Your basket is empty
His terrific Positive-Negative LP from 1976, plus singles for Golden Voice, Mercury and Tosted (including the original Now That I Have You), and the sixties sides of his organ-funk combo the TMGs.
Lovely, characterful, poignant soul music which irresistibly radiates the singer’s worship of Curtis Mayfield and Marvin Gaye.
Al Green, Philly Soul and also-ran frustration are in the wings: What Can I Do came out of Grand Rapids on the coat-tails of Back Up Train; I’m A Stranger was recorded at Sigma, in the slipstream of Be Thankful For What You Got.
“I’m out here all alone… trying to find my way… I don’t know where to roam… I just don’t know what to say about all this… I’m a stranger.”
Blissful boogie-down soul by the Fatback Band alumnus, produced by Greg Carmichael and Patrick Adams; originally released in 1978. With the almighty It Ain’t No Big Thing.
‘Two tracks from early 70s Los Angeles, around the time of his eponymous first LP. Say You is a superb updating of the Monitors’ harmony hit from 1965, given the distinctively sensitive McNeir treatment. I’m Sorry is a self-penned slow-burner that builds a perfect dancefloor beat.’
Deeply-felt soul from the twenty-two-year-old in 1972, following its own path onwards from Stevie Wonder, with a personality and integrity which stay with you.
Eddie Harris’ bassist with an effects box and guests like Lester Bowie and Phil Upchurch. Same vibes as Charles Stepney, the best Ramsey Lewis Cadets, early Earth, Wind And Fire…
‘Verve By Request.’
‘Former Mind & Matter bandmates James ‘Jimmy Jam’ Harris and Michael Dixon teamed up for this 1978 gospel-boogie banger, originally on the private Mad label.’
Calling all Disco Freaks!
‘The great South African tenorist Mike Makhamalele was a graduate of the key early-seventies group The Drive (alongside Bheki Mseleku and Kaya Mahlangu); and a mainstay of the scene centred on the Pelican nightclub in Soweto. From 1975, he began to record under his own name, developing a sophisticated fusion sound in a musical lane which few of his contemporaries were travelling.
‘Always attuned to other global fashions in Black dance and pop music, under numerous studio aliases he cut 45rpm covers of Fela’s Shakara and the Sugar Hill Gang’s Rapper’s Delight; and in 1979 he entered the Gallo studios with producer Peter Ceronio to respond to the ascendant sound of disco. Named after a township dance craze, Kabuzela was the result: four extended tracks of bouncing, upful disco jazz. Perfectly calibrated for dancing, heavy on the bass and drums, the album is set off by a gleaming centre piece, Disco Freaks — a joyous paean to the weekend and true lost gem of global disco, perfect for the most discerning dancefloors.’
The bees-knees in heart-broken, close-harmony, symphonic soul; up there with the very best of The Delfonics, The Stylistics and co. Nearly all ballads, with Billy Brown’s falsetto in devastating form, though that’s Harry Ray leading their all-time-classic To You With Love — as sampled by Dilla at the end of Donuts — in all the straight-up glory of its original setting.
A highly collectible, 1978 one-away by a group of high school friends in St Louis, featured on the recent Private Wax compilation. ‘A fantastic example of the Modern Soul sound which bridged the gap between Northern and Disco, introducing synthesisers alongside incredibly tight vocal harmonies and lush instrumental arrangements.’