Funk | Soul 323 Items

14 tracks of the absolute crème de la crème!

Mirwood Records’ second release was Jackie Lee’s ‘The Duck’, an uptempo soul swinger that became a big hit and established the Mirwood sound. The house team of producer Fred Smith, arranger James Carmichael, songwriter and backing voices arranger Sherlie Matthews, along with contributions from veteran singer/songwriters Bobby Relf and Earl Nelson (Bob & Earl), made for uptempo soul perfection and they played that beat throughout 1965 and 1966.

More US chart action occurred for Mirwood with the Olympics and Bob & Earl but much of their superlative work fell on deaf American ears. It was the British soul aficionados of the early 70s who discovered these masterpieces and played them on the burgeoning Northern Soul scene with dancers revelling in the relentless beats, pleading vocals and sassy female backing. Virtually any Jackie Lee track was a worthy contender and although they never repeated his ‘Duck’ success, the company created soul classics like ‘Do The Temptation Walk’, the later master tape discovery ‘Anything You Want (Any Way You Want It)’ and the anthemic ‘Oh My Darlin’’.

Bob & Earl’s hottest number was actually the backing track to Bob’s speedy ‘My Little Girl’, discovered as an accidental LP track in the late 60s. Under the same alias, Bobby Garrett, he had another monster sound with ‘I Can’t Get Away’. Sherlie Matthews composed the hit ‘Mine Exclusively’ for the Olympics and, in a similar stomping vein, wrote ‘The Same Old Thing’ for the group. She penned ‘Don’t Pretend’ for mystery trio the Belles, a studio group consisting of herself along with the Holloway sisters Brenda and Patrice, who were moonlighting while under contract at Motown and Capitol, respectively.

Another Los Angeles stable under the auspices of Henry “Hank” Graham threw the Performers into the mix with ‘I Can’t Stop You’ and renamed singer Jimmy Conwell as Richard Temple for a 45 that epitomises Northern Soul ‘That Beatin’ Rhythm’; a credo for a cult. More indie productions came from Eddie LaShae with the Sheppards’ redoubtable ‘Stubborn Heart’ and Sonny Knight’s production of Curtis Lee on his own ‘Is She In Your Town’.

Ex-Ike Turner sideman Jimmy Thomas landed at Mirwood in 1966 where Bob Relf recorded him on his own ‘Where There’s A Will (There’s A Way)’. Thomas brought the Ikettes along with him; the company switched their name to the Mirettes for the Sherlie Matthews’ song ‘I Wanna Do Everything For You Baby’.

14 vital mid-60s dance records which exemplify why Mirwood is a byword for the best of Northern Soul.

You have to really search through the Doré catalogue to find the soul 45s, but when you do it is hugely rewarding. Its jewels have only been revealed to Northern Soul collectors over time and several are ridiculously scarce; Little Johnny Hamilton’s ‘Keep On Movin’’ and the Swans’ ‘Nitty Gritty City’ remain one-off disc discoveries. Guaranteed dancefloor classics abound, including Rita & the Tiaras’ ‘Gone With The Wind Is My Love’, Little Johnny Hamilton’s ‘Oh How I Love You’ and the Puffs’ ‘I Only Cry Once A Day Now’.

The Superbs’ ‘Wind In My Sails’ and Milton James’ mesmeric ‘My Lonely Feeling’ represent the funkier end of the Northern Soul sound, while tracks by Ray Marchand and the Shades Of Jade are subtle mid-tempo soul of the highest quality. Nearly all are rare, expensive and beautiful, while Kenard’s ‘What Did You Gain By That’ is highly imaginative, and the Fidels’ ‘I’m Givin’ You Notice Baby’ is just a classic 60s soul stomper.

All together on beautiful 12-inch vinyl, they are irresistible.

Big Crown Records is proud to present Derya Yidirim & Grup Simsek's debut 7" offering on the label. They came to New York in June of 2024 to record their new album at The Diamond Mine Studio in Queens with Leon Michels handling production. These are the first two tunes from those sessions and they are very telling of what is to come on the new album.The A side 'Cool Hand' is a beautiful juxtaposition of intensity and lightheartedness with lyrics that explore the d...

