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Opportunities at Starpoint Radio

Starpoint Radio is constantly looking at ways to improve its service and programming. As such we are looking for new presenters and also volunteers to help run the station If you feel you have what it takes and would like to part of this exciting and growing project, please contact us at


The UK Soul Chart has moved to a new time on Starpoint Radio :- Sundays from 4pm to 6pm
Don't forget our re runs for the international listeners:- Mondays 2am- 4am (thats Sunday night) Tuesday 1pm - 3pm (Daytime), Thursdays 4am-6am All UK times.
Or simply check out our schedule at The UK Soul Chart plays the top 30 new soulful tunes of the week & interviews with the artists. 
Presented by Kevin J The chart reflects the radio airplay in the UK and selected top soul tastemakers playlists. Read more

Starpoint Radio Chat "Nite Mood" Panel

For listening and participating in Starpoint's Radio Chat during the evening and night hours, try the new "Nite Mood" Panel for a darker, easier on the eyes viewing experience.
Switch to the new "Nite Mood" Panel now!    Bookmark it for quick access.




GHETTO DISCO on Starpoint

Sean O’Connor – Rest In Peace

It is with a heavy heart and great sadness that we have to inform you that today, we lost Sean. Our thoughts are with Sharon and the rest of his family.

From everyone here at Starpoint Radio, we salute you Sean.

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News and Reviews

Water Seed brings the funk to the Midwest

Featured: 0Finally making their way to the Midwest on an 8 date tour, New Orleans' own Water Seed brings their very funky band of future stars. Water Seed has been creating a buzz all over the band's hometown of New Orleans with one of the most dynamic funk shows on the circuit. They have been called a "fresh mixture of the Hot 8 Brass Band meets The Meters."Facebook Comments: 1
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Collaborations (album review)

Artist: Dave KozFeatured: 0List Ranking: 0Review: Gimmicks, Frills, baubles and bling: for every quality artist on the musical landscape these days, there seems to be at least five more disposable performers that litter today's musical landscape with momentary sparks but no long-lasting brilliance. For someone to have amassed a couple of decades, however, takes an even-handed distribution of quality, preparation  and yes, that burning charisma, skill sets that are highlighted, via some help from famous friends, on Dave Koz' latest set, Collaborations: 25th Anniversary Collection. Putting his own composing and next-level saxiness aside, Dave has performed with an enviable 'who's who' of instrumentalist peers and revered recording artists over the last two decades, with many of those recorded moments being assembled here from previous CDs: his sax underscores the wistful longing in a 'lonesome stranger' ode featuring Barry Manilow, "Apartment 2G: I Hear Her Playing Music," yets wraps the melancholy melodies comfortingly in the Toby Keith and Marcus Miller track, "Cryin' For Me," without layering it on too thick. "[Your Love Keeps Lifting Me} Higher & Higher" has been covered countlessly and in the wrong hands can come across like a cliche, but present tour mates Rick Braun and Kenny Lattimore sauce it up splendidly, just as the familiar "Linus And Lucy" theme is buoyant with percussive pizazz thanks to the addition of David Benoit.  Dave Koz' Collaborations is nothing if not chock-full of genre-blending verve and variety: Stevie Nick's sultry rasp becomes a supple chant on "Let Me Count The Ways" and Rod Stewart's take on the classic jazz standard, "(I Love You) For Sentimental Reasons" as Koz' notes swirl over and around the bridge, is positively enchanting. Every important genre is represented here, from adult-contemporary R&B ("Can't Let You Go ]The Sha La Song]," alongside the late Luther Vandross), upbeat contemporary swing-influenced jazz (Brian Culbertson appears on "Think Big") and even a Beatles' classic combining the voices of Eric Benet, Heather Headley, Maysa, Jonathan Butler, Richard Marx, Johnny Mathis, Gloria Estefan, BeBe Winans AND Stevie Wonder ("All You Need Is Love."). But Collaborations isn't only about who Dave Koz has worked with----rather, the collection demonstrates his adaptability and how essential the saxaphonist is as a soloist or with other superstars. So while other acts will fade and flame out, Dave Koz is one that will keep on illuminating, no matter how many others around him shine. Highly Recommended. By Melody Charles Album Image: Click on CD cover to listen or purchaseAlbum Buy Link: Comments: 1Title: CollaborationsASIN:  var amzn_wdgt={widget:'MP3Clips'}; amzn_wdgt.tag='soultracks-20'; amzn_wdgt.widgetType='ASINList'; amzn_wdgt.ASIN='B0100QTDAG'; amzn_wdgt.title='Collaborations'; amzn_wdgt.width='250'; amzn_wdgt.height='250'; amzn_wdgt.shuffleTracks='False'; amzn_wdgt.marketPlace='US';
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Twenty+ (album review)

