Review: Amerigo's The Big Payback series finds him bring together some fantasy all stars for his "J.B. and The Soul Mates" tribute concept. Here, James Brown's music is reworked, edited and chopped together with the work of hip hop giant Notorious BIG. It results in speaker blasting, floor filling, ass wiggling jams that mash up all the most iconic verses and choruses from each singer with their most recognisable guitar riffs, drum breaks and samples. It's a colourful collage that is as fun as it is funky.
Pieces To Share (Kyle Hall & Steve Lehane mix) (3:14)
Nothing To Fear (4:00)
Review: Some ultra-limited business here from Kyle Hall, which remarkably marks his first release of 2019. The Detroiter is in fine form from the off, first peppering a hip-hop tempo "beatdown" groove with 8-bit sounds, jazz-funk synth doodles and rich Fender Rhodes motifs on "Rising" before breaking up the beats and channeling Kaidi Tatham/Dego on the warm and luscious "Full Play". Turn to the flip for the similarly inclined, loose and languid, analogue-heavy melodiousness of "Pieces To Share" and the delay-laden sunrise shimmer of "Nothing To Fear", a glistening and smile-inducing number that's almost overwhelmingly positive.
Review: Liam Gallagher is many things to many people, and one thing to everyone - authentic. It seems unthinkable we could question the indie roller's motives, or expect anything other than the "meat and veg rock" he described his own work as during a 2018 interview with The Guardian. "Why Me? Why Not" sees him take that mantra to new heights. As an album it's as accomplished and polished as anything this pied piper of the raw and unpolished has gifted us in the years after *that band*, making for an immediately engaging collection of anthems-in-the-making that will have crowds eating out of the palm of his hand as if they'd never seen his hand before, or tasted any of the food he's been feeding them for years now. And therein lies the reason it remains impossible to criticise this undeniably upfront British songwriter. Enough said.
Praying For You (Louie Vega NYC Fender Rhodes Solo) (4:55)
Praying For You (Louie Vega Vonita dub) (5:43)
Praying For You (KDA remix) (6:10)
Praying For You (album version) (6:11)
Praying For You (Louie Vega Expansions NYC dub) (5:41)
Smile (David Morales remix) (7:01)
Review: Earlier this year, DJ Spen and Teddy Douglas's long-serving gospel-house group Jasper Street Co returned to action with their first album in 16 years. It's from that album that "Praying For You" is taken, though the selling point here is not the LP mix but rather a suite of reworks from Louie Vega. Our picks of the bunch are his jazzy and breezy "Main Mix", the brilliantly bass-heavy "Vonita Dub" (think righteous call-and-response gospel vocals and a killer groove) and the sleazy "KDA Remix". The latter is a basement-bothering stomper rich in fuzzy organ stabs and spacey electronics. The smooth, slick and pleasingly colourful David Morales remix is also rather good (it reminded us a little of vintage Frankie Knuckles rubs, which is no bad thing).
Review: Blue World is an album that was never intended for release. It features music commissioned for a soundtrack for a Canadian film in 1964 and showcases a quartet that was at its very best. It's made up of short tracks and alternate takes of early Coltrane material and is utterly vibrant. Catchy little ditties like "Village Blues", stripped down numbers like the title track and the mostly-improvised "Traneing In" are all testament to the enduring brilliance of Coltrane, no matter the setting in which he was playing. The clarity of the recording and richness of the bass playing also add to the overall beauty of this record.
Review: While he enjoyed a brief career as a musician in the 1960s, by the time he recorded debut album "Down On The Road By The Beach" in 1983 Steve Hiett was better known as one of the world's leading fashion photographers. In fact, it was at the suggestion of a Japanese gallery owner that he got back in the studio to record what has long been regarded as an impossible-to-find Balearic gem. Hiett's reverb and delay-laden Peter Green style guitar passages take centre stage throughout, winding in and out of languid grooves and ambient electronics to create what some have called "the ultimate desert island disc" - a record of such lazy, sun-kissed beauty that it sounds tailor made for drowsy days waking up on the beach.
