New releases last eight weeks: 50s/60s

Review: A double dose of dancefloor bliss is administered (subversively without doctor's orders) by Kent Soul. These two numbers have been faved by fans from several scenes and the world over: first, there's The Cheques' 'In The Groove', a longingly upbeat homage to a groovin' place by the obscure Louisianan organists. Lead organist Tony Nardi, would later go on to form the Thai funk group Salt & Pepper, famously recording 'Man Of My Word', but for then and now, this 60s manoeuvre would serve to transcend its mod origins, attracting the Northern soul crowd in the years to come. After, 'Arabian Jerk' by The Merits rehears a Goldwax production out of Memphis: mod and exotica collide in a steaming instrumental excitation of backbeat accents and parping 2-4 guitars, making a mod belly dancer's anthem.

Review: The Dells were a legendary soul and doo-wop group defined by Johnny Carter's soaring falsetto and Marvin Junior's rich baritone. After first forming in 1952, their most iconic era came during their time with Chicago's Cadet label from the mid-60s to mid-70s. Their 1966 track 'Run For Cover' became a staple of the Northern Soul scene and remains highly sought-after today, with mint copies fetching over L100. Equally beloved is their 1968 dancer 'Wear It On Our Face' featuring a powerful Charles Stepney arrangement and the group's signature harmonies-both songs showcasing The Dells at the height of their soulful brilliance.

Review: Thanks to the year being 2025, te jazz age of the 1920s is being centennially anniversaried the world over. But when recorded music took the world by storm from the 50s onwards, it was only a matter of time before such starlets Lu Elliott would make latent but no less powerful waves in the same early jazz sound, except this time around, the sonic vestiges of the time were preservable. Elliott, a jazz/blues singer and recording artist, was a onetime BB King and Duke Ellington posse member, having found her lungs playing in a band known as The Cubanaires before bronchi-ating out into mid '60s solo stardom with tunes such as 'Speaking Of Happiness'.

Review: Recorded during the final year of her life, this posthumous release finds Marianne Faithfull looking both backwards and forwards - reconciling the weight of legacy with the intimacy of reflection. Across these four new tracks, she honours the dual foundations of her 60-year career: chamber pop and traditional British folk. 'Burning Moonlight', co-produced with long-time collaborator Head, echoes the melancholic grandeur of 'As Tears Go By', while 'Love Is (Head version)', written with her grandson Oscar Dunbar, floats with tender defiance. The flip side turns to lineage and tradition: 'Three Kinsmen Bold' is stark and ancestral, passed down from her father and 'She Moved Thru' The Fair' is sparse, aching, and spectral. Faithfull was born in Hampstead and came of age in 60s London, and here, on what is now her final release, she returns to the very start - not out of nostalgia, but with grace and resolve. It's the completion of a circle, yes, but it still leaves a faint line trailing off into the air.

Review: London imprint Original Gravity keeps the 7" heat coming with a two-part reimagining of the blues standard 'I Can't Keep From Crying Sometimes'. J Blue takes the A-side, laying down a smoky, melancholic vocal over a stripped-back hip-hop groove, bringing 60s soul pathos into sharp modern focus. It's the kind of cut that creeps up on you-restrained, ghostly, all mood. On the flip, the Original Gravity Allstars stretch things out dub-style with a Pt. 2 version, turning the track inside out into something moodier, heavier, and bass-led. Another strong entry in the label's ongoing campaign to bridge vintage sonics and contemporary pulse-perfect for deep selectors and collectors alike.

Review: Across four artists and four versions, Original Gravity present 'Woolly Bully', a woollen repackaging of the longtime Sam Sham & The Pharoahs classic. Laid down in 1964, this terpsichorean prancer kept to a 12-bar blues progression, and made for the first American record to sell a million copies during the storied British Invasion. Its mixture of skiffly British rock and Mexican-American conjunto was an intentional blend, and a succesful one at that. Its enduring impact is now felt in these rollicking cover versions from Junior Dell, Donnoya Drake, Luchito & Nestor Alvarez and Curtis Baker, all roomy, costume vintage retrofits of the original. Listen closely to the lyrics for strange talk of a mythical creature: the original song's lyrics were so strange that some radio stations banned it for fear of popular befuddlement.

