Review: Reggae Dynamite Vol.6 explodes onto the scene with four irresistible tracks that capture the essence of early reggae. Max Iss & The Minions kick things off with the infectious title track, setting the tone for an EP filled with soulful rhythms and vibrant melodies. Donnoya Drake delivers a stellar rendition of the funk-soul classic 'Mr Big Stuff,' while reggae legend Dave Barker lends his smooth vocals to 'Gimme Little Sign,' adding his own twist to the soul nugget. The instrumental track, 'Gimme Little Version,' by Woodfield Rd Allstars, rounds out the EP with its lively organ-led groove. Produced by Neil Anderson, each song is expertly crafted, blending elements of reggae, funk, and soul to create an electrifying listening experience. Whether you're a seasoned reggae enthusiast or new to the genre, Reggae Dynamite Vol.6 is guaranteed to get you moving and grooving from start to finish.
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: 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: 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.
Children Of The Night (Ryuhei The Man edit) (3:38)
Children Of The Night (3:59)
Review: Japan seems to excel at everything and anything it does, including reissuing golden jazz funk. This time out, Hysear Don Walker's "Complete Expressions Vol. 2" is mined for the two escapist and mellifluous tracks that make up this essential 7". Ryuhei The Man edits "Children Of The Night" into a smooth flowing bit of late night and romantic jazz funk. It rides on a pensive bass loop and has a subtle sense of drive, while the slower original is that bit more sentimental with its noodling chords and more meandering mood. Both sides are pure winners.
Review: The Breaks and Beats label kicks on with a 31st instalment of magical sound that will inject soul and funk into any party and keep working DJs well stocked with heat this winter. First up on this limited 7" is The Webs with 'It's So Hard To Break A Habit', a slow and sentimental sound with aching v vocal harmonies and gentle rhythms laced with melancholic melodies. Gamith's 'Darkness' picks up the energy levels with some more bristling breaks and live drum sounds, funky vocal stylings and psyched-out guitar lines.
Hoochie Coo Strut (Andy Smith Reach Up Disco Wonderland remix) (5:25)
Hoochie Coo Strut (3:34)
Review: UK based production team Weekend Sun is made up of Phil Smith and Chris Tarn. Here their loose and inviting 'Hoochie Coo Strut' tune gets presented on a limited edition 12" with a pair of killer mixes. The original is all deep cut, slow motion disco grooves, spangly guitar riffs and big horns. It is a cacophony of sound that gets dialled right back by Al Kent. His take is a low slung groover with jazzy chords given plenty fo room to breath and neat little riffs filing in the spaces beyond. Andy Smith Reach Up Disco Wonderland remix is a big one for full floors.
Review: Klaus Weiss was a German jazz drummer who left behind a rich legacy of library music, especially on the series of Sound Music albums for Golden Ring Records in the late 70s-early 80s. In the digging era, Weiss' impeccable grooves now fetch serious prices second hand, and so be thankful for the likes of Dynamite Cuts reaching over into the world of library music reissues to pull four perfect joints from unreachable realms back into the hands of real music fans. From low down nasty funk to space-age star gazing, Weiss packed a lot into these tracks, and now you can cop them on a sureshot 7".
Review: A unique slice of classic library music flies off the shelf. These four tracks were lifted from the classic library music series known only as 'Sounds Music Album Volume 18', and were made by the library maestro Klaus Weiss, the former jazz drummer who later turned to the trade after falling in with German music publisher Ring Musik. An eerie uncanniness cuts across these instrumentals, as Weiss' drumming provides steady boppage to serene yet dubious backings of strings and synth.
Review: The work of legendary drummer turned library musician Klaus Weiss continues to be reissued. For this series, Dynamite Cuts are looking back on a mid-1970s series of EPs released by Weiss originally for the famous library Sound Music. Carrying a minimal production that still has appeal for the modern listener (don't Dynamite know it), the four tracks here are curt, squelchy and beat-centric, with highlights including the clavichord-wacky 'Frogs', the sonically obese 'Productive Facilities', and the space-age drum freakout 'Coordinates Meeting'.
Review: This great series from Dynamite Cuts continues to delve deep into the alluring world of library music. It is sound that captures real feelings and evokes all sorts of memories, even those that are imagined, with a single note or seductive groove. This collection is made of tracks from the German Library series Sound Music Albums which sell for over L150 if you can find a copy. There are four tunes in all, three from Klaus Weiss and one from Peter Thomas, all of which add up to another great collection and a must for serious music heads.
Review: Columbian Afro-cumbia sensation Wganda Kenya drew acclaim for their group excursions in dance music, not least for the huge ensemble cast of nine-plus musicians that made them up. 'Shakalaode' came in 1976 as the infectiously slackened cover of Fela Kuti's 'Shakara', released five years earlier. Colombian Afrobeat leant more heavily on diasporic rhythmic elements, which differed from Nigerian Afrobeat in that these used regional cumbia, porro and mapale, descending from Afro populations who had settled along the Pacific and Caribbean coast. Less polyrhythmic and perhaps more tropical in feel, the A-side serves as a shining example, with rushy plucks and strident shouts intro'ing a flavoursome shakedown, and 'El Abanico' follows up as a surpriser Fatback Band cover.
Review: The reissue of Ike White's 'Changin' Times' brings a rare soul treasure from 1976 back to life. On Side-1, 'Changin' Times', is a low-key funky gem, its understated groove and soulful depth capturing a timeless beauty. Flip to Side-2 and 'Love & Affection' takes the spotlightia vibrant, funk-infused track with echoes of Stevie Wonder's iconic 'Superstition' taken from Ike's full length release. Its forward-thinking soul grooves blend seamlessly with funky rhythms, making it a standout piece that feels both nostalgic and ahead of its time. This 7" packs a punch with its perfect balance of understated charm and bold musicality.
