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Marcell and the Truth – Hopes too high Maskerade – Prilud 2 Luv Ray Parker Jnr – I’m Free Marva King – Soul Sistah Conya Doss – Love Rain Down Lord Large ft Dean Parrish – Left right and centre Various - Underground Soul Inobe – I am Inobe & Spiritual Soul Al McKay Allstars – Al Dente Al McKaY Allstars – The Earth Wind & Fire Experience This is Soul 2006

Donald Sheffey – We were meant to be Anthony David – The Red Clay Chronicles Incognito – Bees + Things + Flowers Silk – Always and Forever Lilla D Mone – Music Trance Oshy – Da Life of a Singer Lonnie Hill She - SheSoul Peter Hadar – Memories of the Heart Mala Waldron – Always there SounDoctrine – Endurance Lynne Fiddmont – Flow James Day – Better Days Jean Terrell – I had to fall in love Jacqui Noble – Releasing Expressions Erica Streat – Let it go

Marcell and the Truth – Hopes too high http://www.basementboys.com/main.htm http://myspace.com/marcellandthetruth

Info – “THE ALBUM: It's about trying to learn how to love yourself while trying to learn how to love somebody else. It's about a Friendship, Relationship, Love, Marriage, Divorce, Loneliness & Bitterness. Trying to make sense of Life & Religion. It's the Truth. The LIVE SHOW - Man that's where they shine best. The record labels are doing us all a favor. They are forcing us to choose for ourselves the real leaders of our time. The people seem to be taking notice that the labels and radio stations are creating one name brand artist (product) and then selling 20,000 generic artist (products) from the prototype. The people seemed to be tired of spending their money only to find out the products are fakes. The stories they speak of are not theirs - the life they're speaking of, they haven't lived. Live Shows are showing us the truth. Who is real music? See, live shows expose not just the creativity but the hard work, unity, and dedication. You can hear the rehearsals or the lack there of. The studio is like a picture. It can lie. However, Live shows are like looking into a mirror. What you see is what you get - The Truth. Marcell & the Truth believe's it is unfair to ask people to get dress, come out of the house, find and pay for parking, wait in long lines, buy tickets, share dirty restrooms, and stand in musty clubs only to not be completely blown away by the performance. Marcell believes that if "TIME DOES NOT STAND STILL," when the lights drop and the music starts, the people have waisted their money. They feel you shouldn't just listen to the commercials but go see the product for yourselves and than decide. If you don't want to hear real musicians play, real songs that are timeless, honest music, a real front man, I mean, a real SHOW - don't invite these guys to your town. But if you want what is missing and what so many run from, than I suggest you call these cats. Marcell will make many singers go back and practice. When I asked Marcell who does he think he sounds like he responded, "Everyone. I am a product of history. I'm not fighting to be an individual I was born that. My being different is God's job - my job is to meditate & figure out who/what God made me to be for his purpose. I hope I sound like every man & woman that touched your heart thru song. Our generation is often disrespectful to their ancestors - everyone wants to be the "ORIGINATOR". An old man told me that imitation & duplication is the highest form of flatory. There is nothing coming out of my mouth that someone from this universe didnt give me first. I just pray the voices before me & God is honored by my music & my life. I told him, "You to me are like the perfect blend of Luther Vandross & Donny Hathaway." When you hear him you'll see. Ladies & Gents - Marcell & the Truth. Your's Truly”

Review – well I didn’t know what to expect, the names a bit leftfield, didn’t realise till it arrived that it was basement boys, so that gave me another (couple of) perspective as to what it might be – but all preconceptions were swept aside once I hit play – and what do you get, a really top solid soul album with gospel overtones, one of the best of the year I would suggest.

Never Leave You Lonely is a midtempo dancer of sorts with a strong gospel vocal and chorus. Hopes Too High is a gem, powerful vocals against a slow stepping groove. Breathe Love has a groove, or it reminds me very strongly of Rufus’s Hollywood. Your Eyes is another strong and ultra mellow ballad with vocals right to the front and harmonies grooving underneath.

Maybe I'm Not the Man is yet another strong cut with a Dramatic’s In the Rain sample, again I love the way the lead and the backing work together as there is something just a little bit different about it. Com'n Home to You is a balad that builds and grows in a gospelly type format.

Evil Woman is the first fuly uptempo track, a dancer taking from Valdez in the Country. The other ‘dancer’ is Sending You Away, and this easy catchy funk offering of the two is my preference. It Ain't Over is uptempo gospel.

The rest are ballads, Cold Rain being the pick of he rest, though eaxh have something to comment, like Time Stops has tinges of Rance Allen and Please Come Down being as catchy as you get.

A very strong album, I love it and heartily recommend it.

Tracks - 1. Never Leave You Lonely 2. Hopes Too High 3. Breathe Love 4. Your Eyes 5. Maybe I'm Not the Man 6. Com'n Home to You 7. Evil Woman
8. They Don't Know 9. Sending You Away 10. Cold Rain 11. Time Stops 12. It's Been Too Long 13. Please Come Down 14. It Ain't Over

Donald Sheffey – We were meant to be http://weezieproductions.com/index.html

Info:- Donald Sheffey is attempting to give music back to the people…music that has conviction and a story…music that gives good feelings and drives positive emotions…music that you aren’t afraid your children will listen to. He believes that music is supposed to make you feel good and he loves coming up with new and fun ways to share it with his fans.

Sheffey grew up listening to and aspiring to be like some of the greats, what he calls, the REAL artists, like Marvin Gaye, Aretha Franklin, Prince, and Earth, Wind and Fire. He was also inspired by gospel music, singing in his church choir. Because of the broad range of musical inspiration, Sheffey’s sound can be best described as eclectic – unique with a flash back feel, energetic grooves, and lyrics with a point, not just a hook.

Sheffey got his first taste of the music business as a DJ in his hometown of Pittsburgh, PA. After a 10 year stint in sales and marketing, Sheffey decided to focus himself 100% on his first true love…music. This decision led him to New York City.

Through his years in New York with various internships, open mics, showcases, and voice-over work, Sheffey learned that if you are going to be a REAL artist, you need to handle your own business affairs and become involved in the development of your career. Thus was the birth of Weezie Productions, Sheffey’s full service, self-owned production company.

Weezie Productions was founded in 2005 and is focused on new artists with a positive message. They are currently working and collaborating on several new projects with some of today’s hottest producers and singers – a group of fresh, mature singers and producers who are dedicated to changing the negative adolescent nature of today’s music.

Sheffey’s long anticipated full-length CD is a collection of original songs with soulful-meaningful ballads that everyone will enjoy. It was definitely a labor of love. And it is only just the beginning of what he has to offer.

Review:- Some very nice stuff on here from the opening bars of the medtempo stepper Why Should I Cry Over You, nice harmonies and laid back screaming sax, a track I am sure that the UK will love. An album steeped in the old skool, all melodic songs written by Donald, mostly ballads but some medtempo cuts as well.

Feel The Music is pretty formulaic both in lyrics and style but it is catchy! Party People with a title like that sounds like it will be like the previous track but the enticing vibe intro and harder vocals make it stand out.

Without You has a hook and vibe very similar to some old skool outing, again with that now familiar vocal (same kind of tone as Arnold Jarvis I feel) and sweet harmonies, bit funkier this one.

Right downtempo now with Will You Marry Me. Although very much based on old skool Preach is the firsttrack that actually sounds dated, very 80’s. We Were Meant To Be is a grower, wasn’t to keen at first but it does have something.

After the initial track this is the one I’m feeling most, much more bassy and percussive I Like To Groove. Let The Music Take Control is very ‘disco’. I Don't Ever Want To Know is a ballad which is maybe the strongest lyrically.

Suffers slightly from the kind of production weaknesses that many indie CD’s carry (ie money), but all things considered, though not very radical (but it is not ended to be), a very promising and enjoyable album.

Tracks 1. Why Should I Cry Over You 2. Feel The Music 3. Party People 4. Without You 5. Will You Marry Me 6. Preach 7. We Were Meant To Be 8. I Like To Groove 9. Let The Music Take Control 10. The Club 11. I Don't Ever Want To Know 12. That's My Song

Anthony David – The Red Clay Chronicles – www.domerecords.co.uk

Info: - Savannah, Georgia, was David’s home before migrating to Atlanta to jumpstart his music career. Shortly after arriving, he befriended another young, aspiring, and multi-gifted artis–her name was India.Arie. “India was about the first person I met when I got to Atlanta. I saw her at The Underground and she looked cool, so we started talking, and I learned that we both liked the same artists, and we began sharing music. We were friends for 3 years before I even knew she could sing.” Through his friendship with India, he found an outlet to express his thoughts and emotions in songwriting. “India had been playing the guitar, so I bought one and started messing around with it.” David went on to write the song “Part of my Life” for India’s critically acclaimed and multi-Grammy nominated album Acoustic Soul. “It wasn’t until I heard some Bill Withers songs that I got the inspiration to really try singing and then I sort of found my vocal stride.”

“I’ve written stories all my life, so this is a continuation of that; I am a singer/songwriter first, I pick up instruments, learn ‘em and make songs with ‘em. While traveling around the country and Europe playing the last two years, I was able to soak up sounds from everywhere I went, which has had a big influence on this record. I’ve also learned so much about working in a studio the last few years that I was able to take a strong hold on the production of this record. I haven’t changed direction musically, I’ve just been able to grow and expand my sound.”
David’s music is still an R&B and Soul melting pot, and this time he called on his many friends in the Atlanta music community to lend a hand to his songs. Comparing RCC to 3 Chords, he explains “It’s another ride through the rhythms that I like, but this time with a lot more emphasis on beats. I enlisted the help of every Atlanta musician I could get a hold of, from keys to horns and everything in between. I wanted it to represent my scene or at least my perspective of the scene and let everybody else hear what kind of flavor and diversity we have here in the South. Everyone who plays on this record has been a part of something big before, so they lent me that energy to try and help me get big. The vocalists are some of the real deal folks from around this way, like PJ Morton, Tori Alamaze, Laurnea, Kiesha Jackson and of course India. There’s more of an R&B flavor to this record, as opposed to the soul leanings of 3 Chords, but I think that drawing too fine a line of distinction between R&B and Soul is kind of dumb anyway.”

Review:- Saw Anthony recently at the Jazz Café, and obviously his earlier album is reviewed on the site, and he did a tour wit my good friend Maya Azucena, so I knew quite a bit about Anthony but none of that really prepared me for this. This is excellent, one of the best albums, if not the best so far, of a pretty barren year. Like this a LOT.

Anthony’s voice isn’t probably the best in the world, his vibe is very downbeat and acoustic, but there is a strong presence about him and a warmth exuding throughout the whole project.

Three more tracks on the Uk version I think with some extra bits added from the first album. Hard to pick out favourites as it is one of those that can be played the whole way through, and that doesn’t happen often for me – but whilst here another album that can and its also a Dome one is Andreus which I reckon is the album I have played most this millenium! – But the opening track is great Stop Playin’ as upbeat as you’ll get. Smoke One too gives out, as you would expect I guess, that laid back vibe. Everything is Everything has some nice touches, some laid back jazzy horn bits – the synthesised elements though sound well synthesised.

Words features India Arie and is a track I have already played out in a laid back session I did, and the response was excellent. Feel good and hum it all day. Lady has the husky vocals right to the front, laid back simple yet strong jazz arrangement, the song builds and Anthony’s vocals are stretched into the higher ranges – wonderful track. Back home for some ATL sunshine. Something about you also is more upbeat and catchy. Sho Nuff is funky and very different (for him).

Red Clay Chronicles, strong lyrics, and brought right down into Sly Stone territory.50/50 Love with Julie Dexter is acoustic lovers rock niceness.

A thoroughly recommended album.

Tracks: -1. Stop Playin' 2. Smoke One 3. Everything Is Everything 4. Words - India.Arie, , Anthony David, 5. On & On 6. Lady 7. Atl Sunshine 8. Something About You 9. Sho Nuff 10. Better Than 11. Red Clay Chronicles 12. Kin Folk 13. Smoke One with Earl - Anthony David, Earl Klugh 14 50/50 Love ft Julie Dexter 15 GA Peach Remix 16 Spittin Game

Incognito – Bees + Things + Flowers www.domerecords.co.uk http://www.incognito.org.uk/

“Brand new album from Incognito - "Bees + Things + Flowers".

It features new arrangements of four Incognito classics – Always There, Still A Friend Of Mine, Everyday and Deep Waters – and covers of such great tunes as Roy Ayers' "Everybody Loves The Sunshine", Earth Wind & Fire's "That's The Way Of The World", "Summer In The City" and a stunning remake of America's "Tin Man". There are also three brand new Bluey compositions. Six tracks feature a 16-piece string section and the line-up of lead vocalists on this radio-friendly album is the strongest ever assembled for an Incognito album – CARLEEN ANDERSON, JOCELYN BROWN, MAYSA, JOY ROSE, IMAANI and TONY MOMRELLE.”

I’ve been holding off on this album for a while, it is a bit different from other Incognito albums, and it’s taken me a while. It sounds kind of stripped down, mellower than usual but it still contains a large string section on 6 tracks, and is beautifully produced.

It can be broken down into three three sections:-

The new arrangements of existing and well known Incognito tracks, Always there ft Jocelyn, Still a friend of mine ft Maysa, Everyday and Deep waters ft Tony Momrelle. My favourite of this segment is Deep Waters – an excellent deep and acoustic slant on this track.

The covers, Everybody loves the sunshine ft Joy Malcolm, an epic 8 minute interpretation of EWF’s That’s the way of the world, Loving Spoonful’s summer in the city ft Carleen, America’s (or Jihn Edwards?) Tin Man. A fairly unusual and eclectic mix of songs given this treatment

And the best offerings fall under the third category, the three new songs Crave ft Imaani, Raise, You are Golden. I like the feel and vibe and drum patterns on Raise, but I think Crave is my favourite of the whole album. Whatever this section for me is the best.

All things considered and even allowing for the crisp production and the beautiful string arrangements and some masterful vocals I am still none to sure about this.

Silk – Always and Forever - http://www.shanachie.com/

In the early 90s, SILK stormed the R&B landscape, quickly becoming one of the biggest-selling vocal groups of the decade due largely to their massive first hit single "Freak Me." Fast-forward to 2006 and SILK returns with "Always And Forever" bringing their signature sound to some of the greatest R&B songs of the 70s, 80s, and 90s.

Review: - Vocally this is very good and the harmonies as exquisite as ever, but I still find myself rather disappointed with this. There is a pretty diverse and interesting selection ov covers ranging through Prince to Quincy, Blue Magic to Switch.

Secret Garden (Sweet Seduction Suite) Listen is the first tracked that grabbed me (and my promo is in a diffferent order to the tracklisting below) as being something that was interesting and added to the original- though the straight version rather than the bedroom seduction suite. Some of it like the title track Always & Forever Listen is rather too insipid.

Uptempo wise on Don't Disturb This Groove Listen the ‘electronicness’ of the backing is rather more evident than on the slower ballads. I think on some ‘old skool’ covers you expect the lushness of full orchestration, take Sideshow Listen for example.

Lady In My Life Listen is one of my preferred cuts, a very sweet and mellow ballad.

