Lord Kitchener - "Manchester Football Double" (3:15)
Review: Edric Connor's 'Manchester United Calypso' is a timeless masterpiece that captures the spirit and joy of football. Originally released 70 years ago, its legacy continues to resonate with fans, heard echoing through the terraces of Old Trafford and beyond. This reissue, featuring Lord Kitchener's 'Manchester Football Double' on the B-Side, is a delightful treat for fans of vintage calypso and Manchester United alike. The 7" vinyl format, coupled with Stan Chow's stunning artwork, makes it a real treat. With its soulful and uplifting vibes, 'Manchester United Calypso' is not just a song; it's a celebration of football and the enduring spirit of one of the world's most iconic clubs.
Review: France's faves Battle Weapons deliver two heady new edits, only for those ready. On the A comes an ingenious, probably never-done-before, almost laughably why-hasn't-anyone-else-ever-thought-of-this-until-now breakbeat rendition of Peter Bjorn & John's 'The Young Folks'. To be frank, they've not done much besides beef up the backbeat a little, but a simple sprucing up is sometimes all a tune needs. On the flip comes a phattened version of 'Forgot About Dre' mashed up with the Azzido Da Bass UK garage classic 'Dooms Night', also produced to hilariously, surreally arresting effect.
Review: Intriguing new reissue from Ernie & The Family McKone on the acclaimed Boogie Back, just one of many labels to focus on obscure street soul, freestyle and R&B since the early 90s. One side is a freestylectro remix of an absolute classic, while the B's 'Make A Move On Me' is much sultrier, replete with digital organs and soft strings against a steady-sexy house backing.
Review: Give My Love by In Dat Groove & Lee Wilson is an infectious late-night jam with soft calypso vibe to it and the DJ Spen Rework elevates with soulful house flair, adding a depth and groove that's irresistible for dancefloors. The L'Amour Disco mix rounds out the package, paying homage to classic r&b, disco and house sounds with a polished nod to the 80s. Both versions offer a unique flavour, making this release a stunning collection that caters to diverse musical tastes. Whether you're in the mood for tropical warmth, soulful beats, or nostalgic disco, 'Give My Love' delivers beautifully.
Review: La La Lopez's debut single, 'You Can Call Me Rose,' marks her impressive entry on SOLA Records, offering a soulful, modern r&b response to Thee Sacred Souls' classic 'Can I Call You Rose.' Hailing from Albuquerque, New Mexico, La La brings her unique blend of influences, from Mariachi and Rancheras to Soul and oldies, creating a sound that transcends borders. Recorded at SOLA Studios in Los Angeles and OLAH Producciones in Veracruz, this record shows her versatility. On Side-1, 'You Can Call Me Rose,' exudes soulful warmth, while the flip side, 'Deny,' is a vibrant Latin Pop track with English lyrics and rich Latin percussion, perfect for the dance floor. La La's music resonates deeply with her life experiences, a quality evident in her past works and future releases with SOLA Records. 'You Can Call Me Rose' has already garnered praise across generational audiences, affirming La La Lopez as a musical force to watch. Now available on 7" vinyl!
Review: Divine Who thrillingly announce their latest collaborative 7" release made with legendary gospel artist Lady Lois Snead, longtime fixture of the sixties US gospel-disco circuit and notably a member of the Dorothy Norwoods. Reworked, revamped and tweaked with love, Snead's gliding croons are revitalized for a new audience, be that on the pulsing cheat-buster 'I Found Out' or the more lolloping, stringy fable in song, 'Until We Learn', all against a fresh, modern instrumental production backdrop.
Review: Lady Wray delivers a powerful two-sider here as she hooks up with Grammy-nominated producer Leon Michels of Clairo and El Michels Affair for another single as they put the final touches to her upcoming album. The A-side, 'Be A Witness,' features Nicole's soaring vocals gliding over deep drum machines and Nick Movshon's funky bass which makes it a smooth mid-tempo groove about destined love and good vibes. On the flip, 'Best For Us' explores love, commitment and perseverance with lush synths and harmonies floating over Homer Steinweiss' tight drumming. They provide the perfect setting for Lady Wray's standout voice and get us excited for the full length.
Piece Of Me (feat Ghostface Killah - remix) (4:34)
Joy & Pain (Pete Rock remix) (4:30)
Review: Lady Wray's Piece of Me is a second sizzling album of superb soul. It marked something of a homecoming for the artist as she debuted on this label back in 2016 and found her leaning towards her usual soul and r&b as well as more hip-hop influences than ever: classic boom-bap drums and chunky bass hist loud and proud and for that reason the originals are ripe for remixing as they are here. Two legends of the game in Pete Rock and Ghostface Killah step up and bring their own signature sound and dusty drum beats to make for a crucial little 7".
