I got wind this past Friday that some your favorite DJ’s were posting up their favorite 45s on Twitter – taking photos of rare 45’s and posting the links. You can easily go to Twitter and search on the hash tag – #45Fridays. I’m already missing Earfuzz bossman Junior and his penchant for writing up rare as heck soul and funk 45s. He’d love #45Fridays!

Ok, so the pictured 45 – I found it on DJ BK-One’s Facebook page ; I wasn’t even looking for it on Twitter. BK-One I had only heard of once because he was on a compliation called ‘Do It To It’ which I suggest you cop here, but I imagine he’s a great DJ, I just haven’t earpeeped his mixes yet. He’s got a nice joint on the comp called ‘Turn that MF UP’. Ok shameless plug – I’m on that same ‘Do It To It’ comp as well with my own group fONKSQUISh. What’s weird is, my jam on the comp features Funkadelic’s Billy Bass Nelson. Well BK-One’s posted the pictured 45 for #45Fridays – and it’s a Revilot 45 by The Holidays, a Detroit vocal group featuring Funkadelic. Apparently BK-One says it was also released as a Parliaments instrumental, but I’ve never heard that one either – I’ll have to dig for it.

‘All That Required’ is a typical George Clinton penned jam - I mean, you know, where George out does Smokey Robinson with the one liners as George typically does – and a Holland brother (from the famous Holland Dozier Holland Motown and post Motown writing team) is here writing too, so go figure.

I’m not the DJ who digs for 45’s and has an extensive collection – but I certainly have most all of the George Clinton produced 45’s from the late 50s to the early 70s. BUT I didn’t have this one! It’s quite a revelation for me since I always believe I’ve heard every P-Funk rarity ever. You can hear Eddie Hazel do some sick and twisted things with the rhythm and lead guitars, and I’m pretty sure Billy Bass Nelson is holding down the bass line – almost sure it’s the entire Funkadelic band. I’ll ask Billy about it … Anyone care to leave some more info this one in the comments?? I love at about 2:30, Eddie just kicks this twisted guitar solo just in time to work on out as the song fades on …

The Holidays – All That is Required (Is You) – featuring Funkadelic / George Clinton Produced

Of course, there are also right beautiful vocals from the Holidays on the song, who I can’t turn much up on via a Google search because – well, the Holidays – turns up other results. I’m sure you know more – go ahead and let us know.

READ ON FOR TWO MORE #45FRIDAYS …

Ok real quick, two more 45’s to share. I’m looking to funk songs to contain my mantras right now. And Billy Preston’s ‘Whole New Thing’ is one of those jams … produced by the ever elusive Truman Thomas, a keyboard player who we funkateers often confuse for Billy Preston himself, assumed to be a pen name, but we’re never sure. Jeffery Bowen also gets writer credits here, but I assume he took the credits from Billy Bass Nelson as well. But Billy doesn’t play on this Preston version – I believe it’s Keni Burke on bass, who you may know from ‘Rising to the Top’. Regardless of the credits, ‘Whole New Thing’ is a romp, and I’m going with the mantra in the lyrics:

It’s the beginning of a whole new thing
My head is together, and I’m feeling breezy
Believe me when I tell you people, that it was never easy
I couldn’t create cuz some people all around me didn’t want to see me make it
Me and friend talkin deep within, said we can’t afford to fake it
I know in life everybody get’s a chance, most times the people blow it
But I got a field of green green grass, sit back and watch me grow it

Billy Preston – Whole New Thing

While I love Billy Preston’s version of ‘Whole New Thing’ .. Rose Banks version of the same the jam – to me wins out. Rose Banks by the way of course is actually Rose Stone – Sly Stone’s sister. And Billy Bass Nelson does this different thing on the bridge that takes this version of ‘Whole New Thing’ in a different direction. Plus Truman Thomas goes a little more synthesizer-tastic here. And Freddie Stone, Eddie Hazel and Billy Bass are just taking the song in a more P-Funk direction. Love Billy Bass’s walking basslines here – more in the cut in a way than the Preston version.

Also Rose starts out with a different lyric which is more honest, but it’s also uplifting.

