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Mysterious Vibes (Jazz Dub) by The Blackbyrds b/w When There’s Nothing Left In This World That Can Stop Me From Loving Y...
05/29/2026

Mysterious Vibes (Jazz Dub) by The Blackbyrds b/w When There’s Nothing Left In This World That Can Stop Me From Loving You (Edit) by Tom Brock | Black Hole Records, Galaxy Sound Co. — BLKG-8, test pressing | imprint Blackhole drops a tasty new donut, number 8 in the series, that features a pair of tidy edits of some classic cuts & is cop-on-sight. 2 sides built squarely for heads who know their source material.

Side A’s “Mysterious Vibes” comes from Action (1977), the later-era The Blackbyrds LP produced by Donald Byrd. By this point the group had fully locked into that hazy jazz-funk pocket—rhodes, bassline glide, & drums that feel tailor-made for loops. It’s been a quiet weapon for producers: Kurious (“I’m Kurious”), Paris (“The Days of Old”), plus later flips from Big K.R.I.T. & Dom Kennedy. The Jazz Dub leans into that—stretching the groove, letting the atmosphere breathe, keeping it playable.

Flip side is certified soul-collector territory. Tom Brock’s “When There’s Nothing Left…” is lifted from I Love You More and More (1974), produced by Barry White & Gene Page. Lush, aching, full orchestration—exactly why Just Blaze flipped it for Jay-Z’s “Girls, Girls, Girls” off The Blueprint. One of those samples that instantly connects eras.

This isn’t just a “nice edit” 45—it’s a bridge between jazz-funk heads, soul collectors & hip-hop producers. Both sides rooted in records that already did damage, now reworked for the floor.

For the bags, not the wall.

05/01/2026

$1 Bin Breaks Vol. 2: Word Games (Break Edit) / Time (Break Edit) / Bells Open (Drum Break Edits) b/w Milkyway Instrumental (Break Edit) / Alley (Break Edit) / Big Chief (Break Edit) | Galaxy Sound Company, $1 Bin Breaks — GSC45-051, test pressing | $ Bin Breaks Vol. 2 lands like a selector’s mixtape pressed to 45 — a tight set of break edits built for DJs who know exactly why these moments matter.

A-side opens w/ René Costy’s “Scrabble,” flipped here as “Word Games,” instantly clockable once you place it via F**k The Police. From there, “Time” taps the Dee Felice Trio session for Treat 'Em Right DNA — that raw, propulsive pocket that’s been rinsed by everyone from Big L to Cypress Hill.

Then “Bells Open” leans into Les Baxter’s “Hogin’ Machine,” a break that’s practically foundational — heard everywhere from Where It’s At to deep Wu edits & DOOM-era cuts. Pure utility, no filler.

Flip it & the Stereolab pull on “Milkyway Instrumental” is a smart left turn — the source behind Show Me What You Got, stretched into something airy but still drum-forward.

“Alley” needs no introduction — The Emotions’ “Blind Alley” break is canon, forever tied to Ain’t No Half Steppin’ & a lineage that runs deep through Tribe, Pete Rock, Preemo, & beyond.

Closing w/ “Big Chief,” pulling from The Turtles, you’re back in golden-era loop territory — think Say No Go & early Beasties, that dusty, playful swing that still hits.

This one’s for the heads — not just recognizable, but playable. Each edit trims the fat, extends the pocket, & keeps things locked for the mix. A break-glazed donut w/ just enough sugar on top.

Test press only for now via Galaxy Sound Company — don’t expect it to sit around.

$1 Bin Breaks Vol. 2: Word Games (Break Edit) / Time (Break Edit) / Bells Open (Drum Break Edits) b/w Milkyway Instrumen...
05/01/2026

$1 Bin Breaks Vol. 2: Word Games (Break Edit) / Time (Break Edit) / Bells Open (Drum Break Edits) b/w Milkyway Instrumental (Break Edit) / Alley (Break Edit) / Big Chief (Break Edit) | Galaxy Sound Company, $1 Bin Breaks — GSC45-051, test pressing | $ Bin Breaks Vol. 2 lands like a selector’s mixtape pressed to 45 — a tight set of break edits built for DJs who know exactly why these moments matter.

A-side opens w/ René Costy’s “Scrabble,” flipped here as “Word Games,” instantly clockable once you place it via F**k The Police. From there, “Time” taps the Dee Felice Trio session for Treat 'Em Right DNA — that raw, propulsive pocket that’s been rinsed by everyone from Big L to Cypress Hill.

Then “Bells Open” leans into Les Baxter’s “Hogin’ Machine,” a break that’s practically foundational — heard everywhere from Where It’s At to deep Wu edits & DOOM-era cuts. Pure utility, no filler.

Flip it & the Stereolab pull on “Milkyway Instrumental” is a smart left turn — the source behind Show Me What You Got, stretched into something airy but still drum-forward.

“Alley” needs no introduction — The Emotions’ “Blind Alley” break is canon, forever tied to Ain’t No Half Steppin’ & a lineage that runs deep through Tribe, Pete Rock, Preemo, & beyond.

Closing w/ “Big Chief,” pulling from The Turtles, you’re back in golden-era loop territory — think Say No Go & early Beasties, that dusty, playful swing that still hits.

This one’s for the heads — not just recognizable, but playable. Each edit trims the fat, extends the pocket, & keeps things locked for the mix. A break-glazed donut w/ just enough sugar on top.

Test press only for now via Galaxy Sound Company — don’t expect it to sit around.

