Soul — All Formats  

Massive work from one of the funkiest drummers of all time – the legendary Bernard Pretty Purdie, stepping out here in a batch of instrumentals that may well be his greatest album ever! Bernard's drums are right up front in the mix – leading off all tunes with a full, funky, echoey sort of approach that's unlike anything else we can think of – and certainly different from any other late 60s albums of this type! The production is totally great – and has a way of pulling out some of the weirdest aspects of the music – which itself features guitar from Billy Butler and Eric Gale, bass from Bob Bushnell, tenor and flute from Seldon Powell, and organ and piano from Richard Tee – who also handled all the arrangements on the set! The centerpiece is the hit single "Funky Donkey", but just about every track's a groover in its own way – and titles include "Soul Drums", "Bill's Groove", "Jimmy's Back", "Testifyin", "Modern Jive", "Blow Your Lid", "Bee N Tee", and "Soul Bossa Nova". This new edition includes 8 bonus tracks, with a couple rare 45 tracks and more that have never been released – all soulful & funk – well paired with the Soul Drums album! Bonus tracks are in stereo, and include "Alexander's Rag Time Band", "Genuine John", "Soul Clappin", "If You Never Cried", "Stop" and "Time Is Tight". Also comes with a nice booklet with new liner notes, and choice quotes from Purdie's peers and those he influenced, from Galt MacDermot to Large Professor.

Yes, yes, yes – we all know the group from later years and their big hit at the end of the 70s, but back in the late 60s, they were an excellent uptown soul duo who forged some slight fame with work like this, sweet soul versions of standards and pop tunes, arranged in a strong New York style by Bert Keyes and Van McCoy. Looking at the evergreen titles, you wouldn't think the album was much – but like Ruby & The Romantics and other New York groups of the time, Peaches & Herb really manage to turn the tracks into something new, opening up old lyrics with new soul styles, creating a sound that's both fresh and familiar at the same time. Peaches sings an amazing solo version of "Time After Time", and other tracks include "Let's Fall In Love", "I'm In The Mood For Love", "Close Your Eyes", "We Belong Together", and "I Will Watch Over You".

An overlooked killer from Brick – the group's fourth album, but every bit as tight and funkier as earlier sets! Brick's Atlanta-bred groove is very much in place here – that lean, mean approach to funk that made them a standout right from the get-go – almost setting the scene for the stripped-down modes that so many other groups would follow well into the 80s! That tighter sound lets the group really hit a strongly soulful focus here – serving up some of their best vocals to date, and reminding us that some of the best mainstream funk groups always had a strong ability to harmonize over their grooves. Titles include "Push Push", "Get Started", "All The Way", "Waiting On You", "Free", "Sweet Lips", and "Let Me Make You Happy".

Lost Philly soul from the end of the 70s – great falsetto vocals from the mighty Matt Covington! Covington was the lead singer in the Philly Devotions, but somehow shines even more brightly on his own – with a gentle, heartfelt style that's almost more east coast early 70s soul than you'd guess from the date of this record – a great reminder that there was still some rootsier energy going on in the Philly scene, even as some of its artists were hitting big mainstream fame. Covington's vocals work especially great on the ballads, but they also hit nicely on the groovers – in the way that some of the All-Platinum/Stang artists made a decent transition to the dancefloor as the 70s moved on. But the mellower cuts are still the killers here – and titles include "If Love Can Be Magic", "Dust Is On Our Shoes", "Baby Blood", "Finally Got Oer On You", "Go Away & Leave Me Girl", "Philadelphia Dreaming", "Country Folks", and "Muhammad Ali".

An underappreciated soul set from George Duke for Epic – his Rendezvous from '84 – an engagement worth keeping! Given the mid 80s release date, you might be expecting a whole lot of programming and drum machine action – there's a bit of it, but this is a really lively set with some great musicianship across the board – and the songs are pretty strong, too. Duke produced, sings and handles an array of instrumentation from keys to synths and programming, with Stanley Clarke, Paulinho Da Costa, Ernie Watts, Oscar Castro Neves and other great players in the mix. Titles include "Got To Get Back To Love", "Take It On", "She Can Wait Forever", "Stay Awhile", "Thinking Of You" (with some nice extended string arrangements), "Secret Rendezvous", and "Ipanema Lady"

Quite possibly the greatest record ever from Clifton Dyson – a solo effort that has him stepping away from his Dyson's Faces group, and emerging as a heck of a great singer on his own! The album's got a warm modern soul feel throughout – much more mid 70s indie than you'd guess from the date on the record – and every aspect of the record is great – from the vocals to the instrumentation to the tight production on the record – a sound that's professional, and really a cut above the usual effort of this type. Al Johnson and Rodney Brown helped on arrangements – and titles include the extended groover "Slow Your Body Down", which takes up all of side one – plus "Hypnotize", "I'm Giving Up", and "So Lonely".

