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Review: So far, Floating Points' reissue-focused Melodies International label has barely put a foot wrong. Buku Pendidikan Pancasila Pdf Writer. As you'd expect given his crate-digging credentials, each chosen release has not only been obscure or hard to find, but also exceptionally good. Predictably, this one is, too. Gloria Jay's 1977 single 'Know What You Want' is a heartfelt chunk of saccharine soul featuring some particularly good jazz-funk style solos.

Speaking of jazz-funk, this influence comes through further on the slightly more disco-minded, dancefloor-friendly flipside, 'I'm Gonna Make It', whose jangling piano riffs and goodtime groove are almost impossible to resist. As ever with Melodies International, the packaging - which includes a foldout poster tucked into the sleeve - is also superb. Review: Soon, Bristol beat-maker Boca 45 will celebrate 20 years in the game with a compilation on Bomb Strikes entitled Bombs From The Vaults. This typically floor friendly 7' is described by the label as a 'companion piece' and contains two sticks of bona fide dancefloor dynamite.

On the A-side, the cider-loving producer joins forces with West Country band Mohawkestra, cutting up recordings of the funk outfit in action with emphasis on the combo's DJ-friendly breakbeats. On the flip, Regular Boca 45 collaborator Kelvin Swaby takes to the mic, delivering a gravelly funk-rock vocal that perfectly compliments the producer's killer manipulations of an old dancefloor anthem. Review: When it comes to shining a light on obscure regional disco and boogie scenes, the crate diggers behind Cultures of Soul are rarely beaten. Their latest killer compilation gathers together little known boogie, electrofunk and J-pop released in Japan between 1981 and 1988. It's predictably brilliant from start to finish, with the squelchy synth bounce and bi-lingual vocals of Hitomi Tohyama's 'Wanna Kiss' and the mid-'80s Madonna vibes of Kaoru Akimoti's 'Dress Down' amongst the highlights.

What's perhaps most impressive is the comparative quality of the tunes; aside from Japanese language vocals, most sound like they could have been recorded and released by New York or Los Angeles-based artists, rather than Tokyo ones. As the old cliche goes, this is 'all killer, no filler'. Review: For Mukatsuku's latest dinked 7' single, label boss Nik Weston has taken a deep dive into the vast back catalogue of Discos Fuentes, Columbia's oldest record label (it was founded in 1934, fact fans). On the A-side you'll find 'A La Memoria Del Muerto' by long serving salsa outfit Fruko Y Suis Tesos, a typically jaunty, dusty and celebratory workout that was originally released on a now hard-to-find 7' single sometime in the early 1970s. Over on the B-side, Weston takes us on a trip to the early days of Cumbia via El Combo Los Galleros's brilliant 1963 album cut 'Soledad', which still sounds heavy, punchy and intoxicating 44 years after it was recorded, and has been a staple in the bags of top selectors such as Hunee, Red Greg, Kai Alce, Dom Servini and in the current DJ chart of Craig Charles from BBC 6! Review: To date, each volume in Africa Seven's thrilling Africa Airways compilation series has been little less than essential.

It goes without saying that this fourth instalment is also exceptionally good. Whereas previous volumes have focused on Afro-funk and 'Afro-psych' (think Sly Stone, Nigerian style), this set drills down into African disco-funk released between 1976 and '83. Highlights come thick and fast throughout, from the solo-laden, slap bass-boasting bounce of Tala AM's 'Get Up Tchamassi' and Charly Kingson's squelchy, synth-laden Blaxploitation number 'Nimele Bolo', to the righteous, piano-driven thrills of Kemayo and K-System's brilliant 'Biram' and the superior boogie business of Jake Sollo's 'Tinini Yasana'.

