Review: Dynamite Cuts brings the heat once more with a second volume of their Sound Music 45s series. Siegfried Schwab takes care of the A-side with 'Getting High', a scorching funk workout with hard-worked guitar chords and precise percussion over lots of wah-wah effects. 'Feel It; flip the script with a superbly stripped-down jazz-funk lounge sound. Klaus Weiss then steps up on 'Time For Rhythm' with some loose, percussive funk beats that are raw and organic, then Peter Thomas closes down with 'Documentation', a more richly instrumental and multi-layered jazz-funk sound that conveys real grandeur.
Review: Dynamite Cuts brings the heat once more with a second volume of their Sound Music 45s series. Siegfried Schwab takes care of the A-side with 'Getting High', a scorching funk workout with hard-worked guitar chords and precise percussion over lots of wah-wah effects. 'Feel It; flip the script with a superbly stripped-down jazz-funk lounge sound. Klaus Weiss then steps up on 'Time For Rhythm' with some loose, percussive funk beats that are raw and organic, then Peter Thomas closes down with 'Documentation', a more richly instrumental and multi-layered jazz-funk sound that conveys real grandeur.
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: 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: Two all time funk/soul classics from the Skull Snaps - a funk group active between 1963 and 1973. They were known as The Diplomats up until 1970 and released a number of singles with moderate success. Renamed Skull Snaps, they released an eponymous album on the small GSF label in 1973, before disappearing into obscurity. These selections are from the said album. New 7" reissue label Dynamite Cuts is releasing these two gems as a limited edition 500 only pressing, showcasing the two best tracks on the LP. Both have been heavily sampled in many hip-hop and club classics by Eric B. & Rakim, Digable Planets, DJ Shadow, The Prodigy and Panjabi MC to name but a few.
Review: Now this is a benchmark for proper low slung funk. London's Dynamite Cuts present this classic by legendary funk/soul outfit S.O.U.L. The acronym stands for Sounds Of Unity and Love, and consisted of four gentlemen from Cleveland, OH USA that formed in the early 1970s. 'Burning Spear' has a groove you'll recognise from the first beat, as it has been sampled in many hip-hop tracks over the years. The A side version is taken from their What it is? LP. On the flipside is the rare and more collectable version; a variation with more focus on the percussion which was originally released on 7' in 1971. Essential for those in the know.
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: If you've ever been to a rare groove party - or a soul and funk one, for that matter - there's a fair chance you'll have heard Tommy Stewart's 'Bump & Hustle Music'. The song first featured on the American artist's self-titled debut album in 1976, but later became an anthem on the London rare groove scene. It remains an infectious, feel-good, life-affirming treat, with addictive female vocals, twittering flute motifs and much-sampled horn riffs riding a languid, rolling groove. Over on the flip you'll find another fine track taken from the same album: the sweeping, string-laden disco sweetness that is 'Fulton County Line'.
Review: If you've ever been to a rare groove party - or a soul and funk one, for that matter - there's a fair chance you'll have heard Tommy Stewart's 'Bump & Hustle Music'. The song first featured on the American artist's self-titled debut album in 1976, but later became an anthem on the London rare groove scene. It remains an infectious, feel-good, life-affirming treat, with addictive female vocals, twittering flute motifs and much-sampled horn riffs riding a languid, rolling groove. Over on the flip you'll find another fine track taken from the same album: the sweeping, string-laden disco sweetness that is 'Fulton County Line'.
B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition
Bump & Hustle Music (4:59)
Fulton County Line (4:46)
Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***
If you've ever been to a rare groove party - or a soul and funk one, for that matter - there's a fair chance you'll have heard Tommy Stewart's 'Bump & Hustle Music'. The song first featured on the American artist's self-titled debut album in 1976, but later became an anthem on the London rare groove scene. It remains an infectious, feel-good, life-affirming treat, with addictive female vocals, twittering flute motifs and much-sampled horn riffs riding a languid, rolling groove. Over on the flip you'll find another fine track taken from the same album: the sweeping, string-laden disco sweetness that is 'Fulton County Line'.
