Review: 'Foolish Man Part 1' and 'Part 2' by The Huck Daniels Co is one of several 45rpms the BGP label is dropping at the moment and weirdly many of them are also in two parts. This one features guitarist Daniels who was a key part of the B.B. King band ahead of later setting in Los Angeles and becoming a respected leader in his own right. He wrote just one for Kent Records and that was in 1973 as the label headed into its final days. 'Part 1' on the A-side is a driving funk cut aimed squarely at the club and heavy on inspiration from James Brown and the version on the flip levels up with organ playing from Earl Foster.
Review: Little is known about Human Race and their mysterious, self-titled debut single, other than they were the house band at the Continental Club in Miami, Florida, during the late 1960s. Their sole single, which slipped out on a tiny label at the turn of the 70s, has long been sought after by collectors. Having first been reissued in 2002, it has now been given a fresh pressing. It's well worth picking up, not least for the languid and laidback title track, where scat-style vocals and glistening guitars ride a groove rich in deep, weighty bass guitar, shuffling drum-breaks and ear-catching hand percussion. As it did on previous releases, the track comes backed by an even slower, more laidback instrumental number, the sweltering, sax-laden soul sweetness of 'Grey Boy'.
Review: Bobby Hutton, the first singer featured on Soul Train in 1971, sees his rare soul classic 'Lend A Hand' reissued by Expansion. Originally released in 1973, this track is a soulful gem that resonates with fans and collectors alike. On Side-1, 'Lend A Hand' stands out as an impressive track, showcasing Hutton's powerful vocals and emotional depth. Side-2 features 'Come See What's Left Of Me,' originally from 1969. A soulful and elegant experience, highlighting Hutton's early work. Both songs are certified rare and classic soul, making this reissue an appealing one for those who appreciate timeless, heartfelt music.
Review: Original Gravity strides into 2025 with this electrifying debut release from I Ragazzi. The limited 45 rpm has been crafted by the talented Neil Anderson and the title cut 'Terremoto' on the A-side bursts with funky, soulful energy that promises to keep floors moving and grooving all night long. It has big drums, crashing hits and driving Hammond organ stabs that never let up. On the flip, things get a little more laid back with 'Via Appia' which is led by more great organs, this time with swirling horn sounds and an inviting rhythm.
Review: Debut release on the Canadian label imprint from two Icons Of Hip Hop with the the debut 45 with Otis . This 45 draws on hip-hop's golden moments drenched in soul samples .Up first on 'Otis', which is offered up as a vocal mix on the A-side. It's three minutes of beat-making perfection with muted horns sampled throughout, raw back-and-forth bars and dusty drums with plenty of guttural soul. Flip it over for the massive funk instrumental which is stripped of the mic-work and allows the rawness of the classic 6t's soul sample to really shine through.A great start to what is sure to be an essential label for hip-hop heads.
Review: The backstory to this one is great. It starts in 1978 when a New York producer was in need of some studio musicians to lay down some fast and funky rhythms for a band he was working with, The Imperials. Minneapolis talents Andre Cymone and Prince Rogers Nelson duly stepped up and recorded 'Fast Freddy The Roller Disco King'. An album from the Imperials was set to follow but it never did, leaving us with this one majestic cut. It's soul-drenched and cosmic disco with a killer vocal back with a more leggy and slow-motion cosmic wonder, 'I Just Wanna Be Your Lovin' Man.'
Review: The Incredible Bongo Band were a loose studio collective interpreting classics of the day in their own inimitable percussive fashion .They are of course most famous for their ultimate b-boy classic version of "Apache". This particular 7" however features two Incredible Bongo Band cuts that have not previously featured on any albums. "The Riot" is a frenetic drum workout and has been championed by the likes of the Chemical Brothers. "Ohkey Dokey (Part 2)" takes on a somewhat more subdued hue in comparison, but has some dope funky clavinet in the mix. Well worth checking.
