Back catalogue: Funk/Reissues

Review: DJ Deviant and Swamburger join forces for a double-sided serving of feel-good hip-hop and r&b on this 7" release. 'Get On The Floor' is a surefire party starter, its infectious beat and catchy hooks practically demanding movement and setting the tone for a night of good times. The track is a vibrant blend of classic hip-hop elements and contemporary production, with DJ Deviant's cuts and scratches adding a layer of turntablist flair. On the flip, 'Where's The Party' sees DJ Deviant flying solo, keeping the energy high with a smooth groove and feelgood vibes that are reminiscent of 90s r&b classics. The ever enduring appeal of hip-hop and r&b in full effect.

Review: Japanese talent DJ Koco aka Shimokita is a hardcore 45rpm devotee. They are his chosen tools as a beat-juggling DJ who can do logic-defying things with his grooves. He is a regal on Bloom and already dropped serious heat in January with 'World Famous'. This time he is back with a fresh take on 'Made In New York' which is a 1985 classic by renowned Brazilian funk and jazz pianist Tania Maria. He brings his signature hip-hop flair and creativity with his trusted crew, 45trio, and enlists the dynamic saxophonist King TJ (DA-Dee-MiX) to elevate things further.

Review: Eastside Edits is back with yet another infectious disc's worth of funky disco edits for DJs and collectors alike. Welcoming a fresh throng of international talent, this eighth edition hears up-and-coming Indonesian producer Rhework appear alongside renowned UK duo Suckaside. The former's 'Street Sounds' channel the effortless bustle of square-blocked, gridlocked city streets, where steam rises from manhole covers, taxicabs trailblaze yellow light trails, and funk clubs roar as loudly as underground subway systems. Suckaside's B-side is a call-and-responsive version of equal calibre, though it does clock in at a slower tempo.

Review: Soul Junction revisits the Scot-Tees Capri master tapes here to unveil two previously unreleased tracks. First is 'My Sweet Polly' by The Scott Brothers, a late 60s dance tune inspired by Howard Scott's former girlfriend. Coupled with this is a studio version of Judson Moore's "Everybody Push & Pull," a crossover hit influenced by Rufus Thomas. The Scott Brothers evolved from the 'Elpeccios' in 1958 to the Scott Brothers Band in 1963 and were instrumental in Chicago's music scene. Their label, Capri Records, produced hits like 'We Like Girls' and worked with legends like Garland Green. Judson Moore was a veteran singer who thrived under their mentorship and went on to leave a lasting legacy.

Review: A bumper package of six - count 'em - reworkings of disco grooves by Scruscru, offering a myriad of new takes on classic sounds. Beno, Bernardo Campos's 'Space Gruv' opens proceedings with a luxurious, soulful edge, while Tree Threes' 'Sunshine Miss' coasts along gracefully with more of a beefed up jazz house vibe. Manuel Kane's 'Disco Visions' throws more beautifully jazzy chord shapes and adds a devastating diva vocal for a proper peak time feel, Immersif's 'La Tournee Des Phares' employs more of a broken beat shuffle and 'Rebecca's Mystery Mood' by Punky Wash revolves around Latin beats and lilting guitar lines. Finally comes arguably the EP's jazziest moment of all, Justnique's 'Elevator Music', with some mighty impressive tinkling of the ivories. Authentic, gorgeous sounds overlaid on some sturdy 4/4 templates - pure DJ heaven.

Review: REPRESS ALERT!: Edit master Scruscru rarely misses no matter what sounds he decides to put under his scalpel. For this one on his own superb Scruniversal label he turns his attention to the lush sound world of City Pop over in Japan. On one vital 12" the maestro cooks up six varied but equally vital sizzlers starting with the funky sounds and big brass of 'One For Xsuxsu' then taking in the blissed out disco and house beats of 'Kyoto Sunshine', jazzy keys of 'Horomi & Rikishi', funky bass twangs of 'Secret Dream' and jazz lunge excellence of 'Nippon Bossa' before 'Scrutinised Tune' closes out with brown beats and sunny chords. Scruperb stuff.

