Reviews have not been broken into any sub-divisions - they cover all forms of black music. From African, reggae, hip-hop, R&B, garage, blues, jazz, rock, Afro-Latin, to gospel. They're however listed in alphabetical order on artist name.  We’ve tried to highlight British acts by using red text. Most of the reviews have been used in Kwaku's African, and hip-hop & R&B columns in Gargamel magazine (‘The international word in reggae and urban music’). This mega reviews feature contains mainly releases between Oct. 2004-2005.

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29^th Chapter ‘Full Time’ (The 29^th Chapter) With contemporary groups like Raymond & Co, Siani and Four Kornerz now on the block, British gospel R&B and hip-hop has gone up a notch or two, particularly as they are in business terms competing with those in the secular market. For a own label operation, the quality here, from the press pack to the CD and content is impressive in its eye to detail and quality. This is the gospel quartet’s sophomore set, and very enjoyable and impressive it is. The beats should grab any hip-hop fan, irrespective of faith. Whilst they’re upfront gospellers, they drop their rhymes over mellow beats like the R&B-laced socio-conscious ‘Deeper Love’, the jiggy, dancefloor-primed ‘Get Back Up’, or the head-nodder ‘Fellowship Of The King’, which features fellow gospel hip-hoppers.  

57^th Dynasty ‘Boro 6, Vol. 2’ (FasFwd) Finally got my hands on the finished stock! It’s curious looking at the cover of the album, which reads ‘A dynasty truly like no other. Only time will tell’. That last bit is telling since the group has since fizzled, and their proper second album ‘DIY Ethic’ is in limbo. Although it does have a Parental Advisory sticker, and I’m not down with the gun bravado that is ‘Hooligans’, there are enough songs that don’t warrant it, plus this is one rap group saying stuff that hip-hop heads and youth on the road ought to hear. Producer Charlie Parker’s chorus singing on the socio-tipped ‘Estates’ gives it an interesting folky, poppy feel. Also features rhymes by MCD. ‘Brethren & Sistren’ is a positive, beautiful sung cut, with R&B/reggae backing. Another positive track, which brought me into personal contact with the group is the Estelle-blessed ‘Break Free’. Intelligent, hard, dark, mellow, sweet, upbeat, this album covers it all. A useful British hip-hop document. Look out for rapper Paradise’s new act The Good Samaritan Project, who will soon drop their conscious ‘The Forgotten Curriculum LP’.

Abram Wilson ‘Jazz Warrior’ (Dune) Harrow based Dune Records has quietly been doing its thing – getting jazz musos like Soweto Kinch, Jazz Jamaica, Denys Baptiste, and Gary Cosby out there, where their albums have been garnering award nominations, and occasion bagging the gongs! Trumpeter/vocalist Wilson first establishes his muso credentials by opening with ‘Pedal Herlin’. A slow-building instrumental that gradually revels Wilson’s trumpet sound. This is followed by a vocal rendition of Wonder’s ‘Golden Lady’. Wilson’s soul-jazz version takes the song deeper into quite-storm territory. Wilson blows a storm on the delightful ‘ Monk’, and adds rap on ‘Jazz Warrior’ and the very accessible soul-tinged ‘Groove So Heavy’. ‘Tango’ may not have a tango rhythm, but that abd ‘Supernatural’ are definitely two of the best compositions on here. ‘Take It Forward’ is an obvious candidate for dance-floor action. Wilson successfully straddles between serious and accessible, straight up and eclectic jazz.

Aesop Rock ‘Fast Cars, Danger, Fire & Knives’ (Definitive Jux) Kicks off with the Blockhead-produced funk-based grooves over which Aesop drops his lyrical rhymes, aided by Metro. No gangster stuff here, just straight up hip hop with a rapper that must have a lot of fans among those that enjoy listening to real rhymesters. It really doesn’t matter what he’s on, Aesop has a nice, listenable delivery. Case in point is ‘Holly Smokes’. What’s he on about? Who cares, it just sounds interesting. Actually the mellow, moody, jazzy backed grooves is a reflection on the Christian religion. On Aesop’s produced jiggy beats for ‘Rickety Rackety’, he and Camu Toa & El-P talk about the street scene without going negative and gangster.

Afro-Celt Sound System ‘POD’ (Real World) If you’ve seen the ACSS live then you’ll know that their genre, Western and African, modern and traditional instrument, merging style’s essentially dance music. Thankfully this package comes with a DVD in which one can see them in concert, where kora, violins, dhols, djembes, flutes and haunting Celtic singing and Wolof rapping mix intoxicatingly. The audio CD contains remixes of previous tracks, though the housey and garagey trips are not out of place, because of the dance oriented style of the group. A useful sort of best-off package worth checking out.

Akon ‘Trouble’ (SRC/Island) I have to confess a liking of Akon’s sing-rap vocal style, which is best demonstrated on his hit single and opener ‘Locked Up’. This track, which doesn’t glamorise being locked up, comes with two extra remixes, one featuring UK’s Taz. The song about staying with probation rules, ‘Trouble Nobody’, could well be the follow up single, especially as it has a strong sing-along chorus. Ditto: ‘Bananza  (Belly Dancer)’, and the uplifting ‘Ghetto’.  is another with crossover potential.  ‘Show Out’ is a club-banger. Akon passes as a singer on the ‘Lonely’ nu-man track and ‘Don’t Let Up’. Akon rides a Dave Kelly-produced dancehall rhythm with ‘Gunshot’.

Al Jarreau ‘Accentuate The Positive’ (Verve) The vocalist stylist shows he moves with the times, whilst still keeping the essence of what’s kept his career going for so long. He kicks off with the jazz work out ‘Cold Duck’, which has lots of adlibbing and skatting, plus a gorgeous tenor sax that draws one in immediately. You expect those ballads, so Jarreau obliges with smokey, bluesy, soulful gems like Hoagy Carmichael’s ‘The Nearness Of You’ and ‘My Foolish Heart’. He picks up the pace with Duke Ellington’s ‘I’m The Beginning To See The Light’, the playful title track, and ‘Groovin’ High’, over which he drops some vocal gymnastics. He certainly accentuates his vocal positives, particularly on the jazz-funky ‘Scootcha-Booty’.

Alexander O’Neal ‘Greatest Hits’ (Tabu) What more can one say than if you’re in the ‘80s, then you already know that O’Neal was one of the big draws. The big Jam & Lewis produced hits are here. Like ‘Never Knew Love Like This’, ‘Fake’, ‘Hearsay’, ‘A Broken Heart Can Mend’, ‘What Is This Thing Called Love?’, ‘Criticize’ and his Cherrelle duet ‘Saturday Love’.  

Ali Farka Touré & Toumani Diabaté ‘In The Heart Of The Moon’ (World Circuit) This is certainly one of the most soul-satisfying roots music around. Touré & Diabaté’s guitar and kora performances, and songs, are bound to take you on a spiritual journey to a place you can be at peace and relaxed. This is essentially about two talented musicians using the strings of their instruments to communicate with your heart. ‘Kala’, ‘Hawa Dolo’ and ‘Monsieur Le Maine De Niafunké’ best show off the elements of composition, performance, and mood. A glorious mood album. Go discover

Ali Farka Toure ‘Red & Green’ (World Circuit) The ‘80s music that launched AFT’s career in the West – ‘Red’ was initially release in 1984, and ‘Green’ 1988. Quite frankly, I can’t tell the progression. Suffice to say AFT shows himself to be a fine roots, bluesy artist, particularly with his guitar playing. If you like his stuff, then get these newly remastered tracks to experience AFT set squarely within an enjoyable, rootsy context.  

Alias 1 ‘The Time Is Now’ (Nifty Productions) Alias 1 has some serious speed rapping talent, which he ably demonstrates on ‘Welcome To Alias 1’, which has a female R&B singer sultrily countering by telling Alias to stop his seduction, as she has a man. Since Alias has a hard MC-fyping vocal style as demonstrated on the club-banger ‘Roadblock’, I can not believe he’s the smooth R&B singer on the mellow, you’ve-been-checking-me ballad ‘Tell Me Babe’. That’s definitely the standout from this EP, which lacks focus, and begs the question is Alias a rapper, MC, singer, R&Ber or hip-hopper?

Aman Hayer ‘Groundshaker’ (Genie)  Brit-Asian bhangra producer/DJ and a posse of featured artists show the different fusions incorporated within today’s bhangra. Yes, most of us may not understand the Punjabi lyrics, and some of us may, like ragga, think some of the rhythms monotonous. However, there are reference points for those of us not in the bhangra scene to hook on to. For example, the lead in track and scne hit ‘Tharti Hilde’ may be a bumping bhangra, but it has English rap and hip-hop sensibilities. Ditto: Heer Ranjha’, and ‘Jaan’.  There’s also unadulterated bhangra cuts, like ‘Seetee’, Apne Begane’ and ‘It Kut’, whilst ‘Dil Tor Diva’ is a beats-based ballad dominated by strong female vocals, sweet strings and punching beats.

Alphabeat ‘Hours To flowers’ (Prolifica) A left-field jazz and electronica influenced offering over which singers Nina Miranda of Smoke City and Da Lata, and Diane Charlemagne of Goldie’s ‘Inner City Life’ fame, add a warm human touch. ‘Mosquitos, is a cool, straight-up big beats jazzy, instrumental dance track. ‘Opium & Orange’ is a tenor sax featured dubby track. The Diane featured ‘Real Thing’ is a great jazz-funkster, that gives much space to the exciting musical.

Angá Díaz ‘Echu Mingua’ (World Circuit)  Cuban congo player gets his time to shine. But as co-producer, he concentrates on putting together a great musical album. Hence it’s not a conga or percussion fest. A track like the jazzy ‘Gandinga’, does break down to allow the conga to shine. But perhaps the track that most people will check out is ‘A Love Supreme’.  Díaz’s impressive cover of John Coltrane’s composition takes it into a Latin jazz mood, replete with turntablism, muted trumpet, swirling strings and Yoruba chants! Malian singer-guitarist offers his haunting ‘Tumé Tumé’, which has some turntablism, earthy flute lines, and atmospheric sounds. These Afro-Cuban stars just keep on coming

Angela Johnson ‘Got To Let It Go’ (Dome) The Cooly Box singer-keyboardist drops an enjoyable sophomore solo set. It’s refreshing to see a sister write, produce, sing, and play almost all the instruments. And she does it well. Although the arrangements are augmented by brass or violin, the mostly rhythm-focused music allow Johnson’s lead and charming backing vocals to find space to shine. Like the Jeremy James-featured ballad ‘Let’s Get Together’, or ‘I’ll Always’, a sweet sounding song which doesn’t bring the jilted beau down softly, despite the “I’ll always love you” declaration.

Anita Baker ‘My Everything’ (Blue Note) I’ve noticed that some of our vintage artists embarrass themselves by trying to sound modern by either using young producers or hip-hop flavours. Not Anita, she’s back, strong, and she sounds like she always has been – real classy soulful singing and fine songs. Whilst it’s unnecessary to highlight particular tracks, because there are no fillers, cuts like ‘Serious’ and the Babyface-duetted ‘Like You Used To Do’ show her in seriously pained, romantic mood. Gorgeous soul music.  

Anthony Hamilton ‘Soulife’ (Atlantic) This new release actually pre-dates Anthony’s Arista debut ‘Comin' From Where I'm From’. What an impressive R&B/soulster album it is. There’s no need to say much. Whilst many people are likely to jump to ‘Love And war’ because it features Macy Gray, and perhaps ‘Last Night’ because it features Sunshine Anderson, quite frankly this is the type of alobum you can leave to play from the delicious, telling soulster ‘I Used To Love Someone’, to the rough, R&B-soul closer ‘Exclusively’. This should appeal to young and adult soul and R&B fans, alike.

Antonio & Ed Cortes Pinto ‘City Of Angels’ (Milan/East West)  This film soundtrack embodies cocking Latin-funk of the highest order. From the opener, the atmospheric, percussion-driven and brass-interjected instrumental ‘Meu Nome E Ze’, the duo set the tone for this funk fest. Follow up track ‘Vida de Otario’, with its ‘Funky Drummer’ type beats maintains the funk quotient. With a title like ‘Funk De Virada’, not much needs to be said. The moody ‘Estoria Da Boca’ adds a jazzy vibe. Artists like Hykdon and Raul Seixas bring down the tempo and also some vocals. Ends with DJ Camillo & DJ Yah’s garage-house remix of ‘Batacuda’.  

Ashanti ‘Can’t Stop’ (TEAM/Unique) An album of earlier material, it’s more R&B/soul, than the R&B/hip-hop she’s better known for now. The title track has R&B elements that’s closer to her more recent work. The soulful, downlow songs include ‘You Don’t Have 2 Love Me’, ‘Believe’,  ‘It’s About Time’, and the quiet storm ballad ‘By My Side’. However, very interestingly, there’s also club-primed housey disco: ‘Baby Baby’, which also ends the set with a ‘Red Rhythm Radio Edit’. So it seems the younger Ashanti was initially directed into dance, rather than R&B! The vocals are alright but do not have the confidence and sassiness of The Inc-signed Ashanti.

Ashanti ‘Concrete Rose’ (The Inc)  Ashanti impresses here. Think of her as a lighter kind of Mary J. She certainly does the hip-hop/soul thing on cuts such as ‘Still Down’, featuring TI. ‘Only You’ is obviously one of the roughest, funkiest cuts around. She funks with cuts like ‘Focus’ and the Ja Rule-featured ‘Turn It Up’, and coos on the downtempo with ‘Don’t Let Them’ and ‘Love’. Includes flirty and sexual cuts like ‘take Me Tonight’ and UK bonus cut ‘Touch My Body’. Includes Ja Rule and R Kelly featured ‘Wonderful’.  

Asher D. Street Sibling (Indepediente) So Solid’s MC is definitely going to surprise a lot of people with this debut album. His rhyming style’s cool and his rhymes aren’t bad. He employs funk-based grooves and R&B collabos, which extend his fanbase well beyond garage and hip-hop. He keeps the underground sorted with tracks like ‘Solid Roc’, which is a rap collabo with the Roc-A-Fella crew. Crossover-wise, there’s ‘Give It Up’, which is built on a firm funk bed and has a soulful contributions from a Sugababe; and ‘There For You’, which is one of the strongest tracks. Musically, it’s blessed with soulful tones, whilst the babyfather lyrics are inspirational. Another conscious jam is Timbaland-like grooved ‘The Message’. Thankfully, his rhymes aren’t all about his time in prison

Atmosofear ‘En Trance’ (Discotheque/Sanctuary) Most of those who know this Brit-funk group, probably know their one, crossover hit ‘Dancing In Outer Space’, which is a bonus track, along with preceded the release of this, their debut album. If you think they were just good for funk and disco, the mid-tempo ‘Duende’ and ‘Return Of LB’ show their musicianship off very well. ‘Interplay’ is a very, very funky tune that jazz-funk heads must be aware of. Ditto: ‘Funk The Rock’. They were never good singers, but they certainly knew how to funk! Check out the atmospheric rejig known as ‘Outer Space’!

Augustus Pablo ‘Dub, Reggae and Roots from the Melodica King’ (Manteca)  This mid-priced twenty-one track set is a good buy, as it provides a useful retrospective of the reggae melodica-player/producer. Kicks off, naturally, which one of Pablo’s best known tunes: ‘Cassava Piece’, immediately followed by the Jacob Miller-sung vocal version ‘Night And Day’. Then we get more into dub territory with the ‘555’ tracks. How you enjoy this album is up to you. There are vocal cuts, like ‘Young Generation’, and dub cuts, like ‘Rockers Rock’. Enjoy!  

Augustus Pablo ‘Dub, Reggae and Roots from the Melodica King’ (Manteca) This mid-priced twenty-one track set is a good buy, as it provides a useful retrospective of the reggae melodica-player/producer. Kicks off, naturally, which one of Pablo’s best known tunes: ‘Cassava Piece’, immediately followed by the Jacob Miller-sung vocal version ‘Night And Day’. Then we get more into dub territory with the ‘555’ tracks. How you enjpy this album is up to you. There are vocal cuts like ‘Young Generation’, and dub cuts like ‘Rockers Rock’. Enjoy!

Avani ‘The Real Thing’ (Dome) It’s taken me several listenings to finally be impressed. Indeed, initially when I got the sampler, I thought it was a case of good voice with too much mediocre material. But I have warmed to the full album. She’s quite a good singer who does well covering the young, R&B scene with groovy, uplifting cuts like ‘Don’t U Worry’ and the bumpy Don-e produced ‘Heads Up’. Older heads may appreciate slower, soulful cuts like ‘Teardrops’ and ‘Lover’s Theme’. Includes the rocking ‘Watching You’, featuring Rahsaan Patterson and Carl McIntosh, which is screaming to be a single!  

Baka Beyond With The Baka Forest People  ‘Rhythm Tree’ (March Hare Music) It is a testament to British roots-fusionist group Baka Beyond’s interest in the Baka people, that not only do they get a billing on an album on which they provide vocals and instrumentation, but also portion of profits from their previous collaborations has gone into building the Baka Music House Project right in the rainforest for the Cameroonian indigenous people’s community. This is a delicious and organic-sounding roots album, despite use of electric equipment. Celtic influences on ‘Shimma’ mix with that of the Baka, particularly on the dance tracks ‘The Rhythm Tree’, and ‘Kobo’, which features several Baka guitarists.

BamJimBa ‘I Love’ (BamJimBa Music) Preston-based reggae musician/producer Jim Bamber a.k.a Bamjimba put this 7 track EP out as a tribute to his late friend Papa Wade McKinney, and also as a fund-raiser for Sickle Cell Society charity. His effort has raised a few thousands of pounds. This is essentially an instrumental dub offering, which is both atmospheric and quite musical. It’s dominated by brass sounds, heavy b-lines, and huge echo-drenched beats. ‘Love Your Blues’ is one such typical track. Soothing soprano sax lines waft over modern rockers type beats and a solid b-line. Rocking, but yet, restful music. Available from several internet outlets or via www.prostudio.co.uk.

Bembeya Jazz National ‘The Syliphone Years’ (Stern’s) Not much music has made its way out of the Guinea, the tiny west African country. However, this group, which spanned the early ‘60s to ‘70s, produced an irresistible blend of jazz, Congolese inspired rumba, mixed indigenous styles, that it travelled. Particularly during the optimistic ‘60s. A double album that should be played uninterrupted on a lazy Sunday in order for the gorgeous vocals, huge brass and riffing guitars to work their charm. The seven minute ‘Mossougbe’, and ‘Sou’ best exemplify said elements. So old school, and charming. Includes lavish sleevenotes.  

Beverley Knight ‘Affirmation’ (Parlophone)  Our Bev’s dropped another fine album. You know that the songs are going to be strong, with some depth, and that she doesn’t hold back those vocals, if she doesn’t have to. The surprise though is that she’s come back riding a rock-ish tune, ‘Come As You Are’. The guitars even sound like it’s provided by the Stones’ Keith Richards! But fear not, Bev’s not gone totally rocky.  ‘Not Too Late For Love’, ‘No One Ever Loves In Vain’, and ‘Salvador’ are some of the cuts to please soul heads. She bops on the funky ‘Supersonic’, which has a rhythmic style that seems like it came from Prince’s song book. Love it.

Big Advice ‘Love Shines’ (Electric Monkey) Musos who’ve played inn Ben Harper and Frankie Beverley’s bands along with Brit muso Matt Cooper produce a fine blend of ‘70s sounding R&B and funk. Real live musicality but with today’s production sheen. No well-known names here, but the singers and sound are top-grade for any retro head to check out.  

Billy Larkin & The Delegates ‘Organ Grooves And Soul Brothers: The Best Of’ (Stateside)  Oh yes, it was just Jimmy Smith who produced groovy organ-led music music. Just check out the awesome bossa nova jazz instrumental ‘Pigmy (Part One)’. It’s potency is such that it can still rock a club today! Their first single and still one of their best efforts, certainly in its crossover appeal. It’s so good us a ‘Part two’, which is a tad bit less exciting than the first. They take us into a cool, quiet place with the atmospheric downtempo ‘Cristo Redentor’. The drums, guitar and organ is occasionally augmented by Clifford Scott’s tenor sax. The funky ‘The Cooker’ is probably the most democratic track, because it’s not just the organist that hogs the limelight - the drummer, saxophonist and guitarist also get to show off their chops! The sax features well on their cover of Sam & Dave’s ‘Hold On I’m Comin’’, and the drums rock on the cover of ‘Ode To Billy Joe’. It’s re-issues of great music like this that need to be discovered by new fans, which make re-issues worthwhile.

Blak Twang ‘The Cotton Cotton’ (Bad Magic) We’re all invited to the London rhymer’s club, where it’s all fun and bling, but no violence. The title track is destined to be a club-jammer. ‘Beef Stop’ is a cautionary tale. ‘GCSE’ provides sex education for the ‘ghetto children’. The R&B-laced ‘Lady’ is for the ladies to enjoy, and has big crossover potential. The well-travelled rhymer gives us a rundown of his experiences, with a Barrington Levi sample coming in and out.of ‘Travellin’’. ‘Roadback’, the most hip-hoppy cut here, is a rocking on road commentary. Highlights include the emotive ‘Prayer For The Dying’, and the encouraging ‘Carry On’.

Bobby Womack ‘The Womack Live/Safety’ (EMI) EMI has simultaneously released several of Womack’s old recordings. Whilst many of us know the songs like ‘Harry Hippie’ on ‘Understanding/Communication’, few of us may have experienced Womack live, which is why the value of this album. It’s interesting to hear the man joking and flirting with the audience, or his soulful trademark vocals re-inventing pop songs like ‘California Dreamin’’ and George Harrison’s ‘Something’, or simply performing the blues.  

Boyz II Men ‘Throwback’ (MSM/Unique) Putting their cover of the funky ‘Let It Whip’ seems a curious choice at best., as it’s not your typical BIIM. It turns out this is actually a covers album. Whilst the arrangement may be modern, they don’t add much vocally to ‘Let’s Stay Together’ or ‘Close The Door’. They however do shine on ‘For the Love Of You’, ‘Sara Smile’, and most definitely on ‘You Make Me Feel Brand New’ and ‘What You Won’t Do For Love’. A bit into the album, hearing the g-funked ‘Cutie Pie’ doesn’t sound incongruous.

Brand New Heavies ‘Allaboutthefunk’ (OneTwo/Enterprise) Hmmm, ‘Boogie’ is just an irresistible funk cut. I dare anyone to resist moving their body when it’s playing. Look out for the soulful music industry critique ‘Need Some More’. The funk/rare groove merchants are back with brand new grooves, like ‘Waste My Time’, ‘How Do You Think’, ‘Every Time We turn It Up’, ‘How Do We Do This’ and ‘Surrender’, plus yet another new female singer. Nicole Russo holds her on. She stretches vocally on the ‘Slippin’ Into Darkness’-echoing funkster ‘What Do You Take Me For’, and they rinse ‘Many Rivers To Cross’, turning it into their own churchy tune.

Brand Nubian ‘Fire In The Hole’ (Babygrande) I may not appreciate some of their language, but it must be said that this old group are back strong and bound to make a mark in the hip-hop world. The production and beats should attract new, young fans, whilst holding their old fans. In between the raw rhymes, they drop science for young heads, like ‘Young Son’, and show a sweet side with their soulful ode to ‘Momma’. Starr also adds his soulful singing to a couple of tracks.  

Breis ‘Your Favourite MC Mix CD’ (bambreis.net) The title track has Breis reminiscing in rhyme about some of the old and new school rhymesters, interspersed with vox pops of people running down their favourite MCs and rappers. A very cool hip hop track it is. Breis recounts biographical snippets, from being picked on in school because he was African, holding off the call to becoming a rapper by first going to uni to sort out a degree on the funk-based ‘ Here For You’. He overstates his Africanness on ‘African Necklace’ and ‘Expensive Style’ by flowing over Afro-beat grooves. Breis gets jazzy as he urges us to ‘Think Big’. A maverick talent worth checking out.

Brenda Russell. Between The Sun And The Moon (Dome) Recorded in California, and in London with the likes of producers Bluey, VRS and Simon Law, it’s a rather patchy affair. Too many ordinary songs and different styles and moods, plus her cover of ‘Tracks Of My Tears’ probably shouldn’t have been added this album, unlike the delicious soul-jazzer ‘It’s A Jazz Day’, which is from her last album. The sparse Latin and African tinged title track sits incongruously between the fuller tracks. The strong tracks are the soulful mid-tempo ‘I Know You By Heart’, ‘Ain’t No Smoke’, and the dancey R&Ber ‘You Know Our Day Will Come’.

Brigette ‘Starlite Lounge’ (Expansion) Exquisite soul and jazzy music for mature tastes. Brigette has an accessible style, without sacrificing quality in terms of vocals, songs and musicianship. She covers a few music styles, which work well within the context of this album. Like the fine, soul-jazz quiet-stormer title track, the jazzy, soulful lilting bossa nova-ish ‘Aqua De Bebeer’ and ‘Much Too Much’. Ditto: the acoustic-guitar featured ‘Take Me’, which also has a housey remix, which closes the set. Another big quite-stormer is the beguiling, sexy, soulster ‘Is It Love’. An album that one can listen to repeatedly. Lovely.

Bugz In The Attic ‘Life:Styles’ (Harmless) London act/production team have their chance to put together their compilation in this on-going series. On the whole, they elect for some soul and R&B crate-digging. Teena Marie’s opener ‘Square Biz’, and Paris’ closer ‘I Chose You’, are perhaps the most commercial tracks here. Marvin Gaye represents with ‘Heavy Love Affair’, Will Downing with ‘In My Dreams’, Jermaine Jackson with ‘Come To Me’, and Herbie Hancock with ‘Sun Touch’. There’s also Rufus feat. Chaka Khan’s ‘Stop On By’, and Leon Haywood’s disco-ey ‘I Wanna Do Something freaky To You’. Slum Village sneak in with the cool, atmospheric rap cut ‘Get Dis Money’.                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                  

Cam’ron ‘Purple Haze’ (Roc-A-Fella) No sooner had Jay-Z’s label helped him get a hit album, and he’s out of his deal because he apparently can’t take Jay-Z as the Def Jam head honcho. The beats are banging, the rhymes dark, sexist, questionable lyrics about pimping, but then many find cuts like ‘More Gangsta Music’ as purely entertainment. He contrasts those hard tracks with ‘Get Down’ which has a very radio-friendly, crossover riff. But what’s the lyrics saying: get money at any cost, it matters not who has to be blown away to protect one’s lot. It’s ironic - he criticises R&B singers overa backing that uses what sounds like children singing a hook. He uses a sung hook of ‘Girls Just Wanna Have Fun’, whilst R&B singer Jaheim features on ‘More Reasons’. I’m not sure if the drug-themed ‘Welcome To Purple Haze’ skit is ironic or humourous. Ceryainly not keen on his ghetto-centric lyrics.  

Carleen Anderson ‘Up To Now: The Best Of’ (EMI) A fine collection of Carleen’s recorded work, starting with her solo version of her Young Disciples hit ‘Apparently Nothing’ and ending with her wonderful remake of Oasis’ ‘Don’t Look Back In Anger’. A gifted singer and songwriter, includes ‘True Spirit’, Guru featured ‘Mr Businessman’ and Full Flava featured ‘Stories’.  

Carleen Anderson ‘Up To Now: The Best Of’ (EMI) A fine collection of Carleen’s recorded work, starting with her solo version of her Young Disciples hit ‘Apparently Nothing’ and ending with her wonderful remake of Oasis’ ‘Don’t Look Back In Anger’. A gifted singer and songwriter, includes ‘True Spirit’, Guru featured ‘Mr Businessman’ and Full Flava featured ‘Stories’.

Cassidy ‘I’m A Hustla’ (J) Cassidy establishes his thug credentials early on with the title track that chronicles his different hustles – the album closes with a club-banging remix featuring Mary J. Pity such rhyming and lyrical talent is wasted on sorry bragging and thugs and hustlers big-up cuts like the strings-washed ‘On The Grind’, or advocating the ‘Crack’ business. He goes for some old school, b-boy beats, but the lyricism still pimps the thug stance. Some may see ‘AM To PM’ as over the top, cartoonish, but I don’t think singing songs about spraying people with bullets from morning to night, is one worth encouraging. The language on the electro-driven club cut ‘C-Bionic’ warrants the extra sleeve warning: “Strong language: Sexual & Violent Content”. The orchestral strings-backed, reflective ‘Can’t Fade Me’, gives us some glimpse into Cassidy’s life and mentally. Like the lack of hope has him smoking volumes, and selling drugs, etc. Mario collaborates on the funk-based club joint ‘Kick It Wit You’. The positive stuff here is the exhortations spoken by Dr Benjamin Chavis Muhammad which precedes the pointed socio-conscious ‘The Message’. Sadly the artist is in jail awaiting a real-life murder rap.

Cherrelle ‘Fragile’/‘High Priority’ (Tabu)  ‘Fragile’ was an upbeat drums and bass driven affair that mostly appealed to the feet. ‘ I Didn’t Mean To Turn You On’, and the ballads, including the very soulful ‘I Will Wait For You’ and ‘Who’s It Gonna Be’ were the better of the average stuff here. It’s nice for a woman to rate his man a high priority, but the title track, as with many of the cuts from Cherrelle’s sophomore set are perfunctory and formulaic. It takes a cut like ‘Saturday Midnight’, the duet with Alexander O’Neal, and the funkatastic ‘You Look Good To Me’, to rise above the ordinary stuff.  

Chevelle Franklyn ‘His Way’ (NOW) This must certainly be one of the best gospel reggae records to ever come out of Jamaica. The production is phat, the beats bumping. It matches, and indeed surpasses many of the secular stuff meant for the dancehall. However, where Chevelle has the edge, is that whilst her lyrics are unadulterated gospel, her vocals and underlying music touches more bases, than just dancehall. Her soulful vocals show on the DJ Nicholas featured ‘Would You Go’, ‘Love Can’, ‘Come’, ‘Before You’, ‘Jesus I Love You’, and the dramatic ‘What Can I Say’, on which she definitely blow those vocal cords. ‘Kill My Flesh’ is a fine reggae cut. Recommended.

Chingy ‘Powerballin’’ (EMI) The money, girls, sex and flossing lyrics gets a bit boring after a while. So it’s the skits, like the ‘Haters 101’ intro and guest featured cuts such as the R Kelly featured ‘Leave Wit Me’, the Janet Jackson featured ‘Don’t Worry’, the Lil Flip featured ‘Balla Baby Remix’, that stand out. Of course if you just want to dance to bumping beats irrespective of lyrical content, then there’s lots here. Like the closer ‘Don’t Really Care’.  

Circle Research ‘Mulligan Stew’ (Do Right) 16 head-nodding, underground hip-hop head-pleasing cuts from Canada. Love the rap delivery and jazzy hip-hop beats that rock ‘Psy’d’ featuring PSY. Ditto: ‘I’m Not’, which adds some cool whistling and scratching, and which budding rappers better listen to decide what kind of rappers they are. Then listen to ‘Substance’ to see what kind of rapper you could end up in, if you don’t have head screwed on correctly. ‘Bridging The Gap is a cool, jazz backed cut featuring a Bahamadia-sounding Tara Chase and Japanese rapper Yushin.  

