Back catalogue: Funk Soul & Jazz

Review: "Inokasira Rangers" translates from the Japanese to mean "Park Rangers". Living up to the name, this band's dub and rocksteady versions are like natural conservation efforts. Re-rendering their chosen songs in bobbing dub, Nirvana's grunge roll 'Smells Like Teen Spirit' is first revitalised, transformed into a sustainable form: "jello, hello, how low" becomes a relatively spooky perennation of Hammond, while Krist Novoselic's accompanying basslines become chop guitar, emblematic of the rocksteady movement. Meanwhile, Kool & The Gang's 'Summer Madness' is lent an eerier, dream-strung dub version, with an underwater wah effect providing an extra tchotchke on the windowsill of history.

Review: Tokyo's Inokasira Rangers have been crafting lo-fi reggae since the 1990s, yet remained a rather hidden gem outside Japan. Their release 'Can't Take My Eyes Off You' finally changed that when it dropped initially back in 2023 and sold out in quick time so now gets reissued. The A-side reimagines Frankie Valli's classic with a laid-back reggae twist while the B-side takes on Crystal Waters' '90s dance anthem with surprising charm. Infused with a subtle Shibuya-kei flair, both covers feel fresh yet timeless. The Waters rendition, in particular, sounds like a forgotten folk tune-so natural it's hard to believe it wasn't always this way. A breezy, nostalgic delight from a band overdue for global recognition.

Review: New York's incomparable edit king, and a hugely prolific one at that, Danny Krivit aka Mr K returns with some elongated reworks of a couple of Stevie Wonder's most timeless tunes. First up is his version of 'Master Blaster' which was originally the sound of Stevie paying tribute to Bob Marley. In his hands, it has a big intro and drums ready to rock. Flip it over and you will find 'I Was Made To Love Her' which has big r&b overtones and the sort of breakdowns that really build a vibe in the club. Adding in lashings of signature soul and you have two more steamy and effective tributes from the one and only Mr K.

Review: Caught in a Prince Buster fever, Rock-A-Shacka complement an eagerly awaited release - the third album from the legend so named, offering 12 tracks spanning Jamaican funk to rocksteady to early reggae - with a promotional 7", bolstering the full-length's legitimacy with an as-it-was 45. Here 'Funky Jamaica' and 'Clap Your Hands' coincide. The first is an early dancehall phenotype, its strong tresillo matching a heady array of audio-mancer's chants; instructive shouts from Buster himself. Then the B-side follows, a brilliant James-Browned toasting of an uptempo pre-ska progression, put together against a rhythmic cage of swift, proficient drums.

Review: The most comprehensive tribute to one of Japan's most unique and influential bands, this box set serves as not only an enjoyable package of music, but an example of music eventually getting the respect it deserves. Emerging in the early 90s, Fishmans blended reggae, rocksteady and dub with dreamy, psychedelic elements, leaving a legacy that still resonates today. This meticulously curated box set presents rare recordings, radio performances, unreleased live tracks and demo tapes, all expertly digitised from cassette tapes, DATs and multitrack tapes. Kin-ichi Motegi, who took over vocal duties following the tragic passing of frontman Shinji Sato in 1999, oversees this collection, offering in-depth commentary on every track. The set captures the band's evolution from their reggae roots to their more experimental, art-pop phase, with Long Season often hailed as their artistic zenith. The ethereal vocal style of Sato is especially poignant, as it's woven through the band's melancholic yet engaging soundscapes, which continue to impress listeners in a dreamlike atmosphere. The ultimate package for Fishmans fans with an intimate look into their creative process.

Review: Prince Buster, born Cecil Bustamente Campbell in 1938, was a key figure in the birth of ska and rocksteady, and infamously embodied the term "rude boy"; he'd come to enshrine a symbol of rebellious youth culture in Jamaica. A leading conspirator in early soundsystem culture, Buster's story stretches as far back as the days of systems such as Tom The Great Sebastian as well as variou Kingston-bound stacks operated by Coxsone Dodd. Now this eagerly awaited third volume from Rock A Shaka continues to compile Buster's best works, the standouts among them being 'A Tribute to The Toughest' from 1967 - believed to be a precursor to the long-loved 'Ghost Dance' - and his cover of James Carr's 'Dark End of the Street,' Ernest Ranglin's 'Come Get Me,' and Winston Samuels' 'I'm Still Here.'

Review: Rock-A-Shacka enthuse the new, long-awaited third album from Prince Buster, one of the many leading lights of the early Kingston rocksteady movement. This treasure trove of 12 tracks covers Jamaican funk, rocksteady, and early reggae; over seven previously unreleased and/or alternative tracks (it's cleverly kept under wraps as to which are which), we've extended versions of 'A Tribute To The Toughest' (aka. 'Ghost Dance'), on which Buster pays tribute to his late rudeboy friends, as well as trad gems including an alt-take of 'Dark End Of The Street'. The are covers of James Brown's 'Bring It Up' and Beginning Of The End's 'Funky Nassau', and Lee "Scratch" Perry shows up in a resplendent, phone-a-friend cameo feature on 'Call On Me'. Cherry-topped by a version of Gregory Isaacs' 'Dancing Floor' and the stunning 'Black Soul' instrumental, this is as ultimate a companion to Buster's contribution to Caribbean music history as you're likely to ever get.