Back catalogue: Funk

Review: Best known to many as Brett Domino from 8 Out of 10 Cats Does Countdown and all round internet keytar cover verion fame, Rob J Madin steps out from his comedy roots with a fresh suite of instrumental jazz-funk recorded mostly in his Sheffield attic. Drawing from the energy of artists like BadBadNotGood and Mildlife, the new six-track EP blends silky keys, warped synths, and choppy drum samples into a head-nodding, sun-drenched mod soul anthem set. 'Callisto Disco' veers over brash momenta, while 'Cherryade' leans back towards a laid-back optimism, not to mention the opener 'Bouquet Garni', which prophesies restless singalong hums by the never-forgetting listener.

Review: Deified disco editor Mister Mushi breaks from his own Mushi 45s faction for a diplomatic dance-over with fellow sonic saucerers Disco Donuts, whose third volume in a series hammers home two more spacey soma-uplifts. 'Expansions' of course jazz-funk clarion call 'Expansions' by Lonnie Liston Smith & The Cosmic Echoes, whose importuning "expand your mind" motif will never leave us. And of course, there's 'Ghetto Passion', an unknown remix to us, yet whose beats are so punctual that they could pop an iron ballon; this is a raw, clear and seething analogue sound, a style which many disco artists have tried to emulate since.

Review: Funk editor Mister Mushi finalises the latest fleet-dispatch by the eponymous factory known as Mushi 45. All housed on a distinctive yellow, large-innered 7" record (you know, the you need the metal spindle adapter for), every release on this label is a charm. Here the dotted line marks out a well-defined classic by Rob Base & DJ E-Z Rock from 1998, 'It Takes Two', which in turn samples Lynn Collins' 'Think', after which this reissue is named and from which the now rather saturated vocal sample originates. James Brown's original production and backing "c'mon!" admonitions shine brightly, while Mushi's extra phattenings also serve to emphasise the mix without peaking it.

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: The wonderful new 'Womp In My Spirit' blends flashy 80s-inspired beats with smoothly delivered and rhythmic lyrics that together capture the essence of West Coast vibes with American Moniquea's distinctive vocals shining alongside masterful boogie beat maker XL Middleton's typically faultless contributions. Once again they have cooked up a gem for the modern funk scene and the instrumental version allows you to fully appreciate the depth of the production without the vocals. This one has already been getting bumped by renowned DJs like Walla P, Zackey Force Funk and Soul Clap and hits a perfect sweet spot between funk and hip-hop.

Review: Under the Linkwood alias, Nick Moore has released a wealth of fine material since debuting in the late 2000s - including a string of sublime albums and EPs. Last year he popped his re-edit cherry alongside The Mighty Zaf via a two-tracker paying tribute to the late, great Phil Asher. Here he takes the next step, delivering a first solo scalpel missive via the reliable and long-running Moton imprint. On side A, the Edinburgh producer attempts to 'Make It Better' via a razor-and-tape style edit of a slap-bass-sporting, synth-wielding slice of early 80s disco-boogie perfection. We have no idea of the source material, but the lightly extended track is as infectious as it is intriguing. Over on side B, 'No Easy' is a sweet, string-laden slab of mid-tempo disco-soul sweetness, while 'Brekkers' is a squelchy, up-tempo electrofunk workout tailor-made for break-dancers.

Review: The debut release from Hebrew Israelite vocalist, songwriter and multi-instrumentalist Margeeah Aharon was recorded in July 1983 with the Kingdom Sounds community band in Tel Aviv. This deeply introspective blend of jazz, soul, funk and reggae is guided by Margeeah Aharon's soothing yet resolute voice, imbued with a meditative graceidrifting between the searching melodies of 'Bring The People Home' and the deep-rooted spirituality of 'Rise Black Spirit', while 'Music Is My Love' glows with warmth and devotion. The reflective 'Daughters Of Zion' and the title track capture Aharon's gift for meditative storytelling, where faith and longing intertwine. Decades later, the album's messages of love and self-discovery are as vital as ever.

Review: 1997's Slow Traffic to the Right found Bennie Maupin navigating between cerebral jazz and deep funk with style and ease. Though generally known for his abstract leanings and serious musical demeanour, here he showed a lighter side - not least because he is actually smiling on the album cover - while diving into grooves shaped by his time with Herbie Hancock's Headhunters. With help from rhythm masters like Mike Clark and Paul Jackson, Maupin swaps out ECM austerity for signature Oakland bounce, so tracks like 'It Remains to Be Seen' and 'You Know the Deal' excel with newfound swagger without abandoning his jazz roots. It's a compelling pivot into accessible, funky and smart jazz soul.

Review: Charif Megarbane, the Beirut-based multi-instrumentalist and composer, stretches his sonic vocabulary on this sprawling new full-length, a genre-hopping journey that draws as much from the Lebanese coast as it does from the wider diaspora. Where his earlier work painted intimate portraits of local life, this one looks outwarditoward cultural entanglement, exile, and exchange. 'Hanadi' kicks things off with a sax-led, Somali-inspired groove, while 'Dreams of an Insomniac' drifts through hazy keys and fluttering violin. 'Al Dollarji' recalls his signature Mediterranean funk, full of ornate strings, but 'Al Bahriye' disrupts the flow with hip-hop motifs and vocal samples. Collaborations feel purposeful: 'Helia', with Swedish composer Sven Wunder and the Stockholm Studio Orchestra, layers lush cinematic strings into Megarbane's idiosyncratic palette. Even miniature pieces like 'Sfiha' or 'Preamble to the Conclusion' feel essential, punctuating the record's narrative of displacement with clarity and warmth. It's a collection that resists linearity, folding nostalgia and innovation into a rich, borderless soundian informal transmission between traditions, cities and moods.

Review: German funk heroes The Mighty Mocambos continue to prove that their funk is an ever-evolving force, navigating between the worlds of gritty, organic soul and cinematic experimentation with unapologetic energy. Their latest offering marks another step forward, refining the groove-laden formula that's earned them global acclaim while pushing into new territory. The opening track hits hard with orchestral flair on 'Road to Earth,' where the legendary Peter Thomas's arrangements lay the foundation for a full-on sonic odyssey. As they move through the album, tracks like 'It's the Music' and 'Hot Stuff' groove like a classic, with Afrika Bambaataa's presence lifting the energy and ensuring a tight vibe. But it's not all about party anthems. 'Not Get Caught' from DeRobert tells a story that's as gritty as it is soulful, capturing a narrative of crime with a raw, undeniable swagger. Even more dynamic is the standout 'Catfight,' which melds mysterious Eastern flavours with a tripped-out break, displaying a versatility that refuses to be boxed in. This is an album of triumphs, not just in the power of individual tracks but in the overall cohesion of sound and spirit, and by taking a step further into uncharted waters while keeping their infectious funk roots firmly grounded, The Mighty Mocambos challenge expectations and push boundaries. A showcase of a band in full flight, steadily rising.

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: Renowned DJ and selector MURO is a Jedi-level compiler and this new collection of his delves into Victor's extensive archives to spotlight a world of Japanese jazz, fusion and AOR. It take sin plenty of internationally known names like Yasuko Agawa on the sunset sounds of 'L.A. Night', Sadistics who offers the more psyched out guitar leans of 'On the Seashore', Yuji Ohno's neo-Balaeric bliss-out 'The Dawn of Seychells' and Hiroshi Fukumura's soul soothing Ry Ayres-style melodies on 'White Clouds.' These are luxurious sounds and timeless tracks with MURO's signature funky perspective making this a brillaint choice for brighter, warmer days.