Back catalogue: Funk

Review: Originally released in 1973 by New York-born soul singer Melvin Bliss, 'Synthetic Substitution' was never meant to change music. A B-side to his single 'Reward', it quietly slipped out on Sunburst Records i and then, years later, exploded. With 'Funky Drummer' sticksman Bernard Purdie's drums at its core, it became one of the most sampled tracks in hip-hop history, forming the rhythmic backbone of cuts by De La Soul, Mobb Deep, LL Cool J, Justin Bieber and hundreds more. This new release gives the track its due, with a sharp remaster and a respectful rework from Just Blaze. The original still hits hard i a slinky, minimal soul groove with impeccable swing and eerie vocal calm. On the flip, the 'Just Blaze Take 6 Master Mix' lifts that legendary break into widescreen, looping and layering it with warmth and flair. It's not flashy, just smart i honouring the DNA while letting it breathe. It's a fresh pressing of a foundational beat, and a timely reminder of how deep hip-hop's roots run. Whether you're crate-digging or just craving drums with history, this is as vital as it gets.

Review: Never before released in this particular form, two inscriptions by the French jazz fusion band Cortex make for a fidgeting classic each, perfect for the tube-amped dancefloor. Made up of many a cover and original, the full-length 'Inedit '79' EP first came to Underdog Records in 2006, though it was composed almost entirely of recordings laid down in 1979, proving the band's asynchronic staying power across decades. This new 7", however, recuts the lead track from the album, and a never-before-heard session floorcut respectively. The B-side in question, 'Where Do You Come From', did not appear on the 2006 release, and was also recorded later in 1981, though it is considered a part of the same inspo-flush.

Review: TakeFingz returns with its seventh release and offers up a double A-side 7" tailored for dancefloor devastation. On Side A, DJ Katch reworks classic funk breaks into a groove-heavy party igniter that betrays some seriously sharp turntable skills and crowd-moving instincts. It's a surefire weapon for any set in high-energy settings. On the flip, DJ Toby Gee drops a bass-driven boogie funk jam packed with vintage chants and break-heavy grooves. Both tracks are precision-crafted with nods to B-Boy culture among them perfect for bodypoppers and lockers alike.

Review: REPRESS ALERT!: Canadian go-slow master Eddie C is back with more of his sumptuous and sensuous grooves on the magnificent Funkyjaws Music. This new 12" kicks off with the emotionally intense and gospel-laced vocal sounds of 'Jesus Calling' with a passionate pastor lighting up the airways. 'Show Me The Way' is a more paired down sound this time with a raw soul edge and nice dusty drums, then 'Superior Disco' brings some lavish string stabs and funky basslines to some killer instrumental grooves. 'Loud Minority' closes out with some lovely jazzy organ work over more low-slung and dusty disco beats.

Review: New York City was the early block city foment of The Fatback Band, who would, on the official account, see their names written into history as some of the pioneers of funk at large. Aside from their disputed four-to-the-floor point-sourcings with 'Oops Upside Your Head', The Fatback Band were equally known for many a hit, including 'I Like Girls' and 'Yum Yum (Gimme Some)', and the formula for such repeated successes has been expertly localised by some as resting in the charismatic wiles of one Johnny King, the founding member whose proud, biped posture and wicked vocals brought to the group a firm and charismatic leading presence to the group. This originally 2004 cut by working Master Kenny "Dope" Gonzalez hears us lean into the funkier ends of the latter's remix-craft, as 'Peace, Love Not War' is given a profound kneading and planing across an excoriating final funk beat.

Review: Unsettled Scores Records presents the long-overdue release of the soundtrack to The New York Graffiti Experience 1976, a seminal documentary by Fenton Lawless. One of the earliest films to document NYC's graffiti culture, the project began in 1974-75 as a slideshow created by Lawless and producer Justine DiIanni and featured original photos as well as the track 'French Fry 97.' That song, along with other recordings from 1974 by Lawless and his band, now appear on this official soundtrack, which is previously unreleased. The music captures the raw thrill and creativity of a pivotal moment in underground culture so this is a vital piece of NYC history.

Review: 'I'll Take You There' by Leon Mitchison, featuring mixes from Kenny Dope, is a standout release from Kay-Dee Records, in a rare label head-to-head with Now-Again Records. This special edition tosses us an unreleased remix from Kenny Dope, infusing his signature funk-in-the-trunk style into an authentic and primally mixed track, working directly from Mitchison's original 8-track tapes. Acclimatising the first's deeper grooves to Dope's dope, breaks-heavy production, the artist is truly deft at upcycling vintage sonic garms.