An OK album but I kind of expected more

1. 10. Two Occasions Listen Listen

Tracks: - 1. There Will Never Be Listen Listen 2. Adore Listen Listen 3. Always & Forever Listen Listen 4. Don't Disturb This Groove Listen Listen 5. Nite And Day Listen Listen 6. Sideshow Listen Listen 7. Lady In My Life Listen Listen 8. A Night To Remember Listen Listen 9. Secret Garden (Sweet Seduction Suite) Listen Listen 10. Two Occasions Listen Listen

Lilla D Mone – Music Trance - http://lilladmone.com/

.Info: -: LILLA D’MONE - MUSIC TRANCE :.
With her first album, “Music Trance” featuring Talib , Lilla D’Mone seems poised to stir the very essence of soul music. In a record
that speaks to both those who have loved and lost, the 20 year old singer watches the world go by with tenderness
and grace beyond her years--shining, through an uncanny storytelling ability. The music ranges from funk infused
jazz themes to searing soulful ballads, written and produced by the artist herself. “I want this album to take people
away from reality to a sensual place where they are comfortable, relaxed and understood,” says D’Mone, “I think
this album can put a restless spirit at ease for a while.”
Born and raised in Portland, Oregon, Lillian Marie Naiman grew up under the influence of her parents music: Billie
Holliday, Marvin & Tammy, and Aretha Franklin she received from her mother; Hendrix, Sade and Tracy Chapman
from her father. At the age of 6 she taught herself to play the piano by ear, with no instruction and no knowledge of
written music. She began channeling the music through her own vocal chords when she was just 12 years old with
her local gospel choir. In high school other opportunities presented themselves--in addition to gospel choir, she sang
with Ulysses S. Grant High School’s internationally recognized Royal Blues, at the same time providing stage and
studio vocals for several local hip-hop acts. It was during this time that she found her niche in the local Portland hiphop
scene. “I was the only girl rockin’ the mic at the time, be it a show or a house party. There were no female m.c.’s
here, much less other singers.”
In 2002, thinking about her own music career, she began applying her efforts toward what eventually became Music
Trance, working hard inside and outside of the studio to develop her sound exactly the way she wanted.
The largest influence on Music Trance has been the creation of the record itself, during which time an eager young
girl grew into an industry-savvy diva with an enthusiastic fan base spanning the west coast. The late, great Andre
Hicks--otherwise known as Mac Dre--introduced Lilla to Fahrenheit records CEO, First Degree the DE. During this
time, she performed alongside such industry heavies as Andre Nickatina, B-Legit, Talib Kweli, and rap godfather,
Too $hort.
After doing guest vocals for a number of Fahrenheit Records releases, and studio work with local hip-hop notables
she felt she had enough experience to strike out on her own. Some of her greatest tribulations came with developing
Music Trance, and D’Mone learned, sometimes through frustration, what it would take to stand up for her record.
Three years later Music Trance has Lilla D’mone’s full confidence, largely thanks to the collaboration efforts of
Andre Rivers, Syko, and MyG, and her own matured production abilities. Lead single Take a Moment is “a real song
that everybody can feel because everyone has been through what I describe.” Andre Rivers turns out a piano riff that
escalates and coalesces with D’Mone’s voice through every emotion--the song is very pretty in it’s simplicity. Sitchiations
describes her journey to shed the negative people from her life and career. It stands out because of the insistency
of the vocals played off of an expansive jazz/funk ensemble, “This is what we call flavorful.” Lilla D’Mone has
more words to back this. “People forget the importance of music’s roots--the old singers and musicians. People are
building sounds, but too many are building off of something that happened a year or two ago. The warmest sounds
come from every era of jazz, soul, and blues, these are the sounds that remain unforgotten.” The larger vision of the
album can be glimpsed in Lost in the Music: “I paint a mysterious picture. You might be forced to forget your problems
and find yourself lost, listening.” You might have to dance, too. Syko, who best known for his production of the
Mac Dre hit “Thizzelle Dance” was brought in to make the beat rumble.
In an era where personal vision only has meaning for industry super-producers, Lilla D’Mone has successfully
produced an album on her own terms, to her own standards of satisfaction. Music Trance contains no filler, no throw
away songs. Its solidity speaks for both the artistic talent and outstanding work ethic that can only take the listener
to a place this deep.

Review - Very nice album, excellently produced and pretty solid all the way through. It’s comfortable, warm and pleasing and one that can be played throughout. The vibe on the first coulple of tracks sets the scene, and Forever and a Day with some light baduesque features purrs along.

The pace lifts on Music which features Talib Kweli. Sitchiations has a jazzier vibe. Take a Moment is a more traditional ballad against only piano and drums.and Summer Nights is similar. Reack For the Stars is catchy jazzy and a highlight. Lost in the Music has an eastern feel, strong beats and extensive vocal work. Dirty Money feat: MyG with the samples and hook making it instantly familiar. Escape From Reality again is an amalgam of jazz and neo soul, and Music Trance is exactly what it is.

Great album, solid consistent varied, all written by Lilla and performed to perfection, a fine debut indeed.

Tracks 1. Rock Me 2. Forever and a Day 3. Music feat: Talib Kweli 4. Sitchiations 5. Take a Moment 6. Time 7. Summer Nights 8. Love Potion 9. Reack For the Stars 10. Lost in the Music 11. Dirty Money feat: MyG 12. Escape From Reality 13. Music Trance

Oshy – Da Life of a Singer – www.dreamsoundrecordsinc.com www.oshy.dreamsoundrecordsinc.com

Info: -In the world of music, there are great singers, talented songwriter, amazing vocal stylists, as well as producers, and performers who are at the top of their game, but it is a rare thing to find all the aforementioned embodied in one person. However, this is true of an extraordinary R&B artist named Oshy.

Oshy, who was born Thomas Byrd, discovered the art of singing and songwriting while Watching his father rehearse, record, and perform. His father was a member of the R&B group "Total Climax" and when Oshy heard them sing and harmonize, he knew that it was something he wanted to do. Using an old tape recorder, he would study his father and then try to emulate his vocal ability. It was obvious to all that Oshy was gifted but had yet to find his true voice.

Oshy was 15, when everything changed. He was at a church in Harlem NY when this 11yr old boy walked out in front the choir and sang a solo. It was the most soulful and emotion pulling singing he had ever heard. It was so powerful, that it actually put tears in his eyes. Wanting to become that kind of vocalist, Oshy worked his craft like never before. He worked his vocals as if his life depended on it and in many ways it did. His childhood hadn't always been easy and he had watched family members and too many people he knew get lost or taken by the streets. Oshy wanted more and he knew that what one achieves was completely a reflection of what one puts into it, and he put in all he had.

Celebrated R&B/ Hip Hop producer Ron Browz (Lil' Kim, Snoop, 50 Cent, Ludacris, Lloyd Banks, Tony Yayo, DMX, Big L, Fat Joe, Jae Millz and Nas) saw something special in the young singer and encouraged him to not only sing, but to learn and understand writing and vocal arrangements. Browz was really influential in Oshy's early growth as a songwriter. Over the years Oshy has been a member of a few groups where he wrote and vocally stylized 90% of the songs. His talents helped lead to deal offers from Atlantic Records, Sony, and Warner Bros to name a few. But as they say, all things happen for a reason, and this was definitely true for the aspiring singer. Each time with each group, due to situations and the wrong team around him, the deals didn't go through which led to the groups going their separate ways and Oshy focusing on what he always knew was his true path, that of a solo artist. Aside from Ron Browz, Oshy has worked with industry powerhouses such as Big Drawers (Destiny's Child), Wynetta Wynn (Sony songwriter) Red Spider, Frantic, and Frost. He has also sat in on sessions with R&B groups 112 and Jagged Edge.

Oshy, which means "The Best Comes" in Cherokee Indian (which is a part of his heritage) is now focused on taking his solo career to the top of the charts. Signed to Dreamsound Records, Oshy's CD will drop internationally during the summer of 06. Oshy has written all the songs on his new album.

Review: - I really like R’n’b albums which show some soul and this falls into that category, and I like it a lot. Mostly slow jam R’n’B and there is none better than the sensual Enuff Love. Let's Get It In is more aimed at the dancehall, and although it contains some nice vocal bits its not one that I particularly care for. Bit overt as we go back to the bedroom on The Best Sex in the World but it is good.

Come Here Wit It with its mellow hip hop flavours and enhanced with some good samples is kinda half way to the dancefloor. If It's Possible, again on a love theme, is one of the best ballads, set against some nice beats. The album is laden with slow jams, all pretty much on a theme, all are pretty good I'm Sorry , Girl It Ain't Nothing, Be Wit Someone New, I Was Wrong (with some nice acoustics and harmonies), What Am I Gonna Do

Not to keen on the upbeat material it is pretty formulaic like on Give Me What I'm Asking 4, Poppin Bottles

The album hangs together quite well and the standard is quite hiigh, all in all I quite like it, but there is nothing that really grabs you and sets it apart, maybe Enuff Luv excepted.

Tracks 1. Intro 2. Enuff Love 3. Let's Get It In 4. The Best Sex in the World 5. Come Here Wit It 6. If It's Possible 7. Skit 8. I'm Sorry 9. Girl It Ain't Nothing
10. Give Me What I'm Asking 4 11. Be Wit Someone New 12. Poppin Bottles 13. I Was Wrong 14. What Am I Gonna Do 15. Outro

Lonnie Hill – http://www.hillshideawaymusic.com/

Info: -Lonnie Hill, the multi-talented Songwriter, Producer, Vocalist and Musician, blazed a powerful road into the music world that even today shows no signs of ending.

Lonnie Hill born in Tyler TX, proceeded his move into the Gospel world. After advancing in this escapade, he met and performed with a multitude of famous artists such as the renowned Gospel Keynotes. He also shared the stage with other well-known artists such as James Cleveland, the famous Staple Singers, The Mighty Clouds of Joy and the multi-talented Stevie Wonder. Lonnie's talents never seemed to end, especially in the music industry were he has also performed with the fabulous Mr. Edward Hawkins and the talented Isaac Hayes. Later in his music career, Lonnie decided that he wanted to explore more than the Gospel industry.

As he made the transition from Gospel to Rhythm and Blues, Lonnie released his first album entitled "You got Me Running" with his hit singles "Galveston Bay" and "Could It Be Love". His singles were at the top of the charts for 6 weeks in England.

In the Millennium, Hill's Hideaway Music and Sparkle Productions present to you... Lonnie Hill's newest CD "No Games" with the hit single "Step On Out". Lonnie feels that it is time once again to fill your hearts with his soulful sounds.

Review: - a new 2 track CD, available from Lonnie’s website link above. The tracks are So in Love and Love is so good when you’re stealing it, two classic Soul Tracks given th e treatment by Lonnie, from an era I guess is where his heart lies.

Vocally and classically these are two great tracks, with a sligt preference for thin line, mainly because the backing and instrmentation is less ‘mechanical’.

These are precursors to a full CD, Back on the Scene, and that is what we wish for and where Lonnie needs to be.

She – SheSoul -to come

Peter Hadar – Memories of the Heart http://www.peterhadar.com/

Info:- “With just the right amount of heart, soul and edge, Peter Hadar IS the ‘Coolest Weirdo’.” - Rahsaan Patterson

“Pete has developed into a great writer and dope artist, so keep a look out for Peter Hadar.” - Eric Robeson

At first glance, Peter Hadar, born Peter Winstead, Jr., may seem like a superhero with a death wish rather than an extremely talented singer & songwriter. His unending struggle to learn and evolve as an artist coupled with his plans to die a great musician instantly single him out in an industry wrought with fly by night artists.

As a young man, Hadar struggled to dissipate from the shadows of his father, a musical prodigy and well-known gospel artist. He longed to make a name for himself outside the music world.

He was soon drawn to fashion, where he blazed a trail for himself with ease. It was because of his ferociousness at learning the trade and defeating challenges that he earned the name “Hadar,” given to him by his uncle, a Hebrew Israelite. “Hadar” literally means “adornment,” and in his case “to decorate or dress.”

In 2004, after losing his job in the fashion industry, Hadar found himself in dire straits. It was at that point that he realized that working for someone else did not appeal to him and decided to take the indie route to develop his paternal gift of music. Locking himself in his mother’s house and writing nonstop, Hadar, found he also had the gift of “dressing music.”

With only a year and some change as a songwriter and no formal training as a musician, Hadar began putting together an impressive resume. Through his industry connections, he was able to collaborate with some of R&B’s most respected artists including Chante Moore, Carl Thomas, and Joe.

Continuously progressing, Hadar eventually met up with Mike Genato (The G:neous) and the drum and bass duo Mathematics. Together, these musical scientists have concocted a formula that is unique, unrivaled and distinctively Peter Hadar.

With his first solo effort, Memories of the Heart, set for release in July 2006, Hadar plans on taking over the world with his own brand of cool weirdo music.

This definitely looks like a job for Peter Hadar.”

Review - First Sight has been getting a good few plays over recent months in the discening clubs and stations, it is upbeat and suits that marketplace with its catchy melodies. Personally I think there are better tracks like the mellowness and beauty that is Never Again. Need Love is upbeat and punchy and was actualy featured on the H2o comp featured elsewhere on the site. Thunder is still downbeat but still kicks a bassline and features some excellent vocals. U Dont Love Me is a very deep and melancholy ballad. Xplosive is another upbeat track thatis very fine indeed and could get some uk dancefloor action.

Please! Is one I can’t make up my mind about, I like the funky backbeat and the sample in their but I can’t get into the laid back vocals on this one.

And there are some that I don’t particularly get or care for, like provider in any of its guises, (Provider 2 Featuring Tyquan).

The Cool Weirdos thing Cool Weirdos Interlude must be a personality thing I guess, seems a strange tag to promote and sell an album, that said I would prefer to concentrate on the cool rather than the weirdo, as there is certainly sufficient material on here to want the album and to look forward to the next project.

Tracks: -1. Provider, 2. Never Again, 3. Need Love, 4. Cool Weirdos Interlude, 5. Thunder, 6. U Dont Love Me, 7. Please!, 8. Xplosive,9. Provider 2 Featuring Tyquan, 10. First Sight, 11. Marvin, 12. Deep in Love

Maskerade – Prilud 2 Luv http://iammaskerade.com/

Info: - I am Maskerade.

First I would like to introduce you to PRILUD 2 LUV (P2L). Of course it's spelled wrong!! You know how I do it. P2L is an extension album to LUV IZ CRAZI (LIC), a top seller on CD Baby for several months strong. All the songs were completed about the same time as LIC with the exception of "Amazing Remix" and "Make It Slow". These are some of the songs we couldn't fit on the first album. Some of the songs have been requested by some of my old MP3.Com fans. I WANT YOU GUYS TO KNOW THAT I APPRECIATE THE SUPPORT! So I took some time out to put together a second album, properly titled and incorrectly spelled PRILUD 2 LUV. Enjoy!

AND NOW A WORD FROM M-BANGER!

I was born and raised in Juice County (aka The OC), California. A lot of folks don't know we doing like this out here but it's true.

By now I hope you've gotten a chance to listen to my music. Many of the big time artists that you know of have so much behind them. But I didn't have anything when I put my music together.

I JUST WANT THE WORLD TO HEAR MY MUSIC. THE INDUSTRY WON'T LISTEN SO I HOPE YOU WILL.

I'm repping Juice County forever! And I'm never gonna stop doing this music shit. If you want to hear more go to the CD Baby website. One.

