Curtis Baker & The Bravehearts - "Fried Fish ’n’ Collard Greens" (2:40)
The Native Yinzer - "The Hip Strip" (2:33)
Review: The fourth edition in Original Gravity's Down In The Basement series, which gathers instrumental soul and swing cuts onto worthy 7" slabs, resounding the fervent 1960s decadal gap in which mod reigned supreme. With juleps flowing and kneecaps knocking, Abramo & Nestor bring newfangled electric pianistic swing with 'Dig It!', while a twinned "hit it!" injunction is heard from Floyd James & The GTs on the reissued 'Work That Thang'; James' voice is tubed and speed-delayed to terrific effect, achieving a sprung intonation. Curtis Baker brassifies the bonanza with the lively 'Fried Fish 'n' Collard Greens', while The Native Yinzer's exiting excitation 'The Hip Strip' quilts our ears with a mnemic, down-feathery Hammond-breaks bit.
Review: This is one of those raw soul sounds that never goes out of fashion, and thankfully neither does it often disappear from availability. It features two r&b classics, the dancefloor-ready 'Last Night' and the soulful 'Don't Break Your Promises', both originally released on the Rainbow label in the UK and a long-time bastion of Aitken's mastery of blending Jamaican and British influences. The opener draws from The Mar-Keys and Georgie Fame, showcasing r&b's imprint on Aitken's style. 'Don't Break Your Promises' is a Milson Luce cover that gained fame in Jamaica before inspiring numerous versions.
Review: The third volume of this series delivers an irresistible blend of funk and 60s-inspired grooves. Side-1 kicks off with a surf-rock-infused funk jam packed with energy and retro vibes. Following that, a swinging 60s sound that combining catchy rhythms and pop sensibilities keeps the momentum going. Side-2 shifts gears a groove-heavy track led by a soulful organ that oozes vintage charm. Closing the collection, there is a gem that features smooth, funk-driven melodies, topped off by a standout sax solo and a subtle British flair. This compilation offers a vibrant mix of styles, perfect for fans of classic funk with a modern twist.
Review: Northern Soul devotees have long been captivated by unreleased Motown gems, and this one may be the best yet. Written by Chester and Gary Pipkin, 'Stuck-Up' was crafted to replace Mary Wells after her departure from Motown. Although Oma Heard recorded extensively, including a duet with Marvin Gaye, she was dropped for not fitting the label's image. The song was then given to Shirley Gunter, whose 1966 version on Tangerine Records became one of the rarest Northern Soul records, often fetching over 500 quid. Recently, the original Oma Heard version surfaced on a Motown unreleased CD and has been hailed as a classic by Ian Levine. Now, for the first time, it gets released on vinyl by Motown's V.I.P. label.
Review: Salena Jones has been active since the 60s, recording over 40 albums of jazz, soul and easygoing pop in that time. Her rendition of 'Am I The Same Girl' - the soul standard written by industry songwriting string-pullers Eugene Record and Sonny Sanders - lies among the greats of its reinterpreters. While Barbara Acklin's version is most famous, Salena Jones' version is much warmer, and its mention of the instrumental's name, 'Soulful Strut', to the main title should be indication enough from the off that Jones' version carries a far greater buoyancy.
Review: In 1961, producer David Rick discovered Vito and The Salutations, a Brooklyn harmony group of Italian, Irish and Jewish teenagers. Their energetic doo-wop take on 'Unchained Melody' became a hit until the British Invasion shifted the music scene. 'Hey There' remained unreleased until Rick's 1981 double album which compiled their singles and rare collector cuts after years of misrepresentation and a court battle with a copycat group. In 2020, Monster Mike unearthed The Long Island Sound's unreleased 1969 demo of 'Hey There' which was recorded before the band dissolved. Now, Oracion Records drops this forgotten gem on 45.
Review: Decca has seemingly listened to the cries of collectors and diggers everywhere by serving this reissue of two sought-after 7-inch singles from the 1960s Mod era, including their original B-sides intact. This is one of them, 'Tax Man' by Loose Ends, the British Beat quintet formed in 1963 in Bexleyheath in Kent and fronted by Alan Marshall. The band toured alongside acts like The Paramounts (later Procol Harum) and The Birds and this, their second and final single, was released in August 1966 to coincide with The Beatles' original. Featuring an added organ for extra dancefloor appeal, this is a timeless delight that still gets any floor going.
Review: This is a reissue of the 1962 novelty song by Bobby 'Boris' Pickett and the Crypt-Kickers, which was a number one hit on the Billboard Hot 100 chart just before Halloween that year. A parody of horror movie tropes, the song features Pickett's imitation of Boris Karloff and Bela Lugosi, two historic vampiric icons, as well as many more impersonations of various monsters all getting together for a mash . A bastion of the off-beat Hammond-organ-style "cartoon" Halloween music.
Review: What better way to celebrate the charm of Elvis Presley than with 'Love Me Tender' on limited edition 7" pink heart-shaped vinyl? Featuring the iconic ballad that captured hearts worldwide, this single was originally recorded in 1956 for Presley's film debut, Love Me Tender. It showcases the King's tender vocals and enduring romantic appeal and the heart-shaped design adds a touch of whimsy and nostalgia, making it a perfect tribute to one of the most beloved songs in rock 'n' roll history, as well as a unique slab of wax for the shelves.
Judson Moore & The Al Tog Staff - "Everybody Push & Pull" (3:11)
Review: Soul Junction revisits the Scot-Tees Capri master tapes here to unveil two previously unreleased tracks. First is 'My Sweet Polly' by The Scott Brothers, a late 60s dance tune inspired by Howard Scott's former girlfriend. Coupled with this is a studio version of Judson Moore's "Everybody Push & Pull," a crossover hit influenced by Rufus Thomas. The Scott Brothers evolved from the 'Elpeccios' in 1958 to the Scott Brothers Band in 1963 and were instrumental in Chicago's music scene. Their label, Capri Records, produced hits like 'We Like Girls' and worked with legends like Garland Green. Judson Moore was a veteran singer who thrived under their mentorship and went on to leave a lasting legacy.
Review: Outta Sight has only been around for two years but their catalogue would suggest otherwise. In this short space of time they've out our a truck loads of records, all in the form of sweet, highly sought after reissues - hot damn! Dee Dee Sight's "Comin Home Baby" gets the rounds this time and it's a peach. Those swingy rhythm & blues strings sounding so ahead of their time. The B side is "Standing In The Need Of Love", equally as amazing but more of anthem - we can almost imagine a lazy summer day in the mid 60s. Soulful would be too much of an understantement.
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