Review: You have a genuine piece of musical history here. The Anchors may not be remembered by many, but made a significant impact on everyone who does. Black Soul is the third and - to all musicologist knowledge - last record put out by this pioneering South African funk-soul outfit. Straight out of the Johannesburg township of Alexandria at the height of Apartheid, they became known for exceptional musicianship and reinterpreting the classic Memphis, USA sound for their own oppressed community. Part three of that legacy takes things much, much further, though. So, we can definitely still hear those Mid South sounds that represent the very essence of soul, but here the aesthetic becomes something altogether different, Afro and specific to time and place. Homage paid to the genre founders, but drawing on personal circumstances to own things for themselves.
Review: As it is often best done in soul, contemporary band Annie & The Caldwells are a family affair, channelling the depths of heartache and euphoria through danceable Mississippi-born bombasts. Lead vocalist Annie Caldwell leads the band alongside her husband of 50 years Willie Joe Caldwell, and is backed by children Deborah, Anjessica, Toni, Willie Jr. and Abel. Juggling hard work with harder musical playing, Can't Lose My Soul takes aim at modern day soul greatness, documenting quotidian struggles and everyday joys in song, and centring their concept on their locality of Main Street, West Point, Mississippi, where the family have run various businesses for decades. With a record this rooted in community, who better to rep the Southern soul set than the Caldwells?
Por Causa De Voce, Menina/Chove Chuva/Mas Que Nada (4:11)
Agora, Ninguem Chora Mais/Charles, Anjo 45/Caramba! Galileu Da Galileia (5:20)
A Minha Menina/Que Maravilha/Zazuiera (5:56)
Bebete Vaobora/Crioula/Cade Tereza (4:45)
Pais Tropical/Fio Maravilha/Taj Majal (5:54)
Vendedor De Bananas/Cosa Nostra/Bicho Do Mato (6:29)
Que Nega E Essa/Que Pena/Domingas (7:28)
Vinheta (0:29)
Review: As you can probably work out from the title, this one is the tenth album from Brazil's samba king and genre game-changer Jorge Ben (it makes a change from him calling most of his albums 'Ben' to be honest.) It came first back in 1973 and features a collection of his then-most popular songs. All of them come from the first decade of his career but were all rerecorded as medleys. They bring with them sunny melodies and his signature stuffing grooves, acerbic and witty lyrics and easy to get lost in rhythms.
Review: Jorge Ben is one of the most influential Brazilian artists of his era. The so-called samba king brought all new rule-breaking style to the genre - both musically and lyrically - and fomented his own freeform acid-samba spin-off over the course of an impossibly high number of albums. One of the problems is that many of them were all given the same name, including this one, Ben. Fortunately which ever one you pick up there is joy to be had. Here there are plenty of psychedelic head twisters such as the opener 'Morre O Burro Fica O Homem' as well as deer, more soulful cuts like 'Fio Maravilha'.
Review: Polish producer Latarnik and American vocalist Anthony Mills collide on this new album for Polish label Astigmatic to explore lo-fi hip-hop, soul, dub and experimental electronics. Mills's falsetto vocal brings great Neo-soul warmth to Crack Rock with emotionally charged tones soaring over the production which ranges from sugary and 80s-tinged disco and boogie on 'Crack' to deep, seductive and gooey on 'Passive Lover' which is a more romantic sound. Latarnik's work is often minimal yet immersive which creates space for Mills' voice to shine and is delivered in equal parts spoken word, chant and soulful croon. The hypnotic, slow-burning soundscapes that result are both intimate and confrontational, ready to make you dance but also often just to feel. Unapologetically raw and deeply human, this one lingers long after the final track ends.
Review: This long-lost 1973 album from Graham Dee is a fabled record from the man who was a key figure in the 60s London session scene and later a prolific songwriter and producer, and it is now released on vinyl for the first time. Dee was a renowned session guitarist who played with legends like Jimmy Page and Jeff Beck as well as artists such as John Lee Hooker and The Walker Brothers. After working with them, he became an in-house producer for Atlantic Records and honed a distinctive 'British Soul sound.' In the 70s, he moved to the U.S., writing songs and working at the legendary Muscle Shoals. Mr. Super Cool was only rediscovered in 2019 and it's clear to hear Dee's unique talent on a record that offers a fascinating glimpse into early 70s recording.
