Back catalogue: Funk

Review: Climactic, psychedelic soul and blues brilliance by Don Covay, co-written by Donny Hathaway and backed by a proto-Balearic sweetmeat on the B, Harvey Mandel's 'Baby Batter'. The A-side was originally released one year after (1972) the B-side (1971) on the American Janus label, and the tracks provide a palpable contrast, drawing on the same idiom yet approaching it with remarkable difference. Covay's lyrics are, thematically, overflowing with determination, despite the psychic conflict at the track's heart. Is there any resolution? "The sweeter you, look, mama... the bitterer you treat me..."

Review: Detroit musician and producer Dave Hamilton hears two fantastic early emissions of his reissued via BGP. Known originally as a guitarist and an early member of the Motown house band, Hamilton's influence on music, especially the later Northern soul firestorm in the UK, is perhaps understated. His guitar contributions to the likes of Marvin Gaye's 'Stubborn Kind Of Fellow' and John Lee Hooker's 'Boom Boom' are indeed cherished additions to the Michigan funk and r&b canon, but perhaps it's his later outings as Dave Hamilton and the Peppers - and later founding of the labels Demoristic and TCB - that house the real trinkets. 'The Deacons' and 'Pisces Place' both came out via the TCB label, and brought vibraphonic blues and astrologic easy listens respectively to wax.

Review: Mr Bongo are enacting a thorough revisiting of some of the very best soul, funk, MPB and boogie gems to stud their catalogue over the years; at this rate, the tagline "back by popular demand" has become a motto. This careful pairing of mutually constitutive Hanna and Almir Ricardi tunes made up the label's 54th release. 'Daixa Radar' comes first as the initial "rediscovery" of DJ Koco, whose Brazil 45's mix was the functional tipoff. Ricardi's 'To Parado Na Tua' is a similar midtempo boogie cut, produced by the legendary duo of Lincoln Olivetti and Robson Jorge, whose singularly timbral slap-drums are to die for.

Review: At the start of the COVID-19 shutdown, Rob Hart and David A. Tobin were writing music for an artist's project. When the artist left, they found themselves reflecting not on lost work but on their shared love for music. Their conversation turned to the 90s-a time when hip-hop fused with funk and soul, promoting fun, parties and unity. Inspired by this, Rob created a sound palette echoing the hits of the early 80s and 90s, while David envisioned a local club vibe. In one day, they crafted this song with infectious hooks, nostalgic beats and joyful energy. Rob's production polished the track into a "hands-in-the-air" anthem-a tribute to good times and a beacon of positivity in dark times.

Review: Mayer Hawthorne's debut release hears a faithful reissue via Stones Throw. 'Just Ain't Gonna Work Out' was first released in 2008 as the first forerunner to the LP A Strange Arrangement, which was released the following year. Housed on a distinctively oblong, heart-shaped, red 7", the star track hears Hawthorne segue uncertainly from serenade to breakup song, and we're treated to his trademark croaky falsetto too; too nice to pass up. B-sider 'When I Said Goodbye' is a haunting soul reminiscence, giving barbershop harmonies laid down by a ghostly troupe, amid talk of shattered wills and wistful post-breakup apologies.

Review: Discos Martos is a new division of Rocafort Records. The imprint takes its bow here with a cultured single from soul singer Glen Anthony Henry who is originally from Los Angeles but now based in Spain. His vibe is to blend the best bits from classic soul with a modern edge that hits different. The A-side, 'Thankful,' is an upbeat tribute to love and friendship featuring a catchy hook and an Al Green-style drum groove. The B-side, 'Fade Away', highlights Henry's falsetto in a deep, introspective ballad. Both tracks are produced by Oscar Martos using full analogue recording so they capture the warmth of 70s soul and make for an exciting start for Discos Martos.

Review: Defiant, spruce and intractable, Hodges James Smith & Crawford's 'Nobody' marks this brilliant new funk reissue with a caustic grip-quip after at the slippery satins of love: "nobody's gonna tell me that you don't love me, baby. They just don't know that you're an angel..." Walking a universal tightrope of ambivalence - this is a situation that we'd wager everyone of one stripe or another is familiar with - this record could function either as a tell of blind infatuation with a ne'er-do-well, or a real statement of loving intention for a misunderstood penitent. 'It Cracks Me Up' backs up the B with an ensouled, ensemble-armoured musing on "girls with shiny faces" and "superdudes", resolving on a tonic note of equal sexual charge. The West Coast vocal group outdid themselves back in 1971, so much that original copies of this fetch unholily exorbitant prices; high time for a repress!

Review: This 50th Anniversary Edition resurrects a forgotten gem of 1970s soul-jazz, showcasing the masterful arrangements and musicianship of The Harold Wheeler Consort. It's a thrilling colliision of jazz harmonies, funk grooves and soulful melodies, with Wheeler's piano leading the way through a series of vibrant and eclectic compositions. From the infectious energy of the title track to the smooth sophistication of 'Then Came You', the album is a testament to Wheeler's talent as a composer and arranger. The B-side continues the journey, with tracks like 'Color Me Soul' and 'Feel Like Makin' Love' showcasing the band's versatility and deep understanding of soul and jazz traditions.