MASKERADE, WHAT INSPIRES YOU MOST? I'm inspired by life's everyday bs, problems and relationships. But mostly I'm inspired by beautiful women...

... I see you. And then I wonder what your story is. Then I write about it. When it all comes together, it's just way too lovely. You feel me?

SO WHAT'S NEXT FOR MASKERADE? I'm on the grind to make sure people get a chance to hear real R&B music. There are so many incredible artists out there that people who luv music need to know about...

... And I'm one of them. HOLLA! ;)

Review – I really like this kind of album, R’n’B/ hip Hop derivative but mellow and soulful. there are several appealing tracks starting with Crazi Luv Pt 1 with a sort of slowed down steppers vibe. The bass heavy Dance With Me has some catchy riffs and is a strong dancehall offering.

The Mood is funkier, bit sparser allowing the vocals to be/sound stronger, catchy hook, and one of the top tracks. A very nice smooth remix of So Amazing Remix . Make It Slow will also appeal because of the Lets do it again sample but notwithstanding that it is a very good ballad. Fom the title you might not guess what kind of track this is but 2000 Beatz is an expressive love ballad. Playground is a great track, heavy beats yet easy on the vibe, love this kind of groove.

Saturday Night I think is a tad more commercial, strong vocals. On the Other Side and indeed My Cry are moody and slow downbeat cuts. So Amazing Remix (ft D'fine) is a beatier remix of that track.

A very strong album and right up my street.

Tracks: 1. Crazi Luv Pt 1, 2. Dance With Me, 3. The Mood, 4. So Amazing Remix, 5. Make It Slow, 6. 2000 Beatz, 7. Playground, 8. Saturday Night, 9. Desperate, 10. On the Other Side, , 11. My Cry, 12. So Amazing Remix (ft D'fine)

Ray Parker Jnr – I’m Free http://www.rayparkerjr.com/

Info:-If Jimmy Buffet grew up in Detroit, it would sound like this. Rays new album “I’M FREE” equals and surpasses his earlier hits. Produced, composed, arranged and sung by Parker, “I’M FREE” showcases a new found beginning for this exceptional artist and embraces a variety of musical styles including Urban, Pop, Rock, Jazz, Blues, and Reggae. “This album represents a lot more than just a song or a project,” says Ray. For the first time in many years I feel free to express myself the way I used to when I first started!”

Utilizing the cream of L.A.’s studio A team along with Ray himself on both acoustic and electric guitar, “I’M FREE” exhibits a new maturity for the man who first gained fame writing and recording youth based love songs, both with his band RAYDIO (“You Can’T Change That”) and later as a solo artist (“Ghostbusters”). With more adult themes to sing about, Ray wrote every song on the album with the exception of the David Gates/Bread hit “Guitar Man.” From the beautiful acoustic guitar opening on “Mexico” to the closing instrumental “Gibson’s Theme,” Parker takes the listener on a heartfelt journey that is both musically stunning and lyrically moving. You definately have to buy this one!

Review – This is an album that sounds as if it is from a man who has found and is at peace with himself. It has a warm flowing easy feeling, with an excellent production befitting of a manner with his successful background. Lyrically it is mature and personal.

Mexico is acoustic with a Latin feel, warm summery glow. Glass Of Wine is amusing yet sad, catchy an a bit ‘light’ for a strong subject – I man its catchy and singalong yet very serious. Middle Age Crisis continues with a catchy feel, but again with a down lyric. Its kinda funny, and clearly autobiographical so to have such a happy vibe is good, and positive for the future, but it takes some getting used to,because this is not hard earhy Southern Soul!

Mismaloya Beach is similar in feel but is a fresh jazzy instrumental. The Guitar Man changes into a harder rockier song, the only external composition on the album. I'm Free also has rock undertones, the shackles have gone, now we are into bluesier territory and I’m starting to get the picture I think! Rum Punch is in joyous Caribean style. Sunset Ray is very nice, excellent jazzy instrumental. Forgive Me turns to the spiritual side (lyrically), The Book also is rocky, bit like alright now in fact.

I dunno, not my particular cup of tee, but there’s lots to appreciate, where he’s coming from, where he’s looking towards, future optimism, the production, so try it and see what you think.

Tracks - 1. Mexico 2. Glass Of Wine 3. Middle Age Crisis 4. Mismaloya Beach 5. The Guitar Man 6. I'm Free 7. Rum Punch 8. Sunset Ray 9. Forgive Me 10. The Book 11. Gibson's Theme

Marva King – Soul Sistah http://www.expansionrecords.com/details.asp?SKU=XECD50

Marva King - Soul Sistah - XECD50 Price: £12.99 Form

Quantity:

Info: - In the States, Marva King is best known for her starring role in Tyler Perry’s multi-million dollar grossing movie, “Diary Of A Mad Black Woman.” In “Diary,” King played the spurned, attractive, feisty and vengeful housewife, Helen. Now, the former Prince and the New Power Generation singer is back again, with her very own album.

As the daughter of performers, King always appreciated music and began performing gospel at 13 with the Clarke Sisters and Andre Crouch. She worked with Stevie Wonder when she was still a teenager, sang on Michael Jackson’s “Bad”, and toured and recorded with Prince as a member of the New Power Generation. She co-wrote the Whispers’ single, “Innocent,” which debuted at #4 on the “Billboard” Hot Singles Chart.

Holed up in the studio, the prolific vocalist with the four-octave range recorded her new CD “Soul Sistah” which explores all forms of soul music. When asked to pick her own favourites, King could not choose just one. She likes “Mellow,” a track that has the power to ease her mood. She also enjoys “Sistah,” featuring violists Karen Briggs a track destined to be an anthem. “Know You,” which has been called one of several “tantalizing” tracks on the CD, also made her list. It’s understandable that she would have a hard time choosing a single favourite. King has received “Universal Love” from audiences around the world, and surely gives it back in her track of the same name. Listeners will also be interested to know that Soul Sistah includes a version of Minnie Ripperton’s “Baby This Love”.

In addition to her latest CD, “Soul Sistah”, she also has a featured part in Resurrection: The J. R. Richard Story, an award-winning film set for distribution this year. Resurrection: The J. R. Richard Story is a biopic about the ups and downs of former Houston Astros pitcher, J. R. Richard. The film has already garnered attention on the festival circuit, showing around the country and in international venues and winning a Gold Remi award at the WorldFest.
Marva King plays Cindy Young, a reporter who maintained a connection with Richard after his career-ending stroke. King says she appreciated being able to play “a character who remained supportive” of Richard. The film is due out late this year.

Review – Several gems on here not least the excellent Know You, a stripped down ‘duet’, clappy background, acoustic , with a vocal reminding me of old skool Carla Thomas. Great sax break too from Najee. Kind of lost a little bit of an edge when I learned that the ‘male’ vocal parts are actually Marva’s tinkered with in the studio. Clever if right but I would have liked a proper vocal. Also a dancehall version which works too, if yo like that kind of stylin’.

The album starts off pretty inauspiciously with Soul Love, but kicks off in full force for me with a neo soul jazzy strained and stretched vocals on Every Night akin to say a Ledisi. Yo Attitude is percussive and sassy. Sistah, one for the SistahHood, has been getting plays for a while now, is moody and melodic with strong vocals staying breathy and jazzy laying over a ‘Sistah’ chorus.

Super Fly you know is gonna be funkier and it is, with obvious influences, but it is a nice track, amusing too. Baby This Love is the Minnie ripperton song and this also features heavyweights George Duke and Stanley Clarke. My Life is more in the classic soul ballad category and is a fine song, excellently delivered. Be Thankful is another cover and this song seems to retain that certain vibe, no matter who covers it, and this is no exception.

Mellow, Wow, what a track this is. Well its……mellow, sweet, sexy, sultry and all things nice. The pace rises with the funky slappin Trippin’ .

Lovely is also a very intersting cut starting slow, percussive with high vocals taking over from the monologue, it just bulds and builds with the vocals going in all directions (from say a Minni Ripperton to Price!) over some nice instrumentation. Singing Whoa in funky bassy and one for the dancehall. Wanna Be is a great modern soul gem to close.

A fine album with some exceptional tracks and overall one to please those who like a litle bit or R’n’B, or a modern soul head, or with a bit of Old Skool.

Tracks - 1) Soul Love (3:25) *, , 2) Every Night (3:29) *, 3) You Attitude (3:39*, , 4) Sistah (5:22)*, 5) Super Fly (3:44) ,6) Baby This Love (4:45),
7) My Life (3:29), 8) Know You (3:48) ,9) Be Thankful (5:18)*, 10) Mellow (4:30), 11) Trippin’ (4:01), 12) Know You (featuring Ninja Cutty) (3:46),
13) The Flesh (5:56) , 14) Lovely (3:53)* , 15) Singing Whoa (4:07) , 16) Big Ups (4:46), 17) Tomcat Skit (0:59) ,18) Wanna Be (4:36) , * EP Tracks

Conya Doss – Love Rain Down http://domerecords.co.uk/detail.asp?SKU=DOMECD72 http://www.conyadoss.com/

Conya Doss Biography
"If they want to label me in the Neo-Soul movement they can, but to me this soul music is nothing new. The D'Angelos and Lauryn Hills derive from what we grew up on -- like Donnie Hathaway, Angela Winbush and so forth, it's just modernized. I grew up on every form of music from Bonnie Raitt and Steely Dan to Stevie Wonder and Chaka Khan. It's hard to categorize me into one genre of music because it narrows your audience and I learned from them all. It's just good music -- and that's the way I see it."
-Conya Doss
There’s a reason Conya Doss looks so comfortable onstage, gently swinging her hips like a day lily caught in a summer’s breeze, singing in a voice that’s equal parts honey and hellfire. It’s because she’s used to it. As a teacher of children with special needs within the Cleveland public school system, this twenty something soul ingenue faces an audience tougher than most, nearly every day. Of late, this audience has also come to include throngs of R&B and neo-soul aficionados enticed by Conya’s sweet, supple delivery and heartfelt lyrics.
But long before she was standing in front of sold-out clubs and crowded arenas, Conya faced perhaps an even more daunting audience: rambunctious young kids ready to learn. Ironically, in working with underprivileged youth, Conya has learned as much from her students as they have from her. She’s learned the value of humility, honesty, and most significantly, the importance of being true to yourself. These lessons were painted in broad strokes on Conya’s candid, endearing debut, A Poem about Ms. Doss which she co-wrote and co-produced and whose title was inspired by a letter to her from a student in her classroom. Emotionally resonant and wondrously infectious, Conya’s debut is openhearted and down-to-earth. “I incorporate music as part of my class, the traditional way of learning can be boring, so I have kids project academics through poetry or singing,” says Ms. Doss.
There are no tales of wanton bed hopping, no bling-bling, just earnest, expressive songs of heartbreak, salvation and praise. With her sophomore album Just Because Conya fluently took her listeners on a journey of finger snapping and head gyrating wondrous grooves laced with an electric blend of instruments that rode each beat with finesse. She possesses an indistinguishable reverence to the soul divas of yesteryears by encompassing invigorating vocals with thought-induced messages that silhouette charismatic, rhythmically charged production that simultaneously blazes a trail for her brand of melodic soul. On her sophomore project boasting ten choice cuts, Conya not only belted out the jazzy notes that caressed your ears, but she wrote, arranged, and produced over half of the album, only enlisting a small qualified team of gifted producers to help compliment her raw sound. It was songs like “Sweet Love,” “Miracle” and “Stay” that became classics.
The spiritual and emotional symmetry she threads into a refreshing, realistic and expressive musical pattern, creates a pleasant mind-cleansing experience that stirs, rivets, and soothes the jaded soul. If what you covet is vintage soul with modern appeal and instrument-heavy beats embellished with flavorful sounds, then the music of Conya Doss is for you. The divine Ms. Doss wraps her seductive, magical voice and polished rhythmic sounds around personalized confessions like the warmth of a passionate embrace. Her music is an organic experience- a hybrid collection of up-tempo jams and fluid slow grooves that artistically join her sleek voice with intoxicating melodies. Conya’s music is not lost among the pantheon of new crooners, but instead invokes the spirits of legendary composers-singers such as Chaka Khan, Betty Wright, Natalie Cole, Me’shell N’Degeocello and Alanis Morisette.
On her third disc, Love Rain Down, the compelling songbird pours passion and appealing eccentricity into a dozen stunningly inventive jams that reflect quintessential soul music infused with a pinch of subtle funk. "I think this new album is very unconventional and takes me out of the 'neo-soul' box. The music is more like a tribute and a praise to icons I grew up listening to such as Bonnie Raitt, Doobie Brothers and Jane Child." While feel-good harmonies can be found sprinkled throughout this delightful musical journey, especially on "Those Were The Days", "Call Me" and the title track, "Love Rain Down," it's Conya's magical ability to deliver a potent mixture of confessional, bittersweet and meaningful lyrics with childlike charm. Conya offers an unforgettable vocal performance on the mellow, minimalist melody, "Sign", with its lush orchestral guitar arrangement and soft tambourine riffs while "Why Did You", the pumping, bluesy-jazz frenzied anthem, celebrates moving on after experiencing the pain of a broken heart. "This record reflects another side to my music and extends back to many of my own personal experiences. The lyrics and songs on the last album were inspired moreso by conversations I had with friends and family whereas this album is much more self-motivated and biographical."
Love Rain Down is expansive mood music to the fullest; the soundtrack to the intellectual and emotional thoughts of Conya's mind. Each tune is effortlessly strong and beautiful, capturing the exuberance of finding love, as well as the disappointment associated with losing it. The mid-west native encompasses far more than infectious rhythms and silken-voiced hits, she establishes her own definite sound instead of following radio trends. As the author and performer of one of the year's most critically-anticipated albums, Conya punctuates the fact that she is a mesmerizing force of nature who has successfully rid herself of any mis-used genre labels. She is just as comfortable with lascivious R&B wails as she is with gospel-themed fare. Composing yet another intricately crafted and cohesive body of work that illuminates her unequaled musicianship, Conya only scratches the surface of what she is capable of.
Nestled between Indiana and Pennsylvania, lies a state that has yet to be fully tapped of it’s musical resources. In a region whose lineage reflects that of Babyface, Bone Thugs-N-Harmony, Tracy Chapman, Marilyn Manson, Gerald Levert, The O’Jays, Macy Gray, James Ingram, Roger Troutman and Zapp, The Gapp Band and Avant among others, Conya is the first female soul singer to emerge from and hold steadfast to her Midwestern roots and lineage. Much like what her predecessors Erykah Badu, India.Arie and Jill Scott did for Dallas, Atlanta and Philly, Conya plans to put Ohio on the soul music map. Conya has shared stages with a spectrum of artists ranging from Kem to Frankie Beverly & Maze to name a few as well as working with Gerald Levert and writing and producing for pop group, 3LW.
Born and raised in Cleveland, she has been singing since she was five years old, first groovin’ to the likes of Stevie Wonder and Angela Winbush. She attended Cleveland’s famed School of the Arts, where future stars such as Avant and 71 North would also cut their teeth. “Unlike artists in other regions, the Ohio area is very limited when it comes to enabling me to practice my craft--especially the kind of music that I do,” says Doss, “Cleveland has a tremendous amount of talent, however due to the lack of locations to showcase such talents, many have moved out East or West. I chose to stay here and utilize the very talented producers and songwriters from Cleveland. Initially I had the opportunity to work with several other producers from both the East and West Coast while searching for the sound that I wanted. Ironically, it was at home all the time.”
But through it all, Conya’s remained grounded. And therein lies much of her appeal. In a time when many pop stars have become further and further removed from the folks that they speak to with their custom made looks and unattainable lifestyles, Conya remains a lot like us: a tender, tough, self-possessed young lady who puts her community before commercial concerns. When summing up what her music is about, Conya offers a simple answer: “Life in general.” Not just hers, but ours as well.