Lady Wray, Les Imprimes, & Surprise Chef - "Come On In" (Les Imprimes remix) (2:55)
Lady Wray, Les Imprimes, & Surprise Chef - "Under The Sun" (Surprise Chef remix) (3:34)
Review: There are a whole host of soul talents on display on this new and limited edition 7" from Big Crown. Lady Wray, Les Imprimes & Surprise Chef all combine their forces for the gorgeously lo-fi and authentic soul single that is 'Come On In.' It has heart-aching vocals and a slow, heavy beat that is raw as you like. It is presented first as a Les Imprimes remix that makes a devastating emotional impact, and then as a Surprise Chef remix which is a little less heavy and more upbeat, with prickly drums and uplifting energy.
Review: Primetime smooth soul on the long-awaited 7" release of the fourth collaborative work between Lagheads and HIMI, 'Dance'. With impeccable production scooping out a thick copse of luscious basses, watery chorused electrics and glittering twinkles, the track is difficult to compare to any other; HIMI's vocals are fay as they are nimble, sounding sultrily pucklike over the sheer sonic city-soul fabric that is the instrumental piece. The B-side hears a remix by Hikaru Arata of WONK!A fame and fleshes out the latent weight of the track for a jazzier hip-hop version.
Review: Late Night Tuff Guy has long since proven his credentials as a master of the cheeky edit. He now mints his own new label Tuff Cuts with a first EP of what will surely be many. It features two reworks hand picked by the man himself and then pressed on 12". The first is a dancefloor ready rework of the Bill Withers classic 'Lovely Day' with a nice rolling groove and plenty of the original's charm still in tact. Things get more sultry and seductive on the soul drench and more slow motion sounds of 'Love About' on the flip. It's a real beauty for the end of the night moments when love is in the air.
I Don't Know What It Is But Keep That Light Shining On Me (Keith Lawrence Refix version 1) (4:26)
I Don't Know What It Is But Keep That Light Shining On Me (Keith Lawrence Refix version 2) (4:32)
Review: Keith Lawrence is a DJ and producer from Brixton in South London with plenty of credentials, and here he serves up a pair of refixes of 'I Don't Know What It Is But Keep That Light Shining On Me', a reggae jam with an edge. The first one is laden with hooky guitar riffs and has soaring call-and-response vocals expanding the sound up top. The second is more raw and a little stripped back with a focus on the timeless rhythms and sounds. Two tunes that demand to be played loud and with bass - obviously - pushed to the max.
Review: Dreamy, lo-fi souldance from Curtis Lee, a rare name in the world of soul and funk who released but one small on Canton, Ohio's Spade Records in 1979 - this now cutely-reissued single, 'Steppin'. Featuring the crooner doubling up with an uncredited female vocalist on a late-night boozy rendezvous, we're keen to learn a new meaning of the word "steppin'". 'Funkadize Me Please' is an equally charming and naive B-side, predictive of the stark minimality found in much UK soul.
Give Me The Sunshine (extended UK 7" Grapevine RED 3 mix) (4:40)
Review: Leo's Sunshipp is an iconic rare groove record that gets a reissue here on Expansion. The special Record Store Day 2021 limited and hand-numbered 7" offers up two different versions, both of which are primed and ready to add at least 10 degrees of heat to even the sunniest DJ set. The original US 7" mix is languid and long legged, laidback and in a hurry to go nowhere fast. The soaring strings and steamy vocal, tumbling perc and distant horns capture a lazy afternoon soaking up some rays. The extended UK 7" Grapevine RED 3 mix ups the ante a little for slightly more energetic moves.
The Leonard Lothen Project - "In The Presence" (feat Derick Hughes) (5:17)
Gospel Clouds - "Let Us Pray" (3:38)
Review: Leonard Lothlen is a California gospel music icon who this label made contact with for this release. It comes with a concept and that is "to place two gospel compositions recorded fifty years apart on one record." It means there are two very different and diverse tunes but two equally brillaint ones on this 7" with powerful vocals from Derick Hughes on 'In The Presence.' They come with a subtle doff of the cap to the late great Bishop Rance Allen. On the flip is 'Let Us Pray,' which was the first tune Leonard did with his GC's group in 1971. It is a real rarity and expensive gem if you can find an OG, Importantly, it is worth the cash whatever you pay.
