Back catalogue: Funk/Reissues

Review: Missouri man Early Turner is the latest to be celebrated on the always sharp Tramp label. This was his first record in the late 70s, right on the cusp between trad funk and the emergent sound of boogie. 'S'port City Rock' is a sweat-inducing dancefloor cut with a deadly on-the-one groove and some serious bass, letting just a few choice synth zaps to sneak into the mix but keeping things primarily organic. 'Sunshine' is a softer soul number - the perfect sentimental foil to the serious get-down on the A-side.

Review: Tramp Records come at us with an exclusive, ninja-lethal wax, chucked squarely in our direction: the debut 7" single from Natural Life lays down two extra-special instrumental jazz-funk cuts for our pleasure. Never heard before on the tiny label, and with little background info out there to scour (we're pretty sure it's not the same Natural Life as the upbeat funk band active throughout the 1990s), all that's left is to use our ears. Both versions of the eponymous track are essentially an obverse and inverse of the same theme, except for the fact that one is funky in the fast, riveting sense; the other in the slower, sultrier sense. Both are nonetheless rapid, to-the-point heaters, and can be easily deployed and exploited in many a party - or afterparty - context.

Review: The Shake & Bake Band's Shake & Bake is an undeniable invitation to hit the dancefloor. Side-1 kicks off with 'Shake & Bake (part 1),' where the band lays down a groove that's nothing short of exhilarating. The track stands out for its originality, offering a vibe that feels almost hedonisticiperfect for those looking to experience something fresh and exciting. On Side-2, 'Shake & Bake (part 2)' strips things down, bringing in a hoedown-like twist with the addition of a harmonica. The drumming intensifies, building excitement as the funkiness truly shines through in this version. Overall, Shake & Bake delivers two distinctive takes on a groove that will keep the energy high and the dancefloor moving.

Review: This sizzling Hammond B-3 laced two-sider from Tommy Sims is a funk-infused gem that would make legends like Jimmy Smith and Brother Jack McDuff do a double-take. Bursting with soulful groove and rich, swirling organ tones, each side delivers brilliant vintage jazz-funk. The lead track lays down deep, bluesy riffs over tight drums and nimble bass, while the flip brings a more playful, upbeat vibe with sunny and infectious swing and crisp solos. Classic organ-driven soul-jazz never sounded better and this is proof that the mighty B-3 still reigns supreme when placed in the right hands.

Review: German sextet "SOUND" recorded a standout set in Frankfurt in 1978, immortalised on the LP "Jazzlife" at Night (Vol.1). Singled out was their composition 'Sound Spirit,' a dancey, post-bop jazz track where Volker Burkhardt's tenorsax soulfully wails in a Coltrane fashion over Werner Bauer' syncopated keys and Heli Kneipp's and Athur Greaves' driving percussion and drumming, intertwined with Jann Meyer's funky bass. All culminate in this super groovy contrapuntal track that often takes you nicely by surprise. Now this seminal piece arrives in a limited edition 7" of 300 on Tramp Records, the small but significant home of some of Germany's best reissued funk, soul and jazz on vinyl. Nat Adderly's 'Sweet Emma' was one of "SOUND's" other distinctive tracks that night, and it too resurfaces on the B side. This upbeat version may teeter on a 'trad' jazz precipice, but as the saxophone takes the cornet parts of the original, its tonality draws the listener in. These tracks already command attention from the discerning contemporary jazz community, and now again available is a must for those who like both upbeat or downtempo late 70s jazz.

Review: The wonderful and now reissued 'Bi Centennial 1976' by Frankie Staton & Speckled Rainbow encapsulates the essence of a pivotal moment in American history. Released during the nation's bicentennial celebration, the track embodies the spirit of unity and pride, blending elements of folk, rock and Americana in the process. With heartfelt lyrics and soaring melodies, it serves as both a tribute to the past and a reflection of the hope and promise of the future. A timeless anthem that will still resonate now as much as it did almost 50 years ago, few tunes capture the essence of a nation coming together to commemorate its heritage as ably as this one.

