Back catalogue: Funk/Reissues

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: Get yourself geared up for festival season with some fierce party starters certified with the Glitterbox stamp. Melvo Baptiste leads the charge with 'Sweat', a sizzling disco house stomper with Dames Brown giving the biggest diva energy on her show-stopping vocal. Lovebirds bring unbridled joy on the Philly string swoon and slinky b-line funk of 'Burn It Down', while Art Of Tones & Inaya Day keep it peak time on the sassy strutter 'Give My Love'. Young Pulse & Fleur De Mur complete the set with 'Smooth Sweet Talker', another bright and bold vocal cut par excellence.

Review: A modern lunar take on jazz and disco, Jazz On The Moon hears Italian producer Paolo Fedreghini moonwalk backwards through live horns, bass, synth and guitar for a crisply produced six-track EP. Opening with original NASA-issue intercom vocals from the 1968 moon landing, 'Interstellar' crafts a moonscape of Harmon-muted trumpet and avant-garde growls, while expansive electro-funk opens out on the title track and 'Distant Planet', by which point a tonal shift is underway. The vibe is increasingly P-funky, erring desolate on the interluding 'Outer Space', before we wind up purblinded by the light side of the mood on closers 'Groove Odyssey' and 'Cosmic Funk'.

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: For fans of classic soul like Lee Fields and Bobby Oroza, Kelly Finnigan's latest 45 is a pure delight. On the A-side, an upbeat Northern soul-inspired track from A Lover Was Born pulses with raw emotionisyncopated guitars and brass-powered intensity back Finnigan's story of a love in crisis. The B-side adds a bonus cut, evoking the 60s soul vibe of Stax Records with a deep, minor-key groove. Here, gospel-tinged harmonies and moody horns underscore Finnigan's heartache, capturing a timeless feel with modern passion.

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: Before making it big with Maze, Frankie Beverly was the man behind Raw Soul, a heavyweight, politically conscious band whose fuzzy, full-throttle sound sat somewhere between the J.B's and Sly & The Family Stone. The band's most famous moment was 1975 single 'Color Blind', which was originally recorded as 'What's The Color?' Here that never-before-heard recording is finally issued. Rich in fuzz-soaked horns, crunchy drum-breaks, weighty bass and clipped funk guitar licks, the track features some superb, James Brown style lead vocals from Beverly. Brilliantly, there's also a chance to savour the unheard Raw Soul instrumental version, which features an extended, DJ-friendly drum solo midway through. A slice of history that's well worth picking up. As played by DJ Koco....

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: The magnificent Mukatsuku returns with another superb little package here on limited 12". It features the Afro disco sounds of Fred Fisher Atalobhor And His Ogiza Dance Band firstly on 'WTFS' which was originally released back in 1981. It's a booty-wiggling cut with myriad funky lines, squelchy synth motifs, lush chords and soul drenched vocals that bring the sunshine and party in equally playful measure. On the flip is 'Ebi Lolo' which is defined by its big brass section and loosey-goose guitar lines, bright chords and subtle funk. Two great gems once more from this on point label.

Review: The vibrant Cuban music scene of the 1970s thrived with creativity, and FA-5's self-titled 1976 album perfectly captures that energy. Part of Mr Bongo's Cuban Classics series, the record blends Latin rock, funk, soul, disco, and Afro-Cuban rhythms into an eclectic and captivating sound. The funk-heavy opener, 'Muevete Con Las Fuerzas Del Corazon' features an infectious bassline, lively horns and drum breaks, setting the tone for a genre-hopping journey. With standout tracks like the Latin disco-funk 'Casa De Ladrillo' and a cover of Commodores' 'Brick House' this hidden gem, which was produced by Tony TaNo, is a must-have for both fans and collectors.

Review: Celebrated around the world for their contribution to the world of funk and disco, it all began for the Fat Back Band with the debut album Let's Do It Again which now gets reissued on South Bound. It has been out of print for many years and the reissue comes with the full cooperation of Fatback founder Bill Curtis. The album was recorded in 1972 at Blue Rock Studio in New York and includes originals like 'Street Dance' which became a Billboard R&B hit in 1973 plus 'Free Form', 'Take A Ride (On The Soul Train)' , 'Give Me One More Chance', 'Goin' To See My Baby' and the title track. It also comes with cover versions of some classics like Jimmy Webb's 'Wichita Lineman', 'Green Green Grass Of Home' and David Gates's 'Baby I'm A Want You'.

Review: Kelly Finnigan's A Lover Was Born channels the raw energy and emotion of classic Midwest soul, evoking the spirit of labels like King and Curtom with a contemporary twist. The Monophonics frontman offers a collection of tracks that blend gritty passion with heartfelt elegance, transforming deep emotions into something virtuous and timeless. Following his 2019 solo debut The Tales People Tell, Finnigan's new album marks the culmination of years of creative growth, punctuated by a string of projects, including Monophonics releases and collaborative work with other artists. Recorded across California, Ohio, and Staten Island, A Lover Was Born sees Finnigan partnering with longtime friends and collaborators like Max and Joe Ramey, Jimmy James, and Sergio Rios, to craft its rich sound. The album is a variety of influences, with tracks like 'Get a Hold of Yourself' and 'Chosen Few' featuring Northern Soul's stomping energy, while slower, soulful cuts like 'Let Me Count the Reasons' and 'Count Me Out' showcase Finnigan's tender side. His voice, echoing the rawness of Otis Redding and David Ruffin, brings depth to every song, seamlessly blending soul's past with a fresh, modern sensibility.

Review: Eddie Fisher's The Promise is a rare and under-the-radar 1985 session from the East St. Louis guitarist, best known for The Next One Hundred Years and The Third Cup. Though never a mainstream star, Fisher's legacy has grown through the years, thanks to DJs and crate diggers who uncovered his unique blend of boogie, jazz and funk. Released on his own Nentu label, The Promise remains one of the most elusive records in his catalogue, a boogie jazz funk essential that has been long out of print.

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.