Back catalogue: Funk

Review: The fourth edition in Original Gravity's Down In The Basement series, which gathers instrumental soul and swing cuts onto worthy 7" slabs, resounding the fervent 1960s decadal gap in which mod reigned supreme. With juleps flowing and kneecaps knocking, Abramo & Nestor bring newfangled electric pianistic swing with 'Dig It!', while a twinned "hit it!" injunction is heard from Floyd James & The GTs on the reissued 'Work That Thang'; James' voice is tubed and speed-delayed to terrific effect, achieving a sprung intonation. Curtis Baker brassifies the bonanza with the lively 'Fried Fish 'n' Collard Greens', while The Native Yinzer's exiting excitation 'The Hip Strip' quilts our ears with a mnemic, down-feathery Hammond-breaks bit.

Review: This 7" reissue of 'I'm So Proud' by Aswad and The Natural Band's 'There Was A Time' delivers a funk-filled gem originally released in 1972. Aswad's 'I'm So Proud' leads with a soulful blend of funk and soul, anchored by a strong vocal performance and tight rhythm section. On the flip, The Natural Band's 'There Was A Time' is a dynamic instrumental jam that showcases tight grooves and infectious rhythms, making it an essential track for any funk enthusiast. Previously fetching high prices on the second-hand market, this reissue is a great opportunity to experience these classic tracks without breaking the bank.

Review: The third volume of this series delivers an irresistible blend of funk and 60s-inspired grooves. Side-1 kicks off with a surf-rock-infused funk jam packed with energy and retro vibes. Following that, a swinging 60s sound that combining catchy rhythms and pop sensibilities keeps the momentum going. Side-2 shifts gears a groove-heavy track led by a soulful organ that oozes vintage charm. Closing the collection, there is a gem that features smooth, funk-driven melodies, topped off by a standout sax solo and a subtle British flair. This compilation offers a vibrant mix of styles, perfect for fans of classic funk with a modern twist.

Review: 'Beat Me Till I'm Blue' is a wonderfully funky classic by The Mohawks presented under the M Hawk alias, the Hawk in question being none other than KPM Music Library overlord Alan Hawkshaw, who wrote the themes from everything from Grange Hill to Countdown. It was a real cornerstone of the late-1960s library and soul-infused grooves of the sort that diggers still fawn over today, and sample fiends still search out. The track delivers Hawkshaw's distinctively driving Hammond organ riffs, tight drum breaks and irresistible rhythms, all of which have made it a favourite among DJs for decades. Two versions are served up here, one with the iconic horns and one with them stripped away, and both offer plenty of energy. .

Review: Soul Junction revisits the Scot-Tees Capri master tapes here to unveil two previously unreleased tracks. First is 'My Sweet Polly' by The Scott Brothers, a late 60s dance tune inspired by Howard Scott's former girlfriend. Coupled with this is a studio version of Judson Moore's "Everybody Push & Pull," a crossover hit influenced by Rufus Thomas. The Scott Brothers evolved from the 'Elpeccios' in 1958 to the Scott Brothers Band in 1963 and were instrumental in Chicago's music scene. Their label, Capri Records, produced hits like 'We Like Girls' and worked with legends like Garland Green. Judson Moore was a veteran singer who thrived under their mentorship and went on to leave a lasting legacy.

Review: The Tito Lopez Combo brings together some of London's finest musicians and here is led by the renowned drummer Harbans Srih, who gained fame for his performance on the iconic Starsky & Hutch theme with the James Taylor Quartet. On this one, 'Bostin ' Norton' gets going with some steamy and seductive sax notes which rise out of a bubbly funk brew. 'Play It Again Sam' los it don t more pensive and prying melodies which unfurl at their own pace of icy cymbals and deep drums.

Review: Sometimes the act of love comes accompanied by a feeling of revelry in simplicity; in love, you've skived the potentially overcooked acrobatics of a life led insatiably, playing truant to the ever-increasing and limitless demands of business affairs or public personage. Tearra's 'Just Loving You' is an A-sider single whose sentiment expresses this idea as simply as the product of a real loving relationship can, with the Alabaman singer expressing, in frank terms, the internal limit and thus soul-sating dimension of love: "all my dreams have come true... all I want is lovin' you." Soul Junction's reissue does a timely justice to the original Midtown release format, though the two tunes here have actually never been paired together before.

Review: Jazz Peace has been digging in the archives to put together this new and limited 12", 'Happy Tears'. The original 1975 studio sessions captured the essence of Stockholm, Sweden, with tracks from the unreleased album Wildlife. Recorded during a pivotal moment in the mid-70s, this 45 offers up raw, unfiltered material that offers a glimpse into the creative process of the era. The music blends rich instrumentation with experimental flair that delivers a unique sound that's both nostalgic and timeless.

Review: Dan Tyler and Nick The Record's third installment in the Mr Bongo Edits series brings a bold twist to Cuban classics with three tracks that are equal parts cosmic and dancefloor-ready. On the A-side, Tyler extends two Juan Pablo Torres tracks from his reissued 1978 'Algo Nuevo' and 1977's 'Super Son.' First, Tyler reimagines 'Cacao,' a standout track from Torres' LP, giving it room to breathe and intensifying the percussive climax with swirling synths and spacey dub effects. It's a track that thrives on a big system, building tension as it goes, and works wonders in the right environmentijust ask anyone who caught it at La Paloma in Barcelona. Next, Tyler dials into 'Pastel En Descarga,' turning the Latin-funk fusion into a punchy, trippy dub with delay and drama, keeping the track's energy while taking it further into spacey, cosmic territory. On the flip, Nick The Record tackles Grupo Los Yoyi's 1977 'Paco La Calle,' taking a 2009 edit and expanding it into a longer, more hypnotic piece. The percussion pushes and pulls as the psychedelic synths swirl, creating a dynamic and ever-building groove. The 2025 version is elevated with new synth lines courtesy of Tyler, deepening the track's psychedelic richness. A cosmic whirlwind of reworks that bridges the gap between '70s Cuban innovation and modern dancefloor sensibilities.

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.