Review: A new take on a Jonathan Richman classic from 1977 which has lit up clubs for 45-odd years, especially during the punk era. The track's infectious rhythm has inspired various reggae remixes but now it's getting a fresh cumbia twist. Cumbia and reggae share a common groove, making them a perfect match for DJs to mix and this one was recorded in Lima by Pancho Acosta, founder and guitarist of Company Quinto, who transforms the track into an upbeat cumbia gem. The flip side features Acosta's 'Carnaval de Jujuy' blended with Money Chicha's modern take on Peru's fuzzed-out chicha sound.
Akiko & Masayasu Tzboquchi - "Love Theme From Sparticus" (feat Mbanja Ritchy aka B-Bandj - Clear Day mix) (4:34)
Review: Tom Browne's 1980 single 'Funkin' For Jamaica' has long been something of an anthem - a hybrid funk/boogie classic that remains a staple in sets of hip-hop, disco and soul DJs alike. Given its ubiquity, covering the song is fraught with danger, but remarkably Japanese producer Akiko and guest vocalist Mbanja Richy have successfully put a new spin on it. Their take is subtly tougher and more synth-heavy, with bilingual French/English vocals, nods to Zouk music and a bassline so squelchy it could have been lifted from a P-funk record. Over on the flip, the pair go mellow, deep and laidback on a pleasingly skewed hip-hop soul cover of Terry Callier's legendary vocal interpretation of Alex North's 'Love Theme' from 'Spartacus'. Inspired stuff all told.
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...
Nuit De Fievre (Pellegrino Nottata Stellata remix) (5:08)
Review: Be Strong Be Free's 7" series is on fire this year and now comes back with a third instalment. It is 'Nuit De Fievre' and it comes from label owner Gratts, aka the "Belgian down under," who revisits disco's golden era by assembling a stellar studio team starring the Moody Mae band in the company of Reinhard Vanbergen on violin and Jaj from Paris on vocals. What they cook up in return is elegant boogie and disco that will chime well with fans of Dimitri From Paris. The B-side features Pellegrino's jazz-funk rendition, adding Mediterranean flair straight from Vesuvius. Both sides promise deliciously uplifting grooves for any disco enthusiast.
Menahan Street Band - "How Did I Get Here?" (2:40)
Review: The superbly classy Daptone label comes on strong with another perfect formed 7" of retro soul. This time, the label's in house crew Menahan Street Band provide their famously authentic grooves, with big horns, rolling licks and drawn out leads on 'How Did I Get Here?' which on the a-side has vocals from LaRose Jackson. Soaring high and filled with rich soul, it's another timeless tune. On the flip is the instrumental. It's a story telling tune with some cosmic synth work and nice old school tambourines for an old/new fusion that gets you movin'.
Review: London's Original Gravity label is a trusted source for soul, funk and reggae 45s, and they're back with this seriously hot one from Mafumu. The project is a collaboration between Neil Anderson and Max Jere of The Umoza Music Project, based in Senga Bay on Lake Malawi. On the A side track you can hear Jere singing in Malawi's main language of Chichewa, urging listeners to "vina!" which means 'dance'. It's unmistakably Afro funk, with blasts of horns and a rolling, hypnotic groove that suck you in immediately. On the flip Anderson takes over for the instrumental 'Mkondo Wa Moto', which leans in on the talking drum and lays some funk and and Latin touches into the mix.
Review: Two powerful bossa nova workouts from 1972: Brazilian chanteuse Rose Maria delivered two incredible funk jams on Tapecar which escaped her prolific album releases and never enjoyed a repress. Until now... The Afro-Latin soul of "Deixa Nao Deixa" is all about the sudden dynamic from purring verses to emphatic, harmonic chorus while "Avenida Atlantica" takes a more straight-up funk route with its dominant horns and heavy boss break. Instant party material.
Review: The wonderful Brazil 45 series from Mr Bongo is back with its big old torch to shine a beam of deserving attention on two standout funk and bossa nova tracks from Rosa Maria, which originally came in 1972 and have remained in demand ever since. The A-side, 'Deixa Nao Deixa', blends Afro-Latin guitar, wild horns and percussion with infectious vocal harmonies that all coalesce into a Brazilian funk classic. On the B-side, 'Avenida Atlantica' delivers alternating funk and bossa beats beneath layers of vocals, horns and percussion to bring big energy and dancefloor-ready heat. This reissue ensures these timeless tracks become available for your rotation once more.
