Review: Admin's 'Mystical Circles 02' delivers two vibrant tracks that embody the essence of dancefloor-ready disco and funk. On Side-1, 'Three Eight Four' kicks off with infectious tribal drum fills and funky bass licks, accentuated by a commanding saxophone that invites listeners to groove. Its lively energy makes it a standout choice for any party. Flipping to Side 2, 'Ionosphere' continues the momentum with wicked bass notes and a stunning groove, complemented by powerful horn arrangements that elevate the track's dynamic feel. This release perfectly blends disco house with jazz funk elements, making it an essential addition to any DJ's set. Mystical Circles 02 is a celebration of sound that is sure to get everyone on their feet.
Review: A strikingly unique dance music project from Nagasaki producer, DJ and sound director Keisuke Yamazoe, Aflex Combo has always been an impressive project, straddling several EPs stretching back to 2002 - and all centring, in the artist's own words, on heavy funk beats and obscure jazz and Latin grooves. Jazz Roomn Records now release his cover-remix of the underground club classic 'Hibaros', originally by B&G Rhythm (Donny Beck & Steve Gutierrez, featuring Bobby Lyle). Several unusual time signatures modulate across its A-sided, dancey groove - don't be fooled, things need not settle into a 4/4 repetition to be worthy of a ball - whilst B-sider 'Something Special' lets things slack a little more, letting several, live-recorded drum loops rest on top of one another, while a sort of glockenspiel/celeste-esque instrument tinkles over the top. Something special indeed.
Review: Religion, and specifically gospel music, always played a key part in shaping the sounds and emotions of easy house music. It is clearly going to have just as much impact on this new label God Iz Enough which debuts with an EP of the same name from Tomi Ahmedeus. His style on the opener is to lay down raw and dusty beats with an early Windy City feel and infuse them with evocative, guttural gospel vocals that really bring them to life and make them inescapably emotive. 'The Rise Of The Guttersnipe' strips things back a little and brings a shuffling tech vibe with some glistening melodies while 'Ms Ludus' is a gorgeous ambient closer.
Review: Bedroom beat producer Blank Check has teamed up with Honolulu's Aloha Got Soul and Tokyo's Grand Gallery for this majestic new six-song EP which comes on tidy 10" vinyl. It's mega limited with only 300 copies produced and it showcases loop-based music that evokes a floating sensation, which is reminiscent, say the accompanying notes, of Tommy Guerrero's world view. The instrumental sound features a dub-like quality that perfectly captures an urban mellow vibe that feels both original and authentic. Essentially it serves as a soundtrack to a short film that immerses you in atmospheric and cinematic soundscapes.
Review: James Alexander Bright's new sinle, Cool Cool, is a sonic kaleidoscope brimming with vibrant sounds and deep emotion. Bright's distinctive voice, reminiscent of Eddie Chacon, Beck or Michael McDonald, shines throughout. His multi-instrumental prowessiplaying guitar, bass, keys, and moreiadds layers of complexity to the record. Cool Cool illustrates Bright's evolving sound and unwavering creativity, making it a compelling addition to his diverse discography. The 'ECLA Beautiful dub' adds a great alternative version that provides a broken down moody version of the original to balance the 7". Both sides are excellent.
Review: Billy (younger brother of Jerry) Butler's seven 'official' releases on Okeh 45s are often thought to be some of the best-ever Northern Soul tunes to come out of the Windy City. Despite that, he never got the same fame as his sibling but this reissue of one of them should show you why that was so wrong. 'Right Track' is just under two and a half minutes of high energy and driving Northern Soul goodness with lush vocal harmonies and 'Boston Monkey' then brings some classic piano energy and big horns to swinging beats and expressive vocals.
