Back catalogue: Funk

Review: The Lawson Entertainment label out of Japan is having a busy month with two volumes of Best of Mondo Grosso albums landing as well this collection of remixes of Michale Jackson. If you are brave enough play these in the current landscape, and you find an equally sympathetic audience, then they could well do plenty of great things to your dance floor. There are drawn out, beat heavy remixes of tracks from all throughout the former King of Pop's career stitched into a lush reggae framework.

Review: The Jackson 5 were a legendary American pop band consisting of famous musical brothers Jackie, Tito, Jermaine, Marlon, and Michael Jackson. Managed by their father, Joe Jackson, the group achieved great success in the 1970s and were much loved amongst younger audiences. They had plenty of chart hits and several of them went on to have great solo careers, of course. Their eighth studio album, G.I.T.: Get It Together was released on September 12, 1973, under the Motown label and now gets reissued on limited red vinyl with an insert.

Review: Most people will recognize Brian Jackson as the most important collaborator with Gil Scott-Heron - between them the pair laid down a mesmerising new kind of soul which resonates in its influence and brilliance to this day. Jackson went on to work with scores of legends of Black American music, but this new album is something altogether his own. Working with Daniel Colias from Phenomenal Handclap Band, Jackson revived a long-dormant solo project from the 70s and brought it to fruition in a set of ascendant soul cuts which speak to Jackson's mighty legacy while offering something wholly contemporary. 'All Talk' bursts with jazz funk and boogie flourishes, while 'Path to Macondo / Those Kind of Blues' takes a more introspective trip into Jackson's illustrious musicality. Forget reissue culture for a minute - here's a bonafide legend still doing it in the here and now.

Review: Master beat juggler Jaguar Skills takes us to The Savage Planet, his new album on NOPE23. The revered deck technician and proud craftsman of bulky breakbeats welcome us in with a big, celebratory tune filled with funky flutes and chest-beat grandiosity. Then comes a range of vocal beats, with plenty of cinematic references and catchy hooks. 'The Theme From Space Patrol' is all big chords and funky bass, 'Mr Dudikoff's Announcement' has prickly drumming and is wrought with tension thanks to the myriad vocal and TV samples and 'There's Six Ways 2 Kill A Louce' is a 60s funk tune reworked with modern drums.

Review: James Taylor is a stone cold legend in the acid jazz and jazz funk scene. Here working with his quartet once again, he returns with superb new album that proves his credentials beyond doubt. Man in the Hot Seat is a giant record with a giant sound that is speed in big walls of sound and effortless melodic funk. The fullness of the tune sis utterly imposing with hints of classic film soundtracks and big band energy. Real musicianship and production mastery add to the greatnesses of this, which might be one of JTQ's finest.

Review: Cosmic disco and spaced out Brit funk and pop fusion outfit Jamiroquai celebrates 20 years of their landmark Dynamite with a new limited edition reissue of what was their sixth studio album. Originally released in 2005, the album fused their signature funk, disco and electronic flair into smash radio hits like 'Feels Just Like It Should,' 'Seven Days in Sunny June' and '(Don't) Give Hate a Chance.' This anniversary edition comes pressed on exclusive coloured vinyl and also included is a replica promo CD sampler featuring pre-release single versions, an extended mix of the title track, and 'Black Devil Car.'

Review: Making its debut release on vibrant neon green 12" vinyl for Record Store Day 2024, this release from Sony spotlights Jamiroquai's dazzling 2006 BBC live session, recorded at Maida Vale for radio legend Ken Bruce. It features all of the funk one's most epic tunes such as the perma-hit 'Cosmic Girl', the infectious 'Canned Heat' and the superb opener 'Runaway'. A great album, a great new pressing, a great one to snap up for when you need some colourful cosmic uplifting in your life.

Review: The Late Night Tales series is an absolute bastion of late-night parties back at yours after a heavy club session, or maybe even on a Sunday morning to welcome you to a day of being hungover. Everyone who is everyone had made their entry over the years and used the chance to show off a different side to their sound and that is just what cosmic disco funkster Jamiroquai did when he stopped up. Now his fine choices get pressed up to four sides of vinyl for this fine reissue.

