Review: Hope & Faith Records has put together three different 7"s featuring the original 'Standing Tall' riddim, which is a slick production in the early 70s roots reggae style. Acclaimed Spanish singer Payoh Soul Rebel is behind one, the female harmony trio from Basque reggae band Tacumah another, and this one comes from Jamaican legend Horace Andy who brings a fresh take on the classic roots sound. His smoky vocals bring real warmth and depth while a flip-side dub goes deep.
Review: The latest release by Newdubhall is yet another emission of furrowed J-dub: in light of a recent five-year hiatus despite an esteemable career so far, Babe Roots has once again been hailed an icon of modern dub production here. 'Mi Feel It' hears a determined collaboration with bass tenor and mic controller Wayne, a vocalist whose glottis most fellow spitters could only dream of having been born with; the track plods through popping snares, stereo-caressing chords and a rustling beat-corpus, as Wayne reacts to the undignified laity around him with magnetic disrespect. An implosion at 140 beats per minute ensues on the B, bringing a knockier sound and a disestablishing pulse.
Review: Indonesia-based Babon was founded in 2023 by longtime friends Wahyudi T. Raupp and Rayi Raditia and craft instrumentals addressing environmental issues. Their sound fuses Melbourne's vibrant music energy with dangdut rhythms, gamelan percussion, and melodic keroncong folk styles. Here they debut on Batov Records with the wonderful 'Tropical Desert Music' which blends Indonesian traditions with Afro-Latin funk, Morricone-inspired grooves, Bollywood breaks and blues. It's the sort of sound that is perfect for fans of Khruangbin or Sababa 5. The A-side 'Desert Rose' is a spaghetti blues anthem, while the flip 'TNT' tells a miner's tragic tale through cinematic, explosive instrumentation.
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: Germany's Bacao Rhythm & Steel Band's profile skyrocketed in 2024 when their hypnotic steel pan cover of 50 Cent's 'Pimp' became a surprise emotional core in the Oscar-winner Anatomy Of A Fall. So pivotal was the track that steel pans would here make their first ever Academy Awards orchestra debut. But for longtime heads, 'Pimp' first turned heads in 2008, where it was pressed on Bjorn Wagner's Mocambo label and was often mistaken afterwards for a 50s sample source. The 'Big Crown Vaults' series now swoops in to save and preserve the group's best contributions to the music world, in addition to and in excess of the 'Pimp' version. A true archive-delving if we've ever heard one, the tracks so preserved include Bob James' breakbeat classic 'Nautilus' and a thunderous take on Khruangbin's 'Maria Tambien'. Then there's the B's funked-up flips of the Jackson 5 and Billy Jones, plus one original, 'Kaiso Noir'.
Review: The third volume of this series delivers an irresistible blend of funk and 60s-inspired grooves. Side-1 kicks off with a surf-rock-infused funk jam packed with energy and retro vibes. Following that, a swinging 60s sound that combining catchy rhythms and pop sensibilities keeps the momentum going. Side-2 shifts gears a groove-heavy track led by a soulful organ that oozes vintage charm. Closing the collection, there is a gem that features smooth, funk-driven melodies, topped off by a standout sax solo and a subtle British flair. This compilation offers a vibrant mix of styles, perfect for fans of classic funk with a modern twist.
Review: Melbourne's funk pioneers The Bamboos return with a fresh 7" Christmas EPian idea long held by bandleader Lance Ferguson. After their successful 'This Is How You Do It' album and sold-out Jazz Cafe shows, the group offers a festive twist with this limited-edition vinyl, complete in vibrant and custom knitted-sleeve. The A-side, 'Wrapt In A Beau,' sees Kylie Auldist delivering soulful, warm vocals in signature Bamboos style. On the B-side, 'The Bells Of Holly Hill' brings a lush, breakbeat-driven instrumental with sleigh bells, capturing the unique essence of an Australian Christmas.