People All Around The World, Can Make It (Studio live take) (5:51)
Review: Milanese quartet The Invisible Session has a proven track record of delivering soulful nu-jazz workouts, with each successive release displaying a different range of influences (think jazz-funk, soul-jazz, Afrobeat, spiritual jazz and so on). So what do they have in store for us this time round? In its original form (side A), 'People All Around The World Can Make It' is a deliciously languid, fluid, sun-splashed number that effortlessly joins the dots between Afro-soul, soul jazz-and jazz-funk - all spiritual group vocals, Tony Allen-style drums, punchy horns and spacey synthesizer flourishes. The accompanying 'studio live take' is stripped-back affair that adds attractive delay trails to the horns, removes the vocals and prioritises the Fela-inspired groove. In other words, it's effectively their take on a reggae style 'riddem' version. Proper.
Review: Repress time: released last year on a limited run of 45s, Chet Ivey's double-A "Dose Of Soul" / "Get Down With Greater" returns to the relief of collectors and funk lovers who missed out. Two of many swelteringly funky gems on his Sylvia Funk Recordings album curated in 2017, "Dose Of Soul" has a raw edge and looseness that's held together with Ayers-style vibraphone chords, while "Get Down With Greater" is much more of a traditional funk jam, with the organ player and bassist playing at their fullest of flavours and Ivey leading in his inimitable 'poisonous' style. Don't sleep!
Review: Americans Hank Jacobs and Don Malone cooked up a bona fide political soul anthem when they crafted 'The World Needs Changin' back in 1970. It is now hard to find so naturally these days it fetches a very handsome fee on second hand markets so has rightly been reissued here by BGP. The a-side is a tune that cuts deep, with pained vocals over a simple but devastating soul rhythm. On the flip is another gem in the form of 'Getting On Down' making this a crucial cut.
Review: DC archival masters Peoples Potential Unlimited first shone the light on Dwight Sykes and his Jahari project on the must grip Situations cassette late last year, revealing the work of a key player in Michigan's underground boogie scene. Those selectors out there without the means to play tapes in a club setting will no doubt be very thankful to PPU for this 12" that brings together some unreleased demo cuts from Jahari along with a newly remastered version of the superb title track from that cassette. So up top you get two alternate takes on "Fire & Desire" with the studio version a real funk gem, whilst "Situations" sounds all the more sweet and soulful in newly remastered form.
Chuck Davis Orchestra - "Spirit Of Sunshine" (6:23)
Review: Westend brings more of that glorious disco goodness that they have been so well known and loved for over such a long period of time. This one is a split that kicks off with Jake's 'You Are the Star.' It's propelled by neat and tidy bass guitar riffs with more decorative melodies and riffs up top. The drums have an irresistible sense of slide to them and the vocal is of course the icing on the cake. Chuck Davis Orchestra steps up in the flip with more lush and classy disco complete with effervescent string stabs and more funky bass. 'Spirit Of Sunshine' manages to bottle up just that and douse you in it from start to finish.
Review: The Big Payback series hits third volume and again bangs together classic soul and funk artists with hip hop giants. This JB & The Soul Mates take on Busta Rhymes. They layer up jazz-funk drums and synths into lively arrangements that are topped with sick verses from the master and plenty of James Brown ad libs also colour the groove. It's a high energy party starter, but if you need something a little less busy, the instrumental on the flip has you covered with its big horns and sax lines getting hands in the air.
Review: The tenth release on Fantasy Love takes us back to the Spring of 1978 and Miami Sound Studios, where Aaron McCarthy Junior AKA Jelly had been lending a hand with the recording of Herman Kelly's now celebrated album, 'Percussion Explosion'. 'Everybody Needs Lovin, Now's the Time' was demo'd for that album but never completed; instead, McCarthy joined forces with producer Thomas Fundora to record a tweaked version, featuring his own lead vocals, which was then released on the latter's obscure, small-run label. Here reissued for the first time, the track is a pleasingly celebratory slab of Miami soul that comes backed by 'Hey Look at Me', a sugary, eyes-closed love ballad with similarly fine Floridian instrumentation.
