Review: In 2011, Banda Achilifunk & OJO served up Gitano Real, one of the year's most essential albums. It was caned far and wide by funk lovers, in particular Craig Charles on his 6 Music show. Now, two cover versions taken from the essential album have been pressed to limited edition translucent yellow vinyl. First up, 'I Believe in Miracles' is an overwhelming take on the Jackson Sisters classic with plenty of happy Latin vibes and rumba funk rhythms. Flip it over for a more abstract version of McFadden and Whitehead's seminal 'Ain't No Stoping Us Now' which is a soulful disco number packed with sunshine.
Review: The Moiss Music label seems to like to drop their EPs two at a time. They did it in February and they're doing it again in May. This eighth outing collects four more lively disco cuts, each with their own subtle influences. Berobreo's 'White Rabbit' for instance has funky undertones with loopy guitar riffs and nice breaks. The Magic Track's 'Jamming With Mom' meanwhile is more sensuous and deep, with late-night synth work and seductive vocals. Oldchap's 'I Want To Show You' has an expressive soul vocal with more low-slung grooves and Alexny's 'Not Bad' then gets quick, clipped and loopy for its lip-pouting disco thrills.
Charlotte & Reinhard for WeCanDance - "To Be Free Again" (extended) (5:10)
Ollie Loudon - "LMT" (extended) (6:21)
Lily Ko - "Pure Rubber" (5:58)
Biancolato - "Resolution" (edit) (5:46)
Review: We're promised Mellow Magic and that's precisely what we get, across four tracks emerging from disparate corners of the globe but united in a common mission to provide beats that work on the more relaxed end of the dancefloor. Belgian duo Charlotte & Reinhard of Rheinzand fame kick things off with a slow motion Balearic version of a well known 80s MOR classic. Ollie Loudon's 'L.M.T.' finally makes it to vinyl after long being a secret weapon in Gratts' DJ sets, where handclaps and languid strumming meet a gentle but infectious groove. Flip it over for the more tracky affairs, as Japan's Lily Ko makes an impressive debut with 'Pure Rubber', an original mix of disco foundations and always snazzy but never showy 80s synth play. Melbourne's Biancolato finishes things off with understated deep house shuffling that adds just a touch jazzy keys and dreamy, wispy pads.
Destiny II - "I'm Here For This" (feat Aria Lyric) (4:54)
Review: Z Recordings chief Dave Lee has teamed up on this one with Omar, a prolific multi-instrumentalist who was awarded an MBE in 2012 for services to music. The result is 'Starlight', a serving of emotive soul funk with a nod to legend Stevie Wonder. Over on the flip, we have the late night boogie-down vibe of Destiny II's 'I'm Here For This' featuring Aria Lyric's powerful vocal delivery, underpinned by an uplifting arrangement that has summertime vibes abound. A new project by Lee, it debuted earlier this year with the excellent 'Play 2 Win'
Review: Classic soul band The Moments serve up a couple more gems for this red hot series on Dynamite Cuts. First is a steamy, seductive, sexy version of the Lee Forsey classic 'Ride Your Pony'. The gentle drums, the swinging synths and the sting sounds are all topped with butter-smooth vocals. On the back side is something just as majestic and heart warming - 'Sugar Sugar' is a real singalong gem with nice sax stabs, freaky synth bass that never stops squelching and just good vibes that you never want to end.
Review: Mike Maurro is the label manager and remix king behind the legendary Brookside, who specialise in disco/soul reissues hailing from Brooklyn. His fingers in many pies, Maurro here remixes two classics from Philadelphia International Records, the O'Jays' 'I Love Music' and Harold Melvin's 'Wake Up Everbody'. Draggy, sunny and full of that downtempy, boxy re-edit magick.
Review: Miquel Brown's 1983 hit 'So Many Men - So Little Time' remains a staple in clubs worldwide. Now the Oculus Disco label presents a unique twist on this classic split across two sides of a 7". On the A-side, 'So Many Men' features a reimagined melody with stabs and an extended breakdown which offers perfect mix points for DJs. On the B, 'So Little Time' strips away glam for a tougher, darker tone. With emphasised claps and an acidic rhythm, this one is ideal for more moody rave environments.
