Junior Parker - Love Ain't Nothin' But A Business Goin' On (1970) {Capitol–Groove Merchant GM-513 rel 2007}
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© 1970, 2007 Capitol / Unidisc Music / Groove Merchant | GM-513
Blues / Soul / Soul Blues / Funk

One of the funkiest albums ever from Junior Parker – a great little set that shows he had a lot more to offer than just the average bluesman! The album's got a nice little soul sound in the backings – tight rhythms from Horace Ott, who nicely avoids a lot of the cliches that the blues business was hitting at the time – in order to keep Junior in hip territory that's filled with breaking drums and heavy basslines! There's a few key crossover tracks here, plus some surprisingly sweeter numbers – and the album's a gem through and through – well-appreciated by new generations over the years, thanks to its diversity of tracks! Titles include a great break version of "Taxman" – plus two more Beatles numbers, "Tomorrow Never Knows" and "Lady Madonna" – and the tracks "Outside Man", "Darling Depend On Me", "You Know I Love You", "River's Invitation", and "Just To Hold My Hand".

Seven, produced and written with longtime creative partner and husband Ian Devaney, is Lisa Stansfield's first album in nearly a decade. Despite concentrating on her acting career during the intervening years, Stansfield's voice is at full power, with all the elegance and power of her earlier work. The album is simultaneously retro yet fresh-sounding, led by the organic throwback disco of "Can't Dance." Stansfield and Devaney get some expert help from drummer John Robinson and arranger Jerry Hey, session giants who are well known among credit-scanning fans of soul, disco, and crossover jazz. 2014 Deluxe Edition added four bonus tracks.

This instalment follows on from our acclaimed ‘Volume One’ – Lauren Laverne’s ‘Compilation Of The Week’, supported by the likes of Disclosure, Horsemeat Disco, Hunee and Laurent Garnier. ‘Volume Two’ picks up where the last one left off — with a touch more soul and disco — records we’ve been spinning in our DJ sets and on the radio show of the same name, that inspired this series.

Like Seven, released four years earlier, Lisa Stansfield's eighth album bounces from style to style with the singer's deeply impassioned, life-embracing approach a constant feature. Sophisticated pop, Motown/Philadelphia International-styled retro-soul, a few flavors of house, and even muted go-go and elegant drum'n'bass factor into the material. Most unforeseen is "Hercules," not an update of the Allen Toussaint classic but a fiery hero's theme that incorporates the Bo Diddley beat, a triumphant horn arrangement from master Jerry Hey, and the main riff from John Carpenter's "Assault on Precinct 13." A few cuts rate with Stansfield's best.

Bobby Rush was a journeyman blues singer, most famous for the novelty hit "Chicken Heads." On this album, however, he took his decades of his experience and his close study of Howlin' Wolf and made an urban blues album for his times, incorporating touches of Philadelphia soul, street-corner harmonies, and the rhythms of the pulpit. He tackled modern injustice ("Evil Is") alongside Seventies sexual mores ("I Can't Find My Keys"); Rush Hour was the first album in a sequence of ever-stranger "folk-funk" explorations. What We Said Then: "Rush Hour is so weird that it's a wonder George Clinton didn't think of it first. . .What emerges is outrageous and stunning. . .In a time when most black pop music sounds machine crafted, this record is more than an anomaly. Rush Hour is a tribute to resilience–a sign that the lessons Howlin' Wolf and his peers learned and taught have been neither lost nor forgotten. You're going to need something like this to get you through the Eighties".

It took quite a while for a definitive Barry White compilation to hit the market, but All-Time Greatest Hits – part of Mercury's Funk Essentials series – finally filled the bill in 1995. Boasting a full 20 tracks from White's heyday of 1973-1978, more than half of which made the R&B Top Ten, All-Time Greatest Hits is easily the most generous single-disc White collection on the market. It includes the edited single versions, not the full-length album tracks, which actually makes for a more digestible introduction to White's achievements.

Six decades of music, sixty-five years of song, generations tied together through the force of will of a matriarchy of powerful women. This is the story of African-American gospel quintet The Legendary Ingramettes, founded by Maggie Ingram and taken up by her daughter Almeta Ingram-Miller as a way to continue Maggie's legacy after Maggie's passing in 2015. Inspired by the black gospel male quartets of the 1940s and 50s, The Legendary Ingramettes bring roof raising harmonies and explosively powerful vocals, all driven by the voices of women.

Funk legend Maceo Parker is to release his first new studio album in 8 years. Soul Food - Cooking with Maceo will be released on 26 June, 2020 and will be the first album on the Mascot Label Group new imprint, The Funk Garage.

Stop! is the debut studio album by the English female singer-songwriter Sam Brown. It was originally released in June 1988, on the label A&M, and was distributed by Festival in Australia. Produced by Sam Brown, her brother Pete Brown, Pete Smith, Danny Schogger, and John Madden the album was recorded at the Power Plant, in London, England, with then-Pink Floyd member David Gilmour's guitar parts on "This Feeling" and "I'll Be In Love" being recorded at Greene Street Studios, in New York, United States. The track "Merry Go Round" has lyrics slightly adapted from W. H. Davies poem "Leisure".