Review: This is another reissue of a record that remains an ongoing favourite. Original Gravity delivered again with the original pressing featuring two unique versions of 'Burning Spear'. Nestor Alvarez opens with a lively, Latin-inspired rendition filled with fluttering flute melodies, raw drum beats and vibrant dancing keys that radiate sunny energy. On the flip, La Machine D'Argent takes a more cosmic approach, smoothing the vibe and layering spaced-out sounds for a dreamy, immersive journey. This release showcases Original Gravity's knack for reimagining funk with flair by offering two distinct yet equally good takes on a timeless groove.
Review: After a 14-year absence, early '90s jazz-funk and street soul label Boogie Back Records returned to action last year which a superb slab of revivalist boogie from Cheri Maree. Here the London-based imprint continues in a similar vein via a fresh two-track "45" from in-house crew BB Soul and honey-voiced vocalist Laura Jackson. A-side "Make It Out" is superb: a wholehearted musical tribute to the smooth, synth-heavy sounds of 1980s soul rich in D-Train style synth bass, wild synth squiggles, warm Rhodes chords and authentic electric guitar flourishes - all topped off with a sublime Jackson vocal. Flipside "Reach Out" is a smoother, arguably even more soulful number that sits somewhere between early '80s electrofunk, mid-80s synth-soul and simmering British street soul. It, too, is impeccably performed and produced.
Lynn Williams - "How Can You Call Love Fascination" (2:26)
Review: Jimmy Bo Horne brings his raw and expressive vocals to this new release on Japanese label Ultra Vybe. The oft-sampled America singer, writer and producer has been turning out such sounds since the mid 70s but remains on top of his game here. The big horns bring energy, the rolling rhythm section gets you up on your feet and the whole thing screams floor filler. On the flip is Lynn Williams with 'How Can You Call Love Fascination,' a much more slow and sensual soul tune with acrobatic vocals and nice piano fills next to a big horn section.
Review: Building on the momentum of their debut album, the legendary musicians and 577 mainstays return with Shine Hear, Vol. 2, a stunning continuation of their avant-garde exploration. Saxophonist and multi-instrumentalist Daniel Carter, pianist Leo Genovese, bassist William Parkeriwho also contributes on Gralla and Shakuhachiiand drummer and vocalist Francisco Mela, reunite to create another cosmic journey through sound. This second volume maintains the same spirit of improvisational brilliance while pushing the boundaries even further. Drawing from classic jazz structures, the ensemble weaves in modern experimentalism and a broad palette of instruments, resulting in an album that feels both timeless and innovative. The tracks and the album title are inspired by a new poem written by Carter, reflecting the transience and ceaseless motion of modern life, much like the city of New York, where all the musicians are based. This collaboration has unique magic can emerge when these legendary artists come together. Their interplay blends elegant, traditional jazz with daring, avant-garde arrangements. Shine Hear, Vol. 2 stands as a powerful and innovative work, affirming the quartet's ability to continually reinvent themselves while honouring the roots of jazz.
Review: It might be getting cold and dark and wet here in the UK but music will always be able to transport us to warmer, sunnier, happier climes. And so it is with this new 7", which includes a booklet, from Discodelic. It's a two tracker from Cizana and La Nueva Generation that is flame hot and bristling with energy - Cizana's 'She Sold Her Soul' kicks off with its joyous flutes, hand drums and percussive Latin grooves then La Nueva Generacion slow things down and up the brass with their carnivalesque Afro-funk workout 'Uhru Sasa'.
Ebony Evans - "Loving You Is All I Wanna Do" (4:38)
Lewzarius - "Step Up" (4:54)
Review: Ebony Evans is a superb soul talent who for this single worked with Manny Campbell who wrote and arranged. Originally recorded in 2004, 'Loving You Is All I Wanna Do' appeared on the Luv's Fire CD Maxi Single and later on a full album in 2006 through Coastal Records but now debut on vinyl thanks to Soul Direction. On the flip side, Lewzarius' 'Step Up" shines as a rich collaboration between Campbell and Haran Griffin, who is best known for 'Movin' Much Too Fast.' Atlanta-born Lewzarius recorded this track during his time at Coastal Records in the late 90s.