Monumental Afro Soul from El Rego Et Ses Commandos – El Rego's best recordings from the late 60s to early 70s – a beautifully done compilation put together by Daptone and Frank Gossner, the deep digging West African music expert behind Voodoo Funk! Theophile Do-Rego is a legend in his native Benin, essentially credited as the godfather of Benin funk – but to date, he hasn't been celebrated around the world nearly as famously as the superstars of African music hailing from Nigeria and Ghana. That's something that can change really quickly if enough people pick up this truly great compilation of pioneering recordings. Singer El Rego and his excellent, diversely capable band – sax and flute by Baboni Oudou, sax by Michel Diogo, guitar by Oscar De Souza, trumpet by Emmanuel Ganssounou, guitar by Roger Coffi, tumba by Marcelin Kpohonon, additional vocals by Christian Agueh, and bass by band leader Paul Hounnou – take a tighter approach to funky soul. Just a couple tracks on this set roll past the 4 minute mark – which gives it a tighter soul sound, along with some Benin blues and some riveting JB-indebted vocal affections. We owe Voodoo Funk and Daptone big for putting this together! Includes "Feeling You Got", "Zon Dede", "E Nan Mian Duku", "Dkobime", "Dis-Moi Oui", "Djobime", "Hessa" (the centerpiece of the album, 3 minutes of Afro Soul perfection. . .the whole set is great, but this track is unforgettable), "Kpon Fi La", "Do Do Baya", "Vive Le Renouveau", "Achuta", "Cholera" and "Ke Amon-Gbetchea".

A sublime set of soul instrumentals – very funky work, and sort of a 70s follow-up to the Soulful Strings albums on Cadet Records from the 60s! Maestro Richard Evans is at the top of his game here – stepping out with that hip Chisoul mode he first forged at Chess, tuned here towards some even more sophisticated modes for Atlantic Records! Many of Evan's previous players are on board to make the record great – including Lennie Druss on flute, Paul Serrano on trumpet, Odell Brown on organ, and Phil Upchurch on guitar. Evans himself plays bass for the record – using a very funky bottom sound – and the set also features some wicked vibes from the legendary Billy Wooten, working away from his Nineteenth Hole group on a rare major label date! The sound is blacksploitation soundtrack, part Curtom funk – and titles include the great originals "Pie Daddy's Dream", "Wado City", "Angela My Sister", and the great "Patutu" – which was done by the Soulful Strings – plus a few nice covers like "Mercy Mercy Me" and "Ellie's Love Theme", by Isaac Hayes.

Dang, who the heck are these guys? They're great! The Exportations seem to have only popped up for this one album, but they've got a solid harmony soul sound that's right up there with the best groups of the 70s – and which in fact feels a lot more like indie work from the early part of the decade than you'd guess from their placement on United Artists, and the 1978 date of this LP. They appear to be a Detroit group, and they've got a great talent for mixing the rough and the smooth – in the manner of The Dramatics best work of the time. Titles include "Main Ingredient", "You've Been A Long Time Coming", "Kiss Me Love", "Strange Sensations", and "Music". Great harmony soul – and a record you'll treasure as much as any indie session of its type!

A long-overdue collection of work by this sublime Ohio soul group of the 60s – a trio of lovely ladies with a really tremendous sound! Gigi & The Charmaines are hardly the girl group cliche you might think from their sweet name and the image on the cover – and on most of the numbers here, they're hard-rolling at a pace that's somewhere between the best Detroit Northern Soul of the time, and some of the sweeter female soul that was coming out of Chicago at the end of the 60s. Ace have really outdone themselves with the collection – and bring together the group's singles on the Columbia, Date, and Fraternity labels – as well as some other key sides that have them performing vocals on records by other artists in the lead! CD features a whopping 28 tracks in all, plus a full set of notes – with titles that include "Guilty", "Poor Unfortunate Me", "Eternally", "Girl Crazy", "If You Ever", "I Idolize You", "Rockin Old Man", "On The Wagon", "What Kind Of Girl Do You Think I Am", "All You Gotta Do", "GI Joe", "I Can't Go On This Way", and "I Don't Want To Lose Him" – plus "I'm So Satisfied" with Max Falcon, "Lucy Miloo" with Kenny Smith, "Baby Please Don't Go" with Carl Edmonson, and "Baby What's Wrong" with Lonnie Mack.

The hippest comeback album to date from Al Green – a massively soulful set that we might well rank right up there with his classics from the 70s! Green's got some very hip help in the studio here – production help from James Poyser and Ahmir "?uestlove" Thompson – both of whom push the record past cliche, but also almost help Al sound even more classic than before! There's still a warm Memphis glow to most of the music, but the sound is somewhat leaner too – with a real focus on the best sort of elements that have always made Al Green sound so great – preserved perfectly in these years of his recent return to secular music. The album's got some great guest spots too – horns by The Dap-Kings, drums by ?uestlove, and vocals from Anthony Hamilton, Corinne Bailey Rae, and John Legend – but the show's still clearly all Al's, all the way through – because none of the younger talents ever get in the way of the man doing his thing – and doing it beautifully, too! Titles include "Lay It Down", "Take Your Time", "Too Much", "Just For Me", "You've Got The Love I Need", "Standing In The Rain", "I'm Wild About You", "What More Do You Want From Me", and "No One Like You".

