Review: The Brazil 45 series is pure gold for lovers of Latin sounds across the funk, jazz and soul spectrum. Each one sells out fats but usually emcees back around, as is the case with this 18th edition. It features Ely Camargo's 'Taieiras' from his Ely's 1972 album Cantos Da Minha Gente and is a lively folk-inspired track sampled famously by DJ Yoda in 2012. Despite recording 12 albums, Ely remains an enigmatic figure whose music is all we have to feed off. On the flip side, Rio sibling trio Trio Esperanca shine with their psychedelic gem from their 1971 self-titled album. Known for their stunning harmonies, the group released seven albums between 1963 and 1975 but this is one of their finest moments.
Review: A double dose of dancefloor bliss is administered (subversively without doctor's orders) by Kent Soul. These two numbers have been faved by fans from several scenes and the world over: first, there's The Cheques' 'In The Groove', a longingly upbeat homage to a groovin' place by the obscure Louisianan organists. Lead organist Tony Nardi, would later go on to form the Thai funk group Salt & Pepper, famously recording 'Man Of My Word', but for then and now, this 60s manoeuvre would serve to transcend its mod origins, attracting the Northern soul crowd in the years to come. After, 'Arabian Jerk' by The Merits rehears a Goldwax production out of Memphis: mod and exotica collide in a steaming instrumental excitation of backbeat accents and parping 2-4 guitars, making a mod belly dancer's anthem.
Review: Jimmy Conwell's reputation in the Los Angeles soul scene is undeniable, with a career spanning multiple projects like The Exits, Smoked Sugar and The Tripps. On Let It All Out, Conwell delivers a deeply emotive ballad co-written with producers Len Jewell Smith and Hank Graham. While Northern Soul fans initially gravitated towards the upbeat flipside 'Too Much,' this reissue highlights the tender, heartfelt power of 'Let It All Out'. Conwell's soulful delivery paired with lush production makes this a standout piece for fans of classic LA soul.
Review: The new soul project by ex-members of Silver Skylarks, Dorrington Drive, hears lush productions and distinct melodies channelled into the self-revelatory spirit of early 70s AM pop and soul. This cut could've easily been heard on one such radio station, a staple of the time. With the track named after the Riegelmann Boardwalk in Brooklyn, we find ourselves embarking on a thoroughly enjoyable Atlantic coastline jaunt here, through bombastic funk bass and slapping toms.
Review: This delightful 7" features a collaboration between two Star Creature veterans from Northern and Southern California who deliver a raw, uncut boogie track. The wonderful 'Girl Ur Freaky' is both breezy and laidback but irritably dance. The vocal harmonies are heart-melting, the wispy synths bring cosmic cool and the drums and squelchy bass sit together perfectly. The vocal version really is where it's at with this one but if you want it more subtle then the flip-side instrumental is the one for you.
The Dave & Darrell Band - "True True Love" (instrumental) (2:20)
Review: Known for its apt inclusion in the soundtrack for the classic Northern soul genre biopic Good For The Soul by director Dean Chalkley, Tobi Lark's fast-paced classic 'True True Love' hears a worthwhile pairing alongside The Dave & Darrell Band's instrumental retake here on a new Kent Soul 7". Recalling the quick-footed fouettes of dancer Durassie Kiangangu, who in the film entrains himself to many variously heated - and often difficult to dance to - Northern Soul rhythms, this track flaunts Lark's distinctly gravelly Canadian gospel voice, set against quick-witted drumming from longtime collaborator Darrell; both were favourites of the influental but short-lived Detroit label Topper.
Come On Down (To New Orleans) (feat Fullee Love aka Soup Of Jurassic 5 & Haisizzle) (4:13)
Come On Down (To New Orleans) (feat Fullee Love aka Soup Of Jurassic 5 & Haisizzle - Professor Shorthair Bounce remix) (4:41)
Review: Connie Price & The Keystones team up with Fullee Love (aka. Soup of Jurassic 5) - as well as New Orleans' very own bounce king Hasizzle - to bring you the brand new second-line funk anthem 'Come On Down (To New Orleans)'. Patently referencing and working within the regional New Orleans hip-hop style known as bounce music, Price, Love and Hasizzle stick true to the soulful, syrupy and yet still hard-edged call-and-response style indicative of this 80s-90s stylistic cusp. Slacken lyrics, soul-tinged choruses, skrrt ad-libs and one-two-step antiphony predominate on this versioned A-B sider, as Professor Shorthair also provides a quintessential bounce demo mix on the B.
Review: Paul Sitter and Tony Lavrutz's collaboration on Eu e Meu Amor plays like a breezy stroll through sun-drenched sounds and smooth rhythms. Their work here pulls effortlessly from bossa nova and tropicalia, but without leaning too heavily on nostalgia. The production is tight and warm, with layered guitars and whispered vocals that could easily soundtrack a lazy afternoon. It's not overly flashy, but it doesn't need to be; the charm is in the simplicity, the way the melodies unfold and gently stick with you long after the record ends.
Review: Jimi Tenor's upcoming album July Blue Skies on Timmion Records is previewed with this single which offers two contrasting moods. 'Summer of Synesthesia' captures dreamy summer vibes and sounds that transform into rich colours and flavours. The track features building synths over Cold Diamond & Mink's rhythm with Tenor's soft vocals adding beauty. On the flip side, 'Tsicroxe' begins with a haunting organ arpeggio evoking a Dario Argento-inspired atmosphere. Cold Diamond & Mink's funk provides relief, but Tenor's eerie flute solo intensifies the ritualistic vibe.
