Review: In 2011, Banda Achilifunk & OJO served up Gitano Real, one of the year's most essential albums. It was caned far and wide by funk lovers, in particular Craig Charles on his 6 Music show. Now, two cover versions taken from the essential album have been pressed to limited edition translucent yellow vinyl. First up, 'I Believe in Miracles' is an overwhelming take on the Jackson Sisters classic with plenty of happy Latin vibes and rumba funk rhythms. Flip it over for a more abstract version of McFadden and Whitehead's seminal 'Ain't No Stoping Us Now' which is a soulful disco number packed with sunshine.
Review: The Moiss Music label seems to like to drop their EPs two at a time. They did it in February and they're doing it again in May. This eighth outing collects four more lively disco cuts, each with their own subtle influences. Berobreo's 'White Rabbit' for instance has funky undertones with loopy guitar riffs and nice breaks. The Magic Track's 'Jamming With Mom' meanwhile is more sensuous and deep, with late-night synth work and seductive vocals. Oldchap's 'I Want To Show You' has an expressive soul vocal with more low-slung grooves and Alexny's 'Not Bad' then gets quick, clipped and loopy for its lip-pouting disco thrills.
Review: Classic soul band The Moments serve up a couple more gems for this red hot series on Dynamite Cuts. First is a steamy, seductive, sexy version of the Lee Forsey classic 'Ride Your Pony'. The gentle drums, the swinging synths and the sting sounds are all topped with butter-smooth vocals. On the back side is something just as majestic and heart warming - 'Sugar Sugar' is a real singalong gem with nice sax stabs, freaky synth bass that never stops squelching and just good vibes that you never want to end.
The O'Jays - "This Time Baby" (A Tom Moulton mix) (9:53)
The Futures - "Party Time Man" (A Tom Moulton mix) (9:11)
Jean Carn - "My Love Don't Come Easy" (A Tom Moulton mix) (10:45)
The Jones Girls - "Nights Over Egypt" (A Tom Moulton mix) (9:13)
Review: Philadelphia International Records continues to dip into its bulging archives and offer up double-packs containing some of the finest 1970s remixes from remix pioneer Tom Moulton. As you'd expect, there's plenty to get the juices flowing and the heart pounding on this third volume in the series. Record one opens up with Moulton's epic version of the O'Jays' "This Time Baby", a swirling Philly Soul classic that later became a favourite of sample-loving disco-house producers and disco re-editors, and continues with his sugary but floor-friendly version of the Futures' "Party Time Man". Over on record two, Moulton's inspired extension of Jean Carn's seductive "Love Don't Come Easy" is followed by his must-have version of the Jones Girls' "Nights Over Egypt".
Didjelirium Vs DJ DSK - "Tonight" (DNA edit) (4:08)
Review: DNA Records presents two fresh cuts from the minds of O.Love and Didjelirium, both produced by the UK's very own DJ DSK, now based in China. 'Refuse' is an original cut made with O.Love, a renowned turntablist and vocalist and notable subject of DJ City's popular 'Turntablism Meets Soul Music' documentary. 'Refuse' is lent a well-rounded and nigh perfected, yet lax sheen, with DSK's unagitated add-prod lending a laboured swing to O.Love's brilliant beltings. On the flip comes a curveball dub reggae collab, of utmost quality, with Didjelirium, an early pusher of the style in China and a founding member of the incipient Chinese reggae collective Uprooted Sunshine.
Review: Originally released in 1974, "For the Love of Money" is a soul/funk song that was recorded by Philadelphia soul group The O'Jays for the album Ship Ahoy. The lineup at the time comprised of Eddie Levert, William Powell and Walter Williams, It was written and composed by Anthony Jackson, Leon Huff & Kenneth Gamble, and produced on the latter's Philadelphia International Records. The original pressing was issued as a single in late 1973 with "People Keep Tellin' Me" as its B-side. The single peaked at number three on the U.S. Billboard R&B chart, and at No. 9 on Billboard's Pop Singles chart in spring 1974. "For the Love of Money" made the group Grammy Hall of Fame Inductees in 2016.
