Back catalogue: Funk/Reissues

Review: The Dynamics are deep, soulful and spiced with the hottest Jamaican feel! The White Stripes track "7 Nation Army" has been re-interpreted using the classic Jamaican soul trick with full vocals! Included on this Groove Attack release is a funked up remix by Patchworks!

Review: Originally released back in 2003 - "Your Love Is Mine" not only features The New Mastersounds in an unusually laid back mood, but also the vocal talents of this years biggest success story - Ms Corinne Bailey Rae. "A British soul singer who will warm your heart one minute and break it the next" - bbc.co.uk "A voice so fabulous that after I hear this I will melt." - Jools Holland. Voted the Sound of 2006 by the BBC News website - a poll of 100 of the most influential journalists, broadcasters and producers in the UK " A deep soul ballad delivered by Corinne Bailey Rae. It's a love song that conjures up those lazy, hazy summer days lounging with your lover as all around time stands still' - Straight No Chaser. "Simply beautiful" - witchesbrew.com On the flip we find Montreal's finest DJ and producer Fred Everything turning in an excellent remix. Usually known for his deep and soulful house excursions, here he retains the original feel and flow of the track, but with added bumps and turns that makes it more palatable for DJs. Also included is the raw, stripped-down acapella of the song, which exposes Ms Bailey Rae's true talent in its barest form.

Review: Fresh from delivering killer dancefloor jazz covers of classics cuts by Galaxy 2 Galaxy and Avicii (really), Japanese trio Polyplus deliver a fine sequel to last year's Good Luck Sound Tracks EP. They go for the dancefloor jugular from the off, wrapping snaking sax solos, fuzzy guitar licks and elongated solos around a breathlessly rapid punk-funk groove on 'Massive', before fusing Brit-Funk and sweat-soaked jazz-rock on 'Speedy Gold'. This hybrid jazz-funk/rock sound continues on 'Ranki 2025' (whose heavy beats and memorable piano riffs nods to classic house). Elsewhere, 'Ocean Breeze' re-frames wide-eyed city-pop as jaunty jazz-funk and 'Natural Born' is a drum solo-sporting slab of jazz-rock/jazz-fusion insanity straight from the top drawer.

Review: The ever awesome Honest Jon's decision to reissue its back catalogue in digital format gives you a chance to delve back into the amazing album of Chaabi music from the Abdel Hadi Halo & The El Gusto Orchestra of Algiers. The Damon Albarn fronted excursion by Team Honest Jons into Algiers in 2007 has been compared to a film of certain famous Cuban musicians several times over, but the focus should certainly be on the music. Comprised of six lengthy tracks of gripping rhythmic music that sways effortlessly between classical and popular styles, the 19 minutes that make up "Mal Djifni" prove a real highlight, sounding like it could go on forever. This has to be heard to be believed.

Review: The ever awesome Honest Jon's decision to reissue its back catalogue in digital format gives you a chance to delve back into the amazing album of Chaabi music from the Abdel Hadi Halo & The El Gusto Orchestra of Algiers. The Damon Albarn fronted excursion by Team Honest Jons into Algiers in 2007 has been compared to a film of certain famous Cuban musicians several times over, but the focus should certainly be on the music. Comprised of six lengthy tracks of gripping rhythmic music that sways effortlessly between classical and popular styles, the 19 minutes that make up "Mal Djifni" prove a real highlight, sounding like it could go on forever. This has to be heard to be believed.

Review: With more than a little help from curator, researcher and DJ Tom B, Bongo Joe takes a second deep dive into the intoxicating and frequently under-explored back catalogue of Africa Negra, a band that since the 1970s has been one of central African nation Sao Tome and Principe's premier musical exports. Their style - a blend of Puxa and Rumba heavy on sparkling guitar riffs, addictive percussion, lilting lead vocals and deep, warm bass - is undeniably enticing. Tom B, who has also provided extensive liner notes and dug up some fantastic photos, has done a good job in selecting little-known and previously unreleased tracks, including cuts salvaged from 1979 and 1990 session tapes - all of which have been given a superb re-mastering makeover.

