Iwishcan William (Nad Tyler dub Strip version) (7:12)
Review: Washington D.C's The 3 Pieces initially put this out on their own private pressing on DL Records in 1982. It is a cosmic-boogie-disco-jazz and rap jam with lashings of funk and a curious spoken-word delivery and guest spot from a school aged vocalist that lends it plenty of character. The synths are glossy and harp-like, the bass grumbles are infectious and the whole thing overflows with feel good factor. The Lexx vocal mix is like an early house track with claps straight from a Peech Boys record and the Nad Tyler dub is even more ready for the dancefloor.
Review: The 4 Jades are a mysterious soul and funk group from Ohio, who first released these two stunning tracks in 1972 under the label Cin-Town Records. Written and produced by label owner Wilbert Longmire, who also features on guitar here, he joins the likes of William L Johnson for a loving stylistic homage to the likes of James Brown and Curtis Mayfield here. Both 'Gee, How I Miss You' and 'Doon-Chang' express the sultrier and waltzier respective ends of the Jades' sound; don't let their name fool you, as they're anything but 'jaded', with the former track flaunting their lithely harmonic acapella abilities and the latter reflecting a more sexually tense atmosphere, one that hardly assumes a thing.
Review: RNT welcomes Brooklyn-based band 79.5 to the family with the first single from their forthcoming eponymous LP. Soulful and psychedelic, the haunting melodies of Club Level float above a steady strutting rhythm section, punctuated by moaning baritone saxophone and drenched in washy reverb.
NYC mainstay Eli Escobar crafts a masterful remix that leans into 80s nostalgia, with a soundscape and arrangement nothing short of perfection.
Review: Ace's introduces the Soul Harmony label with a thrilling discovery from Golden State Recorders. The 87th Off Broadway, hailing from Seaside, California, recorded a series of tracks in April 1972, with arrangements by Los Angeles' Rene Hall. These sessions, featuring the group's self-penned songs, remained unheard for decades. 'Instant Replay is the final track from these sessions to be released, following previous funk releases on Ace's BGP label. The group later evolved into Welfare, who recorded 'What About The Child' (under the name Gold) for the MRC label in 1977. The intricate harmony and high-quality production of 'Instant Replay' have already garnered praise on the Lowrider scene. The music of Larry Sanders has seen the soar among collectors, capturing the essence of a summer romance with his lush, harmonious sound.
Heavy D & The Boyz - "Don't Curse" (DNA edit) (4:41)
Review: You have to life these 45s that elegantly bridge the lineage between the original and the sampled while also highlighting hip-hop and R&B, showcasing the seamless interplay that defined the 90s. On Side-1, Aaliyah's 'Back & Forth (DNA Edit)' gets a UK remix treatment from the legendary DNA crew, amplifying the track's smooth groove and youthful energy. Aaliyah's silky vocals and laid-back charisma shine even brighter under the remix's refined production, reaffirming her role as a trailblazer in the merging of r&b and hip-hop. Side-2 features Heavy D & The Boyz' 'Don't Curse (DNA Edit)', transforming the posse cut into a sharper, more rhythmically dynamic experience. Heavy D's playful, feel-good verses and the crew's lyrical finesse are elevated by the remix's polished beats.
Review: Soul fans are in heaven this month, just from the releases of Soul Direction alone. The label has been hard at work serving up plenty of golden nuggets and next in the spotlight is Joe Adams. 'That's Not Half Bad' is his stunning version of the Gene Woodbury classic. This is another lost tune that was found on a DAT tape recording made from material that was laying around in an old basement. It comes steeped in rich Philly soul and with gorgeous vocals that for us outshine the original. On the flip, it is backed with an equally sublime mid-tempo heart-wrencher for those tender moments.
Review: Cordial have partnered with Afrodisia to reissue their sought-after album, 1980's Elephant Sunrise, in 2018, with an album of previously unreleased recordings to follow. To whet our appetite, they've decided to release the never-before-heard "Malik", a brilliant chunk of jazz-funk fusion that would have got jazz dancers hot under the collar had it appeared when it was originally recorded way back in 1982. On the B-side you'll find the similarly minded "A Fool No Longer", a dancefloor-focused chunk of blue-eyed soul that has previously only been available on obscure 1981 compilation album Rock Aus Der Alten Schule. Brilliant stuff all told.
Review: Alanna Royale presents her debut single for Colemine, 'Fall In Love Again', in the wake of her upcoming LP. Produced by Kelly Finnigan of Monophonics fame, this entropic single is tinged with the retro fervour of slow-jam funk and soul, channelling the pains of a tried relationship.