Review: The new joint on Wildcards comes from a hornsman sometimes known as Lucky Brown, sometimes as plain old Joel Ricci. He's done plenty of excellent work in the past, but after a few quiet years he's back in the saddle and this new single really takes the cake. 'A Thing Of Beauty' is a lilting slice of instrumental funk which lets Ricci's playing soar, and it's all rendered with a dusty, red-lining charm which will make it all the hotter in the dance as well as appealing to crate diggers hankering for more hot n' heavy grooves to sample. Speaking of which, the flip 'Drums Of Beauty' gives you breaks for days - B-boys and B-girls take heed.
Review: Former band "Kadri Six" - five men plus singer "Lamia" - have devoted themselves to the real spirit of funk and soul music with the release of 'Cold Sweat' on Sonorama. Their trademark sound is "real", "alive" and "black", with raw vocals, moving organ, hard hitting bass lines and trombone or sax riffs to set every dancefloor on fire.
Review: La La Lopez's debut single, 'You Can Call Me Rose,' marks her impressive entry on SOLA Records, offering a soulful, modern r&b response to Thee Sacred Souls' classic 'Can I Call You Rose.' Hailing from Albuquerque, New Mexico, La La brings her unique blend of influences, from Mariachi and Rancheras to Soul and oldies, creating a sound that transcends borders. Recorded at SOLA Studios in Los Angeles and OLAH Producciones in Veracruz, this record shows her versatility. On Side-1, 'You Can Call Me Rose,' exudes soulful warmth, while the flip side, 'Deny,' is a vibrant Latin Pop track with English lyrics and rich Latin percussion, perfect for the dance floor. La La's music resonates deeply with her life experiences, a quality evident in her past works and future releases with SOLA Records. 'You Can Call Me Rose' has already garnered praise across generational audiences, affirming La La Lopez as a musical force to watch. Now available on 7" vinyl!
Review: Rindert Lammers' debut LP is a kaleidoscopic suite in five movements; pelican wingspans of twinkly, retentive but then also generous jazztronica, centring on two distinct themes: Japanese cinema and YouTube confessions. Japanese culture is seen through a grateful lens, as theatrical titans such as Kirin Kiki are homaged; the B1 especially is inspired by a poignant moment in the actor's portrayal of Hatsue Shibata in the 2018 film Shoplifters. Seemingly firstly inconsequential digital traces are lent an upscale gravitas, meanwhile, as a voice clip from a YouTube comment on an algorithmically boosted Hiroshi Yoshimura video evolves into the ride-embellished upswell 'Thank You Hiroshi Yoshimura'. Mastering the art of appreciation from afar, Lammers brings a mood of gobsmacked reverence for Japanese enviro jazz and its offshoots, suspending us over an endless realm of forms circa 1989.
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: This is the debut release by the French duo Last Bongo In Paris, also known as Cleon & Jazzy Pidjay. Both are DJs and producers with a background in Latin funk and jazz-funk, and these influences more than strongly shine on 'Green Season', a release whose priority is heavy breakbeats backed by a whismical, live-instrumental flavour. The title track swims and sways through meandering kazoos and psychedelically-filtered falsettos, while the B-side brings up the flip with yet three more incredible live-but-edited-in-post numbers, plus a really weird, never-heard-before 'Bonus Scratch'.
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: Dynamite Cuts have pulled out another classic from the Afro-jazz canon here. It's one of the many gems from the catalogue of The Last Poets and was sampled by some big hip-hop artists back in the day including The Jungle Brothers. The original track is some ten minutes long but here it has been edited down to a short and sharp for minutes for an exclusive 7" pressing. Soon as you drop the needle you will be hypnotised by the saxophone and vocals as the energetic groove lifts you up and away.