Clare Teal ‘Don’t Talk’ (Sony Jazz) The problem I find is that the styles here are too eclectic. There’s no musical focus. She starts off with ‘Messin’ With Fire’, which is an impressive big band jazz. Next minute, it’s loungecore jazz like something from the Rat Pack, the next it’s poppy, MOR-ish, then we’re wafting on samba, or a New Orleans tip. Still, there are quite a few lovely ballads here.  

Cocoa Tea ’20 Tracks Of’ (Virgin) Love ‘Sweet Cocoa Tea’ on which he bigs himself up, singing about how sexy he is, and how great his lyrics are on the dancehall. ‘Wonderful Angel’, like many of the tracks here, is sweet lovers rock over a heavy dancehall-friendly rhythm. Whilst his dulcet tones are suited for singing lovers rock, he is just adept at singing roots and culture songs, like ‘Reggae Music’, the socio-tipped ‘Too Much’, or Rastafarian music, like ‘If Jah Is For Us’.

Conga Doss ‘Just Because’ (Dome)  Dome just keeps those soulful female releases coming! Conga’s another Yankee singer likely to impress the UK soul/R&B scene with this, which is actually her sophomore set. Mature and engaging singing abounds. This is set to blow up on the scene in 2005, for sure. Not much needs to be said, except, soul heads should check it out, because from the title track opener, it rocks, and doesn’t let go. The only downside perhaps is the s-word used in the soul/R&Ber ‘Here we Go Again’!  

Cooly’s Hot Box ‘Don’t Be Afraid, Get On’ (Dome) Another enjoyable album from a band that plies a ‘70s-vibed soul and funk trade. Kicking off with ‘Don’t Be Afraid’, funk and disco heads can vibe off the pumping bassline, whilst soul fans appreciate keyboardist Angela Johnson’s glorious singing. Normally Johnson’s vocal cuts overshadow keyboardist Christian ‘Cooly’ Urich’s vocal cuts. However, his vocals impresses on the funky ‘Get On’ and soulful ballad ‘Maybe’, as does Johnson on ‘Wait 4 U’.  

Craig David ‘The Story Goes…’ (Warner Brothers) No matter what Brits we involved here, it feels like the American bosses of his new label issued an ultimatum: “We need an American R&B style to sell him in America. Whilst you’re at it, why don’t we have more of the sexual thing – see how R Kelly sells.” Smooth, as can be expected. However this could well be some American R&B artist’s record. Lyrically, it’s very much focused on sex and love. Like ‘Don’t Love You No More (I’m Sorry)’, ‘Take ‘Em Off’, and ‘My Love Don’t Stop’. Well set up with ‘All The Way’, there are lots more singles to keep this album on the charts for yonks. Pity, some may regret the way Craig seems to have abandoned the obvious British influences.

Daby Touré ‘Diam’ (Realworld) It takes a few listens for this Senegalese modern roots singer-songwriter and musician’s music to show its full potential. But when it does, it’s a joy. He uses different vocal and musical  styles, including what sounded like throat-singing (on ‘Kelimanta’), acoustic guitars. His focus of his music, which has a lot of contrasting shades in its arrangements, is reflective and folky-bluesy, whilst the female backing vocals on ‘Mansa’ add a touch of soulfulness. Bits of English also make it most accessible. Touré’s vocals are sweetest on the mellow ‘Hammadi’. The addition of a harmonica on the closer, ‘Fabe’ echoes of his compatriot Ismael Lo.

Daryl Hall & John Oates  ‘Our Kind Of Soul’ (U Watch) I loved this acts stuff during their heyday on RCA. Hall went on a solo trip, showing his soul inclinations, particularly on his re-working of Marvin Gaye’s ‘Stop Loving Me’. This album featuring mostly Motown covers is patchy. How can you here ‘I’ll Be There’ and not think of The Spinners, or ‘Love TKO’, and not think of Teddy P. The attempt to modernise ‘She Used To Be My Girl’ with hip beats doesn’t sit comfortably. This works best on their few originals, like ‘Soul Violin’ and ‘Let Love Take Control’. This is a homage that will have you mostly wishing for the originals. However they do a good job of a couple, especially ‘After The Dance’, which is another from Gaye songbook.  

Dawn Baaba Arthur ‘Wani Nda Awurade So’ (Depite Music) Recorded in London by the lady popularly known as Babs, who has a shop in Harlesden, North-West London, this is released in Ghana. Although it does fit into the secular highlife market, its main focus however in the highlife-gospel market. Although it’s mostly sung in the Akan language, there are some English-sung cuts. Like the reggae-vibed ‘Wonderful Jesus’, and ‘Adoration’, which is literary a rap praising the Lord and his blessings. Sincere, and heart-felt, this is nevertheless likely to appeal mostly to a Ghanaian audience.

De La Soul ‘De La Mix Tape’ (Tommy Boy/Rhino) Certainly one for the DLS hardcore fan, it contains remixes, like ‘Stakes Is High (Remix)’ and Badmarsh & Shri’s Indo-drum & bass remix of ‘Me, Myself & I’; rarities, like the jazzy ‘Trouble In The Water’, featuring DJ Honda, and the ‘Piles And Piles Of Demo Tapes Bi-Da Miles’ medley; and classics like ‘The Magic Number’.

Deep ‘Treading Water’ (GDM) UK rapper likely to make some noise. After the foul-mouthed, comic ‘Intro’, it goes into the hard, head-banging club track ‘Down To Business’. Pity he he advocates making money anyway, and doesn’t “even care if it’s bloody”. ‘The UK Needs Me’ is a mellow, but yet another head-banging cut. This UK-enthusing track could easily blow up as a UK hip-hop anthem. That Deep has great flow is not in doubt, though I’m not down with some of the negative, ghetto-centric lyricism. On the Latin-tinged ‘Groupie’, at least he’s honest when he admits he started rapping to get groupies. The R&B-laced ‘Living Life’ has much crossover potential. Stand out tracks include the thought-provoking jazz-funk based ‘Whoa’, the emotive, reminiscising biographical ‘Mamma Don’t Cry’, the roots reggae-backed biographical and socio-tipped ‘Rain On Me’, and the head-nodding title track, which is lyrically strong and heads had better check it out.

Dennis Taylor ‘Smile: The Very Best’ (Jazz FM)  Dome’s artist gets a compo of his best bits. Starts off with the funky soul/R&Ber ‘Smile’. Track present and correct include: ‘Enough Is Enough’, ‘In The Mood’, Full Crew’s remix of ‘Bad As You Wanna Be’, the soulful ‘Don’t Wanna Give Up’ and ‘Feelin’ Good’, plus ‘Could Be You’, his duet with Beverlei Knight.  

Dieneba Seck ‘The Truth’ (Stern’s) Comparisons with Malian star Oumou Sangare are inevitable on account of Seck’s vocals, arrangements and style. The good news is that she’s just as good an artist. With Ibrahim Sylla in the executive producer chair, you can expect the production to be top notch. Greatly musical, and rhythmic, cuts like ‘Oudiobila’, and ‘Niteke Nela’, whose female chorus echoes of the Wassolou sound made famous by the likes of Sangare, should attract Sangare and contemporary Malian music fans. However the ace here is the surprising, mellow, orchestrated ballad ‘Tigné (The Truth)’.

Dinah Washington ‘Jazz`Masters’ (EMI Jazz) Oh dear, after that aural and spiritual assault by Ja rule, I needed something mellow, breezy, and soothing, which I find on this album. The luxuriously orchestrated ballad ‘For All We Know’ just does the trick. It’s enough to get me charged up to enjoy other jazz stands, like ‘You’re Nobody ‘Til Somebody Loves You’. Dinah was one of the great soulful jazz greats, and this twenty track amply provides the evidence. Cool, enjoyable, smooth jazz. Includes the bluesy ‘Nobody Knows The Way I Feel This Morning’.  

Dinuba ‘Que Se Yo’ (Blanco)
What a leap for Robin Taylor-Frith, from being the head honcho behind chart-topping Olive to producing, this multi-genre blending Cuban tinged album. Cuts include the dub and hip-hop propelled ‘Maria’ and ‘’Estoy Loco’; the real trumpets on ‘Eight’ accentuate the Latin feel, whilst the flute-dominated instrumental ‘Fluty Loops’ is a slow grower. ‘Québate Conmigo’ is a funk-based Latin dancer, replete with a huge chorus and brass lines. Definitely for the musically adventurous, and Latin fusion fans.

Diplo ‘Floroda’ (Big Dada) This producer really does have the grooves. Strictly for hip-hop heads who love their beats with left-field soundscapes. It’s mostly instrumentals incorporating a multitude of sounds and styles. Martina Topley-Bird adds haunting vocals to the atmospheric ‘Into The Sun’. Diplo gets very funky on ‘Diplo Rhythm’, featuring singjay Sandra Melody and Vybz Kartel.  

DJ Dolores ‘Aparelhagem’ (Ziriguiboom/Crammed) With Brazil having the highest population of African descendants in the diaspora, it’s not surprising that there’s lots of African influences within Brazilian music. One of the country’s leading DJ/producers brings a selections of some of these style to the attention of a wider audience. Kicks off with ‘De Dar Do’, a style called embolada, a rap style used by the youths to tell stories and jokes on the buses. DJ Dolores underpins it with hip-hoppy beats and jazzy melodies. It’s a very charming and humorous track. ‘Salvo (The Preacher)’ may deal with spiritual matters, however for most, it’s the hip-hop/house/samba rhythm which drives which will get most people going. Whilst DJ Dolores explores different styles, the results are always danceable and musically interesting, as typified by the glorious ‘Sanidade’.

DJ Format ‘If You Can’t Beat Them… Join ‘Em’ (Genuine/PIAS) For lovers of turntablism and old school hip-hop lovers, there’s much here to be admired. DJ Format cooks some real funky and jazzy cuts, like ‘The Turning Point’, and the atmospheric ‘Black Gold’. However the likes of Abdominal, D-Sisve, Charli 2na & Akil add rhymes on most of the tracks. The Abdominal featured ‘Rap Machine’ is an irresistible head-nodder!

DJ Krush ‘Jaku’ (Sony) The Japanese producer/turntablist offers a sumptuous offering of atmospheric soundscapes and rocking beats. Like the ‘Still Island’, which has lilting drum & bass rhythms underneath huge strings. There are a couple of rapped tracks, although the instrumental mostly hold sway. Like the big beats ‘The Beginning’, and moody, ambient and jazzy piano featured ‘Stormy Clouds’.  

DJ Spooky ‘That Subliminal Kid’ (Thirsty Ear) A double CD, which gives you a choice of his remixes on one, and a continuous mix on the other, it’s best to let both play uninterrupted in order to best appreciate DJ Spooky’s sonic magic. Weird mellow sounds mix with various kinds of hip-hop and turntablist noises. And if you want some rap, look out for the jazz-backed ‘Lingua Ex Machina’, although the language can be fruity. Or Saul Williams’ haunting and powerful, politico-tipped anti-(Iraq) war song ‘Not In Our Name’!  

DJ Zeph ‘Sunset Scavenger’ (Wide Hive) DJ Zeph drops a very enjoyable producer/turntablist album, full of excitement as he weaves atmospheric soundscapes, break breaks, jazz vibes, funk, scratching, plus rap by the likes of Lyrics Born. From the opener, ‘Unsubtractable’, which features scratching by DJ Quest, it doesn’t let up. Top class head-nodding offering.

Doc Brown ‘The Document’ (Janomi) This is a record primed to rock the dancefloor, but also has a good story which one hopes young heads will pay heed to. This doc has the potential through his accomplished music to put his North-west manor on the map, just like sister Zadie Smith has with her literary exploits. The British rapper has some key producers in his courner, like C swing, and Nutty P. Has a cool, party vibe. ‘Survival (The Music Game)’ has a tight, funky groove with some nice scratching. ‘Family Time’ has some accessible R&B vibes provided by Antoine Stone’s vocals. ‘Stomp (Oh My Days)’ is a head-nodder, whilst the dancehall/hip-hopper ‘Feel Me’ an unadulterated dance-floor-jammer! The C Swing-produced ‘Do It’, with its London hustling storyline and the optimistic ‘Never Coming Down’, should get hip-hop heads bopping. ‘Alone’, ‘Came This Far’, and ‘Love Me The Right Way’, with its lilting socio-tip lyricism, plus gentle, mellow rhythms, not to mention the charming female backing vocals, offer the most feel-good and stand out tracks here.  This doc is set to put Willesden, north-west London on the map on account of dropping a really cool British rap album. He’s got eight million stories to say, of which he reminisces about quite a few on the pumping, funky, uplifting ‘Do It’. This is a record primed to rock the dancefloor, but also has a good story which one hopes young heads will pay heed to. This doc has the potential through his accomplished music to put his manor on the map, just like sister Zadie Smith has with her literary exploits. Go discover this rocking and accessible offering!  

Don Ricardo ‘Introducing…’ (Charm/Jetstar) I first came across Don when I saw him perform at last year’s Black Music History Award. He mightily impressed me with his upbeat, conscious blend of reggae. This album shows a versatile, conscious and charming singer. Whether it’s lovers like opener ‘So In Love With You’, a dancehall combination like ‘Used To Be My Girl’ featuring Jucxi D, admonishing the badman crew on ‘Bet You Don’t Know’, or popular soulful tracks like ‘Love Is The Staff Of Life’ or ‘She’s Having Your Baby’, the vocals are always impressive, the lyrics intelligent.  Surely, Don Ricardo must be one of Britain’s brightest hopes in a long time!

Don-E ‘Back Again’ EP (Atomic Dred)  Twice before, the title track’s been promo-ed, and I’ve raved about it. Simply because it’s one of the funkiest and engaging R&B cuts ever! This new version has a rap by Blak Twang. Don-e cruises on ‘My One’, whilst he shows his vocal chops as a jazz-tinged R&B/soulster with ‘Lonely’, ‘Bus Stop’ and ‘Unbreakable 2’. Those who accused Don-e of being a pop act during his Island tenure, better check out his enjoyable re-working of the latter old fave. It’s simply a gorgeous mid-tempo soul gem. If you've got this, then hold on to it. Because 'Back Again' is not on Don-e's new album 'Try This'.  

Donny Hathaway ‘These Songs For You, Live’ (Atlantic) What a joy to hear this long departed singer-songwriter perform his songs, and re-interpret other’s. He funks on his previously unreleased track ‘Valdez In The Country’, and mellows on the idealistic ‘Someday We’ll All Be Free’. He also rinses standards, such as ‘You’ve Got A Friend’, ‘What’s Goin’ On’,  ‘Yesterday’, and particularly Stevie Wonder’s ‘Superwoman’. Ends with a wonderful version of his classic ‘The Ghetto’!  

Dr Alimantado ‘Born For A Purpose’ (Greensleeves) Kicks off in splendid form with the uplifting ‘Born For A Purpose/Reason For Living’- a rockers song that ought to be play for those that don’t value their lives and seek to interfere with others living their lives. He touches on a myriad of subjects, From ‘Chant To Jah’ to the ode ‘Return Of Muhammad Ali’, to the lamenting of the ‘Oil Crisis’. The toasting ‘Dreadlocks Dread’ is driven by flying cymbals rockers rhythms of the period.  

Dynamite MC ‘World Of Dynamite’ (Strong) I have to admit it was listening to this MC’s collabo with Beverley Knight on Roni Size's 'No More'  which pricked my ears for this. Dynamite is a good rhymer who competently rides different rhythms and delivery styles. Language notwithstanding, he flows in three different styles on ‘Mar-Val-Luss’ - from hardcore hip-hopper to dancehall DJ. He rides hip-hop beats, uses some fine samples, like the haunting ‘Visions’, and naturally Size weaves some rocking drum & bass over which Dynamite delivers some fast-rapping such as the d&s underground story ‘The Scene’. Go discover.  

Earth Wind & Fire ‘Illumination’ (Sanctuary) Yes, they are back, but not as the all-conquering band they once were. Like the recent album by fellow veteran group Kool & Gang, EWF are made to have relevance to the modern market place through collaborations. Like the Raphael Saadiq’s featured Grammy-nominated mid-tempo soulster ‘Show Me The Way’ and the punchy, brass club-banger ‘Love Together’, the firing funkster ‘This Is How I Feel’, featuring Kelly Rowland, the Floetry rap-laced hip-hop head-nodding, uplifting joint ‘Elevated’, and the mellow, soulful ‘Autumn’, featuring the charming vocalist Musiq Soulchild. Certainly a welcome return.

Ecstacy, Passion And Pain ‘Ecstacy, Passion And Pain’ (Stateside) From the first track, ’Ask Me’, which finds lead singer Barbara Roy in her element, the disco groove echoes very much of Philadelphia International MFSB sound. But then it’s not surprising as Philly arranger was part of the EP&P’s sound. It’s not all disco and funky, they can turn their hand and voices at many sweet, luxurious soul music too, like ‘Let’s Move’ and ‘I’ll Take The Blame’. Includes bonus tracks, like the Philly soulster ‘Dance the Night away’, and the 12-inch of the Salsoul-sounding disco shouter ‘Touch And Go’.

Eek-A-Mouse ‘Mouseketeer’ (Greensleeves) One of Greensleeves’ special priced classic reggae releases, this album comes with two bonus tracks featuring 12-inch mixes of ‘Teacher’ and ‘Anarexol’. When you want some fun, easy reggae music, Eek is one to check. He seems to have a variety of voices to push along a song, as typified on tracks like ‘Star, Daily News Or Gleaner’ or ‘Anarexol’! The more serious tracks include uplifting ‘Palaving’, which rides a heavy Junjo Lawes-produced rhythm.

Elmore James ‘Dust My Broom’ (Gold Box) A value for money budget priced double CD, which kicks off with the legendary slide guitar playing bluesman’s classic title track. Includes that song’s progenitor ‘I Believe’. His vocals on ‘The Sky Is Crying’ reminds me of James Brown in his mellow, soulful singing mood, whilst ‘Sunnyland Train’ and ‘Baby Please Set A Date’, echoes of Brown in shouting, giving-it-some singing mood. ‘It Hurts Me Too’ and ‘Something Inside Of Me’ epitomise the typical ‘my baby gone left me’ kind of blues. ‘Everyday I Have The Blues’ just about sums up blues music. James finds time to turn his hand at writing a jump jazzy rock n roller ‘Take Me Where Yiu Go’. The rock n roller ‘Shake Your Money Maker’ inspired Black Crowes’ debut album title. Worth getting, if interested in blues and the genesis of rock n roll and R&B. 

El-p ‘High Water’ (Thirsty Ear) Opens with the mellow, soprano sax and piano featured instrumental ‘Please Stay’, which under three minutes, ends to quickly! Thankfully saxes and piano delight of the ten minute plus jazz workout ‘Sunrise Over Bklyn’. Fans of 4-Hero’s jazz-fused drum & bass may want to check out the furious ‘Get Modal’! Left-field yet accessible nu-jazz worth discovering.  

Eric Benet ‘Hurricane’ (Reprise) You can not listen to this album without thinking about the private life of the singer. The singer is the estranged husband of Hollywood actress and star Halle Berry. His alleged addiction to sex has been played out in the press. However, as much as one can use such background knowledge to read into the songs, after a few repeated plays, there’s no doubt this is a fine soul album that deserves to stand by its impressive musical merits. Eric weaves delicious soulful cuts like ‘My Prayer’. However, he touches on a folky, country-ish tip with opener ‘Be Myself Again’, and a sumptuous orchestrated jazz standard-sounding ‘The Last Time’. The title track’s a pop radio-friendly David Foster-produced cut. You can read into the other songs, like the questioning ‘Where Does Love Go’, to the confidence to commit to faithful life-time vows on ‘I Wanna Be Love’. An offering of introspective, painful, and reflective biographical songs by an artist, whose vocals occasionally hints of Stevie Wonder.

Ernest Ranglin & The African Jazz Pioneers ‘Alextown’ (Palm Pictures) From the moment the first track, ‘Trenchtown music’, kicks in, you know you’re in for a very interesting listening journey. This track seamlessly fuses dancehall, hip-hop, and African music sensibilities with Ranglin’s guitar giving an occasional jazzy lick. Recorded mainly in South Africa, Ranglin is joined by South African musicians for this mixture of straight up jazz like ‘Pictures Of Jozy’, township jive ‘Ezi Myama’, and the hip-hop, dubby jazz instrumental title track. South African collaborators include the Mahotella Queens. ‘Just Guitar Magic’ is one of the coolest Afro-jazz collaborations on her

Estelle ‘The 18^th Day…’ (V2) It’s been long-coming, but finally one of Britain’s much love rapper-singers drops a debut albums. She establishes herself firmly with her reminiscing single ‘1980’ and holds it down across the album. She keeps rap heads happy with cuts like ‘Change Is Coming’. Her singing fans will love the jazzy ‘I Wanna Love You’. And she parties on the funky ‘Dance Bitch’ and the Motown-imbued ‘Go Gone’.  

Ethix ‘Freedom Of Speech’ (Undersound) With the likes of Fusion, Alon Adiri and Harry Love in the production chair, the production’s banging on this Brit rapper’s debut. Like Alon’s head-banging rhythm behind ‘Explicit’, on which Ethix admits he’s explicit and if it offends then it’s intended! Alon also weaves another irresistible club-friendly groove under the city-big up ‘London’. So that’s why despite the language and theme here, there’s no Parental Advisory warning sticker on the cover. Over mellow melodies Ethnix delivers an unfolding tale of the dark sides of UK with ‘My Rhymes’, which features MC D. The slow-mo socio-commentary ‘Insomnia’ is great on the beats, vocals, and lyrical tip. Stephanie Marianne adds sweet tones to the relational abuse song with a twist ‘Leave Him’, and ‘Only U’. The socio-tipped ‘Road Life’ and ‘Conspiracy Theory’ are worth checking out.

Faithless ‘Forever: The Greatest Hits’ (Sony BMG) We haven’t been great fans of this band, which we thought were rather ravey.  However, ‘Muhammad Ali’ was one of the funkiest socio-tipped reminisces ever, whilst ‘Miss U Less, See You More’ was a rather clever lyrical spin on romantic songs. It’s taken this compilation, and closer listening via headphones to get into the punchy ravey tunes, like ‘Salva Mea’, and new tune ‘I Want More’, which features a Nina Simone sample, and to discover what a brilliant lyricist rapper Maxi Jazz is. It seems the music on cuts like ‘Insomnia’ and ‘God Is A DJ’ overshadow his clever lyricism. Estelle features in singing mood on the dancer ‘Why Go?’. Maxi drops some JA dialect over the heavy reggae tune ‘Fatty Boo’. We’re a bit more of a fan after listening to this compo!

Femi Kuti ‘Africa Shrine’ (UWE/MK2} Whilst he’s a voice of his own, there is no denying the influence of Fela Kuti can be heard in his son’s music. Recorded live, it shows the power of Femi and his band. Whilst Femi’s socio- and political stance may not be as abrasive as his father’s, his Afro-beat musical style does have punch, particularly the opener ‘Dem Bobo’. A couple of the stand out Afro-beat tracks is the seven minute-plus rocking and telling, politico ‘If Them Want To Hear’, and the bass-driven ‘Can’t Buy Me’. Ends with his cover of Fela’s ‘Water Get No Enemy’. Quality Afro-beat offering.

Foxy ‘Let’s Be Bad Tonight: The Best Of Foxy’ (TK/Stateside) I don’t seem to remember much of this ‘70s disco band except for their hit ‘Get Off’. However, this compo shows they had more material. Whilst ‘Hot Number’ may be derivative of ‘Get Off’, and it seems their lyrical bent was just getting into bed – which is underscored by the album title – cuts like the jazzy, funky ‘Let’s Love’ shows they rich musicality. That’s a marked contrast to many of today’s musicians who seem loop-driven. ‘People Fall In Love (While Dancing)’ shows disco wasn’t just about the dancefloor, there was much musicianship imbedded within the grooves. They even try their hand at reggae with ‘Lady Of The Streets’!  

Frankie Paul ’20 Massive Hits’ (Virgin) Choc-a-bloc with some of Frankie’s reggae hits. Like ‘Curfew In The Dance’, ‘Thu Shun Peng’, ‘Don’t Sniff Cocaine’, ‘Hooligan’, ‘Alesha’, ‘Kick Up rumpus’, etc.

Fred Wilson ‘Words Of Wisdom’ (BlackGuyMusic) Rocking, yet cool, and accessible may be the best way to describe this little-known, dreadlocked Brit jazz artist. The musicianship is excellent, and Wisdom adds his flavour to the jazz vocal canon sings. The samba ‘You’ picks up the tempo, whilst the socio-tipped ‘Black Guy’ is underpinned by a lilting reggae groove. The bluesy, jazzy ‘Copyright On Pain’ is delightful, but I’m not down with ‘Voodoo Powers’! Check this link for more and feedback: www.bbc.co.uk/music/jazz/reviews/wisdom_words.shtml.  

Freetown ‘Easy Street’ (Freetown) Nevermind reggaetron, the sound to be checking is ska. Perhaps we could be due another 2-Tone/ska revival? This London band really has got it going. Whether it’s the surprising cover of T Rex’s ‘Hot Love’, or their own irresistible dancing gems like ‘Ziggy Shuffle’ or ska covers like ‘Confucius’. Includes some live recordings, which amply demonstrate the power and humour as a live act, such as their cover ‘Dancing Mood’.

Fried ‘Fried’ (London) Fried. What a nondescript name. However, the chances are you’re going to remember this act, made up of former Fine Young Cannibals/Beats muso David Steele and a very impressive New Orleans singer called Jonte Short. Fusing old school sounds with modern, blues with hip-hop and R&B, Jonte is given full reign to show off her vocals. Beautiful. Expect this to end up on many a pundit’s top 10 list.

Fros-T. ‘Fros-T Me vs. Myself’ (4^th Man) Sampler shows a talented, hard rapper with strong street-friendly rhymes and beats, except he’s doing his thing for God with unadulterated gospel lyricism such as ‘Being Me’, ‘Left Behind’ and ‘How We Do’. But he also has time to get romantic with the soulful ‘Coming Home’. Just imagine if Eminem was a gospel rapper – he would most likely sound like Fros-T!

FYA ‘For Your Attention’ (Def Jam UK) I  had this threesome from High Wycombe are a dancehall-hip-hop act, based on their earlier tracks like ‘Boops’. However on the evidence here, they more into dancehall. Their bumping recent hit, ‘Must Be Love’, just jumps. It’s just beckons one to move! ’10 Out Of 10’, is a girl-tipped song which also craves for attention. ‘Shack it Out’ adds a bit of singing before the girls getting into their MCing.  The girls can really sing, as they ably demonstrate on the R&B-dancehall combination.

Gaby Lita Bembo & Stukas D Zaire ‘Kita Mata ABC’ (RetroAfric) At a time when almost all new music from Zaire seems to be dominated by monotonous programmed rhythms, it’s refreshing to rewind to the sound of a ‘70s act. What you get here is great ‘70s and ‘80s soukous, riffing guitars, exciting singing, and a sense of exciting, live musicianship. ‘Idee Kano’ has some great guitars, and ‘Toto Seya’, some joyful group voca

Gary Bartz ‘Anthology’ (Soul Brother) I must admit the only track I remember is the opener – the jazz-funker ‘Celestial Blues’. Saxophonist Bartz has a very accessible jazz fusion style that jazz and nonjazz heads can easily appreciate. He shows his Africanistleanings with titles like ‘Uhuru Sasa’ and ‘Juju Man’, and for those that have heard covers by the likes of Courtney Pine, you can hear the real smokey jazz original of ‘I’ve Known River’. Syreeta adds her soulful tones to ‘Music Is My Sanctuary’ and the awesome vocal and sax cover of ‘My Funny Valentine’. Recommended.  

Gary G Jenkins ‘The Other Side’ (Expansion) Definitely a ‘new name’ to look out for. Jenkins’ style often echoes of classic-soul dons like D’Angelo and Maxwell. Be prepared to be seduced by his vocals and music. His luxurious cover of ‘A Change’s Gonna Come’ certainly does it, as does the funky ‘Goes & Comes’, and the downtempo ‘Make The Sound’. Incidentally, this multi-instrumentalist happens to be the former lead singer of Silk. Enough said.

Genesis Elijah ‘Deh Pon Road’ (Broken Soul) I’m not down with the foul language, or “colourful language”, as he refers to it, though I can stand the aggression coming from this angry UK rapper, who lets rip on the title track. The beats are quite strong, like the Ahmos-featured, piano melody underpinned inner-city underground story. Ditto: the Klashnekoff featured lilting reggae- interspersed  ‘Jah Bless’. He questions the credibility of some of the American rappers on ‘So Hip-Hop’. He turns his venom on record company bods that now wanna be familiar. Klash, Kyza, Skriblah and Wordsmith join Genesis to give their take issues behind gun culture on the anti-gun ‘Gun Talk’. ‘Stay Strong’ offers a hopeful nod to heads, as with the accessible, Sabrina Roberts R&B-laced ‘More To Life’, which is tacked almost at the end. 

George Benson ‘Irreplaceable’ (GRP) I feel this album would well place George at the same place when hits like ‘Give Me The Night’ had him appealing to the jazz, soul and disco market. George equally appeals to all those demographics with the material here. From the kicker. ‘Six Play’,George’s sings as well as makes this guitar sing too. The grooves of ‘Whole Man’, for example, should appeal to a younger R&B audience. Ditto ‘Cell Phone’. ‘Reason For Breathing’ is one of the stand outs here.

George Nook ‘Reggae Max’ (Jet Star) Veteran reggae singer kicks off his ‘Reggae Max’ compo with his most recent reggae hit record, his sweet cover of Simon & Garfunkel’s ‘Bridge Over Troubled Waters’. It’s immediately followed by the bumping, uplifting ‘God Is Standing By’. Other religious tracks include ‘No Power On Earth’, ‘God Is Always There For Me’, ‘Guide Me’, and ‘How Great Thou Art’. However, all these songs, including the last, which is actually a Christian hymn, are sung in a way that sits well within the secular environment. There’s the idealist ode ‘Perfect World’, plus lovers like ‘Flowers’, ‘Come On Over’, ‘Crying At Night’, and ‘I Don’t Wanna Lose You’. Nooks is a fine but under-recognised singer worth discovering. Hopefully this mid-priced compo will make an accessible introduction.  

Gerald Levert ‘Do I Speak For The World’ (Atlantic) Sometimes veteran  artist seem out of place employing modern sounds and styles. But not Levert. The breakbeats which drive the Intro work well, as does the thick slab of funk, which drives ‘Speak For The World’. Levert’s vocals are solid. Secondly, although Levert reverts to his usual romance and things of the flesh, it’s still refreshing to see that he’s willing to try a bit of socio-commentary here and there. A strong soul/R&B effort from a veteran. The soul just oozes out of his voice, as on ‘Crucify Me’. Romantics can get their dose with mid-tempos soulsters like ‘Lay U Down’. Competent, as expected. 

Gil Scott-Heron And Brian Jackson ‘Anthology: Messages’ (Soul Brother) He may be regarded as one of the founding fathers of rap, but it’s more singing than rap here. Also, there’s much musicality on here, which can be over-shadowed because people tend to look at Gil as a wordsmith and rhymer. Indeed, on this compo, which culls most of his key ‘70s material, Gil joins partner Brian on the musical front, by providing rhythm piano. Opener ‘The Bottle’ is not only one of his best crossover cuts, the theme of issues with drugs runs through other cuts, particularly the impressive 12 minute-plus live version of ‘Home Is where The Hatred Is’. Enjoy the fine jazzy musicality which underpins that social commentary. It’s a shame that the demons exposed have haunted Gil into jail. Whilst this may not have his seminal  ‘The Television Will Not Be Televised’, there are lots to compensate. Like the pointed socio-political ‘Johannesburg’, and we ‘Almost Lost Detroit’. Recommended primer.

