Lynn Williams - "How Can You Call Love Fascination" (2:26)
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: France's faves Battle Weapons deliver two heady new edits, only for those ready. On the A comes an ingenious, probably never-done-before, almost laughably why-hasn't-anyone-else-ever-thought-of-this-until-now breakbeat rendition of Peter Bjorn & John's 'The Young Folks'. To be frank, they've not done much besides beef up the backbeat a little, but a simple sprucing up is sometimes all a tune needs. On the flip comes a phattened version of 'Forgot About Dre' mashed up with the Azzido Da Bass UK garage classic 'Dooms Night', also produced to hilariously, surreally arresting effect.
Review: Two more battle weapons handpicked from the eponymous UK armoury. Label motto ("You want this party started, right?!") and A-cut refrain ("la-di-da-di, we like to party"), converge in perfect sync here on this latest 7": the obverse samples Doug E Fresh & Slick Rick's 1985 mover, peppering slight but bright brasses over a punctuated beat mix. 'Tambou' on the B-side honours a historic canonical Swizz Beatz crunk bit with a re-edit of 'Tambourine', produced and released in 2006 for blase partystarter Eve.
Review: La La Lopez's debut single, 'You Can Call Me Rose,' marks her impressive entry on SOLA Records, offering a soulful, modern r&b response to Thee Sacred Souls' classic 'Can I Call You Rose.' Hailing from Albuquerque, New Mexico, La La brings her unique blend of influences, from Mariachi and Rancheras to Soul and oldies, creating a sound that transcends borders. Recorded at SOLA Studios in Los Angeles and OLAH Producciones in Veracruz, this record shows her versatility. On Side-1, 'You Can Call Me Rose,' exudes soulful warmth, while the flip side, 'Deny,' is a vibrant Latin Pop track with English lyrics and rich Latin percussion, perfect for the dance floor. La La's music resonates deeply with her life experiences, a quality evident in her past works and future releases with SOLA Records. 'You Can Call Me Rose' has already garnered praise across generational audiences, affirming La La Lopez as a musical force to watch. Now available on 7" vinyl!
Review: Lady Wray delivers a powerful two-sider here as she hooks up with Grammy-nominated producer Leon Michels of Clairo and El Michels Affair for another single as they put the final touches to her upcoming album. The A-side, 'Be A Witness,' features Nicole's soaring vocals gliding over deep drum machines and Nick Movshon's funky bass which makes it a smooth mid-tempo groove about destined love and good vibes. On the flip, 'Best For Us' explores love, commitment and perseverance with lush synths and harmonies floating over Homer Steinweiss' tight drumming. They provide the perfect setting for Lady Wray's standout voice and get us excited for the full length.
Review: Five years after her last album on the Big Crown label, Lady Wray is soon to serve up a follow up in the form of Piece of Me. That arrives in January next year and is proceeded by this taster 7" featuring two singles from it. They showcase Wray's take on classic soul: her vocals do plenty of heavy lifting, and the instrumental funk all around her is steeped in the classic traditions, but it all comes with an extra raw edge, an urgency and crispness that brings it right up to date. 'Through It All' is a confessional that is powered by tight drums, where 'Under The Sun' is a more blissed out vibe.
Piece Of Me (feat Ghostface Killah - remix) (4:34)
Joy & Pain (Pete Rock remix) (4:30)
Review: Lady Wray's Piece of Me is a second sizzling album of superb soul. It marked something of a homecoming for the artist as she debuted on this label back in 2016 and found her leaning towards her usual soul and r&b as well as more hip-hop influences than ever: classic boom-bap drums and chunky bass hist loud and proud and for that reason the originals are ripe for remixing as they are here. Two legends of the game in Pete Rock and Ghostface Killah step up and bring their own signature sound and dusty drum beats to make for a crucial little 7".
Review: Primetime smooth soul on the long-awaited 7" release of the fourth collaborative work between Lagheads and HIMI, 'Dance'. With impeccable production scooping out a thick copse of luscious basses, watery chorused electrics and glittering twinkles, the track is difficult to compare to any other; HIMI's vocals are fay as they are nimble, sounding sultrily pucklike over the sheer sonic city-soul fabric that is the instrumental piece. The B-side hears a remix by Hikaru Arata of WONK!A fame and fleshes out the latent weight of the track for a jazzier hip-hop version.
