Back catalogue: Funk Soul & Jazz

Notes: Introducing Jazzman's own exclusive range of brand new 7" hard-wearing wooden record cases, in equal measure stylish and functional, solving the age-old problem of storing, transporting & displaying your precious 45s once and for all!

The PRO Large holds 150 x 7" records, and is available in your choice of 2 finishes: Dark Walnut or Graphite Grey.

This new updated design is again custom made to an exact specification in limited numbers. They don't just look the business, they've been built for professional use and will last for many years to come.

Ugly, bulky industrial cheap n' nasty mass-produced flight cases they are not! No flimsy plastic, chipboard, MDF or cheap cardboard either! These cases are hand-crafted from ethically-sourced & hard-wearing wood, the ultimate 7" record cases for all serious record collectors & professional DJs.

Each case has been hand-made in the EU from wood that has been sourced from managed and sustainable forests. They have been custom built to Jazzman's exact specifications before being stained and lacquered for a durable finish:

The lid is fully removable via detachable metal hinges so you have unfettered access to your records
Interior lined with soft & durable black felt to add both extra cushioning and a luxurious feel. Each interior is also embossed once with Jazzman's shiny 45CASE logo
All corners made with extra strong interlocking dovetail joints
Dual metal catches on the front are lockable with padlocks (not included) to keep your records secure from unwanted attention
Strong metal brackets feature on all corners to further protect against knocks & damage
Wood sourced from managed and sustainable forests
The base has 4 sturdy rubber feet to protect the bottom of the case when standing
Each cases has dual compartments, securely holding up to 150 of your prized 7" records. The interior dimensions will also accommodate double-bagged 45s.

Important note: due to the innate variability of wood grain, each box is unique and will differ slightly to the image shown. Records are for illustration purposes only and are not included!

Details:

Exterior size: 420 x 220 x 220mm
Weight when empty: 3.2kg (7lb)
Weight with 150 records: 11kg (24lb)

"I'm really impressed with this box, nobody's made them like this for years, a nice new home for my best stuff" - Mark 'Butch' Dobson (World #1 Northern Soul DJ)

"Jazzman are already known for making great records, well done to them for making the nicest record boxes I've seen in years" - Norman Jay MBE

"Sturdy and with a classic design, this is the best 7" box I have come across" - Eddie Pillar (Acid Jazz)

"Northern, Funk, Rockabilly, Garage - these are the boxes to keep 'em in, f*** marvellous!" - The Legendary Keb Darge

Review: Individuality, Harmony, Wit.
Originating from the heart of Asia - Taipei, Taiwan, Zy The Way is a fusion collective spear-heading a new musical movement in a digital age. As the offspring of a film director, entertainers and multi-genre musicians, Zy The Way aims to create artistic content that will rock your socks. We believe that true balance is achieved not through the uniting of different social groups, but when we come together with our stories as an individual. Voices and vision, musical styles, personalities, and our own beliefs, Zy The Way is the fabrication of our collective imagination, where no one is left out.

Review: 18 months after a fantastic launch instalment courtesy of the mighty Danny Krivit, Mr Bongo's Edits series returns. This time round, it's Manchester legend and 'E Soul Cultura' specialist Luke Una at the controls. On the A-side he handles 'Love Games', an obscure slice of mid-80s South African disco by Thandi Zulu and The Young Five, cannily focusing on the warm, gently funky groove and the track's spacey synth solos. Over on the flip, the Electric Chair co-founder takes on Lionel Pillay's percussion, synth-and-organ classic 'Plum', stretching out the most dancefloor friendly sections before unleashing waves of solos and the original's saucer-eyed, sun-splashed instrumentation.

Review: Brazilian producer Zopelar is a real wizard when at work in the studio. He has done disco-tinged full lengths, synth-laced house sounds, deeper than deep grooves and now steps up to Sudd Wax with another brilliantly musical EP. It opens with the shimmering pads and free-flowing keys of 'Papaia' which then gets a Byron The Aquarius Jazz Twist mix that cuts even more free and gets even more cosmic. 'Jazz Class' is a funky one with golden chords and astral pads and the flip brings three more house gems laced up with the sort of meaningful melodies you don't often hear in this genre.

