Back catalogue: Funk

Review: Merci Yaya Bongo: Female Animation Groups In Gabon 1982-1989 offers a spellbinding glimpse into Gabon's vibrant music scene of the 1980s. The compilation showcases the talent and creativity of several female groups and presents a diverse range of styles from Afrobeat to funk and disco. Tracks like 'Abaga Mbouga' and 'Yaya Omar Bongo' exude infectious rhythms and soulful melodies and highlight the unique sound of Gabonese music during this era. With its rare and obscure selections, this compilation serves as a valuable homage to the overlooked contributions of female artists in shaping the country's musical heritage.

Review: ***B-STOCK: Slight surface marks ***


Hungarian outfit Budabeats proudly present Psyched Out Grooves From Hungary (1969-72), their latest compilation tracking the emergence and sure formation of psychedelic rock in Hungary. In the label's own words, "there were barely any drugs in Hungary to begin with", and we take this to be precisely the point. Psychedelia isn't a state that should rely on drugs as a crutch: no, there was something already dormant, but primed for the teasing, in the Hungarian psyche, that lent to its acquired taste for psych in the 60s and 70s. With contributions from "an undercurrent of smaller, semi-professional bands" who persisted in the shadow of a select few huge names, who dominated by dint of their sponsorship by the one, state-owned major label, this comp betrays an insider's knowledge and then some, with highlights from Non-Stop, Sampolo, Neoton, Apostol and Kex standing out as peak-quality Hungarian psych, despite none of these bands ever receiving a breakthrough. Such songs and bands were "the exception, not the norm", the "illusion of a scene".

Review: Hungarian outfit Budabeats proudly present Psyched Out Grooves From Hungary (1969-72), their latest compilation tracking the emergence and sure formation of psychedelic rock in Hungary. In the label's own words, "there were barely any drugs in Hungary to begin with", and we take this to be precisely the point. Psychedelia isn't a state that should rely on drugs as a crutch: no, there was something already dormant, but primed for the teasing, in the Hungarian psyche, that lent to its acquired taste for psych in the 60s and 70s. With contributions from "an undercurrent of smaller, semi-professional bands" who persisted in the shadow of a select few huge names, who dominated by dint of their sponsorship by the one, state-owned major label, this comp betrays an insider's knowledge and then some, with highlights from Non-Stop, Sampolo, Neoton, Apostol and Kex standing out as peak-quality Hungarian psych, despite none of these bands ever receiving a breakthrough. Such songs and bands were "the exception, not the norm", the "illusion of a scene".

Review: Between 1980 and '84, Duomo Sounds Ltd released some of the most inspired disco and boogie to come from Nigeria. This fine compilation from Odion tells the story of the label via a selection of the Humphrey Aniakor-founded imprint's finest moments. Although fuzzier and more lo-fi than the American and European records that inspired them, with the distinctive grooves of Afro-beat and Afro-funk never far away, the vast majority of these tracks are every bit as weighty and floor-friendly. Highlights include Mike Umoh's immaculate "Shake Your Body", the Moog-laden Christy Ogbah slow jam "Aimiugwah", the Clavinet-happy bounce of Bindiga's "Perfect Disco Machine" and the celebratory silliness of Johnny O's festive "Bazz Xmas Eve".

Review: For their latest tribute to Nigeria's booming music scene of the '70s and early '80s, Comb & Razor Sound has decided to do things differently. Whereas most compilations of vintage Nigerian grooves focus on music made in and around the bustling city of Lagos, Calabar-Itu Road looks instead at tracks made and released by those in South Eastern Nigeria. In true crate-digging fashion, the two records here - featuring tracks from previously unheralded stars of the "Calabar" scene, including Etubom Rex Willians and Cross River Nationale - come accompanied by a thoroughly researched, 44-page booklet telling the story of the region's love affair with popular music. If you're interested in African funk, soul and disco, it should be an essential purchase.

Review: Flamenco rumba fusion from Latin America became Catalan rumba thanks to the inspirations that came over from Cuba and Puerto Rico in the early 1960s. Add in the pop sounds from the British Invasion and American pop of the late 1960s and you have this rich melting pot of rhythm and sound that makes up this collection of so-called Spanish gypsy soul and funk from the seventies. It is a colourful and freewheeling collection that takes in intoxicating sounds like Dolores Vargas's 'La Terremoto La Borracha' next to the instrumental funk of Bambino's 'Ven Aqui Junto A Mi' and plenty more besides.

