Review: Record Store Day 2020 keeps on serving up the gems even weeks after the official date itself. Here we're presented with the debut release on Rick Rubin and Russell Simmons now seminal Def Jam label. It's a vital release that truly shook the world thanks to its dark and evil bass and raw, hard hitting percussion and has never before been released on 7". It is a true collector's item for raw hip hop heads and features the ground-breaking 'Scratch Party Death Mix' as well as coming with its own fully iconic sleeve. Drop this one and step back to watch the club go right off.
Review: Dynamite Cuts latest double seven-inch presentation takes us back to 1973, and James Brown's often-overlooked soundtrack to Blaxploitation crime movie "Black Ceasar", a set previously described by one critic as "a full-frontal funk attack". What we get is four of the soundtrack's strongest cuts: electric piano solo-laden funk shuffler "Blind Man Can See", one of Brown's most celebrated and best-loved songs, "The Boss" (sample lyric: "look at me, what do you see? A bad mother!"), the softly sweet, strings-and-solo laden breeziness of "White Lightning", and the crunchy heavy funk strut of "Make It Good To Yourself". As the old saying goes: all killer, no filler.
Review: Taken from a trio of 45s from the Vong45 record label, here the West Loop collective remake some of their favourite soul, jazz and funk tracks. This release in the series has West Loop remaking the original foundation to the A Tribe Called Quest masterpiece 'Electric Relaxation' - 'Mystic Brew' as recorded by Blue Note keyboard player Ronnie Foster in 1972. Featuring all live instrumentation including some fierce Hammond organ vamps, a deep rich bassline and a vibrant electric piano solo, West Loop revitalise the jazziness of the original on 'Part 1' but move into a funkier direction with 'Part 2' on the flip. Perfect 45 territory for the funk and hip hop DJs.
Review: Sometimes known as Park Rangers, Japanese outfit Inokashira Rangers are the world's leading purveyors of unlikely, Hammond-heavy reggae cover versions. Since first emerging five years ago, they've served up countless surprise reggae takes on tracks from the likes of Pharrell Williams, Nirvana, Sonic Youth and Underworld. Here they continue on a similar theme by re-imagining New Order's throbbing, surging dancefloor anthem 'Blue Monday' as a cheeky chunk of turn-of-the-'70s rocksteady goodness. As usual, the band's organist is in fine form, playing mazy solos that track the vocal melody found on Bernard Sumner and company's 1983 original. Over on the flip they serve up something slower and breezier: a languid rocksteady interpretation of Simon & Garfunkel's 'Bridge Over Troubled Water', this time utilizing plenty of Wurlitzer organ sounds. Ace!
Review: Second time around for the Soul Surfers' superb cover of jazz-funk classic 'Summer Madness', which first hit stores in September 2019. This time round, it comes pressed on gold-coloured vinyl, though you'll have to act fast to secure a copy. It's worth doing just that though, because it sees the Californian act re-imagining one of the smoothest and most seductive cuts in the Kool & The Gang canon as a languid chunk of laidback instrumental soul complete with crunchy drums, elongated lead guitar solos and some suitably spacey analogue synth sounds. The luscious and lazy A-side version is backed by a 'Part Two' take that's a little more stripped-back, raw and heavy.
Curumin Chama Cunhata Que Eu Vou Contar (Todo Dia Era Dia De Indio) (3:23)
Rio Babilonia (4:30)
Review: Astonishingly, this is the 80th instalment in Mr Bongo's brilliant Brazil 45s series. Predictably, this edition is every bit as essential as its predecessors. It boasts two superb 1980s recordings by one of the true legends of Brazilian 20th century music, Jorge Ben. On the A-side you'll find the lengthily titled 'Curmin Chama Cunhata Que Eu Vou Contar (Todo Dia Erza Dia De Indio), a synth-splashed samba-funk tribute to the indigenous tribes of Brazil that was first featured on Ben's 1981 album Bem-Vinda Amizade. Turn to the flip for 'Rio Babilonia', a killer Brazilian boogie joint rich in squelchy synth bass, heady Latin percussion and fiery horn arrangements courtesy of the late, great Lincoln Olivetti.