Review: Yussef Days is a masterful drummer who has invigorated contemporary jazz and broken beat scenes with several different and equally brilliant projects. The Yussef Dayes Experience Live At Joshua Tree Presented By Soulection is the latest and finds him anchoring music that is inspired by the world's most well-known nature reserve. It is a spiritually uplifting selection with the likes of Elijah Fox on keys and synth and features five tracks that will transport you to the blissful location in an instant.

Review: It would be fair to say that Timi Yuro's "As Long As There Is You" is a sought-after single. Something of a "holy grail" amongst soul collectors, original copies of the 1969 7" on Liberty Records regularly change hands for upwards of 1,000 quid. Happily, you can now acquire a fresh copy for a fraction of the cost thanks to this facsimile Expansions reissue. Fuzzy, heartfelt, stomping and blessed with wall of sound style production, "As Long As There Is You" is the kind of sad-but-happy track that used to make Northern Soul dancers go weak at the knees. Yuro's Central American influences can be heard loud and clear on "It'll Never Be Over For Me", where Mariachi style trumpet lines and sweeping strings rise above a heavy, bossa-influenced groove.

Review: The Soul Of Tommy Youngblood 1970 Kent LP had many fine tracks, especially 'Tobacco Road North' though it was not attributed to the rightful writer, Jimmy Radcliffe, at the time. The music has been sampled for various hip-hop adaptations, including one by Ghostface Killah of the Wu-Tang Clan, but the original stands on its own and deserves a 7" format. The Other Brothers 'Nobody But Me' is another UK Kent exclusive that sold out on its first Kent Select press and is still much sought-after and now expensive.

Review: Hip-hop heads love nothing more than classic Blue Note material getting a modern fix up. And that's what we have here as Kay Young and Venna and Marco Bernardis join forces to work their magic on Marlena Shaw's 'Feel Like Making Love' and Donald Byrd's 'Where Are We Going?' This limited 7" is a taster from the 16-track compilation Blue Note: Reimagined II. It's packed with the neo-soul, r&B and hip hop scenes finest contemporary talents adding new magic to the still standout original source material. Like volume one, it's an absolute must-have, as is this 45rpm.

Review: Inell Young was a New Orleans-based singer who recorded with Eddie Bo and also had a small clutch of solo singles in the late 60s-early 70s. Soul Jazz picked up on one of Young's rarest offerings, a beautiful single which came out some time in the 60s. They first reissued it in 2014 and it keeps getting repressed for very good reason - it's just a perfect slice of southern soul. 'The Next Ball Game' is a fiery, funky number with a clattering beat and plenty of overdriven energy, raw like the best music should be but oh so sweet thanks to Young's angelic voice. 'Part Of The Game' is a swooning heartbreak ballad that makes the perfect inversion to the firecracker of an A-side.

Review: Another week brings another monster new 45 from the incomparable Athens of the North. This time out it is an early 80s bit of irresistible gospel, disco and boogie from Earl Young. 'Take Them In Prayer' is pure gold thanks to its tight and funky rhythm section, the delicate thinking on the keys and the heart aching vocals of earl Young that soar up top. Flip it over and on the reverse of this one and you will find 'Let Him Be Your Everything,' a quiet love song with only melancholic keys for company. It's the complete opposite of the a-side but is just as devastating for different reasons.

Review: Correcciones Calypso returns from a generous hiatus with the fourth edition of its acclaimed edit series, replete with four re-edits that veer from the subtle to the downright brazen. Thomass Jackson and INigo Vontier invite the French duo Youkounkoun to open proceedings with an insane early 80s edit full of big drums and exotic touches that's been blowing dancefloors all around the world for the past years - and definitely resides in the brazen category, despite a lot of work having gone into it. Olta Karawame make their debut on the series with a powerful, compact edit full of ballsy keyboard riffing and a military-sized kick drum that is guaranteed to have heads banging . To complete the release label bosses Thomass and INigo deliver edits of their own with their characteristic sound, giving this EP maximum a value for money factor and entertainment from start to finish.

