Review: Dynamite Cuts have got another red hot bit of funk on their hands here with Brian Auger's Oblivion Express the subject of this reissue of two of his most blissed out sounds. The first is a magic cover of Marvin Gaye's timeless 'Inner City Blues' from his most iconic album, What's Going On. In this outfit's hands the groove becomes a little more deep and languid, with funky guitars and steamy vocals sinking you into a real romantic vibe. The second is an original tune, 'Voices Of Other Times,' that explores more uplifting soul vibes.
Review: This James Brown 7" release is a must-have for any soul and funk aficionado. The Side-1, 'Never Can Say Goodbye' from the There It Is LP, is a quintessential Brown track with irresistible grooves, a punchy bassline, and killer horn lines that showing his creativity of funk. On Side-2, 'You Took My Heart' from Get Up Offa That Thing offers a lush, swinging rhythm with a captivating movement that highlights Brown's soulful versatility. Both tracks are presented on a highly desirable 7" vinyl, making it a perfect addition for DJs and rare groove enthusiasts. The grooves are tight, the energy is infectious and this release truly captures the essence of James Brown's legendary sound.
Review: When deciding on tracks to release on '45' for the first time, the Dynamite Cuts team seems to mine a mixture of sought-after sets, familiar favourites and overlooked obscurities. This single falls int the latter category, featuring as it does two killer cuts from Funk In Hell, a 1976 album by library music collective-turned-instrumental funk outfit Button Down Brass (a band founded by trumpeter and arranger Ray Davies). A-side 'Superstition' is simply superb: a down-low cover of Stevie Wonder classic 'Superstition' that sits somewhere between down-low library funk and Blaxploitation movie soundtracks, with a dash of big band funk thrown in. Instrumental flipside 'Shades of Hades' is equally as vibrant, with elongated electric guitar notes, heady hand percussion and spacey synth sounds combining superbly with spy-funk horns and weighty bass.As played by DJ Muro from Japan
Review: Guitarist Carl Holmes formed his band with The Commanders and recorded a full-length in 1962 for Atlantic, just a few years after first started gigging. He later went on to record for the Parkway and Verve labels and even gigged with Jimi Hendrix, though never conveyed any of the sessions to tape. His group disbanded soon after in the late 60s and he then formed this one which was defined by its strong rhythm section. This is their only record and it's a classic bit of funk from smoking breaks to syncopated Latin-tinged jams and some more mellow magic in between.
Review: Pressed for the first time on 7" vinyl, two killer rock club tracks from the legendary Colloseum, track 1 and 2 from their sophomore 1969 album 'Valentyne Suite' - 'Elegy' and 'The Kettle'.
The powerful and up-tempo 'Elegy' is a funky love song, with steaming guitars and heavy groove, an absolute home run of a funky club banger. On the flip is the 'The Kettle', featuring a heavy rock groove that the attentive ear will recognise as sampled by Fatboy Slim for 'Ya Mama'.
Review:
The Dynamite Cuts 45s series is back with another of their funk fuelled double 7" packs of wonder. FBI were Funk Band Inc, the UK's original jazz funk outfit back in the seventies. This double 45rpm was originally put out in 1977 and has since become a hugely in demand collector's item. The self-titled opener is a languid limb-loosener to open up with Parliament style bass riffs and popping horns, then 'Talking About Love' picks up the pace for a high seeped funk chase with seductive sax work and 'Bad Deal' slows down once more to a more libidinous vibe. Bright Rhodes solos and buttery vocal seduction defines closer 'Love Love Love.'
Review: The Dynamite Cuts label lives up to its name once again here and drops more red hot heat. This time they offer two jazz cuts on 7" for the first time ever. They have been taken from Dave Grusin's 1965 album 'Kaleidoscope' and still sound fresh. First up is 'Kaleidoscope', a jazzy piano workout with twanging double bass and shuffling drums that lift you off your feet. 'Straight No Chaser' then gets lead by a busy and conversational trumpet that is restless and expressive. Both of these are party starters for those who love that real jazz tackle.