Review: Bamma Gamma returns with a sizzling slab of funk in the form of 'Omelette' via Detroit's renowned Funk Night Records. This one is a digger's dream, raw, gritty instrumental funk with break-heavy drums, tight guitar licks and basslines so greasy they practically drip off the record. True to Funk Night's underground sound, Omelette is unapologetically retro and authentic and serves up irresistible dancefloor heat that feels like a lost '70s cut that has been newly rediscovered. For DJs looking to inject some analogue soul into their sets, it's a no-brainer.
Band Aid - "Do They Know It's Christmas?" (1984 version) (3:51)
Band Aid 20 - "Do They Know It's Christmas?" (2004 version) (5:05)
Band Aid 30 - "Do They Know It's Christmas?" (2014 version) (3:48)
Band Aid - "Do They Know It's Christmas?" (2024 Ultimate mix) (5:00)
Band Aid - "Do They Know It's Christmas?" (live) (4:33)
Review: The 40th-anniversary release of 'Do They Know It's Christmas?' is a fitting tribute to the enduring legacy of Band Aid, the charity/supergroup formed by Bob Geldof and Midge Ure in 1984. This special 12" vinyl not only celebrates the iconic track but also continues its mission to support the Band Aid Trust's charitable efforts. The record compiles key versions of the song, including the original 1984 rendition, the Band Aid 20 and Band Aid 30 versions and an all-new 2024 Ultimate Mix by Trevor Horn. This fresh edit creatively weaves together the contributions of countless legendary artists from across the decades into a seamless, unified anthem that feels both nostalgic and innovative. The inclusion of the live version from Wembley Stadium in 1985 shows the energy and passion of the song's historic performance. Across all versions, listeners are reminded of the track's power to unite the music world for a greater cause, featuring some of the finest voices in British rock history. This release is a compelling collector's item, combining timeless music with a renewed purpose, ensuring the song's message resonates for generations to come.
Band Aid - "Do They Know It's Christmas?" (1984 version)
Band Aid 20 - "Do They Know It's Christmas?" (2004 version)
Band Aid 30 - "Do They Know It's Christmas?" (2014 version)
Band Aid - "Do They Know It's Christmas?" (2024 Ultimate mix)
Band Aid - "Do They Know It's Christmas?" (live)
Review: This CD compilation brings together four decades of this iconic charity anthem, showcasing its evolution across generations while maintaining its heartfelt purpose. Featuring the original 1984 version by Band Aid, this release captures the raw urgency of the collective's mission to combat famine in Ethiopia. The 2004 rendition by Band Aid 20 introduces a modernised arrangement with a fresh lineup of artists, while Band Aid 30's 2014 version incorporates contemporary production and voices, reflecting the ongoing relevance of the cause. The 2024 version offers a reimagined take, balancing the classic's spirit with current musical sensibilities, ensuring it resonates with a new audience. Closing the collection is a powerful live performance from Wembley Stadium in 1985, a moment steeped in history and emotion that amplifies the song's legacy. Spanning generations of talent and commitment, this release is a celebration of unity and a reminder of the enduring power of music to inspire change.
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: Few artists have had such a global impact on electronic music than Thomas Bangalter, the legendary DJ, producer and songwriter who is best known as one-half of the former dance titans Daft Punk. He has many more skills up his sleeve though as he has proven since leading the duo. One is writing soundtracks such as this one, Chiroptera, for Acte 2: Retour a la Caverne, which was a JR creation with choreography from Damien Jalet. It was performed in Paris in front of the Opera de Paris (Opera Garnier) on November 12th, 2023 and involved more than 150 dancers. You can now relive it musically with this limited 12".
Guru Pope - "Reggae Soldier" (Saxaphone mix) (3:15)
Aba Ariginal - "East Meets West" (Hornix mix) (3:15)
East Meets West (dub mix 1) (3:14)
East Meets West (dub mix 2) (3:18)
Review: A powerful collaboration between Jennifer Barrett, Guru Pope and Aba Ariginal released on a striking red 12". The original track blends smooth reggae rhythms with heartfelt lyrics that celebrate strength, resilience and the spirit of the reggae soldier. Each artist brings their unique flavour to the release and that leads to a harmonious fusion of voices and styles. Add in its infectious groove and uplifting message, and 'Reggae Soldier' is a standout tune that begs to be played loud.