Review: Nicola Conte's 'Do You Feel Like I Feel' and 'Ghana' were initially part of his 2011 album, 'Love & Revolution,' a project that showcased a vibrant mix of Italian and international jazz talent. Produced during sessions at Tommy Cavalieri's studios, this album never saw a vinyl releaseiuntil now. Schema Records is rectifying this with a new 2-LP edition, set to include these standout tracks. The 45rpm single, featuring 'Do You Feel Like I Feel' and 'Ghana,' highlights the core of Conte's vision: the soulful resonance of the former and the Latin-jazz flair of the latter. Both tracks are enhanced by Magnus Lindgren's arrangements and feature Gregory Porter, whose vocals, though still emerging at the time, are already a testament to his rising status in the jazz world. With this vinyl release, Conte's modern jazz masterpiece receives the physical format it deserves, offering a fresh opportunity to appreciate its intricate compositions and collaborations.
Carolyn Crawford - "It Takes A Lotta Teardrops" (2:47)
Hodges, James, Smith & Crawford - "I'm In Love" (2:26)
Review: It Takes A Lotta Teardrops showcases the refined touch of Mickey Stevenson, delivering a timeless Motown sound. This Leon Ware and Vicki Basemore composition, although unreleased until now, echoes the classic vibes that Kim Weston also interpreted, but like hers, it remained in the vaults. The decision to shelve this gem in 1972 may have been due to its retro style during a time of evolving musical tastes, yet it remains an essential listen for Motown and Northern Soul enthusiasts. On Side-2, 'I'm In Love', stems from Carolyn Crawford's work with Hodges, James and Smith in 1971. Released under the M'Pingo label, this track embraced a more contemporary feel for its era and continues to resonate in Modern and Crossover rooms today. This single is a fine addition for collectors and fans of classic soul.
Review: Fortunea Records's 33rd release features two esteemed Italian producers, DJ Rocca and Mike Riviera. Their 'Night Jamz' EP offers up four vibrant tracks on the Austrian label and they are sure to energise dancefloors all winter lingo with their with raw, snappy warehouse grooves. DJ Rocca has been a legendary figure since he began his career in the late 1990s producing drum & bass, breakbeat and future jazz under the Maffia Soundsystem brand, while Berlin-based Mike Riviera is known for his Italo disco-inspired productions, and it is the combination of all of those backgrounds that makes this such a fresh EP.
Julie Driscoll, Brian Auger & The Trinity - "Indian Rope Man" (3:23)
Brian Auger & The Trinity - "Black Cat" (3:24)
Review: Heavy Jazz Records have fully licensed this brilliant reissue of one of the biggest Hammond Mod dancefloor-fillers of all time. It comes in the form of a hugely limited edition 7" with Julie Driscoll, Brian Auger & The Trinity's 'Indian Rope Man' on one side. It's a real bomb, its driving chord work and fizzing guitar licks all topped with raw, passionate vocals that add great intensity. On the flip is another standout gem for Mod lovers with 'Black Cat' racing along under more hard edged vocals and raw brass, scintillating drums and epic chord work. A real pair of heavy hitters from the vaults here.
Check Minnie's Love (Naughty NMX & Runex Brexit mix) (3:55)
Review: Reissue of a classic alert! On 'Breakin' My Heart,' the wonderful Jim Sharp seamlessly blends A Tribe Called Quest's summery vibes with the original instrumentation sampled by J Dilla. Bebel Gilberto's iconic vocals glide over boom-bap drums and create an undeniably catchy groove. On the flip side, 'Check Minnie's Love,' Naughty NMX and Runex deliver once again by layering horns, heavy beats, deep bass, and smooth vocals into a gem with a nostalgic 90s feel. Minnie's silky vocals transform it into a dancefloor banger, capturing the essence of '92 without missing a beat.
