Doug Payne & Carman Bryant - "Take A Chance" (4:07)
Review: R&B vocalist Carman Bryant played throughout the United States and was hugely popular. York, Pennsylvania born and raised, she recorded 'Midnight Star' way back when with production taken care of by Cecil DuValle of the Teddy Pendergrass band. The tune never made it out as it was lost when the producer moved to England but has recently been found and gets released here. On the back side is 'Take A Chance,' a duet by Doug Payne and Carman that was recorded in the same sessions at Alpha International Studios. Both are heart rending soul jewels.
Review: BTS, the globally acclaimed K-pop sensations, unveil their latest single, 'For You,' which has as ever ignited great anticipation and excitement among their devoted fanbase. With their signature blend of infectious melodies, dynamic beats, and heartfelt lyrics, BTS delivers another catchy single that resonates worldwide. 'For You' showcases the group's evolution and versatility, highlighting their ability to craft compelling narratives through their music. This one once again is likely to be another chart-topping hit that will undoubtedly leave a lasting impression on the group's devoted army of fans.
Review: Bull & the Matadors, hailing from East St. Louis, brought their soulful energy to the Toddlin' Town label in 1968, joining forces with the iconic Leaner family. Inspired by Rowan & Martin's Laugh-In and its courtroom sketch craze, they released the groovy r&b hit 'The Funky Judge,' crafted by Andre Williams and Leo Hutton. Now, their unreleased sequel 'Where Did The Judge Go' finally sees the light, rescued from obscurity for eager fans on provided on the flipside.
Review: The Numero Group's reissue of Bump & The Soul Stompers' 'I Can Remember' is a potent soul gem from 1970. Recorded at the prestigious Damon Studios in Kansas City, this single captures the essence of the city's classic-era soul scene, spearheaded by the charismatic Jerald "Bump" Scott. 'I Can Remember' is a vibrant, jubilant track that ignites with its energetic horns, echoing the lively spirit of the era. The accompanying song on Side-2, 'Standing On The Outside', slows things down with a smooth r&b vibe, perfectly balancing the upbeat nature of the flip side. The single's blend of infectious rhythm and soulful depth makes this a very desirable 45 to have.
Review: Kansas City's soul scene wasn't built around a famous label or studio, but on the tireless work of America's Best Attractions, a booking agency run by Allen Bell. Bell wasn't just a booking agentihe was the lifeblood of the local music circuit, keeping acts like Bump & the Soul Stompers on the road, paid, and gig-ready. Led by Jerald "Bump" Scott, the group spent years in the grind without needing to set foot in a studio. But when they did, they chose Damon Studios, home to some of the best recording gear in the regionithanks to its owner, Victor Damon, the man who invented the spring reverb. Their first single, "I Can Remember", echoes the smooth finesse of The Delfonics' "Do You Remember," before Bump & the Soul Stompers spin the melody in their own direction. On the flip side, "Standing On The Outside" slows things down, making it an irresistible lowrider groove. It's a soul story that almost never saw the light of day, but now it's hereitwo tracks that pay homage to a hidden chapter of Kansas City's rich musical history.
Review: BunnDebrettQuintet has got a monster modern soul tunes on their hands here with the legendary Brian Auger on Hammond B3 helping bring the style. The glorious A-side 'Truth In My Tears' has a raw but heartfelt vocal and big horn energy over driving drums. It's a real dancefloor heater and then the flip is 'Wasn't It You', a more soulful groover with lush backing vocals but still dynamic drums powering it onwards. This outfit's last single went on to become a much sought-after release that is now well spenny on Discogs so do not sleep on this limited follow up.
Review: Brooklyn-born artist Johnny Burgos wore multiple hats as a singer, songwriter, producer, and engineer. His retro-soul style echoes a raw, uncompromising sound and delves into themes of beauty amid pain and hope amidst despair. Drawing inspiration from icons like Michael Jackson, OutKast, and Lauryn Hill, his music seamlessly blends r&b with hip-hop, funk, pop, salsa, and reggae. With the opener here 'Hit Me Like', he goes slow and sentimental with louche drums and tender chords under the heartbroken vocals. 'Get Back' is just as melancholic and beautiful with heavy kicks and vulnerable vocals.
