VA - Keb Darge & Paul Weller Present Lost & Found: Real R'n'B & Soul

The first eye-opening Lost & Found set, from Keb Darge and Cut Chemist, surprised everyone by ignoring the funk in favour of rockabilly (!) and jump blues, and helped forge the way for the micro-'50s revival niche. Darge, a former disco dance champ way back in the day known to collectors for being the supreme chief of deep funk 45s (his DJ sets are legendary), teams up this time with the Modfather, Paul Weller (whose unceasing recording career eclipses the fact that he has been a soul connoisseur for nearly 40 years) on Lost & Found take two. Both are expert selectors, and have been responsible for some seriously deep comps over the last decade. While both are in a relative comfort zone, you can imagine the smiles they shared when they agreed to the challenge of keeping things pre-1970.  

Darge takes the first slot, straying from the funk while not losing the feel for hard-driving numbers, whether they be Northern jumpers or '50s big-band blues. His choice to open with Big Mama Thornton’s “They Call Me Big Mama,” hardly a deep cut, shows that he is going for a vibe more than he is trying to display his cache of rare gems. He still wins on the rarities front, though, especially with the only A-side recorded by Big “T” Tyler, the rocking “King Kong.”

Paul Weller goes for the sweeter, skittering sounds of hidden sides from better-known singers like Tammi Terrell, Bobby Bland, and the Dells, and takes a chance on a couple of straight blues shakers from Albert King (the classic “Crosscut Saw”) and Slim Harpo. The end result of this matchup is a collection better suited for a party than for the dancefloor, but don’t be surprised if you hear a cut or two in the clubs played by a DJ clearly taking a cue from this excellent matchup. 

VA - The T.A.M.I. Show: Collector's Edition DVD

Legal issues or superstar egos have kept some holy grails of the classic rock era in endless limbo over the years (see Let It Be, or Cocksucker Blues). The release of The T.A.M.I. Show (an acronym for Teenage Awards Music International) after decades of only being available on bootleg is a monumental event, and, guaranteed, after watching it, you will believe in the power of music once again.

Here’s the context: it’s October 1964, only eight months after the Beatles’ first trip to America. Three months before, the U.S. signed the Civil Rights Act. It was in this period of cultural and historical upheaval that thousands of high school teens rammed the Santa Monica Civic Auditorium for two days of screaming at a line-up that crossed key lines of race, sex, America/England, past/present. Twelve acts, including James Brown (in what he himself believed to be his greatest performance), The Rolling Stones (who foolishly followed Brown to close the set), Chuck Berry (who opened in a strange match-up with Gerry and the Pacemakers), Marvin Gaye, Smokey Robinson and the Miracles, The Supremes, The Beach Boys (whose performance was removed after the initial run, leading to much of the legal headache over the years), and surprisingly smashing sets by The Barbarians and Lesley Gore all add up to one of the greatest package concerts there ever was. 

Anyone who has ever even liked one of these artists owes it to him/herself to check this one out, if only for the mind-boggling James Brown set. Or the quick glimpses of Jack Nitzsche leading the orchestra, or Teri Garr and Toni Basil as some of the irrepressible go-go dancers—seriously, the whiplash-inducing moves of the dancers is reason enough to grab this one. Combined with the exciting commentary and  collector’s edition package, this is truly foundational and mandatory viewing. Can I be any more clear about this?

VA - Good God! Born Again Funk

There goes God again, inspiring The Numero Group to put out a second-coming sequel to their Good God! A Gospel Funk Hymnal comp from a few years back and providing a nice counterpoint to last year’s magnificently ragged and primal Fire In My Bones triple-disc set on the Tomkins Square imprint. Much of the material here comes from Chicago, a city better known for electrifying blues musicians whose original wellspring was the Mississippi Delta. The city had a similar effect on the gospel strains of the south as they headed north, and, while retaining their down-home grit, went through floor-shaking changes. Once again, Numero have done a bang-up job of unearthing rare indie label obscurities, this being one of their best collections in a while.  The top cut here is opener “Like a Ship” by T.L. Barrett & The Youth For Christ Choir—listen to it loud for the sound of Kingdom Come, the largest sounding choir I have ever heard, reverb-ed beyond belief, and the best recorded proof of angels in recent memory, all on a hot-buttered soul groove! 

GEORGE JACKSON - George Jackson In Memphis 1972-77

A talented southern soul songwriter, George Jackson hit paydirt when his “One Bad Apple” was turned down as a single by the Jackson 5 but turned into a monster hit for The Osmonds. His own material had little in common with that high-energy pop confection; instead, Jackson’s classic period, captured here, is pure laidback Memphis, perfectly suited for the Hi label (for whom he recorded), as well as other imprints.  The beauty of his work lies in his understated vocal style, like Donny Hathaway without the histrionics. The easy grooves also recall Bobby Womack, especially given that both appreciated the Carpenters enough to deliver unexpected yet inspired covers (Womack did “Close to You”, while Jackson gorgeously revamps “We’ve Only Just Begun”). But it was the strength of his own songwriting that lured singers like James Carr, Clarence Carter, Candi Staton, and Ike Turner to Jackson's craft. 