Goapele ‘Even Closer’ (Skyblaze) Another female soul/R&B artist worth discovering. The album’s so strong, it’s not surprising Sony picked it up after the artist self-released it Stateside. Goapele has a charming voice, which rides mostly heavy, beats-driven cuts. Her voice dominates, no matter how heavy the rhythm beneath. Like the cool ‘Romantic’, which starts off with a Wailers-echoing sound, or the marvellous ‘Catch 22’. Hip-hoppers and head-nodders will love the funky, rap-laced ‘The Daze’.  

Gregory Isaacs ‘Masterclass’ (Greensleeves) Greogory may not ever revisit his ‘Night Nurse’ glory days. But hearing him live a while back on what must have been an off-day, I’m glad to see his voice is back to form. Pensive as ever, it sits comfortably on cuts like ‘Lonely Street’. He pays respect to lovers rock, by covering one of the genre’s earliest classic, ‘Caught You In A lie’, and does a great job with his version. If you’re into lovers or Gregory, this will certainly be up your street. Includes the dubby ‘False Evidence’.  

Guerilla Black ‘Geurilla City’ (Virgin) A very Biggie sounding rapper, he starts off well with ‘Hearts Of Fire’, which uses Wailers’ ‘No More Trouble’. The title track of ghetto rhymes rides a very funky, head-nodding beat. This time the rhyming styles echoes slightly of Ice Cube. The Biggie connection comes back on the Mario Winans featured  ‘Compton’. Featured artists, such as Beenie Man and Nate Dogg, should help extend interest

Gwen McCrae ‘I’m Not Worried’ (Lewmar) Gwen drops her first gospel album since leaving the secular world to become an evangelist. The voice is still recognisable and powerful. The only difference now is that she doing it for Jesus. ‘Back To Church’ says it all. Producer Haran Griffin, who wrote the bulk of the songs here, has provided Gwen  with some strong songs to rock or mellow over. Whether it’s ‘Waiting On You Lord’ or ‘I’m Not Worried’, it’s not only uplifting, it’s contemporary and should find some space among many of her secular fans.

Gwen McCrae ‘Let’s Straighten It Out’/‘Melody Of Life’/’Rockin Chair’/’Something So Right’ (Stateside) Gwen’s four 70s TK albums have been simultaneously released on as two double albums. What can we say, except that Gwen was a working singer, who had a mature soulful voice to cut records in what style was necessary. ‘Let’s…’ has he declaring she loves ‘Early Morning Love’, and covers ‘Starting All Over Again’ and ‘Signed Sealed Delivered’. ‘Melody…’ include clubland favourite ‘All This Love That I’m Giving’, the mellow, soul cut ‘Ease The Pain’ and the disco ‘Melody Of Life’. The rocking title track of ‘Rockin Chair’ gave Gwen an R&B chart-topper. It includes the funky ‘Move Me Baby’, and another dancefloor favourite: ‘90% Of Me Is You’, plus the bluesy, soulful ‘It Keeps On Raining’. The ‘Something…’ title track is a fine, soulful ballad. She stays in the mellow mood for more ballads, like ‘Tears on My Pillow’ and ‘Love Without Sex’. She gets the dancefloor moving with the funky ‘Damn Right It’s Good’!

Gwen McCrae ‘The Best Of’ (EMI) If Gwen had not been ill on that fateful day, instead of hubby George, she would have recorded ‘Rock Your Baby’, which probably would have opened this compo instead of ‘Rockin’ Chair’. Still, she’s left some R&B from her TK days. Like ‘90% Of Me Is You’, ‘All This Loving I’m Giving’, etc. uts like ‘For You Love’ show off an impassioned soul, not disco, singer.  

Gwendolyn Joy ‘Love Is…’ (Expansion) This is a new name that Expansion has picked up from the American independent soul scene. She has a beautiful soul-jazz feel underpinned by contemporary beats. She just occasionally echoes of Rachelle Ferrelle and Nina Simone. It shouldn’t be long before several soul heads declare to themselves ‘I Surrender’ to Gwendolyn’s charms.

Hampton Hawkes ‘Northern Windows Plus’ (ZYX) Dubbed ‘the funkiest jazz pianist based on the West Coast’, his electric piano led jazz-funk music, culled from his ‘70s live and studio albums, are certainly a worthwhile exercise as it allows new heads like moi to discover quite an accessible jazz muso. If you love soloing pianists, then should be a treat. Whilst the funky instrumentals somehow have a soothing vibe, this is accentuated on the downtempo cuts, such as ‘Stella By Night’ and ‘De De’. Carol Kaye’s bassline holds down the very funky and bass augmented ‘Go Down Moses’ and ‘Web’. Go discover!  

HKB Finn ‘Acoustic Afro Hip-Hop’ (Savage Music) A veteran of the UK hip-hop scene – remember Katch-22? -  Finn presents a very British offering, which extends the hip-hop envelope musically, and lyrically covers more the narrow and stereotypical themes favoured by American rappers and the British copyists.  Actually, Finn’s delivery is more a sing-rap style. With kora player and multi-instrumentalist Tunde Jegede taking care of production, it’s not surprising that live instrumentation has pride of place. The kora features prominently on ‘Rhythm Is Our Methods’, underpinning Finn’s mellow delivery. ‘Confessions (I Am)’ has a cool, jazz-vibed backing. ‘Finnterlude Mode One’, which is driven by a sort of reggae-vibed rhythm, is one of the immediate songs. On account of Finn being in lyrical rapping mode, contrasted by a funny chorus line. ‘Miss A Rebel’ has a strong dancehall rhythm and a delivery reminiscent of vintage London Posse. The pop tune here, is ‘Lifesaver’, with Finn almost in conversation with listener about the desire to be saved. Acoustic guitar lines and gorgeous female vocals of Maya Jobarteh add an irresistible touch. Finn asks a lot of mind-provoking questions on ‘What If?’, which thankfully is driven by a funky, R&B groove. 

Homer Banks ‘Hooked By Love: The Best Of’ (Minit/Stateside) Homer is better known as a songwriter – his catalogue includes hits for the likes of Shirley Brown, and other Stax artists such as Staple Singers and Sam & Dave. However, on here, it’s his talent as a singer, and occasionally a writer, that’s on show. Some of the key tracks were written by the Stax writer-producer Hayes-Porter team. Such as the ballad ‘Lady Of Stone’, Homer’s first solo single, the funk/R&Ber ’60 Minutes Of Your Love’, and the ‘Let’s Spend The Night Together’-echoing ‘Hooked On Love’. Homer’s own original ‘A Lot Of Love’ seems to have been bitten by Spencer Davis Group’s ‘Gimme Some Loving’! That’s one track on which Homer gives it some, vocally speaking. For southern soul and ‘60s Stax fans. Includes useful liner notes.  

Hot Chocolate ‘The Essential Collection’ (EMI Gold) OK, there’s nothing new here. You already know the hits, but if you want a handy package, then this double-CD should suffice. It’s all here, like ‘You Sexy Thing’, ‘Brother Louie’, ‘It started With A Kiss’, ‘You Could Have Been A Lady’, ‘Disco Queen’, etc, etc.

Houston ‘It’s Already Written’ (Capitol) He’s already established himself with the big, rocking R&B hit ‘I Like That’. So there’s more of that on here. He is a good singer, who stamps his vocal authority on cuts like ‘Twista’, and the R Kelly echoing bedroom-tipped mid-tempo ‘Ain’t Nothing Wrong’ and the ballads ‘What You Say’ and ‘Love You Down’. Don Yute adds some dancehall MCing flavour.  

Hue & Cry ‘The River Sessions Vol. 1’ (River) I came by this recording because there was a mis-manufacture, which meant this was on the CD, although the sleeve and label pointed to another act. So it’s a bit of a collector’s item and a pleasant revelation, as it turns out to be a live set recorded in Glasgow. I’ve decided to review it nevertheless because surprisingly for this ‘80s pop group, this live set has a blue-eye soul quality. Such as opener ‘Love Is Master’. Whilst cuts like ‘History City’, ‘Just One Word’, ‘Mad To Nuts’ has a funk groove. Ditto the brass-punctuated version of their hit song ‘Labour Of Love’ and their cover of Prince’s ‘Kiss’, which is worth discovering. It’s interspersed with some poppy ballads. Worth investigating.

Hugh Mundell ‘Mundell’ (Greensleeves) A life cut so short, the consolation is that the young singer and producer left us with a good body of work. Just relax and enjoy this album of Rasta-tipped and uplifting tunes like ‘Jah Music’, ‘Tell I A Lie’ and rockers like  ‘Your Face Is Familiar’ and ‘24 Hours A Day’. If you love singers like, curiously, the also deceased Jacob Miller, you’re bound to love this. Particularly tracks like ’24 Hours A Day’. Hugh gives serious issues a break to charm the a-foreign girl ‘Jacqueline’.  

IDMC. Live And Phaat (IDMC) This British gospel act, whose name stand for Individuals Dedicated to the Ministry of Christ, recorded this CD/DVD package in my church – Ealing Christian Centre. Seeing that I missed the concert to mark their tenth year, I can now catch up. If it’s praise songs you want, they’ve got it covered with songs like ‘Sacrifice Of Praise’ and ‘Victorius’, on which the voices of the choir are allowed to shine. ‘It Will Be Alright’ is a bumping mid-tempo R&B-flavoured tune, which exhorts upliftment, no matter how bad the situations we find ourselves in. Watchman joins on the reggae tune ‘Trust The Love’, which is blessed with some delicious brass and choir.

Infinite Livez ‘Bush Meat’ (Big Dada) British rap has so much stacked against it. Infinite Livez seems to have resolved to overcome the problems by highlighting, if not exaggerate, his English accent. He also offers a big dose of humour to disengage possible detractors. Think of the Streets, but only somewhat harder and more black. So if you’ve got a sense of humour, this could very well be up your street. What ‘UK Krap’ lacks in words is more than made up for with the silly, but catchy, noises. They get serious with their socio-tipped rhymes on ‘Tek Fi Jake’.

Intuit ‘Intuit’ (Compost) Intuit is a European act that ropes in those they need to provide the right vibe. Hence, on the opener ‘Criaca Das Ondas’, which is a modern samba/jazz fusion, it features vocalist Flora Purim and percussionist Airto, who give it that Brazilian authenticity. ‘Western Sunrise’ is a bumping soul jazz featuring American vocalist Andy Bey and cellist Muneer B Fennell. ‘A Hard Night’s Day’ is another nice soul jazz cut. ‘Fenytola’ is a rocking jazz-funk instrumental featuring organist Doug Carn, plus delicious brass blasts. We re-visit Brazil on the Latin jazz/soulster ‘O Preguicoso’. Whilst garage fans of skippy beats should appreciate ‘Wewa’, and Afro-beats fans, ‘Peace Of Mind’. Got the picture?  

Israel And New Breed ‘Live From Another Level’ (Integrity) Israel and his group really rock. They could well be the new Kirk Franklin & Nu Nation. Their potency’s probably best captured with their live performance, which although is spread across two CDs doesn’t let up. Whilst this is upfront gospel, with the Lord’s name unashameably praised, non-Christians can easily get into it simply because the music is irresistibly catchy. Many of the cuts, like ‘I Hear The Sound’, can hold down a secular dancefloor. Musical styles vary from funk, through to dancehall and African jive. And if you want the Word to minister, there are songs like ‘So Easy To You’, or  ‘Spoken Word’.

Issa Bagayogo ‘Tassoumakan: Voice Of Fire’ (Mali Music) The Malian musician, who plays the traditional stringed instrument called an ngoni, continues his traditional and modern fusion. Here, Malian singing, ngoni melody lines sit above Western programme rhythms and beats. The female singers on ‘Koroto’ and a soulful human touch to such fusions. Cuts like ‘Numu’ has Bagayogo left to do a mostly acoustic thing, whereas the bluesy electric guitar and electric piano underpinned ‘Kanou’ is definitely the standout here.  

Ja Rule ‘R.U.L.E. (The Inc) He may make pop hits, like ‘Wonderful’, but he’s rooted in ghetto-centricism. From the opener, ‘The Intro’ and the ‘New York’ song proper, Ja lays his position, talking about semi-automatic that spits if you talk, female genitalia, etc, etc. I guess that the ghetto gospel, and some might say the semi is a metaphor for his mouth. Well, even so, it’s confusing when his cohorts are up gun-related charges, etc. Is ‘Gun Talk’ metaphorical or ironical? I doubt it. I find the lyrics, which glorify guns, violence and humiliation, vile. The R&B-laced ‘Never Thought’, may well be a hit after bleeping out the expletives, but it shouldn’t validate what is a sad, misogynistic clap trap peddled as some high ‘real’ or ‘ghetto’ lyricism. I now find Ja Rule sad, and those that appreciate this, even sadder.  

Jaguar Wright ‘Divorcing Neo 2 Marry Soul’ (Artemis/Ryko) Whilst she can sing the ballads, like ‘My Place’, ‘Woman 2 Woman’, and ‘Flowers’, Wright sounds best fronting the tough rhythmed R&Bers and soulsters that abound, like ‘Told Ya’, ‘So High’, and ‘Free’. Quite a powerful contemporary R&B/soul offering.

James Brown ‘Greatest Breakbeats’ (Polydor) A useful attraction of this double-CD is the details about who’s sampled each of the two dozen tracks here. Of course there’s ‘Funky Drummer’, which has the biggest list of samplers, followed by ‘Funky President’, ‘The Payback’, and ‘Get Up, Get Into It, Get Involved’. Includes funk gems like ‘Cold Sweat’, ‘Sex Machine’, ‘Papa Don’t Take No Mess’, ‘Hot Pants’, etc.

Jamiroquai ‘Dynamite’ (Sony) It’s mainly a feel-good, disco-centred album with some hip-hoppy and electronic noises to boot. The title track could well be a Crown Heights affair disco affair. JK gets to seriously use his singing voice on the funky ‘Seven Days In Sunny June’ Ditto: ‘Give Hate A Chance’, another retro disco-er, complete with a galloping b-line. It’s very much a grower.

Jay Sean ‘Me Against Myself’ (Relentless) I’m sure Jay would rather people look beyond the fact that he’s an Asian doing R&B, a topic he handles on the one of the skits, the title track, and the Stevie Wonder-sampled declaration ‘You Don’t Know Me’, which sadly is not included on the commercial release possibly because they couldn’t clear it. He fuses his Asian roots on cuts like ‘Meri Jaan’ and ‘’Man’s World (Ramta Jogi)’. His hip-hop flavoured new single ‘Stolen’ is an impressive soulful, mid-tempo destined to better than his first ‘Eyes On You’. Expect this to make noise in 2004.  

JD AKA Dready ‘Da: Aaarrgghhh’ (Indepediente) Whilst fellow So Solider Asher D has shown hip-hop is his focus, producer/artist JD shows that reggae dancehall’s thing, as he toasts rather than rap. This is seriously hardcore, and quite frankly, it not only doesn’t really make compromises towards crossover, and can be hard-going for the unconverted. I’m down with someone that calls himself a lion, but not a nigger. Among the hardcore and blustering rhymes, hard hip-hop and dancehall beats, the only relief is the Estelle-featured party track ‘Chillin’’ and humour on ‘Biography’ which sends up toffs speech and weaves a strings section within the punchy dancehall grooves. That underpin JD’s reminiscences.

Jean Grae ‘This Week’ (Babygrande) Oh dear, here’s a female rapper with one heck of a foul mouth on her. The fact’s that she has a good flow but profanity at each turn gets tiring. Not to mention her unnecessary macho stance, which is boring in male rappers, but worse in females. The bearable tracks are the cool, R&B laced ones like ‘Supa Luv’ and ‘Watch Me’.  

Jedi Mind Tricks ‘Legacy Of Blood’ (Babygrande) From the strings refrain of ‘Make It Easy On Yourself’, which is the ‘Intro’, this sounds like it’s going to be in exciting trip. It turns out to be exciting, but not one I particularly like. Give it to them, they have very tight, and rocking beats, and some charming samples and hooks. A case in point is the first proper song here, ‘The Age Of Sacred Terror’. It’s got banging beats, accentuated with crisp scratches and furious hardcore rapping. However this is offering gore, religious contradictions, thuggery, gangsterism, mysticism, and gay-bashing as entertainment. One wonders if Outrage! will be on their case for inciting violence against gays!

Jem ‘Finally Woken’ (ATO/BMG) It’s not only Joss Stone who’s making it Stateside – this Welsh singer-songwriter/DJ has shifted a few units over there. This album will get full commercial release in Feb. 2005. For now, it’s getting a soft release in Nov. to help create a buzz. Certainly, the opening track, ‘They’, which is lifted as a single should cause a buzz. Particularly as it is remixed by the likes of  Photek and Cut Chemist. Jem has been given free reign to express herself. Hence break beats, and dance and hip-hop influences mix with folky and rocky elements. Very singer-songwriter rather than DJ-producer orientated. Very listenable.  

Jill Scott ‘Beautifully Human: Words And Sounds Vol. 2’ (Epic) It’s taken her this long to come back with her second studio album, and what a stunner it is. She covers the same bases –  soul, jazz and hip-hop. It probably doesn’t come together better than on ‘Bedda At Home’. A powerful jazzy hip-hop groove over which Ms Scott seems to be cooing about some Adonis, only to flip the script and assert that she’s got something better at home. Her vocals slowly builds into an arresting soul screamer. Well, if you’re good man you too would like someone to scream with excitement at the thought of you. ‘Golden’ is head-nodding hip-hop soulster, whilst her poetry and storytelling is` charmingly reflected on the perceptive, slowly unfolding, undulating ‘Family Reunion’. She’s still got it going on.  

Jody Lei ‘Just The Music’ (Independiente) Though title track, which opens this will rock the dancefloor, like many of the tracks here, it feels like R&B by numbers. Instead of transporting this Brit to the States to get that Yankee flavour, I think they ought to have invested more in good songs, because Jody’s vocals are under-used. ‘Saltshaker’ stands out because of the dancehall rhythm. The girl can sing, as demonstrated by cuts like ‘Just Because’ and her brilliant, mellow voice and acoustic guitar version of ‘No Letting Go’.

John Legend ‘Get Lifted’ (Columbia) If you’ve probably heard cuts such a the title track or the funk-based ‘Used To Love U’, you’ll know that neo- or classic nu soul’s back in the Noughties in the shape of singer-songwriter and keyboardist John Legend. What’s interesting is that Legend has eschewed the narrow, formulaic confines dominated by his fellow American R&B and soul artists. His music style’s wider – echoing of the ‘70s, but also incorporating sounds and styles of today. Typical of these is ‘Number One’, which seems to take strings from Curtis Mayfield’s ‘Let’s Do It Again’, adds rap-laced soulful singing over hip-hoppy beats. The open arrangement of the ballad ‘Ordinary people’ allows Legend’s piano playing to come to the fore. The r&b/soulsters ‘Stay With You’ and ‘Refuge (When It’s Cold Outside)’, and the soul ballad ‘So High’, are some of the standouts. Should make big noise on the R&B scene in 2005.

Joss Stone ‘Mind, Body & Soul’ (Relentless) Having made a name for herself covering a whole lot of old soul tunes, the teenaged singer swiftly returns with a sophomore set which uses the key producers, but this time Joss has co-written her material. Considering her age, you wonder if she’s lived some of the situations she’s singing about, like ‘You Had Me’. Suffice to say, she impresses vocally. She’s at her soulful best on the closer ‘Sleep Like A Child’. The surprise here is the upbeat lover’s rock ‘Less Or More’.

Julien Jacob ‘Cotonou’ (Wrasse) A new name for most us, this Beninois modern folk kinda singer-songwriter at times echoes of Ishmael Lo, but without the harmonica. He’s said to have created his own language, so one’s free his lyrics as one wishes! His music is often on a mellow, reflective mood. although Rachid Taha collaborates on the upbeat ‘Yacob’. This is an acquired taste – if you’re into rootsy, folksy or bluesy stuff, then you’d appreciate this. It sometimes extends towards what sounds like devotional songs. Look out for early 2005 release.

K.Ners ‘I Am K.Ners Mixtape 2005’ (Cristal City) Pronounced Kayners, don’t confuse this rapper with Kano. Any this rhymster is from Bristol. This mixtape, hosted by 1Xtra’s Neesha, shows that despite his bragging, K.Ners is a talented rapper, and he has some rocking beats. A case in point being, the irresistible beats that rock ‘One Thing’. The old style R&B sample backed ‘This Is From Bristol’ is another strong track. He has humour, some radio excerpts, and occasionally adds a bit of reggae. The beats and production are strong and interesting, even if they bite Akon’s ‘Lockdown’ for ‘Signed Now’. He offers a head-nodding on the road view of the ‘Dutty Government’.

Kano ‘Home Sweet Home’ (679) The Parental Advisory sticker here is certainly warranted because four letter words seem de rigeuer for this ‘Ghetto Kid’. Which is curious, since his first single’s called ‘P’s & Q’s’. It seems like no matter who produces the track, the sound’s always bass-heavy! Head-nodders include the hip-hop/drum & bass-ey ‘Reload It’. We get some heavy rock guitar riffs under-pinning the club-themed ‘Typical Me’. He gets grimey and self-depracating on the bass-heavy ‘Mic Check’. His champion The Streets produces and drops a line or two on the mellow, romantic, lullaby-ish ‘Nite Nite’. ‘Brown Eyes’ adds a soulful edge. ‘Remember Me’ adds a sort of bossa nova rhythm. The ironic ‘Nobody Don’t Dance No More’ adds a dark, UK garage groove, as Kano chides the stush youths who don’t bother to make use of the dancefloor. ‘I Don’t Know Why’ is a rawk geetar-laced hip-hop joint. He gets conscious with the dark, socio-commentary ‘How We Livin’’, and uplifting with ‘Signs In Life’. Currently the voice of UK underground.

Karl Hinds ‘Have Patience’ (Ill Flava) Brit rapper Hinds has a nice sound. Things looked up when he linked with Virgin-backed Source label. But he’s back on his own indie label, and ready to deliver his sophomore album. ‘Know The Complex’ is typical of his songs, which concentrates on the problematic British music industry, the domestic rap gain, and society’s issues. If you’re into Brit-rap, then this is worth checking out. Skinny Man, Seanie T and Roots Manuva add to the UK flavour here.  

Kelli Sae ‘Heroine’ (Kwurk/OGW) She should be a heroine on the soul/R&b circuit, if only people can get hold of this indie-released album. Sae can sing. She’s got a strong material, like the soul/R&B head-nodder ‘Change’. Her style covers soul and R&B bases with tinges of hip-hop and the occasional Latin influence. ‘Latina’ best exemplifies her special blend. She takes on Aretha Franklin’s ‘Daydreamin’’, and delivers an impressive, mellow, beats-based version. Excellent.

Kenny Dope ‘Life:Styles’ (Harmless) What a combination this one half of Masters Of Works weaves! He goes from  heavy rockers Black Sabbath, through to Ellen McIwaine’s percussion-driven Latin dancer, the trippy Doris, to the jazz-funkster James Marques, to funksters BT Express. However the real discovery here is the mellow, and atmospheric Jackson Five quiet-stormer ‘I Am Love’. It’s worth getting this just to hear the young Michael Jackson singing so soulfull

Kevin Mark Trail ‘Just Living’ (EMI) It’s refreshing to see someone one’s taught on a music business actually gets a deal and on the verge of making it in the business. Actually, considering he had his first taste of success singing with The Streets, it’s not surprising that Kevin is capable of creating idiosyncratic songs that make everyday things come out sounding interesting. ‘Pespective’ has a brassy reggae backbeat over which Kevin reminisces on his life, about first £2.50 an hour job, singing to BoyzIIMen and Omar in the storeroom, and how music get him out his shell. He tells of his dreams, which he’s on the way to realising.  Tells us more about himself and family in ‘Bread’. Just remember when there’s a family problem, he’s prone to shout. A charming maverick album dropping 2005.

Khaled ‘Ya-Rayi’ (Wrasse) The rai superstar keeps up the game of fusing R&B/funk sensibilities, typified by the title track, which is driven by breakbeats, whilst ‘Zine Zina’ is sweetened by female vocals, horn blasts, and a funk groove. ‘El-H’Mam’ is more takes a more traditional style that eschew the Western influences. Except that the album closes with a remix version. Comes with a DVD that shows the making of the album, and options to watch videos of Khaled classics ‘Didi’ and ‘Aicha’, etc.  

Kiesha White ‘Seventeen’ (Warner)  This young British singer made a good impression with the pundits when she dropped her debut solo single ‘Whatcha Gonna Do’. Since then, she’s been working on her debut album. She’s has since made some noise with her ‘Don’t Care Who Knows’ single, featuring American rapper Cassidy. I may not be down with the theme – at least Cassidy owns up to his philandering ways. I just love Kiesha’s vocals on that. I also love the assured and charming vocals on the mid-tempo ballad ‘The Weakness In Me’, which echoes of early Whitney Houston. Look out for it, because it’s a blinder. Another potential hit is the R&Ber ‘Don’t Fool A Woman In Love’, which could easily become a women’s anthem. This girl should blow up in 2005.  

Kokanko Sata ‘Kokanko Sata’ (Honest Jons) A new female Malian singer provides an acoustic and rootsy offering with this self-titled album. She not only sings about love, the pain of parting, God, and social issues, but unusually for a woman, she’s also a mjusician that backs her singing by playing the stringed ngoni, and calabash. However, unlike fellow singer Oumou Sangare who also comes from the Wassoulou area in southern Mali, Kokanko eschews use of those glorious Wassoulou massed female chorus. Nevertheless, her voice, and the simple acoustic instruments beneath her voice are enough to carry the songs and express enough emotion to engage the listener.

Kool & The Gang ‘The Hits: Reloaded’ (Virgin) The idea’s to get contemporary artist to ride a Kool & The Gang track. Somehow they’ve all pulled it off – it does work. The artists’ different flavours add something to the classic orginals. Stand outs include Ashanti’s ‘Cherish’, Beverley Knight attacks ‘Steppin’ Out’, Youssou N’Dour and Lauryn Hill take ‘Summer Madness’ somewhere else. Includes contributions from the likes of Big Brovaz, Sean Paul, Jamiroquai, and Blackstreet wring out the soulful ballad ‘No Show’. Worth investigating.

LA Symphony ‘End Is Now’ (Gotee) From the lead in title track, they don’t let up. Their sound is very fat, with thumping basslines and big beats, and their delivery is as strong and enjoyable. A group that can hold their own in religious circles and on the secular rap underground, they lace their beats with fun, partying and spiritual themes. Check ‘187 On The Dancefloor, their take on gangster-themed rap, and the groovy ‘Gonna Be Alright’. Investigate.

Ladysmith Black Mambazo ‘The Very Best Of’ (Wrasse) If for some reason you don’t have a copy of any of LBM’s various compilations, then this is certainly the one to get. Over two CDs, it covers all their Western hits, such as ‘Rain Rain Beautiful Rain’, ‘Inkanyesi Nezazi (Star And The Wiseman), ‘Swing Low Swing Chariot’, ‘Diamonds In The Soles Of Her Shoes’, and ‘Homeless’. They cover well-known South African songs like ‘Nkosi Sikel’I Afrika’, and ‘Mbube (Wimoweh)’, and Western songs like ‘Oh Happy Day’, ‘Amazing Grace’ and ‘Silent Night’. Interspersed within that are Zulu songs like ‘Abezizwa (Uniting Nations Together)’. Certainly a value-for-money product.  

Lateef & The Chief ‘Maroons: Ambush’ (Quannum) A strong hip-hop album, strong on rocking beats and something to say. Just check out the socio-aware ‘If’, which through singing and rapping highlights corrupt politicians, the Iraq war, racism, etc. The rock-ish guitar backed ‘Matter Of Time’ and ‘Lester Haves’ are head-nodders. Whilst ‘Don’t Stop’, which tells the story of a girl coming into her own, and ‘Best Of Me’, are backed by a huge dollop of funk beats.

Laurnea ‘I Remember’ (Dome) It kicks off with ‘Ain’t Nothing Wrong’, a vibing track underpinned by an unusual drumming pattern. By the following track,. ‘I Remember’, Laurnea’s in the stride mlost fans expect – a strong, feel-good R&B/soulster dominated by her strong vocals. The mid-tempo ‘Who I Am’ sounds like a more funky version of an Erykah Badu track. Great vocals arrangements should make this a joy for mature R&B fans. The hardest tracks here are the Angela Johnson-produced ‘No Shame’, and bonus track ‘Free Your Mind (Slipping)’.

Lemar ‘Time To Grow’ (Sony) Lemar had time to grow long before he got his current major deal, which is why he’s able to turn out such an impressive sophomore set fairly quickly. This time, as the declarative ‘opener ‘Soulman’ underscores, he’s focused more on the soul  tip with cuts like the mid-tempo  ‘Better Than This’ and the title track. He rocks on cuts like ‘I Don’t Mind This’, and I just can’t get enough of the hit single ‘If There’s Any Justice’. The soul underground should appreciate the two-step soulster ‘All I Do/My Boo (Part II). The boy can sing! Recommended.  

Leroy Hutson ‘Leroy Hutson’ (Soul Brother) Culled from his mid-70s Curtom catalogue, this demonstrates the qualities some of today’s neo-soul artists try to emulate. Let yourself get lost among the sumptuous string sounds. However, you’re unlikely to doze off because despite what’s happening on top, there’re usually some upbeats. You can however find respite in the impressive, quiet-storm jazzy instrumental ‘Cool Out’. This contains the original rare groove classic ‘Lucky Fellow’, much popularised by McKoy.

Letta Mbulu ‘Letta Mbulu Sings/Free Soul’ (Stateside) If you like what you hear on Peterson’s compo, then there’s more here, like the singularly, emotively sung ‘Mamani’, ‘Olu Ati Ayo’, or the inspirational, dancey closer ‘Welele’.  A star in her native land, her profile has been building internationally in recent times. She has a very charming and accessible style – although patently very South African, it also has soul-jazz, pop-R&B and MOR tinges, which has the potential to appeal to a very wide market. Just listen to tracks like ‘Pula Yetia’, ‘Magwalanini’ or ‘Kukuchi’ - the voice alone will transport you into a feel-good place. She’s equally impressive on English-sung songs like ‘My Son’, ‘West Wind’ and ‘What More Could Be Right’.

Linton Kwesi Johnson ‘Live In Paris’ (LKJ) The dub poet celebrates twenty-five years as a performance poet with this live recording and an accompanying DVD featuring many of his best known socio-political pieces. From the first cut, ‘Di Eagle An Di Bear’, the Dennis Bovell Band lay down some very funky grooves for LKJ to please his fans with his delivery. Includes ‘Want Fi Goh Rave’, ‘Sony’s Lettah’ and ‘More Time’. Impressive.