Review: London based multi-racial 8-piece Maroon Town formed 30 years ago. Their impact was immediate as they were the first collective to mix up ska, reggae, funk, hip hop, rap and Latin music. Their fresh sound came with conscious and uplifting lyrics and came with an extra seal of approval thanks to production by John Bradbury of the Specials. The band played all over the world, had tune synched to major Hollywood films and dined deals with Dr Martens. They still play the festival circuit and now comes a reissue of some of their pre-2000's material with these two high energy steppers primed and ready to make you move.
Review: Just a month after dropping their first 7" in the form of a sweet and funky version of classic hip-hop joint from the 90s, Alloy Cuts is back. Once again, Booty Hall is involved this time facing off against Carla Marshall, a known talent from the roots and reggae world. The resulting sounds start with 'All Night Champion', which has raw and dusty breaks, old school stabs and funky drums topped off with a mix of early hip-hop vocals and soulful coos. 'Champinstrumental' on the flip cuts back the vocals to a more direct dance floor instrumental.
Review: James Mason's 'Rhythm of Life' - one of the long overlooked but now celebrated musician's most popular cuts - has never appeared on a seven-inch single before, in part because its' six-minute length made it more suitable for 12" singles and LPs (it first appeared as the title track of Mason's 1977 debut album). Dynamite Cuts have decided to address this by preparing their own (fully licensed) seven-inch edit, which successfully chops down the high-octane, spiritually inspired jazz-funk gem without losing any of its energy or soul. This time round it comes backed by another classic cut from the Rhythm of Life LP, the more laidback, spacey synth solo-sporting jazz-funk warmth of 'Good Thing'.
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: The Mayberry Movement's 'I Can See Him Loving You' is a Northern Soul masterpiece that was supposed to be released in 1974 but ultimately never was. Why, no know can work out, because it is such a lovely tune it would have been a real classic. This take on Ray Dahrouge's original song is drenched in heart-aching soul with uplifting grooves helping to ease the pain. It has a grand and steamy finale, too and is backed with a lively B-side balad to swell the heart. A real doozy that finally sees the light of day.
Review: Legendary Miami songstress Gwen McCrae had plenty of huge hits in her arsenal, from '90% Of Me Is You' to 'It's Worth The Hurt.' Her biggest tune by far is the enduring classic and sure fire dance floor heater 'Keep The Fire Burning.' The strident disco funk beats, the soaring vocal and the impossible warmth and soul of it all never fail to make a mark. Here it is backed with the more slow and deep cut funk of 'Funky Sensation,' which gets those hips swinging and hands clapping.
Review: Medium Wave Band's 'So Tender' is a smooth, late-night jazz slow jam with sultry, soulful vocals that feel oddly familiar. The B-side, 'Games (Instrumental)' delivers a perfect example of Britfunk and UK jazz-funk with a bass-driven groove reminiscent of Elite Records releases. Surprisingly, this 7" was a private press by the band and not released on a label. The lineup featured Elliot Browne, Ron Lyseight, Andrew Proverbs, Tony Peart, Paul Snook, Linton Levy, and the stunning vocals of Jaki Graham, best known for her hit 'Could It Be I'm Falling in Love.' Only 200 copies were pressed, mainly sold in Birmingham, and so this is a cult classic for many and a welcome reissue.
Review: Medline is on a mission to serve up his own fresh cover versions of well known tunes from the movies, library music vaults, jazz funk scenes and worldwide rare grooves. He is one man who plays flute, guitar, keyboard, pads, drums, percussions and violin and lays down each part of the tune and then puts them all together with some extra studio touches at a later date. He mixes the music himself so that it is live sounding and vibrant, and then shares it with the world. These latest two cuts are heavy Afrobeat gems with cosmic synth work, psyched-out melodies and jazz invention that makes them captivating in the extreme.
Golden Flamingo Orchestra - "The Guardian Angel" (4:43)
Carol Grimes - "Uphill Peace Of Mind" (4:33)
Review: The Messin About crew are back once again to show they have made a fine art of arsing about. This 7" offers up two more rarities that have never before made it to vinyl but very much deserve to have done. First up they offer the lush and soulful US disco of Golden Flamingo Orchestra's 'The Guardian Angel' which will warm through any wintery dancefloor. On the flip they change the vibe entirely with Carol Grimes's 'Uphill Peace Of Mind,' which is indeed a grimy UK funk weapon that packs a seriously rhythmic punch.
