Take It To The Limit (Joaquin Joe Claussell extended version) (7:17)
Review: New York disco don Joe Claussell takes a scalpel to Norman Connors' 1980 uncut 'Take It To The Limit', turning a smooth Philly disco-soul burner into a swirling, peak-time epic. Originally voiced by Adaritha and buried on Connors' overlooked tenth LP for Arista, the track is flaymorphosed: pulled inside out, looped, stretched and whipped into chaos with Claussell's trademark floor-focused touch. If you've caught him lately at Body & Soul, you've likely heard this one spiralling into the rafters.
Review: Released in 1977 on Buddha Records, Norman Connors' heartfelt number 'Once I've Been There' is a lush piece of honest-to-goodness soul music that's long been held in high regard by diggers. It features a powerful vocal performance from Prince Phillip Mitchell, warm orchestral instrumentation, and a gentle groove arranged by Jerry Peters. Blending elements of classic r&b with jazz sophistication, the track has a timeless, cinematic feel. It's a standout in US drummer Connors' catalogue. Released in the same year, 'Captain Connors' is a loose and limber soul-jazz workout, with energetic horns and deinty keys riding over a sprawling arrangement. Well worth adding to the collection.
Review: When it comes to new funk, it doesn't get much raunchier or weird than this. Packed with rhythmic rodomontade, DJ Koco Shimokit and Southpaw Chop - both from Japan - bring an adroit right and sinister left hand respectively to the art of vinyl flipping and sampling, staying true to the rule of primary sourcing: "always sample straight from the original wax." Though it's a moot point as to whether sample mileage should be legitimated as a concept in the same sense as food mileage is, we can see and hear the appeal, as this loopy chef-d'œuvre hears its samples chopped and braised to the crispest degree, sating even the most dulled of tastebuds, and letting no indelicacy past the noise gates. Side B offers a special treat for heads too: the demo version of the pair's debut single, 'Funky Soul Brother'.
Lost Girl (Marc Hype & Jim Dunloop Late Night rework) (3:24)
Special Technique Of Love (Jim Dunloop Shaolin Soul edit) (3:08)
Review: Dusty Donuts return with another heavyweight 7" of hip-hop gold, this time journeying from Queensbridge to Staten Island. Side A delivers a bouncy, chopped-up rework featuring a Lost Girl once heard on a legendary QB mixtape and it is guaranteed to ignite any dancefloor. Flipping over, the vibe shifts to Shaolin with a raw and soulful reinterpretation of a classic that pays tasteful homage to Staten Island's finest. With tight edits and a deep love for golden-era hip-hop, this release hits hard on both sides and is another great example of the craftsmanship, nostalgia and party-starting energy the Dusty Donuts crew always deals in.
You Don't Want My Luvvv (Beatin' Hard version) (5:42)
Review: Brooklyn producer Gerard Young aka Ge-ology has always championed intricacy in his original house productions, preferring to survey and purpose-build from the ground up, not prefabricate. His Versions series through Hot Biscuit has been going since 2025, with a higher-than-usual number of deep cuts (usually six in total for each 12") all given names like "Extended FeelTheFire Mix", "From SideToSide", "CapricornTribe Mix" and "Raw Stripdown Version", evidencing a sense of literary licence and playing on otherwise boxed-in remix titling traditions. Janky sampled refuse of disco-soul and gospel replay over 'Keeep The Beat' like trash-humped radio components larked from wreckage - our fave track here by far.
Review: MURO Select presents yet another crucial 7" for Fourth Wave Record Factory for anyone whose ears prick up when it comes to Far Eastern soul, city pop and jazz cause this one has two of Hamada Kingo's urban mellow gems. He was a key figure in 80s city pop and AOR and his iconic track 'Dream Is Alive' from the Earthian image album makes its vinyl debut and is full of The flip side features 'Yokaze,' another standout urban mellow tune that captures the smooth, soulful vibe of his work and is perfect for those close listen bar sessions or the gentle moments early in the evening.
