Back catalogue: Rock (All)

Review: Fresh from dropping another essential seven-inch with his regular Sound Combo band, Misha Paniflov has joined forces with fellow multi-instrumentalist Shawn Lee for a string of collaborative singles. This "45" sports two genuinely impressive cuts, each full to bursting with quality live instrumentation. It opens with 'Sigmund Jahn Bossa', a superb fusion of late 1960s library jazz (think Roy Budd's score for Get Carter and you're in the right ballpark), bustling bossa-nova and spiralling psych-funk. Over on the flip the pair continue to deliver lounge, influenced, tongue-in-cheek thrills via the cheap, Sideman drum machine rhythms, tumbling guitars, elongated Hammond organ chords and hazy backing vocals of 'Aquaria'.

Review: Tel Aviv's premium funk exporters Sababa 5 have built their name on a Middle Eastern funk sound which now get embellished with the addition of Hoodna Orchestra's full-throttle brass section. On 'Eilat 22' they hold down a sizzling breakbeat groove and maintain their signature guitar twang and freaky synth flourishes underneath the bold horn stabs. 'Elifelet 23' is a lighter affair with some catchy licks and an insistent groove which doffs its cap to the JB's as a vehicle for their own synth flourishes and some big chops from the Orchestra.

Review: Sababa 5's latest release, featuring tracks 'Bezani' and 'Ashkamoni' on Batov Records, reaffirms their position as pioneers in Middle Eastern psychedelic grooves. With a discography boasting two albums, an EP with vocalist Shiran Tzfira, and several highly sought-after 45s, Sababa 5 continue to push boundaries in the global grooves scene. 'Bezani' takes listeners on a captivating sonic journey, blending electric synths and percussion-driven rhythms in a mesmerizing fusion of early electronic sounds and Persian folk influences. The track's 6/8 rhythm creates an immersive atmosphere that defies traditional genre categorisation. On 'Ashkamoni,' Sababa 5 showcases their versatility with a rockier edge, infused with a rocksteady swing. The dynamic melody builds tension, while enthralling solos from the lead guitar and synth highlight the band's exceptional musical talent. Drawing from their collective experience supporting various international artists, Sababa 5 delivers a tight sound that seamlessly merges diverse musical elements.

Review: Sababa 5 are a funk band from Tel Aviv who tap into their position in the Middle East to create a dynamic, outernational sound, and they're continuing a hot streak on Batov with this crucial collaboration with Turkish singer Candy Dogan. Dogan is currently a member of the jazz department at Istanbul University, and she sought out the band after hearing their music and noting its similarities to Turkish music. Already an alternative pop sensation on her own terms, Dogan slots into the Sababa 5 sound beautifully, resulting in a must-check 7" single that hopefully signals the start of an enduring partnership.

Review: Maestro Argentinian producer Kevin Fingier returns with a brand new 45 on his Finger Records imprint, this time lifting the curtain on Santa Fiebre, the newly tipped red-hot rhythm & soul outfit from Buenos Aires. Forged in the fire of the Argentinian capital comes this rip-roaring band, debuting a rootsy, double-clapping, firebrand form of Latin soul. Fingier's in-house production backs up the band's taseringly tasty performances, as 'That's Where We Go' is heard to riff highly on brasses and bombast, and 'Earthsplosion' predicts a future detonation beneath our shared subterranean mantle, producing a bubble-bursting, Hammong-hummingl, bongo-banging funk stank of cosmic proportions.

Review: Soul Junction revisits the Scot-Tees Capri master tapes here to unveil two previously unreleased tracks. First is 'My Sweet Polly' by The Scott Brothers, a late 60s dance tune inspired by Howard Scott's former girlfriend. Coupled with this is a studio version of Judson Moore's "Everybody Push & Pull," a crossover hit influenced by Rufus Thomas. The Scott Brothers evolved from the 'Elpeccios' in 1958 to the Scott Brothers Band in 1963 and were instrumental in Chicago's music scene. Their label, Capri Records, produced hits like 'We Like Girls' and worked with legends like Garland Green. Judson Moore was a veteran singer who thrived under their mentorship and went on to leave a lasting legacy.