Review: The Dynamite Cuts label lives up to its name once again here and drops more red hot heat. This time they offer two jazz cuts on 7" for the first time ever and this is a red and white splattered vinyl version, though we also have the black. The tunes have been taken from Dave Grusin's 1965 album 'Kaleidoscope' and still sound fresh. First up is 'Kaleidoscope', a jazzy piano workout with twanging double bass and shuffling drums that lift you off your feet. 'Straight No Chaser' then gets lead by a busy and conversational trumpet that is restless and expressive. Both of these are party starters for those who love that real jazz tackle.
Review: While best known for their funk and soul reissues, Dynamite Cuts do frequently dig deeper and look further afield for musical inspiration. They're at it again here, offering up a lavishly packaged "45" featuring two killer cuts from Brazilian saxophonist and flautist Hector Costita's jazz-funk/jazz-fusion album 1981 (which, you guessed it, was first released in 1981). A-side 'Avessos' is warming, gentle and groovy, with Costita's jaunty sax motifs rising above a samba-jazz beat, restless triangle percussion and some seriously toasty electric piano lines. 'Divagacao' is a more up-tempo nd rhythmically interesting affair that reminded us of Azymuth while also boasting some genuinely dazzling sax solos.
Review: 'The Catfish' by Peter Herbolzheimer is a thrilling addition to Dynamite Cuts' 7" series, featuring the German big band jazz maestro's powerhouse sound. Originally recorded live at the renowned ONKELPO in Sweden, this release features two monster tracks that pack a punch. On the Side-1, 'The Catfish' delivers a heavy moog and drum groove layered with outstanding horn sections, creating an electrifying atmosphere that is sure to get listeners moving. Meanwhile, the Side-2 offers 'Head Egg,' an uptempo and powerful groove with a banger of a drum loop that will leave audiences craving more. For fans of big band funk and jazz, this 7" release is a must-have addition to any collection, offering irresistible energy and infectious grooves that will captivate music lovers of all stripes.
Review: Nick Ingram is a criminally lesser-spotted artist whose credits stretch back to 1998, among which include his various instrumental and production contributions to the band The New Electrics, as well as single contributions to compilations by NME and Melody Maker. But Dynamite Cuts here call 'Trip Wire' and 'Throng' two tracks expressly made for TV soundtracking - never heard before, they reveal Ingram's repertoire in library scoring; the former track is a feverish trip-funker, packed with twang guitar and yodelling flutes, while the latter is a chromatic instrumental soul-jazz number starring a deeply haunting counterpoint, shared equally between synth and voice.
Review: Mr. Weldon Johnathan Irvine is one of the many great artists who were part of the 80s funk, jazz, and soul scene. He is said to have been a super clam and gentle soul and that is clear from the music, which is superbly laidback and welcoming. This 45rpm takes a nice breezy jaunt through his jazzy world with innovative keyboard work and warm double bass and horns. There is a more smoky sound on the b-side which is a chill groove with lovely melodica and guitar sounds to nod along to. This is the first time this music has been available on 7".
Willie D (feat Martha Reeves & The Sweet Things) (4:15)
Keep On Movin' On (feat Martha Reeves & The Sweet Things) (3:33)
Willie Chase (instrumental) (3:03)
Parade Strut (instrumental) (2:34)
Review: An iconic soundtrack to a classic blaxploitation flick, JJ Johnson and Martha Reeves & The Sweet Things turned a collective head when they simultaneously composed their core themes for Willie Dynamite, directed by obscure director Gilbert Moses. This ineluctable screen treat stars Roscoe Orman and Diana Sands in a quintessential portrayal of early '70s New York pimping, with the central character's foibles giving rise to a latent conscience when he comes into contact with a young social worker. As is often the case with the blaxploitation genre, Willie Dynamite begins with the lead character cruising down the streets of New York in some kind of fancy car, and 'tracked by the central theme: the theme of Reeves' 'Willie D' is clear as day, lyrically portraying D's hustle as 'magic', "never treating two girls the same", "it's no different from any other industry". 'Keep On Movin' On' contrasts this with a note of modesty, signaling the movie's inevitable tonal shift; nor should you miss the B-side instrumentals 'Willie Chase' and 'Parade Strut'.