Review: Arjuna Oakes' Abbreviations on 7" vinyl is a delightful journey through jazz and soul. Side-1 features 'The Love That I Feel,' a soulful track brimming with emotional depth and vibrant energy. Oakes' expressive vocals and the band's tight performance, especially with the legendary Nathan Haines, create an uplifting and captivating experience. On Side-2, 'Mallet Groove' offers a contrasting, yet equally engaging, experience. This downtempo track is soothing and gentle, with beautifully played keys that set a relaxing mood. The groove is soft and inviting, drawing listeners into its calming embrace. The emotional drive within the music is palpable, making it a deeply compelling piece that encourages introspection. Overall, Abbreviations shows Arjuna Oakes' ability to blend soulful performances with smooth, relaxing grooves, making it a standout release in contemporary jazz and soul.
Review: Tower Vinyl is very quickly becoming one of our favourite labels. its current run of releases is absolutely top notch and focuses on vintage soul sounds from across a wide spectrum. This latest 7" as part of the Free Soul series comes from Odessey whose 'Battened Ships' has big brass, funky drums and lots of killer guitar lines and rich bass, all topped with heartfelt vocals. The wonderful Terry Callier and is unique ones then bring jazz and soul stylings to the bouncy 'Ordinary Joe' on the flip.
Review: Odyssey hear a fresh reissue on Soul Brother with 'Our Lives Are Shaped By What We Love', a spiritual soul number detailing an early intimation of the law of attraction. One of the less obscure reissues to come to Soul Brother, Odyssey originally formed in 1968 as a family trio in New York, but later continued in many alternate forms. The lead single from their self-titled 70s album, the song asks the listener, "where are you today? do you know your way? are you searching for mountains lost?", against a twanging, almost new-agey soul backdrop, before reminding us of an utmost-important axiom: follow your heart.
Review: Blissful boogie reissue from Junko Ohashi, whose 7-inch promo for 'Dancin' here functioned as the promo material for the 1983 album 'Point Zero'. Sounding just as rough, farty and raw as its original LP cut, the track is a perfect example of what Japan brought to disco - blending it largely with city pop - at the time. 'In Your Lovin', as it did on the original album, brings up the B-side with a downer-tempo funk beat, and a lyrical subject dealing with a romanticized, ideal lover.
Review: Omar is a real British musical institution and as such it's surprising but also not so shocking, he has recently completed a stint on BBC soap Eastenders. This cheeky 7" is a reissue of the title track from his album The Man and a fine example of his perfectly soulful vocals and mellifluous melodies over nice broken beat and nu jazz sounds. It represents some of his best work and this contemporary take uses the final few bars of the original track as its starting point in a "part 2" style.
Review: In 1985, Isy Martin Jr. released 'Rug Burns' and it became a low-key disco stepping classic. Now, Prime Time Records and Tapes has secured the rights and presents this official repress featuring that cut on the A-side so you no longer have to play high prices on the second-hand market. As well as that fresh bit of ass-shaking and funky dancefloor fun, the label has pressed a special re-do of 'Rug Burns' featuring XL Middleton and Zackey Force Funk on the B-side. It's a slightly more contemporary boogie-down sound with the same original vocal charms.
Review: The classic 1982 funk anthem 'Don't Fight The Feeling' by American r&b and funk band One Way gets a fine 12" pressing here, which means it can be played nice and loud. Singer Al Hudson leads the way with his buttery vocal, while a stepping and broken rhythm with lovely dry claps and w sloppy synth squeal make for a pretty unique sound given when this was first recorded. On the flip side, Windjammer's 'I Thought It Was You' offers a more mellow, melodic contrast full of the band's signature blend of r&b and jazz with cooing, heart-melting vocals and a nice stepping rhythm that lovers of UK street soul will surely be drawn to.
Review: In 2024, over 30 years after its release, Incognito's 1991 hit 'Crazy For You' has been reimagined by ONEGRAM with a stunning new arrangement. It brings out the soul with gorge vocals and lazy dub drums providing a perfect counterpoint. The B-side brings a vibrant twist featuring a groovier rhythm, ONEGRAM's signature horn section and lively steel pan melodies that blend Caribbean disco and reggae vibes. Adding to the fun, the ET Edit on the B-side is tailored for DJs and enhanced with tasteful effects for an energetic finish. This fresh take breathes new life into a beloved classic that showcases ONEGRAM's infectious sound.