Review: Major Keys revisits the jazz-funk classics with Gary Bartz's Music is My Sanctuary, now making its debut on a 12-inch. This 1977 gem, featuring the double Grammy-winning saxophonist, is an evergreen floorfiller, remastered for DJs and vinyl enthusiasts alike. With Syreeta Wright on vocals, Bill Summers and James Mtume on percussion, and arrangements by Larry Mizell, this track assembles top-tier talent. The lyrics are joyful and heartfelt, all anchored by Bartz's glorious saxophone. It's a timeless piece for both the mind and the dance floor. On Side-2, Carnaval De L'Esprit, is a lesser-known but equally brilliant jazz-funk masterpiece. Its sunny vibe lifts even the weariest spirits, cementing Major Keys as a must-have label. This record is a treasure that will be revisited time and again.
Review: Spanish musician Bass Lee comes through with a dynamic rockers-style instrumental on his latest 7" release, 'Enlightenment.' The single has a killer groove and smooth dub vibes and comes from Lee's upcoming album, which, on this evidence, is going to be a vital pick up when it drops. The single was recorded and mixed by Roberto Sanchez at A-Lone Ark Muzik Studio and he does a fine job of fusing deep, roots-inspired rhythms with rich melodic elements that cut through nicely. The band's stellar lineup includes Sanchez on drums, percussion and piano, with Lee providing bass and lead strings, while additional contributions come from Reuben Telford on strings and clavinet, and Saioa Jorrin on alto sax.
Review: Hailing from Yorkshire, Geoff Bastow made music that took people pretty far away from the White Rose county, out to the cosmic discos of Italy and then onwards towards the stratosphere itself. Half a galaxy away from a part of England known for keeping two feet firmly rooted to the ground, calling spades spades and taking no nonsense from nobody. Often producing under the moniker K.I.D. during the 1980s, and making most of his sounds after relocating to Munich, Germany, Bastow's attention to detail, sense of space and spatiality, gauge of groove and understanding of what makes a dancefloor move cannot be understated. Save your words, though, and skip straight to this EP to explain all that to people - six takes on a stone cold classic.
Review: An intriguing song is 'Aftershower Funk', the Latin American musician Joe Bataan's curt salsa single from 1974. Fresh, cologned, groomed, and with towel firmly wrapped round hair, Bataan's largely instrumental track is about as lightfooted as the sprightly young man he was, then at 34 years old. With heavy tin drum and cowbell clangings peppered throughout, a toe-tapping mood is sure to beset the listener. B-sider 'Fin' continues the mood, uniting percussion with piano, brass, whistle and rhythm guitar; a much fuller exercise in triumphant finality.
Review: The BDQ duo were in the studio 25 years ago working on these tracks but never quite finished them due to life changes like marriage and kids. Recently, while revisiting old tapes, they discovered a lost tape and decided to give it another listen. They liked what they heard and after a bit of effort to transfer the tracks, they now feel the time has come for a vinyl release. Side 1 features their version of Timebox's 'Beggin'' with vocals by Sarah Orpen and Bryn Barklam laying down some killer Hammond sounds. Side 2 presents their take on the Mirettes' 'Take Me For a Little While' with more stellar vocals from Sarah.
Review: The Beat Broker's debut 45, El Barrio Strut, is the Latin-infused heat your sets have been craving. Side A brings the fire with its uptempo 60s-style boogaloo banger, blending punchy horns and lively keys into a dancefloor-ready groove. On the flip, you'll find Bass By Dope Demand, a beat-tape gem that nods to King Bee's classic hip-hop before diving into heavy psych-funk territory. Then there's Steppa's Delight, a deeper, looser groove featuring Latin funk percussion, squelchy blaxploitation guitars and horns. Both tracks are short but impactful, leaving you wishing for extended versions.
