Back catalogue: All genres

Review: This tastemade, disco edited chef's special comes courtesy of AFIN, guest cook in the Frank Music kitchen. Over three sharply, perspicuously produced disco recuts, we're pelleted by a no less wet hosedown in hard disco, with 'Disko Inferno' introducing the proceedings with peak-time heat, before 'The Beloved' grooves yonder with feel-good charm, and 'Body Rock' ex-ergises our bodies with an irresistible vocal touch. Birbs And Planties help pave downlow slabs of golden bass, locking the rhythm down. This vinyl-only release won't last long, so grab a copy, and get boinging in time for spring...

Review: Tom Browne's 1980 single 'Funkin' For Jamaica' has long been something of an anthem - a hybrid funk/boogie classic that remains a staple in sets of hip-hop, disco and soul DJs alike. Given its ubiquity, covering the song is fraught with danger, but remarkably Japanese producer Akiko and guest vocalist Mbanja Richy have successfully put a new spin on it. Their take is subtly tougher and more synth-heavy, with bilingual French/English vocals, nods to Zouk music and a bassline so squelchy it could have been lifted from a P-funk record. Over on the flip, the pair go mellow, deep and laidback on a pleasingly skewed hip-hop soul cover of Terry Callier's legendary vocal interpretation of Alex North's 'Love Theme' from 'Spartacus'. Inspired stuff all told.

Review: DJ Kawasaki fires up his tools and gets to work on a couple of tasty new edits here. The first is a slow disco mix of The Ananda Project's 'Cascades Of Colour' which is lush, low riding and built on loopy drums with silky synths that are finished with some sprinkles of cosmic melody up top. Sublime. Blaze's 'We Are One' then gets a special Fusion Funk Re-Groove mix which has more astral synth work ringing out from a tight and funk arrangement with lush bass lines and nice organic drums.

Review: A fantastic dub disco, funk and electro record straight from the heart of North London. First released in 1986, 'Soul Of Haringey' emerged as the sole release on the ultra-rare Advance Level Enterprise imprint, information on which is, even now, extremely difficult to track down and source. Among the featuring artists on the release are Pip Archer, Andrea Lynn, Jennifer Viban, The Curruthers Brothers, and Boss, all of whom are almost equally obscure, and only a few of whom ever went on to release anything else. It's these kinds of records, seemingly unassailed by the material urgencies of working life or careerism, that beguile us the most. 'Time To Boogie' is as raw and uncut as can be, its trilling synth bells and double-claps revealing some early stirrings of UK grime in the track's latter half. Then there's the downtempo soul of 'Hold On To Your Heart' by Lynn, as smooth as smooth can be, while Viban's 'Miracles' is an equally blissful prayer to the electro-disco-funk tutelary god, with its numinous snare bursts and adhesively soft pad divans swearing fealty to the belief in miracles. Boss' and The Curruthers Brothers' contributions are just as creamy, offering two further authentic, homespun falsetto'ers for assuaging heartbreak and redemption.

Review: It might sound like an overlooked European dance record from 1985, but 'Surrender' is brand new. It's the debut from Babes in Love, a collaboration between DJ Subaru (real name Benny Howell) and best-friend Bella Quinn. Musically it's devilishly simple and lo-fi, with Quinn singing sweetly and expressively over a lo-fi drum machine rhythm, Italo-disco-meets-Hi-NRG bassline, spacey chords and memorable synthesiser motifs. Castro provides the flipside 'Babes in Love Dub', smothering elements of the original in delay and reverb while adding lashes of psychedelic intent. It's the kind of trippy, wildly dubbed-out hedonism we could imagine the Idjut Boys playing in a very dark room at four in the morning.

Review: Kalita Records are proud and honoured to announce the first ever official reissue of the four choice tracks from Randolph Baker's privately pressed sought-after 1982 disco album 'Reaching For The Stars', plus an unreleased instrumental take of 'Party Life' sourced from the original 24-track analogue master tapes.

