The Lineage of Sly & The Family Stone, Funkadelic, Ohio Players, and Earth, Wind & Fire
Each guide is based on legendary musicians believed to be part of D’Angelo’s roots. It then branches out into post-‘Brown Sugar’ and ‘Voodoo,’ drawn from that tree. Here are the four bands.
From a narrow definition of soul music, we highlighted R&B that connects back to artists like D’Angelo, hoping it might spark broader interest. Even if you try to explain that “today’s R&B is a direct continuation of old-school soul,” if people don’t see it on the surface, it makes sense they’d ignore it. Those surface-level impressions might tighten the entrance to R&B more than we realize. At the heart of this lineage, this guide covered albums released from 1995 to 2015 that connect to D’Angelo in different ways.
Each guide is built around legendary musicians believed to be part of D’Angelo’s roots (Prince, Marvin Gaye, Curtis Mayfield, Sly Stone, and so on), then branch out into post-D’Angelo R&B releases that draw from that heritage. Inevitably, the selections are a bit biased. They heavily feature the genre often called “new classic soul” or “neo-soul.” So, out of all the artists who’ve been active these past two decades, we’re only showcasing about 60% of them. Still, we take some pride in how major releases by well-known R&B artists line up alongside indie records cherished by devoted fans.
We hope you’ll understand that any artist or album was left out intentionally—and that the artists appearing in each guide don’t necessarily belong in only that guide. We'll be over the moon if this sparks a whole new R&B world for you.
From the late 1960s onward, funk bands began springing up all across the United States, triggered by local funk events (often jam or block parties). These bands thrived from the 1970s to the early 1980s, but with the introduction of electronic instruments—which streamlined their setups—the scene started to contract heading into the mid-’80s. At the same time, hip-hop rose rapidly as if to complement the void left by funk. While a handful of funk bands managed to hold onto their foundations, hip-hop, carrying on funk’s genetic code, kept transmitting the groove to a new generation. The seeds of funk these artists had scattered finally began to sprout in the ’90s, giving rise to a new wave of R&B acts who embraced the raw, powerful, energetic, sometimes sophisticated, sometimes mellow qualities that bands once possessed.
One of the groups that greatly influenced this new wave—often referred to as the “New Classic Soul” movement—was Sly & The Family Stone. Led by Sly Stone (b. 1943 in Texas), this racially mixed ensemble operated out of the San Francisco Bay Area from the late ’60s onward, pushing the fusion of soul/funk and rock while releasing energetic songs like “Dance to the Music” and “Stand.” Their mischievous, dazzling flair would be revived over twenty years later by another Bay Area group, Tony! Toni! Toné!
In addition to Sly Stone, D’Angelo drew inspiration from George Clinton (b. 1941 in North Carolina) and his vividly colorful funk-rock outfits, Funkadelic and the more funk-focused Parliament; from the Ohio Players, fronted by “Sugarfoot” (b. 1943 in Ohio), known for their thick, sultry grooves; and from Earth, Wind & Fire, formed around Maurice White (b. 1941 in Tennessee), formerly drummer for Ramsey Lewis. These so-called “vocal-and-instrument” groups laid down grooves that continue to influence the modern music scene—one that has long been dominated by sampling and programmed beats. Though there are fewer bands today that stick to a full band format, many artists continue to pay homage to funk through covers. For instance, on the compilation album Interpretations: Celebrating the Music of Earth, Wind & Fire, Neo-Soul luminaries such as Ledisi and Dwele honor Earth, Wind & Fire’s classics with their own unique interpretations.
Tony! Toni! Toné!: House of Music
Hailing from Oakland and initially debuting with support from Foster & McElroy, Tony! Toni! Toné! began showing their retro-soul leanings on their second album and perfected that style on their third album, Sons of Soul (1993). They paved the way for the likes of D’Angelo. This paragraph discusses the group’s fourth—and final—album together. By this point, each member was busy with outside production work, so there was less of a tight band vibe, and the mischievous, Sly-influenced energy had receded somewhat. Still, “Lovin’ You,” with its Earth, Wind & Fire flavor (you can practically hear Maurice White’s signature yowl), and the breezy funk track “Annie May,” showcasing D’Wayne’s talents, are both impeccable. The Tower of Power horn section is featured, paying homage to fellow Bay Area trailblazers. There’s a bounty of Al Green-styled tunes, sweet soul ballads, and Southern soul touches here—an album loaded with superb soul moments. — B.O.
