Back catalogue: Funk

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: The shadowy Edit & Dub crew don't talk about their releases, so it can be difficult to ascertain whether the tracks they're showcasing are long-lost originals, or new edits of ridiculously rare records. Either way, the label's latest EP features versions of some seriously hard to find treats, starting with a fine 'extended disco instrumental' of Sanctuary's 'Disconnect', a fine disco-boogie jam from 1980. They then deliver a (we think) previously unreleased 'extended disco' mix of Willie J & Co's killer 1976 disco-funk gem 'Boogie With Your Baby'. On the B-side we're treated to two takes on the mysterious 'Familiar Time and Place' by Uknown Tapes: a 'Chicago Mix' which sounds like late 80s Windy City acid house smothered in spacey deep house chords and intergalactic electronics and the mid-80s techno-tinged 'Detroit Mix'.

Review: Chicago outfit Wavelength tap into the funk traditions of bands like Parliament here with a seductive and rather sleazy new EP for Soulistic 360. The whole thing has been arranged by Windy City soul innovator Rahaan and comes on white marbled vinyl 12". Opener 'Can You Handle This Funk' is slow, steamy, sensuous with its languid kicks, live, raw drums and drawled vocals all luring you into the groove. The remix is a subtle teak of the original and on the flip is 'Kemetic Dance Party' which brings more Afro style drums and some bold sax lines to get things going in a more energetic way.

Review: UK based production team Weekend Sun is made up of Phil Smith and Chris Tarn. Here their loose and inviting 'Hoochie Coo Strut' tune gets presented on a limited edition 12" with a pair of killer mixes. The original is all deep cut, slow motion disco grooves, spangly guitar riffs and big horns. It is a cacophony of sound that gets dialled right back by Al Kent. His take is a low slung groover with jazzy chords given plenty fo room to breath and neat little riffs filing in the spaces beyond. Andy Smith Reach Up Disco Wonderland remix is a big one for full floors.

Review: Ralph White's early ventures into disco are finally gathered in one place with the first official anthology of his 1978 recordings at Sydney's Albert Studios. Better known at the time as a session player and producer in the city's studio scene, White was tapped by M7 to craft four disco pieces aimed at an emerging dance market. Over just two days in the studio and a small group of local players - including a young Tommy Emmanuel - he recorded four standout cuts, together which remain some of the most refined Oceanian disco ever put to tape. Though the original 12"s saw limited success domestically, M7's distribution push into markets like Canada, India and Argentina helped cultivate a quiet cult following. Now remastered and housed in a deluxe spot-UV sleeve with inserts featuring new liner notes and White's biography, this reissue shines overdue light on a forgotten chapter in Australian dance music.

Review: Whodamanny's Biloba sublabel on Periodica Records takes us into dark, hypnotic sax-driven sounds here with a new single that comes with four unique versions. The Club mix of 'Volveran ' features chanting vocals and neon-hued pads over tinny electric disco beats with some big sax stylings. TehSax Only does what it says on the tin and the Radio mix condenses this energy into a spellbinding pop gem while the Dub version removes the sax, highlights delayed drums, cosmic chords and sunlit guitar riffs and tops it with hazy vocals. These are lively, retro-future disco delights that are sure-fire crowd-pleasers.

Review: KC

Review: Bill Withers' 'Lovely Day' is a quintessential soul masterpiece that radiates warmth and positivity. The track stands out as a magical single, encapsulating the essence of a perfect, sunny day with its beautiful strings, uplifting background vocals and a delightful horn arrangement that adds depth to its feel-good vibe. This song effortlessly lifts the spirits, making it a timeless anthem of joy. On the flip side, 'It Ain't Because Of Me Baby' shows a funkier side of Withers' artistry. Its rhythmic groove and engaging melodies provide a captivating contrast to the uplifting nature of the title track, demonstrating Withers' versatility as a songwriter and performer. Together, these tracks create a delightful listening experience that highlights the genius of Bill Withers.

Review: The sounds of Stevie Wonder are destined to live on forever, such is the universal appeal and enduring musicality of what he does. When you have artists reworking the originals into different forms, that is also going to help them endure and that's what we have here with a couple of house mixes of his classic 'All I Do.' The Vocal House Remix is first and goes heavy on the filters while laying down some lovely soulful grooves that never quit. The Jazzed instrumental remix then pairs it back a little and allows some magical melodies to shine over more laid back grooves perfect for sunny sessions.

Review: Use Vinyl looks back to two iconic tracks from the 70s and 80s here for source material for a new remix EP by the Vannelli family. Joe T remixes 'Thrill Me' by The Wonderland Band into the sort of direct and funky house sound that brims with early dance music charm while the Vannelli Bros offer their rework of 'Party On' by Pure Energy which comes with plenty of energy for club contexts. Both tracks are presented as Classic Mix versions and bring plenty of new life to the original hits without forgoing the timeless, catchy and meaningful melodies that define the originals. House music like this is as authentic as it gets.

Review: According to the mildly amusing back story that accompanies this debut release from the Wrekin' Havoc crew, the crew of crate diggers turned re-editors behind the series make their wares in a cave in deepest wales, armed with just a computer and a pile of Balearic-minded wax. Whatever the real story, there's plenty to savour on their first outing. Opener 'Oh La Lover' is a tasteful tweak of an obscure, slap bass-sporting, mid-tempo French disco number from the early '80s, while 'Love Shock' breathes new life into an electrofunk era slab of Gallic rap/synth-pop fusion. On the reverse, the cave dwellers first play around with a boogie-era, drum machine-propelled cosmic disco number ('We're Truckin'), before delivering a saucer-eyed delight in the shape of the luscious 'Catch Me If You Can'.

Review: Jayson Wynters is one of the UK's more underrated producers. He hails from Birmingham, has mastered Kung Fu and is no slouch in the studio. This outing on Spanish label Pulp - written back during the lockdowns - is one of his best yet - a deep look into the cosmos, with star-gazing synth lines and analogue drum sounds that are frayed around the edges. Misty-eyed chords define many tracks, with the loosely jumbled drums and rasping basslines all interlocking perfectly. 'Corns Funk' has twanging bass riffs that remind of Prince, while 'Night Drive' is a Dam-Funk style late-night street cruise during sunset.