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