MAGIC MIX

funk . soul . jazz . free jazz . broken beat

WEEK STARTING 19 Oct

Genre pick of the week Cover of Home Is Where The Hatred Is / I've Never Found A Man by Esther Phillips.

Esther Phillips

Home Is Where The Hatred Is / I've Never Found A Man

Firstly, Esther’s cover of Gil Scott-Heron’s timeless masterpiece ‘Home Is Where The Hatred Is’. A haunting tale of addiction filled with the rawest of emotions, that can only truly be covered by someone who has fought that same battle with dependency. The pain in Esther’s voice completely conveys this vulnerability and does Gill Scott Heron’s original total justice. Heart-wrenching and completely absorbing in its honesty, it’s a sincere portrayal of the demons both artist’s faced in their lives.

On the B side, an adaptation of Eddie Floyd’s ‘I've Never Found A Girl (To Love Me Like You Do)’. Phillips’ trademark soulful tones suit this sweet serenade so well, with the passion oozing from every word she sings. Sit back, relax and prepare to have your heart melted all over again.

STAFF COMMENTS

Sil says: Two Esther Phillips grand classics. One on each side. Essential staple record for any DJ and music lover out there. I am getting one!

79.5

Boy Don't Be Afraid/I Stay, You Stay

With the announcement of their long awaited, highly anticipated debut full length release, 79.5 drops a new and revamped version of their underground classic Boy Don’t Be Afraid. Producer Leon Michels took it back in the studio and made it into a proper two stepper, slowed it down a touch, and added percussion and Wurly. The result is another sure shot side for the dance floor from one of New York City’s most adored underground acts. Like many of the girl group classics, Boy Don't Be Afraid is a song about love. But beyond that, it is a song about being—being hopeful, being romantic, being brave.

A romantic stance and a declaration of love through melody. The B Side, I Stay, You Stay is a beautiful number about meeting in the middle and a testament to a woman’s intuition. A love song starting in hesitation, walking through admiration, and ending in certainty and gratitude. The ladies weave this tale trading leads and combining voices seamlessly over the band’s signature in the pocket drums and bass, rhodes chords, and flute flourishes. I Stay, You Stay is a perfect example of one of the defining things about 79.5 and why they are known as the “Mid Tempo Maidens”, as the lyrics reflect “they don’t have to rush, they have lots of time”. 

What do you get when you combine the best hip-hop producer in Boston with one of the best upcoming lyricists in NY? "Well Done". In the style of classic producer & MC albums, Statik & Bronson deliver intricate rhymes and head-nodding beats on this noteworthy release. Coming straight out of Flushing, Queens, NYC, Action Bronson personifies the golden era of East Coast, New York hip-hop. Repping Boston, New York & New Hampshire Statik Selektah is known as the 'east coast boom bap ambassador' and holds down weekly radio slots on Eminem's Shade 45. He has produced & worked with Nas, Joey Bada$$, 2 Chainz, Mac Miller, 50 Cent, Jadakiss, John Legend, Wale, Bun B & many more. Check out "Well Done” and get reminded of how good rap used to sound.

STAFF COMMENTS

Matt says: After working with Freddie Gibbs earlier in the year (and delivering one of my albums of the year...) I was truly excited to see what fruits a Statik Selektah and Action Bronson collaboration would yield... I wasn't disappointed: a sprawling double LP full of the wry New Yorker's wit and dry explicit humour combined with that familiar, all-important old skool BOOM BAP from one of the best beatsmiths on the planet. Essential hip-hop record!

FORMAT INFORMATION

2xColoured LP Info: Red vinyl double LP

Ador / Gerald Wilson & His Orchestra

Let It All Hang Out / California Soul

There's always a party on the cards when a new 5 Borough Breaks drops, and this latest addition is no exception. The A-side hits us with "Let It All Hang Out" from two-hit wonder A.D.O.R., who teamed up with school friend Pete Rock for this fierce 1992 hit. As infectious as it gets, the track sees Pete Rock in peerless form, slicing a classic horn loop into infinity and working the mixer into a frenzy. Stone cold classic. On the flip we get the OG sample source a smooth and summery jazz version of KFC classic "California Soul" as recorded by the Gerals Wilson Orchestra. Vibes 4 dayz!