Review: For Fourth Wave Record Factory, MURO has put together a couple of new and exclusive 7" releases that feature two classic Japanese AOR tracks by artists who very much played a part in defining the sound. Firstly, Ginji Ito's smooth and soulful 'Heart and Soul,' originally from his tenth album, shines with mellow mid-tempo vibes and glossy vocals and melodies. On the flip side is 'Uwaki na Kare,' a beloved cover of a classic US disco track from Ritsuko Kazemi's third album that comes correct with a catchy, laid-back Saturday love groove. This release marks the first time these iconic songs have been pressed on 7".
Review: Born and raised in Chicago, Durty Truth Records founder Darryn Jones delivers a couple of corkers for North-East England re-edit imprint Hot Biscuit Recordings. A-side 'In The Bush' is a thrillingly heavyweight jam - an Afro-funk meets Afro-disco version of a track made famous by US disco and boogie outfits, which Jones has expertly extended and rearranged in all the right places. B-side 'In The Know', meanwhile, is a take on a more classic-sounding slab of Afro-disco that boasts a superb "walking bassline", extended electric piano solos, sultry strings and a fine male lead vocal.
Review: It would be fair to say that Rahaan's Chicago Club Culture series, which here reaches its second instalment, is something of a passion project, inspired as it is by - in his words - "the golden age of Chicago club culture". Our reading of that is the 1970s and 80s, with all of the tracks on show being versions of cuts big on Windy City dancefloors in that period. The double-pack is heavy on tried-and-tested treats, from the expansive, Clavinet-sporting disco rush of 'Do You Like It' and the delay-laden, percussion-heavy brilliance of 'Columbian Dance' (all chanted vocals, punk-funk sax sounds, heavy electronic bass and layered Latin beats), to the crispy and crunchy, Chic-influenced excellence of 'Jealous For No Reason' and the low-down disco hustle of closing cut 'Can't Shake Your Love'.
Review: No one's edits and disco bombs slap quite like Rahaan's. The US master of all things soulful and funky can tap right into your core with his work and this new EP on Hot Biscuit is the latest example of that. 'Get Up' opens with retro disco favours, funky guitars and lung-busting vocals that bring the heat. 'Zombies' sinks into a nice silky sound with sliding cymbals and hi hats and knotted bass, then 'How' slows it down a bit for a more playful and seductive disco sound with nice horns and squelchy bass. Three real heaters.
Review: Skeme Richards of New York pioneers Rock Steady Crew returns to the Redropped series with a tour-exclusive 7" packed with two raw-edged flips. For this release, he's unearthed a pair of cosmic disco and jazz-funk originals from his bottomless crates and retooled them with heavier low-end and tighter edits built for modern rigs. The result? Deep cuts reimagined for today's selectors, shaped by Skeme's seasoned touch as both a dancer and DJ. Ahead of a confidently slated Skeme Richards x Oonops tour across Germany in May 2025, 'Galaxy Amonst The Stars' is truly a riotous cosmic soiree, made unforgettable by its kazooing sax and brilliantly bright beat novae.
Review: Two popular tracks from the highly rated and MURO-curated compilation Diggin Victor: Deep Into The Vaults Of Japanese Fusion / AOR are now made available for the first time on their own standout 7". Originally released as a limited item at an anniversary event, these rare gems are magically escapist sounds that blend library music, jazz, soul and Balearic mindsets into a pair of tropical heaters. The Kumi Sasak A-side is a real melodic noodler with meandering bass and a whimsical, carefree spirit as it heads nowhere in particular in hypnotic fashion. Side-B has 'Kimono' by Tetsuo Sakurai, which is a more rhythmic sound with funky bass riffs and 80s broken beats and a lush vocal.