Review: This one from The Sharpees's is a mythical gem among vinyl collectors that has long been revered in the Northern Soul scene. The story began when UK dealer John Anderson discovered an acetate titled 'Go On and Laugh' in Chicago with no artist name. It was sold to DJ John Vincent, who credited it to the Just Brothers, fuelling further curiosity. Years later in 2016, USA label Secret Stash unearthed the mystery by revealing the artist as The Sharpees who were known for hits like 'Do the 45' and 'Tired of Being Lonely'. Now, Anorax reissues this limited edition 7" alongside 'Tired of Being Lonely' to feed enduring demand.

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: The second Shuggy Edits 7" to hit the shelves in 2024, and the fifth overall, this esteemed edits series by the otherwise mysterious Shuggy nonetheless makes for one of the most in-demand around. This time we've two further funk and soul come bombastic hip-hop edits to contend with: first up is a version of Baby Huey's 'Hard Times', a tromboning 1971 strut by the American singer whose sole LP for Curtom Records was instrumental in the development of hip-hop; Shuggy lends the a harder, steeple-high, needlepoint edit-edge. This is further teased out on the B-side, whose 'Harder Times' hears a phat breakbeat and brass bass parp further teased out to frighteningly formidable effect.

Review: An impressively retro-feeling "breaksoul" choice from London label Digga Please?, once again delivering on their promise to bring the finest in funk, soul, disco, rap, b-boy breaks and "all that good shit". First released in 2004 on the iconic Freestyle Records, 'Get It On' is a bona fide cut & paste classic, its break-do backbeat and slippery funk vamps harking a filtered Rhodes line; here an obscure r&b libretto sings demonstratively, warning us of an incumbent detailing of her preferred mode of frisking: "this is how we like to get it on!" The record then segues into a timeless Gil-Scott Heron sample and breaks-tastic track slathered in sax, attesting to a so-called coolness that can be tapped by anyone willing to ease into it: "hipness is not a state of mind, it's a fact of life".

Review: Geordie one-man production line Smoove's Multitrack Reworks series consistently delivers the goods, with the popular funk, soul, breaks and disco DJ/producer dropping fine, Reflex style revisions of both classic cuts and lesser-celebrated gems. He begins volume ten by reworking Steely Dan's 'Peg', a cut beloved of hip-hop DJs thanks to its killer drum-break and use in De La Soul's 'Eye Know'. His version makes great use of the multi-track stems, teasing out the break and slowly building the instrumental elements before unleashing the vocals. It's a genuinely great rework, as you'd expect. Over on the flip, he gives 'Baby Be Mine', with its' crispy drums, glistening disco guitars and squelchy synth-bass, a similar treatment, before successfully chopping up a heavy, percussion-laden deep AOR soul number ('This Time').

Review: Longtime disco editor Smoove played his first cards right with Wack Records in 2007, and now he returns to the imprint after decades with another raw-cut, redone diamond; a synth-driven slab of filth-funk reflecting the talents of 80s soul mogul Bobby on vocals. On the flip, things speed up as Smoove flips Mrs Jackson's vocals into a razor-sharp electro funk rework, loaded with punchy edits, Mantronix-inspired stutters, and warped stabs that twist the track into club-ready territory.

Review: Jonathan Watson aka Smoove sees his version of "one of the greatest posse cuts of all time" - or so say reissuers Wack Records - re-pressed for the masses to hear. One half of the British funk and hip-hop edits duo Smoove & Turrell, the former of the two made, but never released, this wicked remix of Heavy D & The Boyz's 'Don't Curse' sometime in the late 2000s. Now released as though it were an official posse cut, it comes backed by a flip of Kool G's 'Rich & Famous', equally bouncy and decadent as they come.

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: Windy City collective Future Rootz are all about mixing up worldly electronic sounds, Latin, tropical bass and global jazz. This second volume in their new series does just that with two expressive remixes of iconic Afro-Colombian tracks. On Side A, Sound Culture delivers a modern take on Son Palenque's legendary 'A Pila el Arroz,' which was originally composed by Justo Valdez for Palenque Records. He infuses it with fresh and bubbly bass and hypnotic vocal chants. On side-B, Afroqbano reimagines 'Tropical Scenes' by adding a vibrant, rhythm-heavy twist to the original that sympathetically blends traditional Afro-Colombian sounds with electronic influences into a wiggling bit of irresistible and sunny global fusion.