A career-spanning Compilation, including new and rare mixes, compiled by Dr. Alex Paterson. "Orboretum: The Orb Collection" goes way back, but also focusses on recent highlights from albums such as "Abolition Of The Royal Familia" (2020) and "Prism" (2023) - which were cited by the media as some of their greatest work - up there with the bonafide gold of yesteryear. "I don"t want The Orb to end up milking it like Roxy Music, who were always cranking out another best-of, although we did release the "History Of The Future" best-of in 2013, and its part 2 in 2015 to be fair. We have such a gigantic catalogue though, that sometimes even I need a reminder of what I"ve done, especially these days. This is a sort of director"s cut, reframing our output, making new neuro pathways, and new juxtapositions. Some of these tracks are 30 years apart, but there are clear through lines, a continuum." Alex Paterson

Mukatsuku is hurtling towards its 100th release but ahead of that comes another vital and hand-numbered 7'' featuring a brace of tunes taken from the Resolution album from back in 2003 by Sidewinder aka Reading-born Glasgow resident Alan Bryden.
'Stanway's Revenge' you might recognise from Groove Armada's Back To Mine compilation and here, with an exclusive edit . Llush as seductive as ever with the smoochy horns and gentle grooves. On the flip, 'Plain Song' has late-night chords making a sombre vibe while muted trumpet, organic percussion and classy strings all embellish the mood.

Transparent Limited Edition.Cinematic funk heroes Calibro 35 take you on a journey in the world of jazz and rare groove. Dr. Dre and Jay-Z sampled Italian cinematic funk legends Calibro 35 are always in search of new territories to venture into, their new single payintg tribute to jazz-funk, rare groove and pshychedelic cinematic-jazz. None of the members of Calibro 35 are (or consider themselves) jazz musicians, but over the years jazz has...

Curtis Harding's new album Face Your Fear is out October 27 on Anti-. New York Magazine already named the forthcoming album one of their most anticipated fall releases lauding Harding’s “scorching voice” while Clash UK hails recent new track “On and On” as “a blistering slice of dancefloor soul that recalls prime Curtis Mayfield and late 60s Motown.” The new album follows 2014’s Soul Power, on which Rolling Stone called Harding an “artist you need to know.”
Harding fuels his psychedelic sound with the essence of Soul but isn’t bound by it. Instead, the 12 songs on the new album convey an eclectic blend of genres leaping from the many musical lives he has lived from following his evangelical Gospel-singing mother on tour as a child in Michigan to rapping in Atlanta, forming a garage band with The Black Lips’ Cole Alexander to singing back-up for Cee Lo Green. Through these experiences he fully embraces life’s darkest intricacies conjuring dynamic, addictive melodies.
Face Your Fear features production by Harding, Sam Cohen, and Danger Mouse and was recorded in New York at Danger Mouse’s 30th Century Studio.

Durand Jones & the Indications aren't looking backwards. Helmed by foil vocalists in Durand Jones and drummer Aaron Frazer, the Indications conjure the dynamism of Jackie Wilson, Curtis Mayfield, AND the Impressions. Even with an aesthetic steeped in the golden, strings-infused dreaminess of early `70s soul, the Indications' sophomore LP, American Love Call, is planted firmly in the present, with the urgency of this moment in time. The Indications' 2016 self-titled debut was the product of friends who met as students at Indiana University in Bloomington, In., recorded for $452.11, including a case of beer. American Love Call, the band's sophomore LP is instead the record the Indications dreamed of making, fleshed out with strings, backing vocals, and a newfound confidence in songwriting. Blending a slew of influences from years spent crate-digging, guitarist Blake Rhein says the Indications approach songs in the same way hip-hop producers do, as likely to pull inspiration from `70s folk-rock or classic R&B as they are Nas' Illmatic. "Did I expect to do this shit once I got out of college? Hell no," Jones relays, laughing. "Totally not. But this is what God is telling me to do - move and groove. So I'm gonna stay in my lane."

Robert Glasper’s holiday album In December was released last year as an Apple Music exclusive. We’re now able offer it widely available to physical retail and all DSPs!



Is there anything to be done with carols like “God Rest Ye Merry Gentlemen” and “Joy to the World” that hasn’t been done in the past 300 years? If there is, Grammy-winning pianist, composer, and producer Robert Glasper is the kind of artist to do it. “I like covering songs that people know well,” Glasper tells Apple Music. “That’s what I’ve done throughout my whole career.” It’s true: As a jazz pianist, he’s obviously learned his way around making classics his own, whether they were written by Mongo Santamaría or Kurt Cobain. But, he says, “The biggest challenge in making a holiday album was trying to do it in a way that feels festive but at the same time feels real and not corny.”



