Review: Soul Jazz Records promise this is a one off and strictly limited pressing of Alien Starr's 'World Of Ecstasy.' It is a faithful reproduction of the original in terms of art and sound and has been restored from the label after they included it on their excellent recent Space Funk 2 - Afro-Futurist Electro Funk In Space 1976-84 compilation. tUSA in 1985 featuring big slap bass energy, hand claps, drum funk and electro boogie bass. .
Review: 'Anything Goes Vol. 7' the latest vinyl release EP from Rollover Edit Service, a subsidiary of Anything Goes, is back. Delve into the Italian music scene of the 70s and early 80s with four meticulously edited gems; all four versions here are billed as originals, credited to contemporary producers' hands (Black Pomade, Pablot, etc.) yet are heavily built around each respective sample. Our highlight is the hard-won, twangy B4, 'Prima O Poi Ti Prendero'.
Review: After the roaring success of his last outing here, the '3 Woman EP,' Art Of Tones is back on GAMM with a 12" that brings male ovals to the fore. They are all very different in style but all highly effective. 'International Truth' opens with strident and funky disco drums and noodling guitar lines with soulful tones lighting up the beats. 'Don's Expensive Afro' is a rework of a rare Afro-disco track with more expressive vocals instructing the floor to move. Last of all is a stunning reimagining of an overlooked Stevie Wonder gem, 'Stevland's Run', which is off-balance and unusual funk madness laden with psyched-out guitar work.
Review: Expansion Records' continues to delve into the bulging archives of Roy Ayers' influential Uno Melodic Records imprint, which issued some superb jazz-funk, soul and boogie throughout the 1980s. Here they offer a new pressing of Ethel Beatty's sought-after, Roy Ayers' produced 1981 double A-side. For some reason they've reversed the running order, with side A offering original flipside 'It's Your Love', a Dee Dee Bridgwater co-authored slow jam that's soulful, seductive and sumptuous. Over on the reverse you'll find the more celebrated ''I Know You Care', a deep disco number full of glistening guitar riffs, smooth chords and warming grooves. In a word: luscious
Review: Brother II was an exceptional synth-boogie band in the early 1980s that were formed by, ahem, brothers J. and M. Soso. Their track 'You Was Born' stands as a real gem of of the era that cooly embodies the essence of boogie funk when synths defined the musical landscape. The track's infectious bassline is effortlessly grooving and paired with an unshakeable rhythm and a rich, dominant synth-driven vibe. As a foundational sound of the genre back then, 'You Was Born' is a rather overlooked gem.
Review: Fresh from the Harlem hotpot, 1980: Harold Sargent's Chain Reaction teamed up with Sound Of New York's founder and producer Peter Brown for a star-lit, horn-baked, organ-licked disco creation that still funks hard 36 years down the line. With its maximal approach, disco bubbles and emphatic gutsy vocals, it could be argued that this funk even harder today due to it ticking every possible disco, boogie and funk box possible.
Sono Come Sono (Whodamanny instrumental remix) (4:29)
Sono Come Sono (Whodamanny remix) (4:00)
Sono Come Sono (Whodamanny extended instrumental remix) (6:26)
Review: Internationally acclaimed Italian singer, multi-instrumentalist and songwriter Chiara Civello unveils a new single, 'Sono Come Sono', blending a mixture of Neapolitan funk and club-infused rawness into four mixes. With the title roughly translating to 'it is what it is', the tune is a true, happy reflection on all things being immutable, and struggle being ultimately futile. Party on!
Review: As far as the Juno Records review team care, the DC based Peoples Potential Unlimited have been on a run of 100% boogie heaters roughly since their inception in 2008. The latest transmission from Andrew Morgan's label sees a 12" presentation of disco funk holy grails from Milwaukee act Dazzle ahead of a PPU released long player Made In The Shade. Not to be confused with the Patch Adams and Leeroy Burgess fronted group of the same name, Dazzle was the work of Donald D. Smith and this 12" presents three tracks originally recorded in 1981. "Explain" is the outright jam here, heavily stacked with thick analogue leads and brisk funk riffs. All hail PPU!
Review: Flour Flies embarks on a new series of releases entitled Italian Library Songbook where contemporary artists put their spin on great soundtracks of theist. First to add their own new reinterpretations are Neapolitan producer pAd and London singer-songwriter Jessica Duncan. They tackle Alessandro Alessandroni's 'Philadelphia' and turn out something brilliantly soulful: 'Do You Wanna Get Close' is a lush and club ready sound that is backed with the glorious original on the flip side. This is a promising start to what is sure to be a much loved series.