Review: New Orleans funk outfit The Wild Magnolias were active in the mid 70s, releasing two albums and then regrouping in the 90s. Their sound is in step with their more renowned Louisiana peers, but certainly running hotter than the likes of The Meters. "Handa Wanda" is a stirring, effervescent call and response epic that shows the band at their best, rocking a wall of sound approach that keeps the pressure up the whole way through. "(Somebody Got) Soul, Soul, Soul" is a more fluid track, but it's certainly no slouch in the energy department either. This is hi-octane funk to get people shaking and sweaty.
Review: During the "rare groove" boom in London during the 1980s, Linda Williams' 1979 album track "Elevate Our Minds" became something of an anthem. Curiously, it was never released as a single at the time, making this surprise 7" edition something of a bonus for those still searching for the track. It remains a fine song, with Williams' brilliant vocals rising above bossa-influenced beats, warm bass, luscious boogie orchestration and gentle Latin style horn lines. The flipside features "City Living", the title track from the very same 1979 LP that "Elevate Our Minds" was taken. It's far funkier and more elastic in feel, with horn arrangements and a chunky groove reminiscent of some Teena Marie tracks from the same period.
Review: Dave Welding's Soul Junction label is back with another limited edition 45rpm that keeps up the fine run of recent form. These two gems are the work of the late great Willie Williams, a blind singer from Chicago who was discovered performing in the Windy City's local clubs. He was signed to ABC records in 1966 and put out only a couple of other well received singles. 'Give It All I Got' is a beautiful piece with raw drum work and lush vocal backing harmonies next to a gentle piano line. It is stirring stuff while the flips-side 'Do You Understand' is more upbeat with its funky riffs, more great backing vocals and a rolling beat that locks you in.
It Ain't Because Of Me Baby (Dope Jams feat Greene Block party take) (10:31)
Review: Bill Withers' 'Lovely Day' is a quintessential soul masterpiece that radiates warmth and positivity. The track stands out as a magical single, encapsulating the essence of a perfect, sunny day with its beautiful strings, uplifting background vocals and a delightful horn arrangement that adds depth to its feel-good vibe. This song effortlessly lifts the spirits, making it a timeless anthem of joy. On the flip side, 'It Ain't Because Of Me Baby' shows a funkier side of Withers' artistry. Its rhythmic groove and engaging melodies provide a captivating contrast to the uplifting nature of the title track, demonstrating Withers' versatility as a songwriter and performer. Together, these tracks create a delightful listening experience that highlights the genius of Bill Withers.
Review: It's 20 up for Positive Pay For Japan, who have got a wealth of funky 7"s out this month alone. It comes from Milton Wright, a big presence on the Miami soul scene throughout the 1970s. He was one of the many siblings in the Wright family alongside Betty, Phillip, Charles and Jeanette and also served as a justice on the Boston Municipal Court from 1998 to 2004. This 45 serves up 'Let's Take A Break,' a slow motion and deeply funky number with poignant bass notes and Milton's stylish vocals up top next to plenty of big horns. The party picks up with 'You Like To Dance,' a brighter tune with a positive vibration.
Review: With roots as a backing singer for Stevie Wonder, Wycoff went on to become a soul ambassador throughout the early 80s. This 1982 reissue is one of the best examples of his silky, heartfelt delivery... "Looking Up To You" is a dynamic love song where traces of big 70s production build and build throughout. "(Do You Really Love Me) Tell Me Love", meanwhile, was only ever released as a B-side. Its 80s production counter the dramatics of the A-side with cool synthetic perfection. Reissues don't get much broader in production or sweeter in sound than this.
Review: Jayson Wynters is one of the UK's more underrated producers. He hails from Birmingham, has mastered Kung Fu and is no slouch in the studio. This outing on Spanish label Pulp - written back during the lockdowns - is one of his best yet - a deep look into the cosmos, with star-gazing synth lines and analogue drum sounds that are frayed around the edges. Misty-eyed chords define many tracks, with the loosely jumbled drums and rasping basslines all interlocking perfectly. 'Corns Funk' has twanging bass riffs that remind of Prince, while 'Night Drive' is a Dam-Funk style late-night street cruise during sunset.
Review: Stevie Wonder's seminal The Jazz Soul Of Little Stevie album very much unveiled the budding talent of a musical prodigy. Released in 1962, this instrumental collection showcases Wonder's early mastery of jazz-infused melodies at the tender age of just 12 years old. With his harmonica prowess and soulful organ touches frost and centre, Wonder paints vivid tracks that belie his youth. Pieces like 'Fingertips' and 'Square' exude a playful energy, while 'Soul Bongo' delves into rhythmic complexity. Despite its brevity, the album foreshadows Wonder's illustrious career and undeniably set the stage for his future triumphs on Motown and beyond. It's a captivating glimpse into the early genius of a music icon.
Love Having You Around/Signed Sealed Delivered/Papa Was A Rolling Stone (7:28)
Superstition/Maybe Your Baby (12:01)
Uptight Jam (4:12)
Review: In 1972, musical one-off Stevie Wonder boldly embraced a more experimental and personal style and showcased some innovative use of synths. Backed by his new band Wonderlove, he toured extensively with the Rolling Stones and solidified his status as a trailblazer. This electrifying performance from that year was broadcast on Soul TV WNET 13 in New York City and captures Wonder at his peak and delivering fiery renditions of tracks from his iconic Music of My Mind and Talking Book albums, among others. Presented here with insightful background notes and rare images, this recording is a vivid testament to a pivotal era in Wonder's legendary career.
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