Review: 2 more gems from the ever growing Dynamite Cut 7 inch series. First up and first time ever on a 45 featuring Linda ''Tequilla'' Logan on vocals on a dirty funk drenched groove. On the flip the rare super sexy 7 inch version of the infamous Turn Off The Lights taken from the original tapes is presented here. Infectious essential classic funk for the nu & old generation alike.
Review: This is the debut release by the French duo Last Bongo In Paris, also known as Cleon & Jazzy Pidjay. Both are DJs and producers with a background in Latin funk and jazz-funk, and these influences more than strongly shine on 'Green Season', a release whose priority is heavy breakbeats backed by a whismical, live-instrumental flavour. The title track swims and sways through meandering kazoos and psychedelically-filtered falsettos, while the B-side brings up the flip with yet three more incredible live-but-edited-in-post numbers, plus a really weird, never-heard-before 'Bonus Scratch'.
Review: 1977's Delights of the Garden, which saw The Last Poets accompanied by legendary soul-jazz sticks-man Bernard Purdie, remains one of the proto-rap innovators' greatest albums. The team behind the Dynamite Cuts label clearly agree, because they've decided to stick two of the set's most magical tracks on one must-have 45. On the A-side there's a chance to savour LP highlight 'It's a Trip', where the band sings and speaks over skittish, loose-limbed Purdie breakbeats, fizzing funk guitars and rubbery bass. Turn it over for special (and tastefully executed) 7" edit of 'Blessed Are Those Who Struggle', a classic chunk of politically charged proto-rap featuring killer drum work from the ever-impressive Purdie. In a word: essential!
Review: Communique Records has been digging deep into the annals of house history and secured the right to reissue this little gem from Ralph Laurenn. His Proper Etuquette EP landed first back in 1997 on the sub-label Party Rock and sits right on the verge of deep house and tech house. 'Right Direction' has fizzing, pixelated and sugary chords over snappy drums. 'Clover' is more loose and fast then 'Hear Me Out' offers a beautiful downtempo excursion into noodling jazz melodies. 'The Touch Of Skin' carries on the old school hip-hop vibes with a dusty broken beat viber for late-night get-togethers.
Review: Lemuria, the Hawaiian AOR project helmed by Kirk Thompsonian original member of the legendary Kalapanaireturns with a special 7" reissue featuring their a few of their favourite tracks 'All I've Got To Give' and 'Hunk of Heaven'. Thompson, a multifaceted talent as both a musician and producer, crafted timeless albums that captured the sun-soaked essence of island life. Originally released in 1978, Lemuria's music boasts top-tier production and songwriting, which has seen their songs covered by many artists over the years. Now, P-Vine revives two of their signature tracks on vinyl, offering DJs a dynamic slice of soulful, tropical grooves. 'All I've Got To Give' is a warm, melodic gem, while 'Hunk of Heaven' delivers a breezy, irresistible rhythm perfect for eclectic sets. This 45 is bringing the spirit of Hawaii's musical legacy back to the turntables.
Review: The Leonhart Brass Band, the latest project from trumpeter Michael Leonhart, was born out of the 2020 lockdown, an inventive response to the halt of his 18-piece orchestra performances at NYC's Jazz Standard. Stripped down to a brass-heavy ensemble that could perform outdoors without amplification, Leonhart took inspiration from classic brass bands like Dirty Dozen and Rebirth, blending in hip-hop and funk influences to create a unique sound. The opening track, 'Jabbar', is a tribute to Kareem Abdul-Jabbar, the basketball icon with a rich jazz background. Centred on an infectious bass riff in C minor, Leonhart's trumpet and Jason Marshall's bass saxophone deliver bold, brassy solos, conjuring the vitality and strength of the track's namesake. Another standout is 'The Iceman', a nod to George Gervin, the basketball great known for his unflappable demeanour on the court. The brass section splits into two distinct groups, creating counterpoint melodies that mirror Gervin's grace and intensity. Stuart Bogie's baritone sax solo, complete with tape echo, adds an unexpected texture, grounding the track in a deep, funky groove. With members from Antibalas, the Dap-Kings, and Red Baraat, the Leonhart Brass Band fuses tight musicianship with an exhilarating energy that carries the weight of New Orleans tradition, while forging its own path in the modern jazz and funk worlds.
