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Complete & Unbelievable: The Otis Redding Dictionary of Soul was the soul legend's 1966 album (and the last issued in his lifetime). The original album features mostly covers on side one and original compositions by Redding on side two.

The album features musical assistance from Booker T. & the M.G.'s-organist Booker T. Jones, pianist/guitarist Steve Cropper, bassist Donald "Duck" Dunn, drummer Al Jackson, Jr.-pianist Isaac Hayes, and the Memphis Horns, consisting of tenor saxophonist Joe Arnold, trumpeter Wayne Jackson, tenor saxophonist Andrew Love and baritone saxophonist Floyd Newman.

The Otis Redding Dictionary of Soul was released in October 1966 on the Stax label and peaked at No. 73 and at No. 5 on the Billboard 200 and the R&B LP charts respectively. The album produced two singles, "Fa-Fa-Fa-Fa-Fa (Sad Song)" and "Try a Little Tenderness." In 2,000 it was voted No. 488 in Colin Larkin's All Time Top 1,000 Albums. In 2012, the album was ranked No. 254 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time.

Cut at 45 RPM, pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

The Soul Album is the fourth studio album by American soul singer-songwriter Otis Redding, released in 1966. It features Redding performing songs that he co-wrote, as well as covers of songs by such musicians as Sam Cooke, Eddie Floyd, Roy Head, and Smokey Robinson. Guitarist Steve Cropper contributed guitar on the album and is also credited as the co-author of three tracks. The Soul Album shows Otis Redding moving from strength to strength in a string of high-energy, sweaty soul performances, interspersing his own songs with work by Sam Cooke ("Chain Gang"), Roy Head ("Treat Her Right"), Eddie Floyd ("Everybody Makes a Mistake"), and Smokey Robinson ("It's Growing") and recasting them in his own style, so that they're not "covers" so much as reinterpretations.

Analogue Productions (Atlantic 75 Series) Celebrating the 75th Anniversary of Atlantic Records! 180-gram 45 RPM double LP Mastered by Bernie Grundman from the original analog tape Contains Otis Redding's posthumous hit "Sittin' On the Dock Of the Bay" Appeared on Rolling Stone's 500 Greatest Albums of All Time, rated 161/500! Pressed at Quality Record Pressings Gatefold old-style "tip-on" jacket by Stoughton Printing Hybrid Mono SACD Mastered directly from the original master tape by Bernie Grundman The guts of the story are this: While on tour with the Bar-Kays in August 1967, Otis Redding's popularity was rising, and he was inundated with fans at his hotel in downtown San Francisco. Looking for a retreat, he accepted rock concert impresario Bill Graham's offer to stay at his houseboat at Waldo Point in Sausalito, California. Inspired, Redding started writing the lines, "Sittin' in the morning sun, I'll be sittin' when the evening comes" and the first verse of a song, under the abbreviated title "Dock of the Bay." He had completed his famed performance at the Monterey Pop Festival just weeks earlier. While touring in support of the albums King & Queen (a collaboration with female vocalist Carla Thomas) and Live in Europe, he continued to scribble lines of the song on napkins and hotel paper. In November of that year, he joined producer and esteemed soul guitarist Steve Cropper at the Stax recording studio in Memphis, Tennessee, to record the song. Cropper remembers: "Otis was one of those the kind of guy who had 100 ideas. ... He had been in San Francisco doing The Fillmore. And the story that I got he was renting boathouse or stayed at a boathouse or something and that's where he got the idea of the ships coming in the bay there. And that's about all he had: 'I watch the ships come in and I watch them roll away again.' I just took that... and I finished the lyrics. If you listen to the songs I collaborated with Otis, most of the lyrics are about him. ... Otis didn't really write about himself but I did. Songs like 'Mr. Pitiful,' 'Fa-Fa-Fa-Fa-Fa (Sad Song)'; they were about Otis and Otis' life. 'Dock of the Bay' was exactly that: 'I left my home in Georgia, headed for the Frisco Bay' was all about him going out to San Francisco to perform." Redding and Cropper completed the song in Memphis on Dec 7, 1967 with tragedy, unknowingly, looming. Just two days later Redding lost his life on a routine commute to a performance when the small plane he was in crashed. The other victims of the disaster were four members of the Bar-Kays — guitarist Jimmy King, tenor saxophonist Phalon Jones, organist Ronnie Caldwell, and drummer Carl Cunningham; their valet, Matthew Kelly and pilot Fraser. Cropper and bassist Donald "Duck" Dunn completed the music and melancholic lyrics of "(Sittin' On) The Dock of the Bay' which was taken from the sessions — Redding's final recorded work. Cropper added the distinct sound of seagulls and waves crashing to the background. This is what Redding had wanted to hear on the track according to Cropper who remembered Redding recalling the sounds he heard when he wrote the song on the houseboat. One of the most influential soul singers of the 1960s, Redding exemplified to many listeners the power of Southern "deep soul" — hoarse, gritty vocals, brassy arrangements, and an emotional way with both party tunes and aching ballads. At the time of his tragic death he was 26. ‘(Sittin’ On) The Dock of the Bay’ was released just a month following Redding’s death and became his only ever single to reach number one on the Billboard Hot 100 in January 1968. The album, which shared the song's title, became his largest-selling to date, peaking at No. 4 on the pop albums chart. "Dock of the Bay" was popular in countries across the world and became Redding's most successful record, selling more than 4 million copies worldwide. The song went on to win two Grammy Awards: Best R&B Song and Best Male R&B Vocal Performance. With the album, Redding confirmed himself as a talent lost far too soon. All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Bernie Grundman and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

This 1965 collection from The King of Soul™ is as fresh and urgent now as ever. Featuring “That’s How Strong My Love Is” and “Mr Pitiful” among this beautifully curated collections of soul ballads, this is a foundational record in any collection.

