JAMES CARR
The Complete Goldwax Singles
You Got My Mind Messed Up + 12 bonus tracks (Both Kent, CDs)
Ask any real Soul fan to list
their Top Ten Southern Soul vocalists, and James Carr will
invariably be in it (along with OV Wright). Carr's definitive
rendition of Chips Moman & Dan Penn's 'Dark End Of The Street'
is his best known 
song, whilst 'Pouring Water On A Drowning Man' and 'You've
Got My Mind Messed Up' must run a close second. All three
obviously feature on the Goldwax Singles set. Carr was a
troubled soul beset by mental health problems for most of
his life (he died on January 7th 2001) and long periods
would elapse between recording sessions. However when he
was on form, his rich, resonant voice could do no wrong.
Tracks like 'Life Turned Her That Way' and 'She's Better
Than You' are performed with such conviction that you believe
to your soul they are autobiographical. His voice is not
so much recorded as scorched into the little silver disc.
You Got My Mind Messed Up reproduces Carr's 1966
LP of that name and adds twelve bonus-cuts of alternative-takes
and unreleased cuts. The casual and the curious listener
will only need one or the other of these two discs as there
is a lot of duplication between them. But 'Soul Obsessives'
will want both, just for the sound quality (all from masters
as per usual with Ace/Kent stable). Two soul sets that will
make you rejoice that you have ears to hear them.
Paul Martin
JIMMY HOLIDAY
Everybody Needs Help (EMI / Stateside CD)
Deep Soul aficionados will
be familiar with Holiday's heart bursting 'The Turning Point'
from Dave Godin's Deep Soul Treasures Vol.1 CD
comp from a few years back. This disc traces Holiday's career
on 45rpm from 1966-1970. It's a delightful assortment which
brings together Northern Soul stompers ('Spread Your Love';
'Ready, Willing & Able', his duet with Clydie King) with
divine Deep Soul pleaders (e.g.'Turning Point', 'I Don't
Want To Hear It') and includes a Viet Nam song ('I'm Gonna
Help Hurry My Bothers Home') to historically position the
collection. The production on many of these sides is sparse
and airy and serves as the perfect platform for Holiday's
sprightly heartfelt tones. If you liked 'The Turning Point',
the overall feel of this collection follows a similar path,
balladic and passionate songs of life and love that will
delight for years to come.
Paul Martin
THE IMPRESSIONS
Get Ready With (LP)
CURTIS MAYFIELD
Super Fly (2-CD Special, Charly)
Curtis Live (CD)
Sweet Exorcist (LP, Last three Get Back Records, Italy)
Few musicians really get to me, but the works of Curtis Mayfield pull at my heartstrings, make me smile, weep and
raise my fist in revolt. Mayfield changed the face of Black music. And his music was soul in the truest sense: he sang
from deep down inside, whether expressing the joys of love or the injustice that Black Americans had to live with.
Whatever the topic, the man sung from the heart, and his earwax cleaning tenor is one of the sweetest voices to be
heard in soul music. And with it he got his message across.
The double vinyl Get Ready
With… features 24 of Mayfield's trios later hits and
album tracks. Although neither a definitive hits or rarities
collection this set is firstly impressive for the decent
vinyl mastering, and secondly for the neat selection of
Mayfield's social anthems that laid the way for soul to
crossover to echo deeper issues. Downers are the lack of
liners or track information; nevertheless, this is a decent
compilation of The Impressions more interesting cuts.
Both Charly and Get Back have
issued a 2-CD set of Mayfield's crowning glory, Super
Fly. The first CD features the original soundtrack
to the '72 hit blaxploitation-drug movie. We all know it,
and I reckon anyone with a modicum of taste loves it. This
music breaks boundaries, as did fellow forward-thinking-soulster
Issac Hayes' similarly vibed soundtrack to Shaft:
intelligent smooth strings, vibrant horns, and funky drums
and guitars infuse to create a music form that took soul
and funk light-years ahead of the game. CD2 features a wealth
of additional material that includes a selection of alt.
takes and sundries. Of course, it need not be said that
this is essential!