VA - A Christmas Gift For You From Phil Spector + Christmas Album Genre Guide

No list of Christmas music would be complete without this album, what many consider to be the greatest holiday set ever cut, so it's with much celebration that we mention this recent reissue of the long out-of-print A Christmas Gift For You, originally released back in 1963.

While there's no question that most of us would balk at the thought of actually having Phil Spector himself over for the holidays, this record is truly something special. The marriage of his 'wall of sound' production style, a roster including Darlene Love, The Ronettes and The Crystals, and some of the most popular carols is divine.

If you're still stuck for some seasonal sounds to stuff into that stocking, let us direct you to our Christmas Album Genre Guide, with choice CD picks from this most maligned of album genres, running from classic and classy to modern and novel.

FAMOUS L. RENFROE AS THE FLYING SWEET ANGEL OF JOY - Children

An enigmatic release from an obscure artist named “Famous”? Well, the oddities don’t end there. Not much is known about Renfroe. We do know, though, that he recorded this record sometime around 1968 and that he self-produced this delicious slab of outsider R&B, playing most of the instruments himself except for drums. Not that this is a Numero-styled lo-fi soul release; no, this is highly esoteric soul, with just enough wrong to make Children a highly compelling listen without going off the deep end of weird and making the black American equivalent of a Shaggs album. Mind you, “His Love” rivals The Prodigals’ “Judy” as one of the most unintentionally out-of-tune basslines in soul history, but listen to that song with the bass turned down low and it’s hard to deny the pure passion in his performance. This is one for fans of late-'50s Specialty Records sides, boogie-woogie and rough guitar-led gospel. 

ERMA FRANKLIN - Piece Of Her Heart: The Epic & Shout Years

While it would be tough to beat the depth of Aretha Franklin’s vocal profundity, her sister Erma scores for the oceanic breadth so few other soul artists of her time were capable of. The late Erma, Aretha’s oldest sister (Carolyn was no slouch, either), is best known for the original and definitive version (sorry Janis, though I love yours, too) of “Another Piece of My Heart”. To deny her further attention would not give justice to this versatile vocalist, who was capable of laying down pure mid-'60s soul music, harder-edged funk, as well as a surprisingly sweet sophistication that both Ettas (James and Jones) also shared. This collection takes a broad survey of a singer who, overshadowed by her insuperable sibling, could not keep the momentum of her one great hit, despite a rich career of excellent vocal performances. 

J.J. JACKSON - The Great J.J. Jackson

Time to testify to another outstanding lost Sixties soul man who's now been found, or should I say redisc-overed, after having been forgotten by all but those diehard lovers and collectors of the genre. J.J. Jackson and The Greatest Little Soul Band in the Land had one mid-sized hit in 1966, the propulsive dancefloor shaker "But It's Alright". Their sole (no pun intended) album was a match for whatever material legends like Wilson Pickett or Sam and Dave were putting out, but Jackson never achieved the fame or commercial success of these rhythm 'n' bruisers. Pity, 'cause this ravin' reissue contains one humdinger of a number after another: "I Dig Girls", the exciting "Boogaloo Baby", the Robbie Robertson composition "The Stones That I Throw", and "Come See Me", which British proto-punk r'n'b beat group The Pretty Things ferociously amped up on their 1966 cover. The emotion Jackson wrings out of his version of Sam Cooke's "A Change Is Gonna Come" is almost as equally heartfelt as the original. Get this and get down!!

ANN PEEBLES - I Can't Stand The Rain

Thanks to the sample of the title track, Ann Peebles’ voice will be forever associated with Missy Elliott’s “The Rain (Supa Dupa Fly)”, which introduced the southern soul singer to a new audience and further added to the cachet of this underrated classic. Produced in Memphis by Willie Mitchell in 1973, this is Peebles’ best album and one of the finest examples of the Hi Records sound, right up there with Al Green’s best work. Steeped in themes of lost love, Peebles handles her material with restraint and sweetly nuanced sensuality. Check out “A Love Vibration”, “You Got To Feed The Fire”, a devastating cover of Joe Simon’s “(You Keep Me) Hanging On” and the great “I’m Gonna Tear Your Playhouse Down”, and you’ll see why '70s soul aficionados rate this record so highly.

