KING MOST Vinilo y CD

Review: Double A's 'Gotta be a Sucka 4 Luv' finally hits vinyl after two years of digital anticipation. This funk and soul-infused track is an instant party starter, boasting snappy drums, a catchy bassline, and horn stabs galore. It's a dancefloor anthem with undeniable energy and groove, perfect for any occasion. On Side-2, King Most's 'Standing Out' delivers classic funk and r&b vibes with a killer male vocal and infectious beats. This fun filled vinyl pressing ensures that these digital-only gems can now spin on turntables, bringing their timeless sounds to both collectors and DJs alike. Don't miss out on these essential additions to your music collection!

Review: REPRESS ALERT!: King Most is a revered American edit and remix master who is back with yet another big vinyl drop. This one is the first on his own new KM label and has already, we're told, been getting some high-profile plays from the likes of A-Trak. The A-side pairs off two epic classics - 'Bam Bam Tom Tom Club' has that languid, ass-wiggling groove you know and love with a twisted reggae vocal to make for something brilliantly original. The B, meanwhile, is a vinyl-only exclusive packed with Jamaican sunshine. 'Reggae For Roy' is perfectly organic and horizontal with its new reggae beat delivered under a classic Roy Ayers vocal.

Review: We've got a lovely bit of golden-era hip-hop here from the DATUM Recordings label. It comes on 45rpm and features one jam each from King Most and Casquiat. The former goes first with 'A Tribe Called Westwood' with signature Tribe bars and a deep cut groove with raw bass. On the flip is 'Colossal Rhymes' which is a great big slice of boom-bap complete with smooth flow, organic percussion and some eerie melodies hanging in the air above the beats.

Review: Coming in heavy with well-known US producer King Most on the A-side, whilst J. Diggins amps up the party on the flip. 'The Panties' is, as you could expect, a 7"-ed ode to pantyhose. King Most steps in for Diggers Delights' series here, bringing a heavy house and bass punch to imbue the imminent dancefloor with love and romance, hashing out a phat contrast between pop-out soul vocals and Most's own, which are relatively carefree and evince a real sense of hustle. On the B, Diggins reinforces the obverse with a boiling of the disco stew, this time unctuously peppered with autotune and hip-soul ad-libs for good measure.