Review – Only have three tracks for now Find a Way, tell Me Why and A beautiful thing, all written by conya and or Myron. The album is also sco written by Myron, so a collaboration of two top nu soul artists. All three tracks have appeal, the first is current day neo soul with a catchy hook excellently sung, nothing too original but a very nice tune. Tell me why has a pleading lyric, light acoustic but strong production – despite the strong lyric this seems lighter and more accessible but again a strong cut. A beautiful thing has more of a rock feel, totally different feel altogether so I suspect when I get the full album it will be an interesting concept.

DJ Spinna - Intergalactic Soul

Info: - Vincent “DJ Spinna” Williams is something of an anomaly in music. A humbling example of what it takes to truly succeed within the framework of multiple fields. A steadfast work ethic, an obsessively extensive vinyl library and the willingness to pursue the full extents of his roots (Funk, Soul and Jazz), foundation (Hip-Hop) and future (Electronic/Dance music) with no restraints.

A cornerstone of Hip-Hop’s late 90’s indie-uprise, DJ Spinna made much of his first impression on listeners as the musical background of his group The Jigmastas (having released an impressive slew of 12” singles on his then self-run label Beyond Real during this time) as well as providing the canvas for an array of that era’s lyrical giants. As an emcee in New York City, if you didn’t have a Spinna production under your belt, well, you just hadn’t accomplished all there was to accomplish. Everyone from Mos Def, Talib Kweli to Pharaohe Monch boasted Spinna beats to prove their worth to the scene. At the height of indie-kingpin Rawkus Records heyday, Spinna was in demand, also churning out timeless classics of the era from the likes of J-Live, Mr. Complex and The Polyrhythm Addicts (his all-too-brief collabo-group with Apani B., Shaabam Sadeeq and Complex).

As collaborative production work flooded his studio, from hip-hop legends like Sadat X & Grand Puba (Brand Nubian), Masta Ace and Guru (Gangstarr) to even The Jungle Brothers. Yet, while his stock as a the go-to producer rose so did his value as a key, if not crucial, remixer. At the time reworking hits for the major-label likes of De La Soul (“Stakes is High”) Das EFX and MC Eiht.

Turning heads throughout the industry, Spinna’s sonics soon infiltrated numerous genres. Tapped by everyone from George Michael to Mary J. Blige to Motown Records (for his brilliant Michael Jackson homage to “We’re Almost There”). It’s here his production presence would flourish greatly, as Spinna would go on to revive and revise Soulful marvels like Donald Byrd Eddie Kendricks, Betty Carter, Roy Ayers and Al Jarreau. Always relevant to the current, Spinna has taken to new mixes for the J Dilla bred Platinum Pied Pipers and Bay Area songstress Goapele as with the well respected Les Nubian. Though it goes without saying that one of the more memorable mixes goes to his monumental version of Shawn Escoffery’s “Days Like This”. In turn, catapulting Spinna into his now stately, touted presence in the dance music scene. Which made the transition to BBE Records smooth as ever, for his landmark solo production album “Here To There”. It also spawned another record label, Spinna’s own, Wonderwax. A home for his soulful dance classics, the imprint came to fruition in 2003, and has seen memorable releases from contemporaries such as Rich Medina, Lady Alma, Blaze, The Free Radikalz and Selan.

With so much studio work, it’s a marvel Spinna travels as much as he does. The constant, globe-trotting performances he’s become equally famed for have brought the DJ as far as Iceland, Australia, and South Africa as well as countless jaunts through England, Europe and the U.S. Not to forget, his hugely successful tours of Japan, where Spinna is held in the highest regard throughout the country for his craft in music. Not always the lone crowd-controller, Spinna’s collaborated on stage alongside contemporary luminaries like Gilles Peterson, Jazzanova, Joe Claussell, Bugz In The Attic, Osunlade, Jazzy Jeff, Kenny Dope, Keb Darge, DJ Scratch (EPMD), DJ Shadow & Cut Chemist. He’s a true showman – versatile as ever.

Yet nothing compares to his celebrated Stevie Wonder inspired WONDER-Full™DJ-performances (aside friend and contributor Bobbito Garcia). Garnering overwhelming fanfare each occasion done - whether NYC, LA, San Francisco, Japan or beyond – if a WONDER-Full™ event is booked at a club you can put money on a line around the block and thousands of Stevie Wonder admirers rocking the house. And while he’s gained so much attention and accolade for his tributes to Stevie, Spinna is not incapable of doing the same for any other pivotal forefather. Visit New York City any given month and find a number of Spinna themed throw-downs in the city’s esteemed venues - each as memorable as the last.

Its true that there are other likeminded DJ/Producers in the world comparable to DJ Spinna, but for the most part, they choose a genre and master it. Ask them to flip another variety with the same intense knowledge and sleek-savvy and you’ll be hard pressed to find someone that’ll do it to Spinna’s extent.

With a brand new album “InterGalactic Soul” at its completion (set for release in May, 06), Spinna’s venturing to new reaches in his quest to musical harmony. Tapping into his perfected take on a truly cosmic boom-bap to a sexy, stylishly accessible brand of House and dance music that is unique only to him.

Remaining a musician for the ages, Spinna’s true successes happily await in the future. Won’t you come along for the ride?

Review : - Wow, what a great album, cross genre, progressive New York music (predominantly) perfectly showcasing the excellence that is DJ Spinna and what he has and is still contributing to the scene. The package is well structured and conceptual and is very much at the cutting edge of where Soul is right now with all the right ingredients being pulled together. Soul Music has splintered into various genres hip hop, dance, jazz, drum and Bass lots of things, and this pulls all those bits back in to Soul again. I see this happening on a large scale, particularly in live music, but this album as good as anything perfectly illustrates it. So when the market men realise this – and do we realy want them to – they will realise that SoulMusic is back on track and is a marketable product once again.

Setting the scene with two fine hip hop tracks, Current Events (feat. Alphonso Greer) and Intergalactic Soul (feat. Phonte). Where's Your Love featuring N'Dea Davenport in fine form (as always) this track is the real deal, midtempo, harmonic samples.

Outta Time (feat. Free Radikalz) continues the futuristic sci fi feel. Another top track is Back 2U featuring Selan, again a perfect mixture of vocals and catchy hooks and things, without being too commercial.

The album is laced with friends of the site and none more so than the next two tracks, Peace and Quiet featuring Stephanie McKay moving us in a more chilled direction and Butterfly Girl featuring Eric Roberson being well Eric Roberson. Computer Love is a mellow instrumental break. Lizz Fields brings her jazzy vocal stylings into effect on Could It Be Too Soon. Another of the new breed, Heavy feature on We Can Change This World which is percussive, mild D&B feel, very much in synch with Teddy Crockett and his artists. At this point I realise that whilst this is a Spinna project, the artists still retain their own personal style and individually, like Heavy is Heavy, Erro is Erro, Lizz Fields is Lizz Fields – I don’t know how these collaborations work, but they sure work well.

Similarly but in an upbeat vein Tortured Soul is very much them (or him) on Show Us. Living My Life (feat. Trish Angus) is the best of the ‘dance’ tracks, although Bye Bye Bye (feat. Free Radicalz) runs it close, before we end on Final Events.

A great album

Tracks: - 1. Current Events (feat. Alphonso Greer) Listen Listen 2. Intergalactic Soul (feat. Phonte) Listen Listen 3. Where's Your Love (feat. N'Dea Davenport) Listen Listen 4. Outta Time (feat. Free Radikalz) Listen Listen 5. Back 2U (feat. Selan) Listen Listen 6. Peace and Quiet (feat. Stephanie McKay) Listen Listen 7. Butterfly Girl (feat. Eric Roberson) Listen Listen 8. Computer Love Listen Listen 9. Could It Be Too Soon (feat. Lizz Fields) Listen Listen 10. We Can Change This World (feat. Heavy) Listen Listen 11. Show Us (feat. Tortured Soul) Listen Listen 12. Living My Life (feat. Trish Angus) Listen Listen 13. Bye Bye Bye (feat. Free Radicalz) Listen Listen 14. Final Events Listen Listen

Mala Waldron – Always there www.malawaldron.com

Info: - Vocalist, pianist and songwriter Mala Waldron has been performing professionally since she was 15 yrs. old, when she joined a local R&B band. Within a year, the band was signed to RCA records with the release of a single "Take Little Love." She went on to expand her musical knowledge studying jazz piano, voice and composition at SUNY College of Old Westbury with Makanda Ken McIntyre. She graduated with a Bachelor of Arts degree.

Mala's recordings as a featured artist include "He's My Father," a duo with her father, jazz pianist and composer, Mal Waldron, and "Lullabye," her solo debut (both on Tokuma Communications/Japan; re-issues on 3361Black, Maturity). She has had the pleasure of working with many notable artists including Andy Bey, Makanda Ken McIntyre, Don Braden, Jeanne Lee, Cecil McBee, George Cables, James Williams, Billy Drummond, Victor Lewis, Melvin Sparks, Hilton Ruiz, John Betsch, James "Jabbo" Ware ME WE & THEM Orchestra, Andrei Strobert, Warren Smith and violinist, Naoko Terai.

Mala has toured in Japan, France, Belgium and the U.S., performing most recently at the Medgar Evers Jazzy Jazz Festival and the Port Jefferson Jazz Festival where she opened for Kenny Rankin. She has been featured in Swing Journal, Jazz Life, GQ (Japan) and has been a guest on WBGO radio with on-air personality, Rhonda Hamilton and WKCR with Sharif Abdus-Salaam. Mala's music was recently included as part of a segment entitled "Vocalists Under the Radar" on syndicated radio program, "Listen Here!" where hosts Mark Ruffin and Neil Tesser discussed vocalists who they feel deserve more recognition.

ABOUT THE PLAYERS:

Guitarist, Steve Salerno is an active performer of both jazz and classical music. He has played with numerous artists including Jaco Pastorius, John Abercrombie, Ray Anderson, Mark Helias, Regina Carter, Randy Brecker and Nat Adderly, Jr. Steve is the Founding Director of the Jazz Program at Stony Brook University. He is featured on the soundtrack recording for John Feldman’s film, “Dead Funny” starring Andrew McCarthy and Elizabeth Pena.

Bassist, Miriam Sullivan is a graduate of Music and Performing Arts High School and Manhattan School of Music Conservatory. She has toured all over the world including South America with the Jazz Ambassador program. Her performance credits include work with Wynton Marsalis, Joshua Redman, Rachel Z, Lionel Hampton and Hip Hop band “3 Bean Stew” led by Quame.

Percussionist - "Soundrhythium," Michael T.A. Thompson has shared the stage with a variety of artists including Joe McPhee, John Stubblefield, Henry Grimes, Oliver Lake, Roy Campbell, Jr., John Patitucci, Barbara Sfraga, "The Mighty Sparrow" and Dennis Gonzalez. His work can be heard on the Drimala Records release “Language of Swans.” He also produced this project as well a new release by vocalist Barbara Sfraga & CSQ entitled "Timeslessness Frozen in Time".

Review: - A thoroughly professional and highly proficient jazz laden album of Mala’s own songs (light my fire excepted) and the best compliment I can give them is they (in the main) sound like standards. Mala is totally at ease on this material and the musicianship is first class. You can just shut your eyes and feel yourself in an evocative jazz lounge.

Whispers in the Wind is a sumptuous piece with an excellent keyboard break. Because of You is a slow ballad, with a happy vibe to it. The title track Always There is strong soulful ballad with heartfelt lyrics.

Too Good For Words is a fast paced jazz skit. I Do Remember You is a track prominent in acoustic guitar that I find myself returning too – on individual analysis it is no better or no worse than the others – but there’s just something about it that makes it hang together so well. Ellie is another that includes some lengthy skat singing, which to be honest I am not a big fan of.

Why (when I say goodbye) starts in the same mould as much of the others but builds into a frantic guitar solo. Can't Stop (thinking about you) is probably my favourite piece, just has a nice vibe to it. Light My Fire, the only non original on the album, but an excellent interpretation. Proud Lion is more vocal prominent in a standard ballad kind of way. Closing with Maybe It's Not So which is faster and funkier, not quite jazz funk, butthat might be quite a nice direction to travel?

A very nice, moody, jazzy , evocative album. The standard throughout is high and there is not really a bad track, similarly there is not a big stand out track, just a consistent album to lay down and drift withits moods and nuances.

Tracks: - 1. Whispers in the Wind, 2. Because of You, 3. Always There, 4. Too Good For Words, 5. I Do Remember You, 6. Ellie, 7. Why (when I say goodbye)
8. Can't Stop (thinking about you), 9. Light My Fire, 10. Proud Lion, 11. Maybe It's Not So ,

Lord Large ft Dean Parrish – Left right and centre http://www.acidjazz.co.uk/

Info: - The second release on Acid Jazz records from the Lord Large team is another collaboration - but this time it’s not just the singer who is legendary, but the writer as well.

Left, Right & Centre is a song written a little while ago by a then 15-year-old called Paul Weller. Until recently the song only existed as a demo, but it eventually ended up in the Lord Large production room via Wigan Casino DJ/founder Russ Winstanley, Acid Jazz’s Eddie Piller, and Ocean Colour Scene/Weller guitarist, Steve Cradock. Cradock is one of several guest musicians on the track, which also includes Corduroy bassist, Richard Searle, and dance anthem singer, Andrea Britton.

The main vocal on this track is by American star Dean Parrish, whose song “I’m on my way” was an early smash on the Northern scene, and went on to become the biggest ever selling Northern Soul 45”.

The track is due for release early August but has already received enthusiastic support from Janice Long and Phil Jupitus, and is causing a buzz on the Northern Soul, Paul Weller, and O.C.S. web forums.

Left, Right & Centre is the only non-original song to be included on the Lord Large album, The Lord’s First XI, which is scheduled for release in September and is produced by Andrew J Jones (The Shortwave Set, 2bit recordings). The album also benefits from the talents of other featured singers such as Squeeze’s Glenn Tilbrook, Linda Lewis, The Peddlers’ Roy Phillips, Freakpower’s Ashley Slater, and The Foundations’ Clem Curtis, singer of last year’s Lord Large northern-soul classic, Stuck In A Wind-Up.

Nice!

FORMATS

7" vinyl . Left Right & Centre / Sun In The Sands . AJX185S

12" Vinyl. Left Right & Centre / Sun In The Sands / Smoove Remix / Casino Remix. AJX185T

CD . Left Right & Centre / Sun In The Sands / Smoove Remix / Casino Remix. AJX185CD

Review – I’m afraid I’ve had to delay reviewing this because I just don’t get it at all, and what I originally thought probably wouldn’t have been printable. I don’t get where its coming from or more importantly what its aimed. Why anybody would wish to try and replicate this particular genre in 2006 I really don’t know. It is so derivative and unoriginal in all its forms – even th eintrumental Sun in the sands - I cannot see any artistic merit at all, the Casino remix I cannot work out whether it’s the biggest toungue in cheek or whether it is serious. Makes all the tailor mades of 20 years ago sound original and soulful. Sorry but this is getting plays so what do I know!