Review: Tower Vinyl is very quickly becoming one of our favourite labels. its current run of releases is absolutely top notch and focuses on vintage soul sounds from across a wide spectrum. This latest 7" as part of the Free Soul series comes from Odessey whose 'Battened Ships' has big brass, funky drums and lots of killer guitar lines and rich bass, all topped with heartfelt vocals. The wonderful Terry Callier and is unique ones then bring jazz and soul stylings to the bouncy 'Ordinary Joe' on the flip.
Little Boxes (feat Guavatron - 40 Thieves version) (10:27)
Review: Cole Odin debuted on Leng in 2020 when he served up the super 'Numbers Game' tune as part of the label's 10th anniversary compilation. He now makes a welcome return, this time with the go-slow king that is Eddie C. Between them they cook up a perfectly low-slung tune in 'Little Boxes.' It has effects-laden guitars and kaleidoscopic electronics that lock you into a chugging yet cosmic groove and take you on a real trip to the stars. On the flip is an epic 10 minute-plus version from 40 Thieves that really ups the starry eyed vibes and expansive chords.
Review: Originally released back in 1977, 'Native New Yorker' is considered by some as one of the greatest disco productions ever. Odyssey was originally formed in 1968 by Virgin Islands born sisters Carmen, Lillian and Louise Lopez. Lillian and Louise later teamed up with Filipino producer Tony Reynolds where they explored a more pop-oriented sound as heard here. Brookside Records dug through the Sony vaults and came up with a pair of remixes by NYC 'mixmaster ' Mike Maurro. The A-side's Extended version has a long extended intro, break and extended instrumental sections. On the flip, 'Use It Up and Wear It Out' boosts the rhythm section and adds subtle changes while staying respectful to the original sound
Review: Bobby Orlando is something of a hi-NRG master - his work with Divine is credited as a major influence on the Pet Shop Boys - who tapped up the then soon-to-be iconic duo Oh Romeo for their debut outing back in 1982. Their work on 'These Memories' made it a hit right from the off with big drums, shiny synths and arps and plenty of campuses. Late last year, Iventi d'Azzurro put together this remastered package featuring extended versions of four rare Oh Romeo tracks on the EP Living Out a Fantasy. These bangers really capture the duo's signature energy and timeless appeal and make this a record that suits both working DJs and lovers of big jams alike, all with the right amounts of nostalgia.
Review: Blissful boogie reissue from Junko Ohashi, whose 7-inch promo for 'Dancin' here functioned as the promo material for the 1983 album 'Point Zero'. Sounding just as rough, farty and raw as its original LP cut, the track is a perfect example of what Japan brought to disco - blending it largely with city pop - at the time. 'In Your Lovin', as it did on the original album, brings up the B-side with a downer-tempo funk beat, and a lyrical subject dealing with a romanticized, ideal lover.
Review: This superb remix of Yuji Ohno's soulful gem 'Fairy Night' feat. Sonia Rosa, which is the ending theme for the anime Lupin the Third Part III from 1984, is now released as a 7" single to mark the 40th anniversary of its original release. The 45 rpm features two tracks: Side A showcases DJ Taro's fresh city funk remix, while Side B presents the classic 1984 version by Yuji Ohno. This limited release offers a rare opportunity to enjoy Sonia Rosa's sweet, evocative vocals through both the original and contemporary renditions which are subtly different but both equally excellent.
Review: Tropical Disco marks hitting release number 20 with a brilliant four track various artists affair that offers up plenty of the colourful and cosmic disco sounds they have become so well known and loved for. Paul Older kick off with 'Nothing,' which is a rolling and trumpet laced jam to fill the floor. 'One For Frida' gets more deep and dubby, with more big horns but a flabbier and more silky groove to sink into. On the flip, it's all majestic leads and noodling solos for the twinkling disco sounds of the late night roller 'Shiva's Chant' while 'Street Jam' closes out in smooth, string laced and seductive fashion.
Review: .An Italo disco rarity from 1985 now available again via XYZ on a colour 12' maxi single: Karl Olivas' 'Follow Me!!!'. The A-side features the rare original version in all its neon-lit glory, and as a highlight they proudly present two new and exclusive remixes by Flemming Dalum (who hands in a mesmerising slo-mo rendition) and the new dance fantasy continues on the flip with an F. Ricci version (The Ri-Mix).
