Back catalogue: Funk

Review: Derwin Daniels, an accomplished soprano saxophonist and composer, crafted this smooth r&b 45 back in 1989. Featuring the powerhouse vocals of the late La Donna Wells, who delivers a performance on par with Mary J Blige, this gem pre-dates "What's The 411" by three years. The track oozes slick, deep r&b vibes that are soulful enough to fit seamlessly into modern soul and disco sets. On the flip side, Daniels treats listeners to some jazzy brilliance, showcasing his versatility as a musician. An essential find.

Review: Bowie is a new label that says it intends to "dig deep into the unreleased sides of pop superstars material from the past." The opening gambit is a strong one that should hook you in for more as it comes in the form of a 7" with two fine funk instrumentals, neither of which have been put out before. 'Golden Years' has lovely live drums and meandering guitar licks for some carefree listening, while 'Fame' has a deep cut groove that rises and falls in dramatic fashion with more neat and tidy riffs adding the detail next to the big licks.

Review: Sandra de Sa's 'Olhos Coloridos' and Equipe Radio Cidade's 'Bons Tempos Sao Paulo' bring vibrant Brazilian boogie back to life in this remastered reissue from Mr Bongo's Brazil 45's series. Sandra de Sa's track, from her 1982 self-titled LP, is a brilliant example of '80s MPB and boogie, featuring the iconic collaboration of Lincoln Olivetti, Robson Jorge, and members from Banda Black Rio. Funky basslines, dreamy Rhodes and jubilant horns complement Sa's outstanding vocals, making it a joyous, danceable piece reminiscent of Tim Maia and Marcos Valle's best. On Side-2, Equipe Radio Cidade's 'Bons Tempos Sao Paulo' transforms Chic's 'Good Times' into a Brazilian boogie delight. Originally a rare promo-only release from 1980, this version infuses the classic melody with samba rhythms, clavinet grooves, and cuica percussion breaks. Voiced by Sao Paulo radio DJs with festive greetings, it adds a unique local flavour to the familiar tune, reminiscent of the era's vibrant Brazilian music scene.

Review: Ron Hardy's legacy lives on though stories of his legendary DJ sets but also his seemingly endless catalogue of edits and reworks of the tunes he played in his heyday. Here we have another such exhibit in which he flips some classic disco. The original version of 'No Way Back' is riddled with picked guitar licks and dreamy keys while a funky low end moves on this disco-rock gem as brass bursts out for added oomph. Hardy ups the pace, twists it beyond this realm and adds big drum breaks that are Prue bit for dancers. It's a classic in its own right that gets regular plays by more bold and eclectic DJs.

Review: For the 83rd release in their Brazil 45 series, Mr. Bongo presents yet another a gem in the form of two classic tracks by Brazilian soul legend Roberto De Melo Santos, also known as Di Melo. Born in Recife in 1949, Di Melo is celebrated as an icon of Brazilian funk despite a limited discography. His 1975 self-titled debut is a prized collector's item that is widely loved by Brazilian funk fans, breakbeat enthusiasts and sample seekers. This release revives two standouts from that cult album in 'Kilario,' which is a smooth, soulful masterpiece, and 'Pernalonga,' a feel-good tune featuring catchy guitar, horns and a memorable drum break that was famously sampled in 2009's 'The People Tree.'

Review: DJ Cat comes through on Scruniversal here as the young label continues to go from strength to strength early in its existence. This time he serves up some re-edits and reworks of old and rare records from Scru's friends' collections. Up first is 'Roots & Culture' which is a languid funk workout with Prince style vocals bring some libidinous vibes up top while sci-fi synths and raw claps and perc all flesh out the groove. 'Possibelle' then cuts loose on a much more laid back and steamy summer vibe with the sort of chords that have you laying back in the park and staring up at a cloudless sky.

Review: The figurative "battle weapon" is a kind of warring sonic heuristic; a dirty, up-your-sleeve musical "tool" made expressly for the MVP DJ to use in times of soundclash-y trouble. The Battle Weapons label know this all too well, and here they welcome new trainee assailant DJ Maars to demo his skills in the colosseum, bridging a fine line of recognisability and productive sample-flippage. 'A Nah Gun Nah Heat' brews Snoop Dogg's 'Drop It Like It's Hot' and Doug E. Fresh's 'La-Di-Da-Di' to delicious acapella effect, whilst 'Feel Like Standing' smashes Ludacris and Marcia Griffiths in an almost fated blend. Why didn't anyone else think of these before?

Review: Mr Doris steps up with D-Funk Heat, a release that comfortably balances retro flair with modern groove. The production is sharp, with funky basslines that immediately grab attention, while the crisp drums and infectious synth lines keep everything fresh. Doris's ability to blend dancefloor-ready energy with nuanced musicality shines through, making this a record that's both playful and rich in its sonic textures. There's a sense of ease throughout, a laid-back confidence that invites listeners to move while staying fully immersed in the groove. It's a nod to the past with eyes firmly on the future.

Review: Fresh off the back of X-Ray Ted's debut album Moving On comes this instrumental/scratch tool version of 'Get Loose', one of the record's best-loved non single tracks. Prior to the full album's making and eventual completion, The Bristol-based DJ and producer had spent years honing his craft and refining his signature sound, which drew heavily on soul, funk, hip-hop and breaks; all of which were styles heavily indebted to the street battle breaks culture found in 90s New York and other major cities. 'Get Loose', the seventh track on the record, features British rappers Dr. Syntax and Elemental and is a fiery exploration of what it means to loosen oneself; the track features here in full original form, alongside its locked groove and acapella versions, the former of which samples an oldskool comedy set characteristic of the kinds of sources battle DJs would sift theirs from.