Back catalogue: Funk

Review: Tom Browne's 1980 single 'Funkin' For Jamaica' has long been something of an anthem - a hybrid funk/boogie classic that remains a staple in sets of hip-hop, disco and soul DJs alike. Given its ubiquity, covering the song is fraught with danger, but remarkably Japanese producer Akiko and guest vocalist Mbanja Richy have successfully put a new spin on it. Their take is subtly tougher and more synth-heavy, with bilingual French/English vocals, nods to Zouk music and a bassline so squelchy it could have been lifted from a P-funk record. Over on the flip, the pair go mellow, deep and laidback on a pleasingly skewed hip-hop soul cover of Terry Callier's legendary vocal interpretation of Alex North's 'Love Theme' from 'Spartacus'. Inspired stuff all told.

Review: The Bacao Rhythm and Steel Band are one of the curious outfits who sound as if they're right out of the '70s, when in fact they are happily playing on their instruments in 2016, and making some serious burners. Their zesty ad energetic blend of horns, steel pan and live drums is the sort of African funk for those looking for some fresh and innovative rhythms in this day and age, with "Love Like This" providing exactly that - a bass-heavy, tripped-out kinda groove that spits quality from all angles. On the flip of this tidy 7", Cat Stevens classic "Was Dog A Doughnut" is taken on a more tropical flex, stripping down the groove and laying out one hell of a steel-pan concoction. Bless.

Review: Kalita Records are proud and honoured to announce the first ever official reissue of the four choice tracks from Randolph Baker's privately pressed sought-after 1982 disco album 'Reaching For The Stars', plus an unreleased instrumental take of 'Party Life' sourced from the original 24-track analogue master tapes.

Originally recorded at Jim Morris and Rick Miller's Tampa-based Morrisound Studios, 'Getting Next To You' features both a mixture of both local Florida talent plus jazz superstar Nat Adderley and bassist John Lamb at their finest. Originally pressed in a limited run of just one-thousand copies, with no distribution and most copies being sold in the local city and on Randolph's own merchandise table at the back of live gigs, original copies have long been sought-after by both collectors and DJs alike, acknowledged as a true grail and masterpiece in the disco scene and deservedly demanding extortionate figures to those lucky enough to find their own.

Here, in collaboration with Randolph, Kalita Records have chosen to re-release the four choice tracks from the album: 'Getting Next To You', 'Jazzman', 'Callin' Me' and 'Party Life'. The former is an in-demand horn and chant-filled disco masterpiece, which, as Randolph explains, concerns unity and "everyone on the same level in other words, everyone just loving life". It is arguably the song that Randolph is most well-known for in the disco and funk scene and perfect for the modern discerning dance floor. 'Jazzman' is an instrumental track with prominent trumpet and saxophone solos working with funky basslines to produce a truly great jazz-funk groove. It was "a tribute to Nat Adderley and Duke Ellington's bass player, John Lamb, for being so generous and saying yes to the project". 'Callin' Me' is a soulful disco number featuring the lead vocals of Laurie Erickson and is "about being on the road and ensuring loved ones that you will always come back home no matter what. It was like a promise to ensure loved ones they didn't have to worry". Lastly, 'Party Life' is a joyous disco track with a strong funk bassline and horns. As Randolph recalls, it "was the joy like after an actor finishes a movie. There was nothing but joy. It's finished; let's celebrate big time. Where everyone in the studio yelled at the top of their lungs - The End!" Here, with access to the 24-track master tapes we have been able to include the original version plus an unreleased instrumental take, allowing us to focus on the infectious bassline and make it even more ready for the modern dance floor.

Accompanied by extensive interview-based liner notes and never-before-seen photos.

Review: From the dedicated Neopolitan archivists Periodica comes a holy grail reissue of a deep cover, highly coveted release from 1983. The groove on Tonino Balsamo's 'Sta Guagliona Mo Dda' is an absolute neck-snapper, with the toughest drum machine beat carrying slinky b-lines and slick synth lines alike while Balsamo flows in a semi-rap style over the top. It's a monster given a fresh master to cut it with any modern jam you care to throw its way in the mix, and the instrumental is on hand for those who want to zero in on that throbbing arpeggio. Also watch out for the dirty beatdown 'Voglia E Mare', which lays the synths on even thicker.

