Back catalogue: All genres

Review: Tom Browne's 1980 single 'Funkin' For Jamaica' has long been something of an anthem - a hybrid funk/boogie classic that remains a staple in sets of hip-hop, disco and soul DJs alike. Given its ubiquity, covering the song is fraught with danger, but remarkably Japanese producer Akiko and guest vocalist Mbanja Richy have successfully put a new spin on it. Their take is subtly tougher and more synth-heavy, with bilingual French/English vocals, nods to Zouk music and a bassline so squelchy it could have been lifted from a P-funk record. Over on the flip, the pair go mellow, deep and laidback on a pleasingly skewed hip-hop soul cover of Terry Callier's legendary vocal interpretation of Alex North's 'Love Theme' from 'Spartacus'. Inspired stuff all told.

Review: Kalita Records are proud and honoured to announce the first ever official reissue of the four choice tracks from Randolph Baker's privately pressed sought-after 1982 disco album 'Reaching For The Stars', plus an unreleased instrumental take of 'Party Life' sourced from the original 24-track analogue master tapes.

Originally recorded at Jim Morris and Rick Miller's Tampa-based Morrisound Studios, 'Getting Next To You' features both a mixture of both local Florida talent plus jazz superstar Nat Adderley and bassist John Lamb at their finest. Originally pressed in a limited run of just one-thousand copies, with no distribution and most copies being sold in the local city and on Randolph's own merchandise table at the back of live gigs, original copies have long been sought-after by both collectors and DJs alike, acknowledged as a true grail and masterpiece in the disco scene and deservedly demanding extortionate figures to those lucky enough to find their own.

Here, in collaboration with Randolph, Kalita Records have chosen to re-release the four choice tracks from the album: 'Getting Next To You', 'Jazzman', 'Callin' Me' and 'Party Life'. The former is an in-demand horn and chant-filled disco masterpiece, which, as Randolph explains, concerns unity and "everyone on the same level in other words, everyone just loving life". It is arguably the song that Randolph is most well-known for in the disco and funk scene and perfect for the modern discerning dance floor. 'Jazzman' is an instrumental track with prominent trumpet and saxophone solos working with funky basslines to produce a truly great jazz-funk groove. It was "a tribute to Nat Adderley and Duke Ellington's bass player, John Lamb, for being so generous and saying yes to the project". 'Callin' Me' is a soulful disco number featuring the lead vocals of Laurie Erickson and is "about being on the road and ensuring loved ones that you will always come back home no matter what. It was like a promise to ensure loved ones they didn't have to worry". Lastly, 'Party Life' is a joyous disco track with a strong funk bassline and horns. As Randolph recalls, it "was the joy like after an actor finishes a movie. There was nothing but joy. It's finished; let's celebrate big time. Where everyone in the studio yelled at the top of their lungs - The End!" Here, with access to the 24-track master tapes we have been able to include the original version plus an unreleased instrumental take, allowing us to focus on the infectious bassline and make it even more ready for the modern dance floor.

Accompanied by extensive interview-based liner notes and never-before-seen photos.

Review: The Best Records reissue campaign continues unabated as the Italian label turns to Bariocentro. While the band may have had most of their time in the spotlight in the late 70s, they bowed out with a veritable bomb in the shape of Tittle Tattle, a tightly-wound, punchy slice of uptempo 80s boogie like they just can't make any more. Feel the reverb on the handclaps, the slick guitar chops and Moog-tastic bassline and just try not getting down. This plush reissue comes packed with the radio edit, the full length version, the instrumental and everyone's favourite slice of 80s B side action, the dub mix.

Review: This official reissue of Bela Lugosi's Dead: The Bela Session comes on black and red splattered vinyl this time around and includes previously unreleased tracks that have been mastered from the original demo tapes of their first ever recording session together. The post-punk outfit's debut single was released initially in 1979. Bela Lugosi's Dead is not only their first single, but also often gets mentioned as the first goth record. It has since been covered by Nine Inch Nails, Massive Attack and Nouvelle Vague. The rest of the tunes from the demo session remain hugely innovative, reflecting their post-punk and dark-glam style with dub reggae influences that would further evolve in their output that followed and explain why the band went on to such cult status.