Review: Funk, soul and jazz-funk reissue specialists Dynamite Cuts are particularly good at offering up seven-inch singles featuring album tracks that have never previously appeared on "45". They're at it again here, delivering a killer seven-inch featuring the much-sampled two-part track that bookends K.C & The Sunshine Band's self-titled, 1975 sophomore LP. "Let It Go (Part 1)" is a low-down Miami funk treat featuring a hot-to-trot-mix of bustling drums, heavy percussion breaks, rousing vocals, fiery (and familiar) horn riffs and impassioned lead vocals. The slightly shorter "part two" mix is an even heavier, vocal-free take that deftly showcases the quality of the band's hip-shaking, rabble-rousing instrumentation.
Review: 2 more gems from the ever growing Dynamite Cut 7 inch series. First up and first time ever on a 45 featuring Linda ''Tequilla'' Logan on vocals on a dirty funk drenched groove. On the flip the rare super sexy 7 inch version of the infamous Turn Off The Lights taken from the original tapes is presented here. Infectious essential classic funk for the nu & old generation alike.
Review: Dynamite Cuts is one of the most aptly named labels in the game. Its latest releases have focused on The Last Poets with 'Tribute To Obabi' droopy on the same day as this one to kick off 2023 in style. As per that 45rpm, this one features a special 7" edit of a longer tune in 'Blessed Are Those Who Struggle'. It's laced with musings on oppression and slavery with funky drumming and speak-sung vocals making for a compelling mood. On the A-side is the Afro-jazz of ''It's A Trip' complete with unique vocal styles and funky basslines.
Review: 1977's Delights of the Garden, which saw The Last Poets accompanied by legendary soul-jazz sticks-man Bernard Purdie, remains one of the proto-rap innovators' greatest albums. The team behind the Dynamite Cuts label clearly agree, because they've decided to stick two of the set's most magical tracks on one must-have 45. On the A-side there's a chance to savour LP highlight 'It's a Trip', where the band sings and speaks over skittish, loose-limbed Purdie breakbeats, fizzing funk guitars and rubbery bass. Turn it over for special (and tastefully executed) 7" edit of 'Blessed Are Those Who Struggle', a classic chunk of politically charged proto-rap featuring killer drum work from the ever-impressive Purdie. In a word: essential!
Review: While Last Poets are rightly regarded as the 'godfathers of rap', others would insist that Hustlers Convention - a 1973 solo album from member Jalal Nuriddin under the Lightnin' Rod alias - had more influence on the birth of hip-hop. In part, that's down to the funk backing he received on the album from his chosen backing bands, which included the mighty Kool & The Gang. Here, Dynamite Cuts prove the point by offering two killer cuts from the set on 7" for the very first time. A-side 'Sport' is a Blaxploitation style delight - all ear-catching horn motifs, shuffling funk breaks, weighty bass, wah-wah guitar and languid spoken word vocals - while 'Four Bitches Is What I Got' sees our hero make merry over a more stripped-back take on the same backing track.
Review: The red hot Dynamite Cuts label happily serves up this slice of rare groove magic from Little Beaver. The unique artists write both of the tunes included on this 7" for his "When Was The Last Time" album and neither has appeared in this format before now. It comes with a cover as iconic as the tunes, which are both soul-stirring and heart-wrenching slower dancers. 'Concrete Jungle' has an eye-watering falsetto over deep bass and swooning strings with plenty of funky chords, then 'I Just Love The Way You Do Your Thing' is another aching beauty with elegant grooves.