From the previous year Curtis
Live (Mayfield's second solo-LP after quitting The
Impressions) catches a 12-song set, recorded at Paul Colby's
Bitter End, New York City. The sound is top notch, and Mayfield
and his four-piece backing band excel. Featuring new song
'Superfly' and re-working of older Impressions hits like
'People Get Ready' this is an exceptional live album that
proves just how special Mayfield was. The man embodied peace
and good vibes. Astounding!
Finally, it's nice to see
a reissue of the '74 album Sweet Exorcist: although
not as impressive or imaginative as his earlier albums this
still contains the same blend of seduction and revolution
one associates with prime time Mayfield. Hit 'Kung Fu' pushes
across politics over a sneering funk beat, whilst the title
track is a truly beautiful ode to love.
For me, Black music became special when Gaye, Mayfield and Wonder broke away from the pop formula. And
these three albums track the journey wonderfully across the '65-'74 period.
Mayfield is to Black music what Dylan is to white. It's been said many times, but fuck it. It's true. These
recordings are the mark of genius! Truly untouchable!
Jon 'Mojo' Mills
JOHNNY OTIS & FRIENDS
Watts Funky
THE JOHNNY OTIS SHOW
Snatch And The Poontangs / Cold Shot (Both Ace, CDs)
The Greek-American Otis (nom de plume) was a vintage player by the late '60s. Starting in the late '40s with Blues
and Jazz, riding the '50s through R&R/R'n'B, entering the '60s with novelties, dance records and the like, and ending
up as a psych/funk/R&B impresario, even introducing his hip son Shuggie into the business. No one can say that his
career has been uneventful.
Watt's Funky is the
perfect introductory compilation to Otis' Funkiest sounds.
Spanning roughly '68 to '76 and featuring recordings by
such talents as Debbie Lyndsey ('Spells & Incantations'),
son, Shuggie, and a host of The Johnny Otis Show tracks,
this is an eclectic, eccentric and distinct selection. However,
when push comes to shove it really is son Shuggie that shines
brightest. Embracing the hippy community and living it to
the full, his material caught the zeitgeist, 'Strawberry
Letter 23' (taken from the incredible '74 album Freedom
Flight) could as easily be Neil Young as it could Sly
& The Family Stone. Shuggie fans will be pleased to learn
that this collection also features two unreleased Shuggie
cuts: 'Miss Pretty' has a similar vibe to Stevie Wonder's
early '70s outings and 'If You'd Be Mine' utilises the organ
rhythm box that defined Inspiration Information.
Shuggie as well as being a top blues player was also played
all the instruments on I.I. He was way ahead of
Prince! Anyhow, along with the child genius, the rest of
the album features a slew of funky grooves. A number, however,
may be just that little close to disco for some.
For those wanting more, the
two-on-one Snatch And The Poontangs / Cold Shot
(both '69) is somewhat of a mixed bag. Cold Shot
is purely electrified blues, and for this 'not-particularly-blown-away-by-the-blues-type'
it's nothing more than average. However, Snatch & The
Poontangs not only being a whole lot funkier, is a
great deal filthier. The humour is base-level, but the insert
of 'Mother Fucker', 'Cock Sucker' and plenty more enjoyable
sexual profanities lead to a far more educational listening
experience.
Jon 'Mojo' Mills
JAMES & BOB PURIFY
The Best Of James & Bobby Purify: Shake A Tail Feather
THE O'JAYS
I'll Be Sweeter Tomorrow: The Bell Sessions (Both Sundazed, CDs)
Cousins, James & Bobby were
brought to my attention at the tender age of 11 via the
inclusion of 'Shake A Tail Feather' on the Casino Classics
Northern Soul comp. I've loved it ever since. A Mod fave
through and through. The other 27 tracks on new comp. Shake
A Tail Feather are no disgrace either. Here Sam & Dave
styled Gospel-inflected Soul are displayed in a wide array
of styles. All successful, if not as catchy as 'Shake A
Tail Feather' or 'I'm Your Puppet'. Nevertheless, there's
no maligning this fab set. It's an ideal introduction.