Review: The second instalment of Stolen Goods' Back to Back series brings together two stalwarts of the scene: Italian veteran Lele Sacchi and Italo-Spanish beat master Bawrut. Known for their contributions to the electronic dancefloor landscape, both artists deliver peak-time bangers primed for club euphoria. Bawrut's track showcases his signature blend of retro-future rave, drawing on his extensive experience with labels like Life & Death and Correspondant. Meanwhile, Sacchi, with nearly three decades of DJ experience, infuses his production with funky deep grooves and killer stabs, epitomizing peak-time monster attitude. With nods to acid house and electro-techno, this release epitomises Stolen Goods' ethos of delivering messages From Clubbers to Clubbers, promising dancefloor ecstasy for discerning audiences.

Review: The BDQ duo were in the studio 25 years ago working on these tracks but never quite finished them due to life changes like marriage and kids. Recently, while revisiting old tapes, they discovered a lost tape and decided to give it another listen. They liked what they heard and after a bit of effort to transfer the tracks, they now feel the time has come for a vinyl release. Side 1 features their version of Timebox's 'Beggin'' with vocals by Sarah Orpen and Bryn Barklam laying down some killer Hammond sounds. Side 2 presents their take on the Mirettes' 'Take Me For a Little While' with more stellar vocals from Sarah.

Review: BDQ Records is the outlet for jam quintet BunnDebrettQuintet, who emerged out of 90s acid jazz titans Mother Earth. Their sound has refocused on a raw and rasping strain with a live, in-the-room electricity which comes through brilliantly on this new single with Lydia Sharpe. Taking a few cues from a Led Zeppelin classic, Sharpe strikes a fierce, sultry figure on top of the sizzling hot Hammond organ vamps and low slung rhythm section. It sounds dangerous like a niche 50s cut, but there's plenty of meat on the bones of the production, while the familiar vocal hooks will go down a storm with a busy dancefloor.

Review: Beau operates at the sharp end of the UK electronic underground and creates an immersive, dark ambient sound that is influenced by trailblazers like Burial. His soundscapes combine ethereal textures with moody rhythms and that is very much the case here on Lacuna, his new album for Feat PLAtes. It is full of roomy sounds, icy glass synths, smeared pads, late-night moods and evocative atmospheres that draw you in ever deeper, sometimes looking over your shoulder, always lost in deep thought. A real lost tape from the short-lived night bus genre, you could say.

Review: This EP is the first collaborative work by Andrea Belfi and Jules Reidy. Berlin-based and hailing from Italy and Australia respectively, the duo blends compositional precision with improvisational freedom. During a residency at Berlin's Callie's-a 19th-century factory turned arts space-they and engineer Marco Anulli crafted four expansive tracks in which Belfi's masterful drumming interlaces with Reidy's shimmering guitars and electronic textures. The opener layers just-intoned guitar figures over delicate brushwork and climaxes with a synthetic surge and tracks like 'Oben' and 'Alto' explore shifting grooves, propulsive rhythms and dynamic soundscapes.

Review: During the latter stages of the "Philly Soul" era, New York remixer Tom Moulton delivered a string of inspired, DJ friendly reworks for the Philadelphia International label. For proof, check this fine selection of classic Moulton mixes for the storied imprint. Check first his version of Archie Bell and the Drells' "Where Will You Go When The Party's Over", which he brilliantly teases out and increases in intensity over nine spellbinding minutes. The funkier flex of People's Choice's "Jam, Jam, Jam (All Night Long)" is a sweaty, low-down treat, while the Teddy Pendergrass rework is a soaring disco classic in the Philly Soul style. Best of all, though, is the string-drenched disco celebration that is his mix of Lou Rawls' "See You When I Git There".

Review: Get your hips and heart around this bit of L.A. boogie by the elusive Ben White and you cannot help but feel better. It is a highly sought-after rarity that disco collectors have been fawning over since forever. It was originally reissued as a 45 by the great Athens of the North and now comes this 7" version which was sourced from Andy Noble, who has often helped the label out before. It features two sides of exceptional modern soul and boogie that blend rhythm and grove in magical ways that are never going to age. 'I See A World' has lovely and tender falsetto vocals and 'Give Me Love (Always)' is more of a party starter.