Review: Omar is a real British musical institution and as such it's surprising but also not so shocking, he has recently completed a stint on BBC soap Eastenders. This cheeky 7" is a reissue of the title track from his album The Man and a fine example of his perfectly soulful vocals and mellifluous melodies over nice broken beat and nu jazz sounds. It represents some of his best work and this contemporary take uses the final few bars of the original track as its starting point in a "part 2" style.
Review: In 1985, Isy Martin Jr. released 'Rug Burns' and it became a low-key disco stepping classic. Now, Prime Time Records and Tapes has secured the rights and presents this official repress featuring that cut on the A-side so you no longer have to play high prices on the second-hand market. As well as that fresh bit of ass-shaking and funky dancefloor fun, the label has pressed a special re-do of 'Rug Burns' featuring XL Middleton and Zackey Force Funk on the B-side. It's a slightly more contemporary boogie-down sound with the same original vocal charms.
Review: The classic 1982 funk anthem 'Don't Fight The Feeling' by American r&b and funk band One Way gets a fine 12" pressing here, which means it can be played nice and loud. Singer Al Hudson leads the way with his buttery vocal, while a stepping and broken rhythm with lovely dry claps and w sloppy synth squeal make for a pretty unique sound given when this was first recorded. On the flip side, Windjammer's 'I Thought It Was You' offers a more mellow, melodic contrast full of the band's signature blend of r&b and jazz with cooing, heart-melting vocals and a nice stepping rhythm that lovers of UK street soul will surely be drawn to.
Review: In 2024, over 30 years after its release, Incognito's 1991 hit 'Crazy For You' has been reimagined by ONEGRAM with a stunning new arrangement. It brings out the soul with gorge vocals and lazy dub drums providing a perfect counterpoint. The B-side brings a vibrant twist featuring a groovier rhythm, ONEGRAM's signature horn section and lively steel pan melodies that blend Caribbean disco and reggae vibes. Adding to the fun, the ET Edit on the B-side is tailored for DJs and enhanced with tasteful effects for an energetic finish. This fresh take breathes new life into a beloved classic that showcases ONEGRAM's infectious sound.
Review: Opolopo is a machine when it comes to serving up superb disco, funk and soul sounds. He's done so for two decades on plenty of top labels from Toolroom to Version Galore to Gamm. This time out he finds himself on a self-released tip with X Machine which is a mash-up of James Brown. The original vocals cut through funky basslines and lots of big percussions as the loose drums rumbled on next to warming organ chords. The instrumental is a more direct to dancefloor jam.
Review: Opolopo and Alafia recently united to embark on a fresh musical odyssey that birthed two intricately crafted percussive marvels. 'Axxanxxan' and 'Axxiove' were irresistibly captivating, blending Afro rhythms, disco allure, and synth ingenuity into dancefloor dynamite pulsating with tribal vitality. Now, both cuts get served up as instrumental cuts. On the A-side, metallic basslines, choppy guitars, and swirling synths conjure a tropical ambience, while the flip side features pronounced drums and entrancing rhythms infused with a cosmic allure. These Canopy treasures shine as brightly as the original versions.
Review: Opolopo and Alafia have hooked up here to work together on a new musical journey that takes the form of these two richly layered percussive monsters. 'Axxanxxan' and 'Axxiove' which arrive on this 12" from Canopy are as addictive as it gets - they fuse Afro rhythms and disco dazzle with synth innovation to create a pair of dance bombs with real tribal energy. The A-side is detailed with metallic bass, choppy guitars and swirling synths that add up to a nice tropical sotmg, while the flip has more prominent drums and hypnotic rhythms that have a subtle cosmos twist. Two gems from Canopy, then.
Review: Bobby Ozra was on tour back in 2019 and the final date was in New York City. He had some time before returning home to Finland so hooked up with El Michel's Affair and Diamond Mine to record some music. The pair hit it off immediately, and Bobby used the chance to write about more esoteric subjects with the pair soon deciding to work on a full length album together. They are now well on with that process but in the meantime offer up two new gems. 'Losing It' is sun in Spanish and English and is a dramatic and moving tune while 'Watcha Know' explores death with some philosophical ponderings.
