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Spare, slow burning soul with Jimmy Jam and Terry Lewis at its core, from 1989 Detroit, courtesy of the Inner City milieu. On the flip, the dubwise club mix of I’m Losing Control is ace Motor City house, with heavy, grooving bass, splashing drum machine, and driving-by-night keys.
Consummate jazz-funk and two-step soul from their time with Wayne Henderson’s At Home, in 1975-76. Stone classic vocal takes on Ronnie Laws’ Always There and the Crusaders’ Keep That Same Old Feeling, through sublime mid-tempo harmonising like She’s A Lady, to jiggy jiggy murder like S.O.S. (which with sth assistance of gospel diva Helen Baylor trumps even Esther Phillips’ ace version).
‘A sonic snapshot of America’s steel capital, probing the fertile cavern between the departure of the Jackson 5 to Motown and the collapse of U.S. steel… a love letter to Gary, Indiana, salvaging twenty-plus lost songs from the southern-most tip of Lake Michigan. Housed in a deluxe tip-on gatefold jacket, with a 16-page booklet crammed with photos, ephemera, and an in-depth essay, Skyway Soul connects the dots between The Spaniels, Michael Jackson, and Freddie Gibbs.’
Truly pioneering electro-funk — treated, lo-fi, minimal, fundamentally desolate — this long overdue compilation of Sly’s own Stone Flower label runs the five 45s alongside ten previously unissued cuts, all newly remastered from the original tapes. The missing link between the rocky, soulful Stand! and the dark, ticking, overdubbed sound of There’s A Riot Going On, his masterpiece. The notes include an exclusive new interview with the great man himself.
Multi-layered, expansive, reflective, feelingly political, musically expert. Dev Hynes, Kelani and How To Dress Well all in the mix; Q-Tip, Tweet, Lil Wayne… and old man Knowles, most tellingly of all. Knockout singing.
‘Synth chutes, synth ladders, popcorn 808 beats, dirge-y chants and busted sub-woofer hums from inner-galactic soul pioneers Nathaniel Woolridge and Anthony Freeman intertwine to create this hypnotic, mythical 1984 LP from Newark, New Jersey. The most damaged party record ever set to black, or the most partied cry of the heart ever howled into personal space. Probably both.’
‘Eventually crowned Queen of the Norfolk Sound, Barbara Stant was just a teenager when she auditioned for Shiptown impresario Noah Biggs in 1970. A dozen sides were tracked throughout the decade, producing a body of work that stretched from deep soul to northern soul to sister funk. By 1978 disco was in overdrive, Noah Biggs was in the ground, and Stant’s career on hold. My Mind Holds Onto Yesterday is what remains.’
Blaxploitation from the Staples and Curtis Mayfield. The title track is all-time knockout soul music: Mavis is startlingly randy, over a masterful, sinuous rhythm. Goddess. New Orleans winningly sublimates I Heard It On The Grapevine; I Want To Thank You is decent, too; Curtis throws in a few Shaft-style instrumentals.
That title track, though.
The key recordings of the greatest southern soul singer of all time.
Her debut album reissued at last, as a deluxe HIQLP. The CD comes in a Japanese-style, rigid-card sleeve.
Utterly unmissable.