Review: Montreal producer and keyboard maestro Anomalie offers a full-MOT servicing of funk-jazz on 'Velours', a choice track that presaged his 2018 EP 'Metropole'. Born of a chilled bedroom jam, the first iteration of this track was uploaded to YouTube in 2017, and utilised stacks of Yamaha pianos as well as sleek, sexily designed sample pads. Anomalie provides a rich, honeyed set of chordophonal can-cans over nothing but a swung backbeat, bringing seemingly boundless phonic fruition from little nutrient. Now the song hears a full reproduction and repackaging in vinyl form via Devins 7s.
Review: The classic sound of British library music is the inspiration for this third volume in ATA's The Library Archive series. It's another magnificently seductive and sophisticated collection of funk, jazz, spy-thriller soundtracks, late-night lounge moments and evocative atmospherics. Blaxploitation era composers such as Willie Hutch and Melvin Van Peebles and the genius of Roy Bud are particular preference points in this one and each cut is brilliantly authentic and lovingly crafted. This series started back in 2019 and four years later it is still going strong.
Review: With Slow Burn, Baby Rose showcases a remarkable evolution from her previous album, expanding her sonic palette into a raw and sprawling exploration of American music. Teaming up with BADBADNOTGOOD, Rose delves into progressive r&b, infusing elements of Muscle Shoals, psych, jazz, and Americana to create a mesmerizing collection of songs. The collaboration with BADBADNOTGOOD proved to be an instant and fruitful partnership, with lead single 'One Last Dance' capturing the essence of Rose's vision from the very first meeting. This track, disguised as a love song, is actually an ode to lost friendship, with Rose's vocals layered into a hypnotic lullaby over Chester Hansen's dreamlike bassline. Throughout Slow Burn, Rose draws inspiration from her experiences driving between the chaos of DC and the tranquility of the Carolina countryside, allowing her mind to wander and explore internal dialogues. The title track exemplifies this introspective journey, with soft, ambling drums and lyrical repetitions evoking patient desire. Overall, 'Slow Burn' exudes a sense of intimacy and mystery, with each song arriving on tiptoe, inviting listeners into Rose's world of introspection and emotion. As a vocalist and lyricist, Rose demonstrates boundless potential, supported by the synergy of her collaboration with BADBADNOTGOOD. This album marks a significant step forward for Baby Rose, hinting at even greater heights to come in her musical journey.
Review: These previously unreleased tracks from Revelations member Phillip Balou were offered to Super Disco Edits by one-time British soul journalist David Nathan, who worked alongside the musician and band mate John Simmons at the tail end of the 1970s. A-side "Ain't Nothing Like The Love", a gospel inspired slice of sumptuous soul complete with jazzy guitar solos and an evocative lead vocal from Ballou, is undoubtedly the pick of the two tracks and well worth anyone's hard-earned cash. That said, deep and sugary flipside "For Real" - a thrillingly evocative slow jam full of gospel style choral backing vocals, sumptuous electric piano and sweeping, synthesized strings - is almost as good.
Review: Across four elegantly crafted tracks, Italian producer Bottone blends rich melodies with smooth, intricate production, creating a collection that feels effortless and deeply refined. Side -1 opens with 'On Hilly Earth', a laid-back yet deep cut where light, jazzy chords float over a deep, groovy foundationiperfect for early evening unwinding. 'Teach Me The Way You Walk' steps up the tempo slightly, embracing a warm, melodic house feel with a sunset-kissed glow, its uplifting vibe tailor-made for golden-hour dancefloors. The title track, 'Beggin' For Love', leads Side-2 with gentle, beachy rhythms and keyboard work that exudes warmth and relaxation. Finally, 'It's A Heart Feeling' closes the EP with a deep, emotive grooveiits soulful touch and flowing melodies making it an ideal end-of-the-night moment. With 'Beggin' For Love', Bottone crafts a great balance of sophistication and ease, showing he is a name to watch for in the future.
Review: The legendary UK acid-jazz innovators Brand New Heavies dropped many a classic sounds and none more so than their iconic album 'Heavy Rhyme Experience Vol. 1. More than three decades after first release it remains an influential work that blends UK club jazz with US hip-hop. Featuring collaborations with artists like Main Source, The Pharcyde, Gang Starr, and Black Sheep, the album marked a groundbreaking fusion of genres back in its heyday and now two standout tracks from the album, 'Soul Flower' featuring The Pharcyde and 'It's Gettin' Hectic' featuring Gang Starr make their way to 7" for the first time and sounds as good as ever.