Review: Kay-Dee Records comes at us with a 45 double-hitter, presenting Bert Hector's 'The Phoenix' and 'The Kraken' with Kenny Dope on remix duties. On the first record, we're treated to 'The Phoenix', a sure-fire funk gem with a super-warm sound - beat is as cool as it gets, with a laid-back and funky attitude sitting beneath a joyous intermingling of sitar, flute, brass and guitar, all performed at expert levels. 'The Kraken', meanwhile, channels a killer groove, strutting at 85 bpm and incorporating a huge brass section which pumps loud, while flute solos and funky Wah-guitar chops take things up a notch.

Review: Barbie Bertisch's debut album Prelude made quite the stir when it dropped back in June. It was also ripe for remixing and so it is that Love Injection have enlisted six top talents to add their own spin "in dialogue" with the originals. First in the series we have Montreal's Gene Tellem on the A-side flipping 'After The Storm'. The resulting tune is faster than the original: it is a wavy, dreamy deep house cut with superbly subtle synth work over the rolling drums. It gets you in a trance in no time with its lush atmospherics. On the flip, Tamar sumo and Lakuti, well known to the heads at Berlin's P-Bar where they are residents, go for a powerful peak time rework. It has chattery claps and intense synths layered up over the unrelenting drums to make for something textured and euphoric and sure to make a big impression. We already can't wait to hear the rest in this series.

Review: Beyonce's last album was widely heralded as a triumph by all. It found her diving into house music and working with scene stalwarts like Luke Solomon and Honey Dijon. It won a Grammy for its efforts. Now, even though plenty of the originals were ready to work a club dancefloor, we get treated to some remixes. They all focus on the standout single 'Break My Soul' and we get funky and soulful stuff from Terry Hunter, broken beat from Will I Am, house thumps from Honey Dijon, and filter-heavy stuff from The Queens. Add in the Nita Aviance club mix and the original version and you have a useful package indeed.

Review: With over 50 years of experience dating way back to the early 70s with the progressive outfit Zebra, Joan has left quite a discography that is still being discovered and enjoyed. This EP - Joan Bibloni's second appearance on the label in total - features three versions of 'Badia Onirica', two of them being language versions and then the instrumental. Overall, the song is a track fitting for the Cafe Del Mar sound - a mix of folk, electronica, house with a Latin and folk influence and versions in Spanish and Catalan. An EP for watching the sunsets, dreaming on the beach and remembering life's great time with friends and family. NuNorthernSoul continues to honor the chill out legacy.

Review: Several new 7" cuts by our good friends over at Bou Ga Louw have landed in our grasp, the Argentinian label pushing brand new South American funk and soul heaters. Big Jim Hangers' 'Jungle Fever' is a high-octane instrumental ballad clearly dedicated to the dirtiest of acts out there, sex. Moans, groans, organs and drums complete the recipe, and this is an attitude mirrored on the B-side with The Moon People's 'Hippy Skippy Moon Strut'. This is a riotous mix of Afrobeat, funk, and jazz, and a mise-en-scene for free love.

Review: Private Stock Records serves up a treat for DJs and turntablists with a new 12" packed with beats, scratches, and skipless tracks. Four skilled DJsiBig Once, Cutso, Double A, and Nick Bikeicontribute their skills to this collection, offering a diverse range of flavours for scratching and beat juggling. Each DJ delivers a 'Scratch Sentence' and a selection of beats at various tempos, providing a versatile toolkit for creative routines. The inclusion of skipless tracks adds another dimension, allowing for seamless blends and extended mixes. With its focus on functionality and quality, this release is a must-have for any serious turntablist or DJ looking to expand their arsenal of sounds.

Review: Bedroom beat producer Blank Check has teamed up with Honolulu's Aloha Got Soul and Tokyo's Grand Gallery for this majestic new six-song EP which comes on tidy 10" vinyl. It's mega limited with only 300 copies produced and it showcases loop-based music that evokes a floating sensation, which is reminiscent, say the accompanying notes, of Tommy Guerrero's world view. The instrumental sound features a dub-like quality that perfectly captures an urban mellow vibe that feels both original and authentic. Essentially it serves as a soundtrack to a short film that immerses you in atmospheric and cinematic soundscapes.