Review: After the success of Lextended, the mysterious Lex Wolf is back with a second volume of sweet edits of classic dance tracks. Highlights include the clean edit of Smokin' Gang's hip-house classic 'Just Rock', a Latin house remix of the classic 'Conceicao' and a huge mix of the legendary banger 'House Music' at Eddie Amador. All these edits succeed in focusing in on the grooves while keeping the soul and energy of the original. True and proper edits, primed to reign on the dancefloor.
Smokey Robinson's Hands (feat Planet Asia - Theory Hazit remix) (4:10)
Rainy Nights (feat Roc Marciano - Theory Hazit remix) (4:10)
Review: Libretto recently unveiled his sixth album, Rusty Bladez, with Seattle icon Vitamin D handling production and lending verses of his own. From the cover featuring his inmate ID, the album delves into Libretto's reflections on his time in the Federal Penitentiary system and finds him vividly recounting his experiences pre and post-incarceration. Vitamin D's masterful production strikes a balance between sombre tones and infectious grooves, and now two of the best cuts from the 17-track full length are pressed up here onto a crucial 7" that provide a cinematic journey crafted by two West Coast veterans.
Review: Kiss Klassics is keeping all you party DJs supplied with the best tackle once more here as this time they spotlight a trio of standout tracks from Montero Lamar Hill aka Lil Nas X's debut LP. Montero came back in 2021 and these cuts haven't been available on wax before now. There is the celebratory pomp and hefty distorted low end of 'Industry Baby' as well as the more deep sounds of 'Montero' with its strings, finger clicks and Afro-tinged beats, then the high-speed party pomp of 'That's What I Want' with its epic chorus and summer festival feel.
Limp Bizkit - "N2 Gether Now" (feat Method Man DNA edit) (4:13)
Joe - "Sweet Dreams" (DNA edit) (3:11)
Review: Spanish label Hace Calor returns with a couple more bits of dancefloor fire to get frat parties, student nights and plenty in between all going wild. These two classics take the form of the DJ Premier-produced banger 'N 2 Gether Now' from US shock nu-metal dudes Limp Bizkit, featuring legendary rapper and stoner Method Man. On the flip is 'Street Dreams' by Joe which is an equally huge r&b track that is defined by a sample that was first made big by the late, great Tupac. Specially edited for DJs with a new outro and intro to make their work a little easier, there's no doubt there is one handy weapon to keep in the arsenal.
Review: Monika Linges' voice sways between jazz and bossa nova with a natural ease that makes it seem like she was born for this. But her latest track pushes things furtherigently drawing you in with a relaxed yet intricate arrangement, before layering in subtle harmonies and rhythmic flourishes. There's a warmth to the way she sings, each note spilling effortlessly into the next, hinting at a deeper emotional core. It's a performance that feels personal yet universal, bringing the complexities of her influences into a fresh light. By the time it fades, you're left with the feeling of something timelessia quiet reflection on both genre and soul.
Review: Two UK Battle Weapons fresh from the guys over at the eponymous edits label. On the A, we’re hit with a new one by a frankenstein whom we can only guess, by syllogistic intuition, is an invention of the label - LL Smooth K, with ‘Fix Up The Seed’, a rope-burning mashup incorporating acapella verses from Dizzee Rascal’s ‘Fix Up, Look Sharp’. Then there’s DJ Snatch’s version of Gregory Porter’s bluesy ‘Liquid Spirit’ on the B, a surprisingly pacy curveball compared to the cutthroat injunctions of the A.
