Review: We'll never tire of the incredible Brazil45 series on Mr Bongo, which has provided an authoritative window into the rich history of 60s and 70s grooves from South America. Here's a missing joint from the series which took some time to come to fruition - a split release featuring Brazilian Boys on the A side and Rubinho E Mauro Assumpcao on the B. 'Super Herois' is an obscure slice of off-kilter, psych tinged funk from 1975 that has the kind of individual sound which could find favour with a lot of different DJs. 'Tudo Ai' has a more recognisable samba shuffle, but much like the A side there's a subtle twist in the sound which leans towards blues rock and jazz, locking down on the rhythm and creating a low-key party starter in its own unique way.
Review: When deciding on tracks to release on '45' for the first time, the Dynamite Cuts team seems to mine a mixture of sought-after sets, familiar favourites and overlooked obscurities. This single falls int the latter category, featuring as it does two killer cuts from Funk In Hell, a 1976 album by library music collective-turned-instrumental funk outfit Button Down Brass (a band founded by trumpeter and arranger Ray Davies). A-side 'Superstition' is simply superb: a down-low cover of Stevie Wonder classic 'Superstition' that sits somewhere between down-low library funk and Blaxploitation movie soundtracks, with a dash of big band funk thrown in. Instrumental flipside 'Shades of Hades' is equally as vibrant, with elongated electric guitar notes, heady hand percussion and spacey synth sounds combining superbly with spy-funk horns and weighty bass.As played by DJ Muro from Japan
Review: The Demons Singles Club is back with more devilishly good funk here in the form of Doris Duke's version of Marlena Shaw's 'Woman Of The Ghetto.' It first appeared on her 1975 alum Woman and is a searing take with full-bodied vocals full of fire. It's an urgent sound that adds weight to the social commentary of the lyrics and the b-side tune from Rhyze is just as essential. 'Fire' is a massive disco cut with stomping drums, funky bass riffs and plenty of noodling guitar riffs that make it effervesce.
Review: DC-based label Peoples Potential Unlimited aka PPU is a real favourite for us here. It's got a signature lo-fi funk sound and deals in perfectly ageless sounds with a big heart. Robbie M has been a frequent name in the label's catalogue and is back on this new 7" next to Midnight Express. The latter kicks off with big cosmic disco synths, hip-swinging claps and great vocals. Robbie M's brilliantly boogie-fried 80s electro-funk then appears in the form of 'I Need Good Lovin'' with its seductive vocals and catchy broken beats.
For The Wicked (Professor Shorthair extended mix) (5:15)
Review: A unique smashing of worlds between funk and hip-hop, this fantastic, vibrant, red-and-black splatter 7" brings together a host of collaborating greats, all of whom have contributed in major ways to both sounds over the years. With Dan Ubick on guitar (Breakestra, Big Daddy Kane), Julius Augustus on bass (The Sandollars), Dan Hastie on organ (Orgone, Alicia Keys), Steve McCormick on dobro and Professor Shorthair on the cuts and edits - and mastered by Dave Cooley (J Dilla, Madlib) - this is a mournful yet masterful example of live-recorded battle breaks.
Review: DJ Soopasoul's last mash-up was an inspired affair that saw him perfectly fuse tracks by Philadelphia Soul legends MFSB and the Beastie Boys. Here he takes a similar approach, placing the rap vocals from the 1995 hip hop classic "How High" atop a suitably funky, lolloping beat crafted from Clavinet-heavy sections from Stevie party-starting floor-heater "Superstitioun". It works remarkably well on the A-side vocal mix, and those who'd not heard either track would be convinced that there was no mash-up antics going on. Over on side B you'll find an instrumental mix that showcases Soopasoul's editing skills; minus the Hip Hop vocals, is a fine re-edit of the Wonderful jam.