Review: There is no rest for the good people at Super Disco Edits - they ended 2021 in fine fashion and kick off 2022 on just as strong a footing. This time out they serve up a superb slice of soul originally recorded in 1971 by The Michicgans, who crafted it in the Don Davis studios and had it engineered by the late great Ed Wolfdrum. 'Look At My Back Wheels' has drums to die for - they're dumpy and well defined yet loose, with unique vocals up top with a raw blue eyed funk. Flip it over and you will find the slower, more romantic soul sounds of 'It's All Coming Back to Me.'
Review: If heavy and fuzzy funk is your bag, we'd heartily recommend checking out this straight-to-tape live session from Bjorn Wagner's long-serving Mighty Mocambos outfit. It was recorded at an in-store live performance at German store Groove City live December and comes complete with atmospheric crowd noise and a raw, heavyweight sound that only enhances the band's live credentials. Vocalist Nicola Richards makes her soulful presence felt on loose-limbed, breakbeat-driven deep funk opener "Something's Missing", before returning to lead the party on the wonderfully fiery and funky flipside "Keep It Movin". Sandwiched in between you'll find the slower, crunchier and more bass-heavy instrumental jam "St Pauli Second Line".
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: Athens of The North delivers once again here with another delightful reissue of a soul classic by Bernetia Miller And The Soul Groovers. An original of this Georgian gem is insanely rare and in fact the Athens boss himself has never actually seen a copy. It was recorded in the studio of Phil Walden's studio in Macon, Georgia and Bernetia herself has said it took many takes and plenty of hard work to get the result they wanted. Backing band The Soul Groovers had their own bus on which they toured plenty and this reissue is from the master tapes owned by Bernetia. 'You Can Tell Me Goodbye' has lo-fi drums and raw horns with a yearning vocal while 'I've Gotta Keep On Lovin' You' is more slow and steady and emotionally moving with a more tender vocal.
Review: Eddie Carmichael started Mirror having left his previous band The Voshays when he caught their manager stealing. He formed it with Derry Shepherd, Sandy Ficca, Duncan Bethel, bass player Dave Segal, Bob Groszer on keys and Flynn Emanuel to play trombone. They were regular performers on Miami Beach and recorded only a few tunes, but what tunes they were. It is said that had the band had a better manager they could have gone on to be one of the best of their era. Either way, at least we have these two dazzling disco and soul gems.
Review: Holy grail alert! This gem from the 80s boogie scene is an ultra-rare 1983 release on Starville Records that is now finally reissued after decades of scarcity. Long coveted by collectors and often fetching €800-€1000 a pop, the standout track of the two is 'I Wanna Thank You'. It's a bona-fide boogie-funk gem with silky vocals, rich synths and an irresistible mid-tempo groove. Flip it over for 'Lover's Holiday,' a soulful, harmony-laced slow jam that showcases Starville's signature sophistication with aching vocals and a sense of yearning that stays with you for a long time. This is a limited press, so don't hang about.
Review: 45 Loves is a label based in Condom, France that specialises in very limited DJ tools on vinyl 7'. Its next release comes from Jerome Potin aka Moar; producer, remixer, DJ and A&R at the Trad Vibe label from Nantes, who serves up some low-slung grooves on the Funky Party two-tracker. On side A, you've got the late-night boogie-down vibe of 'J', and the long hot sexy summer nights continue over on the flip with the funked-up vocal disco house heater 'JJ'.
Review: When it comes to crafting party-starting joints featuring classic hip-hop and R&B vocals, few producers can match the output of Gallic rework fiend Jerome Potin AKA Moar. He's in prime form on this ultra-limited "45" too. A-side 'H' crafts a rolling, 4/4 hip-hop tempo beats out of some classic disco licks and then adds Ol' Dirty Bastard and Kelis' vocals from one of the biggest hip-hop hits of 1999. It's a simple idea, brilliantly executed. Flipside 'HH' is equally as funky and accessible, with cut-up edit effects, rubbery slap-bass sounds, jangling acoustic guitar chords, warming synths and the lead vocal from a much-loved R&B jam. Tons of fun!