It’s the beginning of a whole new thing
My head was under the weather, I’ve been out in the rain
My eyes have been so cloudy, I couldn’t see a thing
It’s the beginning of a whole new thing
My head is together, and I’m feeling breezy
Believe me when I tell you people, that it was never easy
I said goodbye to yesterday – I left it all behind
Today’s the first day of my life, I came alive inside me
And the truth is, that love was the only thing I needed
I’m satisfied deep down inside, my life now has true meaning

Rose Banks – Whole New Thing

I own the 45 for Rose Banks’ ‘Whole New Thing’ and would love to take a pic of it – but it’s locked up in the basement of my ‘Whole Old Thing’ – but here’s a picture of a promo copy.

Also since we are on the topic of the Family Stone, more pics of 45 rarieties relating to Sly Stone, posted up also by BK One:

Download Hip Party Music (Mediafire link)

Not being the subtlest of writers, you may have noticed that I’ve been dropping the occasional hint for a while now that blogging fatigue has been setting in. Real world demands and a general lack of posting inspiration have finally confirmed for me that it’s time to move on and let people with the passion take the site forward.

Whilst I’m looking forward to trying out some new things with a new site (hopefully the guys here will let me let you know when I know) I will be sad to leave the site that has given me so many great memories.

It’s been a fantastic five plus years doing this; I’ve got the chance to share and discuss my favourite music with you, been introduced to new music I’d never have discovered through the comments and even got in touch with some of my music heroes through posts on here (I’ll never forget quite how much my jaw dropped when I got the first email from James Mason).

Without going Gwyneth I’d also like to thank all the other posters who have contributed on the site up till now and of course highlight Maru for giving me a shout and getting me on here in the first place. I’m sure the site is only going to go from strength to strength with the writers we have now and any new blood who wants to step up.

As I didn’t have any music ready and didn’t want to do a classic posts thing I thought I’d throw up a little comp I did for a friend last year. It’s a mix of different stuff, some very common, some posted on here and some more rare stuff I never got round to sharing. Apart from the lack of rap I thought it was an appropriate mix of the kind of music this site was set up to appreciate so hope you enjoy (tracklist after the jump).

I’m going to take some time out now to review what I want to do next but hopefully catch up with some of you again soon on whatever the new project turns out to be. Trust that I won’t be able to stop blathering on the internet for very long.

Thanks, as always, for reading……..

Hip Party Tunes For Hip Party People Vol 1

1. Clouds – Kain
2. Funky Thing Pt 1 – The M&S Band
3. What’s Wrong With Groovin – Letta Mbulu
4. Morning Sunrise – Weldon Irvine
5. Living Together Is Keeping Us Apart – Clarence Reid
6. Cha Tatch Ka – La Formule Du Baron
7. Stones Is – The Listening
8. Soupy – Maggie Thrett
9. Tomorrow’s People – McDonald & Giles
10. Bad Breath – Bobby Valentin
11. Home Again – Archie Whitewater
12. If You Don’t Love Me – G C Cameron
13. Black Water Gold – African Music Machine
14. The Medal – Ruth Copeland
15. Camel Walk – The Ikettes
16. It’s Got To Be Real – Joe Graves
17. Life Cycle – Earth Disciples
18. Attica Blues – Archie Shepp
19. Seagreen Serenade – Silver Apples
20. Every time I’m Near You – The Turner Brothers
21. Walk On Guilded Splinters – Johnny Jenkins
22. Summertime – McNeal & Niles
23. Naku Penda – Mfalme
24. Hang Your Head In Shame – New York City
25. Five, Four, Three – Novi Singers
26. Big Bird – Cruciferius
27. What’s In The Headlines – Don Covay

Souls of Mischief – Postal

Murs + 9th Wonder – Let Me Talk featuring Suga Free (via Passion of the Weiss.com)

For some of you who know me intimately, you know I’ve been going through things, and I’ve been tweeting / facebooking for Earfuzz, leaning on heavy Bobby Womack and assorted soul songs, plus some emo-electro-pop-funk.

Well a weekend ago, accidentally, I found a few hip hop songs that speak to the scenario. Let’s just say these songs come from the ’scorned men of hip hop’. These rappers seem like caring dudes, but they are just getting pushed around by their women. Their stories come out great in these raps – well ok, I’m not talking about this steeze tho – I heard the Eminem / Lil Wayne collab, ‘No Love’ which just goes on a misogynistic rant against women … I have NO LOVE FOR ‘NO LOVE’, let’s just say that …

Click here to view the embedded video.