Review: Athens Of The North will always be one of our favourite labels no matter what they're serving up. The Edinburgh-based deep diggers this time look to Race 'N Rhythm, which was once upon a time a 12-member jazz group based in Oakland. Jazz-master Rudolph Peters managed the multi-racial band and though they were admired on the vocal live circuit they only ever released one single before later doing an album. 'Space Saver' was recorded in California in 1982 and is a sultry and romantic soul sound with leads and coy rhythms. 'Candybar Superstar' on the backside is a pure fire dancefloor heater with high-energy claps, horns and vocals.
Review: Acid jazz star Rad has worked on tracks featuring top-tier talent including the Tower of Power Horns, David Garibaldi, Roger Troutman, Ray Obiedo, Bobby Vega and Michael Spiro. Originating from the San Francisco Bay Area, which is of course home to musical legends like Herbie Hancock, Tower of Power, and Sly & The Family Stone, she now delivers on her Oakland funk roots with a pair of killer cuts on this new 7". Her second album, Gotta Be from 1994 captured funk's essence with sharp breaks, hooky melodies, and her captivating voice and these newly remastered songs, from it ensure their timeless groove remains ever-present.
Review: Chicago has had a strong re-edit culture since the days when Ron Hardy and Frankie Knuckles were defining house music culture in the mid 1980s. Rahaan, who has been one of the more storied members of the global re-edit scene for the last two decades, is undisputedly the Windy City's current scalpel-edit king - as his ongoing series of reworks on Hot Biscuit Recordings emphatically proves. Here he adds two more fine revisions to his bulging discography. A-side 'For Dancing & Singing' sees the veteran DJ/producer apply his Midas touch to a vintage 60s funk jam, making most of the sampler-ready breaks and groove, while flip side 'The Galaxy' - our pick of the pair - is a soaring and spacey 70s disco workout piled high with percussion, jaunty piano motifs and suitably intergalactic synth sounds.
Review: Rahaan, one of Chicago's finest exports, delivers another stellar collection of dancefloor-focused edits. This four track EP traverses a spectrum of sounds, from disco to house, showcasing Rahaan's signature blend of infectious grooves and soulful energy. 'Project Funk' sets the tone with its undeniable funk flavour, its driving bassline and infectious horns guaranteed to get bodies moving. 'Shangri La' takes a more ethereal approach, its dreamy melodies and hypnotic rhythms transporting listeners to a blissful paradise. On the flip, 'Tribe Dance' injects a tribal-infused energy, its pulsating rhythms and percussive elements creating a primal atmosphere. 'Deeper' closes out the EP with a deep house excursion, its hypnotic groove and soulful chords inviting listeners to lose themselves in the music. With its impeccable selection and expertly crafted edits, this release is a must-have for any discerning DJ or lover of quality dance music.
Review: Rahaan is a Chicago legend and master of the most soulful sounds in the studio. His new EP for BBE, 'We Are The Ones,' sees him joining up with a whole host of top musicians such as Marcus J. Austin and Nancy Clayton on vocals, Carnell C. Newbill on keys, Todd Swope on guitar and Lou Terry on bass. Between them they bring real dance floor adventures that are steeped in proper musicality. Ohio Players' Kenny Anderson on the horns brings some real soul to these four-to-the-floor cuts which mix up disco and house in the finest of fashion.
Review: Rahaan is one of Chicagos finest exports - he can do it all from edits to disco, dusty house to soul packed delights. He shows that again here by kicking off a new label, Gospel One, with a double 12" of cuts that all draw on gospel. The opener is a raucous and funky cut with belting vocals and noodling basslines, while elsewhere there is fleet footed groove and live sounding drums to 'Message In Our Muzik' that are topped with a superb female vocal. 'Don't You Worry' ramps up the tension with more fast and funky beats and 'He Can' gets down and dirty with some sleazy basslines and call and response vocals. A passionate package for sure.