Living Souls ‘Ambient Africa’ (Nascente) This mid-priced compilation brings together apartheid era Zulu music that’s been fused with modern beats and sounds by France-based Cameroonian musician FJ. This is not ambient music, as most people understand it, as there are many beats driven cuts here. Such as the opener, which features White Mambazo, who are sons of Ladysmith Black Mambazo. Attaza’s impressive vocals waft across a locked-down disco groove. The interesting modern dance rhythms fusion includes the drum & bass backed ‘Ngikhlela’. It’s Mmakosa’s mellow ‘Khumwana’, with sounds of bird noises and outdoor atmosphere which fits the ambient tag. Ditto: Fea Durban Sings’ closer, which include a sample of Martin Luther King’s ‘I Have A Dream’ speech.

LL Cool J ‘The DEFinition’ (Def Jam) He did his bit to define rap, and he’s still rolling with his eleventh album. He’s not sitting on his laurels expecting respect and appreciation, LL drops rhymes as if he’s some new young rhymer on the block. Keeps heads occupied with rough cuts like ‘Rub My Back’ and the Timbaland-produced ‘Headsprung’, whilst R Kelly laces an R&B vibe over the bumping ‘I’m About To Get Her’.  

London Urban Collective ‘London Urban Collective’ (Freeport) A chance to showcase some of London’s undiscovered artists. It contains the good, the not so good, and the indifferent. JR and Yazmin’s sung and rapped enquiry as to why there’s no peace ‘Ghetto Tale’, is certainly one of the stand outs. Ditto: Sonul Bodiani’s impressive voice and piano dominated ballad ‘Be The Man’, and Nyokia Kung’u’s country-ish ‘Get Over You’, which is awash with delicious piano and acoustic guitar lines. Spitting a line from ’99 Problems’, the rap on Screwface City’s ‘By Your Side’ comes across as some hard, underground stuff, except the female vocalist add a sweet, soft vibe. The male and female singers provide a very ‘60s retro feel to the soul-jazzy ‘Temptation’. Skinnynman, Shystie and Gemma Fox lend support as featured guest artists, such as the uplifting rap-laced beats-based drum & bass/soulster ‘Rested’, featuring Fox and Yazmin. Jeeday Jaws sounds like a Dizzee Rascal copyist. James Pyke, unadorned by any music, provides an interesting autobiographical delivery with ‘Personal’. Ends with a taking it back to the motherland track, ‘Awisani’, featuring sweet African language vocals and driven by pure percussion.

Luciano ‘Reggae Max Part II’ (Jet Star) The Messenger’s only the second artist to graduate to a second ‘Reggae Max’ compo. Taken across his back catalogue, varying from London-produced, such as the lovers and spiritual vibed ‘Empress Love’, to Xterminator cuts featuring Sly & Robbie: ‘When Man On Earth’ and ‘Ulterior Motive’. Luciano, one of the revivalists of roots & culture reggae, has a warm voice, whether singing lovers, social or spiritual songs. There are twenty to feast on here, including the rocking ‘Step Right In’, ‘Visions’, ‘Be Of Good Courage’, ‘Come Away’, ‘Can’t Blame The Youths’, ‘There’s Got To Be A Change’, ‘Call On Yahweh’, ‘God Is Greater Than Man’, ‘Jah Will Always See Me Through’, ‘Serve Jah’, plus a rocking closing medley of Bob Marley covers.

Ludacris ‘Red Light District’ (Def Jam South) There’s no excusing the fruity language here. That said, Luda has an engaging rap style. And although he sounds hard and dangerous, unlike many of his peers, there’s something about him that doesn’t sound as menacing. He certainly has more to say than most of his peers. I’m not necessarily referring to ‘Large Amounts’, which comments on the problems of being rich and which is underscored by a humorous English soundbite sample. The funky, R&B-laced socio-commentary ‘Child Of The Night’, featuring Nate Dogg, asks why does everything so bad feel so good? That’s something we all need to think about and deal with. ‘Hopeless’ is a powerful, thought-provoking socio-commentary built over a cool, soul groove. ‘Put Your Money’ has an interesting gambling theme. Includes the huge club-banger ‘Get Back’.

Lura ‘Di Korpu Ku Alma’ (Lusafrica) She comes from that tiny island off the west coast of Africa called Cape Verde. She gives props to the grand dame of Cape Verdean music Cesaria Evora on the accompanying DVD – yes, it’s a great CD/DVD package. But that’s where the similarities end. Lura is young, beautiful, and she doesn’t sing mournful mourna. Her songs are upbeat, and fuses African with Afro-Latin influences. So sounds echoing of talking drums mix with son-like songs like ‘Na Ri Na’. Great fusion, even if some of the songs sound samey. Watching Lura on the DVd, she exudes presence, and she doesn’t go bare-foot!

Lynden David Hall ‘In Between Jobs’ (Random) After two impressive albums on EMI, Brit soul singer-songwriter DLH releases an album on his own label. It’s is a very accomplished set. Cuts like ‘Stay Faithful’ cater for older soul heads, and ‘Pimps, Players And Hustlers’ for younger R&B/hip-hop fans. There are several strong songs, one of which, the cool R&B/soulster ‘Day Off’ has been lifted for the first single. The track, which vocally echoes in parts of Al Green, should set up this album well. All that needs to be said is that LDH, who recently revealed he’s suffering from cancer, needs a respite in order to promote and support this superb album. The long wait surely has been worth it.

Macy Gray ‘The Very Best Of’ (Sony) Does this signal the demise of her meteoric rise? If it is, then she’s left us some gems to remember her by. Like the radio-friendly ‘I Try’, the Erykah Badu-featured ‘Sweet Baby’ and ‘Still’, the hip-hop soulsters ‘Do Something’,  ‘I’ve Committed Murder’, and the Slick Rick-featured ‘Hey Young world Part 2’. Includes collabos with Mos Def, Pharoache Monch, plus several bonus tracks.  

Manu Dibango ‘Rough Guide To’ (World Music Network) Whilst there’s no ‘Soul Makossa’ here – this ends with the hip-hop/electro ‘Makossa Blow’ spin-off – this compo, culled from the Cameroonian icon’s catalogue going back to the ‘60s, shows his more rootsy and jazzier side. For example, whilst the xylophone’s the featured instrument on ‘Miango Ma Tumba’, this composition could well be out of the book of jazz musos like Herbie Hancock. His baritone sax makes his cover of ‘Nature Boy’ his own. His sax playing and compositional talents are best displayed on the rocking, mellow ‘Mi Niya’ and funky ‘Negropolitaines’. For dancing, the soukous/soca inspired ‘Miss Cavacha’ and funk-driven ‘Mouna Pola’ are irresistible. 

Manuel Guajiro Mirabal ‘Buena Vista Social Club’ (World Circuit) The trumpet player of the BV social club gets his solo album out, and what an enjoyable Afro-Latin experience he weaves. Actually, Guajiro covers the songs of the late black Cuban composer Arsenio Rodriguez, said to have helped introduce African elements into Cuban music.  There’s son to keep you dancing, and boleros to smooch to. Great musicianship all round.

Mari Wilson ‘Dolled Up’ (Beehive) The Beehive Queen from Neasden, north-west London from where this is bei8ng written, brings out what must surely be her most satisfying album, seeing that it’s on her own label, and that she co-produced and co-wrote much of the songs here. There’s the pop-soul opener ‘The Love Thing’, a very radio-friemdly track on which Mari at times sounds like Lulu. ‘Love At Last’ is a mellow soul-jazzer. Ditto: ‘Amazing’ and ‘Look Out For You’. There are a couple of covers here which we love. Todd Rungren’d ‘I Saw The Light’, and the Bee Gees’ ‘How Can You Mend A Broken Heart’. Al Green did such a great job with his cover, one can’t help comparing anybody else’s version to his. ‘Getting There’ is a big ole radio-friendly MOR-ish ballad awash with huge orchestral strings.

Mario ‘Turning Point’ (J) The US chart-topping ‘Let Me Love You’, which opens this album, with a hip-hop remix featuring Jadakiss and TI on the remix dominates this album. That single amply shows the boy can sing. Ditto: ‘Couldn’t Say No’ and ‘How Could You’. However, the street-edged R&Ber ‘18’, featuring Cassidy, is also in the running for ear-pricking cuts. The rocking juvenile-rapped R&Ber ‘Boom’ bites a bit of Usher’s ‘Yeah’ sound. Cham joins on the bumping dancehall/R&Ber ‘Girl I Need’. The rock guitar riff featured ‘Here I Go Again’ could well be a single. It has an immediate, charming vibe. Females will mostly likely go for the ballad ‘Like Me Real Hard’. 

Mario Winans ‘Hurt No More’ (Bad Boy) Despite his pedigree, Winans isn’t as good a singer as he is a producer. Many of the songs are pedestrian. Some of those that jump out do so because they interpolate or sample well known sounds. Like is Enya-vibed massive single ‘I Don’t Wanna Know’ and ‘Never Really Was’, which uses Madonna’s ‘Papa Don’t Preach’ string section. I guess the charm here is that Mario is happy to play the vulnerable male.

Mark De Clive Lowe ‘Tide’s Rising’ (Antipodean) His Universal Jazz debut did bode well. However, one can see why the producer/keyboadist is now on his own indie label – at the time when Universal Jazz is shifting units by the likes of Jamie Callum and Clare Teal, one does not expect them to have patience with the potential to cross over but rather decides to take his sound deeper underground. Cuts like ‘Slide’, ‘Traveling’ and ‘State Of The Mental’ mine broken beats and garagey vibes. Whilst the vocals of Bembé Segué add some soul. ‘Quintessential’ has an air of vintage Roy Ayers soul about it.  

Mark De Clive Lowe ‘Tide’s Rising’ (Antipodean) On his first indie release since leaving Universal Jazz,  Lowe’s decided to take his sound deeper underground. Cuts like ‘Slide’, ‘Traveling’ and ‘State Of The Mental’ mine broken beats and garagey vibes, whilst the vocals of Bembé Segué add some sweet soulful tones. ‘Quintessential’ has an air of vintage Roy Ayers soul about it.

Mark Morrison ‘Innocent Man’ (Mona) I don’t think old Mack is being given a fair shake. I heard my nephew dissing him without having heard the album. He accused Mark of living on past glory. However, if the title track was by a new artist, it may have fared better, because it’s quite a nice soul/R&B record. Mark sounds good, and DMX blesses it with some thought-provoking rhymes. The hi-hop flavoured, somewhat autobiographical ditties of Mack’s problems with people and society, continues on the jiggy Daz Dillinger featured ‘Backstabbers’. Mack gets into bogling mode with the Elephant Man featured romantic ‘Lately’. ‘Friday’ is a weak song. However strong songs includes the soulful, revealing ‘Just A Man’, ‘Damn Damn Damn’ (featuring Adina Howard), his cover of ‘Wanna Be Your Man’, and the awesome ‘Journeys’, featuring Mica Paris’ and the Alexander O’Neal featured version of ‘Just A Man’. Please give this album a chance, you may just get to like it!  

Marlon Saunders. Enter My Mind (Soul Brother) Hmm, I love it.. Although new, it has that old school independent soul vibe. Saunders has a voice that ought to charm anyone. Listening to the funky ‘Keep Doin’ What You Do’ he sounds like a cross between D’Angelo and Mehelle Ndegeocello! The ladies are going to love mellow cuts like ‘Coolin’’ This is an underground soul album worth discoverin

Martin Luther ‘Rebel Soul Music’ (Rebel Soul) Kicking off with ‘Daily Breadf’, singer/muso ML sounds retro R&B, at the same time very much of now. ‘Home’ comes on a bluesy-funk tip with a rocky drum & bass break-down section. ML’s vocals comes to the fore on the soulful ‘Rise’, ‘NYCG’, and ‘Ms America’. ‘Street Walking’ is a heavy rock guitar-peppered funkster that really rocks. Ditto: ‘Rebel Soul Music’, which is underpinned by a rough, minimalist, percussion-driven groove. Omega Rae adds some sweet female vocals to the bluesy-funkster ‘Liquid Sunshine’, standout feel-good track. 

Mary Mary ‘Mary Mary’ (Sony BMG) This is a blinder of an album. Perhaps their strongest yet. It works superbly on many levels. The secular heads who got into ‘Praise Him’, will be rocking to the funky, banging R&Ber ‘Heaven’. Great, unadulterated gospel that should appeal to the streets!. Ditto: the churchy ‘The Real Party’, and the R&Ber ‘Love You That Much’. Street soulsters come in the form of ‘Believer’, ‘Stand Still’, and ‘What Is This’, whilst the sisters try their hands at old style jazz with ‘Biggest, greatest Thing’. Baby Dubb races ‘Save Me’ with some rap. They mellow down with the jazzy, soulful ‘Yesterday’. The Latin and strings-washed ‘And I’ features raps by Kirk Franklin. Love it! No filler here!

Mase ‘Welcome Back’ (Bad Boy) There must be a lot of love for Mase judging by the fact that he’s cover featured artists on several American magazines, including Vibe. What’s the (ex?) pastor on about? OK, his album does not warrant a Parental Advisory sticker, which is like really unusual for American hip-hop. That said, except for tipping his hat to Jesus on ‘Gotta Survive’, it’s like Mase never went away. Because it’s mostly the bling-bling lingo about money, cars, and other stuff that he owns. Titles like ‘Money Comes And Goes’ say it all. The plus is that except for the single ‘Breathe, Stretch, Shake’, which features P Diddy, he has not featured any other well artist. Whilst his singing, I presume it’s him singing, is off on ‘My Harlem Lullaby’, there’s lots f cool female singing on tracks like ‘I Wanna Do’ and ‘The Love You Need’. Breezy inoffensive bubblegum, which makes a change, particularly as Will Smith has for the time being hung up his mic!  

Mavis Staples ‘Have A Little Faith’ (Alligator) The voice that powered The Staple Singers into the mainstream in the ‘70s is still charming, although this bluesy and old school R&B offering is really going to appeal to her old, hardcore fans. Thumping beats behind the funky ode to her late father, ‘Pops Recipe’, don’t change things. She shows her gospel roots and evokes Staple Singers vibe with the soulful, bluesy ‘Step Into The Light’, the blues gospel ‘A Dying Man’s Plea’, and the emotive, mellow, soulful, upfront gospeller ‘God Is Not Sleeping’.  

Maxi Priest ‘Rise To The Occasion’ (Relentless) One of Britain’s best exponents of lovers rock returns after a long sabbatical to show that whilst he can handle, like ‘Like I Do’, ‘Full Hundred’, and the Shaggy collabo ‘Believe In Love’; he’s also capable of handling other styles, like soul. Check out his cover of Omar’s ‘There’s Nothing Like This’. He turns his cover of Sting’s pop song into a smooth soulful cut. He even touches on conscious themes with the uplifting, rootical ‘Cry For The Children’. Ends with another cover of ‘Wild World’, this time it’s in a mellow, acoustic style featuring Wyclef. A very listenable album.

Maze Featuring Frankie Beverley ‘Greatest Hits’ (Capitol) You can expect among the 18 tracks here, ‘Joy & Pain’, ‘Before I Let Go’, ‘Southern Girl’, ‘I Wanna Thank You’, ‘Too Many Games’, the awesome ‘Runnin’ Away’, and a live version of ‘Happy Feelin’s’. Pity club hit instrumental ‘Twilight’ is not included.

MCD ‘After Dark’ (Knew Eclipse)  Another album I bought directly on the streets. I remember the MC also known as Silent Eclipse from his one and only Island album ‘Psychological Enslavement’. My memory of that hard to find mid-90s album was a fiery MC with incendiary, socio-political rhymes. Probably a bit for a major release by a Brit MCs. So I’m rather surprised that much of this self-produced album seems to be about sex, love and the usual dissing of the weak competitors. This is contrasted by the very romantic, R&B-laced ‘I’m In Love’ and the bitter-love song ‘Deep Inside’, both featuring the sweet voiced Nadine Charles. Rosita Lynch and Doc Brown join on the mellow-vibed, uplifting, socio-tipped ‘Hear Me’, and The Bury Crew end with the bouncy, party-vibed ‘Silent Burial Part One’.  

MDV ‘Style One’ (TMP&Q)  A British roots reggae band, they have a nice, warm sound. Whilst the lead in track, ‘Don’t You Care’, has a wall of sound sonic attack, it’s the huge vocals on tracks like ‘Wake Up’ and ‘Down Ism Capitalism’, which demand the listener’s attention. They occur vintage rootsers like  the Congos. ‘Keep It Real’. ‘Keep It Real’ blends dubby vibes with soulful, rootsy vocals. This is ‘So Good’, it deserves wider appreciation.

Miami ‘Funk It Up: The Best Of Miami’ (Stateside) Miami was the TK Records house band, who also cut some albums on the side. However, whilst the label’s hit run was being built on disco, Miami kept to funk and jazz-funk. ‘Funk It up’ not only has a funk groove, but is also topped by seriously soulful voice. The band paid notice of the biggest sound around by tagging the word disco to the funk work out ‘Disco Weekend’. It didn’t stop there – there was also the ‘Kung Fu Feak’! They mellow things down with an ace cover of ‘I’ve Been Loving You Too Long’. Worth checking out.

Missy Elliott ‘The Cookbook’ (Atlantic) The cookbook consists of a mixture of humour, innocuous party and hardcore, sex-centred rhymes, rapping and soulful singing, Latin and Jamaican lingo, R&B, rap, hip-hop, electro, and collabos from long-time producer Timbaland, Slick Rick, Ciara and Fat Man Scoop, American Idol winner Fantasia, Vybz Kartel, UK rhymstress M.I.A. Mary J and Grand Puba. Producers Scott Storch and the Neptunes drop some tight beats, such as the sexcentric ‘Meltdown’, and the rocky, turntablist hip-hop ‘On & On’, respectively. Missy does a bit more singing on this album, with the R&B/soulster ‘Teary Eyed’ being the most obvious and accessible. Extra content via computer playback include exclusive interview, photo gallery, etc.

Misty Oldland ‘Forest Soul’ (Mistic Discs)  Having experienced major label dealings as part of the Oldland Montano duo and as a solo artist in the ‘90s, Misty resurrects her solo career with this self-produced and released album. It’s eclectic and quite personal. ‘U Came’ is a cool R&Ber, which features a very soulful Andrew Roachford. I’m convinced it samples some strings and grooves from a Curtis Mayfield track.  Last year’s single ‘Orange Fox’ is an unusual, but sweet, wispy, pop-folky song. Built on a mellow funk groove ‘Hit Record’ seems like an autographical recounting of Misty music business experiences leading up to the release of her latest record. A green issues supporter, Misty deals with the issue of oil spills on ‘Cracked ship’. ‘Woman In Me’ is a haunting, dark, atmospheric ballad. Probably the most immediate cut after the Roachford collabo is the R&B/soulster ‘Thank You’, and the hip-hop soulster ‘Angel’, which is wrapped around some sweet, yet moody, orchestral strings. Tunde Jegede’s kora adds to atmospheric closer ‘Tunde’s Forest Link’.  

Mory Kanté ‘Sabou’ (Riverboat/WMN) The West African kora player and singer returns with a very upbeat and engaging album that uses only human voices, including some delicious female chorus, and acoustic instruments. It’s sometimes hard to believe there is no electronic sound here. If you’re into Senegambian traditional music, then you’ll love this offering from the Guinean superstar. This is an album of songs and performances of depth and quality.  The vocals really do connect. You have to get on your feet when you hear a track like the kora and balaphon-charged  ‘Mama’ or Désolé’.

Motif ‘Bitten By The Bug’ (Motif)  Honestly, just looking at the cover photo and without any biog, I had assumed this was a Northern African artist. What surprise it was to discover a very impressive R&B/soul artist. At times Motif’s tones echo of Gerald Levert. This is no ‘Wannabe’. Motif should charm you with ‘Hugs And Kisses’.  His lead and backing vocals impress on ‘When I Remember’ and mid-tempos like ‘Rain On Me’, and ‘Shoulda, Coulda, Woulda’. The latter isn’t Beverley Knight’s song. This self-released artist is worth checking out.  

Ms Dynamite: Judgement Days (Polydor) See Ms Dynamite review feature

Murs 3:16 ‘The 9^th Edition’ (Definitive Jux)  On ‘3:16’, Murs goes on about people with nothing to say. Well, his 9^th Wonder-produced beats may be crisp, and he may have a good enough rhyming style. But he ain’t saying much. Just blowing mostly hot air, methinks. The heist story of ‘Trevor An’ Them’ is cinematic and has some humour. Funnily enough, one of the tracks that prick up the ears is the very sexist ‘Bad Man!’, which is underpinned by a reggae rhythm.  

N.A.T. ‘The Few That Hear Me’ (Sunshinekid.com) NAT is a London-based rapper-producer of Ghanaian parentage with a strong pan-Africanist stance. He’s a good enough rapper and his rhymes drop as sincere. Although he style often echoes of 2Pac, he makes no pretence of crossing over. However, despite the pro-black and conscious lyricism, I don’t care for the profanities nor the wanton use of the word ‘nigger’, like on ‘Niggativity’. I don’t see how a conscious rapper who decries major record company signed acts for their negativity towards black people can justify use of profanities, nigger, or calling himself a Devil’s Angel! Independent artists like him are supposed to have no puppet master. Go figure. On the positive note, he gives props to the R&B-laced ‘Black Queen’, and the ‘Intro’ skit uses obvious African characters. ‘Thank God’ is cool, and props need to be given to Mama Sol for adding smooth, soulful backing vocals.

Nat King Cole ‘The World Of Nat King’ (EMI) If you are not down with the cool, mellow jazzy and MOR hits on here, then consider getting it for your parents or very adult relations. They’ll love you more. Because this is full of Cole’s best known tunes. We’re talking ‘When I Fall in Love’, ‘Mona Lisa’, ‘Nature Boy’, ‘Autumn Leaves’, etc. Includes ‘Let’s Face The Music And Dance’, which should be best known among the younger generation because it’s been used in a TV commercial for a British building society; and ‘Unforgettable’, which comes in the original, and the duet version made by daughter Natalie.  

Natski ‘Rare’ (GDM)  It’s nice to see the UK R&B scene can produce some quality stuff even if the label’s a small London indie. The sampler of this R&B singing/rapping collabo album has both club-primed and some conscious focus. It’s encouraging to see the inderground can come come up with the goods. Like ‘Shall We Go’, featuring Sherona Knight, which has nice female vocals over tight ‘80s kinda funk grooves, which contrasts a Nelly style of rapping. Some rawk geetars can be heard on the funky R&B/rap fusion called ‘Stop Drop & Roll (Da Re-fix)’. They add a dancehall groove to their palette with the bumping ‘Serious’, and big beats to the mellow guitar-laced  ‘Fly Away’. Nice vibe’s assured.

Nelly ‘Sweat/Suit’ (Universal)  Unlike Outkast’s last album, Nelly’s is not a double album. They are two simultaneously released album. The interesting thing will be which sells better. ‘Sweat’ seems more focused as a posse offering. Like the opener, ‘Heart Of A Champion’, which features Lincoln University Vocal Ensemble, and the Curtis Mayfield-sampling funky ‘Tilt Ya Head Back’, featuring Christina Aguilera. Stephen Marley & Murphy Lee feature on the bubbling reggae-rhythmed ‘River Don’t Runnn’. Missy Elliott is one of the side’s collaborators. Although ‘Suit’ has the hit track ‘My Place’, featuring Jaheim and the equally R&B-laced ‘Nobody Knows’, featuring Anthony Hamilton; Ron Isley, Mase, a cool Spandau Ballet-sampling track, and the very funky So So Def remix of ‘Dilemma’, I feel overall, it has more of the weak songs.  

Neon Heights ‘A Hot Trip To Heaven’ (Shiva)  Oh dear, I’ve listened to this album repeatedly and just can’t get hold on an angle. There’s nothing astounding about it, except of course if you commends them for their left of centre take on Jam’s ‘That’s Entertainment’ cover. Essentially pop, it tries to weave in hip-hoppy beats and sensibilities here and there. ‘Freedom Fighter’ tries to be hip and rootsy with a repeated vocal sample of a South African saying ‘everyone of us is a freedom fighter’ over an atmospheric, dubby background. The female singer’s alright. Quite innocuous with a few musically interesting passages.  

Nublues ‘Dreams Of A Blues Man’ (Tekni)  From the first track ‘Swamp Thang’, this Brit group shows off its blues-fusion style. Can you imagine country blues mixed with scratching? ‘Mississippi Rising’ mixes dancey, hip-hop beats, and a bit a rapping, slide guitar, funk bass and harmonica. ‘Blues Man On The Run’ is essentially blues-rock/hip-hop with a bit of a fugitive storyline. Probably the standout track here is ‘Contradiction’. It’s appeal’s immediate, and it mixes all of the said styles and instrumentations. Ends with the mellow, steel guitar and vox ‘Hold  Over Me’. On reflection, it’s amazing that despite their fusion, Nublues has been embraced by the blues music media. They’ve also been signed in America to Chris Thomas King’s 21st Century Blues label.  

Omar ‘Omar EP’ (The One/Omar Music) Whilst we wait for album number six, Omar drops this welcome EP. ‘It’s So’ is an upbeat, Latin-flavoured dance track. ‘I Want It’ is a nice, soul ballad, which should please his old fans. Omar collaborates on the dancey ‘No Reason’, whilst the best by far is left till last: ‘Tell Me’ is a big beats-based ballad that’s irresistibly charming.

Omarion ‘Omarion’ (Epic) The ex-B2K singer drops a solo album, which should appeal mainly to his youthful fans, though they probably need to watch the language on the dancefloor-primed ‘Take It Off’. He’s not a particularly exceptional singer, and many of the songs here are rather perfunctory R&B. The ballads aren’t great either. However, he does shine on the mid-tempos ‘O’ and ‘I’m Goin’ Change’.

Orishas ‘El Kilo’ (Capitol)  This may well be the most accessible offering from this act, which mixes Afo-Cuban music with hip-hop sensibilities. Whilst most of us may not understand Spanish, we can nevertheless groove to the rap-laced mid-tempos ‘Distino’ and ‘Stress’, the radio-friendly title track and the sumptuous ‘Reina De La Calle’, or the salsa-fused ‘Elegante’, or the funk-based ‘Bombo’.  

Outlandish ‘Beats, Rhymes & Life’ (Outcaste)  The Scandinavian multi-racial hip-hop trio drop a mix album, which opens with the Rishi Rich R&B and desi-laced remix of Outlandish’s last single ‘Walou’. Also includes the mellow, minimalistic Proper Pak remix of the group’s beautiful ode to the object of their desire ‘Aicha’. The musical trip takes in the Refugees Hip-Hip remix of  Fugees’ ‘Vocab’, the R&B-laced French rap of Alliance Ethnik, the oh, so cool son ‘Chan Chan’ by the late Cuban muso Compay Segundo,  some bum;ping rai from  Rashid Taha, bhangra from Juggy D, hip-hop from DJ Jazzy Jeff and Goodie Mob, some Eupean rap from Petter Alexis, plus an impressive soulful offering by Cuban singer Mercedes Sosa. What a trip?! 

Owen Gray ‘Shook, Shimmy & Shake: The Anthology’ (Trojan)  A singer of the old school, obviously influenced by American R&B and jazz, as demonstated by many of the tracks here, including ‘Please Don’t Let Me go’, ‘Jenny Lee’, etc. Ska tunes like ‘I feel Go’ are obvious attempts of making American R&B. Whilst tracks like ‘Gonna Work Out Fine’ show the influence of soul music, whilst ‘You Don’t Know Like I Know’ nods to Stax soul. Reggae is represented by cuts like the delicious ‘Too Experienced’, ‘No More’, ‘Give The Children Food’, etc.  

Ozomalti ‘Street Sign’ (Real World)  
The album opens with a studio version of the huge strings-backed funk and rapped ‘Believe’, and ends with a live version, which has a high quotient of energy. ‘(Who Discovered) America?’ and ‘Street Sign’ shows a fusion of funk, Latin, and hip-hop sensibilities, whilst cuts like ‘Te Estoy Buscando’ and ‘Como Me Duele’ shows off more of their Latin roots.  It’s interesting to see this American Latin-fusion band has moved from a major deal to a leading world music label. I think they are a tight band that successfully straddle the genre divide.

Para:Diso ‘Paradise II Paranoia’ (Dome) This album, first released in Japan finally gets a UK release. Join father Bluey of soul/jazz-funk group Incognito and a hip-hoppy, garagey producer son Daniel a.k.a. DJ Vernon, and what do you get? A bit of typical Incognito soulful jazz ‘Waiting 4 The Sun 2 Shine’ and ‘Right Is Right, sung respectively by Valerie Etienne and Niki King. Some soulful garagey stuff, like the Tommy Blaize-featured ‘Let Yourself Go’. Some cool, jazzy, piano-led instrumentals like ‘Snowblind’, plus some rough, atmospheric, workouts like ‘Connexion’.

Patti Boulaye ‘Patti Boulaye’s Sun Dance’ (Boulaye Productions)  Whilst touching on Africa, there’s a lot of Western pop references on this musical soundtrack, it may not be ‘authentic’ enough for purist, except for the percussion-driven ‘Language Of The Drums’ and ‘When War Is Over’.  ‘Wedding Day’, like ‘Be Happy’, are township jive numbers, whilst ‘Celebrate Good News’ is a mellow penny-whistle featured tune. ‘In My Memory’ is almost like a lullaby, whilst ‘The Lord reigns’ is a spiritual.  

Pete Rock ‘The Surviving Elements From Soul Survivor II Sessions’ (BBE/Rapster) Hip-hop producer puts together this almost instrumental album made up of some of the beats that were meant for the ‘Soul Survivor II’. It’s an almost instrumental on account of the opening track ‘You Remind Me’ being built around an Al Green sample, which also features his ad-libbing voice, whilst others like ‘Standard’ include slight vocal snatches. ‘Marching On’, ‘Midnight And You’ and ‘Placebo’ are some of the cool, mellow feel-good cuts here. For purely heading-nodding action for hip-hop heads, check out the funky, jazzy ‘Hop, Skip & Jump’, the Curtis Mayfield-sampling ‘(Pimp) Strut’, and ‘Smoking Room Only’. Does drag a bit towards the end: certainly ffor fans of the producer and rapper who need some R&B and jazzy laced beats.

Peter Brown ‘Get Funky With Me’ (TK)  I don’t know where I was, but Brown’s disco-er ‘Do You Wanna Get Funnky With Me’, which is reputed to be the first 12-inch million-seller, seems to have passed me by. It’s not as immediate as Brown’s title track nor TK hits like Foxy’s ‘Get Off’. Brown’s said two tracks also get mid-90s club-primed remixes. Else, apart from a couple of mellow cuts, it’s mainly bog-standard disco cuts like ‘Can’t Be Love’.  

Phoebe One ‘Sweet Thing’ (Sweet Harmony) For many of her fans, this would be a disappointment as it’s rooted in reggae, lover’s rock, and the odd soul. She’s in her singing mood, and the only thing near to a rap is the intro to ‘Knocking On Heaven’s Door’, an uncredited cover of Bob Dylan’s song, and the refrain on ‘Love Yourself’, a tune that looks at spousal abuse and sour relationships. R&B and soul tinged tunes include the soulful ‘Broken Soul’ and ‘My Angels’, the funky ‘Just Fine’ and ‘Wherever I Lay My Hat’. The latter’s a Motown tune that’s also uncredited. I make these points because the inner-sleeve highlights Sweet Harmony as a community enterprise that teaches about music business structure. That should surely include clearing and properly crediting covered songs.  