Review: This collection of the Aussie funk and soul band The Bamboos' favourite cuts is a celebration of their 20 year anniversary. It culls cuts from 2007's Rawville and 2010's 4 and is a limited release with a full colour gatefold sleeve. Led by guitarist and main songwriter/producer Lance Ferguson, The Bamboos have been hugely prolific over the years, putting out no fewer than nine studio albums, two live albums, twenty-seven singles, and all while serving up many incendiary shows. They draw in elements of funk, pop, rock, psych, hip-hop, indie and soundtrack music into their own unique sound.

Review: Following the cinematic jazz-funk of 2021's 'Ufo Bar', Banda Maje returns with a new 7" single via Four Flies, which serves as a preview of their upcoming sophomore album Costa Sud. Composer Peppe Maiellano deepens his Mediterranean sound here while honouring his Italian and Neapolitan roots with a heartfelt cover of Peppino di Capri's 'Mo...' on Side A. On Side B, Maiellano explores Brazilian influences with '(Roda De) Samba Maje' featuring Amor Pela Roda and infused with vibrant percussion and cavaquinho. This lovely 45 rpm reflects a rich blend of South-inspired sounds while bridging Italy, Brazil, Africa and modern grooves.

Review: The BDQ duo were in the studio 25 years ago working on these tracks but never quite finished them due to life changes like marriage and kids. Recently, while revisiting old tapes, they discovered a lost tape and decided to give it another listen. They liked what they heard and after a bit of effort to transfer the tracks, they now feel the time has come for a vinyl release. Side 1 features their version of Timebox's 'Beggin'' with vocals by Sarah Orpen and Bryn Barklam laying down some killer Hammond sounds. Side 2 presents their take on the Mirettes' 'Take Me For a Little While' with more stellar vocals from Sarah.

Review: BDQ Records is the outlet for jam quintet BunnDebrettQuintet, who emerged out of 90s acid jazz titans Mother Earth. Their sound has refocused on a raw and rasping strain with a live, in-the-room electricity which comes through brilliantly on this new single with Lydia Sharpe. Taking a few cues from a Led Zeppelin classic, Sharpe strikes a fierce, sultry figure on top of the sizzling hot Hammond organ vamps and low slung rhythm section. It sounds dangerous like a niche 50s cut, but there's plenty of meat on the bones of the production, while the familiar vocal hooks will go down a storm with a busy dancefloor.

Review: super limited Japanese only issue that has been selling for L45 on discogs ! Don't sleep ! 1 per customer !

Review: Get your hips and heart around this bit of L.A. boogie by the elusive Ben White and you cannot help but feel better. It is a highly sought-after rarity that disco collectors have been fawning over since forever. It was originally reissued as a 45 by the great Athens of the North and now comes this 7" version which was sourced from Andy Noble, who has often helped the label out before. It features two sides of exceptional modern soul and boogie that blend rhythm and grove in magical ways that are never going to age. 'I See A World' has lovely and tender falsetto vocals and 'Give Me Love (Always)' is more of a party starter.

Review: Kay-Dee Records comes at us with a 45 double-hitter, presenting Bert Hector's 'The Phoenix' and 'The Kraken' with Kenny Dope on remix duties. On the first record, we're treated to 'The Phoenix', a sure-fire funk gem with a super-warm sound - beat is as cool as it gets, with a laid-back and funky attitude sitting beneath a joyous intermingling of sitar, flute, brass and guitar, all performed at expert levels. 'The Kraken', meanwhile, channels a killer groove, strutting at 85 bpm and incorporating a huge brass section which pumps loud, while flute solos and funky Wah-guitar chops take things up a notch.

