Jalapeno Vinyl & CDs

Review: Times may change and life may evolve, but the Allergies will always be unashamed party-starters whose records are both pleasingly heavy and instantly accessible. By now, you shouldn't need further proof og their skills in this department, but if you do, the Bristol combo's latest "45" is a lesson is dancefloor-igniting goodness. 'Lean on You' is a live and funk-fuelled as you'd expect, with distinctive flash-fried funk-rock guitar riffs, bustling, interestingly slung breakbeats and a fine lead vocal from Dynamite MC. Over on the flip, 'Working on Me' is a more bluesy, cut-and-paste funk breaks number that's guaranteed to get feet moving out on the dancefloor.

Review: Freak The Speaker marks a vibrant evolution in The Allergies' sound, showcasing their deep-rooted love for diverse musical styles. Producers Moneyshot and Rackabeat have upped the ante, delivering their biggest beats yet and enlisting an array of talented MCs and vocalists to bring their vision to life. Afrobeat star K.O.G. injects energy into the lively 'Koliko,' while Ohmega Watts delivers sharp, impactful verses on the hard-hitting 'No Flash.' UK rappers Dr Syntax and Skunkadelic trade dynamic bars over booming 808s on 'My Own Way,' and Dynamite MC shines on the soulful, infectious 'One Time.' Fans of The Allergies' signature funky, sample-heavy production won't be disappointed. Tracks like 'Let Me Hear You Say' channel vintage roller disco vibes, while 'Knock Me Off My Feet' is a 60s soul-inspired banger that's already garnered praise. Andy Cooper of Ugly Duckling brings his trademark flair to his features, complemented by the lively contributions of saxophonist James Morton and soulful singer Marietta Smith. Freak The Speaker is a celebration of music's global diversity, wrapped in The Allergies' unmistakable style.

Review: Jalapeno remains one of the hottest and most spicy labels out there for hip hop lovers, and now it is The Allergies who bring the heat on a new and limited edition 7". They kick this one off with 'Stanky Funk' which features Bootie Brown and brings some old school cool, plenty of retro organ chords and noodling basslines that will tie the dance floor in knots. 'Never Gonna Let Go' then ups the ante with even more raw and hard hitting breaks next to big vocals and driving brass.

Review: This is the sixth album by the Bristolian production duo The Allergies (DJ Moneyshot and Rackabeat), widely known for their funky, hard-hitting hip-hop originals. With cameos from the likes of Bootie Brown, Andy Cooper, and Dele Sosimi, their latest album 'Tear The Place Up' is a rollicking whirl, and has rightfully been touted as "hip-hop meets Tarantino", with many a cheesy thriller film reference and floor-shaking beat in tow.

Review: Bristol beatmsiths and remixing duo The Allergies have been hot since '16, quietly pushing the buttons, twisting the dials and raising the throw levers on their resident soul console, Jalapeno Records. This time, though they've not revealed their sources, the boys have once again delivered on their promise to scour the waxen depths of Philly filler-upper funk, with 'Bye Bye Baby' panning a mammoth breaksoul gold rush, and 'Heartbreaker' offering a counterpoint in longing body percussions and "please don't leave me"s.

Review: All funk lovers have long been dialed into the red hot heat served up on an endless basis by the Jalapeno label, Now it is to Flevans that they turn for another long player destined to warm you through this winter. There is an organic and naturalistic air to the sound pallets here that takes you into the great outdoors right from the opening track. Following that the tight stick work and jazzy chords, soulful vocals and rolling drums all make for a storytelling musical ride with highs, lows and plenty in between.

Review: Dutch party-starters Kraak & Smaak have always been hard to pin down, with their vast catalogue containing everything from jubilant nu-disco, funk-fuelled breaks and Afrobeat to club-ready hip-hop jams, revivalist electrofunk, purple P-funk and slow-motion Latin treats. What unites their output - as this expansive two-disc 20th birthday celebration proves - is a hard-headed commitment to making sure everyone has a good time (something also proved by their occasional live shows). As best of collections go, Twenty is inspired, not least because it not only contains their biggest singles and fan favourites, but also some of their most notable collaborations. Look out for killer cuts with house legend Romathony, soul sensations Durand Jones, Mayer Hawthorne and Izo Fitroy, and yacht rock-loving Aussie nu-disco band Parcels.

Review: The formidable Dutch trio of Kraak & Smaak has now been turning out their own brand of nu disco, house and funk for two whole decades. To mark the occasion they have been digging in their vast and vital back catalogue to come up with what they think are some of their best moments. The results have been put together on this compilation, Twenty, out via Jalapeno Records and their own label Boogie Angst. Plenty of fan favourites feature as well as collars with top names like Lee Fields, Parcels, Romanthony, Ben Westbeech and Durand Jones.

Review: As we wait impatiently for the release of Sam Redmore's forthcoming debut album, Universal Vibrations, the hotly tipped producer has treated us to some club-ready revisions of two tracks from that set. In its extended mix form (track 2), 'Just Can't Wait' is an inspired slab of vocal boogie brilliance complete with heady Afrobeat style horns, sparkling piano riffs and a chorus so addictive it should probably come with a warning. Kid Creme's accompanying remix is a bouncier disco-funk revision rich in rubbery bass guitar, Nile Rodgers licks and jaunty electric piano stabs. Over on the flip, Latin-fired, rap-sporting Afro-breaks number 'One More Time' is given an airing, alongside a fine, stripped-back, sub-heavy deep Afro-house rub from Bristol-based veteran Red Rack'em.