Review: Asiko Tito is one of many lost gems of Nigerian music. It has been curated by Lagos' legendary Jazzhole and feature music first recorded in the late 90s. The 10-track compilation captures Afrobeat, Yoruba-funk, Afro-funk, highlife and spiritual jazz gems that reflect Lagos' rich musical tapestry. Each track blends traditional rhythms with modern influences which are the hallmarks of the city's vital scene. Jazzhole is a label led by Olakunle Tejuoso and his son and has been a cultural institution for over 30 years thanks to its championing of African and Afro-diasporic sounds. This is another welcome reissue that reminds us of Nigeria's enduring creativity.

Review: Le Grand Ouest is a stunning compilation, spotlighting the vibrant yet underappreciated music scene of Western France between 1978 and 1988. Covering the Brittany, Normandy and Pays-de-la-Loire regions, the album offers a unique window into the diverse countercultures and indie movements that thrived in the 80s. The featured tracks are a blend of rock influences, American inspirations and hints of local folk, all filtered through a distinctly French lens. The compilation manages to capture the raw, DIY spirit of the era, highlighting tracks recorded in unconventional settings like bunkers and caravans. This project is the result of years of meticulous research, diving deep into local archives to uncover forgotten gems and even unearthed demo tapes. The compilation conveys a sense of unity and friendship among the bands, reflecting the joy of creating music together. Compared to its predecessor, Le Grand Sud-Est, which focused on funkier vibes, Le Grand Ouest feels more introspective and mellow.

Review: 'Breaks' compilations featuring classic funk, soul and disco cuts with drum-breaks that could be doubled-up or sampled by DJs and producers, were once a mainstay of hip-hop culture. These days, far fewer are released, making this excellent collection of break-sporting gems from legendary Miami label T.K Records (and its T.K Disco offshoot) a pleasing development. Regardless of whether you're a hip-hop turntablist or not, there are tons of bona fide classics on show, from the impassioned call for peace that is Timmy Thomas's peerless 'Why Can't We Live Together' and the bubbly, reggae-tinged disco brilliance of Peter Brown's 'Dance With Me', to the regularly-sampled soul wonder that is Betty Wright's 'Clean Up Woman' and the strings-and-synths-laden excellence of 'Keep It Up' by Milton Wright.

Review: Hot Casa has always been a proverbial hot pot of international sounds from across several rhythmic and cultural worlds. The New Year starts off on a strong footing for the French crew with a new album from Afro funk collective Vandou Game. It finds them reaching outside their usual Togolese confines to take inspiration from across the Atlantic. The record was made in the legendary OTODI studio with Peter Solo on hand to add his expertise to a bunch of feel-good, horn-laced workouts that are laden with percussion, have endlessly catchy rhythms and plenty of soulful, authentic vocal charms.

Review: Def Radio marks the return of Marc Mac's long-running Visioneers project. As ever with Visioneers, this record reimagines the default stock of hip-hop's best-stocked jukebox, often beginning from scratch and/or working around a central sample, to either recontextualise a classic or come up with a new song; whatever the case, the key hallmark of a Visioneers album is its live instrumentation, with flaunts a *gauche et droite* mastery over hip-hop's laggard swing. Where this would usually handled by the chance placement of the sample snippet on the timeline alone, here it (sounds) actually drummed in. On Def Radio, lead tune 'The Look Of Love' predominates with its three-note ostinato and unhurried beat flaneur, whilst runner-ups 'Layin' Low, Gettin' High' and 'Cuban Candy Sticks' also stick out as salient among the troupe.

Review: After a series of exceptional singles, SOL Discos fire up the album engine for the very first time with this fantastic exploration of modern soul from the late 70s to early 80s. Curated by label founder Waxist, Message In Our Music features numerous exclusive reissues and unreleased cuts; David Nathan's swooning take on "Ain't Nothing Like The Love", The Harden Brothers' silky smooth "Deep Inside Of You" and the vital up-tempo positivity of Don Scott's "Love With Me" are just a handful of essentials on this immaculate collection. Complete with detailed notes, pictures and quotes from the original artists, SOL Discos have created something genuinely special here.

Review: Paul Weller of The Jam pens an unlikely soul missive in 4xLP compilation form, released through Ace. The British new wave and mod revivalist naturally grew up listening to soul music, though the likes of 'That's Entertainment' and 'Going Underground' hardly bear their imprinting marks. Having hassled Weller for years to compile such a thing, Ace now finally, happily deliver this biographic brain-pick. From James Carr's 1966 'Pouring Water On A Drowning Man' to 'Life Walked Out' by The Mist, we've a somewhat obscure selection here; but it's only natural for a man so immersed in 60s soul as a teenager that he'd go so far as to buy a Lambretta and vow never to take off his mohair!