Damn! The first volume in this series of rarities cut by George Jackson for Fame Studios really blew our minds around here – and Kent has gone and somehow topped it with Volume 2! Let The Best Man Win features 2 dozen songs, most of which are originals by Fame staff writer Jackson – and not one of these was officially released back in the day. A bunch were cut to demo the songs for prospective artists, but it's truly hard to imagine anyone bettering these versions – not even Candi Staton or Wilson Pickett! The backing is top notch, too – with that unshakable Fame southern soul rhythm that's just raw enough – and each track feels fully-formed – not at all like a demo! As essential a trip into the Fame archives as any we've had to date! Includes "Mini Skirt Mini", "Get It When I Want It", "Forbidden Love", "Save Me", "Let The Best Man Win", "Soul Lovin'", "I'm Livin' Good", "Your Love Lifted Me", "You Got A Lot To Like", "Ain't That Some Good Lovin'L, "The Darkest Hour Is Before The Dawn" and many more.

A truly amazing album – unlike anything Eddie Kendricks ever did before, or since – and one of those records that really helped shape the sound of soul in the 70s! The music is as rich and powerful as the image on the cover – with some righteous undercurrents that really mark the time and place of the record, yet also help it transcend so many other standard soul modes of the period too! Arrangements are wonderfully complex – as you'll hear on the classic groovers "Girl You Need A Change Of Mind" and "Date With The Rain" – each very different numbers, but both a showcase for Kendricks' wonderful vocal approach. Other titles include the progressive "People Hold On" – plus "I'm On The Sideline", "Day By Day", "If You Let Me", "Let Me Run Into Your Lonely Heart", and "Someday We'll Have A Better World".

A truly amazing album – unlike anything Eddie Kendricks ever did before, or since – and one of those records that really helped shape the sound of soul in the 70s! The music is as rich and powerful as the image on the cover – with some righteous undercurrents that really mark the time and place of the record, yet also help it transcend so many other standard soul modes of the period too! Arrangements are wonderfully complex – as you'll hear on the classic groovers "Girl You Need A Change Of Mind" and "Date With The Rain" – each very different numbers, but both a showcase for Kendricks' wonderful vocal approach. Other titles include the progressive "People Hold On" – plus "I'm On The Sideline", "Day By Day", "If You Let Me", "Let Me Run Into Your Lonely Heart", and "Someday We'll Have A Better World".

A wonderful mid 70s set from Gladys Knight & The Pips – a soundtrack date written and produced by Curtis Mayfield, who really helps bring a lot of depth to their music! Curtis really helps Knight and the group get out of some of their hit cliches of the 70s, and find some hipper space for the setting of the film – a mixture of some of the mellower tracks that Gladys' always sparkles on, mixed with some badder-stepping numbers that further deepen the groove – and which has kept the album alive over the years, thanks to some key hip hop samples. Tracks include the sublime "The Makings Of You", plus "Mr Welfare Man", "To Be Invisible", "Claudine Theme", "On and On", and "Hold On".

A great 2-in-1 from Gladys Knight & The Pips – the Claudine and Pipe Dreams soundtracks back to back on a single CD! Claudine is a wonderful mid 70s set from Gladys Knight & The Pips – a soundtrack date written and produced by Curtis Mayfield, who really helps bring a lot of depth to their music! Curtis really helps Knight and the group get out of some of their hit cliches of the 70s, and find some hipper space for the setting of the film – a mixture of some of the mellower tracks that Gladys' always sparkles on, mixed with some badder-stepping numbers that further deepen the groove – and which has kept the album alive over the years, thanks to some key hip hop samples. Tracks include the sublime "The Makings Of You", plus "Mr Welfare Man", "To Be Invisible", "Claudine Theme", "On and On", and "Hold On". After hitting big as a singer on the soundtrack for Claudine, Gladys Knight finally got her chance in front of the camera for Pipe Dreams – a record that featured her both as the star on film and on the soundtrack! The styles here are a bit more wider-ranging than the usual 70s soundtrack of this type – a bit of ballad soul, mellow numbers, and more – arranged by Dominic Frontiere and Michael Masser in styles that are a bit like some of Knight's own albums of the time. We like especially the jazzy vocalesey number "Pot Of Jazz", a nice number that deserves further discovery on a compilation – and other cuts include "Find A Way", "Follow My Dreams", "So Sad The Song", and "Alaskan Pipeline".

Sweet South African soul from Hugh Masekela – a set that shows that Hugh's greatness certainly hasn't dimmed with time! There's a warm, captivating sound to the record that draws us in right away – a maturity to Masekela's approach – a depth that not only stretches back to his roots, but also seems to find a way to embrace other modes of South African music of the previous few decades too! Hugh plays plenty of his famous trumpet on the date, and also sings lead vocals on most titles – and tunes include "Fela", "Sossie", "Iph'Indlela", "Mfana", "Makoti", "Uyeyeni", "No Harvest", and "Scatter My Dada".