Review: We have been really liking what we've heard from the Dolphin label out if the US of late. Now we get a taster of an upcoming album from Blaque Dynamite with a second single from it. Beka Gochiashvili features on keyboards and synthesizers throughout the cut. The Stefan Ringer remix is a wet and funky mix of jazz, house and experimental sound. It has a sleazy sense of vocal naughtiness to it with shuffling broken beats and rich layers of percussion. The original is an organic and loose-limbed deep house vibe and Ben Hixon brings a little more edgy tech to the drums.

Review: The Bloto quartet recently marked their return with 'Szlam' and 'Scieki,' their first singles in over two years, released on a limited 7" vinyl via Astigmatic Records. These tracks sold out instantly, leaving fans eager for more. The band now continues their musical assault with another 7" release, featuring a remix by modern funk maestro DaM-FunK from Pasadena, California. This release serves as a prelude to their upcoming LP Grzybnia, set for an autumn 2024 release. Bloto's latest single, 'Bakteria,' draws heavily from classic acid house, offering a sinister and primitive sound that's reminiscent of the harsh resilience of bacteria. Recorded during an improvisation session at Studio Pasterka, the band has abandoned acoustic instruments in favour of synthesisers and drums, creating a raw, infectious track. DaM-FunK's remix, 'Bakteria Re-Freak,' transforms the original's dark atmosphere into a vibrant G-Funk track, filled with sunny synths and a drum machine beat. It evokes a biopharmaceutical bacterium leisurely moving through the streets of Los Angeles, blending warmth with a hint of danger. This release not only boasts Bloto's innovative spirit but also highlights DaM-FunK's ability to reimagine and elevate the original material.

Review: Blue Feather were a truly blue-eyed funk outfit from the Netherlands who had a prolific run in the 80s with two albums and a string of club singles to their name. "Let's Funk Tonight" was surely one of their bigger hits, and it sounds resplendent with a fresh master and the full extended version spread out across the A side here. Offering something new for the modern market, Best call upon Faze Action to flesh out this reissue with a killer dub of the track that treads softly but funks deep, just like a good dub should.

Review: Blue Mode and El Chavo present two fantastic new cover versions. The A-side is of course one of the biggest tunes of the grunge era, and is here lent a jazzy, funky, groovy alteration by Blue Mode - though it is an ostensible Nirvana cut, the band were influenced by everything from the Gap Band to Louie Louie and a fair smattering of 80s indie here. This production by Chip Wickham mixes a swinging 60s Blue Note vibe and acid jazz refrains, brings it bang-up-to-date with contemporary nu-jazz. Side B is a boogaloo Latin jazz version of the Lonnie Smith track 'Hola Muneca', beloved of the acid jazz era's foremost DJs, and formerly released on a now impossible-to-find 7" single that shifts for crazy prices.

Review: Bluets' debut on Kimochi Sound seamlessly integrates into the label's well established and distinctive style. This one, with a hand-sprayed sleeve as always, opens with "if you can imagine," a confident bit of microhouse that mixes rich melodies and a lively bassline. 'Action Potential' echoes RDMA's aesthetic with its precise beats and on the B-side you will find a vaporous melody that weaves through sparse downbeat house grooves to make for a dreamlike atmosphere. Closing the EP, 'Buong Bilog' features distorted IDM rhythms and a poignant refrain that balances twitchy textures with melancholic tones. This carefully crafted release bridges home-listening electronics with dancefloor clout.

Review: Jimmy Bo Horne brings his raw and expressive vocals to this new release on Japanese label Ultra Vybe. The oft-sampled America singer, writer and producer has been turning out such sounds since the mid 70s but remains on top of his game here. The big horns bring energy, the rolling rhythm section gets you up on your feet and the whole thing screams floor filler. On the flip is Lynn Williams with 'How Can You Call Love Fascination,' a much more slow and sensual soul tune with acrobatic vocals and nice piano fills next to a big horn section.

