Back catalogue: 50s/60s

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: Movements Vol.12 fills a bag of rare rhythm & blues, mod-jazz, and mid '70s funk. Launching on a note of obscure rhythm and blues from the 60s, most of the tracks heard thence were sifted from "hopelessly obscure" 7" singles; hopelessly obscure, that is, until now, when many a ravenous compilation curator seek to restore their honour. With most of the tracks doused in vocal reverb, and coming filled with oodles of commonsensical wisdom and everyday tootling advice, we segue from deepfunk to big band to mood jazz and then back to funk, the most impressive in the lattermost category having got to be the 4 Dimensions' 'Hipper Snapper' and Gus Brendel's 'Sax On The Rocks'; the instrumental side of the record is especially great.

Review: Eddie Piller Presents The Mod Top 100 is a fulfilling four-CD set that revisits the golden era of 1960s mod culture through a meticulously curated selection of tracks. This collection, inspired by the original Mod Top 100 compiled by Randy Cozens, offers a rich mix of r&b, soul, jazz and beat music that was integral to the iconic dancefloors of London's West End. Piller has expanded upon Cozens' influential list, including additional personal favorites from the era. The result is a vibrant homage to the Mod movement, featuring soulful voices from Doris Troy, Betty Everett, and Bessie Banks, alongside classics from James Brown, Ike and Tina Turner, and Solomon Burke. Instrumental gems from Hank Jacobs and the Ramsey Lewis Trio further enhance this comprehensive set. The release not only showcases the era's diverse sound but also serves as a tribute to Randy Cozens, whose passion and dedication helped shape the Mod scene. With new sleeve notes by Piller and support from Cozens' family, this collection is a fitting celebration of a pivotal musical and cultural moment.

Review: Eddie Piller Presents The Mod Top 40 revives the essence of '60s Mod music with a fresh twist. While many fans are familiar with the tracks, the story behind them is new and intriguing. Inspired by the Mod revival of the late 70s, Eddie delved into the original scene, guided by Randy Cozens, whose letters to music magazines in the pre-internet era led to the creation of the original Mod Top 100. Eddie's double vinyl set includes 40 essential r&b, soul, jazz and beat tracks plus personal picks for unavailable originals. This release honours Cozens' influence and offers a stylish, informative introduction to classic Mod sounds complete with new sleeve notes and track details.

Review: Light In The Attic teams up with Laurie Anderson and the Lou Reed Archive for a thrilling retrospective, Why Don't You Smile Now: Lou Reed At Pickwick Records 1964-65. An expansive selection of songs all written by Lou Reed, during his mid-60s stint as the staff songwriter for the long-defunct label Pickwick Records, this is a rare glimpse of a master rock musician stepping out of the limelight over the course of 25 songs, yet still letting the form and contour of his voice and sensibility be heard. All this was achieved before Reed had at all launched his career with the Velvets; it may indeed be said that this pubescent 60s period was the firelighter to Reed's flame, as the label specialised in soundalike records that emulated the major pop hits of the day - it's no wonder Reed would absorb such emulations and take them in as his own, albeit with a Century-defining twist. Channelling everything from teenybopper pop to soul-inflected garage rock, whether byJeannie Larimore, The Hi-Lifes or The Hollywoods, we get a thorough look-in here as to what made Reed and his contemporaries tick, and what Reed made tick in turn, before the fame.

Review: Why Don't You Smile Now: Lou Reed at Pickwick Records 1964-65 offers a fascinating glimpse into Lou Reed's early work as a hired songwriter before his iconic days with the Velvet Underground. Released by Light in the Attic Records, this 25-song anthology captures the raw beginnings of Reed's journey in music. The double vinyl format showcases Reed's ability to navigate a range of styles, from the surf-infused doo-wop of the Hollywoods' 'Teardrop In The Sand' to the gritty garage-rock of the Roughnecks' 'You're Driving Me Insane.' This collection not only features Reed's contributions to Pickwick Records, a label known for its budget sound-alike recordings, but also includes the pivotal track 'The Ostrich,' a song that would eventually lead Reed to meet John Cale, laying the groundwork for the Velvet Underground. The anthology also highlights Reed's first collaboration with Cale on 'Why Don't You Smile,' which was later covered by Spiritualized. With detailed liner notes from Richie Unterberger and an essay by Lenny Kaye, this double vinyl release offers a deeper understanding of the roots of Reed's legendary career.