Rating: ★★★★½ (4.5/5)
Even if the group’s chemistry had started to wane, the musical craftsmanship is undeniable. With nods to EWF and TOP horns, plus a spread of retro-soul gems, it’s still a richly satisfying swan song for Tony! Toni! Toné!. The dip in “band unity” keeps it shy of a perfect score, but the highlights shine brightly as soulful must-haves.
Art N’ Soul: Touch of Soul
This trio featured Sam Bostic—who went by “Tracy” here—active in the G-funk scene (he contributed to 2Pac’s Me Against the World) along with Dion and mentorship from Timothy Christian Riley (Tony! Toni! Toné’s drummer and Dion’s older brother). Timothy co-wrote most of the tracks, did programming, and played keys. They debuted with a “new classic soul” vibe, positioning themselves as a kind of younger sibling to the Tonys. Like Tony! Toni! Toné!, they preferred band-oriented arrangements—even when using programming—and conjured up a warm ’70s vibe. Tracy’s voice (both chest and falsetto) is mesmerizing. You’ll find breezy grooves, sweet ballads, and funkier tracks, all well-crafted and guaranteed to tug at your heartstrings. — P
Rating: ★★★★☆ (4/5)
Great vocal dynamics, tight grooves, and that classic Bay Area soul/funk DNA give this one plenty of charm. While not as high-profile as Tony! Toni! Toné!, it stands on its own, blending nostalgia with fresh R&B flair.
D’Wayne Wiggins: Eyes Never Lie
D’Wayne Wiggins. The genius who worked alongside his brother Raphael Saadiq in Tony! Toni! Toné! (continuing the group without Raphael) and helped launch Destiny’s Child. Known for his soulful guitar that channels both mellow melancholy and funk, D’Wayne Wiggins’s devotion to soul also came through in the work he produced for the group “Blue.” So it’s no surprise he debuted as a solo artist under Kedar Massenburg. Supported by the Tony’s crew, as well as collaborations with Larry Graham and Carlos Santana, the album celebrates his Oakland funk roots. D’Wayne’s dry, trademark guitar tone ties it all together. He delivers social commentary on “R&B Singer” and “What’s Really Going On (Strange Fruit),” referencing his own experiences with racial issues, yet on “Let’s Make a Baby” (co-written with Jamie Foxx), he melts into sweet romance—bold moves reminiscent of Sly Stone’s free spirit. — B.O.
Rating: ★★★★☆ (4/5)
A compelling solo statement: part funk, part protest, part tender slow jam. The guitar is front and center, and the combination of star-studded collaborations plus heartfelt songwriting makes for a strong, cohesive listen.
Lucy Pearl: Lucy Pearl
D’Angelo collaborator Raphael Saadiq teams up with Ali Shaheed Muhammad (A Tribe Called Quest) to craft tracks sung by Dawn Robinson (formerly of En Vogue) and Raphael himself. It’s a dream unit uniting stars from Tony! Toni! Toné!, A Tribe Called Quest and En Vogue—each of whom has a deep love for ’70s soul and funk, updated for modern ears. “Dance Tonight” glides with lush strings and that typical Tony’s groove, while “LaLa” channels a snappy ATCQ-style beat. Raphael’s somewhat boyish vocal tone meshes with Dawn’s direct, powerful singing, resulting in a fluid, upbeat sound. On “Hollywood,” reminiscent of Funkadelic, you hear the trio’s Oakland funk-rock leanings. Guest spots by Snoop Dogg and Q-Tip also shine. — P
Rating: ★★★★★ (5/5)
An incredible fusion of funk, soul, and hip-hop lineage. The chemistry among these 1990s icons still feels fresh, playful, and musically innovative. A definitive late-’90s/early-2000s gem that hits the mark from all angles.