Review: Afro Elements is the trio of Simon T. Bramley (bass), Phil Nelson (drums) and Neil Burditt (keyboards) formed in Leicester, UK in May of 1995. Live, the band expands to at least an eight piece, with guitar, horn section, percussion and vocals. The band's influences include Herbie Hancock, George Duke, Jeff Lorber (of whom the album artwork is a tribute to), Banda Black Rio, Earth Wind & Fire, Incognito & Masters At Work. The bands first release came when Internal Bass Records (home to Mr Gone & Down To The Bone amongst others) decided to include the cut 'Casa Del Ritmo' on their 'A Taste of Internal Bass' compilation. The track went down a storm with jazzheads, clubbers and DJ's around the world. They followed this up with a new cut entitled 'It Remains To Be Seen' released on 'Internal Bass...Another Taste' which was also released on vinyl as part of the band's 'Chocolat EP', with the title track appearing on the massively popular 'Nude Dimensions 2' compilation on Naked Music (NYC).
With Afro Elements appearing as backing band to Mr.Gone & other visiting artists throughout Europe, releases came to a brief stop. However many members of the band contributed to the soul-funk album 'Stories' released in 2005 under the name 'Black Gold Massive'. The album also featured renowned soul vocalist Cindy Mizelle (Steely Dan, Beyonce & Alicia Keys) and was mixed by Grammy winner Dave Darlington (Roger Sanchez, Wayne Shorter, MAW).
Around this time various members of the band backed a variety of legendary jazz-funk artists including Reuben Wilson, Eddie Henderson & Gary Bartz for tours of the UK & Europe. Indeed, when Eddie Henderson & the band appeared at London's Jazz Cafe for two nights the concerts were cited as one of the gigs of the year by Blues & Soul magazine. After all this The Afro Elements still found time to record their debut album, entitled 'It Remains To Be Seen'. includes newly recorded versions of previously released tracks 'It Remains To Be Seen', 'Ju Ju' and 'Casa Del Ritmo' along with a new vocal version of 'Chocolat'. The album features over 20 musicians including one of the bands heroes, keyboard legend Jeff Lorber on 'Volcano (Raydio Mix)'.

Review: The Dutch musicians around DJ and producer Phil Martin
(The Jazzinvaders, The Houdinis) and musician Ton van der Kolk
play an enormous groove establishing their own version of afro-funk.
'Afro Soul System' by Aiff is out on Unique.

Review: Alessandro Alessandroni was an Italian composer and bandleader well known for his distinctive whistling style and a lifetime's worth of achievements. In 1972 he recorded Open Air Parade with Giovanni Tommaso, a wonderful curio of psychedelic obscurity with a library music flavour. It's bright and joyous, but also shot through with a heady transcendence and a kind of regalia - quite the unique combination rendered in exquisite clarity on this reissue from Sonor Music. If you enjoy the luxurious big band adventures of Italian greats like Ennio Morricone and Piero Umiliani, then Open Air Parade is sure to be of great interest.

Review: How often does a superstar band leader hand his band over to his drummer, while he steps back to become a sideman? That's what Fela Kuti, undoubtedly the coolest, hippest, best known African musician on the planet, did in 1975. "Afro Disco Beat" is the complete seventies anthology of the drummer and music director of superstar Fela Kuti's band Africa 70, the creators of a new style called 'Afrobeat', one of the (if not THE) hippest rhythmic music styles of the seventies. Tony Allen was an incredible drummer of whom Fela Kuti said "he sounds like four drummers".

Review: Arriving sometime after the passing of legendary Afrobeat drummer Tony Allen, and utilising some of the final recordings he made during his lifetime, the latest edition of Adrian Younge's Jazz Is Dead series is naturally tinged with melancholy. Yet Younge refuses to succumb to emotion, and instead uses Allen's impeccable grooves and polyrhythmic patterns as the basis of tracks that blend jazz, Afrobeat, Afro-funk and soul. There's a classic Fela Kuti feel to opener 'Ebun', where sax lines reminiscent of the Nigerian musical icon rise above a typically crunchy Allen groove, pots and pans percussion and ear-catching bass, while the flute-sporting 'Don't Believe The Dancers' adds a little more jazziness into its righteous blend of heavy Afrobeat horns, meandering solos and loose-limbed grooves. In other words, it's a spot-on tribute to a genuine musical legend.

Review: Don't be fooled by the smoky jazzy horns on the intro: The Allergies are still at the front of the party queue! They were just lulling us into a false sense of security before hitting us with a precision range of big soul swingers and dynamite party killers; both "Hold You Close" and "Since You've Been Gone" pop with big beat bangs, "Entitled To That" stamps and sweats like Wigan Pier is still holding the best dances in the country, "Main Event" parps and pumps while long-standing affiliate Andy Cooper reminds us who's boss while "It Won't Be Me" (also with Cooper) is coded with so much horn and guitar powered gusto you could be fooled into thinking Ugly Duckling are back. Yet another triumphant album from one of Jalapeno's most exciting acts.

