Review: On the latest edition of their excellent Soul Essentials series, Outta Sight has decided to bring together two versions of 'Ordinary Joe', a seemingly perennial favourite written by the late, great Terry Callier. His celebrated 1972 recording - all bold, sing-along choruses, organ stabs, jangling piano and lolloping grooves - breezes its way across side A, while Jerry Butler's earlier version, laid to tape in 1970, sits on side B. His version is much more expansive and musically detailed than Callier's take, with superb production from Gamble & Huff and some brilliant orchestral arrangements courtesy of Donny Hathaway. Both versions are, or course, incredible.
Review: Favourite Records' new reissues series come with a new concept; each classic track comes with an exclusive bit of artwork on each side of the 12" sleeve. This time, they compile two speedy funk tracks from Crystal and J.E.K.Y.S.; 'Funky Biguine' is an homage to the French ballroom style of the same name, from which it draws influence, while 'Looking For You' is a devotional dream from J.E.K.Y.S., a French band singing in English. Slick, quick, and affecting stuff.
Shirley Diamond & Jesse James - "You Don't Know Who You Sleeping With" (3:56)
Shirley Diamond - "You Don't Know Who You Sleeping With" (3:43)
Review: Diamond & James, aka Jesse James and Shirley Diamond, unite for a timeless collaboration that will swell the heart. First introduced by the late Harvey Scales, Jesse and Shirley's partnership flourished over time while Shirley, an educator from Atlanta, balanced her performing career with teaching, always showcasing her talents on weekends and school breaks. She has graced stages alongside music icons like Atlantic Starr and Bobby Bland, proving herself to be a versatile talent with notable releases like 'You Don't Have To Be Sad, To Sing The Blues' and 'Strong Woman'. This one 'You Don't Know Who You Sleeping With,' is a duet produced by Felton Pilate that highlights their enduring musical synergy and dedication to their craft.
Something New (extended Smooth version By Philip Ward) (5:21)
Review: Texas-based jazz harpist Cindy Horstman quietly released Fretless in 1995, a self-assured exploration of jazz textures and instrumental elegance. Tucked among its originals is 'Something New', a standout soul jazz cut that drifts with mid-tempo grace, elevated by James Kings', well, fret-free vocal perforations. Horstman's harp is hardly heard here on this album salvaging; instead, she procured 'Something New', steeped in street and smooth soul, with tuned claves and electronic triangles abounding. Pressed on clear vinyl and limited to 300 copies, this small-batch reissue offers a welcome return for a quietly majestic moment in 90s jazz-soul fusion.
Lost Girl (Marc Hype & Jim Dunloop Late Night rework) (3:32)
Special Technique Of Love (Jim Dunloop Shaolin Soul edit) (3:08)
Review: The mighty Dusty Donuts return to Queensbridge where they encounter a 'Lost Girl' featured on a legendary mixtape by one of QB's finest. This bouncy, choppy Marc Hype & Jim Dunloop Late Night Remix is sure to ignite any gathering. On the flipside, the vibes shift from Queensbridge to Staten Island and bring a special sound to work the crowd - this heavy soul classic arrives in true Shaolin style with choppy, dark soul chords and classic hip-hop beats. It's a track that commands attention with the drums but also locks in head and heart.
We Got To Hit It Off (Dimitri From Paris Liberated Woman mix) (6:35)
We Got To Hit It Off (Dimitri From Paris Liberated Woman dub) (6:44)
We Got To Hit It Off (Opolopo mix) (5:45)
We Got To Hit It Off (Opolopo Deeper mix) (7:43)
Review: Millie Jackson emerged from the Deep South before properly coming of age in the grit of Newark, New York, but her voice always sounded like it was made for the spotlight i bold, sharp, and unfiltered. Across the 70s, she carved out a singular space in soul and funk with her fearless delivery and barbed wit, speaking plainly about lust, betrayal and resilience long before it was fashionable to do so. Her run on Spring Records placed her alongside The Fatback Band and Joe Simon, where she balanced tender ballads with club-ready burners, always laced with her signature no-nonsense bite. 'We Got To Hit It Off', first released in 1979, sits squarely in that lineage i a disco-soul gem with just enough snap to make it timeless. Spring Revisited brings Jackson's original into sharp new focus: Dimitri From Paris uses the original session tapes to craft a mix full of glitz and muscle, while Opolopo offers two flips i one smouldering and stripped, the other buoyant and synth-heavy. These versions don't only overwrite the source, but underline its brilliance for new rooms and younger ears.
