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The Ace Records family has reissued numerous collector-oriented compilations from the Stax vaults over the years, and this 2012 anthology was intended as the first of a planned series on its Kent subsidiary focusing on Stax tracks from the late ’60s and early ’70s. The 21 tracks all focus on Stax recordings that fall into the Southern deep soul category — not a problem as such soul abounded on the label, though these might be more deep soul-oriented than the typical Stax reissue. It’s also oriented toward songs that aren’t too familiar — none of them were hits, and three of them were previously unreleased, though most of them did come out as singles between 1968 and 1975. And while some of the artists (Johnnie Taylor, Jimmy Hughes, William Bell, Inez Foxx, Eddie Floyd,… 320 kbps | 163 MB | UL | CL | MC …Mable John, Little Milton) at various points had substantial hits (though not always for Stax), they’re outweighed by acts that will largely be recognized only by those that study the fine print of Stax discographies. None of these songs were hooky or innovative enough to be as memorable as the many hits the label had during these half-dozen or so years. Hits aren’t everything, though, unless you’re as rabid a capitalist as you are a collector. If some of these songs are on the average or generic side, more often they’re pretty fair efforts that usually boast excellent singing and fine (if occasionally slick) production, as well as subtly testifying to the versatility of tracks released under the Stax umbrella. Particularly pleasing are some cuts that use more group harmonies than the norm for Stax productions from this era, as well as some that exhibit a bluesier bent than soul as a whole did during this period, like Little Milton’s fine “Woman Across the River,” Jimmy Hughes’ “Let ‘Em Down Baby,” and Mable John’s “Shouldn’t I Love Him.” The menu’s varied enough that favorites will vary according to individual tastes, but other tracks worthy of citation include Johnny Daye‘s opening pleader “Stay Baby Stay” and Bettye Crutcher‘s previously unissued sweet soul outing “Make a Joyful Noise” (which unlike many outtakes really should have been released at the time). Sometimes it’s apparent that Stax was keeping an ear open to the sounds of Hi elsewhere in Memphis — Freddie Waters‘ “Groovin’ on My Baby’s Love” has an Al Green feel, for instance — though no doubt some of that influence was traveling in the other direction as well. Stax obsessives will already have much of this, particularly on volumes two and three of the box sets of Stax singles. But this is a good pickup for those who don’t want to make such a huge investment, yet are still interested in seeking out some of the label’s deep catalog. 1. Johnny Daye – Stay Baby Stay [02:47] 2. The Charmells – I’ve Done It Again [03:26] 3. Charlene & the Soul Serenaders – Love Changes [03:51] 4. The Soul Children – Move Over [02:54] 5. Chuck Brooks – Hold On This Time [03:29] 6. Jimmy Lewis – Where Was He? [03:09] 7. Sir Mack Rice – Nobody Wins Til the Game Is Over [03:03] 8. Freddie Waters – Groovin’ On My Baby’s Love [02:43] 9. Eddie Floyd – Stealin’ Love [03:50] 10. Inez Foxx – Crossing Over the Bridge [02:51] 11. Bettye Crutcher – Make a Joyful Noise [05:02] 12. William Bell – Lovin’ On Borrowed Time [03:55] 13. Willie Singleton – Two Fools [03:17] 14. Ollie & the Nightingales – You’re Leaving Me [02:49] 15. Sylvia & the Blue Jays – The Fault Is Not in Me [02:43] 16. Mable John – Shouldn’t I Love Him [02:28] 17. Johnnie Taylor – Will You Love Me Forever [02:55] 18. Calvin Scott – I Never Found a Gi

The Great Escape - Day 2: Nina Nesbitt, Iggy Azalea, Swim... Our Summer Six presenter Gerogia, and competition winner Jonny bring you the second day of highlights from the Great Escape. From: VEVO Views: 37 2 ratings Time: 03:57 More in Music

Audio Submission - The Beatfonics Courtesy TBC. The Beatfonics crew is proud to present "Beats Amore", this fifth release is out exactly one year after the first one. Taking inspiration from the vast array of Italian songwriters, composers and performers, The Beatfonics Crew wanted to celebrate their own country putting new flavour in some classic expressions of what Italy used to be back in the days.