Review: Soon, DJ Harvey will release The Sound of Mercury Rising, a compilation themed around some of the music championed at his summer residency at Pikes Hotel, Ibiza. This four-track taster 12' not only acts as a sampler for the CD version, but also offers the chance to own four excellent and hard-to-find gems. You'll struggle to find a more Balearic disco cut than Danish outfit Tore's 1979 killer 'She's a Lady' - think the Bee-Gees with Flamenco guitars - while Elkin & Nelson's 'Abran Paso - Aboa (Enrole)' is a spiraling chunk of flamenco-psychedelia fusion. Elsewhere, Van McCoy & Soul City Symphony's 'Spanish Boogie' is a jaunty disco number full of crunchy Clavinet lines and rising horn lines, while Tony Esposito's 'Danza Dell'Acqua' is as eccentric and wide-eyed as they come. Review: Just 300 copies of this tasty, club-ready 7' single from the Soopastole Edits stable exist, so you'll have to move fast to secure a copy. As usual, Jalepeno Records' regular Soopasoul is at the control, using his trusty scalpel to deliver two hot-to-trot interpretations of a lesser-known cut from the 'Sex Machine' sessions.

On side A, you'll find 'Shake Your Money Maker (Part 1)', where Maceo Parker's killer saxophone solos rise above Soopasoul's slightly tightened up version of the JB's killer groove. Flip to the B-side for more sax solos and a groove that mines some of the original track's more percussive sections for hip-swinging, toe-tapping thrills. Review: This tasty 7' from the reliable Mukatsuku label sees 2 killer funk treats for the dancefloor.

On the A-side there's a handy re-edit of Bahamian combo Biosis Now's ludicrously rare 'Independent Bahamas', a righteous call for self-governance backed with a wonderfully fuzzy and full-throttle tropical funk groove. A copy recently for $700 on ebay for the very first time of the original 45. On the flipside we find 'Tumba Safari' taken from the recent Oriki compilation, a suitably heavy chunk of Ivory Coast afro-funk from long forgotten outfit Afro Train. Weston's version naturally emphasizes the drum breaks, heavy horns and razor-sharp guitars, in the process tightening it up for contemporary club play.As played by Hunee,Red Greg,DJ Logic and Nicola Conte Read more. Review: This tasty, DJ-friendly 7' single boasts two extended, break-heavy reworks of obscure and in-demand soul workouts. On the A-side you'll find a tasty extension of Melvin Bliss's superb, piano-heavy 1983 cut 'Synthetic Substitution'. While Bliss's brilliant original - all heartfelt vocals, jaunty keys and warm bass - is largely kept in tact, the mystery re-editor naturally makes more of the opening breakbeat, which was sampled several times during hip-hop's 'golden era'.

Flip for a similarly tasty rearrangement of Sweet Daddy Floyd's 1978 Blaxploitation style disco-funk shuffler 'I Just Can't Help Myself', a cut rich in rolling breaks, densely layered percussion, punchy orchestration and 'Shaft'-style guitar licks. Review: Chicago eight-piece Hypnotic Brass Ensemble return with their first album in the best part of 10 years. Maturing with age, experience and decoration, they're even more rich, measured and magic than ever before. Our souls are arrested from the moment the slow spell-binding arpeggio of 'Lead The Way' ignites the smouldering journey and the dreamy drama doesn't let up until the final whirling synth echoes of the finale track 'Royalty'. Highlights include the yearning trumpets and pensive plucks of 'Midnight', the insistency and pace of 'Heaven & Earth' and the playful swooning signature switches on 'Now'. Once again, a truly singular trip from the Cohran brothers. Review: There are few bigger breakers anthems than the Jimmy Castor Bunch's 'It's Just Begun'.

One of the foundation records on which the early hip-hop scene was built, it remains one of the heaviest funk records of all time. Here, scalpel-wielding producer Soopasoul serves up a 7' containing versions of both the lesser-known 1970 single version and the more familiar '72 album cut. You'll find the former, an undeniably fuzzier and arguably heavier version, subtly rearranged on the A-side, with Soopasoul naturally giving extra prominence to the drum breaks while retaining the little-heard middle eight. His edit of the1972 version strips out a lot of the vocals, instead focusing on the band's killer instrumentation.

Review: Happy birthday to party-starting, funk-fuelled record label Resense, which put out its first 7' single 10 years ago. To kick off a new decade, they've enlisted the services of regular contributor Andy Taylor. He begins with the percussion-rich bounce of 'Kitschy Jungle', where original Afro-funk vocals and instrumentation ride a jaunty tropical rhythm track. It's tastefully done, with Taylor's tasty new beats working well with the dusty, sampled elements. Over on the flipside, he opts for a more straightforward Afro-funk feel, lacing punchy horns and reverb-laden flute lines atop a killer funk break and heavily compressed bassline. File under: 'dancefloor fire'.

