Back catalogue: Funk

Review: "Cramp Your Style" by All The People surely belongs among the canon of all time funk standards, sampled aplenty over the years, included on numerous compilations as well as being the recipient of cover versions from Breakestra and Killer Meters. Originally issued on the Blue Candle label back in 1972, a newly remastered edition of that 7" is now available for any funkateers out there without the 45 in their collections already. Robert Moore's yearning vocal sounds all the better for it too! And don't sleep on the bluesy delights of B side track "Watcha Gonna Do About It?".

Review: "Cramp Your Style" by All The People surely belongs among the canon of all time funk standards, sampled aplenty over the years, included on numerous compilations as well as being the recipient of cover versions from Breakestra and Killer Meters. Originally issued on the Blue Candle label back in 1972, a newly remastered edition of that 7" is now available for any funkateers out there without the 45 in their collections already. Robert Moore's yearning vocal sounds all the better for it too! And don't sleep on the bluesy delights of B side track "Watcha Gonna Do About It?".

Review: We'll never tire of the incredible Brazil45 series on Mr Bongo, which has provided an authoritative window into the rich history of 60s and 70s grooves from South America. Here's a missing joint from the series which took some time to come to fruition - a split release featuring Brazilian Boys on the A side and Rubinho E Mauro Assumpcao on the B. 'Super Herois' is an obscure slice of off-kilter, psych tinged funk from 1975 that has the kind of individual sound which could find favour with a lot of different DJs. 'Tudo Ai' has a more recognisable samba shuffle, but much like the A side there's a subtle twist in the sound which leans towards blues rock and jazz, locking down on the rhythm and creating a low-key party starter in its own unique way.

Review: Some early 70s string-laden, feel good soul from vocalist Mel Britt, which became a sought after item on the UK Northern Soul scene now gets a worthy repress. On the flip Ruby Andrews drops a heartfelt version of ''Just Loving You'' from 1968 - another hard to find soul gem which normally sells for serious money on Discogs!

Review: Get ready for more extended breaks fun with this new edit from the popular Breaks & Beats bootleg 45 series. Unknown cut and paste masters are behind these two special editions, the first of which tackles Brother Soul's 'Cookies' and flips it into a driving funk tune with big, rousing horns and subtle funk riffs. It's a tasteful banger to pump any party and on the flip comes the more subtle and jazz tinged Ramsey Lewis tune 'Back In The USSR.' Noodling keys leave wispy arias in their wake as the bristling rhythm section powers along below.

Review: Distorted organ loveliness here from the players over at Original Gravity, continuing on strong with their practice of putting out new music in the style of old soul 7"s. On this split-flip 45, two of the most eminent soul vocalists out today share a side each. St. Louis singer Raye Cole helms th A, with her energetic number 'You Gotta Set Me Free' stomping on forward with a shaker-clapping, horn-heavy blues swing. Rachel Maxann - perhaps another alias similar to Nestor Alvarez - brings up the B on a finger-clicking alternate take on the breakup-piner 'You Gotta Set Me Free'.

Review: Another mighty fine reissue here from the masters of just that in the Original Gravity label. It features distorted organ loveliness here that continues with their practice of putting out new music in the style of old soul 7"s. On this split-flip 45, two of the most eminent soul vocalists out today share a side each. St. Louis singer Raye Cole helms the A-side, with her energetic number 'You Gotta Set Me Free' stomping on forward with a shaker-clapping, horn-heavy blues swing. Rachel Maxann - perhaps another alias similar to Nestor Alvarez - brings up the B on a finger-clicking alternate take on 'You Gotta Set Me Free'.

Review: Vinyl sampler from the full length of tracks chosen from Bugz in the Attic. Some cool hard to find gems here.