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: More from the cheeky scamps behind the Disco Bits label, an imprint whose releases regularly blur the boundaries between re-editing, re-making and remixing. Here they welcome back imprint regulars Cannon & Mirrorball (we laughed, at least), who once again serve up two guaranteed disco floor-slayers. A-side 'Hot Lovin (Don't Stop, Don't Quit)' sits somewhere between disco-house and hip-house, with excitement-building raps lifted from vintage hip-hop cuts sitting atop a non-stop beat crafted from tooled-up elements from a celebratory disco favourite. As the title suggests, 'Shack Attack' cheekily blends elements from Banbarra classic 'Shack Up' and B-52s hit 'Love Shack', adding some other choice samples to create a tidy, well-made mash-up that sounds tailor-made for disco dancefloors.
Review: The Live Band, a disco-soul/jazz-funk outfit helmed by bassist and vocalist Kenny Chavis, released a swathe of singles and a sole album on The Sound of Brooklyn in the early 1980s. Perhaps their most potent track was 'A Chance For Hope', an emotive, two-part plea for change that opened their 1982 debut album. On this first ever seven-inch pressing the order of the tracks has been reversed, with the swelling, scene-setting orchestration and atmospheric field recordings of the shorter 'Prelude' version appearing on the flip. That leaves the main vocal version, a superbly soulful chunk of boogie-era dancefloor soul rich in addictive grooves, sweeping strings and eyes-closed vocals courtesy of Chavis, rightfully nestling on side A.
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: Cheery Japanese fusionists Onegram have a new album on the way - their first in four years - so to get us in the mood they've offered up this double A-side "45" on Flower Records. Lead-cut "Diggin" is typical of their joyous, sun-baked style. It's a fine fusion of reggae and seventies soul, rich in jaunty horn lines and super-sweet grooves, topped off by a bi-lingual vocal paying tribute to the twin attractions of record digging and dancing. Turn the record over and you'll find something equally as inspired: a dubby Afro-Balearic cover of Brian Briggs' synth-powered 1980s classic 'AEO'. It's vastly different to Briggs original, but in the best possible way. A breezy, unashamedly Balearic gem.
Review: Miles Away are always on a mission to unearth new old gems. Their tireless work now gives rise to a pair of big hitters from The Grooms, a band who only ever flashed this one single back in the 1970s. It came originally on a little-known label in Norfolk, VA headed up by Noah H. Biggs, called Shiptown, and was during the peak era of Motown, Atlantic and Stax. Thankfully the label boss saw its potential. The super charged 'Slow Down' on the A side is wrought with emotion and on the reverse is a more moody and heartfelt ballad called 'I Deserve A Little Bit More.'
Review: On this surprise 7" edition of Joaquin 'Joe' Claussell's unofficial Edits & Overdubs series of releases, the long-serving New York producer turns his attention to Exuma's 'The Obeah Man', a heavily percussive, Afro-fired slab of rhythm and blues/folk-rock fusion that was once an anthem at David Mancuso's Loft parties. Claussell's 'Part One' rework somehow seems even more urgent, percussive and life-affirming than Exuma's original version, and the 'Part 2' version - an unashamedly sweaty, drum-heavy interpretation - most certainly is. Possibly best of all - for plays in house sets, at least - is the 'Obeah Man Rhythm' version, which is a loopy, percussive beast. You may need to go for a little lie down after playing it - we did!
Review: Given that few clubs are open worldwide, it feels wrong to talk about potential 2020 summer anthems. That said, were dancing outside under a blanket of stars be allowed, we have no doubt that Social Lovers' new single would be getting plenty of spins. Warm, synth-heavy and sweet, it's a deliciously good lover's rock style cover of Evelyn "Champagne" King's '80s electrofunk classic "Love Come Down". Over on the flip the fast-rising outfit offers up another killer cover, re-imagining Sha-Lor's 1988 garage-house gem "I'm In Love" as a super-smooth and dreamy slab of proto-house/80s soul fusion rich in Fairlight stabs, spacey synth riffs and warming chords. Don't sleep on this one: it's a genuine gem.
Party starters, get this on in the bag immediately, It is pure fire in 7" form, a record bursting with Latin flavours, bristling percussion and jazz-sing beats that will lift anyone off their seat and right into the thick of it. The samples are easy enough to spot but that doesn't stop the a-side doing plenty of damage. Then on the flip, classic soul anthem 'I'm a Believer' gets a big beat and funky bridge extension that will keep people stomping for days. This black version has only been pressed 200 times, so one quick.