Phyllis Dillion ‘Love Is All I Had’ (Trojan) She may have done her best work within the rocksteady and reggae idioms, but the late Dillon was a soulful singer. The music covered here comes from R&B, country and in between. Opens strongly with ‘Don’t Stay Away’, before the bubbling rocksteady rhythm segues into a calm country offering called ‘(This Is) A Lovely Way To Spend An Evening’. When your mother-in-law remembers several of the originals, then you know this is definitely big people’s music for sure. So, there, you’ve got the elder’s presents sorted out. ‘It’s Rocking Time’ is a mild rocksteady, whilst ‘Perfida’ and ‘Love Is All I Had’ really rock. Includes the Queen Of Jamaican Soul’s versions of ‘Love Letters’ and ‘Love The One You’re With’.

Phyllis Hyman ‘In Between The Heartbreaks: The Soul Of A Diva’ (Expansion)  If you’re into this late R&B and soul-jazz singer, then you’re bound to like this. First of all, there are five pleasant previously unreleased tracks, including the gorgeous R&B/soulster ‘Hottest Love Around’ and a phat b-lined, disco-ey version of ‘Don’t Tell Me, Tell Her’. Groover Washington’s sax blesses the mid-tempo ‘Sacred Kind Of Love’. Collaborations with McCoy Tyner, Jon Lucien, Pharoah Saunders and Norman Connors, add jazzy elements to this impressive singer’s soul.

Planet Asia ‘The Grand Opening’ (Avatar)  One half of Cali’s Agents, this rapper seems like he’s got his head in the underground, rather than in the pop area. His rap style is on point and easily decipherable. His rhymes are ghetto-centric and he has bumping grooves. One of the most bumping grooves is ‘It’s A Big’, which sounds like something from the Neptunes’ sound lab. Cedric Davis adds some cool R&B vocals to ‘Hypnotized’, and he adds dancehall reggae to the hard ‘Swallow Them Whole’.

Quintessence ‘Talk Less Listen More’ (whatmusic.com) Hmmm, what a lovely mood album. If you’re into the female featured Sweetback tracks, then you’re bound to love this album. Singer Emma’s vocals have a sweet, charming quality, whether fronting jazz-funkers like ‘1^st Impressions’, mellow mid-tempos like ‘Skywalker’, or the wonderful jazz-soulful ‘Ballad In 6/8’. To get a better idea of this offering, just think of Amiel Lerrieux or Jill Scott. Go discover!

R Kelly ‘Happy People/U Saved Me’ (Jive) That Kelly is a very talented singer and songwriter, there’s no doubt. That he’s multi-dimension, and also affected by his on-going court case, is evident here. The ‘Happy People’ CD covers the usual carnal R&B stuff like ‘The Greatest Show On Earth’. The ‘U Saved Me’ CD solicits more investigation. From the first cut, ‘3 Way Phone Call’, featuring Kelly Price and Kim Burrell, Kelly literally bares his soul and focus on God. Although it’s almost like a gospel offering, he still keeps it real, saying things on say, ‘I Surrender’, that those struggling can relate to.  

Rachid Taha ‘Tekitoi?’ (Wrasse)  I once saw a Taha show and it was most electrifying and electic. However, he’s almost indescribable in his musical style, as his influences are quite wide. ‘Rock En Casbah’ is a rock and rai over breakbeats cover of the Clash’s song ‘Rock The Csashbar’. ‘Safi’ starts off fairly mellow, awash with orchestral strings, then it goes into a heavy, rock refrain! Those strings work a charm on the mellow rai ‘Winta’, featuring Kaha Beri. From the accompanying DVD one finds him saying his music is rock n roll. That helps one understand his need for the kind of fusions and eclecticism displayed here.   

Radio Zumbido ‘Los Ultimos Dias Del AM’ (Palm Pictures) The photo on the cover had such an old fashion feel, I was expecting a more rootsy Latin American offering. Instead, it turns out that the brains behind the project is down with hip-hoppy sensibilities and using rough drum & bass grooves. These are mixed with the occasional Latin horns or percussion. This is a modern dance record. One of the standouts is ‘Radio Sololá’, which very slowly builds into a wild drum & basser! Love it!

Raghav ‘Storyteller’ (V2)  This Canadian Asian singer has had much success in the UK. The album opens with his rocking Indian-flavoured R&B hit single ‘Let’s Work It Out’, featuring London rapper Jahziel. He shows what a fine singer he is on the mid-tempo soul/R&Bers like  ‘No. I’ and ‘C’Mon’. He also uses jazzy and bhangra flavours, plus dancehall, as per ‘So Confused’ and ‘Angel Eyes’. Quite good.  

Rahsaan Patterson. ‘After Hours’ (Dome)  Now on an indie, the vocals and music are just as charming, and should please his fans. Though he’s got some good song, the charmer her is really Rahsaan’s vocals and arrangements. This is an enjoyable soul/r&ber. Though he tends to stay on the downlow tempo, he can rock it. Like the rightly titled ‘So Hot’, that’s a right old funky offering. Enjoyable

Rai 2Ban ‘Who Am I?’ (2Ban)  This Ugandan-born UK-based refugee is four albums deep into a career that’s very underground, although it deserves a wider appreciation. Particularly for those tired of rap’s ghetto-centric rhymes, this chap has African-centric socio-tipped rhymes. The beats are sparse but work. There’s variety, like the female cooing, and piano flourishes on the ‘Non-Sequito’, and ‘Trade 2001’. His issues cover pre-colonial, colonial and neo-colonialism, and the mind state of black people, and white imperialism upon the black psyche. Occasionally, a laugh or a line he says, echoes of 2Pac. Though he may not have cleared Keni Burke’s ‘Risin’ To The Top’ sample used on the thought-provoking ‘Western Thinking’, the potency of that track can not be overlooked. He probably calls upon his hallowing experience in writing ‘Child Soldier’. Worth discovering via 2ban.co.uk.  

Ranking Joe ‘Weakheart Fadeaway’ (Greensleeves)  Oh gosh, from the first lines of the dubby, rockers ‘Dub Sister Dub II’, if you’re a reggae or dancehall fan, you will be bopping your head to it. What a tough track, mixing toasting and singing over one strong! The good thing about these Greensleeves re-issues is that one can (re-)discover artists, such as Rankling joe. Joe Hookim’s dubby productions, such as ‘A Dread Earthquake’ and Joe’s take on the title track, are very on point, and the toaster rides them with consummate ease. His style is more controlled, compared to veteran toasters like U or I Roy.  

Rappin’ Hood ‘Sujeito Homem 2’ (Trama) An impressive Afro-Brazilian rapper. We’re assured his Portuguese raps are clean, though it doesn’t stop him highlighting social issues, and encouragement to those struggling in the hoods. He raps over straight-up, funky hip-hop beats, like ‘Us Guerreiro’, jazzy breaks, like ‘Ex-157’, although the coolest is ‘A Minha Favela’, which mixes hip-hop  turntablism with samba. Quite a strong offering.

Ray Charles ‘Genuis Loves Company’ (Concord)  Though this posthumous release is set to be Charles’ biggest album, and not withstanding Charles’ predilection for eclecticism, some of the collabos seems contrived for mass appeal. A case in point being his effort with James Taylor. It sounds dreary. The collabo with Elton John’s marginally better and John steals the spot too. Indeed it feels like many of the collaborators are carrying Charles, who makes his mark on the Bonnie Raitt and BB King bluesy tracks. The likes of Norah Jones and Diana Krall should help broaden the Charles’ appeal.  

Real ‘Give Me A Reason…’ (Smooch) If you’re into ‘70s jazz-funk, then you may want to check out this Brit male-female duo made up of Louise Pollock and Winston Rollins. It opens with the jazz-funky ‘In The Sky’, followed by the title track, which is driven by a ‘70s disco groove, as is ‘Message’. ‘Beautiful Sunshine’ is a sweet, mellow romantic cut. Ditto: ‘Stay’ and ‘I Forgot To Ask’. ‘Lovechild’ and ‘What You Got’ are phat funk cuts. Not too deep on the lyrical front, and the vocals are alright, however it’s top notch on the live musical tip. Not surprising brass features a lot here, as multi-musician Winston has played brass with the likes of Brand New Heavies, Incognito, Jamiroquai, and Courtney Pine.

Rhian Benson ‘Gold Coast’ (DKG) It’s taken quite a while for this to finally get a UK release. But the wait has been worth it. By the time you read this, her single ‘Say How I Feel’, especially the Slum Vilage hip-hop remix, should be a big hit. This Ghanaian/Brit recorded this Stateside, where she’s had quite a bit of success. And one can see why, because this is a classy soul/R&B offering with fine vocals, songs and production. Like the smokey soul-jazz ballad ‘Soul Boy’. Certainly a must-have album from a star in waiting.  

Rocky Dawuni ‘Book Of Changes’ (Aquarian) The title track, which opens the set, is a great departure. Dawuni is singing in a higher register. It’s built more on a funk groove, than his usual reggae. And there’s turntablism and kora in the mix. The other departure is obvious Africanness into his music. Dawuni takes on a Bob Marley tone for ‘Wake Up The Town’, a glorious, brass-puntuated sound, which fuses Afrobeat and reggae. ‘Afroroots Vibration’ uses the same fusion, and pigeon-English, which underscores the African problems on ‘Africa For Learn’, which is blessed with sweet, jazzy trumpet and females chorus. ‘Ewurade’ is a reggae socio-commentary sung in Twi.

Roll Deep ‘In At the Deep End’ (Relentless) Producer Wilely’s collective of singers, rappers, MCs and DJs finally drop their debut album.. For those wanting a change from Yankie stories, Dizzee Rascal’s former posse offer a London  thing in regards to stories, lingo, and rhymes. Like ‘Bus Stop’, ‘Be Careful’, which features Alex Cartana; and the R&B-laced ‘Remember The Day’. For crossover action, the obvious track is the upcoming single ‘Heartache’, cleverly built upon the Motown-esque ‘Heartbreak Hotel’. 

Roots Manuva ‘Awfully Deep’ (Big Dada/Banana Klan) “I’m in a class of my own” sing-raps Roots on opener ‘Mind 2 Motion’, and one has to accept that he stand apart from the rest with his unique and idiosyncratic sing-rap style, penchant for riding different musical styles from hip-hop to reggae, exotic to dark grooves. I don’t know how well ‘Too Cold’ did as a single, but it’s got a big, charming and pop-friendly chorus! The dubby reggae-backed ‘Thinking’ is one of the coolest cuts. Unlike some of his peers, few will fail to see the irony of the murder advocated on ‘The Falling’. Includes a bonus CD with demo version of ‘Too Cold’ and ‘The Falling’, plus a rough, atmospheric mix of ‘Chin High’.

Roy Ayers ‘Mahogany Vibe’ (BBE/Rapster) You know what to expect: soulful vocals, jazzy vibes, and funk grooves. Ayers re-interprets ‘Searching’, which features Erykah Badu, and adds a hard, modern rhythm beneath ‘Everybody Loves The Sunshine’: one version featuring rapper MC Sakoni, and the other, Badu. Cuts like ‘Unity’ and the Betty Wright-featured ‘Pretty Brown Skin’ are dance-orientated, whilst the title track provides mellow vibes.  

Roy Ayers ‘Virgin Ubiquity II’ (BBE/Rapster) The second instalment of Ayers’ unreleased recordings from 1978-81, kicks off with the cool jazz-funkster ‘Holiday’, which features Ayers’ soloing vibes plus a delicious female singer pushing for a Martin Luther King public holiday, which since come to fruition. Funk is best represented by the percussive instrumental ‘Funk In The House’, the clavinet-featured ‘Liquid Love’, the disco-ey ‘Tarzan’. Includes an impressive demo version of Ayers’ soul-jazz classic ‘Sunshine’.

Roy Davis Jr ‘Water For Thirsty Children’ (Nice + Smooth) Roy Davis, known outside the club scene for his crossover hit ‘Gabrielle’, delivers an enjoyable jazzy-vibed album. The title track, blessed with a riffing soprano sax, is a mellow mid-tempo with some pointed socio-tipped rhymes. Though predominantly a mellow mood album, ‘How Will You Know’ and ‘Soldiers Listen’ are house tracks built on thumping rhythms.

Rupee ‘1 On 1’ (Atlantic) This Bajan singer is the latest to popularise the soca/dancehall sound. He kicks off with the optimistic ‘Victory’, and the bubbly sounds continues. Tracks like the dancefloor-friendly ‘If I Can’t’ and ‘Helpless’ show Rupee has enough potential hits to sustain interest. The latter, with its catchy, sing-along chorus, seems like a more obvious single, rather than dancehall-primed ‘Tempted To Touch’. Whilst ‘Jump’ is an obvious jumpy-jumpy- track, it’s magnificently contrasted by the mellow, acoustic, soulfully sung female ode ‘Woman’.

Salif Keita & Kante Manfila ‘The Lost Album’ (Cantos) Thank goodness someone re-discovered this ‘lost’ album! Before Keita became a global star, he worked with guitarist and band leader Manfila. This acoustic album is probably one of the most refreshing new releases around. Keita’s vocals are powerful and enchanting as ever, the children’s chorus on tracks like ‘Toura Makan’, charming, whilst Manfila’s guitar sound is augmented in places by kora, brass, and percussion. One of the standouts is the mid-tempo ‘Djigui’, where guitar and trumpet are given space to shine long before Keita’s dominating vocals come in. ‘Wara’ captures the sound of ‘60s rumba. Another highly recommended roots music.

Sandy Nelson ‘The Beat Goes On’ (Stateside) If you want to lose yourself in some fun ‘60s music, then this compo should do the trick. Re-live or enjoy the ‘groovy ‘60s’ sounds with this drummer’s instrumental-fuelled tracks. If it’s not rocking on a Tamla-Motown kinda rhythm, like ‘Nothing’s Too Good For My Baby’, it could well be Booker T & The MG’s on the organ and guitar driven ‘Gloria’!  

SAS ‘Who Dares win’ (sasdiplomats.com) British brothers who relocated to New York to take up a university scholarship on account of their six foot-plus height. During their Stateside stay, they’ve almost become Yankies, as they ply a hardcore brand of rap, glamorising guns and gangsta stances, and crass sex references. They may have skills, some humour, and he fact that they can flow one time like Yankies and talk like Brits, has its charm. They run with Cam’ron’s Diplomats, and at one time were reputed to be signed to Damon Dash’s Roc-A-Fella label. Anyway, current boss Jay-Z features ‘Cru Love’. Juelz Santana features on a couple of tracks, as does the Mary J-echoing Nicole Wray, who blesses ‘Love Don’t Live Here’ and ‘Back Up Against Da Wall’ with fine R&B tones.

Scratch ‘The Upsetter Again’ (Trojan)  How things have changed – this CD reproduces the 1970 original cover with its 14 shillings and 6 pence price tag. That’s about 75 pence in today’s money! There are no crossover hits here. The majority of the tracks  have more of a rocksteady tempo. This is more for aficionados and big people’s music. Among the instrumentals and dubs can be found Dave Barker & The Upsetters’ vocal version of ‘Will You Still Love Me’, and the toasting Count Prince’s humorous ‘Mule Train’.  

Seal ‘Best 1991-2004’ (Warner Bros) Funny enough, Seal doesn’t seem to have that many big hit singles. There’s ‘Crazy’, ‘Killer’, ‘Fly Like An eagle’, ‘Future Love Paradise’, ‘Prayer For The Dying’, and the big international radio-loved hit ‘Kiss From A Rose’. What makes this compo useful is CD2., called the ‘acoustic album’. Here Seal, re-interprets some of his hit songs, such as the cool ‘Crazy’ and ‘Get It Together’, plus less well-known ones, like ‘Don’t Cry’, ‘Colour’ and ‘Touch’. Evidence of a confident and fine singer-songwriter.  

Senor Soul ‘What It Is, Y’All: The Best Of Senor Soul’ (BGP)  A new name to moi. The funky ‘Don’t Lay Your Funky Trip On Me’ was so evocative of War, I was not surprised to find this act was an early version of War. If you’re into ‘60s/’70s funk and jazz-funk, or Booker T & The MG’s, you love this!. Includes instrumental covers of ‘Pata Pata’, ‘Uptight (Everything’s Alright)’ and ‘I Heard It Through The Grapevine’. It’s oh so damn funky – cuts like ‘It’s Your Thing’, are a breakbeat fan’s delight.  

Sherwin Gardner ‘Who I Am’ (UB1)  Being a little islander like Kevin Lyttle, Sherwin is more than a reggae artist. He is soul singer, and a sing-jay who can one minute ride a roots reggae rhythm, the next a funk or soulful tune, and the next it’s a soca or dancehall rhythm. But above all, he’s upfront and infectious with his enthusiasm for the Lord which flows from his vocal cords. Very few artists outside of the Rasta faith can sing about their faith in such an infectious manner as Sherwin. ‘Thank You’ and the soul-laced ‘Hiding Place’ are certainly examples of the irresistible cuts I’m talking about. If you’re looking for the Christian equivalent of the Sizzlas and Capletons, you had better check out Gardner. An impress, musically accomplished and varied set. Go discover!  

Shirley J Thompson/Royal Philharmonic Orchestra ‘New Nation Rising: 21^st Century Symphony (RPO) You don’t have to understand classical music to appreciate this. Whilst there’s lots of strings and moods to absorb one, Shirley brings some of her black background to bear on her symphonic compositions. ‘New Nation Rising’ incorporates rap, for example, and it’s got a funky rhythm!

Shiyani Ngcobo ‘Introducing’ (World Music Network)  Ngcobo is a purveyor of the Zulu folk music style called maskanda. He has an emotive vocal is demonstrated on pensive songs like ‘Udadewetha’, whilst the speed singing style can be found on the opener ‘Yekanini’. His folky, acoustic guitar and traditional string instruments ably accompanies all his songs. This will most definitely be a treat for most roots music lovers.  

Shortman ‘One 4 Man’ (First Love/Cocobutta)  One of the leading lights on the London performance poetry circuit, with a self-descript name, the spelling of which he emphasises on ‘shortMAN Is Spelt’,  you know there’s going to be some humour here. Unbelievably for a British artist within a niche market, shortMan has the luxury of a double album over which he lets his creativity run free. ‘African Wildlife’ has shortMAN MCing over some rough drum & bass beats, with some jungle atmospheric noises. He drops rhymes over some old school R&B and makes humorous references to Tracy Chapman, and adds a snippet of her ‘Fast Car’ in the mix. ‘When The Music Stops’ should get hip-hoppers head-nodding continuously. He chats and drops poetry on ‘Hot Soup’ and ‘Eat Popcorn’, which are more than about food, before a live audience. The mood-changing ‘shortHAUL’ has him rapping over jazz beats and reflecting before an enthusiastic live audience. The socio-commentary about the dark-side of black British life, ‘Thin Justice’, is certainly the most immediate tracks here. The sweet, mellow female backing vocals and jazzy, hip-hoppy beats. Ditto: ‘Like’, which is more like a love song. Eclectic and left-field, for open-minded heads.

Shyne ‘Godfather Buried Alive’ (Gangland) Though incarcerated on account of his involvement in that palaver that embroiled Puffy and J-Lo, that hasn’t stopped him recording an album. The first interesting thing is that he uses reggae, Marley’s ‘No More Trouble’, as the bed for ‘Quasi OG’. The second interesting thing is despite being incarcerated, he continues to sell a gangster stance. Though he has a good, albeit profanity-strewn, flow, his reality rhymes offer no hope, as he advocates doing whatever.  

Shystie ‘Diamond In The Dirt’ (Polydor) British female rapper Shystie has been given scope to show her raw, on the road, style, as she drops rhymes of dark, grimey urban tales of difficulties. If there’s ‘One Wish’ she can have, it’s for God to shed some light on that dark life. Although this is raw hip-hop, particularly for a major label release, has a couple of tracks tipped to garage (‘Step Bac’), Miami bounce (‘Woman’s World’), dancehall (‘Bank Robbery’), R&B – sweet R&B-laced singalong girl’s anthem ‘Somedayz’ and the obvious next single - ‘Make It Easy’. She’s got the underground covered, and no doubt, despite her hardcore lyricism, can crossover.

Siani ‘Love Is’ (Kyra Melodies) These girls are definitely one of Britain’s happening contemporary gospel acts. The title track is one of the funkiest R&B tracks around. Ditto: ‘Love Ya’ and the Jahziel-laced ‘My Saviour’, which are unadulterated gospel songs. The mellow a bit with cuts like the two-step paced ‘Coming Home’ and ‘Get Up On The Floor’. Discover this Linslee-produced album.  

Siji ‘God-Given’ (BBE) If you’re looking to discover a neo-soul artist or if you’re feeling withdrawal symptoms while you wait for new material from D’Angelo or Maxwell, then Siji is capable of filling the gap. He has an impressive soulful voice, sometimes echoing of Al Green. His music is now, but has old school sensibilities. The songs are quite strong and varied in style. It’s the type of album you can leave to play all the way through and still enjoy it. Though I must say the mellow ‘Bittersweet’ is quite a fave, as is the uptempo ‘Running Away’. Siji draws on his Nigerian roots, by using elements like the talking drum. He used to be based in Blighty, but is now based in New York

Silhouette Brown ‘Silhouette Brown’ (Ether) Great pedigree does not guarantee a great album. However the diverse talents behind this album have created a great, vibey listening, and danceable album. The guys behind this project are 4 Hero’s Dego and Bugz In The Attic’s Kaidi Tatham, who handle the music and production, plus sweet vocals from Deborah Jordan (the mellow, soulful broken beats ‘Pain’), and Bembe Segue (atmospheric jazz-funkster ‘Whose (sic) In Charge’). This is a collaborative effort where the component parts add up to create something edgey and delightful. You want cool beats, nice melodies, delightful vocals? You’ve got them. A feel-good album! An impressive album, a definite must-buy!

Silk ‘The Best Of’ (WSM) They had some fine vocals – check ‘Lose Control’ for evidence - and grooves, including some bumping, hip-hop laced tracks. But could their career have stalled because their material hardly progressed outside the freaking subject matter. Includes ‘Freak Me’ plus a remix, ‘Happy Days’ featuring their mentor Keith Sweat. My favourite’s the two-step soulster ‘Hooked On You’.

Sizzla ‘Life’ (Greensleeves) The sing-jay has taken full creative control of his career by producing this album for his own Kalonji label. It kicks off well with the conscious ‘Things Will Be Better’, and the bubbling ‘Mortal Man’ featuring Thriller U. However, I’m surprised at the use of profanity in his ‘Marijuana’ espousing song, and elsewhere. Spiritual Rasta themed-songs abound in tracks such as ‘Jah Love’ and ‘Jah Works’, and he touches on the romantic with the gorgeous ‘Perfect Lover’ and ‘One In My Life’. Lay off the profanity, and I’ll have no serious issues.  

Slim Dutty ‘The Story So Far’ (Trinity) I may not like the four-letter utterances, but that said, I’m down with Slim because he’s not just bigging up Harlesden on record. He’s supported our Welcome To Harlesbridge community event from day one. Considering the image of Harlesden, it’s nice to see someone proud to be associated with the London area. He’s seen the dark side and he raps against the negativity on cuts like ‘Against The Clock’ and ‘Blood Publes’. ‘Believe Me’, it’s refreshing to hear someone who’s really keeping it real and preaches positivity in the midst negativity. He also parties, as on his singles ‘2 Good 4 Your Own Good’ and ‘Party Wid Me’. ‘Finer Things’ is an R&B-laced reflection on high maintenance women.  

Smith & Mighty ‘Retrospective’ (K7) The Mighty Bristolian production, responsible for putting big beats, dub grooves, and breakbeats behind soulful covers, finally get a retrospective out. Which in some ways makes up for their Loondon album which was pulled at the last moment. This is a useful document which includes influential tracks such as Fresh 4’s rocking cover of ‘Wishing On A Star’, S&M’s sparsely backed cover of ‘Walk On By’ and ‘Anyone’, plus a couple of cuts featuring Tammy Payne, which include the gorgeous closer ‘Same’. S&M’s love of dub and reggae can be found on tracks like ‘Down In Rwanda’. Worth investigating.

SOS Band ‘Greatest Hits’ (Tabu) Yes, there’s ‘Just Be Good To Me’, ‘The Finest’, ‘SOS’, ‘Weekend Girl’, ‘Sands Of Time’, ‘No Lies’, and the superb ‘Tell Me If You Still Care’. All memorable songs. Also, their thumping ‘80s Jam & Lewis produced sound has aged well.  

SOS Band ’S.O.S’/‘Too’ (Tabu) Tabu’s re-issue programme includes the label’s premier group’s two album. The first includes the phat, funk driven cuts like ‘SOS (Dit Dit Dit…)’ and ‘Take Your Time’.  ‘Too’ treads the same funk, party tunes of the early ‘80s. Includes the disco track ‘Do It Now’ and the jazz-funk instrumental ‘For The Brothers That Ain’t Here’. Being a self-contained band, which included a brass section, their forte was a big, organic funk sound with Mary Davis’ vocals giving it a smooth touch. However, they were equally capable of producing ballads like the soulful ‘What’s Wrong With Our Love Affair?’ and ‘Open Letter’ on ‘S.O.S’, and on ‘Too’: the radio-friendly ‘Stay’ and jazzy ‘Do You Know Where Your Children Are?’.  

Soulnaturals ‘Sweet Communication’ (Fighting Chance) A little known Brit soul band with a lot of talent that deserve better recognition. You only have to listen to the first track, ‘Lead Me To the Water’ – oh, the beauty of the rich strings and the adorable female singer – one listen and you out to be hooked! The track that follows funks up the elements just a little bit more. The songs benefit from the adept fusion of programmed with live musicianship. ‘Building On A Bad Foundation’ makes a solid comment, and it’s also primed to rock any dancefloor.  

Sugababes ‘Taller In More Ways’ (Island) The trio are back with an album fashioned to maintain their place in popdom. Sugababes do not pretend to be interested in saving the world, or even their community. It’s all about subjects closer to home – to self. So you have an album full of girlie songs about love, relationships, flirting, female charms, sexual politics, and a world in which women pull the strings without the testosterone-driven men even being aware! They are a good pop group, who will no doubt hit with new single ‘Push The Button’. The Dallas Austin-produced ‘Gotta Be You’ should find favour particularly on the more commercial R&B club. The slo-mo ‘Follow Me Home’, awash with huge orchestral strings and lilting hip-hoppy beats and scratching is a very radio-friendly mid-tempo track no doubt primed for a Yuletide release. The garagey/rock fusion ‘Red Dress’ is a bopping track, which with lines like “A man’s world, but boy can’t you see we’re pulling the strings, we’re taking the lead”, should become a female anthem. Sugababes’ attempt at being deep, or more meaningful, is the acoustic guitar-driven ‘Ugly’. It’s a seemingly autobiographical offering talking about growing up issues like differences in eye shapes, height, etc. Irrespective of those differences, we’re all the same they declare. If only those hurtful youngsters would take heed. They go rocky with cuts like their cover of ‘Obsession’.  Soundtrack for people who think there’s nothing much to worry about in life than to have a good time.

Sugar Minott ‘Good Thing Going On: The Best Of Sugar Minott’ (Trojan) OK, so it’s got the big crossover hit ‘Good Thing Going’. But then there are twenty more tracks to get through. It has further lovers rock cuts like ‘Never Too Young’, and his sweet cover of ‘It’s All The Game’. Plus roots and culture tracks like ‘Africa Is The Black Man’s Home’ and ‘Save The Children’. Minott has a fine singing voice, as demonstrated on cuts such as ‘We’re Going’ and ‘Never Gonna Give Jah Up’.  

Suriate Kur ‘Untold Story’ (Diligent Music)  First I must declare an interest in the fact that I’m tight with the owner of the London-based indie label. That said, I slept on this album for months, not realising its charm until recently. Now I can confidently say this is one of the best jazz-soul albums ever. OK, so it’s soft, on the quiet-storm tip, more commercial than underground. However, real musicianship comes across and the singer’s vocals are just as beguiling as her songs, which are all originals bar Carpenters’ ‘Close To You’. This deserve mainstream recognition. Check it out at diligentmusic.com. Love it!  

Sway ‘This Is My Promo Vol. 1’ (Dcypha) The rapper formerly known as Swaydasafo drops the promo to his ‘This Is My Demo’ album. After the Ghanaian skit demonstrated on the ‘Intro’, Sway kicks in with the cool, rolling title track. Perhaps his club-banger ‘Pepsi’ may attract a sponsorship deal with the soft drink maker, or the sample interlude may attract a bank or credit card company! ‘Thief’s Theme Freestyle’ exudes much humour over a phat groove. It’s unlikely the Usher featuring Sway track ‘Caught Up’ will see commercial release, nor the Philadelphia International-sampling ‘Month In Summer’.

Tajai ‘Power Movement’ (promo) The Oakland, Calif rhymester formally of Souls Of Michief, drops a straight up rap album which most heads ought to get into. The production’s clean and mostly uncluttered. Tajai seems capable of rhyming over different grooves, like the bumping warning ‘Do Not Touch’. He drops pure science on ‘Scientifically Speaking’ in a tone evocative of Gary ‘The Crown’ Byrd. ‘Quality, Equality’ is the surefire head-nodder, but  ‘Dedication’ is a critique and the most hip-hoppiest and funkiest cut here. A female chorus adds nicely

Talib Kweli ‘The Beautiful Struggle’ (Rawkus) Opens with ‘Going Hard’, which references the conditions of the third world garment workers that clothe the rich West. Certainly a tune for the anti-WTO campaigners. Probably that’s reason for this being one of the few rap albums to reproduce its lyrics in the sleeve booklet. The likes of Hi Tek, Kanye West and Neptunes weave the head-banging beats. For non-hip-hop fans, the obvious track is the R&B-laced, uplifting love song ’We Know’, which has some delicious flavour from Faith Evans.  West’s beats on ‘I Try’ rock. Whilst Mary J Blige’s vocals gives it a crossover appeal.  Ditto the conscious John Legend featured ‘Around My Way’. Still the R&B fusion continues with the Common & Anthony Hamilton featured ‘Ghetto Show’. A surprise groove is ‘We Got The Beat’, which mixes rocky guitars with electro beats.  

Tamia ‘More’ (Elektra) Tamia finally gets her ghetto pass with this album. She’s rolling on one of the funkiest R&B tracks around: the Trackmasters-produced ‘On My Way’ featuring rapper Red Café. Sems like she’s trying for the younger R&B niche covered by the likes of Ashanti. Although vocally she has the capability and the music to compete with rap-laced R&B cuts like the title cut and the Fabolous-rapped ‘Into You’, I think she ought to be looking towards attracting the more mature audience with her soulful cuts like the duet with Gerald Levert’, or the impressive ‘Whispers’, ‘Officially Missing You’ and  ‘Smile’.  

