Review: Few recordings capture the easy intensity of a summer afternoon like 'Everybody Loves the Sunshine'. Released in 1976 and wrapped in slow-drifting synths and soft falsettos, the track became a touchstone not just for Roy Ayers, but for 70s soul and beyond. Born in Los Angeles, Ayers helped define the jazz-funk crossover, placing the vibraphone at the centre of a sound both hazy and sharply detailed. The original vocal take on the A-side still melts under its own warmth; the instrumental on the flip uncovers the careful architecture beneath. Issued here on 7" black wax following Ayers' recent passing, this reissue feels like both a keepsake and a quiet honouring of an artist who shaped a whole way of listening.
Review: Roy Ayers at his most transcendent. 'Everybody Loves the Sunshine' is more than a summertime anthemiit's a spiritual moodboard that's shaped jazz-funk, soul, r&b and hip-hop for nearly 50 years. Ayers, born in Los Angeles and raised in its fertile fusion scene, places the vibraphone at the music's heart, coaxing heat-haze tones from sparse chords, synths, and that honeyed chorus. Flip it over and the instrumental version unlocks a deeper layer: stripped of vocals, it becomes a pure groove, drifting and hypnotic. What lingers is the balanceibetween melancholy and bliss, rhythm and release. A rare track that feels entirely unhurried yet quietly radical, now preserved in a limited pressing that looks as golden as it sounds.
Everybody Loves The Sunshine (instrumental) (4:39)
Review: 'Everybody Loves the Sunshine' represents a pivotal moment for Roy Ayers and Ubiquity, marking a departure towards a funkier and more laid-back sound in 1976. With its languid tempo and dreamy atmosphere, captures the essence of summer with its joyful lyrics and hypnotic groove. Ayers' vibraphone melodies intertwine seamlessly with the band's instrumentation, creating a mesmerizing sonic landscape that resonates with listeners. The song's universal appeal lies in its ability to evoke a sense of warmth and nostalgia, making it a timeless classic that continues to enchant audiences across generations.
Osmar Milito E Quarteto Forma - "America Latina" (2:46)
Review: A tale of two sides, Azimuth's classic "Manha" should be recognisable to many; taken from their self-titled LP in 1975, its golden harmonies and lavish, lolloping Bob James style jazz are as timeless as they were 40 years ago. Flip for "America Latina". Conjured by prolific collaborator Osmar Milito (whose discography features the likes of Sammy Davis Jr, Spanky Wilson and Liza Minelli), its striking, sing-along charms are no accident... It was actually created for 70s Brazilian soap opera Selva De Pedra.
Review: Legendary Brazilian jazz-funk trio Azymuth drop their latest record 'Arabuta', pointing themselves in a new cardinal direction in sound. The limited 7" brings two new mix version of their recently released 'Arabuta' to the fold, both by fellow producer and Azymuth collaborator Daniel Maunick. Part-dancefloor, part-dub, both versions bring preservative tones, fully circling the resinous Brazilwood tree after which the track is named. The Tupi Guarani word for the endangered tree fuses with deft unperturbed jazz licks, despite the sense of urgency in saving the species, underscoring Azymuth's fusion of timeless Brazilian jazz-funk and cosmic futurism. In more ways than one, this record serves as a symbol of both the value and fragility of Brazil's natural beauty.
Review: Afro 45's / Mr Bongo show no signs of stopping their tireless run of form and, 7" after 7", they just keep on producing the goods. There's yet more '70s goodness with this new little scorcher: the A-side is 1973's "Tessassategn Eko" by Bahta Gebre Hiwot, a pensive Ethiopian pop hit for all sorts of music fans to enjoy, but "Ayalqem Tedqem" by Alemayehu Eshete on the B-side is where it's at... just listen to that bass and you'll instantly recognize this wonderful little cover.
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.
Brian Bennett & Alan Hawkshaw - "Name Of The Game" (4:25)
Dave Richmond - "Confunktion" (4:38)
Review: Measured Mile is a new 7" label run by regular Ace consultant and confidante Bob Stanley. The plan is to release DJ-friendly 45s that are either very rare or previously unavailable on seven-inch. On this new one come two pieces from esteemed library musicians - the well known pairing of Alan Hawkshaw and Brian Bennett, and Dave Richmond. 'Name Of The Game' is a slow instrumental blues piece with beats ready to be plundered for hip-hop beats that once soundtracked a 1970s aftershave ad, while Richmond's 'Confunktion' is a motivational builder-upper with drums and organs aplenty.
Review: 'Rhythm's Got Soul' is the highly anticipated collab record between singer-songwriter Asabi Goodman and producer/arranger Geoff Boardman aka. Blunted Stylus. A testament to the enduring efficacy the mixture of belter vocals and powerhouse production, 'Rhythm's Got Soul (Lose Control)' and its contrapuntal 'Afro Instrumental' make for raunchy, impudent soul-dance divinations, with booming kicks n' claps, felt-out breaks, and longing harmonies making up their effusive bulk. The B is particularly great, making use of spare components and one-off vocal injunctions to "come and dance with me."