Review: UK born, Australia based DJ and producer Dr Packer is back with more of his on point edits. He tackles some serious disco heavyweights here on Salsoul and first off, disco diva Loleatta Holloway and her mega-hit "Runaway" gets a fresh 2020 update with some soul uplifting studio skills. A heavy funk remix of Rafael Cameron's "Let's Get It Off" is next, with the original still taking centre stage, then the shimmering and glistening disco gold of Ripple's "The Beat Goes On" follows before in-house collective The Salsoul Orchestra also get treated to some elegant orchestral work and a sultry vocal hook.

Review: Some scintillating all-star action here, as nu-boogie star and Star Creature regular Andre Esput joins forces with fellow revivalist synth-funk stalwarts Kappekoff and Reggie Got Beats AKA RGB. 'Sugar' is the kind of colourful, bass guitar-sporting, synth-powered electrofunk goodness that would once have featured on legendary label Solar System - all squiggly lead lines, rubbery bass, tight machine drums and soulful lead vocals for the ever on-point Esput. The quality - and authenticity - of the trio's early '80s sound comes through loud and clear on the flipside instrumental version, which also includes added musical motifs and dub style drops. A genuine neo-boogie banger!

Review: Boston's A-grade record digger, funk and soul boffin and master edit maker Kon is back with his Gang for this tidy 7" that also features Rick James. It is once again an edit aided by Kon's long time engineer Caserta, with slick, life affirming jazz tinged and super funky production. Soul Supreme is on keys, the knotted bass comes from Xander Vrienten and together they all serve up a real late summer jam that could be 50 years old. The dub is just as delicious on the flip, with more room for the lux and authentic production and very real musicianship to shine through

Review: Funkyjaws Music launches a new edits series here with four absolute dons of the form on one vital 12". It's Lay Far that kicks off with 'Never Ever Edit' which is all horn-led excitement and upbeat disco claps and kicks before Admin's 'Moon Trippin' takes a more slow and soulful approach. When it comes to edits few are more essential than Chicago's Rahaan who kicks off the B-side with 'Gonna Get Ya', a leggy funk number infused with cosmic synth rays and warm piano chords. Delfonic shuts down with the loose percussive jumbles and jazzy vibes of 'Let's Dance The Spank'. A fine start to the series with volume two already in the works.

Review: Batov Records have proven themselves juggernauts in their ability to stick to a theme; since 2016, they've kept up their Middle-Eastern grooves themed 45's series for a spate of over 13 releases. Les Dynamites and Radio Trip serve up their latest. Hailing from Jerusalem and Israel respectively, both bring influences from dubbed-out Mediterranean bass, Yemeni folk and trip-hop to each tracks, different in style but reconciled by these influences. What's more 'Oud Two' and 'No Oud' are intended as invitations to dance, with both bands intending their respective tracks as rallying calls for Israeli belly dancers and breakdancers.

Review: DC-based label Peoples Potential Unlimited aka PPU is a real favourite for us here. It's got a signature lo-fi funk sound and deals in perfectly ageless sounds with a big heart. Robbie M has been a frequent name in the label's catalogue and is back on this new 7" next to Midnight Express. The latter kicks off with big cosmic disco synths, hip-swinging claps and great vocals. Robbie M's brilliantly boogie-fried 80s electro-funk then appears in the form of 'I Need Good Lovin'' with its seductive vocals and catchy broken beats.

Review: Mukatsuku's latest must-have release offers another opportunity to own early Freddie Cruger AKA Red Astaire favourite "Take It Personally". The wonderfully dusty, smoky and life-affirming hip-hop-soul cut first appeared as a Swedish only CD single in 2001, before later being included on the Stockholm stalwart's 2006 debut album "Soul Search". This time round, the inspired original - all head-nodding beats, sumptuous strings and sugary-sweet vocals from guest Desmond Foster - comes accompanied by a previously unreleased instrumental take. This vocal-free version is superb, offering listeners a chance to wallow in the quality of the Swedish veteran's bumpin' beats and intoxicating, head-in-the-clouds production. In the record box of Danny Krivit,DJ Spinna, Kid Koala and more! Only 300 hand-numbered copies and strictly no repress. Juno copies come exclusively in additional hand stamped kraft paper inner sleeve and branded card outer sleeve. Don't sleep !