Review: With a million preorders in the UK alone, The Beatles' 'I Want To Hold Your Hand' soared to number 1 in December 1963 and knocked their own 'She Loves You' off the top spot. It became their first official single on Capitol Records and was backed by an aggressive marketing campaign. The single, which had 'I Saw Her Standing There' on the B-side, was rush-released in the USA in January 1964 and quickly hit number 1 on the Hot 100 by February 1st. Selling over 12 million copies worldwide, it marked the arrival of Beatlemania. Now it has been remastered from original US tapes by Kevin Reeves for this special 7" reissue.
Review: On March 31, 1964, The Beatles recorded seven songs for the BBC's Saturday Club. Three of them were covers of American rock 'n' roll and country songs. The final segment aired on the BBC's General Overseas Service and earlier that day, the band filmed a live performance at the Scala Theatre in Kings Cross for their upcoming film, A Hard Day's Night. This EP includes 'The Hippy Hippy Shake', recorded for Saturday Club and originally broadcast on February 15, as well as the catchy 'Everybody's Trying To Be My Baby' and 'Long Tall Sally'. The band's tight musicianship can be heard throughout this record, which serves as a great example of The Beatles' dynamic early sound during their rise to global fame.
Review: Following their 15 part BBC radio series Pop Go The Beatles, the legendary Liverpool group returned for a set of two-hour holiday specials titled From Us To You. The first was recorded on December 18 at the BBC Paris Studio and aired on Boxing Day, December 26, 1963. Somewhat randomly hosted by Australian television personality - turned national pariah - Rolf Harris, the show included a special performance where the Beatles joined him for his 1960 hit 'Tie Me Kangaroo Down.' Also featured was the group's favourite British rocker, Joe Brown, accompanied by his band, the Bruvvers, who brought an extra dose of British rock 'n' roll to the event.
Review: The second BBC bank holiday Beatles special From Us To You was recorded on February 28, 1964, at BBC Piccadilly Studios and it aired a month later on Easter Monday, March 30. Hosted by DJ Alan Freeman, the set featured The Beatles' debut performance of 'You Can't Do That,' which had been recorded just two days earlier. Initially considered for their next single, it was later placed as the B-side to 'Can't Buy Me Love,' which came in March of that year. Bonus tracks included here from the August 1964 show are 'Boys' and 'Long Tall Sally,' which serve to highlight the band's evolving repertoire and their energetic live performances during this period.
Review: Keeling Beckford's 'That Girl' is a fantastic early eighties vocal track by the esteemed producer and singer. It is set to Max Romeo's brilliant mid-seventies rhythm 'Stop Picking On Me' and now gets pressed up to 7" courtesy of DD and Studio 16. The original version is as blissed out as you can imagine with lazy drums and chords under the sweet and storytelling vocals. The version is longer and has more emphasis on the dubby low ends. Each copy is housed in a sturdy, company-printed sleeve making it a nice authentic wedge of roots.
Review: This crucial platter features two gems in 'Windrush Scandal' and 'Give A Little Love' which are fine tunes from Lizzi Bee and Ranking Ann, who makes a great return and lays down some superb vocals that will get you thinking as well as skanking, and what's more it all comes on a flame red vinyl 12". The track offers a perfect blend of reggae and dancehall influences, featuring catchy melodies, uplifting lyrics and a smooth rhythm that will have you swaying along and lost in the cavernous bass depths. Sax versions and dubs are all included to make this the complete package.
Review: This EP is the first collaborative work by Andrea Belfi and Jules Reidy. Berlin-based and hailing from Italy and Australia respectively, the duo blends compositional precision with improvisational freedom. During a residency at Berlin's Callie's-a 19th-century factory turned arts space-they and engineer Marco Anulli crafted four expansive tracks in which Belfi's masterful drumming interlaces with Reidy's shimmering guitars and electronic textures. The opener layers just-intoned guitar figures over delicate brushwork and climaxes with a synthetic surge and tracks like 'Oben' and 'Alto' explore shifting grooves, propulsive rhythms and dynamic soundscapes.