Review: A masterful ode to 70s soul, created in collaboration with Ray Hayden's Opaz, reviving the timeless spirit of rare groove, bringing forth deep rhythms, lush arrangements and vocals that feel like they're lifted straight from an era of analogue richness. Flip to the other side, 'Holding You Tight' drifts into a slower, entrancing space that closes with an instrumental coda; a feast for the senses. Mixed and mastered by Ray Hayden on vintage gear, this record's journey to vinyl delivers a truly transportive experience that's all warmth, soul and authenticity.
Review: Opolopo is a machine when it comes to serving up superb disco, funk and soul sounds. He's done so for two decades on plenty of top labels from Toolroom to Version Galore to Gamm. This time out he finds himself on a self-released tip with X Machine which is a mash-up of James Brown. The original vocals cut through funky basslines and lots of big percussions as the loose drums rumbled on next to warming organ chords. The instrumental is a more direct to dancefloor jam.
Review: Bobby Ozra was on tour back in 2019 and the final date was in New York City. He had some time before returning home to Finland so hooked up with El Michel's Affair and Diamond Mine to record some music. The pair hit it off immediately, and Bobby used the chance to write about more esoteric subjects with the pair soon deciding to work on a full length album together. They are now well on with that process but in the meantime offer up two new gems. 'Losing It' is sun in Spanish and English and is a dramatic and moving tune while 'Watcha Know' explores death with some philosophical ponderings.
Review: It was the iconic Copacabana Records that put out this classic MPB back in 1964. That makes 'Um Balanco pra voce' by Os Rouxinois one of the oldest releases in Mr Bongo's Brazil45 series and it is also one of the best. Arnaud Rodrigues wrote the tune which is a superb mix of exotic funk, bossa nova rhythms and quirky melodies from a five-track 7" of tunes that the band originally used to play on TV. On the other side, 'O Viajante' is the sort of irresistibly sunny sound that quickly wins your heart and is sure to light up any dancefloor.
Review: Japanese gospel-funk-soul outfit Osaka Monaurail are on a determined mission to spread the word of the lord, usually through elaborate and funky orchestral collaborations. This time, on the single 'Whole Lot Of Lovin', they team up with James Brown collaborator Marva Whitney for a distinctly vocal affair. Straight to the point, hard-driven rhythms and unisonic grooves lend a shocking immediacy to this riveting song.
Review: ** REPRESS ALERT ** This timeless classic by American singer-songwriter Shuggie Otis is an instantly recognisable masterpiece of soul. 1971's "Strawberry Letter 23" from his album "Freedom Flight" has endured and become a rare groove touchstone. Flecked with elements of psych and breakbeat, it is prescient, and stuffed with neat tics and tricks. Turn to the flip for an added bonus - "Ice Cold Daydream" is a funk bomb full of bouncing organs and squelching wah wah guitars with Shuggie's trademark vocal tones laid over the top.
Review: Originally released in 1972, these are the only known recordings from Tulsa soul band Outback. The A-side is an eclectic, psychedelic funk ballad with lyrics drawn from religious scripture and drawing powerful parallels to Black slavery in the U.S. They lend a deeply spiritual and socially conscious edge to the track which is potent in groove as it is message. The B-side, 'Reggie's Thang,' takes a different turn and is a raw, psychedelic instrumental showcasing the band's musical range and experimental edge. Together, these are a time machine back to powerful moments in soul and funk history, now rediscovered and sure to be appreciated all over again.
Review: This is a reissue of a rare 1978 single from Whirl (aka West Indies Records Limited) which blends George Clinton's famous Parliament funk with Caribbean flair. The Outfit was one of the Caribbean's funkiest bands and they always showcased the creative potential of "Spouge music", particularly with their explosive cover of Parliament's 'Dr. Funkenstein', which they renamed 'Dr. Spougenstien'. Despite its rarity, the track became a hit in Barbados and was often mistaken for an original song. The B-side features a punchy Cosmic disco version of the Peter Gunn theme.