Review: Funkineven's Apron label has long since had its own unique sound world where nostalgic keys, crunchy melodies and raw, lo-fi beats all coalesce into something both futuristic yet familiar. The latest to step up with a whole album of such sounds is Jarren, the LA artist who can do it all. His debut record is a late-night love affair that follows up his 2020 EP Mina with plenty of romantic beats. The sundown sounds have a real sense of swagger and the keys glow like the neons of a distant metropolis. There are strutting pool party jams like 'Zaiah', boogie bombs like Deja-Vu' and low slung Cali-tinged joints like 'Whittier Blvd.' It's a gorgeous collection.

Review: For many Londoners, it wouldn't be summer without the Notting Hill Carnival and Norman Jay's long-running Good Times Soundsystem. The hat-wearing MBE owner is celebrating 30 years of carnival parties this summer. What better excuse, then, for another breezy, party-centric trawl through the veteran DJ's epic record collection. As usual, the Good Times 30th Anniversary Edition features a selection of festival-friendly grooves, from dusty old disco, flute-sporting funk and classic soul to bouncy disco-house, head-nodding hip-hop and Red Stripe-swigging reggae riddims. By now, we all know what we're getting, but it's still great fun!

Review: Norman Jay MBE, the people's DJ, returns to the fray once again with yet another lovingly crafted collection of classic and contemporary tracks for his highly esteemed Good Times series. 'Good Times 6' is the crucial soundtrack to your summer, as Norman perfectly encapsulates and celebrates the fun, vibrancy and proud eclecticism of his longstanding residency at the worlds largest street party - Notting Hill Carnival. Norman's annual Good Times soundtrack has become so popular, it is now synonymous with the event itself. On 'Good Times 6', Norman literally goes back to his roots, selecting the very best, old and new soul, reggae, rare groove, disco, funk, house, hip hop, drum & bass and all points in between, injecting every drop of his rich musical heritage into 2 feel good CDs. Norman's diverse musical knowledge and refusal to be restricted by one style, truly sets him apart from your typically blinkered, or bandwagon DJ. On 'Good Times 6' expect to hear everything and anything, from the recently late great legend Desmond Dekker with his timeless masterpiece 'The Israelites', West London's finest broken beat makers; Bugz In The Attic, Jimmy Ruffin, The Clash, Barry White, and even House of Pain. Norman's legendary Good Times Sound System makes its much anticipated annual return to the Notting Hill Carnival 2006 on Sunday 27th August and Monday 28th August, taking center stage once again as the main of event of the Bank Holiday Weekend.

Review: With "Computer Incarnations For World Peace" Jazzanova present a selection of song gems from the new wave era. Beside their own productions, DJ gigs and work for their Sonar Kollektiv label, the Berlin collective Jazzanova are building a growing reputation as successful compilers. "Computer Incarnations For World Peace", released on Sonar, proves this.

Review: The selection represents the diversity and vibrancy of Florida itself - a state that is half Havana and half dirty south, but 100% funky!