Joi: Star Kitty’s Revenge
After Dawn Robinson left Lucy Pearl, Joi was brought in, but the group soon fizzled. Around this time, Joi released her second album. Four tracks were produced by Raphael Saadiq, carrying a Lucy Pearl vibe. That said, Joi’s own distinctive, “dope” funk aura really shines—like on “What If I Kissed You Right Now.” There’s also a subdued cover of Bootsy Collins’s “Munchies for Your Love,” turning a normally upbeat funk number into something more understated. Tracks like “Techno Pimp,” produced by Dallas Austin with a futuristic funk edge, and the Sleepy Brown–featuring “Lick” are quite powerful. The only real pop moment is a Chaka Khan–esque cover of Rufus’s “I’m a Woman.” It’s a tough, hard-hitting album that challenges the typical idea that “funk = big party anthems.” — B.O.
Rating: ★★★★☆ (4/5)
A fiercely independent, musically bold statement. Joi balances Lucy Pearl–adjacent soul with edgy funk and experimental touches. That willingness to break funk clichés makes it a hidden gem.
Sa-Ra: The Hollywood Recordings
Named partly in homage to Sun Ra, Sa-Ra is a loosely defined trio of creators/producers from both coasts of the U.S. They draw heavily on Sun Ra, P-Funk, and other afro-futurist influences, serving up cosmic funk. They’ve collaborated with hip-hop and R&B acts; on this debut full-length, they feature folks like J Dilla, Talib Kweli, Bilal, and Erykah Badu. Their music often uses old-school soul instrumentation with a hip-hop “jazzy” approach, but layered with fat bottom end and futuristic synths—so it feels cutting-edge rather than simply retro. Through their production work for Erykah and Bilal, they helped transform the shape of neo-soul itself. — B.O.
Rating: ★★★★½ (4.5/5)
Forward-thinking, genre-bending, and star-studded, this album underlines Sa-Ra’s influence on the sonic direction of 2000s soul and hip-hop. A near-masterpiece of afro-futuristic innovation.
Randolph: Lonely Eden
A bassist/singer-songwriter emerging from the Detroit techno-house scene, Paul Randolph sang classic tunes with Carl Craig’s Innerzone Orchestra Programmed (1999) and won over the city’s creative elite. His first full album starts with a funky instrumental tribute to James Brown, who had just passed. This sets the tone: from the thick, GCS-meets-War vibe of “Golden Lady” to cosmic Sly Stone–style funk on “Claim” (with Amp Fiddler on organ and clavinet), there’s plenty of macho funk grit. But Randolph also excels at smooth soul on tracks like “Broken,” featuring Stephanie McKay. He’s got remarkable range. The title track, produced by Wajeed, adds organic instrumentation to a hip-hop beat for a fresh sound. Randolph also guests on projects by Jazzanova and Opolopo. — P
Rating: ★★★★☆ (4/5)
A vibrant display of Detroit’s cross-genre creativity: from raw funk to mellow soul. It’s not quite a top-to-bottom classic, but the diversity and dynamic performances are hard to ignore.
Amp Fiddler: Waltz of a Ghetto Fly
Amp Fiddler joined the P-Funk army in the mid-’80s. Starting out as Enchantment’s keyboardist in Detroit, he spent the ’90s and beyond collaborating with Maxwell (Urban Hang Suite), becoming a go-to for artists like Omar, Davina, Moodymann, and more. This “first solo album” stands as the culmination of that career. Co-created with brother Bubs as Mr. Fiddler, it’s a neo-soul reimagining of Sly-inspired funk and Marvin Gaye–ish mellow tunes, polished by J Dilla’s input. From the P-Funk-tinged “Believe In You” to the George Clinton cameo on the title track, it’s the story of a “cat who left the ghetto,” in his own words. Standouts include “Dreamin,” co-written with Raphael Saadiq, the groovy organ-funk “Soul Divine,” and the Sly-like drum-machine groove of “Superficial.” Each track cuts deep. — B.O.