Review: It was the iconic Copacabana Records that put out this classic MPB back in 1964. That makes 'Um Balanco pra voce' by Os Rouxinois one of the oldest releases in Mr Bongo's Brazil45 series and it is also one of the best. Arnaud Rodrigues wrote the tune which is a superb mix of exotic funk, bossa nova rhythms and quirky melodies from a five-track 7" of tunes that the band originally used to play on TV. On the other side, 'O Viajante' is the sort of irresistibly sunny sound that quickly wins your heart and is sure to light up any dancefloor.
Review: Elado has put out a fine run of eight releases in just two years on the likes of GAMM, Barefoot Beats and Bonfido Disques, but for his next move, he branches out with his own reissue label. its aim is to "focus on uncovering lost gems" with the original paired with his own remixes. The first one is a 1983 private press from the Canadian pair OUI. 'Circle Of Love' is a big disco banger with flashy synth work and rugged arps, with a pair of Elado's mixes making it even more dancefloor ready. 'You Make Me High' is a more sentimental 80s pop sound.The release has recieved support from a lot of artist, such as Gerd Jansen and Hunee. A fine start to life for this new label.
Review: Originally released in 1972, these are the only known recordings from Tulsa soul band Outback. The A-side is an eclectic, psychedelic funk ballad with lyrics drawn from religious scripture and drawing powerful parallels to Black slavery in the U.S. They lend a deeply spiritual and socially conscious edge to the track which is potent in groove as it is message. The B-side, 'Reggie's Thang,' takes a different turn and is a raw, psychedelic instrumental showcasing the band's musical range and experimental edge. Together, these are a time machine back to powerful moments in soul and funk history, now rediscovered and sure to be appreciated all over again.
Review: This is a reissue of a rare 1978 single from Whirl (aka West Indies Records Limited) which blends George Clinton's famous Parliament funk with Caribbean flair. The Outfit was one of the Caribbean's funkiest bands and they always showcased the creative potential of "Spouge music", particularly with their explosive cover of Parliament's 'Dr. Funkenstein', which they renamed 'Dr. Spougenstien'. Despite its rarity, the track became a hit in Barbados and was often mistaken for an original song. The B-side features a punchy Cosmic disco version of the Peter Gunn theme.
Review: We've got some of that naughty and irresistible white label madness here from new and mysterious label and production outfit Outtaface. It comes with a label that references the energetic cartoon stylings of the late Keith Haring and a bassline that will melt your face. The 'Vocal' track mixes up disco, skank, rave, The Prodigy references and outer space designs into a truly unusual blend that will bring colour and craziness to the floor. The flip side dub slows it down, fleshes out the low and and allows the cosmic synth work more room to shine. A handy 12" for sure.
Review: A tasty pair of chunky, beefed and dubbed up disco delights courtesy of the Cardiology label and every bit as likely to get the heart rate pumping as the name would suggest. The Owl's 'Groove Engine' steps up to the breach on the A-side, the slightly slower of the pair but blessed with a thumping framework of four-to- the-floor sturdiness on which funky keys and an almost Afro vibe are tastfully and decoratively hung. Flip track 'I'm Gonna' by C Da Afro is constructed from more archetypically traditional old skool disco ingredients, from the Sister Sledge-esque female vocals to the shooting, strings. There's a nice amount of dub behaviour via the desk, enough to elevate it into orbit but not so much that the song elements of the track are obscured. Nice work all round.
Review: This new 7" offers the chance to discover unearthed killer tunes from the vaults of the Austrian Public Broadcasting Institution (ORF), which officially appear on wax here for the first now time. Stefanie & ORF Big Band are behind 'Compared To What', a hard-hitting funk cut with lo-fi aesthetics and big horns. The flip side version is a subtle tweak with just as much energy. These tracks are pressed in top audio quality as they have been sourced directly from the archive master recordings. This release is a strictly limited edition so do not sleep.