Review: Ukrainian jazz singer Mona returns with a powerful funk 45 following last year's breakout 'Moya Vode' (or 'Sweet Water'). Fusing ancient folk traditions with modern cypher culture, this one delivers a message of unity and resilience while rolling on tempting grooves. Jazzy breakbeats, soaring horns and relentless clavinet and guitar riffs create the dynamic foundation for Mona's radiant vocals while loose piano and sax add a fresh live-jam feel. The vinyl edition features an exclusive instrumental version, with a Moog stepping into the lead and adding a different vibe.
Review: The wonderful new 'Womp In My Spirit' blends flashy 80s-inspired beats with smoothly delivered and rhythmic lyrics that together capture the essence of West Coast vibes with American Moniquea's distinctive vocals shining alongside masterful boogie beat maker XL Middleton's typically faultless contributions. Once again they have cooked up a gem for the modern funk scene and the instrumental version allows you to fully appreciate the depth of the production without the vocals. This one has already been getting bumped by renowned DJs like Walla P, Zackey Force Funk and Soul Clap and hits a perfect sweet spot between funk and hip-hop.
Review: Confunktion Records' very own Mr. Confuse returns with a cover version of Carmen's 80s boogie / electro funk classic 'Time To Move'. Here's, he's more than beefed up the originals snappy production, adding mega-pristine and weightier drums to the original's glitzed-out enthusiasm. In contrast to Nero's famed remix, this one carries with it an extra surfy guitar minimality, rather than brosteppy grandeur.
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: The one and only Mr. K presents a two-sided treat here starting with Janice McClain's underrated 1983 disco track and featuring a smooth, laid-back groove that blends steppers vibes with mid-tempo Philly soul. Written by McClain's uncle Milt Tennant and Thom Page, it captures a classic sound that is further enhanced by McClain's heartfelt vocals. This edit trims the rare 12" version for a 7" debut with pristine sound and the B-side flips to a fresh take on 'Brazil', which was a 1975 hit by the Ritchie Family. Mr. K's edit extends the vamp section, offering a full, uninterrupted four minutes of irresistible disco joy.
Review: The legendary edit king Mr. K is back with more of his trademark sonic treatments here, this time focussing on some lick funk sounds from the Motor City. His mid-tempo selections on this Detroit-themed 7" open-up with G.C. Cameron, a Motown mainstay with a wide vocal range as demonstrated on this classic rare groove cut, 'No Matter Where.' On the backside is more rare groove from Detroit but this time from the 80s and Candye Edwards's 'Time Is What You Need.' Edwards was part of the Detroit funk powerhouse One Way and through that got connected with songwriter and multi-instrumentalist Kevin McCord. They cooked up real gold together on a solo debut album with this being the standout cut from it. Perfect for warm outdoor dancing.
Review: Legendary DJ and edit king Mr K is back on Most Excellent Unlimited with the latest in their essential collaborative series. As always this is a slab of wax that offers up two gorgeous cuts that have been skilfully cut down to a maximum 7" 45rpm format. The first is Luther Vandross's 'Funky Music (Is a Part of Me)' which David Bowie later reworked to become one of his many hit singles 'Fascination.' In its original form, it has rickety soul grooves and lavish stings next to the soaring vocals. The tune second is Zulema's 'Giving Up' which has a dramatic intro, Mr K remasters it and allows the rolling piano, great string ensemble and guitar sounds to really cut through clearly. Two bonafide dancefloor delights.
Review: The wonderful Mr K is back with more edit magic on his own Most Excellent label, this time adding his own spin to 'Wela Wela', a hard edge and raw funk cut from Black Blood, a band of musicians from central Africa but who were based in Belgium. This one was never a hit back in the day for some reason but is built on a killer groove that Mr K reworks and tweaks for more suitable dance floor deployment. It was formerly on his Grass Roots record but now makes its way to a handy 7". On the flip is 'Komi Ke Kenam (Fish & Funjee)' which has tough breaks and funk bass that will ensure 'floors get down and dirty.
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.'
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: Mr Bongo's Brazil 45s series continues its consistently rich vein of form with two more beautifully contrasting - and previously difficult to track down - Brazilian soul jazz fusions from the 70s. Side A is inhabited by one of the era's most interesting individuals. Infamously censored and eventually exiled, Taiguara's chaotic flute, guitar and piano arrangement is a tight weave of melodies, counter melodies and start dynamics. Flip for the classically soul-oriented "Deixa Eu Te Amar" will bright horns, brash drums and a bold vocal from Marisa Rossi. Pow.
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