Stone classic Allen Toussaint and Marshall Sehorn production.
Funk bombs like the rare groove protest of the opener, running straight into Time Machine… phew.

Utterly magnificent, sublimely soulful survey of the Gospel Roots label, subsidiary of the mighty TK Records at the height of the Miami Sound.
A&R was co-ordinated by Gospel legends Ira Tucker — from the Dixie Hummingbirds — and Ralph Bass, veteran producer with Savoy, King and Chess. The label was run by Timmy Thomas, who had recently smashed with Why Can’t We Live Together, for another TK spin-off, Glades. Operations were overseen by Henry Stone himself, unlikely King of Disco, who had recorded a young Ray Charles, and pushed forward James Brown. They drew in artists from all over the US, from St. Louis, Columbus, Memphis, Brooklyn, Cabrini Green in Chicago: unknowns like Camille Doughty, reluctant to jeopardise her job at GM (‘Generous Motors’) in Detroit, and huge-sellers like the revered Brooklyn All Stars, who started out on Peacock in 1958.
Choral belters, deep ballads, harmony quartets, epic city-blues, gritty funk, powerhouse female soul… Killer-diller Philly like a scorching version of Harold Melvin & The Blue Notes’ Wake Up Everybody; and Jean Austin’s raw Spirit Free, co-written by Ronnie Dyson, produced by Jesse James at Future Gold. Chicago Sound like The Fantastic Family Aires — named after the family’s furniture store on North Cicero, but reminiscent of the Staple Singers at their best — through to the full-blown glory of The Fountain Of Life Joy Choir, led by Marvin Yancy from The Independents, and featuring Natalie Cole… Singers like Versie Mae Gibson, from the Jordans, by rights up there with Irma, Etta and Ree… Bangers 100%-guaranteed to find their way into Theo Parrish sets; and mortal delirium for the prissiest of soul and gospel purists.
Beautifully presented… the LPs with a 12”-square, full-colour, sixteen-page album of photos and original artwork, the CD with a forty-page booklet — and truly outstanding notes, including insightful new interviews across the board; mastered at Abbey Road.
Dread and civitas, grit and transcendence.

NYC soul, with at least two killers — Don’t You Care, and Never Did I Stop Loving You. BGP has unearthed some rarities; and some great photos.

The Clarks’ fourth, pivotal album for Westbound’s Sound Of Gospel label, from 1979, hustling them firmly towards the dancefloor. Traditional soul-based gospel like My Cup Runneth Over alongside disco-influenced gems like My Life Is Complete With Jesus and ‘Everything Is Gonna Be Alright.

What a great record. Soaring early-eighties soul from Bill Withers’ spar — original, loose-limbed and funky, full of emotional intelligence and good vibes. Includes Love’s Too Hot To Hide, two-step heaven.

Almost preposterous, this beautiful snapshot of a US expat community fetched up in Dimona, Israel, in the second half of the seventies, holding faith with its love of Chicago soul and spiritual jazz.

The South Londoners’ amazing 1972 LP debut, including Caribbean-funk classics Bra and The Message, the deep Santana vibes of Dove, the playful grounation of Folk Song…

Brand-new, pedigree r&b. Perforce nostalgic — heavy on the Paisley, dense like P-Funk, ecstatic like MPG — but a warmly recommended return.

This time coupled with an unedited version of his crossover modern dancer It’s No Mistake.

Hip dance sides and Lowrider ballads from Darrow’s Chicago years.
From his career-opening smash The Pain Gets A Little Deeper, via Northern dancefloor classics like My Young Misery, Infatuation and Gotta Draw The Line, and ballads like Sitting There That Night and My Judgement Day, through to the new social consciousness of Now Is The Time For Love, recorded in 1971 for his step-dad Johnnie Haygood’s Genna label.