Mama Feelgood (Mister Mushi Special Mix) by Lyn Collins & James Brown b/w Soul Power 74 (Mister Mushi Special Mix) by Ma...
03/30/2026

Mama Feelgood (Mister Mushi Special Mix) by Lyn Collins & James Brown b/w Soul Power 74 (Mister Mushi Special Mix) by Maceo & The Macks | King Groove — 45-6003, limited to 300 copies | Mister Mushi digs straight into the DNA of the James Brown universe here — not just editing classics, but re-framing 2 cornerstone breaks for modern floors & serious crates.

Side A’s special mix of “Mama Feelgood” flips Lyn Collins’ already lethal JB production into a tighter, more driving cut. The horns hit harder, the groove feels more urgent, but crucially he leaves the pocket intact — that gritty, minimal funk swing that made the original so sample-ready in the first place. For heads, this sits right in the lineage of breaks that fueled early hip-hop DJ sets, even if it’s less over-mined than “Think (About It),” with notable samplers like Big Daddy Kane, Marly Mar, Schooly D, Public Enemy, Paris, Run-DMC, MC Solaar, MC Lyte, Vanessa Williamns, Deee-Lite, Jay-Z, among many others.

However, the real weapon is on the B-side. “Soul Power ’74” by Maceo & The Macks is pure breakbeat royalty — long favored by DJs for its open drums & stripped-back arrangement. Mister Mushi stretches that utility even further, teasing out the percussion & extending the sections that matter. This is the kind of edit built for two copies & a mixer.

While “Soul Power” (the earlier versions) has been flipped & referenced across hip-hop for decades, this ’74 take carries that same raw break energy — the kind of source material that informed everything from park jam loops to golden era sampling techniques. Notable samplers include Usher, Redman, Gorillaz, Spoonie Gee, Run-DMC, Chill Rob G, Schooly D, Wreckx-N-Effect, 3rd Bass, Eric B. & Rakim, Salt-N-Pepa, Percee P, Big Daddy Kane, Doug E. Fresh, among many others.

Bottom line: not novelty edits — functional tools. Respectful to the originals, but clearly made by someone who understands what selectors, hip-hop heads & break hunters actually need from a 45.

Limited to 300, & very much one for the bags, not the shelf.

03/28/2026

Running From My Love b/w Spend All My Time Loving You by Tom of Brooklyn | Sweet Breeze Sound — SBS 001 | Mystery man lands on a brand new imprint, — launched by DC’s Marc Meistro (Sol Power All-Stars / Glenn Echo) — w/ a debut nudisco-glazed donut that leans fully into dubby disco, boogie & infectious sample work.

Side A — “Running From My Love” — reworks Stephanie Mills’ “You Can’t Run From My Love” (1982, Tantalizingly Hot), produced by Reggie Lucas & James Mtume. The original is a proper boogie gem, & here that loved-up energy gets dialed in even further. The vocal is looped into an irresistible hook, riding a warm, bouncing bassline & layered percussion that keeps things moving without ever feeling overworked. It’s one of those edits that locks you in quickly & doesn’t let go.

Side B — “Spend All My Time Loving You” — takes a more melancholic turn, pulling from (I think) Frederick Knights’ “I Betcha Didn’t Know That” (from 1997 album "Knight Cap"). The source material is already slow & sappy in the best way, but this version stretches it into a deeper, dubby groove. A single repeated phrase — “I spend all my time loving you” — carries the track, supported by weighty bass & a steady disco rhythm that gives it a real sense of space & longing.

As the label puts it: disco, R&B & dub — all in one tidy lil 45. Strong inaugural release, & if this is any indication, Sweet Breeze Sound is one to watch.


Battle Weapons Vol 10: Sorcerer's Sympathy by Hallmighty b/w I Can't Stop (Dharma Collective Edit) by Silk | Battle Weap...
03/23/2026

Battle Weapons Vol 10: Sorcerer's Sympathy by Hallmighty b/w I Can't Stop (Dharma Collective Edit) by Silk | Battle Weapons — BW-010 | Number 10 in the cop-on-site 7” series via hits that sweet spot where deep knowledge meets real selectors utility — the kind of 45 that rewards both the dancefloor & the heads.

Side A: “Sorcerer’s Sympathy” — is a seriously clever reconstruction. takes the unmistakable vocal from Massive Attack’s “Unfinished Sympathy” (Shara Nelson’s all-timer: “you’re the book that I have opened…”) & flips the entire backdrop. Gone is the Johnny Dollar/MA-produced Bristol trip-hop haze — in its place, you get the lush, late-70s disco/soul feel of Norma Jean Wright’s “Sorcerer” (1978), which was produced by Bernard Edwards & Nile Rodgers. It works ridiculously well. The emotional weight of Nelson’s vocal sits perfectly over that Chic-era groove — strings, rhythm guitar, bassline — all locked in. It’s one of those edits where the connection feels obvious in hindsight, but you’d never think to try it yourself. Deftly re-contextualized rather than just looped, which makes it land differently in a set.

Side B — Dharma Collective’s edit of Silk’s “I Can’t Stop (Turning You On)” — goes deeper into disco-funk territory. Originally from Silk’s 1979 LP Midnight Dancer, produced by Charles Simmons & Joseph Jefferson & featuring Debra Henry on vocals, the track already had a silky, groove-forward feel. This rerub leans into that mood but stretches it for DJs — flipping the structure, adding breathing room & pulling it slightly toward a hazier, almost trip-hop-adjacent space to complement the A-side. Subtle, but effective.

Both sides also share that Battle Weapons calling card: edits that aren’t flashy for the sake of it — just smart, musical & built to be played. A proper selector’s tool, but w/ enough depth to keep the crate diggers engaged.

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