Review: Loredana Berte's unmistakable voice meets the glittering finesse of French touch as Dimitri From Paris spreads her 1980 hit 'In Alto Mare' across a hot griddle of club-ready disco. The track launches a new remix series celebrating Berte's legacy through the lens of contemporary producers and DJs: Dimitri, known for his stylish refits of Jamiroquai, Chic and Dua Lipa, now leans into a comparatively classic funk groove, elevating it with a cinematic glide and streamlinear post-prod polish. Long a staple of his DJ sets and broadcasts in bootleg form, this official release feels fated. "It's melodic, disco-flavoured, cinematic, and emotionally powerful - all the things I love," he says, as it manifests as the first of seven reworks dropping over the course of May 2025.

Review: Several new 7" cuts by our good friends over at Bou Ga Louw have landed in our grasp, the Argentinian label pushing brand new South American funk and soul heaters. Big Jim Hangers' 'Jungle Fever' is a high-octane instrumental ballad clearly dedicated to the dirtiest of acts out there, sex. Moans, groans, organs and drums complete the recipe, and this is an attitude mirrored on the B-side with The Moon People's 'Hippy Skippy Moon Strut'. This is a riotous mix of Afrobeat, funk, and jazz, and a mise-en-scene for free love.

Review: When it comes to mash-ups and unofficial reworks, sometimes the simplest ideas are the ones that make for the most effective versions. That's certainly the case here, as Soul Mates main man Amerigo Gazaway crafts four slabs of funk/hip-hop fusion fusing funky beats with hip hop accapellas plus the all essential instrumental versions...only 300 copies. Don't sleep !

Review: DJ Fryer's Athens of the North imprint has provided soul and disco DJs with some killer 7" reissues since launching earlier this year. Here, he uncovers another obscure but oh-so-good gem. There's little information available about Bileo, aside from the fact that they released just two singles between 1979 and '83. "You Can Win" was there debut. It's a deliciously loose and celebratory chunk of disco-soul featuring spellbinding horns and a cheery, wholeheartedly positive vocal. It's the sort of disco-soul gem that makes us want to hug complete strangers before running into the sea fully clothed. The more low-slung disco-funk flipside, "Let's Go", is almost as good. Recommended.

Review: The latest missive on Agogo Records' nu-jazz-focused offshoot, Oonops Drops, is a debut from Hanover-based jazz collective Bird Moves. There's much to admire across the two tracks, which combine memorable grooves with some stellar musicianship and a wealth of addictive melodic hooks. The pick for club plays is A-side 'Kakra Kakra', a subtly Afro-influenced nu-jazz workout rich in rubbery bass, loose-limbed drums, hazy horns and energy-packed electric piano solos. They simmer things down on the B-side, where 'Eastbound' joins the dots between the languid, sun-down jazz-funk of Roy Ayers' most laidback moments and the head-nodding shuffle of instrumental hip-hop.

Review: California based duo The Blemish is made up of is Sheikhbeats and Bo Haan and they have fans in high places from NPR radio to Timbaland. In 2021 they served up their superb album Roboganic but ow comes a first ever physical release from the pair. It features two of the standout cuts form the album and is pressed dup on lovely crushed orange wax. 'California' is a low slung disco groover with hip swing grooves and neat bass work under the timeless vocals, and on the flip 'Serial Jane' gets more busy with funky claps and muted guitar notes under catchy pop vocals.

Review: Jimmy Bo Horne brings his raw and expressive vocals to this new release on Japanese label Ultra Vybe. The oft-sampled America singer, writer and producer has been turning out such sounds since the mid 70s but remains on top of his game here. The big horns bring energy, the rolling rhythm section gets you up on your feet and the whole thing screams floor filler. On the flip is Lynn Williams with 'How Can You Call Love Fascination,' a much more slow and sensual soul tune with acrobatic vocals and nice piano fills next to a big horn section.