Review: Third time around for Keni Burke's 1982 boogie-soul classic "Risin' To The Top", a track that remained such a favourite on the jazz-funk, rare groove and jazz-dance scenes that it was given the remix treatment in 1992. The slick and smooth cut is still capable of sending shivers down the spine, with Burke's impeccable lead vocal rising above rich electric pianos, a killer boogie bassline and the track's famous "give it all you've got" female backing vocals. This time round, the track comes backed by another stone cold classic and DJ favourite, the 1981 12" version of "You're The Best". More up-tempo and synth-heavy, it remains a favourite with both boogie DJs and jazz-funk fans.
Review: Burton Inc is perhaps not one of the better-known soul bands of the late 1970s. Formed by married couple Charles and Barbara Burton and featuring their son Tire amongst the backing musicians, the band recorded and released one album, 1976's L.A Will Make You Pay $$$, on their own private press imprint. It's from that set that these two tracks are taken. A-side 'Nation Song' is a glossy, slow-motion call for global unity featuring the twin attractions of incredible horn arrangements and spacey synthesizers (not to mention a fine lead vocal from Barbara), while flipside 'Groovin At The Night Club' is a slightly more up-tempo affair rich in jazzy guitar flourishes, fluid bass guitar and more incredible horn sounds.
Review: Billy (younger brother of Jerry) Butler's seven 'official' releases on Okeh 45s are often thought to be some of the best-ever Northern Soul tunes to come out of the Windy City. Despite that, he never got the same fame as his sibling but this reissue of one of them should show you why that was so wrong. 'Right Track' is just under two and a half minutes of high energy and driving Northern Soul goodness with lush vocal harmonies and 'Boston Monkey' then brings some classic piano energy and big horns to swinging beats and expressive vocals.
Review: The Buttshakers are fresh from their acclaimed Arcadia album but have still managed to get back in the studio to make more new music. It comes in the form of this potent new 7" for Record Store Day which is a double-sided serving of soulful grooves. 'Cold World' captivates with its Stax-inspired horn hooks, driving rhythm, and poignant vocals, all of which offer hope amidst a bleak landscape and urges you to stay resilient. On the flip side, 'Crossroad' delves into soul's bluesy-country roots. Intimate guitar melodies give way to a feverish drumbeat, evoking a journey to meet the Devil at the crossroads. A tale of legends, infused with twang and soul, takes the listener on a haunting journey.
Review: Theo Bijlhout is a Surinamese gospel singer from Paramaribo. It is there that he owns his own record shop in the centre of town and there where he recorded his small but well-formed discography in the late 1970s. This is one of the standout tunes from it and was his first-ever release in 1977. A good quality original copy is hard to find and relatively pricey but this reissue helps you out there. 'Get Down Cause Ain't Funky' is the real gem with its afro drumming, smooth grooves and lively vocals next to the big horns. 'It's Gonna Be Different Now' is a slower, more sentimental sound with a tender vocal and deeper sense of remorse.
Review: Another jewel for all the deep diggers out there produced by Calvin Arnold aka Billy Byrd - soul and funk singer, guitarist, songwriter and producer from Georgia, USA. "Lost In The Crowd" is a solid funk workout, featuring an intense rhythm and a powerful vocal. On the flip, there is a more chilled-out soul jam titled "Silly Kind Of Love" for the connoisseurs out there. Reissued due to public demand here on a nice great-sounding 45" by Vienna's always reliable Record Shack.
I Know You Got Soul (Mister Mushi Special vocal mix) (4:00)
I Know You Got Soul (Mister Mushi Special instrumental mix) (4:03)
Review: Bobby Byrd's classic 'I Know You Got Soul' was originally recorded with James Brown's band The J.B.'s back in 1971 and soon became a club staple. It has endured in original form ever since but now it gets subtly reimagined by Mister Mushi. He offers a fresh, funky remix that's perfect for both crate diggers and DJ sets with the standout feature being the open drum break, which is a percussion lover's dream and has been designed to be sampled and looped for fun. Mister Mushi's impeccable mix stays true to the original funk spirit and the whole thing has been pressed on high-quality vinyl so it sounds superb.