Review: Produced and sleeked out at Opal Studios in NYC, back in 1975, Buari's self-titled LP has been a cornerstone of international highlife music since it was first released. The original is now an arduous item to find at a decent price, so we thanks the Be With label for having repackaged an essential Afro LP that is a must have for anyone into anything outside a constant beat drum. "Karam Bani" opens with a forceful helping of funk, percussive to to the max, and this same hypnotic groove formula is present across the entirety of the A-side, making this a sampler's dream come true. On the flip, "Iro Le Pa" is the stand-out tune for us, a rhythm that makes Theo Parrish's Ugly Edits seems kinda tame! Recommended.
Review: During the 1970s, Cornell Campbell made some fantastic records with producer Bunny Lee. 'My Baby Just Care For Me', a favourite amongst the lovers rock-powered 1970s blues party scene in London, is undoubtedly one of their best joint efforts. The riddim is loose and languid, the added piano solos pleasingly expressive and jangling, and Campbell soulful lead vocal tterly beguiling. Chunkier, more dancefloor-friendly roots reggae vibes are the order of the day on flipside cut 'Jah Jah He Morn Ya', where Campbell's vocal improvisation between verses add even more energy to an already heavyweight jam. In a word: essential.
Soul Messin Allstars - "Soul A Go Go" (feat Josh Teskey) (3:35)
Amp Fiddler - "Superfly" (feat Dame Brown - Sam Redmores’ Exclusive ‘Trunk Of Funk’ edit) (4:15)
Roy Ayers - "Boogie Down" (6:01)
Laneous - "Hold My Hand" (3:46)
Miriam Makeba - "Pata Pata" (2:59)
Oneness Of Juju - "African Rhythms" (Exclusive ‘Trunk Of Funk’ edit) (3:52)
PP Arnold - "Medicated Goo" (3:43)
The Fantastics - "Take A Shot" (feat Sulene Fleming) (3:40)
Juan Laya & Jorge Montiel - "Give Me The Night" (feat Xantone Blacq) (4:18)
Out Of The Ordinary - "The Republic Of Persevere" (feat Mike Keat & The Bevvy Sisters) (3:29)
Patrice Rushen - "Forget Me Nots" (7" single version) (4:00)
The James Taylor Quartet - "People Get Ready" (feat Natalie Williams & Noel McKoy) (4:40)
Monophonics - "Hangin’ On" (3:34)
Nick Waterhouse - "The Old Place" (3:22)
Michelle David & The Gospel Sessions - "Victory!" (4:17)
Magnus Carlson - "Beggin’" (2:50)
Alex Opal - "Telling You Lies" (feat Jam Jam) (3:32)
Badge & Talkalot - "Help Me" (feat Ian Whitelaw) (4:00)
Beatchild & The Slakedeliqs - "The Only Difference" (4:15)
Honeyfeet - "Clap Hands" (4:39)
Review: Red Dwarf star turned soap actor and longtime BBC Radio 6 Music funk master Craig Charles has put together a first volume of classics for your delectation. On a double vinyl collection that spans 20 tracks he traverse every conceivable style from the earliest days of the genre right up to today. The cuts remain pleasingly underground and carefully dug out rather than veering into obvious filler territory and there are up-tempo cuts with more deep and pained offerings. It also includes two 'Trunk Of Funk Edits' that are 100% exclusive to this compilation and not available anywhere else.
Review: Admittedly, we're as in the dark now about Cheeba's Prestige Allstars as we were when it first dropped last year, but it sold out so has done well. This reissue of the limited 7" release is a steamy blend of Afro and Latin funk. 'Dig This!' (vocal version) delivers a raw, energetic cut with punchy drums and lively James Brown samples, complemented by bold saxophone riffs. On the flip side, the instrumental version retains the groove, albeit slightly stripped back, maintaining the essence of James Brown's mic presence. While details about the band remain elusive, their music speaks volumes, offering a vibrant fusion of sounds that captivate dancefloors.
Review: The Chicago Gangsters, a family-led group originally from Akron, Ohio, span multiple genres from gritty funk to smooth soul. Despite that name, their work largely embodied a mixture of raw disco grooves and emotive ballads. Their 1976 sophomore release, which includes a memorable rendition of Eugene McDaniel's 'Feel Like Making Love' and the title track 'Gangster Love,' stands as a key part of their legacy. This track, notably their first 12" single, hints at their influence in shaping the disco funk sound of the era. While they recorded under the Gold Plate label, they later transitioned to RCA and Heat, producing tracks that resonated across the decades, most famously sampled in LL Cool J's 'Mama Said Knock You Out.' Their energetic performances and varied discography left a lasting imprint on both the funk and early hip-hop scenes.