Soul icon Otis Redding made immeasurable contributions to the form. As a singer-

songwriter, producer, arranger and talent scout, Redding was responsible for some of the

music’s biggest and most lasting hits during the 1960s, though his death in an airplane crash

in 1967 brought his life and career to a tragically premature end. He was born Otis Redding

Junior in 1941 in the small town of Dawson, Georgia, the son of a sharecropper and preacher,

and moved to the city of Macon at the age of two, where he learned to sing at the Vineville

Baptist Church. After singing in the high school band, he performed weekly gospel songs on

radio station WIBB, winning local talent contests after being inspired by Little Richard and

Sam Cooke. Since his father became ill with tuberculosis, Redding began supporting the

family at the age of 15, working as a gas station attendant, a digger of water wells, and

occasionally by playing piano with pianist Gladys Williams at the Hillview Springs Social

Club. Then, in 1958, Redding had a repeat prize run at a talent contest held by broadcaster

Hamp Swain, bringing him first into a group called Pat T Cake and the Mighty Panthers, and

later into Little Richard’s band (during a time when Richard switched rock and roll for

gospel). Moving to Los Angeles in late 1960, debut single “She’s All Right” was issued on

the Trans World label (a subsidiary of Al Kavelin’s Lute Records), credited to The Shooters

featuring Otis; following the birth of their first child and his subsequent marriage to Zelma

Atwood, Redding recorded the popular “Shout Bamalam” for Macon’s Confederate Records

(who swiftly reissued it on the Orbit label since some radio stations objected to the original

label’s confederate flag logo, during a time of terrible racial segregation in the South).

Redding cut the movingly emotive “These Arms Of Mine” at Stax studios in Memphis in

1962, backed by Booker T and the MGs, which surfaced on the subsidiary Volt label in

October, reaching the charts some six months later (and eventually selling a reported 800,000

copies). Subsequent singles “What My Heart Needs” and “Pain In My Heart”/“Something Is

Worrying Me,” recorded in September 1963, formed the bulk of debut album, Pain In My

Heart, which was padded out by standard cover tunes of songs such as “I Need Your Lovin’,”

Ben E King’s “Stand By Me” and Little Richard’s “Lucille.” The album, which surfaced at

the start of 1964, reached the top 20 of the US R&B chart and also hit the Billboard Hot 100;

this edition has an alternate track listing that includes the Trans World debut single tracks

“She’s All Right” and “Getting’ Hip,” as well as “Mary Had A Little Lamb,” the B-side to

“That’s What My Heart Needs.” Carefully remastered, spinning at 45 rpm for enhanced qudio quality.

Did you know that Judy Freeman and Blackrock cut more songs than the 4 that were put out in 1971? We know of at least one.

"I Know Where You're Coming From" is a 70s funky Northern Soul masterpiece. We've rescued a lost, never heard before, track by the group for the A-Side here. Fans of their music will immediately connect with this blistering anthemic Northern Soul monster. Go ahead and grab the talcum powder, and prepare to dance up a storm to this one.

We've selected the completely unrelated, previously unreleased Marshall Hooks "She Is All I Need" for the B-Side on this one. A relatively straight ahead Otis Redding-styled Soul original that thumps and a nice compliment to the A-Side. If you aren't familiar, Marshall released one LP on Blue Horizon and a monster R&B 7" in 1965 on the Muriel label.

After bringing the heat on Volume 17, Croatian super-producer Umbo returns to Soul Flip with another hot one. Clyde Stubblefield gets in on the action for Otis Redding's “Hard to Handle” - making it funky from start to finish. 104 BPM

And it's label owner Del Gazeebo bringing up the rear again with a lush lift of the Judy Clay & William Bell classic, “Private Number” - adding new drums, fresh orchestration, and a few BPM into the bargain. 110 BPM

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch


Billy Idol - "Catch My Fall" (From The 1987 Movie 'Some Kind Of Wonderful')
The Association - "Cherish" (From The 1986 Movie 'Pretty In Pink')
Penguin Cafe Orchestra - "Music For A Found Harmonium" (From The 1988 Movie 'She's Having A Baby')
Zapp - "Radio People" (From The 1986 Movie 'Ferris Bueller's Day Off')
Blue Room - "Cry Like This" (From The 1987 Movie 'Some Kind Of Wonderful')
Ray Charles - "Mess Around" (From The 1987 Movie 'Planes, Trains & Automobiles')
Joe Turner - "Lipstick, Powder & Paint" (From The 1989 Movie 'Uncle Buck')
Darlene Love - " (Today I Met) The Boy I'm Gonna Marry" (From The 1984 Movie 'Sixteen Candles')
Marvin Gaye - "How Sweet It Is (To Be Loved By You)" (From The 1988 Movie 'She's Having A Baby')
Perry Como/Mitchell Ayres & His Orchestra/The Ray Charles Singers - "Juke Box Baby" (From The 1989 Movie 'Uncle Buck')
The Chordettes - "Mr Sandman" (From The 1989 Movie 'Uncle Buck')
Ray Anthony & His Orchestra - "The Peter Gunn Theme" (From The 1984 Movie 'Sixteen Candles')
Lindsey Buckingham - "Holiday Road" (From The 1983 Movie 'National Lampoon's Vacation')
Emmylou Harris - "Back In Baby's Arms" (From The 1987 Movie 'Planes, Trains & Automobiles')
Hugh Harris - "Rhythm Of Life" (From The 1989 Movie 'Uncle Buck')
Spandau Ballet - "True" (From The 1984 Movie 'Sixteen Candles')
Propaganda - "Abuse" (From The 1987 Movie 'Some Kind Of Wonderful')
The Dream Academy - "The Edge Of Forever" (From The 1986 Movie 'Ferris Bueller's Day Off')
Yello - "Lost Again" (From The 1987 Movie 'Planes, Trains & Automobiles')
Bryan Ferry - "Crazy Love" (From The 1988 Movie 'She's Having A Baby')
The Rave-Ups - "Positively Lost Me" (From The 1986 Movie 'Pretty In Pink')
Los Lobos - "Don't Worry Baby" (From The 1985 Movie 'Weird Science')
Steve Earle - "Continental Trailways Blues" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Revillos - "Rev Up" (From The 1984 Movie 'Sixteen Candles')
Boston - "More Than A Feeling" (From The 1988 Movie 'She's Having A Baby')
Balaam & The Angel - "I'll Show You Something Special" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Rave-Ups - "Rave Up/Shut Up" (From The 1986 Movie 'Pretty In Pink')
Pop Will Eat Itself - "Beaver Patrol" (From The 1988 Movie 'The Great Outdoors')
The Vapors - "Turning Japanese" (From The 1984 Movie 'Sixteen Candles')
Silicon Teens - "Red River Rock" (From The 1987 Movie 'Planes, Trains & Automobiles')
out