Rating: ★★★★½ (4.5/5)
This album oozes Detroit soul-funk authenticity, bridging P-Funk legacy with modern neo-soul vibes. The synergy of big names like J Dilla and Raphael Saadiq only adds to its brilliance.
Society of Soul: Brainchild
Organized Noize (famed for OutKast, Goodie Mob, and TLC’s “Waterfalls”) had a five-member group called Society of Soul that included three members of Organized Noize plus a rapper and a singer. They produced only one album—an incredible shame. Rather than using samples, they played live instruments to replicate that ’70s funk/soul vibe, akin to D’Angelo’s approach. Tracks like “Ghetto Fuh Life,” featuring reggae-style chanting and cool flute lines, deliver unbelievably chilled funk, while “Changes,” sporting a wah-driven bass line and T-Boz’s low-register vocals, is delightfully odd and original. Their punchy, bluesy bass lines also elevate their soul songs to another level. — P
Rating: ★★★★½ (4.5/5)
A singular marvelous feat: bold funk, live instrumentation, and boundary-pushing creativity. The synergy between classic influences and forward-thinking production earns it top marks.
Sleepy’s Theme: The Vinyl Room
After the Society of Soul album, Sleepy Brown of Organized Noize formed a local Atlanta trio with Eddie Stokes and Victor “Rico.” Releasing their lone album on the indie label Bang II—likely named in tribute to the original Bang label that Sleepy’s father Jimmy Brown and Brick were signed to—they carried on the deep ’70s funk ethos of SOS but leaned more into live, jazzy textures. “Still Smokin” is a slow jam with sticky wah-wah guitar, reminiscent of D’Angelo’s approach to moody soul. Overall, it hints at Ohio Players but can shift into darker, P-Funk-like territory on instrumental jams such as “Bong Experience Dude!” Falsetto shines on “Private Party,” foreshadowing Sleepy Brown’s solo ventures. — P
Rating: ★★★★☆ (4/5)
An under-the-radar gem for funk purists. Its live-jam feel and hazy soul atmosphere offer a unique spin on Atlanta’s Organized Noize lineage. Fans of slow-burning grooves will revel in it.
Mint Condition: Definition of a Band
Mint Condition debuted on Jam & Lewis’s label in 1991, and they remain active. Their third album again spotlights killer ballads like “What Kind of Man Would I Be,” powered by lead singer Stokley’s blue-tinged voice (reminiscent of Raphael Saadiq). But they’re also a rarity in modern times: a skillful band that can tackle any funk/soul style under the sun. For instance, they collaborate with Chris Dave for a double-drum, Caribbean-jazz intro, then pivot seamlessly into a P-Funk-ish track with programmed beats, then transition into one of their signature powerhouse ballads. They even add Roger Troutman’s son on a Zapp-inspired jam, and also deliver live percussion workouts. Few bands match their rhythmic range and vocal capabilities. — B.O.
Rating: ★★★★½ (4.5/5)
A top-tier demonstration of a real-deal R&B/funk band at its creative peak. Whether it’s ballads or hardcore funk rhythms, Mint Condition nails it.
Somethin’ for the People: Somethin’ for the People
Though based in L.A., this three-man crew has Oakland roots and a mentor relationship with Foster & McElroy—similar to Tony! Toni! Toné. Somethin’ for the People includes producer-musicians “Silk” (Source) and Cat Daddy (Lo), plus the late singer Fuzzy (passed in 2011). After working behind the scenes on Brandy’s debut, they assembled this album (based partly on older RCA recordings). Their Bay Area upbringing fosters a funky, live-band groove reminiscent of an updated Ohio Players. Roger (Troutman) guests on “You Don’t Have to Be Alone” with talkbox and guitar, showcasing a natural chemistry. “Damned If I Do” (featuring Adina Howard) references the sound of D’Angelo’s “Jonz In My Bonz.” Their next albums feature Eric Benét cameos, and their playful vibe even evokes the Bar-Kays. — P
Rating: ★★★★☆ (4/5)
Smooth, funk-drenched R&B with talkbox flourishes and thoughtful collaborations. While it might not be as famous as other Bay Area classics, its deep grooves and bright production earn it a worthy place in the neo-funk conversation.