This is Soul 2006 http://www.soulbrother.co.uk/this_is_soul_2006.html

Info: - ‘This Is Soul 2006’ is the fifth compilation in the Organic Soul series, highlighting another 16 vibrant new independent soul artists, who are carrying the torch for soul music, in a world where commercial R&B dominates the mainstream. Many of the artists featured in earlier volumes have become the acknowledged leaders of their field (Ledisi, N’Dambi, Julie Dexter, Karen Bernod etc), I am sure that many of the artists included in this compilation will go on to achieve that status in years to come, as more people turn their backs on over produced and over commercialised music and search for the real deal.

These tracks are mostly taken from independently produced albums for their own labels, without the injection of large amounts of corporate money, and therefore without the pressure to make a commercial record. These are crafted songs written and sung by dedicated independent artists, real music by real artists.

Enjoy, spread the word – Keep the faith

Laurence Prangell

ARTISTS PROFILES

CHAVOUS

With a poignant and conscience style all her own, Dawn Chavous has burst onto the underground scene in Philly blending a unique cross-section of soulful tones and esoteric rhythms along with the elements of gospel, jazz, R&B, and classical music into a distinctive style that challenges the listener to take a moment for self-reflection and acknowledgment of the power within.

With songs that speak of positive self-image, happiness, freedom, love, joy and self-empowerment, Chavous is carving a niche for herself as the fully conscious voice of the neo-soul movement.

Her voice is light and airy one moment, deep and broad the next. Angelic in its range and soothing in its promise, it threatens to usher in a new standard in the American music industry. Having just released her first CD ‘Life Without limit’, she is a fresh, new eclectic voice known quite simply as: CHAVOUS (pronounced SHA– VOO).

INOBE

Atlanta-based artist Inobe (pronounced eye-no-bee) has been causing a stir with her unique blend of funk and soul. Her style has been called “Billie Holiday-meets-funk-jazz”. Inobe’s albums and supporting live performances have firmly established the soul stress in the burgeoning genre of neo-soul.

Inobe has completed four USO tours of Afghanistan, Kuwait, Qatar, Bahrain, Kyrgyzstan, Uzbekistan, Djibouti, Greenland, Germany, the Netherlands, Belgium, Korea, Okinawa, Guam and Kwajalein. In mid-summer 2004 Inobe was a featured performer at the National Blacks Arts Festival and the Atlantis Music Conference with Tony Rich and Debra Killings., Inobe has shared stages with India Arie, Ashanti, Vivian Green, Donnie, Kindred and Roy Hargrove and she has been featured as an opening act for Musiq Soulchild and Donell Jones.

“I write about things God has brought me through, but I also write to others’ pain and situations,” says Inobe. “People like your music if they can stretch to identify with it, but they don’t fully understand or appreciate it unless your music stretches to identify with them.” . Her second album ‘Spiritual Soul’ from where ‘Do What You Do’ is taken is sure to further expand her international fan base.
LASONYA GUNTER
La Sonya‘s passion for music was really launched when Singing in the church choir. She joined a local gospel quintet “The Spirits of Truth” when 16, singing for four years throughout the greater Detroit area.
Whilst at college La Sonya took the role of “Michelle” in an off Broadway production of “Dream Girls”. After college, she performed with the likes of Demi Moore, Brandi, Brian McKnight, Herbie Hancock and Bruce Willis. At one of the performances, Bruce Willis approached La Sonya and said “You do a beautiful thing with your voice, you should never stop singing.” Bruce’s words inspired La Sonya to write and record her first CD “BlakGerl” in 2001 on her own Blak Dol label.
La Sonya Gunter is not only a singer, but an exceptional song writer. She won an award from the John Lennon songwriting contest for the song “As the Days Go by”. La Sonya’s voice has a distinct flavor which contributes to her well rounded tones of a natural alto and contralto voice. It is understandable why this young lady has such uniqueness to her talent as a melodious singer. Her musical influences range from listening to Johnny Cash, Roy Ayers, Teddy Pendergrass Bach, Hamilton Bohannon, Donny Hathaway, Sam Cooke and Sarah Vaughn .‘UmmmHmmm’ is taken from her forthcoming second album ‘Crazy? Beautiful, due later in 2006.
CRYSTAL NIGHT

This is a determined, elegant, instinctive woman who was born to make music. Coming from an African American soul background, Crystal Night grew up in a musical universe composed of several different styles. A military child who spent most of her years in Atlanta, GA, Crystal feasted on 80’s pop, jazz, soul, and gospel music.

Influenced by family melodies as well as Stevie Wonder and Ella Fitzgerald, A graduate of Spelman College, Crystal was offered a position as an analyst on Wall Street, but on a leap of faith, she packed up and moved to Paris to try her hand at what she did best – singing. Having lived in Martinique, London, Germany, and several cities in France, Crystal is travelled and worldly, yet also possesses a girl next door quality that appeals to all.

Strong and fragile at the same time, Crystal greatest strength is her voice…pure and sparkling, just like crystal. Crystal masters her technique perfectly: A level of musical maturity that expresses power, precision and sensitivity. Crystal’s songs deal with both simple and complex issues, rooted in the gospel tradition.

The authenticity and freshness of her repertoire take you on a relaxing and invigorating journey, all while confronting poignant themes such as human relations. Her voice connects easily with her audience. Her first album, “Sweet Melodies”, from where ‘Vin Rouge’ is taken, was written and produced by Crystal Night and Fred Laso.

AMAR KHALIL
Oakland, California native Amar Khalil has come into his own in 2006 debuting a new album and musical artistry – a neo-soul, inspirational style that blends classic R&B and a little gospel, a touch of funk and a whole lot of silky smooth soul. An accomplished singer who can handle lead and background vocals and improvisation equally well, Amar is an all-around talent as a songwriter, musician, dancer and actor. His rich vocal blends generally favour a very lyrical and introspective rhythm and blues, soulful approach reminiscent of his childhood favourites Donny Hathaway, the Jackson 5 and Stevie Wonder.

Amar’s debut album, ‘Where There’s A Will There’s A Way’ produced by Jamie Hawkins, from where ‘Sunny Day ‘ is taken is wrought with the smooth style, robust beats and finger poppin’, head boppin’ rhythms that make him a Bay Area favourite. His work celebrates fine song writing and boasts a tantalizing sound that engages listeners with every riff and chorus. Amar’s vocal magic and distinctive musical approach has continued to evolve and his tight harmonies and tasteful repertoire are winning over fans across the world

He has collaborated with background vocals, choreography and touring with Michael Cooper, En Vogue, jazz saxophonist J. Spencer, Dwayne Wiggins of Tony Toni Toné, Raphael Saadiq, amongst others.

Amar has played clubs, concerts and festivals and has toured extensively throughout the US, Canada, and Japan. He recently completed an 18-month tour as lead vocalist of the platinum-plus group, Tony Toni Toné, receiving rave reviews in Japan and the USA.

DARIEN
Darien, an independent singer, songwriter and producer, has evoked the brilliance of original soul music of decades past. The incredibly gifted musician captures a breadth of emotions by telling honest and complete stories. Darien's tales are so rich and soulful you can envision every verse. The Mount Vernon native has performed all over New York City to audiences who are awestruck by his ability to match emotions to authentic lyrics.

Independent artists are often compared to big name singers to give context for their sound. Darien's music stands on its own. The tone and thickness of his voice, his phenomenal range, and his unique poetic ability are more comparable to the era of old soul than any one vocalist. He is an exceptional wordsmith whose music has hypnotized audiences from New York to DC to Europe.

Darien has been a humble student of music, with broad influences that range from A Tribe Called Quest to Hall and Oates to Donny Hathaway; the roots of Darien's music are grounded in quality.
The seductive and soothing melodies of his music linger well after the song is over. His love songs, infused with all the optimism a singer could fit into a five-minute composition, leave you feeling high. It's an overdose of romance filled with hope.
He has been featured on the soundtrack for 25 Strong, a documentary about a Brooklyn basketball tournament and his first album from which 'Where It’s at' is taken will be released later this year on Righteous Music Records.

PJ MORTON

PJ Morton, a native New Orleans, most often describes his music as "feel good music that lyrically tells stories about life and love...music that makes your heart think." This 24-year old musical prodigy is indubitably a "true" seasoned musician who has garnered a reputation for writing and producing warm, heart-felt, and infectious songs that engage the heart.

Coming from a musical family and being the son of industry veteran Bishop Paul S. Morton, Sr., PJ got his start singing in the church. He began to play the piano at the age of eight years old and by the age of 14; he was already writing and producing. PJ has written songs for gospel artists including his father, Men of Standard, Ted & Sheri, and Darwin Hobbs, and India Arie, and toured with Erykah Badu.

PJ attributes artists as diverse as Stevie Wonder, Donny Hathaway, Sting, Prince, James Taylor, Al Green, and D'Angelo as stirring his soul and motivating him to find his voice in the music arena. Because of the uniqueness of PJ's music, one cannot place him in one specific category. He says it best by stating... "...Whatever genre you can stick Stevie Wonder or Sting in ....I'll take that!”

‘No Ordinary love’ was one of THE tracks of 2005 and comes from his debut album ‘Emotions’,
One of the best albums of the year.

NUWAMBA
Nuwamba, whose name means “November” in the Nigerian language Hausa, is an extraordinarily innovative singer and songwriter of great depth and passion. His heart-crafted songs touch on a multiplicity of issues often overlooked by the modern music world and offers listeners an acoustic picture of life, love and the prospects of liberation from life’s challenges.
An irresistible, soul-filled artist brings a serious culture and feel-good vibe, Nuwamba composes music to enrich the souls of mankind. His parlayed and southern style is inviting and enigmatic. His music is an eclectic combination of soul, funk, reggae and a host of other underground sounds. A native of Fort Worth, Texas, Nuwamba exhibited an affinity with a wide range of music from an early age, which is palpable on his debut album ‘Above the Water’. “The album is a reflection of my life. It’s about my struggles, my mistakes, my drama, trying to make my dreams happen and keeping it real. As a young brother in today’s society, I’ve had to go through a lot of adversity to maintain and stay afloat. In order to survive, you’ve got to keep your head above water.

In Addition to lacing several tracks with his production skills, Nuwamba also displays his prolific song writing skills on his debut project. ‘Forever’ is taken from his excellent album ‘Above The Water’ which was one of the second biggest selling new soul album in Soul Brother Records store in 2005.

JAZZHOLE

The Jazzhole are a highly acclaimed NY group best so far. consisting of a nucleus of three founder members, Warren Rosenstein (keyboards), John Pondel (guitar) and Marlon Saunders (vocals/Keyboards). The bands sound has evolved since their acid jazz 1994 debut which was described as “The Coolest thing since US3 and Brand New Heavies”, into a sophisticated blend of organic soul and cool jazz grooves with thoughtful lyrics.

Singer songwriter Marlon Saunders is to the fore of most tracks with his so soulful vocals. His debut solo album ‘Enter My Mind’ also released on Soul Brother records in 2003 was critically acclaimed. Marlon was raised in Maryland and began singing in church at an early age. He has sung with Bobby McFerrin, Michael Jackson and Sting among others and has developed into one of the best independent soul vocalists in recent years, his live performances being particularly special.

John Pondel’s emotive guitar playing draws on his many live and recorded performances with many artists including Gerald Wilson, Dianne Schurr and Carmen McRae. His playing is especially evocative on the Harmonic duet ‘It Could Have Been Enough’.

Band leader Warren Rosenstein plays keyboards and Organ on the album and handles production and engineering. Warren played on seminal acid jazz tracks Hot Music (Soho) and Jazz It Up (CFM band) in the early 90’s., and is the driving force behind the bands constant evolution.

‘All The Ways’ is taken from their fifth and best album ‘Poets Walk’ recently released on Soul Brother Records to critical acclaim, and recognized as one of the best albums of the year.

JEFF ROBINSON
Vocalist Jeff Robinson’s music is a hypnotic blend of Jazz and Soul, evoking memories of Marvin Gaye, Al Green and Sam Cooke - all wrapped in a haunting jazz package. His first album ‘Any Shade Of Blue’ was one of the best of its year.

His new CD, "Eyewitness" produced by Rodney Lee, is a deep reaching, moody, but often uplifting testament to the human condition, a soul searching expedition - one which many listeners will identify with. Sometimes bright and hopeful, but also melancholy and subdued, Jeff speaks to his audience, weaving tales of everyday life, love, despair and hope.

Originally from New York, Jeff now resides in Los Angeles. He is a household name in many Jazz circles, having performed at the Playboy Jazz Festival, and in many of the best Jazz venues on the west coast. ‘Waiting for the tables to turn’ is just one of the many great tracks on the latest album of this great underground artist.

BROWNS BAG
Brown’s Bag from Chicago, IL are brothers Ward Brown (Vocals, Guitar, Drums and Percussion) and
Sherrod Brown (Vocals, Keyboards, Bass Synth and Sax). They use other Session players during recording sessions and a Bass Player, Drummer, Guitarist, Keyboardist and 3-background vocalist complete the line up during live performances.

Together for 10 years, the Soul duo released their first CD ‘Labor of Love’ in late 2005 to critical acclaim from where this two stepper ‘No More Love’ comes from. They are now completing their sophomore effort of which will be released mid-summer 2006. So-dubbed Defenders of Soul, Brown’s Bag aim is to write, produce and perform classic soul music to address what your soul craves now and for years to come.

MARTHA REDBONE
Martha Redbone is a woman of inimitable style. Her mother is Native American – Shawnee/Choctaw with a little Blackfeet thrown in. Her father was African American, with Native American ancestry as well. You can hear it in her music, heritage, roots that go back for centuries. She took her name from this heritage. "Redbone is a southern term for being black and Indian Martha Redbone grew up both in New York and rural Kentucky. You can hear in her flow: the staccato melodies of the city, mixed with the easy, wide-open song of a country choir.

She lived in London for a while as an artist, where met her song writing partner and producer Aaron Whitby. Martha was a protégé of Walter 'Junie' Morrison, legendary original member of the Ohio Players and later, Parliament Funkadelic. Now a sister to the funk, she sang background vocals on the Mothership reunion album with George Clinton. After a period as a songwriter signed to Warner Chappell Music she returned home to New York and in 2002 released her debut album “Home of the Brave”. It went on to win Best Debut at the prestigious Native American Music Awards and to receive widespread critical acclaim.

A mesmerizing live performer, Redbone took her show playing shows all over the US, building a fan base and also taking the opportunity to become more involved in social activism. At the same time she has become an acknowledged leader of the new wave of soul music pouring out of the underground. Martha is highly conscious of her mission – “to bring back real soul music, music made by musicians not music made by computers manned by businessmen. I feel these days there’s a lack of making music with meaning. I want to make records that people will play for years to come”. ‘Children Of love’ (abridged for this compilation) is taken from her second album ‘Skin Talk’ another of 2005 best albums.

BROWN BABY GIRL
Brown Baby Girl is the inspired collaboration of (composer) Jamie Finegan and (singer/songwriter) Lorenda Robinson. The amalgamation of his masterful musicianship and instrumentation in conjunction with her enticing vocals and poetic lyricism provides the listener with music that feels refreshingly new yet soothingly familiar. ‘Feels Like Love’ is taken from their recently released debut album ‘Brown Baby Girl’, which is set to be one of THE albums of 2006.