Review: Thee Sinseers excel at expressing the complexities of love through their engaging melodies. The band, rooted in East Los Angeles, has made a name for themselves in the Chicano soul scene, led by QuiNones. The lineup also features talented musicians such as Eric Johnson on tenor sax and Jose Luis Jimenez on trombone, all contributing to a rich tapestry of influences, from 1960s rocksteady to the vibrant spirit of Ritchie Valens and Ray Charles. 'Can't Call My Baby' leads the way as one of the strongest tracks taken from their debut full length album highlighted on this 7". On Side-2 introduces 'Take A Chance', a brand new and previously unreleased track. Here, Joey Quinones shines with his distinctive crooning, urging listeners to seize the moment and embrace love before it's too late. The inclusion of a soulful harmonica adds a lively flair, beautifully blending elements of classic Motown with Latin soul influences. Together, these songs highlight Thee Sinseers' distinctive sound and artistic versatility, merging nostalgic elements with a modern twist.
Review: First released back in 1973, Flying Dutchman aver their grand standing on the parapet that is the New York jazz scene with a timely new reissue of Leon Thomas' 'Just In Time To See The Sun', which now appears with a different B-side counterpart. Shaker-uppers, these sonic sailers are! Where As 'Just In Time...' itself first surfaced as the B-side to a stirring album cut 'Never Let Me Go' - which also graced the pimpin' Tennessee blues-jazz musician's later record Full Circle - it now comes paired with the pentatonic skiffle 'China Doll'. FD's new curative duopoly on Thomas' bellowing sound flaunts the singer and musician's deep range, contrasting the styptic funk explosions of the titular Santana cover on the A with the shaker-laden Orientalist groove on the B.
Review: 'Warlock' is the latest release to be pushed via Bob Stanley's Measured Mile imprint, and pulls two floor-friendly but still retrospective gems from the storied De Wolfe music library, based in the UK and widely known as the progenitor and originator of what has now become known widely as library music. To demonstrate the gestation times common to this corner of the music industry, these two tracks have never been heard before, and yet were recorded in 1983! First comes Reg Tilsley with 'Warlock', a full yet light-winged flight through linns of flute, funk bass and notes inegales. Meanwhile, 'Flashpoint' by Roger Jackson is a space-age tittup of booming, long-tailed proportions; it's tempered by the nagging nip of a clavichord and the formidable frown of the lowest piano note.
Review: Transport's Move Your Body is a thrilling rediscovery from a once short-lived Portland outfit, featuring members from Ural Thomas' 1960s band. This eleven-piece disco-funk powerhouse recorded an album's worth of gems in 1978, but they remained buried for over four decades. The steady groove of the A-side captures their original essence, yet it's their dynamic rendition of 'Always There' that steals the showiarguably the finest cover of Ronnie Laws' classic to date.
Haunted By Your Love (Call Sender dub version) (3:17)
Review: Get your lugs around this, the first single from Leo Vidal & The Rayvelles, and you will soon be keen to know more. 'Haunted By Your Love' is a modern take on the West Coast oldies sound from Leo Vidal, a 70s soul singer from rural Virginia who brings his East Coast harmonies to croon about lost love. The Rayvelles is the duo of Fergal McBride and Tuck Nelson and are the creative force behind Echo Ray Studios in London, a space that channels the soul of Motown into contemporary music. Backing vocals are provided by Cassandra Dali and Marietta Smith while the flip has a remix by Call Sender who layers in some inviting dub weight.
Albert Washington & The Kings - "I'm The Man" (2:40)
Albert Washington - "Case Of The Blues" (2:55)
Review: Kent Soul continue in their efforts to 100% faithfully replicate the works of old soul greats from the 60s and 70s, sustaining the everlasting flame of Northern soul and its various splinter hubs across the UK. Now Cincinnatian blues legend Albert Washington gets his due: a highly productive recording artist, active from the 60s all the way through to the 90s, Washington's 'I'm The Man' seizes the a short window moment in which a new spinster might be met with an opportunistic proposition after a bad breakup. "You don't have nobody to call your own / darlin', I'm the man / I share your pain, I do / I can make all your dreams come true / now, come on / yessir, you need me..."
Review: Ebo Taylor, a towering figure in highlife and afrobeat, recorded his latest album during his debut US touria milestone that came at the remarkable age of 88. Teaming up with Adrian Younge and Ali Shaheed Muhammad, Taylor crafted a psychedelic journey steeped in 70s-inspired rhythms. Tracks like 'Beye Bu, Beye Ba' and 'Kusi Na Sibo' reflect his spiritual depth and lyrical wisdom, exploring themes of gratitude and divine guidance. Recorded at Linear Labs, the album pulses with fuzzed-out guitars, polyrhythmic percussion, and Taylor's signature vocal style, standing as both a testament to his enduring brilliance and a crown jewel in the Jazz Is Dead series.
Review: Mayer Hawthorne and Jake One, collectively known as Tuxedo, return with their fourth studio effort, continuing their mission to bring timeless funk to the dancefloor. Their chemistry is as tight as ever, blending the sounds of Parliament, Zapp, and other funk pioneers into fresh, energetic tracks made for the here and now. With tracks that are both groove-heavy and irresistibly catchy, the duo delivers yet another collection of floor-fillers that blend retro charm with modern flair. From the smooth, mellow vibes to the more upbeat cuts, Tuxedo's latest release is a celebration of funk's enduring power.
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