Review: Born To Shine fly down under for the first time for a dangerous pair of collaborations from Melbourne's Amin Payne. Teaming up with fellow Aussie Roughsoul, "Bad Juice" lives up to its name as it quenches our thirsts with refreshing looseness and meaty, deviant boogie dynamics. German troupe First Touch tag-up on the B as "Wait A Minute" offers a dreamier departure with layers of keys and vocodered soul weaving in and out of the lolloping groove. Majestic.

Review: Beats & Breaks are slowly working their way through some of the most seminal and scene defining foundational funk cuts. For the 007 release we're treated to a wild jazz excursion as Pleasure and Rusty Bryant get the treatment. "Joyous" (famously edited by DJ Harvey) get its swing polished and really brought to the fore on those shiny rhythm guitar builds while Rusty's king break-buster "Fire Eater" gets extended in all its sleazy Q&A glory. Limited to 300. Them's the breaks!

Review: A unique smashing of worlds between funk and hip-hop, this fantastic, vibrant, red-and-black splatter 7" brings together a host of collaborating greats, all of whom have contributed in major ways to both sounds over the years. With Dan Ubick on guitar (Breakestra, Big Daddy Kane), Julius Augustus on bass (The Sandollars), Dan Hastie on organ (Orgone, Alicia Keys), Steve McCormick on dobro and Professor Shorthair on the cuts and edits - and mastered by Dave Cooley (J Dilla, Madlib) - this is a mournful yet masterful example of live-recorded battle breaks.

Review: DJ Soopasoul's last mash-up was an inspired affair that saw him perfectly fuse tracks by Philadelphia Soul legends MFSB and the Beastie Boys. Here he takes a similar approach, placing the rap vocals from the 1995 hip hop classic "How High" atop a suitably funky, lolloping beat crafted from Clavinet-heavy sections from Stevie party-starting floor-heater "Superstitioun". It works remarkably well on the A-side vocal mix, and those who'd not heard either track would be convinced that there was no mash-up antics going on. Over on side B you'll find an instrumental mix that showcases Soopasoul's editing skills; minus the Hip Hop vocals, is a fine re-edit of the Wonderful jam.

Review: Athens Of The North will always be one of our favourite labels no matter what they're serving up. The Edinburgh-based deep diggers this time look to Race 'N Rhythm, which was once upon a time a 12-member jazz group based in Oakland. Jazz-master Rudolph Peters managed the multi-racial band and though they were admired on the vocal live circuit they only ever released one single before later doing an album. 'Space Saver' was recorded in California in 1982 and is a sultry and romantic soul sound with leads and coy rhythms. 'Candybar Superstar' on the backside is a pure fire dancefloor heater with high-energy claps, horns and vocals.

Review: In its 1970's prime, the Buffet Hotel de la Gare de Bamako used to mix a broad and diverse clientele of Bamako's fine society and hookers, Western, Chinese, Russian and Arab businessmen with diplomats and African entrepreneurs. Rail Band's music became the exciting soundtrack of modern Mali, blossoming like a big bright bouquet of tropical flowers. In its heyday, the orchestra pretty much defined by itself the idea of afro-pop.

Musicians such as singer Salif Keita, singer Mory Kante, guitar player Djelimady Tounkara and the late bandleader and sax player Tidiani Kone all graduated from the Rail Band before turning to more or less successful solo careers. The Rail Band got started in october 1969 as a regular orchestra in the railway station premises.

