Back catalogue: Funk

Review: Musically it's cinematic rock funk with a bit of old testament too. One for the collection.

Review: Sol Set is a Detroit-based collective, an amalgamation of composers, musicians, artists and vocalists brought together by producer John Beltran, whose new label All Good Music chooses its debut album for its inaugural release. John Beltran and Shane Donnelly preside over seven sumptuous and confident slices of modern, sub-kissed soul and Latin sure to put a smile on anyone's face, even those of us faced with an altogether more British summer. Influences range from the Steve Wonder-style double vocals of 'Bliss Mode' to the South American 'Rhythm of the Sun', which echoes the beach bum haziness of Jorge Ben, but the vibe remains joyful and skillfully yet effortlessly executed throughout. Gorgeous.

Review: Byron Lee was an important part of Jamaican music from his first appearance in the 60s and onwards. Amongst his bustling back catalogue is this cheery classic from 1980, which keeps the heart and soul of ska alive, with an emphasis on the soul. The rhythms are reliably skanking throughout, whether stopping by the melancholic 'Shoobe Doobe Doo' or the chirpy 'Bend Down Low'. This is ska in its truest sense, with an infectious energy which speaks universally to young and old, hip and square. You can also hear the strong US RnB roots of the music in Lee's songwriting, and it tugs at the heart strings in just the same way. Grab an immaculate album of honest, earnest songwriting magic with all the irrepressible joy of Jamaica coursing through its veins.

Review: This Record Store Day, The Flirtations are back with Still Sounds Like the Flirtations, their first album of new material in 55 years. Renowned for their 1969 hit 'Nothing But A Heartache', which spent 14 weeks on Billboard's Hot 100, the group toured with icons like Stevie Wonder and The Four Tops. Their signature song remains a Northern Soul classic, remixed in 2022 by Tobtok and Oliver Nelson. Produced by Ben Rice, the album delves into their life stories, drawing from personal, social, and political experiences and was recorded across Abbey Road, Resident Studios, Degraw Sound, and Creative Workshop, with many standout tracks showcasing timeless perspectives on love and life.

Review: KC

Review: Pink Rhythm was John Rocca's mid-80s solo project and it came after his pioneering work with the band Freeez. The group released three singles between 1984 and 1985 including cult favourites like 'Melodies of Love' and 'India.' Rocca's music has been widely sampled by artists such as Jamie xx, Burial and Todd Terry which has cemented his status as a BritFunk pioneer. His tracks have also featured in TV, film, and high fashion and this album includes six classic Pink Rhythm tracks, four of which haven't been on vinyl since 1985 and beautifully blend vintage 80s drum machines, synths, and saxophones.

Review: The Purple One did a series of special live shows at the Miami Glam Slam Club in 1994 as part of a residency, and as they were recorded for live radio broadcast we can now relive them again with this reissue. The dynamic songwriter, singer, multi-instrumentalist and producer was in top form in the mid-90s and used this residency to further explore his blend of funk, rock and soul. With electrifying performances of hits and deep cuts, this album highlights his unparalleled musicianship and charismatic stage presence with plenty of classics all included from 'The Most Beautiful Girl In The World ' to 'I Believe In You.' A great slice of pop history.

Review: Scruscru and Los Protos hook up on the former's ever-reliable label for some more funk-fuelled and sample-heavy madness. This eight-tracker draws on the best of Library, jazz, hip hop and soul and collides elements of all of those together with some raw, and what sounds like, MPC beats, all tapped out with a lovably loose vibe. Some like 'Local Sugar Diggers' look up towards a sunny, cloudless sky, others like 'Dreams Of Sonora' are swaggering broken beat workouts with sensuous sax lines setting a steamy tone. 'Por Do Sol Em Shelekhmet' is another highlight with its aloof, angelic vocal tones.