The sweet '70s Philly Soul
is what The O'Jays have become known for, even though their
history reaches way back to the late '50s. Throughout the
'60s they recorded a number of platters for Imperial with
Gamble and Huff before moving over to Bell in '67. Sundazed
include all of the singles and the sole album (Back
On Top) that the vocal group recorded for the Bell
label between '67-'69. It's sweet soul all the way, with
a hint at the Philly sound that was to come and a very strong
feel of Motown (notably The Temptations). The stinging fuzz
and shimmering string of single and album track 'That's
Alright' ('68) make an impression, as does 'Four For The
Price Of One' which echo the psychedelic soul sides, that
indeed The Temptations were recording for Motown. Other
numbers are far sweeter, and at that not overly impressionable.
However, it's tight, harmony-laden and good value: 20 cuts
(including five unreleased numbers).
Jon 'Mojo' Mills
MINNIE RIPERTON
Come To My Garden (Sequel, CD)
Rotary Connection (who featured the five-octave blessed Miss Riperton) were a defining band of the late-'60s Chess
and Cadet staple; not only were this band mixed-race, but godammit, they were psychedelic too. This, of course,
wasn't the once conservative Chess dicing with death. In fact, Rotary Connection were the creation of Chess Exec
Marshall Chess who wanted to cash in on all thing psychedelic and long haired. Riperton was the band's main voice,
so it was inevitable that by '69 she would have the opportunity to record a solo album. Supremo Charles Stepney
produced, whilst the crème de la crème of session players supplied the delicate score (including Soul-Jazz legends
The Ramsey Lewis Trio).
Musically the album was a
major departure from the psych-rock/pop of Rotary Connection,
Stepney's lush strings and choral vocal arrangements are
sensuous, recalling the jazz tinged pastoral quality of
Astral Weeks as much as traditional soul.
Riperton never again shone
as brightly, although would later hit big with 'Loving You'.
The eclectic mix of styles and the approach of Come
To My Garden could only have arisen from such a fertile
period as the late '60s. 'Les Fleur' (a collaboration between
Stepney and Minerton's husband Rudolph) sums up the mood
and feel of the album perfectly. This was clearly post-Pepper
and inspired by the peace loving nature still in the air,
yet the jazzy and melodic nuances are far more timeless
than the majority of psych music from the time. This really
is something very special. Advised at all counts.
Jon 'Mojo' Mills
BETTYE SWANN
The Money Recordings (Kent, CD)
Swann's recording for Money mixes a Motown up-tempo groove, with gospel, blues and night-club influences. It's
smooth all the way, and Swann has a wonderfully commanding voice; just check out her brilliant version of Smokey
Robinson's 'Don't' Look Back'. There are a few floor shakers, but for the main part this collection focuses on mid-60s
soul indicative of the era when ladies wore ball gowns and nice dresses. A lovely voice and endearing Mid-60s
sounds even if the songs aren't ever so grabbing.
Jon 'Mojo' Mills
JOE TEX
Live & Lively / Soul Country & Happy Soul / Buying A Book (Both RPM / Shout, CDs)
From The Roots … Came The Rapper (Kent / Dial, CD)
The Shout Soul imprint of
RPM has unleashed the final four albums that that Tex recorded
for Atlantic between '67 and '69. (Vols. 1 and 2 were released
on the Connoisseur Collection label). Live And Lively
is a stunning artefact (and even if there's a chance that
some cuts may be overdubbed) the live performance atmosphere
is recreated to a tee. 
The next album Soul Country features only one Tex
original ('I'll Never Do Wrong'), the rest of the material
is gathered from country hits and standards including inspired
takes of 'At The Dark End Of The Street' (which really,
is more soul than country, anyhow) and 'Ode To Billy Joel'.
Recorded in Memphis and Nashville in '67 the country feel
is present, although Tex's soulful renditions are not always
fully realised. '69's Happy Soul is back on par
with Live And Lively. Mixing moods, from deep soul,
to vintage Tex to the humorous; the album works on every
level. A Memphis Soul gem! If not quite as good, follow-up
Buying A Book is still worth it's weight in gold—funky
and typically Tex.