Review: International disco-funk supergroup Output/Input carry on the campaign for their nascent album Forward Motion, this time with a standalone single edition of lead track 'I'm In Love'. The original, low-swanging version - dealing with the frightful realization of love - appears as the third track here, flanked by an ecstatizing versions of the track by Georgie B, as well as 'Time Of Our Lives', which hears singer Antonio McLendon ruminate against a sultry, funky-broken/trip-hop instrumental.
Review: Expansion deals pretty much in good vibes only and that is what we have here with OZONE's '(Our Hearts) Will Always Shine'. It is a 7" that radiates with infectious energy and heartfelt emotion as it seamlessly blends elements of pop, electronic, and dance music. The uplifting melodies soar high, the pulsating beats power things along and the soulful vocals deliver a message of resilience and positivity. The song's anthemic chorus is destined to take listeners to a new level and ignite dance floor in equal measure and it sure does that. 'Mighty Mighty' on the flip is another feel good and upbeat funky disco workout.
Review: Craft Music's Good For Dance series continues with its second instalment and this one has been curated by none other than DJ Craft himself. Joining him are talented pals Schmoltz, Bogdan Ra, Romain FX, and Outra, also known as Joutro Mundo. These deep diggers are celebrated for their prowess in unearthing hidden gems and transforming them into dancefloor anthems and that's what they do here as each artist brings a unique flavour to the mix. Schmoltz's 'Luv The States' is a peak-time percussive disco jam, Bogdan Ra brings some slap-funk drums and glossy Italo synths and 'Tell Me Why' has crunchy drums and jagged synth stabs before a camp closer in 'Colosso'.
Review: Record Shack unearth two tunes from the vaults of Austrian public broadcasting institution ORF, available for the very first time on officially released 7" record. Pressed using only the strictest high-grade equipment, the flame of soul soprano Stefanie Vhynak's 'Feelin' It' is rekindled with a rejuvenative flair: the Viennese singer cut her teeth in the USA before her return to her birthplace, where she was discovered and subsequently enjoyed a longstanding career. Though her stint with the Austrian Broadcasting Company was short-lived, it could still be argued that Stefanie's rep of contributions to the broadcaster lie among her best. The exigency of radio is paramount to good songcraft, which is why there are two versions of 'Feelin' It' here; the first of which lays down the centrality of the song's lyrics via pared-backbeat and muted funk, and the latter pulling the pull ring on the sonic grenade, allowing a full-throttle vocal and instrumental amour to explode.
Review: This new 7" offers the chance to discover unearthed killer tunes from the vaults of the Austrian Public Broadcasting Institution (ORF), which officially appear on wax here for the first now time. Stefanie & ORF Big Band are behind 'Compared To What', a hard-hitting funk cut with lo-fi aesthetics and big horns. The flip side version is a subtle tweak with just as much energy. These tracks are pressed in top audio quality as they have been sourced directly from the archive master recordings. This release is a strictly limited edition so do not sleep.
Review: This 7" is a reissue of one that first dropped back in July and soon sold out but with two extra cuts. It offered a rare chance to discover hidden gems from the Austrian Public Broadcasting Institution (ORF) vaults which were all vinyl debuts in summer. This gatefold double 7" kicks off with Stefanie & ORF Big Band's 'Compared to What,' a hard-hitting funk track featuring lo-fi vibes and powerful horns. The A-2 offers a subtly tweaked version, maintaining the same high energy. 'Feelin' It' then comes on the flipside with big brass leads, deep-cut drums and a stirring, emotive female vocal lead. A second alternative is also featured.
Review: Should you be able to find original copies of the two dusty-fingered classics featured on this "45", your bank balance was be significantly smaller. Of course, just because something is rare and expensive doesn't make it good, but Jimmy Thomas's 1969 cut 'Springtime' is genuinely brilliant. Released when funk-rock was arguably at its height, it sees the legendary soul man belting out Alan de Roches' lyrics over a Hammond-heavy fusion of soul, funk and Hendrix-style heavy rock. This time round, it comes backed with a relatively hard to find - on vinyl, at least- chunk of reggae/soul/rhythm & blues from iconic Jamaican singer Owen Grey. It's superb, of course, but we still prefer the incendiary A-side.