GABBIE McGEE
Born and raised in the heart of the Mississippi Delta, Gabbie McGee is a singer by design. With a voice that can rage like an angry storm, or flow as soft as a mellow stream; Gabbie uses a creative concoction of blues, jazz, and soul to draw listeners into her world of sunshine and colors. As an accomplished writer, vocalist, and pianist she’s no stranger to the intricate creative process of developing good music.
The former Miss Black Atlanta has honed her craft for years showcasing her amazing stage presence during Miss America Preliminary Pageants, Off-Broadway musicals, The Showtime at the Apollo Summer Tour 2001 and numerous charitable functions. Inspired by the richness of southern culture, Gabbie's song is a song of hope, faith and triumph. It’s absolutely, obvious that Miss McGee has taken a few classes from the “old school”. To watch her interact with an audience takes you back to those unrehearsed interpersonal jam sessions made famous by the likes of Ella Fitzgerald, Aretha Franklin and Nina Simone. With her debut independent release “Certified Soul”, Gabbie brings to the table an impressive musical collection that is certified, stamped, and approved “quality music”. It includes “Somethin’ So” featuring memorable melodies overflowing with warm jazz tones and textures that speak directly to the soul.

Embodied with a giving spirit and a burning desire to bring back the beauty of music, she prides herself in creating music that captivates listeners with motivating messages that tap into the very essence of life and human emotion.

IMAN WILLIAMS
Iman Williams, was born in Montgomery, Alabama, would like to call herself one of the most eclectic underground singers never heard at the age of 25. Iman started out at the age of 6, playing the piano, writing songs, and singing. Growing up, Iman also appreciated her musical family members James Brown trumpet player, Leroy Flemming and blind bluesman Clarence Carter for creating the music that moved their souls. Iman got a taste of Biz Markie, A Tribe Called Quest, and Leaders of a New School, Kid N Play, and Mc Lyte, which are all Hip-Hop trendsetters. Then later, she was introduced to Ray Charles, Al Green, Marvin Gaye, Curtis Mayfield, Isaac Hayes, Teddy Pendergrass, Roy Ayers, Patti Labelle, Babyface, Ella Fitzgerald, and Louis Armstrong, Omar, Common Sense, Jaydee(Jdilla), Erykah Badu, Jill Scott, D' Angelo. As a well-rounded artist with no commercial image to back up, Iman is willing to give you real stories and real situations from a real down-to-earth human being who is not afraid to express who she is. Her music comprises of beautiful, melodic, soulful, hip-hop oriented, jazzy, bluesy sounds with food for thought lyrics. ‘I Wanna Be With You’ is one of the first of her songs to gain greater exposure through this compilation.

NATURAL SELECTION

Natural Selection, the brainchild of Alesia Dessau, has been in its current incarnation since 2002. As their name suggests, the Philadelphia-based ensemble's current style of music is the result of “evolution.” The group originally formed as a straight-ahead jazz combo, but has since transformed to an original soul sound that includes inflections of funk, R&B, jazz, rock & hip-hop. The current members of the collective are experienced in virtually all styles of western music, and the resulting creations of these talented musicians have a wide appeal.

Where Natural Selection truly excels, though, is in live performance. The onstage chemistry that exists between all of the band members is infectious, and the adventurous, improvised nature of the music moves any audience. The powerful vocals and the foundation of solid rhythmic communication that define Natural Selection’s sound are magnified by the energy of their live shows. It’s not surprising that Natural Selection has regular gigs at many of Philadelphia’s top original music venues, and enjoys the presence of a large and loyal following consisting of fans of all styles of music. ‘Get Through’ is taken from their debut album ‘Come On Over’, one of the most innovative and interesting albums to be released so far in 2006.

Compiled by Laurence Prangell

Review: - An album coming very much from the direction that this site is and many of the artists are featured extensively on the site and indeed certain of the tracks. Much Better - Chavous cuts the opening groove with a gentle optimistic yet punchy rhythm, whilst your head bobs along and you hum the chorus Chavous builds the song and freestyles out to great effect. This happy groove carries on into the top track from Inobe’s albums to date - Do What You Do

Friend of the site Lasonya Gunther chips in with a strong taster from her forthcoming album Ummm Hmmm. Crystal Night takes over with a mellow jazzy number with some sweet latent horns in the background. Amar Khalil with Sunny Day, the Jamie Hawkins protégé is featured elsewhere on the site. Darien’s Where It's At was new to me and it’s one of the top cuts, simple yet effective, melodic yet forceful.

PJ Morton’s No Ordinary Love is also a great track a merger of old skool melodies and the best of current day neo soul. Nuwamba is someone I’ve been meaning to feature an ythe site for a while but I haven’t got round to it, as it was one of my top album’s of last year was it – so this is a welcome reminder for me to get on the case! Jazzhole is featured elsewhere on the site with a full review of their Soul Brother album.

Jeff Robinson’s Waiting For The Tables To Turn continues the jazzy vibe that Jazzhole of set down, The remaining tracks with the exception of Iman Williams have all been featured on the site and indeed Martha, gabbie and Lorenda are very good friends of the site so please support them and it, as they are all great tracks………and Brown’s Bag still sounds especially sweet. Which leaves Iman’s I Just Wanna Be With You which is a tad more eclectic but nonetheless interesting.

A very strong and worthwhile album, continuing in tyhis now 5 album series, Soul Brother doing a great job.

Tracks: - 1. Much Better - Chavous 2. Do What You Do - Inobe 3. Ummm Hmmm - Gunther, Lasonya 4. Vin Rouge - Night, Crystal 5. Sunny Day - Khalil, Amar 6. Where It's At - Darien 7. No Ordinary Love - Morten, P.J. 8. Forever - Nuwamba 9. All The Ways - Jazzhole 10. Waiting For The Tables To Turn - Robinson, Jeff 11. No More Love - Brown's Bag 12. Children Of Love - Redbone, Martha 13. Feels Like Love - Brown Baby Girl 14. Something So - McGee, Gabie 15. I Just Wanna Be With You - Williams, Iman 16. Get Through - Natural Selection

Erica Streat – Let it go www.ericastreat.com

Info: - “Melodic poetry embraced by a groove; words that make you think with beats that make you move.”  This is the self-described sound of soul artist, Erica Streat, who is indeed a true triple threat…singer, songwriter, and producer.  This Virginia native is ready to make her mark in the music industry with her new collection of works, Let It Go.

“To me Let It Go is much bigger than a title,” Erica says of her latest release.  “It represents the transitions I’ve made in my life over the past couple years.  There were a lot of things in my life I had to let go.  From the corporate job I thought I wanted to the straight hair I thought I wanted—my whole mindset changed.” 

This project is very personal.  Erica used her singing, songwriting, and production gifts to create every song.  Furthermore, she engineered the project herself, recording and mixing each track in her own studio.

When asked what inspires her to create, Erica states, “Life.  For me, art doesn’t just imitate life.  My art is my life.  My stories are true.  I don’t just sit down and write a song.  Things happen in my life and around me that inspire me to capture these events.  I’m just like a photographer who keeps her camera nearby waiting for the perfect shot.  My studio has become my camera.  My music is the photograph.”

Review: - A great start with Let It Go, what a groove to this, bass heavy, string samples, lazy and summery, a brightness shining in a pretty poor year. Running is more upbeat and vocally strong. This Cd is quite short by todays standards but there’s a strength and consistency throughout making it a worthwhile purchase, and a number of tracks are garnering attention on th emore discernable showas and outlets.

Like My Brother is more frantic and more funky, again I like the string samples, plenty of beats (like a strong electro bass line) and lots going on the quite complex track. Your Touch I like a strong sensual ballad. Temptation is jazzier and a bit of a throwback to the jazz funk era. Last Night is strong and more complex vocally. His Game is more acoustic, and closes with the more sparse Something Crazy.

A very enjoyable set.

Tracks: - 1. Let It Go; 2. Your Touch ;3. Temptation; 4. Running; 5. Like My Brother; 6. Last Night; 7. His Game;8. Something Crazy;

Jacqui Noble – Releasing Expressions http://www.2-funky.co.uk/products/Soul-@-R&B/479422 http://noblenotesent.com/

Info: - Jacqui is a Northern Virginia native currently residing in Atlanta, Georgia. Her interest and experience in the arts started while singing in the church choir at the age of nine. As her interest grew, she started modeling at the age of thirteen in the Washington, D.C. area and surrounding states.

With her down to earth spirit and smooth, but powerful vocals, Jacqui creates an atmosphere of warmth, calmness and comfort. Her sultry expressions come to light as she sings the likes of Phyllis Hyman, Gladys Knight, Miki Howard, Chaka Khan, and Maysa Leak, who are just a few artists she admires.

Jacqui's talent stretches from live performances to studio work and writing lyrics for herself and others. She is a very determined and motivated songstress whose energy and passion for music is contagious. Jacqui Noble is a songstress/lyricist who definitely writes and sings with all of her heart and soul, releasing expressions an audience not only hears, but feels.

Review: - In Love Alone is the track that really grabbed me, midtempo with some fine horns adding effect and a jazzy horn solos, there’s an ease, an old skool vibe, the track exudes a comfortable warm feeling, very nice indeed.

Do You Know What You Want From Me has principally an acoustic vibe, which allows for the vocals to feature strongly, certainly a lot of current neo soul is this way inclined at the moment but there is a quality in this cut. You Said kind of mixes the aforementioned tracks in that it has that jazzy and also an backing that brings the vocals strongly to the front, lyrics, penned by Jacqui I believe also have feeling.

Don't Be Afraid is an expressive ballad. One Day is very much reminiscent of the old skool but is not particularly strong. It was starting to wane a bit in the middle but in jumps back to life on a latiny ballad Where Has the Time Gone. I Don't Do (He Done Me Wrong Songs) introduces a bit more of a rock feel.

Several fine tracks mostly at the front end, and one particularly strong. An album definitely worth a visit.

Tracks: -1. Do You Know What You Want From Me ,2. In Love Alone ,3. You Said, 4. Don't Be Afraid, 5. One Day, 6. Tickle Me, 7. Where Has the Time Gone,
8. I Don't Do (He Done Me Wrong Songs)

Jean Terrell – I had to fall in love http://www.soulbrother.co.uk/jean_terrell_i_had_to_fall_in_love.html

Info: - Jean Terrell as born in Belzoni Mississippi, one of ten children, her family moving to Chicago when she was six. She sang with her Brother Ernie in his group Ernie and The Heavyweights recording singles for Argo, Calla and Fury in the sixties. Ernie was the one time husband of Motown artist, the late Tammi Terrell, and displaced Mohammed Ali as WBA Heavyweight champion, when Ali was stripped of his title for refusing to serve in Vietnam.

Jean is best known for replacing Diana Ross as the lead vocalist with the Supremes in late 1969. She sang on many of their early 70’s hits ‘Up The Ladder To The Roof’, ‘Stoned Love’, ‘Nathan Jones’, ‘Bad Weather’ as well as ‘Floy Joy’ and ‘Automatically Sunshine’ with Mary Wilson, and ‘River Deep Mountain High’ with Levi Stubbs.

Apparently Berry Gordy tried to prevent Jean joining the Supremes at the last minute as he felt uneasy at Jean’s forthright approach, preferring Syretta Wright as Diana’s replacement, But Mary Wilson refused and Gordy ‘washed his hands of the group’ which may explain the lack of promotion they subsequently received.

Jean left the Supremes in 1973 due to her Jehovah Witness religion, eventually being replaced by Scherrie Payne. Fourteen years later she would line up with Scherrie and Lynda Laurence as FLOS (former ladies of the Supremes), touring and recording for the Motor City label, and in 2004 she released a biographical DVD ‘Through The Eyes Of A Supreme’.

In 1978 Jean signed to A&M and recorded this album ‘I Had To Fall In Love’, but unfortunately A&M’s plans for her conflicted with her religious beliefs and she quickly left the label, the album doing very little at the time. Fortunately the album came to the fore in the ‘Rare Groove’ revival in the late 80’s/early 90’s, with two Grey and Hanks written songs, the two stepper ‘How Can You Live Without Love’ (also recorded by themselves in the same year), and the modern soul dancer ‘No Limit’ (later recorded by Breakwater) becoming very popular. Jeans excellent version of the much recorded ‘Rising Cost Of Love’ is another track that stands out, although the album is strong throughout and heavily in demand across the world, as this is its first release on CD.

Laurence Prangell, Soul Brother Records, May 2006.

Review:- Great to see this in demand album on CD release, bolstered by the in demand Rare Groove cuts but its still a solid album in its own right. The rare groove two stepper How Can You (Live Without Love) still sounds wonderful, and No Limit is still the kind of track that cuts it Uk soul rooms.

Don't Stop Reaching for the Top is a semi funky opener with the vocals as strong as anything on the album. No One Like My Baby would easily stand on its own in the 70’s Northern Soul Crossover rooms. Rising Cost of Love is an atmospheric version that builds and grows. Change Up is a strong ballad.

The title track I Had to Fall in Love is bizarrely the only track I don’t care too much for. That's the Way Love Grows with the vocals a bit further back in the mix very differently to the rest of the album, but I don’t know whether this is as originally done or something that has come out in the remastering, whatever a very interesting track, might even say its my favourite track. You've Been So Good for Me is Ok, pop soul with gospel tinges.

A very fine release with something soul fans of all tastes

Tracks:- 1. Don't Stop Reaching for the Top 2. No One Like My Baby 3. Rising Cost of Love 4. Change Up 5. How Can You (Live Without Love) 6. I Had to Fall in Love 7. That's the Way Love Grows 8. You've Been So Good for Me 9. No Limit

Various - Underground Soul - EXCDP43

Info: - Since 2000 there has been another new wave of soul music, and the World Wide Web has revolutionised the way in which DJs, journalists and fans have spread the word. One such website and on-line music community is Underground Soul, founded and run by Italian DJ and journalist Eleonora Cutaia. Recognised as an international tastemaker, this is the first of Eleonora’s choice selections to be released as a compilation and features the cream of cutting edge new soul artists. It features a track from Corinne Bailey Rae recorded just prior to her No.1 smash hit album which amply illustrates the demand in 2006 for well crafted, quality soul music. Also here are Ivana Santilli (produced by Omar) with debut performances by Heidi Vogel and Porsche Smith ahead of their highly anticipated new albums. From Ether Records, home to one of Eleonora’s mentors Gilles Peterson, is also the excellent Silhouette Brown.

Price: £12.99 Top of Form

Quantity:

Track 1:Deserve - Ivana Santilli.mp3

Track 2:Bring Me To Your Life - Heidi Vogel.mp3

Track 3:Your Love Is Mine - New Mastersounds.mp3

Review:  The trouble with the UK Soul Scene in my view is that it fits into a box, a box with well defined boundaries. A huge element of current day Soul is outside of that box, the driving forces are outside this box in that it does not originate within the UK scene. It upsets me for example that product, good product is rejected if it, or even maybe a part of it, doesn’t fit within it. Soul is progressive and organic and cannot be contained and it should be allowed to grow without confimes of a particular marketplace. I appreciate the financial aspects but there is a bigger audience out there.

