Back in stock: Funk/Reissues

Review: Arp Frique & The Perpetual Singers come together for this most personal gospel funk album which was inspired by the birth of Frique's daughter, Jesamy. It finds the Amsterdam-based multi-instrumentalist mixing up organic funk with obscure synths, bubbly basslines that are always on the move with swirling guitars that add the colour and all make for an unusual and interesting mix of P-funk and gospel-disco. There are plenty of universal messages throughout which all emphasise the need for unconditional love while legendary vocalists like Dennis Bovell, Muriel Blijd, Mariseya, Brandon Delagraentiss and Rocq-E Harrell contribute to the powerful sound. Delagraentiss's choir, The Gospel Experience, also do their bit by adding big, rich, heartfelt vocals. It's quite the listen.

Review: James "Baby Huey" Ramey's sole album remains a striking reflection of his talent and untimely passing. The Chicago-born soul singer, best known for his work with Baby Huey & the Babysitters, was in the midst of recording his debut when he tragically died from a heart attack in 1970 at just 26. The resulting albumiunfinished at the time of his deathiwas later completed by producer Curtis Mayfield and released posthumously in 1971. A blend of psychedelic soul, funk and rock, the album's standout moments include a sprawling, otherworldly take on Sam Cooke's 'A Change Is Gonna Come' and the deeply emotive 'Hard Times', which later found its way into the lexicon of hip-hop, sampled by the likes of A Tribe Called Quest, Ghostface Killah, and Ice Cube. The work's raw energy and emotive performances give it a timeless quality, a feeling of tragic grandeur heightened by Ramey's powerful vocal presence. Tracks like 'Mama Get Yourself Together' and 'One Dragon Two Dragon' are emblematic of the freewheeling creativity of 70s soul, blending jazz-inflected structures with funk grooves that seem to stretch toward an unknown, future-facing horizon. Despite its unfinished nature, it is an album that never feels incomplete, embodying a voice and vision that remains eternal in its influence. From his time performing around Chicago to his collaboration with Mayfield, Baby Huey's legacy continues to reverberate across generations.

Review: Chris Bangs' varied and eclectic musical journey is a key reason he was chosen to curate a compilation for Ace. With a background ranging from space rock with The Mighty Om to DJ residencies across London, Bangs' career spans numerous genres, from jazz, funk, to soul. Bangs' DJ sets and parties - in such time-honoured venues as Special Branch in Brentford, London - were seminal in the evolution of the acid jazz genre alongside Gilles Peterson, where "acid jazz was never meant to be more than a pisstake". His foray into production, such as the proto-acid jazz classic 'Psychedelic Jack' with Peterson on vocals, cemented his legacy, but it's curation highlights such as this that really get our gears going. Hold tight as we scour early acid jazz brilliants from Gunky to Vera Cruz to Brazilian Skies to Jubilation.

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: New York outfit The Budos Band return with their first full-length release on Diamond West, the new label founded by band members Tom Brenneck and Jared Tankel. VII was produced by Brenneck and engineered by Simon Guzman and has plenty of their signature taut, groove-driven tracks that blend Afro-soul, doom rock and 70s psychedelia. They were all recorded in California and feature the percussionist Rich Tarrana, who adds his own fresh texture without detracting from the raw, hypnotic MO of the band. As usual, this is music that is equal parts cinematic and visceral and is perfect for nocturnal drives and deep immersion. Now more than two decades in, The Budos Band are still able to surprise and compel.

Review: Oltreoceano take a strident second step with Oltreoceano. Made between Italy, France and the US, we've eight tracks here cherrypicked from funk, 70s electronica and spiritual jazz, though the pregnancy of its influences contrast its core themes of absence, longing and invisible threads that bind. Tommaso Cappellato (drums), Nicolo Masetto (bass) and Alberto Lincetto (keys) enlist a further draw of collaborators like Dwight Trible, Mocky, Isaiah Collier and Maylee Todd, ensuring the nostalgic ensemble eidetics of 'Tempo Al Tempo' and 'Alberoni', both of which evoke smoky clubs and panoramic soundtracks, nodding to Azymuth and Umiliani without ever getting peated in reverence.