Nah, that’s not what these these two songs, one from Souls of Mischief – ‘Postal’ – and another from Murs – ‘Let me Talk’, are about – these are the scorned men of hip hop. I have to admit the Souls of Mischief – well let’s just say I’m not that ‘hip hop’ dude – last time I checked the Bay Area rap group was in 1993 for their monster jam, ‘1993 til Infinity’. I picked up a copy of XLR8R (uh yeah I still read print), and there was the review of the Souls of Mischief new(ish) album ‘Montezuma’s Revenge’. I went on to Spotify, found the album and I was drawn right into track #3 – ‘Postal’. I was right up on the headphones on ‘Postal’, just to hear the detail of these dudes’ stories about the tough love they are getting from their women. Check just one verse, and you’ll concur, it’s such a great expression

Tajai’s verse:
Damn…. you got some nerve miss!
I’m thinkin to myself ”do i deserve this?”
I mean i’m tryna be there wit’ you.
But honestly… i’m lightweight scared of you!
I just can’t see myself without you
Same time i can’t be myself around you!
Understand i’m a work in progress.
All this fussin’ll just hurt the process.
Still i feel like you complete me.
I’m such a weaklin’ man look how you treat me!
I know love aint supposed to hurt.
Even brought you round my seed ‘n’
You got close to her turn around ‘n’ use that against me
When you flash you do it with such intensity.
Say anythin’ to offend me… i aint gonna tell ya what my family ‘n’ friends think!
Skip it baby… coz this is our thang why you gotta make lovin’ you such a hard thing?

Passionoftheweiss.com is such a great blog, for me, it’s the discovery point for a lot of hip hop things I’d never get to check. At the same time I was checking ‘Postal’, I found a Murs jam there that sits nicely right along the Souls jam. I’ve always loved Murs, and he’s got a new jam that is very similar to the Souls’ joint ‘Postal’. I couldn’t find the lyrics like I could for ‘Postal’ – so I have to do some transcription – ughhh finding lyrics in today’s world – still a pain. FREE THE LYRICS!

‘Let me Talk’ is just full of the same emos that ‘Postal’ runs through. The jam is from a new collab album between Murs and producer 9th Wonder – you can peep it here – http://mursworld.com/fornever/

I was linked in on ‘Let me Talk’ right from the start with lines from Murs like :

‘I should call you Tyler Perry since you always dissin men … ‘
‘Hopin that comedy would calm your ass down for a moment … ‘
‘I’m not the one that hit you … ‘
‘And men never win, so forget it I’m out – I already planned on sleeping on the couch’

Then towards the end of the ‘Let Me Talk’ joint rapper Suga Free joins the comes in with rapid fire lines that finish up the story with such great detail, the story of the scorned men of rap. Check both of these rap jams out.

Billy Stewart: Sitting In The Park and I Do Love You

Available on: I Do Love You [Chess, 1965]

Ok, no breaks here today, no outrageous fuzzy funk or wild and crazy rap, just some plain old sublime and gorgeous soul music for your ears. I’ve been meaning to post up something about Billy Stewart for what seems like forever but, as with so many things I plan with the best intentions, it’s sat collecting dust in the to do pile. I finally resolved to do something near the end of last year only to see Stewart’s Cross My Heart off the album I’m featuring today blow up absolutely everywhere due to Blaze’s great use of it in Exhibit C. I therefore thought I’d leave it a little while before revisiting but couldn’t resist any longer and here you go.

I seriously think Billy Stewart is an artist well in need of a proper reappraisal. He has all the ingredients for wider appreciation in that he was on fan favourite Chess Records, he wrote many of his own tracks, he did a original and great interpretation of Summertime and, most importantly, he has a gloriously unique and lovely singing voice. To be fair he only released two studio albums in his lifetime and he is in the Washington Area Music Association Hall of Fame but how many average joes will have heard of him? I’m not going to change that here today but hopefully I can introduce a few more people to the great talent that was cut tragically short at the age of 33.

I Do Love You, Stewart’s debut 1965 album, is a fantastic longplayer from beginning to end, featuring Cross My Heart along with many other aching pieces of soul music. In fact, part of the reason it’s taken me so long to post it up is that I couldn’t for the life of me choose just two tracks to feature. One I was always going to include though no matter what was Sitting In The Park. Slick Rick fans (I’m assuming there are still some out there?) will no doubt have their eyes light up from the moment the chorus kicks in but this is so much more than just the basis for a sample. A combination of Stewart’s vocals with a subtle echo filter over lilting instrumentation and mournful soprano backing vocals this is a fantastically understated slice of sweet soul that hits the mark every single time. I love the way it fades out in as unassuming fashion as it starts up, as if we’re stepping in and out again of a moment with Billy in that park.

