New-to-CD soul tracks courtesy of the DMX Affair, the Nicky Newarkers, Wood, Brass & Steel, General Crook, Sonny Turner and Gary Byrd. Features the super rare Modern Soul collectable “Now That You’re Gone” by Sonny Turner of the Platters. Also features the rare and in-demand “I Need Your Love” by Clydene Jackson. All star selection including The Whispers, Tyrone Edwards, Honey Cone, Wilson Pickett and Billy Paul, Compiled by the Real Side Partnership… the architects of soul.
OUTTA SIGHT, in association with Real Side Records, presents Soul On The Real Side #5… 20 more ”real soul” gems from the Modern side of Northern Soul.
Following hot-on-the-heels of the Top 10 Volume Three, Real Side #4 features another tranche of established modern soul classics, new-to-CD rarities and contemporary recordings. This all-new selection includes Real Side artist Walter Thomas with his original, self-penned, recording Hold On To The Blues plus the latest release from UK soulster Lack Of Afro and the infectious Recipe For Love. Memories of Blackpool Mecca’s Highland Room come flooding back with the long forgotten jazzy/funk workout Big Blow by Manu Dibango plus the super rare You’re Gone by Celeste Hardie, the Blaxploitation soundtrack Five On The Black Hand Side by Keisa Brown and the enduring Philly soul social commentary Let’s Clean Up The Ghetto.
Reissue with the latest remastering. Features original cover artwork. One of Art Blakey's final recordings as a leader features two separate pianists (Benny Green and Mulgrew Miller) and two bassists (Leon Lee Dorsey and Lonnie Plaxico) taking part, along with the guest appearance of former Jazz Messenger Freddie Hubbard. Blakey was going deaf near the end of his life and sounds a tad tentative at times, while Hubbard's return may have been more to improve his chops (which had been in question after his experiments with fusion). The trumpeter seems rejuvenated by working with his former boss and his latest crop of Young Lions, who also include tenor saxophonist Javon Jackson.
This collection on the U.K.'s Soul Brother imprint is a very compelling look at a big slice of Freddie Hubbard's long career as a leader, and one that gets ignored for the most part. Hubbard recorded over 20 records between Backlash, his Atlantic debut in 1966, and Ride Like the Wind for Elektra in 1982, with lengthy stops at Columbia and CTI (as well some straight hard bop and post-bop outings for labels Fantasy and Pablo). In many cases, some of these original recordings were not only disregarded by more traditional jazzheads, they were regarded with outright hostility. It didn't matter to Hubbard, however, because at the time, these were among his best-selling albums and connected with the public deeply.