Review: When it comes to break-driven dancefloor reworks and cheeky re-edits, Canada-based cut-and-paste merchant Jorun Bombay has a very impressive track record. Here he returns to Scarborough stable Soundweight with two more chunks of break-heavy goodness. On the A-side you'll find "Edits Theme", a tasty fusion of extended James Brown style drum-breaks, meandering sax solos and sumptuous, orchestra-enhanced orchestration. Over on Side B, "Editing Gears" sees Bombay serve up a bustling re-work of Johnny Hammond classic "Shifting Gears" rich in fluid electric piano solos, extended drum breaks, flanged funk guitars and delay-laden vocal snippets.
Review: According to the South American music specialists at Matasuna Records, Ralph Weeks' 1971 single "Let Me Do My Thing" - recorded alongside backing Los Dinamicos Exciters - is arguably the most sought-after Panamanian soul record around. As this reissue proves, Weeks' original version is rubbery, heavy and rousing, with the singer's rasping lead vocal soaring above a weighty backing track that sounds like a breezier take on the New York boogaloo sound. On the flip, Voodoocuts tools it up for modern dancefloors, underpinning his club-ready edit with punchy new drums that give the cut more of a breakbeat style swing.
Review: Dr Rubberfunk (AKA long-serving DJ/producer Simon Ward) may have reached the start of middle age, but he's showing no signs of succumbing to a typical "midlife crisis". In fact, his recent releases have been among the strongest of his career to date. The third part of his ongoing "My Life At 45" series is another belter, with opener "A Matter of Time" - featuring talented, fast-rising vocalist Izo FitzRoy - being a particularly strong exercise in revivalist 1960s soul. Elsewhere across the EP, "Slim's Mood" is a fine chunk of hazy rhythm and blues featuring some awesome, Peter Green style jazz guitar solos, while closing cut "Moody Drums" is a chunky beats track tailor-made for funk and hip-hop DJs who like to get busy in the mix.
Review: Funk fans hold tight: Food City have licensed a reissue of a holy grain tune from 1969 that would usually cost you a month's rent to purchase. The People's Choice were a short-lived group from Grand Rapids, Michigan who only put out a handful of tunes but still managed to leave their mark. "Destruction" is a raw jam with a consistent funky groove as a baseline weaves its way in and out. Big and expressive, it's bound to get any dancefloor going. Flip side "Off-spring" that's led by some florrid flute playing is just as effective.
Kool & The Gang, Gene Redd - "Give It Up" (DJ Soopasoul edit) (4:04)
Aretha Franklin - "Rock Steady" (DJ Soopasoul edit) (3:30)
Review: Fast-fingered mash-up merchant and lauded scalpel fiend DJ Soopasoul can usually be relied upon to bring the goods. In fact, we've yet to hear an edition of his "Soopastole Edits" series that doesn't include the kind of sure-fire, party-starting fare guaranteed to get any DJ out of a dancefloor hole of their own making. Should you still doubt the validity of this statement, we suggest you check this timely reissue of the series' second volume, which has been going for serious bucks online. On side A you'll find a suitably punchy, funky and chunky revision of Kool & The Gang's Gene Redd produced 1970 jam "Give It Up" - the original source of one of hip-hops most familiar breakbeats - with a tight, club-ready revision of Aretha Franklin classic "Rock Steady" on the flip.
Review: New funk delivered the old way; Original Gravity follow up the 2017 hype of Floyd James & The GTs debut "The Switchback" with this powerful four-track EP. Charged with a strong northern soul feel both "Keep Lifting Me Higher" and "The Sweetest Thing" lead with the beat as Floyd and his super-tight band bounce back and forth. Flip for more energetic mischief as "The Wig" goes turbo blues while "Sweet Sweet Soul" closes on an epic, riffy sing-along. The title speaks for itself.
Review: Having previously toured with bands including Orgone and Monophonics, Venice Beach vocalist Terin Moswen Ector is trying his hand as a solo artist. Transistor Sound has snapped up his forthcoming debut album, and here offer up a tasty two-track teaser. "Rise" is utterly gorgeous and sees Moswen's inspired, Bob Marley influenced vocal rising above a brilliant bed of skittish, Afro-Cuban jazz influenced grooves, clipped guitars, fuzzy Hammond organ motifs and rich horns. He moves further towards Fela Kuti style Afrobeat territory on heavyweight flipside "Tobacco & Sage", a killer instrumental club-rocker and a half.
