Review: For the latest edition in their ongoing series of golden-era hip-hop seven-inch reissues, Mr Bongo is taking us back to 1992 and Positive K's biggest hit - the 500,000-selling ode to unrequited love, "I Got A Man". Lyrically impressive, with the Bronx mic man delivering both male and "female" rap parts (the latter via voice-changing studio trickery), the song owes its success in part to a beat that makes great use of a funky loop from A Taste of Honey's "Rescue Me", which famously also formed the backbone of Funky Four + 1's early hip-hop classic "That's The Joint". Over on the flip you'll find the hazier and jazzier "SHakin", whose killer beat boasts judicious lifts from tracks by Wade Marcus and the D.O.C. In a word: essential.
Review: Here's something to seriously set the pulse racing: a limited-edition quintuple "Brazil 45s" boxset curated by the effervescent DJ Format, and featuring ten tracks unearthed on his most recent crate-digging trip to South America. In keeping with his much-loved style, most of the material can be loosely described as "psyche break-beat", all of which was initially recorded and released in the 1960s and '70s. That means a blend of hallucinatory Brazilian funk and soul rich in sweaty, often densely layered drums, booming basslines, trippy vocals, eccentric production, mazy Hammond organ lines and rousing horns. The quality bar is set so high that picking individual highlights is tough; suffice to say, you need all ten tunes in your life (and in your record box).
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: Boston's A-grade record digger, funk and soul boffin and master edit maker Kon is back with his Gang for this tidy 7" that also features Rick James. It is once again an edit aided by Kon's long time engineer Caserta, with slick, life affirming jazz tinged and super funky production. Soul Supreme is on keys, the knotted bass comes from Xander Vrienten and together they all serve up a real late summer jam that could be 50 years old. The dub is just as delicious on the flip, with more room for the lux and authentic production and very real musicianship to shine through
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.
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: 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.
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: Jim Sharp slows things down a little with a pair of edits from the American South. Early West Coast gangsta hit "Dopeman" is the subject of side a with original drums but extended breaks designed to get the floor pumping. On the flip is a dirty south classic with prickling 808 kicks and hi hats that hit hard. It's super sweet soul music with raw grooves that can get any party started topped with vocals from Willie Hutch finishing things off in real style.
The Truth (DJ Jazzy Jeff & James Poyser remix) (4:02)
Run Away (Eric Lau & Kaidi Tatham remix) (3:24)
Review: Tru Thoughts has genuinely pushed the boat out for Record Store Day 2020, offering up a couple of extra-special 7" singles that are well worth your hard-earned cash. Perhaps the most visually startling of these comes from Los Angeles neo-soul trio Moonchild, who have selected two of their favourite remixes from the vaults and whacked them on a red and blue splatter pattern 45. On the A-side legendary decks-man Jazzy Jeff joins forces with Jeff Poysner to transform 'The Truth' into a woozy, head-nodding slab of soft-focus hip-hop soul, making great use of Amber Navran's lead vocal. Over on the flip, Eric Lau and Kaidi Tatham head towards the dancefloor via a hybrid hip-hop/jazz-funk/broken beat take on 'Run Away' that's as effervescent and vibrant as you'd expect.
Review: This collection of the Aussie funk and soul band The Bamboos' favourite cuts is a celebration of their 20 year anniversary. It culls cuts from 2007's Rawville and 2010's 4 and is a limited release with a full colour gatefold sleeve. Led by guitarist and main songwriter/producer Lance Ferguson, The Bamboos have been hugely prolific over the years, putting out no fewer than nine studio albums, two live albums, twenty-seven singles, and all while serving up many incendiary shows. They draw in elements of funk, pop, rock, psych, hip-hop, indie and soundtrack music into their own unique sound.
Review: In 1965, the New Musical Express held its Poll Winners show at Wembley's Empire Pool, as 10,000 screaming teenagers packed in to see a stunning line up that featured Tom Jones, The Kinks, The Beatles and, of course, The Rolling Stones. Every screech of the crowd, every one of Keith's string squeaking chords and all the vocal swaggers of frontman Mick Jagger are all captured in their raw glory on this 7". It's a sweaty, dense, atmospheric listen that transports you right back to that era and cannot fail to ignite your soul.
Review: Summer may be well and truly over - in the UK, at least - but the sweaty, steamy and sunny seven-inch singles keep on coming. As the title suggests, Vito Lalinga's latest offering is an undeniably tropical affair, with Mariachi style trumpet solos, rousing Afro-beat horns, tactile electric piano keys and flanged guitar riffs dancing atop a punchy, jazzy and bass-heavy funk groove. It's the kind of joyous excursion that should appeal to a wide variety of DJs, particularly those who dig funk, hip-hop and jazz-funk. Label chief Lego Edit gets his virtual scalpel out on the flip and reinvents the track as a driving chunk of four-to-the-floor Afro-funk. It's a weighty revision with serious dancefloor chops.
Review: The NME themselves called this particular show from 1965 "the greatest pop show in the world." Even if you do take that with a pinch of salt, the recording speaks for itself and does a good job of capturing the ambiance, crowd noise and all, of the 3.5 hour show in front of 10,000 fans at Wembley's Empire Pool. The Beatles weren't the only band to play - Tom Jones, The Kinks, The Rolling Stones and Dusty Springfield were amongst many other headliners - so they only performed five songs. Each one is captured here, and each one is a classic in its own right.
Review: Limited white vinyl repress.DJ Soopasoul's last mash-up was an inspired affair that saw him perfectly fuse tracks by Philadelphia Soul legends MFSB and the Beastie Boys. Here he takes a similar approach, placing the rap vocals from the 1995 hip hop classic "How High" atop a suitably funky, lolloping beat crafted from Clavinet-heavy sections from Stevie party-starting floor-heater "Superstition". It works remarkably well on the A-side vocal mix, and those who'd not heard either track would be convinced that there was no mash-up antics going on. Over on side B you'll find an instrumental mix that showcases Soopasoul's editing skills; minus the Hip Hop vocals, is a fine re-edit of the Wonderful jam.