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.
I Don't Know What It Is But Keep That Light Shining On Me (Keith Lawrence Refix version 1) (4:26)
I Don't Know What It Is But Keep That Light Shining On Me (Keith Lawrence Refix version 2) (4:32)
Review: Keith Lawrence is a DJ and producer from Brixton in South London with plenty of credentials, and here he serves up a pair of refixes of 'I Don't Know What It Is But Keep That Light Shining On Me', a reggae jam with an edge. The first one is laden with hooky guitar riffs and has soaring call-and-response vocals expanding the sound up top. The second is more raw and a little stripped back with a focus on the timeless rhythms and sounds. Two tunes that demand to be played loud and with bass - obviously - pushed to the max.
Review: Food Stamps is a great example of a record that fell between the cracks on its original release back in 1982. The one and only release from Baltimore-based funk-rock explorer Billie Senger, it has achieved cult status amongst record collectors due to its obscurity (finding original copies is notoriously tough). This reissue - pressed on green vinyl with new cover artwork - should, then, prove popular. "Food Stamps" - a riotously loose and floor-friendly chunk of funk from the Rare Earth school of white funk-rock - is the real killer, though the MC5-influenced flipside "How Do I Know" impresses with its fuzzy, recorded-in-a-shed feel and extra-cosmic production.
Review: Dreamy, lo-fi souldance from Curtis Lee, a rare name in the world of soul and funk who released but one small on Canton, Ohio's Spade Records in 1979 - this now cutely-reissued single, 'Steppin'. Featuring the crooner doubling up with an uncredited female vocalist on a late-night boozy rendezvous, we're keen to learn a new meaning of the word "steppin'". 'Funkadize Me Please' is an equally charming and naive B-side, predictive of the stark minimality found in much UK soul.
Give Me The Sunshine (extended UK 7" Grapevine RED 3 mix) (4:40)
Review: Leo's Sunshipp is an iconic rare groove record that gets a reissue here on Expansion. The special Record Store Day 2021 limited and hand-numbered 7" offers up two different versions, both of which are primed and ready to add at least 10 degrees of heat to even the sunniest DJ set. The original US 7" mix is languid and long legged, laidback and in a hurry to go nowhere fast. The soaring strings and steamy vocal, tumbling perc and distant horns capture a lazy afternoon soaking up some rays. The extended UK 7" Grapevine RED 3 mix ups the ante a little for slightly more energetic moves.
Review: The Leonhart Brass Band, the latest project from trumpeter Michael Leonhart, was born out of the 2020 lockdown, an inventive response to the halt of his 18-piece orchestra performances at NYC's Jazz Standard. Stripped down to a brass-heavy ensemble that could perform outdoors without amplification, Leonhart took inspiration from classic brass bands like Dirty Dozen and Rebirth, blending in hip-hop and funk influences to create a unique sound. The opening track, 'Jabbar', is a tribute to Kareem Abdul-Jabbar, the basketball icon with a rich jazz background. Centred on an infectious bass riff in C minor, Leonhart's trumpet and Jason Marshall's bass saxophone deliver bold, brassy solos, conjuring the vitality and strength of the track's namesake. Another standout is 'The Iceman', a nod to George Gervin, the basketball great known for his unflappable demeanour on the court. The brass section splits into two distinct groups, creating counterpoint melodies that mirror Gervin's grace and intensity. Stuart Bogie's baritone sax solo, complete with tape echo, adds an unexpected texture, grounding the track in a deep, funky groove. With members from Antibalas, the Dap-Kings, and Red Baraat, the Leonhart Brass Band fuses tight musicianship with an exhilarating energy that carries the weight of New Orleans tradition, while forging its own path in the modern jazz and funk worlds.