Review: Founded by Roy Ayers in Cincinnati in 1976 as a vehicle for his songs and productions - though, interestingly, he was never a member of the band RAMP recorded and released one album, 1977's sun-soaked jazz-funk opus, Come Into Knowledge. This fantastic 45 from South Street Records' new South Street Soul offshoot showcases two of the set's most admired and in-demand cuts. Edwin Birdsong and William Allen share production credits with Ayers on 'Daylight', a shuffling, dewy-eyed, afternoon-ready delight whose slow groove, meandering synth solos and blissful female vocals recall another Ayers' classic 'Everybody Loves The Sunshine'. Fittingly, RAMP's fine, soft-focus take on that tune can be found on side B.
Review: Michigan-via-Ohio gospel group Rance Allen have been going for decades, and thanks to Expansion Records, two of their best known tunes now have a chance at relistenership. 'I Feel Like Going' on barely saw a resurfacing on YouTube, but just one listen and we're sure... this is a shockingly important slice of wax, with slapping electronic disco-soul production embedding sax, viola and castanets in what ought to be considered a criminally undersought pair of dance opals. A modern soul masterclass.
Monsieur Van Pratt Le Groove - "El Rap Clap O" (Regroove) (4:40)
Bully Boy - "Fear'n'Loathing In Funk Vegas" (4:34)
Ben Jamin - "Old Time Feeling" (4:50)
Review: French funk lovers Acts of Sedition roll out another tasty double 7" here that features some massive joints from around the world. First up is the Latin heat of Rare Cuts's 'Amigo Bracno' with its big, bright leads, string lushness and percolating, percussive groove goodness all finished with a great Portuguese vocal. Monsieur Van Pratt Le Groove's 'El Rap Clap O' (Regroove) hits a little harder but with similar funk playfulness and some great chord work and Bully Boy then offers the raw and strident funk of 'Fear'n'Loathing In Funk Vegas.' Ben Jamin slows it right down with the sun-kissed late night bliss of 'Old Time Feeling.'
Give It Up, Turnit A Loose (previously unreleased) (4:31)
It's A Family Thang (previously unreleased) (4:35)
Review: Obscure Californian group The Real Thing (not the Liverpool 4 piece ) who recorded for US label Whiz enjoy a very special spotlight on Super Disco Edits. Both cuts previously unreleased; they're as fizzy as the product they share a slogan with... "Give It Up & Turn It Loose" takes James Brown to turbo charged pastures, tearing up the funk rule book so rapidly they've got friction burns. "It's A Family Thang" brings us back down to earth with such unified tightness and positivity it would make Sly and the Stones blush. The real deal.
Review: If you're after fresh workouts for body-popping break-dance sessions, this 45 from John Reed & The Automatics on Funk Night Records should be essential listening. While there's something undeniably alluring about the more suspenseful B-side, 'Space Break' - where effects-laden electric guitar licks and alien-sounding synths rise above a metronomic bassline and a relaxed funk break - it's the more up-tempo A-side, 'Stardust Break', that's the real winner. Based around drum-breaks that reference 'Apache' and a seriously squelchy synth bassline, it's an intergalactic club jam that's just tailor-made for headpins, windmills and caterpillars.
Review: Reflex was a band assembled in the 1980s by drummer David Humphrey from bands including Public Image Ltd. and they put pout their biggest hit 'Funny Situation' privately via Star Records in 1981. Paint A Picture now serve up a first ever fully remastered and licensed reissue of the superb 7". An original will cost you upwards of L200 if you can find it so this is welcome indeed. The record includes an insert with some content on the release, which was made in the same studio and engineered by the same man as the classic Britfunk anthem 'Southern Freeze.' It is similarly tight and funky and will make any floor go off.
Review:
Ultra Vybe is one of the many superb soul labels to operate out of Japan. This time they turn their attention to the sounds of the 70s soul vocalist Clarence Reid. He had a slew of hits and two of them make it on to this 7". First is 'Rockin Chair' from his 1975 album It Keeps in Raining. It's mid tempo, warm and well swung with a louche vocal turn. ''Till I Get My Share' is a more direct cut with a passionate vocal and big horn stabs over prickly rhythms. It's one of his earlier singles from 1972 but still bangs in 2021.
