Back catalogue: Funk

Review: Fourth Wave reissue one of the great works of Japanese composer, keyboardist and producer Hiroshi Sato. Forming part of a fresh flood of reissues that the label have explicitly mandated, Sato's are highlights among a discrete period of exquisitely recorded and visually designed LPs from the late 70s and early 80s. With a sleekly surreal cover artwork by Tadanori Yokoo - psych rock's pastiching answer to Vaughan Oliver - Sato brought chilled finger-flair to his various recorded synth patches, electric pianos, chamber brasses and guitars, all of which are recorded to produce a precise, razored sound in xpander-funk. Something latent - something much more - than mere smooth AOR is conveyed here. Perhaps it can be focalised in the LP's aura of effortless, disengaged mellowness, as if good comportment and style is an inevitability of life in cosmopolitan 80s Tokyo.

Review: This record comes at a sad time, as Marlena Shaw passed away in January 2024, the New York born soul singer with her unmistakable voice leaving a long list of amazing credits and performances when she departed. This magnificent double 7" focuses on her early years in the late 1960s, work she did on the highly influential Cadet label just before she moved to Blue Note. 'California Soul', 'Liberation Conversation', 'Let's Wade In The Water' and 'Woman Of The Ghetto' are all soul classics by the late songbird, and all gathered togethere here into one unmissable EP.

Review: Smoove returns with another addition to his renowned Multitrack Rework series, offering a stripped-down bass and drums workout to open, with a seven-minute version of 'Engine Number 9'. The flipside sees him take on a classic with an extended reworking of 'Got To Be Real', starting with an open drum intro before breaking down the brass arrangements and highlighting the impeccable vocal harmonies. As usual, Smoove's deep understanding of groove and arrangement shines through, making this a must for anyone who appreciates his masterful touch on the funkier side of reworks.

Review: While the Reflex was the first to forge a career out of multi-track re-editing (which would have been called remixing back in the disco era, since you are rearranging using the original parts), plenty of producers have followed in his footsteps in recent times - not least popular disco and funk party-starter Smoove. Here he serves up a ninth instalment in his excellent 'Multitrack Reworks' series. On side A he does a stellar job in reinventing Depeche Mode's 'Enjoy The Silence' as a squelchy, synths-and-slap-bass sporting mid-tempo disco anthem, complete with spine-tingling vocal breakdowns. He opens side B with a stripped-back, dubbed-out take on Al Green classic 'Let's Stay Together', smartly emphasising the bittersweet beauty of the original version's orchestral accompaniment, before delivering a sweet, head-nodding take on the Emotions' 'Blind Alley'.

Review: This 7" is a reissue of one that first dropped back in July and soon sold out but with two extra cuts. It offered a rare chance to discover hidden gems from the Austrian Public Broadcasting Institution (ORF) vaults which were all vinyl debuts in summer. This gatefold double 7" kicks off with Stefanie & ORF Big Band's 'Compared to What,' a hard-hitting funk track featuring lo-fi vibes and powerful horns. The A-2 offers a subtly tweaked version, maintaining the same high energy. 'Feelin' It' then comes on the flipside with big brass leads, deep-cut drums and a stirring, emotive female vocal lead. A second alternative is also featured.

Review: Tel Aviv funk six piece Satellites are back in orbit, boldly moving the psychedelic folk-meets-groove sound they established on their eponymous debut forward on Lp number two. Drawing from the Turkish psychedelic wave of the 60s and 70s, their first record earned international acclaim, with support from BBC Radio 6 Music and FIP, as well as live sets on Gilles Peterson's Worldwide FM and KEXP. After two years of touring, the band entered the studio with a renewed sense of purpose and a tighter musical bond. The album opener, 'Tisladi Mehmet Emmi,' transforms a traditional Turkuler into a modern psychedelic funk masterpiece, blending saz, synths, basslines, and dramatic drumming, with Rotem's husky vocals narrating timeless themes of lament. 'Midnight Sweat' reveals a sultry side, with a late-night lullaby over a slinky disco-rock groove, while 'Hot Jazz' dives into cinematic territory, showcasing their jazz and funk chops. 'Gizli Ajan' and 'Yok Yok' surprise with genre-bending jams, while 'Ikmiz Bir Fideniz' becomes a cosmic folk-funk rendition. The album closes with a dynamic duo, from the cosmic disco-fuzz of 'Zuluf Dokulmus Yuze' to the dramatic finale of 'Zuluf B (Reprised).' Where their debut set the tone, this release marks their full transformation, confidently stepping out of the shadows of their Anatolian psych heroes to create a modern yet timeless record.

