Back catalogue: Disco/Nu-Disco

Review: Don Blackman's 1982 self-titled debut is an underrated jazz-funk gem that fuses soul, funk and jazz-fusion into a sophisticated groove-laden journey that was produced by Dave Grusin and Larry Rosen for GRP Records. The album showcases Blackman's keyboard wizardry and soulful vocals across standout tracks like 'Heart's Desire' and 'Holding You Loving You.' With playful cuts like 'Yabba Dabba Doo,' it balances polish with joyful experimentation and though not a commercial hit, its influence has quietly grown and ir has been sampled by hip-hop greats and revered by collectors alike. This reissue reaffirms its status as a cult classic and a crucial slice of 80s funk.

Review: Don Blackman's self-titled debut album, released in 1982, stands as a testament to his versatility as a musician, blending jazz-fusion, funk, and r&b with a distinct creative vision. Though it may not have made waves on the charts, its legacy has only grown with time, cementing it as a cult classic in the 80s jazz-funk landscape. Blackman, a skilled keyboardist and vocalist, had already built a name through collaborations with heavyweights like Parliament-Funkadelic and Roy Ayers, but his debut marked a bold foray into the spotlight. The album itself feels like a rich, meticulously crafted groove machine, where Blackman's keyboard wizardry is matched by his soulful vocal delivery. Tracks like 'Heart's Desire' and 'Holding You, Loving You' highlight his knack for catchy melodies, while 'Yabba Dabba Doo' leans into playful funk, embodying the joyous experimentation that permeates the record. Each song brims with tight, polished arrangements, grounded by smooth basslines and Blackman's ability to switch between genres effortlessly. What makes this album so significant is its impact on future generations. While not an immediate commercial hit, it's become a goldmine for hip-hop producers, with many of its tracks being sampled by major artists, pulling it from obscurity into a cherished underground classic. In an era when funk and jazz were evolving, Blackman's debut was - and remains - an unsung yet influential piece of music history, offering a snapshot of an artist at the peak of his creative powers, melding diverse sounds with a rare sophistication.

Review: KC

Review: Pantechnicons of Philadelphia soul, Harold Melvin & The Blue Notes reached their musical peak with Teddy Pendergrass between 1972 and 1975. Their 1975 album Wake Up Everybody hears Pendergrass' last vocal contribution to a band before he went solo; the record is filled with thought-provocations and gnomic lyrics, and became famous more by way of its covers than its originals. Returning the favour, 'Wake Up Everybody' was later covered by John Legend & The Roots, while 'Don't Leave Me This Way' became a disco classic thanks to the vamping vocal verves of Thelma Houston. This 750-copy 50th anniversary repress now comes with a special bonus: a rare 11-minute remix of 'Don't Leave Me This Way' by remixing pioneer Tom Moulton.

Review: The Modulations released their album It's Rough Out Here in 1975, not only impressing both industry and laity with the singles 'Rough Out Here and 'I Can't Fight Your Love', but also spurring the considerable career of a funk quartet whose merit outdoes their reputation alone. The Modulations recorded extensively with MFSB, the house band of the famed record label Philadelphia International; these sessions yielded this album, one considered a gem of 1970s soul music. Exemplary of the long, wistful titles of the Philly funk era and beyond, the titular roughness of the record is also nonetheless embedded in a sea of audible Romance; the Modulations' hard knocks don't exclude the necessity of letting emotion in, with 'Head On Collision With Heartbreak' being an indelible example of this sense of being swept up in one's own emotions in the face of heartbreak, away from the perseverance aesthetics of "gritty" realism one might expect from a title like this.

Review: The tenth studio album by the American female soul vocal group Pointer Sisters is here reissued by MOV, harking back to a certain, unmistakably breakout moment in glitzy, metropolitan electro-soul that emerged just over 40 years ago. The Pointer Sisters broke into the late 70s and 80s charts especially, at the height of the glam era, and rocked the style as it would visibly cross into Studio 54-esque synthpop and disco. Suitably motoric and 'Automatic', this was far from the Pointers' debut album and yet it was also their most popular, attesting a rare example of a group who found their wave well past their industry initiation. Consecutively, on an almost track-by-track basis, the record moves between pacy rock & roll/r&b and glammy electronique, typifying the distinctly vanguard-edging mood of the 1980s West Coast.

Review: Johnny "Guitar" Watson's 1977 funk album, A Real Mother For Ya, solidified his status as a master of the genre. Known for his exceptional guitar skills, Watson's album produced the international hit title track along with standout songs like 'Nothing Left To Be Desired' and 'Lover Jones.' This reissue also includes the 2020 Ben Liebrand Oldskool mix as a bonus track, adding a fresh perspective to Watson's timeless funk sound. Throughout his career, Watson influenced countless artists, including Jimi Hendrix, and earned a Grammy nomination for best contemporary blues album. Tragically, Watson passed away while touring Japan in 1996, leaving behind a legacy of innovation and groove. A Real Mother For Ya remains a standout example to Watson's musical genius. Available on black vinyl, this reissue ensures that Watson's electrifying sound continues to engage audiences for generations to come.