Review: Geordie one-man production line Smoove's Multitrack Reworks series consistently delivers the goods, with the popular funk, soul, breaks and disco DJ/producer dropping fine, Reflex style revisions of both classic cuts and lesser-celebrated gems. He begins volume ten by reworking Steely Dan's 'Peg', a cut beloved of hip-hop DJs thanks to its killer drum-break and use in De La Soul's 'Eye Know'. His version makes great use of the multi-track stems, teasing out the break and slowly building the instrumental elements before unleashing the vocals. It's a genuinely great rework, as you'd expect. Over on the flip, he gives 'Baby Be Mine', with its' crispy drums, glistening disco guitars and squelchy synth-bass, a similar treatment, before successfully chopping up a heavy, percussion-laden deep AOR soul number ('This Time').
Review: Dutch label Universo Positivo returns with label head Jospeh Salvador and house legend Orlando Voorn. Salvador has been active since the 1990s and has worked under various aliases and labels, while Voorn is known for connecting Detroit techno with European styles, and together they find a perfect sweet spot between deep and soulful house. The filter-funk energy of 'Slap My Funk' kicks off, then there's the boogie-fried and low slung house of 'Every Man Loves', jazzy melodies and big breaks of 'Break It Down' and strident, steamy disco-house stomper 'So Well.'
Review: Ralph White's early ventures into disco are finally gathered in one place with the first official anthology of his 1978 recordings at Sydney's Albert Studios. Better known at the time as a session player and producer in the city's studio scene, White was tapped by M7 to craft four disco pieces aimed at an emerging dance market. Over just two days in the studio and a small group of local players - including a young Tommy Emmanuel - he recorded four standout cuts, together which remain some of the most refined Oceanian disco ever put to tape. Though the original 12"s saw limited success domestically, M7's distribution push into markets like Canada, India and Argentina helped cultivate a quiet cult following. Now remastered and housed in a deluxe spot-UV sleeve with inserts featuring new liner notes and White's biography, this reissue shines overdue light on a forgotten chapter in Australian dance music.
Review: In celebration of 50 years in the performing arts, Idris Ackamoor presents Artistic Being for Record Store Day 2025-a powerful blend of jazz, spoken word and activism. Featuring the voices of acclaimed actor Danny Glover and stage legend Rhodessa Jones, this record captures highlights from the Underground Jazz Cabaret, which was performed during Black History Month 2024 at The Lab in San Francisco. Co-produced by Ackamoor's Cultural Odyssey, the release fuses poetic storytelling with evocative musical textures while reflecting on social justice, identity and resilience. Artistic Being is a profound statement from a visionary artist.
Review: Fusion five-piece Aldorande are no fustians when it comes to full-length LPs. These self-styled groove adventurers remain radically open to the sound, thanks to their stylistic touchstone, 70s funk, and its diachronic conduction of future styles. Recorded on tape in a top Parisian studio, their third record Trois brims with trifect textures, bold phrasing, and soaring choral waves. Mathieu Edouard's precise drumming is glued to the spot by Erwan Loeffel's plaited percussion, all the while Laurent Guillet's fingertips and Florian Pellissier's splayed hands make the best uses of Fender Rhodes, axe and Minimoog.
Review: The UK's Robin Lee is one of the members of much-loved disco gang Faze Action but also he's behind Andromeda Orchestra who return here with an album that offers a cosmic fusion of jazz-funk and disco. It's been put together with Moogs, clarinets, Rhodes and rich analogue textures that make for a mix of nostalgia and sonic richness that sinks you in deep. Blending nostalgia with innovation, Lee creates deep, immersive soundscapes. There are widescreen odysseys like 'Mythical', loved-up bunkers such as 'Thinking About Your Love' and a rare Nick The Record remix of 'Get Up & Dance' that overflows with cosmic melodies and lush, life-affirming strings.
Review: Blue Foundation returns with another lush and immersive album that deepens their signature blend of dream pop, shoegaze and ambient electronics. Crafted over three years by the much loved Danish duo Bo Rande and Tobias Wilner, Close to the Knife explores themes of melancholy and introspection through layered textures and haunting vocals from Wilner and Nina Larsen. Guest appearances from Scarlet Rae, Helena Gao, and Sonya Kitchell enrich its emotional depth, while contributions from Chinese experimental noise band Wang's Xie Yugang and drummer Federico Ughi add complexity to this shapeshifting soundtrack.
