SOUL RECOMMENDATIONS JUNE 2016

Review: When you hear people talk about 'boogie', it's largely thanks to the music that resides on the catalogue of the SAM label, some to some of the most blazing electro-disco bangers from the '80s. Standing undisputed as one of the founding labels for the genre, Doris Duke's cover of Marlena Shaw's "Woman Of The Ghetto" is the perfect balance between soul and something else, something murkier, deeper, with a more electronic edge. Both the vocal and the instrumental cuts are serious weapons for any dance floor, and although they might be relatively slower compared to other SAM joints, they're still as sexy as hell...

Review: Serious Japanese Steel editry from Kazahaya: "Miracles" takes two recordings of the classic "I Believe In Miracles" (Mark Capanni and the Jackson Sisters) and deftly plays between the two to incredible effect with some really cool double-ups on the fills. Flip for a twist on a classic immortalised by Marlena Shaw where a thumping northern soul kickdrum drives us wild beneath the big orchestration. No messing around here.

Review: Brand new sub-label from the Favorite camp, SOL Discos launches with an absolute reissue gem that has previously passed hands for well over a L100. Hiram & Direct's Detroit-recorded, Hirome-released double-A sets up the new label's stall really well as we're treated to frenetic jazz boogie on "Love Flight" which hasn't lost so much as an ounce of dancefloor focus in its 30+ years while "Turn It Around" is a classic torch ballad Faze-O style. One for getting freaky on the floor, one for getting freaky elsewhere. More please.

Review: Originally released back in 1968, Freddie Scott's "(You) Got What I Need" is a US soul staple that went on to be sampled by late '80s rapper and beat boxer Biz Markie on his breakout track "Just A Friend." Scott's track came some five years into a successful singing career and featured production from celebrated duo Kenny Gamble and Leon Huff. It's paired up on this 7" with another track that was later popularised in hip hop, Ike & Tina Turner's "Get Nasty". Depending on your view of late '90s hip hop, you'll either fondly remember how Jurassic 5 sampled this track for "Concrete Schoolyard" or jolt at being reminded of Chali 2NA's somewhat grating vocal delivery.

Review: A stunning soul double A with a percussion heavy smoky soul cover of Leroy Lane & The Upstairs Maids' "There's A Man" and a big-swing, horn-heaved late 60s Motown-style ballad "I Have This World & You". Canadian soul act Joey Irving & Just Us only wrote and recorded a handful of songs and - madly - they couldn't get a deal on home soil so turned to Belgium's Baltic label which was usually the sole preserve of elevator music and native Flemish folk. Few original pressings have been spotted, but when they do they regularly fetch over L200. Jump on this.

Review: Two of many incredible recordings from singer, songwriter and political auteur Oscar Brown Jr: the big band horn-led poverty poem "Humdrum Blues" was featured on his 1960 album Sin & Soul while "Sixteen Tons" featured on his In A New Mood album from 1962. Taking on even more of a jazzy influence with muted horns, roomier dynamics and a more dramatic build, it's one of many shades to the immense 10 album legacy Oscar left us with.

Review: Classic Soul styles from Detroit ensemble Will Sessions pressed up on authentic dinked 45! Run Don't Walk Away finds the Sam Beaubien-led band working once more with vocalist Coco, and if you picked up Boss Lady, that 2013 funk jammer they previously collaborated on, you will be all over this like a bad suit. Coco takes centre stage here, her heart-wrenchingingly soulful vocals leading the way whilst the Will Sessions gang beat out an instrumental groove you'd be hard pressed to separate from the JBs finest.

Review: Following their two-part "Rap It Together" 45" with Will Sessions earlier this year, Russian funkateers The Soul Surfers return with two more blistering originals. Continuing their Booker T-edged signature, both instrumentals are well polished, smooth and perfectly Hammond-balanced. "Odd Love" is the more upbeat, dancefloor minded track while "Cruisin'" takes us up to lover's lane for an intimate session that doesn't disappoint.