Review: The much loved Tramp label is mighty good at serving up the soul and this time it is the buttery smooth sounds of Stroke they turn to for this reissue. The original 45rpm is one of those rare as hens' teeth cuts that cost way too much to buy even if you do track one down. The A-side is the sort of wonderfully uplifting tune that brings life-affirming joy to your life. On the flip is something really quite different - a more rock-tinged funky stepper by the name of 'The Real Deal'.

Review: Some cynics say there's no romance *without* finance, but the one hit wondrous German funk and soulers Thirty Two Soul Band begged to differ. A formerly unreleased lowrider soul beauty from 1975, 'Finance Or Romance' was shelved for nearly half a century, but now it finally steps out of the vault and chooses love. Woozy horns collide with a plaintive groove that could've easily lit up any Eastside cruise: "what's it gonna be, what's it gonna be?". On the flip, 'Body Wave' also resurfaces for the first time since its scarce 7" run, a sultry midtempo cut, dusty fidelity intact.

Review: Featuring sister funk paired with a beautiful ballad, this release is a true gem for aficionados of 1960s indie soul music. It comes from The Velvet Vettes via Tramp and is a limited pressing so don't sleep. A-side cut 'Give Me A Little Bit Of Time' is a lively one with plenty of Northern soul energy as well as lung busting vocals and great backing harmonies full of soul. Flip it over and you will find the much more slow and sentimental sounds of 'I'd Like To Know' which is a real heart melting crooner.

Review: 'Funky Broadway' by The Villagers appeared on the well-received Movements Vol.12 compilation album and was a clear standout amongst standouts. As a response to that it now makes its long-awaited debut release on standalone vinyl. It's a soul-stirring gem that brings classic sounds and heart-melting grooves. On the B-side comes the red hot garage-rock gem 'You're My Baby (Don't You Forget It)' which is originally from 1966, and which coincided with Dyke & The Blazers' original recording of 'Funky Broadway' in the same year. Neat.

Review: Tramp Records' Movements Vol. 12 offers an excellent trip through rare rhythm & blues, mod-jazz and mid-70s funk. This latest installment in their acclaimed series is a treasure trove of obscure gems and infectious grooves, each track a testament to the label's dedication to uncovering hidden musical gems. Opening with Johnny April's 'She Had A Pikanese,' featuring the Mat Matthews Quartet, the compilation sets a tone of rich, soulful rhythms. Lu Elliott's 'Common Sense' and Lloyd Fatman's 'No Big Thing' follow, with a variety of underappreciated r&b delights. Billy J's 'Teacher Teach Me' and Wayne Johnson's 'Scram Gravy Ain't Wavy' continue the vibe, offering distinctive flavors of classic soul. The compilation dives into deep funk with 'Hipper Snapper' by 4 Dimensions, reminiscent of Charles Wright's 'Express Yourself.' Other tracks like Gus Brendel's 'Sax On The Rocks' and The Hornets' 'Seven Days To Tahiti,' perfect for dance floors. Bret Breitinger's 'Jive Samba' and Downtown Trio's smooth 'Summertime' add to the eclectic mix. Overall, Movements Vol. 12 is a triumph, delighting with its rare finds and impeccable curation, solidifying the series' reputation as a flagship of musical discovery.

Review: Tramp Records celebrate a whopper milestone, with the label's 125th record taking shape as a reconnaissant celebration of 1970s soul jazz and funk, forming part of the Praise Poems series. Launched to fare an interminable journey through the many privately pressed, furtively released and/or criminally undersung jazz-funk-soul records of yore, and with an international focus, this is a rather special case of one such compilation series making it to its tenth edition, and still retaining the kind of quality control and assiduity most comp-curators may only dream of. From the opening, ultra-headsy 'Fields Of Laughter' by the chartless American band Color Me Blu, to instrumental AOR from pianist George Melvin's short-lived Quintet, you can expect to hear super-rarities here, with some originals only having heard but two acetates to their names at first press.