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch

"Cuban Soul-18 Kilates" is Cassiano's third studio album, released in 1976, and stands as a milestone in Brazilian soul music. It combines Brazilian rhythms with classic American soul elements, creating a unique fusion. Cassiano's smooth, soulful vocal style and the album’s larger-than-life arrangements, reminiscent of Tim Maia's sound, give it a rich, deep feel.

The standout track, ‘Onda,’ is a relaxing anthem evoking beach vibes that has become a DJ’s favorite in recent years and also made it into several compilations. "Cuban Soul-18 Kilates" has earned cult status over the years, securing its place as one of the most coveted Brazilian records of all time. Remastered from the original tapes and pressed on 180g vinyl. This release is part of a new reissue series that will include many other outstanding Brazilian classics like Evinha “Cartão Postal” or Gerson King Combo.

"Cuban Soul-18 Kilates" is Cassiano's third studio album, released in 1976, and stands as a milestone in Brazilian soul music. Influenced by artists like Otis Redding, Eddie Kendricks, Stevie Wonder, and others, it combines Brazilian rhythms with classic American soul elements, creating a unique fusion. The album features 9 tracks, with ‘A Lua e Eu’ becoming a major commercial hit and the theme song for the soap opera “O Grito”. Cassiano's smooth, soulful vocal style and the album’s larger-than-life arrangements, reminiscent of Tim Maia's sound, give it a rich, deep feel. The standout track, ‘Onda,’ is a relaxing anthem evoking beach vibes, with its captivating bassline, subtle percussion, and natural sounds of the sea, making it perfect for moments of relaxation. This song, along with the album’s other tracks, showcases Cassiano's mastery of Brazilian soul, making “Cuban Soul-18 Kilates” a definitive and cherished record in the genre. This album has earned cult status over the years, securing its place as one of the most coveted Brazilian records of all time. Once incredibly rare and expensive, it's now at the top of every serious collector's wishlist. After not being available outside of Brazil for years, it’s finally been reissued – don’t miss your chance to own this legendary piece of music history.

Baby Huey drew comparisons to Otis Redding, but a fatal heart attack in 1971 prevented him seeing the fruition of a successful career and the actual release of this Curtis Mayfield penned song. An original pressing on Curtom originally sold for over £300. Hard Times' has been sampled over 50 times by artists including A Tribe Called Quest, Lil Wayne, Biz Markie and The Chemical Brothers. Listen To Me' has been sampled by Eric B & Rakim, Wu-Tang Clan. Public Enemy, Grandmaster Flash and many more. This is the first time these tracks have been released in the UK

Released in 1967, Open marked a bold debut for Brian Auger & The Trinity, featuring the dynamic vocals of Julie Driscoll. Music and its makers were rapidly evolving in ‘67, the UK's Jazz and R&B scenes were being influenced by pop and psychedelia and socially, musicians of many styles found common ground in London’s clubs like The Cromwellian and The Scotch Of St James where the The Beatles, US legends Wilson Pickett and Jimi Hendrix mingled with the capitals jazzers and pop stars, often loudly jamming together in even louder 'Lord Byron' shirts. 'Open' fully embraced this spirit by fusing together those genres and attitudes of the era. From the outset Auger displays his jazz rooted approach on the A side with 'In and Out' and 'Isola Natale' (later covered by one of his American jazz heroes Richard ‘Groove’ Holmes). Both showcase the Trinity's musicianship and Brian's improvisational flair. Auger himself takes on vocal duties on the raucous ‘Black Cat’, a track that became a club hit. Open is marked by its eclecticism; 'Lament for Miss Baker' is a tender, piano ballad influenced by Duke Ellington, reflecting Auger’s jazz and classical influences whilst 'Goodbye Jungle Telegraph' is a wild and crazy percussive freak out. Brian displayed not only his virtuosity but also his surrealist sense of humour with bizarre sound effects, inspired by Spike Milligan's The Goons' radio show interspersed between the tracks.

Julie Driscoll’s arrival on the album’s B side brings a sharp shift in tone. Her smoky, emotive vocals inject a soulful depth, notably on covers of Otis Redding & Carla Thomas hit 'Tramp', Aretha's 'Save Me' and The Staples Singers ‘Why Am I Treated So Bad". With original numbers 'Break It Up' and 'A Kind Of Love In' we hear the Auger / Driscoll pop infused R&B at its very best, whilst the version of Donovan’s 'Season of the Witch' stretches out into a slow-burning epic. In 2025, Open is viewed as a cult classic and testament to a unique period when genre boundaries were fluid and artistic risk-taking was the norm. Brian Auger & The Trinity’s debut captures the adventurous energy of the late 1960s. 58 years later, its importance in the development of British jazz fusion and progressive bands that followed is undeniable, with The Charlatans Tim Burgess recently commenting on Auger's Instagram that The Trinity were a 'huge influence'.

