Soul — All Formats  

The amazing debut of RB Greaves – a soul singer with a difference! RB struck big with this album on late 60s Atlantic Records – yet despite production at Muscle Shoals, and arrangements from Arif Mardin, the sound here is quite different than most of his contemporaries – and certainly not the southern soul you'd expect! Instead, Greaves goes for a crackling quality that really showcases his trans-American roots – a vibe that's almost like Johnny Nash at points, and has a similar way of embracing a whole host of different sounds at one time – not just late 60s soul, but some other undercurrents of pop, and even some occasional folksy or island flavors as well. The album's standout hit is the legendary "Take A Letter Maria" – a cut that broke big on both sides of the tracks, and which is one of the most compelling story songs of the time. Other tunes include "This is Soul", "Ballad Of Leroy", "Ain't That Good News", "Home To Stay", and "Birmingham Alabama".

Out of the wreckage of Cream came some very hip grooves! Ginger Baker was the hippest of the group's 3 members – and although he's often credited by soul fans for his work with Fela, he should also get a hats off for his work with the group Air Force – essentially a 10-piece (which seems to have been expanded beyond even that number for this set) that came up with some of the most monstrous art funk jamming we've heard! At its base, the group's in the jazz rock mode – with players that include Brit jazz luminaries Phil Seamen, Harold McNair, and Graham Bond, plus rockers like Baker, Steve Winwood, Denny Laine, and Rick Grech. The tracks are all long groovers in a post-beat group mode – and the best tracks have a jamming sound that's pretty over the top! It's full of the propulsive, Afro-influenced bass and percussion, some wild, jazz funk flute and sax, plus amazing work on violin, guitar and occasional, ephemeral vocals. Awesome stuff – one of the best and most innovative live albums of the era! Titles include "Da Da Man", "Aiko Biaye", "Do What You Like", "Doin It", and "Don't Care". It's about time this thing arrived on CD!

Amazing – simply amazing – and one of the best LPs of 60s soul you could ever buy! Darrell Banks was one of the many lost talents laboring in Detroit during the 60s – and he was part of the city's hip underground soul scene that included monster talents like Steve Mancha and JJ Barnes, all of whom fall into the "should have been famous" category, but who have fortunately been honored for years by soul fans worldwide. This album's one of two that Banks ever issued under his own name – and it's a collection of singles that were put together by Revilot, but issued in full LP format by Atlantic. Banks mixes together raw deep soul vocals with some hipper uptown production – and the result is soul that's about as classic as "classic" could be! Every single cut's a winner, written by some of the finest talents in soul music at the time – and tracks include "Here Come The Tears", "Our Love (Is In The Pocket)", "I'm Gonna Hang My Head & Cry", "Baby What'cha Got For Me", and Banks' semi-hit, "Open The Door To Your Heart".

The second Arthur Conley album for Atlantic – and like the first, a record that really cooks with some great Otis Redding production! The sound and style is very similar to Otis' work for Stax during the 60s – but the album was recorded at Fame Studios in Muscle Shoals, with engineering by Jimmy Johnson, and it's got a bit of a different sound from the Memphis soul of Otis' records. There's more horns, and less organ and guitars, and Conley's vocals are produced in a raw style that brings out the best of his work. Includes versions of the Otis Redding tracks "Ha Ha Ha" and "I've Been Loving You Too Long", plus Conley's own "Love's Got Me", "Hand & Glove", and "I'll Take The Blame".

Dr. John's second record, cut back in the days when there was a lot more freakiness to his bag – as you'll notice by his eyeballs in the photo on the back cover! The tracks are wild, funky, and messed-up New Orleans R&B filtered through a heavy dose of psychedelics – a unique little mix that countless others copied in later years, but which John did better than anyone else! Harold Battiste produced and arranged – and tracks include "Mama Roux", "Croker Courtbullion", "Gris Gris Gumbo Ya Ya", and the original version of "I Walk On Guilded Splinters".

