Back catalogue: Funk

Review: Ebony Evans is a superb soul talent who for this single worked with Manny Campbell who wrote and arranged. Originally recorded in 2004, 'Loving You Is All I Wanna Do' appeared on the Luv's Fire CD Maxi Single and later on a full album in 2006 through Coastal Records but now debut on vinyl thanks to Soul Direction. On the flip side, Lewzarius' 'Step Up" shines as a rich collaboration between Campbell and Haran Griffin, who is best known for 'Movin' Much Too Fast.' Atlanta-born Lewzarius recorded this track during his time at Coastal Records in the late 90s.

Review: The reissue of Earth, Wind & Fire's Greatest Hits album brings so many timeless classics back to the fore while celebrating the iconic band's soulful blend of funk, r&b and disco which so defined an era. This collection captures their iconic tracks like 'September,' 'Boogie Wonderland' and 'Shining Star' and shows the vibrant brass, infectious rhythms and harmonies that made them such legends. Remastered for enhanced audio quality, the reissue invites listeners to experience these chart-toppers with fresh clarity s is a must-have to experience the energy and spirit of one of music's most influential bands.

Review: How much soul and funk does East of Underground deliver? A lot, that's how much. This raw and righteous gem from 1971 was originally issued by the US Army and handed out to troops during the Vietnam War, which means that original copies are insanely rare and pricey. Thankfully, this reissue brings it back to the people, minus the less memorable Soap LP. What remains is pure fire: gritty covers of Curtis Mayfield, Funkadelic, James Brown and more, all of which are played with heart and urgency by a group of enlisted musicians. Bonus fact: their take on The Fuzz's 'I Love You for All Seasons' became the backbone of US trap star 21 Savage's 'A Lot.'

Review: Glenn Echo & Daniel Meinecke won plenty of acclaim with their last outing What Happened To Yesterday?! and now they quickly back it up with a third outing on MotorCity Wine Recordings What Happened To Yesterday? Vol 2 is another blend of heady, dubby sounds with cosmic dance vibes that span serval sub-genres with ease. 'World In My Head' kicks off with lo-fi and low-key depths, and further downtempo tracks like 'Explanation of The Funk' with Dre King's trumpet and DJ Stylus's cuts, and 'Three-Season Crank' with Raja Kassis's guitar further sink you into blissed-out beats. The flip side has dancefloor-friendly jam 'Off The Rails,' then moves into dubby, meditative territory and ends with the gorgeous 'Black Bird Dub' which allows Echo's eclectic production and Meinecke's keyboard mastery to shine.

Review: This work by Alf Emil Eik is a serene and soothing soundtrack for moments of relaxation, meditation or peaceful ambience. Eik's ethereal melodies transport listeners to a realm of inner peace and timeless beauty. Each track blends intricate layers of sound and evokes serenity and wonder while the harmonies resonate deeply within your soul. Uplifting yet introspective, the music invites reflection on the beauty of life and the mysteries of existence. A fusion of classical, ambient and new age influences abound here and prove Eik to be a master composer.

Review: In the last few years, Livy Ekemezie's sole album - a private-press Nigerian Afro-funk and Afro-disco gem from 1983 - has become a genuinely in-demand item within the record collecting community. It has been reissued once before - back in 2017 - but even that pressing has become highly sought after. This edition, then, is well worth picking up. Putting a distinctive Nigerian swing on disco-funk, it boasts a string of insatiable, floor-friendly highlights - not least opener 'Get It Down' (where William Onyeabor style Moog synth sounds hit the ear), the down-low heaviness of 'Holiday Action', Afro-disco anthem 'Friday Night' (which has been re-edited on several occasions in the past) and the decidedly heavy 'Night Party'.

Review: Madrid-based collective Danzon El Gato channel the city's restless creative energy into a vivid fusion of jazz, funk and roots music. Formed within Madrid's experimental scene, the group revolves around Javier Adan and Santiago Rapallo, longtime collaborators whose past projects range from jazz fusion to avant-garde film scores. This latest release sees them sculpt a kaleidoscopic sound, pulling from North African, Latin American and Mediterranean traditions while staying locked into the groove with a rhythm section indebted to 70s library music and golden-era hip-hop. Across the record, they explore an array of moods and textures. 'Ronda' pairs intricate guitar lines with a propulsive swing, while 'La lucha'ifeaturing Marina y su Melaoileans into percussive Latin jazz. 'Twangy Morocco' lives up to its name, weaving surf-rock guitar into an East-meets-West instrumental, whereas 'Chapoteo' ripples with aquatic, freeform interplay. 'Amambay' and 'Fuimos invencibles' showcase their knack for evocative storytelling through sound, shifting effortlessly between cinematic tension and unbridled release. Danzon El Gato craft music that reflects Madrid itselfidense with influences, rich in movement and ambiguousiin the best way. Their sound captures a city in flux, where past and present collide to create something unmistakably fresh.