The Golden Age of southern soul lasted from about 1962 to 1975, when disco ripped the heart out of it. And although it may seem as though the blend of country, gospel and R & B that emerged from the great studios in Memphis and Muscle Shoals in that decade was entirely fresh and new, like any other genre classic, southern soul picked up musical cues and absorbed influences from a whole variety of sources: horn lines from Louisiana's swamp pop, lyrical themes from the blues, songs from country music, and of course so, so much from the black churches. Part of the 'History of Soul' series, this LP reveals the musical antecedents that gave southern soul its inspiration. The music here will tell you the real story - and it will knock your socks off too! Notes by John Ridley.

15 soul classics from the greatest artists of the genre including James Brown, Barry White, Stevie Wonder, Sam Cooke and Marvin Gaye.

Horace Andy made his debut with producer and mentor Phil Pratt at the age of sixteen. His voice has the soulful influence of artists Otis Redding and Smokey Robinson as well as fellow countryman Alton Ellis.

1975's Get Wise collects a series of singles Including versions of hits like "Money, Money" ("Root Of All Evil") and "Zion Gate" ("I Don't Want To Be Outside"). Recorded between 1972 and 1974, these tracks were record at the legendary studios Channel One, Black Ark, Dynamic Sound and Randy's Studio 17, with house engineers Ernest Hoo Kim, Lee Perry, Carlton Lee and Errol Thompson. The album is also a showcase for The Soul Syndicate Band, the session group that featured Sly & Robbie, Aston Barrett and Earl Smith, among others. Get Wise is available as a limited individually numbered edition of 750 individually numbered copies on orange coloured vinyl.

Among the most revered voices in funk, Marva Whitney holds a special place thanks to her fierce energy and unmistakable style on tracks like the classic 'Unwind Yourself,' a long-time favorite for DJs and dance floors alike. Emerging from the dynamic world of the James Brown Revue in the late 1960s--alongside iconic names like Lyn Collins and Vicki Anderson--Marva quickly carved out a name for herself. In 1969, she began recording as a solo artist under James Brown's King label, scoring a Top 20 R&B hit with 'It's My Thing.' While mainstream hits were few, her music resonated deeply with funk lovers and crate diggers around the world. Songs like 'You Got to Have a Job' and the endlessly sampled 'Unwind Yourself' have only grown in stature over the decades. Her album, "It's My Thing", dropped that same year and has since become a touchstone of the genre. Backed by the legendary JB's and produced by James Brown himself--who also contributed to most of the songwriting--the album captures a raw, unapologetic funk sound with a distinctly female voice at the forefront. From the explosive opening of 'It's My Thing'--a bold response to the Isley Brothers' 'It's Your Thing'--Marva channels sheer intensity, backed by a band that doesn't let up. The pace briefly softens with 'If You Love Me,' a soul soaked ballad in the spirit of Otis Redding, before diving back into the rhythmic grit of tracks like 'Unwind Yourself.' Decades later, "It's My Thing" continues to inspire, sampled by producers and treasured by collectors--a powerful snapshot of funk at its most uncompromising. Reissue on 180g vinyl.

After their first joint recording experience in 2022, in which they dedicated a monograph to the Beatles, revisiting their great classics,
Sarah Jane Morris, a British jazz, rock, and R&B singer and songwriter, and the Solis String Quartet, a Neapolitan string quartet with
extensive concert and recording experience, are embarking on a new album. This time, it's not a monograph, but a tribute to a series
of artists who have left an indelible mark on the universal music world with their art and unique lifestyle. The project is titled "The 27
Club," a reference to those artists who, despite not choosing to belong to any elite circle, were united by the fate of having left this
world too soon, at just 27 years old. Among them are great names such as Jimi Hendrix, Janis Joplin, Jim Morrison, Kurt Cobain, Amy
Winehouse, and Otis Redding. Despite their differences, these artists share a charisma and a passion for music that has made them
immortal. Their musical legacy continues to celebrate their memory and inspire new generations. The album is a tribute to these timeless
artists, whose songs remain timeless and continue to move. Forever Young.
"After our first recording collaboration with Sarah Jane Morris in 2022, in which we dedicated a monograph to the Beatles, revisiting
their great classics, we decided to take on a new challenge, no longer a monograph but a work dedicated to a series of artists who have
unmistakably marked the universal musical world with their art and their very particular lifestyle! We called it "Forever Young" and it
tells the story of the "Club of 27" in music; an imaginary, dark and very elitist circle in which artists of the caliber of Jimi Hendrix, Janis
Joplin, Jim Morrison, Kurt Cobain, Amy Winehouse, Otis Redding found themselves enrolled, certainly unwillingly and without their
knowledge, after death snatched them from success on the threshold of twenty-seven, only to restore them, almost as compensation,
to immortal glory, just a stone's throw from legend. Musically speaking, thanks to the overflowing evocative power of Sarah Jane Morris's
voice, it was both fascinating and stimulating for us to try to restore It integrates the idea and mood that permeated and still live on in
these compositions, the rhythm, the melody, and the lyricism, in an original reinterpretation that accompanies the listener in the rediscovery of these masterpieces! Solis String Quartet
"Greatly talented creative people often die young, like Keats, Mozart, Schubert, Raphael, and the Brontë sisters. We tend to think of
them in two ways: we wonder what they might have accomplished had they lived longer. However, more positively, we can appreciate
their youthful talents as impervious to the passage of time, their brilliance preserved in their eternal youth. They will remain forever
young." Sarah Jane Morris

From Long Beach, California, “A Lil Lovin Sometimes” became a significant northern soul release, and in 2004 came to the UK to perform the song live. The UK Capitol released original has sold for close to £500. The record was produced by Jimmy Mack also worked with Otis Redding before becoming an actor. “True Love” was not issued at the tape and was only part of a limited and now much sought after reissue.

