Review: Surprisingly, Don Blackman originally wrote and recorded "Just Can't Stay Away" to play as the recorded message on his girlfriend's answering machine. He later included it - tweaked and turned into a mid-80s style boogie banger reminiscent of his work during that decade - on his second and final album, 2002's CD-only "Listen". Here it finally gets a vinyl release thanks to reissue specialists Melodies International. If you're a fan of boogie, electrofunk and synth-soul it should be an essential purchase, not least because it's every bit as good as more celebrated Blackman productions made earlier in his career. There are "Stereo" and "Mono" mixes to enjoy, with the former naturally offering a more refined and intoxicating listening experience.
Review: Cannon & Mirrorball may not be the disco edit scene's answer to moustache-sporting 1970s/80s comedy heroes Cannon and Ball, but they certainly serve up tracks that will put a big goofy smile on your face. Their latest Disco Bits adventure begins via "Black Rhythm Rap", a chunky, hip-hop friendly rework of an obscure, late 1970s disco-rap bomb rich in funky guitar licks, cut-glass strings and party-starting MC flows. On the flip they get even cheekier, placing Loleatta Holloway's incredible "Love Sensation" vocal over a stomping, Blaxploitation-era disco-funk backing track and all manner of familiar soul and funk samples. Purists will no doubt sneer, but they really shouldn't: this is tastefully produced disco heat of the highest order.
Review: In 1976, French band Edition Speciale released their debut album, "Allee Des Tilleuls". While much of the album saw them explore progressive rock and jazz-rock territory, it did contain one suitably groovy and life-affirming trip into jazz-funk territory, surprise LP standout "Mr Business". Here that cut gets a single release for the very first time courtesy of the dusty-fingered diggers at Pepite. You'll find the little-known band's languid, Clavinet and synthesizer-heavy original version on side A, with Aroop Roy's tidy contemporary rework on the B. Aroop sticks a rocket up the track's bottom end, underpinning the original song with peak-time-ready drums while wisely emphasizing his own killer bassline and catchy vocals.
Review: New York City-based trio Escort are back for the first time since their Animal Nature LP from 2015. Their new track "Slide" was co-written with NYC soul artist Denitia and drives you gently with this west coast influenced roller produced by Eugene Cho and Jkriv - and featuring Adeline's wonderful vocal delivery. We absolutely adored this slick and low slung boogie-down number. For something more uplifting (and with dancefloor dynamics) you can try the classic '70s disco explosion of "Ride" (feat Brian Jackson) on the flip, which calls to mind the classic vibe of masters like Salsoul, Moulton Studios et al.
Review: Way back in 1999, Acid Jazz Records launched an offshoot dedicated to disco edits: Original Sound Track Recordings. The best of the series' many superb reworks were later gathered together on a compilation album on EMI that now changes hands for significant sums online. Happily, they've decided to reissue some of their early releases, beginning with this 7" of Family Tree featuring Sharon Brown's "Family Tree". You'll find the peerless original - a breakbeat-driven chunk of lolloping funk brilliance - on Side A, with the label's 2002 "Super Disco Break Beat" version on the flip. Inspired by hip-hop DJs doubling up the track's brilliant drum breaks, it's a killer percussion workout with a few quick blasts of funk energy and carefully placed special effects (think flanged drums, reversed sections and so on).
Review: Turbotrax was an intermittent curio that belched out of the Bristol underground in a fit of tongue in cheek edits and samples back in the '00s. Someone's clearly rebooted the mainframe and brought this elusive collective out of hiding for another bout of cheeky lifts from more esoteric corners of culture. Library Vultures says it all - this is the work of dedicated diggers pulling forgotten bits n' pieces out of retirement, such as, on the A side here, the storming theme to a Commodore advert, and giving it a buff up more extended retro-pleasure. "Whatever Happened To The Hippies?" on the flip is a more light-hearted affair with a jaunty lilt and a message of positivity for all.
Review: Released 40 years ago in 1977 ''Rhythm Of Life '' by James Mason was possibly one of the greatest vocal Jazz fusion releases of all time . New vinyl imprint Dynamite releases a quality limited edition double pack release showcasing the highlights from that album plus some additional rare versions of the tracks. The version of 'Sweet Power Your Embrace'' is taken from the incredibly rare 7 inch promo only issue. On the flipside is a different version of the club floor dancer ''Free'' which features a heavy bongo workout . The 45 second slab on this package features two tracks featuring the vocals from Clarice Taylor on ' I've Got My Eyes On You'' and the superb 'Slick City' which were both never commercially released as a 45 before.
Review: Smokecloud Records has long claimed to be the World's only imprint dedicated to Detroit Beatdown style reworks of funk, soul, disco and boogie gems. Whether this is true or not, there's no denying the consistent quality of the imprint's output. This latest release features contributions from two label stalwarts; owner and A&R man Osmose, and New Yorker The Silver Rider. The latter kicks things off with "I Wanna Be", a rolling, soft touch head-nodder that fuses elements of a tactile soul cut with hypnotic, pitched-down house beats and filter sweeps. It's rather good, but nowhere near as inspired as Osmose's "Trust", which turns a classic Motor City soul cut into a smooth, toe-tapping Beatdown shuffler.
Review: New Zealand based not for profit label Rain & Shine are proud to present the first official reissue of Skye's highly sought after "Ain't No Need" since it's 1976 release. Remastered and reissued, it has long been a favourite of some of the most well respected DJs across the scene: from Floating Points and Sadar Bahar, to Mr Scruff and Theo Parrish. Strictly limited to 1000, never to be repressed - hand numbered, 7" picture sleeve with a dinked centre hole. Say no more!
Billy Squier - "The Big Beat" (extended Breaks Special edition) (2:54)
Le Pamplemousse - "Gimmie What You Got" (extended Breaks Special edition) (4:12)
Review: We've said this before, but there's something brilliantly simple about the Beats & Breaks label's "Extended Breaks" series of seven-inch re-edits. There's no superfluous fluff or needless rearrangement, just solid and matter-or-fact extensions of key drum breaks to both aid mixing and light up dancefloors. For proof, check the mysterious re-editors' take on Billy Squier's 1980 heavy rock workout "The Big Beat", which prioritizes the track's fat, bottom-heavy drums and the singer's impassioned vocal yelps while stripping out most of the gnarled guitar riffs. If you need a bit of a breather from the heavy dancefloor pressure, the crew's subtle revision of Le Pamplemousse's drowsy, synth-laden deep disco shuffler "Gimme What You Got" - a string-laden slice of sun-kissed sweetness - should do the trick.