Review: The multi-talented Joe Armon-Jones is back in the game with his most ambitious and self-defined solo work yet. All The Quiet (Part II) is a colourful collision of jazz, funk, dub, hip-hop and soul that was entirely written, produced and mixed by the man himself. His work as part of Mercury Prize-winning Ezra Collective is what established Armon-Jones, but his evolution as a solo artist on his own label, Aquarii Records, has been just as essential. This follow-up to 2019's Turn To Clear View features collaborators like Greentea Peng, Yazmin Lacey, Hak Baker and Nubya Garcia and is a deeply personal sound that veers from expansive and cosmic to more intimate and tender.
Last Summer In Rio (feat Jean Paul 'Bluey' Maunick) (8:36)
Review: It has been a full half a century since legendary Brazilian outfit Azymuth made their debut and their new album, Marca Passo, reaffirms their place as legends of jazz-funk. It was recorded in Rio and produced by Daniel Maunick and is the group's first album since drummer Ivan "Mamao" Conti's passing, with bassist Alex Malheiros now the sole founding member. He's joined by Kiko Continentino and new drummer Renato Massa to continue Azymuth's tradition of blending samba soul, funk and cosmic jazz. Highlights include a tribute to Conti, 'Samba Pro Mamao,' and a refreshed take on 'Last Summer In Rio.' The album is a vital, heartfelt continuation of Azymuth's enduring legacy.
Last Summer In Rio (feat Jean Paul 'Bluey' Maunick) (8:36)
Review: Released 50 years after their self-titled debut, Azymuth's Marca Passo feels less like a comeback and more like a confident continuation, with the legendary Brazilian outfit carrying its past into the present with all the same vigour that marked their winding career. The formula remains intact: Brazilian jazz-funk, dreamy synths, and loose but locked-in rhythm. There's something moving in how naturally the trio i with Alex Malheiros still at the helm i navigates loss, memory and legacy without turning sentimental. 'Samba Pro Mamao' is a tender nod to Ivan Conti, but the record never lingers in nostalgia. Daniel Maunick's production keeps things warm and fluid, and there's joy in hearing Incognito's Bluey drop in on the rework of Last Summer in Rio. Not flashy or forced. Just a deep, grooving reminder that Azymuth's music still flows from somewhere timeless.
Review: Bacao Rhythm & Steel Band, the enigmatic steel pan group from Hamburg, made waves in 2024 when their cover of 50 Cent's 'PIMP' was featured in the Oscar-winner film Anatomy Of A Fall. The track played a key role in the movie's success and led to the first-ever steel pans in the orchestra pit at the Academy Awards, further boosting the band's saliency. And yet despite global recognition, 'PIMP' is just a glimpse of their catalogue, which is already rather extensive. Since signing with Big Crown in 2014, Bacao've released four albums and numerous singles, and Big Crown Vaults Vol. 4 flaunts many of these dishings-out, with covers of Bob James' 'Nautilus', Khruangbin's 'Maria Tambien', and the uptempo original 'Kaiso Noir'. It serves as a tantalizing bud-whetter, too, before their oncoming fifth studio album.
La Condition Masculine (English extended version) (4:32)
Quand Le Soleil Est La (alternate Drum Machine version) (3:02)
Ganvie (3:55)
Kikadi Gromo (3:48)
Immigration Amoureuse (4:10)
Where Are You? I Love You (4:14)
Dash, Baksheesh & Matabish (3:40)
Je Vous Aime Zaime Zaime (alternate Drum Machine version) (3:00)
Agatha (alternate version) (3:53)
L' Amour Malade Petit Francais (3:09)
Ndolo (3:04)
Chant D'Amour Pygmee (3:47)
Funky Maringa (4:13)
Crocodile - Crocodile - Crocodile (4:03)
L'Ile De Djerba (2:31)
Kitibanga (4:24)
Asma (alternative Tape version) (3:42)
Savannah Georgia (alternative version) (3:08)
Review: Tresor Magnetique is a treasure trove of unreleased tracks by the late great Francis Bebey-an international artist whose visionary work defies time and continues to add standout energy to eclectic DJ sets everywhere. These recordings have been digitised from fragile tapes found by his son and restored at Abbey Road Studios and blend pygmy flutes, drum machines, folk guitars and electronic textures in daring, genre-defying ways. Rather than a retrospective, this feels like an ongoing conversation that keeps Beby's work urgent and vital and prove Bebey wasn't just ahead of his time, he transcended it, from the lo-fi drum track magnificent of 'Quand Le Soleil Est La' to the raw, textured tropical funk of 'Where Are You? I Love You.'