Review: The Space Grapes return with a 12" EP from the Italian trio Collettivo Immaginario which is made up of LA-based drummer Tommaso Cappellato, pianist Alberto Lincetto and bassist Nicolo Masetto. Known for their experimental fusion of eclectic jazz, funk, downtempo beats and vintage Italian library music, this release marks a fine exploration of Italian vocals. The A-side, 'Luce' features a vibrant mix of 80s jazz-funk and boogie in an extended, energetic version. On the B-side, 'Luna Gioia' presents a contemporary take on downtempo Brazilian funk and slow disco complemented by an instrumental version that highlights the music's intrinsic beauty.
Review: Hailing from Charleston, South Carolina, Contour brings a fresh flow to black soul music which finds a natural home on leading London label Touching Bass. Khari Lucas, to use his given name, uses the 12 tracks on Onwards! To reflect on the nature of black art past, present and future. His tools of expression are a mesmerising voice, smoky beat production and compelling lyricism, folded up into an album which ranks alongside some of the best of recent times. We're in a prime era for progressive soul, whether it's Liv.e or Sudan Archives we're tuning into and Contour is helping push things forwards in his own deeply felt way.
The Poindexter Brothers - "What I Did In The Streets (I Should Have Done At Home)" (3:17)
Review: Soul Junction's latest release brings together two sought-after heavy soul cuts from the studio of the Poindexter Brothers: their own 1969 heater "What I Did In The Street (I Should Have Done At Home)" - a sweet, Vibraphone-sporting slab of rasping, full-throated, horn-heavy sixties soul just dripping with emotion - and a killer cut they produced a year earlier for singer Vivian Copeland. You'll find that song, "Chaos In My Heart", on the A-side. Originally released on Bell, it's an attractive and additive mid-tempo number in which Copeland's fine vocals come supported by low-register horns, shuffling soul grooves and some suitably heavenly backing vocals.
Review: Amon Tobin's debut album under the Cujo alias is a sprawling, complex work that spans 21 tracks and blurs the lines between multiple genres. First released in the mid-90s, it introduced a unique blend of live instruments and innovative sampling that would go on to shape Tobin's entire career. This is first time all the tracks have been compiled together, providing a complete version of the album that had previously been scattered across different editions. From the moody, atmospheric 'Cat People' to the intricate jazz influences in 'The Brazilianaire', the album captures Tobin's knack for combining breakbeats with more experimental sounds. There's an almost cinematic quality to the compositions, with moments of ambient calm giving way to punchy, layered rhythms. The sheer variety of ideas packed into the album is remarkable, from the driving percussion of 'Traffic' to the rich, textural complexity of 'Cruzer.' Even now, nearly 30 years on, the album still feels fresh and ahead of its time, illustrating Tobin's pioneering approach to electronic music. This reissue is a fitting reminder of the innovative work that laid the foundation for a remarkable career.
Review: A true return to form, Renascence is a standout in the band's iconic discography, now available on limited edition transparent coral vinyl. Serving as a spiritual and sonic successor to their 1974 album Promised Heights, it brings a fresh, modern edge to their foundational sound, which helped shape early hip-hop and funk scenes in both the US and UK. Renascence tells the story of a band reclaiming the recognition they never fully received, staying true to their rootsipolitically aware, spiritually positive and delivering infectious grooves. This indie exclusive edition is a must-have for any serious collector.
Review: Cruising the slipstream of Black Messiah, D'Angelo's debut album gets a timely reissue 20 years after its release. The neo-soul foundations dig deep with every nuance and subtlety D'Angelo has become known for; the Gaye-level harmonies of "Crusin'", the jazz meanders of "Sh*t Damn Motherf*ker" and the unstoppably sexual drive of "Lady"... If this isn't in your collection already, now is most definitely the time.
Review: If you haven't got Ubiquity's 2006 Darondo collection yet, now is most crucially the time. Shucks, if you have got it, you might want this for the collection anyway. Criminally overlooked by funk tourists, the Bay Area legend was originally the soul preserve for serious collectors until Gilles Peterson, Jack Penate and even Breaking Bad brought him to our attention a few years before his death. With a stark vocal range that reaches falsettos Jack Splash could only dream of and a lyrical dexterity that sits solemnly between raw emotion and touching poetry, each track shows how helped shape the blueprint that the likes of Child Of Luv, Plantlife, Amp Fiddler and many others developed years later. Essential.
