Funk / Reissue Recommendations May 2014

Review: DJ Format's homage to the original cut and paste records that pulled generously from the archives of James Brown was originally planned as just the one mix, but Format had so many ideas & samples left over that he decided to do a second mix, resulting in this record Stealin' James Parts 1 & 2. First released back in 2008 on a limited 12", Stealin' James Parts 1 & 2 sold out swiftly and has been the subject of numerous requests. You can all calm down now as Format has decided to release this special 7" edition of the record with two new edits of those mixes - guaranteed floor fillers the both of them.

Review: North East funk troopers Smoove & Turrell are preparing to unleash their third studio LP Broken Toys which should reconfirm their position at the forefront of UK soul on the basis of this two track seven inch sampler. It doesn't feel like there's been three years since the last Smoove & Turrell album, but that's probably because they've come so far since Eccentric Audio was released back in 2011. As ever, it's Jalapeno that is providing the platform for Smoove & Turrell to shine and the fast paced stomper "Lay It On Me" showcases their talent for bringing a pop sensibility to arrangements that flirt toyfully with blues, jazz, soul and funk with the latter. Check "I Just Want More" for a more disco flavoured affair that highlights their song writing.

Review: Damon Minchella on bass, the mod jazz funksters now boast Justin Shearn on keys... And come branding this awesome 45. "Crazy" takes the lead; a Booker T-style Hammond heavy version of Gnarlz Barkley that will garner the finest knowing nods from your floor, it's the quintessential definition of a cover. "#LiarsAndCheaters", meanwhile, is a Graham Bond penned breakbeat funk jam that heaves heavily on the horns with a big lick and vibrant crescendos. Perfect party material.

Review: Record Store Day Edition: Concepts for the annual Record Store Day don't get better than this. Tall Black Guy, Eric Lau and Kidkanevil were invited to Mr Thing's gaff and explore his sizeable vinyl collection. They could sample anything they wished... But, as the title says, no vinyl could leave his house. The result is four examples of pure sample artistry. Eric Lau's "Chop For Mr Thing" takes a Latin strummer and stretches out its harmony over a nagging beats with really cool edits and space. Kidkanevil opts for a sludgier hip-hop approach where one simple loop opens and closes at different spaces over a nod-heavy beat. Elsewhere Tall Black Guy gets dreamy with a tripped out vocal sample and some stunning slippery bass action while Mr Thing provides the best schooling with a classic Dilla style loop that twists the full emphasis on one vocal cry and a weave of classic hip-hop cuts.

Review: Known for their work in Los Charly's Orchestra, North London pairing Juan Laya & Jorge Montiel introduce their new project The Boogie Man and ask what are you going to do when the funk rains down? Led by the vocal talents of frontman Andre Espeut and featuring a trombone player amusingly called Tony Trombony, The Boogie Man promise much for the contemporary funk scene of the basis of this debut release for the Imagenes Recordings label. In original form "When The Funk Rains Down" is tight and groove heavy, whilst the B Side Lowrider version is low slung and looser in execution.

Review: Timed to perfection with the sun shining through the windows of the Juno office, Turquoise Summers returns with a new slab of So Cal Fonk for the Omega Supreme label. A Touch Of Turquoise , last year's debut LP from Summers, was a superb induction into the world of twilight funk the musician inhabits and there's plenty more speakerboxx vibes on display with this six track Shades EP. From the very moment the stripped back snap and heavy synth funk of opening cut "The Way You Make Me Feel" veers into focus, the man like Turquoise is on top form, sailing through tempos and moods - think introspective and party starting with "Divinity(Crystalized)" a true highlight. A must for those that live for the funk.

Review: Having carved a very distinctive crate-dug niche on his own Champ imprint, Japanese beatsmith Tominaga jumps over to Kenny Dope's Kay Dee with this highly limited Hendrix homage. The first part twists more emphasis on the warm, distorted guitar licks while the second part gets heavy on the swashbuckling live drums. Both versions are sure-fire party primers. Excuse us while we kiss the sky!

Review: Having handled duties on the previous Mofunk release themselves alongside fellow label head Eddy Funkster, XL Middleton withdraws behind the buttons here to throw the spotlight back on local Pasadena vocalist Moniquea. Exposed to the soul of the '70s and the electro funk of the '80s whilst growing up, Moniquea's distilled these influences into her brand of revamped take on 80s funk which inaugurated Mofunk last year with the seven inch slab I Don't Wanna Get Used To It and it's nice to hear her back on the mic. XL Middleton's production on the vintage squeeze and bounce of "A Certain Way" is second to none, whilst the flip sees Diamond Ortizz in full on Zapp mode with a remix of "I Don't Wanna Get Used To It".

Review: Raw, unfettered funk from one of LA's hardest working live outfits, Ray Frazier and Shades Of Madness recorded a criminal amount of 45s... One of which - "My Baby's Hand" - regularly fetches the handsome sum of L1000 between collectors. Instantly triggering the biggest northern soul sensations (stomping beats, relentless super-tight grooves, show-stopping splashes of bold soul), this will resonate with, and unite all, funk and soul aficionados across the globe. Highlights include the strident string-led blues riff on the aforementioned "My Baby's Hand", the chop-slapping JB-echoing tightness of "I Who Have Nothing" and the lazier, luxurious swing of "Gonna Get Your Love". Presented as a trio of sweet 45s, Jazzman have curated an exceptional document right here.

Review: A cheeky slice of French post-disco funk, Lionel Benjamin has the gravitas of Gainsbourg but croons like a talented bar singer who's yet-to-be spotted and launched to fame. Taken from his 1982 album Melodie, these are two touching pieces of tangible human soul. The soft lilts and hums of "Melodie" have already been heavily sported by Giles Peterson and the Wah Wah 45s crew, but don't sleep on "Montreal"... What begins with an emotional birdsong acapella quickly spirals into a ludicrously funky bassline that we guarantee will knock your floor for six.

Review: Debuting on record last year with the Laying Low 45 on Timeless Takeover, San Diego funk troupe Sure Fire Soul Ensemble sounded very much like a band benefitting from the tightness that comes with regular gigs. With that 7" remaining in many funk selectors record boxes, the Sure Fire Soul Ensemble return with a second dinked offering on Midwest powerhouse Colemine Records which is likely to prove just as popular. There's a languid charm to "City Heights" that seeps through all aspects of the arrangement, be it the head nodding drums, the horn section or the guitar groove but don't think the Ensemble are any less tight than before!

Review: French 70s jazz funk revivalists Dopegems unleash their debut album. And it's an instant win for those who enjoy big scores, detailed arrangements and anything by Bob James. Led by drummer Slikk Tim, the troupe paint an authentic picture complete with shades of crazy psychedelia ("First Come First Served"), luscious lounge luxury ("Solstice") and utterly euphoric jazz ("Quasar"). Breezed and baked with pure positivity, the only necks that will be snapped are the heads who've nodded too hard to the super-tight grooves. Essential.

Review: Whether he was leading the Uhuru Dance Band or the Ogyataana Show Band, Ghanaian flutist Oscar Sulley was nothing short of an Afrofunk pioneer. Taking his east/west fusion right to the top, one of his tracks was picked up in Hollywood for the Last King Of Scotland. Jemelatu was one of his later offerings. Landing in 1980 on Delta, it was a private recording conducted with a full orchestra and conducted by John O'Connor. Regularly fetching over $500 a copy, Ubiquity have now reissued it to ensure its rich orchestration, lavish strings, heartfelt vocals and instantly engaging, ultimately positive arrangements are felt by as many of us as possible. A very special release.