Review: Not to be confused with the mascara-clad indie rock band of the same name, Placebo was a 1970s Belgian jazz-funk combo founded by legendary European jazzman Marc Moulin. Within the rare groove and jazz-dance community, the group's sophomore set 1973 has long been considered a hard-to-find "must-have". Here Matasuna Records celebrates reaching a quarter-century of releases by offering up a seven-inch featuring two of the album's most celebrated cuts. A-side 'Polk' is a genuine jazz-funk delight: a storming dancefloor workout in which mazy, ever-more-intense electric piano solos ride a relaxed but floor-friendly groove. Flipside 'Balek' is, if anything, even better, with spacey synths, sharp horn lines and fluid electric piano solos sparring over another leisurely groove.
Review: Remarkably, the Commodores 'Assembly Line' has never before featured on a 7" single - officially, at least - despite the track's killer drum-break being a long-time favourite of B-boys and B-girls. Helpfully Dynamite Cuts has decided to offer-up this fully licensed "45" pressing, backing the superb, life-affirming and organ-heavy funk-soul cut with another track from the band's 1974 album Machine Gun. 'Gonna Blow Your Mind' is an even heavier, weightier and more floor-friendly affair, with the legendary Motown combo adding energetic vocals, crunchy Clavinet lines and spacey synthesizer sounds to a super-heavy, Blaxploitation funk style groove. In a word: essential!
Review: Blue Note Re:imagined is a carefully curated collection of brand-new covers of classic material from the legendary label as served up by a selection of the UK scene's most exciting young talents including Ezra Collective, Nubya Garcia and Brit Award-winning Jorja Smith. For this latest 7" it's Jordan Rakei, who actually hails from Aus, but let's not get mad about that because the super smooth soul singer reaches new heights on the free flowing, heart opening 'Wind Parade'. Jazz pianist Alfa Mist takes care of the flip with a suitably cosmic exploration on 'Galaxy' that pairs live, busy drums and soaring synths with rich chords.
The Yorkshire Film & Television Orchestra - "Somebody Stole My Thunder" (feat Martin Connor) (3:10)
Rachel Modest - "I (Who Have Nothing)" (3:06)
Review: These two tracks first appeared on ATA Records's free download series "Hard Work, No Pay" and have been much requested on vinyl ever since. Well now, here they are, after plenty of high profile plays from the likes of BBC 6 Music's Craig Charles Funk & Soul Show And The Huey Morgan Show. The Yorkshire Film and Television Orchestra is a project from ATA label bosses Neil Innes & Pete Williams as well a multi-instrumentalist and arranger Steve Parry. Here they offer up two different but equally brillaint tunes - some high speed 60s funk with more than a hint of Northern Soul swing on the a-side, and the tender, blue eyed soul of Rachel Modest's 'I (Who Have Nothing).'
Review: More from the bulging back catalogue of Park Rangers, an obscure Japanese reggae band who have spent the last decade delivering surprising cover versions of well-known pop, rock and disco songs. On side A there's another chance to wonder at their 1960s rocksteady style re-make of Pharrell Williams' mega-hit happy, in which the Neptunes star's lead vocal is replaces with a cheery Hammond organ solo. It's the kind of cover that can't help but put a smile on your face. The same could be said about their similarly minded flipside cover of Prince classic 'Kiss'. While it's not as instantly recognisable, it has a similar feel thanks to the band's canny fusion of tuneful Hammond organ solos and retro-futurist reggae riddims.
Review: Last year Caserta and friends had their wicked way with a classic Luther Vandross acapella, brilliant re-framing the soul maestro in a late 1980s NYC club style. A year on they're at it again on 'Luther 2', which naturally repurposes another superb performance from the legendary vocalist. On the A-side, Vandross's vocal rides a smooth revivalist disco groove created by an all-star cast including Serge Gamesbourg (bass) and Natasha Diggs (piano, Fender Rhodes). It's a genuinely impressive revision that sounds like it could have been recorded sometime in the early 1980s (despite being made during lockdown). Diggs plays an even bigger role on the flip, a hazy and groovy deep house version in which she adds her own sassy spoken word vocals in reaction to the Vandross acapella.
Jim Dunloop - "Espirito Do Rio" (Brazil Wave edit) (3:13)
Jim Dunloop & GRZLY Adams - "Different Sweetnuts" (Walk In The Shade edit) (3:58)
Review: For the latest "45" in the Dusty Donuts series of edits and mash ups, the Berlin-based crew has turned to long-time crew member Jim Dunloop, a jazz-trained pianist-turned-producer best known for his work alongside Marc Hype. He begins with "Spirit De Rio", a wonderfully warm, head-nodding, hip-hop style revision of a summery-sounding old samba gem rich in dewy-eyed female vocals and glistening guitars. Long-time friend, and occasional collaborator Grizzly Adams lends a hand on flipside cut "Different Sweetnuts", a deep and woozy revision of a fragile, female-fronted soul number that wraps drowsy elements from the pair's source material around a bass-heavy beat.