Review: Dynamite Cuts has done it again here. Celebrated American bassist Curtis Lundy called upon his sister Carmen for her vocal talents for this wondrous vocal jazz cut. 'Never Gonna Let You Go' is powered by a superb double bass groove, with lush xylophones and plenty of lively drums al backing the acrobatic vocal performance. It has never before been pressed up to 7" is a serious must have for collectors, especially as it is backed with the wonderful walking basslines and feathery light snares, meandering keys and seductive jazz melodies of 'Jabbos Revenage'.
Review: James Mason's 'Rhythm of Life' - one of the long overlooked but now celebrated musician's most popular cuts - has never appeared on a seven-inch single before, in part because its' six-minute length made it more suitable for 12" singles and LPs (it first appeared as the title track of Mason's 1977 debut album). Dynamite Cuts have decided to address this by preparing their own (fully licensed) seven-inch edit, which successfully chops down the high-octane, spiritually inspired jazz-funk gem without losing any of its energy or soul. This time round it comes backed by another classic cut from the Rhythm of Life LP, the more laidback, spacey synth solo-sporting jazz-funk warmth of 'Good Thing'.
Review: Dynamite Cuts' current reissuing efforts once more focus on the legacy of the classic library label De Wolfe Music, this time selecting three choice songs from Frank McDonald and Chris Rea, two esteemed musicians who together debuted these cuts while forming a part of the in-house De Wolfe label ensemble, Patchwork. All three numbers are nighttime alleyway slinkers, recalling, in their finger-snapping funk palette, a slick combo of flared trousers, leather jackets, sunshaded visages and strange bumps in the night.
Review: After a start in the immensely popular Buffalo Springfield and a two-year stint forming Poco in 1968, he entered into a partnership with a young singer/songwriter called Kenny Loggins. Their career lasted for seven years producing multiple albums together. In 1979 Jimmy Messina released his first album which featured the well-regarded Jazz Fusion and Smooth Jazz tracks 'Do You Want To Dance & 'Love is Here'. Dynamite Cuts collects both of these for an appearance on this 7". For fans of eclectic 70s gems, this little 45 will get some strong play.
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.
Review: At first an obscure library music curio made by Keith Papworth under the aegis of Music De Wolfe - the brainchild of Dutch composer and oboist Meyer De Wolfe - Hard Hitter long flew under the radar as Papworth's unsung instrumental funk magnum opus, that is, until it was reissued in 2022 by Fat Beats, and again now by Dynamite Cuts. We'd wager that it was the Fat Beats reissue that really cemented the legacy of this gem, which placed its intensely sampleable funk breaks in the context of NYC hip-hop culture, cementing its legacy as a favourite sample source for beatmakers, not just a simple and enduring joy in the realm of hard-hitting library funk.
Review: The Record Store Day releases are coming thick and fast already and Dynamite Cuts have got one of the more essential ones here. It features a pair of tracks from Steve Parks, who looks as cool as can be on the much loved cover. This is the first time the lead single has ever been put on its own 7" after first coming on his 1981 album. That is now mega-rare and a high value collector's item and surely this one will be too, soon enough. The mastering is high class, allowing the free flowing jazz funk goodness to really shine. On the reverse is a more intimate late-night romancer. What a pair of tunes.
Review: 80s soul jazz sensation and keyboardist Judy Roberts debut with her The Other World album and went on to out another nine full length. The first remained her best, though, and two tunes from it make up this hot new 7" on Dynamite. It's the title track that goes first and is an uplifting and life-affirming soul-jazz jam with busy drumming, hectic chord work and a fantastic lead guitar that brings the Balearic vibes. Things slow down on the flip with the more sentimental and noodling jazz-funk bass and laidback grooves of 'The River Must Flow.'