Review: Blimey....not one single, not two but three 45's housed as a triple pack of essential re-issued releases from New Orleans label Seven B via the mighty Jazzman label. This package picks out possibly the rarest and best tracks from the label which traverses the genres of breakbeat funk, Northern Soul and original Rhythm n Blues flavour. One highlight for us here at Juno towers is the infectious "Something Out Of Nothing" from Lenny McDaniel & The New Era which starts off with a stompy organ and fierce brass section before a thumping bass and fat beat drums take over the proceedings. Elsewhere there's the amazing Roger & The Gypsies jam "Pass The Hatchett" which starts off with a growling bass, picked rhythm guitar before Roger drops those immortal lines.''Let Me Chop It.. Let Me Chop It'' over b-boy drums. Pure gold!

Review: Tribal, physical, psychedelic: Joe Claussell's Bolla project is one of his finest creative accomplishments for many fans, and his album Afrikan Basement: Makussa is the gift that keeps on giving. Having previously leaked limited 12"s, Joe's label Sacred Rhythm does it again with another super-limited, one-sided press. Hooky, insistent and far-out for the full 10 minutes, this is shaman material right here. Do not sleep.

Review: Contemporary Hammond B3 maestro Booker Gee (real name Guillaume Metenier) has delivered some seriously good slabs over the last couple of years, and this wholehearted tribute to the JB's could well be the best of the lot. 'Popcorn' is a sparse but seriously heavy deep funk cut, with Metenier's inspired Hammond licks and solos riding a sweaty, break-fuelled groove courtesy of acclaimed modern funk multi-instrumentalist Slikk Tim. Over on the flip, the French musician and producer gives his interpretation of Sound Dimension's 'Granny Snatch', delivering a cosmic funk take full of weighty bass, flanged guitars, jazzy solos and deliciously dubbed-out sounds. It's not quite as instantly accessible as 'Popcorn', but it is certainly equally as potent.

Review: On his previous releases as Booker Gee, Guillaume Metenier has employed his immaculate organ-playing skills over a range of killer funk and soul grooves. Here he flips the script, delivering atmospheric, fluid Hammond solos over some dub-wise reggae grooves played and produced by Spanish multi-instrumentalist Lone Ark (real name Roberto Sanchez). Both Metenier and Sanchez are in fine form on opener 'Auxmites', a bass-heavy head-nodder that sounds like Lee 'Scratch' Perry producing Jimmy Smith. 'Faith' is a little sunnier and warmer, with Metenier's solos working in perfect unison with Sanchez's glistening guitars, jangling pianos and skanking rhythm. Both cuts come accompanied by pleasingly spaced-out Dub revisions courtesy of Sanchez. Top stuff!

Review: 1977 single 'Total Satisfaction', a "45" released on obscure label Sound Plus, is one of the rarest and most sought after records in Brief Encounter's catalogue. Here it gets a fresh pressing on Japanse imprint Ultra Vybe. It's well worth a listen. The title track is particularly delicious: a loved-up chunk of downtempo, disco-era soul in which the group's sublime vocals rise above hazy horns, twinkling electric piano, lush orchestration and a languid, laidback groove. Flipside 'Human' is a little more up-tempo, but still largely laidback, warm and groovy, with weightier bottom end and a few more nods towards disco-soul.

Review: It would be fair to say that North Wilkesboro-based band Brief Encounter never quite hit the commercial heights of some of their peers with the soul, funk and disco scenes. Nevertheless, their various albums and singles remain sought-after items amongst collectors. This tasty seven-inch single gives new life to "Human", a track that originally appeared as a B-side to 1977 single "Total Satisfaction". The A-side revision comes from Japanese DJ/producer Ryuhei The Man, who gives the cut a nip and tuck while boosting the sound to make it a little warmer and heavier. His take is definitely more dancefloor-friendly than the admittedly gorgeous original version, which drifts along sweetly on the flip.

Review: MD Recordings mark their first outing of 2023 in fine style with this raw Philly funk classic from Alfreda Brockington. She is a well known and loved artist who has a wide ranging style that gets from sweet soul and gospel through to northern soul gems and sister funk slammers. The a-side here is real crossover goodness that was written by Howard Ravitsky who was closely associated with Lash Records. The backside gem is sweet and smooth soul with the textbook yearning of Alfreda's anguished vocal backed by great backing singers and lush soul chords over smooth and funky bass.