Review: Brooklyn's Antibalas are ready to connect with a mass audience hungry for loose booty grooves, intelligent sounds, and committed lyrics - the same audience that made instant classics of genre-breakers like Talking Heads' "Remain In Light". Bringing John McEntire of Tortoise into the studio - this is the band's first release with an outside producer - has upped the harmonic density in Antibalas' sound, creating a rich tapestry of harmelodic colour that owes as much to jazz masters like Mingus and Coltrane and maverick bands like Can as it does to Fela Kuti. Antibalas have broadened their appeal to the point where they can collaborate with TV On the Radio one day, groove a sweaty Brooklyn club the next, and then turn around and rock massive crowds at festivals.

Review: Just three months after its predecessor was released, the second and final part of Joe Armon-Jones' epic All The Quiet album series lands in stores. Entirely written, produced and mixed by the man himself - with a few friends and high-profile guests popping up to add instruments or take to the mic - the set offers atmospheric, immersive and perfectly-pitched musical fusions rooted in his various sonic influences (think jazz, funk, soul, hip-hop and dub). Highlights are plentiful, from the deep and dreamy jazz-soul shuffle of 'Another Place' (featuring significant contributions from vocalists Greentea Peng and Wu-Lu), to the warming, dubbed-out soul of top-tier Yazmin Lacey collaboration 'One Way Traffic'.

Review: 'The Warner Bros Years: Hits, Remixes, & Rarities' is a 2-CD compilation boasting lush, soulful originals, impossible to find 12" versions and sensational contemporary remixes of signature tracks from R&B's most enduring duo. The phenomenal R&B performing and song-writing partnership of Nickolas Ashford and Valerie Simpson, better known as simply Ashford & Simpson, made their Warner Bros recording debut with 1973's Billboard Top 20 LP 'Gimme Something Real'. Over the course of more than a decade with the label, the duo's legend grew with a string of chart hits and acclaimed albums, among them 1978's gold-selling 'Is It Still Good To Ya'. Rhino's new 2-CD compilation features unforgettable originals and 12" versions on Disc 1 followed by inspired contemporary remixes on Disc 2. As songwriters, Ashford & Simpson gave the world classics including 'I'm Every Woman' and 'Ain't Nothing Like The Real Thing'. As performers they deliver sonic ecstasy, celebrated to the max on this innovative set. The 2-CDs feature over 2-½ hours of music.

Review: Generally accepted as the father of Ethio jazz, Mulatu Astatke releases his first studio album in over twenty years through Strut. Mulatu Steps Ahead signals somewhat of a new approach for the veteran who also engages with western jazz in favour of his more familiar, native style that has made him such a pioneering artist during the 60s and 70s. Having been making jazz music for the last 50 years, Mulatu Astatke has worked with some of the greats of the jazz world. On this album, he recorded with members of the Either/Orchestra in Boston, with members of The Heliocentrics and some of the UK's leading jazz and African players whilst also adding contributions by traditional Ethiopian musicians in Addis. The album follows on from the success of both the acclaimed Inspiration Information collaboration and recent Strut compilation, New York "Addis " London.
Mulatu Steps does not focus on his past roots however, indeed much of it was recorded in the States. The result is a more traditional sounding jazz record than we are used to from him. But that is not to say there is less intrigue and personality woven into it though. In fact, each track on the album tells its very own story. Opener "Radcliffe" reflects on his time as a lecturer at Harvard University.
"Assosa" adapts traditional music from the Assosa tribes of North-Western Ethiopia, "Mulatu's Mood" re-works a Mulatu jazz fusion composition from the early 1990s into a new swinging Afro high life arrangement and "Derashe" deals with the traditional diminishing scales of the Derashe people of Southern Ethiopia. Although different from his previous work, Mulatu Astatke continues to keep jazz fresh, contemporary and up to date whether it’s African or American. Let’s just hope it’s not another twenty years until his next studio album.

