Review: Fans of the Atlanta and Birmingham soul sound of the 70s take note - this one is for you. 'Paper Man' by Sam Dees and Alpaca Phase III comes from that golden time and has only just been earthed by someone digging in the vault of Moonsong and Clintone Recordings. Sam Dees worked with Alpaca Phase III in 1974 on some music for Atlantic and then this ballad a little later. Dees is the vocalist on 'False Alarms' and anyone who heard his Second To None CD in 1995 will know it. These are two golden soul tunes that will swoon their way into your affections.
Review: Bloco & Soul Essentials are back with their smooth, feel-good vibes with their 7" There For You. Side-1 features the title track, a joyful slice of soul with a fantastic horn section and classy vocals. It captures a warm, 70s mood with smooth strings and an overall laid-back groove that's perfect for fans of classic soul sounds. On Side-2, 'Shady Lady' offers a slower, funkier groove. The track's funky bassline and gentle piano keys create a relaxed, sultry atmosphere, while the rich blend of guitar and smooth vocals tie everything together beautifully. There For You is an essential pick for anyone who enjoys soul music with a touch of Japanese funk and jazz influences, delivering timeless grooves with a modern edge.
Review: Here's a killer reissue from the Soul Jazz archives which is finally getting a repress. It's hardly surprising when the reissue becomes as sought after as the holy grail original jam from 1970, a sublime instrumental anthem of soulful, skanking perfection with Cedric Im Brooks flexing his sax in glorious style over a beautifully rough n' ready rhythm. It was shortly after this recording was laid down Brooks went on to form The Mystic Revelation of Rastafari with Count Ossie, which tells you all you need to know about the heritage we're dealing with here.
Review: The unequalled Soul Jazz label is serving up some monster funk this month and they don't come much bigger than these two cuts from Chuck Carbo. Opener 'Can I Be Your Squeeze' is a super catchy, break heavy and funk fulled party jam to destroy the floor. Written and produced by the celebrated Eddie Bo, it comes with big drums from New Orleans stick man James Black. On the flip is the ever so slightly more mellow but not less dance 'Take Care Your Homework Friend.' These have long been hard to find and now come pressed nice and loud on fresh wax.
Review: 'One of a Kind' expands Cool Million's sound and marks a new direction towards a more diverse boogie funk style ahead of a much anticipated new full length which is due to arrive next year. This latest dancefloor hit features Seest, a Danish soul singer and longtime collaborator, while the tune blends funky, jazz-infused boogie that draws inspiration from artists like Earth, Wind & Fire, Kool & The Gang, and The Crusaders. It boasts powerful horn arrangements, rich chord changes and driving basslines with an up-tempo power-funk groove at its finest. This single serves as a great taste of the album to come.
Review: Lisa Decker makes a return with two new singles here that are taken from her upcoming album which is due in May of this year. It comes two years after her debut with the Japanese jazz trio Nautilus and marks something of a conceptual shift in her sound. 'Love & Hope' finds her turn in a stylish jazz vocal with funky bass loops and organic drums and percussion that straddle many different genres. 'Summer Child' then sinks into a nice smooth jazz-funk vibe with soft focus chords bringing a touch of class to her breezy vocals.
Review: More quality grooves from Washington DC label specializing in reissuing obscure and unknown 70s and 80s dance music. This time around is Dreamcast who are Davon Bryant in conjunction with Swedish guy Sasac aka King Al. "Liquid Deep" is sexy late night deep funk the way it was always intended and Bryant's smooth as silk vocals are just like... Wow! So with Dreamcast on the vocals and Sasac on the beat, we are hoping there's more things on the way from this trans coastal duo in 2017.
Alton Ellis & Slim Smith - "Sho-Be-Do-Be-Do (I Love You)" (2:55)
Alton Ellis - "Be True" (2:41)
Review: This reissue brings a fascinating piece of reggae history back to the light, showcasing a unique collaboration between Alton Ellis and Slim Smith. Recorded in 1971 at Chalk Farm Studios, this 7-inch single captures a moment of creative exploration and cross-cultural fusion. Side A features 'Sho-Be-Do-Be-Do (I Love You)', a mid-tempo soul duet where their voices intertwine in a display of effortless harmony and heartfelt emotion. Their performance blends soulful melodies with a distinctly Jamaican rhythmic sensibility. On the flip, Ellis takes the lead with 'Be True', a reggae-funk infused cut that highlights his versatility. The track is a testament to Ellis' ability to seamlessly blend genres. Originally intended for release on A&M Records, these tracks were part of a larger project spearheaded by producer Stanley Pemberton. This reissue sheds light on this intriguing chapter in reggae history and allows listeners to appreciate the artistry of Ellis and Smith in a new light. Their collaboration is a testament to their vocal prowess and their ability to create music that transcends cultural boundaries.