Review: Dynamite Cuts latest double seven-inch presentation takes us back to 1973, and James Brown's often-overlooked soundtrack to Blaxploitation crime movie "Black Ceasar", a set previously described by one critic as "a full-frontal funk attack". What we get is four of the soundtrack's strongest cuts: electric piano solo-laden funk shuffler "Blind Man Can See", one of Brown's most celebrated and best-loved songs, "The Boss" (sample lyric: "look at me, what do you see? A bad mother!"), the softly sweet, strings-and-solo laden breeziness of "White Lightning", and the crunchy heavy funk strut of "Make It Good To Yourself". As the old saying goes: all killer, no filler.

Review: Dimitri From Paris returns with a fresh installment of his celebrated DFP Vaults series, highlighting deep cuts that reinforce his status as a top-tier remixer, DJ, and a true connoisseur of dance music's hidden gems. This release holds particular significance for Dimitri, as it pays homage to the legendary James Brown, a figure whose influence in music is beyond measure. The release features Dimitri's 'Special Version' of 'Funky Men,' a track from James Brown's Soul Syndrome. Originally overlooked by Dimitri in 1981, it now shines with a unique disco beat that he's reimagined using both vintage and modern editing techniques. The track has already proven its power on the dance floor. On the flip side, Dimitri revisits 'Just Wanna Make You Dance' by The J.B.'s, featuring Maxxi. This rare disco track, with its Caribbean flair, gets Dimitri's expert touch, enhancing its dancefloor appeal. DFP Vaults, the sister label to Le-Edits Records, presents this release with meticulous attention to detail, featuring state-of-the-art mastering and vintage-inspired packaging.

Review: Expansion's offshoot label is back with a second release and for the occasion have put together a special eco vinyl 10" here that is strictly limited to just 100 copies and is fully deserving of that treatment: Tom Browne Feat. Carol Woods combined to great effect in the 80s on this soul classic that now gets a first-ever single release. It's the sort of immediately heartwarming tune that draws from soul, jazz funk, disco and more to cook up a steamy and excellent groove. On the flip is Diplomats Of Soul with their own super cover of 'Brighter Tomorrow' featuring Brit funk and acid jazz greats Incognito & Imaani.

Review: Jeff Lane formed his American funk and disco group in 1972 and has plenty of huge hits to his name. The two presented on this special new 7" are not amongst them, but are standout tracks for lovers of funk, soul and disco fusions. 'Have Some Fun' has the big strings and dazzling chords that soar to the cosmos, with buttery vocals leading the charge. On the reverse is the much quicker and more direct 'Energy To Burn' with its dense rhythm section, charging drum grooves and noodling bass riffs stitched deep into the hurried funk.

Review: Bull & the Matadors, hailing from East St. Louis, brought their soulful energy to the Toddlin' Town label in 1968, joining forces with the iconic Leaner family. Inspired by Rowan & Martin's Laugh-In and its courtroom sketch craze, they released the groovy r&b hit 'The Funky Judge,' crafted by Andre Williams and Leo Hutton. Now, their unreleased sequel 'Where Did The Judge Go' finally sees the light, rescued from obscurity for eager fans on provided on the flipside.

Review: Burton Inc is perhaps not one of the better-known soul bands of the late 1970s. Formed by married couple Charles and Barbara Burton and featuring their son Tire amongst the backing musicians, the band recorded and released one album, 1976's L.A Will Make You Pay $$$, on their own private press imprint. It's from that set that these two tracks are taken. A-side 'Nation Song' is a glossy, slow-motion call for global unity featuring the twin attractions of incredible horn arrangements and spacey synthesizers (not to mention a fine lead vocal from Barbara), while flipside 'Groovin At The Night Club' is a slightly more up-tempo affair rich in jazzy guitar flourishes, fluid bass guitar and more incredible horn sounds.