Review: Jai Alai is only a relatively young label but its first 11 releases have all been of great quality. This new one features a pair of pearlers from Jaheim Hoagland, a US r&b singer with some 480 odd credits to his name dating from the year 2000 onwards and including several solid albums. 'Just In Case' has a classic soul sound with buttery smooth vocals and plenty of male yearning over sophisticated production. On the flipside is 'Diamond In Da Ruff' which rides a nice deep hip hop beat and has great interplay between vocalists as a tender flute adds further depth to a real smoocher of a song.
Review: Jesse James makes a welcome return to Soul Junction with a single led by his inventive re-imagining of Fred Neil's classic road-tripping anthem, 'Everybody's Talking At Me'. In James' hands, backed up by a fully decked out Motown-ready band, the track becomes an uplifting stomper with a dazzling arrangement from Willie Hoskins. It was originally recorded in 1971 during James' self-financed session at Searra Sound Studios in Berkeley. On the flip, James revisits one of the tracks from his 1990 album Looking Back, given an outing on 45 for the first time.
Review: Jazz N Palms' Soul 02 offers two tracks of infectious soul music. 'Away' on Side-1 is a smooth r&b track with a pop-friendly appeal and a soulful touch. The classy singing performance evokes vibes of northern soul and nu-soul, making it a great choice to end the night on a high note. On Side-2, 'Gro' delivers a classic 70s soulful guitar sound infused with blues elements. This instrumental track has a summery feel, perfect for the beach, and features a touch of Latin flavour that adds to its charm. Overall, Soul 02 is a well-crafted release that showcases Jazz N Palms' ability to create soulful and memorable music.
Review: A captivating blend of jazz-infused grooves, soulful melodies and laid-back vibes, delving into the heart of soul music with 'Lost' that sets the tone with its heartfelt vocals and melancholic melodies. On the flipside, 'Thank You' offers a message of gratitude and appreciation, its uplifting harmonies and soulful instrumentation leaving the listener with a sense of warmth and contentment. Expect a selection of tunes that evoke the golden era of soul, with warm instrumentation, rich harmonies, and heartfelt vocals. Whether you're a seasoned soul aficionado or simply looking for some feel-good music to soothe the soul, this compilation is sure to hit the spot.
Review: Originally released in 1985 on Jo & Neville Carnegie's Brixton-based Dove Records, the wonderful 'Flying' returns on 12" and has been cut from the original master tape so could not sound better. Jo wrote the track while imagining the world from above and in an attempt to escape the tensions of war and political unrest. Amid Britain's lovers rock explosion, the song offered a breath of fresh air and truth be told, with so much raw still raging across the world, it still does. "Back in the day, sound systems would string up giant speakers, and that's when the dances were the best," Jo once recalled. This tune revives the spirit of an era when music provided solace and freedom and will help you soar high above the negativity of the times.
Review: Eugene Lamont Johnson aka Lamont Johnson is known amongst those who now as the first man to ever become renowned internationally for playing freestyles R&B bass. What a lovely fact. The Michican born artist first came to note as a session musician with Gloster Williams &The King Vision and then went on to work with various other bands. Here we get presented with two of his previously unreleased dance tunes. They feature various different local Detroit musicians and vocalists with the a-side being a male vocal led feel good bunker and the flip driven by a synthesised baseline and big female vocal. Boogie-tastic.
