Back in stock: Funk/Reissues

Review: As you probably know if you're reading this, Jorun Bombay is one of the most consistently on for edit maestros in the game. Here he steps up with a new outing that sticks right at the heart of the dancefloor once more. 'Strictly Dann Stealy' is a clever mash-up of De La Soul's 'Eye Know (Know It All Remix)' featuring the original source vocals over a faithfully recreated instrumental. It channels the signature energy of early 90s hip-hop clubs with a fresh twist you've never heard before. On the flip, 'Whole Grain O's' offers a reimagined instrumental take on 'Oodles of O's' which is packed with reggae chants, added turntablism and signature 'Oh's'. It's a playful, party-ready version that balances just the right amount of nostalgia and brand new style.

Review: Mysterious edits pushers Discotecas worship a mysterious figure known as 'Gwen', the artist supposedly responsible for making these EPs. Their second instalment here comes in the form of a laid-back, electro-balearic affair replete with several layers of bass guitar, lolling synth and acoustic-mimicking percs. A remix of Sade's 'Paradise' leads the charge, centring her harmonious vocals at the core of the mix, while two further unknown re-edits cement the overall nine minute disco vibe.

Review: Launching their new 7" series with a bang, Small Edits enlist the shadowy figure of The Groomer for two deep-digging reworks that balance crate knowledge with pure dancefloor funk. On the A-side, 'S.a.d.e' stretches out into a blissed, slow-burn groove with smoky keys, slinky basslines and a gentle swing conjure a mood that's tender, perfect for warm-up sets or late-night wind downs. Flip it over for 'Commo', a swaggering, shoulder-rolling party starter. Tighter, faster and packed with cheeky rhythmic flair, it leans into peak-time territory with percussive funk licks and chopped vocals that radiate attitude. A low-key but high-quality debuticut loud and made for selectors who know.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


Bjorn Wagner's all-star tropical disco band, Magic Source, loves a cover version. The outfit's first EP boasted, as a bonus cut, a superb (and colourful) take on Tom Tom Club's 'Genius of Love'. On this belated sequel, they've gone one better by re-inventing A Guy Called Gerald's pioneering UK house classic 'Voodoo Ray' as a driving, all-live tropical disco jam. It's cleverly done, with all the key elements being replicated, sometimes in canny ways (the acid lines now become Clavinet lines, the synth-bass is now bass guitar, and so on). It's a fantastic cover all told and one that is far more than a smile-inducing novelty. Also superb is flip-side 'Interplanetary Bounce', a spacey jazz-funk/disco fusion cut rich in fuzzy horns, vintage synth sounds and shuffling drums.

Review: Back here by popular demand, Les Disques Bongo Joe presents a fresh 7" release from Amsterdam's Nusantara Beat featuring, for the first time on wax, the infectious digital single 'Mang Becak' alongside a brand new and unreleased track. Marking their third collaboration with the label, the band reimagines two treasures of Indonesian music and merges their traditional rhythms with a modern edge that masterfully bridges the past and present. 'Sifat Manusa' has Indonesian vocals bringing sunny disposition and real soul over funky and jazzy drums. 'Mang Becak' is a funky groove with plenty of guitars that range from psyched out to more playful.

Review: This raw, electrifying performance captures Prince at his peak, showcasing some of his biggest hits with thrilling immediacy. Opener 'Sign of the Times' brims with urgency and sets the tone for a set that spans funk-heavy anthems like 'House Quake' to intimate ballads like 'Slow Love'. The rendition of 'Little Red Corvette' feels like a quick nod before diving into deeper grooves with 'Hot Thing', while the encore, '1999', rounds off the night with jubilant nostalgia. Each track is brought to life with boundless energy, providing fans with a candid first hand glimpse into Prince's live mastery.

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: Edwin Starr's poignant and bright original funk number 'Time' gets a notable reissue via Soul Brother, once again casting a retrospective light on the American Motown boy wonder's advanced songwriting capabilities and out-the-box subject matters. Never one to shy from important messages, 'Time' perhaps rivals Starr's 'War' in its laser-focused singular theme, yet this time errs more existential and metaphysical than political; here Starr muses on father time and his obscurant curtain, pondering the fact that the ticking clock is indeed something that all human subjects feel, yet not all sense the gravity of until it's too late. On the B comes the comparatively righteous romantic march, 'Running Back & Forth', which by comparison lilts through jovial croons and lovestruck reveries.

Review: The TK Disco reissue series continues with a fine EP of classic cuts from label stalwart Timmy Thomas. This time round, the singer and keyboardist's most famous outing, the fuzzy and impassioned organ jam "Why Can't We Live Together", is relegated to the B-side, with 1977 cut "Africano" taking pride of place on the A. It's something of an overlooked gem, all told; a killer chunk of Clav-happy Afro-funk/Afro-disco fusion full of chanted vocals and Thomas's own killer electric piano flourishes. Also featured on side B is "Funky Me", which was originally featured on the B-side of "Why Can't We Live Together". Equally fuzzy and underpinned by the same sort of clicking drum machine percussion, it naturally features Thomas showing off his impeccable organ skills.

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.