Tavares ‘Anthology’ (EMI) Quite frankly I remember this group only for ‘Heaven Must Be Missing An Angel’. Which is why I was surprised they warranted a double-CD retrospective. However, this compo allows many of us to re-adjust our impression. They show they’re a good vocal group, particularly on the soulful ballads, like ‘Check It Out’; ‘(Goodnight My Love) Pleasant Dreams’ and ‘Strangers In Dark Corners’. They also have a good cover of Hall & Oates’ ‘She’s Gone’. The disco tracks include ‘Whodunit’, ‘It Only Takes A Minute’, and ‘More Than A Woman’. A useful reminder of what a good act Tavares actually were

Terri Quaye  ‘An Evening To Remember’ (www.jazzcocktail.com) Could this be one of the best undiscovered smooth jazz or soul jazz albums around? How else are you going to discover this self-released collection of superbly performed standards such as ‘Night & Day’, ‘It Ain’t Necessarily So’, or ‘At Last’, if you don’t happen to have heard her at her residency at the Terrace Restaurant in the Le Meridien Hotel at 21 Piccadilly? Terri’s an accomplished singer-pianist who’s ably supported by double bassist Dave Silk and kit drummer Guy Silk. It may be ‘big people music’, but boy, it sure is enjoyable and relaxing! The perfect antidote to stressful urban living! Go discover via website, or else go get a cocktail at the Terrace Restaurant and catch her for ‘free’. By the way, Terri’s father is a distant relative – the late jazz singer Cab Quaye. Her brother Caleb, now a pastor in America, used to be the guitarist in the Elton John Band, and her half-brother’s Finley.

Terri Walker ‘L.O.V.E.’ (Mercury) Compared to her first album, from the first track, ‘This Is My Time’, there’s focus, punch, and Walker sounds savvy and believable when she declares this is her time. It’s followed by another strong R&Ber, ‘L.O.V.E.’.  There’s another potential hit track, the sassy hip-hop/soulster ‘Whoopie Daisy’. And she can do the soul thing too, as on the ballad ‘The Woman You Want’, not to mention a bit of reggae, as evidenced by the skanking ‘Slow It Up’!

The 411 ‘The 411’ (Sony) This Brit girl R&B group look certain to blow up because they’ve simply got all bases well covered. ‘On My Knees’ is simply one of the finest R&B tracks around. A perfect blend of old school soul with modern, hip-hop tipped R&B. Thankfully, they’ve got other happening cuts to sustain their career. They are sassy and pull it. Their lyrics are more than fluff. The girls are going to love the soul/R&Ber ‘No Excuses’, which features Lemar. Ditto ‘My Friend’, a rocking tune highlighting domestic violence. These girls are comparable to any of the best Yankie girl groups.

The Chosen Few ‘In Miami’ (Trojan) What do you know, this reggae band made it to Miami, where this was recorded with musicians from the KC & The Sunshine Band. It must have been an attempt to crack the national charts. Because pop and soulful sensibilities abound. ‘I Am A Man’ could have been by any American soulful, vocal group. ‘Funky Buttercup’ could have been by any ‘70s American funk band. Great breakbeats, but it may not be enough for more reggae fans. They competently handle their version of ‘Drift Away’. Comes with several bonus tracks, one of which – ‘Black Foxy Woman’, ought to be discovered by rare groove, jazz-funk and boogie music fans!    

The Dre Allen Project ‘L.Y.F.E.’ (nicetunes) Thankfully it kicks off with ‘Fly’, which I’ve been buzzing off ever since I received the promo single. It’s a great mellow fusion of pop, rock, with soulful vocals by Dre and his wife, ex-En Vogue singer, Dawn Robinson. It’s a bubbly, dreamy stuff. Think of Lenny Kravitz for some kind of reference. Sadly, hereafter, Dre covers too many styles, with some songs grabbing more, and others, no so much. Of interest is the rocky, turntable-featured ‘Programming’ over-scored by sassy vocals by Dre and Dawn. ‘2 Inches Of Water’ is a nice soft rock song with some thought-provoking lyricis. Ditto: the guitar-wrapped mellow ‘Pathetic’ (plus the cool, acoustic live closer) and ‘Don’t Take The Love’. Discover!

The Game ‘The Documentary’ (Aftermath/G Unit) The Game has obviously been on the streets running his game, and on the first proper song ‘Westside Story’ he let’s us know he’s a gangster, well before he got into adulthood. He’s certainly proud of it, and having one of those crossover grooves from his mentors Dr Dre and 50 Cent, people will be nodding to and consuming this track without giving much thought to the lyrics Ditto: ‘Hate It Or Love It’ and the R&B-laced ‘Don’t Need Your Love’. It may be America, but it’s said the language used by the kids in the skit that precedes the title track. The Game has a nice flow, it’s a pity he uses it in selling dark ‘Dreams’ and gangster tales. He’s got irresistible beats and singalong choruses that’s going to see him crossover, just like his mentors, for sure.

The Herbaliser ‘Take London’ (Ninja Tune) What a glorious vibey, atmospheric album, where turntablism, MCing, breakbeats and live instruments, including a brass section, drop funky, jazzy, hip-hoppy gems, like the gorgeous ‘Song For Mary’ and the dark ‘Kittynapper’. ‘Gadget Funk’ has a go-go-ish funkiness. Roots Manuva helms the slow-rolling ‘Lord Lord’.

The Mighty Zulu Nation ‘Abantu: IN Coalition With Aki Nawaz’ (Nation) For a group that started off as a fiery rap act, lately, Aki Nawaz has turned his group Fun-da-mental more into sonic agitators. His latest sonic explorations has led to this world music fusion of electronic dance musics fused with Zulu singing and chants. Just imagine the rich and varied vocal expression of Ladysmith Black Mambazo plus female vocals over electronic beats, and you won’t be far wrong. Exciting, and for the musically adventurous. Devoid of vocal samples, this is a natural collaboration between the two acts. Standout is the less frenetic ‘Uthando Lwakho’, which females a female led kind of vocal call and response. The MZN have been on the European festival trail with Fun-da-mental this summer.

The Mitchell Brothers ‘A Breath Of Fresh Attire’ (The Beats) Following on from Kano, this is the second release to come out of The Streets’ label. Kicking off with the foul-mouthed tirade that’s ‘F—k Me? F—k You!’, which some might find humorous, but I find so, unnecessary, it’s interesting to hear the rapping brothers criticising someone for swearing a lot on ‘Excuse My Brother’. That said, they provide a very London-centric and on the road sensibilities, like their take on police search, ‘Routine Check’; talking about benefit fraud on ‘GORGIE’, on which we find £88 every week doesn’t go a long way; not to mention criminality, like the slightly tongue in cheek ‘Don’t Try This At Home’, which is under-pinned by a nice, mellow, soulful music. For on road heads, and those living on the edges of the law, and people who get picked on or get suspicious looks because of the colour or how they look.

The Pharcyde ‘Humboldt Beginnings’ (Chapter One) Yes, they’re back. They introduce themselves over African drumming, and they’re still trying to sing! By the time they get to ‘The Uh-Uh’, the kick with a strong production and get back to rapping. The quality maintains throughout, plus their fans will love this because of the many skits. The Imagination-underpinned ‘Illusions’ has a familiarity factor.  

The Pharcyde ‘Humboldt Beginnings’ (Chapter One) Yes, they’re back. They introduce themselves over African drumming, and they’re still trying to sing! By the time they get to ‘The Uh-Uh’, the kick with a strong production and get back to rapping. The quality maintains throughout, plus their fans will love this because of the many skits. The Imagination-underpinned ‘Illusions’ has a familiarity factor.

The Quantic Soul Orchestra ‘Push On’ (Tru Thoughts) Ever heard of an R&B, breakbeats, hip-hop orchestra? Just take a listen to the frenetically charged opener, ‘Introducing…’, and ‘Get a Move On’ and you’ll get a clear idea. A very interesting fusion of samples and real, live musicianship, underpinned by funk and the odd Latin sensibilities. The title track could be an R&B screamer from the ‘60s. Stand outs include the orchestral strings-back, breakbeats-driven, and delicious female vocals-led ‘Feel Good’.

The Roots ‘The Tipping Point’ (Geffen)  I respect Black Thought’s flow and I know he has a lot to say, like telling the young and clueless to get some reality check on cuts like ‘Star/Pointro’ and ‘Don’t Say Nuthin’’. However, what I’m feeling most is the backing music. It’s real and very tight. The slow-rolling beats under the socio-tipped ‘Why (What’s Going On?) and the funky, jazzy beats of  the ‘Melting Point’ instrumental are cases in point.  

The Souljah Clique ‘RaggaMics 2’ (Phatt Lab) I ain’t gonna front. This mix CD from the Bristol crew has a lot of head-pleasing hip-hop and a smattering of ragga. However, I’m not down with some of the coarse language or the negativity that some of the MCs big up. Clique producer Trz and rhymster Kelz rope in the cream of UK hip-hop underground and tracks by the likes of Klasnekoff, Scorzayzee, Late, Oshin, Out Da Ville, and UK DMC 2003 champion DJ Quest. If this is up your street, then it’s best left to run through, rather than to dip in and out. Highlights include Scorzayzee’s ‘Picasso’.

The Streets ‘A Grand Don’t Come For Free’ (679) Voted the best album by one mag, this is certainly a wry, urban English offering. Mike Skinner aka The Street talks more than rap. His language is so-called street, full of profanities, but I guess very real for his multitude of fans. His material definitely is quite attractive, as there’s no attempt to be poetic or creative, it’s immediate because he talks about stuff most ordinary British lads can relate to. The music complements his lyrical style by not following any particular style or sound. I guess, he articulates the type of things most young lads talk about: girls, DVDs, crap mobile phone reception, TV, booze, legging it from a cab, and other angsty stuff. A very idiosyncratic offering, although the orchestrated ‘Dry Your Eyes’ stands out as akin to a love pop song.  

The X-Ecutioners ‘Revolutions’ (Epic) The X continue to uphold turntablism and the spirit of hip-hop. The Dead Prez, one of the featured artists, hype up on their track ‘Sucka Think’. The X display some cool scratching on the ‘The Truth’, featuring Fat Joe. The likes of Ghostface Killah, Black Thought help maintain the old hip-hop vibe going.

Thievery Corporation ‘The Outernational Sound’ (Eighteenth Street Lounge) For a DJ set, this album makes makes for a fabulous listening experience because these DJ/producers have a great, eclectic style that works together absolutely well, So whenyou put this o the deck, sit back and enjoy a ride through jazz, African, dance, Bollywood, right through to Thievery Corporation’s rocking reggae cut ‘Richest Man In Babylon’ and Delroy Wilson’s ‘Better Must Come’, which end this great musical trip! Recommended!

Today’s Mathematics ‘Today’s Mathematics’ (First Word)  A very interesting group from Leeds consisting of two male singers/rappers and a female singer. Their style takes in hip-hop, soul, pop, folk and jazz. Their lyrics cover social to religious issues. ‘Butterfly’ grows slowly from a mellow jazzy groove with rapping into to a full-on soulful refrain, they have a charmingly. Those delicious female vocals also excel on the soulful ‘Let It Go’. ‘Open Your Heart’ is reminiscent of a blissful, dubified, Congos reggae offering. Blissful cuts include ‘Home Coming’. Rapping and singing sit together well on the atmospheric ‘True Or False’. The closer ‘Jesus Loves You’ sounds like some pop-soul created in the ‘60s. Not any easily describable feel-good band.  

Today’s Mathematics ‘Today’s Mathematics’ (First Word) A very interesting group from Leeds consisting of two male singers/rappers and a female singer. Their style takes in hip-hop, soul, pop, folk and jazz. Their lyrics cover social to religious issues. ‘Butterfly’ grows slowly from a mellow jazzy groove with rapping into to a full-on soulful refrain, they have a charmingly. Those delicious female vocals also excel on the soulful ‘Let It Go’. ‘Open Your Heart’ is reminiscent of a blissful, dubified, Congos reggae offering. Blissful cuts include ‘Home Coming’. Rapping and singing sit together well on the atmospheric ‘True Or False’. The closer ‘Jesus Loves You’ sounds like some pop-soul created in the ‘60s. Not any easily describable feel-good band.

Totonho E Os Cabra ‘Sabolador De Satelite’ (Trama) What’s this Brazilian on? The bleeps on the beats dominated ‘Rita Leea De Itamaraca’ indicates it’s something to do with satellites and space, as displayed on the cover art. ‘Jaspion Do Pandeiro’ is a danceable track driven by handclaps and underpinned by a heavy bassline. The same kind of heavy bassline drive the funky ‘O Homem’. ‘Argemira’ is a percussion-driven batucada. Definitely something for lovers of leftfield music.

Trojan Sound System ‘Trojan Sound System’ Trojan) The London-based sound system have been busy on the club and festival circuit this summer. This selection, with the selectors Earl Gateshead and Daddy Ad, is so tough, you will bopping to the tracks as if you were in a club! Especially as there’s some DJ talkover the records, just like in a dancehall. How can you resist Johnny Clarke’s ‘Enter His Gates’, or Admiral Bailey’s ‘Sling Ting’-driven ‘No Wey No Better Than Yard’. Includes cuts by Richie Spice, John Holt, Ken Boothe and Garnett Silk, plus two superb mellow closers:  Gentleman’s ‘Intoxication’ and Ras Triumphant’s ‘Ras In Her Life’.

Tuggstar ‘The Africa EP: From Here To There And Home Again’ (Tuggstar) This east London rhymer is at heart more of a performance artist, as opposed to a rapper. Perhaps that’s reason why the backing music, and indeed the female backing vocals, seem not to be that important. Tuggstar covers the British black multi-personality issues, like the confusion of identity, the hiding of African names, the African and Caribbean tensions and prejudice. A pro-black rhymer, he uses samples of the likes of Louis Farakhan to accentuate his Africanist stance. Corrine blesses a couple of tracks with under-stated R&B vocals. Tuggstar has too much socio-political exhortations to make, and thus concentrates more on the words. Includes the uplifting African percussion-driven ‘ Home Sweet Home’, which includes the admonishment of the superiority some European-born Africans feel over their continent.

Tuggstar ‘The Africa EP: From Here To There And Home Again’ (Tuggstar) This east London rhymer is at heart more of a performance artist, as opposed to a rapper. Perhaps that’s reason why the backing music, and indeed the female backing vocals, seem not to be that important. Tuggstar covers the multi-personality issues of British black – the confusion of identity, the hiding of African names, the African and Caribbean tensions and prejudice. A pro-black rhymer, he uses samples of the likes of Louis Farakhan, to accentuate his Africanist stance. Corrine blesses a couple of tracks with under-stated R&B vocals. Tuggstar’s has too much socio-political exhortations to make, and concentrates more on the words. Includes the uplifting  African percussion-driven ‘ Home Sweet Home’, which includes the admonishment of the superiority some European-born Africans feel over their continent.

Tunde ‘Tunde’ (RCA) The voice behind the now defunct Lighthouse Family (LF) drops a debut, that strangely, considering the amazing commercial success of LF, hasn’t made much noise. And it’s certainly nothing to do with the quality. On the whole, it consists of lush orchestral backed pop-laced music. Coffee-table music. Stuff that sits well with pop and MOR radio. Like the ballads ‘Anaesthetic’ and UK bonus track ‘Long Way Home’, and the more familiar LF type mid-tempo cuts like ‘Great Romantic’, ‘Letting Me Down Gently’ and ‘Passing The Hours’. The harder, more dancey, beats behind ‘Our History’, seem out of place.  

Tweet ‘It’s Me Again’ (Atlantic) Quite frankly Tweet doesn’t need her mentor Missy Elliott hyping on her record. Mentor Missy Elliott’s all over the banging, rap-laced R&B-soulster ‘Turn Da Lights Off’ and the funky ‘Things I Don’t Mean’. However, Sweet’s an accomplished soul singer, who can hold her own. As demonstrated on the mellow, one-drop soulster ‘Iceberg’, the ballads ‘Taxi’, ‘You’ and ‘I’m Done’, and the bonus track ‘When I Need A Man’.

US3 ‘Questions’ (US3) One of the pioneers of hip-hop/jazz fusion are back, and they sound strong! Hip-hop, jazz and soul sensibilities sit well here. Like the Mpho-sung soulful ‘Whatcha Gonna Do?’ and jazzy ‘Get It Together’, which also features rap by Amad-Jamal Washington. Includes a rocking bossa nova and a soul/funk remake of their first hit ‘Cantaloop 2004’, featuring rapper Reggi Wyns.

Vakoka ‘Introducing’ (World Music Network) A collective of Malagasy musicians brought together to recreate the different native styles. The guitar or its local version features in different forms. Flutes dominate ‘Lazao’, whilst the acoustic guitar picking on ‘Faly Sy Ravo’ gives it a folky vibe. Violins, and accordions are some of the instruments that add to the tradition ones to fuse the new Malagasy sound.

Van Hunt. Van Hunt (Capitol) From the first blast of the lead off track, ‘Dust’ with lilting funk-rock sensibilities, Hunt impresses with his neo-soul style. It has an irresistible groove and Hunt’s voice charms without even though it’s quite well within the mix. ‘Sounds Of Please’ is a sensuous, soulful ballad on which Hunt’s mellow vocals echoes of Maxwell and Mayfield. This could be a staple of connoisseur soul sets. However, the radio-friendly ballad ‘What Can I Say (For Millicent)’ jumps out, and is destined to be a pop hit, should it be released. The funkster ‘Highlights’ has similar potential. With other tunes covering the quiet-storm and that Stevie-echoing funkster ‘Her December’, Van Hunt’s a name to look out for in 2004.

Various ‘Slum Dunk Presents Funk Carioca’ (Mr Bongo) A compo of Brazilian funk. Although it’s new material, for those not on the scene, it sounds like they got caught in a ‘80s electro time warp! Series, whether singing or sing-rapping, the beats are full-on ‘80s electro – if you’ve got the energy, then let the seamlessly mixed tracks by the Tetine crew keep following, because it doesn’t let up on the pace for even a little breather.  For electro fans, this, mostly 808 drum-charged tracks, will make a change, as it’s topped with Portuguese chants and singing.  

Various Artists (Half Tooth) The names – Kenn Starr, J-Live, Oddisee, Dash, etc may not be well known on these short, but that shouldn’t detract from the fact that they drop solid hip-hop. With UK distributors Units and Studio in place, hopefully this should start creating a bit of buzz. Language excepted, all the joints have the power to interest most heads.. Oddisee’s ‘Brother’ uses a cool, funk groove to deliver its brotherly singalong  rhymes. Love the simple, but effective rhythms too,

Various Artists ‘100% Reggaeton’ (Virgin) This Latin take on dancehall music is being touted as the next big thing. Well, this fusion of Spanish singing over dancehall and hip hop beats may well support a club scene and offer the odd crossover, but for now it seems more destined for the clubs, partly because of the language barrier. The only English featured track is Cavalucci’s ‘Guess Who’s Back’, which has the potential to feature on both the dancehall and hip-hop scene. Benny G’s dancehaller ‘Pegate’ is quite accessible. Ditto MC Duty’s firing dancehaller ‘Rompe Cintura’.

Various Artists ‘Africa Raps’ (Trikont) If for some reason you think African rap is weak productions and raps, this compo should definitely set you straight. Yes, we may not understand what they’re on about, but the production on here is tight and just as rocking as some of the respected hip-hop beats that come out of America and Europe. If you are a hip-hop fan desirous of a wider experience, you’d do yourself a favour be grabbing a copy of this album, which features a few of the reputed hundreds of rap crews in Senegal, Mali and Gambia. Because whether it’s Gokh-Bi System or Abass Abass fusing koras and traditional sounds with hip-hop, Bibson dropping strictly hip-hop beats with a snatch of a soukous sample, or V.A. with a ting of soul-jazz-tinged, there’s no letting up. The better known names here are Djoloff, Pee Froiss, Da Fugitivz and Positive Black Soul, who close with the Cuban son backed ‘Boul Ma Mine’.

Various Artists ‘African Dope Soundsystem’ (Dubwise/African Dope) It’s scary listen to this South African compilation. Hearing SA artists so seeped in reggae, that the patois, lingo, music and sounds could well be from Jamaica is crazy. Sadly, it seems it’s the hardcore and so-called reality artists that have influenced them, so it’s dancehall in the main. No roots and culture, lovers or seriously conscious stuff here. Instead, we had odes to the weed, and an incongruous song about ‘Black Repatriation’. Teba featuring Crosby & Red Lion and Chronic Clan at least introduce their local language into the mix, whilst Juan Thyme featuring Crosby drop one of the rockiest drum & bass cuts about!  

Various Artists ‘African Spirits’ (Soul Brother) Culled mostly from jazzy records with African connections. Starts of powerfully and funkingly with Pharoah Sanders’ ‘Our Roots Began In Africa’. Sathema B. Benjamin offers an impassioned soul-jazz ode to the continent: ‘Africa’. Carlos Garnett’s saxophone featured and diva sung ‘Banks Of The Nile’, provides an irresistible, upbeat cut. UK’s J-Life add the cool, soul-jazz cover of ‘Afro Blue’. Ends with the rocking, conscious ‘Children’, featuring Nation/African Liberation Arts Ensemble which journeys through different styles in its ten minutes, including some wise raps and charming scatting.

Various Artists ‘Afrique C’est Chic Vol. 2 (Slip N Slide) African-tinged club-primed house music from D’Jaimin featuring Oulé Oulé Family’s ‘Esengo’ to Louie Vega’s ‘Africa/Brasil’. It’s literally hands in the air grooves with African chants or rhythms. A few tracks feature African artists, such as Frederic Galliano And The African Diva’s ‘Melou Melou’, and Africanism featuring Ladysmith Black Mambazo’s ‘Steel Storm’, which is one of the stand outs here. Although African music can funky, in order to mix it successfully on Western house-orientated clubs, we’re presented with Afro-dance fusions that don’t let up on the dancefloor. Congolese rhumba style wailing guitars, big blow horns reminiscent of Manu Dibango, female choruses echoing of the Wassoullou chants abound. Fela Kuti presents his Afro-beat sound strongly with ‘Traitors Of Africa’. A Hundred Birds provide a rocking version of Angelique Kidjo’s ‘Batonga’, whilst Salif Keita features on Martin Solveig’s remodelled ‘Madan’.  

Various Artists ‘Afro Baby: The Evolution Of The Afro Sound In Nigeria 1970-79 (Soundway) This compo shows that although Fela Kuti – who represents here with the powerful near 9-minutes of the 1972 local hit ‘Fogo Fogo’ may have been the pioneer of Afro-beat, the style had been picked up by several of his contemporaries. Such as The Sahara All Stars’ funky opener ‘Alikali Adajo’ or Orlando Julius & His Afro Sounders’ ‘Musa Sise’. The Afro tag here represents the deliberate move by urban Nigerian musicians to add an obvious African vibe to various imported styles. Be it funk, such as Fred Fisher’s Aso-So’ or the soul/R&B such as Bola Johnson’s ‘Lagos Sisi’, one of the outstanding tracks here, which highlights the dark influences of the city upon a young girl.  

Various Artists ‘Afrobeat Sessions’ (Sessions/Union Square) The Fela and Afro-beat scene has been growing, both live-wise and club-wise, especially in places such as London. So it’s not surprising that there’s a growing number of afro-beat records coming out. The double-CD sleeve declares on there’s ‘over 2 hours of the funkiest music ever made’ here. And it’s not all centred on Fela or Nigeria. Although both CDs  kick off with a Kuti – Femi’s ‘Beng Beng’ on CD1 and Fela’s ‘Water Get No Enemy’ on CD2, it’s very eclectic in displaying the Afro-beat influence. Hence the likes of DJ Food, New York housers Dennis Ferrer and Masters At Work, rappers Ty and Common, and JJC & The 419 Squad rub shoulders with Sir Victor Owaifo, Manu Dibango, Peter King, ET Mensah and the Uhuru Dance Bandand. Ethiopian chanteuse Gigi is a surprise and delight, whilst Antibalas’ ‘Che Che Cole’ uses rhymes we used to sing in Ghana. Since it’s been used by Latinos like Willie Colon, one wonders whether it came to Ghana from Latin America, or whether it got to Latin America via the slave trade.  

Various Artists ‘Amandla! A Revolution In Four-Part Harmony’ (ATO) The soundtrack to one of the most powerful filmed explorations of music’s potency within socio- and political context. The only downside to this twenty-nine track compilation is that Abdullah Ibrahim’s ‘Mannenberg’, the creation of which the composer-pianist explains in the film, is but a few seconds long. That said, there are songs that spoke up during apartheid, and post-apartheid, of which Mbongeni Ngema’s ‘Lizobuya’ is uplifting whilst it demands freedom for all now. Nancy Jacobs And Sisters’ offering sounds like something from Miriam Makeba’s jazz-tinged Skylarks days. The Original Cast Of King Kong provide a melocholic offering befitting of the title: ‘Sad Times, Bad Times’. Vusi Mahlasela’s vocal offerings are just as heart-wrenching. Hugh Masekela’s ‘Stimela’ is even more powerful when seen behind the images of migrant worked packed on the trains. Although Joe Nina’s ‘S’bali’ is an upbeat, modern dance track, it has a pointed socio message. A powerful, emotive album. Includes useful liner notes.

Various Artists ‘Bad Boy’s 10^th Anniversary … The Hits’ (Bad Boy) This is not choc-a-bloc with the obvious hits. Maybe for contractual reasons Puffy couldn’t represent more of his hits here. Biggie saves this with compo – he features on six of the sixteen tracks. These include ’Hypnotize’. There’s however, ‘I’ll Be Missing You’, ‘Flava In Ya Ear’, ‘I Need A Girl’, and a remix of 112’s massive ‘Only You’, featuring Mase and Biggie. A fair commemorative offering, which warrants its Parental Advisory sticker.

Various Artists ‘Best OF TK’ (Stateside) Simply some of ‘70s disco’s memorable club and crossover hits, from George McCrae’s ‘Rock Your Baby, KC & The Sunshine’s ‘That’s The Way I Like It’, Foxy’s ‘Get Off’, to Bobby Caldwell’s soul classic and oft-sampled ‘What You Want Do For Love’.  

Various Artists ‘Big People Music 11’ (Jet Star) The likes of Luciano, Winston Reedy, Gregory Isaacs, Glen Washington, Ruddy Thomas, Winston Francis, Danny Ray, and Richie Stephens show that there’s still an appreciation of music by veteran artists not necessarily appealing to the youth and dancehall market.

Various Artists ‘Big People Music 11’ (Jet Star) The likes of Luciano, Winston Reedy, Gregory Isaacs, Glen Washington, Ruddy Thomas, Winston Francis, Danny Ray, and Richie Stephens show that there’s still an appreciation of music by veteran artists not necessarily appealing to the youth and dancehall market.

Various Artists ‘Black Queen’ (Sunshinekid.com) I bought this compilation on the streets from its compiler rapper N.A.T. Excusing the odd profanity, the brushing aside the fact that some of our brothers and sisters are on lockdown because of choices they made, and not because of the system – hey, I think we should send them love letters, but let’s not pretend some of our own didn’t get there because of their own making – that said, for those looking for conscious, black and sister bigging up music, then this should fit the bill. There are some good rappers, poets and singers on here, all with something for the head, and the feet too. The title track his a new version of N.A.T.’s track, this time laced with some R&B singing by Emanuel who drops an impressive contribution with ‘Afri-Queen’. Standouts include Nii Parkes’ ‘Princess’ and posse cuts ‘Sista Comrade’ and ‘Umbilical Cord’. Worth investigating.  

Various Artists ‘Blaze: Found Love’ (Slip N Slide) First off, let me admit my ignorance. I sat in the DJ booth of New York’s Shelter Club waiting to interview Louie Vega, and I did not realise that his DJing partner was Kevin Hedge, one half of the Blaze act and production team. Anyway for those that know, Blaze create uplifting house and garage, which abounds here. Like Ritmo De Rua’s gorgeous intrumental ‘Universal Love’, Louie Vega featuring Blaze’s uplifting ‘Brand New Day’, or Ambrosia’s ‘That’s How Much I Love You’.This must be left to play continuously to work its magic.

Various Artists ‘Boogaloo’ (World Music Network) Sitting here in Ghana reviewing this record, I’m reminded of the late ‘60s when my elder relations were clubbing to the boogaloo, then the in Latin dance music. West Africa has always been into Afro-Cuban and Latin sounds, so it’s not surprising that this American influenced Cuban sound caught on here. Veteran Latin musician Tito Puente Y Su Orchestra’s humorous big band dance cut ‘Fat Mama’ is a delight.  Charlie Palmiera offers the brassy, jazzy ‘Boogaloo Mama’. Ditto: Ralph Robles’ ‘Soul Nitty Gritty’ and The Lebron Brothers Orchestra’s ‘Boogaloo Lebron’. Includes offerings from Celia Cruz, Willie Colon, Ray Barreto, and Fania All Stars, who helped propel the next development in the 70s: salsa.

Various Artists ‘Breathe Sunshine Vol. 2’ (Amabala) Sub-titled ‘chilled electronic beats from Cape Town To Johannesburg’, there’s hardly any tracks that have mellow, atmospheric sounds through out. The nearest is to such an expectation is ‘Yoda.com’. What you have are atmospheric, ambient sounds over beats-based production. RSL feat. Ladysmith  Black Mambazo’s ‘Elungelo’, stands out on account of the use of LBM. So if you’re looking for something a bit exotic, you may wish to check this out. You can lose yourself in Goldfish’s dreamy ‘Dream’. Comes with a DVD of containing the video component.  

Various Artists ‘British Hustle’ (Soul Jazz) The mid-‘70s was when British black music began to really come into its own. Particularly with the Brit-funk sound. If you lived it, or you’re a fan, then this compo serves a veritable treat. Because many of the essential tracks are here. This is a mixture of club and chart hits. Opens with Hi-Tension’s ‘British Hustle’, there’s Atmosfear’s ‘Dancing In Outer Space’, Beggars & Co.’s ‘Somebody Help Me Out’, Freeze’s ‘Southern Comfort’ and Light Of The World’s magnificent ‘London Town’ Essential buts by the likes of FBI, Gozalez, Heatwaveand Olympic Runners are also represented. We need a volume two to cover stuff like Linx’s ‘You’re Lying’!

Various Artists ‘Cali Soul’ (Unisex) Subtitled ‘the new wave of soul from the west coast’, one has to say that Unisex’s US geographical themed releases really are do a good job bringing together some good stuff. The good thing is not just well-known cuts, like Lucy Pearl’s rocking ‘Don’t Mess With My Man’, but also fine, but less known cuts, like Goapele’s ‘Childhood Drama’, Will I Am’s gorgeous ‘Lay Me Down’, and The Rebirth’s jazz-funky ‘This Journey In’.  

Various Artists ‘Caribbean Playground’ (Putumayo) ‘A joyous celebration of Caribbean music and culture that will delight children and adults’ proclaims the bumf. Certainly America roots star Taj Mahal’s folk-ska tinged opener ‘Great Big Boat’ has humour which will appeal to children, whilst Desmond Dekker’s ska version of the old chestnut ‘Jamaica Farewell’ will appeal to adults who remember versions by the likes of Harry Belafonte. American Keith Frank gives us a rocking Cajun-infused reggae version of Marley’s ‘Three Little Birds’. Whilst the French/Jamaican collaboration of Karl Zero & The Wailers provide an oddball cover of ‘Coconut Woman’, which is certainly for the children. Ditto: Trinidad’s Asheba re-telling of African iconic folklore ‘Little Anancy’. Puerto Rican José González’s ‘Bomba Te Traigo Yo’ with it great guitar lines, evocative of classic Congolese rhumba, upbeat vocals and percussion, makes it the stand out here.