Review: After several years of extensive work and painstaking research the latest in explorations into regional US funk obscurities is finally here. Has the wait for 'California Funk' been worth it? Well, let's see what we have: 21 of the finest, rarest and most desirable funk recordings from the Sunshine state, put together for the first time with the personal blessing of each and every artist represented herein - shoddy bootleg this is not! The LP contains in-depth sleeve notes detailing the history of funk and R&B in California and the social conditions which led to the funk explosion of the late 60s. In addition there are thoroughly researched notes for every individual track, revealing for the first time the hidden stories behind such revered and enigmatic artists as Leon Gardner, Arthur Monday and Delores Ealy. The double LP is presented on two pieces of 180g virgin vinyl, lavishly housed in a double gatefold sleeve with full colour inners, label scans and extensive liner notes featuring many previously unseen photos of the bands and musicians involved. Whereas the musical profiles of cities such as Detroit and New Orleans are well established and much celebrated, the vast cities of Los Angeles and the San Francisco Bay Area have been mostly skimmed over and not given nearly enough attention. The black music from California of the 60s and 70s is especially under-appreciated, seemingly unable to stamp its own musical identity on the world. Yet during this time, many artists were busily plying their trade at a grass roots level in LA and the Bay, releasing 45s literally by hand or through small independents. Today many of those very 45s fetch hundreds and sometimes thousands of pounds at online auction with lovers of real soul and funk desperate to get hold of them. Following on from our previous funk collections of Texas, Florida, the Midwest and the Carolinas, we applied ourselves to what proved to be our most ambitious and far-reaching project yet - to source and compile the best vintage funk that California had to offer. From the rugged street funk of Arthur Monday to the Latino flavours of Enrique Olivarez; from the soulful jazz grooves of blues legend Johnny Heartsman to the aggressive politicising of King Solomon, there is real diversity on offer - these aren't mere JB sound-a-likes but talented individuals who brought their own voice to the funk sound. Putting together an album like this is no easy task. It has certainly taken a while to come to light, but you can be confident that California Funk, with its divergent sounds and intriguing avenues, will not disappoint, and indeed we hope that it will help raise the standing of California in R&B, soul and funk circles from here on.After several years of extensive work and painstaking research the latest in our explorations into regional US funk obscurities is finally here. Has the wait for California Funk been worth it? Well, let's see what we have: 21 of the finest, rarest and most desirable funk recordings from the Sunshine state, put together for the first time with the personal blessing of each and every artist represented herein - shoddy bootleg this is not!

The LP contains in-depth sleeve notes detailing the history of funk and R&B in California and the social conditions which led to the funk explosion of the late '60s. In addition there are thoroughly researched notes for every individual track, revealing for the first time the hidden stories behind such revered and enigmatic artists as Leon Gardner, Arthur Monday and Delores Ealy.

The double LP is presented on two pieces of 180g virgin vinyl, lavishly housed in a double gatefold sleeve with full colour inners, label scans and extensive liner notes featuring many previously unseen photos of the bands and musicians involved.

Review: A bona fide piece of history right here: Jimmy Castor led a furiously funky and politically-charged troupe through 70s by way of 10 albums. And this is where it all began... The title track is known to all thanks to its heavy sampling but its counterparts are just as enduring - the swampy blues funk fusion of "You Better Be Good", the wry society critique of "Troglodyte" and the hazy, honeyed Motown soul of "My Brightest Day" are just three of the many highlights throughout the album. Seminal blueprint business, it will never age.

Review: Between the mid 1970s and the late 1980s, Cameroonian duo J.M Tim and Foty recorded a string of killer Afro-funk albums. This superb compilation from Africa Seven shines a light on the best of the duo's early work, with each of the ten tracks recorded between 1977 and '79. There's much to set the pulse racing throughout, from the crunchy Clavinets, punchy horns and heavy grooves of opener "Douala By Night" and the rubbery disco-funk of "More and More", to the swirling, celebratory vocals, sun-kissed guitars and dazzling analogue synth solos of "Ale". Elsewhere, check the Bee Gees-in-Cameroon flex of "Funky Boogie Love" and "I Love Youande", a breezy affair with a touch of country-funk swing and an a sublime bass guitar riff.

Review: Joe Tatton, Hammond organist of New Mastersounds, joined Madrid guitarist Lucas De Mulder and Cinematic Orchestra drummer Luke Flowers for Galactico, an LP recorded on Joe's beloved C3 Hammond at his home studio. This jazz-funk delight pays homage to legends like Jimmy McGriff and Dr. Lonnie Smith. Previously collaborating on Lucas's Feel the Spirit album, they launch Galactico at Saint Paul Soul Jazz festival in France. Highlights include the James Brown-inspired 'Double Take,' Meters-esque 'Hey!', and the Latin groove 'El Gato' featuring Sam Bell and Haggis Horns' Malcolm Strachan. With nods to Sixto Rodriguez and a funky title track, this album showcases their vital musical prowess.