A real standout 70s set from Nina Simone – a one-off date for CTI Records, done with a sound that's different than her earlier work for RCA, Philips, and Colpix! The groove here is often as soul-based as it is vocal jazz – thanks to arrangements from David Matthews, who brings a similar sound here to his other work with Esther Phillips in the decade – another older singer who'd hit some very hip territory at the time. The groove here is very much like Phillips' best for Kudu – smooth and soulful, but in ways that still retain all the rasp and character of the lead vocals. Titles include a sublime reading of Randy Newman's excellent "Baltimore", plus "The Family", "My Father", "Music For Lovers", "Rich Girl", and "Balm In Gilead".

Ten years in for the Tabou Combo – and the group's sounding funkier than ever! The album's got a groove that's even tighter than some of their earliest records – and there's a definite funky feel to the music at times – not just Haitian styles, but a nice US influence too – yet one that's filtered through some really unique global influences too! Despite the date of the record, the instrumentation is mostly in a late 70s ensemble funk mode – with harder edges than usual from the combo, and almost a Kool & The Gang influence going on – but, with the Haitian elements thrown in, an overall sound that comes across with the vibe of Banda Black Rio. Really great stuff – with cuts that include "Hoola Hoop Disco", "Let Me Play That Funky Music", "Tabou Disco", "Tania", "Let's Do The Groove", and "Fausse Conception". CD also features bonus extended mixes of "Hoola Hoop Disco" and "Tabou Disco".

Two Arista groovers from Dionne Warwick – back to back on a single CD! How Many Times Can We Say Goodbye has Dionne Warwick stepping out strongly with some great production help from Luther Vandross – who gives the lady a groove that's possibly even tighter than on her other Arista albums, really shaking off some of her more familiar modes, and going for a powerful 80s sound. There's still some good ballads to balance out the upbeat cuts, too – and these really glow with the classy Vandross touch. Titles include "So Amazing", "Got A Date", "I Can Let Go Now", "What Can A Miracle Do", "How Many Times Can We Say Goodbye", and "I Do It Cause I Like It". Friends In Love has Dionne Warwick working in warm, mature territory – a sound that's a bit more like the vibe she explored on her late 70s records – a maturing past the original Bacharach years, with an all-adult style that really works with her voice. Titles include duets with Johnny Mathis on "Got You Where I Want You" and "Friends In Love" – plus "Never Gonna Let You Go", "Can't Hide Love", "Betcha By Golly Wow", "More Than Fascination", "For You", and "A Love So Right".

A pair of stunners from Nancy Wilson – back to back in a single set! Music On My Mind is an overlooked gem from Wilson's excellent 70s run on Capitol Records – a set that goes way beyond the spirit of some of her earlier records, and features a very unified vibe overall! The set was done in heavy collaboration with producer/composer Clarence McDonald – and features all original album penned for the date, most of which has a sublime blend of strings and soul that really pushes Wilson into even more sophisticated territory than before! Nancy's really on a par here with Marlena Shaw at her 70s best – even though Wilson had hit some of the territory years before – and the set's overflowing with great little numbers – including the funky classic "I'm In Love", plus "Let It Flow", "I'm Gonna Let Ya", "Music On My Mind", "He Makes Me Feel Good About Myself", and "Light". Life Love & Harmony is a killer from Nancy – very different than most of her earlier work, and proof that she was still growing as an artist on Capitol! The record's arranged and produced by Larry Farrow – who gives the session a jazz funk feel that brings Nancy into a whole mode, a smooth modern one that's kind a perfect fit for the rich character of her vocals – a much-needed update of the classy sound of her late 60s work, in territory that still shows that Wilson can hit this sort of groove better than anyone else! The standout cut is the massive "Sunshine" –a sparkling jazzy groover with a monster hook and some wonderful stepping arrangements – and other tracks include "You're The One Wrapped Up In The Comfort Of Your Love", "Heaven", "Here's To Us", and "Life, Love, & Harmony". CD also features bonus single mixes of "Sunshine" and "Life Love & Harmony".

A (sadly) posthumous release from Amy Winehouse – a voice we loved for a couple good years before knowing how troubled she was in real life and now lament the loss of – and this set, largely put together by producer Salaam Remi turned out surprisingly well! It'd be pretty easy to bow to cynicism, but for our money, there's more than enough strong stuff here. It features production by Remi, plus Mark Ronson on a couple tracks, and it's a mix of styles that ably demonstrate Amy's depth as an interpreter. There's some great, kinda late night jazzy soul numbers, classic level 60s R&B and thoroughly modern hip hop soul – all with strong vocal performances from Amy. Includes "Our Day Will Come", "Between The Cheats", "Tears Dry (Original Version)", "Will You Still Love Me Tomorrow (2011)", "Like Smoke" feat Nas (and some eerily timely lyricism, as of this album's release date), "Valerie ('68 Version)", "Half Time", "The Girl From Ipanema", "Half Time", "Body & Soul" with Tony Bennett, "A Song For You" and more.