A massive bit of funky fusion from the 70s – an album that was crucially overlooked at the time, but which has gone onto become a crate-diggers classic over the years! The group's fronted by Polish jazz legends Michal Urbaniak and Urszula Dudziak – but it also features a fair bit of American players too – all working together in a blend of the best funky fusion modes going down in both the US and Eastern Europe in the mid 70s! Drums on the set are totally great – played by Steve Gadd or Gerald Brown, depending on the track – and some tracks have weird vocal bits that riff around the instrumentation, sung either by Urszula, Bernard Kafka, or some other backing singers. The keyboards are great – quite tripped-out at times, but never too over the top – and overall, the album's a fair bit more soulful and funky than most of Urbaniak's other work of the 70s. Titles include the killer sample track "Rien Ne Va Plus" – used famously by the Beastie Boys many years back – plus "After The World Goes Home", "Funk It", "Sinkin Low", "Next Please", "Horsing Around", and "Watusi Dance".

One of the best albums ever by this legendary Chicago soul star! The album's masterful blend of spiritual soul tracks that plumb the depths of Donny's dark soul – done with a level of sophistication that you won't hear in other soul albums from the time! Classic cuts include "A Song For You", "She is My Lady", "Giving Up", and "Take a Love Song" – plus versions of "Put Your Hand In The Hand" and "He Ain't Heavy, He's My Brother". The record also includes the great funky cut "Magnificent Sanctuary Band", which has some nice haaaard drums at the beginning, and which has been sampled who knows how many times!

Both Donny Hathaway concert albums in a single set – both on US CD for the first time! CD 1 features Donny Hathaway Live – massively beautiful work from the legendary Donny! After two studio albums that had firmly put him on the map as one of the 70s best soul talents, Atco had the genius to have Donny record this live album before very enthusiastic crowds in Hollywood and New York. The result is one of the best soul albums ever – one that shows a totally different side of Donny, and which has him jamming with a smaller, hipper, jazz-oriented group in long versions of some of his best tracks. Features a massive 12 minute version of "The Ghetto", which has loads of excellent instrumental breakdowns, a 13 minute version of "Voices Inside (Everything Is Everything)", a superior version of the track "Little Ghetto Boy", which was only ever on a soundtrack, and covers of "What's Going On" and "Jealous Guy" that really transform them from the original versions. Very similar to the classic Curtis Mayfield 2LP live set on Curtom – and with a similar "Chicago studio soulster goes jazzy and intimate" feel. In Performance was issued after Donny's untimely death, and features rare live material from his classic years – most recorded during the same concerts on Donny Hathaway Live! As the fame of his first concert album will attest, Donny's an extremely wonderful live performer, with a wealth of talents that show that his studio work is only half the picture of his soulful creativity. Includes a great version of "Sack Full Of Dreams", plus "Nu-Po", "Song For You", "I Love You More Than You'll Ever Know", and "To Be Youg, Gifted, & Black". 2CD set features new remastering too – better than ever!

Perhaps Donny Hathaway's greatest album from the 70s, and certainly the one with the most amazing arrangements! The record was Donny's last studio session, and it's got him working at a level that's far advanced from even his groundbreaking earlier work – using complicated rhythms and sophisticated string passages – but also throwing in some killer jazzy bits that make for some of his funkiest work ever! Titles include "The Slums", a funky rollicking tune that is sort of a follow-up to "The Ghetto"; "Valdez In The Country", a totally catchy instrumental with loads of electric piano, and a very Bob James-esque sound; the jaunty "Flying Easy"; and the spiritual soul cuts "Someday We'll All be Free" and "I Love The Lord, He Heard My Cry (parts 1 & 2)".

Perhaps Donny Hathaway's greatest album from the 70s, and certainly the one with the most amazing arrangements! The record was Donny's last studio session, and it's got him working at a level that's far advanced from even his groundbreaking earlier work – using complicated rhythms and sophisticated string passages – but also throwing in some killer jazzy bits that make for some of his funkiest work ever! The liner notes have Donny showing off his musical training in evaluations of the song structures, but the music alone should be enough to convince you this one is great! Includes "The Slums", a funky rollicking tune that is sort of a follow-up to "The Ghetto"; "Valdez In The Country", a totally catchy instrumental with loads of electric piano, and a very Bob James-esque sound; the jaunty "Flying Easy"; and the spiritual soul cuts "Someday We'll All be Free" and "I Love The Lord, He Heard My Cry (parts 1 & 2)".

