Review: Canadian soul and boogie man Goldie Alexander dropped his most well-known hit 'Knocking Down Love' in 1981 on the TGO label. It now lends its name to this longer collection of his work which takes in all the tracks off his one and only studio album - 1983's Fool In Love - as well as various different club and dub mixes of those tunes. It makes for a heartwarming mix of disco, electronic grooves and smoochy soul sounds with Goldie's, well, golden, tones front and centre. A great one to have for more intimate dancefloor moments.
Review: Pam Bowie is still a somewhat rough diamond of the late 60s Chicago soul landscape. Her sole single release came through Aquarius in 1969, and now apparently comes reissued through the reinvigorated label a whopping 50 odd years later. A gutted swill of soul-astalgia, 'Everlasting Love' hears the relatively culturally undocumented Bowie sideline personal greatness and climactic soul joie de vivre, instead offering us listeners a lyrical "shoulder to cry on". The track's singular legacy would be otherwise dwarfed by her labelmate Candace Love weren't it for this reissue.
I'm Somebody Else's Guy (MC Count aka Frederick Linton Rap version - bonus track) (5:46)
Review: Canada's Unidisc has got a bunch of classic disco reissues arriving this summer and they don't get much more classic than Jocelyn Brown's Somebody Else's Guy. Not only is this the name of one of her biggest ever smash hit singles but also of her debut album from 1990. The lead single climbed high in US and UK charts and still soundtracks drunken wedding parties and parochial club nights up and down the land every single weekend. The rest of the tracks on the album are no slouch either, with Jocelyn's belting soul vocals front and centre over plenty of catchy grooves.
Review: After a wild shelf-clearer came by way of a reissue of 'Ordinary Joe' earlier this year, we've now a second Outta Sight reissue of yet another gladly intoned Terry Callier deep cut on our hands. Born and raised in Chicago's Cabrini-Green, Callier came up alongside a generation of soul and jazz innovators but always stood apart. After his debut LP The New Folk Sound fell into obscurity, and his 1968 Cadet single 'Look At Me Now' slipped past unnoticed, he was brought into his mentor Jerry Butler's Songwriters Workshop, a game-changing move. This stirring early statement works in much inner commentary on manhood, stage fright and vital moment seizure - "now my people think I just fake it / I know I do things they don't understand / so I've got to show them I can take it / I've got to show 'em I can be a man" - aches with the strain of double consciousness in a performance society.
Betty Crutcher - "Sleepy People" (Old Chap Alteration) (4:46)
Gwen McCrae - "Move Me Baby" (SanFran Disko Transformation) (4:42)
The Sisters Love - "Give Me Your Love" (Fingerman Remodel) (4:48)
Clydie King - "Punish Me" (Bully Boy Makeover) (2:58)
Review: French funk enthusiasts Act of Sedition return with another killer double 7", this time titled Femmes Fatale and as well as a plain back version, it also lands on translucent orange vinyl. Following a series of sought-after edits, this latest drop delivers four deep-digging disco reworks by a cast of shadowy edit masters. Betty Crutcher's 'Sleepy People (Old Chap Alteration)' opens with moody strings and dusty funk grooves, while Gwen McCrae's 'Move Me Baby (SanFran Disko Transformation)' kicks things up with uplifting soul-disco energy. Fingerman turns The Sisters Love's 'Give Me Your Love' into a load up and widescreen sound that is brilliantly symphonic and Clydie King's 'Punish Me (Bully Boy Makeover)' closes with raw horns and aching vocals.
