Back catalogue: Funk

Review: After forming from the ashes of a lauded jazz group in 1972, Sierra Leone's Afro National went on to release countless killer singles and albums that effortlessly joined the dots between jazz, highlife, funk and more traditional West African sounds. Here, the laudable Africa Seven label celebrates the band's legacy not by gathering together their most famous tracks, but rather cuts with the most insatiable dancefloor chops. The hits come thick and fast, from the punchy Afrobeat/highlife fusion of opener "Jokenge" and the rolling, low-slung goodness of "Mr Who You Be", to the jaunty, celebratory brilliance of the Juju-influenced "Sonjo" and fuzzy sweetness of the compilation's closing track, "Mother In Law" (which, incidentally, is far more enjoyable than any weekend visit from the in-laws).

Review: Tresor Magnetique is a treasure trove of unreleased tracks by the late great Francis Bebey-an international artist whose visionary work defies time and continues to add standout energy to eclectic DJ sets everywhere. These recordings have been digitised from fragile tapes found by his son and restored at Abbey Road Studios and blend pygmy flutes, drum machines, folk guitars and electronic textures in daring, genre-defying ways. Rather than a retrospective, this feels like an ongoing conversation that keeps Beby's work urgent and vital and prove Bebey wasn't just ahead of his time, he transcended it, from the lo-fi drum track magnificent of 'Quand Le Soleil Est La' to the raw, textured tropical funk of 'Where Are You? I Love You.'

Review: A veritable French fusion institution; classically trained Cameroon musician Eko Roosevelt Louis was responsible for a catalogue of exciting jazz funk, disco and afrofunk records throughout the 70s and remained active touring Europe until the 90s when he returned to Cameroon to inherit the role as tribal chieftain from his grandfather. Released in 1979, Funky Disco Music was his third album and packs some of his most powerful compositions. The triumphant title track says it all; laidback, charming and full of positivity it sets the scene for the whole trip. Highlights include the rock-tinged soul chugger "Une Chanson Sans Paroles", the highlife uplift of "Doi Da Manga" and the smouldering showstopper finale "Emen Ango". Dig deep and enjoy... Africa Seven promise more Eko reissues in the near future.

Review: The collaboration between the hip-hop godfathers and Afrobeat's explosive rhythms is nothing short of electrifying. After the session in Harlem, the project moved to Prince Fatty's studio, now in South East London, where the rhythm section was filled out by two key members from Seun Anikulapo Kuti's band, Egypt 80. Akinola Adio Oyebola and Kunle Justice's enthusiasm brought an authentic Nigerian Afrobeat vibe to the music, setting the stage for a unique fusion of revolutionary poetry and progressive jazz. UK-based jazz talents like Joe Armon Jones, Kaidi Tatham and Courtney Pine joined in to create a vibrant soundscape. With live, non-sampled instrumentation and impeccable mixing from Prince Fatty, the music feels as groundbreaking as the Poets' lyricsiperfectly capturing today's eclectic musical tastes.

Review: The Last Poets, pioneers of revolutionary spoken word and proto-rap, return with a powerful new album that blends their fiery lyricism with the infectious rhythms of Afrobeat. 'Africanism' sees the legendary duo, Abiodun Oyewole and Umar Bin Hassan, collaborating with a stellar cast of musicians, including the late Tony Allen, Prince Fatty, and members of Seun Kuti's Egypt 80. The result is a potent and timely exploration of social and political issues, delivered with the same raw energy and uncompromising spirit that has defined The Last Poets' music for over five decades. Abiodun revisits classics like 'When The Revolution Comes' and 'Gash Man', their messages of social justice and self-empowerment still burning bright. Umar's 'Niggers Are Scared Of Revolution' and 'Just Because' remain as potent and provocative as ever, their unflinching commentary on race and inequality cutting through the noise of contemporary discourse. The album's musical landscape is equally captivating, with Tony Allen's polyrhythmic drumming providing a driving force, complemented by the soulful melodies and intricate arrangements of the contributing musicians. A powerful reminder of the transformative power of music and spoken word.

Review: Having previously reissued Pasteur Lappe's sought-after 1979 sophomore set, No Man Pass Man, the crew behind the Africa Seven label has turned its attention to the Cameroonian artist's similarly impressive debut, We The People. It's a vibrant and hugely entertaining six-track set, with Lappe offering up a range of dancefloor-ready cuts that variously touch on heavy Afro-disco ("More Sekele Movement (Papa Ni Mama)"), horn-heavy tropical funk ("Dora"), saccharine English language ballads ("Watcha Get Ma Day Dreams"), thrusting disco-funk righteousness (Clav-happy smasher "Sekelimania (Nku Bilam)" and "The Sekele Movement") and laidback, Steely Dan style West Coast jazz-rock ("As Far As I Can Remember").