Review: Two formerly passed-over bonus tracks from two of Lettuce's earlier records, 2008's Rage! and 2012's Fly respectively. The US collective and Berklee College graduates, seasoned stalwarts of funk and soul, first featured 'Monorail 3000' and 'Star Children' as afterthoughts on their otherwise sprawling third and fourth records, both funded by Velour Recordings. The tracks alternate between dextrose sweetness on the light-rail A and cosmic rocketship B-side, demonstrating the great versatility of these all-heart alumni.
Review: The Lewis Connection was a Soul / Funk band from Minneapolis who may have looked like your average local band save for one exception - the guest member addition of Prince. These tracks are lifted from the self-titled album and "Got To Be Something Here" with Prince on background vocals and guitar marks the first time he appeared on a release by another artist on a track he did not write. In addition, it's also considered an early record of what would become the signature Minneapolis funk sound. This fine historically rich tune will be available in 45 rpm format for the first time.
Review: Numero are taking a look through the cult Chicago label Magic Touch and dusting down some of the most coveted releases from their archives, starting with this smokin' hot joint from Light Touch Band. It's a record of two halves which kicks off with the laid back rap of 'ChiCAGO (Is My Chicago)', a funky-as-hell jam which pays tribute to the Windy City in fine style. The flip is the real gem though, as 'Sexy Lady' swerves into P-funk flavoured waters with dazzling results. The OG copies of this record were changing hands for crazy money, so don't hang around while this one's in reach.
Review: Occasionally a single comes along that shows off a contemporary group's samplework. 'Hustler's Convention' from Dynamite Cuts is one. This new 7" recalls funk supergroup Lightnin Rod's album of the same name - originally released in 1973, it is renowned for being one of the major influences on hip-hop, bringing a sociopolitical commentary to black music at the time. Here the original track 'Sport', named after one of the album's protagonist hustlers, is blended with the B-side 'Four Bitches Is What I Got', which builds a smoke-filled narrative story involving poker tables and underworld czars around the funk backing.
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: Monika Linges' voice sways between jazz and bossa nova with a natural ease that makes it seem like she was born for this. But her latest track pushes things furtherigently drawing you in with a relaxed yet intricate arrangement, before layering in subtle harmonies and rhythmic flourishes. There's a warmth to the way she sings, each note spilling effortlessly into the next, hinting at a deeper emotional core. It's a performance that feels personal yet universal, bringing the complexities of her influences into a fresh light. By the time it fades, you're left with the feeling of something timelessia quiet reflection on both genre and soul.
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: This long-overdue 7" reissue breathes new life into a rare Latin funk treasure from the golden era of the genre. The A-side, 'Together People (Pamoja Watu),' delivers a fiery blend of James Brown-style grit and Manu Dibango-inspired groove, complete with driving rhythms and infectious energy. On the B-side, 'It's Your Thing' reimagines the Isley Brothers classic as a bold instrumental, packed with Hammond organ flourishes and raw Latin funk swagger. Originally a Bobby Marin studio project featuring Chico Mendoza and members of Ocho, these tracks are essential for DJs and collectors, preserving the spirit of New York's vibrant Latin music scene.
Why Don't We Do Some Boogaloo? (45 version) (3:43)
Review: Miguelito Superstar, co-producer of the acclaimed debut album Si Esto Se Acaba, Que Siga El Boogaloo, delivers pure fire with two electrifying versions on this 7" release. 'Why Don't We Do Some Boogaloo?' emerges as a local classic, while the Latin Funk rendition of New Order's iconic 'Blue Monday' transforms the track into a powerhouse of groove. With special attention to unearthed breaks and a spotlight on the rhythm section, Miguelito elevates both tracks to must-have status for aficionados of Latin music and funk. Miguelito's power in crafting infectious rhythms and breathing new life into familiar classics is on full display here!