Review: Since he released his first album 11 years ago, bandleader, trumpeter and composer Matthew Halsall has proved to be one of British jazz's standout talents. In recent years he's delved into soul-jazz and big band jazz territory, so it's intriguing to find that "Oneness" is a much more spiritual, pared-down and minimalistic affair. Using a mixture of droning Indian instrumentation, languid and leisurely harp motifs, selective horn solos, melancholic trumpet lines and occasional traditional jazz instrumentation, Halsall has conjured up a series of meditative pieces that count among his most beguiling works to date. It may surprise a few listeners, but many more will find it enchanting, otherworldly and emotion-rich.
Review: There's a chance this Liverpudlian four piece will be familiar by now. This, their 11th studio outing, first unveiled as the 1960s slipped into the 70s, is a bonafide epic from an outfit that weren't lacking in epics; in many ways a culmination of their time together, marking the end of their active years and beginning of their legacy. By this stage, then, they've emerged from years spent on the inner journey and time on the outer, space cadeting to the hallucinogenic fuelled tones of "Sgt. Peppers" and "Revolver". Of course, there's still plenty of explorations happening, but the gritty blues rock of opening track "Come Together" really sets the tone. Five decades on, it still sounds great and maybe even better than you remember. Even if you own the original, this anniversary edition is worth having.
Review: Way back in 1998 when Massive Attack's career-defining "Mezzanine" was first released, legendary dub technician Mad Professor cooked up some radical reworking. They now get their first official release alongside dubs of two tracks that never actually made it onto the album - Metal Banshee: a dub version of "Superpredators" which was a cover of Siouxsie and the Banshees' "Metal Postcard", and "Wire", which was actually recorded for the film "Welcome to Sarajevo". Wild effects, plenty of knob twiddling and oodles of reverb define this freaky late night collection and mark another essential release in the catalogue of the already legendary Mad Professor.
Pamela Nivens - "It's You I Love" (instrumental mix) (4:07)
Hugh Mane - "Real Sucker For Your Love" (6:36)
Switchdance - "Arabian Ride" (6:11)
Mr Marvin - "Entity" (Jazzy mix) (4:22)
Review: Almost two years on from the release of his brilliant "The Sound of Mercury Rising" compilation, DJ Harvey returns with another brilliant selection of tracks he's championed at Pikes in Ibiza. As with its predecessor, volume two offers a giddy skip through the dustier corners of his notoriously eclectic and off-kilter record selection. Along the way, he offers up chiming, synth-heavy Balearic classics (Mandy Smith, Hugh Mane), weirdo European disco (Marta Acuna), evocative electronic soundscapes (System Olympia), blue-eyed synth-pop (Pamela Nivens), drum machine-powered Middle Eastern madness (Switchdance's sublime "Arabian Ride") and a swathe of tasty contemporary cuts (the jaunty jazz-funk of Midlife, Das Komplex's ace "Slap", Nu Guinea's splendid "Je Vulesse" and Peaking Lights remix of Land of Light being the highlights).
Review: Tyler, the Creator's fifth studio album was produced entirely by the Californian artist himself, but it does feature guests like Solange, Playboi Carti, Kanye West and Lil Uzi Vert. It immediately debuted at number one and it's easy to see why. Rich with a complex fusion of funk, rap and r&b that glides on Cali-synths and neo soul melodies, the whole thing is tethered to the ground with a hefty low end and follows the narrative of a love triangle as told by American comedian Jerrod Carmichael. Arguably his best work to date, the production is next level and storytelling wholly involving.
Review: By his usual prolific standards, Romanian producer Barac Nicolae has been rather quiet this year. "The Real You Is Not You", a double-pack of varied dancefloor cuts in his trademark minimal style, is only his second outing of the year. It's rather good, though, with sparse but groovy rhythm tracks providing the backing for all manner of ear-pleasing musical touches and mind-altering electronic effects. Our picks of the bunch are the funky, dreamy and sun-kissed hypnotism of "A Story Behind Everything" and the tipsy wonkiness of the title track, where trippy vocal samples and blissful synth riffs rise above an undulating, off-kilter groove.