Review: Sam Redmore's innovative and eclectic global grooves continue to impress with his latest releases. Known for creating uplifting tracks that effortlessly merge electronic, jazz, Latin and Afro sounds, Sam returns with a stunning rendition of Dames Brown's 'What Would You Do?' Lumi HD's outstanding vocals, supported by a superb ensemble of backing singers and musicians, bring an organic warmth to the track, which passionately encourages lovers to make the right choices. On the flip side, 'Glow,' which debuted earlier this year, has already received acclaim from tastemakers for its infectious and bold groove. This track exemplifies Redmore's talent for crafting music that deeply resonates with audiences. Both tracks highlight Redmore's distinctive style and his skill in fusing various genres into seamless pieces. These new releases further cement his status as a maestro of eclectic global sounds.

Review: Sam Redmore made waves in the UK music scene with his debut album Universal Vibrations. It was a dynamic mix of eclectic, dancefloor-ready tracks that gained heavy airplay on BBC 6 Music and now he returns with the follow-up album, Modulate, which is sure to expand on this previous success. It's a hybrid of electronic and live instrumentation across a wide range of genres including house, funk, Afro beat and salsa that finds Redmore pushing his creative boundaries by incorporating live performances into the album's creation and collaborating with renowned artists like Dele Sosimi and Abdominal. Modulate is a great piece of artistry and nicely deepened exploration of diverse styles.

Review: The JalapeNo label sure does like it hot and this one is no different. It sees the return of label regulars Skeewiff for a new series of outings that take the form of reworked covers of some of their favourite library tracks, inspired by greats of the genre such as Keith Mansfield, Brian Bennett, and Alan Hawkshaw. First up is 'Exclusive Blend,' a rather classic instrumental composition by Mansfield. 'Spanish Flea' is on the flip and is a version of a very famous work by Herb Alpert and his Tijuana Brass Band. It's a funky take with lots of percussive energy and big strings.

Review: Electronic funk eclectics Skeewiff deliver their take on the classic folk song Misirlou on this 7". The average plebeian music fan will know this melody from Black Eyed Peas' hit song Pump It, but only real heads know of the melody's true hazy origins as a bazaar-style ditty from the Eastern Mediterranean (and now you do too), cropping up in the early 20th Century - or perhaps even earlier - in the context of tsifteteli and belly dances. Skeewiff's version is pumping and spacious, mixed effortlessly to provide the utmost focus on the surf-rocky lead guitar, recalling Dick Dale's version from 1962. Of course, too, there's a cover of The Winstons' Amen Brother on the B.

Review: The Jalepeno label is a famously fiery funk outlet that serves up more of that dance floor heat here. It comes from Skeewiff's One Sample Short Of A Lawsuit EP back in 2000 and gets pressed to its own tidy 7" here. As the title of that EP suggests, this is music that mashes up the past with a serious of sizzling samples over driving rhythms. 'Shake What Your Mama Gave Ya' is real horn led b-boy stuff with crashing breaks, and on the flip is 'Man Of Constant Sorrow' with its nagging and iconic vocals over a more country-fried funk beat.

Review: Smoove's latest LP, the retro-modern funk take that is First Class, is primed for a spacious yet packed dancefloor. Smoove's deft emulatory production skills are once again put on full display, collecting vocal samples and original backing tracks from genres like funk, jazz, soul and hip-hop to produce something to the tune of 15 or so remixes. Bustling interpretations of Kraak & Smaak, Una Mas Trio, and Brenda Boykin render this a headsy yet unpretentious dance dazzler.

Review: Smoove & Turrell return with a killer single, which opens with the gospel backing of label mate Izo FitzRoy before John's incredible voice and social lyricism and Smoove's unmistakeable production lift us up into 'The Light'. Legendary US Blue Note keyboard genius Ronnie Foster joins the party as only he can; one of the very few instrumental guests Smoove has ever wanted (or needed) beyond his own band. With frontman John Turrell repurposing the cynicism towards the powers-that-be - be it the media or parliament - to positive ends, this is a veritable paean and urgent call to "rise above it and let the light shine in", in his own words.

Review: Smoove props up his rep as a highly consistent big beat, funk and disco crossover producer with a freight-class shipment of 'Heavy Goods'. Somersaulting out from his Geordie soul group Smoove & Turrell - on top of his sought-after multi-track vinyl re-edits, as well as his remixing prowess across hip-hop, soul, and funk - this Jalapeno Records follow-up continues Smoove's recent favourite postal theme. Indeed, the postal system is what keeps us afloat (and cue the boundless irony of Royal Mail's latest sale to a Czech billionaire, the name of whose LLC is, apropos of online music retail, "EP Group"). Betty Black & The Family Fortune, Emma Noble, Kraak & Smaak, Izo FitzRoy, The High & Mighty, and Bahama Soul Club, all are all loaned Smoove's Pygmalion hand, honing a musing work of art from many a die-cut classic. Whirlwind D's 'Labels', Izo Fitzroy's 'Blind Faith' and TGH Collective's 'Higher Collective' are special versions too. Assuming you didn't already know the songs in question, you really wouldn't be able to tell the edit jobs from the originals. Mint condition!

Review: Wolfgang Valbrun carries the torch for all great soul musicians with an incredible debut album, which looks at the human frailty that has shaped by his lived experiences and hard-won articulation of current affairs. Resting on the intersectional axis of soul, rock and blues, Wolfgang provides introspective insight through raw and unapologetic lyrics, married with the dynamic musicianship of his band. Over ten tracks, Valbrun analyses relationships, money, religion, greed, growing civil unrest and the antagonism by authorities towards the marginalised; using these as springboards into self-reflection and via the prismatic medium of soul music, arrives at the conclusion that humanity is inherently lacking, and that we must learn to live with this, rather than striving to become totally whole.