Review: The soundtrack to Jon Savage's monumental history of LGBTQ influence on popular culture is an essential double CD compilation that traverses the clandestine alongside the openly celebrated. Featuring artists from Joe Meek to Buzzcocks, Patrick Cowley, Tom Robinson Band, Lesley Gore, Billy Fury and Little Richard, it encapsulates the hidden and overt narratives of LGBTQ life in post-war music. Starting with the groundbreaking success of Little Richard in 1955, the compilation captures the coded expressions of the 50s and 60s, mirroring the societal secrecy and oppression faced by the gay community. As the music progresses into the early 70s, it reflects the era's burgeoning openness, marked by the influence of icons like David Bowie. The tracks span pop, Tamla, soul, glam rock, and the early funk and disco sounds that dominated underground New York clubs, ultimately leading to the disco explosion of the late 70s. This compilation is a tribute to freedom and the intertwined worlds of music and sexuality. Some artists identify as LGBTQ+, others are included for their impact on or by the gay aesthetic, making a heartfelt homage to the diverse and rich history of music shaped by the community. A vibrant and significant cultural journey.

Review: Frankie Valli & the Four Seasons 70s Greatest Hits offers a glimpse into a more seasoned phase of the iconic group. This collection, presented on 140g sea blue vinyl, features notable tracks like 'December 1963 (Oh What A Night)' and 'My Eyes Adored You,' showcasing Valli's more mature, world-weary perspective, while the inclusion of his iconic theme to 'Grease' completes the set with a nod to Valli's ongoing appeal.

Review: The release of Frankie Valli and the Four Seasons' greatest hits from the 1960s is a nostalgic treat for fans of classic pop. This collection encapsulates the group's meteoric rise during the decade, highlighted by iconic hits like 'Sherry,' 'Big Girls Don't Cry,' and 'Walk Like a Man.' With Frankie Valli's distinctive falsetto leading the charge, the album showcases their mastery of catchy melodies and dynamic vocal harmonies that defined their era. Each track is a legendary story to their enduring popularity and influence, solidifying their place as one of the biggest acts of the time. Remastered on vibrant sea blue vinyl, this release not only delights long-time enthusiasts but also introduces new listeners to the timeless charm of Frankie Valli and the Four Seasons' music.

Review: Few labels in the 80s embodied such a distinct and artful vision as El, the short-lived yet profoundly influential London stable founded by Mike Alway in 1984. The Rubens Room compilation serves as both an introduction and a tribute to the label's uniquely curated aestheticieschewing rock conventions for a sophisticated blend of chamber pop, 60s bubblegum, European chanson, Latin rhythms and cinematic soundscapes. Alway's hands-on approach shaped El's musical direction, working with songwriters like Nicholas Currie (Momus) and Philippe Auclair (Louis Philippe), whose compositions helped show the label's meticulous pop craftsmanship. Simon Turner (The King of Luxembourg), Dean 'Speedball' Brodrick, and producer Richard Preston contributed to a sound that was deliberately theatrical and often satirical, evoking a world of elegance and artifice. This was pop that borrowed from the pastiechoing Ennio Morricone's film scores, Gainsbourg's wit, and the romanticism of forgotten music hallsiyet remained forward-thinking in its stylistic fusions. Among the label's defining artists were the Would-Be-Goods, Anthony Adverse, and Bad Dream Fancy Dress, whose narratives often explored themes through a distinctly un-macho, female gaze. Unlike much of the indie scene of the era, El's output was a celebration of refinement, wit and melodrama. The influence of this approach extended far beyond the UK, particularly in Japan, where it directly inspired the rise of Shibuya-kei artists like Pizzicato Five, Kahimi Karie, and Cornelius. While El never achieved mass commercial success, The Rubens Room reaffirms its legacy as one of Britain's most inventive labels, where pop was not just music but a world of sound, style and storytelling.