Review: Disco sensation Saucy Lady has been dripping hot disco wax on our ears since 2011, and now a fourth LP's worth of the stuff again leaves us thoroughly steeped in sensation. The new album is again a standout blend of French boogie and electro-soul, taking fellow producers and performers Derrick McKenzie, Yam Who? and Jay Mumford in tow for a slick 40 minutes' worth of aerated flair. Tantalising as ever, the lead track 'What If?' urges us to "just test it out and make it a reality", as if to exploit the daring limit between pruritic fantasy and consummation in reality. Which can you handle?

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: This seminal collaborative album by Gil Scott-Heron and Brian Jackson was released in 1975 but gets a special reissue for Record Store Day 2024. It blends jazz, soul and acute political commentary with Scott-Heron's powerful spoken-word lyrics alongside Jackson's innovative woodwind arrangements. The title track reflects the duo's global perspective and highlights the struggles for freedom and equality that are still so relevant today. The album's fusion of groove, intellect and activism marked a significant moment in Scott-Heron's career. With its poignant social messages and rich instrumentation, this record remains a timeless work of political and musical significance.

Review: Paris band Setenta prepare for liftoff, anticipating the upcoming 20th anniversary as a band with a new, sixth album, themed and performed with solar flair. An odyssey of Latin funk and psychedelic boogaloo, the septet provide us ample opportunity to stargaze here, merging chanting songs and tripletting wonderments with kazooing, percussive, guitar-led asteroid belt explorations. A celebration of twenty years' worth of craft-honing, the metal percussive builds of 'Tambu' and 'Sa Ki Taw' certainly demonstrate this band's rather chill skill.

Review: The candidly titled Ananda Shankar And His Music hears its first official reissue via Mr Bongo. Released on His Master's Voice in 1976, the album is a sublime collage of sitar-funk, traditional Indian classical music and psychedelic grooves, from the Indian sitarist, composer and musician. Nephew to India's legendary sitar virtuoso Ravi Shankar, Ananda's musical family and upbringing led to a deep respect and love of the wealth of music that emanated from his birthplace of Almora, North India. However, touring America in his 20s revealed a latent love for psychedelic rock, and this debut LP captures that obsession to a T. The fusion of cyclic, North Indian tala with Americana music is best heard on the likes of 'The Lonely Rider', which envisages the a sonorous Sonoran Desert set against an action-sequenced sitar and guitar strumming. 'Back Home' achieves similar results, with a Western, soul balladic walking bass mixing effortlessly with the sitar's distinctive, tweeting "bendre" - an exotic but compelling combo.

Review: A krautrock/punk funk/no wave/post disco hit-fest from the prolific American-born/London-based multi-instrumentalist and producer Shawn Lee. Lee, who was the drummer in the now disbanded Welsh band Carwyn Ellis & Rio 18, has made an album that's a left-field indulgence for sonic wanderers. There's a strong Neu! or Can feel to the opening and closing tracks - the bookends, if you will - so these songs are a homage to late 60s and 70s experimental music, but as invigorating as the golden generation's attempts. Elsewhere, 'Lost In London' has more of a new wave feeling; it's like a more hypnotic Gang of Four. And 'Lost In Tokyo' is a really smooth number, so the perfect soundtrack to when you feel like you can take on the world.

Review: Shawn Lee steps into untamed territory with Toe Rag Rhythms, a perc-ky odyssey trading in polish for pulse, spontaneity, and raw funk energy. Departing from his usual tightly composed fare, this session hears Lee, a seasoned multi-alias musician and composer from London, joined by four more percussionists, losing himself in a jungle of drums, shakers, bells, and earthbound textures. Lee adds tinkerbell piano lines to ground-lift the otherwise swirling, syncopated chaos, finishing each tracks with a loose-limbed, hypnotic charm. Whether the humid bounce of 'Tropical B Boy', the cinematic swirl of 'Dance Of The Pharoahs', or the laid-back snap of 'Rainforest Hum', this record easily earns its place alongside global groove rarities. Wild, rhythmic, totally addictive.

