Back catalogue: Funk

Review: GrandMagnetto, masters of skanking pop reggae covers,
return with 'Everybody's Talkin' by Harry Nilsson, off of
the Midnight Cowboy soundtrack. Blundetto transformed
the track into a killer deep dubby hit. Both tracks are storming.

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: Afro 45's / Mr Bongo show no signs of stopping their tireless run of form and, 7" after 7", they just keep on producing the goods. There's yet more '70s goodness with this new little scorcher: the A-side is 1973's "Tessassategn Eko" by Bahta Gebre Hiwot, a pensive Ethiopian pop hit for all sorts of music fans to enjoy, but "Ayalqem Tedqem" by Alemayehu Eshete on the B-side is where it's at... just listen to that bass and you'll instantly recognize this wonderful little cover.

Review: Still scorching from the heat of their debut album 55, Hamburg's mysterious steel pan handlers return with a dope little 45 that features one of the excellent covers from their album plus an exclusive that we guarantee will drive your next floor crazy... Dennis Coffey's "Scorpio" takes the lead with its instantly distinctive break and pace. Flip for Sugarhill's "8th Wonder" that's riddled with confidently swung drums, smoky trumpets and a groove so funky you might just have to drop it twice. Give the drummer some.

Review: Prior to this year, funk connoisseurs and collectors have known only one record from the 70s Bay Area funk troupe Brass Horizon. That was "We Just Want To Play" and it's been known to go over $1500 in the past. 39 years after its release Super Disco Edits have incredibly unearthed an unreleased gem! So large it takes over both sides, "Horizon's Theme" is a groove heavy instrumental jammed with that classic laid back Berkley vibe where all players get a chance to shine. Part one is all about the organs while part two lets the horns tear the groove a new one. What a find.

Review: With Cordial Recordings, LoveVinyl's Roual Galloway is doing a terrific job in making rare, sought-after tracks available to a wider audience. In truth, you'll struggle to find a more rare and expensive gospel killer than The Tolbert Family Singers' "Ride The Gospel Train", a drum machine driven chunk of gospel-boogie with crunchy funk guitars that's been changing hands for hundreds of pounds online. Andrew Weatherall is a fan and it's easy to see why. Flipside "Give it Glory", a solo cut by Tolbert Family patriarch Brother OC Tolbert, is a sweeter and breezier slab of gospel-soul that has never before been released on vinyl. Two killer cuts for the price of one: nice one, Roual!

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: Another jewel for all the deep diggers out there produced by Calvin Arnold aka Billy Byrd - soul and funk singer, guitarist, songwriter and producer from Georgia, USA. "Lost In The Crowd" is a solid funk workout, featuring an intense rhythm and a powerful vocal. On the flip, there is a more chilled-out soul jam titled "Silly Kind Of Love" for the connoisseurs out there. Reissued due to public demand here on a nice great-sounding 45" by Vienna's always reliable Record Shack.

Review: Marking 40 years since the release of Edwin Birdsong's self-titled and fourth studio album, this Philly reissue couldn't have landed at a more poignant time as the LA funkateer sadly passed away on week of release. "Cola Bottle Baby" is known to absolutely everyone thanks to Daft Punk and that refreshing fizzy groove sounds even better, freer, looser, cooler in its natural state. The lesser spotted "Freaky Deaky Sities" kicks like a loose limbed mule, too. Perhaps a riposte to Roy Ayers "Freaky Deaky" hit the year before, or just another fine trope LA's funk continuum, once again it's the cult fusioneer at his most vibrant. Rest in peace.

Review: German-Ghanaian group the Polyversal Souls have previously collaborated with a number of bands and solo artists from West Africa, so this hook-up with Northern Ghanaian outfit the Bolga All Stars - a collective made up of leading local kologo and frafra-gospel singers and musicians - should not come as much of a surprise. Separated into two parts for the seven-inch release, the track blends the Polyversal Souls' lolloping, late '60s style Afro-funk grooves - complete with fuzzy, period style production - and sharp horn section with glistening guitars, snaking solos and fine vocals from the Bolga All Stars. It's one of the Polyversal Souls' finest releases yet, and that's saying something.

Review: American funk band Breakwater is best known for their hit "Release The Beast," which gets a reissue treatment by Be With. Even if you don't know the name, you'll recognise the track's withering lead riff because it was sampled by Daft Punk for their iconic "Robot Rock". It's mad to think such a futuristic sound was created somewhere in Philly in 1979, but it was. The flip side houses the smooth and buttery "Let Love In", a feel good, deep cut funk gem with vocal harmonies, bulbous bass and hip swinging claps.

Review: Kaleta's first full-length collaboration with the Super Yamba Band, 2019's "Medaho", was something of a slept-on treat: a fiendishly psychedelic Afrobeat affair that was every bit as heavy, colourful and vibrant as you'd expect. Here, one of the album's standout tunes gets the remix treatment courtesy of long-serving, party-starting musical fusionist Bosq. The Ubiquity and Soul Clap stalwart delivers vocal and instrumental passes of "Jibiti", both of which make great use of Kaleta's vocals and Super Yamba Band's fuzzy, Fela Kuti-style horn lines. Bosq's groove is closer in feel to Afro-disco than the original album version, though the bassline, organ stabs and vocals are pure Afrobeat gold.