Review: This vibrant 1969 release captures the raw energy of Latin soul and funk, a perfect snapshot of Spanish Harlem's musical melting pot. With tight grooves and infectious percussion, the ensemble delivers tracks that feel alive with cultural and rhythmic vitality. Each arrangement draws from the boogaloo era's creativity, blending soulful melodies with sharp, danceable rhythms. This reissue offers a chance to experience a key moment in New York's Latin music history with its unmistakable blend of genres.
Sun Is Away (feat Knoel Scott & Cecil Brooks) (8:52)
Shango (Chant To The God Of Thunder) (4:55)
Greeting Mother Sea (outro) (1:06)
Review: Hungarian producer and keyboardist Szabolcs Bognar, known as Abase, explores cosmic unity through his music, now based in Berlin at the forefront of the city's burgeoning jazz scene. His latest album, Awakening, released by Analogue Foundation and Oshu Records, reflects a period of personal milestones and introspection. Recorded swiftly at Berlin's Brewery Studios, it blends influences from Afrobeat, Hungarian folk, Yoruba rhythms, and more, infused with Coltrane-esque improvisation. Tracks like 'Destruction Everywhere' and 'Menidaso' merge spiritual jazz with Afrobeat, featuring vocalist Eric Owusu. 'Awakening' marks a profound musical journey, emphasising unity, dialogue, and self-reflection in a transcendent listening experience.
Discourse On The Samadhi Of The Jewel Emperor (3:32)
K Heart Sutra (3:44)
Thousand Hands Sutra (17:46)
Review: Ahn Chi-haeng, a towering figure in Korea's gayo scene, made his mark in the 1960s through the 8th US Army entertainment circuit, later leading the popular 1970s soft rock band Young Sound. By the early 90s, he was a powerhouse in the music industry, known for his Midas touch as a producer. At the age of 60, Ahn shifted gears, embracing his Buddhist faith through a series of experimental sutra recordings. Unlike traditional sutra renditions, Ahn infused these spiritual texts with hip-hop beats and guitar riffs, making them both spiritually resonant and musically engaging. The 2004 release of these recordings, originally meant for a small Buddhist audience, found a second life a decade later when younger listeners discovered them online. This reissue, part of Beatball's effort to spotlight Ahn's extensive catalog, selects six standout sutras from the 2004 double CD. The tracks, including 'Hip Heart Sutra' and 'Mantra of Avalokiteshvara', are meticulously remastered by Dave Cooley, bringing new energy to the beats and ensuring these unique pieces resonate with both Ahn's original intent and today's listeners. This vinyl release offers a rare opportunity to experience Ahn's innovative fusion of spirituality and modern music.
Review: Made and released way back in 1958, Somethin' Else is a classic jazz album by the American alto saxophonist Cannonball Adderley, notably his only ever album for the esteemed Blue Note label. It famously hears Adderley enlist the help of trumpeter Miles Davis as one of its sidemen, and this was an ongoing relationship that later paved the way for popular jazz as a whole; without Somethin' Else, we wouldn't have Kind Of Blue, for which Adderley would contribute his sax playing just a year later. Though it is a testament to the unity of two great core musicians, we also hear the piano stylings of Hank Jones, bassist Sam Jones and drummer Art Blakey.
Altered Tapes - "Watch Out Now" (Hijackin' For beats remix) (4:03)
Double A - "Tell Me" (So Cold remix) (4:32)
Review: Heat Rock add yet another breaksy heater to their repertoire and, in so doing, welcome two wicked producers from across the pond into their roster; Altered Tapes from Chicago, and Double A from New Zealand. The former stalwart goes in on an infamous flute loop from The Beatnuts, working in phat kicks and sawn-off breakbeats for a pacier, dancier instrumental version. Double A backs this up on the B with, dedicating a prayer and an amen to the same Dirty South classic. A must-have DJ tool for the aspiring breaks-purveyor.
Review: Sitting back to back, with their silhouettes filtered through lamplight and street smoke, neo-soul duo The Altons have returned with two slow, gushing jams. Adjacent to the local jazz club's neon signage comes the blissful harmonies of Bryan Ponce and Adriana Flores on 'Tangled Up In You', a hurtful song that carries with it a tinge of psych rock. The B-side duet, 'Soon Enough', sparsely fuses traditional jazz instruments for a lovers' reunion song. For all the soft-hearted among us, don't miss this one.