With his honeyed falsetto, Horace Andy has long been considered one of roots reggae's most inimitable voices. His signature tune, "Skylarking," is one of a handful of songs that can be instantly recognized by even the most casual of reggae fans. Making his debut with producer and mentor Phil Pratt at the age of sixteen, Andy's expressive vocal style is immediately distinctive, bearing the soulful influence of American artists Otis Redding and Smokey Robinson as well as fellow countryman Alton Ellis.

1975's Get Wise collects a series of singles produced by Pratt including versions of hits "Money, Money" ("Root Of All Evil") and "Zion Gate" ("I Don't Want To Be Outside"). Recorded between 1972 and 1974, these sides were captured at legendary studios Channel One, Black Ark, Dynamic Sound and Randy's Studio 17 with house engineers Ernest Hoo Kim, Lee Perry, Carlton Lee and Errol Thompson at the helm.

Originally released on Pratt's Sunshot label, the album doubles as a showcase for The Soul Syndicate Band, a typically ad-hoc session group which featured Sly & Robbie, Aston "Family Man" Barrett and Earl "Chinna" Smith, among others.

Get Wise delivers ten tracks of Andy's finest material and should be in the collection of any aficionado of the classic '70s Kingston sound. Liner notes by JR Gonne.

The Bar-Kays were originally formed in Memphis, Tennessee, 1966, as a sextet backing group for Stax Records. They had a promising career in front of them as a session band & recording outfit before the backbone of the group was killed, along with Otis Redding who had hired them as his backing band for a tour, in a plane crash. Only Ben Cauley survived the crash and went on to form what could be dubbed Bar-Kays Mark II. James Alexander (Bass) was also one of the original members but was not aboard the plane because of limited seats on Redding's plane. For Alexander and Cauley and new members Michael Toles, Willie Hall, Ronnie Gordon and Harvey Henderson, the track 'Sang & Dance' was one of the first tracks from the new group, cut in late 1969. They recorded steadily for Mercury records in the 70s & 80s, the two tracks on this 7” among their best loved and sought after. “Open Your Heart” only previously a 7” B-side in Spain

Initially serving as the house band for Stax Records, organist Booker T. Jones, guitarist Steve Cropper, bassist Lewie Steinberg (later replaced by bass monster Donald ‘Duck’ Dunn), and drummer Al Jackson Jr. were instrumental in creating the “Memphis Sound.’ They recorded the basic tracks for well over a hundred records, including backing some of the greatest artists of all time: Otis Redding, Sam & Dave, Rufus Thomas, and Albert King, all the while breaking barriers as one of the South’s first integrated acts. 1966’s And Now!’ is the first to feature long-term bassist Duck Dunn, who helps create a nightclub feel that alternates between some of their most aggressive recordings and most sultry. No stranger to being in the U.S. and U.K. music charts (in both the Hot 100 & R&B categories), the jazzy first single off the record, “My Sweet Potato,” landed them yet another top 40 placement.

Nach drei triumphalen, ausverkauften Konzerten im legendären Londoner Hammersmith Apollo im vergangenen Jahr haben die Teskey Brothers ihr neues Album „Live At The Hammersmith Apollo“ angekündigt –
es erscheint am Freitag, den 11. Juli, und ist ab sofort vorbestellbar. Das Live-Album ist eine umfassende
Erweiterung des umfangreichen und beliebten Katalogs der Band und enthält Songs aus ihrem dritten Album „The Winding Way“, das auf Platz 1 der ARIA-Charts landete, ein kraftvolles Cover von Otis Reddings
„Try A Little Tenderness“ (ab heute überall erhältlich) und erstmals auf Vinyl/CD einen ihrer frühen Hits,
„Forever You and Me“ (über 150 Millionen Streams).
„Live At The Hammersmith Apollo“ wird im Anschluss an ihren Auftritt im Londoner Alexandra Palace
vor über 10.000 Fans (dem bisher größten Auftritt) am Donnerstag, den 10. Juli 2025, veröffentlicht.
Ganz im Sinne der Liebe der Band zum Analogen wurde „Live At The Hammersmith Apollo“ vollständig
auf Band aufgenommen, genau wie Livealben von Bruce Springsteen (’75), David Bowie (Ziggy Stardust ’73) und zahllosen anderen im selben Raum aufgenommen worden wären. Der in London ansässige
Produzent/Toningenieur Declan Gaffney wurde mit der technischen Seite beauftragt, nachdem er zuvor
Livealben für U2 und die Rolling Stones produziert und gemischt hatte.

With its cinematic origins The Odd Couple is the natural title for the second album by a pair who seem to spend as much time in wardrobe as the studio and whose recordings are often compared to film scores. Their greatest hit, 2006's "Crazy" was even built around a chunk of a spaghetti western soundtrack. Yet after the success of 2006's excellent St Elsewhere, the collaboration of singer Thomas "Cee-Lo Green" Callaway and producer Brian "Danger Mouse" Burton has become a permanent institution.

Two years on, The Odd Couple stands up proudly alongside its predecessor. The basic recipe hasn't been drastically altered--Danger Mouse's skittering beats and snap-crackle-pop production still provide the perfect platform for Cee-Lo's mighty, soulful wail. If anything, the pair have refined and sharpened their approach to a razor's edge. The key is the way the musical flavors intersect: the Arthur Lee-meets-N.E.R.D. stroll of "Surprise," the jubilant jumble of gospel/soul/synthpop on "Going On," the Otis Redding-shares-a-treadmill-with-Outkast feel of the single "Run (I'm a Natural Disaster)." The cumulative effect is one of a group whose trick-bag has a never-ending supply of happy surprises.

