Tags: Soulful House

Review: We're prepared to argue with anyone on this, but Universal Robot Band's "Barely Breaking Even" is one of the best boogie-era disco records ever made. Its title was also the inspiration for the name of BBE Records, so it seems fitting that the label's 500th release is an all-star re-recording that brings together NYC house hero Louie Vega and original creators Leroy Burgess and Patrick Adams. Vega delivers vocal and instrumental versions of two distinctive passes: a slick, smooth, soulful and string-laden "Boogie Mix" rich in warm electronics and subtle nods towards the early '80s original, and a rolling "NYC House Remix" full of twinkling Fender Rhodes solos and atmospheric chords. As you'd expect, Burgess' re-recorded vocal is superb.

Review: Soul meets speed garage on this new V/A EP from Z Records, blurring the lines between the genres in just the way we like it. The opening track - Grant Nelson's mix of 'Starlight' by Dave & Omar - is a euphoric, piano-laced uplifter which both sonically and lyrically urges us to reach for the sky. That's followed by the DJ Fudge production 'Everything' by Chocolate Fudge Band, featuring lots of live instrumentation and a Curtis Mayfield style vocal, while over on the flip, 'Looking For You' proves to be a deep and bouncy cut filled with soulful Motown vocal chops and an organ workout worthy of any Sunday service, over a beautifully wonky house framework.

Review: What is the crux of the connection between two of dance music's most beloved cities? Dave & Maurissa ask more questions than they answer on London/Detroit, their stellar new soulful deep house LP on Z Records. Formerly known as Joey Negro, Dave Lee is said to have spent the best part of a decade searching for another vocal talent to work with, where an encumbrance of applicants did not made the cut... until Maurissa Rose came along. Notably not by email or "next"-worthy panel judgment, the connection was made via Lee's chance encounter with Maurissa's voice on a Theo Parrish record, after which many an email exchange, .mp3 swap and transatlantic air-shuttling ensued. What emerged was a versatile LP, reflecting the encyclopaedic knowledge of soul and house gone into its making, and the fact that this was the first time that either artist had recorded an entire LP with another across a single dozen-track serving.

Review: Vega Records finally drops this EP from Honeysweet having teased tunes from it on the Vega Records 5 Pack Unreleased III. It's a superb house offering with lashings of soulful groovers, all produced by Josh Milan. First out of the blocks is 'Last Night Changed It All' featuring Lawrence Clark on sax. It's a jam that will pack out the floor but brims with real musicality from the magical Rhodes, picked bass guitar, rhythm guitar and drums. 'Crazy' is a more raw, textured percussive sound but then come plenty more feel-good grooves for sun-kissed dance floors such as 'Being Free.'

Review: Shuya Okino is a DJ, club owner, writer and producer as well as being a part of the Kyoto Jazz Massive, and has been a vital figure in the Japanese club scene for over three decades. He is involved in a wide range of projects from Cosmic Village to Root Soul to Mondo Grosso, but his work with brother Yoshihiro as Kyoto Jazz Massive might be his best. This new album is another standout fusion of synth, broken beat and nu-jazz styles. Some of the tunes are pure dance floor heaters such as the prickly vibes of 'Get Up' while others gaze off to a cosmic future such as the gorgeous synths of 'Visions Of Tomorrow'. Essential.

Review: Reel People Music expands the fizzing dynamic between highly accomplished label associates Opolopo (AKA Peter Major) and Angela Johnson with the release of their brand new album Best of Both Worlds. The nine-track record is an impressive merging of soulful souls, building on the pair's previous 'track-by-track' collaborative approach, and calling on influences from Quincy Jones to The Isley Brothers. From the twizzling decrescendos of Buffalo, which hears the pair summon the bruk maestro Kaidi Tatham on recording and co-prod duties, to the sparkly, sparky whetstone electro-disco track 'The Ones You Love', we really do get the best of both worlds here; we get nine worlds, in fact.

Review: On its initial release on Black Riot five years ago, Amp Fiddler's long-delated comeback album - produced in cahoots with London scene mainstay Andy Williams AKA Yam Who-- Motor City Booty was rightly praised for showcasing the Detroiter's P-funk, boogie and deep house roots. This fifth anniversary reissue on South Street, pressed on blue and yellow vinyl, serves as a reminder of the album's undoubted quality. Fiddler's soulful vocals and dusty keys provide the sonic glue that holds everything together, with the plentiful highlights including the two-part, Dames Brown-sporting Motown soul tribute 'Soul Fly', the squelchy, gospel-tinged P-funk house brilliance of '1960 What?' (featuring the London House Cats Choir) and the hazy, head-nodding electronic soul brilliance of 'Send a Message To Me').

Review: Funk, soul and house music cognoscente Dave Lee spent the best part of two decades trying to find the ideal vocalist with whom to work on a full-length LP. Only lately did he chance upon the glabrous tones of Maurissa Rose on a Theo Parrish record, 'Free Myself', after which the impulse to work with a plucky yet radical-potential singer across an entire album could no longer be ignored. From 'I've Been Here Before' to 'Look At The Stars' to 'Do You Believe', this international communication in soulful house shimmies through uptempo boogie flavours and lower-slung street soul, and is best described as a career-defining milestone, polarising two talents as reps of two of dance music's most a-musing cities.

Review: Electro-disco bordering on future funk from Kokoro Disco San, the Barcelona trio behind the excellent 'Isla Fantasia' released a few years back. On the A-side comes 'The Brightest Light', corralling enchanting female vocals (those of Brigitte Emaga) on a driving, French-house reminiscent accompaniment, amount to a watery poolside bounce. The B-side's 'Mistura Magica', meanwhile, is skewed to be more organic and comes as an impactful but relaxed foray through tropical futurisms and technicolour flute soarings by Irene Reig.