Review: Bobby Byrd struts in inimitable style on 'Never Get Enough' which is an evergreen favourite that now gets reissued once more. Originally released on Brownstone Recordings during the 1970s funk era, the track was produced and arranged by the legendary James Brown, alongside the exquisite 'My Concerto'. While 'My Concerto' is typically indispensable, its omission in this reissue is forgiven in light of an extraordinary addition: an unreleased instrumental of James Brown's iconic production. Funk enthusiasts, take heed - this B-side reissue is a must-have for collectors seeking rare gems from the era.
Review: This track was originally released on a rare 7" in the mid-70s and later became the title track of Bobby Byrd's 1993 album. Dubbed 'Soulbrother #1' by Fred Wesley, soulful and funky legend Bobby Byrd rediscovered the track while at Soulciety Records in Hamburg. When the album On the Move (I Can't Get Enough) debuted in 1994, it became a surprise hit that was widely celebrated by rare groove fans and hip hop fans alike, all of whom who admired Bobby's work and his collaborations with James Brown. Now, this classic is available once more and features an unreleased instrumental version.
Bobby Byrd comes strutting on posthumously through to Sedsoulsociety with 'Never Get Enough'. This ineluctable treat was first released on Brownstone Recordings sometime during the early 70s funk heyday, and was produced and arranged by none other than that ingenious titan, James Brown, together with the beautiful 'My Concerto'. We usually wouldn't forgive the removal of the latter track from any reissue, but we're making an exception here, for the fact that an even greater treat lines this B-side reissue: a formerly unreleased instrumental of said James Brown classic production. Funk completists hardly need to be told not to sleep on this one.
Review: Bobby Byrd comes strutting on posthumously through to Sedsoulsociety with 'Never Get Enough'. This ineluctable treat was first released on Brownstone Recordings sometime during the early 70s funk heyday, and was produced and arranged by none other than that ingenious titan, James Brown, together with the beautiful 'My Concerto'. We usually wouldn't forgive the removal of the latter track from any reissue, but we're making an exception here, for the fact that an even greater treat lines this B-side reissue: a formerly unreleased instrumental of said James Brown classic production. Funk completists hardly need to be told not to sleep on this one.
Review: Jai Alai's latest release brings forth a collection of forgotten vinyl tracks that have been previously unreleased on 7" format or limited to CD-only albums. Donaldson Toussaint L'Ouverture Byrd II, to give him his full name, was a pivotal figure in jazz history and a prominent trumpeter and flugelhorn player after his stint with Art Blakey's Jazz Messengers in the mid-50s. Collaborating with jazz icons like John Coltrane, Thelonius Monk, and Sonny Rollins, Byrd's journey evolved into experimenting with jazz fusion, African rhythms, and r&b by the late 60s. His transformative fusion work, notably with the Blackbyrds, reshaped the jazz-funk landscape, paving the way for dance jazz on disco floors and becoming a wellspring for hip-hop samples. These are two of his many great moments of soul-drenched goodness.
Robert Byrne - "Do You Wanna Make Some Love" (previously unreleased) (2:52)
Review: Byrne and Barnes 'Love You Out Of Your Mind',first released in 1981, epitomises the smooth blend of soft rock and AOR during its peak era. Featured on the album An Eye For An Eye, this track marked a unique collaboration between the duo, both of whom would later contribute to the success of artists like Earth, Wind & Fire, Patti Austin, and Phil Collins. The song showcases the signature AOR sound, merging jazzy elements with soulful grooves, giving it a timeless WestCoast flair. Now, for the first time, this classic is getting the 7" single treatment, backed by an exclusive, never-before-heard track from Byrne's archives. 'Do You Wanna Make Some Love', also rooted in AOR and WestCoast vibes, flirts with Boogie and Disco influences, offering a fresh yet nostalgic sound. This newly unearthed gem, found by the original executive producer, is a great B-side addition. Despite being somewhat overlooked in its time, Byrne & Barnes' music has built a dedicated following over the decades. This reissue brings their sophisticated sound back into the spotlight, ready to win over another generation of music lovers.