At Home of The Good Groove Records HQ, we are absolutely delighted to present our second release - a pair of sublime tracks making their long-awaited debut on 7-inch vinyl.
Jamaican music legend Beres Hammond has captivated audiences for over 40 years with his soulful voice and heartfelt lyrics, earning him the title “King of Lovers Rock”, with a loyal global fan base. Influenced by the American soul and jazz records his father collected – featuring icons like Otis Redding and Sam Cooke – as well as the rich sounds of ska and rocksteady, Beres crafted a sound that remains timeless.
For this release, we return to Beres’ 1976 debut album, Soul Reggae – an exceptional record that never quite received the full recognition it deserved. A masterful blend of soulful tones and reggae rhythms, the album is a testament to Beres’ artistry and the genius of his collaborator, Willie Lindo.
Lindo, a legendary reggae guitarist and producer, played a crucial role in shaping the Soul Reggae album. Beyond his impeccable musicianship, he took on multiple roles – writer, arranger, producer, and owner of the Water Lily record label, on which the album was first released. His contribution to these two tracks cannot be overstated.
The Tracks
Side A – “Don’t Wait Too Long”
An upbeat, soulful groove that will appeal to listeners across the black music genres. The track boasts a beautifully arranged melody, with Beres’ warm, feel-good vocals and rich harmonies carrying the song effortlessly. A certainty to get the dance floor vibing.
Side B – “You Don’t Have to Lie”
Lowering the tempo slightly but delivering the same soulful quality, this track brings a heartfelt vocal performance filled with depth and emotion. A timeless piece that speaks to the complexities of love and relationships.

At Home of The Good Groove, we are incredibly honoured to bring these two remarkable tracks to 7-inch vinyl for the very first time.
A huge thank you to Beres Hammond for his incredible music and to Willie Lindo, who has worked closely with us to make this release possible.

The original line up of all women featured Sally Sweet of Minneapolis garage bands THE CAVEGURLS and THE BLUE UP. After some time the original line up morphed into a mixed band of men and women and the group released a 45 on Ramo Records. This caught the attention of Boston record label RUM BAR RECORDS, who would release the BEEBE GALLINI album 'Pandemos', a collection of material made during the worldwide pandemic. A well-received collection ranging from garage nuggets to 60's BEE GEES' hit and original material.

For their next project producer and drummer for the group Travis Ramin brought the group into the legendary Kay Bank Studio in Minneapolis. A studio rich in musical history where everything from DAVE DUDLEY's Six Days on the Road and THE FENDERMEN's Muleskinner Blues to THE TRASHMEN's Legendary Surfin Bird and all of Soma Records' Big Hits Of Mid America were recorded. The early GUESS WHO recorded there and decided on their name in the building even ... the list goes on and on!

Travis' idea for a record was to re- record some Minnesota garage classics that were originally recorded there in the same room and invite some of their garage rockin' friends to join them. Run Run Run by THE GESTURES and Why by THE ACCENTS would feature on lead guitar Keith Patterson (formerly of THE FUNSEEKERS, THE SPECTORS, and THE CONQUERORS). I Believe from THE HIGH SPIRITS would feature Melanie Vammen of THE PANDORAS organ solo and Russell Quan famously of THE MUMMIES, FLAKES and DUKES OF HAMBURG would take lead vocal on THE KAN- DELS raucous Cry Girl. The session was so successful that it expanded into the full- length album "Begged, Borrowed and Stealed" and batch of material expanding beyond the Minnesota borders, with tunes from DAVE DEE, DOZY, BEAKY, MICK & TICH, OTIS REDDING, BEEBE themselves and more! Recording in the sacred space made for a special rock and roll party album which also features the artwork of legend Cliff Mott! So, get ready for an all-star cast and a little dose of Minnesota Garage Rock and Soul!

NOW Music is pleased to announce NOW Presents…Classic Soul, a stunning 5LP boxset of 85 of the greatest 60s & 70s Soul tracks ever... Out September 22nd!



LP1 opens with ‘I Say A Little Prayer’ from the “Queen of Soul”- Aretha Franklin, the peerless ‘Walk On By’ from Dionne Warwick and followed by massive hits from Marvin Gaye with the #1 ‘I Heard It Through The Grapevine’ and Stevie Wonder’s ‘I Was Made To Love Her’, plus classic tracks from The Temptations and Otis Redding. Flip to the other side for legendary groups – The Supremes, The Ronettes, The Marvelettes, The Velvelettes and Martha Reeves & The Vandellas.



LP2 begins with the powerhouse vocals of Tina Turner (with Ike) on ‘River Deep, Mountain High’. Top tracks from the Jackson 5 & the Four Tops give way to a run of Northern Soul classics from Frankie Valli & The Four Seasons with ‘The Night’, ‘Tainted Love’ from Gloria Jones, Frank Wilson’s legendary ‘Do I Love You’, and ‘Green Onions’ from Booker T. & The M.G.'s. Side 2 begins with the superb vocals of Ben E. King with ‘Stand By Me’ and Percy Sledge with ‘When A Man Loves A Woman’. Another Otis Redding classic alongside the genius of both James Brown and Nina Simone brings this LP to a close.



The A-Side of LP3 kicks off with the signature smash from Aretha Franklin ‘Respect’ before the first UK #1 for the Motown label from The Supremes with ‘Baby Love’, and there’s still room for Smokey Robinson & The Miracles, The Drifters, and another #1 from Freda Payne. Side B begins with one of the most iconic and funky baselines ever on ‘Papa Was A Rollin’ Stone’ from The Temptations and the classic grooves ‘Move On Up’ from Curtis Mayfield, Isaac Hayes’ ‘Theme from “Shaft”’, the emphatic ‘War’ from Edwin Starr and the cool sophistication of ‘California Soul’ from Marlena Shaw lead to the closing track ‘Could It Be I’m Falling In Love’ from The Spinners.