Review: The Yoruba Singers reinterpreted Guyana folk music and infused it with Afro-roots and culture on this double A-side 7". Now for the first time every it gets reissued on vinyl. This release came a year after the group's debut album Ojinga's Own and were recorded in Barbados and released on the Green Shrimp label. They were big regional has with dancers lapping the grooves throughout the Caribbean and South America. The sounds are said to be the building blocks for what went on to become known as the Champeta Criolla sound in the Caribbean coast of Colombia.

Review: These two tracks first appeared on ATA Records's free download series "Hard Work, No Pay" and have been much requested on vinyl ever since. Well now, here they are, after plenty of high profile plays from the likes of BBC 6 Music's Craig Charles Funk & Soul Show And The Huey Morgan Show. The Yorkshire Film and Television Orchestra is a project from ATA label bosses Neil Innes & Pete Williams as well a multi-instrumentalist and arranger Steve Parry. Here they offer up two different but equally brillaint tunes - some high speed 60s funk with more than a hint of Northern Soul swing on the a-side, and the tender, blue eyed soul of Rachel Modest's 'I (Who Have Nothing).'

Review: Berlin's Yoofee has been on a good run after reemerging back in 2021. He makes deeply atmospheric sounds that draw from dubstep, house and cosmic electronic music. The class Casa Voyager label snaps up him for some of that here and he opens with the fizzing pads and deep space ambiance of 'Lost Papers' all layered up over a hustling broken beat. 'I Know' is another jazzy broken beat wonder with chopped drums, keys, vocals and more all coalescing into something soulful in new ways. That superb vibe continues on the spacey flip side to mark what might be this artist's best work yet.

Review: There is scant little information out there about Yoanson & Karamie. What we do know is that they were young artists from the French African diaspora who met with Nessim Saroussi and his label Ness Music in the late 80s and were encouraged to record the music presented here. It is their only official EP and it is a brilliant mix of Afro-tropical percussions, disco, electro and vocals that call to mind the likes of Arthur Russell. Philippe de Lacroix-Herpin is the man festered here as Prof Jah Pinpin and he brings some of his signature saxophone brilliance to flipside jaunt 'The Final Bird (Le Temps D'une Vie)'.

Review: From Yasmine's rare 2nd album "A Scent Of Flowers", which was released in just Netherland and left behind the one of the masterpieces ofA90s R&B "Wanna Dance" that has been compiled into numerous mixtapes and dance hit compilations, the popular cover songs Roy Ayers "Everybody Loves The Sunshine" and Ray Charles "Let Me Take Over" are finally single-cut with a superb cover that reproduces freshly with R&B manners!

Review: When Tatsuro Yamashita first released 'Christmas Eve' in 1983, it didn't receive a huge amount of attention. It was only when the track was picked up for an advert in the late 80s that it caught on became a seasonal favourite in Japan, going on to become one of Yamashita's biggest hits. Now it's being repressed in this 40th anniversary commemorative edition right in time for the impending festive season, featuring a bonus version of the B-side version of 'White Christmas' recorded for the Happy Xmas Show. If you want a quintessential ingredient for the Japanese Christmas experience, look no further.

Review: XL Middleton's first 45rpm on the mighty Star Creature Universal Vibrations label is a majestic collab with the amazing Saucy Lady. 'Daydreaming' is pure good time music, packed with sunshine and to-die-for boogie baselines that wiggling away beneath jazz-funk chords and funked up drums. It's an irresistible jam as the temps go up, and if for someone reason you want to hear it without the effortlessly cool vocal, you can flip this 7" over for a fine instrumental jam. With debuts as good as this, the label is sure to want more from XL - we certainly do.

Review: Born on the French Island of Martinique, Louis Xavier later settled in France where he discovered the freedom of jazz, and an idea to mix his influences into a global melting pot of sound. He formed his band (Synchro Rhythmic Eclectic Language) in Paris in the early '70s, making music that was both spiritual and eclectic for its time. Both tracks are jazz in essence but with instrumental funky rhythms infused with intricate percussion and electric keys.

