The Strange series of compilations, with releases in the diverse genres of country, hip-hop, jazz, folk and now soul, are indeed strange. But not for the intended reasons. Generally, these types of genre compilations have some sort of narrative, label-affiliation or chronological underpinning. The best soul comps will take the most obscure tracks from any given label or time-period and sequence them in such a way as to create a mini historical artefact. This is why Strange Soul is hard to place. It has no glue to stick one song to the next, aside from the questionable distinction that each of the 16 tracks fall within the admittedly loose definition of ‘soul music’.

The compilation does, however, have a few good selections of mellow, slow-burn tracks. Don’t Say Goodnight (It’s Time For Love) by the Isley Brothers is an early highlight, immediately recognisable to J Dilla fans as the sample on his tracks By and the sublime So Far So Good. Larry Young’s Turn Off The Lights is another winner, ‘Tequila’ Logan ad-libbing come-ons over Larry’s undeniable groove and manic keyboard distortions. Oops, Here I Go Again by Edna Wright is also infinitely re-playable, if only for the diva’s delightful “oops!” refrain at the start of each verse.

The compilation is frontloaded with its best tracks, though. The wonder of John Hendricks’ elegant cover of Coltrane’s Naima and Breakwater’s chugging modern doo-wop on Work it Out peters out after blue collar slap-bass funk overtakes the compilation’s second half. The cuts by Bernard Wright and Don Blackman are every bit as bland as the artists’ names and, aside from the signature Earth, Wind and Fire eunuch yelps, there is little else to commend their track Can’t Hide Love.

One noticeable oddity is the inclusion of an Outkast track, Prototype, amidst the ‘70s soul standards. Whilst the song, from 2003’s Speakerboxx, is an obvious homage to Sly Stone and ‘70s funk – with its squelching bass and falsetto harmonies – Andre 3000’s delivery still sticks out on this compilation. It can’t help but sound decidedly modern against the likes of the Isley Brothers and Nina Simone.

Ultimately, Strange Soul is more of a ‘good listen’ than a hidden gem of a compilation. The fact that most of the tracks are fairly well-known (or at least easily available) means that the comp doesn’t have much use outside of a basic soul genre primer. Perhaps the inclusion of some rare cuts or some sort of connection between tracks would have given it greater staying power.

Strange Soul is out now on Apace through Inertia.