Review: It's almost 30 years since Queen Latifah's 'U.N.I.T.Y.' as part of her Grammy Award-winning album Black Reign but it still gets the plaudits it always has. Heat Rock Records now revisits it for a sixth entry into their catalogue. Chicago's Altered Tapes is the man stepping up to remix and he serves up a big, hard hitting breakbeat version laden with sax lines and crisp drumming. An instrumental version on the reverse is more designed for the dance floor and is perfect for all the scratching and juggling needs of any hard working turntablist.
Review: While trying to keep himself busy during lockdown, musician Laurence Mason decided to record a Dave Brubeck style cover version of the Stranglers' classic "Golden Brown" full of excitable drum solos, and snaking horn lines replacing the oh-so familiar lead vocal. It became a big hit online after he posted it on YouTube, so Jazz Room Records boss Paul Murphy asked if he could release it on wax. It's a superb version that successfully reinvents the Stranglers' gem as a quality jazz tune. Equally as impressive is his flipside version of the Police's "Walking on the Moon", which is as deep, atmospheric, enticing and intoxicating as they come. In fact, it could well be better than the in-demand A-side, and that's saying something.
The Funk Is Back (Ilija Rudman Disco club mix) (3:31)
Review: Back in 2015, Imogen offered up a 12" featuring two rubs of fresh Brand New Heavies tracks by label co-founder Ilija Rudman. Five years on, they've decided to repeat the exercise, this time on a 7" single, with the long-serving Croatian applying his magic touch to cuts from the legendary British jazz-funk band's 2019 set TBNH. On the A-side he delivers a near perfect, cowbell-laden, stripped-back disco rework of 'Beautiful', which comes topped off by a superb lead vocal from Beverly Knight. Over on the flip he gets his mitts on jazz-funk-meets-disco-funk number, 'The Funk Is Back', successfully stripping it back and emphasizing the track's excellent instrumentation and floor-slaying percussion breaks.
Stand On The Word (Mr K live acappella edit) (3:51)
Review: Gospel music has had a long relationship with the underground dance floors of New York and New Jersey, sharing an emotionally charged spirituality that is central to devotees of each. Sitting at the nexus of these worlds is "Stand On The Word," a praise song that opens an album privately pressed by the First Baptist Church of Crown Heights in 1982. Who exactly recontextualized the churchly platter for the spiritual dance floor is a matter of some contention. Was it the born-again Walter Gibbons, a member of the congregation who lived nearby at the time, and then perhaps Tony Humphries, who worked at a local record store that carried the LP? But in an ocean of gospel dance music, this one distinctively sticks out as an underground dance classic. For this special release, Mr. K has trimmed his rare Japan only "Stand On The Word" 12" release from the crystalline intro to the beloved standout vocal lines to an ear-catching alternate piano outro, making it readily attainable on 7-inch for the first time. An astounding acapella fills the flip side with crackling handclaps and thundering foot-stomps, sounding as if it was recorded at church, or the final hour of the 718 Sessions (same thing). A better example of the sacred and secular crossover connection would be difficult to find.
Review: Shniece has become a key collaborator of Prince Fatty's having made such a fine impression when she guested on his 'In The Viper's Shadow' album last year. This new hook up is a winding journey that opens with some truly mind bending and psyched out 60s sounds riding on a trippy dub, and littered with samples from a public service broadcast on drugs. It's somehow a dark yet euphoric dub with a killer backbeat and futuristic edge A dub version peels things back to the drum work and lets the magic of this fine partnership shine.
Review: Athens of the North's Euan Fryer is not the only collector and selector who believes that the Leaders' obscenely rare 1971 single '(It's A) Rat Race' should be considered a genuine deep funk classic. In fact, it was deep funk specialist Keb Darge who first brought the record to the attention of DJs and dancers in the UK in the early 2000s. Happily Fryer has tracked down the band and got their permission to reissue their sought-after classic. Formidably funky, the A-side version features fantastic group vocals rising above a bed of hazy horns, bustling drums, warm bass and razor-sharp, Blaxploitation style guitars. The accompanying instrumental take is superb, too, with a variety of woodwind and brass solos - often drenched in reverb - replacing the group's fine vocals.