Review: 'Atlas' is the first re-release of the rare1977 jazz funk album by a widely unknown Austrian band of the same name. With a very soulful singer from the Vienna scene, the most requested Austrian funk LP from the 70s selling for large amounts, top rare and in demand grooves for collectors and DJs. Originally released on the Bacillus label/ Bellaphon, now brought back from Sonorama, featuring famous and bootlegged version of Bill Withers' 'Ain't No Sunshine', funk dancers 'Necessity' and 'Hey Man!', plus blue-eyed soul tune 'Play It Cool'. Recorded from the master tapes, remastered 2008, this album includes the original cover artwork.

Review: Veteran Swiss DJ/producer Alex Attias has long been one of Europe's more versatile and open-minded DJs, so it's fitting that BBE have given him a chance to flex his curatorial muscles. LillyLillyGood, which shares its name with a monthly party and label Attias runs, was inspired by Attias's desire to present "really good grooves that people want to dance to or listen to or home". He's done just that, whizzing through an unmixed selection that giddily flits between trippy, polyrhythmic acid madness (Grooveman Spot), jaunty jazz-funk (Freeeze, Cro Magnon's ultra-deep hook-up with Roy Ayers), synth-fuelled broken beat business (Tatham, Mensah, Lord and Ranks), deliciously spacey deep house (the Zanzibar remix of Nicole Willis's "Curiosity") and killer disco (Attias's own edit of Velvet Hammer's "Party Hearty").

Review: In many ways, the surge in popularity enjoyed by Brazilian jazz-funk trio Azymuth since signing to Far Out Recordings in 2000 has been remarkable. Of course, fans of Brazilian music have always thought highly of their mood-livening, samba-centric take on jazz-funk, but rarely have their recordings been this popular or frequent. Aurora is, amazingly, their 26th studio of a career that stretches back to 1972. If you've bought any of their previous recordings, you'll know what to expect; rubbery bass, pleasingly sunny electronic piano melodies, shuffling jazz drums, and the odd fearlessly uptempo carnival rinse-out. The formula hasn't changed much in 30 years, but it would churlish to criticize especially when they continue to produce inspiring and entertaining music like this.

Review: Unfairly labelled as a novel curio when they first emerged, the Bacao Rhythm & Steel Band is a genuine expression of Mighty Mocambos man Bjorn Wagner's love of Trinidadian steel pan music. Their tracks - often, but not always, quirky cover versions - combined authentic funk instrumentation (drums, bass, guitar, horns) with the timeless and distinctive sound of steel drums. BRSB, the combo's fourth album, is another summery and effortlessly entertaining treat. Highlights include the inspired 'Love For The Sake of Dub' (an organic interpretation of Claudja Barry's slo-mo disco classic 'Love For The Sake of Love'), the breaker-friendly cheeriness and heaviness of 'Grilled', a wonderfully woozy and dubbed out stroll through the 'Stranger Things Theme', and the summer sunshine of 'Champion's Walk'.

Review: Bournemouth-based Chris Pedley met up with Brothers Dan and Rich at a dodgy function gig around six years ago. The trio then went on to write and perform their unique style of dirty funk. The band released three 7" singles and their first album, "Ten Paces" on Bournemouth based Arse Records, before being taken on by independent label, Peddler Records in 2004. The Baker Brothers have been chipping away at this album for the past two years, trying to carve a new sound for themselves, partly through the beautiful vocals of Vanessa Freeman, as well as through collaborative work with individual brass-players.

Review: The Baker Brothers have been chipping away at this album for the past two years, trying to carve a new sound for themselves, partly through the beautiful vocals of Vanessa Freeman, as well as through collaborative work with individual brass-players. 'We were originally well into our gritty funk instrumentals, however, beating our instruments to death wasn't proving musically satisfying. We believe that if you're not moving forwards, you just slide backwards.'

Review: With 'breaking' making its debut in the 2024 Paris Olympics, it seems an apt time to go back to where it all began and showcase some of the music that first made break-dancers move in the early years of hip-hop culture. Soul Jazz Records clearly agrees, hence this two-disc retrospective of early 'breaker' favourites curated by Arthur Baker - a man who's productions and remixes soundtracked many dancefloor battles in the early 80s. It's a suitably strong selection all told, with dusty funk, soul and funk-rock favourites (Johnny Bristol, James Brown, The Jimmy Castor Bunch, Spanky Wilson) being joined by disco-funk jams (Herman Kelly and Life), extra-percussive workouts (Manu Dibango, Mongo Santamaria, Candido) and a smattering of key Baker productions (Afrika Bambaata and Soul Sonic Force's 'Planet Rock' and his own infectious 'Breakers Revenge').