Review: Norwegian outfit Les Imprimes have already found their feet with their earliest outings on Big Crown. As they continue to build towards their new album Reverie they drop another single from it here in the form of 'Falling Away' backed with 'Still Here'. Both cuts are beautiful and display fine musicianship, the sort of soul that melts your heart and breezy grooves that bring calm to your mind and body. Vocals enrich each cut and on this evidence, the upcoming album is going to be special indeed.
Review: Building on the triumph of Les Imprimes' inaugural album, Reverie, Big Crown Records presents two standout tracks from the album pressed onto this 7". For the A-side, Morten provides an edit and infuses the mix with an extra dose of depth reminiscent of Larry Levan's style. The result is striking and hits harder, igniting the dancefloor with its infectious rhythm while delivering a resonant message about the consequences of investing too much in the wrong relationships: On the B-side, 'You' bursts forth with a captivating crescendo, setting the stage for a sublime sweet soul melody. This beautiful declaration of love and reassurance is equally enchanting both musically and lyrically. Morten Martens' talent for arrangement shines through on both of these lovely tunes.
Review: It was back in 1986 when obscure UK electrofunk band Leval released their sole 7" - a sparkling slab of pop-boogie brilliance that has long been a secret weapon for dusty-fingered diggers and Brit-funk collectors. As this Athens of the North reissue proves, the record remains a brilliant Brit-boogie gem. Check first 'Our Love', a confirmed earworm that sees the band wrap duetting male/female vocals around a deliciously bustling blend of rubbery slap-bass, eyes-closed soft rock guitars, warm synthesizer chords and a dewy-eyed, jazz-funk style breakdown. Flipside 'It's Up To You' is a little more eccentric thanks to an unusual time signature and drum track, but boasts the same addictive blend of male and female lead vocals, slap bass and synths.
Review: The Lewis Connection was a Soul / Funk band from Minneapolis who may have looked like your average local band save for one exception - the guest member addition of Prince. These tracks are lifted from the self-titled album and "Got To Be Something Here" with Prince on background vocals and guitar marks the first time he appeared on a release by another artist on a track he did not write. In addition, it's also considered an early record of what would become the signature Minneapolis funk sound. This fine historically rich tune will be available in 45 rpm format for the first time.
Review: The Soul 4 Real label do a damn fine job of digging out the deepest cuts from soul legends you know and those you don't. Jimmy Lewis may not be a household name but he wrote for the likes of Ray Charles, and with his 1974 album Totally Involved he revealed himself to be something of a pinnacle of real soul music. From a similar era when he was recording for Hotlanta, the two tracks on this 12" were previously only available on a CD compilation but they absolutely deserve to be ringing out on this beautifully crafted 7".
Right By Your Side (JD B-Boy Fantasy remix) (4:22)
Review: Lexx's latest release, 'Right By Your Side,' is a disco-infused collaboration featuring the smooth vocals of Stones Throw recording artist Stimulator Jones. The track exudes Balearic and pop disco vibes, inviting listeners to groove along to its infectious beat. On the flip side, Jamma-Dee from Los Angeles offers up a remix that adds a slightly more uptempo flair while maintaining the essence of the original. Lexx's production skills shine through, creating a seamless blend of retro and contemporary sounds that will surely get dancefloors moving. With Stimulator Jones' catchy and Jamma-Dee's expert remix, 'Right By Your Side' is something to get your hands on.
Review: Fantasy Love re-issues a cherished soul and funk underground classic. Liason was a legendary Bay-Area group who were known for their vibrant performances and distinct sound. Led by Morris 'Skid' Clay, Liason was originally released on their independent imprint, 'A.L.C.' and named after three of the group's members' astrological signs: Aquarius, Libra, and Capricorn. Recorded in 1977, this double single shows the spirit of the band in these stellar songs. 'Life' features a grand vocal performance with a fantastic horn section while the B-side, 'Disco Party' enjoys dancefloor romp from the disco heyday. Both tracks are special in their own way. For those people looking for rare grooves, look no further!
Review: The red hot Dynamite Cuts label happily serves up this slice of rare groove magic from Little Beaver. The unique artists write both of the tunes included on this 7" for his "When Was The Last Time" album and neither has appeared in this format before now. It comes with a cover as iconic as the tunes, which are both soul-stirring and heart-wrenching slower dancers. 'Concrete Jungle' has an eye-watering falsetto over deep bass and swooning strings with plenty of funky chords, then 'I Just Love The Way You Do Your Thing' is another aching beauty with elegant grooves.
