Review: Funk editor Mister Mushi finalises the latest fleet-dispatch by the eponymous factory known as Mushi 45. All housed on a distinctive yellow, large-innered 7" record (you know, the you need the metal spindle adapter for), every release on this label is a charm. Here the dotted line marks out a well-defined classic by Rob Base & DJ E-Z Rock from 1998, 'It Takes Two', which in turn samples Lynn Collins' 'Think', after which this reissue is named and from which the now rather saturated vocal sample originates. James Brown's original production and backing "c'mon!" admonitions shine brightly, while Mushi's extra phattenings also serve to emphasise the mix without peaking it.
Review: Deified disco editor Mister Mushi breaks from his own Mushi 45s faction for a diplomatic dance-over with fellow sonic saucerers Disco Donuts, whose third volume in a series hammers home two more spacey soma-uplifts. 'Expansions' of course jazz-funk clarion call 'Expansions' by Lonnie Liston Smith & The Cosmic Echoes, whose importuning "expand your mind" motif will never leave us. And of course, there's 'Ghetto Passion', an unknown remix to us, yet whose beats are so punctual that they could pop an iron ballon; this is a raw, clear and seething analogue sound, a style which many disco artists have tried to emulate since.
Review: This newly formed and already brilliant label is back with more previously unreleased instrumentals that bring a different twist and dancefloor edge to classic sounds from the rock and indie world. First up we get a subtle edit of 'Sound and Vision' which has a nice fat and funky bassline bouncing beneath the splashy drums as nice acoustic guitar melodies ring out next to glistening retro-future pads. It's a cosmic trip that oozes soul then things slow down on the flip with 'Young Americans'. This one is a nice go-slow instrumental with funky and expressive horn work taking the lead over the fat-bottomed drums and bass. Essential.
Review: Danny Krivit remains in a class of one when it comes to meticulous and masterful edits of classics. He puts out a fair few of them too, but the quality levels never dip, as is the case again here when he throws it back to the energy of his native New York's most legendary dancefloors. Opener 'Flying Machine' by War was originally composed for the 1978 film Youngblood and is a dramatic Latin-infused instrumental packed with swirling flutes, fierce perc and a breakbeat that's fuelled countless Afro house tracks. It's a fiery dancefloor weapon that hasn't been on 7" before and it comes backed with 'How Much Are They', which dives into deep dub territory with help from post-punk legends Jah Wobble, Jaki Liebezeit and Holger Czukay. It's a real mind melter packed with mad effects.
Review: .5 Borough Breaks are back with another essential slice of 90s hip-hop nostalgia. Their latest 7" revives a 1995 Hot 97 favourite-a gritty, golden-era banger that once ruled the NYC airwaves. Handily pressed for both DJs and collectors, Blahzay Blahzay's 'Danger' captures the raw energy of East Coast rap at its peak. As always with this label, the flip side features the original sample source: a soulful gem 'Rockin Chair' from recently departed legend Gwen McCrae whose legacy shaped generations of soul fans and hip-hop heads. As such, this 7" combines deep digging with authentic hip-hop flair and pays tribute to both the beatmakers and the soul pioneers who inspired them. Essential wax.
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.
Synthetic Substitution (Just Blaze take 6 Master mix) (3:49)
Review: Originally released in 1973 by New York-born soul singer Melvin Bliss, 'Synthetic Substitution' was never meant to change music. A B-side to his single 'Reward', it quietly slipped out on Sunburst Records i and then, years later, exploded. With 'Funky Drummer' sticksman Bernard Purdie's drums at its core, it became one of the most sampled tracks in hip-hop history, forming the rhythmic backbone of cuts by De La Soul, Mobb Deep, LL Cool J, Justin Bieber and hundreds more. This new release gives the track its due, with a sharp remaster and a respectful rework from Just Blaze. The original still hits hard i a slinky, minimal soul groove with impeccable swing and eerie vocal calm. On the flip, the 'Just Blaze Take 6 Master Mix' lifts that legendary break into widescreen, looping and layering it with warmth and flair. It's not flashy, just smart i honouring the DNA while letting it breathe. It's a fresh pressing of a foundational beat, and a timely reminder of how deep hip-hop's roots run. Whether you're crate-digging or just craving drums with history, this is as vital as it gets.
