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Review: Charles Green, who performed under the name Chas, released his debut album For Your Love on Love Joy Records in 1985. The album's soulful r&b accompanied Green's smooth vocals and heartfelt lyrics at the forefront. The album's title track was also released as a single and received some airplay on radio stations at the time and helped to establish Green as a promising new voice in the soul and r&b music scenes. Green went on to be a keyboardist for boogie, funk, soul and house releases such as Scott Grooves & Roy Ayers 'Expansions' in 1998 among others.

Review: Sampled by everyone from J-Lo to Jay-Z, Manu Dibango's 1972 classic is perhaps one of the most influential and heavily referenced afrofunk tracks of all time. Echoing with shades of every genre we know and love today, it still sounds just as timeless, infectious and ultimately agenda-setting today as the first time you heard it. If your collection doesn't sport this original yet, now is most certainly the time.

Review: Ron's Reworks is a mysterious new edit label that deals in tweaking disco gems. Whether Ron is the name of the edit artist, or a nod to the fact these tunes might have been played Ron Hardy, we don't know, but we do know they are worth having: Gilles Peterson played the lush soul grooves of "Flight Of The Eisenberg" on his 6 Music show which should be all the support you need to know about, while "Heads" is a more deep cut of late night funk with playful riffs and a gorgeous vocal sample next to jazzy Rhodes keys. "The Jubes" ends things with a heartwarming gospel vocal from beautiful outfit The Supreme Jubilees that will leave you feeling warm inside.

Review: Ron's Reworks, a series of scalpel jobs and lightly beefed-up reworks from Crazy P co-founder Jim Baron AKA Ron Basejam, has now reached its fourth volume. Predictably, the included material is every bit as well-crafted as its' similarly inclined predecessors. The standout is undoubtedly A-side 'They Speak Colour', a loopy, soft-focus disco-house jam whose relentless grooves, synthesizer splashes and simmering orchestration make it sound like Soundstream after a bong full of Marijuana smoke and several disco biscuits. Elsewhere, 'The City' is a canny revision of an unusual disco-boogie number that builds through sections of drums and cut-up, scat style vocals before finally flourishing late on, while 'The Cull' is a deep and meandering head-nodder tailor-made for warm-up sets and sit-down bar gigs.