PARLIAMENT - Osmium

Osmium, the 1970 debut recorded under the Parliament mantle, might be the ultimate example of '60s genre experimentation, as rock, soul, chamber pop and country all blend into one hazy, cross-colour audio rainbow. This shouldn't surprise listeners, considering that this band came off onstage like the Temptations backed by a wild, storming psych band. Starting out as a barbershop-born vocal soul group (the Parliaments), the group morphed into an even higher version of Sly & The Family Stone. After their first mind-blowing 1969 effort as Funkadelic, George Clinton and co. had something else up their sleeve. Alongside face-melting jams like "Funky Woman" and "Nothing Before Me But Thang", it's some of the other tunes here that challenge the listener with potentially unfamiliar sounds emanating from the session, such as "Little Ole Country Boy"'s tongue-in-cheek twang. On "My Automobile", you can almost imagine the band writing around a piano Brill Building-style, while album closer "The Silent Boatman" is as strong as any pop song of its time. This album is one of a kind, and, in this writer's opinion, very hard to top.

VA - Chartbusters USA Special Edition: Sunshine Pop

With “oldies radio” becoming more and more a relic of the past, this collection is not as superfluous as it may seem at first. While previous sunshine pop digs have focused on rarities of the genre, Ace has gathered an excellent cross-section of canonical artists (The Lovin' Spoonful are perhaps most tied to the tag, along with Donovan, the Association, and the Beach Boys), more recently-acknowledged classics (Cass Elliot’s impossibly beautiful “It’s Getting Better”), and brave inclusions that challenge definitions of sunshine pop (black groups like the 5th Dimension and The Friends of Distinction are often ignored in favour of all-white track listings). The timing could not be better for this savvy set as a giddily optimistic, feel-good soundtrack to lazy summer days. Your reunion with melody starts here.

VA - Wild Thing: The Songs Of Chip Taylor

Often overlooked as a singer-songwriter, Chip Taylor’s renown rests quite comfortably on his two most famous songs, “Wild Thing” and “Angel of the Morning”. Originally a country performer before the lure of professional golf distracted his attention, he returned to songwriting after an injury curtailed his career on the green. His country roots lent an earthiness to his tunes which attracted the attention of highly respected singers from various idioms of popular music including Aretha Franklin, The Hollies, Peggy Lee, and Waylon Jennings, all of whom exercised good taste throughout their artistic peaks (Spiritualized’s early take on “Anyway That You Want Me” is beautiful, but would not have worked here). Taylor's reputation helped him establish his solo career in the '70s, although he never rose above cult status. Seek out Angels & Gamblers, a collection of his solo work that complements this comp nicely, to get a better understanding of this highly underrated songwriter.

BETTY PADGETT - S/T

One of the lesser known Betties of soul, Betty Padgett did secure some renown in Florida when she put out her debut in 1975 at the age of 21, and got regional dancefloor play with the two-part “Sugar Daddy”, a rare groove that could have been a bigger hit had it not come a bit early for the disco period. What is even more interesting about this record is that half of the tunes are actually reggae tracks. While it was not unusual for artists to throw in a token reggae song to up their hip factor, Betty turned up the lovers rock on four tracks here (including a version of “My Eyes Adore You”), and did it so convincingly that one would be forgiven for thinking that she cut the session in Kingston. For my money, these are the strongest selections here, so if you’re a fan of soul and reggae in equal measure, you won’t go wrong with this nice reissue.

ALLEN TOUSSAINT - The Bright Mississippi

It's very easy to see this record, New Orleans soul legend Toussaint's first real foray into jazz, as yet another tribute to that beleaguered city. And, well, it is, I suppose, but it's a lot more. The Bright Mississippi would have great significance even without any tragedy to give it false weight. Toussaint has long been renown for his deft elegance and lyrical style of playing—two traits that serve one especially well in the world of jazz. On this LP, he makes no mistakes. Surrounding himself with present-day luminaries ranging from Marc Ribot and Joshua Redman to pianist Brad Mehldau (duet partner on the gorgeous "Winin' Boy Blues"), Toussaint strolls through the early catalogue of ragtime and piano jazz with characteristic grace. Despite the excellent supporting cast, Toussaint is the central figure, even when he's not the lead. At all times, you feel the gentle guidance of his assured hands, imbuing even the saddest corners with generous accents of joy.

GLORIA JONES - Share My Love

Originally revered for the northern soul classic "Tainted Love" (before Soft Cell canonized it in 1981), Gloria Jones is also known as the backup singer and keyboardist in the latter half of T.Rex's career. When Bolan died in a car accident in 1977, she was the driver of the car. Share My Love was recorded in 1973, one year before she joined T.Rex. Aided by the great Motown arranger Paul Riser, Jones shows remarkable stylistic range, from the deep soul of "Try Love" and reggae of "Why Can't You Be Mine" to the proto-Philly sound of the title track and Mediterreanean flavour of "Oh Baby". Here, the then-Motown songwriter offers no musical hint of the stylistic shift she would take after joining Bolan both musically and matrimonially. At times, her singing mines a grittiness similar to that which also characterized Betty Davis' vocals, a sound she would largely abandon for her T.Rex years. Guaranteed to make many end-of-year soul reissue lists.