Review: Emma Noble, the emerging soul singer from London, delivers a powerful performance on the girl group soul anthem 'Unstoppable'. Her second single, it's poised to become a next-gen floor-filler; catch us playing it on repeat, *in flagranti*, after it premiered on Craig Charles' BBC6 Soul Show in early 2025. 'Going Going Gone' backs it up on the B-side, as the first single from FPE's upcoming album Waves. Hearing rising Australian singer-songwriter and pop genius J Mahon on vocal duties, the track's catchy brass sections combine with J's androgynous soul vocals, and evokes the sounds of young Motown artists in the style's 60s adolescence.
Review: REPRESS ALERT!: New York producer P-Sol has hit on a super effective formula for starting the party, stitching together a selection of familiar samples and hooks, adding some beautifully dusty breaks and adding a final sheen of shiny production skills. Both sides of this 7" have a touch of raw 'two turntables' action about them, while remaining impeccably constructed and tight, with the A-side 'This Way' proving to be the slightly speedier and slightly more funk/r&b-flavoured, while 'Breathe & Stop (Abstract Blend)' is the one for the pure hip-hop heads. Both, however, are dynamite in the box, needless to say.
Review: Bowie is a new label that says it intends to "dig deep into the unreleased sides of pop superstars material from the past." The opening gambit is a strong one that should hook you in for more as it comes in the form of a 7" with two fine funk instrumentals, neither of which have been put out before. 'Golden Years' has lovely live drums and meandering guitar licks for some carefree listening, while 'Fame' has a deep cut groove that rises and falls in dramatic fashion with more neat and tidy riffs adding the detail next to the big licks.
Review: For those of a certain age, Gwen McRae's "All This Love That I'm Givin" will always evoke memories of Cassius' French Touch classic "Feeling For You", which sampled it heavily. It remains a killer record in its' own right, though, as this timely reissue proves. Originally released in 1979, it sees McRae at her powerful best, delivering a potent message to an errant lover over a killer, low-slung disco-funk groove. It's one of the tracks that should really be in any discerning funk, soul or disco DJ's collection. Flip for original B-side "Maybe I'll Find Somebody New", a breezier chunk of laidback soul with a slightly Southern lilt. It's good, but pales into insignificance compared to the brilliant 'A' side.
Touch The Sky (Funky Soul 45 Breaks instrumental edit) (4:00)
Review: Toronto's Icons Of Hip Hop follow up their inaugural 7" with a heavy second B-boy drop, pairing a titan of rap over an unmistakable funky 70s soul loop. The A-side delivers a vocal-led version that marries sharp bars with dusty horn chops and a butter-smooth rhythm section, channelling the crate-digging spirit of golden era production with modern flair. Flip it for the 'Touch The Sky' Funky Soul Instrumental Edit, where the sample's full groove comes into focusigritty drums, warm basslines and shimmering soul textures that nod to the track's roots while inviting DJs to get playful. Limited stickered dinked 45, this is essential heat for anyone still chasing that raw, loop-driven magic.
Review: Universal Cave set out on a brand new cosmic spelunk. Flipping a pair of raucous Latin disco pancakes on a searing summer lowrider bonnet (in lieu of a non-stick pan), these free-range disco ovules pack much underfoot promise for the discerning dancefloor. The Philly collective kicks things off with the spry 'So Soft So Sweet', with an elusively sourced sing-along hook, blazing synth-gasms, and impulsive drums. 'Mishugina Mambo', on the other hand, gleans its inspirations from the classic Sofrito Specials series: bold horns fly in the face of relentless percs, urging everyone and your mother to get moving.
Review: Gerardo Frisina, the Italian musician and producer renowned for his expertise in Latin jazz, delivers a captivating experience with Mystical Funk on Schema records. Side-1 presents 'Mystical Funk,' a mesmerizing blend of tribal drums, smooth funk grooves, and island vibes that transport listeners to exotic landscapes. On Side-2, 'Spaced Out' takes a more urban direction, featuring an infectious hip-hop/funk beat infused with sophisticated organ sounds and hints of jazz influences. Frisina's masterful production seamlessly merges diverse elements into cohesive compositions that exude elegance and groove.