I was torn about posting one of the upbeat tracks as well but couldn’t resist I Do Love You which is a glorious piece of soul music. Kicking off with a full on chorus line the track appears to be settling into a mid temp track with a lovely little piano line and Billy almost scatting his vocals over the top. Then something wonderful happens just after he hits the high note at 1.30, suddenly the orchestration kicks up a notch, everything seems to become twice as heavily layered and the track takes on an epic tone further reinstated in the last 30 seconds as the backing vocals repeat the title over and over and the music swells alongside the feeling in the voices.

I see the album is going for dirt cheap and the best offs aren’t much more so please pick it up and explore this man’s great output even more. Me? I’m off to go build that perpetual motion machine I’ve been playing around with.

Raheem DeVaughn: Bulletproof and Revelations 2010

From: Love and War Masterpeace (Jive, 2010)
This is a post I mean to have gotten up nearly a month ago.  Raheem DeVaughn might be one of the most under appreciated soul musicians right now.  His last album has a couple tracks which were absolutely outstanding.  Although ultimately his last album and his newest one both have their share of filler.

He really goes back not to the old school soul of the late 60s or the synthesized 90s but to the funkier warped side of the 70s.  One of my first reactions upon hearing Raheem was to think of Curtis Mayfield.

Bulletproof actually features a sample of Mayfield that could be used if they decide to god forbid remake superfly.  Raheem is capable of making great almost neo psychadelic soul or at least as close to doing that as anybody in the newest generation of R+B.  When he does the outcomes are excellent as Revelations 2010 also proves.

The only time Raheem gets boring is when he resorts to simple and usually boring love ballads.  Its not that he’s not a capable singer, but the songs can get to be like going through the motions especially when you know that Raheem is capable of a song like Bulletproof or even Woman from his previous album.

He hasn’t made his Superfly yet.  But I have a feeling that with a little more time, Raheem has a classic in him yet.

The Chequers: Get Up Stand Up and Check It Out

From: Check Us Out [Creole Records, 1975]

It’s been a miserable week indeed with the untimely passing of Guru and the subsequent fallout that looks like becoming ever more unpleasant. We’ve put a few tributes up to the legendary MC on the facebook page but, with so many of my esteemed colleagues putting together definitive posts on the subject, I thought we’d move the focus away from the subject today and instead focus solely on music. After all, it’s a glorious day outside, we’re getting closer to the weekend by the minute and summer is definitely contemplating announcing itself as finally here. With all these pluses on the table I thought it only appropriate to pick a happy record from the collection and one that fits the cruising and lounging desire currently rising up inside by the moment.

The Chequers were a UK soul group who released a number of great tracks in the seventies but, to listen to them, you’d never know they weren’t US born and bred. Perhaps the biggest clue that they were working outside the normal sphere is the number of influences you get on the album, there’s proto disco, some songs “in the style of” The Temptations and one of the most unexpectedly great Marley covers I think I’ve ever heard.

It seems no mystery that the rapidly changing style of the group probably cost them a reasonable amount of sales as they were constantly being recategorised with each new release that came out (though I saw a copy on ebay being advertised as AfroFunk which I think may be pushing it). However, in their single long player, Check Us Out, the various styles on offer actually make the album a fascinating play through from start to finish as it switches up.

So, the music then, well with an album this varied it was always going to be difficult pulling out just two songs but here you go. I know that I can’t be the only one who’s laid awake in bed at night wondering what Bob Marley would sound like produced by Norman Whitfield. Well rejoice! You need wonder no more. The Chequers Get Up Stand Up mixes a Papa Was A Rolling Stone bassline with the Marley original and throws in some synth lines in there for good effect. It should be a crazy mishmash of styles but turns out to be an absolutely cracking slice of funk that really should be way more widely known than it is.

Check It Out is a near instrumental dancefloor groover that, while it lacks Get Up Stand Up’s surprise factor, matches it on pure unadulterated funk. A combination of a great bass riff, wah wah guitar and some suitably funk lead playing the track achieves its mission to get your booty shacking with consummate ease. Jam bands take note, if you’re going to do a funky little number then you need to know how to pull the whole thing together into a coherent whole and could take a few lessons from the skill displayed here.

There you go, hopefully these cheer you up and you get the sunshine in your neck of the woods to play them to.