Review: X-Ray Ted's 'Talkin' EP' finally hits vinyl, a format perfectly suited for its timeless classic vibe. On the A-side, 'Talkin' weaves strings, horns, and guitar riffs over rolling beats and bass, topped with soulful vocals. On the flip, 'So Much' exudes infectious energy, blending vocal refrains, guitars, and horns for a soulful groove. These tracks offer a glimpse into X-Ray Ted's upcoming debut album, showcasing his talent for blending old-school sounds with a modern twist. Limited to a run of 7"s on Bombstrikes, these vinyl grooves exude sunshine vibes and feel-good warmth, destined to fly off shelves.

Review: The Peoples Potential Unlimited quest to unearth the Atlantic boogie that time forgot continues unabated - this time reviving a1983 gem from Detroit's The X Man. Wrapped in an excellently presented sleeve, the somewhat mysterious X-Man supposedly had what should have been a fruitful musical career cut short by a 30 year stint in a Motor City psychiatric hospital. This was no obstacle for PPU however, who were granted the master tapes to press up "That Body" and "Fired Up" at 45rpm on a nice fat twelve! There's an undeniable funk swagger to "That Body" which sounds like Jimmy Edgar if he was a child of the 70s - in a word, killer. The B Side proto hip-hop bump of "Fire It Up" proves to be just as infectious, driven by some loose limbed synth flourishes.

Review: Peoples Potential Unlimited or PPU, is one of the freshest funk labels out there, whether serving up new funk sounds that sound old, or reissuing classic funk sounds that seem bang up to date. Often lo-fi in design but high in emotion, they make for party-starting gems with real swagger. This latest limited 7" is a reissue of a classic from The X-Man, who has apparently been locked away in the Detroit Psychiatric Hospital for the last 30 years. His aggressive funk style pairs driving drums and taught synths with libidinous vocal delivers and plenty of great guitar riffs. Here we have the driving 'That Body' paired with the more deep and bumping 'Fire Up'. Both bang.

Review: Jayson Wynters is one of the UK's more underrated producers. He hails from Birmingham, has mastered Kung Fu and is no slouch in the studio. This outing on Spanish label Pulp - written back during the lockdowns - is one of his best yet - a deep look into the cosmos, with star-gazing synth lines and analogue drum sounds that are frayed around the edges. Misty-eyed chords define many tracks, with the loosely jumbled drums and rasping basslines all interlocking perfectly. 'Corns Funk' has twanging bass riffs that remind of Prince, while 'Night Drive' is a Dam-Funk style late-night street cruise during sunset.

Review: With roots as a backing singer for Stevie Wonder, Wycoff went on to become a soul ambassador throughout the early 80s. This 1982 reissue is one of the best examples of his silky, heartfelt delivery... "Looking Up To You" is a dynamic love song where traces of big 70s production build and build throughout. "(Do You Really Love Me) Tell Me Love", meanwhile, was only ever released as a B-side. Its 80s production counter the dramatics of the A-side with cool synthetic perfection. Reissues don't get much broader in production or sweeter in sound than this.

Review: It's 20 up for Positive Pay For Japan, who have got a wealth of funky 7"s out this month alone. It comes from Milton Wright, a big presence on the Miami soul scene throughout the 1970s. He was one of the many siblings in the Wright family alongside Betty, Phillip, Charles and Jeanette and also served as a justice on the Boston Municipal Court from 1998 to 2004. This 45 serves up 'Let's Take A Break,' a slow motion and deeply funky number with poignant bass notes and Milton's stylish vocals up top next to plenty of big horns. The party picks up with 'You Like To Dance,' a brighter tune with a positive vibration.

Review: According to the mildly amusing back story that accompanies this debut release from the Wrekin' Havoc crew, the crew of crate diggers turned re-editors behind the series make their wares in a cave in deepest wales, armed with just a computer and a pile of Balearic-minded wax. Whatever the real story, there's plenty to savour on their first outing. Opener 'Oh La Lover' is a tasteful tweak of an obscure, slap bass-sporting, mid-tempo French disco number from the early '80s, while 'Love Shock' breathes new life into an electrofunk era slab of Gallic rap/synth-pop fusion. On the reverse, the cave dwellers first play around with a boogie-era, drum machine-propelled cosmic disco number ('We're Truckin'), before delivering a saucer-eyed delight in the shape of the luscious 'Catch Me If You Can'.

