TOMMY TATE: I'm So Satisfied (Label: Kent)

Monday, 24 December 2007 14:58 Bill Buckley E-mailPrintPDF

TOMMY TATE: I'm So Satisfied

Tommy Tate is a cult soul hero and with more exposure could easily aspire to the status of people like James Carr and Sam Dees… hopefully, this new 20 track Kent collection will set the wheels in motion. What we get here are all the recordings Tate made for the notorious Johnny Baylor's Ko Ko label in the early seventies and they reveal a superb southern soul stylist who could also pen imaginative material as the situation demanded. Take the hugely personal 'School Of Love' as an example. The song uses the whole school graduation/rite of passage/teen pregnancy thing as its theme and despite that, it really is a peach. With a big arrangement that uses horn patterns similar to those Ike Hayes' 'By The Time I Get To Phoenix' it was a deserved, if minor, hit. 'If You Got To Love Somebody' is just as delicious - rivalling anything by Sam Dees or Philip Mitchell. But dip in to any of Tommy's solo cuts (many previously unissued) and you'll enjoy southern soul perfection - heavy and intense yes, but though desperation always lurks in the shadows, there's a degree of optimism in Tommy's delivery. As a bonus Kent have added a trio of cuts that Tommy recorded as the temporary lead singer with Stax group the Nightingales - after lead man Ollie Hoskins had flown the coop. All three have that magical, vintage Stax sound and will delight Memphis completists. After Ko Ko, Tate recorded for small labels like Sundance, Juana, and Urgent and wrote prolifically for all kinds of artists, but nothing he did matched the quality of his Ko Ko output - tap into real soul right here.
(BB) (4/5)


VARIOUS: Village Soul 2 (Label: Expansion)

Monday, 24 December 2007 14:57 Bill Buckley E-mailPrintPDF

VARIOUS: Village Soul 2

This is modern soul DJ Terry Jones' second 'Village Soul' compilation for Expansion and just like the first set, Terry uses his experience to prove that when done well, modern soul can offer more variety than some would accept. So here for example there's the full-on retro sounds of Delegation's 'One More Step To Take', the proto-house beats of Michael Proctor's 'Love Don't Live', the freshness of Billy Griffin's 'Like Water' and the lovely sensitive sounds of Randy Brown's 'I'm Here'. Real soul? Well look no further than Aretha's 'It's Just Your Love', ZZ Hill's take on Bettye Swan's 'Make Me Yours' or the Dells in full flow on the mighty 'Bring Back The Love Of Yesterday'. Other goodies amongst the 17 generous cuts include Rose Royce's 'Best Love' and Adeva's 'Don't Think About It' and the imaginative yet simple cover of Gladys Knight's 'Walk In My Shoes' from Bruce Cloud. The album's other big cover version, however, doesn't work so well - it's the in-demand Chuck Jackson's version of Bob Marley's 'Wait In Vain'. Chuck has great voice but the arrangement destroys the song's intrinsic innocence. It does, though, make an interesting inclusion, as too does the Real Thing's 'Love Takes Tears'. As a died-in-the-wool, xenophobic Scouser I championed the song when it was first issued way, way back, but the smarter soul-know-alls dismissed it as lightweight pop… funny how time changes peoples' musical perceptions. Here the song's ensconced as a gem of modern soul - and no way out of place amongst the big soul names I've already mentioned… great song - on another great Expansion compilation
(BB) 4/5


CONFECTION: Confection (Label: One Stop Funk Shop)