Betty Crutcher - "Sleepy People" (Old Chap Alteration) (4:46)
Gwen McCrae - "Move Me Baby" (SanFran Disko Transformation) (4:42)
The Sisters Love - "Give Me Your Love" (Fingerman Remodel) (4:48)
Clydie King - "Punish Me" (Bully Boy Makeover) (2:58)
Review: French funk lovers Acts of Sedition love double dropping 7"s, and after several fine outings in the last year comes this latest under the title 'Feemes Fatale.' It features some disco classics reworked by mysterious names, starting with Betty Crutcher's 'Sleepy People (Old Chap Alteration)', which is a swooning sound with strings of lament and funky drums. Gwen McCrae's 'Move Me Baby (SanFran Disko Transformation)' is a more stirring and upbeat sound, The Sisters Love's 'Give Me Your Love (Fingerman Remodel)' is a blissed out and cinematic soul and disco fusion and Clydie King's 'Punish Me (Bully Boy Makeover)' ends with a more raw and guttural soul sound and big horns driving the pain onwards.
Review: Sound Essence has got there rights to a real rare gem from East Germany's early 70s jazz scene here and it features the Horst Kruger Septet. Known as one of the top soul-jazz and beat combos of their time, they recorded two previously unreleased tracks that exemplify their unique sound. 'Ich will die Zeit nicht bereuen' is a standout German-language soul-beat hit with hard-hitting, rocking beats, enhanced by a bold brass section. The second track, 'Sonderbar,' is a soulful jazz sounds with repetitive lyrics and groovy bass topped with guitar, drums and organ. Add in a flute solo and dreamy Hammond outro and you have a real doozy.
Review: When he moved to Germany in the early 1980s, Hudson People's Reg Hudson quickly connected with Johnny Davis - a funk and soul musician who had originally moved to the country in the 1960s while serving in the U.S Army. They recorded a string of tracks and albums together, though only a small number of these recordings were ever released. 'Expand Your Mind', a gorgeous, synth-enhanced, mid-tempo slab of "groove" music (a kind of warmer, more soulful and generally more organic-sounding sub-genre that sat somewhere between boogie and 80s soul), was one of those - though original copies are very hard to come by. This gem sits on side B of this issue, playing second fiddle to the previously unreleased 'Life's a Party' - a slap-bass, piano-solo-sporting slab of rubbery boogie/jazz-funk fusion.
Review: Moscow's premier instrumental outfit the Diasonics return with a limited clear vinyl 7" drawn from their forthcoming second LP Ornithology. The A's 'Oriole' locks into a crisp disco-funk rhythm, combining icy Soviet-era synth motifs with the kind of motorik groove that could've come straight off a 70s Eastern European library session, its minimalist melody mimicking the oriole's call while nodding to the Moscow commuter train of the same name. Flip it for 'Chickadee', all break-heavy thump, plucky bass and streetwise swagger straight from early 80s NYC.
Alton Ellis & Slim Smith - "Sho-Be-Do-Be-Do (I Love You)" (2:55)
Alton Ellis - "Be True" (2:41)
Review: This reissue brings a fascinating piece of reggae history back to the light, showcasing a unique collaboration between Alton Ellis and Slim Smith. Recorded in 1971 at Chalk Farm Studios, this 7-inch single captures a moment of creative exploration and cross-cultural fusion. Side A features 'Sho-Be-Do-Be-Do (I Love You)', a mid-tempo soul duet where their voices intertwine in a display of effortless harmony and heartfelt emotion. Their performance blends soulful melodies with a distinctly Jamaican rhythmic sensibility. On the flip, Ellis takes the lead with 'Be True', a reggae-funk infused cut that highlights his versatility. The track is a testament to Ellis' ability to seamlessly blend genres. Originally intended for release on A&M Records, these tracks were part of a larger project spearheaded by producer Stanley Pemberton. This reissue sheds light on this intriguing chapter in reggae history and allows listeners to appreciate the artistry of Ellis and Smith in a new light. Their collaboration is a testament to their vocal prowess and their ability to create music that transcends cultural boundaries.