Review: Eastside Connection's 'Frisco Disco' was first released in 1978 on the Los Angeles record label Rampart Records; the label were active throughout the three-decade period spanning the 1960s-1990s, in which the disco craze could be said to have "ran rampart". At its zenith lay Eastside Connection, the quints of Latin disco of the time, and whose membership was an ensemble cast of any group of six to nine players, chief among which were Bertha Oropeza, Brandon Fields, Dick Mitchell, Geoff Lee, Hector Gonzalez, and Sam Cracchiolo. Now reissued on Fraternity, 'Frisco Disco' is a discographic landmark of theirs, coming as a touristic disco ode to seaside punch and beer sips and clear skies - "I love the way the ocean fills the air". B-side 'It's Real' lowers the pace and dynamics to boxout funk, and is by far our preferred track.
Review: Massimo Napoli is Galathea and he is still riding high off the success of his second album Sacred Love. Now he backs up the quality of that one with this new EP on Space Echo which features four unreleased tracks. 'Ancestral' and 'Karimabao' on the A-side feature hypnotic atmospheres and blend African rhythms with tribal percussion and sleek pads to make for a rather addictive fusion for sophisticated dancefloors. 'Africa Carnival' then offers an Afrobeat groove infused with Brazilian spirit and plenty of jazz, and funk all added to by Mario Pappalardo's masterful keyboard work. The EP closes with 'Sacred Club,' a track which mixes up African mysticism with a danceable, clap-driven rhythm that is perfect for a more subdued yet entrancing dancefloor experience.
Review: Straop yourself in and prepare for a cosmic trip on psyched out cosmic polyrhythms with kosmische overtones at the hands of newcomer Glass Beams. This debut on Research Record is a stunning one from the enigmatic producer but will have you googling t find out as much as you can while you get lost in the sliding bass and transcendent synthwork. It's tinged with a certain retro charm and 70s prog magic but also feels decidedly new and fresh. Masterful.
Review: Rick Holmes' Remember to Remember is a gem of a reissue from 1981, faithfully presented with both original tracks on each side. this 12" vinyl from gold mink records is gleaming with top soul-jazz and funk music with a crisp production that stands out. Sadly, Rick Holmes recently passed away which makes this reissue extra special. The title track 'Remember to Remember' and the B-side 'Tothe Unknowledgeable One' showcase infectious grooves and soulful rhythms that mark this record as a true classic. Hearing it for the first time on jfm/horizon radio in the early 80s was a revelationiintroducing many to rare groove soul. Records like this weren't typical at parties, where uptempo tracks ruled, making its presence all the more striking. It played a crucial role in the rare groove scene, which was just on the brink of exploding and changing how underground soul was appreciated. for collectors and enthusiasts, this reissue is a nostalgic and essential piece of music history.
Review: Jayse and Steve P deliver a couple of groovy gems with their latest 7" release. On Side-1, 'Atlantic' channels the spirit of early Prince with its funky disco vibes. The track is an instrumental delight, combining a spacey atmosphere with a groove that keeps the energy flowing. It's a perfect blend of classic disco elements and a futuristic edge. Side-2's 'Dr Jam' takes a dive into West Coast funk, reminiscent of Midnight Star. This track is all about classy, futuristic grooves, making it an irresistible choice for those who appreciate the finer nuances of funk. The rhythmic flow and slick production make it great for any dancefloor or laid-back listening session. The essence of funk and disco with a fresh, modern twist.
Review: Three slices of nu jazz/broken beat manoeuvres from multi-instrumentalist Fuminori Kagajo, fresh from the capital of the mountainous northern Japanese island of Hokkaido, Sapporo. A1 track 'Summer Daze' marks the producer's first foray into a foreign language, with a soulful edge and a disco feel, not to mentions some fantastically searing synth solo action. 'Sunset Groove' is lighter and airier but still grooves along with an infectious dancefloor-ready shuffle, while final track 'Quiet Lights' proves the jazziest of the three, natty electric piano tinkling meeting with an almost salsa-esque beat and sultry-as-anything sax. Wave goodbye to the summer with a taste of pure class - or three.