Review: Should you be able to find original copies of the two dusty-fingered classics featured on this "45", your bank balance was be significantly smaller. Of course, just because something is rare and expensive doesn't make it good, but Jimmy Thomas's 1969 cut 'Springtime' is genuinely brilliant. Released when funk-rock was arguably at its height, it sees the legendary soul man belting out Alan de Roches' lyrics over a Hammond-heavy fusion of soul, funk and Hendrix-style heavy rock. This time round, it comes backed with a relatively hard to find - on vinyl, at least- chunk of reggae/soul/rhythm & blues from iconic Jamaican singer Owen Grey. It's superb, of course, but we still prefer the incendiary A-side.
Review: Correcciones Calypso returns from a generous hiatus with the fourth edition of its acclaimed edit series, replete with four re-edits that veer from the subtle to the downright brazen. Thomass Jackson and INigo Vontier invite the French duo Youkounkoun to open proceedings with an insane early 80s edit full of big drums and exotic touches that's been blowing dancefloors all around the world for the past years - and definitely resides in the brazen category, despite a lot of work having gone into it. Olta Karawame make their debut on the series with a powerful, compact edit full of ballsy keyboard riffing and a military-sized kick drum that is guaranteed to have heads banging . To complete the release label bosses Thomass and INigo deliver edits of their own with their characteristic sound, giving this EP maximum a value for money factor and entertainment from start to finish.
Review: The mysterious Medieval Man is joined by Thomass Jackson, Mytron & Ofofo and Barry Sunset on this new split EP from the fledgling Culted label. Their edit series tackles plenty of interesting dark disco source material with beguiling results. The freaky future sounds of Mytron & Ofofo's 'Machinenhimmel' opens up with phased bass and spooky leads. Barry Sunset's twisted sci-fi disco stomper 'Hit The Drums' then takes off to the cosmos and Thomass Jackson twists and turns on loose, jangling percussion that is underpinned by fat bottomed bass. The brilliantly entitled 'Humble Frodo' is a weird and wonderful closer.
Review: Legendary US funk practitioners the Ohio Played are as well known for the erotic nature of many of their album covers as they are for their super sleazy funk sounds. They never really go out of fashion which is why so many of them are always getting reissued. Ouch! is next up with a special Ruby Red Milestone Anniversary Edition on limited edition and marbled red vinyl to mark the fact it is now 40 years old. It's an upbeat and diverse mix of funk sounds that draws influence from the world of jazz and soul and pairs swooning strings with lush melodies and catchy grooves that still energise any dancefloor.
Review: Taeko Ohnuki, known for her cult records from the late 70s and 80s, has seen her reputation soar over the years. Among her standout works is Grey Skies, which, despite its initial commercial challenges, has become a beloved classic. This remastered edition revitalizes the album with its rich blend of classic rock, jazz, pop, and AOR. Featuring a diverse array of instruments-synths, trombones, clarinet, wood blocks, harpsichord, electric organs, and more-Grey Skies delivers a lush and dynamic listening experience, showcasing Ohnuki's intricate and innovative sound.
Review: 1970's The Olympians came at the height of the Greek ensemble's popularity, and at a point where pop music was making its way into the mainstream through all sorts of subgenres. By that, we mean that this particular album is seeped in a distinctly jazzy kind of vibe, one which makes it both singular in its approach, but also very representative of the era in which it was conceived. Cool, sexy and laid-back, these eleven tracks a truly soulful in every sense of the word but, the interesting thing about them is that their not the usual US kind of sound; you can tell that there is something different in here, something European and a bit more wide-eyed to the choice of sounds and arrangements. Daptone coming through with the quality, as per...
Review: Omar is one of the UK's most notable soul stars and revered vocalists. His 1997 album This Is Not A Love Song came at the heart of the acid jazz explosion and remains one of its most vital works. It was his fourth album in a career that has produced nine overall and has plenty of his signature grooves, from the jazz flecked 'This Is Not A Love Song' to the -soul stylings of 'Wherever' via his spine tingling cover of the classic 'Golden Brown'. This is a limited and numbered 180 gram audiophile gold & black marbled vinyl reissue on Music on Vinyl with new a insert.