Review: Two stonking reggae disco/soul cover versions with oodles of cross over appeal for a variety of dancefloors licensed from the catalogue of Bushays music. Everyone loves a decent cover version right? Sit still to these beauties and you are tied to your chair.Comes in exclusive Juno packaging, hand stamped in Kraft paper inner sleeve plus branded card sleeve with free sticker. In the DJ box of Mr Scruff,Red Greg, Hugo from Sofrito,Dom Servini, Barry Ashworth (Dub Pistols), Scrimshire, Jose Padilla,Peter Croce & Marc Hype. Review: If online chatter is to be believed, this tasty 7' from Floating Points' Melodies label is one of the most keenly anticipated disco releases of the year.

For starters, the A-side boasts an obscure (but in demand) solo production from Manhattan Transfer keyboardist Yaron Gershovsky. 'Disco Baby' is a prime chunk of jaunty, jazz-funk influenced disco-funk, the keyboardist's own jammed-out riffs and solos taking pride of place in the mix alongside punchy horns and a lolloping groove. Arguably even better, though, is Floating Points and Red Greg's flipside re-edit, which plays around with the original version's all-too-short drum break before letting the synths, keys and horns really sparkle. Review: Jalapeno jive maestro Soupasoul has been a busy funkateer this year. Not least with this impeccable edit series. Subtly resculpting funk standards and forgotten classics with full emphasis on the breaks they blessed us with, every single '45 has been a dancefloor riot. Not least this jam hot take on 'Give It Up' and 'Rock Steady'.

The former is full focus on the tight horn Q&A and those classic jazzy swoons on the chorus while the latter is all about Aretha's gutsy vocals and that killer breakbeat. Only 250 copies pressed. Review: Crown Ruler Records co-founder Jeremy Spellacey is highly regarded within the crate-digging community, primarily for his ability to sniff out copies of obscure - but, naturally, high quality - boogie-era disco records from Africa and the Caribbean. On this fine compilation, Spacetalk has offered the New Zealander the opportunity to showcase some of those finds, alongside a smattering of better-known favourites and more recent cuts (see Mike Fabulous's overlooked modern boogie gem 'Wang East').

Predictably, Spellacey has delivered the goods, serving up humid, exotic and loved-up gems galore, including the fluttering brilliance of Stimela's 'I Love You', the marimba-laden Balearic boogie of Feladey's 'Forest Music' and Devon Russell's impeccable reggae-soul cover of Curtis Mayfield's 'Move on Up'. Review: The Allergies' debut album introduced the world to the way they effortlessly fuse funk, soul, disco, hip-hop and breaks into dancefloor-ready nuggets of ear candy. Taking classic sounds and reshaping them for the modern age is the signature that won them plaudits across the globe.

Not ones to rest on their laurels, it hasn't taken long for them to deliver more of the goods on their second full-length album. As well as taking the successful formula of the first record and expanding on their sound, the band enlisted two giants of underground hip-hop to bless mics on the album as well.

After a hugely successful collaboration on their debut LP, once again the dynamic lyricism and production skills of the inimitable Andy Cooper (Ugly Duckling) are present and correct in this new collection. Review: Rewind to 1975, Brazilian supergroup Azymuth hit their richest creative vein with this self-titled full-length. Just as the band remain so themselves, this is still hugely relevant and ridiculously on-point considering it's 40 years on the clock. Proof can be found on every track from the sedative harmonic charms of the opener 'Linha Do Horizonte', the raw slap bass funk, velvet keys and soaring synths on 'Seems Like This' and the frenetic, almost techy mentality of 'Wait For My Turn'. An essential addition to any collection, this would have blown minds to pieces back in 1975. Review: For those of a certain age, Gwen McRae's 'All This Love That I'm Givin' will always evoke memories of Cassius' French Touch classic 'Feeling For You', which sampled it heavily.