LP4 begins with a run of beloved tracks from iconic artists opening with the politically charged masterpiece ‘What’s Going On’ from Marvin Gaye, followed by Al Green, Bill Withers and Billy Paul, plus The Stylistics and The Delfonics to add to the selection of celebrated groups on this release. The second side begins with the exceptional ‘Killing Me Softly With His Song’ from Roberta Flack, before the stunning vocals of Minnie Riperton’s ‘Lovin’ You’ and Deniece Williams, The Three Degrees and Gladys Knight. The Jackson 5 bring this disc to a close with their timeless ballad ‘I’ll Be There’.



LP5 contains a run of 1970s favourites beginning with ‘Ain’t No Mountain High Enough’ from Diana Ross and ‘You're The First, The Last, My Everything’ from Barry White. ‘Fantasy’ from Earth, Wind & Fire, ‘Summer Breeze, Pt. 1’ from The Isley Brothers and ‘Love Train’ from The O’Jays all feature before the Commodores kick off the final side with ‘Three Times A Lady’. Rose Royce, Peaches & Herb and a second selection from Gladys Knight & The Pips feature along with George Benson, before the “Prince of Soul” Marvin Gaye brings this essential collection home with ‘Let’s Get It On’.



85 tracks across 5 stunning LPs, NOW Presents Classic Soul... Out September 22nd!

Prehistoric Sounds is the third studio album by the Australian punk rock group The Saints, released in 1978. This was the final album to feature founding lead guitarist, Ed Kuepper, who left the band shortly after the release. The record was described by AllMusic as ""the textbook by which to make a great rock record where horns play as much of a role as guitar"". In 2010, Prehistoric Sounds was listed in the top 50 100 Best Australian Albums. The album features two cover versions of the soul classics ""Security"" by Otis Redding, and ""Save Me"" by Aretha Franklin. Prehistoric Sounds is available as a limited edition of 1000 individually numbered copies on silver coloured vinyl and includes an insert.

"The Charades is a Los Angeles based captivating vintage soul duo, that enchants audiences with their timeless melodies and soulful harmonies.

Reverently embracing the nostalgic sounds of yesteryears, their music is a rich tapestry woven with the haunting tones of the organ and the ethereal vibes of the vibraphone. Drawing inspiration from Otis Redding, 1960's exotica, as well as the evocative storytelling of David Lynch and classic film scores. With their debut Ep entitled ""C is for Charades"", The Charades create a cinematic experience through their music, transporting listeners to a bygone era of romance and intrigue with every note."

For fans of Michael Kiwunaka, Jon Batiste, Leon Bridges, Gregory Porter, and Mg.Kee. Full tour in the works for 2025 in North America and Europe. Collaborated with a wide range of artists including Jack White, Dwele, Slum Village, Black Milk, Foreign Exchange, 14KT, and Daru Jones. Former musical director for tours for Black Milk and Slum Village, throughout North America, Europe, Australia, and Japan. “From the Throne Room” is Abernathy’s fourth official LP, following the trilogy of “Monologue,” “Dialogue,” and “Epilogue,” released between 2016 and 2019. Aaron Abernathy has been firmly established in the modern soul scene for almost two decades, and he continues to elevate his craft as a songwriter and performer. His latest LP “From the Throne Room” once again demonstrates a rare ability to seamlessly shift between lyrical themes and musical styles, and it is his most inspired and uplifting album to date.
The turmoil caused by the pandemic was especially hard on touring musicians, and as a veteran musical director and bandleader who has regularly traversed the globe, Abernathy was certainly affected. Instead of wallowing in grief and darkness, he tapped into his gifts as a songwriter and lyricist to manifest light and optimism in his own life. As expressed on the opening track “New Relationship,” this “new way of seeing” kicked open some new creative doors for him as a musician and producer, with a wide variety of influences. The four-to-the-floor push of “A Reason to Smile” brings to mind 80’s post-disco boogie, “Show Off” shows off a modern rock edge, and the booming, driving energy in tunes like “Hope Song” and “Joy” is reminiscent of the electric 60’s soul of Wilson Pickett and Otis Redding. With its catchy hooks, powerful lead vocals, and slick self-produced arrangements, “From the Throne Room” proves that Aaron Abernathy remains one of the most talented singer/songwriters of his generation in contemporary soul music.