Review: This is a historically significant album now gaining deserved recognition with this anniversary reissue. Born George Folurunsho Johnson in Nigeria in 1916, Ginger's Yoruba heritage shaped his music and by the late 1940s, he had moved to London and was busy collaborating with British jazz icons like Ronnie Scott, Phil Seaman and Kenny Graham's Afro-Cubists. A pioneering figure, Ginger recorded some of Britain's first African music releases and mentored a young Fela Kuti and became a cornerstone of the African and West Indian musical community. By the 1960s, Ginger's mastery of Afro-Cuban percussion cemented his legacy across genres and performances, including the Notting Hill Carnival, and this album shows why he was such a singular artist.

Review: RECOMMENDED
70 years in the entertainment industry, 80 Grammy Award nominations (and 28 wins), joint-first African American to be given a nod at the Academy Awards for Best Original Song (alongside writing partner Bob Russell), and the first African American to be made musical director and conductor of those Oscar ceremonies. Even uttering the name Quincy Jones fills the soul with reverence, not least as he's one of the only people we know of who managed to attend their own memorial service, following a life-threatening brain aneurysm in 1974.



Suffice to say, he recovered, and would continue to write scores for the silver screen for another decade or so, albeit with far less prolific output. Dollars arrived a couple of years before that game-changing medical emergency, and the soundtrack is very much Jones. Packed with jazz, soul, rhythm & blues, rock 'n' roll, and funk, each genre is realised in a way that makes the songs feel authentic and brand new.

Review: A definitive master of jazz, soul and pop sounds across the decades, Quincy Jones pulled off another gem with this genre-defying collection. It highlights an unparalleled level of musical craftsmanship where the arrangements are lush and use orchestral instruments, funky rhythms and smooth vocals to create a timeless sound. Standout tracks like 'What's Going On?' and 'Theme From The Anderson Tapes' showcase Jones' ability to merge complex jazz harmonies with commercial appeal. He also balances upbeat tracks with introspective, slower tunes with the result reflecting Quincy's deep influence on the music of the last half-century.

Review: Daptone brings you the amazing album, '100 Days 100 Nights' from the soul sister Sharon Jones alongside The Dap Kings.

Review: First released in 1981 and periodically reissued on different formats ever since, Bem-Vinda Amizade is one of Jorge Ben's most polished, upbeat and joyous albums. The set has long been popular with Balearic DJs, and listening back to this Vampi Soul vinyl re-press, it's easy to say way. Sitting somewhere between samba, MPB, boogie, disco and jazz-funk, the album is funky as hell, undeniably tropical and able to raise the spirits of even the most miserable of listeners. You'll find highlights aplenty across the set, with our picks including dancefloor burner 'Oe Oe Faz O Carra De Boi Na Estrada', sun-kissed and synth-drenched number 'Curumin Chema Cunhata Que Eu Vou Contar' and the Brazilian yacht rock glossiness of 'Luiz Wagner Guitarreiro'.

Review: Much like his countryman Tim Maia, Brazilian samba king Jorge Ben loved to put out plenty of albums, and loved to name them all pretty much the same thing. This one though has its own unique name and a sound that is just as singular. It finds him bring his acid sounds to swaying and shuffling pervasive grooves with lush vocal harmonies, his own real braking ad libs and elements of Western sound from rock to soul. Originally released in 1978, it features onset about footballers, a girl's social climbing, love songs with flutes and plenty more.

Review: Jorge Ben was already an established star of the Brazilian samba scene by the time he made his sixth album in 1969. It was arguably the eponymously titled set that turned him into an international sensation, with the album selling well in Europe and North America. As this freshly re-mastered, reissued vinyl edition proves, it remains one of the greatest Brazilian albums of all time. Mixing his usual samba and bossanova rhythms with sumptuous orchestration, Beatles style echo-laden vocals and just a touch of jazz, the album contains some of Ben's best songs. In other words, it's a stone cold classic, and thanks to the superb remaster, it's never sounded better.

