Am I The Same Girl (feat Momoko Suzuki & Reiko Oda From Cosa Nostra) (4:10)
Soulful Strut (Organ mix) (4:11)
Review: 45trio share their first release for Bloom Musi, this time around covering the stone-cold classic 'Am I The Same Girl', co-written by Eugene Record, of Chi-Lites fame, with Sonny Sanders, for singer Barbara Acklin. In '92, Swing Out Sister covered the album, but this latest rendition hears 45trio's Momoko Suzuki and Reiko Oda lend it a sweeter style by comparison. This dainty, vivid young soul morsel is a fine-tuned fine tune, one you'll undoubtedly want to continue humming along to long after its central, unmistakable hook - transposed up at least two octaves here - has played out. The B-side includes a special instrumental version, no less, released under the name of Young-Holt Unlimited - this one brings the hook line to an organ part, demonstrating the written song's potent and versatile instrumental repertoire.
Review: We're big fans of these educational 7"s that often crop up, with a legendary hip hop jam on one side and the source of some its samples appearing on the flip. This time out we get A Tribe Called Quest's deep cut 'Sucka N***a' - which is taken from their legendary Midnight Marauders album - with its buttery rhymes and funky bass buried deep within. Jack Wilkins's 'Red Clay' on the flip isn't that much of a deviation. Though it's slower and free from the rhymes, it is a brilliantly effective and emotive cut. More like this please.
Review: Neil Anderson's Original Gravity loves to look back and revive forgotten classics and that is what it does again here with a quick reissue of something it dropped back in March. This time out it is two more massive slices of tasty Latin funk getting served up. The first is Abram & Nestor's 'Four Minutes Of Funk' which is indeed four minutes of funk that will unite dancefloors from here to eternity with its big organ magic. Nestor Alvarez' 'El Trombonista' is as you might guess denied by its big trombone and also boasts some great horn work. Do not sleep.
Ivano Fossati - "Night Of The Wolf (Tema Del Lupo)" (4:00)
Review: Measured Mile records puts two classy soul tracks onto the same 7". Originally released in 1974, Act 1 - 'It's The Same Old Story' is often looked over classic of the era. Act 1 hailed from Detroit and featured Raeford Gerald, Roger Terry, Reggie Ross and George Barker. The band had two minor hits but often people recall 'It's The Same Old Story' as their favorite of their only full album. Ivano Fossati's 'Night Of The Wolf' is found on the B-side. A jam song that verges slightly into Latin music, asks for quite a sum of money for its original copy. Both tracks add up to a real gem of a 7".
Review: 'Salty Road Dogs Victory Anthem' by Alabaster DePlume, composed live during a Vienna soundcheck and later recorded in London, emerges as a brilliant show to the resilience and creativity of the group. This track was birthed amidst the intense schedule of a demanding tour following the success of DePlume's album Gold. The piece opens with a robust, swirling saxophone, leading into a triumphant four-minute crescendo. DePlume is joined by a dynamic ensemble, featuring Rozi Plain on bass, Momoko Gill on drums, and Conrad Singh on guitar. Together, they craft a rousing homage to the sheer act of living, celebrating the victory of existence. This anthem resonates with a profound message of self-permission and triumph, regardless of external recognition. The music, much like his sentiment, is bold and unapologetic, encouraging listeners to embrace their victories, no matter how small.
Review: Alessandro Alessandroni is a library music legend who set the blueprint for the genre early on and then managed to get even more famous because of providing the iconic whistle on famous spaghetti western 'A Fistful of Dollars'. The influential composer and musician had a big say in the world of soundtracks during the 60s and 70sFour Flies have often released his work or covers of it. The tunes on this 7" are taken from an obscure 1975 Italian film by Elio Bartolini. They walk the thin line between disco and funk and jazz-funk with big horn and rhythm sections. Both might have been lost forever if it weren't for the fact that this label put them on the now modern classic and hard to find compilations Esterno Notte and Esterno Giorno.
Review: Bernard "Pretty" Purdie and his Playboys were an iconic funk group of the late 70s who had big hits with the likes of Gil Scott Heron on his seminal 'The Revolution Will Not Be Televised' single. A year later on the same label, Flying Dutchman, they served up the 'Heavy Soul Slinger' single which gets reissued here. It's driven by big drum breaks and funky hits, with plenty of lush chords and rolling basslines all taking you on a high class and sophisticated trip. On the a-side is Harold Alexander 's 'Mama Soul' from the same era, but with a much more experimental sound rooted in wordless ad libs and frantic flutes.