Review: Measured Mile, the 7"s label run by Bob Stanley, firms its focus on DJ-friendly 45s that are or were either very rare or previously unavailable in the format. Its run of sharply curated 7"s is replenished with another three-tracker, this time an unusual choice, fencing two classic British sports broadcasting themes, pivoting from midtempo funk to faster breaks. Leading the A are two standouts from Douglas Wood, 'Cranes', known as the punchy, synth-heavy theme from the BDO World Darts Championship - and 'Drag Racer', the atmospheric opener to the BBC's Snooker World Championships coverage, both drawn from the revered Studio G library catalogue. On the flip, John Cameron's 'Sprocket Shuffle' - the lively 1980s ITV Snooker theme - rounds out the package in a flurry of analogue texture and charming nostalgia.
Review: Two powerful soul sessions from Alice Clark's eponymous debut 1972 album. "Don't You Care" is a hard-hitting soul standard (that became very popular in acid jazz scene in the early 90s) where Alice opens her heart for all to see while her incredible band ebb and flow with Clark's emotions. "Never Did I Stop Loving You", meanwhile, languishes in sentiment at a slightly lower tempo that allows her to really dig deep for those low notes. The real fun happens as we reach momentum towards the end and every band member brings out their A-game and bounces off each other - backing up Alice every step of the way. You will care about this.
Review: REPRESS ALERT!: Local Sugar Diggers is a series from label head Scruscru that draws together a fine selection of re-edits and reworks of a mix of hard-to-find old records, all done by his mates. This time out it is LTF who steps up his 'At The Pier' is an effortlessly funky jam with some laid-back horn work adding extra spice next to the jumbled percussion. Flip it over and you find 'Con Ritmo Y Melodia' which is a slower, steamier, more Latin-flavoured sound with shuffling percussive grooves and big old breaks to get the floor going.
Review: Croatian producer Umbo makes a raucous return to Breakbeat Paradise with this two-tracker of throwback funk edits. A-side 'No Sugar' is a no-nonsense breakbeat soul cut, filtering vintage vocal hooks through crisp drums and rubbery basslines. On the flip, 'Saoco Root' cranks the tempo and energy, fusing jazzy brass, hype vocals and Beastie Boys swagger into a fast-cutting party tool. A continuation of BBP's long-running Toxic Funk series, this latest volume slots right into the label's wheelhouse: dusty, high-energy edits with bite.
Review: The electrifying return of El Combo Batanga. The Afro-Cuban band and Ubiquity Records favourites descend upon us once more in a sallying storm of Isthmian lightning, bridging the spirit of classic Fania and Tico Records releases, and whipping them back around and through gales of Latin funk, son, timba and boogaloo. "Batanga" refers to the traditional Cuban instrument heard throughout their records, if you listen closely: new A cut 'La Cuota' brings an urgent, hyperbolic funk, while 'Darling' contrasts with nixie moods, a heart-burning Latin soul lament.
Review: The Milanese outfit dive headlong into cinematic Afro-disco on this limited 7", reworking two cult dancefloor staples with characteristic flair. On the A-side, their version of Piero Umiliani's 'Discomania' hits with tightened syncopation and swirling synth arrangements, turning the cosmic Italo-disco cut into a hypnotic afrobeat strut. Flip it over for a rich reimagining of Azymuth's 'Jazz Carnival'iCalibro 35 boost the groove with deep-bottomed funk and crisp horns, pushing the original's samba swing into widescreen. Known for their work at the intersection of funk, soundtrack and psych, the band bring sharp musicianship and warm analogue heat to both sides of this essential 45.
Review: The long-running Mushi 45 label from Japan is back with another big serving of Afro-tinged funk. This 45rpm is limited to just 300 copies and features both parts of Afro Breed's Toootee. It is our first brush with this artist but we like what we hear here - 'Tootee (part 1)' has a James Brown-style take on funk with trilling acoustic guitar and tumbling drum breaks under big vocals. 'Tootee (part 2)' introduces a more libidinous sax sound that is steamy and sultry and seductive.