Review: Clarence Reid's Miss Hot Stuff delivers a James Brown-styled 60s funk experience that's irresistibly infectious. Side-1 features 'Miss Hot Stuff,' is brimming with funk do to the infectious bass, vibrant horn section, and wicked southern guitar riffs, all complemented by Reid's stellar vocal performance. This track is a perfect blend of energy and groove, reminiscent of classic funk. On Side-2, 'Mr Hot Stuff' presents a fresh twist with added female backing vocals over an otherwise instrumental track. This downtempo version retains its funkiness while introducing a more laid-back, lounge vibe, making it ideal for both dance clubs and relaxed settings. Overall, Reid's mastery of funk shines through, offering vibrant, dance-worthy tunes with a timeless appeal.
Review: For the latest volume in their essential "Brazil 45" series of seven-inch singles, Brighton-based Mr Bongo has decided to offer up a fresh pressing of MPB star Renata Lu's superb 1971 single "Faz Tanto Tempo". You'll find the title track, a heavyweight fusion of US style soul and funk with added Latin percussion and a touch of easy listening sassiness, on side A, with original B-side "Sambaloo" on the flip. This features Lu singing over a hybrid samba/boogaloo backing track rich in jaunty bass, rasping horns and jazzy electric piano riffs. It's arguably every bit as alluring as the A-side.
All You Got To Do (feat Jimmy James & Alex Rose) (4:29)
Original (feat Marina Alberto) (4:01)
Review: Reposado aka Tequila Funk brings more Latin and Afro flavours magic to this new 7". It makes a perfectly international soundtrack for global dancefloor fun with A-side 'All You Got To Do' bringing an uptempo soul vibe with some legendary guitar from the one and only Jimmy James, while some soulful background cooing comes from Alex Rose. It's a feelgood gem that will unite all who hear it and then the reverse is a salsa-tinged delight. 'Original' has masterful piano from Marina Albero and is an irresistible gem that completes a fine two-tracker.
Review: Eastside Edits is back with yet another infectious disc's worth of funky disco edits for DJs and collectors alike. Welcoming a fresh throng of international talent, this eighth edition hears up-and-coming Indonesian producer Rhework appear alongside renowned UK duo Suckaside. The former's 'Street Sounds' channel the effortless bustle of square-blocked, gridlocked city streets, where steam rises from manhole covers, taxicabs trailblaze yellow light trails, and funk clubs roar as loudly as underground subway systems. Suckaside's B-side is a call-and-responsive version of equal calibre, though it does clock in at a slower tempo.
Review: Rhythm Rhyme Revolution, alongside DJ Tabu, delivers a fantastic EP with Summertime / Sunshine Girl. 'Summertime (nuacidfunk)' gradually escalates into a disco crescendo, enriched by Dan Lipman's jazz flute/sax and Gareth Tasker's steaming sitar riff. On the flipside, 'Sunshine Girl' boasts a slinky Afro percussive groove, with DJ Tabu's vocals celebrating love in the sunshine, complemented by Barrie Sharpe's infectious hooks. The ensemble work, featuring Kenny Wellington's jazzy trumpet and vibrant guitar, creates a dynamic sonic landscape. The EP also includes the original version of 'Summertime,' reminiscent of Motown classics. Sharpe's masterful tease and impeccable mood-building make this record a touch of class, leaving listeners thoroughly enchanted.
Review: Ricardo Bomba was not only a studio owner, engineer, pianist and composer, but so too was he an accomplished amateur skateboarder. He lay down these previously unreleased, sun soaked Brazilian tunes in 1978 after years as bandleader with the one and only Jorge Ben's live show. The master tapes were said to have been binned during a heavy studio clear out but the man himself kept a tape copy that has been remastered for this special 7". Mariana Couto provides the angelic vocals while the music all trills with joy and happiness.