The ever fine Kent issue the
'72 classic From The Roots… which was originally
issued two albums on from Buying A Book – but the
album's more string laden, and the progressive production
is quite a leap forward. Opener 'Oh Me Oh My (I'm A Fool
For You Baby)' features metallic, bleeping synths (which
does nothing to distract Tex from being soulful), and the
11 minute epic closer 'I'll Never Fall In Love Again' has
an intricate cross-over production, filled with fuzz, electric
sitar and flutes. And yep, indeed Tex's lessons in love
are without doubt proto- raps. Pop also plays a part, as
does funky soul, and of course the smooth country-tinged
Southern soul ballads that Tex excelled in. The album running
order has also been amended to fit Dials' original intended
order. And if this isn't great enough, another 10 cuts recorded
between '69 and '75 have been added to the end of the package,
all previously ignored by re-issues. And Cliff, whom I work
with wrote the liners, and lemme tell ya that man is a fountain
of knowledge.
Four impressive titles on two CDs and a bonus filled classic. What more could you ask for?
Jon 'Mojo' Mills
GENO WASHINGTON
Love Bandit (Norton, CD)
In essence Love Bandit
ties up the loose ends left over from the previous Out
Of This World collection and consists of 15 more cuts
that feature the Detroit singer and producer. The period
covered is '62 to '71, mixing released and 
unreleased material that range from early rockin'' soul,
through more Motown tinged moments to full on greasy funky
rawk. The 1969 singles 'Hey, I'm A Love Bandit' and 'Doing
The Popcorn' typify the late '60s funky edge that Washington
adopted; they're amongst his best too. Although taken from
somewhat of a scratchy acetate 'You Should Have Been True'
(from '71) is equally as good, and a mean instro version
of Hendrix's Foxy Lady' retitled 'Foxy Walk' is movin'.
Early production work with Pearl Jones from '64 offer two
classy tunes, resplendent with the driving Washington beat,
whilst an unreleased '68 take of Nathaniel Meyer doing ''I
Don't Want No Bald Headed Woman Telling Me What To Do''
is worthy of admission alone. Meyer tears it up James Brown
style on this sweaty funk piece.
Jon 'Mojo' Mills
ANDRE WILLIAMS
Bait & Switch (Norton, CD)
Back from the netherworld, an older and, perhaps wiser, Mr Williams gets it together with young cats and older
buddies alike. Lonnie Youngblood, Ronnie Spector, and even the Voivoids Robert Quinne (who supplies some
suitably filthy guitar licks) all feature. You can tell this is a Norton product from the oft, and that's cool. Older types
are easily influenced and could quite possibly be steered way off path. But hearing Williams with a crisp production
fresh from a state-of-the-art studio would be horrendous. So this sloppy, raw work is atypical of Norton. And it really
works. The spirit of Williams is thankfully still intact. Politically correct it is not, but it is a RIOT!
Jon 'Mojo' Mills
VARIOUS ARTISTS
Dig The Slowness:
A Compendium of Retro Grroves Compiled By Andy Lewis (a Discotheque Production; CD/LP)
The genuine fan, scenester, Acid Jazzer and DJ Andy Lewis has compiled a party-licious mix of a variety of sounds
all completely suited to dancing. Taking the ethos of the Blow Up A Go Go album that splattered all shades and
tones of mod dancefloor cuts together in neat package this beautifully presented pack throws in Donovan's 'Hey
Gyp! Dig The Slowness' with the funky club sounds of Jimmy Scott, cheesy listening maestro Jerry Ross's
loungecore take on Shocking Blue's 'Venus' and Long John Baldry's incredible version of Cream's 'Sunshine of
Your Love'. The inclusion of Pentangles' gentle 'Light Flight' is a surprise, but it works a treat! You'll probably know
most of the material, but as a compilation it works. This is like one of those old mix-tapes a mate would do that
features all good stuff!