Review: The Bamboos, an Australian funk six piece, are big funk collectors and inspired by artists such as The Meters, Mickey & the Soul Generation, Jimmy Smith and Reuben Wilson, but have a contemporary deep funk sound too. "Rawville" still embraces the deep raw organ based funk aesthetic of their album "Step It Up", but it also embraces different flavours. "Rawville" is a lot more song-based than "Step It Up". The album is half vocal based tunes and half instrumental. Vocals include those from label mate Alice Russell as well as vocalists Kylie Auldist, Tyra Hammond (Opens Souls), Fallon Williams and Ohmega Watts (Ubiquity). The Bamboos took a larger horn section into the studio for this album, so the horns are thicker and more experimental in terms if harmonies. You will hear influences from the JB's, Alice Clark, and early Kool & The Gang coming through on the horn arrangements.

Review: Chris Bangs is a legendary figure within the UK jazz-dance scene whose extensive CV includes coining the term 'Acid Jazz'. While he's always been more of a DJ than a producer, his occasional musical outings are always on-point. 'Firebird' is his first solo album since 2008, though it was naturally created with the help of an impressive cast-list of experienced musicians. It was intended to be a collection of dancefloor-friendly tracks that explore his major musical influences - Latin jazz, jazz-funk, Brit-funk, jazz-fusion and so on - and in that regard he's hit the brief. The set's many highlights include the sun-splashed Brazilian heat of 'Samba Do Sueno', the up-tempo, extra-percussive heat of 'Firebird' and a brilliant Batacuda style cover of 'Kitchen (Cosina)' by Dom Un Romao.

Review: Little Maurice Jones was born deep in a Louisiana in 1932. While he grew up in a family of guitar pickers, he gravitated towards banging things constantly at a very early age, much to his momma's dismay and annoyance. Eventually, he made his way to the drums, although he can play pretty much any instrument and will sing if coaxed or bribed appropriately. While some so-called "critics". without any real sense of music. have on occasion opined that he's a little too heavy on the bass drum, it's Mudfoot's signature style and the quirk which gave him his nickname. One day at a recording session, the engineer called out, "Hey Mudfoot! Can you turn it down some, son!" Ever since that fateful afternoon, the name "Mudfoot" has stuck to Jones like glue.

Having produced hits for artists such as Ultra Nate, Crystal Waters and Mass Order and remixing tracks by Michael Jackson, Erykah Badu, Angie Stone and Lenny Kravitz as well as knocking out underground classics under the names of 33 1/3 Queen and Those Guys, it's no surprise that The Basement Boys are regarded as pioneers of American dance music. Synonymous with the deep house and garage scene of the mid nineties, the boys have also lent their golden touch to more contemporary artists such as Shaun Escoffery, Marcell Russell and Bob Sinclair.

Here the boys delve deep into their soul, jazz and Latin roots to concoct the perfect setting for Mudfoot to do his thing. The end result is a magical mix of the blues, jazz, gospel and Latin rhythms.

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Review: One of the most popular and influential groups in popular music, The Bee Gees' career spanned five decades, five Grammys and eight platinum albums-but until now, the group's extraordinary catalogue has never been upgraded. Reprise begins its complete restoration of their repertoire with 2xCD expanded remasters of their first three internationally released albums. 'The Studio Albums 1967-1968' is the definitive overview of the 5-piece Bee Gees line-up that shot to stardom in the late 60s: harmonising brothers Barry, Robin, and Maurice Gibb, and Australian musicians Vince Melouney and Colin Petersen. The revitalisation of these three early albums marks the first time the group has opened their extensive tape vaults for archival mining. On Bees Gees' 1st, Horizontal and Idea, the musical genius of the Bee Gees now sounds better than ever. Each reissue features the original album remastered in stereo and mono, plus a second disc of rare and unreleased tracks pulled for the first time ever from the Bee Gees' tape vaults. In-depth liner notes feature brand-new interviews from Barry and Robin Gibb. The Booklets also feature rare and previously unseen photos. The deluxe gatefold digipaks are in individually numbered limited-edition slipcases. Bee Gee's 1st, originally released in 1967, reached #8 on the UK Album chart and includes "To Love Somebody," "New York Mining Disaster 1941," and "Holiday." Disc 2 features 14 previously unreleased tracks, include alternate versions of most of the album cuts plus the recorded debut of "Gilbert Green," "House Of Lords," "All Around The Clock," and other ultra-rare recordings. "Horizontal", which debuted in early 1968, introduced the signature hit "Massachusetts," a chart-topper in Britain as well as the standouts "World" (a global hit), "Words," "Harry Braff," and the psychedelic title track. Disc 2 features thirteen rarities including nine previously unreleased tracks, among them "Out Of Line," "All My Christmases Came At Once," plus the medley "Silent Night/Hark The Herald Angels Sing" (one of only two songs in this box that doesn't feature a Gibb songwriting credit). "Idea" followed in August 1968 and broke the Bee Gees into the US Top 10 singles chart for the first time with the classics "I've Got To Get A Message To You" and "I Started A Joke". Disc 2 includes alternate mixes of "Idea," "Kitty Can," and "Let There Be Love," the film songs "Chocolate Symphony" and "Gena's Theme," plus, two previously unissued Coca Cola commercials.

