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: It Takes A Lotta Teardrops showcases the refined touch of Mickey Stevenson, delivering a timeless Motown sound. This Leon Ware and Vicki Basemore composition, although unreleased until now, echoes the classic vibes that Kim Weston also interpreted, but like hers, it remained in the vaults. The decision to shelve this gem in 1972 may have been due to its retro style during a time of evolving musical tastes, yet it remains an essential listen for Motown and Northern Soul enthusiasts. On Side-2, 'I'm In Love', stems from Carolyn Crawford's work with Hodges, James and Smith in 1971. Released under the M'Pingo label, this track embraced a more contemporary feel for its era and continues to resonate in Modern and Crossover rooms today. This single is a fine addition for collectors and fans of classic soul.

Review: Numero's Hottest Sounds Around collection captures obscure late-70s grooves from the Greater Antilles. Trinidad's Stan Chaman's Semp label delivered Wilfred Luckie's quirky 'My Thing' and the Hamilton Brothers' calypso-disco hit 'Music Makes The World Go 'Round' in 1978. Meanwhile, across the sea, Frank Penn's G.B.I studio recorded Stephen Colebrook's Doobie Brothers-inspired 'Stay Away From Music,' appealing to cruise ship audiences. All three tracks are packaged in a custom Numero sleeve, echoing the design of Edward Seaga's influential Caribbean music label, WIRL (West Indies Records Ltd.). This compilation revives the vibrant, eclectic sounds of the late 70s, providing a fresh look at the music that once enlivened the Caribbean scene.

Review: The Brazil45 series has always been pure gold and now come a pair f beauties from Harmony Cats, a vocal quintet-turned-trio from Sao Paulo known for their disco-era hits. Harmony Cats' 'Theme' from 1976 is their most recognised track outside Brazil and is inspired by Rhythm Heritage's Barretta's Theme with its spacey breakbeats, lush vocals and percussive flair, all of which have made it a true crossover classic. On the B-side, 'Seja Como Nos (De Pe No Chao)' delivers an exuberant Brazilian twist on The Jacksons' 'Shake Your Body (Down to the Ground)'- it's a guaranteed floor-filler with radiant disco energy and Harmony Cats' signature vocal style.

Review: American jazz pianist Gene Harris first released 'Losalamitoslatinfunklovesong' and its counterpart 'Summer' in 1974, when both initially appeared on the classic soul jazz album Astral Signal. Thereafter, it enjoyed a second bout of popularity after being picked up by the trailblazing rare groove scene in London. Now for a third: Selector Series now proffer another reissue of this rare groove workout, a Latin funk gem for an age not yet properly recorded or recognised. Snappy, pugilist drums, wowwing synths and filling choral counterpoints make this a real funk treat.

Review: Haze, an Exeter band that in 1981 endlessly toured the South West of England and released the album "SILVERTOPS REFLECTS HAZE" upon which many contemporary tracks were given the Haze treatment from Barry Manilow's 'I Can't Smile Without You' to Johnny Cash's 'Ghost Riders in the Sky'. In the mix Azymuth's Latin funk anthem 'Jazz Carnival' and Space's legendary electronic 'Magic Fly' surfaced, the latter two of which make up this exceptional 7" release by Panorama records, this relatively new label that celebrates idiosyncratic rarities. Haze seem to like breaking down the original and making space between the beats and yet on this A side an already pumping track pumps faster with an extra electronic edge on the Moog-ish organ, whilst paradoxically Haze's lead guitarist takes on Jose Roberto Bertrami's originally syncopated keys in a more regulated way - not a bad thing if not a jazz dancer but someone who just loves to dance! Intelligently, Panorama have coupled this with Haze's percussion heavy version of 'Magic Fly' on the B side, that even if it remains more so electronic, even poppy, it nicely compliments the Brazilian homage of side A. If you love a rare version, 7" 45s and early 80s jazz funk with a synthesised edge you'll love this.