Review: The twelfth volume in Slow Grind Fever delves deep into the soul of rhythm and blues, unearthing tracks that have long been forgotten. Each song feels like an intimate portrait, capturing the raw energy of late-night clubs where the beat flows as freely as the heart. The compilation blends old-school charm with a gritty edge, introducing a fresh generation to the subtle brilliance of these artists. With restraint at its core, the collection allows the music to speak for itself, never needing to rely on flashy nostalgia to leave its mark. It's pure, soulful and compelling.

Review: This is a wonderful collection of Phleng Thai sakon, a style of Thai popular song that fuses local and Western influences. Recorded from the end of WWII to the early 1960s, these tracks are part of the Luk krung genre which contrasts with rural Luk thung. Following the 1930s Thai cultural revolution, Western elements like jazz were incorporated into Thai music and transformed folk melodies into dances like ramwong. This compilation showcases the polished, urbanized Luk krung style, though some tracks touch on rural themes. Despite Western influences, many tracks retain strong ties to traditional Thai music and create romantic, beguiling arrangements.

Review: The record Store Day releases are coming thick and fast for 2024 and this is a gem in amongst them. It is said that the so-called "Golden Age of Southern Soul" lasted from about 1962 to 1975, after which point it was disco that shot to prominence and took all the headlines. Although the ensuing fusion of country, gospel, and r&b from the legendary Memphis and Muscle Shoals in the '60s appeared groundbreaking, southern soul drew from diverse influences. Horn lines from Louisiana's swamp pop, blues' lyrical themes, country music's melodies, and profound inspiration from black churches all contributed. As part of the 'History of Soul' series, this LP uncovers southern soul's musical roots with insightful notes by John Ridley, so prepare to be captivated by a truly authentic narrative and electrifying sounds.

Review: Bite-sized, and of an incalculable carat value, we're served a plate of Singaporean ear foods, with releasing label Akenaton homing in on the music scene of the 60s and 70s. Coinciding with the British invasion of ye-ye pop and beat music, which the Southeast Asian nation ate up with glee, we hear many singer-porean ladies backed by both duos and ensembles here, following up a scrumptious first edition. So recline, and let the fuzzy guitar tones and trebly songs of Li Li Wong, Lena Lim, Fung Po Po and Nancy Sit help you weather the worst of personal storms.

Review: Acid Jazz top up their longstanding Rare Mod series, one of their most fervently clamoured-over compilations to have been conceived since their launch. A recent three-volume boxset set the tone for its recollection; and now, we're met with a further Best Of record, bottling the essence of the highly headsy and in-the-know series into a tighter thirteen-track compendium. Compiling the many lost classics without which there would be no 'sound' to typify the original Mod scene - a fusion of hard 60s r&b, freakbeat, soul and pop - the likes of Cathedral, Shyster, Fleur De Lys, Dog Soul, Maxine and Richard Kent Style all abound across a well-rounded quadraphonic crunch.

Review: Tramp Records' Movements Vol. 12 offers an excellent trip through rare rhythm & blues, mod-jazz and mid-70s funk. This latest installment in their acclaimed series is a treasure trove of obscure gems and infectious grooves, each track a testament to the label's dedication to uncovering hidden musical gems. Opening with Johnny April's 'She Had A Pikanese,' featuring the Mat Matthews Quartet, the compilation sets a tone of rich, soulful rhythms. Lu Elliott's 'Common Sense' and Lloyd Fatman's 'No Big Thing' follow, with a variety of underappreciated r&b delights. Billy J's 'Teacher Teach Me' and Wayne Johnson's 'Scram Gravy Ain't Wavy' continue the vibe, offering distinctive flavors of classic soul. The compilation dives into deep funk with 'Hipper Snapper' by 4 Dimensions, reminiscent of Charles Wright's 'Express Yourself.' Other tracks like Gus Brendel's 'Sax On The Rocks' and The Hornets' 'Seven Days To Tahiti,' perfect for dance floors. Bret Breitinger's 'Jive Samba' and Downtown Trio's smooth 'Summertime' add to the eclectic mix. Overall, Movements Vol. 12 is a triumph, delighting with its rare finds and impeccable curation, solidifying the series' reputation as a flagship of musical discovery.