Review: Dynamite Cuts presents the timeless classic 'Sugar Man' by Sixto Rodriguez on a 7" vinyl. Originally released on Sussex Records, this track features a stellar lineup of musicians including Bob Babbitt on bass and Dennis Coffey on guitar, with Gordon Staples arranging the stunning strings and Mike Theodore producing. The reissue uses the original white sleeve design instead of the South African issue with a black sleeve. On Side-2, 'Only Good for Conversation,' is another standout track from Rodriguez's LP, offering a heavy groove with a bass drum loop reminiscent of Eugene McDaniels. This release is a chance to own a piece of music history at a more accessible price point than the now extremely pricey original 70s issue.
Review: Dynamite Cuts has got a couple of Roy Ayers Ubiquity projects in the fire this month - a brilliant 7" double pack as well as this 45rpm. Both sides of this one rather take quite different paths to your affections. 'A Tear To A Smile' is high-speed and complex funk for the dance floor with loopy rhythms and Roy's mad vibes playing over the top next to some neat bass work. Flip it over and you'll find the much more deep and laid-back 'Time & Space' with its lavish cosmic keys and jazz vocals all working you into a star-gazing lather.
Review: Dynamite Cuts back up their name once more with another red hot 7" of pure dancefloor gold. This one brings tufter four cuts from the inimitable Roy Ayers Ubiquity. The opener 'Hummin' In The Sun' will have you feeling the rays on your face as his signature percussion and vibes work brings a soulful groove alive. 'The Fuzz' is a more tender and intimate soul sound for late-night romancers and 'I Can't Help Myself' pics up the pace again with some funky drums and warm melodies while 'Love' has a conversational style and smooth groove.
Review: Dynamite Cuts brings the heat once more with a second volume of their Sound Music 45s series. Siegfried Schwab takes care of the A-side with 'Getting High', a scorching funk workout with hard-worked guitar chords and precise percussion over lots of wah-wah effects. 'Feel It; flip the script with a superbly stripped-down jazz-funk lounge sound. Klaus Weiss then steps up on 'Time For Rhythm' with some loose, percussive funk beats that are raw and organic, then Peter Thomas closes down with 'Documentation', a more richly instrumental and multi-layered jazz-funk sound that conveys real grandeur.
Review: Dynamite Cuts brings the heat once more with a second volume of their Sound Music 45s series. Siegfried Schwab takes care of the A-side with 'Getting High', a scorching funk workout with hard-worked guitar chords and precise percussion over lots of wah-wah effects. 'Feel It; flip the script with a superbly stripped-down jazz-funk lounge sound. Klaus Weiss then steps up on 'Time For Rhythm' with some loose, percussive funk beats that are raw and organic, then Peter Thomas closes down with 'Documentation', a more richly instrumental and multi-layered jazz-funk sound that conveys real grandeur.
Review: The red hot 45 series from Dynamite Cuts continues apace with more gold carefully dug out from the rich archives of George Semper. This is the first time ver these tunes have been on 7", and the pressing is limited to 600. "Got To Find A Way To Make Some Money" is a sentiment we can all relate to right now. The tune will certainly lift your spirits though with its rousing vocal harmonies, cheery trumpets and vibe spreading soul sounds. "The Weight" (instrumental) is more intense, somehow, with bristling rhythm sections and lo-fi organs all serving up the heat.
Review: George Semper's 1984 album Themes For Television, Sports and Aerobics is one of the most brilliantly bonkers you're ever likely to hear. It featured the veteran jazz-man reach for the most intergalactic-sounding electronic instruments he could find and lay down a series of short, library music style missives that still sound like the product of some kind of demented acid trip. The people behind Dynamite Cuts are obviously fans, because they've decided to stick a small selection of cuts from the hard-to-find album on this tidy 7" single. On the A you'll find the deep space, jazz-fired electro-lounge madness of "Pretty Lady", while the flip boasts two shorter cuts: jazzy synth-scape "Universe" and spacey ambient doodle "Extraterrestrial Search Contact Tones".
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