Review: Vocalist Jodie Richardson continues to assert herself as a modern soul sensation with this new one on Original Gravity. Featuring Neil Anderson on production, drums, bass and keys, this one could be a double a-side such is the equally brilliance of both tunes. 'Pushover' is a powerful tune with driving rhythms backed by big horns as Jodie's beautiful vocals race along up top. It's steeped in classic soul references and is brilliantly unrelenting. On the flip side, 'Treat Me Better' is another belter, this time rolling a little deeper with empowering lyrics about searching for someone better over super tight stick work.
Review: More scorching hot soul sounds here from Original Gravity who look to Jodie and Floyd James and the GTs for their latest dose of 7" goodness. Jodie is in powerful form on the a-side as she delivers an empowering vocal over fast paced and chested-puffed drums that will steamroller all in their wake. This soul anthem has class and depth with some slick guitar solos and big horn energy. Floyd James & The GTs step up on the flip side with 'Johnnie's Blues' which is full of Hammond organ chords and 60s guitar riffs.
Review: B2 Recordings is back with a second release that is every bit as good as the first. This one comes from Reece Johnson and is a joyous mix of uplifting disco sounds with a timeless edge. 'Comin' In Hot' is a lose-limbed opener with percussive edgy and low-slung drums topped off with dazzling chords. 'Glass Heart' then brings the funk with more expert looseness and this time some hooky and soulful vocals. 'Sup America' keeps the party rolling with instrumental disco brilliance and a Spanish vocal to add real heat while 'Feelin' The Beat' and 'Got To Be Free' close out with higher tempos but no less class.
Jorge Ben - "Ma Ma Ma Ma Mae (A Lingua Dos Anjos)" (4:09)
Cauby Peixoto & Jorge Ben - "Dona Culpa" (3:25)
Review: Mr Bongo's excellent Brazil.45 series digs deeper into the legacy of Jorge Ben, one of Brazil's most famous musical exports and an enduring samba king. Opening up is 'Ma Ma Ma Ma Mae (A Lingua Dos Anjos)' which was originally on his 1980 album Alo Alo, Como Vai? It's a modern sound, with disco inflections and big wind sections, but also some trademark Ben playfulness in the lyrics which speak of flying saucers and angels. O the flip, things slow down and get more steamy and sensuous on 'Dona Culpa' from his Cauby! Cauby!' album of the same year. Two sides, two styles, one irrepressible artist.
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!
Review: Jungle Fire are an LA-based megagroup mainly dealing in a modern take on Afro/Latin funk, working in every instrument from electric guitar to djembe to a full colliery section. Flat-caps, shades and trilbies aplenty, their latest album Jungle Fire established a self-starting genre they dubbed 'TropiFunk', a boxy and lo-fi funk sound informed by the haunted fuzz of lost tape music. Now Colemine deliver a new 7" study on their two best tunes, 'Slipshot' and 'Pico Union'.
Review: Kaymany & Asestar hail from Rome, a city where many musicians spend most of their days producing sounds for the television industry and even shopping malls. That's part of the reason the country has such a reparation for great jazz-funk sounds and now adding to that cannon are Kaymany & Asestar. 'Effimera' is glossy and feel good disco with retro future chords, while 'Digressione' has a Bob James style energy to it with its high speed funky bass and incidental chords. 'Capao' closes in Latin fashion with manic keys and more plucked and funky bass slaps making you shake every limb.
Review: Funk, soul and jazz-funk reissue specialists Dynamite Cuts are particularly good at offering up seven-inch singles featuring album tracks that have never previously appeared on "45". They're at it again here, delivering a killer seven-inch featuring the much-sampled two-part track that bookends K.C & The Sunshine Band's self-titled, 1975 sophomore LP. "Let It Go (Part 1)" is a low-down Miami funk treat featuring a hot-to-trot-mix of bustling drums, heavy percussion breaks, rousing vocals, fiery (and familiar) horn riffs and impassioned lead vocals. The slightly shorter "part two" mix is an even heavier, vocal-free take that deftly showcases the quality of the band's hip-shaking, rabble-rousing instrumentation.
