Back catalogue: Soul

Review: Leon Bridges and Keite Young's rendition of 'Like A Ship' is a soulful masterpiece that pays homage to Pastor T.L. Barrett's gospel classic while adding a fresh Southern soul twist. Bridges' velvety vocals, combined with Young's passionate delivery and the stirring gospel choir, create a deeply moving musical experience. The track's heartfelt lyrics and uplifting melodies transport listeners to the heart of a joyous Sunday service, evoking a sense of spiritual renewal and celebration. With its classy organ solo and soul-stirring harmonies, this collaboration showcases the timeless power of gospel music while reaffirming Bridges and Young's status as rising stars in the world of soul and t&b.

Review: Paula Parfitt and Jeannie Dee deliver soulful magic on this split single. Paula Parfitt, who signed with Milton Samuels' Beacon label in 1969, made her debut with the single 'I'm Gonna Give You Back Your Ring.' Though initially overlooked, on Side-2, 'Love Is Wonderful' became a Northern Soul classic, lighting up dance floors for over five decades. After a brief stint recording for Beacon's UpFront label and later in Italy, Paula settled into Mediterranean life. Jeannie Dee, from Brixton, London, joined Beacon Records in 1968 as part of the duo Jon (aka Terry) and Jeannie. Known for soulful covers, Jeannie's solo rendition of the Supremes' hit 'Come See About Me,' produced by Donnie Elber, showcases her powerful voice. Often mistaken for her American namesake, Jeannie brought a unique British twist to classic soul, making her mark on the scene, and this release is respectful to both artists' enduring influence.

Review: This 7" reissue revives a true funk gem from Miami-based Cuban rock band Pearly Queen. Featuring the infectious 'Quit Jive' In' and a fiery cover of The Rascals' 'Jungle Walk,' this 1974 release on Sound Triangle Records has long been a sought-after rarity. Introduced to collectors by DJs like Keb Darge and Jazzman Gerald, and later immortalised by DJ Shadow in his Brainfreeze mix, the record oozes groove. 'Quit Jive' In,' penned by Ray Fernandez, is a funk powerhouse, while 'Jungle Walk' brings a cinematic rock-funk flair, perfect for a Tarantino soundtrack.

Review: A lost gem of raw, heartfelt soul resurfaces with this blue vinyl 7", bringing back the stripped-down magic of Penny & the Quarters. 'You and Me' is a song that refused to be forgottenian unpolished, deeply emotional doo-wop demo that sat unnoticed for decades before finding its way to the big screen in Blue Valentine. Its warm, unfiltered harmonies and aching sincerity make it feel like a love letter from a bygone era. Originally recorded as a demo for Columbus, Ohio's Prix label, the track's simple yet powerful delivery captures a moment of pure emotion. Penny's tender, yearning vocals glide over a delicate guitar line, backed by harmonies that feel both effortless and intimate. The absence of overproduction only adds to its charm, making it sound like an unearthed relic from soul's golden age. On the B-side 'You Are Giving Me Some Other Love' continues in the same vein, with a rough-edged sweetness that perfectly complements the lead track. This release finally gives Penny & the Quarters their long-overdue spotlight, ensuring their music lives on.

Review: The Perpetual Singers is a collective of gospel singers who hail from Amsterdam. They have linked up with producer Arp Frique for this tasteful new two-tracker via Unknownunknown. The 12" kicks off with 'Father Father' which has some brilliantly jazzy fingers dancing about a Rhodes piano and bringing great feels while a wordless ad-lib brings plenty of soul up top and some retro-future melodies bring a contemporary twist to this most bubbly of soul cuts. 'Elena' on the flip is a more driving grove with dusty drums and big guitar licks adding texture to the bright, shiny chords. It's a passionate sound with a catchy edge.

Review: C&C Music Factory lynchpin Eric Kupper takes on 'BackStabbers' with a considered touch, reinforcing its groove while preserving the essence of its original 1982 recording. Captured at Virtue Studios by a powerhouse ensembleiincluding MFSB and Salsoul Orchestra greats like Earl Young, Ron Baker and Vince Montana, Jr.ithis session defined the lush, orchestrated soul of Philadelphia. Joe Freeman's lead vocal remains the focal point, its urgency cutting through Kupper's updated mix, which tightens the percussion and adds a refined low-end punch. Side A presents the vocal mix, where the track's layered instrumentation breathes with new clarity, while Side B strips it down to an instrumental, letting the intricate arrangements shine. US-based Kupper, a veteran of over 1,400 remixes, treats the material with the respect of a historian and the instincts of a modern dancefloor craftsman, balancing nostalgia with crisp, club-ready sonics.

Review: A new 7" from Sample & Example by Cut Creator$ delivers another rare, still mostly uncut gem in the tourmaline world of soul and funk. 'Here I Go Again' from 1976 hears Jean Plum, a soulful Memphis singer, come bundled together with 'Contact Off Funk' by Larry "T-Bird" Gordon, a masterpiece of Southern funk produced by the equally estimable Willie Mitchell. For enthusiasts of rare funk and soul, the influential Hi Records legacy is made evident once again.