Review: Originally released by Ohio on 7" in 1978, this lesser known moment in late 70s funk and soul gets a beautifully crafted reissue as it resurfaces after 47 years. Side-1's 'Get Together' is a joyous, horn-driven soul anthem. Its infectious energy, party-ready vibe and well-balanced backing vocals create a timeless feel. The lead vocals shine brightly, supported by a tight groove that keeps the track irresistibly uplifting. On Side-2, 'Once I Leave' shifts gears into a downtempo, sublime expression of soul, the slower tempo allowing the song's emotion to take centre stage, complemented by delicate instrumentation that evokes a sense of longing and introspection. A forgotten treasure brought back to life.

Review: Long-lost Tidewater soul classic 'An Extraordinary Dream' gets a welcome reissue here by Symphonical with input from the last surviving band member Larry Gray. This timeless love song was recorded in 1969 at Charlie McClendon Studios and was the first of two singles by Gray and his group, The Soul Seekers, which was made up of five Huntington High alumni who helped shape the region's musical scene. Led by Gray who was fresh from five years at Stax Records with Otis Redding, the group backed numerous touring acts and this single was produced under Wilson Harrell's Check Productions. It's a lovably forlorn and low-slung soul sound with heavy-hearted melodies, horns and aching vocals.

Review: Ottawa's Afro-jazz-funk collective returns with a limited 7" showcasing two dynamic tracks that highlight their genre-blending prowess. Originally released in 2014 on Inner Fire, 'One Life To Live' kicks off Side-1 with an exhilarating fusion of funk, Latin and Afro rhythms. The track's lively horn arrangements and tight percussion create an infectious groove, balancing intricate musicianship with danceable energy. On Side-2, 'Kingdome Come' dives deeper into jazz territory, merging Afro-Cuban jazz with jazz-funk and Latin jazz elements. The result is a richly textured piece that moves fluidly between laid-back grooves and vibrant, rhythmic bursts. The percussion is sharp, and the brass shines with both restraint and exuberance, highlighting the band's ability to navigate complex arrangements while maintaining a relaxed, natural flow.

Review: Dynamite Cuts lives up to its name once more by unearthing a deep funk treasure here, and they do the right thing and serve it up for the first time ever on its own 7". Sound Investment's 'Funky Skunk' is a raw and rhythm-heavy rarity previously confined to album-only status. It's bursting with tight grooves, gritty breaks and irresistible energy and is a dream for DJs, collectors and crate-diggers. On the B-side, 'Dirty Man' keeps the heat alive by delivering more deep-fried funk goodness. Both cuts showcase the band's raw musicianship and groove-driven spirit. Authentic funk vibes don't come much better than this.

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: The tireless work of Funk Night continues here more steamy late-night sounds. This time it's Sunday Papers at the helm and first off comes 'Smoke.' It's a dense, busy cut with sleazy guitar riffs, plenty of sonic grit, raw, edgy drums and vocal stabs as well as some hints of psyched-out soul. On the flip, the rather horribly titled 'Greasy Meat Pocket' is actually a lovely sound with pensive piano chords and signature Hammond organ grooves that make for a nice late night jaunt.

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: Scruscru and Los Protos hook up on the former's ever-reliable label for some more funk-fuelled and sample-heavy madness. This eight-tracker draws on the best of Library, jazz, hip hop and soul and collides elements of all of those together with some raw, and what sounds like, MPC beats, all tapped out with a lovably loose vibe. Some like 'Local Sugar Diggers' look up towards a sunny, cloudless sky, others like 'Dreams Of Sonora' are swaggering broken beat workouts with sensuous sax lines setting a steamy tone. 'Por Do Sol Em Shelekhmet' is another highlight with its aloof, angelic vocal tones.

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: 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: 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: 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: 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.