Review: Fans of the Atlanta and Birmingham soul sound of the 70s take note - this one is for you. 'Paper Man' by Sam Dees and Alpaca Phase III comes from that golden time and has only just been earthed by someone digging in the vault of Moonsong and Clintone Recordings. Sam Dees worked with Alpaca Phase III in 1974 on some music for Atlantic and then this ballad a little later. Dees is the vocalist on 'False Alarms' and anyone who heard his Second To None CD in 1995 will know it. These are two golden soul tunes that will swoon their way into your affections.
Review: Original Gravity's very own identity-invention Nestor Alvarez returns with yet another two new and hot Latin funk productions. 'Plata O Plomo' takes its namesake from an old Spanish adage, literally translating to English to mean "silver or lead", implying that the recipient of the phrase must either accept a bribe or lose their life. In keeping with this heavy-handed theme, the track is punchy and surface-tense as a bullet yet to exit the barrel. Meanwhile, 'Reality For Nuttin' gets at an equally nihilistic and existential theme, all while finding joy in the conundrum of life with huge rhythm guitars and pop-out pianos and brasses.
Review: Nestor Alvarez's Midnight in Havana on Original Gravity delivers an electrifying Afro-Cuban instrumental jam that transports listeners to the vibrant streets of Havana. With a mesmerising flute lead and dynamic jam sessions, the track exudes a captivating energy that feels like a theme song for the city's bustling nightlife. The infusion of Cuban soul adds depth and authenticity to the music, immersing listeners in its rich cultural heritage. On the B-side, Alvarez offers a creative cover version of the Happy Mondays' 'Kinky Afro,' reimagined with a Cuban twist. The fusion of Afro-Cuban rhythms and the iconic melody of the original song results in a fresh and exciting interpretation that showcases Alvarez's versatility as a musician. Fans of Latin and Cuban dance music are sure to eat this up.
Review: The Mighty Eye label has been mighty fine in its work so far and this 16th outing is another doozy for funk lovers. The Ancient Cosmonauts are at the helm and that's a perfect name for a band that blends classic funk with cosmic moods. 'Free As I Wanna Be' is conversational and instrumental brilliance with sombre lead horns and gentle live drums sinking you into a mellow mood. 'Intergalactical Travel' takes flight on more astral lines and has a little more bite in the drums but this is still a warm, heartfelt sound.
Review: There's not a lot of information out there about Arcade of Serpe, so let's skip the back story and cut to the chase. If that's really an appropriate turn of phrase here. Nothing about Cave Adventure feels rushed. Nothing. In fact, it's quite the opposite, opening on dub-wise bass and playful organs, the atmosphere - somewhere between lackadaisical, come down, BBQ, and psychedelic - subtly rises, although not to a crescendo as much as a delicate fade out after a few minutes strutting to the funk-laden groove. Flip it to find more explorations in the sonic ether, with 'Unicorn Rider' smoothly stepping out into a surreal track that uses space and emptiness to accentuate the noises that are there, which mirror, if not directly reflect, the opening title tune. It's quiet, but you won't forget it in a hurry.
Review: Astral Quartet was a group that changed their name and evolved into Centre El Muusa. They never played live nut managed to record just two tunes back in 2018. Now, five years later, they finally get to see the light of day. They could be 50 years old such is the quality of the musicianship - fusions of jazz and funk that brim with character. The band is made up of Monika Erdman, Rauno Vaher, Volodja Brodsky and Misha Panfilov who mix up cosmic Wurlitzer sounds, languorous synths and fresh drums, turning it into something laidback and psyched on the b-side and more funky and up-beat on the a-side.
Review: Heavy Jazz returns with Ellis Island, their latest instrumental offering following the success of 'Indian Rope Man'. This new release highlights Brian Auger's signature jazz prowess, delivering another intricate and powerful workout. The flip side honours the late Zoot Money with the first-ever 7" release of 'George Bruno Money'. This limited edition comes in a carefully designed sleeve featuring foldout flaps and a cutaway rear. It's an essential piece for jazz lovers and collectors alike, brimming with soulful rhythms and nostalgic nods to jazz legends.