Review: Discodelic and Groovie Records unveil a pair of rare 1970s Panamanian gems here with forgotten tracks from The Meditators, and Los Misticos. Originally recorded for radio and left in storage, these Latin psych funk bombs capture the underground spirit of Panama's vibrant music scene from more than 50 years ago. Licensed through Tamayo Records, these songs have been beautifully mastered and now the long-lost recordings, which barely made it to vinyl the first time around, become available for all who are keen to drop the heat and learn about Panama's hidden musical treasures at the same time.
Review: These two rare 1970s Panamanian gems are long-forgotten tracks from The Meditators and Los Misticos that now get pressed up to a very colourful 7", though we also have a plain black version. These Latin psych-funk recordings were created for radio but were stored away for many years and now listening back they offer a glimpse into the vibrant, underground scene of Panama. Beautifully remastered and licensed through Tamayo Records, these rediscovered songs are now available after originally being pressed in extremely limited quantities. These tracks provide a unique chance for listeners to experience Panama's hidden musical treasures while adding some heat to any collection.
Review: This forthcoming 7" pairs two fiery cuts from the Latin American underground, capturing the raw energy of a transformative musical era. Los Pambele's 'Cannabis' layers cumbia rhythms with swirling, reverb-soaked guitars, creating a trance-inducing groove that feels both earthy and psychedelic. On the flip, Los Darlings de Huanuco's 'Marihuana' cranks up the intensity, delivering a garage-tinged anthem brimming with jagged riffs and spirited vocals. The sound is unpolished yet electrifying, a snapshot of a time when regional traditions collided with bold experimentation, leaving behind something truly timeless.
Review: Mexico city label Discodelic shares the first edition in their Eclipse series and sublabel, which focuses on obscure and undocumented or under-documented Mexican groups. On the first of two new 45s, the label focus on Los Sabios and Los Eliceos, two obscure monster Latin funk psych groups who recorded in the mid 1970s. Packed with a wowwing lead guitar focus and a vintage psychedelic baste, Los Sabios' 'Trip To The Moon' takes its name from the first ever sci-fi film, and aptly lays back while playing through a distinctive Latin pulse and swarthy funk dust-cloud. Eliceos' 'La Cabana', meanwhile, teleports us right on down to the poolside beach hut, as a chuffing electric organ line buzzes atop a bustling drummed undercurrent.
Review: Trip To The Moon by Los Sabios kicks off this cosmic 7" with its hypnotic rhythms and swirling synths, blending classic cumbia with spacey, psychedelic vibes. The A-side track is a journey into the unknown, pulsating with infectious grooves that feel like they've been beamed in from another galaxy. On the flip side, Los Eliceos deliver 'La CabaNa,' a more grounded yet equally entrancing tune, driven by tight percussion and warm, melodic guitar lines. Both tracks offer a fresh take on traditional cumbia, making this release a must-have for collectors and dance floor enthusiasts alike.
Aniceto Molina Y Su Conjunto - "Cumbria Candela" (3:04)
Catalino Y Su Combo Negro - "Cumbia Montaera" (2:23)
Los Hermanos Martelo - "Por Las Buenas" (2:52)
La Pesada - "Cumbia Y Tambo (En La Lluvia)" (3:54)
Review: The third instalment in the 'Cumbia Sabrosa' series delves into the rich archives of Colombia's Codiscos label, unearthing a selection of tracks that exemplify the vibrant energy of cumbia. Artists such as Los Trotamundos, Aniceto Molina y su Conjunto, and Los Hermanos Martelo contribute to a compilation that seamlessly blends traditional rhythms with the dynamic flair characteristic of the sonidero scene. Each track offers a unique glimpse into the musical landscape of the era, highlighting the enduring appeal of cumbia's infectious beats.
Review: On limited reissued 7" comes the title track from The Lost Generation's 1973 debut album. The Chicago soul/r&b group formed in the early 1970s amid irruptive uncertainties and changes in the USA. Their name reflected this anxious mood, and their music drew on many similar emancipatory subjects and projects, bottling the tense, civil fronts formed between American communities in the 1960s. "Fighting, crying, bleeding, dying" resound in call-responsive bel canto on this lead album cut, which grieves the losses and disenfranchisements suffered during the Civil Rights era. With a horizon-gazing front cover and burgeoning sound, this irrefutably hopeful soul anthem suggests all is not lost.