Review: Nas's 2002 album God's Sun is not his most iconic, but it still spawned some essential singles Chief amongst them is 'Made You Look', built around samples from Incredible Bongo Band's 'Apache.' The tune really established him in his ongoing battle with Jay Z and like all his work it displays intricate lyricism and old school boom bap beats. The free-associative rhymes touch on an array of themes that cover a wide span from hype to legacy, partying and chest beating self congratulation. The flip includes an instrumental that is not explicit like the original, so lacks some of the things that make it so raw.
Review: A few weeks ago, the sneaky Soul Masters label launched via a must-have "45" featuring two 1960s soul bombs from Welsh sex-machine Mr Jones. For this sequel, the limited-edition imprint has dipped into the back catalogue of premier Motown legends and chosen two killer covers of songs first made famous by other artists on the iconic soul label's roster. On the A-side you'll find their storming version of Stevie Wonder hit 'Uptight (Everything's All Right)', a take that's just as stomping and horn-heavy as the more familiar original, with the added bonus of smoother soul vocals from the ladies and first time on 7 inch vinyl. Turn to the flip for their interpretation of Barrett Strong hit 'Money (That's What I Want)', a more fuzzy and sax-laden affair of a song that was famously also covered by the Beatles on With The Beatles.
Review: If you've not already picked up a copy of Mutaksuku Records' superb reissue of two of reggae musician Devon Russell's greatest Curtis Mayfield covers, we'd suggest grabbing one of these Juno exclusive white vinyl versions, which also happens to ship with a tasty wooden "45" adaptor. You may already know Russell's incredible '84 version of 'Move on Up', which re-imagines it as a languid, post-disco reggae-soul anthem that just oozes sun-soaked positivity. On this seven-inch, it comes backed by something equally as essential: the artist's lesser-known 1993 take on 'Give Me Your Love', which turns the much-loved song into a colourful, synth-laden trip through Balearic reggae territory. In a word: essential.
Review: Brewerytown Beats have got a real gem on their hands here, and one that lovers of rare and high quality funk will be falling over themselves for. Power of Attorney was a rehabilitative project of Theodore "Ted" Wing, activities director at the Pennsylvania State Correctional Institution, who opened a studio in the prison for inmates to get creative. They originally released this one for Nicetown in 1973 - only 500 were pressed and sold direct from prison - and even Discogs hasn't got any recent sales records for it. The high speed jailbird funk of 'Changing Man' is a tale of redemption and is backed with the achingly soulful 'I'm Just Your Clown'.
Review: Canadian Jorun Bombay is a long time remix master who now lands on Soundweight Records with his latest cut up and reworking efforts. The A-side finds him take on Blondie's legendary 'Rapture', which mixed slick raps with post-punk guitars. Here it becomes sweet rolling funk gem with molten chords and plenty of soul. The flip-side is a tropical rework of 'Don't Pay Any Fuller' that ups the bass and beefs out the drums, while layering in steamy chords and percussion that brim with character. These are two more classics in the spotless catalogue of Jorun Bombay.
Love Is The Message (7" Classic edit By Mr K) (5:32)
I Can't Turn Around (7" edit By Mr K) (5:24)
Review: The tunes on this 7" have legendary status and are hard to find in original format. But Mr K serves up a couple subtle but essential reworks here that mean you don't need to look any further. Opening up the a-side is 'Love Is The Message', a perfect soul drenched and funky groove train that never lets up, with big sax lines and chunky drum breaks carrying you as far as you want to go. The flip side 'I Can't Turn Around' is a mainstay of the early house scene and has classic status to this day with its broad horns and tender male vocal.
Review: Mash-up maestro, bootleg remix king and talented beat-maker Jim Sharp launched the Soul By The Pound label last year to offer up sneaky re-edits of classic soul and funk jams from the '60s and '70s. Here he finally delivers the imprint's second-single, delivering some Blaxploitation-era goodness that should tickle the fancy of all those who like their funk energetic and enthusiastic. A-side "I Got It Funky" more than lives up to its name, with call-and-response vocals, wah-wah guitars, tasty Hammond licks and rising horns riding a snappy, breakbeat-driven groove. He switches focus a little on flipside "Trippin' Out", adding bouncy hip-hop beats to a dewy-eyed, string-laden slab of Curtis Mayfield style soul.