A completely cooking little live set from Aretha Franklin – and a crowning moment not just in her career, but for Atlantic Records soul in general! Aretha's working here before a very enthusiastic crossover crowd at the Fillmore West in San Francisco – getting tight backing from the combo of King Curtis (Memphis Horns, Billy Preston, and Pretty Purdie in tow!) – and hitting a groove that's often rawer, grittier, and more deep-soul tuned than some of her studio sides from the time! The recording quality is totally great – and goes out of its way to preserve the presence of the audience, and showcase Aretha's own interaction and strong sense of personality. Ray Charles makes a surprising guest appearance on one track, but the whole show is really Franklin's own – a majestic little live date that features the tunes "Spirit In The Dark", "Respect", "Make It With You", "Don't Play That Song", "Dr Feelgood", and "Love The One You're With".

Spanky Wilson really takes off here – hitting some of her boldest soul modes to date – and serving up a few funk-heavy classics in the process! Production and arrangements are by HB Barnum – who draws on his own rich legacy of soul projects for the set, and finds a way to let Spanky really knock things out of the park – while still also holding tight to a mighty sweet groove! The style's almost an indie soul take on the Capitol Records groove that Barnum forged with David Axelrod for other singers – with all the strong sense of space between the grooves that would imply. The set features Spanky doing nice hard grooving versions of tracks that you've heard before – like "Loveland", "Let It Be", "Gloomy Sunday", and "Perhaps" – but there's also some nice ones like "Foolish" or "Love or Let Me Be Lonely", that are less familiar, and mighty nice too!

A massive look at the mighty pairing of Cannonball Adderley and David Axelrod – a partnership that's way more than just jazz musician and producer! Axelrod's talents in the studio are many, but his greatest heights were possibly reached in collaboration with Cannonball – a relationship that spawned an amazing run of singles and albums that allowed the saxophonist to expand his music to amazing new levels, and touch audiences that few other jazz musicians could reach! Axelrod's sense of sound and timing are a perfect match for Cannonball's intrinsically funky approach to the saxophone – and no matter what the setting here, from big band to small combo, studio recordings to live date, high concept records to relaxed jazz sessions, there's an undeniable groove in the music that never lets up. The CD pulls together a very wide range of work from key Axelrod/Adderley Capitol recordings – and offers a double-length look at their pairing that's as soulful as it is essential. Titles include "The Black Messiah", "Space Spiritual", "Do Do Do", "Gone", "Ndolima", "Up & At It", "Hummin", "Make Your Own Temple", "Tensity", "Fun In The Church", "Khutsana", "Price You Got To Pay To Be Free", "Walk Tall", "Music You All", and "Dialogues For Jazz Quintet & Orchestra".

Rare Bacharach galore – an assortment of under-reissued tracks all penned by the mighty Burt – most of which are from the heyday of 60s uptown soul! Despite the 1952 in the date range on the title, almost all the tunes here are from the mid 60s – that time when Bacharach was writing new tunes like a demon, and getting most of them recorded by a range of great talents on the New York scene. Singers are a good mix of soul, pop, rock, and vocal artists – and although the material was done for a variety of different labels, there's a relatively unified feel – thanks to that snapping syncopation that Burt always brought to work like this. CD features 26 titles in all – including "How About" by Della Reese, "Third Window From The Right" by Dean Barlow, "I Wake Up Crying" by Del Shannon, "I Looked For You" by Charlie Gracie, "That's Not The Answer" by Vi Velasco, "More Time To Be With You" by Brook Benton, "Three Friends" by The Turbans, "Move It On The Backbeat" by Burt & The Backbeats, "You're Telling Our Secrets" by Dee Clark, "Thirty Miles Of Railroad Track" by The Hammond Brothers, "The Story Of My Life" by Big Al Downing, "Made In Paris" by Trini Lopez, "Rain From The Skies" by Adam Wade, and "True Love Never Runs Smooth" by Don & Juan.

We're not normally the biggest fans of The Chambers Brothers, but this album's a cracking winner from the mid 70s. Shouldn't be so, given the date and the label, but there's a really funky track on here that's one of their best – the great break cut "Stealing Watermelons", which has a great drum part, a strong bassline, and cool harmonica on the intro! Other tracks are pretty nice too – and titles include "Stop The Train", "Miss Lady Brown", "Lotta Fine Mama", "Smack Dab In The Middle", and "Pretty Girls Everywhere".

Sublime grooves from Fat Larry's Band – a combo that's heavy on bass, but one that also keeps things cool! The style here is easily one of the best from the group's generation – a laidback groove that's not nearly as tight as other 80s club acts – never too much bass in the face, nor rhythms that get too stiff – just a stepping sort of groove that's rooted in funk, and served up with plenty of soulful touches. In a way, the sound reminds us more of ensemble funk groups from the late 70s than you'd guess from the date – particularly some of the Mercury or Chocolate City artists. Titles include "House Party", "Act Like You Know", "Breakin Out", "Be My Lady", and "Zoom". CD features bonus tracks too – instrumental and radio mixes of "Act Like You Know", and a radio mix of "Zoom".