Various Artists ‘Channel U presents Underground Chapter 2’ (Long Lost Brother) The compo kicks off with Lethal Bizzle’s massive underground and crossover hit ‘Pow!’. It includes overground-aimed offerings by Mark Morrison, Estelle, Jay Sean, Iceberg Slim and Zena, whilst the real underground tipped cuts come from the likes of Slimm Dutty, Street Politiks, Lady Sovereign, Kano, and Choong Family. Rap act Craze 24 wrap warm, soulful strings around their reality rhyme ‘Young Guards’.

Various Artists ‘Contemporary Roots Reggae’ (H2) At a time when artists such as Sizzla, Capelton and Buju Banton are being described as “anti-gay’, and reggae described as “murder music” by British mainstream press due to the campaign by gay right group Outrage! against a handful of reggae artists they deem homophobic, it’s interesting that this compilation should come out to show another aspect of reggae, which is positive and uplifting. Among the roots and culture offerings are works by Outrage! targets Sizzla and Capleton, Luciano, Anthony B, Morgan Heritage, plus impressive stuff from newer names such as singers Warrior King and Chezidec. Very enjoyable.  

Various Artists ‘Disco Connections 2: Authentic Classic Disco 1974-1981’ (WSM) The sub-title’s pretty on the money. Swirling strings, popping bass grooves, huge brass sections, and rocking back beats that epitomise disco can be found in opener Ashford & Simpson’s very funky instrmemental ‘Bougie Bougie’. Flautist Herbie Mann rides an equally irresistibly funky jazz-funk track ‘Hi-Jack’. Includes cuts from Mass Production, Gino Soccio, Chaka Khan, and crossover hits by Chic, Sister Sledge, and the Trammps. It’s the real deal

Various Artists ‘Disco Divas And soulful Sista Flavas’ (Salsoul) The sisters do a great job riding the disco rhythms. Loleatta Holloway opens powerfully with ‘That’s What You Said’. I could have had ‘More’ of Carol Williams’ upbeat Philly-sounding dancer. Jocelyn Brown’s vocals simply dominates Inner Life’s ‘Let’s Go another Round’. It takes First Choice to bring down the tempo with ‘You Can’t Take It With You’. Carol Williams adds a lvely soulful vibe on ‘My Time Of Me’,

Various Artists ‘DJ Pogo Presents Pulp Fusion: Revival’ (Harmless) Its ‘tuff breaks, ‘80s boogie and get-down classics’ claim is more than amply justified. Because besides well-known cuts like Cameo’s ‘Candy’, Roy Ayers’ ‘Love Will Bring Us Back Together’, David Joseph’s ‘You Can’t Hide Your Love’, Parliament’s ‘much sampled ‘Flashlight’ and Herbie Hancock’s jazz-funker ‘You Bet Your Love’, there are rare groove faves like Marva Winey’s ‘It’s My Thing’, and Fonda Rae’s electro-dancer ‘Touch Me’. Includes a Pogo mega-mixed side.  

Various Artists ‘Dread Broadcasting Corporation: Rebel Radio’ (Trojan) A double album to commemorate the twenty-fifth anniversary of the founding of DBC, UK’s first black owned pirate station. It’s the station which birthed the now BBC presenter Miss P, who’s compiled this with her brother and founder of the station Lepke. Tunes of the station’s heyday are mixed with station’s jingles. It’s refreshing that the album begins properly with Aswad’s ‘Warrior Charge’, one of the biggest reggae underground tunes by a British act. Saxon Sounds’ toaster Papa Levi’s ‘Mi God Mi King’, said to be the first Brit reggae tune to top the Jamaican charts, is understandably present. Nothing much has changed listening to Anthony Johnson’s wake-up call ‘Gunshot’. It’s full of classics by the likes of Burning Spear, Prince Lincoln, Bunny Wailer, Junior Byles, Johnny Clarke, and Bob Marley & The Wailers’ ‘Concrete Jungle’. And that’s just CD1!  

Various Artists ‘Essential Afrobeat: The Very Best Of Afrobeat’ (Family Recordings) This 3-CD compo, which includes a bonus ‘Afro Chill Mix’. This covers various styles – from Afrobeat by the likes of Fela Kuti who opens with ‘Eko Ile’, plus other featured tracks, son Femi with ‘Truth Don Die’, to Peter King’s ‘Watusi’, Lekan Babalola’s ‘Oya’, Tony Allen’s ‘Don’t Fight’, to Afro-beat influenced music by the likes DJ Food, Hugh Masekela, Salif Keita, Dennis Ferrer, MAW, and rather somewhat tenuous links from the likes` of Booker T & The MG’s, Herbie Hancock, and Mory Kante’s ‘Yeke Yeke’. Still, compiler Dele Sosimi, who played in Fela’s Egypt 80 band must have a wider view of the genre, than moi.  

Various Artists ‘Funk Drops 3’ (Atlantic) Sub-titled ‘Breaks, Nuggets And Rarities’, one can’t argue as the funk quotient is amazingly high. The posse noises, punchy brass and funky drummer rhythms of Freddie & The Kinfolk’s ‘Mashed Potato Pop Corn’ add to James Brown’s funkster. The Commodores have a couple of tracks here, including ‘Rise Up’, showing their funk side to they gravitated towards radio-friendly ballads. Bobby Byrd and Curtis Mayfield funk respectively on ‘I’m On The Move’ and ‘Get Down’. Other well known names are Rufus Thomas, Earth Wind & Fire, The Meters, and Fred Wesley.  

Various Artists ‘Future Funk: On The Run’ (Ether) This double CD features an eclectic mix of funky grooves. From Jah Screechie’s rocking dancehaller ‘Walk And Skank’’, to samba-dance fusion, desi beats, Latin house, soca, Latin ska, reggae, to mellow groves, like Bally Sagoo’s sumptuous orchestral strings-backed ‘Kahin Deep Jale Kahin’.

Various Artists ‘George Phang Presents Powerhouse Vol. 1’ (Virgin) Twenty cuts from producer Phang’s stable. Includes Josey Wales’ ‘Under Cover Lover’ and ‘Want No Aids’, Yellowman’s ‘Walking Jewellery Store’, Frankie Paul’s ‘Tidal wave’, Freddie McGregor’s ‘Don’t Hurt My Feelings’, Barrington Levi’s ‘Money Move’, plus Half Pint’s massive dancehall classic ‘Greetings’!

Various Artists ‘Ghana Soundz’ Vols. 1 & 2 (Soundway) The strapline ‘A collection of ultra-rare and previously unreleased Afro-beat, funk and fusion from ‘70s Ghana’ says it all. There is a very well written liner notes giving history of the period and discographies of all the tracks. It’s interesting listening to these tracks sitting in the heat of Accra, Ghana because I wasn’t in the country when these records were originally recorded or released. These are useful documents of almost forgotten musical outputs. For example, an elder relation who was swinging in ‘70s Accra, showed scant interest when I showed him the track listing. Nevertheless, if you thought Afro-beat was just by Fela Kuti, check out The Sweet Talks’ ‘Eyi Su Ngaangaa’, and if you thought only the American produced the heaviest of jazz-funk, please check out Marijata’s ‘Mother Africa’. Gyedu Blay Ambolley & The Steneboofs produce a localised version of a typical James Brown funk workout with ‘Simigwado’The first CD is worth it just for that track. Although you’ll also find some heavy funk, like The African Brothers’ ‘Self Reliance’, replete with gimmicky synth effects. Oscar Sulley & The Uhuru Dance Band opens Vol. 2 with a sub-3 minute Yoruba-sung Afro-beat entitled ‘Olufemi’, which is followed by the near-9 minute Afro-funk ‘Africa Is Home’ by Joe Mensah. The African Brothers offer a JB funk workout with ‘Sakatumbe’, The Ogyatanaa Show Band offer the almost self-descript ‘Disco Africa’. Christie Azumah offers the lone female voice here, K. Frimpong & Vis-à-vis a modernised, funk-based highlife with some fine lead guitar lines, whilst Marijata provides another scorching Afro-beat/funk fusion with the cynical ‘No Condition Is Permanent’. Ends beautifully with the brassy, Afro-jazz/highlife fusion ‘Tamfo Nyi Ekyir’ by The Apagya Show Band.

Various Artists ‘Giant Step Presents Simply Good Music’ (Giant Step) Raphael Saadiq opens with classy soulster ‘I Know Shuggie Otis’. Among the reggaeton, hip-hop jazz, it’s Fertile Ground’s bossa nova-ish soulful, uplifting and blinding track ‘Live In The Light’. The ColdFusion Mix of Lizz Fields’ ‘When I See Love’ is cool. Tiombe sounds like Lina on the bluesy, jazzy ‘Mr Johnnie Walker’. Good to hear Adriana Evans, Bebel Gilberto, and Roy Ayres’ vibes features on Renovation Unlimited’s ‘Antanata’. Plantlife provide a huge slab of funk with ‘Appreciate’.

Various Artists ‘Gilles Peterson In Africa’ (Ether Music) The eclectic British DJ’s double-CD has some of the hottest Afro funk and jazz tracks around. It kicks off with Oscar Sulley’s Afro-jazzer ‘Bukom Mashie’. Sung in Ga, it venerates one of Accra’s traditional and deepest ghettos. Nice to see Ghana making a contribution to this top compo. Fela’s represented with the cheeky ‘friendship’ Afro-beat ‘Ye Ye De Small’. Masters At Work accentuate the Afro-beat style with their Fela tribute ‘MAW Expensive’. Peter King represents on the very funky ‘Ajo’. However, it’s the American fusionists Antibalas who rock the hardest with the noisy, jazzy, brass-led ‘Indictment’, which has a little politic dig among its ruckus. Fequdu Amdé-Mesqet provide a mellow, jazzy vibe, as does Abdullah Ibrahim on the instrumental piano piece ‘Did You Hear That Noise’. The most glorious voice comes from Letta Mbulu’s jazzy  ‘Mahlatela’. What a scorcher of an album

Various Artists ‘Global Hip-Hop’ (Manteca) Sourced from artists from across the globe, this shows how hip-hop is definitely an international medium. Kicks off with a mariachi brass-filled Latino offering by Delinquent Habits. Positive Black Soul sound like they could be from Cali, rather than Senegal. Fellow Senegalese Daara J weave one of the best Latin-flavoured hip-hop tracks, ‘Esperanza’, which features Cuban musician General Garcia. This track alone is worth the price of the album! Except there’s more, like a massively funk-driven offering by Brazilians Cambio Negro. JJC & 499 Sqiad, Clotaire K, X Plastaz, and  France’s 113 represent.  

Various Artists ‘Global Hip-Hop’ (Manteca) This compo shows how hip-hop is definitely an international medium. Kicks off with a mariachi brass-filled Latino offering by Delinquent Habits. Positive Black Soul sound like they could be from Cali, rather than Senegal. Fellow Senegalese Daara J weave one of the best Latin-flavoured hip-hop tracks, ‘Esperanza’, which features Cuban musician General Garcia. This track alone is worth the price of the album! Except there’s more, like a massive funk-driven offering by Brazilians Cambio Negro. Includes tracks by JJC & 499 Squad and France-based 113.  

Various Artists ‘Global Hip-Hop’ (Manteca) This compo shows how hip-hop is definitely an international medium. Kicks off with a mariachi brass-filled Latino offering by Delinquent Habits. Positive Black Soul sound like they could be from Cali, rather than Senegal. Fellow Senegalese Daara J weave one of the best Latin-flavoured hip-hop tracks, ‘Esperanza’, which features Cuban musician General Garcia. This track alone is worth the price of the album! Except there’s more, like a massive funk-driven offering by Brazilians Cambio Negro. Includes tracks by JJC & 499 Squad and France-based 113.

Various Artists ‘Groove Lounge Vol. 3’ (EMI) Described as the ‘smooth seductive beats for the essential pre-club experience’, the cuts here are enough to rock all of one’s club experience, I would have thought. That’s if you’re an oldies head, because it covers jazz from Buddy Rich and Grant Green, jazz-funk by the likes of Incognito and Ronnie Laws, soul and jazz flavoured rap by Guru, hip-hop from Dilated Peoples and NWA, and R&B from the likes of Loose Ends, Rene & Angela, and Maze.  

Various Artists ‘Harambe Dope Sessions’ (DIY/Dope) A South African ‘urban’ music compilation. It’s amazing to think the stuff here are ‘the illest unsigned, unreleased Mzansi Hip-hop’, simply because the quality is consistently so good, it’s amazing to think these acts aren’t signed. OK, so they’re mostly biting America rap and R&B, with the odd Jamaican dancehall influence, but then they seem on the whole to carry it with some conviction. Crisis’ rap/R&b offering could well be something from Stateside, whilst Blazin’ Spear’s ‘Womani’ kicks off with a bit of beat-boxing intro and uses a local lingo.  

Various Artists ‘Hotel Rwanda: Music From The Film’ (Ryko/Commotion) I’ve left this to the last, because this is no ordinary film soundtrack. First of all, if you did not catch this movie in the cinema, then try and get it on VHS or DVD. Africans particularly need to watch this well made film to give them a wake up call regarding man’s inhumanity. And if you think the Rwandan tragedy as ten years ago, then ask yourself what’s currently happening in Darfur, Sudan? Preaching over. Deborah Cox’s ‘Nobody Cares’ adds a soulfulness to a moving theme. Wyclef’s ‘Million Voices’ highlights the genocide in pop palatable manner. South African pop/disco diva Yvonne Chaka Chaka adds some excitement with “Umqombothi”. However the real mood, which underscores the dark tones of the film, is provided by the contributions by the likes of Dorothee Munyaneza, Afro-Celts Sound System, and the mass children voices. The music here has an added dimension if you’ve seen the film.  

Various Artists ‘Inside Scandinavia’ (Raw Fusion) Pining for some contemporary jazz? Well this Scandinavian compo should help. There are fine vocals, cool piano melodies, and groovy drums. There’s hip-hop, jazz funk, bossa nova, electronica, and samba!

Various Artists ‘Jazzy Cuba: A Beginner’s Guide To Cuba’ (Nascente) Short of visiting Cuba to study the music, this three-CD set offers a more affordable alternative. Over some thirty tracks, if you have not yet developed your appreciation of Cuban music. Although apart from Compay Segundo, Afro Cuban All Stars and Yula, majority of the names will be unknown to those not deeply into Cuban music, that does not detract from the quality of the material on offer. Whether you’re into big band, tinkling piano runs, big horns, vocals, or percussion-driven material, it’s all here. Bobby Carcasses evening provides an English-sung cover of ‘Summertime’! And under a tenner, this is a marvellous bargain.

Various Artists ‘Kingston 5 Presents The New Sounds Of Reggae’ (Kingston 5) Now set to drop in January 2005, expect this compilation to make some noise. Vybz Kartel kick it off with ‘So Fine’. Although it also it contains offerings by respected artists such a Junior Reid, and Buju Banton whose mellow, socio-tipped ‘Pen’ shows him singing very passionately, the Brits made a good standing with Tubby T featuring Md Dynamite and Lady Posh’s remix of ‘Ready She Ready’, which as an ace dancehall smash. The Hites add hip-hop sensitivities, whilst Twyla, Tami Chin, and Flava featuring Macka Diamond, bring impressive soulful singing and R&B vibes to the table. Ditto the bonus track: Mile High’s awesome cover of Marley’s ‘Johnny Was’, which mixes soulful singing over reggae, funk and rock rhythms!  

Various Artists ‘Lethal And Destruction Present Weapons Of Mass Destruction’ (Bleak House) This must be one of the tightest British hip-hop mix CDs out there. The beats are tight. Lethal & destruction, the hosts, have their act really together. I don’t care too much for some of the language and the macho and gangster stance of some. However, there are some good flows including raptresses Tor and ‘Baby Blue, Karl Hinds, and Skeme. Lethal’s autobiographic ‘The Journey freestyle’ is worth a listen. The standout and surprise is an R&B track – a supposedly freestyle by Paris. She’s a fine singer, and some label better look at signing the singer and uplifting track! That’s if it’s not a sample from somewhere!  

Various Artists ‘London Soul: Soulful Rhyme From The Capital (Unisex) Perhaps it’s right that Nate James’ massive R&B breakout track ‘Set The Tone’ kicks things off. Although there’s Omar featuring Angie Stone on their bumping cover of ‘Be Thankful’, the compiler has given adequate space for both new artists, like Em-Cee (‘Negative 2 Positive’), Natalie Williams (‘Secret Garden’), NSM’s (‘Don’t Say’), Alex Attias pres. Mustang feat. Colonel Me (‘Help Me’), The Sunburst Band (‘Every Day’) and Terri Walker’s tight R&Ber ‘L.O.V.E. – and less well-known but essential track by well-known artists Don-E, Lewis Taylor, Romina Johnson and 4 Hero. An unusual and soulful track worth checking is D’nell’s ‘This Thing’. Of course this is just a minute sample of the soulful sounds of the capital. Go discover!

Various Artists ‘Lounge Classics: A Decade Of Chill out Classics’ (Park Lane) OK, so the opener, Royksopp’s ‘So Easy’, is typical chill out. But not all chill out is so mellow and ambient. Koop’s ‘Summer Sun’ is a cool female-sung, vibes-underscored beats-dominated jazz song. Moby’s ‘Porcelien’ uses breakbeats, as does Thievery Corporation’s ‘Lebanese Blonde’. Kinobe’s swish orchestral soundscapes are underscored by strong beats. Ditto: The Karminsky Experience’s Indian-tinged ‘Exploration’, and Francois K’s housey remix of Bent’s ‘Swollen’. Includes two great soulful tunes: 4Hero’s cover of Minnie Riperton’s ‘Les Fleurs’ and Rae & Christian’s Veba-sung ‘Spellbound’!  

Various Artists ‘Masters Of Funk’ (Capitol) As a way of introducing the ‘Masters Of Funk’ series, EMI has dropped this compo to give a flavour of the kind of stuff to expect. We’re talking ’70-‘80s funk and disco, like Brass Construction’s ‘Movin’’, Mystic Merlin’s ‘Mr Magic’, George Clinton’s ‘Atomic Dog’, KC’s ‘That’s The Way I Like It’, and Maze’s ‘Southern Girl’. 

Various Artists ‘MC Det Presents Knights Of The Mics Vol. 1’ (Times Two) Oh my gosh, for those that had forgotten about jungle music, this compo brings it back. It starts with the banging reggae toasting-flavoured ‘My Echo’ by Brockie & Ed Solo feat. Det. Certainly one of the biggest tunes of the genre! On a more hip-hop MCing tip is Dynmite’s declarative ‘My Name’. Alison David adds soulful tones to the rough beats driving Shabba D & Det’s ‘Say What U Sayin’’. Det & Ed Solo’s ‘Fire’ beats get rougher, whilst ‘Beats, Love & Unity’ adds atmospheric sounds and some phat b-lines over which ride Hype feat. Fats’. Ragga Twins & Sketch N Code’s ‘You Don’t Know’ is an irresistible dance-floor crowd shaker, for sure. Michelle Gayle is wasted trying to inject some weak sexy lines over Det & Ed Solo’s ‘Feel Me’. End with two very heavy, rocking tracks: Sylo & Probe feat. IC3’s ‘Dimme Some More’and Shabba D, Det & Dotty’s ‘Roll Out (Sketch N Code Remix)’. Rough beats for underground jungle heads!

Various Artists ‘Middle East’ (Greensleeves) Number 62 of the ‘Greensleeves Rhythm’ series, Vybz Kartel, Sizzla, Buccaneer, Red Rat, Mr Vegas, Looga Man, Elephant Man and Bounty Killer are some of the DJ artists who ride ‘Middle East’ rhythm.

Various Artists ‘Music From The Cocoa Lands’ (Putumayo) This compilation is supposed to represent ‘unforgettable songs from countries where chocolate originates’ and no contribution from Ghana? Come on, this is not on. For those that don’t know, Ghana used to be a leading, and is still an important, producer of those brown seeds! I guess the compilers were either not aware of that fact, or just couldn’t find any Latin-tinged stuff from that country. Instead we have a nice enough contribution from India via Brit-based singer-songwriter Susheela Raman, USA-based Ozomalti represent Mexico, Taffetas represent Switzerland and Guinea-Bissau with the haunting vocals and kora driven ‘Yay Balma’. Toto Bona Lokua represent Congo/Cameroon/Martinique with the beautiful opening track ‘Lisanga’, which has some emotive vocals and chorus, and cool acoustic guitars. Other countries represented include Ivory Coast, Peru, Brazil and Cuba.

Various Artists ‘New York Soul: A Bite Of Soul From The Big Apple’ (Unisex) The regional compo covers the music from the Big Apple, which starts well with the delicious Amel Larrieux’s funkister ‘All I Got 2’. It’s simply a brilliant track. The equally adorable vocalist Angela Johnson features with DJ Spinna and also her group Cooly’s Hot Box, who bosaa nova-tipped ‘Over And Over’ is a delight, as is McKay’s funkster ‘Thinking Of You’. There’s leftfield, jazzy, neo-soul, and hip-hop  by the likes of Marlon Saunders, Angie Stone and Pete Rock. Includes ‘Take Me Home’ by the very soulful Sarah Devine. Worth checking out

Various Artists ‘Norman Jay Presents Philadelphia’ (Harmless) A no-brainer winner as the well-respected presents ‘underground anthems of Philadelphia soul’ ranging from MFSB’s ‘Love Is The Message’ and ‘Let’s Party Down’, right through to cuts by the likes of The O’Jays, The Trammps, Jean Carne, Teddy Pendergrass, and Billy Paul, that are powerful tracks, rather than their crossover hits. An anorak and Philly-phille delight, for sure.

Various Artists ‘Nu Brazil 2’ (Manteca) Whilst the samba and bossa nova still exists, Brazilians experiment with new styles. Vitor Ramil opens with the jazzy, lilting drum & bass driven rhythm on ‘Náo é Céu’ over which he croons. The lovely vocals and brass interludes and solos work a charm. Fernanda Porto, a confirmed dance & bass fan, sings ‘Só Tinha Que Ser Com Você’ over sparse, jazzy beats. Inácio Zatz offers the funky, guitar riffing ‘O Santos Era Campeão’. Elsewhere on the double CD, Paulo Padilha excites with the jazzy, vocal track ‘Certeza é Ilusão’.  As does Marcelinho Da Lua featuring Seu Jorge’s rocking drum & bassed backed ‘Cotidiano’.  Aleh add turntablism, and a punchy brass to the very funky ‘Dona Da Banca’.

Various Artists ‘Philly Soul Volume II’ (Unisex) Whilst Jill Scott’s not here, her label mates Kindred The Soul Family solidly represent with the ‘Rhythm Of Life’ opener and the sumptuous Larry Gold arranged strings-backed ballad ‘All That You Are’. The Roots, Jazzy Jeff, Jazzfatnastees, Vivian Green, Lizz Fields represent, as does Bilal featuring Mos Def & Common on the hip-hop/soulster ‘Reminisce’.  

Various Artists ‘Pure Spirit Of Relaxation’ (Angel Works) Oh the hustle and bustle of modern life! We all need to cool down, relax and pamper or minds and bodies. With many of chill-down music having beats, you need this new age or true ambient, chill-down triple CD set, if you wanna pamper yourself. ‘Enchanted Garden Of Peace’ is a long, acoustic guitar featured composition with bird noises to help you drift away. Unfortunately the Eastern-vibed ‘Calming Temple Of Clarity’ is too full of heavy sounds to keep me calm. Should however be useful for those that practice Eastern disciplines such as yoga. The cascading sound of water in the ‘Soothing Sea Of Tranquility’ is more restful for moi.

Various Artists ‘Putumayo Presents World Groove’ (Putumayo) A ‘global groove party featuring cutting-edge world dance and electronica’. The global dance fusion comes from the likes of Malian Issa Bagayogo’s very funky ‘Nogo’, Congolese/Belgian Zap Mama’s English-sung R&B-tinged ‘Miss Q In’, Algerian/French rai/rap fusion from Cheb Mami/K-Mel, and the late South African Brenda Fassie’s township house ‘Ama-Gents’. Early pressings will include a bonus CD featuring cuts from the label’s ‘Groove’ and ‘Lounge’, such Bagayogo dancehall kind of rhythmed ‘Saye Mogo Bana’. Makes for an interesting global musical tour.  

Various Artists ‘Reggae Hits 33’ (Jet Star) Twenty of fairly recent vintage kicks off with the engaging Beres Hammond at his soulfullest best opening with ‘There For You’. Freddir McGregor oicks up the mantle and nices up the dance singing the lovers ‘Ask For Your Love’. Peter and his Morgan Heritage siblings charmed with the reflective ‘She’s Gone’. Includes Savana’s crossover hip-hoppy, funky track ‘Pretty Lady’, plus Marvia Providence’s jumpy-jumpy gospel biggie ‘Hear My Cry Oh Lord’ and Elephant Man’s take -  ‘Bun Bad Mind’. The surprise however is Shola Ama, sounding delicious doing theuplifting lovers ‘Step It’.

Various Artists ‘Reggae Songbirds’ (Jet Star) This compo, featuring some of the major female reggae singer from JA and UK, kicks off in fine style with the punchy, rocky, socio-tipped ‘No I Won’t’ by Marcia Griffiths. What a joyous song – great vocals, irresistible rhythm, and nice brass lines! Carlene Davis’ ‘Baby Be True’ has a very sweet ‘60s pop-reggae feel. Sylvia Tella’s soulful vocals floats over ‘Spell’, and sits within the mix of the bitter-sweet lovers ‘Two People’. Queen Omega drops two roots & culture cuts: ‘One Time’ and ‘Hypocrites & Parasites’. JC Lodge rides the strong lovers ‘Sweet Dreams’. Donna Marie’s ‘Master Plan’ could well have been a lovers track, except it’s a spiritual and socio-tipped song. Veteran British chanteuse Toyin Adekalie offers the bubbly ‘To See You Smile’. Famous songs covered include Pam Hall’s ‘I’ll Always Love You’ and ‘Never Say Goodbye’, Marcia Friffith’s ‘Something Inside So Strong’, Nisha K’s ‘I Don’t Know Why’, and Phoebe One’s ‘Knocking On Heaven’s Door’.

Various Artists ‘Riddim Rider Vol 18: Baby Love’ (Jet Star) Gadaffi’s jumpy, jumpy dancehall ‘Baby Love’ rhythm gets ridden by various DJs. Elephant Man’s ‘Cock It Up’, Capleton & Action K’s combination ‘Attached To Me’, Sizzla’s title track, Richie Spice’s uplifting, lovers ‘Girl I Love You’, and Angel’s ‘Fed Up’, are the ones that stand out.  

Various Artists ‘Roots Of Dub Funk’ (Tanty) Kelvin R and his Dub Funk Association collective have been delivering funk-based, dub cuts for over ten years. This compilation has been sourced from around the world. Like the very funky ‘African Satellite Dub’ by The Interruptor of Switzerland, Italy’s Piano B’s ‘Dub My Roots’, UK’s Jah Warrior’s horn-charged ‘Ridiculous Dub’, Australia’s Peyote Sound System’s ‘Born African’, and USA’s Cosmic Rocker & Zeb’s atmospheric ‘Sufferer Dub’. Absolutely dubilicious!  

Various Artists ‘Run The Road’ (679) Having recently heard gun shots reeling off in a London street, maybe all these dark vignettes of London life is not fantasy anymore. This compo is certainly for hard heads on the road, who know the runnings, survival wise and underground music wise. Terror Danjah, kicks off the dark tales with ‘Cock Back V1.2’. Roll Deep, Kano, Dizzee Rascal, The Streets, Shystie are some of the better known names here. Although Wiley and Doae’o are also featured artists. Durrty Goodz mix fast rapping and toasting in ‘Gimme Dat’. It’s all dark, grimey, hardcore and very London underground.

Various Artists ‘Run The Road’ (679) Having recently heard real gun shots reeling off in a London street, maybe all these dark vignettes of London life with cocking guns is not fantasy anymore. This compo is certainly for hard heads on the road, who know the runnings, survival and underground music wise. Terror Danjah, kicks off the dark tales with ‘Cock Back V1.2’. Whilst Riko And Target’s grimey ‘Chosen Few’ has sounds of dropping spent bullets, at least it’s anti-violence, as they urge people to stay calm. Includes tracks from some of London’s well-known and underground MCs and rappers, such as Roll Deep, Kano, The Streets, Shystie, Lady Sovereign, and a self-effacing Dizzee Rascal, plus Dizzee sound-alikes. Durrty Goodz’s mix of fast rapping and toasting style on ‘Gimme Dat’ is one of the standouts. It’s all dark, grimey, hardcore and very much on the London underground.  

Various Artists ‘Satisfaction: Covers & Cookies Of The Stones’ (Harmless) A double CD compo, of which one side has a mix by 4 Hero’s Marc Mac. CD1 contains 15 covers of Rolling Stones covers. Perhaps the highest accolade is starting off your group by covering blues music and naming your band after one of blues icon Muddy Waters’ songs, then have Muddy record one of your songs! Well, Muddy does just that with his blues-rock cover of ‘Let’s Spend The Night Together’. Elsewhere, the likes of Staples Singers try to give a gospelly vibe to ‘This May Be The Last Time’, Rotary Connection and African offer a soulful rendition of ‘Ruby Tuesday’ and ‘Paint It Black’, respectively. Ruth Copeland gives ‘Play With Fire’ and rocky/bluesy vibe reminiscent of Janis Joplin. Actually the revealing thing about this album is how good a lyricist Mick Jagger can be! Go discover!

Various Artists ‘Ska: Down Jamaica Way Vol. Eight’ (WSM) Ska pioneer Roland Alphonso opens with ‘Ska-Ra’Van’, and also offers the more big band jazz-tinged ‘Determination’. Guess if you’re looking for ska, then this ought to do it for you. What with Johnny Moore’s unrelenting ‘South China Sea’. Ferdie Nelson has three vocal cuts to contrast the instrumentals, whilst The Avalons and Jackie Opel vocal offerings are too mellow paced to be strictly ska.

Various Artists ‘Slow Bounce’/‘Klymaxx!’ (Greensleeves) The Greensleeves Rhythm Album continues with numbers 65 and 64. ‘Slow Bounce’, produced by Michael ‘Liquid’ Brissett, kicks off with Vybz Kartel trying to inject some social consciousness with ‘Big Man Thing’. Tami adds a sweet, soulful female gloss to the rhythm with ‘Me Noh Wan Dat’, and Ward 21 exhort some positivitism for the youths with their fast-rapping ‘King Of The World’.  Beenie Man just can’t help telling us about ‘The Girl For Me’ with whom he’s very satisfied. Sing-jay Mr Easy adds thug-soul lyrics on ‘It’s Amazing’. Capleton’s raucous ‘Place Burn Down’ gives the Shane Brown-produced ‘Klymaxx’ rhythm an upbeat vibe. Chico rides the grooves highlighting ‘Long Time Badman’. Among the sex-dominated tracks, Rik Rok adds soulful, sweet-boy singing with ‘Where Will You Run’. After hearing nineteen previous versions, it’s a testament to Shane Brown & Christopher Birch’s original ‘Klymaxx’ instrumental, which closes the set, that it still sounds fresh.