Review: La Differencia, Dutch singer Hubertus Richenel Baars' 1982 debut, has long been considered something of a slept-on classic by those in the know. Charmingly lo-fi and homemade in feel, the cassette's 10 tracks - six of which are featured on this first ever vinyl reissue - brilliantly joined the dots between blue-eyed soul, spacey electro, disco, electrofunk and slap-bass wielding space boogie. As usual, Music From Memory has done a terrific job with the re-mastering; the tracks sound stronger than ever, if even they have retained some of the charming fuzziness of Baars' original production. All told, it's another essential reissue from Music Is Memory.
Review: Cosmocities returns with a sizzling six-track remix package of 'How It Feels To Be Loved' by American artists Erik Rico & C. Boogie. These jams are all ready for deployment in the club but come with a soulful signature that fans of Rico will quickly recognise. Tracks 'How It Feels...' and 'Love Everlasting' both get reworked by the one and only Josh Milan while Marc Mac, and Rico himself also step up with their own fresh twists. Milan's 'Honeycomb' mix infuses slap bass and acid-leaning grooves, his 'Floor Radio Vocal Mix' adds late-night soulful funk, Rico's 'Trench Coat Tribute Remix' delivers seductive P-funk vibes and Marc Mac's take on 'Love Everlasting' brings Balearic house magic.
I Don't Know What It Is, But It Sure Is Funky (Fashion remix) (3:50)
Review: Legendary 70s funk band Ripple are back with two original members making new music again. Curtis "Kazoo" Reynolds & Keith "Doc" Samuels now go by the name of Ripple 2.20 and their first work is a new version of John Edwards' "Exercise My Love." It is a cover, but not as we usually know it - they lay down an incredible new vocal and play the parts with a real sense of sensuousness. On the flip is a new remix of some of Ripple's original material in the form of Fashion's take on "I Don't Know What It Is, But It Sure Is Funky", a raw, dirty, sleazy jam to get you in a sweat.
Review: UK artist Risk Assessment is back once again with some potent sonic weaponry that is designed to make a big impact in the club. All four of the disco cuts are peak time sounds starting with 'Something New' which is awash with some crystalline synths and gloriously lush pads. 'Party People' is nice raw and live-sounding disco with lo-fi drums, slapping hits and a James Brown-style funk vocal. 'Like This Like That!' brings some funky little guitar motifs and a jumble of percussion while last of all, 'Girl At The Disco' shuts down with a more sensuous sound and slinky grooves that worm their way into your affections.
Review: Limited white vinyl repress.DJ Soopasoul's last mash-up was an inspired affair that saw him perfectly fuse tracks by Philadelphia Soul legends MFSB and the Beastie Boys. Here he takes a similar approach, placing the rap vocals from the 1995 hip-hop classic 'How High' atop a suitably funky, lolloping beat crafted from clavinet-heavy sections from Stevie's party-starting floor-heater 'Superstition'. It works remarkably well on the A-side vocal mix, and those who'd not heard either track would be convinced that there was no mash-up antics going on. Over on side B you'll find an instrumental mix that showcases Soopasoul's editing skills; minus the vocals, is a fine re-edit of the Wonder-ful jam.
Review: Isabel Roberts' mid-80s single 'Love Situation' featuring Robert Chandler, is revitalized on this limited 12" release, part of Backatcha's 'Hot Vinyl' reissue series. These UK electric-boogie-synth-funk tracks are essential for any dancefloor. 'Love Situation' is a smooth, soulful jam with a catchy melody, perfectly complemented by Chandler's vocals. The instrumental version on the same side allows the groove to take center stage, making it ideal for those crucial dancefloor moments where the music needs to shine on its own. On Side-2. 'Just Fall in Love,' continues the vibe with a romantic, yet danceable track that's just as versatile. The inclusion of its own instrumental version ensures this 12" is a complete package, offering both vocal charm and instrumental grooves. 80s fans of the groove will surely find some enjoyment with these on their turntable.