Review: 40 years young: Wood, Brass & Steel's eponymous debut album enjoys a highly timely reissue and it still sounds every bit as funky ("Theme Song"), soulful ("Working On A Dream") and emotional ("My Darling Baby") as it did in 76. Complete with cult dancefloor hit "Funkanova" and the crossover disco hit "Always There", this LP has aged with real maturity and clout. Considering what the members did next (Tackheads, Sugarhill and Fats Comet) Wood, Brass & Steel was something of a supergroup in hindsight... And this album is where it all began.

Review: This very tasty one-sided 7" here from Mah's is a great tool for DJs who want to inject some serious soul into their set. Bobby Womack's 'Home Is Where The Heart Is' resonates with heartfelt soulfulness as he weaves tales of love, longing, and the journey back to one's roots. Released in 1976, this single showcases Womack's signature gritty vocals and masterful storytelling over lush arrangements of soul, funk, and gospel-infused rhythms as Womack's emotive delivery captures the essence of homecoming and the universal quest for belonging.

Review: It's a while since she left us but Amy Winehouse remains a towering presence in the jazz and soul world. Her voice cut through the ages and the emotion she put into her music will always be revenant. That's likely why Club 2022 has pressed up two of her standout singles to 7" for the first time. There is the breakout 'Back to Black' on one side and the sing-along classic 'Rehab' on the other, both of which are uplifting tunes with dark personal messages which spoke of the trial and tribulations of the much loved but trouble artist's short but accomplished life.

Review: A collection of remixes that take the original Amy track and transform it into a dance-oriented experience. The Alix Alvarez Sol Channel mix on the A-side is a house remix that adds a driving beat and energetic synths. In contrast, the Al Usher remix on the B-side takes a more soulful approach, infusing the track with a 1970s vibe. Two remixes that showcase the versatility of the original song and offer a fresh take on Winehouse's iconic vocals.

Review: American jazz-funk organist Reuben Wilson is probably best known for his 1976, Chess-released slammer "Got To Get Your Own". He released plenty more tasty treats before and after that, including a raft of fine albums. It's on one of those sets (1972's "The Sweet Life", fact fans) that these songs first featured. Wilson's version of Marvin Gaye classic "Inner City Blues" is particularly potent. It features the organist playing a jazzy lead melody that replaces Gaye's original vocal, note for note. It's brilliantly done, with his backing band providing stellar support via a heavy, low-slung take on the song's familiar groove. Over on the flip Wilson layers up organ and sax lines on a suitably soft focus cover of Clifton Davis's teary-eyed soul favourite "Never Can Say Goodbye".

Review: American jazz singer and actress Nancy Wilson is still going, having accrued a queenly quantity of releases to her name ever since the late 1950s. She has recorded over 70 albums of jazz, soul, pop and r&b, not to mention an uncountable barrage of original ingles; among her choicest is Sunshine, which we'll have you know doesn't happen to be a cover of the Roy Ayers original. Instead, Sunshine is a more-than-sophisticated soul-jazz piece, opening with futuristic filter-swept synths and emerging into slinky lyrical ode to the unparalleled feeling of loving you, as opposed to anyone else.

Review: Insatiable funk lovers rejoice! One of the most sought after top vocalist/songwriter Lee Wilson who's known to dominate house music dance charts week after week delivers this time a boogie banger 'Do Better'. The feel-good Original Mix on the A-side boasts a thick boogie synth bassline and uplieing chords that carry Lee's captivating vocals inspiring us with a strong message of positive self-image and self-improvement. The B-side features the monolog remix by multi-instrumentalist Yuki Kanesaka playing all vintage analogue instruments himself bringing that heavy funk to all diggers of sick grooves. Both tracks are upbeat, uptempo and ready to heat the floor.

Review: Sonic Wax is dropping a couple of Jackie Wilson specials this month. Both are one-sided and limited edition 7"s, one being 'Light My Fire' and the other being this, 'Don't You Know I Love You', originally on Brunswick and found on Jackie's 1972 long player Beautiful Day. It's a life-affirming bit of upbeat and optimistic soul powered by soaring Philly strings, happy flute melodies and those beautiful, burning male vocals as well as some soothing female coos in the background. It's a northern soul gem that still does the business.