Review: Former Paper Recordings artist Sophie Lloyd apparently started working on "Calling Out" whilst gripped by the January blues. Her intention was simply to make "happy music". To that end, she turned to her gospel roots. The results, shared here on 7" single for the first time, are little less than spectacular. With collaborator Dames Brown in tow, Lloyd's vocals - accompanied by a gospel choir, of course - simply soar above a jaunty, piano-heavy track rich in live instrumentation. It sits somewhere between traditional gospel, house and disco, with a flipside instrumental brilliantly showcasing the quality of the instrumentation throughout. The piano solos, in particular, are breathlessly good.
Review: Whether she likes it or not, Sophie Lloyd will always be known for the unfeasibly uplifting gospel disco-meets-gospel-house anthem 'Calling Out'. That was released five years ago and ever since, she's struggled to embrace it's shadow. With 'Angels By My Side', Lloyd seems to have embraced this, delivering another fine gospel-powered number that inhabits a similar sonic space while being different enough to avoid accusations of treading water. It's genuinely good, too, with Pauline Taylor delivering superb lead vocals over a hybrid gospel disco/stomping gospel sound hybrid full of Hammond organ licks, booming bass guitar, piano house riffs and stirring orchestration. In other words, it's another anthem in waiting.
Review: We love a good backstory and Emmitt Long's 'Call Me' has one of those. Initially met with skepticism due to the lack of information about the label, this 45 raised eyebrows upon its initial discovery. With no writer credits, music publisher details, or any indication of its origin, doubts surrounded its authenticity but nowadays it is an elusive piece of brilliance that is not only challenging to locate but expensive to buy. It was produced by Charlie Richardson and sung by Long and pairs mournful horns with a longing vocal and catchy groove.
Why Don't We Do Some Boogaloo? (45 version) (3:43)
Review: Miguelito Superstar, co-producer of the acclaimed debut album Si Esto Se Acaba, Que Siga El Boogaloo, delivers pure fire with two electrifying versions on this 7" release. 'Why Don't We Do Some Boogaloo?' emerges as a local classic, while the Latin Funk rendition of New Order's iconic 'Blue Monday' transforms the track into a powerhouse of groove. With special attention to unearthed breaks and a spotlight on the rhythm section, Miguelito elevates both tracks to must-have status for aficionados of Latin music and funk. Miguelito's power in crafting infectious rhythms and breathing new life into familiar classics is on full display here!
Review: On limited reissued 7" comes the title track from The Lost Generation's 1973 debut album. The Chicago soul/r&b group formed in the early 1970s amid irruptive uncertainties and changes in the USA. Their name reflected this anxious mood, and their music drew on many similar emancipatory subjects and projects, bottling the tense, civil fronts formed between American communities in the 1960s. "Fighting, crying, bleeding, dying" resound in call-responsive bel canto on this lead album cut, which grieves the losses and disenfranchisements suffered during the Civil Rights era. With a horizon-gazing front cover and burgeoning sound, this irrefutably hopeful soul anthem suggests all is not lost.
Review: As they often like to do, Swiss label Burning Soul are dropping this one as this standard black 7" but also on these pages you will find a limited edition cream version. Either way the tunes are worthy of your attention from Luana. A-side jam 'Buckle Up' rides a judders mid tempo broken beat with funky bass and stepping synth sequences next to more pixelated cosmic keys. The r&b vocal is sleazy and seductive. On the flip is a trick with plenty of attitude from the vocal which is delivered with seance, control and determination. These are two standout cuts that blur the lines between genres to come up with something entirely new.
Review: A rare soulful masterpiece that has impressed listeners since its release and continues to gain new fans. Originally produced by Beau Ray Fleming and arranged by Horace Ott, the song features a rich horn section and lush strings, creating a classic sound that resonates with fans of soul and funk music. On Side-2, 'We've Got Love', offers a more traditional 60s soul vibe, showcasing Lucien's versatility as an artist. This track remained relatively obscure until its inclusion on a self-released CD in 1999, and its vinyl debut in 2025 is expected to introduce it to a broader audience. This 7" reissue not only brings these tracks back to vinyl but also highlights Lucien's exceptional vocal talent and the timeless quality of his music. Collectors and new listeners alike will appreciate the opportunity to experience these soulful gems in their original format.