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: Some labels deal only in pristine soul legitness - and Celestial Echo are one such set of aesthetes. A reissues label, Celestial Echo focuses on modern soul and boogie, and is curated by Miche (Michael Davies) and Stu Clark. Following three impressively chosen sonic chrisms, all reissued in 2024 - releases by Glenda McLeod, Brutal Force and Winfield Parker - comes this fourth foray into one of the best-loved and perhaps only publicly known tunes by the obscure boogie singer Lisa Hill: 'I Am On The Real Side'. New York's Qit Records were the original purveyors of this track, though its initial obscurity is so baffling to us that we'd guess some case of derelict nobility was at play here; either that, or there was just this much amazing soul music being made in the big city at the time! Here, Hill proclaims her place on the right side of love, with a lyrical emphasis on the object of her passions proving themself to her before she submits.

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: Bobby Hutton, the first singer featured on Soul Train in 1971, sees his rare soul classic 'Lend A Hand' reissued by Expansion. Originally released in 1973, this track is a soulful gem that resonates with fans and collectors alike. On Side-1, 'Lend A Hand' stands out as an impressive track, showcasing Hutton's powerful vocals and emotional depth. Side-2 features 'Come See What's Left Of Me,' originally from 1969. A soulful and elegant experience, highlighting Hutton's early work. Both songs are certified rare and classic soul, making this reissue an appealing one for those who appreciate timeless, heartfelt music.

Review: Jazz Peace has been digging in the archives to put together this new and limited 12", 'Happy Tears'. The original 1975 studio sessions captured the essence of Stockholm, Sweden, with tracks from the unreleased album Wildlife. Recorded during a pivotal moment in the mid-70s, this 45 offers up raw, unfiltered material that offers a glimpse into the creative process of the era. The music blends rich instrumentation with experimental flair that delivers a unique sound that's both nostalgic and timeless.

Review: The Harlem Gospel Travelers' new album, Rhapsody, marks a dynamic return for the trio, composed of Ifedayo Gatling, Dennis Bailey, and George Marage. Following their well-received 2022 release Look Up!, Rhapsody dives into a rich, often overlooked era of gospel music, blending traditional elements with influences from soul and funk. The inspiration behind Rhapsody came when Eli "Paperboy Reed," the group's mentor and friend, suggested they explore and reinterpret tracks from the Numero Group's Good God! A Gospel Funk Hymnal. The result is a collection that spans from the spirited soul of 'God's Been Good to Me' to the hip-hop-tinged 'Get Involved,' showcasing the group's ability to transcend the conventional boundaries of gospel. Originally formed as a quartet, the group reconfigured as a trio, bringing Bailey into the fold before recording Look Up!. Their journey began when Gatling and Marage met while studying under Reed, leading to the release of their debut album, He's On Time, in 2019, which garnered praise and attention from the likes of Elton John.Rhapsody is a project that not only honors the gospel tradition but also pushes it forward, offering a sound that is both rooted in history and refreshingly contemporary.

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: 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: Roland Haynes Jr. and his band Phenix may have only released one 45 in 1983, but their legacy extends far beyond that solitary record. This new collection of live recordings from the Quarter Moon club in Orangeburg, South Carolina, reveals the brilliance of Haynes and his ensemble. The album features a vibrant mix of originals and covers, including renditions of tracks by Marvin Gaye, Santana, Hubert Laws and The Jeff Lorber Fusion. These recordings, drawn from Haynes' personal archive, showcase the band's exceptional talent and ability to reinterpret classics while adding their own unique flair. The collection allows Haynes to assert his place among the most innovative jazz and soul artists of his time, capturing the energy and creativity of Phenix in their prime.

Review: Chicago was a hotbed for talent in the 1970s (well, it always has been and always will be, to be honest) and one of the groups to emerge at that time was Heaven & Earth, a vital soul vocal collective. They released four high-quality albums and this one, 'I Can't Seem To Forget You', was the first on Clarence Johnson's G.E.C. Label. It is packed with super sweet vocals and Dwight Dukes' lush falsetto and has never before been reissued. This version from the good folks at P-VINE has an extra bonus cut 'Promises,' which has previously only been available as a single from 1975.

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.