He succeeds on both fronts on In December, his holiday album that mixes classic carols with a set of originals, and which was recorded in Spatial Audio. Part of what keeps it credible is the fact that Glasper’s hiphop/R&B/jazz fusion is done on a compositional level instead of just a cosmetic one (no collages of sampled sax solos and drum loops here). The covers reveal a lot about his musical worldview: Sung by Tony winner Cynthia Erivo (The Color Purple), “God Rest Ye Merry Gentlemen” is turned into dark, airy neo-soul, while “Joy to the World”—sung by Alex Isley—feels like a Stevie Wonder ballad. But the originals reveal even more. “The intention for this album was less about Christmas songs and more about songs that feel good during the holidays,” Glasper says. “I stayed away from thinking too much about Christmas and its traditional lingo, and concentrated on real things people go through during the holiday season.”

Outrageous Norge-Funk™ from Lyskestrekk !! Heavyweight, loose and live organic goodness... Limited as ever and totally essential !

Kool Customer is a collaborative project from B. Bravo and Bay area singer Rojai that brings together the sounds of future funk, 80s boogie, and a little bit of strip club sleaze.

B.Bravo is a 2010 graduate of Red Bull Music Academy with releases on Brownswood, Frite Nite and Ernest Endeavors.

Support from the likes of Benji B (bbc Radio 1), Gilles Peterson, DaM Funk, Sweater Funk Collective .

B. Bravo's shared the stage with artists like Chromeo, Dam-Funk, Flying Lotus and serenaded crowds across the world with his bass heavy outer space boogie and dirty grinding synth grooves at festivals like Sxsw, Detroit Electronic Music Festival, and Sonar in Barcelona.

Rojai (pronounced "row-juh") is a San Francisco born singer emerging as a leading voice in the modern funk scene with a vocal range from a raspy, percussive island vibe, to silky r&b.

As a frontman for Kool Customer and Latin-funk outfit Bayonics, Rojai has proven himself adept at crooning on any groove in his soulful timbre.

Being legally blind hasn't slowed down Rojai's ability to write, record and perform. He has channeled his life experience into songwriting and singing, creating music with a spirit and soul that inspires.

Extensive sync history include Awkwafina Is Nora From Queens, Netflix's Fatherhood, as well as 3 unique songs featured on Tyler Perry's Sistas and more

The Staples Jr. Singers were part of a vanguard of soul gospel artists in the 1970s that broke from tradition to testify with the groove. They found their inspiration in the secular music they heard on the radio, and wrote songs that were nothing but stone cold soul.

"A Joyful Sound" is a future soul classic with all the elements of a classic R&B record, but simply with a joyful holiday lean. With an all-star supporting cast of who's who from the contemporary soul scene this record is truly a family affair with Kelly at the wheel. Featuring members of Durand Jones & The Indications, The Dap-Kings, Ghost Funk Orchestra, Monophonics, Thee Sinseers, Orgone, Ikebe Shakedown, Jason Joshua & The Beholders, The True Loves, Neal Francis, Jungle Fire, Delvon Lamarr Organ Trio, Ben Pirani, The Jive Turkeys, The Harlem Gospel Travelers, Rudy De Anda, Alanna Royale, and more! Inspired by records like Phil Spector's "A Christmas Gift For You" and Rotary Connection's "Peace" this album will be a record that will appeal not only to lovers of holiday music, but lovers of Soul music in general!

This is Kelly Finnigan's third full-album production in just under two years, including his debut LP "The Tales People Tell" and Monophonics' most recent effort "It's Only Us". He is rapidly establishing himself as a key producer, songwriter, and performer in the current soul scene.

Numero's Hottest Sounds Around triogathers castaway late-'70s grooves fromacross the Greater Antilles. Stan Chaman'sTrinidadian Semp concern deliveredWilfred Luckie's wobbly "My Thing" andthe Hamilton Brothers' calypso-discosmash "Music Makes The World Go `Round"in 1978. Across the sea, Frank Penn'sG.B.I studio tracked Stephen Colebrook'sDoobies-inspired "Stay Away From Music"for the cruise ship curious. All threeare housed in a custom Numero sleeveinspired by Edward Seaga's Caribbeanmusic manufacturing and distributionpowerhouse WIRL (West Indies RecordsLtd.)

Numero's second bundle of cover 45s isall things soulful. The Rotterdam-basedAnother Taste electrifies Maxx Traxx's1984 Chicago boogie grail "Don't TouchIt," which makes its debut on the 7"format here. Colemine Records' Say SheShe delivers a glamorous rendition of JimSpencer's yacht-disco hit "Wrap Myself UpIn Your Love." Columbia Recording artistLeon Bridges effortlessly transforms PastorT.L. Barrett's "Like A Ship," updating the50 year old gospel soul classic for the 21stcentury. All three are housed in a newlyimagined Numero custom sleeve, reflectingthe many shades of our ongoing EccentricSoul 45 imprint.

