Back catalogue: Funk

Review: The wonderful Brazil 45 series from Mr Bongo is back with its big old torch to shine a beam of deserving attention on two standout funk and bossa nova tracks from Rosa Maria, which originally came in 1972 and have remained in demand ever since. The A-side, 'Deixa Nao Deixa', blends Afro-Latin guitar, wild horns and percussion with infectious vocal harmonies that all coalesce into a Brazilian funk classic. On the B-side, 'Avenida Atlantica' delivers alternating funk and bossa beats beneath layers of vocals, horns and percussion to bring big energy and dancefloor-ready heat. This reissue ensures these timeless tracks become available for your rotation once more.

Review: Funk editor Mister Mushi finalises the latest fleet-dispatch by the eponymous factory known as Mushi 45. All housed on a distinctive yellow, large-innered 7" record (you know, the you need the metal spindle adapter for), every release on this label is a charm. Here the dotted line marks out a well-defined classic by Rob Base & DJ E-Z Rock from 1998, 'It Takes Two', which in turn samples Lynn Collins' 'Think', after which this reissue is named and from which the now rather saturated vocal sample originates. James Brown's original production and backing "c'mon!" admonitions shine brightly, while Mushi's extra phattenings also serve to emphasise the mix without peaking it.

Review: Disco Donuts strike back with a back-to-back pose in the vein of pivotal disco-funk remixing from local edits master Mister Mushi. Once an out-letter of releases on his own Mushi 45 imprint, through which we heard many another reissue by the likes of Afro Breed and The Ethiopian Brothers, this second of two new migrations over to the Disco Donuts label proves a versatile sound and approach to his craft. The A-sider here features a mechanically reproducible instrumental version of Chic's 'Good Times' mashed up with Ronnie Hudson's 'West Coast Poplock', providing equal doses of freshness and reconnaissance.

Review: How many people are too many people to be in one band? The answer is certainly not ten for ten piece Melbourne funk crew Mondo Freaks, who now offer up their debut EP. This lot originally started as a concept band playing late 70s and early 80s funk classics and they have since backed luminaries like Leroy Burgess and Evelyn "Champagne" King. The band is led by session bassist Luke Hodgson and drummer Graeme Pogson and has five talented vocalists who all shine: tracks like 'Find A Way' with Jade McRae's uplifting vocals and the Harvey Sutherland remix of 'Bells Are Ringing' are particular delights. Overall though, all of these fresh funk flavours combine live instrumentation and great songwriting to create a sound that goes well beyond homage.

Review: The wonderful new 'Womp In My Spirit' blends flashy 80s-inspired beats with smoothly delivered and rhythmic lyrics that together capture the essence of West Coast vibes with American Moniquea's distinctive vocals shining alongside masterful boogie beat maker XL Middleton's typically faultless contributions. Once again they have cooked up a gem for the modern funk scene and the instrumental version allows you to fully appreciate the depth of the production without the vocals. This one has already been getting bumped by renowned DJs like Walla P, Zackey Force Funk and Soul Clap and hits a perfect sweet spot between funk and hip-hop.

Review: The majestic Monsieur Van Pratt is back with more of his thrilling studio work, and once again he reinvents classic disco tracks with modern flair. The third instalment in this series is characterised by a distinctly underground energy that defines the "Illegal Disco" vibe. The opener 'Volar Como El Viento' is a soaring rework filled with airy synths that evoke freedom and lightness. 'Al Anochecer' re-energises a disco classic with an upbeat twist, while 'Mi Amor' is all about intimacy and passion through sultry, Spanish-inspired tones. Once again colliding nostalgia and innovation as he always does, Monsieur Van Pratt delivers a masterclass in modern disco reinterpretation that will also bring together all sorts of dancers.

Review: Under the Linkwood alias, Nick Moore has released a wealth of fine material since debuting in the late 2000s - including a string of sublime albums and EPs. Last year he popped his re-edit cherry alongside The Mighty Zaf via a two-tracker paying tribute to the late, great Phil Asher. Here he takes the next step, delivering a first solo scalpel missive via the reliable and long-running Moton imprint. On side A, the Edinburgh producer attempts to 'Make It Better' via a razor-and-tape style edit of a slap-bass-sporting, synth-wielding slice of early 80s disco-boogie perfection. We have no idea of the source material, but the lightly extended track is as infectious as it is intriguing. Over on side B, 'No Easy' is a sweet, string-laden slab of mid-tempo disco-soul sweetness, while 'Brekkers' is a squelchy, up-tempo electrofunk workout tailor-made for break-dancers.

Review: The one and only Mr. K presents a two-sided treat here starting with Janice McClain's underrated 1983 disco track and featuring a smooth, laid-back groove that blends steppers vibes with mid-tempo Philly soul. Written by McClain's uncle Milt Tennant and Thom Page, it captures a classic sound that is further enhanced by McClain's heartfelt vocals. This edit trims the rare 12" version for a 7" debut with pristine sound and the B-side flips to a fresh take on 'Brazil', which was a 1975 hit by the Ritchie Family. Mr. K's edit extends the vamp section, offering a full, uninterrupted four minutes of irresistible disco joy.