Review: Uniquely squeezy new funk by Robotron and the Funkadelic camp. Laying down a phat, uptempo synthfunk slew - 'Toy-Boy', 'Save Your Love' and 'Funk With Me' - alongside myriad liner note puns such as "are you ready to funk off?" and "we give a funk!", you can be sure that the tone of this one is kept both light and heavy, in a mutually opposing but impactful way. The B-side 'Save Your Love' is the particular highlight, presenting a rather interesting fusion of Italo, freestyle, street soul... it's kind of got everything.
Undercover Of The Night (Stones unreleased instrumental 45 edit) (4:52)
Miss You (Stones unreleased instrumental 45 edit) (4:49)
Review: Rolling Recordings from Antigua makes its debut here with a first release under the guise of Rock Star Heroes who offer up a couple of hard-to-find and previously unreleased funky disco influenced club bound instrumentals of out and out rock classics from one of the worlds best known stadium bands. These are perfectly designed for the club and collide rock, funk, disco and more into fresh forms. Opener 'Undercover Of The Night' popular with the likes of DJ Harvey and is a slice of raw, hard-hitting groove magic with organic percussion and live drums laden with funky guitar riffs and lively chord work that brings the whole thing to life. On the flip is an instrumental version of 'Miss You' which still has all the swagger of the iconic original with sultry harmonica luring you to the floor where the masterful drums and guitars will keep you moving.
Review: Dynamite Cuts presents the timeless classic 'Sugar Man' by Sixto Rodriguez on a 7" vinyl. Originally released on Sussex Records, this track features a stellar lineup of musicians including Bob Babbitt on bass and Dennis Coffey on guitar, with Gordon Staples arranging the stunning strings and Mike Theodore producing. The reissue uses the original white sleeve design instead of the South African issue with a black sleeve. On Side-2, 'Only Good for Conversation,' is another standout track from Rodriguez's LP, offering a heavy groove with a bass drum loop reminiscent of Eugene McDaniels. This release is a chance to own a piece of music history at a more accessible price point than the now extremely pricey original 70s issue.
Review: Philly's very own Brewerytown Reocrds releases new music from the city's longtime fixture Ron Aikens and his backing band the Hip Tones. Following in the traditional soul 45 rpm single format, 'Tear On My Chin', comes in the form of a sweet ballad side with a funk side on the flip. A staccato piano jabbing, r&b Philly soul ditty to the letter, the song hears Aitkens, the city's musical heart and soul, ruminate on love lost, culminating in the symbolic "tear on my chin", a dualistic portrayal of mourning and carrying on despite the pain.
Ronfo & Kindred Spirits Orchestra - "Don't Let Him Get The Best Of You" (feat Sandi Everett) (4:45)
Lee McDonald - "Let's Play Luck" (extended version) (4:51)
Review: The Izipho Soul label continues to bring us hard to find nuggets from the many-layered history of US soul music. On this latest 7" we're treated to Ron Foster's 1985 version of 'Don't Let Him Get The Best Of You', which was recorded with the 21-strong Kindred Spirits Orchestra and has been revived with a new vocal take from the original lead singer of Whirlwind, Sandi Everett. On the flip, you can enjoy an extended mix of Lee McDonald's 'Let's Play Luck', a disco-fied stomper from his classic album Sweet Magic.
Review: For decades, the humble disco re-edit has offered wannabe-producers a way into music production. In recent years, there's been an upsurge in house 'edits' too - a trend that has seen countless producers combine bits of classic and obscure cuts with their own peak-time ready grooves. This debut from the previously unknown Jay Rook fits into that category. Check first opener 'Master Wonnin', where Rook turns what appears to be a classic Highlife jam into a bouncy, bass-heavy Afro-house workout, before further refining the same attractive, sun-splashed formula on 'Eme (Yeah Yeah)'. Over on side two, Rook changes tack on 'Do God a Favour', adding a touch of hip-swinging, disco-flexed gospel-house flavour to a bluesy old soul-jazz cut, while 'Jesus Saved Me (Glad)' is a filter heavy disco-house re-wire of a righteous gospel number.