In order to keep up with new forms of fusion music which could be heard in Dakar or Conakry night clubs or "paillotes", trumpet player, sax maestro and bandleader Tidiani Kone recruits some bold element for his orchestra. Both a griot and a jazzman, Tidiani Kone was a former Orchestre National A musician. His main idea was to bring Malian music out of the dead-end of afro-cuban and Western imitations. He took the chance to recruit a young albinos singer, accompanying himself with a cheap Chinese guitar.

Kone was the first one to understand that Salif Keita's voice was pure gold. At the end of 1969, Salif Keita, Tidiani Kone and rythmic guitar player Mamadou Diakite practiced for weeks as a trio in order to forge a repertoire of their own. Other musicians such as guitar player Ousmane Sogodogo and lead guitarist Nabe Baba, timbales player Marius as well as percussion player Abdouramane Koumare soon join in, encouraged by Kone.

In July 1970, the Orchestre du Rail Band de la Gare de Bamako gave its first concert, on a tiny open air stage, with palm trees breeze and stars above them. The Rail Band rapidly became one of the city's main attraction. According to its initial status, the Rail Band must "explore and propel mandingo repertoire in order to aim at the neo-classicism of African chanson". Born in the heart of the Mande griot tradition, Salif Keita knew the classic songs. Soon, the folklore part of the repertoire was more prominent than the blues and afro-latin numbers.
Musicians were paid by the Malian train company, ie by the state, who also owned their instruments. Combining mandingo and bambara traditions, French pop, afro-cuban rhythms, Congolese rumba, American rhythm'n'blues and calypso, the Rail Band's rise to fame was striking, paving the way for numerous modern orchestras to follow. They rehearsed five days a week from 5 to 6 pm, before changing, dining and taking the stage from 9 pm till the last customer left the Buffet, sometimes early in the morning. In order to help empty the premises from its patrons, Rail Band musicians played late night jazz themes, strongly encouraged by Tidiani Kone.

With his saxophone hollering at some distant tropical moon, his heartfelt horns arrangements added a sense of epic grandeur to the Rail Band songs. His bold musical mastery set Salif on orbit while modern instruments and instant melancholy radiate through a song like Massare Mousso. He sings about some impossible love : "If you don't have anything to do, fall in love with a woman who doesn't love you / If you dont have anything to do, fall in love with a man who doesn't love you". His voice was frail but Salif shows evidences of his vocal grandeur to come. In the early 1970's, it seems that the Rail Band knew instinctively how to go down in musical history.
The orchestra took off, thanks to Salif's youthful vocal prowesses and to the sheer intensity and dedication of musicians led by Kon'.

Guitar player extraordinaire Djelimady Tounkara joined the band in 1971 as a new recruit. His arrival enabled the Rail Band to reach new heights in a dazzling ascension of recordings done in a tiny Radio Mali studio. His rumbling electric guitar became one of the band instant trademark. Guinean balafon and kora player Mory Kante also jumped in as the Rail Band was by far Bamako's finest orchestra in the 1970's.
Directly inspired by James Brown's funk achievements, Sex Machine belongs to the band's legend, an incredible cover which is both heroic and mesmerizing. It is a pure slice of raw and spicy Malian funk, one of those "straight to your face" songs with a devastating outcome, courtesy of Mamadou Bagayoko's heavy drums and Cheick's Traore sturdy guitar bass playing. Alfred Coulibaly's Vox organ adds up to the hypnotic mood of the song.

Looking for the Rail Band's trails these days, one has to stop by the old Buffet Hotel de la Gare in downtown Bamako in order to feel the countless, panoramic and moving memories of this unrivalled musical golden age and this masterful orchestra.

Review: There is no information out there on the world wide web about this one. It is a second release from new Netherlands label Dutch Gems and could be old, could be new, but is certainly worth copping. The a-side is a first ever tune from Raimond G who has also variously worked as James Crown, Kid Sundance and Raimond Gesthuizen. 'I Went For Wine' is a lo-fi funk jam with lazy beats and hazy feels. On the flip side is a tune from Big Kid Skeem, which turns out to be another alias of Raimond G . Here on 'Pimpin' & Hoein' he cuts up the funky b-boy breaks with loads of scratching, vocal snippets and crisp hits.