Maynard's got some great help on this session – stripping things down and working with a group of west coast fusion players led by Stanley Clarke! The date's a bit later than some of Maynard's classic funk, but the groove's back on track – thanks to Stan's production and arrangements – and players that include Lee Ritenour, George Duke, Ndugu Chancler, and Tod Cochrane. The vibe is surprisingly soulful on most numbers – and titles include "Deja Vu", "Portuguese Love", "Here Today", "Touch & Go", "For Your Eyes Only", "Don't Stop Til You Get Enough", and "Hollywood".

The first Atlantic album from Margie Joseph – a great second generation southern soul singer who really helped the label find a new sound in the 70s! Margie got her start on Stax, but she sounds even better here – a bit more mature, slightly more urban, and backed with a bad-walking set of arrangements by Arif Mardin that help pull her out of the country into a wider 70s soul mainstream. There's still plenty of rootsy touches on the set, and the blend is one that's similar to that of Aretha Franklin's work of the time – one that echoes older southern styles, but brings them up to date nicely with some more sophisticated touches. Titles include "Make Me Believe You'll Stay", "Turn Around & Love You", "Let's Go Somewhere & Love", "You Better Know It", "I'll Take Care Of You", and "I'm So Glad I'm Your Woman".

A tight date from 1977, and one that follows nicely in the spirit of King's later Stax sides, but with a slightly smoother groove. There's a bit of the Detroit 70s mode going on in the set – that rough-and-smooth quality that you'd find on a Don Davis production, which proves to be a wonderful blend for King's music, especially on some of the album's funkier numbers. Titles include "Chump Change", "You Upset Me Babe", "Let Me Rock You", "Boot Lace", "Love Mechanic", "Call My Job", and "Good Time Charlie".

The greatest album to date from Sugarman 3 – one of the funkiest combos of the past 50 years! The group's organ/sax sound has never sounded so great – and it's pumped up even further here from some added guest instrumentation, including drums from Bernard Purdie, plus vocals on a number of cuts from deep funk legends Lee Fields, Charles Bradley, and Naomi Davis. The whole thing's as funky as funky can be – the kind of a record that would be selling for $300 if it came out in the 70s, and which is even nicer to have at a low everyday price! Titles include "Shot Down", "Modern Jive", "Funky So & So", "Take It As It Come", "Pure Cane", "Promised Land", "Country Girl", "La Culebra", "Down To It", "Honey Wagon", and "Bosco's Blues".

One of the greatest Nancy Wilson albums of the 60s – a small combo jazz date, done with a style that's different than some of Wilson's larger sessions of the time! The group has a relaxed, easygoing feel – and Wilson slides in with a style that's a lot more laidback and subtle than on other Capitol dates – almost the mellow feel of a late 50s Dakota Staton date, but still song with all the careful class that Nancy brings to her vocals! The group's a quartet, led by pianist Hank Jones – and featuring Gene Bertoncini on guitar, Ron Carter on bass, and Grady Tate on drums – on titles that include "Happiness Is A Thing Called Joe", "Do it Again", "Glad To Be Unhappy", "Prelude To A Kiss", "Supper Time", and "I Thought About You".

This series keeps on getting better and better – and this fourth installment may well be the best illustration to date of the birth of soul music! As hinted by the title, the collection features tracks from the late 50s and early 60s that marked a key transition from earlier R&B and blues into soul music – work that pulled a bit more strongly from the church than some of its predecessors, and which also put over a groove that was a bit more sophisticated, sometimes a bit more polished – all to set the stage for the huge soul music explosion to come later in the 60s! A number of the artists here are familiar from R&B years, but they're represented by tracks that show a real change in their styles – and others are known from later successes, but stand out here with early work that's a lot more formative – making them a perfect choice for the collection. CD features 24 tracks in all – including "Come On & Stomp" by Marv Johnson, "Lil Valley" by The MMs & The Peanuts, "Bossa Nova Baby" by Tippie & The Clovers, "Irresistible You" by Bobby Peterson, "Take Your Heart" by Betty Willis, "Puff" by Kenny Lynch, "Jack Be Nimble" by The Intruders, "A Clock That's Got No Hands" by Della Reese, "I Came Running" by Wade Flemons, "You'd Be Crying Too" by The Matadors, "The Gypsy Said" by The Fiestas, "Please Don't Cry Anymore" by Ketty Lester, "Pretty Little Girl Next Door" by Bobby Day, and "Trouble I've Had" by Clarence Ashe.