Artist: All-4-OneFeatured: 0List Ranking: 0Review: It's a shame that the quartet All-4-One saw its commercial success wane at the same time that the quartet was just finding its creative legs. So, while the record buying public knew them as a tightly harmonizing group that covered mostly pop songs written and produced by others, such as "So Much In Love" and the historic smash "I Swear," that same public was on to the next act before hearing Jamie Jones, Delious Kennedy, Tony Borowiak and Alfred Nevarez come into their own as original artists. Jones, in particular, grew into a top-notch songwriter, and by the time of 2009's No Regrets, the metamorphosis of All-4-One from light pop interpreters to a well rounded, self-directed soulful pop group was complete. And the creative place found on that album continues impressively on the celebration of two decades as a recording group, the new, expansive release Twenty+. The twenty song CD serves two purposes: it presents a brief look back, with well performed, chilled-out newly recordings of the five biggest All-4-One ballad hits (unfortunately, also included is a remake of the lurid "[She's Got] Skillz," which is as awkwardly out of place here as it was in the 90s), and unwraps 14 mostly self-penned new songs that play to All-4-One's vocal and stylistic strengths. The new tracks on Twenty+ fit into several bunched categories, and they all work. All-4-One has always drawn camparisons to classic doo-wop groups of the 60s, and they comfortably embrace those references on the a cappella "Save It All 4 Me" and the album's first single, Matt Wong's "Baby Love," a gloriously upbeat number that recalls the Jackson 5's "I Want You Back." There's also a clear stab at urban adult contemporary radio, principally via the bouncy cover of Bernard Wright's hit, "Who Do You Love," which works quite well despite the somewhat contrived, obligatory rap guest appearance by Rob Young. But as good as that song is, radio would be better served by jumping on either the fun, upbeat "Say What You Want To," or the collab with fellow 90s star Shanice and "Dance With Me" singer Debelah Morgan, "Go To Bed," a moody, electronic midtempo with terrific vocal interplay. Of course, All-4-One's fan base was built on big, full-bodied ballads, and Twenty+ has handful of memorable new ones, all featuring the group's normal back-and-forth leads between Jones and Kennedy. The beautiful, ethereal "Chariots," the slow jamming "I Won't Let You Down" and "Now That We're Together" recall some of the best David Foster-produced love songs of the group's halcyon days. These songs also reveal a current truth: All-4-One sounds every bit as good as -- and maybe even better than -- twenty years ago. It is tough to say strong vocal performances by All-4-One are a surprise, but Jones opens up to a rare, full blow on "Life At All," and Kennedy simply masters everything he touches, reminding me (yet again) that he is one of the most underrated baritones in popular music. It's unclear whether the time away from the spotlight has simply been too long for All-4-One to have meaningful album sales in 2015 (particularly in the US). But kudos to them for delivering another album that shows that No Regrets was no fluke. Nearly two decades after their commercial peak, they are more the real deal than ever, a group that delivers what adult soul music fans regularly say they want and what modern radio typically doesn't deliver: Melodic songs, generally positive messages and strong, intricate vocal performances. Whether or not they reach those audiences through traditional mass media or through emerging avenues of internet, streaming and mobile, Twenty+ reminds us all All-4-One deserves to be heard...again. Highly Recommended. By Chris Rizik      Album Image: Click on CD cover to listen or purchaseAlbum Buy Link: Comments: 1ASIN: .
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The Tin Man (2015)