Review: Since the release of Make Mine Mondo in 2018, fans have eagerly awaited a follow-up - and the second instalment is a thrilling collection of wild instrumentals, rockabilly, garage rock and energetic r&b. This compilation collects some rare music that helps the collection of obscure tracks be a blend of the quirky, the rebellious and the heartbroken. It's a fascinating mix of the mad, the bad and the dangerous, each song oozing raw energy and a sense of urgency. Volume 2 proves just as captivating as its predecessor, delivering an exhilarating ride through the fringe of musical history. Expect the unexpected.

Review: The 11th and 12th editions of this celebrated series, a bestseller for Stag-O-Lee, continue to capture the sultry and atmospheric charm of Melbourne's underground music scene. These compilations transport listeners to the shadowy ambiance of a monthly club night where vintage music lovers and enigmatic figures gather in a smoke-filled, dimly lit room to sway to decelerated r&b, soul and exotica grooves. Curated by Ritchie1250, the mastermind behind SGF and its insightful liner notes, these volumes feature a carefully selected lineup of tracks from legends like Dinah Washington, Harry Belafonte and Charles Brown, alongside hidden gems from lesser-known artists like Jeri Simpson, The Rockbusters and Hirao Masaaki. The soulful strains of 'I Left My Baby' by Count Basie All-Stars and the exotic flair of 'Caravan' by Dinah Washington deliver timeless appeal, while tracks like 'Gee Gee Baby' by Lenny Johnson and 'Danger Theme' by Tony Mottola add intrigue. With each track, these compilations create a vivid soundscape, blending the moody nostalgia and rhythmic allure that will transport listeners to another era.

Review: This third part in an ongoing series of records to focus on the music of the films of Quentin Tarantino continues where Reloaded left off by offering a double album packed with iconic tracks. Featuring gems like Jose Feliciano's 'California Dreamin',' Bobby Womack's 'Across 110th Street' and The Brothers Johnson's 'Strawberry Letter 23,' it celebrates Tarantino's unparalleled ability to pair music with storytelling. Songs from Pulp Fiction, Kill Bill: Vol. 1, Jackie Brown, Reservoir Dogs, Death Proof and Once Upon a Time in Hollywood all feature here on hello w and red vinyl and create a sonic tribute to one of cinema's greatest visionaries. With stunning artwork and remastered sound, this is a superb document of some of film's most famous musical moments.

Review: From the makers of Hillbillies In Hell comes Hey Mr Devil: Apocalyptic Gospel & Rapture Rockabilly From Private Press Prophets. 20 timeless slices of Luciferian gospel, end-times prophecy and doomsday sermons from the surreal sacred songbook. Armageddon rockabilly collides with kindergarten sulphur and brimstone diatribes. Backwoods demonic disco confronts beastly predictions and Southern-friend incubus funk. All excavated from deep within the forgotten margins of homespun and private press culture. Years in the making, Hey, Mr. Devil presents a raucous revival tent of fallen rockabilly icons, from Kylan Laxson, The Fundamentalist, Wally Fowler, The Byrd Family, The Musical Harts and Arlie Neaville. All of these incendiary sides are incredibly rare and are reissued here for the very first time.

Review: For Quentin Tarantino, music is as integral to his films as the visuals and dialogue. Fans can't imagine Reservoir Dogs without 'Stuck in the Middle with You' or Pulp Fiction without 'Misirlou' and now they can relive that magic as often as they want: The Tarantino Experience Reloaded celebrates his musical genius with remastered sound and stunning artwork. Tarantino explains his process saying, that "when I start a film, I go through my record collection to find the spirit of the movie," often discovering the perfect song for key moments. His soundtracks are just as exciting and groundbreaking as his films, creating unforgettable moments like Kill Bill's final showdown or Reservoir Dogs' torture scene. Many of them and more feature here.