Review: Dewey Kenmore clearly knows the pains of unrequited love and irrelationship better than most artists. The enigmatic soul singer's new single 'Before We Say Goodbye' channels the denial stage of grief: "you know it's just you and I, do or die", he opines, desperately grasping after the former ecstasy of a now fading relationship. The song is full of doomy minor chords and Hammond organ-ic reverie, laying on thick the mood of irreversibility around life's milestones.
Review: Fingier Records is a new Acid Jazz sub-label that is back with a brand new 7" from The Kevin Fingier Collective. It's a real dance floor heater that is perfectly aged and authentic as it mixes up Northern Soul and r&b with driving guitar rhythms and steamy piano chords. The horns are killer but the vocal is the icing on the cake. On the flip things get Latin flavoured with the bossa-tinged mod jazz of 'The Great Akerman' which is defined by lush flute and organ vamps. This is a great taster of the full length to come from The Kevin Fingier Collective.
To See One Eagle Fly (original version 1978) (5:09)
To See One Eagle Fly (Mudds extended mix) (7:27)
Review: Well, what a way to inaugurate your label! The newly crowned Spacetalk comes through resolutely correct with this reissue of 1978's "To See One Eagle Fly" by Morrison Kincannon, a psyched-out funk bomb with a glorious blue-eyed soul twist, and a mystical sort of vibe that can proudly sit up there with the likes of Stills, Nash and Young - i.e. proggy but still groovy. There's an extended remix from Mudds, and the man goes for a kind of dub version approach; a new and different tactic to deploy over a rock tune, but effective nonetheless.
Basil Kirchin & Jack Nathan - "Viva La Tamla Motown" (3:50)
Alan Parker & William Parish - "Main Chance" (3:05)
Review: KPM Music might just be one of the most expansive music libraries out there, boasting a whopping 30,000 exclusive music tracks for licensing. Some of their earliest pieces are being reissued by Measured Mile, the latest of which appears here in the form of a split 7" by four of the label's most treasured contributors. 'Viva La Tamla Motown' helms up the A-side with wonky, laboured drumming and an excitable rock n' rolly guitar and harmonica. 'Main Chance' brings up the B with a more loungeified flutey strutter.
Review: There is some class edit and mash up business going on here with the latest one from the Disco Bits crew. The 45 takes the form of of classic cuts reworked with an all new and contemporary edge with the dancefloor very much in mind. First up, a Patti Job classic gets taken apart and rebuilt with new vocals and a more stepping beat. The Chopper's 'People Hold On' is a more smoochy sound with classic vocal refrains singing out and twanging guitar riffs powering along a groove that is suited for everything from weddings to late night shenanigans.
Review: This delightful 7" features a collaboration between two Star Creature veterans from Northern and Southern California who deliver a raw, uncut boogie track. The wonderful 'Girl Ur Freaky' is both breezy and laidback but irritably dance. The vocal harmonies are heart-melting, the wispy synths bring cosmic cool and the drums and squelchy bass sit together perfectly. The vocal version really is where it's at with this one but if you want it more subtle then the flip-side instrumental is the one for you.
Review: For the 29th instalment in their ongoing series of seven-inch singles, Demon Singles Club has decided to offer up a 45rpm pressing of Komiko's 'Feel Alright'. First released on legendary disco-boogie imprint SAM Records back in 1982, the track has long been a favourite with boogie DJs and with good reason. Built around a memorable bassline, squelchy electrofunk synths and unfussy machine drums, 'Feel Alright' boasts a fine female lead vocal whose lyrics extolls the virtues of dancing all night with happy strangers. As it did back in 1982, the vocal mix comes backed with an instrumental take in which producer Darryl Payne's killer bassline and synths rightfully take centre stage. If it's not in your collection already, you need to grab one of these copies pronto.