STEAMBOAT - S/T

A run of collaborative shows at the Tranzac in the summer of 2008 with local guest-vocalist luminaries Sandro Perri, Mantler, Andre Ethier, Emilie Mover, Alex Lukashevsky and Andy Swan helped establish Steamboat's reputation as one of the most unlikely regular favourites in the venerated club's programming. Started as a project for bassist/keyboardist Matt McLaren to keep himself and bandmates busy during downtime from their regular gig with pop classicists The Old Soul, Steamboat have bypassed current trends and stuck to an R'n'B vibe best summed up by the material they proudly cover in live shows (Lee Dorsey, Allen Toussaint, The Kinks, and The Parliaments, whose early B-side "I Can Feel The Ice Melting" is included on this 6-track EP). McLaren, a traditionalist with a powerful voice and a deep well of inspiration, possesses a distinct songwriting style that reaches beyond the Dr. John/Randy Newman template. The originals here are instant classics, and the good news is that there are a whole bunch more excellent tunes to come with future EPs.

VA - Boogaloo Pow Wow: Dancefloor Rendez-Vous In Young Nuyorica

While we've heard a few notable Nuyorican comps in the last year (The Soul Of Spanish Harlem, and Fania's killer Joe Bataan anthology Under The Streetlamps), Honest Jon's has truly taken things to the next level with Boogaloo Pow Wow. Heavy grooves unite a varied range of tracks, with traditional Afro-Cuban forms getting a funky backbeat here and there, and even some serious jazz blowing to remind you that this is, after all, New York. It's a serious dance party, from the super-cool sunglasses and satin shirt moves of Willie Rosario to the bizarro fusion of Diane & Carole's "Feelin' The Pain"--like someone accidentally brought a guiro to a Brill Building girl-group session.

VA - Local Customs: Downriver Revival

The fine folks at Numero Group have taken a break from flipping through bins to sort through the reels upon reels of tape at Double-U-Sound in Ecorse, Michigan. Opened in 1967, Double-U was a home studio operated by Felton Williams, an entrepreneur trained as an electrician at the Ford Motor plant, and as a steel guitarist at The Church Of The Living God. He recorded anyone who would knock on his door, in hopes of chancing upon a hit performance by neighbourhood talent. The focus of this compilation is gospel music, although the breadth of activity at Double-U is well-represented by some Hammond jazz, shaggy funk, and a even a garage-punk number that betrays its proximity to Detroit. There's little in the way of polish on these recordings, but the incredible music captured is more than worth the odd bump along the way. In addition to Numero's picks, they've also included a second DVD disc with even more tape to sift through on your own, and a 30-minute documentary about Felton and his studio.  

VA - Take Me To The River: A Southern Soul Story 1961-1977

An already stellar year for soul reissues (see the Sweet Soul Music series on Bear Family or the Eccentric Soul series on Numero Group) continues, as Take Me To The River compiles 75 deep soul songs, each one a matter of the heart and, in most cases, heartbreak. One great strength of the set is that superstars like Otis and Aretha sit side-by-side with overlooked masters like James Carr and O.V. Wright, bringing to light the depth of riches to be found in soul music.

LINDA LEWIS - Fathoms Deep / WEE - You Can Fly On My Aeroplane

Here lie two very smooth, but very innovative mid-'70s soul albums entirely unknown to us prior to respective recent reissues on Collector's Choice and * (that would be the Numero Group's full-length Asterisk imprint pulling a Prince right there), whose catchiness has helped them worm their way into the listening habits of many of us here at the shop over this past month.

Fathoms Deep, Riperton-ian UK session singer (for Cat Stevens, David Bowie, Al Kooper, and Elton John) Lewis' second solo effort from 1974, has slightly savvier sequencing (and stronger songs, arguably) than debut Lark; "If I Could"'s reggae gallop anticipates peppy Stiff young'un Rachel Sweet's later hand at chirpy Caribbeana "It's So Different Here"; clean-sleaze clavinet wobbler "Kingman-Tinman" dirties up Betty Davis-style for some chorus breakdown funk; and under-two-minute live excerpt "Moles"' unadorned self-accompanied guitar shows that she could wow with solo folk as well.

Wee, a decidedly more obscure act by comparison, was the studio creation of Columbus songwriter and peripheral Capsoul Records roster alum Norman Whiteside, originally released in a 1000-copy pressing by Owl Studios in 1977 following Capsoul's rejection of his solo material and its subsequent dissolution. Aeroplane's spaced keyboard textures, melodic drive and oddball ambition should endear it to lovers of For You, Small Talk, Music Of My Mind, and Inspiration Information.