Back catalogue: Funk

Review: Unfairly labelled as a novel curio when they first emerged, the Bacao Rhythm & Steel Band is a genuine expression of Mighty Mocambos man Bjorn Wagner's love of Trinidadian steel pan music. Their tracks - often, but not always, quirky cover versions - combined authentic funk instrumentation (drums, bass, guitar, horns) with the timeless and distinctive sound of steel drums. BRSB, the combo's fourth album, is another summery and effortlessly entertaining treat. Highlights include the inspired 'Love For The Sake of Dub' (an organic interpretation of Claudja Barry's slo-mo disco classic 'Love For The Sake of Love'), the breaker-friendly cheeriness and heaviness of 'Grilled', a wonderfully woozy and dubbed out stroll through the 'Stranger Things Theme', and the summer sunshine of 'Champion's Walk'.

Review: With 'breaking' making its debut in the 2024 Paris Olympics, it seems an apt time to go back to where it all began and showcase some of the music that first made break-dancers move in the early years of hip-hop culture. Soul Jazz Records clearly agrees, hence this two-disc retrospective of early 'breaker' favourites curated by Arthur Baker - a man who's productions and remixes soundtracked many dancefloor battles in the early 80s. It's a suitably strong selection all told, with dusty funk, soul and funk-rock favourites (Johnny Bristol, James Brown, The Jimmy Castor Bunch, Spanky Wilson) being joined by disco-funk jams (Herman Kelly and Life), extra-percussive workouts (Manu Dibango, Mongo Santamaria, Candido) and a smattering of key Baker productions (Afrika Bambaata and Soul Sonic Force's 'Planet Rock' and his own infectious 'Breakers Revenge').

Review: By the time they released Saci Perere in 1980, carioca outfit Banda Black Rio were amongst Brazil's biggest dance music stars - an outfit whose blends of samba, jazz, disco, funk and MPB moved the heart and feet of the country's dancers. The set remains a timeless Brazilian classic - hence this much-deserved CD reissue. Highlights come thick and fast throughout, from the leisurely sundown headiness of 'Saci Perere', and horn-heavy jauntiness of 'Melissa', to the funky samba-jazz fusion of 'Subindo O Morro', synth-laden downtempo sunshine of 'Amor Natural' and the atmospheric Latin disco-funk of 'Broto Sexy'. An album that should be in every Brazilian music fan's collection.

Review: Benson's first album since rejoining Warner Music Group earlier this year, it was originally recorded in 1989 but was never released. It features the celebrated composer-arranger Robert Farnon and his orchestra and Farnon's lush arrangements beautifully complement Benson's soulful vocals and fluid guitar work on American standards like 'Autumn Leaves,' 'At Last,' and 'My Romance', as well as reimagined pop classics such as the Beatles' 'Yesterday' and Leon Russell's 'A Song For You.' The album was delayed and subsequently lost until recently rediscovered in Benson's archive and with the help of pianist, composer and arranger Randy Waldman, Benson has revived and remastered the recordings, adding new overdubs and choral arrangements. This release adds a new chapter to Benson's illustrious career, following his tenure with Warner Records from 1976 to 1993, during which he released 12 studio albums, including the triple-platinum Breezin'. Recognised as a jazz master by the National Endowment of the Arts (NEA) in 2009, Benson continues to be a giant in both jazz and contemporary music.

Review: This definitive triple-disc collection celebrates the pioneering spirit and musical evolution of Brass Construction, a band that consistently pushed boundaries and redefined the landscape of r&b. Spanning their ten albums, this compilation features 43 essential tracks, from the horn-laden funk of their debut to the synth-pop futurism of their final offering. Along the way, they touched upon disco, Latin jazz, rock and boogie funk, showcasing their restless creativity and mastery of diverse styles. Key tracks include the iconic 'Movin'', 'Changin'', and 'Ha Cha Cha', as well as the soulful 'L-O-V-E-U' and the infectious 'Partyline'. With detailed sleeve notes by Charles Waring, this collection is a must-have for any fan of r&b and a testament to Brass Construction's enduring legacy.

Review: Neville 'Breeze' McKeith is undoubtedly a legend of Black British music - albeit one not known to the majority of listeners. His CV is impressive; as well as being a founder member of jazz-funk outfit Light of the World, McKeith was also an integral member of Beggar & Co (known for disco hit '(Somebody) Help Me Out') and currently wields his guitar for The Brit-Funk Association. Unusually, this is only his second solo album, and arrives 41 years after his first. It acts as a showcase for his virtuoso guitar playing (he switches between lead, rhythm and acoustic guitar across the set), offering a mix of jazz-funk, fusion, contemporary jazz and soul songs and instrumentals. It's mostly new original material, but wisely McKeith has also included a handful of rather good interpretations of classic cuts.

Review: Funkadelic superstar George Clinton knew many a side project as a producer; one was the ingenious, part-cyborg duo, The Brides Of Funkenstein. It was Clinton's idea that two other backing singers, Lynn Mabry and Dawn Silva, become the Brides Of Funkenstein, a character he invented for the 1976 Parliament LP, The Clones Of Dr Funkenstein. So popular were the brides that Clinton wasted no time in signing them to Atlantic Records; their debut album here followed the rip-roaring fan feedback that ensued from their debut single 'Disco To Go' / 'When You're Gone' in the US. The decision to break the male-fronted P-funk mould was intentional: simply *that many* Clinton instrumentals could not be credited to the man alone. "He's got thousands of tracks. He's got a whole cupboard full of them. He's got enough tracks to keep him in albums for two years," once chimed Mabry. Enchanting each jam with mecha-augmented femme flair, we're urged to be taken to the limit, across a blistering seven, smackout tracks. Mark 'Warship Touchante', the star tune by far: a wonky hi-NRG nutter, splattered with surreal, performative electronic vocal effects.

Review: After years spent delivering heady fusions of deep funk and Afro-funk on Daptone Records, The Budos Band resurface on Diamond West, an imprint founded by two of the band's key members earlier this year. Their first missive on the California-based imprint is as rousing and fiery as ever, with their usual riotous and heavyweight sound being subtly expanded via nods towards psych-funk, Mariachi Band music and the funk-rock sound made famous by Sly and the Family Stone. The six scorching instrumentals on show are all superb, with our current favourites including the punchy 'The Devil Doesn't Care', the trippy solo-laden explosion that is 'KRITIN' and the deliciously psychedelic and suspenseful 'Curled Steel'.

Review: Originally recorded and released in 1993, On The Move was the last studio album James Brown collaborator Bobby Byrd recorded during his lifetime. While it may have been recorded after Byrd's 1970s heyday, musically it offers full-throttle funk - albeit with slicker and more expansive musical arrangements - of the kind that he and Brown used to deliver in their sleep. It's a great set all told, with this (delayed) 30th anniversary edition also including instrumental versions of all eight original tracks. It also boasts a couple of rare non-album tracks recorded at the time: the slow-motion, horns-and-guitar solo laden 'Sunshine' and the effortlessly funky, low-down and addictive 'Don't Throw Your Love in the Garbage Can'.