Eh Eh (Nothing Else I Can Say) (Lovers Reggae mix) (3:44)
Review: Singer and actress SSW Mayu is mostly known for her roles in musicals and TV dramas, and delivers a fresh take on classic songs from the past. Her latest release is a 7" single on Jet Set Japan and comes from a compilation album by Cafe Music. It does a fine job of showcasing her versatile talent and her soulful voice and refined interpretation really shine as Mayu brings new life to timeless tracks while blending a hint of nostalgia with her unique signature style. This release highlights her ability to cross genres and create a soothing yet captivating musical experience, making it a standout addition to the Cafe Music compilation.
Review: 'If It Ain't Deep', then it's... shallow? Whatever the closing predicate of Ricardo Miranda's titular sentence fragment may be, we're still more than happy to welcome this fantastic Detroit sizzler. And perhaps that's the point, because not everything, and especially not techno, needs an ending. Miranda, that state-trotting record-churning production-and-DJ cognoscente originally from Chicago, delivers four truly deep house scoop-outs here. Opening on the listless, unfathomably machinic 'No Desires', we're met with proper 808s (long-release spit-snares, mid-plunging rimshots). Sadly enough for Miranda, our desires aren't allayed for a second; there's then 'Lost Skills', which echo the ancient ways of Ghost Dog through detuned FM bursts, not to mention the hair-raisingly sweeping washes of 'Day 2 Forget B'.
Review: Rising Canadian guitar dexter Bobby Bazini presents the 7" vinyl edition of one of his latest singles, 'Waterfallin'', which features none other than Gilles Peterson on an even rarer remix. With source material from one of five of Bazini's Spanish guitar debuts - 'Waterfallin'' having emerged from the affective foams and mistings-up of a friend, Connor, whose performance in front of him on the nylon guitar conjured images of a waterfall in Bazini's head - Peterson brings a folktronic verve to Bazini's originally vintage, Latin disco vision, dousing it in evermore pipe reverb as if to liken it to a steep cataract's rapids.
Why I Came To California (feat Eki Shola & Denise M'Baye) (4:05)
What You Won't Do For Love (feat Ryuto Kasahara - Soul Supreme remix) (4:05)
Review: Nautilus' second European tour is just kicking off and now, ahead of their new album Pacific Voyage, a special 7" single has emerged. This gem features a track that didn't make the album cut due to time constraints but now shines and has you wondering just how good the album. The A-side has a jazzy rendition of Leon Ware's soulful classic 'Why I Came To California,' sung by Californian vocalist Eki Shola and supported by Denise M'Baye. Their fresh vocals, combined with Nautilus' vibrant instrumentation, create a contemporary take on the original. The B-side features a funky remix of Bobby Caldwell's 'What You Won't Do For Love' by Soul Supreme that showcases rising Japanese star Ryuto Kasahara.
Review: The double-sider 'Black Mother Goose' with 'Chase Those Clouds Away' is a substantial release from the early 70s soul scene, making waves at the Twisted Wheel and Blackpool Mecca. On Side-1, 'Black Mother Goose' offers a rare gem of early soul, highlighted by its brilliant horn section that gives the track a rich, dynamic sound. Side-2's 'Chase Those Clouds Away' channels a feel-good vibe reminiscent of Percy Sledge or Otis Redding, delivering a soulful anthem perfect for summer. This track radiates peace and love, embodying the spirit of the era with its uplifting melody and heartfelt performance. Both sides showcase a blend of classic soul influences and are essential listens for soul fans.
Review: Mr. Bongo credit themselves with taking a selection of the most in-demand and asked-for titles in their Brazil '45s catalogue, lending them all a loving repress in due homage to the music of the nation. This time, they focus their energies on the synergy shared between the late composer and record producer Nonato Buzar and drummer Jose Roberto, both of whose contributions to the MPB canon are unmissable, referent sonic studs. Nonato's 'Cafua' is a powerful eurythmic, its strigiform vocals proving a suitable narcotic to offset to the track's otherwise restless horns and post-bossa-nova drum clacks, which hit like quick patterings against soft cartilage. Roberto's 'Crioula Multicolorida' is a more vintage recording, erstwhile bringing rare "samba rock" grooviness and reflective, call and response lyricisms to a redolent rhythm.
