Back catalogue: Funk

Review: Anyone with even the smallest interest in disco and boogie will have heard Unlimited Touch's 1980 classic 'I Hear Music In The Streets'. It's a stone-cold killer that should be approached with caution. Louie Vega, of course, is respectful, and these versions are not remixes but rather re-makes, with the Masters at Work man being joined in the studio by all manner of guest musicians and vocalists - including original members of Unlimited Touch. The standout version is the near 11-minute A-side 'Touch Mix', an all-live post-disco version rich in classic disco bass, guitars, electric piano keys and spacey chords. The short-ish 'NYC Expansions Dub' cans the vocals and emphasises the various instrument solos, while the 'LV Classic Boogie Mix' is an almost note-for-note remake of the 1980 original.

Review: Super Spicy celebrates getting to five years old in the best way it knows how - with a new release, of course. This one comes on translucent re wax and brings together a blend of seasoned and fresh talent including Hotmood, Shalvoy, Diana Swan, Musta, Adam Nova and Uptown Funk. These tracks do a fine job of reflecting the label's dedication to innovation right from the off. Musta's 'Fresco' is a nice jumbled percussive disco funker, Hotmood's 'Ayaaa' rides on some electric synth waves and Shalvo's 'Dancin' is a smooth cruise for the midnight hours. On the flip side are three more vibrant and vivacious disco dancers for good times only.

Review: The shadowy Edit & Dub crew don't talk about their releases, so it can be difficult to ascertain whether the tracks they're showcasing are long-lost originals, or new edits of ridiculously rare records. Either way, the label's latest EP features versions of some seriously hard to find treats, starting with a fine 'extended disco instrumental' of Sanctuary's 'Disconnect', a fine disco-boogie jam from 1980. They then deliver a (we think) previously unreleased 'extended disco' mix of Willie J & Co's killer 1976 disco-funk gem 'Boogie With Your Baby'. On the B-side we're treated to two takes on the mysterious 'Familiar Time and Place' by Uknown Tapes: a 'Chicago Mix' which sounds like late 80s Windy City acid house smothered in spacey deep house chords and intergalactic electronics and the mid-80s techno-tinged 'Detroit Mix'.

Review: The UB's bring their particular brand of funk to this steamy and fiery new 7" on the Fraternity label. It finds them in edit mode and first up reworking 'Stone Fox Chase'. It has some country-style harmonica built into the raw beats and plenty of psyched-out guitar lines that bring Americana vibes to the percolating rhythms. On the flip is their edit of 'Delirium' which is a totally different proposition - smooth funk grooves with busy chords and icy hi-hats. It's one that looks to the stars and crushes there on a feelgood vibe you hope never ends.

Review: Whether or not this label is named in reference to long-life semi-skimmed milk, we do not know, but the tunes on it are certainly fatter than the 2% you get with UHT. 'Set Your House In Order' is the sort of raw, from-the-heart soul sound that will bring any floor to rapture with its gospel influenced lyrics, big horns and neat organ chords. It's a real dancer, while 'Lego Brick Road' is more of a funk-strutter with moody bass and upright kicks embellished with some warped vocals and playful licks. Two gems.

Review: Remarkably unrestrained, original funk from the UHT label and alias. 'No Love Lost' and 'FM' proffer two draggy jazz-funk heavyweights, both of which plod forth blithely with the insouciance of a blinkered teenager. Said to have been made somewhere in the North of England, these two cuts - resting somewhere between edit and well-polished sound collage - are worthy of their description: "ultra heat treated for maximum punch" (we're drunk).

Review: Infectious 70s Afrobeat vibes, courtesy of Kweku Sackey and his dynamic backing vocalists, pulsating with rhythmic depth - imagine Manu Dibango infused with Tony Allen's rhythmic flair and you're close. Richard Ormrod's crafty alto sax solo adds instrumental brilliance and with options like a shorter vocal version for quick hits and a DJ Smoove dancefloor remix for extended groove sessions, 'Feel It For Yourself' caters to diverse tastes and occasions. Whether spinning the extended Afrobeat masterpiece or the electrifying remix, DJs and listeners alike will find plenty to love in this vibrant, soulful release that demands to be felt.