Review: Texan soul man, Frank Wilson, receives a timely repress of his 1965 monster "Do I Love You (Indeed I Do)", a tune which remains highly sought-after in its original format, and one that is bound to fly off these shelves like hot cakes! Outta Sight's done a great job here, and the quality is class, offering the original cut in all its majestic, romantic glory...oh, do we love this! The flipside is the mellow "Sweeter As The Days Go By", a certified love ballad that is a pleasure to the senses, each and every time...

Review: Originally part of the 2014 album I Hope You'll Be Very Unhappy Without Me, 'Hit 'Em Like Ali' stands out as a vibrant and infectious track in Australian artist Chelsea Wilson's collection. Its energetic and riotous vibe has earned it a place as an unheralded modern deep funk classic. Spasibo Records now grants it a well-deserved single release on nice coloured vinyl. Co-produced by Jake Mason of Cookin' On 3 Burners, the heavyweight instrumental backing track, making its debut on the flip side, showcases Melbourne's top funk musicians. With blistering breakbeats, heavy horns, flanged guitars, and weighty bass, it's a track designed to captivate.

Review: Discodelic has established itself well with its first ten releases and now the 11th keeps up the momentum with a pair of funky psychedelic jams. First up is the Wilson Boys with their 'Funky Bocas' which pairs busy Afro rhythms with tight interwoven guitar lines and their impassioned vocal cries. It's a full flavour jam with oodles of charm and then on the flip is something just as solid. Alma Fuerte's 'Baila Muchacha' is a brilliantly loose jumble of raw rock guitars, shuffling samba rhythms, flame vocals and synth magic that will electrify the 'floor.

Review: Discodelic does not muck around when it comes to putting out their music on vinyl - they serve up a standard black version but often also a cured pressing alongside it. And that's what we have here - a yellow and red splattered vinyl 7" with a booklet featuring some backstory, and all heavily limited to just 100 copies. Musically this one packs a punch too with Wilson Boys opening up with 'Funky Bocas' - a busy Afro rhythm with tight interwoven guitar lines and big vocal cries. On the flip is Alma Fuerte's 'Baila Muchacha' with its hypnotic mix of aw rock guitars, shuffling samba rhythms and flamey vocals.

Review: Japanese imprint Ultra Vybe is midway through a seven-inch series focusing on some of the many gems tucked away on albums released by legendary U.S "funky jazz" label Groove Merchant in their early 1970s. Their latest picks are taken from pianist Larry Willis's 1973 set "Inner Crisis". You'll find the album's title track - a warm, mesmerizing and surprisingly melancholic fusion of restless organ lines, jammed-out electric piano solos, classic jazz horns and fussy grooves - on side B, with "Out On The Coast" on the A. This jaunty jazz-funk affair is far more hard-hitting, thanks in no small part to some rousing sax lines, blistering funk drums, razor-sharp jazz guitars and a seriously heavy bassline.

Review: Yet another Studio One classic. Willie Williams was one of many artists to feature on Soul Jazz's 'Studio One Soul' series, which documented the throughline between reggae and soul in Jamaica. 'No One Can Stop Us Now' is a dreamy and wall-of-soundy slice of goodness from the mournful crooner, documenting the Jamaican dub vocalist's master plan. The song is a paean for anti-populist motivation - despite the naysayers who sit and criticise, no-one's gonna stop us now.

Review: Dave Welding's Soul Junction label is back with another limited edition 45rpm that keeps up the fine run of recent form. These two gems are the work of the late great Willie Williams, a blind singer from Chicago who was discovered performing in the Windy City's local clubs. He was signed to ABC records in 1966 and put out only a couple of other well received singles. 'Give It All I Got' is a beautiful piece with raw drum work and lush vocal backing harmonies next to a gentle piano line. It is stirring stuff while the flips-side 'Do You Understand' is more upbeat with its funky riffs, more great backing vocals and a rolling beat that locks you in.