Review: This 7" vinyl marks the inauguration of the new Konbini Klassics label and it features expertly curated city pop and funk gems from Japan's golden era. The A-side offers 1983's 'Do What You Do' which is a relaxed synth-driven track with irresistibly catchy vocals. On the B-side you can enjoy the sounds of Cosmos, the all-female supergroup who deliver their slap-funk classic 'Midnight Shuffle' with its big horns, funky bass and twinkling synth melodies. A perfect 45 rpm gem, this release brings Japan's iconic sounds back to life and then some.
Review: Few bands live up to their name in the way Jungle Fire do; fusing Cumbia, Afrobeat and trad funk, each JF jam blazes the floor with real power. "Firewalker" is the buzz-cut here, swaggering with Afro-disco confidence; it's all about the epic horn Q&A and cutlass-sharp guitar lick. "Chalupa" takes a deeper route into the dancefloor by way of a classic soul riff that sways to-and-fro before breaking down into a more staccato rhythm. Watch out for the pay-off... Those jazz horns are a delight to behold!
J Blue - "I Can't Keep Crying Sometimes" (part 1) (3:25)
Original Gravity Allstars - "I Can't Keep Crying Sometimes" (part 2) (4:02)
Review: London imprint Original Gravity keeps the 7" heat coming with a two-part reimagining of the blues standard 'I Can't Keep From Crying Sometimes'. J Blue takes the A-side, laying down a smoky, melancholic vocal over a stripped-back hip-hop groove, bringing 60s soul pathos into sharp modern focus. It's the kind of cut that creeps up on you-restrained, ghostly, all mood. On the flip, the Original Gravity Allstars stretch things out dub-style with a Pt. 2 version, turning the track inside out into something moodier, heavier, and bass-led. Another strong entry in the label's ongoing campaign to bridge vintage sonics and contemporary pulse-perfect for deep selectors and collectors alike.
Review: Madrid via Cuba musical gang El Combo Batanga have finally dropped this new double-sider 7". It was teased by the early reals sou the a-side which brings plenty of dance floor filing heat with 'El Que La Rompe La Paga'. It's packed with samba shuffle, expressive horn work and results, and relentless keys work designed to get the ass moving. On the flip is 'Toca La Campana' which is a little less dense but not less rhythmic in the way it sways to and fro with fiery Spanish vocals and funk riffs.
Review: To bear a name like Breakbeat Lou, you'd have to have earned it. And Louis Flores is indeed arch-digger numero uno: mainly having cut his teeth as a co-creator of the Ultimate Break And Beats compilations on New York's Streetbeat Records, Lou was born anew as a DJ as way back as 1974 (!), amassing a boss pile of vinyl and thus music intel, largely as to where and how to source the best breakbeats out there. With elite producers like DJ Premier, Large Professor, The Bomb Squad, Pete Rock, Dr Dre and Marley Marl all having sampled Lou's wholesale procurements over the years, the man himself now steps back up to flaunt his very own pump-action breaks works. From KRS-One to Loose Ends, the samples on this are electric, and the original beats bombastic.
Review: An intriguing song is 'Aftershower Funk', the Latin American musician Joe Bataan's curt salsa single from 1974. Fresh, cologned, groomed, and with towel firmly wrapped round hair, Bataan's largely instrumental track is about as lightfooted as the sprightly young man he was, then at 34 years old. With heavy tin drum and cowbell clangings peppered throughout, a toe-tapping mood is sure to beset the listener. B-sider 'Fin' continues the mood, uniting percussion with piano, brass, whistle and rhythm guitar; a much fuller exercise in triumphant finality.
Review: This excellent 7" single from Athens Of The North boasts more desirable deep funk business. This time dusty-fingered digger Euan Fryer has secured the rights to a sought-after seven from Papa Bear & His Cubs, a long-serving combo whose sole "45" has long been a sought-after item amongst serious soul and funk heads. "You're So Fine" may sound like it was recorded in a cement mixer on a cheap portable tape recorder, but musically it's soul bliss - a wonderfully languid, loved-up song blessed with a superb lead vocal and languid instrumentation. "Sweetest Thing On This Side Of Heaven" is, if anything, even more dewy-eyed - a seductive slow jam whose saccharine lyrics are delivered with heartfelt passion.