Review: Much loved Michigan techno and ambient virtuoso John Beltran wraps up the so far so excellent Back to Bahia 7 series with the a final volume that proves to be the most dancefloor focussed offering yet. Leading with 'O Patio,' Beltran shows his class with a blend of jazz-funk and MPB that comes with a rather sunny Ibiza-inspired twist while echoing the vibes of Latin greats like Robson Jorge and Lincoln Olivetti. On the flip side, 'Belle Isle' is a perfect party anthem for those outdoor sessions - think beach gatherings or cookouts and you won't go wrong. This has been a brilliant series and while it's a shame it's over, this is a fitting way to end it.
Review: Detroit mainstay John Beltran is back to present Sol Set having already impressed with their Ola de Novo album. This summery and soul-drenched outing opens with the florid flutes and shimmering rhythms of 'Through Fire' before a wonderful cover of Sade's 'War of the Hearts' with Taylor Taylor on vocals brings tropical percussive delights. South African house vocalist Earl Green brings expressive soul style to the feel good 'Love Revolution' while closer 'Maragogi' taps into an authentic Brazilian sound with feather drums and subtle samba shuffle.
Review: This limited release offers a rare glimpse into the genius of Jorge Ben, the father of samba rock, with two coveted tracks that any collector would jump at. One track is previously unreleased, while the other is a live performance from 1972 that was originally only available in Japan, making it a cult favourite among a select group of collectors. Featuring the legendary Trio Mocoto as his backing band, Ben's incisive guitar and signature sound shine in two extraordinary live cuts that capture the raw energy and brilliance of samba rock at its peak. Pressed on limited white vinyl, this 7" release is a treasure for anyone seeking rare gems from Brazilian music's golden age.
Lewis Bennett & Donovan Kingjay - "Jail House" (3:43)
Lewis Bennett - "Jail House Dub" (3:25)
Review: Doncaster-based reggae producer (you don't read that often, do you?) Lewis Bennett teams up with veteran vocalist Donovan Kingjay for this new single, which is a heavyweight slice of spiritual roots and steppers. 'Jail House' delivers deep basslines, militant rhythms and conscious lyrics in classic sound system style. Kingjay's commanding vocal presence brings a timeless message of justice and resistance, while Bennett's production strikes a perfect balance between movement and meditative depth. This is a powerful, no-frills release for true roots heads, designed for the dubwise dance and built to shake speaker boxes.
Review: Chuck Berry's 'Run Rudolph Run' remains a holiday classic, bursting with infectious energy and timeless rock 'n' roll swagger. Originally released in 1958, this upbeat track blends Berry's signature guitar riffs with playful lyrics, capturing the spirit of Christmas in a way only rock 'n' roll can. The song's brisk pace and catchy melody make it a must on any festive playlist, and this 7" evergreen vinyl reissue brings its warm analog charm to life. Perfect for both collectors and casual listeners, it's a nostalgic piece that adds a rock-infused jolt to the holiday season. Classic, fun and undeniable, Run Rudolph Run is a joyful tradition.
Review: Having played a slew of inimitable and unforgettable television comedy characters over the past decade or so, from Toast of London's Stephen Toast to Douglas Reynholm in The IT Crowd, Dixon Bainbridge in The Mighty Boosh and Todd Rivers in Garth Marenghi's Darkplace, you could be forgiven for expecting Matt Berry to use songwriting and music as another form of hilarious release. That's definitely not the case. There's plenty of release on I Gotta Limit, but this is anything other than satire. The first new music to come from Berry's 2025 album, Heard Noises, the two tracks here are pure joy, authentic and genuinely impressive on a technical level. Exchanging lines in a duet with Kitty Liv for the titular number, the vibe is part Northern Soul, part psych rock, and pretty much all completely captivating.