The Family Stand: Connected
With Sandra St. Victor temporarily absent, The Family Stand recruited Jackie McGhee (known for duets with Keith Sweat). This album stands out in their long history as something of an exception. While V. Smith and Peter Lord have produced countless R&B tracks since the ’80s, here they dial back the “rock” vibe from their previous record for a calmer, more organic approach—likely shaped by post-D’Angelo influences. “Butter,” a mid-tempo funk track with warm Wurlitzer/Hammond organ, is all-natural, no additives. “Keepin’ You Satisfied” has a Stevie Wonder–esque brightness. Jackie’s cute but strong vocals fit surprisingly well. — B.O.
Rating: ★★★½☆ (3.5/5)
A softer pivot from their wilder earlier material. Solid, soulful tunes, but it may feel subdued if you’re expecting the band’s explosive, rock-infused style. Still, it’s a refreshing detour.
Martin Luther: The Calling
With a name evoking the famous civil-rights leader, Martin Luther briefly filled Cody ChesnuTT’s spot in The Roots. His second solo album, Rebel Soul Music (2004), showcased his Hendrix-meets-Funkadelic guitar fireworks, foreshadowing D’Angelo’s Black Messiah. But this paragraph recommends his first album, released on a local San Francisco indie. Early collaborators from Ledisi’s circle contributed to this organic R&B record—clearly inspired by D’Angelo’s Brown Sugar. It’s jazzy, incorporates rock and funk flourishes, and Martin’s smoky, impassioned vocals come to the fore on ballads like “Soul Assassinator” and “All I Do,” while “Chill War” addresses anti-war themes using falsetto. Dope stuff. — P
Rating: ★★★★☆ (4/5)
Guitar-driven neo-soul with a political edge, bridging the gap between classic funk-rock and modern R&B. A strong “hidden gem” for fans of D’Angelo, The Roots, and guitar-centric soul.
Kyle Jason: Generations
From the cover art, it’s clear Kyle Jason aims for a vibe akin to D’Angelo’s aesthetic. The trumpet-laced intro underscores this moody direction—but once you dig deeper, the P-Funk influence is huge. Kyle contributed to vocal group Phase’s new-jack tracks in the early ’90s, later worked with Chuck D in the same hometown, then debuted on Chuck’s label. Eventually, he linked up with P-Funk. Bootsy Collins offers extensive support—from bass to co-writing, arranging, and delivering trademark funky ad-libs. Amp Fiddler and his brother also appear in the credits. The title track reimagines Parliament’s “Flash Light” in an unplugged style, set under Kyle’s eerie falsetto. He released another album in 2005 on the same label and has since dabbled in acting. — P
Rating: ★★★★☆ (4/5)
A fascinating hybrid of P-Funk and 2000s neo-soul. Bootsy’s deep involvement cements its funk credentials, while Kyle’s falsetto and vibe keep it contemporary. Fans of that cosmic funk swirl will love it.
Bilal Salaam: Blah — Time Between Asleep and Awake
Presumably a devout Muslim, Bilal Salaam is a hardcore neo-soul singer out of Washington, DC, who was part of Crossroads alongside Raheem DeVaughn and W. Ellington Felton. His vocal style has a bittersweet quality reminiscent of Marvin Gaye, and he cites Miles Smiles (Miles Davis), Sly’s Fresh, and D’Angelo’s Voodoo as favorite albums, anchoring his music in jazz and funk—rather stoic, uncompromising jazz and funk at that. Produced by DC talents like Kev Brown, Dre King, K’Alyn, and MUHSINA, the tracks are solid yet supple, built around themes of love and peace. “Modern Day Slavery,” produced by Oddisee’s partner Roddy Rod, is a biting critique of major labels, but it’s not preachy—it feels fresh and clean on the ears. — B.O.