Review: Spanish reissue label Rocafort present this wonderful slice of highlife from Konkolo Orchestra, this time on nice blue wax as well as a plain black version. It's not exactly clear where, or indeed when, exactly the band came from, but their sound is all you need to worry about. 'Blue G' is a lilting, shuffling message of love and support for future generations, and from the message to the effervescent musicality, it's a no-brainer. On the flip, 'That Good Thing' is an instrumental that spirals outwards on the sweetest keys, joyous brass and dreamy guitar, driven by a pattering drum section to radiate good vibes wherever it's played.
Review: Martin Reeves aka Krafty Kuts was a key player in the breakbeat explosion at the turn of the millennium. Like many of his peers in the scene, he was of course also a deep digging DJ with an extensive knowledge of breaks and funk and it is that which he twisted into his own contemporary style. Now he returns to those roots somewhat for a seance time on his FF45 label with a pair of hard and hella funky hitting beats. The first is 'Street Hop which is a raw, Nas-style hip-hop joint with tough bars and beats. 'You Got It' then takes the energy levels down a touch for a deeper vibe with bars that remind more of Biggy.
Review: Mega-sick big breaks from Brighton's Krafty Kuts, flipping undocumented verses from an earlier collab between the producer and verbalist TC Izlam, 'Ill Type Sound'. Every beat hits with huge plantar weight here, with kicks and reverso-claps rooting themselves in sonic continual soils. The original mix features here too, with twisty scratches, pan pipes and turntablist's kick rolls bringing a distinctively kitsch, jazzy, De Wolfe samply feel. "We got the groove, we got the sound, we got the vibe to make you get down!"
Review: LaJohn and Sheila's 'Too Far Gone' is an otherworldly disco cut from the Chicago label Magic Touch, which is benefitting from a reissue spotlight courtesy of Numero. The track was unearthed by Mr Peabody for a BBE compilation a long way back, but finally the tune is getting its own proper outing thanks to this tidy little 7", which comes in clear blue on this edition. Some tracks are holy grails for more than their scarcity, and this is truly one of those perfect records that everyone will want in their lives for all time once they clap ears on it.
I Don't Know What It Is But Keep That Light Shining On Me (Keith Lawrence Refix version 1) (4:26)
I Don't Know What It Is But Keep That Light Shining On Me (Keith Lawrence Refix version 2) (4:32)
Review: Keith Lawrence is a DJ and producer from Brixton in South London with plenty of credentials, and here he serves up a pair of refixes of 'I Don't Know What It Is But Keep That Light Shining On Me', a reggae jam with an edge. The first one is laden with hooky guitar riffs and has soaring call-and-response vocals expanding the sound up top. The second is more raw and a little stripped back with a focus on the timeless rhythms and sounds. Two tunes that demand to be played loud and with bass - obviously - pushed to the max.
Review: Food Stamps is a great example of a record that fell between the cracks on its original release back in 1982. The one and only release from Baltimore-based funk-rock explorer Billie Senger, it has achieved cult status amongst record collectors due to its obscurity (finding original copies is notoriously tough). This reissue - pressed on green vinyl with new cover artwork - should, then, prove popular. "Food Stamps" - a riotously loose and floor-friendly chunk of funk from the Rare Earth school of white funk-rock - is the real killer, though the MC5-influenced flipside "How Do I Know" impresses with its fuzzy, recorded-in-a-shed feel and extra-cosmic production.