Review: California label CQQL Records welcomes The Roswell Universe for a new, fun and sunny uptempo fusion of jazz, boogie, funk and pop into a dance floor-friendly record that cannot fail to ignore the club. The group behind it is a rotating crew of musicians from around LA that has been working together since 2016. They have a full horn section as well s talented musicians on bass, keys and drums and that shows here: 'Come Up' is brilliantly loose and kissed by warm sunny rays. The lush beats have a laid back feel while the melted chords are draped over the top and the filtered vocal brings the soul. Flip it over for a fine instrumental.
Review: Roundtree hit hard with the few joints they gifted to the disco world. Led by songwriter and producer Kenny Lehman, they dropped an album and a couple of singles in 1978, but then made a surprise return in 1982 for a one-shot drop of boogified perfection on Aria. 'Hit On You' is one of those simply perfect jams with a nasty bassline and all the hooks you could wish for, and Groovin clearly know what they're after as they lead with the dub mix on the A side for this reissue. There's also the remix version of the track, and an additional retouch from Moplen thrown in for good measure to give you a prime cut three ways - no bad thing in our book.
Review: Roy Ayers made a number of killer disco cuts in the late 1970s, though few are quite as essential as 'Running Away', which has now been reissued by South Street Disco. Built around an instantly recognisable (and much-sampled groove), the extended 12" version is rich in rubbery, rising and falling bass, clipped guitars, spacey Rhodes motifs, superb lead vocals from Ayers and even better backing vocals courtesy of the female quintet who would later become Eighties Ladies (who's superb 'Tell Him' was reissued in 2020). Turn to the flip for another chance to savour Fever album-opener 'Love Will Bring Us Back Together', a deeper and more low-down disco groover that boasts some seriously good Clavinet riffs and another inspired Ayers' vocal.
Review: Dynamite Cuts has got a couple of Roy Ayers Ubiquity projects in the fire this month - a brilliant 7" double pack as well as this 45rpm. Both sides of this one rather take quite different paths to your affections. 'A Tear To A Smile' is high-speed and complex funk for the dance floor with loopy rhythms and Roy's mad vibes playing over the top next to some neat bass work. Flip it over and you'll find the much more deep and laid-back 'Time & Space' with its lavish cosmic keys and jazz vocals all working you into a star-gazing lather.
Review: Dynamite Cuts back up their name once more with another red hot 7" of pure dancefloor gold. This one brings tufter four cuts from the inimitable Roy Ayers Ubiquity. The opener 'Hummin' In The Sun' will have you feeling the rays on your face as his signature percussion and vibes work brings a soulful groove alive. 'The Fuzz' is a more tender and intimate soul sound for late-night romancers and 'I Can't Help Myself' pics up the pace again with some funky drums and warm melodies while 'Love' has a conversational style and smooth groove.
Review: The Barefoot Beats crew return with outing number 14 and once more it is music for sunny climates. Aroop Roy takes care of the A-side of this 10" with 'Fankiando Taniador', the Latin flavoured deep cut disco and funk roller with 80s horn stabs and rumbling bass all topped with a red hot vocal full of flair. It's pure Brazilian heat that is perfect for outdoor dancing and Bernardo Pinheiro's 'Expresso Amor' then brings more sunshine goodness with its slinky disco house beats and swinging hand claps all irresistible to anyone with a heart.
Review: While most celebrate Patrice Rushen's wondrous disco and boogie tracks of the 80s, her early output was more heavily tipped to jazz and jazz funk. This single reissue from BGP makes the point in no uncertain terms by shining a light on 'Haw Right Now', a certifiable jazz-dance monster with absolutely stellar playing from Rushen and her band, including Joe Henderson absolutely shredding it on sax. Pulled from her 1974 debut album Prelusion, this jam is backed up by the opening track from her 1975 follow up Before The Dawn. 'Kickin Back' is a loose and freaky funk jam sunk way down low, all the better to sneak into your subconscious.