Review: The Record Store Day releases are coming thick and fast right now, and this is another doozy that arrives in limited quantities. British artist Mark 'China' Burton left an indelible mark with his one and only ever release, which is this soulful disco masterpiece. Produced by Adam Sieff and unveiled on the Logo label in 1979, this string-laden gem remains highly coveted, with original 12" copies fetching over L400. The arrangement, crafted by the UK's John Altman, who later collaborated with icons like Diana Ross and Tina Turner, adds to its allure. Altman, known for his work on the iconic 'Walking In The Air' with Aled Jones, lends his expertise to this limited edition release.

Review: Crystal Waters' 'Gypsy Woman' is an enduring object of awe and reinterpretation for house producers and editors. We'd even venture to say that, within the realm of house music, re-editing the track has become an ultra-banal task - yet another feature of what one can expect when first losing oneself in the dance music culture industry. Yet Buscrates - a young favourite on the international lo-fi, funk, beatmaking and synth scene - has breathed new life into the track here, eschewing house for his go-to blend of wonk and electro. Reminiscent of Kaytranada's slower-tempo, lower-slung experiments, Buscrates arms his arsenal of synths to once again demo the art of reinterpretation, this time coming from an ultra-slick, neon-lit and textured rendition of the classic song. A treat lines the B-side, to equally exciting effect: a just-as-cool version of S.O.S. Band's 'Even When You Sleep'.

Review: Rock A Shaka out of Japan always cook up the good and for this new 45rpm they bring low slung funk, disco and boogie to a dubbed out reggae vibe thanks to a superb a-side from Ronnie Butler. 'Funky Rasta' has tinny analogue drums and crisp 80s production style with a great female vocal. Willie Lindo on the backside then offers up the more laid-back and horizontal dub sounds of 'Midnight' complete with natty acoustic chords and island-life atmospheres. Pure sunshine music for good times only, as always with this label.

Review: If you're into little-known South American gems from the dim and distant past, Mexico City's Discodelic label has got you covered. This limited-edition "45" marks the second instalment of their ongoing "Nicaraguan Afro-Latin" series and offers-up two deep cuts from the catalogue of tropical Afro-rock kings Bwama. Both tracks were originally featured on the band's second self-titled album in 1972. Our pick of the pair is A-side 'Ritmo Martizon', a richly percussive fusion of Guajira rhythms, salsa style pianos, gravelly funk-rock guitars and life-affirming vocals. That said, flipside 'Pa Goza' - a funky, shoulder-swinging affair featuring duelling organ and guitar lines atop a locked-in Latin beat - is also superb. In a word: essential!

Review:  Connie Price & The Keystones of labels like Stones Throw and Ubiquity, and Bootie Brown of The Pharcyde make for a real dream team. They link up here to bring their unique West Coast sounds and styles to a funky ode to New Orleans. Making up the team who laid this one down are some real stars such as Dan Ubick on guitar, Mario Calire on drums and Richard Donovan on organ amongst others. They cook up a real break heavy funk tune that is alive with big horns and bustling rhythms., It is impossible to sit still with this one playing and on the flip is a DJ friendly edit from Professor Shorthair, who extends the intro and outro with hard-hitting drum breaks.

Review: Serious jazz dance fusion from 1974, Norman Connors' cover of Carlos Garnett's "Mother Of The Future" drives with shamanistic fury before the firing keys, heaving horns and deep soul vocals fly into the mix. For a more contemporary jazz take, flip for Bembe Segue's emphatic live version. Lavished with her distinctively rich vocals and stern spoken word and complete with wild bass runs and a thick bed of percussion, it's an instant show-stopper. Two incredible covers, one special 10".

Review: These artists got together back in 1969 to record Let The Sunshine In, a landmark album that blended jazz, rock and soul into a vibrant sound that captured the spirit of its era with its experimental soundscapes and electrifying performances. These two tunes are taken from the album and come on 7" for useful DJ deployment. Driscoll's emotive, soulful vocals pair beautifully with Auger's masterful Hammond organ and the Trinity's dynamic instrumentation. The title track in particular is a real anthem of its day and is sure to make just a s much of a mark all these years on.

