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Japanese pressing with OBI and insert.

Darondo's low-rider, sweet-soul ballad "Didn't I" is now available for the first time in it's original 7in format. Originally the b-side to his other classic ballad "Listen To My Song", "Didn't I" is undoubtedly the most recognizable and notable song in his amazing catalog, thanks in part to a feature in TV's cult-classic "Breaking Bad".

Limited Edition.

Both tracks are taken from the 1979 LP “Accadde A…….” by Arawak, which is a standout Italian Library recording. Arawak is one of a multitude of pseudonyms that Luciano Simoncini used in his career as a composer for film scores & background music for radio & television in Italy. The album laid virtually unknown until it was heavily sourced by #Madlib in 2000. Original copies fetch near $1.2K, but luckily the LP received a reissued for the first time by Light In The Attic subsidiary Golden Pavilion in 2017.

Both tracks offer up swift jazzy & funky sounds ranging between mellow dreamy moods & wicked addictive drum breaks. Side A’s “Bali” was sampled for “Real Eyes” by #Quasimoto(2000) while Side B’s “Belfast” blends bag-pipes fading in & out under punchy bass & steady drums that will have break takers & beat makers salivating.

After branching off from The Royal Jesters in the mid-'60s, Dimas Garza attempted a solo career and reinvented himself as Dimas III. Dimas recorded three singles on the Jesters' own Clown label - all tracked at Abie Epstein's studio off General McMullen in San Antonio, TX. The first was "So Funny" b/w "I Won't Love You Again," which are almost impossible-to-find records. Garza never did manage to break beyond the Bexar County limits but left a rich legacy of recordings behind for lowrider enthusiasts and obsessed collectors alike.

While Bobby Oroza puts the finishing touches on his next album, he treats us to this killer two-sider to end out 2021 and hold us over until the new record is finished. Bobby's debut album "This Love" made big waves around the world and amassed him a cult following from the US to Japan and everywhere in between. He found big love in the sweet soul scene early, but has since made fans in a myriad of circles and subcultures globally. It has by now become clear that his music is not just one thing, analog soul textured for sure, but also with an array of influences that span far beyond the soul ballad world. It is that inability to really nail down his sound that has become the biggest charm, an esoteric and profound passion permeate the lyrics and vibe of everything about Mr. Oroza. This new 7" shows off two sides of Bobby's song writing, an upbeat number on the "plug" side and a heavy duty ballad on the flip. The A side "The Otherside" is an optimistic tune that Bobby humbly shares his story about the troubles we can create for ourselves and the possibility of having a change of mind that frees us from them. The track is equally encouraging with its sunny energy that carries an important message from Bobby to anyone who is struggling and can't see a way out. The B side "Make Me Believe" is another instant classic for the slowie enthusiasts. A moody, soul bearing, cry for help that comes off with a sweet- ness. The vulnerability makes it romantic while the heavy backing track brings it that unique energy that classic B sides have where they are heart- breaking and gorgeous at the same time.

Two break beat gems from the Flying Dutchman catalogue. First-time reissue of the 7-inch edit of ‘Mama Soul’, whilst Pretty Purdie’s ‘Heavy Soul Slinger’ gets its 7-inch debut.

On 'Boogie Down' Bubbha Thomas and The Lightmen lean away from the jazzier moods that they were best known for, towards a mid-tempo boogie/funk workout featuring wide open drum breaks, analog synths, fat claps and vibey backing vocals.

The original 45, released in 1980, now goes for silly money if you can find one, so we thought it would be nice to make it available again. Dedicated to the extensive musical and educational work of Bubbha, who passed away at the end of 2020.
Remastered from original master tapes, officially licensed from Now Again.