Monday, 24 December 2007 14:56 Bill Buckley E-mailPrintPDF

CONFECTION: Confection

Confection are an Australian musical unit. Essentially they consist of vocalist Juanita Tippins and multi-instrumentalist/producer Josh Beagley. They launched themselves on the UK last summer with a 12" - 'Fantasisin'' - which quickly won support in modern soul rooms with its slinky, sensual groove. Astute DJs however flipped the disc for the dancer 'I Choose You' and they discovered a perfect example of that peculiar, bouncy retro "modern" soul groove so beloved of the ultra-conservative modern soul fans. Said soul fans can now overdose on much more of the same with Confection's debut album. The eponymous set contains both 'I Choose You' and 'Fantasisin' along with 8 other tracks that could easily have been cut in the 80s - that's how retro they sound. Clearly main man Beagley has been on some kind of long distance Jam-Lewis correspondence course. Each tune contains elements of the great duo's work - indeed the aforementioned 'Fantasisin'' simply rips off the intro to 'Just Be Good To Me' and (naughty, naughty) they don't even give due credit … if I was a copyright solicitor I'd be on the job straightaway! Still, as a pastiche it's good enough - better than the synthy, electro 'Put Me On Your Playlist' and 'Flirt'. If you like things a little slower 'Stuck' is a moody ballad with pretty, layered vocals while if you're still in any doubts about the duo's Jam-Lewis allegiances they even cover their 'Diamonds' - but add little to it. Therein lies the problem with so called "modern" soul. It's not modern at all…. (and we won't even discuss the "soul" element). OK, it might all have been recorded "now" - but its essence comes from back in the day - it's a re-creation of an old sound - and if you get off on simple, boppy, bouncy music this will be perfect for you - check it all out at
(BB) 3/5


THE TEMPTATIONS: Back To Front (Label: New Door)

Wednesday, 19 December 2007 10:30 Bill Buckley E-mailPrintPDF


The last Temptations' album - the Motown covers set - was a bit of a disappointment. This new 11 tracker is a collection of covers too - but, it's a lot, lot better. Why? Well my contention is that the original Snake-pit-recorded Motown songs are unique and for all kinds of reasons the magic can never be recreated… but here the chosen songs don't have such a unique identity. Many of them have been covered many times before so in some ways there's no defining template. For example, one of the best cuts here is a sweet harmonised version of 'How Deep Is Your Love'. What should we compare it with? The Bee Gees original… Luther's version … even Take That's take? None really - the Tempts' new version simply adds to the song's lineage, and the same could be said for the lovely versions of 'Minute By Minute', 'Don't Ask My Neighbours' and 'Love Ballad'. Where things don't work quite so well is when the songs are still fondly remembered in their original contexts - so for instance, 'Hold On I'm Comin' will always be Sam and Dave's while 'Respect Yourself' will forever belong to the Staple Singers. Don't get me wrong - the Tempts do a great job, but add little new to the tunes. When they and producers Steve Harvey and Benjamin Wright really put their minds to it, though, they can revive very old favourites - notably Barry White's 'Never Never Gonna Give Ya Up' and Harold Melvin's 'Wake Up Everybody' - both of which feature the group's new boy, Bruce Williamson, who's clearly not daunted by taking on big Bazza and Teddy P. The others songs featured on the set are the Bobby Womack-penned/Wilson Pickett hit 'I'm In Love', LTD's 'Back In Love Again' and the pop standard 'Let It Be Me' … all are well-worth the price of the album, which is currently available through Universal's Import Music Services.
(BB) 4/5


THE ALL STARS COLLECTIVE: All About The Music (Label: Specific Records)

Wednesday, 19 December 2007 10:29 Bill Buckley E-mailPrintPDF


The All Stars Collective are just that - a loose ensemble of top musicians who've played around the UK soul scene (live and in the studios) for more years than most of 'em would care to remember (that's if they could!). Their numbers include Guy Phethean, Mark Mondair, Randy Hope-Taylor, Matt Clackett, Klaus White and the equally redoubtable Hamish Stuart and Jim Mullen. Add to them a stentorian phalanx of vocalists of the calibre of Jocelyn Brown, Mary Pearce, Julie Payne and Roy Hamilton and you know we're talking serious soul here. Musically the crew cook up a sound that combines mellow moment Tower Of Power with prime time Incognito - garnished with 'A Love Of Your Own' period Average White Band - not surprising given the presence of said Mr. Stuart as overall producer. That said, though, in places the All Stars' music sounds nothing like any of that. Case in point is the closing track - 'Time Will Tell'. This one's a semi-acoustic indie-folksy-rocky provocative cut that questions the sense of war - but it's not doomy and gloomy. Those adjectives don't fit into this band's palette - by and large their music is big, joyous and life-affirming. For proof go straight to the bubbly opener 'Sometimes' - brash and brassy, it's a delight … rivalled by the lovely 'Hey Listen Up' - which just about shades it as the LP's best cut. Clearly Hamish and the boys had just been listening to Donny H before cutting that one. Other goodies include 'Remedy' and 'Satisfied' and though I could've done without the reggae-based 'On My Mind' I know that people who dig James Hunter and John Mayer will connect with it. To check out this excellent album (which again proves that when we put our minds to it UK musicians can "do soul") go to
(BB) 4/5


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