Review: Shango is the name for the Yoruba 'Thunder God' in Nigeria and Ojo Okeji, the leader of the Shango Dance Band was all about injecting military power and warlike energy in his own strain of Nigerian highlife and afrobeat. However, apart from all of Okeji's cult-like stories involving him and his part in the Nigerian army during a time of civil unrest in the late 60's and through to the 70's, and his often troublesome relationship with the great Fela Kuti, the truly special aspect of the Shango Dance Band album is that it was never properly released following its production in 1974. Comb & Razor have done the right thing here and, without them, this magical LP would still be locked away in the never-ending vaults of Nigerian music. This is very personal, incredibly singular African jazz-dance with a raucous psychedelic edge that lifts it high and mighty above the competition. A truly special album - DO NOT MISS IT.

Review: International Anthem has become one of the contemporary jazz scenes most crucial labels. It deals in the most cutting edge sounds in the genre as well as offering up fantastic fusions with sounds from the world's hip-hop, R&B and broken beat. Here they look to Charles Stepney for an album that he recorded back in the 1960s in his Chicago basement. He played all the instruments himself and across four sides of vinyl he serves up his so-called and signature "baroque soul" sound with widescreen arrangements, innocent melodies and curious rhythms.

Review: Recorded and initially released in 1976, Stage 2 was one of a trio of killer albums that highlife legend Pat Thomas recorded with the Marjarita backing band. Although amongst his most popular sets in his native Ghana, the album has never been released outside Africa - until now. This remastered edition, which comes pressed on clear vinyl, is therefore long overdue. It remains a superb set all told, with Thomas and his collaborators serving up a fuzzy, sometimes fiery fusion of Afro-Soul, highlife, Afro-funk, rocksteady, reggae and Afro-rock. Thomas is in terrific form throughout, delivering effortlessly soulful and impassioned vocals that turn an otherwise excellent album into a genuinely terrific one.

Review: As any digger knows, Wagram do a fine line in compilations. They expertly assembled fresh tracks from various different scenes and sounds and now they turn their focus to what they are calling a 'nu funk sound.' All of these cuts are from contemporary tastemakers such as Kaytranada, The Quantic Soul Orchestra and Alice Russell. They take in sunny broken beats like 'Breackdance Lesson N' as well as jazzy funk workouts like 'Hold It Down' and seductively deep beats like 'Buckle Up' (feat Soweto Kinch). A great pick up.

Review: Stevie Wonder's seminal The Jazz Soul Of Little Stevie album very much unveiled the budding talent of a musical prodigy. Released in 1962, this instrumental collection showcases Wonder's early mastery of jazz-infused melodies at the tender age of just 12 years old. With his harmonica prowess and soulful organ touches frost and centre, Wonder paints vivid tracks that belie his youth. Pieces like 'Fingertips' and 'Square' exude a playful energy, while 'Soul Bongo' delves into rhythmic complexity. Despite its brevity, the album foreshadows Wonder's illustrious career and undeniably set the stage for his future triumphs on Motown and beyond. It's a captivating glimpse into the early genius of a music icon.

Review: In 1972, musical one-off Stevie Wonder boldly embraced a more experimental and personal style and showcased some innovative use of synths. Backed by his new band Wonderlove, he toured extensively with the Rolling Stones and solidified his status as a trailblazer. This electrifying performance from that year was broadcast on Soul TV WNET 13 in New York City and captures Wonder at his peak and delivering fiery renditions of tracks from his iconic Music of My Mind and Talking Book albums, among others. Presented here with insightful background notes and rare images, this recording is a vivid testament to a pivotal era in Wonder's legendary career.

Review: This record was thought to have been lost until recently re-discovered. Recorded in the 1970s and has been loving remasters from the original tapes here and pressed onto heavyweight wax. This collection features some heavily sampled tunes such as 'Funkanova' which has been pillaged by the likes of Black Science Orchestra, DJ Sneak and The Bucketheads. It also has a famous rendition of the Ronnie Laws jewel 'Always There'. Wood, Brass & Steel members include the likes of Doug Winbush who went on to play with the Sugarhill Gang and Grandmaster Flash.