Review: Over the course of two fine, full-length excursions, Don Glori (real name Gordon Li) has perfected a warm, breezy and frequently life-affirming trademark sound that cannily joins the dots between jazz, samba, MPB, jazz-funk and soul. He leans into the latter elements more on summery third set Paper Can't Wrap Fire, drawing on the talents of a wealth of Melbourne music friends across nine sublime tracks. There's much to admire throughout, from the sun-soaked jazz-funk/soul fusion of 'Brown Eyes' and summery head-nodder 'Janet', to the spiritual jazz joy of 'Song For Ants', the Brazilian brilliance of 'Precious' and the oceans-deep nu-jazz shuffle of 'Saturn's Return'.

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: Chicago multi-genre music collective Patchwork Inc. offer a distinct, subtle blend of pianistic soul and cinematic warmth on their latest 7" for Colemine. Elusively cryptic and seemingly not entirely willing to divulge their membership, we do know that North Carolina native Taylor Williams and Chicago journeyman Wyatt Waddell are nonetheless involved: their conjoined hands craft heartfelt ambles through smoothly arranged backbeats and ride-tsking R&B phrases, evoking farewell-bidding moods and last-ditch begs for togetherness.

Review: Wilfully skeletal, kitsch 80s disco-funk from the Rah Band, whose humble origins in England's County Durham proved no stumbling block for the successes that would follow, not least the classic 70s glam/disco oddity 'The Knack', complete with balaclava-clad Top of the Pops appearance . The assembling, productive hands of one Richard A. Hewson, and the syringeal sweetnesses of then-wife Liz Hewson, is what made 'Messages From The Stars' so great. This track emerged as a modest club hit - it was TikTok that ensured its longevity many years later, as well as support from the likes of Horse Meat Disco - and could be described an inchoate form of "bedroom" pop. Though it was made simply in Hewson's home studio on a simple Roland SH5, the efficacy with which Liz's nearly-half-hearted voice is super-effective: vocal elements play back through echoic highpass filters (and cut-up echoes on the B's 'Astro Mix'), while clever whistle melodies and sudden gated snares help embed the overall theme of astral sexuality.

Review: Rahaan returns with another scorching collection of disco edits, guaranteed to ignite dancefloors and satisfy even the most discerning disco devotees, featuring four blazing cuts, each one expertly crafted to maximize dancefloor impact. 'Repo Lady' kicks things off with an irresistible groove, its infectious energy and soulful vocals setting the tone for a joyous ride. 'Bodywork' keeps the energy high, its pulsating rhythms and funky bassline urging listeners to move their feet. On the flip, 'Woman Of The Party' delivers a dose of feel-good vibes, its uplifting melodies and soulful vocals creating a euphoric atmosphere. 'Go Dancin'' closes out the EP with a bang, its infectious groove and irresistible energy ensuring that the party continues well into the night. This limited-edition release is a must-have for any serious collector or DJ, a testament to Rahaan's mastery of the disco edit.

Review: Two cornerstones of rare Amazonian (!) cumbia appear together on 7" for the first time, as Vampisoul resurrect these wildly sought-after versions of 'Sonido Amazonico'. On one side is a hypnotic, percussion-heavy take by Ranil Y Su Conjunto Tropical, first and only released on LP. Led by Raul Llerena, this Iquitos band helped forge the sound of psychedelic cumbia through Llerena's Producciones Llerena imprint, now a holy grail label for collectors of such trove-bound tropical rarities. On the inverse comes Los Wembler's de Iquitos - of equal stature as one of the genre's most enduring groups - bringing their stomping rhythmoids to the same track; it also just so happens to remain one of their most defining anthems. The UK's not the only "jungle scene" out there - just listen to these killer, understoried sonic forests.

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: Pam Todd & The Love Exchange's 'Let's Get Together' dropped in the golden disco era of the late 70s and is one of our all-time top jams. The percussive breakdown at the mid-section is magic, and it all oozes funk, as well as having a proper singalong vocal up top. Mr K maintains the care of the original while tweaking the drums for modern floors across three subtly different mixes here on the Shrylden label. We found this one in the warehouse, so don't sleep, cause it won't be around long.

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.