Review: A curious artefact of Northern Soul history, this limited one-sided 7" by Eddie Regan was pressed by Anchor UK with two conflicting release dates, though 1978 is believed to be correct. Dropped during the peak of the Northern Soul explosion in the UK, 'Playing Hide & Seek' delivers a potent dose of heartfelt vocals and dancefloor-ready soul. Its raw, urgent energy and emotive delivery have made it a cult favourite, with two Northern Soul classics featured back-to-back on some issues. Do not sleep, because this will fly.

Review: This is a Jimmy Ruffin cover of The Temptations' 'He Who Picks a Rose ' written by Earl Smiley, Eddie Holland and Norman Whitfield. It's a rare 7" single from a soul legend whose unmistakable voice defines a deep, emotive cut drenched in heartache and rich Motown-style production. 'He Who Picks a Rose' delivers classic themes of love and vulnerability with dramatic string arrangements and Ruffin's aching vocal performance front and centre. Originally recorded during his golden Motown years but released here by S Sound, this reissue shows the raw emotional power Ruffin brought to every performance.

Review: Kent Soul continue in their efforts to 100% faithfully replicate the works of old soul greats from the 60s and 70s, sustaining the everlasting flame of Northern soul and its various splinter hubs across the UK. Now Cincinnatian blues legend Albert Washington gets his due: a highly productive recording artist, active from the 60s all the way through to the 90s, Washington's 'I'm The Man' seizes the a short window moment in which a new spinster might be met with an opportunistic proposition after a bad breakup. "You don't have nobody to call your own / darlin', I'm the man / I share your pain, I do / I can make all your dreams come true / now, come on / yessir, you need me..."

Review: Originally scored in 1968 by a loose circle of New York garage-psych acts, this reissued soundtrack finally lifts the veil on one of the strangest period films of the late 60s. The E-Types lead the charge with no fewer than four versions of 'Put The Clock Back On The Wall', ranging from a bright, full-band cut to a warped instrumental and stereo acapella. The Bit' A Sweet contribute the hazy, lurching 'Is It On, Is It Off?'ia woozy gem full of phased guitar and tape wobbleiwhile 'LSD Got A Hold On Me' by Thee Neons dials up the paranoia with raw, fuzzed-out intensity. The Vagrants offer a tight, harmony-laced soul ballad in 'I Love, Love You (Yes I Do)', adding contrast to the acid-drenched proceedings. While the film itself, shot entirely in greyscale, veered closer to surreal documentary than narrative cinema, the music functions as a mood-setting anchor throughoutiequal parts camp, dread, and weird sunshine optimism. This marks the first official pressing of these tracks and serves as both a time capsule of New York's outsider rock fringe and a highly playable psyche compilation in its own right.

Review: Formed in London in 1964, The Eyes burned briefly but brightly-releasing a handful of 7"s that would go on to shape decades of mod, garage, and shoegaze revivalism. This retrospective finally assembles those cult recordings in one place, including the iconic 'When The Night Falls', whose wild, feedback-laced riffing prefigured psychedelia's edge, and 'I'm Rowed Out', which blends taut beat dynamics with pop-art swagger. 'You're Too Much' and 'My Degeneration' channel the kinetic rush of the Who's early work but with even sharper guitars and a more menacing sneer. Remastered from original sources with rare demo cuts added, it captures the group's vital energy-fuzz, hooks, and visual identity all intact. A complete, overdue portrait of a group that should've had their own LP in the 60s but ended up shaping the decades that followed instead.

Review: Upon its release in 1970, Donny Hathaway's latest album was met with critical acclaim but modest commercial success. The LP showcased Hathaway's extraordinary versatility, blending gospel, jazz, blues and soul into a cohesive whole. It was a rich tapestry of influences, marked by Hathaway's stunning vocal prowess and his ability to craft arrangements that felt both intricate and organic. The album also set the stage for his subsequent works, cementing Hathaway as one of the most important voices of his generation. Tracks like 'The Ghetto' and 'Tryin' Times' revealed his commitment to addressing social issues, while songs like 'Thank You Master' and 'Je Vous Aime' showcased his personal and spiritual depth. In the decades since its release, Everything Is Everything has grown in stature, celebrated as a cornerstone of soul music.

Review: Buddy Holly defied rock star stereotypes with his Ivy League style and horn-rimmed glasses, yet his impact on music rivals legends like Elvis and Little Richard. This 20-track collection celebrates the legacy of Holly and The Crickets and takes in many of their most iconic hits like 'That'll Be the Day' and other gems released under his various different monikers. Despite his tragic death in 1959, Holly's brief yet brilliant career left an indelible mark on rock 'n' roll after he emerged by mixing up Texas country roots with r&b influences with great guided by producer Norman Petty. Holly's sound was both fresh and timeless, and this album proves what a pioneer he was.