Review: Barry Stroller made up an enduring part of the De Wolfe Music library catalogue, the legacy of whom Dynamite Cuts are hoping to preserve on their latest reissues series. Stroller's choice tracks 'Funky Spider' and 'Cool Character' are shining examples of the boogified infection endemic to both the artist and label; both are taken from Stroller's original Atomic Butterfly LP. Expertly-arranged horn sections and massive breaks; what more could you want?
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: For those who value the lineage and heritage of breaks, beats, funk, soul, hip-hop and crate digging, here's a reissue you won't want to sleep on. Don Alias, Gene Perla and Steve Grossman originally laid down their debut record as Stone Alliance in 1976, and tucked away within the hard grooving jazz funk cuts was a track called 'Sweetie Pie'. This particular jam had a sax break which you know as soon as you hear it - sampled to high heaven and immortalised in the culture, now 'Sweetie Pie' is available on this neat and tidy 7" with a beautifully roomy live version on the flip if you want to edge a little difference into the mix.
Review: Frank Strazzeri was a versatile musician who played piano, Moog synthesizer and ARP Solina string synthesizer on these tunes with help from Sam Most on tenor saxophone and flute and other input from Bobby Shew, Harvey Newmark and his brother Steve Strazzeri on drums. All four sides fo this double 7" are airy and jazzy, full of spring time vibes and gently persuasive grooves. This is the first time since first release on Catalyst Records in 1976 that they have been reissued.
Review: Initially released in 1976, New York jazz artist Frank Strazzeri's LP 'After the Rain' saw the saxophonist-turned-pianist string together immaculate Rhode grooves, flute passages and intimate, funky bass lines in this jazz-funk spectacular. Almost 50 years on, this numbered, extremely limited collector's piece on 2 stunning blue 7"s housed in a gatefold selects 3 of the greatest tracks from the album. From the Rhode-fuelled relaxing sounds of 'After the Rain', to the brassy 'Blue Dawn' and finally, a disc dedicated to the progressive masterpiece 'Cloudburst'. This gatefold is a much-needed reintroduction of Strazzeri's work back into the jazz conversation, backed up by the talents of the legendary flutist Sam Most and jazz trumpet player Bobby Shew. Jazz collectors, especially fans of the New York piano and lounge scenes, this is for you.
Review: The Supremes and Magic Disco Machine deliver double the dancefloor delight with 'Bend A Little' on 7" vinyl for the avid soul DJs. The vocal version by The Supremes, previously exclusive to CD, finally graces vinyl, showcasing their undeniable talent and energy. On the flip side, Magic Disco Machine's instrumental rendition takes flight with infectious grooves and funky beats. It's a great little 45 for DJs and collectors alike, marking the first vinyl release for both tracks. Don't miss out on this electrifying addition to your music collection!
Review: A rare groove treasure trove from Sweet Charles, this new collection brings together three standout tracks that are sure to delight collectors and fans alike. First up is 'I Like It Like That,' making its vinyl debut after years of anticipation. Then there's 'Soul Man,' originally released on a 7" styrene pressing back in the 70s and now ready for a fresh spin. Rounding out the set is the sunshine club anthem 'Yes It's You,' a bona fide mover that still lights up dancefloors. For rare groove aficionados, this is a must-have release, capturing Sweet Charles at his soulful best.
Review: Sweet Linda Divine has a big old set of lungs on her. She proves that here with this 7" on Dynamite Cuts which comes on both ball vinyl and limited edition white wax. Both sides offer very different sounds. 'I'll Say It Again' is a raw cut with fat funk bass riffs and lively drums, expressive yelps and wails that cannot fail to bring the steaminess. On the flip, 'Same Time, Same Place' slows it right down to a more sentimental and heartbroken soul sound but still with plenty of power.
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