Aniceto Molina Y Su Conjunto - "Cumbria Candela" (3:04)
Catalino Y Su Combo Negro - "Cumbia Montaera" (2:23)
Los Hermanos Martelo - "Por Las Buenas" (2:52)
La Pesada - "Cumbia Y Tambo (En La Lluvia)" (3:54)
Review: The third instalment in the 'Cumbia Sabrosa' series delves into the rich archives of Colombia's Codiscos label, unearthing a selection of tracks that exemplify the vibrant energy of cumbia. Artists such as Los Trotamundos, Aniceto Molina y su Conjunto, and Los Hermanos Martelo contribute to a compilation that seamlessly blends traditional rhythms with the dynamic flair characteristic of the sonidero scene. Each track offers a unique glimpse into the musical landscape of the era, highlighting the enduring appeal of cumbia's infectious beats.
Review: Launched in 2015, the aptly-named 'Limited White Label' are an outfit whose output focuses solely on, you guessed it, limited white labels. But they're a far cry from the usual styles released in the format; instead, these lot focus on ethereal, classical, jazzy and international dance sounds. This latest EP by the world's most coveted and mysterious artist, Unknown Artist, reworks two unnamed hip-hop motifs, as well as a swing-band-house rendition of 'I Wanna Be Like You (The Monkey Song)', a classic ditty from The Jungle Book.
Review: As they often like to do, Swiss label Burning Soul are dropping this one as this standard black 7" but also on these pages you will find a limited edition cream version. Either way the tunes are worthy of your attention from Luana. A-side jam 'Buckle Up' rides a judders mid tempo broken beat with funky bass and stepping synth sequences next to more pixelated cosmic keys. The r&b vocal is sleazy and seductive. On the flip is a trick with plenty of attitude from the vocal which is delivered with seance, control and determination. These are two standout cuts that blur the lines between genres to come up with something entirely new.
Review: A stellar mix of DJ-able breakbeat and northern soul from Luchito Rodriguez and Nestor Alvarez, two of our favourite contemporary funk artists active today (as long as we're certain of their identities, that is). This limited 7" contains two versions of the same killer track: 'Soy Un Hombre' reincarnates the triumphant 'achievement' of manhood through carnal brasses and kettle drums, in a quiver-inducing cover version of Spencer Davis Group's classic track 'I'm A Man'.
Review: Original Gravity, Luchito Rodriguez and Nestor Alvarez return with yet two more Latin groove versions of funk and soul classics, emulating two sounds not yet brought together enough. 'Dap Walk' is a shot-by-shot cover of the song of the same name by Ernie And The Top Notes - a slick and slippery interpretation that translates the original AAVE of the song's intro into Spanish. 'El Barrio', meanwhile, opts for 70s crime thriller vibes, instrumentally verging on expressionism via djembe, brass sections and vibraslaps.
Review: Dynamite Cuts has done it again here. Celebrated American bassist Curtis Lundy called upon his sister Carmen for her vocal talents for this wondrous vocal jazz cut. 'Never Gonna Let You Go' is powered by a superb double bass groove, with lush xylophones and plenty of lively drums al backing the acrobatic vocal performance. It has never before been pressed up to 7" is a serious must have for collectors, especially as it is backed with the wonderful walking basslines and feathery light snares, meandering keys and seductive jazz melodies of 'Jabbos Revenage'.
Billy Hawks - "(O Baby) I Do Believe I'm Losing You" (3:03)
Review: This Juno colour vinyl exclusive finds Linda Lyndell serve up her own majestic cover of the classic "What A Man." Her vocal is smooth and buttery but also laden with gravitas, while the sweeping horns and jazzy keys all around her help to lift the spirits. On the flip is an ice cold slice of funk from Billy Hawks in the form of his "(O Baby) I Do Believe I'm Losing You". It's raw soul that glides at high speed with plenty of hip swinging claps. This is a much sought after reissue that will shift quick, so make sure you do too.
Review: Howard Stevens kicks off his own label with a new tune featuring Lewis Parker two make for a heavyweight combination of London artists. It emcees in many different forms but thermion mix is a hard hitting bit of throwback boom bap. Its raw hip hop with big horns and elastic bass beneath those neck-snapping hits. The verses deliver extra attitude and edge while musing on street life. The rocked-out b-boy vibes continue through a Scratchapella, instrumental and combination of both that is finely called a 'Scratchapella.'
