I Want To Thank You (KON Shine Your Light remix) (7:54)
I Want To Thank You (KON dub) (7:49)
Review: Having previously breathed new life into classic cuts from L.T.D, George Duke and Sylvester, Kon has now turned his attention to another all-time favourite: Alicia Myers' 1981 stunner "I Want To Thank You", a disco-era gospel-soul favourite that remains one of the era's most timeless club records. Working from the multi-track tapes, Kon teases out Myers' killer vocal - drenched in just the right amount of reverb and delay - atop a slightly stripped-back groove before giving it the full kitchen sink treatment. Just as good is the flipside Dub, which flits between beat-free sections and the track's killer groove in the manner of disco dubs from the early 1980s. The song itself may not have needed tampering with, but Kon's versions are genuinely superb.
Review: Ishola Muhammad decided to adopt the A M Muhammad pseudonym for his second single, "What Freedom Means", in tribute to then leader of the American Muslim Mission (AMM), whose wise words had inspired the single. As this reissue of the rare single proves, the track has lost none of its potency in the 38 years since it was recorded. Muhammad's positive lyrics and assured lead vocal take pride of place alongside superb female backing vocals and a killer backing track that sits somewhere between rubbery jazz-funk and stomping disco. Turn to the flip for the doo-wop influenced sweetness of obligatory loved-up bonus cut "Tenderly". It's decent, but the floor-friendly A-side remains the killer cut.
Review: The latest 7" missive from the Outta Sight camp features two more impossible-to-find rarities. On the A-side you'll find a storming chunk of horn-heavy, Hammond-rich funk from obscure US psychedelic band Mr Floods Party. Originally released on GM Records in 1971, the cut has long been an in-demand amongst Northern Soul collectors thanks to its stomping beat and impassioned vocals. Speaking of Northern Soul favourites, flip to the B-side for the greatest moment from short-lived Detroit soul group Fork In The Road. Originally released in 1970, "Can't Turn Around Now" is a thrillingly energetic workout full of heavy instrumentation, surging vocals and an even heavier backbeat.
Review: One of the few records Atlanta legend Lee Moses ever pressed, the highly sought after "Bad Girl" enjoys its first official reissue since 1967. So good it stretches over two sides, Moses' powerful bluesy delivery hits hard while the band keep a tight grip of his emotions from start to finish. Gutsy, grainy and still just as powerful as it was 52 years ago; there's a reason the original has consistently fetched triple figures among collectors for all this time.
Review: While most remember Melba Moore for her string of disco and boogie-era classics, she actually started her career at the tail end of the 1960s recording soul stompers in Nashville. "The Magic Touch", which here gets the reissue treatment, is a typical Northern Soul style four-to-the-floor slammer that was recorded in 1967 when she was 22 years old and has previously only been issued on a hard-to-find 1986 single. This time round it comes backed with Maxine Brown's similarly popular Northern Soul scene staple "It's Torture", which remarkably went unissued until Kent Records discovered it in the Ace Records vault back in 1985.
Everything That Shines Ain't Gold (part one & two) (6:12)
Everything That Shines Ain't Gold (Floating Points edit) (4:38)
Review: You'll be unsurprised to learn that the latest reissue on Floating Points' Melodies imprint is of a record that is fiendishly hard to find. Collectors have long regarded "Everything That Shines Ain't Gold", a sumptuous funk-soul workout full of bold Hammond organ lines and jazzy guitar licks, as something of a "Holy Grail", so it's fantastic see the track getting a worthy reissue. For this edition, you'll find the full version (originally cut into two parts to fit on a 7") on side A, with a fresh Floating Points re-edit on the flip. His revision is naturally tastefully done, rolling with the sweetest instrumental passages before breaking into Moore's superb vocal.
Review: San Francisco psychedelic soul ensemble Monophonics were once described by Stax Records co-owner Al Bell as "one of the best soul bands I have ever seen", which is high praise indeed. Mirrors, which comes pressed onto clear green vinyl, is the combo's fifth full-length and first album for three years. It's a surprisingly breezy and eclectic affair, with the band variously turning their hands to bluesy, Rare Earth style funk-rock ("Lying"), Hammond-heavy peak-time business (a tasty cover of Frankie Valli's "Beggin"), spiraling instrumental wig-outs (fabulous closer "California Dreaming"), heart-aching torch songs ("My Heart Cries") and laidback, acid-fried Balearic soul (opener "Summer Breeze"). In other words, it's a fine album that sparkles from start to finish.
Review: Longstanding San Fran soul troupe Monophonics celebrate the release of their fifth album last month with this cheeky 45". Taking The Four Seasons' forever-faved standard "Beggin'" and adding their own uptempo charm, polished guitars and yearning vocals, it's an impressive and respectful cover that's backed up all the way with a stone cold instrumental on the B. Some classics never grow old...
Review: Taken from her only album This Is Eleanore Mills (recently re-leased for Record Store Day but originally release on Sylvia Robinson's All Platinum in 1974) and produced by members of The Moments and The Rimshots, Eleanore's classical charms are displayed across two complementary styles on this Soul Bother 45. "Same Routine" is sharp critique on soul-crushing work and the things in life that don't cost a thing over a sweet soul/disco groove while "I'm Gonna Get You" is straight up and steamy loin-burning soul. Get it.
Review: Having recently delved deep into the Mighty Ryeders catalogue for a double 7" of scintillating, soul-fired gems, the Dynamite Cuts crew continues its fascination with Rodney Matthews' legendary combo. This double A-side treat brings together two killer cuts from the band's 1978 debut album, Help Us Spread The Message, pressing them onto a 7" single for the very first time. A-side "Star Children" is a wonderfully deep and spaced-out affair, with Matthews and company delivering heart-felt, head-in-the-clouds vocal over a deep, laidback groove. "Help Us Spread The Message" is, if anything, even more horizontal, with the Mighty Ryeders effortlessly joining the dots between the folksy bliss of laidback West Coast jazz-rock and undulating sunshine soul.
Review: One of Finnish funk imprint Timmion's most enduring stories; Pratt & Moody and Cold Diamond & Mink's 2017 "Lost Lost Lost" gets an update with Gerald McCauley. Not particularly known for his singing or songwriting (but very much active in other aspects of the industry) the original's raw blues struck a chord so strong in him, he put pen to paper and dulcets to tape to provide a new perspective on the track. The results speak for themselves. There's no wondering here... It's a full blown heartache conclusion.
Review: Short-lived Pennsylvania funk troupe Maxwell might be recognisable from a few cheeky compilation cameos with their "Radiation Funk" track. A cult success in their local charts, it took decades for it too see beyond the Columbia city limits and become a secret weapon for diggers and collectors. Now reissued officially for the first time, it's fronted by the unreleased A-side "Meltdown". Another track written in response to an accident at Three Mile Island nuclear power plant in 1979, it packs a big vocal punch, tight playing, infectious hooks and blasts of percussive funk. This sure ain't no junk.