Review: ** PPU REPRESS ** Following the killer Moon B album II, the peerless Peoples Potential Unlimited wind back the clock to bring us some unreleased late '80s material from Evans Pyramid. The alias of Boston musician Andre Evans, the disco and boogie project was the subject of an extensive retrospective a few years ago, but PPU have managed to uncover these two further gems regardless. "Where Love Lives" is the killer cut here, an "accelerated funk anthem" whose vintage synth bass sounds particularly relevant in today's retro-obsessed musical climate. On the B-side is "I Want Your Body", from Evans' side project Royale, a more classic disco number that still hits all the right notes.
Review: Oh we do so love a mysterious white label. Everything You're About To Hear Is True appears to be a disco edit label with plenty of Balearic chops, which leads in with a supremely slinky rub down of Lynsey De Paul's 1981 disco funk masterpiece 'Strange Changes'. Things pitch down without holding back on blue-eyed funk for 'Jesus Train', originally by Swedish songwriter Per-Erik Hallin. On the flip there's no less than three hits, from the boogie funk perfection of 'Get It' to the jazz funk ascendance of 'Surge' and the swooning disco of 'Wilson'. Rock solid songs given a respectful touch up for the discerning DJ.
Review: The mighty DFA label has always come at dance music from a rock and indie perspective and for that reason has always brought plenty of new ideas to the dancefloor. Fernando Pulichino has long been at the heart of the operation with his fusion of rock, funk, and electronic beats and here he is again with more of the same. 'I Got, She's Got' is a raw, energetic track, while the remix offers clarity and rich arpeggios. 'She's Playing With Fire' with saxophone by Gustavo Buchiniz, meanwhile, adds another explosive element meaning that all three tracks deliver pure club-ready firepower.
Remedy (feat Steve Monite - JKriv Disco dub) (6:02)
Review: Razor-N-Tape is a bastion of deep house brilliance as once again perfectly exemplified by this vibrant new package from Flamingo Pier. New Zealand collective Flamingo Pier have dropped several well received 12"s on the Soundway Records label and then came good with 2021's self titled full length. They are still all about bringing happy, sunny vibes to a tropical disco template here with the likes of the synth lead 'How 2 Feel' then funky vocal pumper 'Remedy'. There are cosmic rays lighting up the big chords and aloof vocals of 'Beneath The Neon' then a couple of remixes on the flip bring more dubby disco-house sounds.
Review: The Foster Jackson Group are one of those forgotten but highly coveted one-hit disco wonders that exist in the bottomless pit that is often classed simply as 'soul'. All that aside, these people made an incredible 12" back in 1979 that has been going for serious bucks on the second-hand market, but thankfully the prodigious P&P Records have saved the day yet again. "Feel The Spirit" is a devilish, inimitable disco jingle that is split between the more percussion ridden "Long Disco Version", and a more contained, more floor-focussed "Disco Version" They both contain that instantly addictive dose of piano, though. Check it out, you'll know what we mean...
Review: The Treasure team keeps up the momentum of its early release with another fruitful dive into the annals of house history. This time, they have dug up more nuggets from FR and have refined them for contemporary floors. 'ET Is Coming Home' (vocal) is a slow and dubby cut with percolating live bass and muted horns next to some Ubiquity style vocal soul. The instrumental allows the superbly loose-limbed and live drums room to really shine, and then comes an epic, 10-minute-plus jazz-drenched house odyssey that's alive with swirling cosmic radiance and busy chords and synths. A real trip for proper music heads.
Review: Two sweet fusion groovers from late 70s Columbia! 'The Groove' is one of the best tracks ever from keyboardist Rodney Franklin, a
smooth, sophisticated instrumental that balances tight riffing on acoustic piano with a warmer electric groove overall, remaining completely
sublime through and through, with all the right notes in all the right places.
Ronnie Laws may have had the first hit version of 'Always There', but Willie Bobo's is a great one too, with a slightly Latin tinge that takes
the cut to a whole new level, adding in some extra percussion to make its jazz funk grooves stand up on end.
Review: The well-regarded Far Out label starts a new catalogue number series for this first reissue from Brit-funk band Freeze. They are of course best known for lighting up the charts and dance floors of the 1908s with their super hit 'Southern Freeez' but also penned plenty of other gems. 'Keep In Touch' is right up there amongst them and now comes as an original and edited version on heavyweight vinyl. It is a joyful track packed with busy jazz-funk keys that cannot fail to amp up the party, especially in unison with a busy and tight bass riff and hip-swinging claps and drums. The edit shortness things up t make for an even more potent gem.