Review: The remastered 7" reissue from Brazil 45s/Mr Bongo features two highly coveted tracks from Quinteto Ternura and their predecessor, Trio Ternura. This pressing revives two rare gems from the past with a fresh, high-quality cut. On Side-1, Quinteto Ternura delivers 'Baby,' a dazzling Brazilian modern soul track penned by Caetano Veloso and arranged by Arthur Verocai. Originally from their 1974 self-titled LP, this song is a smooth blend of tropical bliss and has long been a cherished rarity. Flipping to the Side-2, Trio Ternura's 'Filhos De Zambi' offers an upbeat samba-funk delight. Released in the same year, this track is filled with vibrant energy from the original trio, featuring a catchy chorus and a dynamic key change. Co-written by the siblings' father Umberto Silva and Jose Ribamar, it remains a dancefloor favorite. This reissue provides a valuable opportunity to own these classic tracks in their prime.
Review: Rance Allen masterfully bridges gospel and soul, delivering two powerful tracks that radiate spirit and groove. On 'Everybody's Talkin'', you can sense the impending influence of disco, with a rhythmic pulse that's both uplifting and infectious. Rance's voice, supported by his brothers and some of Stax's finest musicians, channels the soul of Isaac Hayes, creating a smooth, expansive sound. 'You Need A Friend Like Mine' is a very complimentary song to 7"). Rance's falsetto soars to emotional heights, reminiscent of vocal legends like Al Green and Rev. Claude Jeter, giving the song a heartfelt and communal feel. Rance's music always went beyond entertainmentiit was an invitation to uplift and connect, encouraging joy, kindness, and spiritual reflection. This 45 is a shining example of his ability to move hearts and souls.
Review: Funk maestros Rockid Sound Machine returns with yet more of their timeless and seductive instrumental funk sounds. They have turned out tons of it over the years on a steady and always high quality basis. This double A-side kicks off with 'Scorpio' featuring tight drums and wah-wah guitar smudges next to big horns. The track blends funk with soul and merges old-school vibes with modern energy. On the flip side, 'Stardust' ramps things up with prickly drumming and percussion, wet cymbal crashes and more bendy guitar work that brings psyched-out 60s vibes. Another great outing for Rockid Sound Machine's signature bristling beats.
Review: In the early 1970s, Ananda Shankar travelled to Los Angeles and collaborated with various contemporary musicians. Upon returning to India, he continued his musical experimentation and that culminated in the release of his critically acclaimed 1975 album Ananda Shankar & His Music. The album blended Eastern sitar with Western rock guitar, tabla, mridangam, and Moog synthesizers to create a unique jazz-funk sound. After a period of working in India throughout the late 1970s and 1980s, Shankar's profile in the West surged in the mid-1990s as his music gained popularity in club DJ sets, especially in London, reaching a wider audience. A couple of the standout tunes from that album now appear on this limited 7".
Review: The Soul Interiors bring a touch of mystery to their two-track release on Kent Dance Records. Recorded in 1972 under the guidance of Mickey Stevenson, this release captures the spirit of classic soul with a modern twist. Side-1 features 'The Inside Guy,' a track with a strong vocal presence and an infectious groove that's become a favorite on the rare soul dance scene. It's been lighting up dancefloors and now sees its first official release. On Side-2, 'My Friend Heartaches' delivers a deeper, more reflective soul sound. The harmonies here are rich and evocative, making it a gem for fans of heartfelt, emotive soul music. Though the group's lineup remains unknown, their sound draws many comparisons to classic artists from the late 60s and early 70s, adding an extra layer of intrigue to this already compelling release.