'Bricks, Broken Bottles And Sticks' Is Dean Parrish's First Soul Recording From 1965 Which Became A Local Radio Hit And, Years Later, A Classic Spin On The Uk Soul Scene. On The Flip, Porgy And The Monarchs' "My Heart Cries For You" Is Another Dance Floor Anthem That Reached Cult Status. Some Will Still Remember Italian American Singer Dean Parrish After His Brief Appearance In An Episode Of The Soprano But For Most Soul Music True Aficionados, Parrish Gained A Legend Status When His 'I'm On My Way' Was The Last Record Played At The Last Northern Soul All-Nighter At The Wigan Casino. His 'Bricks, Broken Bottles And Sticks' Was His First Soul Side Though And It Was Released On Musicor In 1965 Achieving Some Success And Also Becoming A Classic Spin On The Uk Soul Scene Years Later. Eternally In Demand, This Party Record Now Exchanges Hands For A Few Hundred Usd, So We Thought It Would Be A Good Idea To Make It Widely Available Again. 'My Heart Cries For You' By Porgy And The Monarchs Became A Much Cherished Dance Floor Anthem In The Uk And Has All The Defining Ingredients Of Most Northern Soul Favorites: Motown Sound-Alike Arrangements, Epic Vocals That Are Almost Inviting To Sing Along And Lyrics Spiced With A Bit Of Drama. In Short, This Record Is A Must-Have Northern Soul Double Sider And There's Nothing Like It To Get The Party Started!

The group "Onyx" was formed in 1972 the members were Aaron and Wendell Basey, Malvin Scott, and Ronald Busby. Ronald left the group to pursue other interests and was replaced by Cornelius Weekly. We were reared in the San Francisco Bay Area, specifically Oakland and Alameda, California. We grew up singing in our School and Church Choirs. We all began singing in quartets while we were teenagers in Junior High School. Malvin sang in the group Morry Williams and the Kids. They had a national hit titled "Are You, My GirlFriend." The Basey brothers sang with several groups in California, none with any recording history. The Basey's were the founding members of the soul group Natural Four. After that, along with Malvin, they started the singing group "Onyx." We were influenced during our teenage years by groups like the Spaniels, Moonglows and later the Temptations and Whispers. We also loved the sound of Marvin Gaye, and Earth, Wind, and Fire. At that time the Spaniels and Moonglows were who we tried to sing like. Marty Dahl, who wrote and produced several of our recording sessions got us a contract with Yew Records of New York City. We were happy to sign with Yew as they had previous success with the recording by the Intrigues of the song "In a Moment." We recorded "Something You're Trying to Hide," and "You Never Fell to Amaze me," on the Yew Record label. We met Marty while he was playing piano in a practice room at Cal State Hayward University. He was a musician with his own group, playing drums, keyboards, and singing. He was also doing promotion work for various record companies. He asked us to audition for him in a room over a nightclub in Jack London Square. After the audition, a relationship was established which exists to this day. Later, the Basey Brothers started their own label NIA. The name NIA was selected for, in the Swahili language, the word NIA means purpose. The first song recorded by Onyx on the NIA label was "Break It Loose." They subsequently recorded the songs "Time Take me Back," and "Keep on Waiting." Other songs were recorded but never released, "Help Me," "Give a Little Bit," and "Spellbound."

Two huge Bobby Womack classics, the heart-on-a-sleeve ‘How Could You Break My Heart’ and the sweet soul love song, ‘Give It Up’ get a much deserved, official remastered reissue.
Produced and composed alongside Patrick Moten, who worked with the likes of Loleatta Holloway, Anita Baker and Rosie Gaines, ‘How Could You Break My Heart’ was a massive record on the modern soul scene and still a favourite across the board with the biggest selectors and DJs on the circuit.
The blend of warm woozy keys and magical piano touches, over energetic strings, powerful horns and tight percussion, are near impossible not to get swept up by and provide the perfect backing for Womack to bare all. Arguably one of the greatest soul singers to have ever done it, endless amounts of passion and raw emotion emanate from his rugged tones as he swallows the bitter pill of heartache and rejection.
On the B side the bittersweet ‘Give It Up’ where soaring strings and sumptuous chord progressions, marry with the full range of Womack’s vocals and those expert backing harmonies. A luscious sax solo and funk bass give a sultry feel that mixes with the tenderness on show, providing a powerful metaphor for the swirling emotions that come part and parcel with this ever-relatable tale of reaching out for love.
Large dinked centre hole.

Brass Horizon only ever had one effort put out onto vinyl. The much sought after "We want to play" on the Minda Mark label. Currently commanding big bucks on the collector’s scene. The single also made it onto Keb Darge's Deep Funk LP. Now Super Disco Edits has dug deep again, and unearthed some killer tracks by the band. Brass Horizon were heavily into the Bay Area sound of the mid 70's and especially Tower of Power. The first recording to come to light from these dusty sessions is this one off studio mic take, introducing the band. Fully 6 mins long, we have trimmed it down, so it gets a 45 release. Part 1&2. polish your headspin hat, and hear all the components of the band, horns, keyboards, and last but not least a big arse drum break!! Beware you b-boys out there!