Review: Victoria Port, one half of the acclaimed electronic soul duo Anushka, steps into the spotlight with her debut solo EP, an accomplished exploration of soulful melodies and heartfelt lyricism delivered via powerful vocals and introspective songwriting. The EP features a diverse range of sounds, from the soulful grooves of 'Cigarette' and 'Haunting' to the more intimate balladry of 'Keep Love For Me' and the title track, 'Did It Again'. Port's lyrics delve into themes of vulnerability, resilience and the transformative power of motherhood, drawing inspiration from the legacy of her Dominican grandmother and the powerful women in her life. A very promising debut.

Review: A refreshing take on classic soul and its relationship with gospel music. Side-1 features a soulful party anthem with a gospel-influenced vocal performance that stands out with its raw emotion and energy, the unique voice of The Preacher adding a distinctive flair, making it a compelling listen. Side-2 delivers 'The Blessing', a funky groove that blends soulful rhythms with upbeat energy. The track has a lively, infectious vibe, showcasing a different side of The Preacher's versatility.

Review: In the mid 1990s, Kent Soul uncovered Joe Evans' master tapes and were thrilled to discover the unreleased gem 'A Broken Heart Cries' by The Pretenders - note, no relation to Chrissie Hynde and co. The track quickly caught the attention of Crossover DJs, who picked it up from Kent Soul's CD release, precipitating an avalanche of demand. This soul quartet is mostly recognised these days as but a wooden limb on Evans' everlasting music-mogul marionette, but their brilliance spans many an exquisite 7" and 12" released during the late 60s and early 70s, mostly on the Newark label Carnival Records. The boy-girl group commanded loose but masterful drumming and vintage, summery harmonies, with the A-side especially seeming to reflect a mood of hidden satisfaction in heartbreak. Now seizing the opportunity to bundle it in with the group's equipotent ballad 'For The Rest Of My Days,' Kent Soul do well to support both songs' first-ever UK vinyl release.

Review: Principles Of Joy, the dynamic French soul outfit, joins forces with Germany's Unique Records for their latest release, 'Mermaid's Tale.' Led by keyboardist and composer Ludo Bors, the band, fronted by the captivating Rachel Yarabou, delivers a potent blend of deep soul with psychedelic and hip-hop elements. The title track seamlessly blends fantasy and reality in a psyche soul mood. Yarabou's smooth yet intense vocals glide effortlessly over the lush instrumentation, including heavy bass, hip-hop-inspired drums, and dreamy Rhodes and guitars. Meanwhile, 'Kick Off The Road' picks up the pace with its bluesy verses and funky choruses, showcasing the band's Stax and James Brown influences. Yarabou's spirited delivery tells the tale of a girl determined to forge her own path, echoing themes of freedom and women's emancipation. With its dynamic arrangements and compelling storytelling, Principles Of Joy's collaboration with Unique Records is a refreshing addition to the soul music landscape, blending traditional and contemporary elements with finesse and flair.

Review: The Boston-based band The Post Pop Space Rock Be Bop Gospel Tabernacle Chorus and Orchestra was led by Webster Lewis and this album was recorded live in Oslo, Norway, in 1971. The original album was released in 1972 and this expanded edition includes previously unreleased songs, unseen photos and the full backstory of the historic concert. It is a rather rare recording that showcases spiritual and soul jazz at its finest and blends instrumental and vocal tracks for a unique, eclectic sound that has made it highly sought after. Newly transferred from the master tapes, it offers improved sound quality and is a must-buy for jazz cats.

Review: Pacific Express were an South African funk/jazz outfit with vibes of Stevie Wonder or Earth, Wind & Fire's music of the day and, originally released in 1979, this reissue showcases the band's pivotal role in shaping Cape Town jazz. Their blend of soul, funk, disco and r&b creates a seamless, groovy atmosphere, with the band's tight rhythm section and smooth instrumentation very much at the forefront. Tracks like 'Come True' highlight the excellent vocal performances and musicianship, with lush piano and string arrangements adding a lounge-like vibe. The standout ballad 'What Is The Answer' is emotionally charged, showcasing the band's depth. 'What I Feel' offers a catchy, upbeat groove, perfectly encapsulating the album's blend of relaxed yet funky vibes. Somewhat incredibly, this the album's first reissue, so our advice would be to jump on it.

Review: The tenth studio album by the American female soul vocal group Pointer Sisters is here reissued by MOV, harking back to a certain, unmistakably breakout moment in glitzy, metropolitan electro-soul that emerged just over 40 years ago. The Pointer Sisters broke into the late 70s and 80s charts especially, at the height of the glam era, and rocked the style as it would visibly cross into Studio 54-esque synthpop and disco. Suitably motoric and 'Automatic', this was far from the Pointers' debut album and yet it was also their most popular, attesting a rare example of a group who found their wave well past their industry initiation. Consecutively, on an almost track-by-track basis, the record moves between pacy rock & roll/r&b and glammy electronique, typifying the distinctly vanguard-edging mood of the 1980s West Coast.