Review: Funky Kromong Vol. 2 builds on the success of its predecessor with another bold and bright selection of tracks by legendary Indonesian artist Benyamin Suaeb for Lamunai Records. This volume highlights Suaeb's genius for fusing traditional Betawi music with infectious funk grooves and witty satire. Tracks like 'Kompor Meleduk', 'Cong-Cong Balicong', and 'Koboi Ngungsi' capture his signature humour and cultural insight while offering fresh energy for new generations. The seamless blend of traditional and modern instruments results in a timeless soundscape that honours Indonesia's musical heritage. Vol. 2 is both a nostalgic tribute and a bold, joyful celebration of innovation.
Review: The Blackbyrds, Washington Direct-Current pioneers of jazz-funk from the early 70s, overloaded the jazz circuit with City Life, a hair-frying album renowned for its flowing, fulminous rhythms. Core tracks 'Happy Music' and 'Rock Creek Park' set the stage for a long sampling legacy: the latter was famously sampled by both De La Soul and Nas, on 'Bitties In The BK Lounge' and 'Fried Chicken' respectively. This reissue, cut from the original tapes (AAA) by Kevin Gray and pressed on 180-gram vinyl at RTI, reupholsters the Blackbyrds' debut worm-catching funk pecks for the world's ears to witness once more.
Review: Don Blackman's 1982 self-titled debut is an underrated jazz-funk gem that fuses soul, funk and jazz-fusion into a sophisticated groove-laden journey that was produced by Dave Grusin and Larry Rosen for GRP Records. The album showcases Blackman's keyboard wizardry and soulful vocals across standout tracks like 'Heart's Desire' and 'Holding You Loving You.' With playful cuts like 'Yabba Dabba Doo,' it balances polish with joyful experimentation and though not a commercial hit, its influence has quietly grown and ir has been sampled by hip-hop greats and revered by collectors alike. This reissue reaffirms its status as a cult classic and a crucial slice of 80s funk.
Review: Hamilton Bohannon's debut Stop & Go, first dropped back in 1973 and is a raw and essential slice of early 70s funk. Though maybe more known for his later disco hits, here Bohannon delivers something earthier-looser grooves, soulful vocals and inventive arrangements that simmer rather than explode. This album offers a deeper, more nuanced sound compared to his polished, high-energy disco work and highlights include the blissed-out 'Singing a Song for My Mother,' the deep funk of 'Happiness,' and the widely sampled 'Save Their Souls.' A crate-digger favourite and funk connoisseur's gem, Stop & Go is a percussive, spiritual, and downright nasty record that holds up start to finish.
Review: Calibro 35 recalibrate with Exploration, a fresh dive into cinematic jazz-funk marking their first full-length LP on the independent since 2023's Nouvelle Aventures, continuing the path set by last year's 'Jazzploitation' EP. Yarning vintage soundtrack stylings with contemporary groove, the Milan group balance reverent covers - like Roy Ayers' 'Coffy' and Bob James' 'Nautilus' with bold, golden originals. Lead tune 'Reptile Strut', not to mention 'The Twang' and 'Pied De Poule', twine round taut rhythms, lush horn lines, and evocative cinematic textures. The band tips its hat to touchstones like Herbie Hancock, Lalo Schifrin, and Italian great Piero Umiliani, whose 'Discomania' appears on the accompanying limited clear blue 7" single, backed with 'Jazz Carnival'.