Review: Rhythm's Got Soul is a sonic trip back to the fever-pitched disco era, where Asabi Goodman's powerhouse vocals and Geoff Boardman's dynamic production converge to create an electrifying dancefloor experience. Bursting through the stratosphere with all frequencies blazing, the track treats listeners to pitched horns, filtered drums, and sultry vocals, reinforced by Andrew 'Bigfoot' Leslie's everlasting bass. Momentum builds with Dave VHS's rhythm guitar and vamp keys, accompanied by hectic percussion, culminating in a groove that's both syncopated and loose, thanks to the MPC4000 sample treatment by The Soulicitors. On the flip side, 'Rhythm's Hot' (Afro Instrumental) takes listeners on an Afrocentric trip, with a relentlessly persuasive percussion groove reminiscent of Midnight Marauders chords. Well-timed transitions spread smooth like butter, weaving elements like A Taste Of Honey basslines into an instrumental strut that builds to a disco-fever crescendo. It's a monster cut that keeps the energy high and the dancefloor moving. Asabi Goodman's vocal versatility, effortlessly shifting from sweet and soulful to commanding and powerful, adds depth and emotion to each track, while Geoff Boardman's production shines through, blending samples and live instrumentation into a resonating dynamic disco experience. 'Rhythm's Got Soul' is a standout collaboration that begs to be checked out.
Review: The reissue of Joao Bosco's 'O Ronco Da Cuica' alongside Antonio Adolfo E A Brazuca's 'Transamazonica' captures a slice of Brazil's musical brilliance. Bosco's track, originally from his 1976 album Galos de Briga, pulses with vibrant cuica rhythms, soulful vocals, and delicate acoustic guitar. On the flip side, Adolfo's 'Transamazonica' is a stunning piece of Brazilian jazz fusion, rich with dynamic instrumentation. This release brings these timeless Brazilian gems to a new audience, reintroducing their infectious grooves and intricate musicianship.
Review: 'Imprevisto' by Bossa Tres and Ana Rosely's 'Skim Dum Dum Dum' receive well-deserved attention in their remastered reissue by Mr Bongo. Bossa Tres's track, featured as the final piece on their 1965 'Em Forma!' LP, stands out as an unmistakable Brazilian jazz classic. Opening with a dramatic intro and a hypnotic piano line, the song evolves with panned percussion and upright bass, showing the band's refined musicality honed from their early days touring jazz clubs in the USA. This 7" release marks a significant reissue of Bossa Tres's sophisticated sound in a concise format. On Side-2, Ana Rosely's 'Skim Dum Dum Dum' from 1984, originally released by RGE Discos, adds a different flavor with its infectious groove and enigmatic charm. Despite limited information about Rosely, her releases have become sought after for their rarity and musical quality. With 'Skim Dum Dum Dum,' her talent shines brightly within the unique style of Brazilian music. This remastered edition with refreshed artwork offers collectors and enthusiasts a chance to rediscover these gems of Brazilian jazz and music history.
Cerebro Orgasmo Envidia & Sofia (Bosq remix) (4:40)
Review: Martin Buscaglia's riotous, psychedelic Latin funk anthem from his 2006 classic album El evangelio segun mi jardinero finally makes its much-requested debut on a 7". This release features a stunning remix by Bosq. The original track is a wild, high-energy ride through vibrant Latin funk landscapes, bursting with infectious rhythms and lively instrumentation. Bosq's remix adds a touch of his signature magic, infusing the track with a subtle cumbia feel while maintaining its midtempo groove. Resisting the urge to speed it up, Bosq crafts a remix that's perfect for the dance floor, offering a joyful, everyone-smiling experience. The result is a delightful, midtempo dancefloor treat that celebrates the original's wild spirit while adding a fresh, irresistible twist.
Kool & The Gang - "Give It Up" (DJ Soopasoul edit) (4:02)
Aretha Franklin - "Rock Steady" (DJ Soopasoul edit) (3:30)
Review: Jalapeno jive maestro Soupasoul had another standout year, in 2024 and only heightened his reputation for crafting exceptional edits that bring new life into funk standards and hidden gems. With a sharp focus on the groove-rich breaks, he is back once again with another instalment that will ignite dance floors everywhere. This time his scorching rework of 'Give It Up' spotlights dynamic horn interplay and soulful jazzy choruses and 'Rock Steady' celebrates Aretha's powerful vocals paired with a killer breakbeat. These finely tuned edits honour the originals while adding fresh energy.