Review: Correcciones Calypso returns from a generous hiatus with the fourth edition of its acclaimed edit series, replete with four re-edits that veer from the subtle to the downright brazen. Thomass Jackson and INigo Vontier invite the French duo Youkounkoun to open proceedings with an insane early 80s edit full of big drums and exotic touches that's been blowing dancefloors all around the world for the past years - and definitely resides in the brazen category, despite a lot of work having gone into it. Olta Karawame make their debut on the series with a powerful, compact edit full of ballsy keyboard riffing and a military-sized kick drum that is guaranteed to have heads banging . To complete the release label bosses Thomass and INigo deliver edits of their own with their characteristic sound, giving this EP maximum a value for money factor and entertainment from start to finish.
Review: Chicago duo The O'My's return with Trust The Stars, their latest album on HiyaSelf Recordings, the label launched by Nightmares On Wax. Blending soul, hip-hop, alt-r&b and jazz, Nick Hennessey and Maceo Vidal-Haymes craft a richly textured sound shaped by collaborations with artists like Jamila Woods, Konny Kon, and Pink Siifu. This album reflects themes of love, loss and self-discovery, showcasing the duo's evolved sound and their unique position within Chicago's vibrant music scene.
Review: A lesser-known but electrifyingly slick city pop record (her fourth) by Junko Ohashi. 1979's Full House hears the Japanese singer's graceful but powerful contralto in full collaborative force, paired against the historic instrumental talents of her backing band, Minoya Central Station. Perhaps second only to Ohashi's timeless New York paean, Magical, Full House is yet another discographic dazzler that most likely contributed to the revival of the city pop genre after its retroactive but no less ironic recognition in the popular music sphere by the vaporwave subgenre, future funk. The mood throughout Full House is vital and joyful, suggesting something close to complete emotional fulfilment and idealistic glee on the singer's part - all part of the city pop's objective - its grand plan - to portray metropolitan life as an ultimate ideal.
Review: Legendary US funk practitioners the Ohio Played are as well known for the erotic nature of many of their album covers as they are for their super sleazy funk sounds. They never really go out of fashion which is why so many of them are always getting reissued. Ouch! is next up with a special Ruby Red Milestone Anniversary Edition on limited edition and marbled red vinyl to mark the fact it is now 40 years old. It's an upbeat and diverse mix of funk sounds that draws influence from the world of jazz and soul and pairs swooning strings with lush melodies and catchy grooves that still energise any dancefloor.
Review: Taeko Ohnuki, known for her cult records from the late 70s and 80s, has seen her reputation soar over the years. Among her standout works is Grey Skies, which, despite its initial commercial challenges, has become a beloved classic. This remastered edition revitalizes the album with its rich blend of classic rock, jazz, pop, and AOR. Featuring a diverse array of instruments-synths, trombones, clarinet, wood blocks, harpsichord, electric organs, and more-Grey Skies delivers a lush and dynamic listening experience, showcasing Ohnuki's intricate and innovative sound.
Review: 1970's The Olympians came at the height of the Greek ensemble's popularity, and at a point where pop music was making its way into the mainstream through all sorts of subgenres. By that, we mean that this particular album is seeped in a distinctly jazzy kind of vibe, one which makes it both singular in its approach, but also very representative of the era in which it was conceived. Cool, sexy and laid-back, these eleven tracks a truly soulful in every sense of the word but, the interesting thing about them is that their not the usual US kind of sound; you can tell that there is something different in here, something European and a bit more wide-eyed to the choice of sounds and arrangements. Daptone coming through with the quality, as per...
Review: Omar is one of the UK's most notable soul stars and revered vocalists. His 1997 album This Is Not A Love Song came at the heart of the acid jazz explosion and remains one of its most vital works. It was his fourth album in a career that has produced nine overall and has plenty of his signature grooves, from the jazz flecked 'This Is Not A Love Song' to the -soul stylings of 'Wherever' via his spine tingling cover of the classic 'Golden Brown'. This is a limited and numbered 180 gram audiophile gold & black marbled vinyl reissue on Music on Vinyl with new a insert.