Review: The 7" release of 'Free Ma'n by the Ethiopians and 'Shanty Town' by Soul Brothers on Studio 1 is a must-have classic for reggae lovers. These two heavy hitters are beautiful standout from the early days of the legendary Studio One in Jamaica, and were first related back in 1966. The tunes perfectly embody the raw, soulful sound of Jamaican ska and rocksteady of the era with vocal depth and effortless dub warmth. The Ethiopians are known for their socially conscious lyrics and deliver a powerful performance on 'Free Man', while the Soul Brothers back them with Studio 1's signature mix of jazzy brass, syncopated rhythms and laid-back bass.
Review: Soul Supreme is a master keyboardist best known for his covers of classic hip-hop songs by the likes of Mos Def, MF Doom and A Tribe Called Quest. Here side-steps his covers duties to handle remix productions for two of his contemporaries in the Netherlands neo-soul scene - Gallowstreet, LYMA, Shamis and Rebiere. The A side lends a wonky future house feel (a-la GoldLink, Crackazat) to '52 North', Gallowstreet's ode to the city of Amsterdam. The B tune strips it back to a lo-fi soul bapper, fleshing out its theme of loneliness in parenting.
Review: Izipho Soul has got another release together here that is sure to fly off the shelves as quickly as all their others. It's two tunes taken from a now hard-to-find 2007 album by prolific musicianship and sometimes Diana Ross collaborator Richard Hartley & Soul Resurrection called Face II Face. Phil 'Phillet Of Soul' Ward is the man who has selected them and he's picked real doozies. 'Jesus Makes Me Happy' is a slow motion and sentimental rhythm for dancing at sundown while 'Heart & Soul' is a sentimental ballad.
Review: Rocksteady from Japanese crew Inokasira Rangers, whom've here teamed up with singer Hikari Suzuki for a cutely delivered cover of the Americana song 'Tonight You Belong To Me' by Nancy Sinatra. Performed in a "skinhead reggae" manner, this is a mysterious but fun version of the erstwhile lolloping 60s pop version. On the flip comes a curveball in the versioned form of one of the greatest-selling singles of all time, 'Ue o Muite Arukou' (aka. 'Sukiyaki' in English-speaking markets), originally sung by Kyu Sakamoto and again retaken by the Rangers.
Lady Wray, Les Imprimes, & Surprise Chef - "Come On In" (Les Imprimes remix) (2:55)
Lady Wray, Les Imprimes, & Surprise Chef - "Under The Sun" (Surprise Chef remix) (3:34)
Review: There are a whole host of soul talents on display on this new and limited edition 7" from Big Crown. Lady Wray, Les Imprimes & Surprise Chef all combine their forces for the gorgeously lo-fi and authentic soul single that is 'Come On In.' It has heart-aching vocals and a slow, heavy beat that is raw as you like. It is presented first as a Les Imprimes remix that makes a devastating emotional impact, and then as a Surprise Chef remix which is a little less heavy and more upbeat, with prickly drums and uplifting energy.
Review: First released in 2007 and here reissued for the first time since, Jennifer Lara's inspired reggae cover of Marlena Shaw's 1968 soul classic "Woman Of The Ghetto" was reportedly one of the last recordings made by both Lara and producer Clement Seymour "Sir Coxsone" Dodd. It remains a stunning version, with Lara's weary, heartfelt vocal working perfectly with the chunky, dub-wise riddim provided by the Jackie Mittoo-fronted Sound Dimension backing band. The trippy, flipside "Side Walk Doctor Version" revision is arguably even better, with snippets of Lara's vocal echoing across Dodd's formidably dubbed-out soundscape.
