Back catalogue: All genres

Review: In this offering, the Italian project led by Stefano Trione, pairs the lush 80s-inspired groove of 'In The Sand' with the unreleased gem 'Tudo Pra Ela,' a sultry disco track that embodies the warmth and richness of Tirone's signature style. 'In The Sand' pays homage to the rare groove classic from iLevel, its tropical rhythm and sunny vibe transported through Julia St. Louis's breezy vocals and Marco Brioschi's trumpet melodies, creating an almost cinematic dancefloor experience. On the flip, 'Tudo Pra Ela' delves into a sophisticated disco sound, where Toco's delicate vocals intertwine with sensual backing from Priscila Ribas and a bassline from Edu Hebling that carries the track effortlessly into the early 80s. The perfect synthesis of Stefano's love for vintage sounds and contemporary finesse.

Review: Say She She's latest festive offering becomes even more irresistible with this special opaque dark purple vinyl edition. The A-side reimagines Marvin Gaye's 'Purple Snowflakes,' wrapping cascading piano lines and delicate harmonies in a mood that's equal parts nostalgic and otherworldly. On the B-side, their first original holiday tune, 'This Wintertime,' evokes warmth and intimacy, celebrating the simple joy of togetherness. Pressed on this stunning coloured vinyl, the release pairs perfectly with its timeless sound, offering collectors and fans alike something truly special for the season.

Review: Junior Scaife delivers two ensouled sides, produced and co-written by Penrose mainstay Anthony Masino. One of the most gifted vocalists in the soulscape of today, Scaife infuses every note with a shrill sprechgesang, a longing, heaving intonation heard between the runs. 'Nobody Gets My Love' is an ode to tensions of love and pride, wielding the late-60s Hestor and Wylie Detroit sound as a listless instrument for impudence. On the B, 'Too Much Too Soon', offers a slow-burning ballad laced with wah guitar and a comparatively elegance, marking a standout for the lowrider soul crowd.

Review: Soul Junction revisits the Scot-Tees Capri master tapes here to unveil two previously unreleased tracks. First is 'My Sweet Polly' by The Scott Brothers, a late 60s dance tune inspired by Howard Scott's former girlfriend. Coupled with this is a studio version of Judson Moore's "Everybody Push & Pull," a crossover hit influenced by Rufus Thomas. The Scott Brothers evolved from the 'Elpeccios' in 1958 to the Scott Brothers Band in 1963 and were instrumental in Chicago's music scene. Their label, Capri Records, produced hits like 'We Like Girls' and worked with legends like Garland Green. Judson Moore was a veteran singer who thrived under their mentorship and went on to leave a lasting legacy.

Review: This one from The Sharpees's is a mythical gem among vinyl collectors that has long been revered in the Northern Soul scene. The story began when UK dealer John Anderson discovered an acetate titled 'Go On and Laugh' in Chicago with no artist name. It was sold to DJ John Vincent, who credited it to the Just Brothers, fuelling further curiosity. Years later in 2016, USA label Secret Stash unearthed the mystery by revealing the artist as The Sharpees who were known for hits like 'Do the 45' and 'Tired of Being Lonely'. Now, Anorax reissues this limited edition 7" alongside 'Tired of Being Lonely' to feed enduring demand.

Review: This record comes at a sad time, as Marlena Shaw passed away in January 2024, the New York born soul singer with her unmistakable voice leaving a long list of amazing credits and performances when she departed. This magnificent double 7" focuses on her early years in the late 1960s, work she did on the highly influential Cadet label just before she moved to Blue Note. 'California Soul', 'Liberation Conversation', 'Let's Wade In The Water' and 'Woman Of The Ghetto' are all soul classics by the late songbird, and all gathered togethere here into one unmissable EP.

Review: The second Shuggy Edits 7" to hit the shelves in 2024, and the fifth overall, this esteemed edits series by the otherwise mysterious Shuggy nonetheless makes for one of the most in-demand around. This time we've two further funk and soul come bombastic hip-hop edits to contend with: first up is a version of Baby Huey's 'Hard Times', a tromboning 1971 strut by the American singer whose sole LP for Curtom Records was instrumental in the development of hip-hop; Shuggy lends the a harder, steeple-high, needlepoint edit-edge. This is further teased out on the B-side, whose 'Harder Times' hears a phat breakbeat and brass bass parp further teased out to frighteningly formidable effect.