Review: Rediscover a treasure from the Dade Records vault with the reissue of Arnold Albury & The Casuals' 'That's A Bet,' brought back to life by ReGrooved Records. This analogue-remastered 7" highlights a key track from 1970, recently featured in the popular series 'Sex Education.' The flip side, 'My Baby Don't Understand,' is equally stunning, showcasing the soulful essence of Miami's vibrant music scene. Arnold Hoss Albury, a brilliant keyboardist, played a pivotal role in shaping the Miami Sound, contributing to iconic records by artists like James Knight & The Butlers and Betty Wright. This re-release offers a rare opportunity to own a slice of musical history and experience the soulful brilliance of Albury & The Casuals.
Review: A 90s lost soul gem, Aleshure is an anomaly in the modern age. Very little to no information exists about the songstress, but thanks to Stainless Soul Records head Mike Ward, this deep dive into the soul crate is being pressed for the rest of the world to hear on vinyl for what may be the first time. This is a two-sided affair (not to be mixed up by the label misprinting), with Side A's 'School Me' being a box-ticking disco-soul dance track contains everything you could possibly want from 90s soul-dance. Flip over to side B for a slow jam soul ballad 'Tricky Sticky Situation', a modern-day Romeo and Juliet story of yearning through a divide. Extremely limited and super rare, get your hands on this underappreciated 90s gem while you still can. Hopefully a sign of more to come from Stainless in the soul and dance department.
Review: As part of the RELOVED series from Four Flies - co-curated with fellow indie label Little Beat More - comes one of a handful new reinterpreted versions of Alessandro Alessandroni's 'Tema di Susie', the star soundtrack cut from the 1976 Italian noir film Sangue Di Sbirro. With the film regaling a gangland drama centring on revenge, passion, and the madness of love, Alessandroni's original minute-and-a-half-long cut is an eerily serene counterpoint to its themes and here appears alongside a new remix from French producer Mounika, who fleshes out the original cinematic-soul number's circa-140bpm headnod and serene flauting with beefier drums and wilder piano flourishes; this is a juxtaposition you can hear as clearly as day here, on this A-and-B'd delight.
Review: Lee Alfred's 1980 disco classic 'Rockin - Poppin Full Tilting' fetches incredibly high prices on second hand vinyl markets, if you can even find one at all. It is one of only a couple singles the artist put out between 1980 and 1981. Here it gets a special one-sided 45rpm pressing with an extended version rolling on for six sumptuous minutes. Underpinined by a tight rhythm section and bubbly bass, the dazzling synth leads are all pixelated and cosmic, the female backing vocals add heat and the main voice of Alfred is all buttery and soulful.
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: Sitting back to back, with their silhouettes filtered through lamplight and street smoke, neo-soul duo The Altons have returned with two slow, gushing jams. Adjacent to the local jazz club's neon signage comes the blissful harmonies of Bryan Ponce and Adriana Flores on 'Tangled Up In You', a hurtful song that carries with it a tinge of psych rock. The B-side duet, 'Soon Enough', sparsely fuses traditional jazz instruments for a lovers' reunion song. For all the soft-hearted among us, don't miss this one.
Review: The Altons turn up the heat with another platter produced by the Inland Empire's own, Bosco Mann. A soulful duet at its core, 'Float' finds the group exploring new realms of pop excellence. The sophisticated arrangement and instrumentation gives the tune a cinematic feel that builds to a crescendo of psychedelic, swirling of strings - immersing the listener in a wash of Morricone-tinged euphoria. A track that wouldn't be out of place in the next 007 blockbuster. On the flip is "Cry for Me", a latin-tinged mover featuring Adriana Flores on lead vocal. Her pleading, soulful delivery gives the bouncy, hook-laden tune a seriousness that's simultaneously uplifting and heartbreaking.
Review: It's good to have this one available again. Dorothy Moore's 1976 soul classic, featuring vocals from Taka Boom, Chaka Khan & Mark Stevens, 'Misty Blue' became an Ibiza chill-out anthem in 2002. As 'Misti Blu' it got high-profile plays by Mary Anne Hobbs, Pete Tong and Mixmaster Morris and even David Mancuso charted in his end-of-year highlights. Now the sundown gem gets reissued here on a tidy 7" as a superb rework from Claude Money. The crooning vocals remain the highlight with sultry trumpets and lavish downtempo rhythms. What's more, we're told that a new live disco and house version are also to come this year.