Review: Secondhand copies of this record from 1983 have exchanged hands for up to as much as 400 quid, just to give you an idea of how highly it's valued. As is often weirdly the way with these cult old scuts, The Mobley Gang aka Dennis Mobley, only ever released this one tune, which he wrote while Dave Ogrin and Lou Gonzales did the production. It's a boogie-fried disco cut with sizzling synths and harsh drum sounds as well as playful pianos. The club mix is more funky and pared back and will have your hips swinging in zero seconds.

Review: Originally released in 1983, this cult disco gem by The Mobley Gang AKA Dennis Mobley, is a true collector's item with secondhand copies fetching up to L400 quite frequently. Remarkably, it was the only track ever released under this alias and was written by Mobley and produced by Dave Ogrin and Lou Gonzales. Now, it returns on translucent pink vinyl with a classic black edition also on offer. The A-side version is a boogie-fried disco bomb packed with sizzling synths, punchy drums and expressive piano lines. The club mix strips it back into a funkier, more hypnotic groove that's perfect for instant dancefloor gratification.

Review: Danny Krivit remains in a class of one when it comes to meticulous and masterful edits of classics. He puts out a fair few of them too, but the quality levels never dip, as is the case again here when he throws it back to the energy of his native New York's most legendary dancefloors. Opener 'Flying Machine' by War was originally composed for the 1978 film Youngblood and is a dramatic Latin-infused instrumental packed with swirling flutes, fierce perc and a breakbeat that's fuelled countless Afro house tracks. It's a fiery dancefloor weapon that hasn't been on 7" before and it comes backed with 'How Much Are They', which dives into deep dub territory with help from post-punk legends Jah Wobble, Jaki Liebezeit and Holger Czukay. It's a real mind melter packed with mad effects.

Review: The classic 1982 funk anthem 'Don't Fight The Feeling' by American r&b and funk band One Way gets a fine 12" pressing here, which means it can be played nice and loud. Singer Al Hudson leads the way with his buttery vocal, while a stepping and broken rhythm with lovely dry claps and w sloppy synth squeal make for a pretty unique sound given when this was first recorded. On the flip side, Windjammer's 'I Thought It Was You' offers a more mellow, melodic contrast full of the band's signature blend of r&b and jazz with cooing, heart-melting vocals and a nice stepping rhythm that lovers of UK street soul will surely be drawn to.

Review: Longtime disco editor Smoove played his first cards right with Wack Records in 2007, and now he returns to the imprint after decades with another raw-cut, redone diamond; a synth-driven slab of filth-funk reflecting the talents of 80s soul mogul Bobby on vocals. On the flip, things speed up as Smoove flips Mrs Jackson's vocals into a razor-sharp electro funk rework, loaded with punchy edits, Mantronix-inspired stutters, and warped stabs that twist the track into club-ready territory.

Review: Australia's Choi Records drop their second release in the shape of two powerful cover versions either side of a devilish little 7" by The Traffic. The A-side, "White Lines", is a funky, horn-led reinterpretation of Grandmaster Flash's original tune : an instrumental brass ode to the original beast. On the flip, there's "Smack My Pitch Up", another mighty instrumental rework of The Prodigy classic, complete with a string of trumpets that imitate the original's inimitable vocal loop.

Review: Melbourne, Australia based sextet The Traffic, headed up by Ivan 'Choi' Khatchoyan, serve up a special MJ feature funk 45. Presented in a special pressing in red vinyl with black splatter, we get awesome renditions of Michael Jackson tracks 'Beat It' and 'Thriller' from his iconic Thriller album from 1982. The big band energy of the players make these cover versions worthy your attention, with a killer horns section imitating the king of pop's falsetto to great effect.

Review: Famously featured on NY Style Vol. 46 by DJ Masaru, Tranzit's 'Necessary Love' is a rare boogie gem from the 1980s that deserves more shine - and will not get it with this reissue. Smooth and soulful to its core, it delivers a mid-tempo groove wrapped in dreamy chords, lush textures and heartfelt vocals. With its romantic message and mellow energy, it's perfect for slow dancing or late-night reflection and is more than just a love song. It captures the emotional essence of 80s modern soul, so if you love overlooked r&b treasures, 'Necessary Love' is a crucial pick up.