Review: There's a mild Latin theme running across both sides of the latest Big Crown 45". First up Paul Ramous covers cult Latin funk band Mandrill's "Fence Walk" with a surging, urgent sense of soul while on the flip we're taken back to the Bay Area late 60s/early 70s as Afro Blue Persuasion's Ulysses Crockett lays down a laid back, slightly fuzzy freeform vibraphone jam in the form of "Funky Resurgence". Sprightly, light-touched and primed for spring, Big Crown have spoilt us big time here.

Review: The Record Store Day 2021 gems just keep on coming. This one comes from UK dance music veteran and all round nice guy Ashley Beedle. He was invited back in 2020 to edit the unreleased original Rare Pleasure track 'Superfine Feeling' which got a vinyl release in 2021 on the charity A's and Bees label. Ramrock Boss Lady Jo Wallace heard the tune and was soon keen to lock in a special 7" edit that she thought would amount to "a Blackpool Mecca classic that never existed!" Well, it does now, and it is killer.

Review: Two sides of old Virginia funk - back to back on one funky 45! "Stormy Weather" is the classic standard, but played here like you've never heard it before - very funky, with a jumping bassline and snapping drums, with plenty of off-kilter horns that give the whole track a jagged edge. The arrangements of the vocals are so different that we hardly even recognize them! "Tyrone's Brake Down" is a wah-wah heavy groover - lots of fast-riffing guitar over snapping drums and searing Hammond organ. A chugging funky monster that's presented here for the first time ever!

Review: Obscure Californian group The Real Thing (not the Liverpool 4 piece ) who recorded for US label Whiz enjoy a very special spotlight on Super Disco Edits. Both cuts previously unreleased; they're as fizzy as the product they share a slogan with... "Give It Up & Turn It Loose" takes James Brown to turbo charged pastures, tearing up the funk rule book so rapidly they've got friction burns. "It's A Family Thang" brings us back down to earth with such unified tightness and positivity it would make Sly and the Stones blush. The real deal.

Review: All AOTN releases are special and have been curated, researched and excavated from the past with total care, attention and respect. This one, however, is a whole new level. Apparently originals have regularly changed hands for over $6000 and its taken 10 years for AOTN boss Fryer to located and procure a clean copy of the 300 pressings made way back in 77. "Gangster Boy" is a subtle slice of soul that gradually develops with sentiment and gusto as the backing vocals deliver harmony after harmony. Flip for a heavier deep funk affair where the instrumentation is much fuller and rawer but the BVs are just as big. A really interesting release in every possible direction. AOTN keep on delivering.

Review: For the latest release on his self-titled label, Lego Edit has decided to showcase the work of two other Italian artists - young, Rome-based DJ/producer The Rebel and long-serving underground hero PCJ Project. The former handles side A, dubbing out and looping up elements from an old James Brown classic on the LTJ Xperience style chunky head-nodder that is "JB's Need Some Money". It's a little beefed up in the beats department, but it's Fred Wesley's trumpet solos that catch the ear. Lego Edit takes a similar approach on his flipside dub of PCJ Project's "Hot Groove", an infectious disco-house loop jam built around samples from a weighty funk number and some life-affirming horn motifs.

Review: Pure brass bedlam from the long-standing, Grammy-winning, heavy-hitting Rebirth Brass Band: "I Like It Like That" and "Do It Again" are taken from the band's hugely successful Rebirth Of New Orleans album and have never seen the light of 45" before... Until now. The former is hotter than a Mardi in July with a party-rearing hook you'll be humming into the 20s. The latter takes more street corner momentum as the band put down their horns and chant like their lives depends on it. It doesn't get more powerful than this. Super limited too - only 500 copies to be pressed.