Review: Ray Williams & The Majortones's 'Girl (You're So Sweet, You're So Fine)' on Epsilon Records has never previously been released, somehow. It is a wonderfully sweet modern and crossover soul sound that is actually a cover version of the popular Lil Major Williams original of the same name. The grace is a lush one driven by soul-train-era beats and big horns that burst out of the mix while the buttery smooth vocal gets you where it hurts. Flip it over for a more funky instrumental version.

Review: An avalanche of brilliant soul reissues are coming on Kent this month. This one is taken from the Scepter/Wand tapes on which Maurice Williams and Walter Wilson have one release each. Maurice Williams' 'Look My Way' is one of his best tracks with its classy horns and soaring vocals next to 60s strumming and smooth grooves. Walter Wilson's 'Not Now But Later' is actually by an artist alias of Tommy Keith who wrote and recorded some key soul music. It's a self-penned ballad that will melt any heart.

Review: New Orleans funk outfit The Wild Magnolias were active in the mid 70s, releasing two albums and then regrouping in the 90s. Their sound is in step with their more renowned Louisiana peers, but certainly running hotter than the likes of The Meters. "Handa Wanda" is a stirring, effervescent call and response epic that shows the band at their best, rocking a wall of sound approach that keeps the pressure up the whole way through. "(Somebody Got) Soul, Soul, Soul" is a more fluid track, but it's certainly no slouch in the energy department either. This is hi-octane funk to get people shaking and sweaty.

Review: A cinematic sensation and an instant classic and record breaker, Disney's animated movie 'Frozen' celebrates its ten-year anniversary this year with this special zoetrope double picture disc featuring scenes from one of the, now, most iconic movies of all time moving before your eyes. Included is, of course, Idina Menzel's award-winning score 'Let it Go' which charted around the world and wormed its way into the ears of parents to this day. Not to be slept on, though, is Demi Lovato's rendition that plays over the credits sequence or 'Fixer Upper', the jovial chorus musical number.The perfect Christmas gift for the fan in your life, and trust us, there is statistically one somewhere, no matter how old.

Review: Released earlier this August, Brighton-born jazz musician and producer Chip Wickham's four-track EP 'Love & Life' is a multi-instrumental easy-listening record that has a subtle depth to its sloozy production. The opening track 'Space Walk' sets the bar right out of the gate with an incredible flute-driven story, backed by some gentle, brassy drums and jazz lounge piano. There's a distinct lo-fi quality to it in its vibe, but the sound of the xylophone is just so crisp against the tenor sax - it's like you're right there in the studio with Wickham.

Review: KC

Review: Ben White - not the same Ben White that plays as a defender for Arsenal - was just 25 when he was brought by Eddy Bongo Brown of the Funk Brothers to the Motor City to play with Marvin Gaye. It was five years after that when he lay down this single - his only one, although it is said there are some lost tapes featuring a full album on them out there somewhere. We hope it is found as this is excellent - 'I Would Have To Be A Fool' is a super smooth soul with nice funky rhythms and a hint of disco energy. 'Just Give Love A Try' is a more slow and lavish groove with choral backing and fancy piano.

Review: The Whatnauts are best known for their evergreen classic 'Help Is On The Way', but they've got a mighty fine catalogue which goes deeper and further than just that tune. Here Dynamite Cuts gather up three essentials and press them to a 7" for your convenience, leading in with 1972's 'Why Can't People Be Colours Too?' from the Whatnauts On The Rocks album. When the break drops, you'll fully understand why it got picked - pure understated perfection. 'Souling With The Whatnauts' and 'Message From A Black Man' are both taken from 1970s Introducing The Whatnauts, offering up a more mellow, reflective side of this cult Baltimore group.

Review: Six Minute Mile has rightly got plenty of attention for its first few outings and their early good work connotes with this eight 7". It's from Ohio's Wesley Bright who has joined forces with The Means of Production and New York's Ben Pirani, and is a lovely mid-tempo roller that reminds of balmy summer nights. The tune comes in two parts and opens with lovely Rhodes chords that are a great foundation for the tenor vocals of Wesley. Then come plenty of irresistible hooks and the rousing vocals sing of love and devotion like all good soul sounds should.