Review: Dorothy Moore's 1976 soul classic 'Misty Blue' became an Ibiza chill-out anthem in 2002. As 'Misti Blu' it got high-profile plays by Mary Anne Hobbs, Pete Tong and Mixmaster Morris and even David Mancuso charted in his end-of-year highlights. Now the sundown gem gets reissued here on a tidy 7" as a superb rework from the newly reformed amillionsons. The crooning vocals remain the highlight with sultry trumpets and lavish downtempo rhythms. What's more, we're told that a new live disco and house version are coming in 2023, so watch this space.
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: Australian soul singer Stella Angelico has been at it since 2012, and now, signaling yet more to come, we hear a fresh 7" documenting her work with Cookin' On 3 Burners, a Melbourne-based band whose specialism is Hammond organ funk and soul. On the A we've got 'I'm Comin' Home To You', a nimble pop-soul of impeccable quality, expressing the joy of a long-awaited return. The B-sider, 'Whole Woman', is more of a monologue and slow jam, expressing the joy of staying fully embodied and grounded.
Review: Oooh! Angie Stone's "Wish I Didn't Miss You" definitely belongs in the canon of all time modern soul classics. Taken from her 2001 second album Mahogany Soul, the Swizz Beats produced track made optimum usage of an O' Jays sample and was instrumental in that LP going gold and propelling the former D'Angelo collaborator to stardom. It also inspired countless official and under the counter remixes with Blaze's perhaps the most recognisable. So yes this reissue on 7" from Outta Sight is worthy if you don't have the original in your collection and features a housed up remix from Hex Hector on the flip.
Review: Mexico-based duo Apocrifo serve up their debut single 'Indicut' with LA hip-hop and soul virtuoso Georgia Ann Muldrow on the vocal. This outfit is made up of producer Kefren Rivera and percussionist Carlos Huitro and they plenty of jazz, hip hop and electroacoustic elements into a unique sound that is exemplified here. The track is a broody, lo-fi world of sound with hip-hop beats and the yearning jazz vocals of Muldrow adding to the effect next to sombre piano chords. The instrumental strips everything back to the killer beats. This is a great first offering from this outfit who surely have plenty more to come.
Review: You always know what you are going to get from Mr Bongo's Brazil 45 series and that is pure fire in musical form. This 100th release suggests the label has no intention of slowing down nor is it running low on top source material. This one from As Meninas on the A-side has beautiful female vocal-group arrangements with flutes that soar up top and plenty of ass-shaking samba shuffles down low. It's a tune that oozes soul and charm and was first released back in 1967. It's a super sweet but short song that is backed with 'Brasileiro' on the flip. It's taken from Jorginho Telles' self-titled 1971 album on Copacabana Records and mixes up raw guitar sounds with r&b vibes into something unusual and alluring.
Review: In a meeting between generations of broken beat titans, Andrew Ashong and Kaidi Thatham's Sankofa Season rightly earned classic status soon after its release in 2020, and now we're being taken back into the heart of these tracks with a heavyweight remix package from some serious talent. Mala's imperious dubstep touch brings some low-end pressure to 'Low Ceilings' or Shy One chopping up 'Learning Lessons' in her peerless deft style, there's a lot of ground covered by this considered gathering of minds. Special mention goes to Equiknoxx's Gavsborg and Shanique Marie, bringing a sweetly soulful touch to 'To Your Heart'.
Review: Clap City is dropping some next-level heat right now for those who like their soul super sweet. This particular 7" - which comes with a booklet - is a reissue of Aswads' delightful 'I'm So Proud'. It is very much defined by its glorious male falsetto vocal, which is aided by some acoustic guitars and subtle but dramatic drumming that rises and falls to accompany the emotional roller coaster of the vocal line. Things sped right up for the high-speed funk case that is The Naturall Band's tight and intense 'There Was' on the flip. An absolute must-cop.
Review: This 7" reissue of 'I'm So Proud' by Aswad and The Natural Band's 'There Was A Time' delivers a funk-filled gem originally released in 1972. Aswad's 'I'm So Proud' leads with a soulful blend of funk and soul, anchored by a strong vocal performance and tight rhythm section. On the flip, The Natural Band's 'There Was A Time' is a dynamic instrumental jam that showcases tight grooves and infectious rhythms, making it an essential track for any funk enthusiast. Previously fetching high prices on the second-hand market, this reissue is a great opportunity to experience these classic tracks without breaking the bank.
Review: A self-titled opus, the OG presses of Aura's one and only album have been known to fetch over L100 while the 2016 Aloha Got Soul reissue was supported across the board from Theo Parrish to Giles Peterson. Here are two of the most delectable highlights in bright white 45" form; "Let Me Say Dis About Dat" is all about the crunchy riffs and rock funk fusion while "No Beginning, No End" is a thrilling disco funk cut that has aged to perfection. Limited and likely to fly.
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.
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