Cellarful of Soul MAY-JUNE 2009
Plenty of dance floor booty to keep the discerning soul fan on the good foot this issue. PAUL RITCHIE is your choreographer.

The late Neal Hemphill was a plumber by trade in Birmingham, Alabama, a city more famous for racism and violence during the civil rights era. Yet his story is a rare tale of creative integration that deserves greater recognition. His passion for music inspired him to build his own studio, helping launch the careers of R&B singers Sam Dees and Frederick Knight. Writer John Ciba has spent years piecing together the story and has released two highly recommended compilations of rare material recorded at the studios in the late sixties. Fans of Stax and the Muscle Shoals sound will find much to savour on both volumes of VARIOUS ARTISTS The Birmingham Sound Volume 1 (Rabbit Factory CD).

Latin American labels like Fania and Cotique soaked up the influences of African Americans and their Latin American brothers to create an exotic melting pot of soul, funk and boogaloo during the late sixties. VARIOUS ARTISTS The Soul Of Spanish Harlem (BGP/Ace CD) has plenty of rarities to entice. The essay notes are exemplary and the period pictures are way too cool for school; those captivating Latin LP sleeves make great eye candy. As for the music, what you get is pure escapism. Harvey Averne Dozen’s swinging ‘Central Park’ takes the mind on a leisurely stroll around New York’s greener pastures where the air is clear from the hustle and bustle of city life. The danceable groove of ‘True Love’ by The Terrible Frankie Nieves and the previously unissued ‘Nitty Boo Boo’ by The Nitty Sextette takes you to the packed floors of the coolest hideaways where the shingaling and the boogaloo play on into the twilight hours. Elsewhere, the pace is mid tempo soul every bit as soulful as that produced by their African American contemporaries but with added salsa flavour.

VARIOUS ARTISTS Respect: Aretha’s Influences And Inspiration (Ace CD) features other versions of songs Aretha Franklin cut herself. Twenty-four tracks of familiar but solid soul including Thelma Jones swinging ‘The House That Jack Built’ and the equally sassy ‘Soulville’ by Dinah Washington, two killer club soul anthems that will keep fans arguing about who cut the definitive version.

FREDA PAYNE’s How Do You Say I Don’t Love You Anymore (Poker CD) from ’66 wasn’t aimed at the dancefloor despite the inclusion of the ballsy Northern Soul staple ‘On Easy Street’. A blustery big band production dates the album and Freda sounds a bit too Shirley Bassey for my money. Nothing wrong with a bit of Shirley – ‘Spinning Wheel’ is pure dance floor heaven – but is the public yearning for yet another dreary cover of ‘Yesterday’? Itchy feet are best served by her funkier Invictus recordings.
‘Oh No, Not My Baby’ by MAXINE BROWN is one of those song titles you instinctively sing from the page instead of reading it. The Best of The Wand Years (Kent CD) is a timely reminder of one of the most treasured female artists amongst the Northern Soul fraternity. The yearning, Motown-inspired ‘One In A Million’ kicks off this mighty collection of classy, sassy soul. Maxine’s voice is something to behold, hauntingly seductive and full of emotion throughout.

Two artists whose back catalogues deserve a bit more care and attention include New Orleans funk legend ERNIE K DOE and Chicago giant MAJOR LANCE. Here Come The Girls (Acadia CD) from the former contains only twelve tracks whilst the latter Um, Um, Um, Um, Um, Um (SPV CD) contains just ten tracks. A poor return in quantity but not quality. Here Come The Girls is the pick of the two. Aside from the well-known funky title track, this reissue of a rare ’70 LP taps into the less familiar soulful side of the late New Orleans legend. The original artwork might have been an added bonus.

Modern soul is a term loosely centred on music recorded post-1970 onwards and appeals mainly to those with a broader palette. VARIOUS ARTISTS Masterpieces Of Modern Soul Volume 2 (Kent CD) is a good one to tip your toe into as it centres mainly on the slick, richly melodic and well produced ’70s soul with treasures to be found particularly on the meatier southern flavoured tracks. The sublime ‘I Wanna Stay High On You’ by Higher Feeling and the George Jackson-penned, ‘All In My Mind’ standout.

Staying in the ’70s, the Sounds Of Memphis label has been raided once more with two exuberant albums by THE OVATIONS, Hooked On A Feeling and Having A Party (Kent) paired up on a single disc. Classic Memphis soul and good vibes abound across both sets, especially the faux live ‘Party’ album.

You might need a spare twenty-four hours to fully appreciate the expansive Black Moses (Stax) from beginning to end. Spread over two discs, each song seems to last an eternity. When it came to songs about shagging, ISAAC HAYES was no ‘wham bam, thank you mam’! The landmark Black Moses LP was as much about breaking up as making up, Hayes was going through a marriage break-up at the time and had his secretary come into the studio so that he could sing to her for emotional support. The album is best known for his unique extended interpretations of other artists songs such as the Jackson 5’s ‘Never Can Say Goodbye’ as well as the expensive provocative fold-out album cover showing a robed Hayes adorning a cross which has been faithfully reproduced for this reissue.

MILTON WRIGHT, brother of soul siren Betty, recorded two albums in the ’70s for the Miami based Alston label. Despite a lack of commercial success first time round a buzz has circulated amongst collectors resulting in the reissue of his impossibly rare second LP, Spaced (Jazzman CD). His first, Friends and Buddies, is also worth tracking down. Both albums have a unique otherworldly feel about them with an inventive mix of instrumentation such as moog, acoustic guitars and wind instruments. You can hear jazz, folk and disco influences in the mix but they are not obtrusive to the overall laidback soulful groove. Stevie Wonder was an obvious reference point on the first album but the follow up has a more individual sound.

The soundtrack to ’72 cult blaxploitation movie Blacula OST (Rev-Ola CD) was composed by GENE PAGE who had scored big hits previously for Motown and Phil Spector. The Sly & The Family Stone influenced funk of The Hue Corporation and the sunshine soul of The 21st Century offer some light behind the shade. Meanwhile, wah-wah guitars and crunchy synths provide the spooked up effects for Blacula’s conquests. Plenty for film buffs and funk fans to sink their fangs into!

Finally, from all the many new acts we could have included this issue, THE FANTASTICS’ Mighty Righteous (Freestyle CD) takes first prize for creating something equally razor sharp and authentically funky on the bone. Check out their Hammond organ drenched version of The Small Faces’ ‘I Can’t Dance With You’. Class!

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