Back catalogue: Funk

Review: 'The Montreux Years' was a period of time in which legendary American singer, songwriter and pianist Dr. John - who blended blues, jazz, funk, rock and roll and New Orleans music - held wide renown as a staple of the Swiss Montreux Jazz Festival for a solid two-decade juncture, between 1973 and 1995. This album captures his tenure at the festival over the years, and features live recordings from his performances, as well as two previously unreleased tracks. Both a celebration of the work of Dr. John and the European jazz festival, it's certainly not one to be missed.

Review: Malcolm John Rebennack, Jr., better known as Dr. John, left an indelible mark on the music world with his unique blend of New Orleans R&B, blues, jazz, funk and rock. As a teenage prodigy, he cut his teeth as a songwriter, arranger, and producer for Ace Records before becoming a sought-after studio musician in Los Angeles during the 1960s. His debut album Gris Gris in 1968 catapulted him into the spotlight as Dr. John The Night Tripper, captivating audiences with its mystical allure. Hits like 'Iko Iko' and 'Right Place Wrong Time' solidified his place in music history, earning him six Grammy awards and induction into the Rock and Roll Hall of Fame. Now, Gris Gris Gumbo Ya Ya: Singles 1968-1974 collects his early singles from his influential years with Atco/Atlantic, offering 26 tracks of pure musical medicine. The iconic 'Such A Night,' alone makes this compilation is essential for both seasoned fans and newcomers alike. With liner notes from Gene Sculatti, it serves as a perfect entry point into the timeless world of Dr. John's music and a nostalgic journey through his classic Atco/Atlantic albums.

Review: Brian Auger's Streetnoise was originally recorded in 1969 with Julie Driscoll and The Trinity. It stands proud as a genre-blurring work of jazz, rock, folk and soul greatness that found the group moving beyond their r&b and jazz roots. Instead, Auger and Driscoll crafted a progressive, avant-garde yet deeply soulful record in which Driscoll's haunting vocals contrast beautifully with Auger's instrumentation. The gatefold sleeve was designed by Hunter S Thompson collaborator Ralph Steadman and was inspired by Hogarth's satirical etchings which in turn reflects the album's artistic ambition. Streetnoise features dynamic instrumentals like 'Ellis Island', great reinterpretations of 'All Blues' and 'Flesh Failures' and standout tracks such as 'Indian Rope Man' which highlight Auger's visionary fusion of styles.

Review: "I told her my plight, then I played her a song, and she told me I wasn't singing high enough for my speaking voice. When I returned to LA, I started coming up with new progressions, which I'd modulate up three half steps. It forced me to find a new way to sing."

So says Drugdealer founder, singer and primary songwriter Michael Collins of his chance meeting with composer-artist Annette Peacock at Mexican Summer's annual Marfa Myths festival, their conversation concerning his lack of faith in his own singing voice which, by this point, had become crippling to the point of giving up. Taking that sage advice and applying it, Hiding In Plain Sight is the result - an incredible exercise in modern soul-rock and an instant classic.

Review: The comprehensive five-CD set celebrating George Duke's illustrious solo career from 1977 to 2000 is a treasure box for fans and newcomers alike. Encompassing his prolific years with Epic Records and Warner Brothers, this collection features 87 tracks that showcase Duke's unparalleled versatility across genres. From funky hits like 'Dukey Stick' and 'Say That You Will' to the soulful grooves of 'Shine On' and the infectious rhythms of 'Sweet Baby' from the Clarke/Duke Project, every facet of Duke's musical genius shines through. Included are standout tracks from his Elektra Records era, including highlights from albums like 'Thief In The Night' and his self-titled 1986 release. Duke's ability to effortlessly traverse jazz, funk, soul and beyond shows his innovation in music. With insightful sleeve notes by journalist Charles Waring, this collection pays homage to Duke's legacy as a virtuoso who defied genre boundaries and left an indelible mark on the music world. His passing in 2013 marked the end of an era, but his music ensures that his influence will endure for generations to come.

