FAV45s, New York, NY (2026)

06/10/2026

Guest Mini Edits No 8: You Did It Good by L.A. Boppers b/w Magic Dance by Su Kramer | Cuts — CUTSX-012 | Guest returns w/ the 8th installment in his Mini Edits series, serving up 2 more subtle but effective reworks for the dancefloor.

Side A revisits L.A. Boppers' "You Did It Good", a sun-drenched slice of jazz-funk & modern soul originally released in 1980. Built around soaring horns, acoustic guitars & an effortlessly uplifting vocal, the original has long been a favorite amongst rare groove heads. Guest wisely keeps the source intact, trimming & tightening the arrangement for maximum impact behind the decks. Hip-hop heads may also recognize elements of the track from its use in cuts by Grandmaster Melle Mel & The Furious Five, MC Lyte & D.I.T.C.

On the flip, Su Kramer's 1978 cult favorite "Magic Dance" gets the Guest treatment. Floating somewhere between cosmic disco, synth-pop & proto-electro, the original remains a wonderfully oddball piece of late-'70s dance music. The spaced-out synths, breathy vocals & hypnotic groove have lost none of their charm, while Guest's light-touch edit gives DJs a little more room to work w/. Fans of leftfield electronic disco & early electro experiments will find plenty to love here.

Another essential 7" from a series that continues to understand exactly how much — & how little — an edit needs.

06/10/2026

Guest Mini Edits No 8: You Did It Good by L.A. Boppers b/w Magic Dance by Su Kramer | Cuts — CUTSX-012 | Guest returns w/ the 8th installment in his Mini Edits series, serving up 2 more subtle but effective reworks for the dancefloor.

Side A revisits L.A. Boppers' "You Did It Good", a sun-drenched slice of jazz-funk & modern soul originally released in 1980. Built around soaring horns, acoustic guitars & an effortlessly uplifting vocal, the original has long been a favorite amongst rare groove heads. Guest wisely keeps the source intact, trimming & tightening the arrangement for maximum impact behind the decks. Hip-hop heads may also recognize elements of the track from its use in cuts by Grandmaster Melle Mel & The Furious Five, MC Lyte & D.I.T.C.

On the flip, Su Kramer's 1978 cult favorite "Magic Dance" gets the Guest treatment. Floating somewhere between cosmic disco, synth-pop & proto-electro, the original remains a wonderfully oddball piece of late-'70s dance music. The spaced-out synths, breathy vocals & hypnotic groove have lost none of their charm, while Guest's light-touch edit gives DJs a little more room to work w/. Fans of leftfield electronic disco & early electro experiments will find plenty to love here.

Another essential 7" from a series that continues to understand exactly how much — & how little — an edit needs.

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.

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.

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.

FAV45s

06/10/2026

06/10/2026

05/29/2026

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03/30/2026

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