Smoking tenor from one of the greatest reedmen of all time – and one of the few who could easily bridge the worlds of jazz, soul, and R&B! The set's one of King's earliest albums – recorded back in 1959, and really given a tight Atlantic Records focus that takes the music way past some of Curtis' recordings for other labels – a sharp, tight punch in the rhythms that really works perfectly with his horn! Most of the players have a jazz pedigree, but fall nicely in line behind the tenor lead – on a rich range of original titles that include "Midnight Ramble", "The Shake", "Lil Brother", "Jaywalk", "Snake Eyes", "The Groove", and "Chili" – plus a sweet take on "Peter Gunn" too!

An instant groove from King Curtis – and a record that's even more deeply soulful than some of his other Atlantic albums! The title cut's a killer – a hard-vamping number that pushed funk further into the mainstream back in the day – and lots of the rest of the album follows suit, by bringing in some of the rougher King Curtis edges that usually only showed up on b-sides of 45s – while other full albums usually focused on sweeter sounds. There's a few of those here too – but even those tracks have a looser, more personal feel than before – not as much "perfect" soul sax, and a bit more grit. Arrangements are by Arif Mardin and King Curtis – and Duane Allman plays guiter on some cuts! Titles include "The Weight", "Sing A Simple Song", "Instant Groove", "Hey Jude", "Games People Play", "La Jeanne", and "Foot Pattin".

A great little live set from King Curtis – cut in his local turf of Harlem, with a very loose sort of feel and nice gritty groove – which lets both King and his combo get even freer and funkier than usual! There's an edge here you don't usually get on the studio work from Curtis – or at least the material you'd find on other 60s albums from the same stretch – which often just featured sax instrumental reworkings of pop hits. Instead, this cooker has King's horn working in a cool combo with keyboards from Paul Griffin and guitar from Cornell Dupree – really all coming together as a tight funk act, and more in the mode that you'd find on some of King's overlooked b-sides from his Atco singles. Titles include "Philly Dog", "Tough Talk", "Soul Theme", "Something On Your Mind", and "Pots & Pans".

One of the best things to ever happen to The Persuaders – a wonderfully rich album that has the group still sparkling strongly, long after their early hits! The harmonies are wonderful – very much on par with the bigger names at Philly International at the time – and recorded with sweet Sigma Sound production, and arrangements by Tony (not Thom) Bell that are a perfect blend of sweet and soulful – strings at some points, but a bassy bottom at others – so that the group manage to hit some even more righteous moments than before. Tunes are great, too – with some killer originals by Phil Hurtt – and the whole set's a no-filler gem that's kept us coming back for years! Titles include "Some Guys Have All The Luck", "Hold On (Just A Little Bit Longer)", "All Strung Out On You", "Stay With Me", "That's The Way She Is", and "We're Just Trying To Make It".

One of the best things to ever happen to The Persuaders – a wonderfully rich album that has the group still sparkling strongly, long after their early hits! The harmonies are wonderful – very much on par with the bigger names at Philly International at the time – and recorded with sweet Sigma Sound production, and arrangements by Tony (not Thom) Bell that are a perfect blend of sweet and soulful – strings at some points, but a bassy bottom at others – so that the group manage to hit some even more righteous moments than before. Tunes are great, too – with some killer originals by Phil Hurtt – and the whole set's a no-filler gem that's kept us coming back for years! Titles include "Some Guys Have All The Luck", "Hold On (Just A Little Bit Longer)", "All Strung Out On You", "Stay With Me", "That's The Way She Is", and "We're Just Trying To Make It".