Heartbeat (club mix - Muro Diguma club edit version) (4:54)
Heartbeat (club mix - Muro Diguma party edit version) (3:55)
Review: If you had to make a list of the top 10 Paradise Garage classics, Taana Gardner's pitched-down, Larry Levan-mixed "Heartbeat" would come somewhere near the top of the list. Here the slow disco classic gets the re-edit treatment courtesy of Japanese DJ/producer Diguma (aka MURO ) on a tidy 7" single. First up on side A is the "Club Edit", a multi-track revision (we think) that cannily layers Gardner's vocals and the key synth parts over the original version's killer groove. The flipside "Party Edit" strips back the vocal to just a few key phrases, focusing instead on showcasing various instrument solos buried in Levan's epic original mix.Very limited and likely Juno is one of the few stores outside of Japan to stock this 45
Review: For Fourth Wave Record Factory, MURO has put together a couple of new and exclusive 7" releases that feature two classic Japanese AOR tracks by artists who very much played a part in defining the sound. Firstly, Ginji Ito's smooth and soulful 'Heart and Soul,' originally from his tenth album, shines with mellow mid-tempo vibes and glossy vocals and melodies. On the flip side is 'Uwaki na Kare,' a beloved cover of a classic US disco track from Ritsuko Kazemi's third album that comes correct with a catchy, laid-back Saturday love groove. This release marks the first time these iconic songs have been pressed on 7".
Review: The late king of pop sees his most defining album - and the best-selling album of all time - reissued once more. It's got everything you could possibly want: 'Beat It', 'Thriller', 'Billie Jean'... on its 40th Anniversary, this one gets a repress by our friends over at Mobile Fidelity Sound Lab, who have endeavoured to make this version perhaps the best-sounding to ever be set to wax. Of course, the legacies of kings must be preserved in the best format possible, even if their own waking lives lead them to ruin...
Review: Originally released in 1985 on Jo & Neville Carnegie's Brixton-based Dove Records, the wonderful 'Flying' returns on 12" and has been cut from the original master tape so could not sound better. Jo wrote the track while imagining the world from above and in an attempt to escape the tensions of war and political unrest. Amid Britain's lovers rock explosion, the song offered a breath of fresh air and truth be told, with so much raw still raging across the world, it still does. "Back in the day, sound systems would string up giant speakers, and that's when the dances were the best," Jo once recalled. This tune revives the spirit of an era when music provided solace and freedom and will help you soar high above the negativity of the times.
Review: Earlier this year, Durand Jones and the Indications delivered one of the revivalist soul albums of 2019: the conscious, politically charged "American Love Call". Their latest "45" boasts one of the album's standout moments, "Morning In America", a weary but impassioned commentary on Trump's United States that features evocative strings, laidback 60s soul grooves and a stunning lead vocal from Durand Jones. It comes backed by previously unheard cut "Cruisin' To The Park", a lusciously sugary, heartfelt and loved-up affair where drummer Aaron Frazer handles lead vocals. Like the A-side, it's a stunning slice of emotion-stirring soul.
Fred Prescott & The Jeff Band - "Come Fly With Me" (3:50)
Review: After an upsized Volume 4 in the series - which last heard a reissue of Golden Flamingo Orchestra's 'The Guardian Angel' and Carol Grimes' 'Uphill Peace Of Mind' respectively - this is one US music crew who, unlike other phonic firms, don't intend ever to stop Messin' About. Named in spirit after a Prince song but in reality focusing on those uncut soul seams for whose exposure most lightweights would need to dig far deeper into the earth to dredge, this latest edition ups the lux on two further formerly receded funk and soul de-lights. First, The Joubert Singers 'Stand On The Word' through hull-rocking callout funk, while Fred Prescott & The Jeff Band deal a snappy blow with 'Come Fly With Me', popularly renowned for the question mark over the date of its recording: 198?.