Review: Freddie Love was a blind singer from Baton Rouge in the United States. He recorded two incredible 45s for Eddie Shuler's ANLA label and his debut release featured the dynamic two-sided track 'Crazy Girl'. It is a heart-swelling soul sound with slow but funk drums and bass riffs under a brilliantly expressive vocal heavily influenced by James Brown. On the B-side is Part 2 which has more guitar action laced in. This has long been a sought-after record and it is now receiving its first-ever vinyl reissue which will bring renewed attention to Love's powerful sound.
More Love (And Then Some) (George Semper mix) (4:31)
More Love (And Then Some) (Jr & Altray mix) (3:39)
Review: Mary Love didn’t quite reach the acclaim of her soul-funk peers like Betty Wright, but she laid down a breadcrumb trail of essential tracks across her career on classic labels like T.K. Disco. ‘More Love (And Then Some)’ was a hidden treasure recorded by George Semper with Love’s 12-year-old daughter Robbie and the mighty Fontella Bass on backing vocals which lay in wait in his archives until it was unearthed for a compilation in 1997. Since then the track has snuck out into the wider consciousness, but it’s never had the proper airing such a monster track deserves until this much-needed reissue on Record Shack.
Review: Low Leaf's Red Moon is a strong three-song release that shows her dynamic artistry. The album opens with a live rendition of Alice Coltrane's 'Blue Nile,' enveloping listeners in its swirling, ecstatic sounds. The subsequent tracks, 'Innersound Oddity' and 'How to Open a Portal,' are Low Leaf originals that feel strangely familiar yet innovative. 'Innersound Oddity' builds to a frenetic climax, while 'How to Open a Portal' blends flute and harp over an airy rhythmic bed, offering soothing vibes with daring climactic surprises. Low Leaf's musical trajectory reflects spontaneity, freedom, and intuition, evident in the multifaceted meanings of her moniker. The album feels like a transmission from a dream realm, echoing her experiences of receiving harp lessons via lucid dreams. A snapshot of Low Leaf's artistic evolution, blending elements of free jazz, astrology, hip-hop and eco-spirituality.
Review: African American funk and soul group The Lowdown Band was made up of musicians from both the East and West coasts of the US. They rose to prominence in the 1980s across California and took inspiration from the proceeding decade's funk and soul. Their basslines were always groovy and their drums tight with plenty of catchy melodies and soaring horns. 'Music Is The Answer' was their biggest hit and it came in 1982 with the soulful vocals of lead singer Raul Gallegos. It claimed tot he top 20 of the US charts at the time and is a gorgeous cut to this day. Here it is reissued with another of their big ones, 'Somebody.'
Review: REPRESS ALERT!: Local Sugar Diggers is a series from label head Scruscru that draws together a fine selection of re-edits and reworks of a mix of hard-to-find old records, all done by his mates. This time out it is LTF who steps up his 'At The Pier' is an effortlessly funky jam with some laid-back horn work adding extra spice next to the jumbled percussion. Flip it over and you find 'Con Ritmo Y Melodia' which is a slower, steamier, more Latin-flavoured sound with shuffling percussive grooves and big old breaks to get the floor going.
Review: A stellar mix of DJ-able breakbeat and northern soul from Luchito Rodriguez and Nestor Alvarez, two of our favourite contemporary funk artists active today (as long as we're certain of their identities, that is). This limited 7" contains two versions of the same killer track: 'Soy Un Hombre' reincarnates the triumphant 'achievement' of manhood through carnal brasses and kettle drums, in a quiver-inducing cover version of Spencer Davis Group's classic track 'I'm A Man'.