Review: Long before Ashford & Simpson cemented themselves as the first couple of Motown, Valerie Simpson i raised in the Bronx i was quietly shaping the sound of American soul from the writing room. 'Look Away', now unearthed in its original form by Kent Records, captures her early brilliance. Backed by a haunting girl group (likely some of NYC's finest session singers), this previously unheard cut i out 25 April 2025 i predates the Shirelles' better-known version and carries a raw elegance that feels entirely her own: intimate, aching, and full of melodic poise. Flip it over and you get an even bigger scoop. 'It's Just Love' is a northern soul cornerstone, made famous by a near-mythical 1966 UK-only Parlophone 7" from John Andrews. This female-led take by Simpson, who co-wrote the song, is a seismic find i not just for collectors but for dancers who've long hunted a US production that didn't seem to exist. Now, more than 50 years on, it arrives with velvet touch and timeless sway, offering a rare, crystalline view of Simpson before the spotlight.

Review: Originally released by Ohio on 7" in 1978, this lesser known moment in late 70s funk and soul gets a beautifully crafted reissue as it resurfaces after 47 years. Side-1's 'Get Together' is a joyous, horn-driven soul anthem. Its infectious energy, party-ready vibe and well-balanced backing vocals create a timeless feel. The lead vocals shine brightly, supported by a tight groove that keeps the track irresistibly uplifting. On Side-2, 'Once I Leave' shifts gears into a downtempo, sublime expression of soul, the slower tempo allowing the song's emotion to take centre stage, complemented by delicate instrumentation that evokes a sense of longing and introspection. A forgotten treasure brought back to life.

Review: Who doesn't love a bit of sophisticated soul? We certainly do and it's always good to hear some reworks of the soul great's finest cuts for the dancefloor. And that's what we have here on a new 7" that opens with a disco version of 'Nothing Can Come Between Us' and doesn't go hard, instead building in some gentle drums and lo-fi melodies, swooning vocals and a mystical late night sense of romance. On the flip, we get a lovers rock version of 'Cherish The Day' which adds plenty of lovely guitar lines to bring that island vibe while the shuffling drums lock you in gently.

Review: Long-lost Tidewater soul classic 'An Extraordinary Dream' gets a welcome reissue here by Symphonical with input from the last surviving band member Larry Gray. This timeless love song was recorded in 1969 at Charlie McClendon Studios and was the first of two singles by Gray and his group, The Soul Seekers, which was made up of five Huntington High alumni who helped shape the region's musical scene. Led by Gray who was fresh from five years at Stax Records with Otis Redding, the group backed numerous touring acts and this single was produced under Wilson Harrell's Check Productions. It's a lovably forlorn and low-slung soul sound with heavy-hearted melodies, horns and aching vocals.

Review: Dynamite Cuts lives up to its name once more by unearthing a deep funk treasure here, and they do the right thing and serve it up for the first time ever on its own 7". Sound Investment's 'Funky Skunk' is a raw and rhythm-heavy rarity previously confined to album-only status. It's bursting with tight grooves, gritty breaks and irresistible energy and is a dream for DJs, collectors and crate-diggers. On the B-side, 'Dirty Man' keeps the heat alive by delivering more deep-fried funk goodness. Both cuts showcase the band's raw musicianship and groove-driven spirit. Authentic funk vibes don't come much better than this.

Review: Known as the Detroit Spinners in the UK, The Spinners recorded with Motown's V.I.P. label from 1964 to 1971 and in that time managed to leave a lasting mark on the Northern Soul scene. Their track 'I'll Always Love You,' which was written by Hunter and Stevenson in 1965, became a Northern Soul favourite with original UK Tamla Motown pressings often selling for over L500. 'What More Could A Boy Ask For'' is a 1966 gem by Bristol and Fuqua, which remained unreleased until its inclusion as a bonus track on the 2012 Yours Truly CD. Now, it receives its first official 7" vinyl release on the B-side of this one from Outta Sight.

Review: This 7" is a reissue of one that first dropped back in July and soon sold out but with two extra cuts. It offered a rare chance to discover hidden gems from the Austrian Public Broadcasting Institution (ORF) vaults which were all vinyl debuts in summer. This gatefold double 7" kicks off with Stefanie & ORF Big Band's 'Compared to What,' a hard-hitting funk track featuring lo-fi vibes and powerful horns. The A-2 offers a subtly tweaked version, maintaining the same high energy. 'Feelin' It' then comes on the flipside with big brass leads, deep-cut drums and a stirring, emotive female vocal lead. A second alternative is also featured.