Rating: ★★★★☆ (4/5)
An earnest and skillful slice of DC neo-soul, weaving together jazz roots and worldly groove influences. The thoughtful lyricism and unwavering dedication to authenticity shine, though it’s perhaps a bit niche for casual R&B fans.
Tony Hussle: Sexy Freaky Electric
A nephew of late P-Funk legend Glenn Goins, Tony debuted in the early ’90s with the new-jack group Fam-Lee, then formed another sibling group PLFD in 1997, but their album was shelved. After more delays, he finally released a solo EP in 2005, along with an album that quietly appeared via digital distribution. The guitar-forward opener “Givin You This Number” recalls Sly Stone’s post-1970 funk: it’s not frantic rock-funk but a measured, smoldering groove. Vocally, Tony has something of a Raphael Saadiq aura. Tracks like “It Does Rain In Southern California” even hint at Tony! Toni! Toné!’s style. The ballads reek of raw funk and soul—unpolished in the best way, guaranteed to make you swoon. — P
Rating: ★★★★☆ (4/5)
A hidden relative of the P-Funk dynasty, Tony Goines offers understated but potent funk and soul. If you enjoy that late-Sly vibe or early Tony! Toni! Toné! aesthetics, you’ll find plenty to love.
Stepchild: Stepchild
A five-member vocal group from L.A., referencing themselves as “Doohop,” Stepchild claims to fuse hip-hop, jazz, soul, and gospel at a high level. They’re deeply invested in Black culture and formed in high school. Their five-part harmonies impress, but what’s truly unique is the funk-centered sound inspired by Earth, Wind & Fire, New Birth, and Sly. The album has a loose storyline about growing weary of earthly life and heading to Mars (“Stepchild Journey to Mars”)—it’s clever and reminiscent of Parliament’s conceptual whimsy. A deep-voiced bass singer evokes Ray Davis from Parliament-Funkadelic. Tracks like “Sun Will Shine” exude a mellow, G-Funk–inflected smoothness—very West Coast in the ’90s. Bob Power’s mixing ties it all together. They apparently toured early on with D’Angelo, but disappeared after this single album. It’s overdue for re-evaluation. — B.O.
Rating: ★★★★½ (4.5/5)
A lost concept-funk gem with killer harmonies, P-Funk–style storytelling, and a strong sense of melody. The only downside is that it was one-and-done—leaving fans wanting more.
Incognito: Life, Stranger Than Fiction
Incognito never lost their love for ’70s soul/funk. Often compared to EWF for their tight horns, leader Bluey was so blown away by a D’Angelo concert that he scrapped and rebuilt a nearly finished album. The result was their final LP for Talkin’ Loud. Reacting to the neo-Philly scene and West London’s broken-beat wave, they aimed for a “breakbeats-era soul” approach. With four new vocalists (including Kelli Sae) and cameo voice work from Tony Momrelle, tracks like “Stay Mine” and “There Will Come a Day” channel The Roots–meets–Erykah Badu vibes in the classic Incognito style, but deeper and more laid-back than usual. Meanwhile, “Castles In the Air” and “Reach Out” offer their trademark smooth funk. — B.O.
Rating: ★★★★☆ (4/5)
A stylish reinvention that fuses acid jazz roots with 2000s neo-soul energy. While not quite their best-known album, it’s a rewarding listen for fans of sophisticated jazz-funk and Incognito’s signature polish.
Repercussions: Earth and Heaven
Repercussiosn were a six-piece soul band from NYC was seen as the U.S. answer to the UK acid jazz wave. They share members with Groove Collective and frontwoman Nicole Willis (similar to Brand New Heavies or Incognito). Gary Katz (of Steely Dan fame) helped produce, with Tawatha Agee and Fonzi Thornton on backing vocals. Their debut is more cool, urbane jazz-funk than the UK acts—Jerry Hey’s horn arrangements sparkle on upbeat tracks like “Promise Me Nothing,” the Brazilian-flavored “Turn Your Card,” and the mellower “Love Like the Sun” with a crisp, EW&F-style approach. After a second album, Nicole moved to Finland and began collaborating with the Soul Investigators, forging her own path. — P
Rating: ★★★½☆ (3.5/5)
A polished, city-slicker spin on jazz-funk that might feel slightly restrained compared to their UK counterparts. Still, the top-tier session players and Nicole’s vocals offer plenty of quality for acid jazz devotees.