Souvenirs and memories – music that's mostly of more recent vintage, but which features a host of artists you'll know from way way back! The music here is mostly from the end of the 80s and start of the 90s – despite the wider date range in the title – and most tracks feature older Detroit soul singers, making a fresh stake with some slightly contemporary styles, at least for that time – yet still mostly sticking to the classic modes that made them so great in the first place! The approach is that used heavily by the Motorcity label at the time – and offers a great new showcase for talents that were sadly overlooked at the time. Titles include "Wholeheartedly" by Ronnie McNeir, "Surrender" by Bettye Lavette, "Man Up In The Sky" by Johnny Bristol, "Separation" by Pat Lewis, "Memories & Souvenirs" by Freda Payne, "Romantic Number" by Billy Griffin, "Real True Loving" by Edwin Starr, "Moment Of Weakness" by Syreeta, "All Over The World" by Chuck Jackson, and "Standing Still" by The Monitors.

A masterpiece – and don't pass it up! Sure, the date's a bit later than some of Roy's classic work, but the record's got a sound like no other – with a slow mellow jazzy style that shows Roy working at the height of his powers! There's some wonderful spacey production on the record – bringing out elements like the vibes, electric piano, and soulful vocals – and turning them into a seductive blend that trails out over the course of the record, hitting a smooth mellow mode that we love every bit as much as Roy's harder and funkier work. The title cut is an amazing extended remake of "You Send Me", which sounds nothing like the original – and other good cuts include the stepping "And Don't You Say No", and the great cuts "Rhythm" and "Everytime I See You", which have these excellent offbeat rhythm patterns. A real sleeper – but one that you'll go back to again and again because of it's sophisticated jazzy vibe!

A sublime set of soul instrumentals – very funky work, and sort of a 70s follow-up to the Soulful Strings albums on Cadet Records from the 60s! Maestro Richard Evans is at the top of his game here – stepping out with that hip Chisoul mode he first forged at Chess, tuned here towards some even more sophisticated modes for Atlantic Records! Many of Evan's previous players are on board to make the record great – including Lennie Druss on flute, Paul Serrano on trumpet, Odell Brown on organ, and Phil Upchurch on guitar. Evans himself plays bass for the record – using a very funky bottom sound – and the set also features some wicked vibes from the legendary Billy Wooten, working away from his Nineteenth Hole group on a rare major label date! The sound is blacksploitation soundtrack, part Curtom funk – and titles include the great originals "Pie Daddy's Dream", "Wado City", "Angela My Sister", and the great "Patutu" – which was done by the Soulful Strings – plus a few nice covers like "Mercy Mercy Me" and "Ellie's Love Theme", by Isaac Hayes.

Freddie Jackson was certainly one of the biggest new soul stars of the 80s – and this debut LP is still a treasure! Freddie's got a skill that transcends his age – with an approach that's decidedly 80s, but classic enough to last for years and years. The songs on the record are all extremely well-written, and although the arrangements have certain elements that might date – like DX7, drum machine beats, and floppy bass pedal riffing – the quality of the work is super-high all around, and Freddie's rich soul vocals hold everything together perfectly. Catchy tunes abound – and tracks include "He'll Never Love You (Like I Do)", "Rock Me Tonight (For Old Times Sake)", "Calling", "I Wanna Say I Love You", and "You Are My Lady".

The first Atlantic album from Margie Joseph – a great second generation southern soul singer who really helped the label find a new sound in the 70s! Margie got her start on Stax, but she sounds even better here – a bit more mature, slightly more urban, and backed with a bad-walking set of arrangements by Arif Mardin that help pull her out of the country into a wider 70s soul mainstream. There's still plenty of rootsy touches on the set, and the blend is one that's similar to that of Aretha Franklin's work of the time – one that echoes older southern styles, but brings them up to date nicely with some more sophisticated touches. Titles include "Make Me Believe You'll Stay", "Turn Around & Love You", "Let's Go Somewhere & Love", "You Better Know It", "I'll Take Care Of You", and "I'm So Glad I'm Your Woman".

An uber-rare LP from Orlando Julius & The Afro Sounders – recorded at Ginger Baker's studio in Lagos and originally (apparently quite scarcely) released by Philips in 1973 – wonderful stuff and on par with the excellent material the group recorded in the handful of previous years! The sound is terrific, still fresh and live sounding, but recorded with the best studio technology Julius had access to to date. The drums and percussion are prominent in the mix and so is the bass – with punchy, soulful brass, organs and passionate vocals. Wonderful! Tracks include "Yio Si Da Miliki Beat", "Afro Instrumental", "Osika Ranti", "Buje Buje", "Aseni" and "Kete Kete Koro".

Rootsy blues from the team of Memphis Slim and Willie Dixon – recorded in Paris in the early 60s at the Trois Mailletz nightclub! The style here is much earthier than you'd guess from the date – the return to tradition mode that some players often experienced while working in the European scene – and instrumentation features only piano from Slim and bass from Dixon, plus a bit of added drums from Philippe Combelle. Both artists sing on the album – and titles include "Rock & Rolling The House", "African Hunch With A Boogie Beat", "Baby Baby Baby", "Do De Do", "Pigalle Love", "All By Myself", "Just You & I", "How Make You Do Me Like You Do", and "The Way She Loves A Man".