Dusty archives, the backrooms of record stores, private reel to reel stashes, master tapes - these are the environs of the Dynamic Range experience.
Dynamic Range is a new label focused on unearthing deep Soul, Funk and Disco jams that continue to resonate with todays dancers and DJ's. Time spent scouring the bowels of the majors and independents has unsurprisingly resulted in numerous gems being added to the DR wants list. High quality, fully licensed reissues are the order of the day, always taken from the correct master source and re-presented to hungry record heads the world over. To repeat, this is a fully legit operation - Avoid the sharks at all costs!

For their second release they treat us to one of the finest moments in George Benson's catalogue, the Theo-approved "The World Is A Ghetto". His 1977 version of the classic 'The World Is A Ghetto' features beautiful string-laden production and of course, Benson's languid guitar playing that graces the wonderful Claus Ogerman arrangements effortlessly. As well as being an underground disco classic, this amazing groove has been sampled by numerous contemporary producers, most notable Moodymann, Kanye West, Bob Sinclair and many more, a testament to the lush production and soul contained within the grooves of this classic. This repress is programmed exactly like the '77 disco promo 12" that record pool members and DJ's would have received and due to licensing constraints it features the same 9 minute 41 second mix on both sides.


STAFF COMMENTS

Patrick says: Soothing, swooning, soulful and sublime, George Benson's "The World Is A Ghetto" is arguably the finest disco soul cut around, and absolutely slays a dance floor. This 12" press is cut loud and proud folks.

Neneh’s new record pointedly asks the question; how do we conduct ourselves in extraordinary times? In an era where the signal-to-noise ratio is more uneven than ever, what are the measures we must take to retain and remember our own personhood? It searches for answers, patiently and with great care, and with a fearlessness to acknowledge that sometimes the answers don't even exist. It’s a record that’s equal parts angry, thoughtful, melancholy, and emboldening, as Cherry and her collaborators continue to expand her ever-widening sonic palette to craft truly singular and potent music.

Work on Broken Politics began as touring wound down behind Cherry's previous full-length, 2014's Blank Project, and she felt a drive to continue creating after collaborating on that record with Kieran Hebden (Four Tet). "That last album was much angrier and forceful, whereas this one is quieter and more reflective," she states. "I haven't always been so good at getting things out so quickly, and it still took a while—but that's okay."

Cherry, writing partner Cameron McVey, and Hebden decamped to Woodstock, New York for a week-long recording session at the Creative Music Studio, a recording space founded by jazz pianist Karl Berger—who, in a stroke of providence, was a band member of Neneh's stepfather and Don Cherry as well as being friends with her mother Moki. "Being in a studio with them was like being in a familiar space. It was easy to reach into myself for the feelings I needed to be in tune with a song—and at night, Cameron and I would have dinner with Ingrid and Karl and they'd tell stories about my father. There were deep threads."

"It was one of the best writing periods I've had in a really long time," Cherry continues while discussing the creative process behind Broken Politics. "I got out of the waiting room and into the inner sanctum.”

"I'm very shy about taking on big themes with the airs that I've got a solution—who has the fucking solutions?" Cherry admits while talking about the album's title. "I like writing from a personal perspective, and the time we live in is so much about finding your own voice. People have been left feeling misheard, misunderstood, and disillusioned. What the fuck can I do? Maybe politics starts in your bedroom, or your house—a form of activism, and a responsibility. The album is about all of those things: feeling broken, disappointed, and sad, but having perseverance. It's a fight against the extinction of free thought and spirit."

"I have a name. You have a name. We're not just these faceless mounds you can put in the ground," Cherry proclaims when talking about her worldly vision that seeped into Broken Politics. "We're human beings with lives and stories." Art can often remind us of how it feels to live in the moment, and it can also be instructive in helping understand how to preserve that moment. Broken Politics finds Cherry at her most generous and benevolent towards a world that is often anything but. She puts it best in the chorus of LP track "Fallen Leaves," in her own defiant way: "Just because I'm down/ Don't step all over me.”