Jerry Peters: White Shutters and If You Leave Me Now

From: Blueprint For Discovery [Mercury, 1972]

Grown up soul jazz moves for you today with some rare solo output from one of the great soul arrangers, Jerry Peters. Most famous for his string work, Peters was also no slouch on the percussion side of things and was the arranger behind many favourites from the Sylvers (both group and Foster) on Pride before taking his skills to Blue Note focusing on the more jazzy side of things with production for artists such as Gene Harris.
In the middle of this transition Peters released what I believe to be his one and only solo album, Blueprint For Discovery, on Mercury. It’s an odd beast indeed and pretty much captures the many different interests and influences that Peters had in his arrangements as it varies from long drawn out lush Hayes style epic ballads to jazzfunk noodlings. What holds it all together is Jerry’s exquisite ear for the layers of instrumentation and the keen attention to every single detail of the nine tracks. It also helps that, what with it being Jerry Peters, there’s an impressive list of session artists on here including long time collaborator Harvey Mason on drums.

White Shutters is just a blissfully lovely bit of music, Peters doesn’t have the strongest vocals in the game but his soft voice works beautifully with the harpsichord led arrangement that kicks off the track. As with so many of the songs on here, the music takes its considered time to get into the swing of things but as the strings build over an unexpected but delightful mouth organ line the sound wraps you in a blanket of warmth and sunlight. Really recommended to be played loud either in a nicely set up room or on the best pair of headphones you can get your hands on. It’s only really on reflection that it occurred to me that there’s not really any standard song structure to this, it’s just a slow build to a climax but I’m happy with that.

If You Leave Me Now is more superior lounge stylings. Elevated from smooth soul status by the complex arrangements and the various factors that swarm in and out of the mix (an organ line here, a bong beat there), this is again almost more interested in the compositional arrangement than what would be considered a standard soul song. It really does display the imagination and intelligence of the arrangements as everything but the kitchen sink is thrown at the tracks and it still all harmonises beautifully.

Funnily enough, particularly as it doesn’t seem to pop up very often, I don’t think this currently goes for that big money. Maybe it’s that the smooth sound is now=t what people are currently in the market for? Who knows. Anyway, needless to say, cop it if you see it.

The Exciters: Movin’ Too Slow and Give It All

From: Caviar And Chitlins [RCA, 1969]

Northern Soul is a strange old thing. I tend to reach saturation point with it on a relatively regular basis and decide that, a few bangers apart, I can live without much of the output. It doesn’t help that I haven’t really moved on from albums to 45s which means that a lot of the tracks I do have are only being played back on digital format which loses quite a bit of the raw edge that the best of Northern Soul offers up. However, as soon as I decide I’m basically done with that genre I always end up digging out a favourite or two and then, wham, I’m back with the program. This time round the honour of reawakening my urge to dance like a loon goes to the Exciters Caviar and Chitlins LP.

Sounding fresh as a daisy it was a surprise to me to discover that the band had actually been around almost ten years by the time they dropped this end to end gem. For starters I didn’t link the group with the classic and game changing 1962 single Tell Him and was even less aware that the band had been quietly releasing intense and powerful soul singles throughout the decade and continued well into the seventies switching up their sound as the years progressed.

Anyway, Exciters by name, exciting by nature (sorry). Movin’ Too Slow is an absolute stormer of a track and features one of the great opening dismissals with the line “Whisky bottles all over the floor, you left your insides outside the door”, from there you’re left in no doubt that this song is not a tribute to true love and the band move through the gears as the drunken ass in a corner is told in plain and simple terms that he’s going to be seeing a clean pair of heels shortly. Less than three minutes long and not a moment wasted, this is damn fine music.

I was tempted to post another Northern banger but couldn’t resist sharing the fantastic slice of sultry, brassy, soul that is Give It All. Full of longing vocals touched with that tinge of pain that most great soul desire songs boast and some great trumpet lines this is two and a half minutes of hook that snares deeply and doesn’t let go. I’d love to break the rules and post the whole album on here, especially as the tracks never dip in quality, but it’s not our way and I’m sure a quick search of Google would bring up the goods were you that way inclined.

On a side note, I have no idea whether the album title’s suggested food combination would be a mouthwatering treat so if anyone has tried it or, even better, wants to sponsor me for the experience, holler.