Review: More golden goodness from Athens of the North here - the label that never runs out of soul and disco goodness. Strictly Business hail from Dayton, Ohio and deliver a double-sider gem of deep 80s soul on this rare 7". One side brings pure boogie heat and is funky, driving and brilliantly dancefloor-ready, while the flip slows it down with a more smooth and heartfelt ballad. Originally self-released with the help of friends and family, the record flew under the radar until rediscovered by Daniel Mathis, who helped license it for release here in limited quantities. A fine and soulful slice of overlooked Midwest magic.

Review: A soulful 45 reissue from the Swan Silvertones - a band from America's deep south who bridged the gap between doo-wop's close harmonies and rock 'n' roll in the 1940s and 50s - delivering two powerful tracks that will resonate with fans of gospel, funk and blues. Side-1 features a high-energy, gospel-infused funk track with a strong vocal performance that channels the spirit of James Brown. Its catchy rhythm and bold message make it an instant standout. On the flip side, this one has a more laid-back vibe, blending soulful blues and gospel influences for a deeply emotional and smooth listening experience. A perfect balance of intensity and tenderness from the band said - by the man himself no less - to have inspired Paul Simon to write 'A Bridge Over Troubled Water'.

Review: SAULT's masterful combination of soul, funk and gospel has made them a major underground phenomenon and that's a position that this, their 11th album, only helped to reinforce when it emerged in December 2024. Helmed by producer Inflo and featuring Cleo Sol's velvety vocals, the album unfolds as a seamless 32-minute suite of nine tracks, brimming with lush instrumentals and poignant themes of love, connection and resilience. While it leans less on the political sharpness of 2020's Untitled (Black Is), the album's spiritual undertones and hopeful messages shine with equal brilliance. From the Marvin Gaye-esque syncopations of opener 'I Look For You' to the jazz-infused 'Set Your Spirit Free', each song flows effortlessly into the next. Tracks like 'Soul Clean' and 'Someone To Love You' evoke 70s funk with wah-wah guitars and vibrant percussion, while the sensual, gospelly closer 'Pray For Me' wraps the album in shimmering strings and heartfelt intimacy. Despite its repetitive moments, the dynamic arrangements and Cleo Sol's stirring delivery keep the momentum alive. For those seeking solace or upliftment, Acts of Faith offers a cohesive and soul-nourishing experienceiits blend of genres and meditative beauty, a comforting reminder of music's power to heal.

Review: Mysterious UK music collective Sault are now, rather amazingly, onto their 11th studio full-length album. Acts Of Faith keeps faithful to their terrific blend of deep soul, funk and modern gospel, and yet their collective identity remains elusive despite many a Mercury and MOBO garnered over the years. A core virtue of theirs is to sidestep industry pressures and rules in favour of a rawer expression in moods of spiritual uplift, and Acts Of Faith is no exception, manifesting without (much) PR fanfare. From the driving, hangout pysch-funk of 'I Look For You' to the aseptic spaghetti groove 'Soul Clean', not to mention the closing clasp 'Pray For Me' - replete with wide, intervallic string leaps reminiscent of a Bernard Hermann score - this is another sensitive record by Sault, representing the grief-stricken but ever open integrity of an inimitable modern soul "choir".

Review: Dean Josiah Cover AKA Info's Sault collective has been one of the success stories of the last few years - a hard-to-pigeonhole outfit that manages to knock out inspired albums at a rate of knots. Their latest full-length, '11', is another brilliant and must-check excursion. Largely lo-fi, languid and laidback, it delivers a particularly loose and lo-fi take on soul - blessed with their usual nods to Afrobeat and soundsystem culture - whose instrumentation is deliberately sparse and laidback (think bass guitar, drums and guitar). The results are rarely less than impeccable, with the collective's vocals (both female and male singers feature) rising above vintage-sounding grooves and arrangements that variously doff a cap to Sly Stone, Cymande and - on the drowsy, warming and synth-sporting 'Higher' - the more tactile end of British 80s soul.

Review: Gloria Scott's What Am I Gonna Do is hailed as one of the greatest soul records, a masterpiece produced by Barry White that exudes class and emotion. Released in 1974, it stuns listeners with its lush instrumentation and Scott's remarkable vocal talent. The album's tracks, from the standout opener 'What Am I Gonna Do' to the beloved 'Too Much Love Makin',' are considered classics, each resonating with soulful depth. While initially overlooked commercially, the album's re-issue shows its enduring brilliance. Remastered to perfection, it offers new dimensions to the listening experience. Scott's vocals are elevated by White's masterful arrangements, particularly evident in soulful ballads like 'It's Better To Have No Love' and 'Love Me Love Me Love Me or Leave Me Leave Me Leave Me.' Highlighted by the sweeping strings and propulsive rhythm of 'What Am I Gonna Do,' the album is a must-have for fans of smooth r&b and Barry White's talents.