Review: In his career to date, Jim Sharp has proved to be one of the bootleg remix and mash-up scene's smartest and most successful producers - a man capable of brilliantly breathing new life into a string of familiar favourites. He's at it again here, offering up fresh reconstructions of N.W.A's gangster rap classic "F*ck Tha Police". The killer flip is his A-side "Main Mix", in which he places the L.A crew's iconic acapella over a jumpy, party starting hip-hop beat rich in sampled short funk guitar riffs, snare and kick-heavy drums, James Brown style yelps and tight scratches. It's a great beat - so good, in fact, that the flipside instrumental mix is equally as essential as the club-rocking vocal version.
Beastie Boys vs MFSB - "Check It Out People" (4:19)
MFSB - "People All Over The World" (dub) (4:11)
Review: On his last two singles on Soopastole, mash-up maestro DJ Soopasoul smashed together elements of Stevie Wonder and Redman/Method Man, and James Brown and Crooklyn Dodgers. For his latest trick he's decided to pepper an edited version of "People All Over The World" by Philadelphia Soul legends MFSB, with raps from a stone cold classic Beastie Boys tune. It's the sort of thing that shouldn't work, but the Beasties' flows work perfectly over the flanged guitars, undulating bass and unfussy 4-to-the-floor Philly Soul grooves of the MFSB track. You can hear his instrumental rework of that track on the flip; it's so good that it's arguably worth the entrance price on its own.
Review: Here's something for those looking to fill in the gaps in their classic hip-hop collection: a sizzling seven-inch boasting two of the Jungle Brothers hottest hits. On the A-side you'll find "Because I Got It Like That", a lolloping party hip-hop jam built around an assortment of complimentary samples, most notably a lift from Sly and the Family Stone's killer cut "You Can Make It If You Try". Over on the flip you'll find one of the most recognizable dance anthems of the late '80s, the early hip-house classic that is "I'll House You". Based on Todd Terry's similarly big "Can You Party", the tune is a warehouse-ready bounce-along that sounds as fresh now as it did way back in 1988.
Review: Angie Stone's 'Wish I Didn't Miss You' is a gold standard R&B and neo-soul gem from the genres' heyday. It's actually an interpolated composition that draws on The O'Jays's 1972 tune 'Back Stabbers' and was, quite famously, the last ever record played by Carl Cox at the last ever party at Ibiza super club Space when it closed at the end of summer 2016. The aching vocal is perfect, the yearning bass and the tumbling, woody drums irresistible, the whole thing a stone cold classic. The flip of this reissue features a raw and steamy house mix from Hex Hector.
Review: Having previously re-issued the hard-to-find 45 of Black Sheep's 1991 anthem 'Strobelite Honey', Mr Bongo has now decided to issue the first ever seven-inch pressing of one of the duo's earlier singles, 'Flavor of the Month'. It's a breezy, boom-bap affair in which the duo exchange verses over a beat crafted from choice samples of records by Joe Farrell, Bubble Gum Machine and, most famously, Herb Alpert and his Tijuana Brass. It comes backed with original flipside 'Butt in the Meantime', a slacker, jazzier and more laid-back affair notable for a superb piano hook, hazy bass and a tight electric piano riff.
Review: Italian duo HUMA are comprised of Alberto Lincetto and Stefano Cosi, and they make their debut appearance on Angis Music with this beautifully crafted slice of contemporary nu jazz and neo soul, packaged on a perfect formed 7". 'Moon Crab' is an instrumental, boogie-tinted cut which rides an easy drum machine groove as the vessel for some seriously smooth synth flexing. "Absence" is a dual-vocal trip into mellow, piano-led reflection that should appeal to fans of Jill Scott et al, stirring up that smoky, melancholy feeling that the best soul music achieves. Keep an eye on this duo, because on the back of this stellar single there's surely some great music to come.
Review: New Jersey seasoned vocalist Benny Troy is a familiar figure on the UK Northern Soul scene thanks to his 1975 disco-tinged dance floor classic - I Wanna Give You Tomorrow. From an early age Troy fell in love with R&B music and at 18 he joined a reformed Joey Dee & The Starlighters following in the footsteps of Jimi Hendrix.By the mid-seventies Troy had teamed up with singer/songwriter/producer Billy Terrell who recorded him on his own composition -I've Always Had You- for De-Lite Records, a superb slice of proto-disco and modern soul. The song was a hit for De-Lite and heralded the now legendary album Tearin' Me To Pieces featuring the track released here...I Wanna Give You Tomorrow...