A treasure trove of twelve inch singles from Solar Records – the west coast powerhouse for uptempo soul! Most of the numbers here date from the early 80s years when Solar were totally on top of their game – really dominating mainstream soul of the time in the same way Philly International did a decade before. The 2CD set features 12" mixes for all tracks – which mean that most are longer than the LP versions – and most grooves here are in a bumping, stepping, or boogie-oriented mode – post-disco with plenty of great west coast R&B touches. Titles include "Midas Touch" and "Scientific Love" by Midnight Star, "Show Me Where You're Coming From" and "Dance With You" by Carrie Lucas, "Call Me" by Bill Wolfer, "There It Is" and "Night To Remember (US ext mix)" by Shalamar, "No Pain No Gain" and "Rock Steady" by The Whispers, "I Don't Wanna Be A Freak" and "Love In The Fast Lane" by Dynasty, "It's All The Way Live" and "One Minute After Midnight" by Lakeside, "Classy Lady" by Leroy Hutson, "Romeo Where's Juliet" and "Winners & Loser" by Collage, "Street Beat" by The Deele, and "Come Back Lover" by The Sylvers.

A different side of the stepper's scene in Chicago – the more bluesy, southern soul-inflected one – kind of a criss-cross of two different modes in the Windy City! The tracks here are from a variety of sources, but all echo kind of a down home mode – often a modern take on older southern styles that comes off with a sweet little groove – one that's almost a musical illustration of the regional shifts that have taken place as folks from points south moved up to Chicago over the years. That's not to say that all the tunes here have Chicago origins, just that they play well in a side of the city's scene – and the track list includes "Hard Road To Travel" by Shakey Jake, "Wrapped Up In Your Love" by Joe Perkins, "That's When The Crying Begins" by Kip Anderson, "A Good Date" by Charles Earland, "Man To Woman" by Lonnie Youngblood, "Too Many Hands" by Otis Clay, "I'm At The Crossroad" by Vernon Garrett, "Blues For Gerry" by Mark III Trio, "Stone Hearted Woman" by Andrew Tibbs, and "Give It Back" by Lee Roberts.

Aretha Franklin's last 2 Columbia albums – back to back on a single CD! Soul Sister is a later date for Columbia Records that hints a bit at the sounds to come on Atlantic! Backings are by Robert Mersey and Belford Hendricks – both of whom use some relatively full orchestrations and occasional backing vocals – in ways that almost translate a 60s country soul aesthetic to a leaner, cleaner sound for Aretha's strong vocals. Franklin, as always, is great – the kind of singer that really illuminates any tune she gets – even familiar numbers that seem to take on new life in her hands. The material is a bit deeper-digging than before on Columbia – less covers, and more tunes that are well-suited to Aretha's sensibilities – including a few penned by Van McCoy or Hendricks. Titles include "Until You Were Gone", "Follow Your Heart", "A Mother's Love", "I'm Losing You", "Take A Look", and "Can't You See Me". On Take It Like You Give It, Franklin steps out with even more of a hard soul style than before – in a record that's a great close to her early years on Columbia Records! Arrangements are by Belford Hendricks and Clyde Otis – the latter of whom is clearly responsible for the deepening sound of Franklin's music here – although Hendricks' work also sounds pretty great too, with a leaner feel than before. Franklin's vocals really sparkle nicely on the set – sometimes supported with backing singers, sometimes all out on their own – always in that iconic style that inspired whole generation of female soul singers. Titles include "A Little Bit Of Soul", "Only The One You Love", "Deeper", "Remember Me", "Land Of Dreams", "Lee Cross", "I May Never Get To Heaven", and "Take It Like You Give It".

Post-Atlantic work from Robin Kenyatta – but an album that follows in a very similar mode! This date was done for the Wolf subsidiary of TK Records, but it's got a very hip New York groove – one that's almost even more righteous than some of Robin's earlier work, with some excellent arrangements from Arthur Jenkins – who's managed to fill the set with a great sense of soul! Kenyatta's alto and soprano sax are set up with keyboards from Jenkins and Richard Tee, plus bass, guitar, percussion, and some great backing vocals at points – used sparingly, but in ways that almost remind us of Oneness Of Juju at some of their smoother moments. Kenyatta's reeds have a Plunky-like feel too – more inside than the Juju work of the mid 70s, but pointing towards Plunky's smoother sounds to come. Given that the vocal group features Gwen Guthrie, Vivian Cherry, and Patti Austin, you can bet they sound pretty sweet – and titles on the set include "Love Me", "Oh Oh Oh", "You", "Bluebird", and "Of Life & Love".

Great vocals from Japanese singer Shun Sakai – a swinging late 70s session, and one done with a great sort of acoustic energy! There's less of the fusion touches you might expect for such a date from the time – and Sakai keeps things in a nicely old school mode, while just reaching for some occasional warmer touches at times. The combo is great, and features some smoking work on tenor and flute from the legendary Akira Miyazawa – on titles that include "Just You Just Me", "Day By Day", "Teach Me Tonight", "I Fall In Love Too Easily", "Just In Time", and "Someone To Watch Over Me".