STAFF COMMENTS

Barry says: Neneh Cherry's unmistakable vocal style and soulful leanings are harnessed here by the dreamy, otherworldly percussion and electronic momentum of Kieran Hebden (Four Tet) on production duties. His impeccable ear for sonic space only accentuates her flawless songwriting skills, making for a brilliantly listenable and absorbing outing.

Curtis & Dondi

Magic From Your Love / Don't Be Afraid

Curtis & Dondi, brothers by name & nature, epitomise the strength of musical talent that Chicago was nurturing during the late 70's & throughout 80's. The track 'Magic From Your Love' is currently getting played by DJs such as Jeremy Underground and this is the first time it has been widely available.

Fantasy Love Records established as a label in 2018 with a focus on the obscure and danceable sounds of the 80s. The point of the label is to revive the sounds of private/small pressings as well as unreleased tracks from groups who recorded boogie/steppers/disco via carefully illustrated vinyl releases & via digital for both collectors & DJs.

Bristol-based Dakhla Brass are delighted to announce the release of their fourth album Murmur

Murmur follows on from their previous release Gorilla, Gorilla, Gorilla, which gained support from (among others) Jamie Cullum and Gilles Peterson as well as leading to performances at Montreal Jazz Festival, and the Royal Albert Hall

Murmur features a newly expanded drum&brass&bass six-piece line-up (thanks to the addition of Nostalgia 77's Riaan Vosloo on double-bass) and was recorded at London's Fish Factory Studios, and produced by Nostalgia 77's Ben Lamdin.

Dreamcast

Outer Space / Up 2 U

DC's Dreamcast continues to effortlessly flow across 7" wax, following his stellar releases last Summer on PPU ("Liquid Deep") . He goes in again for Future Times, with Max D on production. "Outer Space" is a wistful electro cruiser and "Up 2 U" gives off visions of walking home really early in the morning, confused and happy. This second track in particular sees a different side of the producer - downbeat, sampled jazz licks, sincere vocal and brash breaks harking back to the crate-dug, soulful hip-hop of the late nineties. Still mega tho!

After remixing Lord Echo’s track “The Sweetest Meditation” for Soundway Records in 2017, New Zealand’s Julien Dyne returns to the label with the full album “Teal”, a synth-heavy sonic palette of future-soul and percussive afro-house. Julien Dyne is a multi-instrumentalist with a long and impressive history of collaborative, live and solo musicianship. Best known for his solo work with BBE and having worked with the likes of Theo Parrish, Steve Spacek and Andreya Triana as well as having remixed Marcel Vogel, Ghostwave and Leroy Burgess (alongside Frank Booker) and more - Dyne has also accumulated a number of accolades over the course of a 10-year career including but not exclusive to being hotly tipped by both Moodymann and Gilles Peterson. Dyne’s new project for 2018 is an 11-track LP on Miles Cleret’s extolled Soundway label. Demonstrating a shift in gears and movement toward a more uptempo, Afro-inspired sound “Teal” melds instrumental flair with astute production and a persistent grain of impassioned, effortless soul. Including collaborations with the likes of long term band-mate Ladi6, Fat Freddy’s Drop’s trumpeter Toby Laing, vocalist and Lord Echo collaborator Mara Tk, Australian vocalist Tim Guy plus jazz luminaries Jonathan Crayford and Jon Bell - this is a body of work for the listener and the dancer alike with a mood as fitting for headphones as it is for the floor.

FORMAT INFORMATION

2xLP Info: Cut loud at DJ-friendly 45RPM.

Mosaic is a heavy new three tracker from a band whose reputation exploded this spring with the release of debut album Murmuration.

Lead track Mosaic is full of the warmth of this heatwave-summer, syncopation and groove in abundance. Driving melodic lines and keyboard atmospherics suddenly give way to one of James O'Keefe's most powerful guitar solos to date, wild and psychedelic.

Transcoso brings the band to the downtempo magic that they have become much loved for. Heavily inspired by Azimuth, an hypnotic beat from drummer Jonny Drop eventually builds to a euphoric, almost slow disco climax for the final section.

