Back in stock: 50s/60s

Review: Margo Guryan's solo album, Take A Picture, originally released in 1968, has attained cult status for its enchanting blend of honeyed vocals and sophisticated songwriting. Known for her influence on soft-pop and dream-pop genres, Guryan's album features the iconic track 'Sunday Morning,' later covered by Bobbie Gentry and Glen Campbell. This reissue, now available on vinyl, features Guryan's jazz background shining through in her meticulous compositions, which have been praised for their funky sunshine arrangements and lush melodies. As a renowned songwriter, her works have been performed by artists ranging from Astrud Gilberto to Harry Belafonte. Take A Picture stands as a bridge between Burt Bacharach's sophistication and the indie pop stylings of Belle & Sebastian, influencing artists like the Wondermints and even inspiring Diablo Cody during the creation of Juno. Despite critical acclaim, Guryan preferred the role of songwriter over performer, reflecting her dedication to musical craft and independence from the spotlight.

Review: Margo Guryan's Take a Picture is a charming artifact of late '60s pop, blending the orchestral sophistication of Burt Bacharach with the dreamy resonance of early Belle & Sebastian. Guryan, a seasoned songwriter with credits including Ornette Coleman and Harry Belafonte, crafted a singular album that's both a lush time capsule and a showcase of her unique vision. Now released on gold vinyl, the production is richly adorned with horns, strings, and sweet harmonies, creating a warm, nostalgic atmosphere. Tracks like 'Sunday Morning' (later covered by Bobbie Gentry and Glen Campbell) and 'Sun' radiate a carefree energy, capturing the essence of Sunshine Pop. Ballads like 'Think Of Rain' and 'Thoughts' are very nostalgic, while 'Love' intriguingly veers into Psychedelic Rock. Take a Picture endures as a delightful reminder of its era, offering a glimpse into a bygone musical sensibility with Guryan's endearing, Doo-Wop-inspired vocals at its core.

Review: A key component in modern Turkish music since the '70s, Mustafa would have gone under the radar if it wasn't for break diggers. While he's still active to this day, Genclik Lle Elle is largely cited as his creative zenith. Recorded in Istanbul, 1973, the instrumental album takes the funk template and flings it into experimental, often cosmic pastures. Highlights include the planet-hopping glissandos on "Zeytinyagli", the progressive head-swirling frenzy of "Lorke" and the infectious eastern-fused riff on "Emmioglu". Plus it's on coloured vinyl. Plus it's got a monkey sound engineer on the cover. Plus it's limited. This record has a hell of a lot going for it.

Review: Thee Sinseers' debut album, Sinseerly Yours, cements their cult status among soul enthusiasts. Led by Joey Quinones, the East Los Angeles band crafts a unique blend of retro soul, low rider ballads, and contemporary R&B. The singles 'Can't Do That To Her' and 'Hold On' showcase their range from upbeat 60s harmonies to somber, old-school ballads. The album's ten tracks offer more of this delightful variety, with highlights like the lush 'Keep On Calling,' 'Give It Up You Fool,' and the title track, reminiscent of the 60s Impressions. Quinones' falsetto evokes the soul of Mark Greene, adding to the intoxicating sound. A standout surprise is 'Taking Back,' a honking-sax instrumental with a live, party vibe. Described as "vintage blissful soul," Sinseerly Yours is poised to be one of the standout soul albums of the year.

Review: Cali soul supergroup Thee Sinseers premiere their next album Sinseerly Yours, strutting down the proverbial red carpet with ten new, contemporary rerubs of classic soul standards. Fronted by bandleader and son of East Los Angeles Joey Quinones, the group has quietly chipped away at the sounds of r&b and soul for the last half-decade; he and his crew are heard at the polished end of an extended studio session held in Rialto, California, the ineluctable Second Hand Sounds. Making unprecedented use of a converted studio space which used to be a dentist's office, the unique acoustics of which lent them a fuller sound than formerly heard, we hear the band expertly toggle between 60s pop vis-a-vis early Beatles records to obscure Jamaican dancehall here.