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: 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: Hot on the heels of his acclaimed sophomore album A Lover Was Born, Kelly Finnigan makes a quick return with this soul-packed 7". The A-side, 'Get A Hold Of Yourself,' is a Northern soul-inspired stomper that channels the raw emotion of Memphis soul with heavy drums, syncopated guitars, bold horns and Finnigan's impassioned vocals. It tells the story of a rocky relationship where emotional strain disrupts physical connection then the B-side is a fresh bonus cut from the A Lover Was Born sessions inspired by Barbara & The Browns' Stax classic 'Hurts Me So Much'. It's a moody groove with gospel-infused vocals.

Review: The limited edition Florence Funk sub-label returns with a ninth volume of steamy sounds, this time with a pair of rare gems pressed up to wax. 'Hey Mama' opens up with some psyched 60s guitar bringing a great lead to some raw instrumental funk beats while a guttural male vocal finishes it off up top. Flip it over and you'll find 'Gimme', a more celebratory sound with some big horn leads and plenty of percussion detailing the percolating drums. Both of these are sure to heat up any floor this winter and beyond.

Review: Calling all locked-groove stickerers, needle twisters, and/or tonearm weight worriers, prepare your ears and needles for a wonderful trove of breakbeat bullion, ripe for the looping and the zealous hunching over. This modern rare groove emulation by Florence, 'Funky Song', lays down a phantasmically funky original breakbeat, fleshed out and swollen unto the most maximal of proportions. Then, don't forget, there's 'Let's Dance', which reworks Jimmy Bo Horne's 'Dance Across The Floor' for a rare and never-edited-before take on the perseverant, provocative hip roller of a track.

Review: The eighth release on the limited edition Florcene Funk sublabel brings two formerly unreleased cuts to our ears. On the A comes 'Tryin' Everything', a lyrical homage to keeping one's options open and not losing one's spirit - "tryin' everything, gotta check it out!" - whilst the B urges the collective listener to climb off its high horse, with 'Get Off An Jam' - through which we are implored, by way of a South Side Coalition sample, to "hey, get down, get off your seats and jam."

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.