Big Crown Records presents the second single “Smiling” from Lady Wray’s “Queen Alone” album. The single is an instant feel good anthem, “Smiling” finds Lady Wray reminding us to keep our heads up and keep a smile on our faces through whatever life deals us. With production from Leon Michels and Thomas Brenneck that rides the line between bubblegum pop and lo fi tough grit, Nicole lays out with a voice as encouraging as the lyrics she is singing. Listeners will be hard pressed not to find themselves singing along after the first listen. A proper good vibe tune guaranteed to move dance floors the world over. The B-side “Make Me Over” is a lushly scored tale of letting your guard down and letting the one who loves you take care of you when you are down and out. A relatable tale of having expensive taste and empty pockets, Nicole finds herself asking for a little help so she can get a break from being strapped for cash promising to take care of her man as soon as her check comes in.

After recording various psych soul and funk tracks on the Whiz record label, The Real Thing carried on after leaving the label to record more studio cuts with musician and producer Stu Gardner. Here they let it rip with an incredible fast version of James Browns "Give it up, turnit loose" and they left in that all important secret ingredient of a lovely long drum break. Stu Gardner himself took to the microphone on this track, with various background vocals and screams, and did the vocals for the amazing b-side "It's A Family Thang"!

Deepfunk / soul super rarity flipped with one of the best deep soul sides ever recorded, the family had some great images so we opted for a picture sleeve on this one, 400 copies only. forget about finding an O.G. Researched by our man, Brian Sears
Papa Bear And His Cubs were the brainchild of Eddie Disnute Sr., aka Papa Bear. A native resident of Hampton, Arkansas. Eddie started his music career in gospel then transitioned into secular music after moving to Milwaukee, Wisconsin in 1963. While living in Milwaukee with his wife and children, Eddie played with a group called the Fenders but eventually decided to start a group of his own with his kids aptly named Papa Bear And His Cubs.
Eddie Sr., a naturally gifted musician, taught his children how to play music. Creativity is a part of the Disnute DNA and before long Eddie's cubs were perfecting chops of their own. Papa Bear And His Cubs started performing together around the late 1960s. Although a few memorable gigs came their way, Wisconsin proved to be too cold for the Disnutes so they made their way back to Hampton, Arkansas.
The family continued to perform in Arkansas then made another move to Houston, Texas where they hoped to break into the music scene down south. They lived there for nearly three years and even recorded at SugarHill Studios, yet nothing materialized and the recordings remain a mystery to this day. For their final move, the Disnutes returned home to Hampton after Eddie's wife Christine (aka Mother Goose) received word that her father was ill.
In 1975 the group recorded their only vinyl record at Sam Griffith's home recording studio in Camden, Arkansas. Disnute Sr. recalls it only taking "one night, and one take" for both "Sweetest Thing On This Side Of Heaven" and "You're So Fine" to be born. Both songs have an entrancing quality that is inescapable and will surely resonate with listeners for years to come.
The group continued to perform until the early 1980s, at which point the cubs were bears themselves, who decided to go their own separate ways. When thinking back to their prime days, one thing will always remain clear in Eddie Sr.'s memory, "we could play, all it took was a countdown of 1, 2 ,3, 4 and we're gone".

Les Imprimés treat us to a tough as nails 7" pulling two stand out tracks from their forthcoming album in a classic Plug & Ballad pairing. The A side "Falling Away'' starts with a crushing drum break that Martens layers with lush piano runs, sitar, and guitar riffs. The lyrics almost contradict the tone of the track making it a bittersweet affair as he sings about love falling apart - "One day at a time girl you waste my life".On the B side "Still Here" Martens professes his resilience through life's twists and turns over a thundering track that puts a new spin on the B side ballad genre. Martens blends his poetry with his excellent usage of space making this yet another tune from Les Imprimés that is easy to love but hard to categorize.