'Mariposa' is a timely tribute. Debuted at their London album launch this take on the Freeez classic (although the live version in particular) explored a little more of the South London, Brit Funk influences that really drive the band.

Huey Morgan (BBC Radio 6 Music)- Beat of the Week, Record Of The Week and one of the records of the year so far (“All Meat" show), Tony Minvielle (Jazz FM), Shy One (Balamii) Thris Tian (Worldwide FM), Patrick Forge (NTS Radio), Dom Servini (Soho Radio/Netil Radio) Murmuration - Release of the week on Vinyl Factory,

It's clear, from how tight and precise tracks like 'Cannonball' sound, that this is a group of music heads doing what they love. We love it too. Lonely Table

STAFF COMMENTS

Millie says: Moody synthesisers one minute and then upbeat rapid tempos the next! Creating this alluring jazz and cold wave focused album. Original and beautifully done. Love this!

As with many of the greats before him, Amaro began playing piano in church aged 12, under the instruction of his father, leader of the church band. As his natural talents became obvious, the young prodigy quickly outgrew his father’s instruction. The transformative moment came at age 15 when Amaro stumbled across a DVD of Chick Corea concert, “he completely blew my mind, I’d never seen anything like it but I knew that’s what I wanted to do with a piano”. By the age of 22 Amaro was one of the most sought-after musicians in Recife and resident pianist at the legendary jazz bar Mingus. It was during this time he met and begun collaborating with bassist Jean Elton and the pair went in search of a drummer. Hugo Medeiros joined, and the Amaro Freitas Trio was born. Following his critically acclaimed debut album Sangue Negro (black blood), the title of his second release Rasif is a colloquial spelling of Amaro’s home town. A love letter to his native northeast, Amaro explores its traditional rhythms through the jazz idiom, employing complex mathematical patterns reminiscent of some of the most challenging works by fellow Brazilian masters Hermeto Pascoal, Egberto Gismonti and Moacir Santos.
Preferring to see the piano as a though it were a drum with 88 unique tones, Amaro’s intelligence and emotion intertwine on every track, from album opener ‘Dona Eni’: a scorching reconstruction of the baiao rhythmic structure, played in seven measures instead of two, to the serene homage to the coastal reef and its ecosystems on the title track ‘Rasif’. ‘Aurora’ is a suite of three parts, representing the sun’s journey from the light and soft of the rise, to the aggressive dissonance at its midday zenith and descending chromatic cadences as the sun sets. Having already made a name for himself in Brazil, Amaro and his phenomenal band will embark on their first European tour later this year.

Motohiko Hamase

Reminiscence

Righteous expensive: Motohiko Hamase's 1986 album "Reminiscence" scores a decent prize at online vinyl selling platforms and it is worth every coin!

It's a perfect 'refuge from nasty reality', as the glorious British 20jazzfunkgreats blog once said, and it comes from a man that knows his trade: bass play - an artisan on which he also already wrote many theoretical books in his more than four decades long career.

In the 1970's Hamase was no stranger to Tokyo's vibrant jazz scene. Together with jazz pianist Tsuyoshi Yamamoto and jazz-rock guitar-ist Kazumi Watanabe he played in the Isao Suzuki Sextet and was part of their classic landmark jazz-funk album "Ako's Dream" from 1976.

In the following years he also participated on records like Mikio Masuda's latin-funk-jazz gem "Moon Stone" or Japanese female jazz singer, actress, and essayist Minami Yasuda's last album "Moritato". In the early 1980's his work shifted from pure jazz to electronic and ambient spheres and he started to compose his own music around his deeply emotional bass play.

From 1985 to 1993, Hamase released five solo albums. just recently Studio Mule dropped his first one, "Intaglio", in a new recording that sounds as stunning as the original release from 1986.

Now the previously mentioned "Reminiscence", his second work for the celebrated defunct Japanese new age record label Shi Zen, follows in a fresh shape on Studio Mule.

As the original, it features deeply touching moments of sheer pristine perfection and distributes Hamase's inner emotional landscape with a bewitching bass performance. a soothingly beauty of an album, that reflects Hamase's search for spaces of melancholy.

