Back catalogue: Funk/Reissues

Review: Originally hailing from Washington DC, Father's Children were one of the capital's most promising funk outfits in the late 70s. This new 7" reissue on South Street Soul revives two prized tracks from their Mercury Records era, produced by Wayne Henderson of The Crusaders. 'Hollywood Dreaming' is a breezy, rolling slice of mellow soul-funkithe sort of elegant groove that turns up on late-night radio, all gentle clavs and cruising vocals. Flip it and 'Shine On' turns up the energy, driven by a snapping slap bassline, crisp brass jabs and a slick group vocal arrangement. Both cuts originally appeared on their 1979 LP, but the original 45 has long been a holy grail for collectorsifetching triple digits. This reissue not only preserves the format but delivers on fidelity and style, giving DJs and heads alike a long-awaited chance to spin these Washington-grown grooves without fear of shelling out a fortune.

Review: Originally released in 1979, this is a highly sought-after gem due a reissue to bring its soulful, classic charms back into the spotlight, complete with the original B-side. The opening track, 'Hollywood Dreaming', is a smooth, catchy piece that expertly blends a funky rhythm with a rich horn section and excellent vocals. The infectious melody and creative arrangement make it a standout in the band's catalog. It's a track that embodies the essence of late '70s soul and funk while still feeling fresh and timeless. 'Shine On' delivers a late-night disco groove, heavily influenced by the genre's rise during the era. Its funky bassline and smooth rhythm provide a perfect soundtrack for dancefloors and intimate settings alike. The track oozes with soulful energy, showcasing the band's ability to seamlessly merge funk and disco influences into a cohesive sound. Father's Children, formed in Washington, D.C., originally as a doo-wop group, evolved into a funk and soul powerhouse by the late 70s. It is certainly bittersweet to hold this piece of music in your hand - and especially without having to take out a second mortgage.

Review: Australian singer Nicky Nite Time and veteran Chicago second wavew house don Felix Da Housecat team up to rework Wham!'s 1984 classic 'Freedom', transforming its uplifting energy into a darker, harder-hitting, and low-key surreal dancefloor weapon. This bold refix pushes the track into pulsatory, late-night club territory, where the four walls about the dancefloor melt into strange shapes, and the checkered footlit floor cycles through the rainbow. The B-side includes Nicky's dub version for an alternative spin, along with an acapella, furthering our sense of possibility. A fresh, edgy, multi-version take on a beloved hit.

Review: The Treasure team keeps up the momentum of its early release with another fruitful dive into the annals of house history. This time, they have dug up more nuggets from FR and have refined them for contemporary floors. 'ET Is Coming Home' (vocal) is a slow and dubby cut with percolating live bass and muted horns next to some Ubiquity style vocal soul. The instrumental allows the superbly loose-limbed and live drums room to really shine, and then comes an epic, 10-minute-plus jazz-drenched house odyssey that's alive with swirling cosmic radiance and busy chords and synths. A real trip for proper music heads.

Review: Emma Noble, the emerging soul singer from London, delivers a powerful performance on the girl group soul anthem 'Unstoppable'. Her second single, it's poised to become a next-gen floor-filler; catch us playing it on repeat, *in flagranti*, after it premiered on Craig Charles' BBC6 Soul Show in early 2025. 'Going Going Gone' backs it up on the B-side, as the first single from FPE's upcoming album Waves. Hearing rising Australian singer-songwriter and pop genius J Mahon on vocal duties, the track's catchy brass sections combine with J's androgynous soul vocals, and evokes the sounds of young Motown artists in the style's 60s adolescence.

Review: Gerardo Frisina, the Italian musician and producer renowned for his expertise in Latin jazz, delivers a captivating experience with Mystical Funk on Schema records. Side-1 presents 'Mystical Funk,' a mesmerizing blend of tribal drums, smooth funk grooves, and island vibes that transport listeners to exotic landscapes. On Side-2, 'Spaced Out' takes a more urban direction, featuring an infectious hip-hop/funk beat infused with sophisticated organ sounds and hints of jazz influences. Frisina's masterful production seamlessly merges diverse elements into cohesive compositions that exude elegance and groove.

Review: After their hair-dropping debut LP Latin Freaks, Funkool Orchestra keep the stovetop hot with a high-energy 7" vinyl, bridging the delta between their first and second albums. A Maledetta Discoteca production, 'Tengo Che Ffa' blends Mediterranean funk, disco, and Neapolitan groove into an allusive proto-P-funk prance, especially if, at least, the B-side's title is to be believed. The latter alternately named 'Dance With Pezz', we hear them pick up the pace with a clav-spiced, conga-crammed number. Take it from us: the record is a clavi-net good.

Review: This is one of a couple of proper holy grail boogie funk gems that French label PBT are dropping this month. Love At First Sight by First Love was originally released in 1982 out of Chicago and is a rare gem that captures the peak of modern soul and funk. Led by powerhouse vocalist Yvonne Gage (who is credited as Yvine Gage), the newly reissued record deals in rich production by Randy B and Chuck Colbert, who are icons of the genre. Standout tracks include the synth-drenched 'Don't Say Goodnight' and the smooth, late-night groove 'Party Lights', while 'Don't Be Afraid' is a sentinel, string-laced slow burner. With deep basslines, tight drums, and lush synths throughout, this one is a real heart melter.

Review: A shape-shifting force from the American South, Bela Fleck & the Flecktones rerouted genre boundaries with their early 90s experimentations-none more so than this landmark second release. Built around banjo, bass, keys and Future Man's custom SynthAxe Drumitar, the quartet's playing here is deft, joyfully off-kilter, and quietly revolutionary. Their self-coined "blu-bop" style hits full stride, blending bebop's angular shifts with bluegrass warmth on 'Turtle Rock' and the dizzying 'Blu-Bop'. A woozy take on 'Michelle' and a surprisingly reverent reading of 'The Star-Spangled Banner' show off their melodic instinct without sacrificing invention. The telepathic interplay and tonal sharpness-especially in the low-end counterpoint of Victor Wooten's bass-make it clear how this group managed to top jazz charts while looking nothing like a traditional jazz outfit. It's a sound not pinned to any one era or idiom, but to pure creative glee.

Review: Frank Popp Ensemble returns via its fourth studio album, recorded and produced in Spain throughout 2024. Known for their sleek combos of flared orchestration with retro soul motifs, Popp once again brings in a wide array of guest vocalists: Gerard Love, formerly of Teenage Fanclub, on the strings-laced rework of his own deep cut 'Save' from 2004; then Nicke Andersson (The Hellacopters, Entombed, Imperial State Electric) on 'Caught In A Web', a high-energy Northern soul workout reproduced in full Magic Touch style. An impeccably done cinematic indie soul rouser, wrestling the nubby essence of a sound to the ground.