Review: Ever since their first record launched on Futuristica Music, back in 2008, Emanative have been quietly shaping the contemporary jazz-dance landscape - an achievement for which they are rarely accredited to. Hopefully, we can change some of those misconceptions by telling you just how special this new EP for Jazz45 is sounding! The opening "New Day" features the soulful vocals of Ahu over a rolling, breaks-centric groove with plenty of melodic quirks and, of course, the unstoppable euphoric power of the flute; the flipside's instrumental allows you to get even closer to the music constructed by Emanative, which is undoubtedly the outfit's long-running forte.
Review: Footsie is widely thought of as one of grime's most legendary voices and a legend of the game. From his early collaborations with D Double E as part of Newham Generals to his solo work, his roots in sound system culture run deep having grown up as the son of a system operator. Footsie was heavily influenced by reggae and dub and now runs his father's renowned King Original Sound. Returning to the label is Nottingham's Adam Prescott, who provides a heavy, dubwise riddim for Footsie to showcase his distinctive flow.
Review: Earlier this year, DJ Scientist stumbled upon another early Ghia composition tucked away in the depths of a master tape. It was a treasure too precious to remain unheard. Sadly, the original track couldn't see the light of day due to sound quality and issues with the original vocals. To make matters more disappointing, no instrumental version survived. Thus, the only way to share this catchy boogie funk track with the world was to recreate it from scratch. And so, the Ghia saga unfolds once more, but in this chapter, there's a new and unique twist. 'Out Of Luck' draws its roots from the aforementioned lost track, originally composed by the group in 1985. This time, however, the song has been expertly reworked by Marian Tone, with new vocals by Adriano Prestel. The outcome? Quite possibly one of the smoothest and most refreshing modern funk tunes you'll hear this year.
Review: Mr Bongo are enacting a thorough revisiting of some of the very best soul, funk, MPB and boogie gems to stud their catalogue over the years; at this rate, the tagline "back by popular demand" has become a motto. This careful pairing of mutually constitutive Hanna and Almir Ricardi tunes made up the label's 54th release. 'Daixa Radar' comes first as the initial "rediscovery" of DJ Koco, whose Brazil 45's mix was the functional tipoff. Ricardi's 'To Parado Na Tua' is a similar midtempo boogie cut, produced by the legendary duo of Lincoln Olivetti and Robson Jorge, whose singularly timbral slap-drums are to die for.
Review: Guerssen Records specialise in reissuing obscure psychedelic music from the past, and here they home in on two early British psychedelic bands, Hopscotch and Andwella. 'Look At The Lights Go Up' is Hopscotch's contribution, with the band made up of former members of the Eyes and Tomorrow, and the track comes as a rare and unreleased demo of melodic trip-sat illumination and lyrical nonsensicality ("This lady from the forest of Manhattan...". Andwella's 'Felix' comes to the B-side, and is a formerly unreleased outtake from their second album World's End.
Review: The latest missive from modern funk maestros The Sleeperz Records is a red seven-inch double header that pairs Canadian neo-boogie queen Maya Killtron (a label regular) with two similarly minded producers. She joins forces with Andrew Napoleon on A-side 'Body Fly', a glossy slab of mid-80s synth-funk/synth-pop fusion rich in squelchy P-funk bass, bright lead lines and colourful chords. Estonia-based Latvian Artis Boris sits in the producer's chair on side two, underpinning a typically expressive and soulful Killtron vocal with sinewy strings, modern boogie grooves and nods aplenty to early 1980s disco. Naturally, the sound is nostalgic, but both cuts sound undeniably fresh.
Basil Kirchin & Jack Nathan - "Viva La Tamla Motown" (3:50)
Alan Parker & William Parish - "Main Chance" (3:05)
Review: KPM Music might just be one of the most expansive music libraries out there, boasting a whopping 30,000 exclusive music tracks for licensing. Some of their earliest pieces are being reissued by Measured Mile, the latest of which appears here in the form of a split 7" by four of the label's most treasured contributors. 'Viva La Tamla Motown' helms up the A-side with wonky, laboured drumming and an excitable rock n' rolly guitar and harmonica. 'Main Chance' brings up the B with a more loungeified flutey strutter.
Review: 'We Are!' was the very first opening theme for the TV anime version of One Piece, which first aired in 1999. The first analogue version of the 8cm single CD was released in November of that year. Sung by the franchise's in-house singer Hiroshi Kitadani, and bringing along with her a bursting, emphatic, nearing-on-frenzied composition, the theme instantly captures the vibe of One Piece; that of following Monkey D. Luffy and crew on serial whimsical piracies and carefree adventures, set against a more sinister backdrop of tyrannical secret police forces controlled by a World Government, in constant conflict with a Revolutionary Army.
