Back catalogue: Hip Hop/R&B

Review: The Boom Bap Classics 7"s series was launched in 2022 and sticks to a sturdy format, always billing two double-A-listers of rap stardom from the 90s on reissued vinyl. The choices are always lesser-trodden, and buck expectational trends; even longtime hip-hop heads are unlikely to have heard of Akinyele and Sadat X, solo progeny of the Rochelle rap collective, Brand Nubian. On 'Loud Hangover', rough gangsta rap hewings prove assimilable with boom bap's tendency to show its sensitive side, with an icy yet mournful string hung and suspended a "y'knowwhati'msayin'?" laden farrago. 'Stages And Lights' leans further into emotive dynamism, with Derrick Murphy waxing real on public housing shortages, church pieties and Black culture.

Review: GAMM is one of those labels that is super consistent in everything they put out. It ranges in genre, era and mood, but always nails what it aims for. Originally from Canada and now based in the UK, rework specialist Jim Sharp is next to contribute to that fine canon and does so by showing his unique talent for elevating soul, funk and hip-hop with a masterful touch. This is his debut on the label and it sees him transform Anthony Hamilton's original into an irresistibly funky, soulful groove on the A-side. Meanwhile, the B-side delivers a deep, seamless blend of Donny Hathaway and Common and results in a stellar hip-hop and soul fusion.

Review: Smoove return with another finely tuned pair of edits, once again diving deep into the archives of Slave and reshaping their grooves with his signature touch. 'Blown' builds around heavy slabs of funk, expertly reconstructed and laced with Pharrell's unmistakable vocals, creating something that feels both timeless and refreshingly modern. The flip leans into a looser, more stripped-back groove, channelling a daisy-age hip-hop feel with crisp drums and effortless swing. It's another standout in the Wack series, reinforcing Smoove's knack for bridging eras while keeping the funk and hip-hop connection as vital as ever.

Review: This is one of the most ambitious 7"s we've ever come across - it is an EP with 11 'tracks' that all play out like a beat tape with interludes crafted by SNDTRAK. It has everything a good beat tape should have - dusty drums, ill samples and a rich sense of soul and storytelling. It moves at pace through the different moods and grounds with gorgeous pianos, sunny vocals, lush strings and mellifluous melodies all grabbing your attention at various points as it plays out. A wonderful and cultural trip through sound.

Review: All time hip-hop classic alert! This is an evergreen gem from the US crew that is an evergreen favourite with hip-hop lovers of all ages. Released in 1993 on an album of the same name, it's a standout example of the lyrical dexterity of A-Plus, Opio, Phesto and Tajai. Its mellow, soulful production complements the effortlessly smooth flows which are packed with sophisticated wordplay and inventive beats that set it apart from usual West Coast gangsta rap by offering a fresh, alternative sound. Decades later, '93 'Til Infinity' remains a defining piece of hip-hop history. .

Review: Before NWA, Wu-Tang, A Tribe Called Quest or Run DMC, there was James Bromley Spicer. Active during the late 1970s and early 80s, Spicer's best known hit was 'Money (Dollar Bill Y'all)', which fewer heads know is the referent source of Wu-Tang's latter-day touchstone record 'C.A.S.H.'. Both songs deal with the embittered centrality of money in the waking daily lives of just about everybody, sympathising with the grim reality of the situation whilst also insisting we get with it. Yet Spicer's original lacked the distinctively streetwise tang of 'Tang's later interpretation of the theme, going with a rather excitable and impish mood, which went with the melting-pot territory of hip-hop in the 80s. Spicer's flows are gnarly and rabid rather than affected and cool, revealing the roots of moneybagging hip-hop as fanatically on-beat. "It takes money to pay rent to eat, without which you're hungry and on the street..."

Review: Stretch Money delivers a characteristically smooth, polished vibe with 'Take Money 25'. It's a track that has it all - funky rhythms and soulful grooves and superb vocals. It also does what all good hip-hop does in that it manages to blend contemporary style with elements of the classic sound without being too much of an old-school homage. Catchy hooks and rhythmic flow abound on this low-key but feel-good anthem with lyrics that encourage you to stay focused and hustle hard. On the flip, 'It Takes A Moment To Make Money' is just as seductive and soul-fuelled.

Review: Smif-N-Wessun, the veteran Brooklyn rap duo, deliver a poignant reminder of their lyrical prowess - a collaboration with the late Sean Price. This track captures some of Price's final verses and proves to be a fitting tribute to his raw, uncompromising style. Over a hard-hitting beat crafted by Amazing Maze, Tek and Steele trade verses with the Ruckus Man, their flows as sharp and potent as ever. Price's presence is undeniable, his gruff voice and gritty lyrics cutting through the mix with a ferocity that will be sorely missed. DJ Danetic's cuts add another layer of dynamism, weaving seamlessly between the verses and enhancing the track's raw energy. The B-side instrumental offers a chance to appreciate the depth of Amazing Maze's production, a head-nodding blend of boom-bap drums and soulful samples. Danetic's cuts take centre stage here, showcasing his technical skills and adding a playful touch to the otherwise hard-hitting track. This release is a collection item for fans of classic hip-hop, a reminder of Smif-N-Wessun's everlasting legacy and a fitting tribute to the late, great Sean Price.