Review: Although her Afro Harping album might be more popular, legendary American harpist Dorothy Ashby's debut The Jazz Harpist is equally as essential. It was her debut record in 1957 on the Regent label and is a record which generally credits the Detroiter as being the first artist to translate harp to bebop and jazz in a real way. Traditionally more seen as an instrument associated with classical music, Ashby remove it from its genteel past and dropped it into a more modern and edgy context with stunning results. This glorious album is the best way to understand that transformation.
Review: H.P. Lovecraft based much of the lore of his novels on the fictional Necronomicon, or Book Of The Dead, the apocryphal tome and curse-book of hell whose privies and hermeneutics transcended (most) mortal eyes. Axiom Funk, on the other hand - the united post-funk experiment led by the inimitable Bill Laswell, and also featuring the ineluctably starry roster of Bootsy Collins, George Clinton, Bootsy Collins, Jerome Brailey and Bernie Worrell, all daemonic names in the annals of the nether funk continuum; each worthy of their own sigil - gave us the Funkcronomicon in 1995. An ex-sanguine sizzler of a record written in desecrate blood, and whose vitiations allow it to mix an unholy cocktail of genres from P-funk to boom-bap to battle tool, this is a record akin to one long, possessive, dead-behind-the-eyes groove, building on the concept of funk, and all music for that matter, having been banned by false-conscious powers in the city of Ohio. What to do then, but to invoke music to incite the public's carnal unconscious?
Review: The Bacao Rhythm & Steel Band has become the latest jewel in the Big Crown. Lead by Bjorn Wagner, they have stopped several essential recordings not he label, all defined by their famous steel pan sound. Often they turn to covers of the classics such as they did back in March and this time around they take aim at the much loved and low slung hip-hop classic 'Nuthin' But A G Thang' by Dr Dre. In their hands it becomes something else entirely but still delightfully low slung and sleazy. This one is backed with 'How We Do' which is another loveably fresh sound.
Review: These previously unreleased tracks from Revelations member Phillip Balou were offered to Super Disco Edits by one-time British soul journalist David Nathan, who worked alongside the musician and band mate John Simmons at the tail end of the 1970s. A-side "Ain't Nothing Like The Love", a gospel inspired slice of sumptuous soul complete with jazzy guitar solos and an evocative lead vocal from Ballou, is undoubtedly the pick of the two tracks and well worth anyone's hard-earned cash. That said, deep and sugary flipside "For Real" - a thrillingly evocative slow jam full of gospel style choral backing vocals, sumptuous electric piano and sweeping, synthesized strings - is almost as good.
Review: Bongo Joe and Sofa Records' third instalment of the Maghreb K7 Club Disco Single series dives deep into Algeria's vibrant 1980s scene, offering four tracks that shine a light on the region's overlooked gems. The A-side is led by two irresistible pop-boogie-funk tracks from Khaled Barkat: 'Galouli Enshara' and 'Zourini'. Self-taught and self-produced in 1983, Barkat's music was a hit at the time but got overshadowed by the rising tide of rai. His dynamic collaboration with Yazid Fentazi, Redouane Ayoub, and Mhenni Benlala resulted in a sound that blends infectious grooves with local flair. Now, for the first time, these tracks are on vinyl, offering fresh ears the chance to rediscover a key player in Algeria's pop history. Cheb Tati takes over on the B-side with 'Dub El Hammam', a heavyweight dub number that showcases his range as a rai vocalist. Tati was flown to London in 1989 to work with dub pioneer Denis Bovell, and this track is a standout from their sessions, merging the pulsating rhythms of reggae with a distinctly North African flavour. Closing out the release is the Kabyle band Asif, whose only known recording, 'Tafsut', serves as a fitting finale. Formed by three brothers in Lille during the late 70s, this beautifully crafted pop-boogie track captures the band's unique sound, bringing a sense of nostalgia and triumph to the collection.