Review: 'Free Your Mind' is a rare and sought-after funk single from 1979, originally released on the obscure Gem City label. Though this debut was their only proper release, Record Player were a humungous supergroup from Dayton, Ohio, with over fifteen members exiting and entering their collective revolving door over the course of their active period. It's clear that the single's first reissue back in 2006 (via Soul Cal) wasn't sufficient for the most avid diggers out there, so now Fraternity/Und Brother team up again for round two, again backing up the song with the sultry wish-fulfiller 'Your Fantasy'.

Review: Repress! GAMM flex back sixteen years to the very beginning with a rerun of their first ever release. Cue label mainstay and firm friend, Fredrik Lager AKA Stockholm groove monster Red Astaire who launched the label in style with these two cult edits; "Follow Me" takes D'Angelo to some pretty psychedelic places while "The Wildstyle" struts with serious sentiments of 'unity' and some of the strongest JB chops available on 45. A timeless record that sparked the tales of both Red Astaire and GAMM. Not to be slept on.

Review: Sometimes you just can't beat the golden oldies and so it is that Soul Flip turns his attention to a couple of raw soul bangers. Up first is Otis Redding's classic "(Your Love Lifted Me ) Higher & Higher" with a rousing bass section which drives along the original version.The hits hit hard, the vocal is given room to breathe and the swing in the drums is infectious. The flipside houses a soaring tweak of Gerri Granger's "I Go To Pieces", with its clattering keys and rolling soul all quickly finding a way into your affections.

Review: This month Funk Night Records is releasing a trio of "45s" from previously unheard combo John Reed and the Automatics. They're all excellent in different ways, though this double A-side could well be the best of the lot. Title track 'Ethneogalvanik' sees them deliver a formidably fuzzy, horn-heavy tribute to African soul and funk full of Meters-style organ lines, crunchy Tony Allen style polyrhythmic drums, fluid bass and flanged guitars. 'Good Morning Brew' takes a more forthright, floor-ready approach, with more prominent guitar licks, Afrobeat style drums and rising horn blasts.

Review: London-based French producer The Reflex is back, here inaugurating his new vinyl series Flex7. Bringing this bunch of rare grooves (from the original tapes) for some edits that combine creativity and functionality - all with maximum dancefloor impact. On the A side, we've got the pitched-down slo-mo funk attack of "Good High" which is as low slung as you like it. On the flip, we have someone doing a half decent job of impersonating "the hardest working man in show business" on the addictive soul power of "Engine #9".

Review: Acclaimed French producer The Reflex is back on his Flex7 imprint. The Reflex moniker is part tribute to Nile Rodgers' remix of Duran Duran's 1984 song of the same name and a nod to the Logic Pro production software's Flextime tool, which allows users to alter and sync audio files. It's business as usual on this one, with two remixes direct from the master tapes combining creativity and functionality for maximum dancefloor impact. On the A side you've got the low slung yet elevating soul power of 'Wheel Spin' (Revision), while over on the flip there's the downtown vocal funk of 'Giv It Up' (Revision).

Review: By the sounds of this superb debut single, Australian outfit Regime are going to be a band to watch in 2021. Although their roots are in revivalist funk, 'Never Gonna Stop' sees them turn their hands to warm, loved-up and sun-kissed soul of the kind that was once all the rage in the mid 1970s. The grooves are toasty, the male and female lead vocals effortlessly soulful, and the instrumental touches - think languid jazz guitar solos, sweeping strings and lazy, trumpet-heavy horn arrangements - little less than superb. Flipside 'Deuzy Vibe', a P-funk flavoured, turn-of-the-80s boogie-soul style affair, is almost as good. There aren't that many of these clear-vinyl 45s around, so buy now to avoid disappointment.

