Coming soon: Funk

Review: Part of a dedicated reissues campaign of much of Japanese funk and prog instrumentalist Masayoshi Takanaka's discography, we're now privy to one of the best records within it: the esteemed, sensitively embellished, and patently instrumental super-opus, All Of Me. The only compilation record to be reissued as part of the series, All Of Me was first put out in the same period as the early treats Brasilian Skies and Jolly Jive, which sealed the deal on Takanaka's (successful) career, and saw to the unstoppably decades-long period of fun that followed, and more or less lasted until 2011. Intro'd superbly, and with a sense of amicable drama, we hear segues into 'Sweet Agnes' and 'Izu Amanatsu Natto Uri'; both are gateway drugs for atmospheric music enjoyers to get into funk, amping up the mood of ease, and building on Takanaka's self-fashioned surf scene adjacency.

Review: This vinyl-only survey refracts Okinawan folk traditions through vivid jazz-funk and big band arrangements, creating a prismatic, highly listenable archive of Japan's southern soul. Kiyoshi Yamaya's influence runs deep, his arrangements glowing with cinematic elegance on 'Ryukyu Miyabi 2' through to the festival-like drive of 'Ryukyu No Matsuri 1'. The percussive triptych 'Nishinjo-bushi/Asadoya Yunta/Tanchame' shifts with deft energy, while his solo pieces like 'Ryukyu No Sora' feel airier, almost impressionistic. Tadaaki Misago & Tokyo Cuban Boys stir big band verve into 'Tanchame-bushi' and 'Hatoma-bushi', while Minoru Murayama's 'Asadoya Yunta' leans more contemplative. Kifu Mitsuhashi's takes on 'Tanchame' and 'Asadoya Yunta' feel grounded in breath and space, balancing the brassier moments with shakuhachi-led intimacy. The sequencing cleverly blurs the line between groove-heavy reimagination and respectful homage, shaping a dialogue that's rhythmic, emotive and alive. A treasure trove for collectors of Wamono, Asian jazz and crossover rarities and a striking monument to the genreless fluidity of folk, when placed in the right hands.

Review: A funk masterpiece that redefined r&b and pop, this album blended gritty street themes with polished, danceable grooves and left a big mark on music when it dropped in 1981. James was already well known, but this LP catapulted him to superstardom, solidifying his signature "punk-funk" style and leaving an indelible mark on pop music. Kicking off with the incendiary 'Give It to Me Baby', James delivers an irresistible mix of slap bass, soaring horns and electrifying energy. The track became a club staple, setting the stage for the album's raw yet refined sound. The iconic 'Super Freak' is a funky, synth-driven anthem that remains one of the most recognisable basslines in music history, later sampled by MC Hammer for 'U Can't Touch This'. Beyond the hits, Street Songs is full of depth. 'Ghetto Life' paints a vivid picture of James' upbringing with a groove-heavy backdrop, while 'Fire and Desire', a stunning duet with Teena Marie, slows things down with its emotional intensity and soulful vocal interplay. 'Call Me Up' and 'Below the Funk (Pass the J)' further feature James' ability to fuse funk with rock and r&b seamlessly. The album's influence on pop music is immeasurable. It bridged funk and mainstream pop, inspiring artists from Prince to Bruno Mars. Its unapologetic energy and genre-blurring sound helped shape the future of r&b, hip-hop and dance music, proving that funk could be both raw and radio-friendly. Over four decades later, Street Songs still stands as a defining statement of funk's evolution into the pop landscape.