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.
Review: Greg Jolly's 1981 jam 'It's Getting Sweeter' is the subject of this new tidy reissue on US label Enjoy. It's a real deep funk classic that has a lo-fi feel and vocals full of love and passion from both the male lead and the sweet female backers. The chords and drums are gently persuasive and it's a great way to ease yourself into an evening. This 45rpm is backed with 'Love Is' which picks up the pace and has a more funky and propulsive beat with acrobatic falsettos up top finishing it in style.
Special Occasion - "Flyin' To Santa Barbara" (6:37)
Review: Over the years, France's Favorite Recordings has been very good at sniffing out lesser-known European gems from the disco and boogie era, mostly for superb and must-check compilations. Recently, they decided to make some of these licensed obscurities available on a series of 12" singles, where a louder, club-heavy cut is preferable to DJs. The latest sees them offer-up two lesser-known Belgian gems produced in the mid 1980s by future new beat don Tony Baron. Jonathan Jr's 'Hanging On To You' is warm, shuffling and synth heavy, with the artist's soulful and jazzy lead vocal sitting alongside squelchy synth-bass, Nile Rodgers style guitars and post-electro beats. Special Occasion's 'Flying To Santa Barbara', meanwhile, sits somewhere between 80s soul, AOR synth-pop and sax-sporting B-movie soundtrack goodness.
Review: Born and raised in Chicago, Durty Truth Records founder Darryn Jones delivers a couple of corkers for North-East England re-edit imprint Hot Biscuit Recordings. A-side 'In The Bush' is a thrillingly heavyweight jam - an Afro-funk meets Afro-disco version of a track made famous by US disco and boogie outfits, which Jones has expertly extended and rearranged in all the right places. B-side 'In The Know', meanwhile, is a take on a more classic-sounding slab of Afro-disco that boasts a superb "walking bassline", extended electric piano solos, sultry strings and a fine male lead vocal.
Review: The latest 45 from Durand Jones & The Indications, out on Colemine Records, brings together two tracks from their previous LP, Private Space. Now lovingly refitted for 7" play as only the best cinematic soul should, the A-side of this record contains the album's title track. It comes in the form of a laid back, string-strung, smoothened progression, on which guitarist Blake Rhein plays minimal but on-the-money strokes, and the ever falsetto'ing Durand Jones sings creatively of and in tribute to the many cordoned-off corners, hiding places and hind spaces of the world; the essential vectors of lovemaking. The flip shakes up the ambiance to a higher set of stakes, deploying an upper-tempo, flunkie disco-funk, to hearsaid but hopeful talk of seas of love.
Review: Yet another killer 7" from Durand Jones & The Indicators for Colemine; here we've a premiere condensing of two of the star cuts from their most recent, eponymous record, also called Private Space. First we've of course 'Private Space', a string-laden, refractive meditation on longing, separation and inaccessibility; there is a sense of this feeling having been engendered involuntarily, as a result of separation, between lovers, as is so implied in Jones' devastatingly high vocals. Then the B-side boasts 'Sea Of Love', at which point it seems as though the floodgates of separation have been opened, the sluice of passion lowered; here an unstoppable of torrent of pianified disco-soul opens into an amorous estuary of swing. But of course, there's no way an ocean can be privatised (we hope).
Review: Authentic soul business from Bloomington newbies The Indications brought to you by the good people at Colemine Records. Teaming up with Durand Jones for the A-side, "Smile" is a powerful preachy cut that digs deep into the classic funk mentality while sitting neatly upside the grills of Aloe Blacc or Gnarls Barkley. "Tuck N Roll", meanwhile, is a Meters-level slice of smouldering instrumental funk with big cymbal splashes and a blissful balance of Rhodes and guitar. Spotless.
Review: The King Casuals and were founded in 1962 by the late great Jimi Hendrix and after the guitarist's death, he was in the late sixties replaced by Johnny Jones. He leads them in stomping and high energy fashion and here on the a-side is his interpretation of the Hendrix classic 'Purple Haze.' It's got all the things you need to get steamy on the dance floor and it always used to shake the floor at Wigan Casino. Gene Chandler is a bonafide Northern Soul legend who is well known to fans of the genre and his 'There Was a Time' is a real raw gem on the flip.