Not a great deal is known about this talented artist having released only 4 albums in a recording career that started in 1993. Raised in a musical family by piano playing parents he began learning the instrument at an early age, later concentrating on the saxophone, but became a multi-

instrumentalist by the time was signed to Verve Records, playing most forms of keyboards, synths, vibes, as well as sax and flute. He moved to Florida, from his native New York, shortly after graduating from studying music at university in New Jersey, and played in local rock bands whilst developing his love for jazz, and was working on a demo to try and get a record deal. Disaster struck when he was involved in a serious boating accident in which both hands were badly crushed and he was unable to play an instrument for many months, during which time he developed a skill for singing and composing. Turning adversity into opportunity is the best way to describe the outcome. So why is a soul label interested in releasing some of his material? Both tracks selected, "One" and "Sweeter", are released on vinyl for the first time and come from his third album, "Lights On", released on his own label Eaak Records following a break of 7 years which was devoted to raising his children. The sounds are undeniably late night make-out music, lush, sophisticated and sensuous. The majority of plaudits for his work previously came from the world of contemporary jazz and, dare I say it, smooth jazz, and was largely ignored by the soul magazines and radio stations. His captivating falsetto vocal style, reflects his influences by Curtis Mayfield, Smokey Robinson and Marvin Gaye. All his material is self-penned and the albums were co-produced with drummer Guy Eckstine. There is an underlying 70’s feel to the contemporary arrangements and his work is clearly deserving of greater recognition. Steve Hobbs (Solar Radio, Totally Wired Radio)

Ultra-scarce Deep Funk rarity full of explosive breaks gets a repress with authentic-looking label art on a heavy-duty 45. Must-have!

Charlie Ingui a veteran blued eyed soul singer who formed the band The Soul Survivors In the 60's is back with a brand new single.

'Wake Up Old World' is a song about making the world a better place.

Charlie explains 'This has always been a theme in our songs inspired very much by our collaboration with Kenny Gamble and Leon Huff of Philade70hia International Records whose songs like "Love Train" and "Love Is The Message" had a positive and spiritually uplifting message.'

In 1967, Charlie Ingui formed the band The Soul Survivors. They scored a #2 record with Gamble and Huff' first major hit with the song "Express Way To Your Heart.' They were a bunch of hoods from The Lower East Side of New York.

They were part of the same scene in NY with The Rascals, Joey Dee and the Starlighters, The Soul Survivors, The Vanilla Fudge, and many other Blue Eyed Soul Bands that paved the way for folks like Hall and Oates.

Originally they were a trio and had a third singer, Kenny Jeramiah, who went on to have success in Atlantic City.

They went on to have several other great records. The first was in 1969 with Muscle Shoals producer. Rick Hall. The Swampers with Duane Allman played on that one. In 1974, Gamble and Huff got a custom CBS label – Philade70hia International Music and signed the Soul Survivors once again. They made a fantastic record with their amazing band, Charlie and Richie Ingui, John "Beedo"Dzubak The amazing Fred Beckmeier on bass. He was a major influence

Wake Up Old World is going to be the first side of a limited edition 7" vinyl to come on LRK Records.

Went straight in at num one in the UK soul breakers
Spun on all the indie soul stations like starpoint, solar etc

Three German instrumental talents - Chris Haertel, David Nesselhauf, Julian Gutjahr - make up The Drawbars, whom together describe their music as 'off jazz'. Following up their prior outing for Basel's BurningSole, on which two instrumental originals stuck out like raw thrums, their latest is an unexpected curveball in the form of a standout rare groove version of Billie Eilish's modern classic 'Bad Guy'. Riffing of its madhouse hooks by way of a watery high electric keyboard part, the essence of the track pairs timely well the Northern-soulful form of breaks, fills and bass jaunts. The B, 'Smokes & Mirrors', returns to OG songwriting and hears electric glisses and portamento synths dance across sultry, incense-filled rhythmatic rooms and navy-noted blueses.

Three German instrumental talents - Chris Haertel, David Nesselhauf, Julian Gutjahr - make up The Drawbars, whom together describe their music as 'off jazz'. Following up their prior outing for Basel's BurningSole, on which two instrumental originals stuck out like raw thrums, their latest is an unexpected curveball in the form of a standout rare groove version of Billie Eilish's modern classic 'Bad Guy'. Riffing of its madhouse hooks by way of a watery high electric keyboard part, the essence of the track pairs timely well the Northern-soulful form of breaks, fills and bass jaunts. The B, 'Smokes & Mirrors', returns to OG songwriting and hears electric glisses and portamento synths dance across sultry, incense-filled rhythmatic rooms and navy-noted blueses.