Review: Over the course of two fine, full-length excursions, Don Glori (real name Gordon Li) has perfected a warm, breezy and frequently life-affirming trademark sound that cannily joins the dots between jazz, samba, MPB, jazz-funk and soul. He leans into the latter elements more on summery third set Paper Can't Wrap Fire, drawing on the talents of a wealth of Melbourne music friends across nine sublime tracks. There's much to admire throughout, from the sun-soaked jazz-funk/soul fusion of 'Brown Eyes' and summery head-nodder 'Janet', to the spiritual jazz joy of 'Song For Ants', the Brazilian brilliance of 'Precious' and the oceans-deep nu-jazz shuffle of 'Saturn's Return'.

Review: The turn of 1980 saw limited quantities of Salty Miller's lone album, a hidden gem of the beach music scene of the Carolinas, after which the properly named Beach Music Records names itself (they monopolised the scene early on). Miller's album blends soul, disco, and mid-tempo steppers, perfect accompaniments for the shag, beach music's signature dance. Though an 80s classic in its own right, Album 1 was made after Miller took extended time away from releasing: his masterwork heard a noble North Carolinian cast, including members of fellow The Embers, then join him on backing duties. Oceanic soundscapes and emotive string arrangements contrast with a local joviality; 'One More Time', 'Music Makes Me High', and 'The Fox' are standouts, though the peak sensation 'Happy Is The Word' has to be our highlight, bringing boardwalk-strutter soul and pitchy electric organs to a well chorused mix.

Review: The RAH Band's iconic album Mystery celebrates its 40th anniversary with a reissue that finally fulfils plenty of demand for it. This marks its first vinyl pressing since 1985 after originally being created by producer Richard Anthony Hewson. The ageless album blends jazz, funk and electronic pop while placing great spotlight on Hewson's unique production style. With eight impeccably crafted tracks including the jazz-funk anthem 'Are You Satisfied?' and the chart-topping 'Clouds Across The Moon,' which reached #6 in the UK, the dreamy synth-jazz epitomised by 'Float' and the smooth sax of 'Out On The Edge' (which featured in Funkineven's DJ Kicks) ensure Mystery remains a timeless classic.

Review: Dean Josiah Cover AKA Info's Sault collective has been one of the success stories of the last few years - a hard-to-pigeonhole outfit that manages to knock out inspired albums at a rate of knots. Their latest full-length, '11', is another brilliant and must-check excursion. Largely lo-fi, languid and laidback, it delivers a particularly loose and lo-fi take on soul - blessed with their usual nods to Afrobeat and soundsystem culture - whose instrumentation is deliberately sparse and laidback (think bass guitar, drums and guitar). The results are rarely less than impeccable, with the collective's vocals (both female and male singers feature) rising above vintage-sounding grooves and arrangements that variously doff a cap to Sly Stone, Cymande and - on the drowsy, warming and synth-sporting 'Higher' - the more tactile end of British 80s soul.

Review: Moving away from their usual meticulous approach, this Australian cinematic soul outfit embraces spontaneity, infusing their signature sound with newfound energy and groove. The result? A record brimming with vibrancy, experimentation and undeniable funk. The opener, 'Sleep Dreams', is a laid-back entry point before 'Bully Ball' crashes in with its raw, thunderous drums and deep-pocket funk. The band's sonic explorations continue on 'Body Slam', a track that begins with a sweet soul feel before morphing into something dark and eerie, highlighted by a timpani recorded in a distant bathroom. That same adventurous spirit shines in 'Fare Evader', where sci-fi-esque synths punctuate a hard-hitting rhythm. Surprise Chef pushes the tempo on 'Consulate Case' and 'Tag Dag', drawing from afro-funk and jazz-funk influences, while ballads like 'Websites' and the ethereal 'Dreamer's Disease' showcase their softer, cinematic side. With Superb, Surprise Chef amplifies the fun without sacrificing their signature musicianship. This album solidifies their ascent from underground favourites to a global force in modern soul.

Review: The Nighttime Lovers series, which deftly showcases the forgotten and overlooked corners of 1980s disco, electrofunk and synth-powered dancefloor soul, reaches its 36th instalment. As you'd expect given the high number of previous volumes, the selections tend towards the defiantly deep, with more familiar artists being represented by lesser-known treats. So, instead of the much-loved 'Love Me Like That', Reel To Reel offers up the glossier, slap-bass propelled 80s soul of 'Don't Keep Me Hanging On', Cashmere contributes the sweet and tactile 'We Need Love' and GQ drops the eyes-closed lead vocals and horn-heavy peak-time hustle of 'Is It Cool'. Other highlights include Phil Upchruch's Marlena Shaw-sporting 'It's Got To Be You', Linda Clifford's superb 'I Want To Get Away With You' and the squelchy synth-disco of 'Decisions' by Anthony Lockett.