Review: Funk and soul group Sho Nuff were already beneficiaries of such greats as Stax Records and Malaco before their fourth LP, now reissued here through Wewantsounds, came out via the Japanese music racket King Records. Whilst their earlier records saw wide promotions in the US, Body Pressure heard the sextet relocate their appeal to the Japanese market, after having toured regularly in the Eastern isle after their prior album Stand Up For Love saw only modest sales success. Now well into their early-mid 80s embrace of boogie, the likes of 'Body Pressure', 'Monster Monster' and 'Is This For Real' hear unique pan-Asian collaborative panaceas, with recordings from Japanese funk jazz guitarist Takao Naoi standing out most notably on this sizzler.

Review: This soundtrack delves deep into the life and legacy of Sly & The Family Stone, offering an immersive experience of the American funk legends' groundbreaking music and the complexities that shaped their journey. The collection takes listeners through the band's rise to fame, highlighting their timeless funk and soul hits, while also reflecting on the unseen burdens faced by Black artists in America. Notable tracks like 'Sing A Simple Song (Alternate Mix)' and 'Underdog' offer fresh takes on familiar classics, giving fans new perspectives on songs that have long been anthems. There are also remixes, such as J.PERIOD's edits of 'Dance To The Music' and 'Everyday People,' which breathe new energy into the band's beloved sound. The collection also features rare versions of tracks like 'Thank You (Falettinme Be Mice Elf Agin)' and 'Family Affair,' adding to the richness of Sly's musical legacy. By incorporating interviews and insights from figures like Andre 3000, D'Angelo, and George Clinton, the soundtrack elevates the music, providing a context that goes beyond just the sound. It's a poignant reminder of the depth of Sly & The Family Stone's influence, revealing how their music continues to resonate with generations.

Review: A decade in the making, the long-awaited new album from Smith & The Honey Badgers gathers analogue sessions recorded by the band over a ten-year stretch, from early risings in Marietta and makeshift setups in a Hackney bedroom to recent studio time at Echo Ray in Wood Green. Lead vocalist Marietta Smith fills out each mix with clarity and vavavoom, the likes of 'Better Times', 'Don't You Doubt It Baby' and 'Echo's Theme' marking a terrific rouser soul record following four early-career singles released via Lunch Money and Fnr.

Review: Originally released in 2008, Manifesto captured Canada's The Souljazz Orchestra in full stride i locked into deep Afrobeat, but stretching further into spiritual jazz, militant funk and raw soul. It's one of their most focused records, recorded live with no overdubs, and it still hits hard. Tracks like 'Parasite' and 'People, People' feel especially relevant now, tackling inequality, media spin and class struggle with sharp lyrics and a driving sense of purpose. There's fire in the horns, urgency in the rhythm, but also a feeling of hope and collective strength. The band has offered plenty of highlights since, but Manifesto remains a standout i lean, direct and full of intent.

Review: This is a real jazz-funk gem for those who know, but it has long been out of print after its initial release on PM Records in 1976. It features an all-star lineup of saxophonist Steve Grossman, bassist Gene Perla and percussionist Don Alias and highlights include Stevie Wonder's 'Creepin'' and the iconic 'Sweetie Pie' which has famously been sampled by acts like the Beastie Boys. The Stone Alliance trio is joined by Argentine musicians who enrich their sharp core sound with keyboards, percussion and bandoneon for a warm, lyrical vibe. A real 70s masterpiece.

Review: The reissue of Stone Alliance's self-titled debut album from 1976 is a thrilling revival for jazz fans. Originally released on Gene Perla's PM Records, this album has transitioned from a rare groove gem into a cornerstone of America's deep jazz canon. The all-analog remaster by Bernie Grundman enhances the record's sonic depth, removing Dolby noise reduction and allowing the music to breathe, resulting in what Grundman claims is the best sound this album has ever had. The ensemble, featuring percussionist Don Alias, bassist Gene Perla and saxophonist Steve Grossman, delivers a dynamic performance. The album kicks off with the electrifying 'Vaya Mulatto', a track that masterfully shifts from a samba-like groove to high-speed funk, exciting even non-jazz fans. 'Sweetie Pie' shows the group's chemistry with its infectious riff and adventurous sax explorations. Meanwhile, their languid interpretation of Stevie Wonder's 'Creepin'' adds a different flavor. This definitive reissue, complete with an informative eight-page booklet, makes this a record you need to have.

Review: Stone Alliance dropped a number of now cult albums that brought fresh invention to the world of jazz-funk back in the 1970s in their prime. Many have become hard to find and out-of-print pieces that cost a pretty penny. Heads Up is a fine example of the trio's signature prowess featuring saxophonist Steve Grossman (who worked with Miles Davis no less, plus bassist Gene Perla and percussionist Don Alias. The album blends sharp improvisation with rich, global influences and standout tracks like 'Tribute to Afreeka' and 'Jimmy & Donnie.'

