Back catalogue: Funk

Review: Musically it's cinematic rock funk with a bit of old testament too. One for the collection.

Review: Sol Set is a Detroit-based collective, an amalgamation of composers, musicians, artists and vocalists brought together by producer John Beltran, whose new label All Good Music chooses its debut album for its inaugural release. John Beltran and Shane Donnelly preside over seven sumptuous and confident slices of modern, sub-kissed soul and Latin sure to put a smile on anyone's face, even those of us faced with an altogether more British summer. Influences range from the Steve Wonder-style double vocals of 'Bliss Mode' to the South American 'Rhythm of the Sun', which echoes the beach bum haziness of Jorge Ben, but the vibe remains joyful and skillfully yet effortlessly executed throughout. Gorgeous.

Review: Vintage funk fans rejoice because this classic mid-60s collection is now available to you once more. James Brown's appropriately entitled Night Train - Mighty Instrumentals album is a high-class assembly of plenty of potent, hard-hitting funk as well as more tender and slow-burning soul sounds. These timeless, loveably lo-fi joints have plenty of low end heft to cut through modern dance floras while also offering up some authentic and original funk allure. It comes on nice heavyweight wax so sounds brilliantly loud and clear.

Review: Byron Lee was an important part of Jamaican music from his first appearance in the 60s and onwards. Amongst his bustling back catalogue is this cheery classic from 1980, which keeps the heart and soul of ska alive, with an emphasis on the soul. The rhythms are reliably skanking throughout, whether stopping by the melancholic 'Shoobe Doobe Doo' or the chirpy 'Bend Down Low'. This is ska in its truest sense, with an infectious energy which speaks universally to young and old, hip and square. You can also hear the strong US RnB roots of the music in Lee's songwriting, and it tugs at the heart strings in just the same way. Grab an immaculate album of honest, earnest songwriting magic with all the irrepressible joy of Jamaica coursing through its veins.

Review: Ferry Djimmy is quite the character - he is a mysterious Afrobeat figure who also was a former schoolteacher, boxer, Jacques Chirac's bodyguard, and well as being a legendary Beninese musical visionary. He recorded this album sometime in the mid-1970s in support of the revolutionary leader of Benin at the time - Mathieu Kerekou. A fire is reported to have turned all but 200 copies to dust so it is mega rare and expensive to get an original. Acid Jazz reissues it here in all its fiery, lo-fi, gnarly Afrobeat glory. This is a fully licensed project with all new and in-depth sleeve notes by Florent Mazzoleni.

Review: KC

Review: Pink Rhythm was John Rocca's mid-80s solo project and it came after his pioneering work with the band Freeez. The group released three singles between 1984 and 1985 including cult favourites like 'Melodies of Love' and 'India.' Rocca's music has been widely sampled by artists such as Jamie xx, Burial and Todd Terry which has cemented his status as a BritFunk pioneer. His tracks have also featured in TV, film, and high fashion and this album includes six classic Pink Rhythm tracks, four of which haven't been on vinyl since 1985 and beautifully blend vintage 80s drum machines, synths, and saxophones.

Review: The Purple One did a series of special live shows at the Miami Glam Slam Club in 1994 as part of a residency, and as they were recorded for live radio broadcast we can now relive them again with this reissue. The dynamic songwriter, singer, multi-instrumentalist and producer was in top form in the mid-90s and used this residency to further explore his blend of funk, rock and soul. With electrifying performances of hits and deep cuts, this album highlights his unparalleled musicianship and charismatic stage presence with plenty of classics all included from 'The Most Beautiful Girl In The World ' to 'I Believe In You.' A great slice of pop history.

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: Shango is the name for the Yoruba 'Thunder God' in Nigeria and Ojo Okeji, the leader of the Shango Dance Band was all about injecting military power and warlike energy in his own strain of Nigerian highlife and afrobeat. However, apart from all of Okeji's cult-like stories involving him and his part in the Nigerian army during a time of civil unrest in the late 60's and through to the 70's, and his often troublesome relationship with the great Fela Kuti, the truly special aspect of the Shango Dance Band album is that it was never properly released following its production in 1974. Comb & Razor have done the right thing here and, without them, this magical LP would still be locked away in the never-ending vaults of Nigerian music. This is very personal, incredibly singular African jazz-dance with a raucous psychedelic edge that lifts it high and mighty above the competition. A truly special album - DO NOT MISS IT.