'You got the stuff' is not 'Lovely day' - that much is true. This one's a wigged out, extended, trip into deep space from 1978 that is truly baffling.
Of course, it features Bill singing for the first half of the track but then all of a sudden we're launched into a cosmic wormhole as everything just falls back and the track is stripped of any earthly qualities. People find themselves asking 'this...... this is Bill Withers?' as lazer guided synths and rock solid drums pull us into the sonic vortex. Truly amazing. Obviously a nugget like this has not gone unnoticed and has been edited and chopped and sampled deftly by the more sarcastic, left-field oriented crate diggers out there but it has never been reissued legitimately - Until now!

A hugely sought after and collectible gem right here, backed with the wistful slow jam 'Look To Each Other For Love' as per the original 1978 Columbia promo 12" version. This left-field, cosmic classic has been legally reissued by Above Board distribution in conjunction with the legal rights holders - Sony Music Entertainment. This high quality repress features original Columbia pink label Disco 12" artwork and has been remastered from Sony's original sources by Optimum Mastering, Bristol UK.

Freestyle Records drop another UK boogie 12" rarity from Eddie Capone's Treatment, this time the previously white label-only "Only You Know What I Like" from 1985. Limited to 300 copies worldwide.
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A mainstay of the UK's reggae, soul, funk & rock circuits since the early 1970s, Eddie Capone has played with a diverse and revered collection of acts; Chairmen of the Board, The Foundations, Black Velvet, The Elgins, Arthur Brown's Kingdom Come, Arthur Lee's Love, Billy Preston and Edwin Starr to name but a few. Eddie was also part of short-lived group Casablanca, with David Costa & Barry Clarke of early 70's folk-rockers Trees, signed to Elton John's Rocket Record Company.
Eddie founded the Treatment band in the early 1980s bringing in a revolving cast of singers and players, and created the Treatment Records imprint out of his own Black Rock studio in South East London in 1982. Releasing a string of singles - with efforts from Eddie Capone's Treatment, a side-project with singer Beryl Marsden as Salt & Pepper, and a single from Norwegian group Wave - Treatment Records then followed this up in 1985 with the 12" release of "I Won't Give You Up" with Diane Jones brought in on vocal duties. This received solid support amongst DJs and radio at the time, and was quickly followed with this solid slice of white label-only UK boogie-funk that has since become a favoured deep cut on the selectors circuit.
Treatment Records continued through the 1980s through to early 1990s releasing Eddie's music, both as a solo artist and as part of collaborative side-projects, and Eddie has continued to write, perform and produce music from his home studio right through to the present day. As a committed community figure & activist in South East London, Eddie has since 2014 re-started Treatment Records under the name of 3G Treatment - bringing together three generations of people from the local area to ensure young artists & musicians have access to the expertise and experience of their elders for support and encourage successful careers in the industry.

Khruangbin has always been multilingual, weaving far-flung musical languages like East Asian surf-rock, Persian funk, and Jamaican dub into mellifluous harmony. But on its third album, it's finally speaking out loud. Mordechai features vocals prominently on nearly every song, a first for the mostly instrumental band. It's a shift that rewards the risk, reorienting Khruangbin's transportive sound toward a new sense of emotional directness, without losing the spirit of nomadic wandering that's always defined it. And it all started with them coming home. By the summer of 2019, the Houston group_bassist Laura Lee Ochoa, guitarist Mark Speer, drummer DJ Johnson_had been on tour for nearly three-and-ahalf years, playing to audiences across North and South America, Europe, and southeast Asia behind its acclaimed albums The Universe Smiles Upon You and Con Todo El Mundo. They returned to their farmhouse studio in Burton, Texas, ready to begin work on their third album. But they were also determined to slow down, to take their time and luxuriate in building something together. Musically, the band's ever-restless ear saw it pulling reference points from Pakistan, Korea, and West Africa, incorporating strains of Indian chanting boxes and Congolese syncopated guitar. But more than anything, the album became a celebration of Houston, the eclectic city that had nurtured them, and a cultural nexus where you can check out country and zydeco, trap rap, or avant-garde opera on any given night. In those years away from home, Khruangbin's members often felt like they were swimming underwater, unsure of where they were going, or why they were going there. But Mordechai leads them gently back to the surface, allowing them to take a breath, look around, and find itself again. It is a snapshot taken along a larger journey_a moment all the more beautiful for its impermanence. And it's a memory to revisit again and again, speaking to us now more clearly than ever.