A rhizome of soundscapes that capture, settle and sound elusive while simultaneously being awe-inspiring. As for "Intaglio", the 66-year old artist gathered again some befriended musicians, rented a studio, staged his gear and recorded most of the original "Reminiscence" material new, while keeping the moving musical story arc of the original album alive in a fresh wrapping.

The result is a dazzling, blue mood seething, strongly hypnotic long-player, full of personality and hybrid ambient electronic jazz spheres that open doors to unheard sound universes and that perfectly work for all those stress-relieved souls that love the disclosure of the mind and seek for a 'refuge from nasty reality'.


Kyoto Jazz Sextet

Mission - Inc. Jaxx Madicine Remix

Second 10" release from Kyoto Jazz Sextet as Local Talk continue to mine the band's "Unity" LP for dancefloor hits and suitable remix fodder.

"Mission" undergoes heavy treatment from Milanese trio Jaxx Madicine who roll out funky house flavours full of bolshie piano, wobbly leads and a frenetic MAW-styled drum attack. House music that's vibrant and full of life - still giving those skilled drum solos and jazz flecked passages enough space to shine through the duration.

As per the previous release, "Mission" is included in its original form, spread out across side B in all its glorious detail - a focused and intense workout based around staccato piano lines, dynamic drum section and invigoration chord progressions. Top stuff!


Kyoto Jazz Sextet

Rising - Inc. Ron Trent Remix

House music staple Local Talk present the first of two 10" releases featuring music by Kyoto Jazz Sextet.

"Rising" is taken from their second album "Unity" released on Blue Note in 2017 and follows the deep rooted tradition of the label - rich in expression, improvisation and musicality as they offer sincere updates to the trad jazz cannon. Besides the accomplished original track, for the 12" release here they have included a stunning remix by the legendary Ron Trent.

Delivering one of his meandering, jazz leaning, live-fuelled numbers, big Ron fills the mix with bustling brass, upright bass and a busy rhythm section to create a spiritual house masterpiece packed full of instrumentation - wonderful!


Judy Roberts

Never Was Love

An outstanding Vocal Jazz fusion release for Dynamite cuts. limited edition 7” release 2 masterpieces from Judy Roberts – “Judy Roberts” LP, This was first pressed in 1979 on the Madonna label which was Judy’s own label

Attempting to pigeonhole 79.5 into something as narrow as a single genre would be an ill advised, if not impossible task. The New York City band sounds like someone spinning a radio dial with such passionate intensity that all the stations blend together into a single, transcendent, almost spiritual force. It’s disco to the beat of modern house; it’s a Supremes cover of a Cardi B banger; it’s Roland Kirk playing jazz through one saxophone, funk through another, and the most earwormy pop tune the 1970’s could muster through a third.

It’s an experienceone so effecting that with only a self-released 12” single in circulation, 79.5 had been written up twice in The New Yorker on the merit of their live sets alone. Their debut album Predictions is produced by Leon Michels and was recorded at The Diamond Mine in Queens the old school way, with the whole band playing the songs in one take and captured to analog tape. They released their now classic Terrorize My Heart 45 in 2016 on Big Crown Records and it solidified all the hype surrounding them. The 7” sold through the first pressing in just a few weeks and became a staple in DJ sets around the world getting spins from the likes of Gilles Peterson, Q Tip, Kenny Dope, DJ Spinna, and Just Blaze to name a few.

They announced their debut album via Billboard’s premiere of their newest single "Boy Don’t Be Afraid" which was accurately described as 'energetic and infectious...a unique, yet easy to listen to experience'. Already getting heavy spins at radio and finding it’s way into the hearts of all the listeners, the instant classic "Boy Don’t Be Afraid" is as bandleader Kate Mattison describes, 'a sweet little song about being. Being hopeful, being romantic, being brave. A romantic stance and a declaration of love through melody, in honest girl-group fashion.' 

Widely available for the first time in forty-five years, featuring ‘It’s A New Day’, one of the most sample breaks in history.

