John Wagner Coalition - "Cold Sweat" (edit) (3:12)
Review: Mushi 45 is launching a new series featuring fresh edits of obscure covers of cuts by James Brown and the JB's. The first boasts two thoroughly obscure covers of "Cold Sweat". On the A you'll find a tidy tweak of a rousing, raucous and sexually charged 1968 version by El Klan, a Mexican band renowned for their heavyweight take on funk, soul and rhythm and blues. Over on side B you'll find an interpretation from the John Wagner Coalition that originally featured on their 1976 debut album, which unusually was made up entirely of James Brown covers. Their version is a little more laidback, with tons of spacey synthesizer flourishes, crunchy Clavinet lines and oodles and wild Hammond organ solos.
Etta James & Sugar Pie Desanto - "In The Basement" (Soul Flip edit) (3:20)
John Gary Williams - "My Sweet Lord" (Soul Flip edit) (3:59)
Review: On their latest limited edition salvo, the hardworking Soul Flip crew (AKA experienced DJs and producers Aldo Vanucci and Del Gazeebo) gets to work on two more stomping dancefloor cuts from the golden age of soul. First up on side A is a gently tooled-up and tightened up take on Etta James and Sugar Pie DeSanto's 1966 floor-heater "In The Basement", a hybrid soul-jazz/rhythm and blues jam rich in rubbery double bass, bustling drums, restless handclaps and brilliant lead vocals from the two legendary soul singers. On the flip they tackle Memphis musician John Gary Williams' 1972 cover of George Harrison's "My Sweet Lord", which brilliantly re-imagines the former Beatles' spiritual song as a sweaty gospel-soul stomper.
Review: New funk delivered the old way; Original Gravity follow up the 2017 hype of Floyd James & The GTs debut "The Switchback" with this powerful four-track EP. Charged with a strong northern soul feel both "Keep Lifting Me Higher" and "The Sweetest Thing" lead with the beat as Floyd and his super-tight band bounce back and forth. Flip for more energetic mischief as "The Wig" goes turbo blues while "Sweet Sweet Soul" closes on an epic, riffy sing-along. The title speaks for itself.
Review: Mukatsuku struck gold again on this latest first time on a "45" issue. It boasts a couple of lesser-known jazz-funk fusion jams which originally featured on Argentine musician Jorge Navarro's 1977 album "Navarro Con Polenta", an LP that has never been issued outside of South America. A-side "Funk Yourself" is a bustling, high-octane jazz-funk Hammond licks and spiralling horns jumping above a Blaxploitation style backing track. "Repartamos El Funky" is a more laid back but no less musically intricate affair, with a variety of high-grade electric piano and guitar solos riding seemingly endless jazz style drum solos and rubbery bass. Juno hand-numbered copies come in exclusive sleeves and this 45 not be repressed. DJ Support comes from Ge-ology, Dom Servini, DJ Koco (Japan), DJ Food,The Allergies,45LIVE.net ,Dr Bob Jones,Rob Luis, Smoov and more
Review: Fast-rising New York soul singer Carlton Jumel Smith continues his successful partnership with Timmion house band Cold Diamond & Mink via a debut album that sounds like it could have been recorded in the early 1970s rather than 2019. Smith's lyrics and effortlessly soulful vocal delivery take centre stage throughout, though it's the faithfully fuzzy grooves, punchy horn lines and languid, delay-laden guitar motifs provided by his storied backing band that make the album a real winner. Highlights are plentiful throughout, from the loved-up sweetness of "This Is What Love Looks Like!" and Motown-influenced stomp of "We're All We Got", to the slack-tuned drum breaks and bittersweet messages of "I Can't Love You Anymore (feat Pratt)" and the cheery goodness of "Remember Me". In a word: superb.
Review: Originally produced in 1973 as a split LP by guitarist Alan Parker on the first side, and composer John Cameron on the second, this album is one of the KPM 1000 Series twelve inch long playing transcription discs - produced especially for the film, television and radio industries to the highest standards. Eloquently described as "hard afro pop featuring a large percussive rhythm section and front line", it was recorded at Morgan Studios by the pair as a collection of stripped-down African rhythms, virtuoso jazz instrumentation, fuzzed up wah wah guitars and spaced out library breaks. As Cameron himself described it in Unusual Sounds, this is "heavy duty drum-and-bass salsa music".