Review: We bloody love the Death Is Not The End label. It's the sort of outlet that vinyl lovers fawn over because it only deals in fascinating sounds from lesser-known musical worlds. Enter this latest project: Shidaiqu, meaning "songs of the era," emerged in 1920s Shanghai as a fusion of Western pop, jazz, blues and Hollywood soundtracks with traditional Chinese elements. This hybrid genre shaped a golden age of Chinese popular music and film during the pre-Communist interwar period. This record anthologises shidaiqu's evolution, from Li Jinhui's pioneering 1927 song 'Drizzle' sung by his daughter Li Minghui to polished 1930s-40s works by the Seven Great Singing Stars, including Zhou Xuan and Bai Guang. A wonderful trip into the unknown.

Review: Eccentric Soul: The Cobra Label unearths a fascinating collection of soul and r&b from the obscure Cobra label, offering a unique blend of raw energy and heartfelt emotion. Opening with the infectious 'Wooleh Booleh' by Sonny Ace & The Twisters, the compilation quickly sets a vibrant, foot-tapping tone. Tracks like 'Buscando (Searchin')' by Mike & The Belairs showcase smooth, silky vocals and catchy grooves, while 'Funny Funny Funny' by Henry & The Kasuals introduces a more playful, upbeat rhythm. The diversity of sounds is clear, with everything from the introspective 'Someone Who Cares' by Royal Five to the funky 'Summer Rain' by Freddie Martinez. The compilation's eclecticism is a testament to the variety and depth of Cobra's catalog, making it an essential listen for soul enthusiasts.

Review: The early Cold War years had quite a lot to be envious of. Clearly defined lines of partisanship and international allegiances, rather than this 'each-country-for-itself' end game we seem to be setting up to play right now. Then there was the sexy, swoon-y, seductive and thoroughly intoxicating pop sounds emanating from teenage bedrooms, shopping malls, concert halls and anywhere else you can think of. Call Me Old Fashioned hits the nail on the latter's head. Squarely. The soundtrack to the first part of Louis Wayne Moody's spy trilogy, this is all about those tunes that make you want to sip Manhattans while gazing at some red-lipped diva cast in the low-lit spots of a late night cabaret restaurant. Or lose yourself in the rhythm of a live Latin jazz ensemble, or the bombast of big band. Picture painted, it's a transportive release, even if you've never seen or heard of the movies.

Review: Just in time for the spooky season, the wonderful Numero has put together another of their famously good compilations. This one, Haunted Presence (which comes on lovely 'ghost power' silver vinyl) is packed with Halloween treats from across the label's vast span. It takes in ghoulish garage rock like Slim Martin's 'Haunted After Midnight', skeleton-rattling soul like Bambi Fodera's 'The Moon Turned To Blood' and some proto-metal mutations like Medusa's 'Unknown Fear' as well as haunting 60s rock like Angela Alexander & JD. Saddler's 'Don't Make Me Kill You' across 20 tracks that will enliven any seasonal get-together.

Review: Monster Mike of Oracion Record is back once again having been digging deep into soul history. The treasures he returns with are again exceptional, just like they were in the first volume. Shades Of Sorrow: Rare Chicano & Blue Eyed Soul Ballads features 25 more gems from the likes of The Sharades, The Dirty Elbows and The Fluid Ounces, all of which tug at the heart, bring beautiful sad feelings to the fore and leave you feeling happy to be alive and able to experience such stunning melancholy. An essential album .

Review: Chicago's soul scene in the early 60s thrived on a dynamic blend of raw emotion and polished craft, and this collection is a testament to that unique balance. The arrangements burst with tight, syncopated rhythms, uplifting brass, and smooth vocal harmonies, capturing the essence of a city reshaping soul music. There's a raw edge to the production that keeps the energy unfiltered, while the melodies radiate warmth and storytelling depth. Each track contributes to an atmosphere of heartfelt resilience, showcasing Chicago's role as a powerhouse of innovation during this pivotal era.

Review: One of the most startling aspects of Todd Philips' Joker sequel - aside from the creepy, claustrophobic, horror-leaning moodiness of Hildur Guonadottir's original score - was the director's decision to get its lead character to belt out cover versions of well-known songs, jukebox musical style. It's that aspect of the film's soundtrack that's showcased on this release, rather than Guonadottir's incredible score. Joaquim Phoenix and Lady Gaga, then, are the undoubted stars of the show, belting out - individually or collectively - such familiar favourites as 'That's Entertainment', 'That's Life', 'When You're Smiling (The World Smiles With You)' and 'To Love Somebody'.