Review: Hawaiian jazz-funk "covers band" Aura hear two of their earliest and most powerful cuts from their self-titled 1979 LP reissued on 7". The attitudinal 'Let Me Say Dis About Dat' puts forth a crowd-shouldering sense of sass, its bruxist guitar and highly sampleable drums setting a worthy gold standard for funk music of the era. Hailing from Waikiki, Aura's membership totalled over ten players (!) at the height of their powers and this ensemble makeup was likely the secret of the potency of their horn section, known among their barfly fans as "loud, rich and tight". Though they played mostly covers in their time, both the A and B's 'No Beginning No End' are Aura originals, more than proving this band's mettle on the creative stage, not to mention their appropriation for DJ play.
Review: With both tracks now coming out for the first time on 7" vinyl, the 'Liquid Love' and 'What's The T?' 7" single is a must get for all Roy Ayers fans and serious music collectors, not least as 2023 witnesses Roy's final ever tour of live dates. This release is a fitting tribute to the career of one of the most influential musicians in global Black music history and each track represents his virtuosity as a vibesman and his versatility across genres. 'Liquid Love' is taken from the 2015 BBE released album of Roy's unreleased material, Virgin Ubiquity II and is a wicked mid-tempo track where Roy's vibraphone complements an amazing female vocal arrangement to create harmonies and melody over a tough-as-you-like breakbeat, bassline and keyboard riff.
Everybody Loves The Sunshine (instrumental) (5:31)
Review: 'Everybody Loves the Sunshine' represents a pivotal moment for Roy Ayers and Ubiquity, marking a departure towards a funkier and more laid-back sound in 1976. With its languid tempo and dreamy atmosphere, captures the essence of summer with its joyful lyrics and hypnotic groove. Ayers' vibraphone melodies intertwine seamlessly with the band's instrumentation, creating a mesmerizing sonic landscape that resonates with listeners. The song's universal appeal lies in its ability to evoke a sense of warmth and nostalgia, making it a timeless classic that continues to enchant audiences across generations.
Osmar Milito E Quarteto Forma - "America Latina" (2:46)
Review: A tale of two sides, Azimuth's classic "Manha" should be recognisable to many; taken from their self-titled LP in 1975, its golden harmonies and lavish, lolloping Bob James style jazz are as timeless as they were 40 years ago. Flip for "America Latina". Conjured by prolific collaborator Osmar Milito (whose discography features the likes of Sammy Davis Jr, Spanky Wilson and Liza Minelli), its striking, sing-along charms are no accident... It was actually created for 70s Brazilian soap opera Selva De Pedra.
Review: They're best known for covering hip-hop classics in their unique, funk band plus steel pans vibe, but Germany's Bacao Rhythm & Steel Band show there are spookier arrows in their quiver when the time of year demands it. Two special halloween themed cover versions grace this 7", the first a rendition of the theme from TV show of the moment 'Stranger Things', the second their version of the title theme from the film 'Halloween', originally penned by the master soundtrack maker himself John Carpenter. Both have a slightly cheeky, quirky and rather joyful atmosphere, tending more towards the cute rather than the spooky side of all hallows, but don't let their lack of scariness put you off, they're both delightful.010920
Review: The third volume of this series delivers an irresistible blend of funk and 60s-inspired grooves. Side-1 kicks off with a surf-rock-infused funk jam packed with energy and retro vibes. Following that, a swinging 60s sound that combining catchy rhythms and pop sensibilities keeps the momentum going. Side-2 shifts gears a groove-heavy track led by a soulful organ that oozes vintage charm. Closing the collection, there is a gem that features smooth, funk-driven melodies, topped off by a standout sax solo and a subtle British flair. This compilation offers a vibrant mix of styles, perfect for fans of classic funk with a modern twist.