Review: The Spinners' Motown debut single 'Sweet Thing' was a thrilling yet uneven mix featuring a multitude of ideas with some inspired moments. However, the follow-up 'I'll Always Love You' was a faultless return with a soaring, emphatic chorus that many groups dream of and one that perfectly, exemplifies the Spinners' best Motown tracks. This captivating chorus bursts forth amidst a flurry of horns and backing vocals and feels almost like it's from another song. The abrupt time signature change and staccato beat cleverly elevate the experience and on the flip of this pressing of it is the equally effective 'What More Could A Boy Ask For'.
Review: Some throwback and retro rap and early hip-hop fin here from Fraternity and Und Brother who join forces to put out this gem from Super Lover See and Casanova Rud. 'Girls Act Stupid-aly' takes up the A-side of the 7" with some playful bars and plenty of scratching, machine drum grooves and melodic hooks. 'I Gotta Good Thing' has some superb flow and plenty of James Brown vocals as well as big horns making it a real party starter.
Review: Carla Thomas delivers two soulful gems on this hot 7" from Soul 4 Real Records. On Side-1, 'Loneliness', written by Isaac Hayes, channels a classic soul vibe reminiscent of Gladys Knight and the Pips. With its polished horn section and an exquisite bridge to the chorus, the track captures both the heartache and elegance of the era. Thomas's smooth delivery evokes shades of Diana Ross, while the shiny brass arrangement brings to mind Burt Bacharach's lush orchestration, adding a modern gloss to her Stax roots. On Side-2, 'If It's Not Asking Too Much' features Thomas in a more stripped-back, intimate sound. With labelmate Deanie Parker on songwriting duties, the track features a brooding bluesy edge. The tango rhythm, driven by an organ and a second keyboard, creates a haunting atmosphere that highlights Carla's powerful yet restrained vocal performance. This side is equally fitting for starting or ending a soulful evening. With these two tracks, Carla Thomas proves why she was and remains a queen of soul, blending elegance and emotion in every note.
Review: Originally called The Take 5, Timebox hails from Southport, Lancashire. This quintet's use of organ and vibraphone helped to heighten their obvious love of soul and jazz influences which were always reflected in their repertoire. Before signing with Deram, they recorded a standout rendition of Dizzy Gillespie's 'Soul Source' for the Piccadilly label and here we get their superbly raw and direct 'Beggin' tune, a real piece of 60s gold. On the flip, The Quik's 'Ben's Apple Crumble' brings more brilliance to a crucial 45.
Sam Wilkes & Jacob Mann - "Dr T" (Toribio edit) (5:43)
Toribio - "Bumples" (5:41)
Toribio - "My Humps (So Real)" (6:28)
Review: Brooklyn producer, bandleader and DJ Toribio returns for the second 12" on his newly launched BDA Imprint. Going deeper into his lifelong jazz obsession, 'Bring Dat Jazz' does just that whilst gladly exhorting us to do the same. Spanning three impressively arranged originals on top of a wicked remix of Sam Wilkes and Jacob Mann's 'Dr. T' on the A2, the overall impression gained here is one of an artist's deepest possible immersion in not just jazz as a whole, but its wildest contemporary abstractions through styles like deep house, garage house and post-punk. 'Jazz Misconduct' conducts itself rascally enough, holding itself together by the thinnest house-swing string; then the B-siders 'Bumples' and 'My Humps' herald a brief rise in tempo, coming shortly before an unusual hip-funk dub flip: a leftfield turn through a subtle, misty piano and vocal tinkering with the end of a storied Black Eyed Peas song.