Review: Stone Foundation return with their 11th studio album, also marking their first in three years. Known for their collaborations with the likes of Omar, Laville, J.P. Bimeni, and above all their long-time collaborator Mick Talbot (The Style Council), this wonderwork hears this stylish high council of soul rejoice at their formative 25th anniversary, as they tour the world with the likes of Grace Jones and Paul Weller, their sights set firmly on the future. This new release promises a fresh evolution of their signature "small town soul" sound, which, despite the name, takes cosmopolitan flight into an atmospheric sound, in the stead of home.

Review: A collection that blends classic soul, jazz, and rhythm & blues with a touch of British mod flair, this is the 11th album from the British veterans. From the outset, the album demonstrates the band's ability to capture emotion with the haunting saxophone and reflective vocals on 'How Many Times', which sets a powerful tone for what follows. The title track delivers an uplifting, seventies-inspired anthem, combining brass, hand percussion and heartfelt harmonies that evoke the essence of Isaac Hayes and Stevie Wonder. Tracks like 'Everything & All I Want' and 'Cut Me Loose' highlight the band's versatility, drawing influences from artists such as Paul Weller and Fela Kuti. The latter, featuring JP Bimeni's stunning vocals, delivers a funky, rhythm-driven groove. Meanwhile, 'Close To Where You Are' is a beautiful love dedication with its soulful brass arrangements and dreamy trumpet segments. The album also explores more introspective moments with 'Fix You Up', which exudes a relaxed, jazzy vibe, while 'The Beat I Know' offers a peaceful, bass-driven composition with serene vocals from Sheree DuBois and Carmy Love. Other tracks like 'When Worlds Collide' and 'Reach Out' deliver elegant slices of rhythm and blues. The band's ability to mix emotion with impeccable musicianship is on full display. The closing track, 'Summer Song,' featuring the legendary Omar, is a poignant tribute to overcoming life's challenges, closing the album on a deeply reflective note. The Revival of Survival is a stunning, soulful journey that will leave listeners eagerly demanding more.

Review: ***B-STOCK: Record slightly warped***


The Strikers were a talented band from New York who delivered catchy and groovy tunes with soulful vocals and tight instrumentation. This album, originally released in 1981, features their two classic singles 'Body Music' and 'Inch by Inch', which are still played in clubs and on radio stations today. This reissue by Unidisc Music is a high-quality vinyl release that preserves the original sound and artwork of the album. This record is a must-have for fans of 80s funk and disco.

Review: A nine-piece instrumental combo hailing from San Diego, California, The Sure Fire Soul Ensemble deliver a heady brew of jazz, funk and global rhythms on their latest offering. Recorded in their homebase of Lemon Grove, the album sees them expanding their sonic palette, drawing on library music, spiritual jazz and exotica. Tracks like 'Makin' Moves' and 'The Grifter' showcase the band's signature funk-driven energy, their tight grooves and soaring horns recalling the classic sounds of Earth, Wind & Fire and Tower of Power. But there's a more introspective side on display too, with tracks like 'Mother Earth' and 'Freddie' evoking the spirits of Freddie Hubbard and Phil Ranelin, their introspective melodies and atmospheric textures adding a layer of depth and complexity. 'Corporatocracy' is a standout, its extended tabla solo and modal funk groove demonstrating the band's willingness to experiment with unconventional sounds and structures. This adventurous spirit is a hallmark of The Sure Fire Soul Ensemble, a band consistently pushing the boundaries of their sound while remaining firmly rooted in the traditions of jazz and funk.

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: By and large, disco albums of the 1970s and 80s are largely rubbish, mixing shorter versions of dancefloor epics (at least in their superior 12" version forms) with saccharine ballads. Sylvester's Step II, first released in 1978 and here revived in audiophile-friendly form, is an exception to the rule. Unusually, there's no excess fat and plenty of righteous, life-affirming dancefloor heat with the peerless 'You Make Me Feel (Mighty Real)' and San Fran disco-classic 'Dance (Disco Heat)' being accompanied by the high-octane disco-funk stomp of 'Grateful' and the languid soul-funk bump of 'Was It Something I Said'. Even the slower numbers are excellent, particularly 'Epilogue' - a slowed-down, gospel-tinged 'reprise' of 'Mighty Real' that's worth the admission price on its own.