Review: In 1960, composer Leonard Bernstein called Elvis Presley "the greatest cultural force of the 20th century," praising how he revolutionised the music, language and fashion of the day. And it is fair to say Elvis's influence paved the way for the '60s social revolution. This exceptional triple album contains 54 tracks, mostly alternate versions, with all of them offering a unique compilation of Elvis's diverse talents. It celebrates his versatility as an artist while honouring the brilliant songwriters who helped make his work legendary, flamboyant and so timeless.

Review: There's something electric about hearing these live cuts pressed onto a lovely glossy picture disc. It's not just nostalgia, it's the grit and spontaneity of a performer who, even in the twilight of his career - these were recorded in 1974 and 1976 - could still bring a room to its knees. The energy is raw, the crowd reactions are real and the band behind him lock and step. These versions feel lived-in. 'Steamroller Blues' grinds forward with swagger, while 'Trying to Get to You' and 'You Gave Me a Mountain' cut deep with emotional weight. 'Hound Dog' still hits like a shot of adrenaline. The medley of 'Teddy Bear' and 'Don't Be Cruel' feels tossed off in the best way, like a quick smile to the audience before getting serious again. A snapshot of a performer still capable of surprises, even years past his peak chart dominance. For fans of the man's live sound, this one's a keeper.

Review: After 20 years of soulful and authentic rock & roll blues, Eli Paperboy Reed definitely had a right to celebrate. Originally recorded in a basement in Allston, Massachusetts, completely live onto and direct to analogue tape in mono, this collection was first released on a limited run of 300 CDs, self-released, and mostly sold by hand on the streets of Cambridge, close to Harvard University. Now redone, pressed-up and polished for 'proper release', you get all 12 original tracks and another 14 that never saw the light of day before. Four of those were recorded at the time of the others, the remainder come from a radio session the following year. All of them are incredible, and prove that it's not only the Deep South that can make these raw and unflinchingly honest sounds.

Review: Frank Sinatra's legacy shines as bright as ever these days, and with this special edition of The Platinum Collection, a timeless 3-disc set celebrating the golden voice of 'Ol' Blue Eyes', that is unlikely to change any time soon. Though he passed in 1998, this compilation cements his near six-decade career with unforgettable classics that defined a generation and beyond. Featuring signature tracks like 'Come Fly With Me,' 'I've Got You Under My Skin,' 'Nice 'N' Easy' and 'The Lady Is A Tramp' this collection showcases Sinatra's effortless charm and velvet phrasing as well as his most singular talent - that iconic swing. It's a perfect entry point for new listeners or well well-curated addition for lifelong fans.

Review: Few labels in the 80s embodied such a distinct and artful vision as El, the short-lived yet profoundly influential London stable founded by Mike Alway in 1984. The Rubens Room compilation serves as both an introduction and a tribute to the label's uniquely curated aestheticieschewing rock conventions for a sophisticated blend of chamber pop, 60s bubblegum, European chanson, Latin rhythms and cinematic soundscapes. Alway's hands-on approach shaped El's musical direction, working with songwriters like Nicholas Currie (Momus) and Philippe Auclair (Louis Philippe), whose compositions helped show the label's meticulous pop craftsmanship. Simon Turner (The King of Luxembourg), Dean 'Speedball' Brodrick, and producer Richard Preston contributed to a sound that was deliberately theatrical and often satirical, evoking a world of elegance and artifice. This was pop that borrowed from the pastiechoing Ennio Morricone's film scores, Gainsbourg's wit, and the romanticism of forgotten music hallsiyet remained forward-thinking in its stylistic fusions. Among the label's defining artists were the Would-Be-Goods, Anthony Adverse, and Bad Dream Fancy Dress, whose narratives often explored themes through a distinctly un-macho, female gaze. Unlike much of the indie scene of the era, El's output was a celebration of refinement, wit and melodrama. The influence of this approach extended far beyond the UK, particularly in Japan, where it directly inspired the rise of Shibuya-kei artists like Pizzicato Five, Kahimi Karie, and Cornelius. While El never achieved mass commercial success, The Rubens Room reaffirms its legacy as one of Britain's most inventive labels, where pop was not just music but a world of sound, style and storytelling.