Record collectors, producers and crate diggers like a good creation myth, and Skull Snaps’ self-titled ‘debut’ had it all. A mysterious funk trio, who recorded one album under a curious name, housed it in a sleeve that looked more like a proto-metal album, and released it through a label (GSF Records) that folded shortly afterwards? Everything pointed towards the Skull Snaps album as a single totemic object, packaged in a way that predicted its own disinterment almost twenty-five years later.

For those who sampled it, myth maintenance was advantageous, both for their reputations and for their consciences. Likewise, an unsanctioned 1995 reissue on Charley Records removed the credits from the inner sleeve to further sever the record from its context - or perhaps because the label couldn’t quite face using the names of artists they had no intention of paying. Either way, owning the record was a right of passage, as Amir Abdullah once wrote: “If you don’t have Skull Snaps in your collection, your collection is weak.”

Featuring sleeve notes by Anton Spice. Licensed from Sam Culley.

STAFF COMMENTS

Barry says: One of the most legendary funk oddities of all time makes it's way as a fully licensed reissue, full of soulful grooves, heart-warming harmonies and smooth, funk power. An absolutely essential pick-up this one. Get it while you still can.

London's, Latin-Funk / Tropicalia fusion pioneer: Spiteri & music partner Stephen Alpert open up their recordings from the Abbey Road Studios archives (1979) and pass them to Los Charly's Orchestra for a brand new re-processing, connecting the true chemistry of the old school with the current LCO technique, which founders: Juan Laya & Jorge Montiel have been crafting for more than a decade now, inspiring music lovers and producers all around the world.

From the origins of the Ronnie Scott's Latin Jam, to playing at the opening of Amnesia - Ibiza alongside (at the time up and coming talent): Bob Marley..., Spiteri lived it all in an authentic experimental fashion.

A few years later, that Spiteri legacy spread it's roots back in his mother land Venezuela and Latin-America, laying the foundations for a new generation of Latin sounds and fusions where bands of the calibre of Los Amigos Invisibles were to be born.

Los Charly's Orchestra meets Spiteri in order to pay tribute to all those years of creative effort with a new series of Re-works, where the emblematic tracks: Amor & Disco Samba set the scene for an initial chapter.

“Give Me Your Love” by Sylvia Striplin is an iconic album of the early 80s and was first released on Uno Melodic Records, a label belonging to jazz and soul legend Roy Ayers. Sylvia previously sang with Aquarian Dream as lead on “You’re A Star” before joining Roy as a member of the group Eighties Ladies. “Give Me Your Love” is soul, disco, boogie and ‘rare groove’ all in one. This is an album of timeless gems which on both LP and CD has exchanged hands for hundreds of UK Pounds in both original and reissue formats. These are signature tracks from a golden era of music.

Johnnie Taylor

Ain't That Lovin' You / Blues In The Night

Johnnie Taylor is revered as one of the all time great Soul singers. He replaced Sam Cooke as the lead singer of the Soul Stirrers and started recording as a solo artist in the early 60’s. In 1966 he signed to Stax records where he recorded these two in demand exciting Raw Soul gems. “Ain’t That Loving You” from 1966 is a fantastic two step mid tempo ballad and has been an in demand cut for many years, original UK copies now sell for up to £100. It is the original version of the track later recorded by Luther Ingram, Alton Ellis, Dennis Brown and others. “Blues in The Night” from 1967 is an up tempo R&B Dancer popular on the Northern Soul scene which was originally issued on a hard to find French EP which also sells for over £100. These two great tracks are paired together on a 45 for the first time with a specially designed label which reflects their 60s origins. This single is sure to be snapped up by DJ’s and collectors.

Bubbha Thomas & The Lightmen

Country Fried Chicken

    Drummer, bandleader and activist Bubbha Thomas had toured America with R&B revues, served as a session musician for Peacock and Back Beat Records, and played straight ahead jazz with legends before the political and social upheaval of the late 1960s led him to a path first charted by Coltrane. Country Fried Chicken, his fourth LP with his Lightmen band is his most accessible, a mixture of funk and spiritual jazz. Contains second disc with bonus tracks: alternate, synth-lead mixes of songs from his first two LPs as well as rare and unreleased disco and boogie tracks. Extensive booklet, download card for WAV files and footage of live performances included. 