Review: "A revelatory blast of soul, R&B and off-the-rails piano jams". Rolling Stone magazine could not have been much clearer in its recommendation of Plain Sight. Neal Francis' second album, released in 2021, nodded to everyone from George Clinton to Sly and the Family Stone, Curtis Mayfield to Prince. It was pop songwriting in the truest sense - free and experimental yet somehow universally enjoyable and captivating. The third, Francis Comes Alive, offered, not more of the same, but equally generous helpings of funk-infused, r&b topped soul-groove with a lashings of overbite. Now Return To Zero proves those were no flukes. That familiarly unpredictable yet soothing Francis sound is more refined and elegant than ever, but still seems to want to take you towards the hazy neon glow of a backstreet dancefloor long after dark.
Review: Frollen Music Library is a high-quality sample library and production house specialising in live ensemble recordings and analogue production techniques. It has a creative process rooted in a love for 60s and 70s music, the foundational sounds for hip-hop sampling, so offers producers easy-to-use sample packs. Created by long-time collaborators Darvid Thor, Henry Jenkins and Hudson Whitlock who are members of Melbourne's soul scene, Frollen Music Library is a rich sound source for productions and compositions in film and television and a go-to resource for fans of artists like David Axelrod and Ennio Morricone. It also works as an evocative mental trip when listened to from back to front.
Review: Frollen Music Library is a premium sample library and production house focused on live ensemble recordings and analogue production techniques. Drawing inspiration from the 60s and 70s - which is of course - the era that shaped hip-hop sampling, it provides producers with accessible, high-quality sample packs. Founded by long-time collaborators Darvid Thor, Henry Jenkins and Hudson Whitlock who are all active members of Melbourne's soul scene, the library offers a rich collection of sounds perfect for film, television and music productions. It's an essential resource for fans of artists like David Axelrod and Ennio Morricone and also makes for a good standalone listen.
A Lot Like Lucifer (Celia Said Long Time Loser) (6:10)
The Space Queens (Silky Is Sad) (7:22)
Who Are Your Friends (5:47)
Get Together (With Yourself) (5:09)
You Can Find Him (5:19)
Review: Lotti Golden's debut is a fearless dive into the chaotic, electric world of late-60s New York, where countercultural misfits and street prophets populate her genre-warping narratives. Opener 'Motor-Cycle Michael' sets the pace with its freewheeling energy, while 'Gonna Fay's' drifts into bluesy psychedelia. The sprawling 'A Lot Like Lucifer (Celia Said Long Time Loser)' shifts between swaggering rock and theatrical storytelling, mirroring the unpredictability of its characters. 'Who Are Your Friends' leans into funk-driven introspection, while 'Get Together (With Yourself)' and 'You Can Find Him' push her vision further, blending soul and gospel-inflected harmonies. Golden's distinctive approach, combining raw honesty with a complex musical palette, firmly establishes her as an artist who reshapes the boundaries of pop and rock. Born and raised in Brooklyn, Golden was drawn to music from an early age, nurtured by her parents' passion for art and culture. At just 16, she caught the attention of Bob Crewe's Saturday Music, signing as a staff writer. But Golden's vision reached beyond writing for othersishe was determined to tell her own story. With vivid lyrics that captured her experiences in New York City, her debut album chronicles youthful defiance, introspection and transformation.
B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition
Love You More (6:58)
Night Moves (feat Ruby Cesan) (5:48)
Just Holdin' On (feat Eo) (3:48)
Journey To The Peak (7:06)
Brother Of Mine (feat Vanessa Freeman) (5:44)
Sleek (5:02)
Come Into The Light (feat La Coco) (5:25)
Storm (feat Rachel Clerk) (5:20)
Don't Think (feat Eo) (6:45)
Running Man (1:51)
Give Thanks (feat Arjuna Oakes & Mark De Clive-Lowe) (4:38)
Belo Dia (6:06)
Notes (5:26)
Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***
]Nathan Haines, the renowned New Zealand musician, unveils his 11th studio album, marking his first solo venture since 2014. Known for his talents of saxophone, flute, and composition across jazz, electronic and dance genres, Haines melds his signature jazz sound with vibrant electronic and disco influences on Notes. This labor of love began years ago in collaboration with the late UK producer Phil Asher, whose influence permeates the album despite his passing during its creation. Featuring guest vocalists like UK soul-diva Vanessa Freeman and emerging talents Ajuna Oakes, Ruby Cesan, La Coco, and EO, Notes showcases a diverse range of voices intertwined with Haines's own instrumental strength. With contributions from bassist Jkriv and electronic jazz innovator Mark de Clive-Lowe, alongside beats by Marc Mac and acoustic bass by his father Kevin, the album is full of spirit and musical evolution. Frank Booker's production on three tracks adds depth, while the acoustic rendition of Rare Silk's 'Storm,' featuring vocalist Rachel Clarke, stands out as a poignant artistic highlight.