Review: California multi-instrumentalist, Egyptian Lover's keyboard player and experimental producer Brian Ellis follows up his Quarantine Tapes with his first full-length solo album in four years. Unfortunately, we'll never have a lifetime supply of Brian's music, although that's forgivable since recorded music media also incorporates the genius invention that is playback, which means even one purchase can last for a lifetime as long as you keep your record in good nick! This one is a swirling bomb of bombast funk and dodgy-output psychedelic soul, one that is unafraid of the murkier ends of each sound. Ellis muses on the nature of truth, authenticity, dirty money and the consequence of leasing one's heart out, as on 'The Real Deal' and 'Money Drives Me Crazy'.

Review: If you don't know (well, even if you do know it is still true), Californian multi-instrumentalist Brian Ellis is Egyptian Lover's keyboard player, and is also a member of Campus Christi with Peanut Butter Wolf. He steps out alone here with a new and outlier funk album that shows off his idiosyncratic style. It is a raw and dense sound that mixes up bold funk and gritty psychedelic soul while embracing the darker edges of both styles. Along the way, Ellis explores themes of truth, authenticity and the pitfalls of wealth while reflecting on the cost of giving away one's heart. Tracks like 'The Real Deal' and 'Money Drives Me Crazy 'capture these ideas with unfiltered emotion.

Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


If you don't know (well, even if you do know it is still true), Californian multi-instrumentalist Brian Ellis is Egyptian Lover's keyboard player, and is also a member of Campus Christi with Peanut Butter Wolf. He steps out alone here with a new and outlier funk album that shows off his idiosyncratic style. It is a raw and dense sound that mixes up bold funk and gritty psychedelic soul while embracing the darker edges of both styles. Along the way, Ellis explores themes of truth, authenticity and the pitfalls of wealth while reflecting on the cost of giving away one's heart. Tracks like 'The Real Deal' and 'Money Drives Me Crazy 'capture these ideas with unfiltered emotion.

Review: Eramus Hall recorded their debut, and eventually only, album in 1980; the band was allegedly named after a building in Chicago, named "Eramus Hall", that George Clinton of Parliament saw in the street. The record evolved to become one of the most sought-after of the modern soul era, despite the flashpan profile of the band itself (as were many George Clinton P-funk offshoots). This owed in part to its clarion, crystalline production, held down by Clinton himself, and which served to spell out the nascent funk, soul and r&b sound bubbling over the broth pot's lip that was Westbound Records, Detroit. Now working from the original master tapes at the iconic 54 Sound studio in Detroit, the recordings have been restored and remastered, doing justice to a convergent, then not yet defined r&b sound.

Review: This special The 35th-anniversary reissue of Come Away with ESG celebrates the groundbreaking debut album by the Bronx sisters. It's a proper genre-defying classic that shaped hip-hop, house, and post-punk with its signature minimalist funk. ESG's stripped-down sound is built on raw drumbeats and hypnotic bass lines and defies traditional labels with a more groove-driven, horn and organ-free alternative to funk. Their influence spans decades and has inspires artists across several genres which is why Come Away remains a classic and one that proves that true rhythm lies in the spaces between the beats.

Review: To mark the 35th birthday of this album it has been reissued on vinyl in different colours, so take your pick. As any funk lovers will know, Come Away with ESG is the Bronx sisters' pioneering debut album and a genre-blurring masterpiece that is accepted to have very much helped shape hip-hop, house, and post-punk with its signature minimalist funk. ESG's raw, stripped-down approach offered a fresh alternative to traditional funk in that it was free of horns and heavy organ. Decades later, their influence remains undeniable and has inspired countless artists across multiple genres. This record is all the proof you need that the magic of rhythm isn't just in the beats-it thrives in the spaces between them.