Review: American soul man Bilal dropped his debut album in 2001. Back then, r&b and neo-soul were in their golden times and Bilal was one of the best in the game. The singer songwriter was of course part of he influential 90s collective The Soulquarians alongside members D'Angelo, Q-Tip, Common and Questlove and some of those feature here as well as the likes of Robert Glasper. Production was taken care of by none other than Dr Dre alongside Raphael Saadiq and J Dilla. Lead single 'Soul Sista' toped the US charts and remarkably this is the first time the album has ever been available on vinyl.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Yabba Dabba Doo
Heart's Desire
Holding You, Loving You
Deaf Hook-Up Connection
You Ain't Hip
Let Your Conscience Be Your Guide
Since You Been Away So Long
Never Miss A Thing
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Don Blackman's self-titled debut album, released in 1982, stands as a testament to his versatility as a musician, blending jazz-fusion, funk, and r&b with a distinct creative vision. Though it may not have made waves on the charts, its legacy has only grown with time, cementing it as a cult classic in the 80s jazz-funk landscape. Blackman, a skilled keyboardist and vocalist, had already built a name through collaborations with heavyweights like Parliament-Funkadelic and Roy Ayers, but his debut marked a bold foray into the spotlight. The album itself feels like a rich, meticulously crafted groove machine, where Blackman's keyboard wizardry is matched by his soulful vocal delivery. Tracks like 'Heart's Desire' and 'Holding You, Loving You' highlight his knack for catchy melodies, while 'Yabba Dabba Doo' leans into playful funk, embodying the joyous experimentation that permeates the record. Each song brims with tight, polished arrangements, grounded by smooth basslines and Blackman's ability to switch between genres effortlessly. What makes this album so significant is its impact on future generations. While not an immediate commercial hit, it's become a goldmine for hip-hop producers, with many of its tracks being sampled by major artists, pulling it from obscurity into a cherished underground classic. In an era when funk and jazz were evolving, Blackman's debut was - and remains - an unsung yet influential piece of music history, offering a snapshot of an artist at the peak of his creative powers, melding diverse sounds with a rare sophistication.
Review: Should you stumble on an original copy of N'Draman Blintch's 1980 album Cosmic Sounds for sale, it would cost you upwards of 1,000 Pounds. This, then, is a much-needed reissue. It contains four fine cuts that showcase the Ivory Coast-born musician's distinctively intergalactic take on Afro-disco, where spacey electronics and mazy synth lines rise above bustling, high octane grooves. The album does contain one decidedly laidback and loved-up slow jam - closer "She Africa (Ton Tour Viendra)" - but it's the celebratory brilliance of the set's dancefloor workouts that most impress. Check, in particular, the anthem-like strut of title track "Cosmic Sounds" and the hot-to-trot, solo-laden Afro-disco explosion that is opener "Self Destruction".
Lady, Lady, Lady (Are You Crazy For Me) (instrumental) (3:24)
Lady, Lady, Lady (Are You Crazy For Me) (feat Mel Hayes - vocal) (4:10)
Review: The Boogie Man Orchestra's 'Lady, Lady, Lady (Are You Crazy For Me)' is a hidden gem in the soulful disco world but it won't stay that way now it is getting this new reissue. It's one of those jams with an impossibly smooth, seductive groove that embodies the essence of 70s funk and soul. The lush arrangements are accompanied by silky vocals and tight instrumentation to make for a perfect balance of upbeat energy and romantic charm. Add in the rich brass sections and driving bassline and you have a perfect example of the orchestral disco sound that we all still love so much.
(The Circle) Of Compassion (feat MidnightRoba) (8:10)
Our Cottage To Across The Stream (3:44)
Your Soul Is Perfect (Supreme Uniter) (feat Radha Botofasina) (7:49)
Review: Surya Botofasina's new album, Ashram Sun, follows his acclaimed debut Everyone's Children and marks his first major release since touring with Andre 3000 and contributing to New Blue Sun. This album is a tribute to Surya's spiritual and musical upbringing under Swamini Turiyasangitananda, also known as Alice Coltrane, at California's Sai Anantam Ashram. Ashram Sun is a profound work of spiritual jazz and it features close collaborators Carlos NiNo and Nate Mercereau with production by the prolific NiNo, whose vision is central to today's progressive jazz scene. This album is an immersive world of classy, spiritual and meditative jazz sound.
Review: Brand New Heavies have long had their legacy assured. They played a vital role in establishing the Brit-funk sounds of the 80s and 90s and are one of the most enduring acts on Acid Jazz. Now, their standout album Heavy Rhyme Experience Vol. 1 has two of its finest cuts singled out and pressed up to this Bonafied Funk reissue on P-Vine Japan. The tunes are a blend of their signature sounds with some top-level featured guests including hip hop royalty Main Source and the one and only Grand Puba. Timeless dance floor delights, for sure.
Review: American funk band Breakwater is best known for their hit "Release The Beast," which gets a reissue treatment by Be With. Even if you don't know the name, you'll recognise the track's withering lead riff because it was sampled by Daft Punk for their iconic "Robot Rock". It's mad to think such a futuristic sound was created somewhere in Philly in 1979, but it was. The flip side houses the smooth and buttery "Let Love In", a feel good, deep cut funk gem with vocal harmonies, bulbous bass and hip swinging claps.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.