Review: A new series from Jazzman featuring selections from Greasy Mike, the notoriously shady selector rising up from his dark netherworld of super rare records. After many years lurking in the underground dungeon beneath, Mike now pops the lid on his cell for an eighteen-track LP full of oddball rock & roll, garage rock and instrumental jazz, the likes of which no mere mortal can stomach at the best of times. From The Big Guys' 'Zombie' to Mysterions' 'Transylvania' to The Bluenotes' 'Rigor Mortis', you're in for a real fright on this eighth volume.

Review: Unearthed after 63 years in the Lou-Mood Pictures vault, this long-lost soundtrack captures the lush elegance of pop's post-war heyday. Call Me Old Fashioned blends sugar-voiced divas with bold big bands, and a playful "zoo be zoo be zoo" flair, and is then topped with a Latin jazz twist. With its cocktail of vintage sophistication and cinematic intrigue, this 40-minute stereo escapade is tailor-made for fans of spy-fi glamour and is yet another sonic treasure from Numero that invites you to sip and savour the golden age of sound.

Review: In 1961, The Belairs kicked off the surf music wave with their flawless instrumental 'Mr. Moto', paving the way for a new sound. Surf music soon became a symbol of freedom and rebellion, breaking away from the stuffiness of the 1950s and thriving in sunny California. It was all about the next wave, wild parties, and, of course, loud, energetic music. One of the genre's first big hits, Dick Dale's 'Misirlou' (1962), with its sustaining guitar, exotic melodies and untamed energy helped set the trademark sound. Central to the surf sound were two key innovations developed by Leo Fender for Dale: the Fender Reverb and Showman amplifier, now essential tools for any serious surf guitarist. While many surf bands of the time only produced a couple of singles, DJ Crilleiresident DJ at Hamburg's Komet! Club and surf music specialistihas a talent for finding these hidden gems. Known for curating rare releases like the Vocal Group Madness! LP and Born To Hula series, Crille's Surfin Burt's Surfin Safari! is a perfect capture of the surf music spirit.

Review: The upcoming soundtrack for Joker: Folie a Deux has film and music fans on the edge of their seats, with its highly anticipated fusion of drama and musicality. Produced by Joaquin Phoenix, Lady Gaga, and an impressive team including Jason Ruder and Todd Phillips, the album promises to be a vivid and bold departure from traditional film scores. Hildur Gudnadottir, who composed the haunting score for the first Joker film, returns, but this time her music is interwoven with 15 cover songs, transforming the film into a jukebox musical. Drawing from Hollywood's Golden Age, the soundtrack teases the inclusion of songs like Fred Astaire and Judy Garland's 'Easter Parade' and 'Cheek to Cheek,' with the trailer already showcasing Gaga and Phoenix performing 'Get Happy.' These classic tunes are expected to be reinterpreted in ways that are both 'logical and surprising,' according to Gudnadottir herself. The mix of Phoenix and Gaga's vocal performances with the score's dark undertones promises an audacious contrast, offering a new lens through which the psychological descent of both Joker and Harley Quinn can be experienced. Coming on red vinyl, this release is set to blend nostalgia with intensity, making it a defining musical moment for the film.

Review: Paul Weller is perhaps one of the best non-soul musicians to ask to compile a rare soul compilation. Rather than documenting soul music as it proliferated in the 1960s, Ace Records' soul aim was to capture a genre, fashion and style as one man saw it in retrospect, in light of his involvement in the mod revival of the mid 1970s. Weller would later go onto form and front The Jam, but in late 1974, shortly before his involvement in the punk movement, he was about none of that business at all. Punk partly grew on febrile tissues of mod, which was in turn an offshoot of 60s soul; and it is true that we may hear a foetal form of the sound in the brasher cuts on this record, be it Billy Stewart's 'Summertime' or James Carr's 'Pouring Water'. Also clock Brother To Brother's 'In The Bottle', a super-early drum machine blues gem perfect for the house heads.