Review: The figurative "battle weapon" is a kind of warring sonic heuristic; a dirty, up-your-sleeve musical "tool" made expressly for the MVP DJ to use in times of soundclash-y trouble. The Battle Weapons label know this all too well, and here they welcome new trainee assailant DJ Maars to demo his skills in the colosseum, bridging a fine line of recognisability and productive sample-flippage. 'A Nah Gun Nah Heat' brews Snoop Dogg's 'Drop It Like It's Hot' and Doug E. Fresh's 'La-Di-Da-Di' to delicious acapella effect, whilst 'Feel Like Standing' smashes Ludacris and Marcia Griffiths in an almost fated blend. Why didn't anyone else think of these before?
Review: In 2011, Banda Achilifunk & OJO served up Gitano Real, one of the year's most essential albums. It was caned far and wide by funk lovers, in particular Craig Charles on his 6 Music show. Now, two cover versions taken from the essential album have been pressed to limited edition translucent yellow vinyl. First up, 'I Believe in Miracles' is an overwhelming take on the Jackson Sisters classic with plenty of happy Latin vibes and rumba funk rhythms. Flip it over for a more abstract version of McFadden and Whitehead's seminal 'Ain't No Stoping Us Now' which is a soulful disco number packed with sunshine.
Review: Sun Atlas is a mysterious ensemble whose origins remain elusive. Listening to their music, you wonder whether they could have been based in Los Angeles, New York, Marrakesh or somewhere else entirely. Their only tangible existence is found on this 45, but it's a brilliant one which showcases their irresistible sound. Afrobeat, ethiojazz, surf, cinematic soul, crime jazz and funk and hip-hop breaks all colour these tunes as Sun Atlas create a razor-sharp, genre-defying mix that speaks volumes without saying much. Their music is full of drama and tension, narrative and diverse rhythms and it all adds up to an enigmatic vibe. This release proves that sometimes, the sound itself is all that matters.
Review: The DMV crew presents two Biggie-inspired tracks on a limited 7" vinyl here that drives just in time for you to flip some Christmas party dance floors inside out and back to front. Side A opens with the wonderful and timeless 'Juicy Groove,' which is a funky, brass-infused twist on a classic NYC hit that will connect with a wide array of dancers. Flip to side B and you will find a Caribbean-flavoured mashup that's sure to leave you 'Hypnotized'. Do not excuse the pun.
Review: A serious piece of soul sampling history right here. "Evil Vibrations" is instantly recognisable thanks to De La Soul's "A Roller Skating Jam Named Saturdays". Fast-paced boogie blessed with swooping sugar harmonies, it still sounds as smooth as it did when originally released in 78. Touching stargazing ballad "The Star Children" was even more popular with the hip-hop set scoring cameos on cuts by both RZA and Mobb Deep. Both cuts are taken from the album Help Us Spread The Message. Criminally it's their only LP!
Review: First released back in 1973, Flying Dutchman aver their grand standing on the parapet that is the New York jazz scene with a timely new reissue of Leon Thomas' 'Just In Time To See The Sun', which now appears with a different B-side counterpart. Shaker-uppers, these sonic sailers are! Where As 'Just In Time...' itself first surfaced as the B-side to a stirring album cut 'Never Let Me Go' - which also graced the pimpin' Tennessee blues-jazz musician's later record Full Circle - it now comes paired with the pentatonic skiffle 'China Doll'. FD's new curative duopoly on Thomas' bellowing sound flaunts the singer and musician's deep range, contrasting the styptic funk explosions of the titular Santana cover on the A with the shaker-laden Orientalist groove on the B.
Review: Working with its sister label OST Recordings, Acid Jazz releases a new version of 'Family Tree' by Family Tree, on a smart-looking label based on the look of the original's Ananda label. For the first time since 1975, this new reissue comes with the Kevin Beamish Disco version and a shorter disco mix, as was initially compiled. Handcrafted by 'I Specialize In Love' hitmaker Sharon Brown and her group Family Tree, this eponymous disco-funk sheller is an unpolished study of musicianship above overproduction; the drums are dynamic and dry, lending ample space to Sharon's nostalgic familial reminiscences.