Gave My Heart/Its So (Interlood) (feat Leon Ware/Grant Windsor Big Beat Band) (5:02)
Feeds My Mind (Feal Floacist) (3:56)
De Ja Vu (feat Mayra Andrade) (3:25)
This Way That Way (3:44)
Hold Me Closer (feat Stuart Zender) (3:48)
I Want It To Be (3:47)
Doobie Doobie Doo (4:08)
Grey Clouds (5:01)
Review: One of the UK's most distinctive, consistent and authentic male soul voices returns with his eighth album in 27 years... And it's a serious piece of work. Rich in range, warmth, creativity and a keen eye on the dancefloor, everything about him feels refreshed and energised. Highlights include the Dilla-meets-Iz & Diz style "This Way That Way", the glistening Balearic charm of "Feeds My Mind", the syrupy organs and harmonies on "Insatiable". Winding down with the almost filmic narrative "Grey Clouds", it's one of those records that will have you leaping up, flipping to side A and starting all over again. Feel the love.
Who Chooses The Seasons (feat Carleen Anderson) (4:59)
Best By Far (4:00)
Winner (3:39)
Be Thankful (feat Erykah Badu) (4:04)
Tell Me (4:00)
Syleste (Lounge Lizzard mix) (3:54)
Feeling You (feat Stevie Wonder) (4:43)
It's So (4:32)
Come On (feat Kele LeRoc) (4:50)
Treat You (feat Caron Wheeler) (3:34)
The Man (4:15)
Fuck War, Make Love (3:24)
Bully (feat The Scratch Professer) (3:56)
I Love Being With You (3:34)
Simplify (3:18)
Gave My Heart (feat Leon Ware) (3:36)
Doobie Doobie Doo (4:02)
Insatiable (feat Natasha Watts) (5:16)
De Ja Vu (feat Mayra Andrade) (3:25)
I Want It To Be (3:44)
This Is Not A Love Song (4:47)
Outside (5:42)
Review: Much loved and influential UK soul legend Omar Lyefook - who has been awarded an MBE for his contributions to the music world - put out his seminal 33 track anthology back in 2020. It came on Freestyle Records and now makes it to wax, with all of his classic collaborations incuded as well as his most notable hit, 'There's Nothing Like This,' as well as 'It's So,' the big, floor facing cut that always amps up any club with its bristling drum work taking cues from the sounds Omar heard at The Notting Hill Carnival. There are plenty of lesser known gems form the evergreen star, too, plus exclusive and previously unheard tracks 'Pass It On' ft Terri Walker and 'Long Time Coming.'
Review: Taeko Onuki's latest release is a live album pressed up to vinyl and capturing her full performance from Tokyo in November 2023. The show featured a seven-piece band with Hirokazu Ogura on guitar, Masato Suzuki on bass, Takashi Numazawa and Tatsuo Hayashi on drums, Febien Reza Panet on piano, and Toshiyuki Mori and Shohei Amamori on keyboards. This album showcases Onuki's dynamic performance with a talented ensemble and a rich array of sounds from the original multi-tracks. It's a great snapshot of the event as well as being a superb contemporary pop exploration across four sides of vinyl.
Review: Following 2012's fourth volume that celebrated the existential work of Tim Maia, here we find Luaka Bop exploring the legacy of William Onyeabor. A high chief and Kenyan diplomat who allegedly refuses to discuss his music, he self-released eight albums in the 70s and 80s and these are some of the many highlights. Stretching from the New York-influenced post-punk synth funk of "Good Name" to the most authentic Afro fusion of "Why Go To War", Onyeabor's range not only reflects his clear creative skill, but also the ever-developing international language of music during the fruitful period he was active. Who is William Onyeabor? Press play and find out yourselves...