Review: The relaunch of the BRZ45s series brings back some of the most coveted Brazilian 45s, this time with a vibrant new design. This release features two standout tracks sure to captivate collectors and DJs alike. On Side-1, Trio Ternura's 'Vou Morar No Teu Sorriso' delivers an energetic blend of funk and soul, with powerful drums, dynamic breaks, and rich horns that drive the track forward. Originally from their 1971 self-titled LP, it's a perennial favorite in DJ sets, known for its infectious rhythm and big, soulful vocals. On Side-2, Eliana Pittman's 'Quem Vai Querer', a samba-funk gem from 1977. This track rolls out with a groovy samba beat, layered percussion and Eliana's captivating lead vocal, building beautifully into a catchy chorus, with the intensity of the drums amplifying as it progresses. Both tracks are perfect for the dancefloor, offering a taste of Brazil's rich musical heritage with a fresh, modern twist.
Duke Turner & The Chi-Towns - "Friendship Or Friends" (2:02)
Duke Turner & The Chi-Towns - "(Let Me Be Your) Baby Sitter" (alternative mix) (3:04)
Duke Turner - "Give Me Some Sugar, Baby" (3:15)
Review: Duke Turner's 'Friendship Or Friends' brings together three rare soul gems in one exciting 7" release from Soul Junction Records. On Side-1, the title track delivers a powerful 60s soul sound, featuring a big horn section and Turner's heartfelt vocals. The song is classic soul with its uplifting energy. Following that is an alternative mix of '(Let Me Be Your) Baby Sitter', originally from 1970, where Turner's strong vocals shine alongside rich backing harmonies, adding a touch of warmth and nostalgia. Side-2 slows things down with 'Give Me Some Sugar, Baby', a smooth soul ballad from 1974. The relaxed tempo and Turner's soulful delivery make it a memorable track, showcasing the depth of his emotional range. This 7" is a fantastic opportunity to hear Duke Turner's talent across different soul styles. Each track has its own character, making it a versatile release for any soul music fan.
Review: Selector Series strikes gold again with their reissue of The Vibrations' 'Shake It Up,' a modern soul gem that first hit the airwaves in 1974. Celebrating its 50th anniversary, this classic, co-written by Bunny Sigler and arranged by Vince Montana, still electrifies dance floors today. With its swirling strings and unmistakable percussive intro, 'Shake It Up' became a favourite during the mid-80s London warehouse parties and the rare groove scene, solidifying its place on diggers' lists. The flip side, 'Make It Last,' penned by Thom Bell and Linda Creed, offers a mellower vibe, making this 7" a perfect blend of energy and soul.
Review: The popular Vinyl Only label hits release number 20 here with another sure-to-sell-out blend of funk, disco and soul. The brilliantly named Huge Disco Tits EP kicks off with a cheeky number that samples the greatest ginger-haired soul singer of all time. After that one shakes your limbs loose, 'Sock With Lube' brings swooning strings and raw, well-swung drums. 'Midnight Thing' is a percussive jam with funky bass guitar licks and 'Alright Thing' then shuts down with a vibrant blend of horns, strings and big licks. Party starting and loveable as always from this label.
Review: This driving old school Northern Soul gem from Larry Williams & Johnny Watson is a real favourite amongst the hardcore in that scene and an original copy will cost a few quid if you can find one. The infectious missile of the a-side was a key cut in the early days of the soul, mod and scooter scenes and all these years later is just as direct a hit of pleasure. Flip it over and you will find something just as effective in the form of the catchy and uptempo 'A Quitter Never Wins' 'which is as funky as Northern soul gets.
Elvira Voca - "Drugo Vrijeme (The Second Time)" (3:46)
Opatijski Suveniri - "Vamos A La Playa" (3:28)
Roman Butina - "I'm Gonna Get Your Love" (3:52)
Review: This limited gatefold edition compilation, curated by Leri Ahel & Zeljko Luketic, brings together 18 rare disco tracks from Yugoslavian artists, pressed on 2 x vinyl. Featuring the likes of KIM Band, Gabi Novak, Arian, Ljupka Dimitrovska, and more, the collection is sourced from original master tapes, ensuring pristine audio quality. Disco, a Trojan horse in Yugoslavia's pop music scene, thrived for an unexpectedly long time. Influenced by American and European disco acts like Boney M and Amanda Lear, Yugoslav producers and record companies like Jugoton and PGP RTB embraced the genre's vibrant energy. The scene fostered a unique blend of genre hybrids, electronic experimentation, and bold themes, with artists creating memorable and innovative disco music. This compilation captures the spirit of that era, shows both chart-toppers like Zdravko Colic and experimental gems. It highlights the creativity and freedom that disco provided, allowing musicians to push boundaries and deliver unforgettable tunes.