Review: This excellent seven-inch single mines the rich seam of Terry Callier style folk-soul that is Jon Lucien's incredible 1973 album "Rashida". On the A-side you'll find the brilliantly breezy, horn-heavy samba-soul sunshine of "Would You Believe In Me", a song so beloved to Lucien that he re-recorded it several times later in his career. On the B-side you'll find the arguably even sweeter and more loved-up "Kuenda", where Lucien delivers attractive scat-style, double-racked freestyle vocals over a backing track rich in finger-picked folk guitar arpeggio lines and atmospheric field recordings of nature. It's a joyously simple track, but one that will stay with you for hours after you've put the record back on the shelf.
Review: Wilfred Luckie's 'My Thing' is a Trini private soul track in the key of Marvin Gaye. This stellar floater features excellent, subtle electronics, making it a top pick. Originally recorded in 1978, this very rare vinyl gem now sees a proper reissue. The smooth jam continues to wow listeners over 40 years later, with its lovemaking and tongue-in-cheek sexual lyrics still bringing smiles. A key element of the song's uniqueness is the strange and spacey electronics in the background, an unusual yet perfect mix for a soul track. This blend of various elements creates a standout piece, making it a true gem and a unique song.
Review: Numero's Hottest Sounds Around compilation showcases vibrant late-70s grooves from the Greater Antilles. Trinidadian label Semp brought us Wilfred Luckie's funky 'My Thing' and the Hamilton Brothers' infectious calypso-disco hit 'Music Makes The World Go 'Round' in 1978. Meanwhile, over in the Bahamas, Frank Penn's G.B.I studio captured Stephen Colebrook's Doobie Brothers-inspired 'Stay Away From Music,' perfect for the cruise ship crowd. This trio, housed in a bespoke Numero sleeve paying homage to WIRL (West Indies Records Ltd.), celebrates the rich, diverse sounds of the Caribbean. This 45 is a delightful exploration of rare, danceable tracks that epitomize the era's lively musical spirit.
Review: Leroy Hutson is an American singer and songwriter revered by lovers of soul, dub and r&b. He's dropped countless hits which have long been favourites of deep crate diggers, and for this one, he switched things up quite literally in terms of the alias he used. The tunes are as killer as always with 'Butter Fat' pairing some free jazz melody with twisted funky basslines and organic percussion over funky drums. On the flip, 'Feel The' gets more soulful and laced with melody as big energy comes from the piano vamps. Two killers.
Review: London's BDQ Records has got more gold here from the superb vocal talent that is Lydia Jane. Her smoky tones come across these two stylish mod-jazz gems starting with the titular 'Sweetheart' which has lazy and slow motion grooves with some lovely reverb-heavy guitar lines reign out next to Jane's sensuous jazz delivery. On the flip is 'Loser' which has a more upbeat feel with 60s tones to the vocals as the swinging drums and feathery snares all add extra depth. A lovely 7" here for fans of all styles of soul.
Billy Hawks - "(O Baby) I Do Believe I'm Losing You" (3:03)
Review: This Juno colour vinyl exclusive finds Linda Lyndell serve up her own majestic cover of the classic "What A Man." Her vocal is smooth and buttery but also laden with gravitas, while the sweeping horns and jazzy keys all around her help to lift the spirits. On the flip is an ice cold slice of funk from Billy Hawks in the form of his "(O Baby) I Do Believe I'm Losing You". It's raw soul that glides at high speed with plenty of hip swinging claps. This is a much sought after reissue that will shift quick, so make sure you do too.
Review: Electric guitarist and singer Barbara Lynn was an undisputed legend of Memphis funk, blues and soul. Her paean for desirability, 'Unloved Unwanted Me', was a full-on lamentation of the human condition in album form. While the album was originally shelved for a time in 1968, it later found a way out of production hell and managed to rock the worlds of all listeners around, despite its distinct lack of guitar compared to Lynn's other albums.
You Can't Turn Me Away (Mato Mellow Reggae mix) (3:53)
You Can't Turn Me Away (Mato dub version) (3:54)
Review: Thomas Blanchot aka Mato's love for reggae runs deep. His love for soul music is just as equal. So, what should a producer do who enjoys making original music but also enjoys the art of sampling? Use both! Known for creating reggae/dub versions and then using popular lyrics sung by a guest vocalist over the top of them, giving the original versions a new life and sometimes, a completely different feeling, in some ways working even better than the original. Here, Mato takes the 1981 hit by Sylvia Striplin 'You Can't Turn Me Away' and a super laid back reggae rhythm underneath as a base. And it works so well. Complete with the dub version for the DJs. Sit back and relax to these interesting examples of a stylish way to take mashups to a different higher level.
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