and 'Flesh Failures' and standout tracks such as 'Indian Rope Man' which highlight Auger's visionary fusion of styles.
Review: The Dynamics honour Jamaica's musical legacy with Drag'n'Fly, their third album, transforming classics with reggae, soul and funk. Like the 1960s tradition of ska and rocksteady reshaping US soul hits, they take songs from all genres - pop, country, jazz - and infuse them with island rhythms. Mounam, Steve Levi, and Mr Day lead the charge with their distinct vocals, while Fab Master Flab weaves futuristic echoes through roots instrumentation. From reimagining ESG's minimal pop to turning Pharoah Sanders' 'You Got To Have Freedom' into a dub anthem, Drag'n'Fly is an irresistible mix, destined for stereos and spicy dancefloors alike.
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