Review: Jimmy 'James' Shaw and his wife Maureen were collectively known as Unity, and were backed by eight piece NYC funk band Downbeats. It is these people being this 1968 slice of smooth R&B and bubbly funk that is now reissued by Fantasy Love. It's the sort of superbly tender and heart aching slow motion soul that will sound good until forever. 'High Voltage' is a more upbeat funk cut powered by deriving rhythms and big horns. Unity & The Downbeats would continue to tour the East Coast until the end of the 70s when they disbanded and left a fine legacy of great singles.

Review: Mega-chromatic soul-jazz with a dash of weirdness from The Universal Togetherness Band. 'I Want You' and 'Call For Love' were recorded between 1979 and 1982, and were subsequently shelved until one of the duo's members began doling out cassette versions, which led to an unearthing in 2014. Subdued and laid-back drums, clack-guitar and toothy bass all poke through this release's sexy soul snark.

Review: Universe City's 1976 12" promotional release, showcasing 'Can You Get Down' and 'Serious,' achieved legendary status in the disco realm. Produced and arranged by John Davis, its limited availability and enduring demand, amplified by spins from influencers like Sean P and Dave Lee, underscore its lasting impact in the disco community. Davis, a pivotal figure in 1970s disco, significantly shaped its sonic landscape as a composer, arranger, and producer. Now, officially reintroduced after 48 years, this exclusive Record Store Day reissue is a must-have for disco aficionados that won't break the bank like an original would.

Review: Years after their 1970 sessions at Damon Studios in Kansas City, Bump & The Soul Stompers, under the direction of Jerald "Bump" Scott, adopted the name Unnatural Funk Band, a nod to the era's unconventional naming trends. Despite their efforts, "I Can Remember" failed to find a label. This led them to the famed Cavern Studios in Independence, Missouriiliterally carved out of a limestone cavern. The result is a fascinating juxtaposition of sounds: 'Living in the Past' offers a wistful, falsetto-laden journey with a laid-back narrative, evoking a nostalgic aura. In contrast, 'Strange Happenings' delivers a remarkable funk experience, revealing the band's prowess in crafting vibrant and innovative grooves. This track, a hidden gem from a virtually undocumented Kansas City soul ensemble, was uncovered with the help of Scott during the Numero Group's 2013 research for the Eccentric Soul: The Forte Label compilation. Unnatural Funk Band's release, featuring these previously unreleased tracks, represents a significant find for funk aficionados. The limited-edition 10" vinyl showcases their unique blend of nostalgic funk and innovative rhythms, a testament to the enduring impact of their music.

Review: The music of estranged Estonian producer Uku Kuut is becoming something of a personal obsession for Washington DC label Peoples Potential Unlimited and that's fine with us! First surfacing on PPU some three years ago with a dinky 7", Uku Kuut has graced the label with numerous subsequent releases of varying length with last year's Visions Of Estonia LP a stand-out. Grand Hotel represents another album length trawl through the archives of Kuut's instrumental funk, offering a ten track selection of material he recorded on his travels through the Soviet Union, Sweden and Los Angeles. Kuut's first ever recorded track dating back to 1982 is included, as is material recorded in Herbie Hancock's personal studio. Superb artwork to match some superb lo-fi funk.

Review: Amazingly, this is Chicago deep house don Glenn Underground's 15th album. Much has changed since he dropped his impeccable debut, Atmosfear, in 1996, but he still retains the capability to make beguiling house music. While there's little evidence of the chunky, occasionally booming grooves with which he made his name, 12 July 1979 is as musically warm and beautifully intricate as you'd expect. With extensive use of jazz keys and delicious guitar, there are echoes of his slick Lounge Excursions set on Guidance Recordings, while disco-flecked cuts such as "For The Love of Money" and "Going Bananas (Gorilla Disco)" have just enough dancefloor chops. Best of all, though, is "Service", a hazy exercise in horn-laden deep house soul.