Review: These two tracks from Mike Bandoni and Chip Wickham have been a long time coming. The two stablemates from the 'Craig Charles Fantasy Funk Band' have been discussing a collaboration for years and now; and it's finally in the bag! Mike brings his trademark killer funky drums (recorded by the legendary Malcolm Catto), percussion, Rhodes, bass and vintage guitar vibes to the party, whilst Chip delivers some sublime and highly complimentary work on sax and flute. 'Infinity Pool' sounds like a long-lost Bobbi Humphrey-meets-Bob James composition, with the flute taking centre stage - underpinned by what can only be described as mammoth funk grooves on every other instrument - while 'Get It!' is a cool number, channelling a phenomenally infectious groove and hook, both of which remain in the brain for days.
Review: "The dampness of the rainforest, the hostility of the mangrove ultimately did not suit him. So he left his natural environment for the tranquillity of a freshwater body". So goes the (translated) back story of this new EP from Laurent Bardainne. The 'he' in question is a Tiger who ventured across Europe, Asia and America and apparently picked up various musical styles along the way. Whatever you make of that, the tracks here are gold: "Marvin" is smooth jazz fusion with percolating drums, "Porsche 944" has a joyous lead sax and more crisp boom bap drums, while "Aout" is a soaring bit of heartfelt soul Daptone might put out. The Drop Vibes rework of "Porsche 944" features a vocal roller and closes things in fine fashion.
Review: ,Joe Bataan has been busy in East L.A. with Orquesta Rene for this new Latin jazz double 7" courtesy of Steady Beat. It features four all new pieces drenched in soul and percussion, starting with 'So Fine' (feat Big Sandy), a mid tempo groove with vocal longing and languid horns. 'Mestizo' is a more steamy and intimate piece with sung-spoken lyrics and glowing, golden chords. 'Mom & Dad' (feat Claudia Lennear) has s steamy shuffle to its rhythms and classic Latin percussive sounds next to a call and response vocal and 'Time After Time' closes with a sentimental feel.
Review: BDQ Records is the outlet for jam quintet BunnDebrettQuintet, who emerged out of 90s acid jazz titans Mother Earth. Their sound has refocused on a raw and rasping strain with a live, in-the-room electricity which comes through brilliantly on this new single with Lydia Sharpe. Taking a few cues from a Led Zeppelin classic, Sharpe strikes a fierce, sultry figure on top of the sizzling hot Hammond organ vamps and low slung rhythm section. It sounds dangerous like a niche 50s cut, but there's plenty of meat on the bones of the production, while the familiar vocal hooks will go down a storm with a busy dancefloor.
Curumin Chama Cunha Ta Que Eu Vou Contar (Todo Dia Era Dia De Indio) (3:43)
Rio Babilonia (4:50)
Review: Number 80 in Mr. Bongo's Brazil.45 series shines a spotlight on two iconic 80s tracks by Brazilian legend Jorge Ben. The A-side features the infectious groove of 'Curumin Chama Cunhata Que Eu Vou Contar (Todo Dia Era Dia De indio)' from the 1981 Dadiva album and paying tribute to Brazil's Indigenous tribes. On the flip, 'Rio Babilonia' delivers a classic Brazilian-boogie vibe that celebrates life in Rio, its beaches and landmarks. Originally released in 1983, the track showcases arrangements by the legendary Lincoln Olivetti.
Review: The Demon Singles Club has been digging deep again and this time they have unearthed a trio of delights from Travis Biggs. Biggs played the keys with Isaac Hayes towards the end of the 70s when Hayes was playing with disco sound. During that same era, Biggs went it alone on a pair synth laced and spaced out albums 1976's Challenge, on TB&C, and 1979's Solar Funk, on MCA subsidiary Source. The trio of cuts on this 12" come from the latter of those two - one of them will be particularly recognisable to J Dilla fans for the famous beatmaker sampled it quite famously.
Review: Sample spotters will have a field day here, by identifying the A-side 'Diana' as the source for tracks by Jay Dee , Madlib, Primo, Buckwild, as well as being instantly recognisable as J DIlla's choice of main hook for Slum Village's 'Fall In Love'. On the flip we have 'Free', ain edit of 'Free Again', which is a jazz cover of a Barbara Streisand song from 1966 - or that sample from Ghostfacedkilla's 'IRON Theme'. Both tracks are of two stand out tracks from the Gap Mangione Trio's 1968 LP Diana in the Autumn Wind. And here's a novel idea for you all - you could even skip the notebook scribbling and just take some pleasure from their lush orchestrations and properly effortless swinging big band jazz if you were so minded! Stranger things have happened.
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