Review: Stix Records is the sub-label of superb French outlet Favorite Recordings, and it is reserved for heavy dub cuts. This one finds label regular Mato reworking a classic reggae roller first written by Kool & The Gang. His gorgeous version is perfect for hot summer nights with its languid Fender Rhodes leads and sun kissed beats. It's loved up and perfectly, frankly. On the flip is a reggae rework of Bill Withers', who is sadly no long with us, 'Use Me,' repackaged with a playful harmonica lead and more grinding chords over the gently tumbling beats.
Review: Before making it big with Maze, Frankie Beverly was the man behind Raw Soul, a heavyweight, politically conscious band whose fuzzy, full-throttle sound sat somewhere between the J.B's and Sly & The Family Stone. The band's most famous moment was 1975 single 'Color Blind', which was originally recorded as 'What's The Color?' Here that never-before-heard recording is finally issued. Rich in fuzz-soaked horns, crunchy drum-breaks, weighty bass and clipped funk guitar licks, the track features some superb, James Brown style lead vocals from Beverly. Brilliantly, there's also a chance to savour the unheard Raw Soul instrumental version, which features an extended, DJ-friendly drum solo midway through. A slice of history that's well worth picking up. As played by DJ Koco....
Review: Wow! Of all the melancholic modern disco we've come across this year, this has to be the best so far, though we're surprised its popularity hasn't metastasised in size since its original Rysque Records release back in 2013. Ben Johnson and Tim Tucker make up Love Cryme, and their works combine a localist Sacramento slapper sound and a hissing, reel-to-reel feel. Compared to their Star Creature debut which brought measured but still potent titrations of purple sizzurping G-funk, 'Get It On' goes for a more minimally classic disco-soul cruise, with a sloppily gated snare and two-tone tearjerker preluding a neurotic but decadent vocal line from Tucker, as libidinous synths swell out uncontrollably from below.
Miele - "Melo Do Tagarela (Rapper's Delight)" (instrumental) (4:10)
Review: Although Brazil's Banda Black Rio remain infamous for the albums that they recorded in the late 1970s, two beautiful LPs that rode that singular wave of samba-ridden jazz dance, 1980's "Miss Cheryl" is an outstanding tune, and we can hear why RCA picked it up back in the day. Mr Bongo provides us with the reissue here and, if you haven't heard it, it's an absolute delight which switches between disco, psych, and something inherently Brazilian - there's even a wacky synth in there, for good measure. Compatriot Miele appears on the flip with "Melo Do Tagarela (Rappers Delight)", a sublime slice of early, electronic boogie that sounds as fresh today as it did back at the tail end of the 70s. A devious little reissue that you should own...
Review: The Voices Of East Harlem were an ensemble of vocalists who for Just Sunshine Records recorded two albums under the direction of Leroy Hutson and Curtis Mayfield. "Cashing In" is one of their most classic songs, a highly sought after track on original 7" fetches a small fortune on the collectors market. First recorded and released in 1973, it has all the hallmarks of a Leroy Hutson composition and an established audience that crosses the boundaries of northern, crossover and modern soul. The song is coupled here with "Take A Stand', another highly regarded and sought after modern soul room dance floor tracks, never previously released on 7" single until now
Review: Accomplished keyboard player Hank Jacobs enjoyed much renown on the American West Coast live music circuit at the height of the soul era, having already scored a recorded instrumental hit with 'So Far Away' in 1964. His subsequent gigs as a session musician might've proven him capacious only for life in showbiz as a sideman, but this possibility would be firmly and permanently negated by 'Elijah Rockin' With Soul'. The record emerged by lucky chance from a recording session with arranger Arthur Wright, and Jacobs afterwards went on to make four further releases on Alton Scott's Call Me label at Wright's behest. Now, spanning two favourite Jacobs 'sides with different regional appeals, this new one from Kent Soul hears 'Elijah' as the A track - a precocious future compliment for the Northern soul scene - and 'East Side', an instru *mental* recording with a walloping full-colour sound, more propitious to the LA scene.
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