Review: Reel People Music expands the fizzing dynamic between highly accomplished label associates Opolopo (AKA Peter Major) and Angela Johnson with the release of their brand new album Best of Both Worlds. The nine-track record is an impressive merging of soulful souls, building on the pair's previous 'track-by-track' collaborative approach, and calling on influences from Quincy Jones to The Isley Brothers. From the twizzling decrescendos of Buffalo, which hears the pair summon the bruk maestro Kaidi Tatham on recording and co-prod duties, to the sparkly, sparky whetstone electro-disco track 'The Ones You Love', we really do get the best of both worlds here; we get nine worlds, in fact.
Review: Orgone is back in California and coming in hot with Chimera, a fire-breathing spectacle of psychedelic Afro-soul. Produced by Sergio Rios (Neal Francis, Say She She), Chimera is an electrifying, dream-like odyssey, tripping through the hazy swamps of New Orleans, weaving textures of entrancing voodoo soul, thrumming Afro-funk, and stoney psyche-rock. On Chimera, the Los Angeles-based outfit carves tough, gritty, infectious grooves into heady dance rhythms. Taking its name from a mythical beast with the head of a lion, the body of a goat, and the tail of a serpent, Chimera conjures a state that is at once trance-like and heart-poundingly exciting. The album opens like a heady puff of smoke in the face with 'Hallowed Dreams,' drawing the listener into a state where reality blurs and the music takes control. The focus track, 'Zum Zum,' is a hooky Afro-funk dance floor heater that synchronizes your heart rate to its propulsive percussion, the hypnotic rhythm building into a raucous, psychedelic climax. Then, on the raw and rousing 'Tula Muisi (Dance Like Them),' a tapestry of Afrobeat and heavy psych-rock bolsters the singer calls for unity and respect, which translates to "Hear the music, and dance like them".
Review: Orgone is back in California and coming in hot with Chimera, a fire-breathing spectacle of psychedelic Afro-soul. Produced by Sergio Rios (Neal Francis, Say She She), Chimera is an electrifying, dream-like odyssey, tripping through the hazy swamps of New Orleans, weaving textures of entrancing voodoo soul, thrumming Afro-funk, and stoney psyche-rock. Taking its name from a mythical beast with the head of a lion, the body of a goat, and the tail of a serpent, Chimera conjures a state that is at once trance-like and heart-poundingly exciting. For instance: the album opens like a heady puff of smoke in the face with 'Hallowed Dreams,' drawing the listener into a state where reality blurs and the music takes control. Chimera will delight fans of early Orgone while showcasing the band's effortless and endless ability to shape-shift. It's an electrifying, mesmerizing record sure to exceed expectations and keep the listener rapt.
Review: In the encyclopedia entry for psychedelic soul you're sure to find some mention of Shuggie Otis, and this is the album that cemented his sound. 'Strawberry Letter 23' is undoubtedly Otis' 'Albatross', a universally adored anthem that ploughs a furrow straight to the heart, but it grows in stature even more when you hear it in context on the 1971 album it was first released on. With George Duke lending his inimitable touch on keys amongst the ensemble of players, this is a true treasure of funk and soul with the spark of inspiration to look beyond genre conventions. Beyond the big hit, this is an album of abundant riches which rightly gets a repressing to reaffirm Otis' status as a legend in a league of his own making.
Here We Go Again (feat Audrey Wheeler & Brent Carter) (4:49)
Doin' Alright (feat O'Bryan) (5:43)
Someone I Used To Love (4:21)
Times Of Our Lives (5:13)
I'm In Love (4:30)
Really No Chance (feat Katie Holmes-Smith) (4:18)
Love Of Another Guy (4:31)
True Love (5:21)
Every Time You Touch Me (4:23)
Can't Hide Love (4:42)
Review: London soul heavies Output/Input channel the spirit of their influences on their debut vinyl LP Forward Motion, hadron-colliding a recognizable topoi of soul and funk, and bringing all these influences together rather convincingly despite having recorded each track separately, and remotely across mulitple continents. A diverse and international group, we hear the full-bodied, co-operative vocals of Antonio McLendon, Audrey Wheeler-Downing, Brent Carter and Katie Holmes-Smith collide in an unstoppable rotation of the limelight. Meanwhile, the album remains dominated by its session artists, delivering the tightest of tight backbones and melodious acoutrements.
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