Review: "Insect Funk", by Elmore Judd, is weird soul from Tufnell Park, North London. Elmore Judd is the alter ego of one Jesse Hackett - brother of Louis Slipperz, keyboard player for Raw Dog and co-producer of many of Taskforce's works. Elmore Judd recently visited Mali (West Africa) with a group of musicians including Damon Alban (Gorillaz), Scratch (The Roots) and Jamie T. During his stay there he had the chance to play with some of the leading names in Mali music. "Insect Funk" is a top new release on Honest Jon's.

Review: If you're not familiar with the 1973 American-Philippine action movie Savage! then join the club. Distributed through Roger Corman's New World Pictures, the Cirio H. Santiago production was one of around 40 that the Hollywood legend worked on at far lower costs in the Asian island nation compared with back in the US. A somewhat exploitative business model taking advantage of lower wages in a developing country, the story also used more than a few totems of the Blaxploitation canon to tell the tale of a criminal who winds up getting caught up in a revolution to overthrow a military government. Heavy stuff dealt with in a pulp fiction style, the score reflects this - funk filled guitar licks, slap bass and woodwind hooks. Hip hop selectors take note, then, there's plenty to play with here.

Review: Don Julian & The Larks wrote one of what is considered to be the most seminal soul and funk albums of the 70s. Now, diggers can rest up, because this first ever reissue means it can be added to your shelves without having to remortgage your house. Los Angeles-based doo wopper Julian started out leading The Meadowlarks before the name change to The Larks and then soon had a hit with 1964's 'The Jerk.' After that, they recoded a soundtrack to a blaxploitation film called Shorty the Pimp that was never released, and seven of the songs form that session are included on this album.

Review: LA 12-piece Jungle Fire live up to their name, being dedicated to the roots. The band's fusion of firesome Afrobeat and blisteringly tight traditional funk is wholly authentic, fully physical and ultimately arresting. From the gradual development and cinematic narrative of the title track to heavier, sweaty jams such as their Fela cover "Comencemos" via more laid back introspective funk such as "Chalupa" and "Snake Pit", this is what a band who know exactly what they're doing sounds like. And it sounds amazing.

Review: Since first pricking the collective consciousness at the dawn of the decade, 12-piece ensemble Jungle Fire has released some killer fusions of funk, Afrobeat, and more tropical dancefloor flavours. Jambu is their second full-length, following the release of acclaimed debut album Tropicoso in 2014. As vibrant, colourful and hedonistic as you'd expect, it sees the Los Angeles' band lay down a series of scorching original compositions built around heavy funk grooves, bold Afrobeat horns, and the kind of intricate, layered percussion more often found in vintage Cuban dance music. As usual, you'll find nods to numerous South American styles amongst the Afro-funk throw-downs, ensuring a set that doesn't settle on one sound for any significant length of time.

Review: Los Angeles 12-piece Jungle Fire rarely fails to deliver the goods, offering a heatwave-hot fusion of Latin and African rhythms, rousing horns and infectious instrumentation. This was evident from their earliest releases, particularly debut album Tropicoso, which has now been given the reissue treatment (on pink vinyl, no less) after being out of print for the best part of eight years. It's packed to the rafters with inspired workouts, with our highlights including the glistening guitars and punchy horns of Afrobeat workout 'Comencemos (Let's Start)', the Fela Kuti-esque brilliance of 'Firewalker', the pitched-down dancefloor tropicala of the superb title track, and the toe-tapping, sweat-soaked heat of Afro-funk bomb 'Village Hustle'. In a word: essential!

Review: Ekoya is the fourth album from Jupiter & Okwess and it marks a new chapter in their sound as they embrace Congolese funk, rock, Afropop and Latin influences. This record was conceived during a South American tour and recorded in Mexico so reflects a cross-cultural fusion that's deeply rooted in African history and features collaborations with artists like Flavia Coelho and Mare Advertencia. Along the way, the music tackles themes of change, resilience and the global challenges we face so tracks like 'Selele' and 'Orgillo' fuse political commentary with big rhythms. Through a great mix of languages, rich instrumentation and powerful messages, Ekoya is a wonderfully worldly celebration.