Originally recorded at Jim Morris and Rick Miller's Tampa-based Morrisound Studios, 'Getting Next To You' features both a mixture of both local Florida talent plus jazz superstar Nat Adderley and bassist John Lamb at their finest. Originally pressed in a limited run of just one-thousand copies, with no distribution and most copies being sold in the local city and on Randolph's own merchandise table at the back of live gigs, original copies have long been sought-after by both collectors and DJs alike, acknowledged as a true grail and masterpiece in the disco scene and deservedly demanding extortionate figures to those lucky enough to find their own.

Here, in collaboration with Randolph, Kalita Records have chosen to re-release the four choice tracks from the album: 'Getting Next To You', 'Jazzman', 'Callin' Me' and 'Party Life'. The former is an in-demand horn and chant-filled disco masterpiece, which, as Randolph explains, concerns unity and "everyone on the same level in other words, everyone just loving life". It is arguably the song that Randolph is most well-known for in the disco and funk scene and perfect for the modern discerning dance floor. 'Jazzman' is an instrumental track with prominent trumpet and saxophone solos working with funky basslines to produce a truly great jazz-funk groove. It was "a tribute to Nat Adderley and Duke Ellington's bass player, John Lamb, for being so generous and saying yes to the project". 'Callin' Me' is a soulful disco number featuring the lead vocals of Laurie Erickson and is "about being on the road and ensuring loved ones that you will always come back home no matter what. It was like a promise to ensure loved ones they didn't have to worry". Lastly, 'Party Life' is a joyous disco track with a strong funk bassline and horns. As Randolph recalls, it "was the joy like after an actor finishes a movie. There was nothing but joy. It's finished; let's celebrate big time. Where everyone in the studio yelled at the top of their lungs - The End!" Here, with access to the 24-track master tapes we have been able to include the original version plus an unreleased instrumental take, allowing us to focus on the infectious bassline and make it even more ready for the modern dance floor.

Accompanied by extensive interview-based liner notes and never-before-seen photos.

Review: From the dedicated Neopolitan archivists Periodica comes a holy grail reissue of a deep cover, highly coveted release from 1983. The groove on Tonino Balsamo's 'Sta Guagliona Mo Dda' is an absolute neck-snapper, with the toughest drum machine beat carrying slinky b-lines and slick synth lines alike while Balsamo flows in a semi-rap style over the top. It's a monster given a fresh master to cut it with any modern jam you care to throw its way in the mix, and the instrumental is on hand for those who want to zero in on that throbbing arpeggio. Also watch out for the dirty beatdown 'Voglia E Mare', which lays the synths on even thicker.

Review: Sandy Barber's 'I Think I'll Do Some Stepping (On My Own)' came as part of 'The Best Is Yet To Come', the singer's 1978 album epitomising her influence over the genre of disco-soul. Now two remixers, OPOLOPO and John Morales, lead the charge in fleshing ever more joy out of this righteous original. 'You think you're so smart, well you're mistaken', goes Barber's refrain, as OPOLOPO's rework brightens nearly element to gaussian overload. John Morales' version, meanwhile, is much more emotive and belting, happily laboured in its faux-unquantized production.

Review: The Best Records reissue campaign continues unabated as the Italian label turns to Bariocentro. While the band may have had most of their time in the spotlight in the late 70s, they bowed out with a veritable bomb in the shape of Tittle Tattle, a tightly-wound, punchy slice of uptempo 80s boogie like they just can't make any more. Feel the reverb on the handclaps, the slick guitar chops and Moog-tastic bassline and just try not getting down. This plush reissue comes packed with the radio edit, the full length version, the instrumental and everyone's favourite slice of 80s B side action, the dub mix.

Review: Bongo Joe and Sofa Records' third instalment of the Maghreb K7 Club Disco Single series dives deep into Algeria's vibrant 1980s scene, offering four tracks that shine a light on the region's overlooked gems. The A-side is led by two irresistible pop-boogie-funk tracks from Khaled Barkat: 'Galouli Enshara' and 'Zourini'. Self-taught and self-produced in 1983, Barkat's music was a hit at the time but got overshadowed by the rising tide of rai. His dynamic collaboration with Yazid Fentazi, Redouane Ayoub, and Mhenni Benlala resulted in a sound that blends infectious grooves with local flair. Now, for the first time, these tracks are on vinyl, offering fresh ears the chance to rediscover a key player in Algeria's pop history. Cheb Tati takes over on the B-side with 'Dub El Hammam', a heavyweight dub number that showcases his range as a rai vocalist. Tati was flown to London in 1989 to work with dub pioneer Denis Bovell, and this track is a standout from their sessions, merging the pulsating rhythms of reggae with a distinctly North African flavour. Closing out the release is the Kabyle band Asif, whose only known recording, 'Tafsut', serves as a fitting finale. Formed by three brothers in Lille during the late 70s, this beautifully crafted pop-boogie track captures the band's unique sound, bringing a sense of nostalgia and triumph to the collection.