Detroit Emeralds: I’ll Never Sail The Seas Again and Take My Love

From: You Want It You Got It [Westbound, 1971]

You know, as much as I like to flaunt the rarity of many of the songs posted here, I’m as much a sucker for a well known hummable soul song as anyone else and Detroit Emerald’s Baby Let Me Take You In My Arms falls firmly in that category, I seem to recall even posting up about it back in my Evigan Funk days a good four or so years ago. However, despite my love for this song and the sample, it took me a long time to actually get round to checking out the album it came from, their 1971 release You Want It You Got It. Using the broadest and most dismissive brush I could find I assumed that, since I wasn’t particularly familiar with any of the other tracks on there, it would be full of filler. How wrong I was. Shame. On. Me.

Probably best known these days among funk fans for the reasonably sampled Baby Let Me Take You In My Arms and the heavily sampled and, oh my gosh what a drum break, You’re Getting A Little Too Smart, the band crafted a decent handful of long players for Westbound in the early seventies before, as is so often the case, suffering internal friction and splitting before the end of the decade.

I’ll Never Sail The Seas Again is worth the price of the album alone (though it’s worth noting that it’s also available as the b side to Baby Let me Take You In My Arms) as it’s an absolutely glorious, beautiful, mournful slice of slow sweet soul. Cannily sampled by Exile on his and Blu’s Cold Hearted, the track is little more than a guitar line, gorgeous vocals and a chorus of mellow trumpets and heart breaking harmonies repeating “I’ll Never” over and over. This is the way to craft a perfect slice of seventies soul. Probably my most repeated song of the last month or so.

I seem to recall reading somewhere that Willie Mitchell had a hand on this record and, if so, that would certainly explain the horns present on Take My Love. In fact, for a band most well known for their upbeat dance floor tracks I have to say that the slower tracks are definitely the winners for me on this album (Baby Let Me Take You.. excluded obviously). With a suitably overstated orchestral horn bridge to the track this could easily be a forgotten track off an early seventies Hi Records release and is none the worse for that.

Sadly Abe Tilmon, the man behind both the songs and much of the production passed away at the extremely young age of 37 in the early eighties but he certainly left us some great great music.

Mary McCreary: Soothe Me and Singing The Blues (Reggae)

From: Jezebel [Shelter, 1974]

Some outstanding seventies soul singer action for you today with a couple of tracks from Mary McCreary’s second solo album, the 1974 release, Jezebel. As far as pedigrees go, McCreary has it in spades. Starting at the extremely tender age of 10, McCreary’s vocal talents were featured on the 1961 album Through Children’s Eye’s and by her early teens she was recording songs with the Heavenly Tones. By the end of the sixties and still only in her teens Mary was part of the Sly Stone produced Little Sister whose couple of outstanding seven inch recordings are an absolute must have for anyone who’s a fan of the late sixties spaced out drum machine sound (at least one of them is featured on the incredible What It Is! compilation).

All the above meant that, going solo around the age of twenty, McCreary already had more industry experience than most artists twice her age and put it to good use with a couple of great slices of soulful funk on the eclectic Shelter label. It’s also wroth noting that McCreary wrote and played piano onthe album which, considering the various styles on offer, is no mean feat in itself. Sadly, unlike her first album Butterflies In Heaven, Jezebel doesn’t have the midas touch of D.J. Rogers in the production booth but there’s enough fire in Mary’s vocals and arrangements to carry the album home.

Soothe Me is just, pure and simple, an outstanding example of how to build a track. Starting with an acoustic guitar riff, Mary comes in over nothing more than a piano line and strings and you’re just hoping, praying, that the song doesn’t fall apart when the epic build up finally kicks into overdrive. Strings, a distorted bass, piano and McCreary’s voice all create a whirling vortex of sonic emotion as José Feliciano joins into the mix creating something not unlike a long lost Wonder song from the period (Seriously, I can’t compliment a song much more than that). Throw in a choir for the final part of the song and we have an absolutely stunning final product. Epic, epic, epic.

I was going to post up another funky cut from the album but I’ve always had a major soft spot for the slightly random reggae version of Singing The Blues that starts the album off and, what with it definitely being Spring now, this seemed more appropriate. Somewhat of a unexpected addition to the McCreary catalogue, it works far better than I would have ever expected it to as Mary floats over the backing track, her voice overlaid with a slightly alternate take to create a burst of sunshine that never really goes anywhere as such but is such a pleasant journey you don’t really care about the destination.

Extra bit of good news, Mary is still recording today under the name Mary Rand and is due to release a new album shortly, you can find out more at her MySpace.