Review: This Jonah Thompson single is a breathtaking deep gospel soul gem from New York City. With its ethereal sound and uplifting spirit, it has been championed for years by gospel expert Greg Belson on his Divine Chord Gospel Show as well as being a much sought after tune for deep diggers around the world. However, it is nearly impossible to find in its original form as only a handful of copies are known to exist. This wonderful label brings this rare treasure back to light and means we can all delight in its wonderful charms without having to shell out a fortune. A true transcendent beauty.
Review: A veteran dance music producer teams up with a talented singer to be featured over his classic take on disco. As a pioneer who shaped the UK's early house and acid scenes, Julian Jonah brings his expertise to this polished production. Side-1's 'Let's Not Say Goodnight' is a disco anthem in the making, with Robbie Love's commanding vocals delivering a message of endless celebration. On Side-2, 'Just Can't Wait' offers a smoother, feelgood vibe with tight instrumentation and another stellar vocal performance while the band's groove-rich foundation complements the track's uplifting energy. A release that highlights Jonah's ability to bridge eras, blending nostalgia with modern finesse.
R Dean Taylor - "There's A Ghost In My House" (2:27)
Review: This powerhouse 7" pairs two iconic tracks that have left lasting marks on music history. On one side, Gloria Jones' original 1964 version of 'Tainted Love' shines. Written by Ed Cobb and featuring Glen Campbell on lead guitar, this track laid the foundation for what would later become a global sensation with Soft Cell's 1981 synthpop rework. Jones' vocal delivery is fierce, underscored by Cobb's brilliant production and Lincoln Mayorga's sharp arrangement. Flip it over, and you get R. Dean Taylor's 'There's a Ghost in My House,' an infectious Northern soul anthem. Originally recorded in 1966 and written by Motown legends Holland-Dozier-Holland, it gained momentum in British dance clubs before soaring to number three on the UK charts in 1974. Taylor's commanding vocal cuts through the track's driving beat, making it an enduring favourite. These two songs together bring a vibrant blend of soul, grit and history to any collection.
Review: Jan Jones' 'Independent Woman,' originally released in 1980, is a rare soul and funk treasure highly sought after by vinyl enthusiasts. This 7" gem exudes a classy, summery vibe, with beautifully sung lyrics and stunning string arrangements. Ahead of its time, the track incorporates subtle disco elements, creating a unique downtempo disco feel. Its depth surpasses the often sterile lyrics of typical disco music, enriched by a soulful flute that adds an extra layer of charm. 'Independent Woman' reissue is here so grab a copy before they're gone.
Review: The King Casuals and were founded in 1962 by the late great Jimi Hendrix and after the guitarist's death, he was in the late sixties replaced by Johnny Jones. He leads them in stomping and high energy fashion and here on the a-side is his interpretation of the Hendrix classic 'Purple Haze.' It's got all the things you need to get steamy on the dance floor and it always used to shake the floor at Wigan Casino. Gene Chandler is a bonafide Northern Soul legend who is well known to fans of the genre and his 'There Was a Time' is a real raw gem on the flip.
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: Harkit has put together this vital 7" reissue of a soulful treasure celebrating two standout acts from the golden era of rhythm & blues. Sam & Kitty and Johnny Sayles how up to deliver a stirring performance on 'I've Got Something Good' which is driven big, big raw horns and their heartfelt harmonies and rich vocal chemistry. They very much embody the passion of classic soul duos and on the flipside, 'I Can't Get Enough (Of Your Love)' exudes raw emotion and a sleazy, guttural vocal with a mix of orchestral horns and more intimate melodies over hard-edged and banging funk drums. Together, these tunes capture the essence of vintage soul and funk.
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.
Southside Movement - "I'm So Glad That I've Got You" (3:28)
Review: In the early 80s, Chicago-based funk band Southside Movement teamed up with soul singer Jackie Ross who was already well known for her work with Chess and Brunswick. Though this collaboration produced incredible music, it was largely forgotten since only a few test pressings existed so it never spread too far. However, in 2023, P-VINE reissued their only full-length album on vinyl for the first time and now, the standout track from their partnership, 'You Are The One That I Need' comes on its own special 7" which is the first time it has been available in this format. It's a wonderful and previously long-lost collaboration that is well deserving of your attention.