Review: Mukatsuku struck gold again on this latest first time on a "45" issue. It boasts a couple of lesser-known jazz-funk fusion jams which originally featured on Argentine musician Jorge Navarro's 1977 album "Navarro Con Polenta", an LP that has never been issued outside of South America. A-side "Funk Yourself" is a bustling, high-octane jazz-funk Hammond licks and spiralling horns jumping above a Blaxploitation style backing track. "Repartamos El Funky" is a more laid back but no less musically intricate affair, with a variety of high-grade electric piano and guitar solos riding seemingly endless jazz style drum solos and rubbery bass. Juno hand-numbered copies come in exclusive sleeves and this 45 not be repressed. DJ Support comes from Ge-ology, Dom Servini, DJ Koco (Japan), DJ Food,The Allergies,45LIVE.net ,Dr Bob Jones,Rob Luis, Smoov and more
Review: Matasuna Records' latest release offers up two sought-after tracks from Bossa 70, a relatively short-lived Peruvian band whose ultra-limited 1970 releases (a total of 400 copies were pressed of their sole single and eponymous debut album) brilliantly joined the dots between jazz, bossa, soul and funk. Listening to these cuts for the first time, it's easy to see why Matasuna has gone to the trouble of licensing them: A-side "Si Voce Pensa" is an inspired Peruvian funk cover of a 1968 Roberto Carlos track rich in bustling breakbeats, punchy horns and confident female vocals. Just as potent is the band's flipside cover of Baden Powell's "Berimbau", which puts a funk-soul twist on a certified bossa-nova classic.
Barely Breaking Even (Louie Vega Boogie mix - radio edit) (3:33)
Barely Breaking Even (Louie Vega Boogie instrumental mix - radio edit) (3:31)
Review: Here's something to set the pulse racing: an all-star re-recording of Universal Robot Band's boogie classic "Barely Breaking Even" that brings together Masters At Work man Louie Vega, original vocalist and arranger Leroy Burgess, iconic disco producer Patrick Adams and an impressive backing band of hired musicians including Michael Kelley (better known in electronic music circles as Metro Area collaborator Kelley Polar). While there are plenty of audible nods towards the early '80s original - extensive use of cowbells, that oh-so familiar synth sound - the re-recording is altogether warmer, fuller and a more contemporary sounding affair rich in sweeping orchestration and tactile synth bass. Both the edited vocal and instrumental versions are superb.
Otis Redding - "(Your Love Lifted Me ) Higher & Higher" (Soul Flip edit) (4:03)
Gerri Granger - "I Go To Pieces" (Soul Flip edit) (3:33)
Review: Sometimes you just can't beat the golden oldies and so it is that Soul Flip turns his attention to a couple of raw soul bangers. Up first is Otis Redding's classic "(Your Love Lifted Me ) Higher & Higher" with a rousing bass section which drives along the original version.The hits hit hard, the vocal is given room to breathe and the swing in the drums is infectious. The flipside houses a soaring tweak of Gerri Granger's "I Go To Pieces", with its clattering keys and rolling soul all quickly finding a way into your affections.
The Truckin' Company - "Got The Feeling" (Massimo Berardi edit) (5:41)
Izk Eyes - "Ton Of Groove" (The Funk District re-edit) (6:30)
Review: Fledgling label Daje Funk is sure to turn heads with their second sizzling offering of edits, with Rome's Massimo Berardi and Mexico's The Funk District both stepping up to the buttons. Truckin' Company's "Got The Feeling" is a loopy and rolling funk gem that keeps the energy up as strings soar to the skies and a squelchy bassline keeps you locked. The Funk District takes care of the flip with a top tweak of Izk Eyes's "Ton Of Groove", which is an appropriate title: big brass sections to shake your booty, a buttery male vocal and busy guitar licks all drive it forward through big breaks and killer drops.
Review: Now here's a traffic jam we're all happy to be in... Aussie funk super troupe The Traffic (comprising members of The Bamboos, Cooking On 3 Burners, Pickpocket and Punkawallahs) come correct with this follow up to their debut last year. Come for the awesome party-melting, wall-shaking Daft Punk cover on the A, stay for the groove-based soul-laced broken beat jam "Chasin' Feels". Both poles in their clearly broad and skilful musical scope, we can't wait to hear what they've got coming next.
Review: Australia's Choi Records drop their second release in the shape of two powerful cover versions either side of a devilish little 7" by The Traffic. The A-side, "White Lines", is a funky, horn-led reinterpretation of Grandmaster Flash's original tune : an instrumental brass ode to the original beast. On the flip, there's "Smack My Pitch Up", another mighty instrumental rework of The Prodigy classic, complete with a string of trumpets that imitate the original's inimitable vocal loop.
Review: With the state of world politics at the moment, we could all do with the occasional pick me up. Enter The Pharaohs who link with Chicago natives Spencer Jackson Family for "Bring Back Peace To The World", which gets a timely reissue on Ubiquity. It's a spiritual bit of jazz funk with sax lines to get you grooving, deep soul vocals that stir you from the inside out and gospel overtones that get anyone ready to rejoice. Each part is as essential as the other and despite adding up to just over five minutes in total, both cuts will no doubt enhance your mood.
Review: Ubiquity is back with another of its two part 7"s, this time from contemporary soul group The Soul Surfers. Experts at covering the greats, they recently turned their hand to a classic from The JB's, while this time out it is Kool & The Gang's classic "Summer Madness" that gets a deep-cut and sexy make over. Part 1 is a sensuous slow burner with downtempo drums and heavenly guitar playing, while part 2 has harder drum grooves and dreamy , psyched-out guitars. It's another ageless rework that you need in your life.