Review: ,Joe Bataan has been busy in East L.A. with Orquesta Rene for this new Latin jazz double 7" courtesy of Steady Beat. It features four all new pieces drenched in soul and percussion, starting with 'So Fine' (feat Big Sandy), a mid tempo groove with vocal longing and languid horns. 'Mestizo' is a more steamy and intimate piece with sung-spoken lyrics and glowing, golden chords. 'Mom & Dad' (feat Claudia Lennear) has s steamy shuffle to its rhythms and classic Latin percussive sounds next to a call and response vocal and 'Time After Time' closes with a sentimental feel.

Review: The second instalment of Stolen Goods' Back to Back series brings together two stalwarts of the scene: Italian veteran Lele Sacchi and Italo-Spanish beat master Bawrut. Known for their contributions to the electronic dancefloor landscape, both artists deliver peak-time bangers primed for club euphoria. Bawrut's track showcases his signature blend of retro-future rave, drawing on his extensive experience with labels like Life & Death and Correspondant. Meanwhile, Sacchi, with nearly three decades of DJ experience, infuses his production with funky deep grooves and killer stabs, epitomizing peak-time monster attitude. With nods to acid house and electro-techno, this release epitomises Stolen Goods' ethos of delivering messages From Clubbers to Clubbers, promising dancefloor ecstasy for discerning audiences.

Review: B. B. Seaton aka Harris Lee Seaton is one of those reggae vocalists who appeared on a dizzying amount of records. He has over 450 credits on Discogs and 22 albums. 'Dancing In The Moonlight' from 1986 is typical of his sound and brings an electronic feel to dub and reggae. An original will cost you the thick end of 200 quid so this reissue is well overdue. The A-side here is seven-plus minutes of reggae disco funk with a killer bassline, proto-house claps and back and forth vocals that just get the dancefloor going. A version and an instrumental close out the package, which arrives via Studio 1.

Review: Incognito Trax is back to drop a fifth bit of heat with this new and heavily limited 12". Once more it is a various arts affair that explores a disco tinged brand of house and tech. BB opens up with 'Zap Revelation' which has lovely vocal coos over raw beats that hark back to early Chicago house. LV's 'Faccia Gialla' has a Latin feel thanks to the lead horns and the percussive grooves and LV's 'Dream On' then goes deep with indie vocals over guitar laced grooves. Macchianera serves up the final two jams, first solo on the loose limbed 'Alle' then with Mattia C on 'Quack Quack' which is a more jazzy jam.

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: BDQ Records is the outlet for jam quintet BunnDebrettQuintet, who emerged out of 90s acid jazz titans Mother Earth. Their sound has refocused on a raw and rasping strain with a live, in-the-room electricity which comes through brilliantly on this new single with Lydia Sharpe. Taking a few cues from a Led Zeppelin classic, Sharpe strikes a fierce, sultry figure on top of the sizzling hot Hammond organ vamps and low slung rhythm section. It sounds dangerous like a niche 50s cut, but there's plenty of meat on the bones of the production, while the familiar vocal hooks will go down a storm with a busy dancefloor.

Review: super limited Japanese only issue that has been selling for L45 on discogs ! Don't sleep ! 1 per customer !