Review: This sizzling new 7" from Super Disco Edits serves up Dayton's 'Sky's The Limit' which is a red hot slice of previously unissued 1982 soul.Hall of fun famers Dayton were a well established and popular group with a lush sound that was couched in soul but with funky grooves, boogie basslines and hints of disco shimmer and shine. This gorgeous single has all that and more including a big, buttery vocal. It is an epic, guaranteed floor filler which on the flip side has 'Sky's The Limit (long version)' for extra devastation.
Review: Some seriously classic soul vibes shine bright on this new 45 rpm from Dayton Grey. It's one that will have Northern Soul fans in a spin too, literally and emotionally, with its gorgeously sweet and smooth vocals. They soar over nimble drums and swooping strings that add the lushness on A-side 'Love Is On The Line.' On the flip, 'He Won't Love You (Like I Do)' slows things down and wallows in more mournful vocals and sombre melodies over heavier-hearted drums. Both tunes are life-enriching for different reasons.
Review: 'Listen To Me Girl' is a previously unreleased Philadelphia recording licensed from veteran producer Emanuel Manny Campbell Jr. Although featured on a Coastal Records CD project, this marks the first vinyl release of one of The Delights' best tunes. The group consisted of four young male singers, two of whom were Manny's cousins, Keith and Ellis Hill, along with their cousin Jaime and teenage friend, and all were all aged 16-17 and from Chester, Pennsylvania. Under Manny's guidance, they recorded this soulful dancer in 1968. Despite their potential, the group never completed the planned projects and so 'Listen To Me Girl' remains a rare gem from their short-lived career.
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: Jazz multi-instrumentalist Eric Dolphy's Out To Lunch is the latest in the on going Blue Note Reissue series, Tone Poet. It was his only recording for the seminal label and is often said to be one of the best they ever put out, as well as one of Dolphy's own personal highlights. Certainly fans of 1960s avant-garde jazz will agree. Dolphy was joined by trumpeter Freddie Hubbard and bassist Richard Davis amongst others, and told all players that there was no leader in the recording sessions that made up the album. That makes for a dense, busy and freeform record filled with wild playing and super musical ideas.
Review: Newcomers Energy MC2 are exactly the sort of ensemble needed by the supremely funky Soul Junction imprint. The label have done a great job in continuously finding new, raw talent in the soul game, and these dudes know the score. "If You Break It" features the voice of Vincent Bonham, and it's a veritable lovers tune, made for dance floor antics and Saturday night romance, whereas "Other Side Of The Mirror" is more of a soulful abstraction, a gorgeous little ballad led by the delicate, majestic vocals of Arnell Carmichael. Oh, boy...
Review: Jazz has always been as much about great collaborations as anything else and that is very much the case with the modern scene. Proving that is Flock, a new coming together of five talented musicians Bex Burch from Vula Viel, Maisha's Al MacSween, Sarathy Korwar, Dan "Danalogue" Leavers and Collocutor's Tamar Osborn. They got together for the first time in March 2020 for a Boiler Room show and some memorable streams during lockdown. Strut Records were listening in and managed to get them in the studio together to try something fresh. The resulting improvised sounds focus on "breathing and listening to each other", explains Bex Burch. It makes for a wild, innovative ride.
Review: The vast and ongoing Blue Note reissue series continues apace her with organist Ronnie Foster's Two Headed Freep album. Foster was a master collaborator who worked with everyone from George Benson to the Jacksons to Stevie Wonder (an in fact played the keys on Songs In The Key Of Life.) But it was his work on Grant Green's funky live LP Alive! in 1970 that caught the attention of the Blue Note boss who tapped him up for this label debut two years later. It is a vibrant seton tunes with five originals as well as covers of the likes of Al Green. Kevin Gray has mastered it from the original tapes and it has been pressed on 180g vinyl at Optimal.
Review: Five years on from their debut collaborative EP 'Frisina Meets Toco', modern Brasilian dance artists Gerardo Frisina and Toco return for a second faceoff, this time with liaising artist Luzia Dvorek serving as ringmaster. Centring on samba-infused jazz and deep house with mystical and folk influences, "deixa passar" translates from Portuguese to "let it pass", though the mood is certainly not outright passive. This delectably quartered slice of carnivalesque dance music is rather rich in sonic papaya juice, charting sustained vocal contrasts between Toco and Luzia against smoky and furnaced beats. Aperient track 'Deixa Passar' leans heaviest on languid piano, whilst dozier mists emerge on the B-side in the form of 'Ile' and its rework by Gerardo Frisina, bringing pan flutes, strings, breathy vocal counterpoints, cabasa shaker, and subtle bass undercurrents.