Various Artists ‘Sock It To ‘Em Soul’ (WSM) Culled from the Stax and Warner/Atlantic group of labels’ ‘60s catalogue, the tracks are top heavy with club favourites, instead of crossover hits. Joe Tex rocks as he asks to ‘Show Me’ a good woman. There’s Aretha Franklin’s biggie ‘Save Me’. Oh what a tune and singer! Eddie Floyd’s ‘Things Get Better’ is still an engaging celebratory song. About the R&B and soul cuts, is Miriam Makeba’s massive ‘Pata Pata’

Various Artists ‘Son Cubano NYC’ (Honest Jons) Culled from the Cuban sessions in New York between 1972-82, this is some of the hottest son or salsa music you’re likely to hear. Nevermind the artist names not being recognisable, the music here really rocks. Whatever the lead, be it vocals, brass, piano, or guitar, the underlying music doesn’t let up. If you’re into Latin music, you’re unlikely to go wrong with this classy compo.

Various Artists ‘Soul Function’ (V2) I’ve never been a Northern Soul fan. I remember reading about the frenetic paced soul records and dance moves up north of Watford at places like the Wigan Casino in papers like Black Echoes and Black Music. This CD/DVD combination is one of the most satisfactory because the DVD contains a documentary that explains and draws you in, even if you’re not particularly interested in the music. It features several of the revered recording artists of the scene, including Geno Washington. Of the CD, Kiki Dee and Doris Troy are the only artists with a reputation outside of the scene. If you know Soft Cell’s cover, check out Judy Street’s original of ‘What’. James Brown and Motown styles abound. Charles Mann’s ‘Shonuff No Funny Stuff Love’ and Steve Mancha’s ‘Friday Night’ are soulful and funky.  However, the funkiest of the lot is Mojo’s disco-ey ‘Let’s Get Ugly’!  

Various Artists ‘Soul Togetherness 2004 (Expansion) The ’15 modern soul boom gems’ starts off with the recently departed Rick James’ saucy  funkster ‘Taste’. Includes a rare offering from Chante Moore, British contemporary gospel R&Ber Nathan Prime, Trina Broussard, The Sunburst Band’s awesome, current single ‘Everyday’, the tough 8AM remix of Venus Tribe’s Dodge-produced masterpiece ‘Slow Down’. It’s mid-priced, so should be a no-brainer decision to purchase.  

Various Artists ‘Sound Of The Shebeen’ (Virgin) This is certainly one of the best reggae compilations around. The dulcet tones of Jacob Miller kicks off with two cuts, ‘Keep On Knocking’ and the ‘Knocking Version’. There’s Johnny Clarke’s version of lovers classic ‘I’m Still Waiting’, the harmonious Mighty Diamonds’ ‘Shame & Pride’, Susan Cadogan’s crossover hit ‘Hurts So Good’, Matumbi’s rockers ‘Music In The Air’, Paragon’s original ‘The Tide’s High’ and U Roy’s version, and Peter Tosh’s tough rock-edged warning: ‘Stepping Razor’.

Various Artists ‘Spanish Fly’ (Greensleeves) The Greensleeves Rhythm album number 60 has artists such a Vybz Kartel, Bounty Killer, Elephant Man, Degree, riding on the The Ballah’s ‘Spanish Fly’ rhythm which is accentuated by a trumpet refrain. It’s interesting how the same rhythm inspires topics as varied as Daville’s ‘Banan’, which contrasts Elephant Man’s ‘Caribbean Gangsta, as Kiprich’s romantic ‘Senorita’ contrasts Bling Dawg’s ‘Playa’!

Various Artists ‘Testify II: 26 Hunk Of Funky Grooves’ (Stateside) Ooops, someone’s made a mistake with the title because this has 22 tracks. Anyway, respect to the compilers. Because whilst one can equate the likes of Randy Brecker, The Three Degrees, Jimmy McGriff, The Ikettes and Candido with funk, few people, apart from anoraks, could find tracks by the likes Bobby Gentry, Donovan, Glen Campbell and Nancy Wilson which justify being out on a funk compilation! The Three Degrees’ ‘You’re The One’ has them pursuing a very funky trip, which is miles from the MOR fare they settled on in later years.  

Various Artists ‘The Biggest Ragga Dancehall Anthems 2004’ (Greensleeves) The title says it all. The 40 track double-CD contains all the big names on the reggae scene, like Vybz Kartel, Elephant Man, Sean Paul, Cecile, Bounty Killer, Wayne Marshall, Mad Cobra and Beenie Man. The tracks include the Vybz Kartel remix of Nina Sky featuring Jabba’s crossover hit ‘Move Your Body’, a remix of Paul’s ‘Back Off’, Beenie’s ‘Freakside’, and Kartel’s ‘It Tight’. Ends with Sizzla’ ‘Wrath’.  

Various Artists ‘The Getaway Black Monday: Ninja Tune Remixes’ (Ninja Tune) Music from a Playstation 2 soundtrack, which sees the Ninja Tune/Big Dada tracks of Diplo, Amon Tobin, Lotek Hi-Fi and Blockhead remixed for gamers.  Most of the tracks are atmospheric, whilst Lotek offer some London rhymes with their two tracks ‘Russian Theme Remix’ and ‘2 Side (Russian Theme Remix No. 2)’. For heads who love atmospheric sounds and cinematic dialogue. Blockhead’s offering, ‘Shoreditch Theme Remix’, is a gorgeous big beats instrumental with an intriguing arrangement. Amon Tobin provides very weird, atmospheric soundscapes. If you’re into his style, he’s also got an album of his atmospheric scores of the video game ‘Tom Clancy’s Splinter Cell: Chaos Theory’ coming soon.

Various Artists ‘The Lovers Rock Story’ (Kickin) Lovers rock, that British fusion of soulful vocals and reggae rhythms was pioneered by Dennis Harris’ Dip/Lovers Rock label with musicians Dennis Bovell and John Kpiaye. Harris’ son Peter, boss of Kickin Music, brings some of the gems to a wider public with this compilation. Brown Sugar’s ‘Black Pride’, one of their three tracks here, shows lover’s could also tackle socio-conscious themes. Cassandra’s romantic ‘Love Me Sweeter’ is however typical of the genre. Bovell, TT Ross and Carolyn Catlin are the other contributors to this useful compo of British inventiveness. Kpiaye ends with a jazzy-reggae cover of the ‘Albratross’ instrumental.  

Various Artists ‘The Marvel Of Marvin’ (Harmeless) Subtitled ‘the trouble man’s collaborations, covers and cookies’, it’s a mixed bag. Pucho & The Latin Soul Brothers open with a jazzy-funky version of ‘Let’s Get It On’, The Chi-Lites add fine male backing vocals to their Motown-like cover of ‘I Heard It Through The Grapevine’. Otis Redding & Carla Thomas have a go at ‘It Takes Two’, but it’s just Redding’s fantastic voice that shines! Delroy Wilson and George Faith offer rocking reggae covers. Great concept, but generally not so great version compared to Marvin’s versions. One side contains a 4-Hero mega-mix.  

Various Artists ‘The Original Blues Album’ (EMI Gold) The title says it all. The artists range from the American masters, such as Muddy Waters, Lighnin’ Hopkins, Son House, through to latter day white American and British acts, such as The Jeff Beck Group, Canned Heat, George Thorogood, Johnny Winter, and Gary Moore. Include old classics like ‘Dust My Broom’, and newer ones like ‘On The Road Again’, whilst the styles cover country and modern blues, and jazzy blues by the likes of Amos Milburn, and Dinah Washington’s ‘The Blues Ain’t Nothing But A Woman Cryin’ For Her Man’. At least the Jeff Beck Group featuring Rod Stewart’s cover of  ‘You Shook Me’ credit writer Willie Dixon, unlike Led Zep, who had to make a belated settlement.

Various Artists ‘The Ratpack: Boys Night Out’ (Capitol) The Ratpack were essentially singer-actors Frank Sinatra, Dean Martin, and Sammy Davis Jr. Along with them and the likes of Andy Williams, lounge-core music has become cool, even among some young clubbers. Sammy Davis gives it all on the big band arrangement of ‘(Love Is) The Tender Trap’, Dean croons on cuts like ‘All In A Night’s Work’, whilst Sinatra even makes the nursery rhyme ‘Ol Macdonald’ hip!  

Various Artists ‘The Rough Guide To The Music Of Kenya’ (World Music Network) This compo covers different styles, from the old and traditional, to modern and urban. Kicks of with the feisty sounding Queen Jane, whose song is driven by vintage Congolese rhumba guitar lines. D.O. Misiani & Shirati Jazz, Kakai Kilonzo, and Golden Sounds Band, follow a similar musical style. Gidi Gidi Maji Maji rap over a funk bed. Their flow and sound echoes of JJC & 491 Squad. Zuhuru Swaleh & Mombassa Party have a traditional and rootsy sound, whilst Yunasi adds modern beats. Possibly likely to appeal to those with some prior knowledge of Keyan music.

Various Artists ‘The Sisters Of Soul’ (Sanctuary) This compo is definitely one especially for the ladies, as the songs by female artists cover love, relationship problems and various levels of drama in between. The compo has a few well known names here, but not theirs well-known hits. Aretha Franklin opens and closes the set with her pre-Altantic material. There are cuts by Candi Staton, Freda Payne, Kinda Jones, Shirley Brown, Brenda Holloway, and PP Arnold. Laura Lee discovers ‘Her Picture Matches Mine’. Thelma Jones has been shedding ‘Salty Tears’, and Thelma Jones decides  ‘I’d Rather Leave While I’m In Love’. Hmmm.

Various Artists ‘The Sound Of Club Brasil’ (Club Brasil-UK) If you’re into Latin dance music, then the sampler I’ve heard, this compilation will be something definitely up your street. Guida De Palma charmingly sings and scats her way through the club-primed samba fusion ‘Casa Forte’. Finn Peter’s flute blesses the jumpy instrumental ‘Aldeia de Ogum’, which also includes some fine piano solo. Peter repeats the formula, only dropping the tempo just a touch for ‘Femina’. Mariana Feo’s big band take on ‘Take It Easy My Brother Charles’ works because of the familiarity factor, being a cover song.  

Various Artists ‘The Sound Of Smoove’ (Ministry) Another double-CD. However, this sets itself apart because its mixer Shortee Blitz has concentrated on R&B and hip-hop on CD1 with tracks from R Kelly, Ashanti, Missy, LL, Ty, Jay-Z, and Redman. CD2 contains track by Elephant Man, Wayne wonder, Mr Vegas, TOK, Wayne Wonder, and Suncycle.

Various Artists ‘The Story Of Black Popular Music’ (Universal) This double-CD however does its best to cover the rock n roll era with tracks by the likes of Louis Jordan, Joe Turner, and Little Richard.. Apart from the likes of Sam Cooke, Sly & The Family Stone, and the Isley Brothers’ blistering, churchy ‘Shout’, the ‘60s and ‘70s are represented by Motown hits, a smattering of James Brown hits, including the still potent ‘Say It Loud, I’m Black and Proud’. The latest track is Bobby Brown’s ‘80s hit ‘My Prerogative’.

Various Artists ‘The Very Best Of Latin Jazz’ (Nascente) I don’t confess to know much of the tracks here. This is not full of crossover hits. Even the well known tracks are not the better known versions. Like John Santos’ cover of Miles Davis’ ‘So What’ and Bobby Matos’ enjoyable cover of Pharoah Saunders’ ‘The Creator Has A Masterplan’, and Tito Puente’s original version of ‘Oye Como Va’, popularised by Santana. Includes oldies by the likes of Ella Fitzgerald, and newer stuff by the likes of Nuyorican Soul, and Snowboy. Provides rocking percussion and brassy moments from the likes of Roy Hargrove’s Crisol.

Various Artists ‘The Very Best Of North Africa’ (Nascente) I may know a few of the artists, notably Khaled, Souad Massi, Cheb Mami, Kad Achouri and Rachid Taha, but one is no way up on North African music, which fuses African, Muslim, and Arabic influence. Hence this mid-priced double CD offers a great opportunity to discover the charm and diversity. From Western club primed tracks by the likes of Cheb Mami, the rock-fusion of Rachid Taha, the funk of Hakim featuring the James Brown, to the more traditional sounds of Souad Massi and El Hossaine Kili. And that’s just CD1. There’s another exciting, exotic world to explore on CD2, not the least being Khaled’s massive hit ‘Aicha’!

Various Artists ‘The Wonder Of Stevie: Melody Man’ (Harmless) DJ Spinna & Bobbito deliver a second compo of Steve Wonder covers. It’s a strong concept with enjoyable offerings by the likes of The Spinners, Minnie Riperton,  Pointer Sisters,  Quincy Jones, Four, etc. The Players Association’s ‘I Wish’ funk instrumental, Jermaine Jackson only serious hit ‘Let’s Get Serious’ and BB King’s To Know You Is To Love You’ do stand out.  

Various Artists ‘This Is Soul 2005’ (Soul Brother) Philadelphian Heston’s impressive vocals on the opener ‘If’ stamps its authority and sets a high standard for this compilation. Thankfully there are many not so well-known names to continue. Trace Ellington’s rendition of ‘Remember The Love’, could well be a long-forgotten Stevie Wonder track! There are decent offerings from a few better-known artists, like Adriana Evans, Myron, Marlon Saunders, and Conya Bass. Geno Young impresses, as does Yewande, not to mention the sweet and powerful voice of Maya Azucena which dominates the glorious beats-based ballad ‘Like No Other’.

Various Artists ‘UK Runnings Vol. 3’ (UK Runnings) Wolverhampton-based Tricksta and Late’s mix CD only contain independent British hip-hop tracks, many of which are exclusives. Scorzayzee drops a funky and great socio-politico-rap in ‘Great Britain’, a track crying out for wider awareness.  Some of the scene’s well-known names representing are Skinnyman, Wolftown’s Jai Boo, Klahnekoff, Karl Hinds, Seanie T & Roots Manuva. Creamo’s and Eastborn’s ‘Freestyle’ show two names to look out for.

Various Artists ‘UK Runnings Volume 2.5’ (UK Running) This undiluted ‘mix tape’ contains some of the tracks that didn’t make ‘Volume 2’ and some new tracks, a mixture of snippets and full tracks from mostly names hardly known outside the UK hip-hop and dancehall underground. Like Wolftown Committee, Late, CRF & Noz, Fugazi Crew. One of the funkiest tracks here, and it also socio-tipped, is the Hoodz Underground & Klashnekoff ‘How Do You Feel’. Deserves to be massive.

Various Artists ‘Umoja: The Spirit Of Togetherness’ (Red Pepper) A hit on the London stage, there’s more to be gained watching this musical on a DVD. Apart from the comfort of home viewing, there are extra features, such as videos, discarded scenes, and interviews with the show’s creators. Also, in addition to the song and dance on stage celebrating South African life, there are inserts of scenes shot on location, which add some contrasting realism. The sight of many of the bare chested men and women certainly adds a high titillating factor!

Various Artists ‘Union Black’ (Chewatribe) The Chewatribe, Afreex, and Reluctants clique gather well seasoned and new British R&b, hip-hop and garage acts together for this collaborative effort. Friends, though some in the media had pitted them against each other as rivals, Don-e and Omar sound fine on the R&Ber  ‘No Reason’. Check out the vocals on this great slab of funk-based R&B! Cassius Henry, Kele Le Roc & Swiss sound fine of the R&B/soulster ‘Watching You From The Sky’. Ditto: Shola Ama, Soulja and MD’s rap-tinged R&Ber ‘Love Story’. Judging by Sef & Sharifa’s offering ‘I Do’, we can expect big, soulful things from former Reelist Sef. There a rap by MDK and a UK street groove to Rhian Benson’s delicious ‘Say How I Feel’. Terri Walker, along with Pariz-1 and Knowledge mix R&B singing, rapping and MCing on the bumpy, club-banger ‘Slow It Up’. Two dozen tracks from dozens of artists, including Maxwell D, Asher D, Slim Dutty, Baby Blue and Baby Phat. The plan is for this album to be offered free. The over-riding idea’s to help push British black music forward. It can be downloaded at www.union-black.co.uk.

Various Artists ‘Urban Latin’ (Nascente) Alex Wilson’s R&B Latino’s ‘R&B Latino’ opens this set of contemporary Latin music and does a fine job with its salsa styled music, replete with nice percussion breakdown. Elsewhere rap, funk, Cajun fusions, and dancehall influences abound. One of the standout tracks is Vico C & Tony Touch’s Latin/rap fusion ‘Para Mi Barrio’. For familiarity factor, Rudy’s soul English-sung, tin pans-backed cover of Bill Withers’ ‘Lovely Day’ and Ricky Gonzalez’s rap and Latin-tinged cover of ‘What You Won’t Do For Love’, really have it going on. Alex Wilson’s combo also offer the soulful ‘Walk With Me’. The Nightmares On Wax remix of Orishas’ ‘Orishas Llego’ makes it prime for hip-hop clubs.  

Various Artists ‘We Can Work It Out: Essential Covers & Cookies Of The Beatles’ (Harmless) You’ve got to give it to these Harmless folks – they do know how to come up with interesting compilation themes! The title says it all, so what do we have here. Just when you think it could be naff, The Deidre Wilson Tabac kicks it off with a powerful, brass-charged jazz-funk version of ‘Get Back’! Harry Averne turns ‘I Feel Fine’ into a Latin-jazz instrumental. Ramsey Lewis and Sergio Mendes & Brasil 68 ad more jazz vibes. Marshall Williams and Byron Lee, add reggae. Al Green adds his dulcet tones to, and completely re-works, ‘I Wanna Hold Your Hand’, and Stevie Wonder makes ‘We Can Work It Out’ his own. The most interesting is The 5 Stairstairs, who engagingly tackle the rock/pop song ‘Dear Prudence’.

Various Artists ‘Westwood The Takeover’ (Def Jam) Thirty-one tracks on CD1 cover rap, dancehall and R&B such as 50 Cent ‘If I Can’t’, Lil’ Flip’s ‘Game Over Flip’, Vybz Kartel’s ‘Please’, Bounty Killer’s ‘Yuh Gawn’, Smujji’s ‘KO’ and R Kelly’s impressive, soulful ‘Step In The Name Of Love’. CD2 contains DVD video of Westwood hook-ups in NYC, JA, and London.

Various Artists ‘Wolfstrumentals’ (Wolftown) Five years in, the Wolverhampton-based hip-hop label’s bosses and producers Late & Tricksta drop the instrumentals behind their release. There are a few mellow, haunting tracks. But in the main, they’re rocking cuts. Like ‘Away’, and the punchy basslined ‘Ghetto Diplomat’.  

Various Artists ‘Women Of Latin America’ (Puumayo) Except you’re seriously into Latin music, the chances are Peru’s Susana Baca, who picks the tempo up a touch with ‘Cars Lindas’, may be the best internationally known artist  here. That has no bearing on the quality of female singers on here. Like Colombia’s Marta Gomez, Mexico’s Lila Downs, or Mexico’s Lhasa, whose strings-backed ballad ‘La Frontera’ is introduced by some nice mariachi horns.

Various Artists ‘Women Of Latin America’ (Puumayo) Except you’re seriously into Latin music, the chances are Peru’s Susana Baca, who picks the tempo up a touch with ‘Cars Lindas’, may be the best internationally known artist here. That has no bearing on the quality of female singers on here. Like Colombia’s Marta Gomez, Mexico’s Lila Downs, or Mexico’s Lhasa, whose strings-backed ballad ‘La Frontera’ is introduced by some nice mariachi horns.

Various artists ’20 Super Hits – Volcano All Stars’ (Virgin) Twenty oldish classics, ranging from Don Carlos’ ‘I’m Not getting Crazy’, Wailing Souls’ ‘Sweetie Come Brush Me’, John Holt’s ‘Love I Can Feel’, to Junior Murvin’s ‘Police And Thieves’. Plus contributions from the likes of Frankie Paul, Yellowman, Cocoa Tea, and Tony Tuff.

Various Artists. ‘Higher Ground: Hip-hop Reformed & Reborn’ (Image) Forget about their lyrics for a minute, and some sound dark and menacing, just like any underground rap act. Check the lyrics and you’ll hear, as in the case of Tik Tokk Of Gospel Gangstaz, a former gangbanger pumping rhymes for Jesus. Jah Word featuring Gibraan provides a very funky R&B laced uplifting rap ‘I Know’. Gibraan rides his own funkster ‘Mockingbird Slang’. Includes Elle ROC’s gorgeous hip-hop soulster ‘So Beautiful’. The devil definitely doesn’t have all the best tunes!  

Various Artists. Black & Proud: The Soul Of The Black Panther Era Vol. 1 & Vol. 2 (Trikont) The songs here mainly reflect African-America’s  pain, injustice, hope, and resolve to rise above their disadvantaged circumstances. The first volume opens with Sam Dee’s very emotive ‘Heritage Of A Black Man’, which chronicles the sad lot meted out to the African-American. Two of rap’s pioneers, Lost Poets and Gil Scott-Heron, succinctly  highlight on ‘Panther’ and the seminal ‘The Revolution Will Not Be Televised’, respectively, social issues which few of today’s rappers come close to. Miriam & Mbongi Makeba and the Staple Singers uplift with their offering. The second volume opens with Syl Johnson’s beautiful downtempo soul tune, which with its attractive strings belie the serious lyrical topic of the tune: ‘I’m Talking’ Bout Freedom’. Scott-Heron lambastes the system on ‘Who’ll Pay Reparations On My Soul?’. Marlena Shaw’s cover of I Wish I Knew (How It Would Feel To Be Free)’ is upbeat, and almost celebratory with an ironic twist. Last Poets featuring Chuck D provide an engaging and self-empowering reflection on ‘Down To Now’, which youngs heads ought to be hearing. Asian Dub Foundation have Tupac’s mum Assata Shakur explaining her philosophy and dreams on the hip-hop/drum&bass/dub joint ‘Reluctant Warrior’. The likes of James Brown, Marvin Gaye and the Main Ingredient are joined by reggae artists Derrick Harriott and Earl 16. Deserves wider hearing.

Various Artists. Soul Anthology (EMI Gold) This is a curious compilation. CD1 contains real, old school soul. Several of the well-known names aren’t singing their crossover tunes. Bobby Womack sets the standard with a soulful opener. Tina & Ike Turner rock a Motown classic. Includes Inez and Charlie Foxx’s hit ‘Mockingbird’. A big surprise is Labi Siffre sounding amazingly groovy on ‘The Vulture’. Another Brit, Maxine Nightingale, provides the only big crossover with ‘Love Hit Me’. CD2 has more Brits and hits from the recent past. Eternal’s ‘Stay’ still sounds great. There’s stuff from David Grant & Jaki Graham, Shara Nelson, Kenny Thomas, Soul II Soul, a blinder from Mica Paris, plus D’Angelo, Maze and Freddie Jackson. The most charming discovery is a soul blinder from pre-PIR Three Degrees

Vast Aire ‘Look Mum … No Hands’ (Chocolate Ind) This promo version with a ‘you’re listening to Vast Aire solo debut …’ audio spoiler turns this into a sort of a mix CD. This rhymer has a good way of turning out rhymes over the mostly, uncluttered jazzy grooves. Madlib’s productions add some really jazzy soundscapes.

Vicki Anderson: ‘Mother Popcorn: Anthology’ (Soul Brother) This I feel will probably be one of Soul Brother’s best selling releases, because there’s a dearth of releases by this James Brown cohort. Looking at the cover picture, one see how much her daughter Carleen looks like mum. Bang the CD in the player, and you also hear the similarity in their vocals. As this is coming from a JB cohort, you know it’s going to be downright funky, and it is. From the opener, the live and somewhat female anthem ‘The Message From The Soul Sister (Parts 1 and 2), it doesn’t let up. There’s obviously her biggest hit ‘Think’, featuring JB, and a couple of JB answer records: ‘Super Good’ and ‘Answer To Mother Popcorn’. Her vocals soars on the idealistic sophisti-soulster ‘I want To Be In The Land Of Milk And Honey’. This compo should be up the streets of Vicki, Carleen and JB fans.  

Vinx ‘Through The Colored Folks Eyes’ (Elephunk) “Blame it on the black boy…” Sings Vinx repeatedly as he opens his new set with the piano and tabla backed socio-tipped jazz-soulster ‘Black Boy’. In addition to jazz, his rich vocals ride styles like funk, reggae, samba, African chants, etc. Through the musical styles varied, there’s an engaging, cohesive jazzy focus.

Vusi Mahlasela ‘The Collection’ (BMG) This South African import album, which should be available in European record shops that stock African records, represents the first three albums of this impressive singer-songwriter. Dubbed ‘the first three albums from the Voice Of South Africa’, he certainly impressed me musically and by what he said the ‘Amandla!’ documentary on the role of music and musicians in apartheid South Africa. So I just could not wait to get to the roots of his artistry. What you’ll discover is an artist who moves from pensive folky songs – think of old school Paul Simon, for a reference point, to township jive party songs. In addition to using his native tongue, he sings in English, which makes him much more accessible. Of all the song, perhaps the title track ‘Wisdom Of Forgiveness’ establishes where Vusi stands with regards to building a new South Africa. The other albums are ‘When You Come Back’ and ‘Silang Mabele’. A very useful primer to an undeniably talented tunesmith. Investigate!

Westwood ‘The Big Dawg’ (Def Jam UK) Another double mix CD from Westwood: ‘The World Famous DJ Blessed By God’, ‘The Big Dog Pit Bull’. Includes all the expletive-fuelled album versions. Well, as Lloyd Banks says on ‘On Fire’, you can swear if you sell records. This kicks off with one of the biggest club joints – Terror Squad featuring Fat Joe’s and DJ Noodles NYC’s versions of ‘Lean Back. This slids into Kanye West’s ‘Jesus Walks’. Among the 48 tracks of 2004 are offering from the usual suspects: Lloyd Banks, Nelly, Mase, LL, Outkast, Buster, Tupac, etc. The unexpected suspects include Vybz Kartel, Dizee Rascal, Sizzla, Usher, Joe, Skinnyman, Klashnekoff. Includes oldies from Sugarhill Gang and Craig Mack.  

Westwood ‘The Jump Off’ (Def Jam UK) This is a no-brainer. Because this double-CD has many of the recent hip-hop hits, street-ruling cuts, and specials from the likes of 50, Kayne West, Chingy, Fabolous, Ja Rule, Ludacris, DMX, Iceberg Grimm and dancehall artists like General Degree, Beenie Man, Babycham, Kevin Lyttle, and Mr Vegas

Westwood ‘The Takeover’/’’The Invasion’ (Def Jam) Albums seven and eight for Radio 1’s hip-hop don. Thirty-one tracks on CD1 of ‘The Takeover’ cover rap, dancehall and R&B such as 50 Cent ‘If I Can’t’, Lil’ Flip’s ‘Game Over Flip’, Vybz Kartel’s ‘Please’, Bounty Killer’s ‘Yuh Gawn’, Smujji’s ‘KO’ and R Kelly’s impressive, soulful ‘Step In The Name Of Love’. CD2 contains DVD video of Westwood hook-ups in NYC, JA, and London. The Parental Advisory on  these albums are definitely warranted, as the hardcore album versions are used. CD1 of ‘The Invasion’ contains a lot of the recent hip-hop crossover and underground hits by the likes of Jay-Z,Young Bucks, Llyod Banks, Fabolous, Talib Kweli and Kanye West. Ashanti’s the only R&B representative with a special Westwood shout out version of her hot hit ‘Only U’. CD2 kicks off with five tracks either featuring Snoop or Tupac. Among the oldie hip-hop by the likes of Junior Mafia, Pete Rock & CL Smooth and Naughty By Nature, Assassin, Baby Cham and Elephant and Nina Sky represent dancehall, whilst British hip-hop and grime are represented by SAS, Kano, Lady Fury, and Lethal Bizzle featuring Fire Camp’s raucous ‘No’. Lots of party tracks, little uplifting tracks. The way some of these rappers carry on makes one wonder if they aren’t modern-day house slaves.  

Will Downing ‘Emotions’ (GRP) This album ought to re-unite Will with many of his lost fans. Simply because it’s a consummate offering, as if one expected anything less, which however cleverly straddles between smooth jazz and R&B/soul. It’s definitely an emotional album, which starts with a gorgeous soulful ballad ‘A Million Ways’. It also has some fine covers. Like ‘Hey There Lonely Girl’ and ‘Daydreaming’, which Will manages to make his own. Will cleverly hasn’t tried to be too modern or youth orientated.

Yellowman ‘Nobody Move, Nobody Get Hurt’ (Greensleeves) A mid-priced, classic reggae re-issue. A Junjo production, it Kicks off with .Nobody Move Nobody Get Hurt’, followed by the dancehall mover ‘Body Move’. His singing on ‘Good Loving’ is bad, compared to some off-key atrocities! However ‘Watch Your Words’ should serve as a warning regarding some of the slack lyrics here!  

Yellowman ’20 Super Hits’ (Virgin) From slackness, religion to humour. It’s all in from reggae’s famous albino toaster. Like ‘Mr Chin’, ‘Ram Dance Master’, ‘I’m Getting Married’, ‘Good Will Always Follow You’, ‘Going To The Chapel’, ‘Soldier Take over’, ‘Ram Jam Master’, ‘Chat Politics Pon Sound’, and ‘Nobody Move’.

Ying Yang Twins ‘United States Of America’ (TVT) Very much seeped in sexual and the usual ghetto-centric themes, the Anthony Hamilton featured ‘Long Time’ is one the few cuts here that’s accessible outside of YYT’s immediate fanbase. It features a strong chorus and great, impassioned soulful vocals. The club banger ‘Ghetto Classics’, which features a sample of Art Of Noise’s ‘Beat Box’, at least advises the kids to stay in school to get an education. Let’s hope we aren’t going to witness a succession of whispering rap tracks after that mode pf rapping on the crass ‘Wait (The Whisper Song), which comes with a remix featuring the likes of Busta Rhymes, Missy Elliott, Free, etc.

Yogi ‘Bear Necessities’ (Ant) A UK reality rapper who has the flow and whose music is underpinned by a clean and bumping production. There’s a proliferation of samples, which I doubt have been cleared, which could make commercial release problematic. The samples are mostly used intelligently, whether musically or lyrically. Curiously for a Brit rapper, they’re all American R&B, bar a British ska.  It’s not surprising that for an artist whose 2001 debut album was called ‘Jamaica Child’, reggae is also used, on a very interesting biographical story. For underground hip-hop heads.  

Young Buck ‘Straight Outta Cashville’ (G Unit) The second to go solo from 50 Cent’s G-Unit clique, it’s frightening that in 2004, we still have rappers glorifying the gun as the way of life. Opening track ‘I’m A Soldier’ says it all. No wonder some of our youth don’t seem to value their lives. The Young Bucks show how useless it’s out there, unless you can get yours at all costs. Sad, because rap has so much power to elevate the hip-hop nation.  

Zap Mama ‘Ancestry In Progress’ (Luaka Bop) This is an album that grows with repeated play. After repeated plays I can appreciate where Zap Mama head honcho Marie Dauline is coming from. Having recorded this album in Europe, and in Philly, the influences are huge. Cuts like the funk-based ‘Miss Q’N’ could well have been by some Stateside R&B artist, whilst she cooly rides a drum & bass groove on ‘Ca Varie Varie’. She sounds a bit like Erykah Badu in parts. Badu actually guests on the mellow, jazz-funky ‘Bandy Bandy’. ‘Yelling Away’ has the same kind of groove, with rap from Talib Kweli, Common, and ?uestlove. The vocal choruses and interplay are enjoyable. Worth discovering.

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