Review: Izipho Soul welcomes back The Regime for a second vinyl outing in the form of this sun-kissed and limited edition 7". The funky Australian band now is said to have some 25" members but it works because their sounds are irresistible. This new one 'Be A Lover' oozes summery soul and gently funk licks with sensuous instrumentation and buttery vocals. Flip it over and the goodness continues to flow through 'Keep On Lovin'', another fresh sound full of musical skill as it mixes up a more raw funk style.

Review: Second time around for producer Neil Anderson's most recent record as the Regulators, a late 2020 cover version of Oasis' Britpop classic 'Don't Look Back in Anger'. It's a radical but hugely enjoyable reinterpretation, with Anderson and his bandmates re-imagining it as a skanking slab of rocksteady goodness that comes laden with trademark Hammond B3 organ sounds and lazy trumpet and trombone solos. Like it did first time around, this highly limited, white vinyl edition of the releases comes backed with a faithfully fuzzy and soulful cover of Freddie McKay's 1967 rocksteady standard, 'Love is a Treasure'.

Review: Clarence Reid's Miss Hot Stuff delivers a James Brown-styled 60s funk experience that's irresistibly infectious. Side-1 features 'Miss Hot Stuff,' is brimming with funk do to the infectious bass, vibrant horn section, and wicked southern guitar riffs, all complemented by Reid's stellar vocal performance. This track is a perfect blend of energy and groove, reminiscent of classic funk. On Side-2, 'Mr Hot Stuff' presents a fresh twist with added female backing vocals over an otherwise instrumental track. This downtempo version retains its funkiness while introducing a more laid-back, lounge vibe, making it ideal for both dance clubs and relaxed settings. Overall, Reid's mastery of funk shines through, offering vibrant, dance-worthy tunes with a timeless appeal.

Review: For the latest volume in their essential "Brazil 45" series of seven-inch singles, Brighton-based Mr Bongo has decided to offer up a fresh pressing of MPB star Renata Lu's superb 1971 single "Faz Tanto Tempo". You'll find the title track, a heavyweight fusion of US style soul and funk with added Latin percussion and a touch of easy listening sassiness, on side A, with original B-side "Sambaloo" on the flip. This features Lu singing over a hybrid samba/boogaloo backing track rich in jaunty bass, rasping horns and jazzy electric piano riffs. It's arguably every bit as alluring as the A-side.

Review: ***B-STOCK: Slight surface marks ***


Athens Of The North represent one of Australia's finest soul exponents Renee Geyer. "Be There In The Morning" comes in two forms... The 1977 version will be recognised from her most successful album of the time Moving Along. An upbeat fusion of soul and funk with mild disco nuances, it comes with confident orchestration and an instantly infectious, ultimately emphatic chorus. The real coup here, however, is the softer, dreamier earlier version that's so rare it never left the confines of her native country. It's digging like this that makes the young-but-hugely-potential rare music label Athens Of The North a very exciting prospect for record collectors.

Review: Reposado aka Tequila Funk brings more Latin and Afro flavours magic to this new 7". It makes a perfectly international soundtrack for global dancefloor fun with A-side 'All You Got To Do' bringing an uptempo soul vibe with some legendary guitar from the one and only Jimmy James, while some soulful background cooing comes from Alex Rose. It's a feelgood gem that will unite all who hear it and then the reverse is a salsa-tinged delight. 'Original' has masterful piano from Marina Albero and is an irresistible gem that completes a fine two-tracker.

Review: The 65th volume in Mr Bongo's admirable Brazil 45s series shines a light on Rio De Janeiro's turn-of-the-'80s boogie scene. On the A-side you'll find "E Novamente Mas Que Nada" by Ronaldo Resado, a five-minute chunk of samba-laced boogie sunshine that was originally featured on the artist's eponymous 1979 debut album. While wonderful, it's slightly overshadowed by flipside cut "Ginga", one of the highlights from Robson Jorge and Lincoln Olivetti's sought-after 1982 full-length (which, incidentally, was recently reissued by Mr Bongo and is well worth checking). Joining the dots between synth-heavy electrofunk, horn-toting disco-funk and languid jazz-funk, the instrumental track is arguably one of the best Brazilian boogie records ever made. Don't sleep.