Review: This reissue of a 2016 neo-r&b album has gained praise from a range of notable musicians, celebrated for its blend of nostalgic and futuristic soul. The album delivers a smooth, body-moving groove, driven by airy, ethereal vocals and excellent drum machine beats. While the vintage-sounding keyboards and effects provide a rich atmosphere, the tracks blend beautifully into one another. Songs like 'The Right One' and 'The Greatest' have their captivating hooks, offering moments of real charm. 'Lovesong' adds a breezy, laid-back touch, while 'Carry On' elevates the production with its deep, melodic atmosphere. The sound is undeniably pleasant and relaxing, evoking the innocent times of the 70s with the best attributes of the softer side of r&b.
Review: J Daisuke Kuroda is one of Japan's celebrated curators of funk and soul in the Far East. He has been digging in the vast and vital vaults of Miami's T.K. Records and come up with this superb 7" reissue for the latest in his much loved "Kickin" series. It takes the form of a first ever single cut from the cult 1971 psychedelic funk album Black Knight by James Knight & The Butlers. They are one of the label's most iconic outfits among many and the super killer funk of 'Fantasy World,' is irresistible while the hauntingly beautiful yet more mellow "Just My Love For You' is on the flip.
Fleur De Cannelle (feat Bernardino Femminielli) (5:23)
Voyager Sans Bouger (4:22)
Au Pianobar De Suzie (feat Master Phil) (4:41)
La Voix De La Sirene (1:55)
Review: Giorgio Lopez makes his debut on Cosmic Romance with a shimmering collection of groove-heavy daydreams billowing between French boogie, Mediterranean funk and 80s yacht pop. 'Sud Des iles' is framed as a sonic journey aboard a fictional sailboat captained by Georges Taty, but beyond the concept lies a sharply crafted suite of eight tracks that shimmer with nostalgia and escapism. Tracks like 'Voyager Sans Bouger' pulse with sun-dappled demeanour, while 'Toujours Distante' leans into ennui and longing. With vocals from Stella, Master Phil, Amanda Roldan and Bernardino Femminielli, plus contributions from a seasoned crew of Berlin and Naples-based musicians, the album foregrounds Lopez's lush keyboard textures and breezy melodic sensibility.
Review: Bossa-jazz-on-the-floor, coming our way via Nova Vida aka. Chris Bangs, whose work over the years with the likes of Mick Talbot and Style Council has won him many an unofficial accolade. Sound-designed to refresh, relax and arouse, 'Each And Every One' and 'Sweet Summer Day' are twin pleasure-philtres. The former is an unmistakable Everything But The Girl cover version, salvaged and reformed from the only lead single to make up their debut album, Eden. The latter is an earned reimagining of Chris Rea's 1998 track 'Sweet Summer Day', with Brazilian samba come house undertones, and a sweetly unbothered, parasol-sheltered lyric, with sung talk of clear blue skies and unfazed days.
Review: Bobby Oroza has spent many years being a vital sideman to many projects in the Finnish music scene. Over the last couple of years he has increasingly stepped out with his own concerns, mostly on the notorious Big Crown label. It is there he returns once more with two more blue eyed soul gems that are utterly ageless. His falsetto voice is the crown jewel on both tunes as it floats by with devastating purity and emotion. On 'I Got Love' the tumbling rhythms and wah wah guitars encourage you to lay back and gaze at the stars. 'Loving Body' then gets even more lovably lazy and louche as it melts your heart.
Review: Chalalala move on. Outta Sight continue their two sides / two legends Atlantic 45 series with this beautiful celebration of The Pointer Sisters and The Drifters. Neither act require an introduction. The famous Oakland all-girl troupe take the lead with "Send Him Back", their sophomore single (that regularly fetches upwards of L100 a copy) it's a bubblegum soul frenzy with all the energy you'd expect from their breakthrough years. The Drifters carries a similar sense of focus and energy with vibrant backing vocals and a sunny side soul touch that will have you bouncing from here to next winter.
