Back catalogue: Funk/Reissues

Review: The fourth edition in Original Gravity's Down In The Basement series, which gathers instrumental soul and swing cuts onto worthy 7" slabs, resounding the fervent 1960s decadal gap in which mod reigned supreme. With juleps flowing and kneecaps knocking, Abramo & Nestor bring newfangled electric pianistic swing with 'Dig It!', while a twinned "hit it!" injunction is heard from Floyd James & The GTs on the reissued 'Work That Thang'; James' voice is tubed and speed-delayed to terrific effect, achieving a sprung intonation. Curtis Baker brassifies the bonanza with the lively 'Fried Fish 'n' Collard Greens', while The Native Yinzer's exiting excitation 'The Hip Strip' quilts our ears with a mnemic, down-feathery Hammond-breaks bit.

Review: This orange 7" is a miniature monument to one of soul's most quietly influential figures. Roy AyersiLos Angeles-born, jazz-schooled, funk-mindedicrafted 'Everybody Loves the Sunshine' not to dazzle but to dissolve. It moves with a drowsy clarity: shimmering synth, near-whispered vocals, and a lazily tumbling bassline that never quite lands. Released during a golden run of Ayers' mid-70s material, the track has since become shorthand for warm-weather introspection, equal parts ease and ache. The instrumental version on the reverse keeps the spirit intact, offering a meditative glide through the same terrain. Limited to 300 copies, this orange pressing pairs a low-lit groove with a deepening sense of legacyiAyers' influence isn't just heard, it's felt in the space he leaves behind.

Review: The third volume of this series delivers an irresistible blend of funk and 60s-inspired grooves. Side-1 kicks off with a surf-rock-infused funk jam packed with energy and retro vibes. Following that, a swinging 60s sound that combining catchy rhythms and pop sensibilities keeps the momentum going. Side-2 shifts gears a groove-heavy track led by a soulful organ that oozes vintage charm. Closing the collection, there is a gem that features smooth, funk-driven melodies, topped off by a standout sax solo and a subtle British flair. This compilation offers a vibrant mix of styles, perfect for fans of classic funk with a modern twist.

Review: 'Beat Me Till I'm Blue' is a wonderfully funky classic by The Mohawks presented under the M Hawk alias, the Hawk in question being none other than KPM Music Library overlord Alan Hawkshaw, who wrote the themes from everything from Grange Hill to Countdown. It was a real cornerstone of the late-1960s library and soul-infused grooves of the sort that diggers still fawn over today, and sample fiends still search out. The track delivers Hawkshaw's distinctively driving Hammond organ riffs, tight drum breaks and irresistible rhythms, all of which have made it a favourite among DJs for decades. Two versions are served up here, one with the iconic horns and one with them stripped away, and both offer plenty of energy. .

Review: Is there a more celebrated combination in all of reggae than Lee Perry & The Upsetters? The master producer and his iconic backing band laid down many of the genre's most vital sounds and helped subtly evolve it across the seventies and beyond. This single 'Jungle Lion' came right in the midst of that in 1974. An original 7" will cost you upwards of 500 quid, and that's if you can find one. Here it gets reissued on the young but already well-formed Skank & Groove label and is backed with a version by The Upsetters named 'Freak Out Skank' that gets even more warm, cavernous and dubby.

Review: Connie Price & The Keystones team up with Fullee Love (aka. Soup of Jurassic 5) - as well as New Orleans' very own bounce king Hasizzle - to bring you the brand new second-line funk anthem 'Come On Down (To New Orleans)'. Patently referencing and working within the regional New Orleans hip-hop style known as bounce music, Price, Love and Hasizzle stick true to the soulful, syrupy and yet still hard-edged call-and-response style indicative of this 80s-90s stylistic cusp. Slacken lyrics, soul-tinged choruses, skrrt ad-libs and one-two-step antiphony predominate on this versioned A-B sider, as Professor Shorthair also provides a quintessential bounce demo mix on the B.

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: This scorching 7" single features standout tracks from Chicago's Third Rail, who later became known as Maxx Traxx, and specifically for their monster hit 'Don't Touch It' (which has also been reissued by Star Creature and Numero before now). These tracks are drawn from the band's sole 1982 album, Reachin' For It, which is listed on Discogs for over L700, so not one for the feint-hearted. The single delivers high-octane, first-wave boogie with big bass, catchy choruses, energetic playing, and soulful vocals that infuse both tracks with joy and positivity. Limited import copies mean this will go pick and become pricey again so don't dally on it.