Review: Stylistic Murder Records is back with a special new release that features the legendary Smif-N-Wessun as well as the late Sean Price, whose final verses, captured during his last ever recording sessions, add real gravitas. The stone cold classic, vibe-drenched 'All Time Great' has drums and beats made by Amazing Maze, with extra cuts by DJ Danetic layered in next to dreamy pads and warm, lazy bass. This is golden-era boom bap with a heart-wrenching sense of soul, not least because of it being the last work of the great Sean Price.

Review: What true head doesn't know 'Flowers'? Produced infamously by Sunship (Ceri Evans), this keystone lintel of the 90s UK garage door frames Leanne Brown's vocal - originally recorded as part of a much slower r&b demo - against a rolling, skippy beat that's all bounce and shimmer. Lyrically, it's a lovesick anthem, filled with longing and the ache of distance, but the groove keeps it light on its feet, providing a crossover appeal with a perma-adhesive sticking power. Though Sweet Female Attitude didn't follow it with another major hit, 'Flowers' has never faded. Tend to your garden, and your blooms won't wilt.

Review: Sweetbox's 'Everything's Gonna Be Alright' ingeniously intertwines classical motifs with contemporary pop, creating a distinctive sonic experience. The title track stands out, seamlessly blending Johann Sebastian Bach's 'Air on the G String' with modern beats, resulting in a harmonious fusion that feels both timeless and fresh. Tina Harris's soulful vocals add depth, delivering uplifting lyrics that resonate with optimism. This innovative approach not only pays homage to classical compositions but also reimagines them within a pop context, offering listeners a refreshing take on familiar melodies.

Review: Doseone teams up with New York prodder Steel Tipped Dove for a sharp-edged, forward-charging record, playing talents of both back at full voltage. After not quite finishing another ShrapKnel record, Doseone felt a creative jolt in the other direction, after which knife-tip moment he would reach out to fellow artists Dove and Fatboi Sharif. Such redirections often cause the creative process to loosen, and here was no exception, with APNC going from a stagnant entanglement to blistering rollout. Within weeks of receiving the first beat pack in late 2023, dose had recorded five tracks; and by Spring, the end was in sight. Though not typically down for guest spots, Dose called on a tight circle of kindred spirits - Open Mike Eagle, M.Sayyid, Billy Woods, Fatboi Sharif, Myka 9, and Andrew Broder on turntables - whom all lend the project extra scratchy, verbal dimensionalities. The result is a taut, unsentimental record that marries Dove's vivid, shape-shifting production with Doseone's most surgically precise writing in years.

Review: Smoove props up his rep as a highly consistent big beat, funk and disco crossover producer with a freight-class shipment of 'Heavy Goods'. Somersaulting out from his Geordie soul group Smoove & Turrell - on top of his sought-after multi-track vinyl re-edits, as well as his remixing prowess across hip-hop, soul, and funk - this Jalapeno Records follow-up continues Smoove's recent favourite postal theme. Indeed, the postal system is what keeps us afloat (and cue the boundless irony of Royal Mail's latest sale to a Czech billionaire, the name of whose LLC is, apropos of online music retail, "EP Group"). Betty Black & The Family Fortune, Emma Noble, Kraak & Smaak, Izo FitzRoy, The High & Mighty, and Bahama Soul Club, all are all loaned Smoove's Pygmalion hand, honing a musing work of art from many a die-cut classic. Whirlwind D's 'Labels', Izo Fitzroy's 'Blind Faith' and TGH Collective's 'Higher Collective' are special versions too. Assuming you didn't already know the songs in question, you really wouldn't be able to tell the edit jobs from the originals. Mint condition!

Review: Antony Szmierek's debut album, Service Station at the End of the Universe, is an electrifying fusion of spoken word, indie pop and dancefloor energy. Following his rise from Manchester's spoken word scene, Szmierek gained widespread recognition in 2023 with hits like 'The Hitchhiker's Guide to the Fallacy', which earned him Artist of the Year honors from BBC 6 Music. This debut album cements his unique voice, blending sharp, insightful lyricism with infectious beats. The album is a journey through Szmierek's distinct style, where he deftly combines poignant moments with irresistibly catchy, upbeat tracks. Songs like 'The Great Pyramid of Stockport' explore the absurdity of modern life, showing him disoplaying both humor and melancholy. Szmierek's sharp observationsidrawn from the grit of British lifeiare woven seamlessly into the music, creating a sound that's as danceable as it is reflective. Szmierek proves himself an artist who balances introspection with celebration.