Artist: Aaron Parnell BrownFeatured: 0List Ranking: 0Review: It's been a few years since Aaron Parnell Brown quietly first achieved local attention around his native Philadelphia performing under the moniker Aaron & the Spell. Then in 2012, his blend of soulful rock reached the ears of the folks at NPR Music, who named him "One of 10 Artists You Should Know."   Unfortunately, people outside of the Northeast US still don't know him or his music. Well, that may now change as Brown more confidently moves to the forefront under his own name and a better defined sound on his sophomore album, The Tin Man. "Confidently" is maybe the most appropriate term for the metamorphosis of this singer and songwriter. He's always had that voice - a baritone that resembles a more emotive, slightly more fragile John Legend.  But with The Tin Man, named after the Wizard of Oz character who found the heart he always had, Brown displays a more mature, true vision and he creates an album of surprising thematic coherence. It is an unabashed nighttime project that explores the nuances of love, providing sophistication in both the album's lyrical statement and in the musical production that surrounds it. The Tin Man opens with "Bleed Me Dry," a secular song with a sound right out of a Memphis church. Brown kills it vocally, testifying over the choir and trading licks with saxophonist Andy Snitzer. It is an auspicious beginning, and perhaps the most unrestrained performance on the album. It also gives a sense of Brown as a lyricist. His protagonists are emotional but also thoughtful, feeling deeply but recognizing that love is full of grays rather than blacks and whites. The album's first single, "Just Leave," continues that sensibility, as a man who has been unfaithful wants to do right again, but the complications of his tryst won't go away cleanly. The song has an intentional 70s vibe - the kind that could place it nicely on a Norman Connors album of the time.  Just as good is the midtempo "Leave The Light On," where a man who misses the love he once had can't move on, instead waiting in the unlikely hope of its return: "Much time has passed for us / so much has changed between us / but I still think of you all the time / I know you're gone but I'll leave the light on." While Brown is the principal songwriter on The Tin Man, he covers two songs, and each of them is a revelation. The Black Keys' electric "Everlasting Life" is unrecognizably beautiful stripped down to a simple piano ballad, with Brown putting heartfelt emotion back into the inspirational, lovely lyrics in a way not remotedly hinted at in the original.  And he goes the other way with Elton John's long lost Captain Fantastic ballad, "We All Fall In Love Sometime," taking it in a more muscular, bluesy direction, and letting his band add a deep groove that gives the song surprising power. Brown is still growing as a songwriter, and a few of the songs ("I Believe In You," "Somewhere Around") are a bit underdeveloped. But the musical instincts of Brown and producer Matt Pierson are right on throughout The Tin Man. In a time of generally overproduced, often underperformed albums, The Tin Man has a completely live, organic feel. The liberal use of organ along with guitars, sax, keys and drums allows the disc to smoothly move between R&B and jazz, relying on the musicians - rather than wizardry - to make the transitions. And the band is uniformly on point, giving the whole affair a wonderful intimacy -- a word rarely used to describe R&B music in 2015. But the best instrument of all is Brown's voice, expressive and engaging, seemingly ready to break at the most melancholy moments but fully captivating at all times. From its consciously retro cover to its intentional avoidance of electronics and synthesized instruments, The Tin Man is in some ways a blast from the past. But it is neither tired nor nostalgic. Instead, The Tin Man has a timeless feel of an album that could have been released in 1975 but sounds fresh and even unique today. A great band and artist with visions of creating a classic have together presented an album that comes awfully close to being just that.  Maybe Aaron Parnell Brown was born 40 years too late, but the modern musical world could use more thoughtful, organic, nuanced albums like The Tin Man. He is a talent, and I can't wait to see where he goes from here. Highly Recommended. By Chris Rizik Album Image: Click on CD cover to listen or purchaseAlbum Buy Link: Comments: 1
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First Listen: Rashaad brings old school soul to "If You Leave"

Featured: 0Rashaad La?Tjuan Carlton was born in Detroit into a musical family and has been recording professionally since he was 12 years sold. He later moved to Akron, Ohio and was part of the hip-hop/R&B group AK?s Finest: 6ix Figgaz as well as a songwriter for several Gospel acts. Rashaad later moved to California and has been a rising vocal star ever since. He formed a vocal group with R&B stalwarts Ricky Bell (New Edition), Dalvin DeGrate (Jodeci) and Shazam Conner (H-Town) called Abbey Road.Facebook Comments: 1
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