Jon 'Mojo' Mills
VARIOUS ARTISTS
The Goldwax Story Vol.1 (Kent, CD)
Memphis is probably best known
for the 'original rockabilly cat', Elvis Presley and for
the soul label that defined the genre of Southern soul,
Stax (with Hi not far behind!). Memphis had a plethora of
other labels however covering all styles of music. In August
1964 Quinton M Claunch launched his Goldwax label in that
fabled city and in the ensuing five years committed to posterity
some of the most commercially underrated but fan appreciated
Southern soul of the times. (He also recorded some pucker
garage from the city, see the two CD volumes for instance
of A History of Garage and Frat Bands in Memphis 1960-1975
recently issued by Shangri-La Projects along with Ron Hall's
book 'Playing For A Piece Of The Door' also published by
Shangris-La). Goldwax's star turn was undoubtedly James
Carr who obviously features here (see also separate review).
However, the names of O.V. Wright, Spencer Wiggins, Jeb
Stuart and The Ovations are hallowed amongst the soul cognoscenti.
All of whom appear on Kent's first volume of collected Goldwax
45s (Vol.2 is in the works right now). The first cut on
this disc is 'I'm Living Good' by The Ovations featuring
Louis Williams and rightly featured he is. Proving that
Sam Cooke impersonations were every bit as common and sincere
as those done of the other bloke. Lesser luminaries featured
on this disc include Dorothy Williams, Eddie Jefferson and
the Five C's. This collection is not largely for dancing
to, it is to get down and be desperate with, so if you are
in the mood for testifying, this will help you through!
Paul Martin
VARIOUS ARTISTS
King Northern Soul – Volume 2 (Kent, CD)
The previous acclaimed volume was proof that folks were itching for more. This mammoth set, yet again, turns in
floor stomper after stomper—most stemming from the '67-'70 period, and a few mid-tempo early sides. There's little
really funky or indebted to the Godfather, but then remember that this is a compilation of the Motown/Uptempo
styled soul suited to dancing to rather than funk. Okay, got that? Charles Spurring's ode to the Boogaloo 'Let Me Be
(A Steppin' Soul) is fabulous, echoing the sweaty groove of Wilson Pickett whilst the sublime 'I Don't Have To
Worry' (Lori & Lance) was cut at Muscle Shoals; the brass, rhythm section and Isley Bros-esque fuzz guitar is
rapturous. Connie Austin's funky, hard hitting 'She Made A Mistake' drives along, with cool Tina Turner vocals and
was written by the hip Charles Spurling. Earliest cut, 'One Hundred Years' by the great Freddy King shows how
much this guy influenced the UK beat bands after touring here, and the influence is clear. One listen of this songs
proves how much an influence King was. Elsewhere the sides are pleasant and enjoyable rather than instant, but
these are rare as hell, and worth hearing.
Jon 'Mojo' Mills
VARIOUS ARTISTS
Motown Delights – Soft Centred Soul & Motown Salutes Bacharach (Both Motown, CDs)
Featuring rare album tracks,
b-sides and assorted delights Motown Delights (the
third in the series) is a bargain price treasure-trove for
the Soul-y who doesn't 'have to have the singles'—and for
five odd quid whose moaning? The sound is good, the scant
notes supply enough info and most importantly there's a
cartload of great music. Earl & 
The Vandykes Northern classic 'All For You' is a stompin'
instro certain to please. Marvin Gaye's original of 'No
Good Without You' is a mid-tempo stunner, that although
different from The Birds rousing freakbeat rendition still
packs a punch (well, it should as it's the bloody original),
whilst '66 b-side 'When I Had Your Love' is yet another
example of Gaye's soulful brilliance. The Four Tops' 'The
House In China Town' has a wonderful vibe, natch storyline,
and the always-great Isley Brothers harmonise sweetly over
a solid Motown-beat that's embellished with Tubular Bells
and Chimes on 'It's Out Of The Question'. 'Girl, You Need
A Change Of Mind', rides on a funky beat and displays Eddie
Kendricks' wonderful tenor, although unfortunately the turgid
Janet Jackson politcial rant from '82 is a major letdown.