Review: Bohannon's biggest dancefloor hit, 'Let's Start II Dance Again', has been remixed umpteen times over the years, with several reworks of the slamming disco-funk classic released in the early-to-mid-1980s. Here it gets another new lease of life as part of Unidisc's 40th anniversary celebrations, with disco remix maestro Dimitri From Paris at the controls. The Frenchman delivers two tasteful, club-ready tweaks: an 'Extended Remix' that wisely utilises all of the familiar elements of Bohannon's original, while subtly beefing up the beats and adding a few drops and breakdowns, and an even longer, more dubbed-out 'Super Disco Blend' revision. Over on the flip there's a chance to enjoy Bohannon's original version and the raw and heavy 'Part 2' mix from 1981 album Alive.

Review: Before he signed with Tru Thoughts 21 years ago, and many years before he became one of Ninja Tune's most popular artists, Simon Green AKA Bonobo was merely a bedroom DJ/producer knocking up tracks in his Brighton home. The two tracks showcased on this limited-edition "45" date from that period and have never before seen the light of day. A-side 'Brighton Tapes 01' is warming and hazy, with toasty chords, drowsy flute and female vocal samples and deep bass rising above crunchy, loose-limbed MPC-driven drums. Flipside 'Brighton Tapes 02', which contains the same high level of vintage cassette hiss, is similarly warming, with a sweet female vocal sample, snaking sax samples and rich Rhodes chords wrapping around a head-nodding hip-hop beat.

Review: Rampant and 'up for it' as usual, the Cititrax label is back with a new set of wayward technoid experiments for the more trained ears on the dancefloors. This time it's Romania's Borusiade and newcomer The Sixteen Steps who share two sides of a wax plate and, of course, proceed to annihilate any idea of a quiet night in. The former sets off with the mechanical acid bumps of "Infatuation", guided by an eerie set of vocal blurs, and that's followed by the comparatively more beat-centric techno of the apocalyptic "Confutation". On the flip, The Sixteen Steps first lands on "Signals From The South", a house banger with noxious levels of mutant bass at its core, followed by the single-minded industrialism and sheer techno brutality of "Promises On The Run". WOWZAH!

Review: Across four elegantly crafted tracks, Italian producer Bottone blends rich melodies with smooth, intricate production, creating a collection that feels effortless and deeply refined. Side -1 opens with 'On Hilly Earth', a laid-back yet deep cut where light, jazzy chords float over a deep, groovy foundationiperfect for early evening unwinding. 'Teach Me The Way You Walk' steps up the tempo slightly, embracing a warm, melodic house feel with a sunset-kissed glow, its uplifting vibe tailor-made for golden-hour dancefloors. The title track, 'Beggin' For Love', leads Side-2 with gentle, beachy rhythms and keyboard work that exudes warmth and relaxation. Finally, 'It's A Heart Feeling' closes the EP with a deep, emotive grooveiits soulful touch and flowing melodies making it an ideal end-of-the-night moment. With 'Beggin' For Love', Bottone crafts a great balance of sophistication and ease, showing he is a name to watch for in the future.

Review: Hardcore funk and breaks lovers rejoice - the latest Heat Rock is a real winner. This 7th and final entry into the first series has a pair of world music-influenced bangers on it. The first tune is produced by Bounce Castle from Chicago and is primed for the dance floor with its Bollywood-flavoured vibes and big beats. It's a fresh take on a big tune from QB's Finest. And if you reverse it, fellow Chicagoan Altered Tapes mixes up a Cumbia slash dancehall slash breakbeat version of an iconic song from legendary Wu Tang album 36 Chambers.

Review: Berlin's renowned Iptamenos Discos its back with more great musical enchant in the form of this new white vinyl 12" in hand-numbered hand-stamped sleeve from Boys' Shorts. This dynamic queer duo comes from Greece and is made up of Vangelis (formerly of LAGASTA) and London-based Tareq. Their Something To Forget EP is a dazzling mix of disco with a whole world of subtle influences from other genres. Two originals come accompanied by innovative remixes from Gabe Gurnsey and Whitesquare to make this an effective outing that will likely win Boys' Shorts many new followers.