Review: To celebrate the 35th anniversary of this iconic album, it has been reissued on vinyl in various colours including this organ neon sizzler. Come Away with ESG was the groundbreaking debut from the Bronx-based sister group and is recognised as a genre-defying classic that played a pivotal role in shaping hip-hop, house and post-punk. ESG's minimalist funk, stripped of horns and heavy organ, offered a fresh take on the genre. Decades later, their impact is undeniable, influencing artists across multiple styles. This album is a testament to the power of rhythm-not just in the beats, but in the spaces between them.

Review: Strut's reissue of Experience Unlimited's 1977 debut Free Yourself offers a fresh dive into a seminal record that paved the way for Washington D.C.'s go-go scene. Originally released in 1977, this album fuses soul, jazz, and funk-rock, showcasing the band's eclectic and pioneering style. Formed in 1973, Experience Unlimited caught the eye of Black Fire Records' Jimmy Gray after a school talent show victory. Bandleader Gregory "Sugar Bear" Elliott recalls their early days in the studio with a sense of youthful spontaneity, capturing their genuine selves. Free Yourself reflects this spirit with its vibrant and varied tracks. From the soulful reflections of 'Peace Gone Away' to the funk-driven 'Funky Consciousness' and the nascent go-go grooves of the title track, the album radiates positive energy and innovation. The reissue preserves the original artwork, including Malik Edwards' cover painting, and features remastering by The Carvery. Accompanied by a new interview with Sugar Bear and rare photos, this edition brings a crucial piece of music history back into the spotlight.

Review: The Mercury Prize-winning British jazz group returns this September with the greatly anticipated follow-up to the award-winning 'Where I'm Meant to Be'. The first jazz group ever to win the prestigious accolade, their unique blend of jazz, calypso, afrobeat and roots has carried over into the two singles 'God Gave Me Feet For Dancing' and 'Ajala'.The former features up-and-coming star Yazmin Lacey, whose sudden scouting has made her a necessary one to watch in the British soul scene. Interpolating Nina Simones's 1965 classic 'Feeling Good', the track proposes the group's manifesto of dancing not just as an activity confined to the club, but as a God-given ability - an act of spirituality and community. 'Ajala', by contrast, is a fast-paced afrobeat-cum-bebop jam named after the Yoruba slang for being unable to sit still. Lucky fans were able to hear the recording live at the 'Beyond the Bassline' exhibition at the British Library - with some of the live adlibs and crowd work being included in the single version currently on streaming. Pressed on an indie-exclusive deep red stain disc.

Review: One year on from making history as the first ever jazz band to be awarded the Mercury Prize, Ezra Collective are continuing to pump out their sensational, unique blend of jazz, roots, afrobeat and calypso. 'Dance No One's Watching' is the highly anticipated follow-up to the aforementioned award-winning 'Where I'm Meant to Be'. Set to release in September, the two singles 'God Gave Me Feet For Dancing' and 'Ajala' set the bar high. The prior is a jazzy, drum-led groove backing the buttery smooth Yazmin Lacey, a name to watch in the soul scene (famously she was scouted after being persuaded to sing on a drunken night out.) The track is a sunny interpolation of Cy Grant's 'Feeling Good' (though let's face it, Nina Simone truly made that record) with a quintessential British soul sound that brings to mind the stylings of Greentea Peng, early Jorja Smith work etc. To boil it down to 'easy listening' would feel reductive but, my God, it's easy on the ears for sure. Single number two, 'Ajala' is quite a stark contrast. Incorporating the hectic feeling of bebop classics, it's a blaring and fast-paced brass session with some great high-tempo percussive afrobeat. Taking its name from the Yoruba slang for fidgety, derived from the Nigerian journalist who one day decided to travel the world on a moped, the track does just that: it begs you to get up and move. If these two tracks are anything to go by, the world is set for a future award winner this Autumn.

Review: Dance, No One's Watching is a joyous celebration of the unifying power of dance. Written during Ezra Collective's world tour in 2023, which also saw them become the first jazz act to win the Mercury Prize, this album is full of vibrant energy, a complete sonic journey through a night out in the city, this album succeeds from the opening anticipation to the dawn's quiet conclusion. Recorded at Abbey Road Studios amidst a live communal celebration, Dance, No One's Watching resonates with love, music, and the infectious spirit of dancing. The band's dynamic compositions and rhythmic power are showcased in every track, making it a powerful addition to contemporary British music. The Deluxe 2 LP set on black vinyl, housed in a gatefold jacket with exclusive artwork and a fold-out poster, makes this limited edition the copy to have. Ezra Collective's are innovative with a unifying musical vision.