Review: Daptone releases 11 early recordings from The Mighty Imperials with members of Antibalas, The Dap Kings
& El Michaels Affair and 'Thunder Chicken' also features Joseph Henry of the Coasters on 3 songs

Review: Broc Recordz's Cosmos Giants album is a celestial creation that stems from a monumental collaboration between Janko Nilovic, JJ Whitefield from Poets of Rhythm, and Igor Zhukovsky of the Soul Surfers. Together, they've sculpted a sonic world where genres meld seamlessly and offer a transformative auditory experience where funk, psyche, and soul all inform a jazz underbelly. The ensuing musical odyssey rather defies easy categorisation that is all about immersion in meticulously crafted tracks. From the laidback vibes of 'Inner Space' to the eerie and celestial melodies of '(Wind From) Mount Everest' this is a high-class record.

Review: It might not be quite as groundbreaking as Dangermouse's "The Grey Album", which expertly blended elements of The Beatles "The White Album" with Jay-Z acapellas, but Amerigo Gazzaway's fusion of James Brown and the Notorious B.I.G is equally as impressive in its own way. His blends of Brown breaks, vocal snippets and instrument samples with hip-hop beats and Biggie Smalls acapellas are uniformly brilliant, expertly crafted, imaginative and undeniably dancefloor-friendly. It's the sort of album that you didn't think that you needed but really do; certainly, any of the 11 tracks will get a rapturous response when unleashed on dancefloors.

Review: Amerigo's The Big Payback series finds him bring together some fantasy all stars for his "J.B. and The Soul Mates" tribute concept. Here, James Brown's music is reworked, edited and chopped together with the work of hip hop giant Notorious BIG. It results in speaker blasting, floor filling, ass wiggling jams that mash up all the most iconic verses and choruses from each singer with their most recognisable guitar riffs, drum breaks and samples. It's a colourful collage that is as fun as it is funky.

Review: Southside Movement was a Chicago funk band that was busy during the mid 70s releasing a total of three albums between 1973 and 1975 on Wand and 20th Century Records. They also collaborated with the lush tones of soul singer and fellow Chicagoan Jackie Ross on records for Chess and Brunswick that have long since been forgotten. Until now, that is, because P-VINE has put together this great reissue of the music that was only released in limited test presses back in the day, and has added to it some previously unreleased tracks. The standout here is 'You Are The One That I Need' with its tropical funky vibes.

Review: The third edition of Horse Meat Disco's cowbell revue arrives on Strut at a time when the genre is in the midst of a golden period and thus it's no surprise to see the concept behind this collection mirrors that. Whilst the two previous editions have focused on the underground NYC disco sound of the late 70s/early 80s, this third selection bridges the gap between then and now with the first twelve inch strictly contemporary productions chosen by Jim Stanton and Severino. It's a smart selection too ranging from the gritty arpeggiated funk of Leftside Wobble's revision of L.I.F.E.'s proto house cover of Marvin Gaye to Yam Who's bottom heavy diva anthem "I'm In Love" and Tom Trago in glistening disco pump mode. James Hillard and Luke Howard take the controls for the more vintage sounds, with the camp flex of Rose Lauren's "American Love" and the MOR Philly disco of Idris Muhammed particular delights. Presented in a gatefold sleeve that's lined by some insightful notes from the excellent Daniel Wang, it makes for another killer release from the Strut stable.

Review: REPRESS ALERT: Arriving at their fourth release, Emotional Rescue's knowledge of forgotten musical gems and their commitment to give them the chance of wider appreciation they fully deserve cannot be in question! After digging out that Bob Chance classic, the focus switches to something of an equally balearic nature with the release of Jaki Whitren & John Cartwright's lost folk rock album International Times. Originally released as a private press on the obscure French label Living Records back in 1983, this eight track album is filled with dusty soul nuggets which are given extra life by the silky vocal stylings of Whitren - formerly a backing singer for Alan Parson. Opening track "Stay Cool" sounds quite ahead of it's time, whilst there are some true dancefloor gems for the more adventurous DJs out there, such as the title track and the laid back bump of "Go With The Flow."