Keep Rising All Night Long (Sunday Service mix) (6:19)
Review: GAMM has been a treasure trove of edits, golden old soul and forgotten funk gems for an eternity and they come correct again with this monstrous dance floor dynamite on a loud, one-sided vinyl pressing: Ukokos & Jabco's hip hop and gospel styled rework of the world renowned clip of Kanye West's Sunday Service band doing a live cover of "Keep Rising". A majestic, triumphant and real floor filling, crowd pleasing bomb that will bring everyone together for many years to come.
Review: This driving old school Northern Soul gem from Larry Williams & Johnny Watson is a real favourite amongst the hardcore in that scene and an original copy will cost a few quid if you can find one. The infectious missile of the a-side was a key cut in the early days of the soul, mod and scooter scenes and all these years later is just as direct a hit of pleasure. Flip it over and you will find something just as effective in the form of the catchy and uptempo 'A Quitter Never Wins' 'which is as funky as Northern soul gets.
Review: Millie Jackson's classic soul album It Hurts So Good has gone down in time as a shining example of what many hardcore soul fanatics might call 'deep soul'. Darker and more austere than the usual idea of soul at large, deep soul was known for its added grit and pain behind the beltings and breakbeats. Millie Jackson had this yet-nascent formula down to a T. Active in the early 70s and beyond, Jackson released It Hurts So Good as a testament to the test of love, an analogy for life itself. Yes, it hurts, but the pain is worth it when balanced out by the glorious highs. Heartbroken but jubilant, Jackson's sound is refined and always full of energy, occupying a juxtaposition between lyricising about crying and loss, and laying the fonk on thick, groovy and plentiful. The overall sound, firmly rooted in both the funky and tearjerky camps, is that of 'getting on with it'.
The Place You'd Most Want To Live (interlude) (1:11)
Lord Have Mercy (3:51)
Sadie (2:52)
I Want You (4:00)
Wait Til I Get Over (2:47)
That Feeling (4:21)
See It Through (interlude) (4:43)
See It Through (3:54)
Someday We'll All Be Free (5:37)
Letter To My 17 Year Old Self (2:34)
Review: Best known as a titular member of Durand Jones & the Indications, a group whose signature soulful sound has seen them reach international audiences, Wait Til I Get Over marks Jones' first foray into solo work. Using this as an opportunity to delve into the more personal, storytelling potential of solo artistry, the record is firmly situated in his hometown - Hillaryville, Louisiana -; a town initially founded as a form of reparations to previously enslaved African Americans. The first single to be released from the album, Lord Have Mercy, travels through Jones' family history, recalling his grandmother's memories of moving to the town as a child, via cathartic, wild and raucous vocals. This is a release that masterfully bridges the internal conflict of feeling connected to a place that's at once home but also a historically complex space for its African American community.
The Place You'd Most Want To Live (interlude) (1:12)
Lord Have Mercy (3:59)
Sadie (2:56)
I Want You (4:19)
Wait Til I Get Over (2:46)
That Feeling (4:27)
See It Through (interlude) (8:49)
See It Through (4:51)
Someday We'll All Be Free (feat Skypp) (0:46)
Letter To My 17 Year Old Self (4:11)
Review: Best known as a titular member of Durand Jones & the Indications, a group whose signature soulful sound has seen them reach international audiences, Wait Til I Get Over marks Jones' first foray into solo work. Using this as an opportunity to delve into the more personal, storytelling potential of solo artistry, the record is firmly situated in his hometown - Hillaryville, Louisiana - a town initially founded as a form of reparations to previously enslaved African Americans. The first single to be released from the album, Lord Have Mercy, travels through Jones' family history, recalling his grandmother's memories of moving to the town as a child, via cathartic, wild and raucous vocals. This is a release that masterfully bridges the internal conflict of feeling connected to a place that's at once home but also a historically complex space for its African-American community. Note this edition is a limited gold and blue pressing exclusive to Juno.
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