Back catalogue: All genres

Review: It was Dave Godin including this lush bit of aching Louisiana deep soul on the first Deep Soul Treasures CD that renewed interest in it. Now, original copies are pricey and hard to find and last year a nice cover version was served up by Lady Blackbird. The good folk at Beat Goes Public aka BGP have decide to reissue the original. It's an impossible to ignore track laden with heartbreak. On the flip side is another bluesy soul gem in the form of 'Hummin' A Sad Song.'

Review: Two powerful soul sessions from Alice Clark's eponymous debut 1972 album. "Don't You Care" is a hard-hitting soul standard (that became very popular in acid jazz scene in the early 90s) where Alice opens her heart for all to see while her incredible band ebb and flow with Clark's emotions. "Never Did I Stop Loving You", meanwhile, languishes in sentiment at a slightly lower tempo that allows her to really dig deep for those low notes. The real fun happens as we reach momentum towards the end and every band member brings out their A-game and bounces off each other - backing up Alice every step of the way. You will care about this.

Review: Bill Curtis' Fatback Band is known around the world for its soul and disco hits but their roots actually lay in funk. They were one of the most impressive outfits around in that particular genre and so they have, for those who are willing to dig deep enough, plenty of rare funk gems to call upon from their earliest days. Here we get a couple of them with 'Dance Girl' - the last tune they released in 1974 before signing to Event/Spring. It was a real classic at block parties back in the day and on the flip is a tune that will cost you over L1000 if you can find an original, namely 'Keep On Brother Keep On' - the group's second single on Curtis BC Projects II label.

Review: Defiant, spruce and intractable, Hodges James Smith & Crawford's 'Nobody' marks this brilliant new funk reissue with a caustic grip-quip after at the slippery satins of love: "nobody's gonna tell me that you don't love me, baby. They just don't know that you're an angel..." Walking a universal tightrope of ambivalence - this is a situation that we'd wager everyone of one stripe or another is familiar with - this record could function either as a tell of blind infatuation with a ne'er-do-well, or a real statement of loving intention for a misunderstood penitent. 'It Cracks Me Up' backs up the B with an ensouled, ensemble-armoured musing on "girls with shiny faces" and "superdudes", resolving on a tonic note of equal sexual charge. The West Coast vocal group outdid themselves back in 1971, so much that original copies of this fetch unholily exorbitant prices; high time for a repress!

Review: 'Foolish Man Part 1' and 'Part 2' by The Huck Daniels Co is one of several 45rpms the BGP label is dropping at the moment and weirdly many of them are also in two parts. This one features guitarist Daniels who was a key part of the B.B. King band ahead of later setting in Los Angeles and becoming a respected leader in his own right. He wrote just one for Kent Records and that was in 1973 as the label headed into its final days. 'Part 1' on the A-side is a driving funk cut aimed squarely at the club and heavy on inspiration from James Brown and the version on the flip levels up with organ playing from Earl Foster.

Review: Americans Hank Jacobs and Don Malone cooked up a bona fide political soul anthem when they crafted 'The World Needs Changin' back in 1970. It is now hard to find so naturally these days it fetches a very handsome fee on second hand markets so has rightly been reissued here by BGP. The a-side is a tune that cuts deep, with pained vocals over a simple but devastating soul rhythm. On the flip is another gem in the form of 'Getting On Down' making this a crucial cut.

Review: This Juno colour vinyl exclusive finds Linda Lyndell serve up her own majestic cover of the classic "What A Man." Her vocal is smooth and buttery but also laden with gravitas, while the sweeping horns and jazzy keys all around her help to lift the spirits. On the flip is an ice cold slice of funk from Billy Hawks in the form of his "(O Baby) I Do Believe I'm Losing You". It's raw soul that glides at high speed with plenty of hip swinging claps. This is a much sought after reissue that will shift quick, so make sure you do too.

Review: Gil Scott-Heron's 'Pieces Of A Man' was the first LP recorded by the poet and musician, made and released in 1971. Owing to the album's importance, BGP have released two of its most standout tracks, the title track and 'Think I'll Call It Morning', on a limited 7" that will doubtess prove exceptionallyy handy for DJs who need to get straight down to business.

Review: Sylvester has too many hits to count, but 'Over And Over' has to be up there. Originally released in 1977, the timeless slice of uptempo disco funk was a mighty meeting of minds - any track penned by Ashford & Simpson is set for iconic status, and with Sylvester up front it's even more of a sure thing. Quite simply eternal. Of course, Sylvester's most famous collaborator was Patrick Cowley, whose magic touch is all over the wriggling, brooding synth boogie of 'I Need Somebody To Love Tonight', presented here as a compact 7" edit for a short sharp blast of perfection.

Review: First released back in 1973, Flying Dutchman aver their grand standing on the parapet that is the New York jazz scene with a timely new reissue of Leon Thomas' 'Just In Time To See The Sun', which now appears with a different B-side counterpart. Shaker-uppers, these sonic sailers are! Where As 'Just In Time...' itself first surfaced as the B-side to a stirring album cut 'Never Let Me Go' - which also graced the pimpin' Tennessee blues-jazz musician's later record Full Circle - it now comes paired with the pentatonic skiffle 'China Doll'. FD's new curative duopoly on Thomas' bellowing sound flaunts the singer and musician's deep range, contrasting the styptic funk explosions of the titular Santana cover on the A with the shaker-laden Orientalist groove on the B.

