FAV45s, New York, NY (2026)

09/06/2026

Trip To Your Heart [Mama Trip Edit] by Sly & The Family Stone b/w I Get High (On Your Memory) [High Edit] by Freda Payne | Galaxy Sound Co. — GSC 45-51, test pressing | The 51st installment in ’s 45 edit series keeps digging into the source material behind hip-hop classics, dusting off the originals & reshaping them for the 7" with edits that nod directly to the records & producers that sampled them.

Side A reaches back to Sly & The Family Stone’s 1967 debut LP “A Whole New Thing” for “Trip To Your Heart,” an early slice of psychedelic soul that became part of hip-hop’s vocabulary decades later. Its most famous second life came via Marley Marl’s production on LL Cool J’s 1990 bruiser “Mama Said Knock You Out” — hence the “Mama Trip Edit” — but its DNA also found its way into Public Enemy’s “Who Stole the Soul?” (1990), Ultramagnetic MC’s “Make It Happen” (1992) & Slum Village’s “And I Got” (1994). The edit leans into what made the original so ripe for sampling: that wiry groove, restless percussion & psychedelic tension.

The flip jumps to Freda Payne’s “I Get High (On Your Memory),” from her 1977 LP “Stares & Whispers.” Produced & arranged by Tony Camillo, it’s hazy, slow-burning soul — lush strings, a deep rolling groove & Payne floating above it all. For hip-hop heads, those opening seconds are instantly recognizable as the foundation of Styles P’s Swizz Beatz-produced 2002 smoke-filled anthem “Good Times.” GSC’s aptly titled “High Edit” draws out that connection while letting the original breathe. Nicki Minaj later sampled it for “Pills N Potions” (2014), extending its life across another generation of hip-hop.

That’s the sweet spot of this GSC series: not simply pointing out a sample, but putting the source back at the center. Two killer originals & a pair of edits connecting what was in the grooves then with what hip-hop producers heard years later.

06/30/2026

Centralparkwesh: South.body.girl. b/w Hubbabadub (Exercice Mix) by Androo | Poly Dance Theatre — POL005 | Geneva producer Poly Dance Theatre records & autres continues 2 explore the spaces between dub, jazz, ambient & experimental electronics on this wonderfully idiosyncratic 7" from his own Poly Dance Theatre imprint. Distributed by Berlin's Sound Metaphors, POL005 feels less like a conventional single than 2 beautifully realized sonic sketches that reward curiosity as much as repeated listens.

The A-side, "South.body.girl.," is Androo's understated tribute 2 John Coltrane, though it channels Coltrane's restless spirit more than his sound. Dubby rhythms, warm bass, airy pan pipes & an effortless Balearic glide come together in a groove that's both inviting & quietly adventurous. Organic yet precise, it never feels showy, instead drawing you in through subtle movement & unexpected details.

Flip it over & "Hubbabadub (Exercice Mix)" heads further into experimental territory. A pianist repeats phrases, misses notes, starts again & slowly transforms practice into performance, while sparse orchestration & spacious dub production create an atmosphere that's equal parts playful & meditative. What could've become an academic exercise instead feels remarkably human.

What makes this record so compelling is its refusal 2 stay in one lane. Dub, avant-garde jazz, ambient, dance-pop & musique concrète drift in & out without ever sounding forced. The grooves remain warm, melodic & surprisingly accessible, making this the rare experimental record that feels equally rewarding for adventurous home listening as it does slipped into an open-minded DJ set.

Like so much of the best experimental music, Centralparkwesh asks you not what it is, but how it makes you feel. The answer changes a little w/ every spin—and that's exactly why records like this earn a permanent place in the collection.

06/23/2026

Fostic Brewlaxaton b/w A Tribe Called Glue by Jorun Bombay | Soundweight Records — SWR 037 |For his latest outing on , turns his attention to one of the most beloved cuts in the A Tribe Called Quest canon, tracing the lineage of “Electric Relaxation” back to its jazz-funk roots while giving it an entirely new life of its own.

