‘The twentieth volume of our flagship series has all the boxes checked: gun-toting record producers, child stars, rip-offs, ‘The World’s Greatest Bail Bondsman’, soaring falsettos, and a dwindling rust-belt cityscape offering mere glimpses of hope before the record industry escaped for the coasts. Helmed by the O’Jays Bobby Massey, Saru was a creative vortex pulling into Cleveland the best talent in Cuyahoga County — the Out of Sights, the Elements, Pandella Kelly, David Peoples, Sir Stanley, the Ponderosa Twins + 1, Ba-Roz, Bobby Dukes and — of course — The O’Jays.’

‘From a humble storefront studio located in a shoeshine parlor on Norfolk, Virginia’s Church Street, Noah Biggs built a world. Hustler by day, gambler by night, the always-in-a-suit Biggs took a gaggle of off-brand singers and combined his connections and charisma to forge timeless soul music during a period of deep upheaval. Compiled here are 25 of Shiptown’s most compelling sides recorded between 1965-1977, spread across 2 LPs, from the likes of Ida Sands, The Soul Duo, The Anglos, Dream Team, The Grooms, Positive Sounds, Barbara Stant, Wilson Williams, Art Ensley, and yes, Flip Flop Stevens.’

Thirty-four sides originally released by Jesse Jones’ twin labels out of Atlanta, between 1968-1977. Southern to Northern, classic R&B to modern soul, dancers to romancers.

The first proper compilation of her singular, unguarded, teenage dream pop, from eighties upstate New York. A kind of correspondent of Kate Bush in both composition and performance, on synthesizer and acoustic guitar, and in her otherworldly singing over four octaves, about dreamers, outsiders and lovers.

Vintage funk and sweet soul by children, drawn from obscure 45s — fresh and irresistible, praps our favrit Numero so far.

‘Joanna Brouk’s most ambitious recording, Sounds of the Sea is a concept album full of mystery and eroticism. A conch shell bookends this journey into the deep, going down and down and down further, never reaching bottom. Drawing inspiration from various legends of mermaids and sailors, Brouk weaves circling flutes, vocals, drones and whale songs to describe a sense of unfathomable longing more clearly than words could ever express. Sounds of the Sea is a hypnotic and profound achievement by one of new age’s greatest composers.’

Unmissable Chicago soul.

Like Saturday night on a Sunday morning. Patsy on Jesus. Elvis-no-pelvis. With four celebrated Nashville sidemen fresh from June 1958 Presley sessions.

Guitarist Willie ‘Junei’ Lee spent the late-seventies touring with with Albert King, Curtis Mayfield, and The Emotions, before returning home to Gary, Indiana, to focus on his own sound. ‘The only artists I listened to was Hendrix and Santana,’ he recalls.
‘The emissions coming from his home studio were entirely different, however, as Let’s Ride channels the Euro sensibilities of Kraftwerk or Italo over virtuosic guitar. ‘I just didn’t want to sound like anyone else.’
‘Let’s Ride anticipated Chicago house by a few years. Pressed in minuscule numbers in 1987 on Pharaohs Records, the 45 never connected with the nearby scenes in Chicago and Detroit where it might have found purchase in fertile soils. Decades later, though, it found new life as the bed for Kaytranada’s Scared To Death.’

Soul-drenched, late-sixties gospel from Cleveland.