Review: Before tearing up dancefloors - and the pop charts - with 1981 single 'Southern Freeez', Brit-funk outfit Freeez self-released a couple of singles on main man John Rocca's Pink Rhythm label. These are now sought-after items, particularly debut double A-side 'Stay'/'Hot Footing It', hence this handy reissue. 'Stay', an early composition from UK jazz-funk legend Jean-Paul Maunick, is a deliciously expansive affair, with Spanish guitar solos, dazzling electric piano motifs, rubbery bass, shuffling drums and sweet female lead vocals all vying for attention in the mix. 'Hot Footing It' is a more straight-up UK jazz-funk floor-filler full of fluid jazz-bass, bustling drums and warming Rhodes riffs. Both tracks have naturally stood the test of time very well.
Review: Leading Italian disco outlet IRMA is back with more irresistible and dazzling goodness, this time courtesy of Funky Destination with some pretty standout remixes. 'Take It Down' opens up as a new version by LTJ Xperience that has percolating funk lines and slow, sensuous grooves. 'Mr Bong' (Louie Beat Re-work) is a more percussive number with brilliant drumming and sunny melodies and 'Take It Down' offers a sensuous soul sound and some psyched-out guitar riffs. Last of all is the most streamy and busy of the lot with unresolved drum loops, disco percussion and rousing pads that will fill the floor.
Review: The DFA debut of longstanding member Jayson Green also signals the revival of the classic DFA twelve-inch format, so you might playfully suggest it stands for Dying Formats Always. Jay has lent his vocals to various bands such as Panthers, Violent Bullshit, Cheeseburger, and the renowned hardcore group Orchid, always showcasing his wit and humor without veering into cynicism. Assuming a bandleader role, he presents a classic A-side here with the low slung funk of 'Local Jerk,' which was recorded during a lively party. It has tight disco drums, resounding claps and a groove-inducing bassline with big horns. On the B-side, 'I Need Love' unfolds as a darkly humorous nightlife satire.
Review: Jeroboam serves up the tongue-in-cheek title 'Brexit Funk' on Chuwanaga and is sure to get you moving as a result. There is some serious sunshine and Brit-funk loveliness to the title track. It is lit up with vibes keys and irresistible funk basslines that all brim with good-time fun. 'Peckham Night' is a more sultry and steamy sound for when the sun is setting thanks to its lazy drums and splashy cymbals all topped with some smoky trumpet soul. A dub mix rounds out with even deeper-cut grooves and romantic melodies. Three grown-up delights for sure.
Review: Formative disco five-piece who've been sampled and re-edited to the max over the last 20 years, here we find The Joneses in their original form. And they still sound as relevant and timelessly funky now as they did when this arrived in 1981. The original is a tight Chic-style guitar and bass groove that's accentuated by occasional falsetto vocal hits and flurries of disco bubbles and street sounds. Flip for "Summer Groove (Moving On)" where the blistering tight bassline and guitar licks are complemented with a tiny bit more vocal majesty. Instant seasonal sounds, have you kept up with The Joneses recently?
Review: Wonky meets jazz in this impressive new jazz mini-LP from Japan. Takuya Kuroda is a highly respected trumpeter and arranger born in Kobe, Japan and based in New York City. 'Midnight Crisp' is Takuya's seventh studio album, entirely self-produced and following 2020's highly acclaimed 'Fly Moon Die Soon'. Learning jazz in a higher education environment, he's reapplied his skills to a new solo outing here, blending with his one true loves, afrobeat and hip-hop. The ensuing album is one of myriad midnight moods, tempered by many a virtuosic and mournful piano, digitally-edited drum brush, and trilling trumpet from the mouth of Kuroda himself.
Review: Bjorn Wagner's all-star tropical disco band, Magic Source, loves a cover version. The outfit's first EP boasted, as a bonus cut, a superb (and colourful) take on Tom Tom Club's 'Genius of Love'. On this belated sequel, they've gone one better by re-inventing A Guy Called Gerald's pioneering UK house classic 'Voodoo Ray' as a driving, all-live tropical disco jam. It's cleverly done, with all the key elements being replicated, sometimes in canny ways (the acid lines now become Clavinet lines, the synth-bass is now bass guitar, and so on). It's a fantastic cover all told and one that is far more than a smile-inducing novelty. Also superb is flip-side 'Interplanetary Bounce', a spacey jazz-funk/disco fusion cut rich in fuzzy horns, vintage synth sounds and shuffling drums.