Lucky Mystery Now Orchestra's newest single is a hypnotic jazz funk that has been built upon the spiritual form of three beats rather than four. Based on the number 6 (divisible by three) if you count the eighth notes, 3, if you count the quarter notes. Of course this isn’t the first 3 beat-based funk tune, but most funk, especially as designed by Black American Funk Architects such as James Brown, Sly and Parliament-Funkadelic is based on the number four, with the “one” being the most important beat - as well it should be. Four is the number of the Square, the Cube, the House, The Earth, and The Body, as well as the four elements, seasons, etc. In fact, There is simultaneously a hidden four inside the tune as the melody is an eight bar (divisible by four) passage that repeats. Plus another 8 bar outro and an additional 8 bar drum/guitar break. Going back to the mention of James Brown et al. it is important to note that early soul and R&B ballads were often built upon the 12/8 time signature (divisible by both 3 and 4) and that one of the most defining aspects of funk (in the opinion of the composer) is the antediluvian and African clave of “3 against 4” or 3 beats being outlined especially by the snare and guitar, while simultaneously the bass instruments and horns follow along the track of the four beat. The 3 is found over and over again inside and against the four of black music throughout history, the 'swing' of jazz, for example. Therefore, Fireball is offered here as a conspicuous rendering of the natural loping and universally established three pulse that will, in Ricci's fresh and refreshing way, beguile and bewitch your listeners and dancers.

Having previously produced for many UK Hip Hop artists under the moniker LG, and as the bass player for The Cromagnon Band - Len’s first solo album is a funk enthused experimentation that weaves an ethereal path through jazz, break beats, folk, hip-hop and otherworldly flavours. Across the 11 track LP, the organic instrumentation sits in tandem with synthesized moments as Len’s musicianship shines through. Drafting in musical collaborators such as Oge for lead vocals on the sublime single ‘We Are Here’, Bert Page (The Cromagnon Band), Nathan ‘Flutebox’ Lee, his past cohort Biscuit (The Speakers Corner Quartet) and many more, the album takes you on a journey through Len’s musical influences while at the same time delivering something that you’ve never heard before. Like a half-developed polaroid picture or a memory faded through age, At Mothers Feet feels like the mind’s eye squinting for clarity, and leaving us unsure if these are our lived experiences or those from a past life

Local Sugar Diggers is a series from label head Scruscru that draws together a fine selection of re-edits and reworks of a mix of hard-to-find old records, all done by his mates. This time out it is LTF who steps up his 'At The Pier' is an effortlessly funky jam with some laid-back horn work adding extra spice next to the jumbled percussion. Flip it over and you find 'Con Ritmo Y Melodia' which is a slower, steamier, more Latin-flavoured sound with shuffling percussive grooves and big old breaks to get the floor going.

We’ve all heard of crowd-funding, but what about crowd-FUNKing? A play on a popular donation portal inspires the title of NYC funk band The Du-Rites’ eighth 7” single, “Go Funk Me”. Drummer Jay Mumford’s syncopated, off-kilter groove counters a ‘60s drum machine pattern, taking a page from Sly Stone’s 1973 Fresh LP. Pablo Martin’s bass and rhythm guitar lock it all together, while guest flautist Seth Hachen and haunting synths float on top melodically. Then the funk kicks up a notch with breaks, stops, turns and funky counterpoint between the whole band, before breaking into heavy dance floor funk. “Go Funk Me” channels it all from ‘70s Jeremy Steig; to film score orchestration; to expensive private press jazz-funk from the same era. Intermittent “funk banter” from Du-Rites mainstay Broughamin’ Fred brings it all home to cement the band’s trademark sound, with a funky flute twist.

The B-Side belongs to “Bucket,” a tip jar anthem any band can relate to, but Mumford’s “put it in the bucket, and pass it around” hook can apply to whatever the listener chooses. The drum groove walks the line between Afro-Beat and New Orleans funk, setting the deep groove early. Then bridge takes it to a whole ‘nother universe, before settling back in while the guitar, bass, clavinet, and even a kalimba get a piece of the action with brief solos. Another double-sided deep funk entry for The Du-Rites, who individually have worked as session and live musicians for artists from Danger Mouse; to Tom Tom Club, to Dan Auerbach; to Kelly Finnegan, Adrian Quesada, Just Blaze and countless others.

This really is a Double A sided banger from Aaron aka Double A. First up we have a Old Skool Bounce a party rocking break with a few familiar samples in there, then on the flip Aaron has reworked Jill Scott’s Golden into a dance floor killer soooooo good! Snooze you lose!!!