    Aby Vulliamy

    Spin Cycle

      Yorkshire composer & musician Aby Vulliamy is a multi-instrumentalist (she sings and plays viola, piano, accordion, musical saw, flute, etc.) whose first serious forays into recording and performing in 2005/6 were with Scatter (with Alex Neilson of Trembling Bells), The One Ensemble (Daniel Padden) and Nalle (Hanna Tuulikki).

      Since then Aby has shared the stage and/or studio with a brilliant array of musicians from a wide range of genres (including Maggie Nichols and Karen Mantler from the jazz/improvisation world, Krautrocker Hans-Joachim Irmler of Faust). Vulliamy's debut album, is an album about love at its most transformative.

      Clarence Wheeler & The Enforcers

      Right On

      Since launching last year, the Dynamite Cuts has delivered a string of killer seven-inch singles featuring sought-after cuts from fantastic old albums and this is another must-have along the same lines. It boasts two tracks from Clarence Wheeler and the Enforcers' 1970 debut album, "Doing What We Wanna Do", neither of which have appeared on a "45" before. You'll find a riotous Hammond funk explosion rich in energetic, break-driven drumming and wild trumpet and organ solos on the B-side, with the similarly sweaty title track nestling on the A. This insatiable number is altogether deeper and looser in feel, with tasty group vocals rising above bustling drums, warm Hammond lines and punchy sax solos.

      Wilkes is the debut full-length release on Leaving Records by experimental / jazz bassist, instrumentalist, and producer Sam Wilkes. Sam Wilkes’ epic emotional debut is a work of genre fusion, made in collaboration with members of the Los Angeles musical community.Mentored by Patrice Rushen, Leon “Ndugu” Chancler; has worked with collaborators including Louis Cole, Sam Gendel, and even Chaka Khan. This stunning release is a sample of jazz at its finest, quiet and understated; this album is a beauty.


      Womack & Womack

      MPB - Missin' Persons Bureau

      Any Melodies International release causes a certain amount of hullabaloo, but their latest disc has had eager customers beating down our door in anticipation. Dedicating their 11th release to both soul and house royalty, the digging crew have licensed a pair of tough to track down Frankie Knuckles remixes of Womack & Womack soul classic M.P.B. Originally appearing on their late 80s "Conscious" LP, "Missing Persons Bureau" is a beautiful slice of modern soul all about a lover running out on you. Though the Womacks were initially apprehensive about the idea of a rework, Island impressario Chris Blackwell won them over and sent the masters to all time house hero Frankie Knuckles, who turned out a pair of pearls. Working his magic for 9 A-side minutes, Frankie splices the club soul of the original into a slow and soulful house groove, flipping our lids with a wondrous SH101 bassline, subtle percussion, bright vamps and a sparing use of the original instrumentation. Spacious and special, this is up there with the legend's Loose Ends remix. If you're peaking already, I suggest you call to mind the pedestrianisation of Norwich City Centre (something to keep the wolf from the door), because the money shot is over on the B-side. A long time Balearic holy grail, Frankie's Folk Version takes some of the 'Hallucinagenic' sound design he brought to "Ain't Nobody", applies it to the Havens's style guitar and vocals, then gradually introduces synth bass, subtle drums and some very familiar piano to create an absolute masterpiece. As good as any of Frankie's productions, and the best moment in the Womack and Womack catalogue, this is total must have tackle.

      STAFF COMMENTS

      Patrick says: Melodies International come through with an ESSENTIAL reissue here, delivering some psychedelic folk splendour courtesy of Frankie Knuckles sublime 'Folk Version' of MPB. Soulful, grooving and folky in a Richie Havens kind of way, this is a must have record for soul fans, house heads and the Balearic crowd.

      FORMAT INFORMATION

      Ltd 12" Info: REPRESS!


      Happy New Music Friday everyone. Loads of great releases out today and we some new banners up too… https://t.co/U3FlW0AnpM
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