Leon Thomas - "The Creator Has A Master Plan (Peace)" (edit) (3:02)
Louis Armstrong & Leon Thomas - "The Creator Has A Master Plan (Peace)" (4:06)
Review: 'The Creator Has a Masterplan (Peace)' might have been performed beautifully by Louis Armstrong but it was written by Pharoah Sanders and Leon Thomas. Sanders was the first to record and release it on February 14, 1969 and it has since been covered by the likes of Don Cherry, Krokodil, The Dynamics, Lord Echo and many more artists right up to the present day. Here we get the Leon Thomas versions from 1969 as well as the one he recorded alongside Louis a year later. Two sublime sounds that make the whole world feel at peace.
Luniz - "I Got 5 On It" (feat Michael Marshall) (4:17)
Review: The Street Knowledge "45 series" appears to have been set up to educate heads on original 1990s hip-hop jams, or at the very least deliver fresh pressings of some seriously classic cuts. This inaugural release begins with Warren G and Nate Dogg's 1994 heater "Regulate", a deep and seductive number that makes great use of samples from Michael McDonald's teary blue-eyed soul classic "I Keep Forgetting". Flip to the B-side and you'll find Luniz 1995 hit "I Got 5 On It", a cut that's been bitten, reworked and re-made umpteen times in the 24 years that have passed since it was first released. As this reissue proves, the Oakland duo's original version is still streets ahead of the rest.
Review: Polish producer Latarnik and American vocalist Anthony Mills collide on this new album for Polish label Astigmatic to explore lo-fi hip-hop, soul, dub and experimental electronics. Mills's falsetto vocal brings great Neo-soul warmth to Crack Rock with emotionally charged tones soaring over the production which ranges from sugary and 80s-tinged disco and boogie on 'Crack' to deep, seductive and gooey on 'Passive Lover' which is a more romantic sound. Latarnik's work is often minimal yet immersive which creates space for Mills' voice to shine and is delivered in equal parts spoken word, chant and soulful croon. The hypnotic, slow-burning soundscapes that result are both intimate and confrontational, ready to make you dance but also often just to feel. Unapologetically raw and deeply human, this one lingers long after the final track ends.
Dark As (feat The Maghreban & Tamar Collocutor) (4:52)
Tea Leaf Dancers (feat Vince Vella) (3:51)
The Volume Of The Light (feat Jessica Lauren) (4:43)
Review: London spiritual jazz man Emanative is drummer and producer Nick Woodmansey. He has put out some well received albums on Brownswood, The Steve Reid Foundation and Jazzman Records and also tries his hand - successfully - at electronic music. Vocalist Liz Elensky has been part of the project since 2006 and this album finds the duo head in a new direction that delves deep into electronic sounds but with soulful jazz vibrations and contributions from the likes of Rocketnumbernine, The Maghreban and Khalab & Jesica Lauren amongst others. It results in an album that is as alluring as it is inventive.
Review: Ella Fitzgerald and Louis Armstrong came together first of all for their 1956 album Ella and Louis. Just a year later, the enduring jazz icons hooked up once more on Verve Records for the simply titled Ella and Louis Again. It was recorded at Radio Recorders and Capitol Studios in Hollywood and where their first album was all duets, this one features seven solo vocal tracks by either Armstrong or Fitzgerald amongst its dozen duet tracks. Louis only played trumpet on six of these tunes but there was such a vibe between the two artists that it was never seen as an issue.
Review: Pianist-composer Vijay Iyer follows his 2021 ECM disc Uneasy - the first to showcase his trio featuring bassist Linda May Han Oh and drummer Tyshawn Sorey - with Compassion, another album in league with these two gifted partners. Compassion, Iyer's eighth release as a leader for ECM, continues his drive to explore fresh territory while also referencing his forebears along the way, two of them long associated with the label. The album includes a powerful interpretation of Stevie Wonder's 'Overjoyed', which Iyer selected as an indirect homage to the late Chick Corea. Another tip of the hat comes with 'Nonaah', a whirlwind of a piece by avant-garde sage Roscoe Mitchell, a key mentor for the pianist. Then there are Iyer's own melodically alluring, rhythmically invigorating compositions, ranging from the pensive title track to the hook-laced highlights 'Tempest' and 'Ghostrumental'.
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