Who Chooses The Seasons (feat Carleen Anderson) (4:59)
Best By Far (4:00)
Winner (3:39)
Be Thankful (feat Erykah Badu) (4:04)
Tell Me (4:00)
Syleste (Lounge Lizzard mix) (3:54)
Feeling You (feat Stevie Wonder) (4:43)
It's So (4:32)
Come On (feat Kele LeRoc) (4:50)
Treat You (feat Caron Wheeler) (3:34)
The Man (4:15)
Fuck War, Make Love (3:24)
Bully (feat The Scratch Professer) (3:56)
I Love Being With You (3:34)
Simplify (3:18)
Gave My Heart (feat Leon Ware) (3:36)
Doobie Doobie Doo (4:02)
Insatiable (feat Natasha Watts) (5:16)
De Ja Vu (feat Mayra Andrade) (3:25)
I Want It To Be (3:44)
This Is Not A Love Song (4:47)
Outside (5:42)
Review: Much loved and influential UK soul legend Omar Lyefook - who has been awarded an MBE for his contributions to the music world - put out his seminal 33 track anthology back in 2020. It came on Freestyle Records and now makes it to wax, with all of his classic collaborations incuded as well as his most notable hit, 'There's Nothing Like This,' as well as 'It's So,' the big, floor facing cut that always amps up any club with its bristling drum work taking cues from the sounds Omar heard at The Notting Hill Carnival. There are plenty of lesser known gems form the evergreen star, too, plus exclusive and previously unheard tracks 'Pass It On' ft Terri Walker and 'Long Time Coming.'
Gave My Heart/Its So (Interlood) (feat Leon Ware/Grant Windsor Big Beat Band) (5:02)
Feeds My Mind (Feal Floacist) (3:56)
De Ja Vu (feat Mayra Andrade) (3:25)
This Way That Way (3:44)
Hold Me Closer (feat Stuart Zender) (3:48)
I Want It To Be (3:47)
Doobie Doobie Doo (4:08)
Grey Clouds (5:01)
Review: One of the UK's most distinctive, consistent and authentic male soul voices returns with his eighth album in 27 years... And it's a serious piece of work. Rich in range, warmth, creativity and a keen eye on the dancefloor, everything about him feels refreshed and energised. Highlights include the Dilla-meets-Iz & Diz style "This Way That Way", the glistening Balearic charm of "Feeds My Mind", the syrupy organs and harmonies on "Insatiable". Winding down with the almost filmic narrative "Grey Clouds", it's one of those records that will have you leaping up, flipping to side A and starting all over again. Feel the love.
Review: ONEGRAM, the cult Japanese reggae band formed in 2011, is back with a new album that takes in everything from their genre-defying journey so far. Though known for blending reggae with lovers rock, they also fold in conscious vibes and disco grooves to their sodden and here the Tokyo-based outfit delivers ten tracks that reflect their unfiltered present. It's their first original album in five years following 2021's cover-focused Random Access Music and highlights include the soulful hit 'After the May Rain,' the groovy 'Crazy For You' (which even got praised by Incognito members) and a dreamy take on Bread & Butter's 1974 classic 'Pink Shadow.'. It's an honest, heartfelt and unmistakably ONEGRAM sound.
Review: Taeko Onuki's latest release is a live album pressed up to vinyl and capturing her full performance from Tokyo in November 2023. The show featured a seven-piece band with Hirokazu Ogura on guitar, Masato Suzuki on bass, Takashi Numazawa and Tatsuo Hayashi on drums, Febien Reza Panet on piano, and Toshiyuki Mori and Shohei Amamori on keyboards. This album showcases Onuki's dynamic performance with a talented ensemble and a rich array of sounds from the original multi-tracks. It's a great snapshot of the event as well as being a superb contemporary pop exploration across four sides of vinyl.
Review: Following 2012's fourth volume that celebrated the existential work of Tim Maia, here we find Luaka Bop exploring the legacy of William Onyeabor. A high chief and Kenyan diplomat who allegedly refuses to discuss his music, he self-released eight albums in the 70s and 80s and these are some of the many highlights. Stretching from the New York-influenced post-punk synth funk of "Good Name" to the most authentic Afro fusion of "Why Go To War", Onyeabor's range not only reflects his clear creative skill, but also the ever-developing international language of music during the fruitful period he was active. Who is William Onyeabor? Press play and find out yourselves...
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