Review: Electronic funk eclectics Skeewiff deliver their take on the classic folk song Misirlou on this 7". The average plebeian music fan will know this melody from Black Eyed Peas' hit song Pump It, but only real heads know of the melody's true hazy origins as a bazaar-style ditty from the Eastern Mediterranean (and now you do too), cropping up in the early 20th Century - or perhaps even earlier - in the context of tsifteteli and belly dances. Skeewiff's version is pumping and spacious, mixed effortlessly to provide the utmost focus on the surf-rocky lead guitar, recalling Dick Dale's version from 1962. Of course, too, there's a cover of The Winstons' Amen Brother on the B.

Review: Dynamite Cuts lives up to its name once more by unearthing a deep funk treasure here, and they do the right thing and serve it up for the first time ever on its own 7". Sound Investment's 'Funky Skunk' is a raw and rhythm-heavy rarity previously confined to album-only status. It's bursting with tight grooves, gritty breaks and irresistible energy and is a dream for DJs, collectors and crate-diggers. On the B-side, 'Dirty Man' keeps the heat alive by delivering more deep-fried funk goodness. Both cuts showcase the band's raw musicianship and groove-driven spirit. Authentic funk vibes don't come much better than this.

Review: The tireless work of Funk Night continues here more steamy late-night sounds. This time it's Sunday Papers at the helm and first off comes 'Smoke.' It's a dense, busy cut with sleazy guitar riffs, plenty of sonic grit, raw, edgy drums and vocal stabs as well as some hints of psyched-out soul. On the flip, the rather horribly titled 'Greasy Meat Pocket' is actually a lovely sound with pensive piano chords and signature Hammond organ grooves that make for a nice late night jaunt.

Review: Israeli funk quartet Sababa 5 and Japanese singer-cum-bellydancer Yurika Hanashima join forces again on 'Kokoro', a combination of two song suites: four brand new concoctions and four beloved older tracks. Sababa 5's unique combination of Middle Eastern funk and Mediterranean rhythm makes a surprisingly sensational combination with Japanese Jazz-fusion sensibilities. Opening track 'Empty Hands' is a string-led proposition by Yurika: When your hands are empty, you hold everything you need. The guitars are expressive without overpowering Yurika's gentle vocals - it's the perfect track for a sunny drive home. The real selling point here is the clutch of tracks from Sababa and Yurika's storied past, namely 'Tokyo Midnights, a jangly, groove-filled song describing a smoke-filled, drink-fueled night through the capital. This version is pressed on classic black vinyl, but has been in high demand on the artist's own store - so act fast.

Review: Today & Tomorrow is yet another superb album from the Sault collective headed up by Dean Josiah Cover AKA Info. Not much else is known about them but there sure is a hell of a lot of music to get stuck into. This album was dropped as one of five last year - alongside 11, AIIR, Earth and Untitled (God)) - all for free and all on the same day. That is a mad thing to do and you might think they can't all be good albums, but they are. This is another lo-fi soul masterpiece from one of the best bands of our time.

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: New York Blues Hall of Fame inductee Bette Smith returns with her third album, Goodthing, which blends soul, gospel, and rock & roll. Produced by Grammy winner Jimmy Hogarth, the album features anthemic soul rock sounds driven by Smith's raspy, soulful vocals and rather reminiscent of the late great Tina Turner, as well as Aretha Franklin and Etta James. Influenced by her childhood in Bedford-Stuyvesant, Brooklyn, Smith merges street-corner soul with the gospel music her mother loved. Building on the success of her previous albums, Jetlagger and The Good, The Bad, and The Bette, this new work again showcases her powerful range and solidifies her as a dynamic and ever-rising soul artist.