Father’s Children were a rough-and-tumble funk septet paying dues on the Washington, D.C., club circuit when they recorded Who’s Gonna Save the World in the fall of 1972. The group took an exhilarating, melting-pot style approach to funk and soul that fused Latin percussion, massed horn sections, and group harmony vocals in a manner mirroring the eclectic approach of the era’s other large funk outfits. But where similarly adventurous groups like Mandrill, War, and The Soul Searchers all secured major-label record deals and enthusiastic underground followings, Father’s Children had difficulty getting their music heard by a larger audience. When they proved unable to pay for the studio time they’d used to record Who’s Gonna Save the World, the studio refused to give the group the master tapes. The album languished in storage for decades before being discovered in 2006 by D.C.-area music historian Kevin Coombe. Lovingly reissued by Chicago’s Numero Group, the album is a minor wonder that, had it been released in 1972, would have easily stood as one of that year’s best funk full-lengths.