Review: Primetime Paris producer Jay Murphy first teamed up with Natalie Nova in 2022 to release 'Boogie Oogie', a rejig of the classic A Taste Of Honey song. Emphasising postmodernity, we hear a timeless club classic liquefied for a fluid psychic economy: Murphy, a Franco-American musician based in Paris, produces, sings and key-plays over this funky opus, attesting his involvement in the funk scene since as far back as the early 1990s. But now Rob Hardt and Young Pulse bring their own versions, spanning slapping, chime-trilling propulsions, and a wildout inductive monologue from an anonymous contributing vocalist: "if you think you're too cool to boogie, boy have I got news for you... I wanna see you shake your derriere..."

Review: "Of all the many noble attempts of the prog rockers to create a grand compositional style which blended elements from classical music with rock, none, in my view, ever reached the intensity, complexity and raw savage excitement of the great Magma masterworks." When you make music that feels like the love child of a rock & roll musical, gospel choir, Frank Zappa and Ziggy Stardust, why should anyone expect you to be even remotely humble when describing your own back catalogue. Magma's 1974 epic is nothing short of batshit crazy in the true sense - bordering, perhaps sprinting well beyond, the point of genius and capable of rendering any room speechless. A stunning example of how wild, exploratory and experimental the music industry was once so proud to be.

Review: The debut release from Hebrew Israelite vocalist, songwriter and multi-instrumentalist Margeeah Aharon was recorded in July 1983 with the Kingdom Sounds community band in Tel Aviv. This deeply introspective blend of jazz, soul, funk and reggae is guided by Margeeah Aharon's soothing yet resolute voice, imbued with a meditative graceidrifting between the searching melodies of 'Bring The People Home' and the deep-rooted spirituality of 'Rise Black Spirit', while 'Music Is My Love' glows with warmth and devotion. The reflective 'Daughters Of Zion' and the title track capture Aharon's gift for meditative storytelling, where faith and longing intertwine. Decades later, the album's messages of love and self-discovery are as vital as ever.

Review: 1997's Slow Traffic to the Right found Bennie Maupin navigating between cerebral jazz and deep funk with style and ease. Though generally known for his abstract leanings and serious musical demeanour, here he showed a lighter side - not least because he is actually smiling on the album cover - while diving into grooves shaped by his time with Herbie Hancock's Headhunters. With help from rhythm masters like Mike Clark and Paul Jackson, Maupin swaps out ECM austerity for signature Oakland bounce, so tracks like 'It Remains to Be Seen' and 'You Know the Deal' excel with newfound swagger without abandoning his jazz roots. It's a compelling pivot into accessible, funky and smart jazz soul.

Review: German funk heroes The Mighty Mocambos continue to prove that their funk is an ever-evolving force, navigating between the worlds of gritty, organic soul and cinematic experimentation with unapologetic energy. Their latest offering marks another step forward, refining the groove-laden formula that's earned them global acclaim while pushing into new territory. The opening track hits hard with orchestral flair on 'Road to Earth,' where the legendary Peter Thomas's arrangements lay the foundation for a full-on sonic odyssey. As they move through the album, tracks like 'It's the Music' and 'Hot Stuff' groove like a classic, with Afrika Bambaataa's presence lifting the energy and ensuring a tight vibe. But it's not all about party anthems. 'Not Get Caught' from DeRobert tells a story that's as gritty as it is soulful, capturing a narrative of crime with a raw, undeniable swagger. Even more dynamic is the standout 'Catfight,' which melds mysterious Eastern flavours with a tripped-out break, displaying a versatility that refuses to be boxed in. This is an album of triumphs, not just in the power of individual tracks but in the overall cohesion of sound and spirit, and by taking a step further into uncharted waters while keeping their infectious funk roots firmly grounded, The Mighty Mocambos challenge expectations and push boundaries. A showcase of a band in full flight, steadily rising.

Review: Sol - the new album from Paris-based Venezuelan music artists Raul Monsalve y Los Forajidos - hears the band merge Venezuelan rhythms, jazz, Afrobeat, psychedelic funk, and experimental electronics into an utter boundary-piercing hyper-stimulater. For fans of George Clinton, Herbie Hancock, and Nyege Nyege Tapes, the album plants some roots and uproots others, with next-gen collab explorers Emanative, Kiala Nzavotunga, and Gustavo Ovalles using the passed-down torch to both burn old bridges and light the way over new ones. Drawing on old Venezuelan ecclesiastical traditions such as the Saint John the Baptist festival, the album opens with 'Fuego al campanero', blending Venezuelan chants with futuristic sounds, and burns into 'Como el Sol' and 'Machete no hace piquito', devling into themes of strength and perseverance.

Review: Renowned DJ and selector MURO is a Jedi-level compiler and this new collection of his delves into Victor's extensive archives to spotlight a world of Japanese jazz, fusion and AOR. It take sin plenty of internationally known names like Yasuko Agawa on the sunset sounds of 'L.A. Night', Sadistics who offers the more psyched out guitar leans of 'On the Seashore', Yuji Ohno's neo-Balaeric bliss-out 'The Dawn of Seychells' and Hiroshi Fukumura's soul soothing Ry Ayres-style melodies on 'White Clouds.' These are luxurious sounds and timeless tracks with MURO's signature funky perspective making this a brillaint choice for brighter, warmer days.