Review: Candeleros is a six-member, Colombia- and Venezuela-rooted collective based in Madrid that fuse Cumbia, merengue, dub and an array of Afro-Caribbean rhythms, creating a psychedelic, postmodern celebration of Latin sound. Their music blends Andean echoes, cinematic textures and hypnotic percussion into what feels like a ritualistic dance experience and has seen them collaborating with artists like Dodosound and Carlos Talez. They always reject the usual genre boundaries while focusing on cultural activism and the power of collective expression and have performed across Europe. As this album shows, their sound is passionate, borderless and proof that Cumbia has truly rooted itself in Europe.
Review: The Chicago Gangsters, a family-led group originally from Akron, Ohio, span multiple genres from gritty funk to smooth soul. Despite that name, their work largely embodied a mixture of raw disco grooves and emotive ballads. Their 1976 sophomore release, which includes a memorable rendition of Eugene McDaniel's 'Feel Like Making Love' and the title track 'Gangster Love,' stands as a key part of their legacy. This track, notably their first 12" single, hints at their influence in shaping the disco funk sound of the era. While they recorded under the Gold Plate label, they later transitioned to RCA and Heat, producing tracks that resonated across the decades, most famously sampled in LL Cool J's 'Mama Said Knock You Out.' Their energetic performances and varied discography left a lasting imprint on both the funk and early hip-hop scenes.
Review: Funk and soul album don't come much better than this. Chocolate Milk's Action Speaks Louder Than Words is a 1975 classic and an essential piece of New Orleans music history. Discovered and produced by the legendary Allen Toussaint, the band's debut blends tight grooves, sharp horn lines and socially conscious lyrics with the rich musical heritage of their hometown. The standout title track is a rare groove classic still sampled and revered decades later. With polished arrangements and undeniable rhythm, this album firmly established Chocolate Milk as a force in 70s funk and remains a superb boogie-infused release that is as vital and infectious today as ever.
Review: Paper Can't Wrap Fire is the third album from Melbourne/Naarm multi-instrumentalist Don Glori, and it is a rich mix of jazz, soul, funk and R&B, but also marks a bold evolution in the artist's own songwriting. The title is based on a Chinese proverb about truth and underpins reflective tracks like the soulful 'Brown Eyes,' satirical 'Disaster,' and introspective 'Flicker' Recorded in Naarm with friends and past bandmates, these sparkling sounds are brimful of the sort of life-affirming harmonies and dynamic musical interplay that makes you smile broadly, while the heartfelt lyrics make this town mark. Influences from the likes Azymuth, SAULT, and Jordan Rakei are all clear, but Don Glori crafts his own take on those sounds that speaks to both emotion and intellect.
Review: The third album from Melbourne/Naarm multi-instrumentalist Don Glori merges jazz, soul, funk and r&b and marks a confident leap forward in his songwriting journey. Anchored by a Chinese proverb about truth, Paper Can't Wrap Fire explores themes of honesty and introspection across standout tracks like the silky 'Brown Eyes,' the sharp-witted 'Disaster' and the meditative 'Flicker.' It was recorded with close friends and longtime collaborators and radiates warmth, spontaneity and rich musical chemistry. While nodding to influences like Azymuth, SAULT, and Jordan Rakei, Don Glori delivers a sound entirely his own and it is wonderfully intimate.
Review: Quem E Quem is widely regarded as Joao Donato's finest work and a standout in the canon of Brazilian popular music, aka MPB. Blending American soul and jazz-funk influences with the gentle sway of samba and bossa nova, the album radiates warmth and subtle sophistication and Donato's tender vocals are framed by breezy flute passages, laid-back piano lines and guitar solos reminiscent of Pat Metheny. The result is a beautifully balanced collection of upbeat tracks and introspective moments with each evoking the tranquil pleasure of a sunset in a tropical paradise. Timeless and effortlessly charming, it remains a high point in Donato's enduring career.
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