Review: The magical 'Go Back and Make It Right' by David A Tobin on Sedsoul came back in 2021 and offers a vibrant blend of soul, funk, and disco. This 7" pressing offers up two versions. The vocal comes first and is one of those impossibly feel-good gems with light, funky rhythms, a great interplay between male and female vocals and neat bass topped with strong synths. The dub pairs it back and allows the rhythms to shine but really the vocal is the one that will get the best reactions.

Review: Jazz Peace has been digging in the archives to put together this new and limited 12", 'Happy Tears'. The original 1975 studio sessions captured the essence of Stockholm, Sweden, with tracks from the unreleased album Wildlife. Recorded during a pivotal moment in the mid-70s, this 45 offers up raw, unfiltered material that offers a glimpse into the creative process of the era. The music blends rich instrumentation with experimental flair that delivers a unique sound that's both nostalgic and timeless.

Review: Australia's Choi Records drop their second release in the shape of two powerful cover versions either side of a devilish little 7" by The Traffic. The A-side, "White Lines", is a funky, horn-led reinterpretation of Grandmaster Flash's original tune : an instrumental brass ode to the original beast. On the flip, there's "Smack My Pitch Up", another mighty instrumental rework of The Prodigy classic, complete with a string of trumpets that imitate the original's inimitable vocal loop.

Review: Melbourne, Australia based sextet The Traffic, headed up by Ivan 'Choi' Khatchoyan, serve up a special MJ feature funk 45. Presented in a special pressing in red vinyl with black splatter, we get awesome renditions of Michael Jackson tracks 'Beat It' and 'Thriller' from his iconic Thriller album from 1982. The big band energy of the players make these cover versions worthy your attention, with a killer horns section imitating the king of pop's falsetto to great effect.

Review: Dan Tyler and Nick The Record's third installment in the Mr Bongo Edits series brings a bold twist to Cuban classics with three tracks that are equal parts cosmic and dancefloor-ready. On the A-side, Tyler extends two Juan Pablo Torres tracks from his reissued 1978 'Algo Nuevo' and 1977's 'Super Son.' First, Tyler reimagines 'Cacao,' a standout track from Torres' LP, giving it room to breathe and intensifying the percussive climax with swirling synths and spacey dub effects. It's a track that thrives on a big system, building tension as it goes, and works wonders in the right environmentijust ask anyone who caught it at La Paloma in Barcelona. Next, Tyler dials into 'Pastel En Descarga,' turning the Latin-funk fusion into a punchy, trippy dub with delay and drama, keeping the track's energy while taking it further into spacey, cosmic territory. On the flip, Nick The Record tackles Grupo Los Yoyi's 1977 'Paco La Calle,' taking a 2009 edit and expanding it into a longer, more hypnotic piece. The percussion pushes and pulls as the psychedelic synths swirl, creating a dynamic and ever-building groove. The 2025 version is elevated with new synth lines courtesy of Tyler, deepening the track's psychedelic richness. A cosmic whirlwind of reworks that bridges the gap between '70s Cuban innovation and modern dancefloor sensibilities.

Review: The Last Poets, pioneers of revolutionary spoken word and proto-rap, return with a powerful new album that blends their fiery lyricism with the infectious rhythms of Afrobeat. 'Africanism' sees the legendary duo, Abiodun Oyewole and Umar Bin Hassan, collaborating with a stellar cast of musicians, including the late Tony Allen, Prince Fatty, and members of Seun Kuti's Egypt 80. The result is a potent and timely exploration of social and political issues, delivered with the same raw energy and uncompromising spirit that has defined The Last Poets' music for over five decades. Abiodun revisits classics like 'When The Revolution Comes' and 'Gash Man', their messages of social justice and self-empowerment still burning bright. Umar's 'Niggers Are Scared Of Revolution' and 'Just Because' remain as potent and provocative as ever, their unflinching commentary on race and inequality cutting through the noise of contemporary discourse. The album's musical landscape is equally captivating, with Tony Allen's polyrhythmic drumming providing a driving force, complemented by the soulful melodies and intricate arrangements of the contributing musicians. A powerful reminder of the transformative power of music and spoken word.