Review: Heavy Jazz Records has licensed this very welcome reissue of one of the most iconic Hammond Mod dancefloor bangers of all time. This limited edition new 45 rpm features Julie Driscoll, Brian Auger & The Trinity's 'Indian Rope Man' on one side, a track packed with driving chord work, vibrant guitar licks, and passionate, intense vocals. On the flip side, Mod enthusiasts will find another gem in the form of 'Black Cat.' This track races forward with raw brass, hard-edged vocals, scintillating drums and epic chord progressions. A true pair of heavy-hitting tracks from the vault, sure to thrill collectors and dancers enthusiasts alike.

Review: Heavy Jazz Records have fully licensed this brilliant reissue of one of the biggest Hammond Mod dancefloor-fillers of all time. It comes in the form of a hugely limited edition 7" with Julie Driscoll, Brian Auger & The Trinity's 'Indian Rope Man' on one side. It's a real bomb, its driving chord work and fizzing guitar licks all topped with raw, passionate vocals that add great intensity. On the flip is another standout gem for Mod lovers with 'Black Cat' racing along under more hard edged vocals and raw brass, scintillating drums and epic chord work. A real pair of heavy hitters from the vaults here.

Review: BDQ's next limited 7" is a superb three-way collab between Julie Driscoll, Brian Auger & The Trinity. Their long-lost version of classic dancer 'Jeannine' is powered by wandering basslines and swinging Hammond Organ chords that bring warmth to the free-flowing jazz vocals up top. It has never before been on 45rpm and has been all but unknown for the last 50 years but was recently rediscovered while the label head was looking for something else for the recent 'Auger Incorporated' compilation on Soul Bank Music. On the flip is a mod jazz dancer who is just as hip and ready to make an impact.

Review: A 70s funky Northern soul masterpiece by New York-born soul singer Judy Freeman is reissued for the first time on 7", in conjuction with Ted Taylor, who was chronically unappreciated throughout his career. The latter's 'Somebody's Always Trying' is a magnificent uptempo dancefloor-filler with a pounding rhythm, powerful drums, rocking horns and a great frantic, exasperated vocal. The obverse 'Hold On', meanwhile, prefers to rollick in devilish guitar and brass cadences, with Freeman herself urging us to keep on trucking, not least since a new day is dawning.

Review: Italian duo HUMA makes a compelling return to Angis Music with an exclusive single-sided 10" release, showcasing their latest track, 'Gentle Frames.' This vibrant anthem is crafted for the dancefloor, blending elements of jazz, funk, and broken beat with a touch of retro-futuristic flair. Collaborating with Brothermartino, a seasoned name in the Italian underground scene, HUMA has infused the track with an added layer of sophistication. Brothermartino's flute adds a magical, textured dimension, enhancing the track's already rich atmosphere. The result is a dynamic mix that stands out for its innovative approach and captivating sound. With its limited release, this single promises to be a prized addition for collectors and fans alike. Don't miss out on this unique offering from HUMA, as it captures the essence of their creative evolution and delivers a standout performance.

Review: A brand new funk and soul compilation throwing back to four cross-sixties exquisites, Soul 4 Real have really outdone themselves this time about. We lead with the pithy prancing-about that it Gladys Knight & The Pips' lost-love magic carpet ride in song, 'Show Me The Way', which flaunts the singer's tumescent voice in a flurry of longing to acquire her crush's ticker. Then Martha Reeves' apparently, formerly unreleased 'This Is The Love' showcases the Alabaman's vaso-dilated voice against an equally degage but still hooking soul jovial. The B travels further back in time to The Temptations' 'Since I Don't Have You', an unreleased stock with an especial Christmas charm from the Motown towerers; and finally, Blinky and Edwin Starr consummate a duetting soul love, through harmonics and end-phrase ghost notes, on the closing 'Never Gonna Give You Up'.