Review: 'Heavy Manners,' is a groovy summer jam 7" from Germany's premier reggae duo, Marcus I and aDUBta. This collaboration, influenced by US Soul and classic Jamaican Reggae, brings the Studio One vibe of the 1960s to life. Following their debut album Cut A Wire Showcase (2023), they now deliver this upbeat, flying-cymbal track that's sure to set any dancefloor on fire. On Side-2, a minimalist riddim "Version," perfect for DJs craving that authentic vibe. After nearly two decades as a reggae drummer, aDUBta has fully embraced the sounds of 60s to early 80s reggae, gaining international recognition with Sounds From The Attic. Marcus I's soulful vocals and sharp songwriting shine throughout, recorded at aDUBta's Attic Roots Studio. The single, mixed analogue on a Tascam 388, is primed for sound systems worldwide, marking the beginning of an exciting new chapter for this dynamic reggae team.
Review: Although they've been serving up high-grade blends of disco, funk, soul and house for some time, it's only in recent years that many of Micky More and Andy Tee's most potent productions have made it to wax. The two tracks here, which first appeared digitally in the middle of the last decade, are fine examples. 'I'm Another Man' is heavy, raw and impactful, with the pair adding rolling house beats to a horn-heavy deep funk song complete with gravelly male lead vocals. Over on the flip, 'Night Cruiser' is their (successful) attempt to make (and update) a Vincent Montana style, Salsoul disco instrumental with added house chops. Keep an ear out for the Roy Ayers style vibraphone solo that drops midway through.
Review: Broken beat legends Nautilus return with a futuristic teaser for their upcoming 2026 studio album, and on this evidence, it's going to be superb. The first single reimagines a legendary anime soundtrack with their signature groove and features Japanese singer and sanshin virtuoso Anna Sato, whose vocals elevate the track to a new dimension. The release is completed by Berlin-based DJ and producer Delfonic, a well-known disco and house don and label head, renowned for his deep club remixes and praised by Gilles Peterson. Delfonic adds a magical touch with heavy beats that come with plenty of lavish synth work.
Review: After delivering some killer reissues over the last few years, Mr Bongo's brilliant Brazil 45s series has reached "buy on sight" status. It goes without saying that the label's latest double-header of hard-to-find Brazilian gems is white hot. A-side Neno Exporta Som's impossible-to-find 1971 gem "Deixa A Tristeza", a wild and life-affirming fusion of samba and funk full of fuzzy sax solos, glassy-eyed vocals and heavyweight grooves. Over on the flip you'll find another killer cut from '71: "Sumauma" by MPB star Agnaldo Rayol. Blessed with a great groove and incredible arrangement, it sounds like a Brazilian take on the sort of over-the-top songs used to open James Bond movies in the 1970s (albeit with a bit of samba sunshine thrown in).
Review: Following on from Gladys Knight & The Pips, Ramrock Retro have a real goldie on their hands here. Aaron Neville's 'Hercules' is an affecting tune that immediately gets the emotions going. The effortless vocal conveys real soul as the drums swing deep and horns bring the class. A falsetto coo at the breakdown takes things to the next level before the drums power on once more. Flip it over for 'Use Me' by Al Jarreau. It's a familiar sound but whichever version you prefer the results are always the same - deep cut and libidinous slow motion funk that hits different.
Review: Few labels are better at saving up big cut-and-paste tunes from the world of hip-hop, r&b, funk and breaks than Heat Rock. Here they come again with more of the goodness, firstly with Nick Nack. His 'And Ya Say' roll deep, with smooth bars flowing freely over the leggy drums. On the reverse, Chicago's Altered Tapes crew offer up their own unique take of hip hop classic 'Still Running' in the form of a shuffling Bossa B-boy flip which has Latin percussion and ass-wigging drums. Both of these are floor-friendly cuts that pack in plenty of heritage.
Review: Any Omar S release is worth checking, but when it also features Detroit funk godfather and Motor City legend Amp Fiddler, as well as Andre Foxxe of Parliament-Funkadelic, then it's pretty much buy on sight. You never know what you're gaping to get with the FXHE boss, and never was that more true than here on this sweet little 7". A-side 'The First One Hundred' is a loop of Omar S's trademark dusty drums and a deeply buried bass guitar riff that is super funky, and 'Dance Your Blues Away (feat Amp Fiddler)' sounds like Prince making house music in Omar S's studio. They are short, but oh so sweet.
Review: This new platter captures UK dub pioneers Alpha & Omega linking up with Pensi & Iries Roots for a pair of new school dub cuts on the Livity-Ites label. The A-side 'The Signs' has mesmerising warrior leads and harmonicas that drift in and out over the yearning vocals and sleek digital synths amidst myriad effects. On the flip, 'Dub Signs' is a version with even heavier low ends and more snaking leads that are sure to hypnotise when played nice and loud on a serious system. Two crucial cuts for dub heads, whether old or new.
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