Review: Daptone recently released a killer collection of archival cover versions by in-house band the Dap-Kings and their sadly departed lead singer Sharon Jones. One of the headline attractions on that set, the band's righteous, call-to-arms soul version of Woody Guthrie's folk anthem 'This Land Is Our Land', is also featured on this must-have reissue of a "45" that first dropped in 2004. It's superb, but even better is A-side 'What If We All Stopped Paying Taxes?', a floor-friendly conscious soul/funk crossover written and recorded at the height of the second Gulf War with Iraq. As usual, Jones' impeccable lead vocal is supported brilliantly by the band's fiery instrumentation and Bosco Mann's fuzzy, sixties-style production.
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?
The Joneses - "Love Contest" (Dave Lee extended Disco mix) (8:53)
Street People - "I Wanna Get Over" (Cosmodelica remix) (7:53)
Review: This second instalment in the Spring Revisited seriesia collaboration between Acid Jazz and Ace Recordsioffers two expertly handled edits from across the Atlantic rooted in the fertile legacy of 70s New York soul. London's modern disco institution Dave Lee reinvents The Joneses' 'Love Contest' with his trademark finesse, giving the track a full-bodied groove-up without losing its bittersweet heart. The strings soar, the rhythm section locks tight, and Lee's decades-deep knowledge of disco and boogie shines through in every detail. On the flip, New York-based Coleen 'Cosmo' Murphy brings lush new life to Street People's 'I Wanna Get Over'. With sun-drenched keys, crisp hand percussion and subtle delays, she transforms heartache into late-night liberation. Both sides feel like love letters from DJ to danceflooriclassic soul refracted through contemporary ears, pressed on wax that looks and feels like it just time-travelled from 1979.
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: Jstar and Dubmatix's Scenario is an infectious mash-up of A Tribe Called Quest's 1992 classic, seamlessly blending hip-hop with dub and reggae influences. The remix revitalises the iconic track, infusing it with a modern, bass-heavy groove while retaining its original energy and lyrical parts. The instrumental version stands out on its own, showcasing the intricate production work and the deep, resonant basslines characteristic of Dubmatix. This remix respects the legacy of the original track while introducing it to a new generation.
Review: Carlton Jumel Smith earned himself the title Mr Soul, being one of NYC's foremost exponents of a faithful sound which keeps the Motown flame alive. Having released a couple of singles on Timmion last year as well as linking up with Dojo Cuts on Colemine, now Smith is stepping out on Mocambo with the riotous party starter 'Keep On Swinging', a heated affair with sassy brass, overdriven guitar licks and the man himself holding it down with a killer vocal turn. 'Hope' on the flip is a funkier number which calls to mind classic Curtis Mayfield, not least thanks to that sprightly percussion section. Great modern soul music which knows where it's coming from.
Review: Willie Junei Lee was a guitarist active mainly throughout the 1970s. He toured with Curtis Mayfield and Albert King, so we're sure you'll agree that this constitutes enough social proof for his inclusion in Blue Note's latest reissue campaign. 'Let's Ride' is Lee's first ever single: channeling the spiritual rock influences of the likes of Santana and Jimi Hendrix, this is a guitar masterpiece for the ages.
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: Just What The World Needs returns to their own self-titled label with a 14th outing of fiery disco heat. This is potent music that melds together jazz, funk and soul with a lashing of synth goodness. The opener is a real driver with emotive gospel vocals and mad jazz keys. Second is a slower jam with a more dreamy feel then the flip side comes on strong with jazz say leading the way beneath vaping chords and funky, smooth drums. Last of all is a supercharged leftfield bomb with explosive cosmic synths and the sort of energy that stands out in any set.
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: Mr. Bongo credit themselves with taking a selection of the most in-demand and asked-for titles in their Brazil '45s catalogue, lending them all a loving repress in due homage to the music of the nation. This time, they focus their energies on the synergy shared between the late composer and record producer Nonato Buzar and drummer Jose Roberto, both of whose contributions to the MPB canon are unmissable, referent sonic studs. Nonato's 'Cafua' is a powerful eurythmic, its strigiform vocals proving a suitable narcotic to offset to the track's otherwise restless horns and post-bossa-nova drum clacks, which hit like quick patterings against soft cartilage. Roberto's 'Crioula Multicolorida' is a more vintage recording, erstwhile bringing rare "samba rock" grooviness and reflective, call and response lyricisms to a redolent rhythm.