Right By Your Side (JD B-Boy Fantasy remix) (4:22)
Review: Lexx's latest release, 'Right By Your Side,' is a disco-infused collaboration featuring the smooth vocals of Stones Throw recording artist Stimulator Jones. The track exudes Balearic and pop disco vibes, inviting listeners to groove along to its infectious beat. On the flip side, Jamma-Dee from Los Angeles offers up a remix that adds a slightly more uptempo flair while maintaining the essence of the original. Lexx's production skills shine through, creating a seamless blend of retro and contemporary sounds that will surely get dancefloors moving. With Stimulator Jones' catchy and Jamma-Dee's expert remix, 'Right By Your Side' is something to get your hands on.
Review: Part of a fresh string of reissues of Love & Unity 12"s - one of many star aliases to grace the annals of South London reggae label Studio 16 - comes this headfirst collision between L&U and Seargent Pepper. Sharing similar instrumentals, 'I Just Don't Care' hears a blissful femme soprano glide elegantly across its bubblings - the instrumental is super well-rounded, sawn-off. On the B-side, meanwhile, there's Pepper's 'Cut From Master Tape', which hears Pepper toast the rhythm lackadaisically, as endlessly hazy dub effects resound and a janky double-time kick propels it all forward.
Review: British label Demon Singles Club reissue two proper classic disco bits by the American soul group Harold Melvin & The Blue Notes: the original 1979 version of 'Prayin'', a gospel-inspired dancefloor anthem that was produced by Harold Melvin and written by John Whitehead and Gene McFadden, and the contemporaneous Blue Album highlight 'Baby I'm Back'. Both are awe-inspiring, rapturous dance fusions in the genre, cementing Melvin and co.'s legacy with a mood of teary-eyed joy.
Review: Deep Soul have uncovered an exquisite gem in Miss Louistine's sultry version of Sam Dees' 'Con Me'. No stranger to Dees' compositional range, having previously excelled in the dancetastic floor filler 'Extra Extra', now soak up this deeply luxurious Southern soul ballad of exploitative and irresistible love. Marvel at the seductive vocal control complimenting the song's ironic sentiment and then, to truly underscore the power of exceptional lyrics, enjoy Dees rendition as the flip side and muse upon the significance of different voices, tempos and registers. Yet, the message remains the same, in this unissued track until Kent accessed the tapes in 1998. Yes, Miss Louistine's version may seem smoother at first but its commanding tone belies a potency that the vulnerability of Dees rawer version can only hope for in this intelligent pairing by Deep Soul Records, now under the umbrella of Ace Records. So, enjoy the gorgeous sleeve and label design, put the record on and delight in the beauty of intensely authentic soul singing but get in there quick as these Kent singles do not stay around for long.
Bobby Moore - "(Call Me Your) Anything Man" (6:14)
Sweet Music - "I Get Lifted" (7:18)
Review: Soul Brother Records' Record Store Day 2020 release offers up re-mastered versions of two hard-to-find early 'disco mixes' of modern soul-era gems. On the A-side you'll find Tom Moulton's scarce, five-minute club version of soul man Bobby Moore's '(Call Me Your) Anything Man', a delightfully orchestrated and super-sweet dancefloor workout built around a Latin-tinged groove reminiscent of Grace Jones' 'La Vie En Rose', which of course Moulton later famously remixed. Over on the flip there's a chance to savour West End Records' boss Mel Cheren's wonderfully over-the-top dancefloor extension of obscure vocal group Sweet Music's soaring cover of K.C & The Sunshine Band favourite 'I Get Lifted'. It's very different to their much-loved take, but every bit as essential.
Review: Prince Fatty's 'Mercedes Benz' with Shniece and Horseman is a rub-a-dub version of a 1970s hit from Janis Joplin that now gets a very special pressing courtesy of Lovedub Limited. The A-side kicks off with the spine-tingling and epic original vocal before disappearing into a world of reverb. At that point the dubby low end arrives and brings a different vibe to the stunning vocals but one that really makes a mark next to new bars from Horseman, police sirens and funky riffs. It's a tough sound system groove that is backed with a fine version and has been a firm fixture of Prince Fatty's record box for a while now.
Review: In this offering, the Italian project led by Stefano Trione, pairs the lush 80s-inspired groove of 'In The Sand' with the unreleased gem 'Tudo Pra Ela,' a sultry disco track that embodies the warmth and richness of Tirone's signature style. 'In The Sand' pays homage to the rare groove classic from iLevel, its tropical rhythm and sunny vibe transported through Julia St. Louis's breezy vocals and Marco Brioschi's trumpet melodies, creating an almost cinematic dancefloor experience. On the flip, 'Tudo Pra Ela' delves into a sophisticated disco sound, where Toco's delicate vocals intertwine with sensual backing from Priscila Ribas and a bassline from Edu Hebling that carries the track effortlessly into the early 80s. The perfect synthesis of Stefano's love for vintage sounds and contemporary finesse.