Review: Cinematic soul legend El Michels Affair has written a superb album Glorious Game which is due for release later in spring. Before that full-length with Roots co-founder and lyricist Black Thought - which is a meditation on the state of the hip-hop scene in the early 2020s - we get this taster single from it. 'Glorious Game' as you would expect as all the lush instrumentation and dark soul sounds you'd expect from this artist by now with the added extra of some superbly thought-provoking mic work. 'Grateful' is another heart-wrenching and alluring sound that more than gets us excited for the full length.
Review: Death Is Not The End's 333 series reissues the exceptional original cut of the late Hortense Ellis' wonderful 'Hell & Sorrow' here. It was originally produced by Jimmy Radway and released on his Fe Me Time label in the mid-1970s and remains a popular joint on the sound system circuit. Here this most classic track is paired with the iconic DJ counteraction 'Tribulation' by Big Youth, which offers a compelling glimpse into reggae's rich history while also laying down a nice fat rhythm.
Janet Jackson - "Got Til Gone" (feat Joni Mitchell & Q-Tip - DNA edit) (4:43)
Black Eyed Peas - "Joints & Jam" (DNA edit) (3:45)
Review: Two iconic tracks, each remixed with finesse by the DNA crew. On Side-1, 'Got Til It's Gone' receives a fresh edit that enhances its laid-back groove and lush, genre-blending aesthetic. The DNA touch subtly amplifies the track's timeless charm to a higher level. Side-2 offers 'Joints & Jam (DNA Edit)', revisiting their breakout underground hit with a polished edge. The remix retains the track's infectious energy while elevating its funky, soulful essence, capturing the group's pre-megastardom authenticity. Together, these edits highlight DNA's ability to preserve the originality of each track while delivering a cohesive and modern reimagining. Neat work.
Billy Hawks - "(O Baby) I Do Believe I'm Losing You" (3:03)
Review: This Juno colour vinyl exclusive finds Linda Lyndell serve up her own majestic cover of the classic "What A Man." Her vocal is smooth and buttery but also laden with gravitas, while the sweeping horns and jazzy keys all around her help to lift the spirits. On the flip is an ice cold slice of funk from Billy Hawks in the form of his "(O Baby) I Do Believe I'm Losing You". It's raw soul that glides at high speed with plenty of hip swinging claps. This is a much sought after reissue that will shift quick, so make sure you do too.
Review: Johnnie Taylor never really wrote any of his own music and he couldn't play any instrument particularly well but that hasn't stopped him becoming known as a rather accomplished soul artist. He penned an incredible 30 odd albums and more than 120 singles as a leading male vocalist in the sixties and works dunder names like 'Blues Wailer' and the 'Philosopher Of Soul'. He was a doo-wop group member initially back in the 50s but by the mid-sixties he was working with Stax as a blues artist. 'Let's Get Back On' on the A-side here is from his 1999 album Gotta Get The Groove back and is backed with a beautiful ballad from the legendary Bobby 'Blue' Bland.
The Tolbert Family Singers - "Ride The Gospel Train" (feat Brother O C Tolbert) (3:36)
O C Tolbert - "Give It To Glory" (5:46)
Review: With Cordial Recordings, LoveVinyl's Roual Galloway is doing a terrific job in making rare, sought-after tracks available to a wider audience. In truth, you'll struggle to find a more rare and expensive gospel killer than The Tolbert Family Singers' "Ride The Gospel Train", a drum machine driven chunk of gospel-boogie with crunchy funk guitars that's been changing hands for hundreds of pounds online. Andrew Weatherall is a fan and it's easy to see why. Flipside "Give it Glory", a solo cut by Tolbert Family patriarch Brother OC Tolbert, is a sweeter and breezier slab of gospel-soul that has never before been released on vinyl. Two killer cuts for the price of one: nice one, Roual!
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