In Alto Mare (Adriatique remix instrumental) (7:13)
In Alto Mare (Adriatique remix radio edit) (3:25)
In Alto Mare (4:23)
Review: Loredana Berte's unmistakable voice meets the glittering finesse of French touch as Dimitri From Paris spreads her 1980 hit 'In Alto Mare' across a hot griddle of club-ready disco. The track launches a new remix series celebrating Berte's legacy through the lens of contemporary producers and DJs: Dimitri, known for his stylish refits of Jamiroquai, Chic and Dua Lipa, now leans into a comparatively classic funk groove, elevating it with a cinematic glide and streamlinear post-prod polish. Long a staple of his DJ sets and broadcasts in bootleg form, this official release feels fated. "It's melodic, disco-flavoured, cinematic, and emotionally powerful - all the things I love," he says, as it manifests as the first of seven reworks dropping over the course of May 2025.
B-STOCK: No outer sleeve; otherwise in good condition
Wishful Desire (5:26)
Na Wahala (6:36)
Na My Life Be Dis (10:21)
Memories (6:03)
Review: ***B-STOCK: No outer sleeve; otherwise in good condition***
There is always a good backstory to the music that Emotional Rescue releases and this EP is a case in point. It comes from Betty & The Code Red and Betty was the girlfriend of Tunde Obazee, a Nigerian-born artist who used music as a "non-violent tool to express his socio-political opinions on global injustice." The pair would entertain people on campus by playing anything they could get their hands on, informed by the old Edo folk songs they had grown up around. They went on to live in Italy and the US and start a family as well as lay down self-released songs that have become cult classics. A selection of them feature on this, the first of two EPs from the pair.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Wishful Desire (5:26)
Na Wahala (6:36)
Na My Life Be Dis (10:21)
Memories (6:03)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
There is always a good backstory to the music that Emotional Rescue releases and this EP is a case in point. It comes from Betty & The Code Red and Betty was the girlfriend of Tunde Obazee, a Nigerian-born artist who used music as a "non-violent tool to express his socio-political opinions on global injustice." The pair would entertain people on campus by playing anything they could get their hands on, informed by the old Edo folk songs they had grown up around. They went on to live in Italy and the US and start a family as well as lay down self-released songs that have become cult classics. A selection of them feature on this, the first of two EPs from the pair.
Review: 'My House' was a parting gift from Queen Bey herself following her record-setting 'Renaissance' album cycle, the first in a trilogy she continued with 2024s 'Cowboy Carter'. Landing multiple awards and ten top spots on various 'Best of 2022' lists, the track is a big, brassy, chant-led track featuring the same hallmarks that peppered her 'Homecoming' history-making Coachella performance. Serving as promotion and as the credits sequence, for her theatrical concert film 'Renaissance: A Film by Beyonce'. The track is anthemic and uplifting, a combination of braggadocious flexing and preaching the power of love and healing - it's an infectious hit. On the B-side of this release is an extended intro edit of Beyonce's legendary chart-topping hit 'Single Ladies', celebrating its 16th birthday this year.
Review: The DMV crew presents two Biggie-inspired tracks on a limited 7" vinyl here that drives just in time for you to flip some Christmas party dance floors inside out and back to front. Side A opens with the wonderful and timeless 'Juicy Groove,' which is a funky, brass-infused twist on a classic NYC hit that will connect with a wide array of dancers. Flip to side B and you will find a Caribbean-flavoured mashup that's sure to leave you 'Hypnotized'. Do not excuse the pun.
Nick Bike - "Scratch Sentence / 98 Beat / Skipless / 101 Beat" (6:19)
Review: Private Stock Records serves up a treat for DJs and turntablists with a new 12" packed with beats, scratches, and skipless tracks. Four skilled DJsiBig Once, Cutso, Double A, and Nick Bikeicontribute their skills to this collection, offering a diverse range of flavours for scratching and beat juggling. Each DJ delivers a 'Scratch Sentence' and a selection of beats at various tempos, providing a versatile toolkit for creative routines. The inclusion of skipless tracks adds another dimension, allowing for seamless blends and extended mixes. With its focus on functionality and quality, this release is a must-have for any serious turntablist or DJ looking to expand their arsenal of sounds.