Review: When it comes to hunting the very of best library music cuts out there, De Wolfe's discography is likely the best place to start, and finish. The British music production company were the first to license such music exclusively for film and TV and thus single-handedly popularised the now DJ's favourite genre. Here on this reissue, Aussie producer, musician and double bassist Johnny Hawksworth (one of two famous library musician "hawks", only once removed from the perhaps more eminent Alan Hawkshaw), prizes open both falcon's eyes and auriculars: 'Bite Hard Breaks', the star, makes for an unfathomably cool piece for the playing of seductive games. Unsurprisingly, but with this fact not known to many, this record has been much sampled by hip-hop titans, from Beyonce to Drake to Jay Z to Madlib.

Review: Soul legend Isaac Hayes' enduring legacy as a soul visionary echoes through this second volume of his singles, which picks up from where the first left off. The collection spans 1972 to 1976, a time when Hayes transitioned from Stax to his own Hot Buttered Soul label. Tracks like 'Hung Up On My Baby' and the relentlessly funky 'Chocolate Chip' showcase his blend of lush orchestration with raw, gritty grooves, a style deeply rooted in the soul-rich streets of Memphis, where Hayes' early musical foundations were laid. As he moved away from Stax's structure, Hayes embraced a new sense of creative freedom, merging cinematic soul with the emerging sounds of disco, perfectly captured in 'Disco Connection'. The production, unpolished and alive, channels the intensity of Hayes' sound from the early 70s, pushing boundaries while remaining deeply personal. This release is a reflection of the man's profound influence on soul music, one that continues to reverberate through generations.

Review: The original motion picture soundtrack for The Truck Turner delivers a thrilling blend of gritty funk, soul and high-energy jazz that perfectly complemented the 1974 blaxploitation classic. Composed by the great Isaac Hayes, the soundtrack is a dynamic showcase of his signature style that blends soulful melodies with intense orchestral arrangements. Tracks like 'Main Theme' and 'Breaking Into The Business' capture the raw energy and tension of the film while Hayes' deep voice and lush arrangements bring an added layer of sophistication to the score.

Review: New Orleans brass band fixture The Hot 8 Brass Band unveil their latest record, in memory of Bennie Pete aka. "Big Tuba", the late co-founder and sousaphone player of the band. Having passed away on September 6, 2021, Pete was described as a "constant galvanising force", and this galvanic power is heard on full display here, as the top brass of the band are heard to collierly collude with many a New Orleands folk and hip-hop legend. Chief among the Hot 8's best characteristics are their incorporation of New Orleans bounce music (a local variation of hip-hop) into their brass-driven tracks and live shows; the sense of bustle, bombast and crowd commotion is heard here, reflecting the extent of the lives touched by Pete.

Review: Brazilian artist Hyldon's 1981 album 'Sabor De Amor' is a Latin classic that is well overdue this reissue by Jazzybelle Records. It was the fourth from the soul man, singer and instrumentalist who was, with equally celebrated peers Tim Maia and Cassiano, at the very heart of the Brazilian soul revolution of 70s. This may be his most consistent album with its more than accomplished backing by Azymuth musicians including Alexandre Malheiros on bass, drums from Ivan "Mamao" Conti and Hammond jams from Sergio Carvalho amongst others. The bass is funky, the arrangements are sophisticated and full of sun with noodling jazz melodies and Portuguese vocals all oozing summer magic. From mellow moments like the title cut to more dazzling and upbeat dancers like 'Amor Na Terra Do Berimbau' this isa joyous listen.

Review: Brazilian vocalist, musician and producer Hyldon De Souza Silva teams up with Adrian Younge on a brand new psychedelic Latin soul album, infused with the golden spirit of jazz, honouring both Hyldon's 60s and 70s opuses and Younge's trademark analog productions. With late drummer Ivan "Mamao" Conti on percussion, this is yet another tribute to the "Black Rio" movement in Brazil, an intoxicating infusion of Brazilian MPB and Black American rhythm & blues. The effect is major yet seductive, riffing on insporations from Marvin Gaye to Tim Maya to flatten the embossed edges of bossa nova and erotic funk, with remarkably paced and measured drumming and swirling vocal lines.

Review: Brazilian music legend Hyldon teams up with producer Adrian Younge for the 23rd edition of Jazz Is Dead. A psychedelic soul album reimagining the magic of Hyldon's 60s and 70s work through a modern lens, Hyldon's vivant vocals and poetic storytelling are paired with the rich analogue production that made Younge's name, honouring the past and yet still keeping things afresh. It also stands as one of the final recordings of the late Ivan "Mamao" Conti, the iconic Azymuth drummer and Hyldon's longtime collaborator. Fusing MPB, tropicalia, and Black American r&b, we're slack-jawed with awe at this spiritual, which elutes from the ethereal 'Olhos Castanhos' to the cosmo-funk of 'Viajante do Planeta Azul'.