Motown Salutes Bacharach
may not match the instant brilliance of Bacharach's classics
or Motown's classiest Pop hits. But nevertheless, to hear
Black America's most prominent label's artists cover and
re-work these tunes is a pleasure. Smokey Robinson & The
Miracles' '66 take on 'Walk On By' is an understated work
(what it lacks in jollity it makes up for in melancholia);
in short, it's truly beautiful. Martha Reeves & Vandellas'
'Anyone Who Has A Heart' is magnificent. And Gladys Knight
does a smooth take on 'The Look Of Love', while the young
Stevie Wonder turns in a triumphant jazz instrumental version
of 'Alfie'. Best of all is Tom Clay's moving spoken word
version of 'What The World Needs Now'. Using the song as
backing for a montage of the defining '60s moments (the
assassination of Kennedy, Martin Luther King etc) the message
of this idealistic piece is still as significant, clarifying
exactly 'What The World Needs Now'.
Jon 'Mojo' Mills
VARIOUS ARTISTS
Stax of Funk Vol. 2 – More Funky Truth
RUFUS THOMAS
The Funkiest Man (Both Ace/Stax, CDs)
A second volume of the hot and sweaty series of late '60 to Mid-'70s 45s and album sides of the funkiest nature, and
a carefully picked selection of the sadly missed Rufus Thomas' finest funk outings is more than enough funky
grooves for now, thank you. Anymore, will lead to normally sane people dancing so much in their free time that
offices everywhere will be shut from lack of staff. All off for heat exhaustion for continued partying!
Highlights on Stax Of
Funk include the Harpsichord laced Detroit-beat of
Reggie Milner's 'Soul Machine', the jazzy instro-funk of
Detroit's Rudy Robinson & The Hungry Five ('Got It Together:
Parts 1 & 2'), while the Jackson Five/Honey Cones Bubblegum/Funk/Pop
format is encapsulated by The Emotions, with their brilliant,
if formulaic, 'Toys For Boys'. Inez Foxx's 'Circuits Overloaded'
was a fabulous direction for the singer, more renowned for
her early recordings cut with her brother, to take. The
cut features a typically (then) up-to-date mid-'70s brassy
production on which the older Foxx waxes lyrically. Truly
funky! Gospel-Soul family The Staple Singers supply their
rousing Al Kooper penned 'Brand New Day' and instro faves
The Bar-Kays '74 cut 'Cold Blooded' typifies the feel of
the popular Blaxploitation movies and TV Cop shows prevalent
at the time, and it certainly pumps along nicely with horns,
Hammond, Vibes and Wah to the fore.
A fitting tribute to the long lasting Rufus Thomas is served up by Ace on their 18-track set of Funk Raps, dance
tunes and genuine heavy Funk, all recorded when the stately figure was in his 50s. Melody and lyrical subtlety are
for the main part eschewed in favour of a solid, fat, beat that back Thomas' grizzled vocals. Either enticing the
audience to dance, or explaining exactly why he is the funkiest man around; and it's a fun ride. 'I'm Getting Better'
says it all. "At 39 I showed you why / At 42 I was still running wild / And at 49 you'd think I'd slow down / Oh no /
At 52, still a man about town / I ain't getting old I'm getting better / At 53 I still move free / And at 54 I'm still on the
scene / At 55, pumpin' and stayin' alive / And at 56 don't hand me no doubt'. Can we say the same about Jagger and
his fellow wrinklies? Oh no… Thomas however performed until the bitter end and never let up. Perhaps some of the
'70s cuts on offer here are a little relentless, but the same can't be said for the archetypal Soul/Funk rendition of
'Sophisticated Sissy' which juggles R&B, Soul and Funk perfectly. Still, when doing 'The Breakdown' after a few
Bacardi Breezers is a hummable tune the issue? This stuff was solely recorded for dancing to. And as long as people
wanna party there's always a place for this. Excellent!
Jon 'Mojo' Mills
JOHNNY GUITAR WATSON
You Need It (Sanctuary, 2-CD)
As he turned 40 the veteran Blues king reinvented himself into a quirky Funk-a-teer. This double CD collects together
recordings that Watson made during Disco era. Synths abound as the Disco hi-hat/snare combination ride over
Watsons effect-laden spacey Blues guitar and Stevie Wonder inspired vocals. There's a feel of Zappa too, whom
Watson played a lot with over this period, but for the average Shindigger (and that includes me), this is kinda scary.
There are parts worth a listen, but like late '70s Parliament this all sounds a bit sterile.
Jon 'Mojo' Mills