Review: During the latter stages of the "Philly Soul" era, New York remixer Tom Moulton delivered a string of inspired, DJ friendly reworks for the Philadelphia International label. For proof, check this fine selection of classic Moulton mixes for the storied imprint. Check first his version of Archie Bell and the Drells' "Where Will You Go When The Party's Over", which he brilliantly teases out and increases in intensity over nine spellbinding minutes. The funkier flex of People's Choice's "Jam, Jam, Jam (All Night Long)" is a sweaty, low-down treat, while the Teddy Pendergrass rework is a soaring disco classic in the Philly Soul style. Best of all, though, is the string-drenched disco celebration that is his mix of Lou Rawls' "See You When I Git There".

Review: Get your hips and heart around this bit of L.A. boogie by the elusive Ben White and you cannot help but feel better. It is a highly sought-after rarity that disco collectors have been fawning over since forever. It was originally reissued as a 45 by the great Athens of the North and now comes this 7" version which was sourced from Andy Noble, who has often helped the label out before. It features two sides of exceptional modern soul and boogie that blend rhythm and grove in magical ways that are never going to age. 'I See A World' has lovely and tender falsetto vocals and 'Give Me Love (Always)' is more of a party starter.

Review: Ben (Benjamin Robinson of Ben & Coco) and the Tight Squeeze Band have not long been getting us hot under the collar as Athens of the North put out a reissue of their AM Funk 7" only back in March. Now the faultless Edinburgh label is back with another pair of tunes from them that are just as good. 'Thumping For You' is nice loose-limbed, off-grid funk with love and wonky drums, happy sax lines and sustained chords bringing a golden touch next to the aloof vocals. 'Brandon's Song' is another uplifting one with seductive claps and shakers, squelchy leads and lush string synths.

Review: Nicholas Benedek has appeared previously on Peoples Potential Unlimited and Leaving Records and collaborates with L.A. Club Resource main man Delroy Edwards in Rx. This time it's for Arcane with the Coolin' EP. Starting out with the slow boogie jam "Voices", the title track goes for some 80's pop inspired groove while "Afterglo" is some sublime vintage Balearica to die for. On the flip there's the sexy and smooth "Ryukyo" which is like 80's R&B while "Angelus Vista" is a dreamy instrumental piece that sounds like something from the soundtrack to Miami Vice or To Live And Die In L.A. Highly recommended for fans of Gerd Janson and Fabrizio Mammarella's Black Spuma project or Max Essa.

Review: The Very Polish Cut-Outs Sampler series continues to represent the party-focused arm of one of the most switched-on labels in Polish house music. On the tenth volume of the edit series we get no less than seven upfront joint to sink our teeth into, as Justyna S dices up dusty drums and funky guitar licks for the seriously infectious 'Oka Za Oko' and Zenit brings some big-room disco sass to bear on 'Dzisiaj Jutro'. The flip side sidles into deeper territory with the low-slung delights of Niko's smoky version of 'Na Jezykach' by Ka-ya-h. By the time we reach the final track - EXPO 2000's dreamy downtempo joint 'Fantazja', the pitch has slid down even lower and we're positively kicking back in the backroom with distinctive styles unique to this most esteemed of labels.

Review: Kay-Dee Records comes at us with a 45 double-hitter, presenting Bert Hector's 'The Phoenix' and 'The Kraken' with Kenny Dope on remix duties. On the first record, we're treated to 'The Phoenix', a sure-fire funk gem with a super-warm sound - beat is as cool as it gets, with a laid-back and funky attitude sitting beneath a joyous intermingling of sitar, flute, brass and guitar, all performed at expert levels. 'The Kraken', meanwhile, channels a killer groove, strutting at 85 bpm and incorporating a huge brass section which pumps loud, while flute solos and funky Wah-guitar chops take things up a notch.

Review: extremely limited authentic looking Japanese repress of this sought after 45...only 200 pressed for the world !

Review: Several new 7" cuts by our good friends over at Bou Ga Louw have landed in our grasp, the Argentinian label pushing brand new South American funk and soul heaters. Big Jim Hangers' 'Jungle Fever' is a high-octane instrumental ballad clearly dedicated to the dirtiest of acts out there, sex. Moans, groans, organs and drums complete the recipe, and this is an attitude mirrored on the B-side with The Moon People's 'Hippy Skippy Moon Strut'. This is a riotous mix of Afrobeat, funk, and jazz, and a mise-en-scene for free love.