Review: Mr Bongo's Brazil 45's series brings us two Brazilian classics: Rita Lee & Tutti Frutti's 'Agora E Moda' and Pete Dunaway's 'Supermarket'. 'Agora E Moda' from Lee's 1978 album Babilonia is a psychedelic disco-boogie groove highlighted by squelching guitar licks, funk drums, and cosmic vocals. Rita Lee, the former lead singer of Os Mutantes and a key figure in the Tropicalia movement, left a lasting legacy upon her passing in 2023. On the flip side, Dunaway's 'Supermarket' is a rare groove/AOR gem with a standout bassline, swaggering guitar, and lush strings, showcasing his talent as a composer and multi-instrumentalist. This release celebrates the enduring influence of Brazilian music.
Give Me The Sunshine (extended UK 7" Grapevine RED 3 mix) (4:40)
Review: Leo's Sunshipp is an iconic rare groove record that gets a reissue here on Expansion. The special Record Store Day 2021 limited and hand-numbered 7" offers up two different versions, both of which are primed and ready to add at least 10 degrees of heat to even the sunniest DJ set. The original US 7" mix is languid and long legged, laidback and in a hurry to go nowhere fast. The soaring strings and steamy vocal, tumbling perc and distant horns capture a lazy afternoon soaking up some rays. The extended UK 7" Grapevine RED 3 mix ups the ante a little for slightly more energetic moves.
Review: The Leonhart Brass Band, the latest project from trumpeter Michael Leonhart, was born out of the 2020 lockdown, an inventive response to the halt of his 18-piece orchestra performances at NYC's Jazz Standard. Stripped down to a brass-heavy ensemble that could perform outdoors without amplification, Leonhart took inspiration from classic brass bands like Dirty Dozen and Rebirth, blending in hip-hop and funk influences to create a unique sound. The opening track, 'Jabbar', is a tribute to Kareem Abdul-Jabbar, the basketball icon with a rich jazz background. Centred on an infectious bass riff in C minor, Leonhart's trumpet and Jason Marshall's bass saxophone deliver bold, brassy solos, conjuring the vitality and strength of the track's namesake. Another standout is 'The Iceman', a nod to George Gervin, the basketball great known for his unflappable demeanour on the court. The brass section splits into two distinct groups, creating counterpoint melodies that mirror Gervin's grace and intensity. Stuart Bogie's baritone sax solo, complete with tape echo, adds an unexpected texture, grounding the track in a deep, funky groove. With members from Antibalas, the Dap-Kings, and Red Baraat, the Leonhart Brass Band fuses tight musicianship with an exhilarating energy that carries the weight of New Orleans tradition, while forging its own path in the modern jazz and funk worlds.
Why Don't We Do Some Boogaloo? (45 version) (3:43)
Review: Miguelito Superstar, co-producer of the acclaimed debut album Si Esto Se Acaba, Que Siga El Boogaloo, delivers pure fire with two electrifying versions on this 7" release. 'Why Don't We Do Some Boogaloo?' emerges as a local classic, while the Latin Funk rendition of New Order's iconic 'Blue Monday' transforms the track into a powerhouse of groove. With special attention to unearthed breaks and a spotlight on the rhythm section, Miguelito elevates both tracks to must-have status for aficionados of Latin music and funk. Miguelito's power in crafting infectious rhythms and breathing new life into familiar classics is on full display here!
Review: This forthcoming 7" pairs two fiery cuts from the Latin American underground, capturing the raw energy of a transformative musical era. Los Pambele's 'Cannabis' layers cumbia rhythms with swirling, reverb-soaked guitars, creating a trance-inducing groove that feels both earthy and psychedelic. On the flip, Los Darlings de Huanuco's 'Marihuana' cranks up the intensity, delivering a garage-tinged anthem brimming with jagged riffs and spirited vocals. The sound is unpolished yet electrifying, a snapshot of a time when regional traditions collided with bold experimentation, leaving behind something truly timeless.
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: The Original Gravity label is dedicated to unearthing deep cover gems from across a world of funky grooves, and this time they're turning their attention to the work of Luchito and Nestro Alvarez. 'Fortune Teller' is a big beat 60s-style Latin stomper with more soul than a shoe shop, all tumbling drums and punchy brass. 'Para Que?' takes things in a smokier direction, letting the piano lead the way while holding down a tight groove that should go down smooth as silk on a jazz-minded dancefloor.