Nico Gomez & His Afro Percussion Inc - "Lupita" (7:16)
Review: Mr Bongo continue to churn out top-quality re-edits and here they enlist Danny Krivit aka. Mr. K, the New York producer who has longstandingly helped prop up the dance scene there since the early 1960s. Krivit is responsible for perhaps some of the earliest and most significant disco and funk edits on Earth, so we're more than happy to hear these new ones out, in which he lends his ear to two mambi from Latin extraordinaires Sabu Martinez and Nico Gomez. Percussive clanks and boxy slaps abound on this audiophiles' charm.
Bells Are Ringing (Harvey Sutherland vocal mix) (6:36)
Bells Are Ringing (Harvey Sutherland dub) (6:02)
Review: How many people are too many people to be in one band? The answer is certainly not ten for ten piece Melbourne funk crew Mondo Freaks, who now offer up their debut EP. This lot originally started as a concept band playing late 70s and early 80s funk classics and they have since backed luminaries like Leroy Burgess and Evelyn "Champagne" King. The band is led by session bassist Luke Hodgson and drummer Graeme Pogson and has five talented vocalists who all shine: tracks like 'Find A Way' with Jade McRae's uplifting vocals and the Harvey Sutherland remix of 'Bells Are Ringing' are particular delights. Overall though, all of these fresh funk flavours combine live instrumentation and great songwriting to create a sound that goes well beyond homage.
Review: Has anyone counted the number of re-edits Danny Krivit has released as Mr K? Given that he's being doing it for longer than most of us have been alive, it must run into the hundreds. This is not a complaint though because each new 12" brings at least two more killer re-arrangements. The two on show here are, predictably, excellent. On the A-side ('Dance Wit' Me') he plays around with a killer, early '80s P-funk jam, gleefully making merry with the Funkadelic style squelchy bass, extended vibraphone solos, snappy drums, sparkling synths and party atmosphere. Flipside 'Glasshouse' is more in-keeping with some of his vintage edits. It sees him extend and tweak a heavyweight slab of disco-funk goodness from an unknown source.
Review: Opolopo is a machine when it comes to serving up superb disco, funk and soul sounds. He's done so for two decades on plenty of top labels from Toolroom to Version Galore to Gamm. This time out he finds himself on a self-released tip with X Machine which is a mash-up of James Brown. The original vocals cut through funky basslines and lots of big percussions as the loose drums rumbled on next to warming organ chords. The instrumental is a more direct to dancefloor jam.
Review: The Perpetual Singers is a collective of gospel singers who hail from Amsterdam. They have linked up with producer Arp Frique for this tasteful new two-tracker via Unknownunknown. The 12" kicks off with 'Father Father' which has some brilliantly jazzy fingers dancing about a Rhodes piano and bringing great feels while a wordless ad-lib brings plenty of soul up top and some retro-future melodies bring a contemporary twist to this most bubbly of soul cuts. 'Elena' on the flip is a more driving grove with dusty drums and big guitar licks adding texture to the bright, shiny chords. It's a passionate sound with a catchy edge.
Review: Having come to the fore with a pair of boogie slammers on the Cosmic Chronic label, Mickey De Grand IV's Psychic Mirrors outfit ascend to parent operation People's Potential Unlimited with the excellent Charlene. Allegedly recorded with the help of a ten piece live band, both the title track and "Midnight Mirrors" are evocative of the sort of modern lo-fi funk that PPU corners the market in these days. Bringing the Miami heat, "Charlene" is a veritable dancefloor bomb, with a rugged boogie bassline the sort of flirtatious element that hips can't say no to. B Side cut "Midnight Mirrors" is more of a late night number with some exquisite synth work. Props to PPU!
Review: For his latest trick, cheeky scamp The Reflex has turned his attention to the Herbie Hancock tune that inspired countless 1980s kids to don a tracksuit, grab a pair of Adidas Shelltoes and hurl themselves around like the Crazy Legs crew. Naturally, his version of 'Rockit' is a body-popping treat that subtly extends and rearranges sections - especially those containing Hancock's jammed-out synth parts - and adds a few tasty breakdowns before unleashing the now familiar melody. Over on the flip the French producer takes his scalpel to the Isley Brothers, providing a fine multi-track edit and extension of the group's much-loved, guitar-solo sporting proto-disco soul number 'That Lady'.