Earth, Wind & Fire: Illumination
A legendary group that’s thrived for decades by sometimes enlisting outside talent—like in the early ’80s with David Foster. Here, they teamed with younger creatives after moving to Mathew Knowles’s label. The result? A total triumph. Raphael Saadiq, who handles several tracks, merges his retro flair with EWF’s classic brand of funk. will.i.am carefully resurrects their late-disco vibe. Organized Noize also contributes, weaving EWF’s essence into their own style seamlessly. Brian McKnight modernizes “After the Love Is Gone” with finesse. Love, skill, and mutual respect shine through every song. — P
Rating: ★★★★☆ (4/5)
An inspired revitalization from bona fide legends. They honor their ‘70s/‘80s legacy while embracing modern soul and R&B production.
Fertile Ground: Seasons Change
Formed in Baltimore in the late ’90s, Fertile Ground started with an Afro-spiritual “black jazz” mindset. By this third album, they’re at their most accessible, leaning closer to neo-soul. Yet jazz remains at the core, alongside elements of reggae, Latin, Brazilian, and second-line funk swirling together. The vibe recalls early Earth, Wind & Fire (Warner-to-Columbia era). Vocalist Navasha delivers an unvarnished, soulful performance, and every instrument feels alive and honest—especially the horns (including a euphonium!), which underscore the music’s genuine feel. It’s an album brimming with “life force.” — P
Rating: ★★★★☆ (4/5)
Though some might find it less punchy than standard funk/soul, the organic jazz-soul hybrid is captivating. Fertile Ground exudes sincerity, depth, and a broad musical palette, making this a hidden favorite for open-minded listeners.
The Rebirth: This Journey In
The Rebirth is a seven-piece L.A. band centered on keyboardist Carlos Guaico (aka Carlos Loslito) from Breakestra. He previously played in Mesh of Mind, inspired by the UK’s Young Disciples and leaning toward a “late-blooming acid jazz” style. The Rebirth gained attention with their faithful cover of The Mighty Ryeders’ “Evil Vibrations” (included as a bonus on the Japanese edition). They champion live-band grooves reminiscent of ’70s soul/funk in the vein of EWF. The piano riffs in “Common Ends” echo EWF’s “Can’t Hide Love,” and the vocal arrangements follow that old-school template. Their second album (2015) got a bit more cosmic, but this first release remains a top-tier revival of real funk instrumentation. — B.O.
Rating: ★★★★☆ (4/5)
Meticulous and authentic in recreating the warmth of ’70s funk, with enough modern spark to feel fresh. Fans of Breakestra, EWF, or any classic funk revival will appreciate their dedication to the craft.
The Internet: Feel Good
From L.A.’s Odd Future collective, The Internet (Syd “tha Kyd” and Matt Martians at the core) rose as a key R&B act alongside Frank Ocean. Their second album got praised as “ambient R&B” with its dreamy production and Syd’s soft vocals (plus Tay Walker’s male vocals). But from another angle, it’s modern mellow funk-soul reminiscent of Ohio Players or Phase II—built around a live-band groove. The Neptunes’ Chad Hugo contributes synth bass to “Dontcha,” a shining example of that vibe. On the twisted slow-funk “Higher Times,” they collaborate with Jesse Boykins III, proving they handle moody, spaced-out funk just as deftly. — B.O.
Rating: ★★★★☆ (4/5)
A breezy, hypnotic brand of neo-funk that blends OG influences with Odd Future’s left-field aesthetics. A strong statement in the modern R&B landscape.