Somewhere To Be (feat Andy Cooper & Marietta Smith) (3:22)
Ever Been (3:36)
Review: Freak The Speaker marks a vibrant evolution in The Allergies' sound, showcasing their deep-rooted love for diverse musical styles. Producers Moneyshot and Rackabeat have upped the ante, delivering their biggest beats yet and enlisting an array of talented MCs and vocalists to bring their vision to life. Afrobeat star K.O.G. injects energy into the lively 'Koliko,' while Ohmega Watts delivers sharp, impactful verses on the hard-hitting 'No Flash.' UK rappers Dr Syntax and Skunkadelic trade dynamic bars over booming 808s on 'My Own Way,' and Dynamite MC shines on the soulful, infectious 'One Time.' Fans of The Allergies' signature funky, sample-heavy production won't be disappointed. Tracks like 'Let Me Hear You Say' channel vintage roller disco vibes, while 'Knock Me Off My Feet' is a 60s soul-inspired banger that's already garnered praise. Andy Cooper of Ugly Duckling brings his trademark flair to his features, complemented by the lively contributions of saxophonist James Morton and soulful singer Marietta Smith. Freak The Speaker is a celebration of music's global diversity, wrapped in The Allergies' unmistakable style.
Theme From Valley Of The Dolls (Master B, take 2) (4:03)
Lonely Girl (Master G take 1) (3:26)
Soul Vibrations (alternate take) (3:49)
Life Has Its Trials (Master C, take 2) (4:56)
Little Sunflower (Master F, take 3) (6:45)
Theme From Valley Of The Dolls (Master B, take 6) (3:53)
Review: The album effortlessly merges 1960s cool with classical music elements, creating a distinctive and original sound. What stands out most is the harp's role as the lead instrument, bringing a fresh, mystical dimension to the jazz genre that is rarely heard in traditional quartets or duos. Throughout the record, Ashby demonstrates the harp's versatility in evoking different moods. In her rendition of Freddie Hubbard's 'Little Sunflower,' the harp replaces the trumpet's warmth and power with a cool, elegant touch that transforms the piece. Ashby's intricate harp work introduces new harmonies and thematic elements, particularly on the track 'Games,' where the rhythm section's pulsating beat allows the harp's melody to take center stage. Afro-Harping is a hidden gem, encapsulating the essence of 1960s jazz with a nod to Afrofuturism and innovation. The fact that this groundbreaking album is led by a woman, especially in a genre where women often take on vocal roles, adds to its significance. This album is highly recommended for both seasoned jazz enthusiasts and newcomers - a gateway to Ashby's remarkable discography.
Review: 20 years on from its initial release in 2004, Ninja Tune share the first ever reissue of Blockhead's Music By Cavelight. The New York-based alias of Tony Simon, this record is the quintessence of Ninja Tune's smoked-out trip-hop sound at the time, and for which Simon himself likewise came to be known. Recalling a time when instrumental beatsmiths were much likelier to consider their crafts artful enough to warrant calling their studios beat-smithies (as compared to the sadly throwaway feel of much instrumental hip-hop today), one can really hear the subtlety and care poured into each vignette here, our favourites among which are 'Bullfight In Ireland', 'Graveyard Hunt' and 'Bloop Bloop'; all play back like studies of a gritty, degage, sun-bathed vision of a bygone big smoke.
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