Review: French producer Patchworks delivers an exquisite fusion of Brazilian grooves here that come coloured with a wonder of influences such as raw disco funk and cosmic jazz. With plenty of magnetic vocals and elegant melodies, Patchworks' artistry shines as he crafts high-end arrangements that blend subtle but always rich harmonic flavours. The grooves are full-bodied and layered with intricate rhythms that pepper each track, while the overall vibe remains smooth. Patchworks' skilful approach brings a refined yet energetic sound that is likely to win over groove lovers and jazz cats alike.

Review: Funk and soul group Sho Nuff were already beneficiaries of such greats as Stax Records and Malaco before their fourth LP, now reissued here through Wewantsounds, came out via the Japanese music racket King Records. Whilst their earlier records saw wide promotions in the US, Body Pressure heard the sextet relocate their appeal to the Japanese market, after having toured regularly in the Eastern isle after their prior album Stand Up For Love saw only modest sales success. Now well into their early-mid 80s embrace of boogie, the likes of 'Body Pressure', 'Monster Monster' and 'Is This For Real' hear unique pan-Asian collaborative panaceas, with recordings from Japanese funk jazz guitarist Takao Naoi standing out most notably on this sizzler.

Review: When she started her career just over a decade ago, Cleopatra Nikolic AKA Cleo Sol was considered a singer-for-hire within the international deep house community. Now, with the assistance of beat-maker Inflo, she's decided to strike out on her own via a quietly impressive solo debut that re-casts her as a genuinely fresh and exciting soul talent. Beginning with the layered acapella vocals and deep, jazzy grooves of stunning opener "One Love", the album sees her brilliantly deliver heartfelt and thoughtful lyrics over hazy backing tracks that brilliantly join the dots between jazz, neo-soul and R&B. While she's undoubtedly the star of the show, Inflo's stripped-back, partially acoustic and largely soft-focus production is also worthy of high praise.

Review: Henley-born British soul singer Dusty Springfield's time in Memphis marked a turning point in her careeriboth an artistic triumph and a personal gamble. By the late 60s, she had outgrown the UK's pop scene, craving the depth and authenticity of American soul. Recording in the same studios as her heroes, backed by Atlantic Records' finest, she delivered some of her most breathtaking performances. The smoky tenderness of 'Just A Little Lovin'' and the aching vulnerability of 'I Don't Want To Hear It Anymore' showcase her gift for storytelling, while 'No Easy Way Down' and 'I Can't Make It Alone' push her voice to extraordinary places, balancing control with raw emotion. But despite the album's brilliance, commercial success eluded it, deepening her self-doubt. Springfield was a perfectionist, often wracked with insecurity, yet here she sounds unshackledifully immersed in the music she loved, even at great professional risk. Decades later, its impact remains undeniable.

Review: A collection that blends classic soul, jazz, and rhythm & blues with a touch of British mod flair, this is the 11th album from the British veterans. From the outset, the album demonstrates the band's ability to capture emotion with the haunting saxophone and reflective vocals on 'How Many Times', which sets a powerful tone for what follows. The title track delivers an uplifting, seventies-inspired anthem, combining brass, hand percussion and heartfelt harmonies that evoke the essence of Isaac Hayes and Stevie Wonder. Tracks like 'Everything & All I Want' and 'Cut Me Loose' highlight the band's versatility, drawing influences from artists such as Paul Weller and Fela Kuti. The latter, featuring JP Bimeni's stunning vocals, delivers a funky, rhythm-driven groove. Meanwhile, 'Close To Where You Are' is a beautiful love dedication with its soulful brass arrangements and dreamy trumpet segments. The album also explores more introspective moments with 'Fix You Up', which exudes a relaxed, jazzy vibe, while 'The Beat I Know' offers a peaceful, bass-driven composition with serene vocals from Sheree DuBois and Carmy Love. Other tracks like 'When Worlds Collide' and 'Reach Out' deliver elegant slices of rhythm and blues. The band's ability to mix emotion with impeccable musicianship is on full display. The closing track, 'Summer Song,' featuring the legendary Omar, is a poignant tribute to overcoming life's challenges, closing the album on a deeply reflective note. The Revival of Survival is a stunning, soulful journey that will leave listeners eagerly demanding more.