Review: One of the most popular and influential groups in popular music, The Bee Gees' career spanned five decades, five Grammy's and eight platinum albums, but until now the group's extraordinary catalogue has never been upgraded. Reprise begins its complete restoration of their repertoire with 2CD expanded remasters of their first three internationally released albums.

Review: One of the most popular and influential groups in popular music, The Bee Gees' career spanned five decades, five Grammy's and eight platinum albums, but until now the group's extraordinary catalogue has never been upgraded. Reprise begins its complete restoration of their repertoire with 2CD expanded remasters of their first three internationally released albums.

Review: Bristol duo Boca 4 and Parker have already treated fans to this year's Ascending Change EP and now follow it up with their debut album - a beautifully constructed mixture of trip-hop breaks, stirring strings and a lot of soul. "So Long" featuring Sarah Scott on vocals is a beauty, with descending cellos and violins filtered up over the verses, while the pair's pastoral obsessions shine through on "Spring Forward", which approaches dubstep from a very unusual and highly original, string-blessed angle. With veteran UK MC Mystro on the rabble-rousing "Queen Bee", this is an unexpected peach of an album that confounds your expectations every step of the way.

Review: Belleruche's new album, "Turntable Soul Music", includes tracks that conjure thoughts of Stax Records recording Django Rheinhardt with Dr Dre controlling the mixing desk, or Eryka Badu jamming with Mixmaster Mike recorded onto analogue tape by the Dust Brothers. Regardless, this Tru Thoughts release is amazing.

Review: To celebrate the forthcoming UK tour from George Benson, WMTV is re-promoting the wonderful collection: The Very Best of George Benson - The Greatest Hits of All. Appreciated as both a musician and performer, George Benson has an impeccable reputation as one of music's most engaging stars. In a career spanning forty years the eight-time Grammy winner, has sported a variety of musical styles from jazz guitarist to R&B/pop superstar. But he is best known, especially by R&B lovers, as the guitar-playing vocalist who is responsible for such hits as Give Me The Night, Turn Your Love Around, Love X Love, In Your Eyes and Nothing's Gonna Change My Love For You. This is a collection of the greatest songs from a living legend - a must have for his millions of fans.

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Review: Aloe Blacc's arrival on the radar of the record buying hoi polloi may have come via the title sequence of a HBO song, but it's richly deserved for a singer who has a weighty back catalogue to his name. From spending the late nineties as part of hip-hop duo Emanaon to a slew of releases on the esteemed Stones Throw imprint, the eponymous "I Need A Dollar" has thrown the spotlight on the Orange County resident and his second album Good Things takes full advantage. Central to the album is a theme of social commentary, clearly evident from the track titles and expanded lyrically by Aloe Blacc. Backed by some accomplished arrangements led by the Truth & Soul Records team and members of El Michels Affair, this is an album steeped in vintage seventies soul with a contemporary twist. The warm organ riffing of "Loving You Is Killing" and dirty funk of "Hey Brother" in particular prove to be most memorable.

Review: Formed by Howard University students and inspired by their legendary tutor, Donald Byrd, the Blackbyrds were one of the most phenomenally successful r&b and jazz-funk bands of the 70s and early 80s and have since become of one of the most-sampled groups of all time. Their catalogue is full of genuine sonic gold - as this handy 'best of' emphatically proves. Highlights come thick and fast, from the smooth breeziness of 'Rock Creek Park', soaring soulfulness of 'Flying High', and dancefloor shuffle of 'Happy Music', to the sun-soaked excellence of 'Do It Fluid', the slow-motion sensuality of 'Love Don't Strike Twice', and the languid, hip-shaking funkiness of 'The Runaway'.