Review: Latin Fever Vol. 3 offers a vibrant collection of tracks from Luchito & Nestor, as well as solo efforts by Nestor Alvarez (a.k.a. Neil Anderson). Luchito & Nestor's rendition of The Olympics' 'Good Lovin' kicks things off with a blistering Latin boogaloo twist, featuring infectious rhythms and lively brass. The instrumental Part 2 replaces lead vocals with a dynamic flute topline, adding a fresh layer to the classic hit. On the flip side, Nestor Alvarez's 'La Gordita Americana' is an uptempo boogaloo groover led by horns and piano, delivering an energetic and danceable vibe. The collection concludes with 'Ixo's Taxi,' a skeletal xylophone-led funk track that brings a unique, nostalgic charm. Each track on this release has a rich blend of Latin rhythms and boogaloo energy, making this an exciting 7" to hit the dancefloor to.
Review: Original Gravity, Luchito Rodriguez and Nestor Alvarez return with yet two more Latin groove versions of funk and soul classics, emulating two sounds not yet brought together enough. 'Dap Walk' is a shot-by-shot cover of the song of the same name by Ernie And The Top Notes - a slick and slippery interpretation that translates the original AAVE of the song's intro into Spanish. 'El Barrio', meanwhile, opts for 70s crime thriller vibes, instrumentally verging on expressionism via djembe, brass sections and vibraslaps.
Review: The Original Gravity label is dedicated to unearthing deep cover gems from across a world of funky grooves, and this time they're turning their attention to the work of Luchito and Nestro Alvarez. 'Fortune Teller' is a big beat 60s-style Latin stomper with more soul than a shoe shop, all tumbling drums and punchy brass. 'Para Que?' takes things in a smokier direction, letting the piano lead the way while holding down a tight groove that should go down smooth as silk on a jazz-minded dancefloor.
Review: The Original Gravity label is back with more of its fully functional but also exceptionally flair-fulled funk sounds, this time with Luchito and Nestor Alvarez behind 'Tighten Up.' It is another choice reissue that has been dug carefully out of the vaults and comes in seriously limited quantities on 7". Luchito & Nestor kick off with the original version of 'Tighten Up' on the a-side and it's packed with high-tempo breaks and sung-spoken vocals. On the flip is a more fiery and explicitly Latin affair with the warming chords and florid horns of Nestor Alvarez's 'Just Add Vibes.'
Review: "Here we go again, yeah!" exclaim Luchito Rodriguez and Nestor Alvarez - Original Gravity's two core mainstays - who team up once again to evoke the undeniable spirit of a 'Boogaloo Party' for the ages. Channelling the sound of the inimitable Latin dance style, but also gradating it so as to be mixable in DJ sets, 'Ain't Nothing But...' delivers compelling call-and-responses and horn-swelling builds. 'Fiesta Bugalu' dubs things out for a reflection on the party just gone, retaining the tempo but relaxing things for extra percussive effect.
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: Leroy Hutson is an American singer and songwriter revered by lovers of soul, dub and r&b. He's dropped countless hits which have long been favourites of deep crate diggers, and for this one, he switched things up quite literally in terms of the alias he used. The tunes are as killer as always with 'Butter Fat' pairing some free jazz melody with twisted funky basslines and organic percussion over funky drums. On the flip, 'Feel The' gets more soulful and laced with melody as big energy comes from the piano vamps. Two killers.
Billy Hawks - "(O Baby) I Do Believe I'm Losing You" (3:03)
Review: This Juno colour vinyl exclusive finds Linda Lyndell serve up her own majestic cover of the classic "What A Man." Her vocal is smooth and buttery but also laden with gravitas, while the sweeping horns and jazzy keys all around her help to lift the spirits. On the flip is an ice cold slice of funk from Billy Hawks in the form of his "(O Baby) I Do Believe I'm Losing You". It's raw soul that glides at high speed with plenty of hip swinging claps. This is a much sought after reissue that will shift quick, so make sure you do too.
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