Review: Tel Aviv based four-piece and well regarded super group Sababa 5 joins forces with vocal revelation Shiran Tzfira who makes an appearance on vinyl for the very first time here. The resulting sounds are psyched-out Middle Eastern grooves that are hugely infectious. The tracks reinterpret the traditional Yemenite songs of Shiran's childhood and the results are modern mixes of disco, funk, boogie, pop, and rock. This is EP is a collision of cultures and musical styles that is sure to win all involved legions of new fans all over the world.
Review: This unknown label is continuing to do some great work with regard to putting out club-ready reworks of Sade classics. The buttery-voiced soul queen has barely roasted any music since her famous heyday but even years on it still it sounds superb. Here we have a remix of 'Surrender Your Love' with the passionate original vocal draped over some nice cuddly, dusty deep house drums. On the flip, 'Haunt Me' (DJ Sneak mix) finds the House Gangster in tender form, with some supple and soft chords and drums all bubbling away nicely beneath another crucial Sade vocal sample.
Review: British-Nigerian singer-songwriter Sade is rightly celebrated for her sultry voice and timeless hits like 'Smooth Operator' and 'No Ordinary Love.' Her music blends soul, jazz and r&b with its sensual melodies and poetic lyrics and so is a great fit for deep house reworks, A bunch of them have all dropped with us and this one licks off with 'Like A Tattoo', an airy cut with some gorgeous keys and plenty of loved up vibes. Meanwhile on the flip is a new version of the most iconic of them all - 'Smooth Operator' (remix) still has the erotic sax notes and great vocals, but more upbeat drums to get cosy parties moving.
Review: Sade's 'The Safest Place (NYC Dance Remix)' is a masterful blend of her signature smooth vocals being used for an infectious tribal groove. Originally from her 2010 album Soldier of Love, this remix seamlessly incorporates Sade's enchanting voice into a rhythm that pulses with energy, perfect for dancefloors. The track's production enhances its danceability, showcasing her ability to resonate with the dance community. It's a testament to her timeless appeal and adaptability, proving once again why she remains a beloved figure in both pop and dance music. Sade often finds her way into underground house and techno mixes. This might be one of the best.
Review: 'Couldn't Love You More' is one of the most iconic songs from one of the most iconic soul singers of her generation. It is such a sweet tune that it is perfect for reworking into a lovely deep house framework. And that is exactly what we have here as some mysterious artist who for obvious reasons wants to be unnamed reworks it three different ways. Mix 1 keeps the lush, lazy chords in place and sprinkles in some deft percussion. Mix 2 is a subtle tweak that has a little more drive and edge to it and Mix 3 completes the package with another deft touch that is sure to get floors all loved up.
Somebody Already Broke My Heart (Excursions mix) (6:31)
Hang On To Your Love (De Rigueur) (7:35)
Review: Dunno about you, but we are absolute suckers for Sade mixes. Not the tasteless ones that are in no way sympathetic to the original mood - but the deep house reworks that couch Sade's heart-melting toes in soft, dreamy drums are hard to beat. And that's what we have here on another cheeky white label 12". First is a nice blissed out and late night rework of 'Somebody Already Broke My Heart' (Excursions mix) which is a pure joy, and then 'Hang On To Your Love' (De Rigueur) is a little more dancey with disco chords bringing some sparkle to Sade's irresistible tones.
Love Is Stronger Than Pride (B Boys Basement mix) (5:50)
Love Is Stronger Than Pride (Mouse T club mix) (5:33)
Love Is Stronger Than Pride (Master & Pupil mix) (5:24)
Review: Sade is one of those artists that people just cannot resist remixing. Her voice is silky smooth and sultry so is well suited to seductive deep house reworks. And that is just what we get here with four different takes on 'Love Is Stronger Than Pride'. The GT Hot remix opens with deft pads and airy beats, the B-Boys Basement mix gets more physical and jacked up with raw percussion and the Mouse T club mix brings some old-school house feels. Last of all is the most smoky and rich as the Master & Pupil mix layers in sustained chords and dynamic depth.
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