Review: Last year, the Expansions label kicked off a wonderfully intriguing 10" series featuring classics from soul music's rich canon complemented by contemporary cover versions and so far it's seen Blue Note troupe Quasimode tee off against Johnny Hammond and Bembe Segue challenge Norman Connors. A third edition duly arrives and hints Expansions are really enjoying the creative challenge the concept allows them with the jazz funk classic "Zaius" from Eddie Russ joined by a cover from the celebrated UK funk veterans Incognito. Originally appearing on the 1976 LP See The Light, "Zaius" is a blinding example of why Russ is described a master of the keyboard and it's complemented well by Incognito's B Side cover which appears on vinyl for the first time. Don't sleep!
Review: Mongo Santamaria's 'Green Onions' here (a cover of the iconic Booker T standard) is a classic cut that showcases the legendary Cuban percussionist's mastery on the drums. First released in 1969 alongside the nighttime swayer 'In The Midnight Hour' , the single hears a funking reissue here that once more shines a blinding light on Santamaria's deft ability to blend originally American compositions with Latin rhythms and soul-jazz structures.
Review: Craft Music's Good For Dance series continues with its second instalment and this one has been curated by none other than DJ Craft himself. Joining him are talented pals Schmoltz, Bogdan Ra, Romain FX, and Outra, also known as Joutro Mundo. These deep diggers are celebrated for their prowess in unearthing hidden gems and transforming them into dancefloor anthems and that's what they do here as each artist brings a unique flavour to the mix. Schmoltz's 'Luv The States' is a peak-time percussive disco jam, Bogdan Ra brings some slap-funk drums and glossy Italo synths and 'Tell Me Why' has crunchy drums and jagged synth stabs before a camp closer in 'Colosso'.
Review: City Pop-era Japanese girl group Shohjo-Tai's 1984 EP with Red Bus Project (an alternative alias for their then synth-loving production outfit, Redbus), 'Escape', has long been a favourite amongst crate diggers - hence this handy reissue courtesy of Sound Metaphors offshoot Thank You. While the artwork has been refreshed, all three original tracks appear in freshly remastered form. On side A you'll find 'Forever', a body-popping slab of 1984 electro featuring Shohjo-Tai rapping in English over bubbly drum machine beats, squelchy bass, 'Rockit'-esque sounds and periodic horn breaks. Turn to the flip for Antal favourite 'Electric City', a driving City Pop-meets-Italo-disco club track blessed with a heavy and metronomic bassline, and the electro-goes-jazz-funk brilliance of 'Ku.Ro.O.Bi.Magic'.
Review: 'Warlock' is the latest release to be pushed via Bob Stanley's Measured Mile imprint, and pulls two floor-friendly but still retrospective gems from the storied De Wolfe music library, based in the UK and widely known as the progenitor and originator of what has now become known widely as library music. To demonstrate the gestation times common to this corner of the music industry, these two tracks have never been heard before, and yet were recorded in 1983! First comes Reg Tilsley with 'Warlock', a full yet light-winged flight through linns of flute, funk bass and notes inegales. Meanwhile, 'Flashpoint' by Roger Jackson is a space-age tittup of booming, long-tailed proportions; it's tempered by the nagging nip of a clavichord and the formidable frown of the lowest piano note.
Zeca Do Trombone & Roberto Sax - "Coluna Do Meio" (2:58)
Review: Mr Bongo offers up an incredible 86th volume in the Brazil45 series, and this time it's Black Rio funk from two mainstays of the sound, Toni Tornado & Zeca Do Trombone. A-side 'Sou Negro' is from Tornado's 1970 EP on Odeon Records. It's a sought after number that despite lasting only just over two minutes still makes an indelible impression. Zeca Do Trombone & Roberto Sax join forces on the flip for 'Coluna Do Meio,' which is a more smooth, easy going jazz laced tune compared with the raw and direct a-side. This one has an acrobatic vocal and sunny riffs bringing pool-side vibes under clear blue skies.
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