Brand new label, Psychedelic Breaks & Beats, aims to uncover the rarest of rare breaks and beats and kicks off with two absolute diamonds. The pick for side A was inspired by DJ Bee, cutting up doubles of the original on Twitch, “Close Your Eyes” by The Capprells & Sul Brothers Band is a drum heavy funk banger – original copies on the Bano label go for £200+ Flip to side B for the eclectic “Soul Submarine” by The Inner Thumb aka DJMeDJYou lifted from the soundtrack "Soul Ecstasy” or should I say fake soundtrack, as the movie never existed! As played by Kenny Dope in one of his funk mixes – this label is gonna produce some collectable 45s don’t sleep! Original label art by graffiti artist, Opium, from Italy.

Side A is a groovy mid-tempo funk track, with a nice drum break, it throws back to the classic 70s soul & funk 45s collected by hip-hop/funk DJs and producers. Side B is a fast-paced B-Boy sure shot, with hard hitting drums, rolling bass, percussion and l

Cover with seam split. Vinyl with scuffs and hairlines

Soopasoul is an enigmatic producer, whose purist approach to jazz, funk and soul music has resonated with DJs, break-dancers, music connoisseurs, critics and casual listeners alike. Since furthering his legacy by creating a hugely successful edits series, Soopasoul returns to one of the biggest cuts from his now legendary Jalapeno debut album Twin Stix - Brand Nu. The 142 mixes are the first versions of this now classic cut that were recorded and have a raw funk grit that became a little more polished for the album release version. Available in full vocal and instrumental versions, these alternative mixes showcase all the reasons why Soopasoul is a mainstay of funk & soul charts worldwide.

Japanese pressing without OBI, with insert. Cover with light ring wear

One thing that's become apparent, is the vast trove of super-rare independent U.S. Soul releases that crept out in the ‘60s and ‘70s, usually with only local distribution. Many of these records never made it out of the city they were made in and would have been doomed to obscurity if not for the international network of Soul collectors.

Guitar Ray's incredible "You're Gonna Wreck My Life" on New Orleans’ music veteran Senator Jones' label, Shagg, is a case in point. This New Orleans gem from 1974 has recently soared in popularity with much in-demand original copies going for between £1000-£1500 apiece. We're delighted to be able to make this available again with a straight reissue on the original label. Yet another example of the buried treasures that surround us.

We are back on Boogie Butt with a soul track just like back in the days, this time with a Lord Funk & Samm Culley collaboration. We’re bringing back to your ears this giant artist, who crosses decades of music with its great personality and many groovy songs. Samm Culley is an R&B, soul & funk keyboard player and a dope songwriter. His music career started within the band Tiny Tim & The Hits with Tom Price & Bill Collier. This trio soon left Tiny to form their own group The Diplomatics with Irving Waters as the lead singer. They later on became the legendary Skull Snaps. Over the years, Samm co-produced and/or played with many unforgettable famous artists such as Hot Chocolate, The Fatback Band, George Kerr, Patrick Adams, Vaughan Mason, Reggie Griffin, De-De, Van Mc Coy, Lloyd Price & even later in Hip Hop music with Marley Marl or Freddie Foxxx. “Let It Go” brings you back in 1970 with a great killer dance floor track for Bboys and soul lovers: the dru break is hot and on the same time, the guitar hook and bassline make you feel James Brown on the scene. Close your eyes and easily imagine John Shaft dancing on “Soul Makossa”. The B side is the instrumental reworked by our well-known Lord Funk, with Samm on bass. Enjoy & play loud!

Japanese pressing with OBI

Brit Funk at it's best! The 1981 classic Index - 'Starlight', that commands prices of up to £85, gets a much deserved and long-awaited, remastered reissue.
A melding of genres, that incorporated elements of funk, disco, soul and jazz, Brit Funk harnessed a raw energy bubbling up in the UK scene through the late ‘70s & ‘80s. Index 'Starlight' is a prime example of this spirit. Timeless in its makeup, glistening keys, full-frontal basslines and bold funk guitars give the foundation for those divine male and female vocals to sweep over.
Take to the B side for 'The Break' version leaving the vocals at bay and letting the exquisitely arranged instrumentation work the dancers into a frenzy. Favoured by everyone from Four Tet and Motor City Drum Ensemble to Gilles Peterson and DaM-FunK for its extended grooves and uninterrupted breaks, it's a Brit Funk bomb if there ever was one. A must for any discerning digger out there, this deserves a place in every collection!