Biggie Smalls - "Sunshine Biggie" (A Don Mash Up) (4:15)
2 Pac - "Thug Stylin" (A Don Mash Up) (4:27)
Review: With the likelihood that these two legendary MCs would have ever shared credits on a release while alive being zero, this 7" A Don mash up is the closest we'll ever get to seeing these East and West coast feuds quelled musically. Featuring a smooth disco-funk reimagining of The Notorious B.I.G.'s 'Juicy' on the A-side, with a jazzy old school boom-bap rendition of Tupac's 'Thug Style' on the flip, this pair of edits traverse decades of musical history, progression, fusion and controversy in under ten minutes, while effortlessly bridging sonic gaps. Limited to just 200 copies, these will fly, so don't sleep.
Review: In December 2001, at Maida Vale Studios, Bill Callahan's Smog delivered a raw, haunting session for the BBC. Alongside bandmates Jessica Billey, Mike Saenz and Jim White, Callahan's performance embodied a Lynchian mood of U.S. darkness in the wake of 9/11, covering Stevie Nicks, Lou Reed, and Smog tracks with a sombre, tour-worn edge. Callahan reflects, "It's all live, no overdubs. The session felt encapsulatedisomething foreign, yet intimate." The band's reimagining of 'Beautiful Child' in a minor key, the fiery rendition of 'Cold Discovery', and the moving take on 'Jesus' highlight the raw, unfiltered essence of this live recording.
Review: 333 UK shed backscattered light on another late 1980s anti-apartheid reggae opus, Bionic Singer's 'Botha Warning'. Salvaged from the formerly seafloor dwelling chest that is the Jamaazima label back catalogue, 'Botha Warning' is a star riddim from the late great Osbert "Madoo" Maddo, who was brought up in East Kingston and as a child attended the legendary Alpha Boys School. Over his career he recorded mainly with Joe Gibbs and Errol Thompson, and for Winston Riley's famous Techniques label. The Bionic Singer alias came later, after a move to New York from Jamaica and brief hiatus; releasing on the Bronx-based Jamaazima, 'Warning To Botha' is a bloodthirsty send for South Africa's then prime minister P.W. Botha, set to a sturdy bubbler backing - the track indicts his policies as a key cause for the brutal segregation of the period.
Review: Bjork and Rosalia team up for the limited marble vinyl edition 12" double-sider, 'Oral', now coming packed with a stunning remix by Olof Dreijer from The Knife. The record is described by its releasers OLI as not just a single release but a "call to arms", with 100% of the profits being funnelled directly to AEGIS, the Icelandic charity dedicated to eradicating intensive fish farming in the country. 'Oral' itself is now a staple of the latest incarnation of Bjork's ever-mutant career, consummating her and Rosalia's recent rapport; a sabre-wielding, purblind aesthetic - befitting also of another of Bjork's collaborative contemporaries, Arca - fits seamlessly with the elegiac reggaeton of the song. Dreijer's remix is rabid and wonky by comparison, its draggy, morphemic rhythms belying Bjork and Rosalia's equally wetted vocals, producing a wacky litany of faunal electronics and whizzing FX.
Review: The latest deep dive into Galaxy Sound Co.'s Black Hole series is another carefully dug out delight featuring three essential jazz-funk-psych cuts. Joe Pass' 'A Time For Us' opens with beautiful cinematic strings, sparse drums and ghostly guitar that has been famously sampled by J Dilla and the Slum Village crew, and sounds powerful in situ here. Milt Jackson & Ray Brown's 'Enchanted Lady' follows with hypnotic modal swing, again famously flipped, this time by Pete Rock, De La Soul and Knxwledge. Closing out is Archie Whitewater's 'Cross Country', which is a funky, soulful groove with brass and keys that have been immortalised by Kanye and Common, but remains a burner here in its original form.