Review: With their second bit of splendid new music, The Revues once again explore the areas where Tejano music, Latin soul and funk all intersect. The 45rpm is a fresh and updated take on Rene y Rene's legendary version of 'Mi Corazon Esta Llorando', which is a tough groove for sure but which comes with some sweet melodies and sunshine vibes for sure. The a-side has the yearning vocals of Angel Salgado next to warming organs, funky breaks and lithe bass, and the flip-side is a stripped-back instrumental.

Review: The origins of the Rhythm Roots Allstars lie in a spot called Temple Bar, a club in LA which was a hub for the hottest underground funk and soul in the city in the late 90s. The Allstars were the house band, and the collective has remained strong through the decades, co-writing Grammy-winning And The Anonymous Nobody by De La Soul and recording with the likes of Aloe Blacc and Ghostface Killah. It's hard to believe then that this is the band's first solo release, but here we are, and they don't disappoint. On the A side, 'Say I Do' brings a warm R&B flavour with Fishbone's John Arthur Bigham on vocals, while the flip throws down a searing hot instrumental which speaks to the Allstars' years of experience turning out the club.

Review: Two ultra-warm and loving soul cuts from Rhythm Roots Allstars. The onetime house band for the Rhythm Room at Temple Bar - a popular Los Angeles club that served as the epicentre for underground urban funk, soul, and international music for over a decade - they receive a just reissue here. 'Say I Do' is a sunny homage to marriage and longstanding partnership, and features vocals from guest singer John Arthur Bingham. The instrumental 'Island Hustle', meanwhile, features a calypso-style steel pan laid to a jazz-funky bedding, performed by the allstars' inhouse percussionist Davey Chegwidden.

Review: The small but already well formed Demon Singles Club has a couple of pearlers for you this month. This one from Jersey City, New Jersey disco and soul group Rhyze is an early 1980s classic that has become wroth a few quid over the years. The A-side tune 'Just How Sweet Is Your Love' is lush disco funk with gloriously golden grooves and silky chord work next to timeless hip-swinging disco drums and some lush Philly strong stabs. Add in horns and you have everything you need for the good times to flow. Flip it over for 'I Found Love In You' and more of the sort of heart warming sounds that bring real joy.

Review: Ricardo Bomba was not only a studio owner, engineer, pianist and composer, but so too was he an accomplished amateur skateboarder. He lay down these previously unreleased, sun soaked Brazilian tunes in 1978 after years as bandleader with the one and only Jorge Ben's live show. The master tapes were said to have been binned during a heavy studio clear out but the man himself kept a tape copy that has been remastered for this special 7". Mariana Couto provides the angelic vocals while the music all trills with joy and happiness.

Review: Carrie Riley & The Fascinations are one of those mythologised outfits who released only one single, but who really nailed that one single. The year of origin is unknown but now the Symphonical Records label that is dedicated to reviving and releasing unissued cuts from often forgotten artists of colour now puts it back on the map. 'Super Cool' is indeed ice cold. The sultry trumpets and low slung bass roll deep and the heart aching vocal is soul perfection. On the flip is the delightfully tender and vulnerable 'Living In A Lonesome House Without You' with its soft vocals and softer grooves.

Review: Legendary 70s funk band Ripple are back with two original members making new music again. Curtis "Kazoo" Reynolds & Keith "Doc" Samuels now go by the name of Ripple 2.20 and their first work is a new version of John Edwards' "Exercise My Love." It is a cover, but not as we usually know it - they lay down an incredible new vocal and play the parts with a real sense of sensuousness. On the flip is a new remix of some of Ripple's original material in the form of Fashion's take on "I Don't Know What It Is, But It Sure Is Funky", a raw, dirty, sleazy jam to get you in a sweat.