Review: A couple of years ago, Super Disco Edits released the debut single from Buddy Hank & The Shine Band, East Orange New Jersey-based band who were briefly active in the early 1980s. Here they go one step further, delivering a first full-length full of tracks recorded way back in 1981. Immaculately mastered from the original studio tapes, "Dust To Diamonds" is as good a boogie-era album as you're likely to hear. Rich in slap bass, soulful vocals, good-time grooves, jazz-funk flourishes and colourful synthesizer lines, the eight tracks flit between sugary warmth and effervescent dancefloor heat. In other words, this is genuine buried treasure for DJs who take disco and boogie seriously.
Review: Joe Henderson's synergistic 1973 sax record first came to Milestone Records amid the musician's long and storied fusion-crossing-into-free-jazz period. With a Warholian front cover and a punch-packing cast of talents behind him - from Larry Willis to James Blood Ulmer to Dave Holland to Jack DeJohnette - this is indeed a milestone, charging terminals of funk, blue jazz and Afrobeat, and crossing into both the spiritual and the atonal. Mid-record high-point 'Song For Sinners' almost certainly takes after Sun Ra with its trembling saxophones above a distended groove, while 'Turned Around' is a lot freer and easygoing and yet far more determined in the rhythm section.
Review: American Bobbi Humphrey is one of the most well loved jazz flautists. She turned out plenty of vibrant albums, none less so than this, Fancy Dancer, which was her fifth. It came on Blue Note in 1975 and is full of all killer no filler gold. It also saw her, along with producers the Mizell Brothers aka Larry and Fonce, come up with a fresh new largely instrumental funk sound. Weaving in everything from world music to soul-jazz to club music to pop, it's a widescreen sound that is packed with uplifting flute from Humphrey and lush production that reveals something new with each listen.
Review: Established in the UK in 2009 as master-builders of disco-house builds in the late naughty noughties, Instruments Of Rapture first cut the red tape with Ilija Rudman's 'Part Four' and lasted for just three years until 2012. And while the early axing was a shame, we think real works of art are those which are short-lived but profuse in quality. Now kicking back into gear after almost 15 years, the label now return to double up as both label and moniker, humorously titled 'You're Cured Mate'. Described as a "soundtrack more hypnotic and deadly than ever", this new one follows 'The Formula' of cut-short, hypno-loop lyrics and carnal felid whispers (especially in '7 Grams Of Funk'), marking an EPs' worth of subtle libertinage in 2025, the year of the snake.
Review: Jai Alai is only a relatively young label but its first 11 releases have all been of great quality. This new one features a pair of pearlers from Jaheim Hoagland, a US r&b singer with some 480 odd credits to his name dating from the year 2000 onwards and including several solid albums. 'Just In Case' has a classic soul sound with buttery smooth vocals and plenty of male yearning over sophisticated production. On the flipside is 'Diamond In Da Ruff' which rides a nice deep hip hop beat and has great interplay between vocalists as a tender flute adds further depth to a real smoocher of a song.
Review: Female vocalist Sharon Jones continues to fly the flag for raw femme funk with her fifth album for US label Daptone, ably assisted by the labels in-house band - The Dap Kings. The new record is a collection of rare tracks and B-Sides going back as far as 2002. The only new track appears to be the Motown-esque "New Shoes", which, like the rest of the album, could be mistaken as a lost soul classic.
Take My Heart (You Can Have It If You Want It) (4:01)
Get Down On It (3:32)
Let's Go Dancin' (Oh La, La, La) (3:58)
Straight Ahead (3:30)
Joanna (3:58)
Fresh (3:52)
Cherish (3:58)
Emergency (4:03)
Victory (3:52)
Peacemaker (4:02)
Rags To Riches (3:47)
Celebremos (5:17)
Review: From their early jazz roots to their pop picking party time peak via their late 70s dabbles with disco, Kool & The Gang have dominated airwaves and dancefloors en mass for over 50 years, and this is one of most comprehensive collections of their work ever curated. Obviously all the big hits are present and correct but it's the lesser spotted (but still just as floor poking) jams that really make this collection shine; the hip wriggling "Slick Superchick", the swooning mournful chord changes of "Too Hot" and the sleaziest bassline they ever laid down in the form of "Higher Plane" are but three stone cold killing examples. Good times...
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