Review: Since launching last year, Lil Static has offered up new, lightly altered editions of classic tracks from Jeru the Damaja, Kraftwerk, Run-DMC, Nas and the Notorious B.I.G. Here they continue to serve up vital beats for break-digging DJs via classic cuts from Eric B. & Rakim and Mountain. The A side sports an edited version of 1986 cut "Eric B. Is President", a synth-bass propelled NYC hip-hop gem rich in unmistakable rap vocals and tight scratching. Over on side B there's a chance to savour Mountain's late '60s rock cut that provided the Eric B. & Rakim track (and so many others since) with its distinctive drum break, "Long Red". This edited version gives more prominence to the breaks, making it an ideal mixing tool for hip-hop DJs.
Review: Stefano Tirone has been a stalwart of the Italian scene since making his debut on legendary Italian house label Calypso Records way back in 1992. Since then, his productions have become increasingly more jazz and soul focused, with a sizeable side order of groovy downtempo beats. His latest seven-inch single begins with "Try My Love", a hazy chunk of head-nodding jazz-funk/soul fusion rich in languid synthesizer solos, lazy grooves, hazy horns and soulful vocals. It's really good all told, though we'd argue that flipside "Odoya" - a wiggling chunk of Afro-tinged mid-tempo funk - is even better. Either way, it's another rock solid release from the effervescent Tirone.
Review: American funk band Breakwater is best known for their hit "Release The Beast," which gets a reissue treatment by Be With. Even if you don't know the name, you'll recognise the track's withering lead riff because it was sampled by Daft Punk for their iconic "Robot Rock". It's mad to think such a futuristic sound was created somewhere in Philly in 1979, but it was. The flip side houses the smooth and buttery "Let Love In", a feel good, deep cut funk gem with vocal harmonies, bulbous bass and hip swinging claps.
Review: It seems so obvious you wonder why it doesn't happen more often: Stefano Torossi's "Feelings" album from 2000 was made up of track titles that convey certain situations and emotions that he masterfully reflects in the music. This new double 7" includes the highlights, such as the racing jazz and trumpet stabs of "Running Fast," the sustained and uneasy chords of "Fearing Much" and "Feeling Tense," which is actually a pretty lush bit of smooth jazz. "Walking In The Dark" rounds off the double pack with playful guitars and luxuriant synths that are pure soundtrack goodness. Ace.
Karate Boogaloo - "Do You Even Know What A Passport Is" (4:35)
Review: The second salvo from Aussie imprint College Of Knowledge offers up two sizzling sides of revivalist instrumental soul and funk from bands who've yet to make their mark outside of the Southern hemisphere. Surprise Chef, who helped launched the label earlier in year, handle side A, offering up a loose, percussive and hugely attractive number rich in mazy organ lines, fuzzy bass and classic funk guitar licks. Karate Boogaloo take a slightly more relaxed approach on the flip, layering fluid guitar solos and sustained, elongated Hammond organ chords over a bluesy soul groove.
Review: Founded in 1967 by singer/producer Carlos Oliva and other Cuban immigrants to the United States, Los Sobrinos del Juez were briefly one of the leading protagonists of the turn-of-the-'70s "Miami Sound" - a humid and intoxicating fusion of blues, rock, funk and dancefloor-focused Latin sounds. Their 1974 debut single "Harina De Maiz" - here reissued for the first time since - is a perfect example of that short lived style, offering up a mixture of wah-wah-guitar and psychedelic organ-powered Latin funk grooves and righteous Cuban vocals. On this edition it comes backed by the previously unheard "Corned Beef Hash", a swinging Latin-jazz number rich in vibraphone solos, jaunty piano riffs and plenty of hip-wiggling percussion.
Review: Way back in 1970, People In The News released their sole single on Knap Town, a tiny label based in Indiana. Original copies of that funk "45" are notoriously hard to find, thanks in no small part to the quality of both cuts. Step forward Athens Of The North boss Euan Fryer, who has secured the rights to reissue the single for the first time. A-side "Color Me" is the real bomb: a down-low chunk of mid-tempo funk with politically charged group vocals, rasping guitar licks and hip-hop style drum breaks. Over on side B, "Misty Shade Of Pink" is the kind of rock solid instrumental funk workout you'd expect to hear from the Meters.
Review: Two all time funk/soul classics from the Skull Snaps - a funk group active between 1963 and 1973. They were known as The Diplomats up until 1970 and released a number of singles with moderate success. Renamed Skull Snaps, they released an eponymous album on the small GSF label in 1973, before disappearing into obscurity. These selections are from the said album. New 7" reissue label Dynamite Cuts is releasing these two gems as a limited edition 500 only pressing, showcasing the two best tracks on the LP. Both have been heavily sampled in many hip-hop and club classics by Eric B. & Rakim, Digable Planets, DJ Shadow, The Prodigy and Panjabi MC to name but a few.
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.