The A-side, “Fostic Brewlaxaton,” takes inspiration from ATCQ’s classic “Electric Relaxation” from the 1993 masterpiece Midnight Marauders. Q-Tip’s original production famously flipped Ronnie Foster’s “Mystic Brew” into one of hip-hop’s most enduring grooves, & Bombay’s cheekily titled rework tips its hat directly to both records. Rather than simply extending or looping the familiar elements, he rebuilds the track from the ground up, transforming it into a rich instrumental excursion driven by warm vibraphones, fluid rhythm work & a muted trumpet that recalls the cool elegance of Miles Davis. The result retains the laid-back feel of the original while leaning further into the jazz influences that helped make Tribe’s sound so timeless in the first place.

On the flip, “A Tribe Called Glue” delivers another clever reconstruction, pairing Sean Paul’s massive 2003 dancehall hit “Like Glue” from Dutty Rock w/ a Tribe-inspired instrumental backdrop. It’s the sort of combination that looks unexpected on paper but makes perfect sense once the needle drops, as the vocal settles naturally into the groove while connecting 2 very different corners of Black music history. Equal parts mash-up, homage & reinvention, it works remarkably well as both a DJ tool & a standalone listen.

Long regarded as one of the sharpest editors operating in the modern 45 scene, Bombay once again demonstrates that the best reworks come from understanding the source material rather than merely borrowing from it. Both sides celebrate the records behind the records, joining the dots between jazz, funk, hip-hop & dancehall while remaining highly playable in their own right.

Design:

06/23/2026

Fostic Brewlaxaton b/w A Tribe Called Glue by Jorun Bombay | Soundweight Records — SWR 037 |For his latest outing on Soundweight Records, Jorun Bombay turns his attention to one of the most beloved cuts in the A Tribe Called Quest canon, tracing the lineage of “Electric Relaxation” back to its jazz-funk roots while giving it an entirely new life of its own.

The A-side, “Fostic Brewlaxaton,” takes inspiration from ATCQ’s classic “Electric Relaxation” from the 1993 masterpiece Midnight Marauders. Q-Tip’s original production famously flipped Ronnie Foster’s “Mystic Brew” into one of hip-hop’s most enduring grooves, & Bombay’s cheekily titled rework tips its hat directly to both records. Rather than simply extending or looping the familiar elements, he rebuilds the track from the ground up, transforming it into a rich instrumental excursion driven by warm vibraphones, fluid rhythm work & a muted trumpet that recalls the cool elegance of Miles Davis. The result retains the laid-back feel of the original while leaning further into the jazz influences that helped make Tribe’s sound so timeless in the first place.

On the flip, “A Tribe Called Glue” delivers another clever reconstruction, pairing Sean Paul’s massive 2003 dancehall hit “Like Glue” from Dutty Rock w/ a Tribe-inspired instrumental backdrop. It’s the sort of combination that looks unexpected on paper but makes perfect sense once the needle drops, as the vocal settles naturally into the groove while connecting 2 very different corners of Black music history. Equal parts mash-up, homage & reinvention, it works remarkably well as both a DJ tool & a standalone listen.

Long regarded as one of the sharpest editors operating in the modern 45 scene, Bombay once again demonstrates that the best reworks come from understanding the source material rather than merely borrowing from it. Both sides celebrate the records behind the records, joining the dots between jazz, funk, hip-hop & dancehall while remaining highly playable in their own right.

Design:

06/23/2026

Wild Style! Megamix Part 1 b/w Part 2 by Jorun Bombay | Mr. Bongo — MRB7234 |
When was commissioned to create a companion piece for ’s 4K restoration of Wild Style, he was given access to something most hip-hop fans never get to hear: the remastered soundtrack masters alongside previously unreleased recordings uncovered during the restoration process.
For anyone familiar w/ Jorun’s work, the assignment couldn’t have landed in better hands. A longtime student of hip-hop culture, DJing & record digging, he’s built a reputation for blends, edits & remixes that often feel less like mash-ups and more like alternate realities where the source material always belonged together.
Across these 2 sides, he approaches Wild Style the same way the original architects of hip-hop approached records themselves: cutting, extending, rearranging & rebuilding. Dialogue, soundtrack excerpts, unreleased material, live bass, Rhodes & percussion are woven into a seamless collage that feels both faithful to the film’s legacy & completely fresh.
Particularly impressive is how naturally the newly added instrumentation sits alongside the original recordings. Nothing feels forced or tacked on. Instead, the project captures the spirit of experimentation that made Wild Style so influential in the first place. Like the culture it documented, the mix is built from fragments transformed into something entirely new.
Far more than a nostalgia piece, this feels like a genuine extension of the film’s creative DNA, crafted by someone who clearly understands why Wild Style continues to inspire DJs, producers, writers & collectors more than 40 years later.
Out via the fine folks at .

