Friday's Funky 45 Vinilo y CD

Review: Norfolk breaks master Chrome has been at it since the 80s, but this is a marker of authenticity that almost goes without saying, not least since his latest 7" 'Don't Stop Get It' needs rather little context to back it up. When your A-side is this bouncy, punchy and deft, most cut-up heads will deem it an insta-cop. That being said, while these sample-heavy originals prioritize maximum bass and treble at all turns, they also flaunt a taste for the weird; the B's 'Funky Atmosphere' is funky indeed, coming thick and fast with its cuckoo-clock-like samples and strange plinky-plonky stutters.

Review: DJ A.D.S. keeps it real with some classic hip-hop remixes that rework timeless joints which always wried back in the day, continue to work now, and are sure to never go out of favour. The first one on this new 7" is 'Get UR Freak On' which becomes a slow-motion joint with whimsical Middle Eastern melodies and a snaking baseline topped with some fine bars from Missy Elliott. On the flip is Snoop and Pharell's 'Drop It Like It's Hot' reworked into a sultry boom-bap joint. Two stone cold weapons.

Review: DJ ADs joins the FF45 roster with two banging remixes of Souls of Mischief & 50 Cent classics respectively. On the A, we hear a version of the former's ''93 Till Infinity', except for a deeper, fuller boom-bap instrumental that revels in its central bass riff and electric-piano staccatos. 50 Cent's remix is the highlight of the B-side, with 'Hate It Or Love It' lent a victorious, brass-laden memory-lane-trippin' beat, more than fit for a king, "rap's MVP".

Review: French beatmaker DJ Marrrtin has his fingers in a lot of pies, from running Stereophonk to working in groups like Funky Bijou. Now he's up on Friday's Funky 45 with a hip-hop rooted re-flip to get party people the world over rocking out. 'Marrrtin's Scenario' does a damn fine job of re-positioning A Tribe Called Quest's classic 'Scenario' with some organ-soaked funk, while 'Enta Humpty' goes heavy on the boom bap breaks to provide a heads down groove that should get the breakers breaking and the freakers freaking. When you can't get enough heat for that lil box of 7"s, Friday's Funky 45 have got you covered.

Review: Martin Reeves aka Krafty Kuts was a key player in the breakbeat explosion at the turn of the millennium. Like many of his peers in the scene, he was of course also a deep digging DJ with an extensive knowledge of breaks and funk and it is that which he twisted into his own contemporary style. Now he returns to those roots somewhat for a seance time on his FF45 label with a pair of hard and hella funky hitting beats. The first is 'Street Hop which is a raw, Nas-style hip-hop joint with tough bars and beats. 'You Got It' then takes the energy levels down a touch for a deeper vibe with bars that remind more of Biggy.

Review: One of several new Krafty Kuts edits to fly through the floodgates of late, this 7" amounts to the whopping 28th edition of the esteemed Friday's Funky series. This time hearing the editors handle and reappropriate a swathe of obscure Latin music samples, of lord knows what origin, 'Colombia' amounts to a slick two-toner backed by brass riffs and samples rap interjections. B-side 'Brujeria' is of a similar quality and verve.

Review: Mr Doris steps up with D-Funk Heat, a release that comfortably balances retro flair with modern groove. The production is sharp, with funky basslines that immediately grab attention, while the crisp drums and infectious synth lines keep everything fresh. Doris's ability to blend dancefloor-ready energy with nuanced musicality shines through, making this a record that's both playful and rich in its sonic textures. There's a sense of ease throughout, a laid-back confidence that invites listeners to move while staying fully immersed in the groove. It's a nod to the past with eyes firmly on the future.

Review: Ff45 (Friday's Funky 45) welcome Canada's finest Jim Sharp back to the fore with two 7"-ready sure-shots, of the remix/reinterpretation/covers variety. On the A, we hear a flip of J-Lo's pop classic 'Get Right' but reconstructed to dazzling effect, with every part rerecorded impeccably and placed into a fresh breaks-funk context. The B, meanwhile, reinterprets the Armand Van Helden/Common hip-disco-house classic, 'Full Moon'.

Review: Paul Sitter and Tony Lavrutz's collaboration on Eu e Meu Amor plays like a breezy stroll through sun-drenched sounds and smooth rhythms. Their work here pulls effortlessly from bossa nova and tropicalia, but without leaning too heavily on nostalgia. The production is tight and warm, with layered guitars and whispered vocals that could easily soundtrack a lazy afternoon. It's not overly flashy, but it doesn't need to be; the charm is in the simplicity, the way the melodies unfold and gently stick with you long after the record ends.