Review: Upon its release in 1970, Donny Hathaway's latest album was met with critical acclaim but modest commercial success. The LP showcased Hathaway's extraordinary versatility, blending gospel, jazz, blues and soul into a cohesive whole. It was a rich tapestry of influences, marked by Hathaway's stunning vocal prowess and his ability to craft arrangements that felt both intricate and organic. The album also set the stage for his subsequent works, cementing Hathaway as one of the most important voices of his generation. Tracks like 'The Ghetto' and 'Tryin' Times' revealed his commitment to addressing social issues, while songs like 'Thank You Master' and 'Je Vous Aime' showcased his personal and spiritual depth. In the decades since its release, Everything Is Everything has grown in stature, celebrated as a cornerstone of soul music.
The Burden (I Turned Nothing Into Something) (feat Angel Bat Dawid) (3:11)
The Same Stars (feat Joe Minter & Open Mike Eagle) (4:46)
Kings In The Jungle, Slaves In The Field (4:45)
Strength Of A Song (with Alabaster DePlume) (2:57)
What's Going On? (with Isaac Brock) (3:24)
Fear (2:15)
I Looked Over My Shoulder (with Billy Woods) (2:54)
Did I Do Enough? (with Jesca Hoop) (5:43)
That's Not Art, That's Not Music (3:38)
Those Stars Are Still Shining (with Saul Williams) (0:56)
A Change Is Gonna Come (4:33)
Review: Tonky is a collection of found sounds and intimate storytelling reflecting his life of survival and invention. The album's title comes from a childhood nickname given to Holley when he lived near a honky tonk. Opening with the nine-minute 'Seeds,' the song builds from a sparse sound into a complex symphony, blending chants, keys, strings and Holley's raw voice. The track explores themes of hard labour, violence and the failure of home and Tonky is an album of abundance that shows Holley's mastery in combining personal narrative with expansive sound, all while featuring contributions from various talented artists.
The Same Stars (feat Joe Minter & Open Mike Eagle)
Kings In The Jungle, Slaves In The Field
Strength Of A Song (feat Alabaster De Plume)
What's Going On? (feat Isaac Brock)
Fear
I Looked Over My Shoulder (feat Billy Woods)
Did I Do Enough? (feat Jesca Hoop)
That's Not Art, That's Not Music
Those Stars Are Still Shining (feat Saul Williams)
A Change Is Gonna Come
Review: Lonnie Holley crafts music that is immersive and expansive, rich in both sound and storytelling and that's the case once more on this new long player. If finds Holley craft a symphony of sounds that stitch together effortlessly, each moment feeling like a discovery. The album's opening track, 'Seeds,' sets the tone with its nine-minute journey weaving sparse sounds, chants and Holley's powerful voice to explore themes of survival, pain and the failure of home while 'The Same Stars' (feat Joe Minter & Open Mike Eagle) brings more yearning and lyrical depth. Tonky is an album that invites you to listen closely and reflect deeply.
Review: Brazilian artist Hyldon's 1981 album 'Sabor De Amor' is a Latin classic that is well overdue this reissue by Jazzybelle Records. It was the fourth from the soul man, singer and instrumentalist who was, with equally celebrated peers Tim Maia and Cassiano, at the very heart of the Brazilian soul revolution of 70s. This may be his most consistent album with its more than accomplished backing by Azymuth musicians including Alexandre Malheiros on bass, drums from Ivan "Mamao" Conti and Hammond jams from Sergio Carvalho amongst others. The bass is funky, the arrangements are sophisticated and full of sun with noodling jazz melodies and Portuguese vocals all oozing summer magic. From mellow moments like the title cut to more dazzling and upbeat dancers like 'Amor Na Terra Do Berimbau' this isa joyous listen.
Review: Alex "Landy" Hill was the producer for and founding member of the 80s r&b and disco group Timex Social Club. This gem is the result of a deep dive into his archives and is an unreleased 1990s Bay Area demo project. The collection features nine original tracks created in collaboration with vocalist Jordana and songwriter John Pruitt all written and recorded in Hill's modest apartment studio. As you would expect of him, the tunes capture the raw, soulful energy of the era's underground r&b and funk scene with a nice lo-fi edge and plenty of analogue sounds from the time. Long tucked away on ageing cassette tapes, the recordings have now been carefully restored by PPU to offer a great look at Hill's post-Timex era.