You Make Me Feel Right, Think Right, Do Right (3:55)
Can't Do Without You (9:09)
Review: Indianapolis' Rhythm Machine released their sole self-titled album in 1976, marking a rare bridge between late 60s and mid-70s funk eras. Formed by bassist James Boone and guitarist James Brantley from the ashes of cult group The Highlighters, the band delivered a blend of tight, soulful grooves, dynamic horn lines, and a fluid jazz digest. Its vibe flirts with Earth, Wind & Fire's elementalism, but drifts into looser, cosmic territories away from terrestriality, where dreamy synths and shimmering guitars float atop liquefied production. A soprano sax cuts through with a sharp edge: originally a tough find, this reissue from Now Again revives a funky, soulful journey ripe for chill late-night bar spins or for collectors seeking overlooked classiques.
Review: Disco and boogie crate diggers aside, few have heard of Sass single "Much Too Much", which helped launch NYC label 25 West way back in 1982. Props then to Be With for licensing it and offering up this reissue, because it really is a largely overlooked gem. Head first for the A-side full vocal version, where a loved-up male lead vocal rides a slap-bass-heavy groove rich in glassy-eyed chords, D-Train style synth squiggles and unfussy boogie beats. The flipside instrumental version is if anything even deeper and dreamier, with a little more use of the squiggly synth solos (an effect usually created by pressing the keyboard's LFO trigger button, fact fans) and greater emphasis on the tidy slap-bass part.
B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition
Jilltro (1:08)
Do You Remember (4:35)
Exclusively (2:06)
Gettin' In The Way (3:52)
A Long Walk (4:43)
I Think It's Better (1:42)
He Love Me (Lyzel In E Flat) (4:48)
It's Love (5:53)
The Way (4:13)
Honey Molasses (3:03)
Love Rain (3:54)
The Roots (interlude) (0:57)
Slowly Surely (4:23)
One Is The Magic # (3:55)
Watching Me (3:50)
Brotha (3:27)
Show Me (4:07)
Try (3:56)
Love Rain (feat Mos Def - remix) (5:14)
Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***
This album is one of the greatest r&b records ever. That's just a fact. Jill Scott herself has never even managed to surpass what she lay down on this stone-cold classic all the way back in 2002. The production is stylish and warm, seductive and sensual throughout, with jazz, neo soul, funk, r&b and hip hop all carefully infusing each track. The lyrics are empowering as they celebrate blackness and female strength, but also at times witty and playful. It's a go-to date night album for people all over the world and how it missed out on a Grammy for Best Album or Best Vocal Performance when it was first nominated we will never know.
Review: The third full-length from London nine-piece Soul Grenades distils over a decade of performance into slick, high-impact modern funk. Their sound - sharp brass, syncopated rhythm, deep-pocket bass - owes as much to the horn-driven grooves of the Meters as to the tightly orchestrated grit of early 2000s revivalists. But it's the band's songwriting, honed through years of gigging, that carries the weight here. 'Dopamine' is an instant opener, kinetic and bright, while 'Jealousy' draws from vintage soul drama with horn stabs and raw vocal flair. On 'Star Gazin'' and 'Be Mine', they shift into a softer register without losing rhythmic tension. 'Death At The Disco' ups the stakes, laced with cinematic flair, and 'Suga Mama' punches through with high-speed strut. Elsewhere, the slow-burn closer 'A Better Day' leans into gospel-funk catharsis, building tension in restrained waves. Everything is dialled in - arrangements tight, solos concise, vocal harmonies blended without fuss. While earlier records mapped out the group's energy on stage, this one moves with the confidence of a studio band in full control. As far as raw pleasure goes, they've hit the brief.
Review: The farther away we get from the Brit funk scene of the 1980s the more magnificent it seems in retrospect. Just take this 1980s gem from one hit wonder Strike One. 'Can't Touch Me Anymore' has got it all - squelchy synth bass that is always on the move, crashing hits to get the hips going and rousing chords that bring that sunset warmth, all topped off with a steamy vocal. This loving reissue comes backed with a brand new production from the outfit in the form of 'Chicago Sunrise.' It's a jazzy late night pearler with a brilliant bassline and superb chord work. A vital little 7" if you ask us.
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