It’s a shame the way The Spinners’ Motown catalogue has been overlooked in the CD era, and quite frankly, for all time. The group exploded in popularity under the aegis of producer/arranger/composer Thom Bell at Atlantic Records in 1972, with their first three singles all hitting No. 1 R&B and Top 20 Pop (two went Top 10 Pop). But The Spinners had been making sweet music since 1954 and recording since at least ’61, and made Motown their home since the folding of Harvey Fuqua’s Tri-Phi Records in 1963.  Now, the earliest days of the beloved soul group is chronicled thanks to the latest release in Kent Records’ splendid, ongoing Motown series, with Truly Yours: Their First Motown Album with Bonus Tracks. Truly Yours is, in fact, an expanded edition of… 320 kbps | 144 MB | UL | CL | MC ** FLAC …The Spinners’ debut long-player for Motown, 1967’s The Original Spinners.  Despite the release date, its songs dated back as far as 1961, and was a compendium of the group’s work up through that date.  The Original Spinners has never been on CD before, and Kent has generously expanded it with fourteen bonus tracks, more than doubling the original twelve-song line-up.  Ten of these fourteen songs are previously unissued.  This isn’t the complete early Spinners; compiler and annotator Keith Hughes notes that over 30 unreleased tracks were whittled down to the fourteen selected for this disc.  Perhaps the rest will emerge on an expanded edition of The Spinners’ second and final Motown album, 1970’s 2nd Time Around? Let’s not get ahead of ourselves, however.  The 26 tracks here from tenor Bobby (sometimes spelled “Bobbie”) Smith, tenor Chico Edwards, baritone Henry Fambrough, bass Pervis Jackson and tenor Billy Henderson are essential to any soul collector.  (Fambrough and Smith, for the record, still perform as part of The Spinners today.)  The Original Spinners, and therefore this disc, contains all eight sides from the Spinners’ first four singles, plus the original 1961 Tri-Phi label recording “That’s What Girls Are Made For” and three “new” songs.  When Harvey Fuqua and then-wife Gwen Gordy closed Tri-Phi and migrated to her brother Berry’s Motown family, The Spinners were among the acts selected by Berry to join the roster. Expectedly for an album drawn from various sources, The Original Spinners doesn’t have a consistent sound, but it does have twelve prime slabs of Detroit soul.  Five of its twelve tracks were produced by Ivy Jo Hunter following Harvey Fuqua’s promotion to the A&R department, and Hunter’s productions are among its strongest moments.  The lack of success of compilation title track “Truly Yours” is, well, truly inexplicable.  And just as delicious is “I Will Always Love You,” both from the pens of Hunter and William Stevenson.  These Motor City stompers are every bit as strong as many of the songs climbing the charts from the Temptations and the Four Tops, yet these never took off.  “Truly Yours” made it to No. 8 R&B and No. 35 Pop, in 1965 while “Love You” stalled at No. 16 R&B and a dispiriting No. 111 Pop in 1966.  (The latter was, actually, first assigned to the Temps!)  Stevie Wonder’s “I Cross My Heart,” co-written and produced by Hunter, is built around a storming groove but lacks the hook that might have propelled it to the hit level.  Hunter even grafted a beat onto the 1934 standard “For All We Know” in a version originally intended for the Marvelettes. As was commonplace at Motown, numerous producers took a crack at an artist.  Smokey Robinson got into the act, gifting The Spinners his rollicking “Like a Good Man Should.”  Before A&R occupied most of his time at Motown, Harvey Fuqua continued to lead the Spinners’ artistic direction.  His “Where is the Girl” is a strong pop-oriented ballad that languished on the flipside of “Truly Yours,” and deserves wider notice. Fuqua’s “Tomorrow May Never Come” is more doo-wop than Motown, closer in spirit to the embryonic sound of “That’s What Girls Are

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