Rant over and apologies to Eleonora to express this viewpoint within this review but it is relevant in a positive way. It is refreshing that this compilation works to a degree outside this box and extends a few boundaries. This is a romp through some fresh vibrant music of the last three years or so, some with fresh new to UK Cd. So this set is heartily recommended – explore.

Of course on such a personal compilation there will be tracks that don’t appeal to me, but they may to you. So, briefly on a trackby track basis.

The Omar produced Ivana Santilli – Deserve personally I don’t like because I find the song too poppy but there are bits about the production that is really nice, the instrumental break a couple of minutes in for example. I love the dreamy summery trippy organ on New Mastersounds feat Corinne Bailey-Rae - Your Love Is Mine, which is where I first came across Corinne a couple of years back.

I have problems with Yam Who mixes I’m afraid, dunno what it is but its there, though Diplomats Of Soul - Someday is a wonderful track but I prefer the original mix sadly. Heidi Vogel - Bring Me To Your Life is a mellow jazzy piece with some great piano work and firm backbeat. Monday Michiru - Philosophy Road is poetic jazzy neo soul.

Donna Gardier reemerges this year with Positive Flow on The City Streets a thoughtful and superbly constructed piece that I would urge you to get inside of. Jiva - Sun & Moon kicks off straight out of old skool jazz funk, the pace of the album increases into it with a top track from last year. Break Reform – Trust is of the kind of track that you would not expect to see on a comp like this so fair play for getting this one in.

V feat. Jill Scott - Born Again, a couple of well known names to enhance the set with a lesser known but equally good gem. A brazilian / incognito influences amalgam with what turns out to be one of the top tracks, on Sabrina Malheiros - Saudade Rio.

Well I was put on to Porsche Smith some while ago by Dan, Soul Jones, and I reckon he might be responsible for getting this one on directly or indirectly, excellent emotive soul. Brigette - Take Me is the Steve Harvey Production available elsewhere on Expansion. Fast funky nu soul from another favourite Deborah Bond - This Is Me, and then my good friend Alison Crockett - Imgonnacome with a beautiful remix by Blue Chai Martini. Closing with the melowness that is Silhouette Brown - Just A Little More.

Tracks: -1: Ivana Santilli – Deserve, 2: New Mastersounds feat Corinne Bailey-Rae - Your Love Is Mine ,3: Diplomats Of Soul - Someday (Yam Who? Mix) ,4: Monday Michiru - Philosophy Road, 5: Positive Flow - The City Streets ,6: Heidi Vogel - Bring Me To Your Life ,7: Jiva - Sun & Moon, 8: Break Reform – Trust, 9: V feat. Jill Scott - Born Again, 10: Sabrina Malheiros - Saudade Rio ,11: Porsche Smith – Cryin ,12:Brigette - Take Me ,13: Deborah Bond - This Is Me,14: Alison Crockett - Imgonnacome (Blue Chai Martini Mix) ,15: Silhouette Brown - Just A Little More

SounDoctrine – Endurance www.soundoctrine.com

Info: - SounDoctrine's fourth release, ENDURANCE is an enthusiastic burst of music that redefines the boundaries of Smooth, Fusion and Contemporary Jazz!

While exploring the underworld of Pop, Funk, Reggae, Jazz Rock, Blues & Latin Soul, SounDoctrine delivers a powerful set of tunes with strong melodies, elastic rhythms and raw energy that provide a superlative foundation for the mind-blowing solos of saxophonist Keith McKelley, guitarist Paul Douds and keyboardist Cliff Barnes.

Stand out tracks include "Once Upon A Groove" a super funk-a-thon which opens the album and is a perfect set up for the journey ahead. "Soul Song" is an oasis of a ballad which clocks in at a little over 12 minutes, excellent for late night listening with that special someone and "Fiveaftersix" shows a different side of the band's jazz palette by moving through different time signatures and zones.

"Really Cool" is a band collective reminiscent of The Crusaders early work while showcasing each musician's muscle as "Sacrifice" settles in comfortably to a silky smooth jazz flow for the new school.

"Blues Crossing" provides Paul Douds the opportunity to walk through the corridors of Eric Clapton & Stevie Ray Vaughn and the scorching fusion fix "Hermeneutics" featuring guest drummer Derek Dixie picks up the Weather Report baton to set a new standard.

ENDURANCE: A tenderness of a Jim Couchenour ballad, the pulse of Phil The Beat's roaring bass and the funky crackle of producer Jere B's drums fits nicely into any jazz lover's rotation.

Review: - A very good album indeed of instrumental contemporary jazz, containing influences from jazz, blues, fusion, funk, soul and more. The production and musicianship excels and I cannot remember enjoying this kind of album since the Crusaders in their heydey. And it has the same kind of crossover appeal into funk and soul that the Crusaders had. It is just the kind of album to mellow out to and play all the way through, and you need to to fully appreciate all the nuances, intracies and individual pieces that make up the set.

Highlights are many, the funky kick start of Once Upon A groove, the driving The Legend of Phil The Beat that brings the man Jere to the fore. There is an epic piece in Soul Song, a 12 minute masterpiece.

All round quality.

Tracks: 1. Once Upon A groove; 2. Kickin Stick; 3. Small Mouth Bass; 4. Really Cool ;5. Hermeneutics ;6. Soul Song;7. Blues Crossing;8. The Legend of Phil The Beat; 9. Sacrifice; 10. Chi Tea; 11. Fiveaftersix; 12. Boys in the Wood

Inobe – I am Inobe & Spiritual Soul www.inobe.com

Info: - Inobe (eye-no-bee)

The Inobe Monologue An Urban Fairytale

Prelude - My storys a sort of urban fairytale. You know the kind that starts off once upon a time and you expect it to end with happily ever after. In the middle, of course, ugly stepsisters get left behind, dragons are conquered and a prince sweeps me off my feet.

My story opens like every other Soul singers tale Once upon a time in a small town far, far away in the South, Inobe sang gospel in her grandfathers church. She attended a high school for performing arts. She went to college and graduated with a degree in Music Management. Musical theater, talent shows, showcases, yadda, yadda, yadda. Im sure youve heard this part before.

Every story is summed up by the who, what, when, where and why. But the most fascinating part of any artists story is the why. Why did Billie sing Da Blues? Why does Mayas caged bird sing? Why am I Inobe?

Someday My Prince Will Come - Snow White

Its funny; when friends look at my scrapbook they say Im all smiles. Birthdays, recitals, family reunions graduations: all the Good Old Days. But Im looking at some of the same pictures and remembering a Bittersweet drama. Some days were Summer Time, but most days I didnt know whether to laugh or cry. I usually chose laughter because at least it kept people from asking questions.

Behind some of those photos there was abuse. Behind most of those photos there was a casual neglect. Behind all of the photos there was self doubt and fear. You see, I grew up a preachers kid and it wasnt right to sing secular music. Theyd build me up to sing some Tina at family reunions but then Break Me Down before they left. I grew up with a mother who wanted to sing when she was young. But her unrealized dream became my forbidden passion. If I wanted to sing, I had to be my own coach, promoter and fan club. I grew up in the 80s and 90s when it wasnt in style to be dark-skinned and natural. A little girl never knew there were so many synonyms for black.

Sure there were good times too, but the weight of the disappointments lulled me into a coma over the years. What if they were right about me? But somehow I knew Lyfe wasnt over for me. Id close my eyes and sleep for a while, but someday my prince would come and wake me with an Impressionable kiss. At my lowest point, someday finally became Today and my prince stepped on the scene. He was there all the while; I just had to open my eyes. When everyone else had given me up for dead, Jesus came into my life. He loved me with a Love For All Seasons. He assured me I was beautiful and my story wasnt necessarily meant to be sung in church but out in the world to shine light on dark situations.

If The Prada Fits Cinderella

Suddenly I understood my lifes purpose, doors began to open and I could Find A Way. You know the whole mice and pumpkin become horses and carriage story? Its true! God sent the unlikeliest of angels and made things happen. When I moved to Atlanta, I found myself surrounded by people that believed in the vision and were willing to help. Musicians, producers, DJs, promoters, web designers, stylists you name it, they were sent my way. To my surprise, I was even featured as inspiration to the fictional lead character in Eric Jerome Dickeys best-selling novel Naughty or Nice.

Of course this part of the story isnt complete without a few ugly stepsisters, haters as we know them. But you know what? I grew up with professional haters who could actually hurt me so these trifling amateurs werent about nothing. Even when people I trusted would Do It Again and turned their backs on me, I knew I had to Go On without them. I was determined more than ever to get my story out.

Tis Thousand Pities, Anything So Good Natured Should Be So Ugly. Beauty and the Beast

Most independent artists would describe their relationship with major labels as David and Goliath. I see it more like Beauty and the Beast. While I love The Way the independent community has nurtured me, I understand that the majors have the gold necessary to tell my story beyond my little village. Its definitely a love-hate thing. The beast is repulsive, but I know under the thick callous hull of corporate greed, there still beats a heart that loves real music and artistry. However, like a black widow, the beast would only know about me if I made enough noise in the web. So I decided to do it myself and take the show on the road.

Were not in Kansas anymore Dorothy

I wish this part of the story was as simple as Ease On Down the Road, but its not. Its Climbing the Rough Side of the Mountain. Releasing my own records has been a series of dogfights with musicians, promoters and execs. Lions and Tigers and Bears, oh my!

But through it all, Ive sold records on every continent. My records are played regularly on college and community stations throughout the United States and internationally on internet radio. Ive been blessed to have shared the stage with India.Arie, Ashanti, Nivea, Vivian Green, Roy Hargrove, Musiq Soulchild, Donell Jones, Kindred the Family Soul, Tony Rich, Debra Killings and Donnie. I been even more blessed to have toured U.S. military bases around the world and sing for our brothers and sisters in uniform. Ive sang my songs in Germany, Belgium, the Netherlands, Greenland, Kuwait, Afghanistan, Kyrgyzstan, Uzbekistan, Djibouti, Qatar, Korea, Okinawa, Guam and Kwajalein.

Growing up I didnt know why trouble loved to Jump On My Back. But now I know why and I know why I Am Inobe. When I mentor young girls at a group home in Atlanta I can share my stories of neglect and assure them they are beautiful when I sing Sista Sista. When I meet with soldiers who are risking everything for a cause theyre unsure of, I can tell them my stories of being left hanging but assure them they are not forgotten when I sing Come Home. When I encounter other artists who are discouraged with the mainstream diet of marginalized talent served over homogenized beats, I can assure them their story has purpose when I sing Do What You Do. When I get emails from fans as far away as France, Korea and Russia who say theyve been waiting for something positive in todays music, I can assure them the sun also rises when I sing Front Porch.

Theres one truth Ive learned about music; people like your music if they can stretch to identify with it, but they dont fully appreciate it unless your music stretches to identify with them. As for the happily ever after part, the story is still unfolding so I guess we should say and Inobe lived happily every day by day.

-Inobe Copyright 2005 Modest Music

Review:- Spiritual Soul – a bunch of tracks getting attention in the Uk from it’s discerning venues and radio outlets, and it’s easy to see why as this is a high quality album from front to back. Find A Way is uplifting feel good mellow modern bouncy funk driven R’n’B. Jump On Your Back is heavier more rock influenced. Grandma Said is catchy upbeat and funky. It's Love is deeper, sparser slower, nothing like it really but it reminds me of Disco Lady.

Bittersweet is conceptually and constructively more complex and a highlight track. Today has a bit of a light reggae feel to it. Good Old Days is a song reminiscing back. Do What You Do is another of the top tracks, though Let Love is the type of track that I ind myself listeningto these days, starting off acoustically and building with thoughtful lyrics into a strong conclusion. Closing with a personal acoustic, strong voacalled Missing You.

A strong album, recommended.

Tracks: - 1 Funk Defined; 2. Find A Way l3. Jump On Your Backl 4. The Way; 5. Grandma Said ;6. It's Love 7. Bittersweet ;8. Today ;9. Good Old Days ;10. Do What You Do; 11. Let Love; 12. Come Home 13. Missing You

I am inobe: Like Spiritual Soul (or vice versa really) this one kicks in an upbeat funky mood, Front Porch, a great track. Sista Sista is an excellent calling of sista hood, easy funky groove. You'll Do It Again is midtempo catchy, touch of old skool. Lyfe , I love, it has a killer vibe, slow mellow, lots of groove, exceptional vocals and some jazzy bits thrown in.

Go On builds from a slow intro into a strong track. Love For All Seasons, ;ike many of th songs on both albums, has acoustic elements, and the blend of vocals to backing is such that the vocals come over strongly and I’m all in favour of that. Break Me Down has a harder edge, more sinister beat with funk edges and lyrically more threatening.

Impressionable is a slow deep quality ballad. Da Blues is much jazzier, supper club stylee and very nice. Summer Time is heavier on the bass, an anthem to summer times that we all love the best.

I think on balance I prefer this album of the two.

Tracks: -1. Don't Do It Again; 2. Front Porch; 3. Sista Sista ;4. You'll Do It Again ;5. Lyfe ;6. Bittersweet ;7. Go On ;8. Love For All Seasons ;9. Jump On Your Back ;10. Break Me Down ;11. Impressionable ;12. Tuesday Peek ;13. Da Blues; 14. Summer Time ;

Lynne Fiddmont – Flow www.midliferecords.com

Info: - Behold...a woman whose time has finally come. After being the go-to singer for an astounding and diverse roster of musical talents that includes Phil Collins, Patti Austin, Stevie Wonder, Kenny "Babyface" Edmonds, Yolanda Adams, Norman Brown, Bill Withers, Mariah Carey, Gloria Estefan, Whitney Houston and Seal, this lady is ready for the world to hear her voice, her music and her story. The lady is Lynne Fiddmont and her first step toward total self-expression is her life-affirming debut album, Flow.

Flow is a 9-song collection of melodic, jazzy soul songs for which Lynne composed all but one. Beyond writing and singing, Lynne also produced the project, learning Pro Tools and other advanced studio techniques to ensure that she had a hand in every aspect of its creation. All of her hard-earned time in studios and on the road working amongst the very best the business (in all fields) has prepared Ms. Fiddmont for her maiden voyage as a complete artist in her own right. The key has been getting in tune with personal goals...and going with the flow.

Time spent listening to Lynne Fiddmont’s Flow is a “hang/glide”… cool-breezy, sun-kissed and spirit-lifting. Two songs in, you find it’s not just your foot pattin’ or your head noddin’. No… If you’re alone, you’ve folded yourself into a full-body embrace, surrendering to the sounds as your stresses evaporate into a detoxifying mist. If you’re alone around strangers - ditto - only you’re oblivious to their lopsided eyeballin’. If you’re among friends, it’s all love. And if you’re with The One you love…you’re Heaven bound.

“Check your latitude…how high R U?” I mean, I love me some Bloodstone…but right about now they’re getting a run for their money in the natural intoxication department.

Flow does not merely mark the graduation of a woman who has arguably stayed too long at the fair…globetrotting with superstars or milking a studio tan at the service of hit makers. Flow represents a joyous ceremony of sweet, purposeful liberation. Not only does this singer/songwriter have a lot to say, she’s bossin’ up to the welcoming table Big Willie Mae-style by opening her own boldly named MidLife Records to start spreadin’ the news.