Review: German-Filipino singer, songwriter and producer Ray Lozano's new album perfectly captures life's contradictions. If finds her diving into the tension between connection and detachment while offering a sonic embrace for those navigating the chaos of modern emotions. It is rooted in classic loved-up r&b with a particularly breezy edge and seductively smooth vocal style. The title says it all:' Silk' offers warmth while 'Sorrow' delivers an emotional punch. This album isn't polished or trendy-it's raw and real, perfectly fits in with Neo-soul greats of days gone by and really hits where hurts, but also offers healing as a soundtrack to late-night introspection and survival guide for life's beautifully messy moments.
Review: German-Spanish duo Lisa Michele Lietz and Jordi Arnau Rubio unite as Luna Soul, making a swashbuckling Ruy Lopez with their debut album First Move. Lietz, a musicologist with roots in Schwerin and a musical education under Ernst Ulrich Deuker of Ideal, brings a thoughtful lyrical sensibility, while Rubio - originally a dancer from Barcelona - compositionally channels a lifetime love of blues, jazz, soul and funk. Already having toured widely across Germany, Spain and France since 2019, the duo rewires that same live energy into the recorded unit, producing a modern Med soul nostalgia record whose temporality we'd find difficult to place on first listen. Such moments are anchored by cuts like '1979', 'Hold On', and 'City Lights', where reflections on grief, resilience and fleeting connection find vivid expression.
Review: The debut release from Hebrew Israelite vocalist, songwriter and multi-instrumentalist Margeeah Aharon was recorded in July 1983 with the Kingdom Sounds community band in Tel Aviv. This deeply introspective blend of jazz, soul, funk and reggae is guided by Margeeah Aharon's soothing yet resolute voice, imbued with a meditative graceidrifting between the searching melodies of 'Bring The People Home' and the deep-rooted spirituality of 'Rise Black Spirit', while 'Music Is My Love' glows with warmth and devotion. The reflective 'Daughters Of Zion' and the title track capture Aharon's gift for meditative storytelling, where faith and longing intertwine. Decades later, the album's messages of love and self-discovery are as vital as ever.
Review: Pantechnicons of Philadelphia soul, Harold Melvin & The Blue Notes reached their musical peak with Teddy Pendergrass between 1972 and 1975. Their 1975 album Wake Up Everybody hears Pendergrass' last vocal contribution to a band before he went solo; the record is filled with thought-provocations and gnomic lyrics, and became famous more by way of its covers than its originals. Returning the favour, 'Wake Up Everybody' was later covered by John Legend & The Roots, while 'Don't Leave Me This Way' became a disco classic thanks to the vamping vocal verves of Thelma Houston. This 750-copy 50th anniversary repress now comes with a special bonus: a rare 11-minute remix of 'Don't Leave Me This Way' by remixing pioneer Tom Moulton.
It's The Music (feat Afrika Bambaataa, Charlie Funk, Hektek & Deejay Snoop) (3:33)
In The Dark (feat Nichola Richards) (3:09)
The Spell Of Ra-Orkon (3:01)
Political Power (feat Afrika Bambaataa, Charlie Funk & Donald D) (3:11)
Drifting Stars (3:17)
Not Get Caught (feat Derobert) (3:02)
Locked & Loaded (3:20)
Catfight (3:39)
Hot Stuff (feat Afrika Bambaataa, Charlie Funk & Deejay Snoop) (3:00)
The Showdown (3:23)
Review: German funk heroes The Mighty Mocambos continue to prove that their funk is an ever-evolving force, navigating between the worlds of gritty, organic soul and cinematic experimentation with unapologetic energy. Their latest offering marks another step forward, refining the groove-laden formula that's earned them global acclaim while pushing into new territory. The opening track hits hard with orchestral flair on 'Road to Earth,' where the legendary Peter Thomas's arrangements lay the foundation for a full-on sonic odyssey. As they move through the album, tracks like 'It's the Music' and 'Hot Stuff' groove like a classic, with Afrika Bambaataa's presence lifting the energy and ensuring a tight vibe. But it's not all about party anthems. 'Not Get Caught' from DeRobert tells a story that's as gritty as it is soulful, capturing a narrative of crime with a raw, undeniable swagger. Even more dynamic is the standout 'Catfight,' which melds mysterious Eastern flavours with a tripped-out break, displaying a versatility that refuses to be boxed in. This is an album of triumphs, not just in the power of individual tracks but in the overall cohesion of sound and spirit, and by taking a step further into uncharted waters while keeping their infectious funk roots firmly grounded, The Mighty Mocambos challenge expectations and push boundaries. A showcase of a band in full flight, steadily rising.
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