Review: Some serious gospel-soul action here from one of the most storied gospel groups in history, the Clark Sisters. The album, which was co-produced by their mother, the legendary choir director Mattie Moss Clark, first landed in US record stores way back in 1980. It's a stunning album all told, with the sisters' incredible vocals rising above backing tracks marked out by interesting arrangements, changes of mood and tone, and plenty of authentic soul and jazz instrumentation. The superb title track and the infections 'Ha-Ya (Eternal Life)' - the latter the subject of a number of re-edits over the years - are the best-known cuts, but other highlights include 'Pure Gold', the epic 'Speak Lord' and 'Salvation Means More To Me'.

Review: The Dynamics honour Jamaica's musical legacy with Drag'n'Fly, their third album, transforming classics with reggae, soul and funk. Like the 1960s tradition of ska and rocksteady reshaping US soul hits, they take songs from all genres - pop, country, jazz - and infuse them with island rhythms. Mounam, Steve Levi, and Mr Day lead the charge with their distinct vocals, while Fab Master Flab weaves futuristic echoes through roots instrumentation. From reimagining ESG's minimal pop to turning Pharoah Sanders' 'You Got To Have Freedom' into a dub anthem, Drag'n'Fly is an irresistible mix, destined for stereos and spicy dancefloors alike.

Review: Back in the mid-to-late noughties, musical polymath Bruno Hovart (Patchworks, Voilaaa, Mr President, Uptown Funk Empire etc) helmed a revivalist dub reggae band famed for delivering dusty cover versions of soul, pop and rock hits. Hovart is a dab hand at making anything he touches sound scarily authentic, and much of Version Excursions, the band's now reissued debut album, sounds like proper Jamaican rocksteady, roots and ska of the 1970s. It's a simple idea, brilliantly executed, with highlights including their covers of 'Seven Nation Army', the Rolling Stones' 'Miss You' (reimagined as a toaster-sporting disco-reggae jam), and Led Zeppelin's 'Whole Lotta Love'.

Review: Glenn Echo & Daniel Meinecke won plenty of acclaim with their last outing What Happened To Yesterday?! and now they quickly back it up with a third outing on MotorCity Wine Recordings What Happened To Yesterday? Vol 2 is another blend of heady, dubby sounds with cosmic dance vibes that span serval sub-genres with ease. 'World In My Head' kicks off with lo-fi and low-key depths, and further downtempo tracks like 'Explanation of The Funk' with Dre King's trumpet and DJ Stylus's cuts, and 'Three-Season Crank' with Raja Kassis's guitar further sink you into blissed-out beats. The flip side has dancefloor-friendly jam 'Off The Rails,' then moves into dubby, meditative territory and ends with the gorgeous 'Black Bird Dub' which allows Echo's eclectic production and Meinecke's keyboard mastery to shine.

Review: Glenn Echo and Daniel Meineck are back on Detroit label MotorCity Wine with their first new music in two years following their well-received Partly Cloudy album. What Happened to Yesterday? is, we are told, the first of two albums from the pair that will arrive several months apart. It finds the pair get super hazy and dubby, with psychedelic charm swirling around their absorbing grooves next to subtle cues taken from the diverse likes of DJ Premier and King Jammy. There is a superb Moog-based cover of De La Soul's 'I Am I Be', Afro-Carribean disco in 'Dancehall of Grandeur' and epic jazz-rock on Volcano Sound' so dig in and prepare to be wowed.

Review: The One by Will Sessions is a masterful blend of late 70s progressive funk, soul and boogie, brought to life with the help of Detroit legend Amp Fiddler and the dynamic vocal trio Dames Brown. The album tells a compelling story of love and its challenges in the heart of Detroit, with each track exuding authenticity and groove. The opening track, 'What It Is,' immediately sets the tone with its infectious rhythm, destined to become a dancefloor staple. Amp Fiddler's gritty vocals shine on 'Lost Without You,' perfectly matched by the growling bass and warm groove. 'Belle Isle Drive' offers a laid-back, Sly Stone-esque vibe, while 'Rendezvous' and 'Reminiscin' pure boogie, designed to get you moving. The expansive 'Seven Mile' brings a spacey, relaxed energy, and 'Who Am I' stands out as a soulful gem, with Dames Brown delivering impeccable harmonies. The album closes with the angular and uptempo 'Reconcile,' rounding off a flawless set. The One is an essential listen for fans of boogie and Roy Ayers, showcasing Will Sessions at their creative peak.