Review: Original Gravity, Luchito Rodriguez and Nestor Alvarez return with yet two more Latin groove versions of funk and soul classics, emulating two sounds not yet brought together enough. 'Dap Walk' is a shot-by-shot cover of the song of the same name by Ernie And The Top Notes - a slick and slippery interpretation that translates the original AAVE of the song's intro into Spanish. 'El Barrio', meanwhile, opts for 70s crime thriller vibes, instrumentally verging on expressionism via djembe, brass sections and vibraslaps.
Review: A stellar mix of DJ-able breakbeat and northern soul from Luchito Rodriguez and Nestor Alvarez, two of our favourite contemporary funk artists active today (as long as we're certain of their identities, that is). This limited 7" contains two versions of the same killer track: 'Soy Un Hombre' reincarnates the triumphant 'achievement' of manhood through carnal brasses and kettle drums, in a quiver-inducing cover version of Spencer Davis Group's classic track 'I'm A Man'.
Review: The Original Gravity label is back with more of its fully functional but also exceptionally flair-fulled funk sounds, this time with Luchito and Nestor Alvarez behind 'Tighten Up.' It is another choice reissue that has been dug carefully out of the vaults and comes in seriously limited quantities on 7". Luchito & Nestor kick off with the original version of 'Tighten Up' on the a-side and it's packed with high-tempo breaks and sung-spoken vocals. On the flip is a more fiery and explicitly Latin affair with the warming chords and florid horns of Nestor Alvarez's 'Just Add Vibes.'
Review: "Here we go again, yeah!" exclaim Luchito Rodriguez and Nestor Alvarez - Original Gravity's two core mainstays - who team up once again to evoke the undeniable spirit of a 'Boogaloo Party' for the ages. Channelling the sound of the inimitable Latin dance style, but also gradating it so as to be mixable in DJ sets, 'Ain't Nothing But...' delivers compelling call-and-responses and horn-swelling builds. 'Fiesta Bugalu' dubs things out for a reflection on the party just gone, retaining the tempo but relaxing things for extra percussive effect.
Review: Leroy Hutson is an American singer and songwriter revered by lovers of soul, dub and r&b. He's dropped countless hits which have long been favourites of deep crate diggers, and for this one, he switched things up quite literally in terms of the alias he used. The tunes are as killer as always with 'Butter Fat' pairing some free jazz melody with twisted funky basslines and organic percussion over funky drums. On the flip, 'Feel The' gets more soulful and laced with melody as big energy comes from the piano vamps. Two killers.
Billy Hawks - "(O Baby) I Do Believe I'm Losing You" (3:03)
Review: This Juno colour vinyl exclusive finds Linda Lyndell serve up her own majestic cover of the classic "What A Man." Her vocal is smooth and buttery but also laden with gravitas, while the sweeping horns and jazzy keys all around her help to lift the spirits. On the flip is an ice cold slice of funk from Billy Hawks in the form of his "(O Baby) I Do Believe I'm Losing You". It's raw soul that glides at high speed with plenty of hip swinging claps. This is a much sought after reissue that will shift quick, so make sure you do too.
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: Magic In Threes are back with a mind-mending, strings-laden disco masterpiece, 'Liquid Star Duster'. A nimble modern disco cut whose no-more, no-less agility would fail to charm few discothes, we can vouch for this one's function on the dancefloor. Drop it in your next set and neither you nor your crowd will be displeased. Towards its latter end, 'Liquid Star Duster' even comes peppered by sprung electric finger-plucks of the most talented type, an unusual feature for a disco tune of its kind. B-sider 'Sippin' After Midnight' lowers things to a beanbag pace, posing with its hands behind its head as wah-wah exploitation funk licks and a swung peak synth line, dually lead the charge with pomp and panache.
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