Fishbone & The Familyhood Nextperience: The Psychotic Friends Nuttwerx
Led by Angelo Moore—who once guested onstage with D’Angelo—Fishbone is a longtime fusion/“mixtur”e band whose sound has evolved from punk to metal to funk. Though not their commercial peak, this album arguably spotlights Fishbone’s funk roots more directly than ever. They enlist Gwen Stefani, George Clinton, and Rick James, plus a Sly & The Family Stone cover (“Everybody Is a Star”). Don’t get too comfortable with the faithful arrangement—they’ll suddenly flip into thrash-metal ska, typical Fishbone style. Another highlight is their cover of The Temptations’ “Shakey Ground,” featuring Billy “Bass” Nelson from Funkadelic and Flea from RHCP—an absolute heavyweight funk jam. — B.O.
Rating: ★★★★☆ (4/5)
Unpredictable and brimming with freewheeling energy, it’s Fishbone being Fishbone. Collaborations with funk legends push this project into a joyous, raucous celebration of funk-rock fusion.
Booker T. Jones: The Road from Memphis
Legendary organist Booker T. Jones anchored Stax Records with Booker T. & the M.G.’s. After more than 50 years in music (including a Grammy for Potato Hole in 2009), he entered another golden phase. While 2013’s Sound the Alarm(featuring Anthony Hamilton, Mayer Hawthorne, Estelle, etc.) is notable, this album—produced with The Roots’ Questlove and featuring guitarist Dennis Coffey—offers a vibrant modern take on the classic M.G.’s Memphis sound. Think of The Roots’ approach to covering M.G.’s “Melting Pot,” but here it’s raw, funky, and alive. He reinterprets Lauryn Hill’s “Everything Is Everything” and Gnarls Barkley’s “Crazy” on his Hammond B3. “Representing Memphis,” featuring Sharon Jones and others, is a warm nod to his hometown heritage. — P
Rating: ★★★★½ (4.5/5)
A joyful collision of old-school Memphis funk and modern R&B sensibilities, anchored by one of the all-time great organ players. The bond with Questlove’s grooves is near-perfect.
Kindred the Family Soul: Surrender to Love
This husband-and-wife duo from Philadelphia—evoking Sly & the Family Stone with their name—Kindred the Family Soul often performed with a large band behind them. Their calling card is Fatin’s powerful voice and Aja’s nurturing tone. The album features many from the neo-Philly movement, including a then-15-year-old Jazmine Sullivan on duets. Soulful ballads like “Far Away,” “Stars,” and “I Am” stand out, but the title track also delivers a bold dose of heavy funk to ground everything. Later tracks incorporate brassy ’70s grooves—“Spread the Word” references War’s “River Niger,” while “Don’t Wanna Suffer (Carbon Copy)” replays The Soul Searchers’ “1993.” It’s basically a big jam session tying Philly soul to 1970s grit, bridging into future go-go collaborations with Chuck Brown. — B.O.
Rating: ★★★★☆ (4/5)
A heartfelt fabric of sweet R&B, nostalgic funk, and real-life chemistry. The strong guest spots and dynamic interplay between Fatin and Aja make it a staple of the neo-Philly scene.
Chuck Brown: We’re About the Business
The Godfather of Washington, DC’s go-go scene, Chuck Brown passed away in 2012 at age 75. This final full studio album pairs him with local producer Chucky Thompson (who once played in Brown’s Soul Searchers). Mixing his trademark percussive grooves with his own rap segments, it’s a modern spin on go-go. “Block Party,” sampling The Drifters’ “On Broadway,” has DJ Kool rapping, while “Eye Candy,” built on Jaco Pastorius’s “Liberty City,” features Raheem DeVaughn. Brown invites younger DC talents to join his legendary stage. The re-recording of “Godfather Theme” includes trombonist Greg Boyer (P-Funk/Prince). Brown also collaborated with Ledisi, Jill Scott, and Kindred in his later years. — P
Rating: ★★★★½ (4.5/5)
A bittersweet farewell from a pioneer who kept go-go alive for decades. The modern production meets classic Chuck Brown vibe head-on, yielding a vital final statement in DC funk history.
Ooo I got some music to check out from this one!