It remains a killer record in its' own right, though, as this timely reissue proves. Biotechnology A Laboratory Skills Course Teacher Edition. Originally released in 1979, it sees McRae at her powerful best, delivering a potent message to an errant lover over a killer, low-slung disco-funk groove. It's one of the tracks that should really be in any discerning funk, soul or disco DJ's collection.

Flip for original B-side 'Maybe I'll Find Somebody New', a breezier chunk of laidback soul with a slightly Southern lilt. It's good, but pales into insignificance compared to the brilliant 'A' side.

Review: The latest limited 7' single from the Beats & Breaks camp features subtle, DJ-friendly edits of two break-diggin' favourites. On the A-side, Juice's 1976 jazz-funk B-side 'Catch a Groove' gets tweaked and extended, with lengthier passages of drum breaks at the beginning and end, as well as a sizeable percussion workout midway through. Turn to the flip for a similarly minded treat of Fuzzy Haskins' album-only cut 'The Fuz & The Dog', where jazzy guitar licks and riotous horns buzz around a heavy, Blaxploitation-inspired funk groove. While less well known than the A-side, it's arguably the stronger of the two tracks; certainly, its extended percussive break is particularly suitable for hip-hop style doubling up. Review: Habibi Funk has subtitled this tasty label compilation 'an eclectic selection of music from the Arab world'.

It's an apt description, because the double vinyl set is little less than a whistle-stop tour of killer cuts from North Africa and the Middle East. Amongst the dirty and driving Morccoan funk (see Fadoul's righteously heavy opener), Arabic rock and roll (the Beatles-in-Timbukto flex of Jalil Bellis), Lebanese disco, Sudanese throw-downs and Algerian floor-burners, you'll find a quintet of previously unreleased tracks discovered during the label's extensive vault-digging explorations around the Arabic world. We can think of few finer introductions to vintage Arabic dance music, to be honest, and would heartily recommend it.

Review: By the time he recorded Gail, Michel Sardaby was already an established player on the European jazz scene. The Martinique-born pianist had made a string of memorable guest appearances and released two well-regarded albums before he set foot in Media Sound Studio in New York City in February '75. The resultant set, recorded with local jazz and funk musicians, has long been an in-demand record on both the jazz and jazz-funk scenes.

The tracks touch on both, as well as contemporaneous modal jazz. While bassist Richard Davis and drummer Billy Hart play their part, it's Sardaby who is the real star, delivering a thrilling range of riffs and solos on piano and Fender Rhodes.

Review: Sounds like it came out of Lagos in 1971, actually written and recorded in Lyon in 2015: Voilaaa is the brainchild of Bruno Hovart whose long relationship with Favorite goes way back to his days as Patchworks, Mr President and The Dynamics. Recording on a whole host of vintage machines and calling upon local African singers both cuts have a real authentic sense of realness; 'Spies Are Watching Me' drives with big horns and swooning strings which isn't dissimilar to the work of The Movers, while the TY Boys-esque 'Le Disco Des Capitales' is a heavier, more concentrated slab of floor-minded disco where the groove takes more of a forefront role. Apparently there's a whole album of this cooking.

We can't wait to hear it. Review: In recent times, crate-digging hero Andy Smith has turned his attention to the world of disco and boogie, showcasing the depth of his collection as part of the Reach Up collective.

It seems fitting, then, that his latest compilation - a triple-vinyl epic - should explore the disco and electrofunk gems lurking in his vast vault of records. There are a few well-known gems (Disco Dub Band, World Premiere, Freedom and Sure Thing's modern electrofunk anthem 'Holding Me Tight', for starters), but far more overlooked or slept-on gems (Advance's boogie killer 'Take Me To The Top' and Jimmy Bo Horne's 'Is It In' being great examples).

The collection also boasts a couple of tasty re-edits, including an unheard one by Smith and pal Nick Halkes of Jimmy Ross's Paradise Garage anthem 'First True Love Affair'. Review: Now Again Records has described this retrospective of Timothy McNealy's previously unheralded career as 'the greatest never-issued Texas funk LP'. The musician's short-lived career involved self-releasing a number of 45s on his private press Shawn Records imprint, the best-known of which is deep funk classic 'Sagittarius Black'.