06/23/2026

Wild Style! Megamix Part 1 b/w Part 2 by Jorun Bombay | Mr. Bongo — MRB7234 | When Jorun Bombay was commissioned to create a companion piece for Arrow Video’s 4K restoration of Wild Style, he was given access to something most hip-hop fans never get to hear: the remastered soundtrack masters alongside previously unreleased recordings uncovered during the restoration process.
For anyone familiar w/ Jorun’s work, the assignment couldn’t have landed in better hands. A longtime student of hip-hop culture, DJing & record digging, he’s built a reputation for blends, edits & remixes that often feel less like mash-ups and more like alternate realities where the source material always belonged together.
Across these 2 sides, he approaches Wild Style the same way the original architects of hip-hop approached records themselves: cutting, extending, rearranging & rebuilding. Dialogue, soundtrack excerpts, unreleased material, live bass, Rhodes & percussion are woven into a seamless collage that feels both faithful to the film’s legacy & completely fresh.
Particularly impressive is how naturally the newly added instrumentation sits alongside the original recordings. Nothing feels forced or tacked on. Instead, the project captures the spirit of experimentation that made Wild Style so influential in the first place. Like the culture it documented, the mix is built from fragments transformed into something entirely new.
Far more than a nostalgia piece, this feels like a genuine extension of the film’s creative DNA, crafted by someone who clearly understands why Wild Style continues to inspire DJs, producers, writers & collectors more than 40 years later.
Out via the fine folks at MR BONGO.

06/18/2026

Denice brings serious pedigree to the proceedings, having shared stages & studios throughout her career w/ artists including Tina Turner, Roy Ayers, David Bowie, Nancy Wilson & Natalie Cole. Her performance here is all confidence, restraint & soul, perfectly matched to LJ Simon's knack for crafting grooves that feel lived-in rather than manufactured.

On the flip, Canadian edit wizard Eddie C takes the controls for a Disko Mix that stretches the groove, opens up the arrangement & gives DJs a little extra runway for the dancefloor without losing the heart of the original. It's a tasteful rework that feels less like an edit & more like an alternate version discovered in the same session tapes.

As Denice reminds us near the song's close: "Here's the thing—Not every note has to be sung. You got to let the song breathe a little bit." That's exactly what makes this record work. No unnecessary excess. Just great songwriting, great musicianship & a groove confident enough to let the music do the talking.

06/18/2026

Givin' Up (Eddie C Disko Mix) b/w Givin' Up (Original Mix) by L.J. Simon feat. Denice Brooks | Red Motorbike — BIKE 026 | Berlin boogie devotee links up w/ Texas-born vocalist Denice Brooks for a modern soul-funk burner that sounds like it was beamed straight from the golden age of late-night boogie 45s. Built on warm analog synths, rubbery basslines, crisp drum programming & Denice's effortlessly commanding vocal, "Givin' Up" manages the rare feat of feeling both deeply familiar & completely fresh.

Denice brings serious pedigree to the proceedings, having shared stages & studios throughout her career w/ artists including Tina Turner, Roy Ayers, David Bowie, Nancy Wilson & Natalie Cole. Her performance here is all confidence, restraint & soul, perfectly matched to LJ Simon's knack for crafting grooves that feel lived-in rather than manufactured.

On the flip, Canadian edit wizard Eddie C takes the controls for a Disko Mix that stretches the groove, opens up the arrangement & gives DJs a little extra runway for the dancefloor without losing the heart of the original. It's a tasteful rework that feels less like an edit & more like an alternate version discovered in the same session tapes.

As Denice reminds us near the song's close: "Here's the thing—Not every note has to be sung. You got to let the song breathe a little bit." That's exactly what makes this record work. No unnecessary excess. Just great songwriting, great musicianship & a groove confident enough to let the music do the talking.

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