Review: Blue Feather was a Dutch funk band, which accomplished international recognition with their hit single "Let's Funk Tonight", a strong funk track also featured on their first album entitled "Feather Funk" from 1981 on Mercury Records. The second album, "Shadows Of The Night" (originally released in 1985), leans more to the synthetic sound of dance. This is an upfront, funky and soulful album out on PTG.

Review: 2001. Record collector, DJ and New York soul music historian David Griffiths stumbles across a now rare Bob & Gene 45 whose label hints at an "upcoming album - If This World Were Mine". Curious, Griffiths places one call after another. Finally, an elderly William Nunn happens to pick up the phone. An eventual meeting ensues and, stunned, Griffiths finds himself entrusted with boxes of disintegrating Mo Do reel-to-reel tapes. "It was crazy on so many levels," Griffiths states. "You had these intensely emotional songs, mixed with this lo-fi quality, that in a way represented so much great music from so many cities that were never really heard by anyone." Deciding these tapes needed to be heard, Griffiths (with the Nunn family's blessing) brings them to Brooklyn contemporary soul/funk powerhouse Daptone Records. 36 years after its intended release, we present you the tender and remastered Bob & Gene's "If This World Were Mine".

Review: Boca 45, (aka Scott Hendy), is the funk hop brother who has a deep love for 7'' slabs of wax and the beautiful game of football. This new release finds Boca on new Bristol label B-Block Records, in conjunction with Unique in Europe and North America, Jet Set in Japan and Invada Records in Australia. Past releases have included his excellently received debut 'Pitch Sounds' on Manchester's Grand Central, plus a slew of essential tracks on Hombre, Illicit, Superslick Stereo Sounds and High Noon Records. He also records with Andy Smith (Portishead tour DJ) as Dynamo Productions.

Review: It's 30 years since Bomb The Bass gate crashed the UK singles chart with "Beat Dis", a seminal fusion of hip-hop sample culture, New York Freestyle grooves and Chicago house traits. To celebrate, Cherry Red has decided to reissue the outfit's 1988 debut album, Into The Dragon. Amazingly, the album has aged very well, and the production duo's cut-and-paste blends of heavy hip-hop breakbeats, electrofunk rhythms, cheeky melodic lifts (John Carpenter's "Escape From Precinct 13" gets the going over on "Megablast"), house references and early UK rap are still capable of raising the temperature on the dancefloor. The reissue also includes a number of tasty period remixes and bonus cuts, of which the original rap version of "Megablast" stands out.

Review: After the release of their well-respected, southern US influenced, blues-infected, dub infused album "Dust My Broom" in 2005, Boozoo Bajou return with mix compilation "Juke Joint II". Influenced by the Southern concept of a rural bluesman hangout, but with the trademark Boozoo Bajou from Germany sound making their musical tastes "in the mix" and expanding that concept into a place John Lee Hooker never imagined. The album features two new exclusive tracks from Boozoo Bajou: one is the exclusive "Pflug." The second is the new single "Back Up" featuring Oh No, a guest MC from Stones Throw. While the first installment of "Juke Joint" reflected Boozoo Bajou's preferences of blues and dub, the second edition is all about global varieties of soul and funk. Track by track, Boozoo Bajou connect the past with the present. Their journey begins with a stop in the southern U.S. with their remix of Tony Joe White's legendary "A Rainy Night In Georgia." After a short trip to the northern states, they travel to Vienna for a downbeat track from Urbs & Cutex. Next, they jet to England for the beat architects Blend Crafters and Mark Rae. The journey continues to Finland and Nicole Willis with her neo-sixties-soul-anthem "Feeling Free". Ethiopia is represented by "Ethiopiques" jazz from Mulatu Astatque, who garnered some attention after appearing on the soundtrack for Jim Jarmusch's movie "Broken Flowers". Another stop is made in Jamaica with tracks from Dennis Bovell and Light Of Saba, plus a stop in Berlin with Rechenzentrum. All the tracks on this record are held together by a vibe nailing down the meaning of music originating from soul depth, animation, cheerful melancholia, and a laid back atmosphere. Not coincidentally, the music of Boozoo Bajou also encompasses all these sentiments, making "Juke Joint II" a tribute from those two Nuremberg-based producers to all these other soul mate musicians and producers.