Review: 'The Creator Has a Masterplan (Peace)' might have been performed beautifully by Louis Armstrong but it was written by Pharoah Sanders and Leon Thomas. Sanders was the first to record and release it on February 14, 1969 and it has since been covered by the likes of Don Cherry, Krokodil, The Dynamics, Lord Echo and many more artists right up to the present day. Here we get the Leon Thomas versions from 1969 as well as the one he recorded alongside Louis a year later. Two sublime sounds that make the whole world feel at peace.

Review: A whole host of crucial funk reissues are landing right now courtesy of the good folks at BGP and up there with the nest of them is this one from Chester Randle's Soul Senders, an ensemble featuring a rotating vests of musicians from America that were active in the 60s onwards. Their 'Soul Brother's Testify' came in two parts, both of which take up one side each of this 7", and were mainstays of the deep funk movement that rose up around the late 90s and early 2000s. They still do a job now with their hard hitting breaks and funky ass riffs.

Review: Lonnie Liston Smith's legacy in the world of spiritual jazz, soul and funk is huge, but he remains an often overlooked figure only discovered by those with a dedication to the music. As such, his albums are always worthy of reissue to hopefully reach more ears in need of the gifts they possess, and while Expansions is rightly considered his landmark offering, this swift follow up with The Cosmic Echoes is just as essential. Just melt into the bubbling, fast-slow reverie of 'Beautiful Woman' and let Smith's exquisite talents carry you away. If you already know the music, then take a chance to cop a freshly remastered edition, and if you're not familiar with Smith's work then take this golden opportunity to expand your horizons.

Review: One of Gil Scott-Heron's most renowned live performances gets a reissue here via BGP. Performing his then best-known musical poetry hits at the time - at an obscure venue on East 125th Street & Lenox Avenue in Harlem, New York - Small Talk At 125th And Lenox was officially Scott-Heron's first album. It was received by a small audience, and contained such greats as 'The Revolution Will Not Be Televised', 'Brother', 'Evolution' and 'Paint It Black'. Backed by hand drums and jazz piano, our favourite from this classic has to be 'Who'll Pay Reparations On My Soul?', a musical-philosophical masterpiece that nails the unquantifiability of psychic grief.

Review: Originally planned for release last year to mark the 50th anniversary of the album's creation, Gil Scott-Heron's most renowned full-length returns in stunning, audiophile quality sound. This time round, the album has been stretched across two discs, both of which have been pressed at 45rpm for louder sound. Created by Scott-Heron and musical sparring partner Brian Jackson with the assistance of producer Bob Thiele, Pieces of a Man remains an incredible album, with a string of classic cuts - think 'Home is Where The Hatred Is', 'The Revolution Will Not Be Televised' and 'Save the Children' - being joined by such lesser-celebrated delights as the fizzing 'Lady Day and John Coltrane', the blissful 'I Think I'll Call It Morning' and 'A Sign of the Ages'.

Review: Gil-Scott Heron was at the peak of his powers when he recorded Free Will as a follow-up to career highlight Pieces Of A Man. Originally released in 1972, it's steeped in the song craft of its predecessor and charged with the polemic that elevated his work to some of the greatest to ever shine a light on the Black American experience. The likes of 'Speed Kills' show just how tender Scott-Heron could be, while 'Did You Hear What They Said?' Ranks as one of the most heartbreaking tracks he ever committed to tape. 'The King Alfred Plan' and 'No Knock' prefigure rap as the legend's impassioned poetry rides on the rawest of percussion tracks. It's, quite simply, a masterpiece.

Review: Originally released on Flying Dutchman in 1973, Leon Thomas' Blues and the Soulful Truth is an outstanding slice of soul funk from one of the genre's all time greats. Thomas came to fame working with Pharoah Sanders on 'The Creator Has A Master Plan', but on this album he was in full flight writing his own songs, backed up by Pee Wee Ellis as a conductor and with Bob Thiele as producer. Thomas had an unflinching approach to his message, best heard on incredible cuts like 'Shape Your Mind To Die', but there's tenderness to match the toughness. Just listen to the sweetness of 'China Doll' on this long overdue reissue and take in the full spectrum of the Leon Thomas sound.

Review: This new compilation comprehensively celebrates the work of Bob Thiele, producer extraordinaire and founder of the jazz, funk and soul label Flying Dutchman, which incubated various transnationally renowned talents such as John Coltrane, Gil Scott-Heron, Duke Ellington and Pharoah Sanders. Cycling through each of Thiele's discoveries as though they were akin to scientific breakthroughs like new radioactive isotopes or the wheel, BGP has compiled a monumental collection of greats here, with lesser-cited curveballs from bossa nova great Gato Barbieri, phat instrumental scatter Harold Alexander and Thiele's own Bob Thiele Emergency also in tow.

Review: This Is The Breaks is a 12-track journey through the history of influential breaks in jazz, funk and soul. Each track featured has not only shaped the golden age of sampling but continues to be used by contemporary artists. The album opens with Millie Jackson's 1974 version of 'If Loving You Is Wrong I Don't Want To Be Right', famously sampled in 2023 by NLE Choppa. It also includes Debbie Taylor's soulful 'Let's Prove Them Wrong', used by JID in 2021. The collection highlights the enduring appeal of atmospheric tracks like Little Ann's 'Deep Shadows', which has been sampled by Grand Puba, Loyle Carner, and others. DJ Premier's masterful use of Joe Simon's 'Drowning In The Sea Of Love' for Gang Starr's 1997 hit 'You Know My Steez showcases his unparalleled production skills. Classic breaks like Lowell Fulsom's 'Tramp' and Fatback Band's 'Gotta Learn How To Dance' add to the album's richness, alongside iconic cuts from Bernard Purdie and Lonnie Liston Smith. These original songs continue to inspire, making This Is The Breaks a timeless celebration of musical innovation.