Distance as a measure of time and place informs Kelly Finnigan's, A Lover Was Born with a grit and grace that turns passion into virtue. The latest solo release from The Monophonics frontman roots itself in the best traditions of midwest soul labels like King, Curtom, Dakar, and the Bodie Recording Company. A Lover Was Born is a testimony that these deep cut grooves are not resigned to nostalgia, instead, they are at the burning heart of longing and hope. The journey Finnigan takes listeners on over Lover's eleven tracks echo the state of motion and growth since his solo debut, The Tales People Tell (2019). These two records bookend a prolific period of output, including a pair of Monophonics albums, a Christmas album, a mixtape, and a full slate of producing other artists (The Ironsides, Alanna Royale, the Sextones). "There's nothing like making records," says Finnigan. "It feels like that's my purpose _ the reason I was put on this earth." Written in California, Ohio, and Staten Island, Kelly Finnigan collaborated with old friends in and outside the studio. "I enjoy working alone but it's not how you want to make a record_almost everybody I brought in for this album I've worked with, toured with or spent a great deal of time with." Max and Joe Ramey (The Ironsides), Jimmy James (Parlor Greens), Sergio Rios (Orgone), Joey Crispiano (Dap Kings) and Jay Mumford (aka J-Zone) all contribute to the overall sound of A Lover Was Born. Dramatic influences like Isaac Hayes (check out the piano on "Be Your Own Shelter") and Jerry Ragovoy are chopped and folded into Northern Soul uptempo numbers to create stompers like "Get a Hold of Yourself" or "Chosen Few". Finnigan's take on Deep Soul is captured brilliantly on "Walk Away from Me" and "Love (Your Pain Goes Deep)", while Boom Bap pervades on hard hitters "His Love Ain't Real" & "Cold World". Slower songs such as "Let Me Count the Reasons", the emotional "All That's Left", and the soul-stirring album closer "Count Me Out" show the honest and tender side that has become Finnigan's calling card. All the while, the voice is raw and earthy _ in the best tradition of R&B shouters like Otis Redding, Lee Moses, and David Ruffin. The songs on A Lover Was Born reconfigure the spliced and sampled DNA of hip hop (extracted by crate diggers like Dilla and RZA) to create something new, underscoring both the spectrum and depth of soul while making a case to the timelessness of Finnigan's sound.

Distance as a measure of time and place informs Kelly Finnigan's, A Lover Was Born with a grit and grace that turns passion into virtue. The latest solo release from The Monophonics frontman roots itself in the best traditions of midwest soul labels like King, Curtom, Dakar, and the Bodie Recording Company. A Lover Was Born is a testimony that these deep cut grooves are not resigned to nostalgia, instead, they are at the burning heart of longing and hope. The journey Finnigan takes listeners on over Lover's eleven tracks echo the state of motion and growth since his solo debut, The Tales People Tell (2019). These two records bookend a prolific period of output, including a pair of Monophonics albums, a Christmas album, a mixtape, and a full slate of producing other artists (The Ironsides, Alanna Royale, the Sextones). "There's nothing like making records," says Finnigan. "It feels like that's my purpose _ the reason I was put on this earth." Written in California, Ohio, and Staten Island, Kelly Finnigan collaborated with old friends in and outside the studio. "I enjoy working alone but it's not how you want to make a record_almost everybody I brought in for this album I've worked with, toured with or spent a great deal of time with." Max and Joe Ramey (The Ironsides), Jimmy James (Parlor Greens), Sergio Rios (Orgone), Joey Crispiano (Dap Kings) and Jay Mumford (aka J-Zone) all contribute to the overall sound of A Lover Was Born. Dramatic influences like Isaac Hayes (check out the piano on "Be Your Own Shelter") and Jerry Ragovoy are chopped and folded into Northern Soul uptempo numbers to create stompers like "Get a Hold of Yourself" or "Chosen Few". Finnigan's take on Deep Soul is captured brilliantly on "Walk Away from Me" and "Love (Your Pain Goes Deep)", while Boom Bap pervades on hard hitters "His Love Ain't Real" & "Cold World". Slower songs such as "Let Me Count the Reasons", the emotional "All That's Left", and the soul-stirring album closer "Count Me Out" show the honest and tender side that has become Finnigan's calling card. All the while, the voice is raw and earthy _ in the best tradition of R&B shouters like Otis Redding, Lee Moses, and David Ruffin. The songs on A Lover Was Born reconfigure the spliced and sampled DNA of hip hop (extracted by crate diggers like Dilla and RZA) to create something new, underscoring both the spectrum and depth of soul while making a case to the timelessness of Finnigan's sound.

Distance as a measure of time and place informs Kelly Finnigan's, A Lover Was Born with a grit and grace that turns passion into virtue. The latest solo release from The Monophonics frontman roots itself in the best traditions of midwest soul labels like King, Curtom, Dakar, and the Bodie Recording Company. A Lover Was Born is a testimony that these deep cut grooves are not resigned to nostalgia, instead, they are at the burning heart of longing and hope. The journey Finnigan takes listeners on over Lover's eleven tracks echo the state of motion and growth since his solo debut, The Tales People Tell (2019). These two records bookend a prolific period of output, including a pair of Monophonics albums, a Christmas album, a mixtape, and a full slate of producing other artists (The Ironsides, Alanna Royale, the Sextones). "There's nothing like making records," says Finnigan. "It feels like that's my purpose _ the reason I was put on this earth." Written in California, Ohio, and Staten Island, Kelly Finnigan collaborated with old friends in and outside the studio. "I enjoy working alone but it's not how you want to make a record_almost everybody I brought in for this album I've worked with, toured with or spent a great deal of time with." Max and Joe Ramey (The Ironsides), Jimmy James (Parlor Greens), Sergio Rios (Orgone), Joey Crispiano (Dap Kings) and Jay Mumford (aka J-Zone) all contribute to the overall sound of A Lover Was Born. Dramatic influences like Isaac Hayes (check out the piano on "Be Your Own Shelter") and Jerry Ragovoy are chopped and folded into Northern Soul uptempo numbers to create stompers like "Get a Hold of Yourself" or "Chosen Few". Finnigan's take on Deep Soul is captured brilliantly on "Walk Away from Me" and "Love (Your Pain Goes Deep)", while Boom Bap pervades on hard hitters "His Love Ain't Real" & "Cold World". Slower songs such as "Let Me Count the Reasons", the emotional "All That's Left", and the soul-stirring album closer "Count Me Out" show the honest and tender side that has become Finnigan's calling card. All the while, the voice is raw and earthy _ in the best tradition of R&B shouters like Otis Redding, Lee Moses, and David Ruffin. The songs on A Lover Was Born reconfigure the spliced and sampled DNA of hip hop (extracted by crate diggers like Dilla and RZA) to create something new, underscoring both the spectrum and depth of soul while making a case to the timelessness of Finnigan's sound.