Review: Pioneers of the London acid jazz scene, the Brand New Heavies translated their love for the funk grooves of the 1970's into a sophisticated sound that carried the torch for classic soul in an era dominated by hip-hop. Formed in 1985 by drummer/keyboardist Jan Kincaid, guitarist Simon Bartholomew, and bassist/keyboardist Andrew Levy - long-time school friends from the London suburb of Ealing - the BNH were originally an instrumental unit inspired by the James Brown and Meters records its members heard while clubbing the rare groove scene in vogue at the moment. The trio soon began recording their own music. One thing lead to another, and now, twenty years later the BNH are world famous, they have put out six great albums, many singles and an endless stream of hits. This album, called "Elephantitis", compiles two and a half hours of incredible remixes, all taken straight off their commercial and promotional singles. Split right down the middle, the remixes, done by legends including Masters at Work (Kenny Dope and Louie Vega), Jay Dee, Davis Morales, Todd Terry, The Angel and Joey Negro, are divided into two categories: Funk remixes and House remixes, all done between 1991-1997. If you are, or ever were, a fan of the Brand New Heavies, this brilliant 26 song, double CD collection is a dream come true.

Review: Neville 'Breeze' McKeith is undoubtedly a legend of Black British music - albeit one not known to the majority of listeners. His CV is impressive; as well as being a founder member of jazz-funk outfit Light of the World, McKeith was also an integral member of Beggar & Co (known for disco hit '(Somebody) Help Me Out') and currently wields his guitar for The Brit-Funk Association. Unusually, this is only his second solo album, and arrives 41 years after his first. It acts as a showcase for his virtuoso guitar playing (he switches between lead, rhythm and acoustic guitar across the set), offering a mix of jazz-funk, fusion, contemporary jazz and soul songs and instrumentals. It's mostly new original material, but wisely McKeith has also included a handful of rather good interpretations of classic cuts.

Review: James Brown represented what may well be the greatest and yet most contradictory career in the history of pop. His most enduring invention was undoubtedly the music we now know as funk. In the mid-sixties James Brown ignited a pop music revolution with the release of "Papa's Got A Brand New Bag." He followed through with classics such as "I Got You", "Give It Up Or Turnit A Loose", "Sex Machine", "Super Bad" and many more, effectively bringing the whole thing home. Music shaped by melody gave way to music dominated by rhythm; as dry as it may sound, this in fact marked the birth of modern dance music and would decisively influence generations of music lovers. In 2006 a select group of international producers, musicians and DJs set out to pay tribute to "Soul Brother Number One." For once, "The Hardest Working Man In Show Business" was able to kick back and let others do the work. The result of this project is a collection of fascinating remixes of James Brown's classic hits. The variety of approaches in these reworkings is outstanding; each artist explores his own personal "James Brown cosmos" and leaves behind an exceptional musical fingerprint.

Review: James Brown represented what may well be the greatest and yet most contradictory career in the history of pop. His most enduring invention was undoubtedly the music we now know as funk. In the mid-sixties, James Brown ignited a pop music revolution with the release of "Papa's Got A Brand New Bag." He followed through with classics such as "I Got You", "Give It Up Or Turnit A Loose", "Sex Machine", "Super Bad" and many more, effectively bringing the whole thing home. Music shaped by melody gave way to music dominated by rhythm; as dry as it may sound, this in fact marked the birth of modern dance music and would decisively influence generations of music lovers.
In 2006, a select group of international producers, musicians and DJs set out to pay tribute to "Soul Brother Number One." For once "The Hardest Working Man In Show Business" was able to kick back and let others do the work. The result of this project is a collection of fascinating remixes of James Brown's classic hits. The variety of approaches in these reworkings is outstanding; each artist explores his own personal "James Brown cosmos" and leaves behind an exceptional musical fingerprint. "Sex Machine" was more than just a musical milestone; it manifested something in our collective consciousness on a par with the first moon landing. Many pop stars are products of their times, real pop stars embody their times. "He was ecstatic. He had transformed a single groove into a piece of gold." (Alan M. Leeds) Reworking James Brown's classics such as "Give It Up Or Turnit A Loose", "Super Bad", "Soul Power", etc., as well as "Sex Machine" of course, was definitely a challenge. For James Brown/"Dynamite X", producers, musicians and DJs like dZihan & Kamien, ex-UFO founder Toshio Matsuura and many others have each created their own very personal homage to James Brown and his music.