Review: This 7" delivers two rare treasures from the early 70s Latin underground, showcasing a blend of innovation and groove. Side-1 is an electrifying gem from 1971, driven by its creative vocal delivery and rhythmic Latin funk foundation. The track's raw energy and unique arrangement make it an irresistible dancefloor favorite. On Side-2, a 1973 classic merges Brazilian jazz with funk and soul, delivering a sophisticated yet infectious groove. Its lush instrumentation and smooth melodies create a heady, distinctive atmosphere, reflecting the musical experimentation of the era. Two tracks that encapsulate the spirit of a dynamic scene.
Judson Moore & The Al Tog Staff - "Everybody Push & Pull" (3:11)
Review: Soul Junction revisits the Scot-Tees Capri master tapes here to unveil two previously unreleased tracks. First is 'My Sweet Polly' by The Scott Brothers, a late 60s dance tune inspired by Howard Scott's former girlfriend. Coupled with this is a studio version of Judson Moore's "Everybody Push & Pull," a crossover hit influenced by Rufus Thomas. The Scott Brothers evolved from the 'Elpeccios' in 1958 to the Scott Brothers Band in 1963 and were instrumental in Chicago's music scene. Their label, Capri Records, produced hits like 'We Like Girls' and worked with legends like Garland Green. Judson Moore was a veteran singer who thrived under their mentorship and went on to leave a lasting legacy.
George Semper - "Knowbody's Gonna Love You (Like The Way I Do)" (demo version) (2:19)
Joanne Vent - "Knowbody's Gonna Love You (Like The Way I Do)" (unreleased Acetate version) (2:11)
Review: On their previous deep dives into the archives of Trindadian-American multi-instrumentalist and producer George Semper, Dynamite Cuts has largely focused on reissuing obscure, private-press releases. Here they go one step further, offering up two unheard versions of Semper composition 'Knowbody's Gonna Love You (Like The Way I Do)'. On the A-side you'll find Semper's demo version, a cheery chunk of summery soul bliss blessed with fantastic group vocals, a superb lead vocal from the man himself, and some deliciously chiming melodies. Over on the flip you'll find a fuzzy, more horn-heavy soul version from vocalist Joanna Vent that was previously pressed to an acetate but never released
Southside Movement - "I'm So Glad That I've Got You" (3:28)
Review: In the early 80s, Chicago-based funk band Southside Movement teamed up with soul singer Jackie Ross who was already well known for her work with Chess and Brunswick. Though this collaboration produced incredible music, it was largely forgotten since only a few test pressings existed so it never spread too far. However, in 2023, P-VINE reissued their only full-length album on vinyl for the first time and now, the standout track from their partnership, 'You Are The One That I Need' comes on its own special 7" which is the first time it has been available in this format. It's a wonderful and previously long-lost collaboration that is well deserving of your attention.
Jorge Ben - "Take It Easy My Brother Charlie" (2:36)
Review: Mr Bongo's Brazil 45s series gets its rock on with two hairy grooves, both of which have enjoyed the sampler's crafty knives over the years. First up, Tom Ze's "Jimmy Renda-se" rolls with an oily sleazy groove that's peppered by a playful lyrical rhythm that transcends language barriers. Ben's "Take It Easy My Brother Charlie" joins the dots between Samba and very light Rock with all the signatures that made Mr Ben the legend he remains to this day with big vocal harmonies and infectious textures of Brazilian percussion.
Review: Dutch label Universo Positivo returns with label head Jospeh Salvador and house legend Orlando Voorn. Salvador has been active since the 1990s and has worked under various aliases and labels, while Voorn is known for connecting Detroit techno with European styles, and together they find a perfect sweet spot between deep and soulful house. The filter-funk energy of 'Slap My Funk' kicks off, then there's the boogie-fried and low slung house of 'Every Man Loves', jazzy melodies and big breaks of 'Break It Down' and strident, steamy disco-house stomper 'So Well.'
Review: Measured Mile, the 7"s label run by Bob Stanley, firms its focus on DJ-friendly 45s that are or were either very rare or previously unavailable in the format. Its run of sharply curated 7"s is replenished with another three-tracker, this time an unusual choice, fencing two classic British sports broadcasting themes, pivoting from midtempo funk to faster breaks. Leading the A are two standouts from Douglas Wood, 'Cranes', known as the punchy, synth-heavy theme from the BDO World Darts Championship - and 'Drag Racer', the atmospheric opener to the BBC's Snooker World Championships coverage, both drawn from the revered Studio G library catalogue. On the flip, John Cameron's 'Sprocket Shuffle' - the lively 1980s ITV Snooker theme - rounds out the package in a flurry of analogue texture and charming nostalgia.
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.