Review: Blackhole drops a vital new 7" that features a pair of tidy edits of some classic cuts. First is a Dorothy Ashby masterpiece that has been remastered and is awash with lush, golden harp sounds and gently broken drums. It's a charming escape to heavenly melodic worlds. On the flip is 'Gold' with some masterful guitars and Donny Hathaway on piano. This is the first time this cut has been on its own 45 rpm and is one that has been sampled by greats like hip-hop kings Jay DIlla and Pete Rock.
Review: Betty Black's 'Gypsy Heart' is a sassy, driving dancer, brimming with flair and powerful vocals. The track marries Rhythm and Blues under the watchful eyes of Gospel and African-American Spirituals. It's mystical and cinematic, yet gutsy and funky - a true Roots Revival Soul with a sophisticated twist, perfect for the dance floor. On the flip side, 'Sweet Beautiful Lies' blurs the lines between Motown, Latin Soul, and Funk. Betty is surrounded by a Phil Spector-inspired wall of sound, delivering a 60s aura as she recounts a young woman's encounter with a smooth-talking man. Backing vocals echo the timeless theme with a modern touch. The track boasts fat backbeat drums, roaring bass, a full Latin percussion section, and horns, all crammed into the studio to accompany Betty.
Review: Blackwater Holylight sacrifice their latest EP 'If You Only Knew' to the Suicide Squeeze gods, providing an intermezzo of cosmos and sludge. A chthonic dark psych explosion if we've ever heard one, we hear metal, shoegaze, and psychedelia culminate to an iconoclastic crunch point, as strange auraic statues of Cthulhu shatter before our eyes, evoking the god beast in actuality, not just representation. Lead track 'Wandering Lost' hears the band tear up constellate skies, as producer Sonni DiPerri shapes the track's many shifting structural tides, evoking the many emotional turmoils and stretching-thins of life; Sunny Faris (vocals, guitar, bass) further emphasises its point, that is, to embrace the inequitable unknown.
Review: One of Armenian-born, London-based Blade's seminal cuts from the early 90s UK rap scene, capturing the gritty realism of the time. 'Dark & Sinister', featuring MC Mell'o', delivers a powerful, hard-hitting vibe akin to LL Cool J's commanding presence, with an instrumental version on the flip side allows the track's intense atmosphere and production to shine. Often seen as the grandfather of UK rap, Blade plays off a gritty persona with a wicked sense of humour, and this release still resonates today.
Review: .5 Borough Breaks are back with another essential slice of 90s hip-hop nostalgia. Their latest 7" revives a 1995 Hot 97 favourite-a gritty, golden-era banger that once ruled the NYC airwaves. Handily pressed for both DJs and collectors, Blahzay Blahzay's 'Danger' captures the raw energy of East Coast rap at its peak. As always with this label, the flip side features the original sample source: a soulful gem 'Rockin Chair' from recently departed legend Gwen McCrae whose legacy shaped generations of soul fans and hip-hop heads. As such, this 7" combines deep digging with authentic hip-hop flair and pays tribute to both the beatmakers and the soul pioneers who inspired them. Essential wax.
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: There are tens of members of The Blassics crew from Scandinavia, including Joona Venalainen, Juha Sarkkola, Ville-Pekka Jarvinen and several more, and they are expert genre-fusionists who draw on funk, soul, jazz, hip-hop and more to cook up their brilliant instrumental sounds. They have been doing it for more than a decade and have plenty of great albums to their name. Here they return to Funk Night with another red-hot 45 rpm. 'Fishing Break (45 mix)' is powered by raw drum breaks with brassy horns and cowbells for company, then 'Nokova' slows things down and allows a more sultry trumpet to take the lead. 'Lunki Mood' slows it down even further for late-night and loved-up jazz-funk introspection.
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