In other words, the world is now Lynne’s for the grillin’… and the lady hath prepared a sumptuous banquet for the blanket. She dipped deep into the spice cabinet to coax us out of our shells and into Wonder-land (“Something I Can Feel”), summoning her children’s voices to bless the moment and her brother’s saxophone to spread some serene reed seed over the proceedings (“U R Loved”). Padding about sans-Pradas is the sarong-wrapped soccer mama with the thousand-watt smile set-off with Rotini ringlets…ladling out love, laughter and lemonade. She pours long from the pitcher of “her story” - reflecting back on the second song she ever sang in front of folks (“No Regrets” which she copped from Phoebe Snow back in `76) or her own breathtaking take of the first composition she ever placed on another artist’s album (“Never Really,” recorded by Tyler Collins in `92).

She sings of Calgon daydreams, spur-of-the-mid-week holidays and torrid scented candle nights of the so-good-so-right and oh-so-wrong varieties. And it’s all set to a mesmerizing score where jazz and pop - celestial and international incantations - swirl to seamlessness in a chocolate Milky Way, slowly soul kissing your pain away. “Can you feel what I’m saying?” Flow is songs of simple, humble empathy for our plight on this planet, love-laced with all the hope, resilience and strength we need to claim The Victory.

Earth-Wind’s Maurice White taught us, “If there ain’t no beauty you’ve got make some beauty – have mercy!” Chillin’ with Sister Lynne, we have all the inspiration we will ever need.

A. Scott Galloway

Review – In several of my reviews of late I talk about the bar being raised, and this is a good example of what indie artists now need to aspire to, this is up there with the best. Quality throughout from the production, instrumentation, songwriting, singing and even all the way down to the packaging, sleeve notes and website.

Out of the 9 tracks of jazz influenced smooth soul it is difficult, if not impossible to select a favourite. It could be the more upbeat title track Flow, or the mellow sophistication of Cupid, or the plea for togetherness in a relationship of Say, or the jazz laden classic No Regrets.

But if you have to choose it would be the warm, sun soaked, Latin drenched pleasure trip that is Holiday.

Tracks: -1. Holiday; 2. Cupid ;3. Flow; 4. Something I Can Feel; 5. Never Really; 6. U R Loved; 7. Say; 8. Feels So Right; 9. No Regrets

Al McKay Allstars – Al Dente http://www.almckay.com/

Info: - The Al McKay All-Stars is the brain child of five time Grammy award winner and former founding member of Earth, Wind & Fire, Al McKay. A few years ago, Al got the idea of putting together a group of 14 hand-picked musicians to jam around town. The first time the band went out they performed a few southern Californina dates and then went on to tour extensively in Japan and the Phlippines. The group, in various configurations, has been back to the Far East at least once a year since their initial visit.

Now, Al McKay steps to center stage and into the musical spotlight with AL DENTE, his first ever solo offering and solid evidence that this remarkable artist is creating some of the most vital, engaging, and purely entertaining music of his career. Featuring a sparkling selection of hits from Al's long-running tenure as a member of the legendary Earth, Wind & Fire, including sterling renditions of such chart toppers as "Getaway," "Evil," "Love's Holiday," "Singasong," "Fantasy," and "September," AL DENTE also includes a sampling of some of the artist's newest original tracks. On selections such as "Make It Happen," "It's Only Love," "Who Am I?," "My Heart Is Wide Open," and "You Owe It All To Love." AL DENTE is a showcase of the potent and persuasive songwriting skills of this multi-talented individual. Add to that the consummate craftsmanship and passionate performances of Al's all-star backing band and the result is an auspicious solo debut from one of the truly legendary names in contemporary music.

Review: - the first thing you think when this album hits the opening bars is Earth Wind & Fire, and given the pedigree this is not surprising I guess. But what you also get is an album crafted with skill, professionalism and experience, and hearing the renditions of EWF tunes is fresh and clean and not in any way ‘just a cover’. There are six EWF songs on here , Getaway, Evil, Love's Holiday, Singasong, Fantasy and September, the first two being the pick in my view, but Faantasy is helped along with a persistant beat that might appeal to UK soulrooms, and September is almost a funky house track.

I should say at some point, that the vocals of Ali Woodson throughout are excellent and a great addition to the album. Of the non EWF tracks, Make It Happen is an excellent midtempo track very percussive, very Latin influenced, nice acoustic guitar, catchy hook. It's Only Love, features Ali on lead, sweet mellow horns weaving in and out of the lead and background harmonies, beautifully constructed song. Who Am I? With Tim Owens on lead, a sweet ballad
My Heart is Wide Open is simpler in construction yet still one of the funkiest tracks on show. You Owe It All to Love , another one with just guitrs, bass and drum programmes with Ali excelling on this ballad.

Entirely slick and professional, a joyous experience.

Tracks: 1. Getaway, , 2. Evil, 3. Make It Happen ,4. It's Only Love, 5. Love's Holiday ,6. Who Am I? ,7. My Heart is Wide Open ,8. You Owe It All to Love, 9. Singasong ,10. Fantasy, 11. September

Al McKaY Allstars – The Earth Wind & fire Experience http://www.almckay.com/

Info : - World famous guitarist and multi-platinum songwriter. Original mmeber of Earth Wind & Fire. Veteran session player, sideman and in-demand instrumentalist, both on stage and in the studio. A bandleader of international renown.

Over the course of the extraordinary career that is now entering its fifth decade of uninterrupted music-making, Al McKay has established a reputation as one of the most innovative and influential artists of his generation. A musician's musician, McKay's professional portfolio puts him front and center in many of the pivotal moments on modern music history and even if his name doesn't immediately ring a bell, there's no mistaking his unique and distinctive sound. Simply put, Al McKay is the real McCoy.

That legend began early for Al McKay. Born in the musical melting pot of New Orleans, both his mother and father were accomplished artists in their own right. But it was his uncle who introduced the five year-old Al to his first guitar and, after seeing Elvis Presley in Loving You, the fledgling musician's career path was set. With influences that ranged from Freddie King to Duane Eddy; The Everly Brothers to James Brown, Al took his talent and ambition with him when he relocated to Southern California to live with an aunt after his mother took ill.

Continuing to polish his guitar chops, Al landed his first professional gig at the tender age of eighteen, not long after his high school graduation. A mutual friend had invited him to meet R&B kingpin Ike Turner, and when Al pointed out a mistake Turner was making while rehearsing a version of The Temptations' "Losing You," with his band, he was offered a job on the spot as guitarist for the Ike & Tina Turner Revue.

A musical education second to none, Al's tenure with the Revue lasted a year and a half, after which time he returned to his L.A. home base where he immediately garnered a reputation as a versatile session player, working on stage and in the studio with an diverse array of jazz, pop and R&B artists and eventually landing a short stint with funk progenitors, Charles Wright and the Watts 103rd St. Band.

Through his connections on the burgeoning L.A. music scene, Al was subsequently introduced to the late great Sammy Davis Jr. who also hired him on the spot after hearing him work out on the latest development for guitar special effects, the wah-wah pedal. Constant touring, Las Vegas engagements and the occasional studio session, all as part of Sammy's backing band further honed Al's impressive abilities and when he finally moved on, there was no shortage of offers to keep the hot young guitarist on the A-list. Everyone from Andy Williams and Pearl Bailey to The Sylvers and Isaac Hayes made use of his distinctive sound.

It was then that Al was approached by a freshly minted band out of Chicago with a whole new music approach, who called themselves Earth, Wind & Fire. The rest, as they say, is history. From 1973, when he first joined the group, up until 1981 when he left to take a well-deserved break from the hectic world of major musical stardom, Al was responsible not only for a lion's share of the group's instantly recognizable sound, but was also writer and co-writer on some of their most enduring hits. Along with founder Maurice White, McKay penned such EW&F perennials as "September" and "SingaSong," which both became chart-topping signature tracks for the group. But it wasn't only within the band that Al's songwriting shined. As co-writer of The Emotion's smash hit "The Best Of My Love," he contributed one of the most enduring songs of the era, raising the bar on the art of pop craftsmanship in the process.

After eight years, seven albums, uncounted thousands of tour miles and a virtually unequaled stack of hit records, Al left Earth, Wind & Fire. While he continued to keep his hand in music through various production and writing projects, his primary focus was on raising his young son. As a single parent, Al turned aside from the demands of a busy career and for several years kept a low profile to put the emphasis on his personal life.

When he reemerged, in the early 90's, it was with a different direction and whole new energy. Since live performing and having the chance to connect directly with his audience has always been the single most satisfying aspect of Al's multi-faceted career, it's no surprise that his comeback would entail gathering the best and brightest musicians to create an unparalleled concert experience. As the front man for what became variously known as The Al McKay All-Stars, he fashioned a large and revolving cast of supporting players to fully explore new musical territory, even as they helped to celebrate Al's incredible history with performance highlights from his years with Earth, Wind & Fire.

A major concert attraction throughout the world, the group has performed in South Africa, Indonesia, Sri Lanka, India, United Arab Emerates, Italy, Germany, Austria, Switzerland, Spain, Portugal, Denmark, Finland, Netherlands, France, Tunisia, Japan, Korea, Russia, Latvia, Lithuania, Estonia, Slovak Republic, Israel, Hungary, Bulgaria, Poland, Czech Republic, and the United States. The All-Stars have become a premier international concert draw among diehard fans of Al and his music, as well as a whole new generation only now discovering this singularly talented artist with a sound that belongs to no one else.

Tracks: Well all I can say is what a show. EWF were always known for their stage show and this is clear evidence of where some of that came from. All the renditions are worth hearing though I guess most, me included, will stick with the versions we know. I can see though that there is merit in this Cd, and particularly so if you happened to see any of the gigs.

I would simply reiterate that the professionalism, the musicianship, the musical direction of this whole project is first class.

Tracks: -- 1. Power, 2. Africano, 3. Allstars Suite, 4. Serpentine Fire, 5. Pride 6. Got To Get You Into My Life 7. Saturday Night 8. Shining Star 9. I'll Write A Song For You, 10. Love's Holidy 11. After The Love 12. Reasons 13. In The Stone 14. Fantasy 15. Jupiter 16. Getaway,17. Magic Mind 18. Let Your Feelings show 19. Can't Hide Love 20. That's The Way Of The World, 21. September 22. Boogie Wonderland 23. Let's Groove 24. Otta Here

James Day – Better Days http://www.jamesday.biz/

Info: - “International Award Winning Songwriter James Day grew up listening to the great Soul/R&B music of the 70s & 80s, ranging from singers Natalie Cole, Luther Vandross, and Chaka Khan, to songwriters and producers such as Rod Temperton, Quincy Jones, and Ashford & Simpson. He has achieved critical success, winning the Billboard Magazine & John Lennon Songwriting Competitions, and an award from the National Academy of Popular Music/Songwriter's Hall of Fame presented by legendary songwriter Hal David. In the 90s and early 00s , Day landed songs on a number of major labels, compilations, and network television shows; his work appearing along side the music of such noted songwriters as Diane Warren, Carole King, and Patrice Rushen.

Despite this success, Day's observations of the state of modern music left him extremely frustrated. "The LP's I grew up with, full of rich chords, moving melodies, lush vocal arrangements, and well crafted lyrics, had been replaced by CD's put together by track makers, beat programmers and samplers, with words 'slapped on' that rarely seemed to move me the way the music I grew up with did." So Day made it his mission to re-establish the role of the songwriter and arranger in popular music. Working with a passion for his project, in 2005 Day recruited a number of established vocalists to put together this 4-song EP "Remember When."

Day's goal was to re-create a hot 80s groove around well-performed, superbly-crafted, infectiously melodic songs – and to use this as a springboard for future larger projects. And in that regard it was an unadulterated success. There is no question of Day's capability as a songwriter, especially on the excellent opening number, "Brick By Brick" (featuring Audrey Wheeler), and the first single, "Don't Waste the Pretty" (featuring Jeff Ramsey). Released in late 2005, the disc immediately struck a nerve in the underground soul movement. "Remember When" reached #1 on the SoulTracks independent soul charts and the single "Don't Waste the Pretty" hit #8 on the Blues and Soul Hip List. The EP's success marked James Day as a potential star in the underground soul world and left fans waiting for more.

In early 2006, Day signed with the influential UK-based label Expansion Records for his full debut album, "Better Days." Expansion has been a leader in bringing the new generation of soul music to Europe, working with such hot young performers as Frank McComb, Ian Martin, Maysa, Rahsaan Patterson, Sy Smith and Ledisi. Day's signing was no surprise to the soul music world, only a validation of what many had already discovered: James Day's time had come.

"Better Days", a tribute to 80's R&B, is a celebration of Day's musical childhood. He hopes this bold step into the limelight will help other songwriters take charge of their careers and create more of their own opportunities. "It's a new world out there in the music business, and songwriters need to be a part of it!"

Chris Rizik Publisher, SoulTracks (www.soultracks.com)”

Review: -A bunch of these tracks have been hitting the UK Soul Rooms and soul radio stations for many months now to great acclaim, and if ever an album was made for the UK Soul Scene then this is it. The songwriting and production is faultless as are several of the tracks, it’s clean, melodic and a homage to 80’s R’n’B with a selection of top guest vocalists Audrey Wheeler, Jeff Ramsey, Dquest, Jill Zadeh, catherine Russell.

My favourite track is the gospel influenced Can't Argue Like This with Jeff Ramsey and coincidently Lorenda of Brown Baby Girl who I had the pleasure of meeting recently. Better Days I like, the beaty funkier original mix that is, as opposed to the Steppers Mix, a song which kind of sets out where the album is coming from and where it hopes to go, but is especially good for the vocal performance. Don't Waste The Pretty (seen her in two different mixes) is one of the tracks that has gone down big time in the Uk and it is a track that fits superbly into that arena, but the string arrangements and vocals are particularly strong.

She's Not The Girl is a georgeous ballad and a very strong track. One Good Thing is another ‘slowie’ with an exceptional vocal performance, and I do find myself returning to the ballads, more than the uptempos, which may be more to do with the fact they are less familiar, to be fair, as I have heard the others ‘out’ consistently for several months.

Love's Taking Over goes back upbeat, which builds against a strong catchy hook, certainly a grower. Brick By Brick sounds strongly reminiscent of something else, catchy pop soul.

The album goes downtempo and more acoustic for the Catherine Russell tracks Remember When and Will You Still Believe, the latter being my pic of those two.

Of course we all draw on our past and are influenced by it, but in life generally I’m not one who looks back and hankers on about the good old days. If I am critical at all I would say putting old skool labels like that on a current day product could be restrictive, and not progressive thinking. It appears (maybe because I am here in the UK and this is what I see more readily) that great emphasis is being put on the UK scene, and I do not know what the drivers are or where they are coming from, but it would be sad if the product and artistry is being shaped for the UK scene. If the product just happens to be at the right stage of development and at this juncture in time it fits, then fine. (I say this against the background of many stories that I could retell (but won’t or can’t!!!!!!!) where artists have told me of narrowmindedness and pressures but on them (from the UK) that is to the detriment of their music and artistry. Not suggesting anything here and this is in no way aimed at Expansion but it is something that, I feel, needs to be said.)

All in all a very worthwhile, though by todays standards short, album, excellently constructed and will certainly do well in the Uk

Tracks ; 1.Remember When (Intro) 2. Better Days 3. Don't Waste The Pretty 4. She's Not The Girl 5. Love's Taking Over 6. One Good Thing 7. Brick By Brick 8. Can't Argue Like This 9. Remember When 10. Will You Still Believe 11. Better Days 12. Don't Waste The Pretty