Review: DJ Bacon serves up a sizzling platter of disco rap edits with this party rocking 7". Side-1 features Kool & The Boys' infectious 'Hey Ladies Night,' injecting disco funk into the mix for maximum groove. On Side-2, Beastie Bar Kays' 'Shake Your Rump (To The Funk)' blends Beastie Boys' classic with heavy disco heat, elevating the BPM and funk to ignite the dance floor. Inspired by the Beastie Boys' Love American Style EP, these tracks fuse rap and disco seamlessly, delivering mash-up style party vibes that are sure to get bodies moving. With boosted BPM and funky flair, DJ Bacon's edits are perfect for any party playlist, guaranteeing an electrifying atmosphere and non-stop dancefloor action.

Review: French funk lovers Acts of Sedition roll out another tasty double 7" here that features some massive joints from around the world. First up is the Latin heat of Rare Cuts's 'Amigo Bracno' with its big, bright leads, string lushness and percolating, percussive groove goodness all finished with a great Portuguese vocal. Monsieur Van Pratt Le Groove's 'El Rap Clap O' (Regroove) hits a little harder but with similar funk playfulness and some great chord work and Bully Boy then offers the raw and strident funk of 'Fear'n'Loathing In Funk Vegas.' Ben Jamin slows it right down with the sun-kissed late night bliss of 'Old Time Feeling.'

Review: Fools Gold serve up a mega limited 7" here that is pure dynamite for the club. It's a single from Small-town DJs featuring some big vocal work from the legendary Bootsy Collins. The bass is impossibly elastic and rubbery, bouncing about the mix with goey goodness. Add in slapping hits and big broken beat drums, withering sci-fi effects and some party-amping raps and you have a real crowd pleaser. The Adam Doubleyou & Nick Bike remix smooth things out and is a little bit more of a low slung funk sound.

Review: P-VINE present a limited box set from their popular "Groove Diggers'' reissue series. All tracks selected by DJ Muro, one of Japan's best known DJs/producers/diggers and pressed on 7" for the first time, featuring classics from Erik Tagg, Prince Billy Mahdi Wright, Billy Wooten, Spice, & 1619 Bad Ass Band.

Review: Baby Charles was a short-lived project from Brighton which gifted us one stellar LP back in 2008. The band centres around lead vocalist Dionne Charles, whose fierce presence gave the music so much of its power. On the 15th anniversary of its original release, the self-titled album gets a fresh airing via Record Kicks so a wider audience can appreciate the funky genius which poured into this project. With a line-up including Toby Sendall, Georgina Carroll and Siri Beare, and the odd choice crowd-pleaser like their cover of Arctic Monkeys' 'I Bet You Look Good On The Dancefloor', there's a lot to love about this outstanding record.

Review: James "Baby Huey" Ramey's sole album remains a striking reflection of his talent and untimely passing. The Chicago-born soul singer, best known for his work with Baby Huey & the Babysitters, was in the midst of recording his debut when he tragically died from a heart attack in 1970 at just 26. The resulting albumiunfinished at the time of his deathiwas later completed by producer Curtis Mayfield and released posthumously in 1971. A blend of psychedelic soul, funk and rock, the album's standout moments include a sprawling, otherworldly take on Sam Cooke's 'A Change Is Gonna Come' and the deeply emotive 'Hard Times', which later found its way into the lexicon of hip-hop, sampled by the likes of A Tribe Called Quest, Ghostface Killah, and Ice Cube. The work's raw energy and emotive performances give it a timeless quality, a feeling of tragic grandeur heightened by Ramey's powerful vocal presence. Tracks like 'Mama Get Yourself Together' and 'One Dragon Two Dragon' are emblematic of the freewheeling creativity of 70s soul, blending jazz-inflected structures with funk grooves that seem to stretch toward an unknown, future-facing horizon. Despite its unfinished nature, it is an album that never feels incomplete, embodying a voice and vision that remains eternal in its influence. From his time performing around Chicago to his collaboration with Mayfield, Baby Huey's legacy continues to reverberate across generations.