Review: New York Blues Hall of Fame inductee Bette Smith returns with her third album, Goodthing, which blends soul, gospel, and rock & roll. Produced by Grammy winner Jimmy Hogarth, the album features anthemic soul rock sounds driven by Smith's raspy, soulful vocals and rather reminiscent of the late great Tina Turner, as well as Aretha Franklin and Etta James. Influenced by her childhood in Bedford-Stuyvesant, Brooklyn, Smith merges street-corner soul with the gospel music her mother loved. Building on the success of her previous albums, Jetlagger and The Good, The Bad, and The Bette, this new work again showcases her powerful range and solidifies her as a dynamic and ever-rising soul artist.

Review: International Anthem has become one of the contemporary jazz scenes most crucial labels. It deals in the most cutting edge sounds in the genre as well as offering up fantastic fusions with sounds from the world's hip-hop, R&B and broken beat. Here they look to Charles Stepney for an album that he recorded back in the 1960s in his Chicago basement. He played all the instruments himself and across four sides of vinyl he serves up his so-called and signature "baroque soul" sound with widescreen arrangements, innocent melodies and curious rhythms.

Review: A decade after it first surfaced on CD and digital, Kaidi Tatham's superb contribution to Jazz:Refreshed's now legendary 5ive series of mini-albums has finally made it onto vinyl. We don't expect these to hang around in stock too long, in part because it's one of the most consistently on-point and musically expansive sets in Tatham's vast catalogue - and that's saying something. For proof, check the soulful bruk-up business of 'To My Surprise' (reminiscent of the best of the collective Bugz in the Attic project he was a big part of), the fluid, spiritual jazz-funk brilliance of opener 'Don't Hide Your Love' and the expansive, up-tempo excellence of 'Organic Juggernaut', where fluttering flutes, squelchy bass and sparkling pianos catch the ear.

Review: Recorded and initially released in 1976, Stage 2 was one of a trio of killer albums that highlife legend Pat Thomas recorded with the Marjarita backing band. Although amongst his most popular sets in his native Ghana, the album has never been released outside Africa - until now. This remastered edition, which comes pressed on clear vinyl, is therefore long overdue. It remains a superb set all told, with Thomas and his collaborators serving up a fuzzy, sometimes fiery fusion of Afro-Soul, highlife, Afro-funk, rocksteady, reggae and Afro-rock. Thomas is in terrific form throughout, delivering effortlessly soulful and impassioned vocals that turn an otherwise excellent album into a genuinely terrific one.

Review: As any digger knows, Wagram do a fine line in compilations. They expertly assembled fresh tracks from various different scenes and sounds and now they turn their focus to what they are calling a 'nu funk sound.' All of these cuts are from contemporary tastemakers such as Kaytranada, The Quantic Soul Orchestra and Alice Russell. They take in sunny broken beats like 'Breackdance Lesson N' as well as jazzy funk workouts like 'Hold It Down' and seductively deep beats like 'Buckle Up' (feat Soweto Kinch). A great pick up.

Review: Stevie Wonder's seminal The Jazz Soul Of Little Stevie album very much unveiled the budding talent of a musical prodigy. Released in 1962, this instrumental collection showcases Wonder's early mastery of jazz-infused melodies at the tender age of just 12 years old. With his harmonica prowess and soulful organ touches frost and centre, Wonder paints vivid tracks that belie his youth. Pieces like 'Fingertips' and 'Square' exude a playful energy, while 'Soul Bongo' delves into rhythmic complexity. Despite its brevity, the album foreshadows Wonder's illustrious career and undeniably set the stage for his future triumphs on Motown and beyond. It's a captivating glimpse into the early genius of a music icon.

Review: In 1972, musical one-off Stevie Wonder boldly embraced a more experimental and personal style and showcased some innovative use of synths. Backed by his new band Wonderlove, he toured extensively with the Rolling Stones and solidified his status as a trailblazer. This electrifying performance from that year was broadcast on Soul TV WNET 13 in New York City and captures Wonder at his peak and delivering fiery renditions of tracks from his iconic Music of My Mind and Talking Book albums, among others. Presented here with insightful background notes and rare images, this recording is a vivid testament to a pivotal era in Wonder's legendary career.