Review: Roy Ayers made a number of killer disco cuts in the late 1970s, though few are quite as essential as 'Running Away', which has now been reissued by South Street Disco. Built around an instantly recognisable (and much-sampled groove), the extended 12" version is rich in rubbery, rising and falling bass, clipped guitars, spacey Rhodes motifs, superb lead vocals from Ayers and even better backing vocals courtesy of the female quintet who would later become Eighties Ladies (who's superb 'Tell Him' was reissued in 2020). Turn to the flip for another chance to savour Fever album-opener 'Love Will Bring Us Back Together', a deeper and more low-down disco groover that boasts some seriously good Clavinet riffs and another inspired Ayers' vocal.
Review: The cultured creative minds of James Simonson and Blair French reunite for this new Realities Remix EP on MotorCity Wine which was, in original form, recorded by Simonson in hotel rooms across Europe and the Americas while touring with soul legend Bettye LaVette. As such it takes in myriad global influences as well as evocative field recordings which get reworked in style. Blair French adds his touch with three remixes, firstly the anthemic 'Realities (Projector Remix),' then the more dance-driven 'Elektronolux Overture (Sunday Remix)' and the lush and downtempo 'Hannah (Remix)' featuring violinist Sonia Lee. Two originals 'Realities' and 'Elektronolux Overture' also appear on vinyl for the first time and sound superb.
Review: Daniele Prencipe, a former member of Ganymed, the influential Austrian space disco band from the late 70s, is a versatile multi-instrumentalist with a rich discography spanning jazz to pop. Based in Italy, he excels as a musician, singer, and composer, yet remains underrated despite his evident talent. His solo projects and work with Surprise showcase his exceptional abilities. Particularly notable are tracks like 'Wow' and 'Singin' And Steppin'' which are reissued now by Baba and show how he pioneered the use of the Minimoog and Vocoder. These compositions feature intricate arrangements that set them apart. Originally released on a rare 7" by Polydor in 1983, these are standout funk jams.
At Midnight (Dr Packer Pianola dubstumental) (6:55)
Review: T-Connection was a late 70s funk and disco band from Nassau, Bahamas that moved to Miami. They had plenty of input into the early disco sound and have long been favourites for remixers. Which is why Dr Packer steps up here with two versions of their 'At Midnight' classic. It has some raw and guttural vocals and majestic horn leads with plenty of neat and funky basslines and loose-limbed percussive layers with hip-swinging claps. The Dr Packer Pianola dubstumental closes out with even more florid trumpets. Both of these are primed and ready for plenty of fun.
Review: Steve Taylor is credited with just one single on Discogs, and this is it. It's as hot and infectious as his name is plain and it now gets reissued on 12" after first being put out back in 1986. 'Shine Down (Light Of The World)' has some big sultry trumpets, lovely synth basslines and a hip-swing grave that is part disco, part funk, part street soul. The vocals are buttery smooth and the production is very much of the time. A more crisp Menu remix appears on the flipside. A second-hand original will cost you somewhere in the region of 250 quid so do not sleep on this one.
Review: French-Haitian saxophone player Ulysse laid this cult gem down in 1983. After its release, he became an underground sensation within the niche French boogie scene, Both of the tunes which now get reissued manage to successfully mix political statements with dance-floor fire. First up is 'Naima' which is about the resilience of a woman who has grown up in war. On the flip is 'Tiers Monde' which is a much more heavy digital reggae tune that offers a reminder that we must not forget about abandoned children of the Third World. This was big in Paris in the 80s and will be just as big now.
Review: Universe City's 1976 12" promotional release, showcasing 'Can You Get Down' and 'Serious,' achieved legendary status in the disco realm. Produced and arranged by John Davis, its limited availability and enduring demand, amplified by spins from influencers like Sean P and Dave Lee, underscore its lasting impact in the disco community. Davis, a pivotal figure in 1970s disco, significantly shaped its sonic landscape as a composer, arranger, and producer. Now, officially reintroduced after 48 years, this exclusive Record Store Day reissue is a must-have for disco aficionados that won't break the bank like an original would.
Prof Jah Pinpin 4tet - "The Final Bird (Le Temps D'une Vie)" (3:18)
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: The Reel Estate label is back with another limited slab of clear wax and two devastating outsider-disco cuts. 'Shape The System' has crashing hits and dark, chugging drums, with plenty of sleazy guitar lines king out of the mix, effects and delay adding tension and a bulbous bassline bringing the weight. On the flip, 'River Art' is less dense but no less out there with its twanging riffs, muted jazz horn motifs, broken beat drum tumbles and organic percussion. It's controlled chaos that makes you shake your limbs loose. An essential leftfield cut.
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.