Review: Royal Wavetable Mellodies & Old TDKs by Mexico baed artist Brainwaltzera is a perfect coming totters of the symphonic, the synthetic, the organic and the electronic. It's a record that could be a lost 70s classic as much as a new school homage to minimalism, experimental ambient and vintage synths. In fact, this is a selection of archive recordings in the artist's characteristically idiosyncratic style that we cannot get enough of. The collection of tracks are gorgeously native and innocent, with wispy melodies and retro keys all smeared and smudged into moving pieces of ambient that are beatless but dynamic.

Review: Alan Braxe is one of the cornerstones of the famous French touch house sound. He's crafted plenty of seminal tunes and now is back once again with Falcon for this new and lush deep house 12" on Smugglers Way. It bears all the hallmarks you would expect of the pair: big loopy loops, filtered chords and house drums that get you grooving. 'Love Me' is the one old heads will appreciate the most thanks to its old school ways, while fresh disco influences colour 'Creative Source.' 'Elevation' is more blissed out and Balearic and 'Step By Step' is downtempo lushness.

Review: IRMA has assembled a trio of top remixers here to add their own spin to some fine originals from Bright Magnus. Up first is the LTJ Xperience remix of 'Jungle Corner' and it is a low slung and steamy funk number with loose shakes of a tambourine and languid bass riffs drawing you in. 'Selim/Miles' (DJ Rocca 606 remix) is a blend of smeared synths and woozy guitar riffs over more lush downtempo beats that make it perfect for the midnight hours. Last but not least is 'A Way' (DJ Rocca Black Satin remix) which is a more psychedelic sound thanks to the drawn-out synth percolations that stretch through the mix.

Review: Dimitri From Paris returns with a fresh installment of his celebrated DFP Vaults series, highlighting deep cuts that reinforce his status as a top-tier remixer, DJ, and a true connoisseur of dance music's hidden gems. This release holds particular significance for Dimitri, as it pays homage to the legendary James Brown, a figure whose influence in music is beyond measure. The release features Dimitri's 'Special Version' of 'Funky Men,' a track from James Brown's Soul Syndrome. Originally overlooked by Dimitri in 1981, it now shines with a unique disco beat that he's reimagined using both vintage and modern editing techniques. The track has already proven its power on the dance floor. On the flip side, Dimitri revisits 'Just Wanna Make You Dance' by The J.B.'s, featuring Maxxi. This rare disco track, with its Caribbean flair, gets Dimitri's expert touch, enhancing its dancefloor appeal. DFP Vaults, the sister label to Le-Edits Records, presents this release with meticulous attention to detail, featuring state-of-the-art mastering and vintage-inspired packaging.

Review: This is a new reissue of what and dub head will know is some very rare Canadian-only roots. Finding an OG of this record will take you time and cost you even more. Jerry Brown was in fine fettle when he laid it down as it's an awesome and truly deep tune with a rolling bass line. If you flip it over and drop the needle on the dub version, called just 'Lady,' you will find that rich bass with some fluttery melodies up top from a flute that brings sunny days to mind.

Review: Ruth Brown came to prominence as a 2012 semi-finalist on The Voice as part of Sir Tom Jones' team, and has since performed across the UK, including multiple appearances at London Fashion Week. She also starred as the alternate Effie White in the London production of the Sonia Friedman Production, Dreamgirls. Her shows often sell out, such is the lushness of her soul sound and now she returns with her highly anticipated EP, A Moment Of Truth, which again offers up her powerful vocals and shows some fine artistic growth across a series of tunes with buttery tones, heart aching hooks and timeless neo-soul, house and funk production.

Review: West End's double-pack re-edit series continues, with long-standing UK electrofunk hero and scalpel rework specialist Greg Wilson sharing a quartet of revisions. There are airings for two of Wilson's most sought-after scalpel works from the "Credit To The Edit" series - superb versions of Brenda Taylor's "You Can't Have Your Cake and Eat It Too" and Raw Silk's "Do It To The Music" - as well as a couple of previously heard rearrangements that are on-point as per usual. Wilson first adds even more mind-altering delays and low-slung dub disco flavour to Forrrce's "Keep On Dubbin'", before superbly stretching out the mostly instrumental "Melt Down Mix" of Shirley Lites' synth-laden peak-time classic "Heat You Up".