Funky Movement gathers together tracks from these sought-after singles for the first time in an attempt to celebrate McNealy's hitherto overlooked contribution to the Southern funk sound. It has the feel of an essential purchase for heavy funk fans, with McNealy's killer, psychedelic-era, fuzz-fuelled songs and instrumentals being accompanied by a booklet that tells the previously untold story of a hidden Texan funk pioneer. Review: Funkshone are Mike Bandoni (former Acid Jazz/Ninebar Records musician and producer) and some of the UK's finest session musicians.

This debut single 'Purification' Parts 1 and 2 sees Mike playing every instrument, bar the brass, which was laid down courtesy of Andy Ross and Ralph Lamb (Easy Access Orchestra/Roots Manuva), and gives this tune its anthem-like feel. Don't be surprised if you find yourself humming or whistling the main horn-line after a couple of spins - it's infectious! One of the most noted aspects about this record is the sound.

Authenticity is dear to the heart of Funkshone, and this is evident when the needle drops on this heavy-weight funk dance-floor smash, as the listener is taken back to the 1960s. Another attractive feature for many a battle/scratch DJ are the breaks. Both sides of this 45 are riddled with clear, crisp and downright enormous drum breaks that will leave any Purdie, Idris or Clyde Stubblefield fans more than satisfied. Review: Another month, another freshly minted re-edit imprint. This one comes from Italy and appears to be the work of upstart editors Lego Edit and Bio. Fans of bossa revivalist Nicola Conte should enjoy A-side 'Yeah Rhythm (Lego Jazz 4AM)', which brilliantly blends elements from a dusty bossa classic with what appear to be horns, vocals and other choice samples from a Fela Kuti classic.

It's an interesting idea, brilliantly executed. On the flipside you'll find 'Yeah Alright', a more traditional re-edit of the same source material with a few extra horn stabs here and there to keep the dancefloor bubbling. Review: Two powerful soul sessions from Alice Clark's eponymous debut 1972 album. 'Don't You Care' is a hard-hitting soul standard (that became very popular in acid jazz scene in the early 90s) where Alice opens her heart for all to see while her incredible band ebb and flow with Clark's emotions. 'Never Did I Stop Loving You', meanwhile, languishes in sentiment at a slightly lower tempo that allows her to really dig deep for those low notes. The real fun happens as we reach momentum towards the end and every band member brings out their A-game and bounces off each other - backing up Alice every step of the way.

You will care about this.

For this Studio One release we return to the roots of Reggae music-The Soundsystem. Throughout the late 1950s and 1960s Soundsystems played throughout the city of Kingston, Jamaica. As well as Sir Coxsone's Downbeat Soundsystem other famous Soundsystem operators included Duke Reid (the Trojan), Prince Buster, Tom the Great and King Edwards. These Soundystems were the birthplace of much of Jamaica's musical culture ­ Soundclashes, Dancehall and the idea of the Toaster who sang over records- theDJ. As ever Clement 'Sir Coxsone' Dodd led the field and so for this release the focus is on DJ's at Studio One and features legendary toasters such as Denis Alcapone, Dillinger and Prince Far I as well as a host of rare material by lesser known artists.

Also included is Count Machuki ­ the original DJ- the first man ever to speak over the mic-at Sir Coxsone¹s Downbeat Sound System- from where it all began. As Steve Barrow (author of The Rough Guide to Reggae/Blood and Fire Records) writes in the sleevenotes, Jamaican deejay music is the source for all Rap music: From Count Machuki talking over records on Sir Coxsone's legendary Downbeat Sound System this style would eventually travel to America when the Jamaican-born Kool Herc began playing at Block parties (a version of the Kingston Soundsystem parties) in the Bronx. Cutting up rare-groove classics for the first B-Boys to rap over, Hip-Hop was born and theDJ music that had started on the early Soundsystems of Kingston would go on to conquer the world! Studio One Records is the original Jamaican record label. Studio One Records started the career of hundreds of Jamaican artists from Bob Marley to The Skatalites, from Horace Andy to The Heptones. Studio One DJs (compiled by Mark Ainley) is the next in the series of releases where Soul Jazz Records are showcasing the music of Studio One, the label that literally defines Reggae.