The second album by this sublime 70s soul harmony group – and a real treasure trove of under-discovered soul numbers all the way through! Most tracks are written by group member Bobby Poindexter – making for a fresh, unified batch of tunes – handled by the quartet in a style that's even more mature than their previous work – really hitting some heights that should have made them huge! Yet despite that lack of fame to score again with the same big hit as "Thin Line" from their debut – or maybe because of it – the record's a great fresh discovery – the kind of treasure you'll love if you dig east coast group soul as much as we do – especially work along the Philly/New Jersey side of the spectrum. Titles include "Peace In The Valley Of Love", "Bad Bold & Beautiful Girl", "Love Goes Good When Things Go Bad", "What Is The Definition Of Love", and "Trying Girls Out".

A great bit of soul from Clarence Reid – otherwise known as Blowfly – and a key album in the Miami scene at the end of the 60s! Clarence is working here in a very classic Atlantic records style of soul – with all the rootsy southern elements of the previous southern work at Memphis and Muscle Shoals, but handled with a well-produced sound that has elements of New York Atlantic. Most of the album's in a tight funky soul mode – with bits of Sly Stone or Charles Wright showing up a lot on the grooves – and cuts include the single "Nobody But You Babe", plus "Doggone It", "Get Back", "Tear You A New Heart", "Fools Are Not Born", and "Send Me Back My Money". There's also a goofy photo on the front – proving that Clarence Reid was better off behind a mask as Blowfly!

A great bit of soul from Clarence Reid – otherwise known as Blowfly – and a key album in the Miami scene at the end of the 60s! Clarence is working here in a very classic Atlantic records style of soul – with all the rootsy southern elements of the previous southern work at Memphis and Muscle Shoals, but handled with a well-produced sound that has elements of New York Atlantic. Most of the album's in a tight funky soul mode – with bits of Sly Stone or Charles Wright showing up a lot on the grooves – and cuts include the single "Nobody But You Babe", plus "Doggone It", "Get Back", "Tear You A New Heart", "Fools Are Not Born", and "Send Me Back My Money". There's also a goofy photo on the front – proving that Clarence Reid was better off behind a mask as Blowfly!

A sweet early album from Sister Sledge – a great transformation of an earlier girl soul sound into a fuller, more mature disco mode for the 70s – all served up with a freshness that's quite appealing if you only know their later hits! Production is by Tony Silvester and Bert De Coteaux – and the style is very much in the Philly mode of the time (even though the album was recorded in New York) – a full sound on the more upbeat numbers, but a warm and gentle approach on the mellower numbers – especially some of the great harmony tracks that really stand out in the set! Most titles were co-written by Gwen Guthrie and Patric Grant – but the album also includes tunes by Patrick Adams and Thom Bell & Linda Creed too. Titles include "Circle Of Love", "Give In To Love", "Cross My Heart", "Love Don't You Go Through No Changes On Me", "Don't You Miss Him Now", "Pain Reliever", and "Fireman".

A great little record – and perhaps the most soulful outing by this white rock band with a great talent for crossing over! The record was partially produced by Gamble & Huff, and partially produced by Rick Hall at Fame Studios in Muscle Shoals – and it's a wonderful blend of the two styles that these massive forces in soul music were laying down at the time. Gamble & Huff retain the group's sweet post-harmony combo "Expressway To Your Heart" sound forged on their first album, and Rick Hall gives the band a funkier rawer sound that has them giving up a few nice funky moments. Titles include "Darkness", "Turn Out My Fire", "We Got A Job To Do", "Tell Daddy", "Go Out Walkin", and a nice cover of Calvin Arnold's "Funky Way To Treat Somebody".

An excellent group from the 70s East Coast scene – one with a heavy harmony sound that should have made them huge! The record was cut during the prime early days of the Sigma Sound Studios – and the record features arrangements by Philly greats like Norman Harris, Ronnie Baker, and Vince Montana – all working here in a mode that's similar to that applied to The Spinners after they made their move to Atlantic, but with a bit more edge. Yet it's the vocal harmonies that really take the cake – as they mix together deep-rooted Temptations-esque righteous vocals with sweeter harmonies in the New Jersey falsetto mode – a perfect blend that's carried off with a great deal of power here! The style is very compelling, and great on just about every cut – and titles include "Society", "That Was Yesterday", "It Really Hurts", "Look At All The Lonely People", and the great cut "Whispers".

One of the greatest moments ever from Dee Dee Warwick – and a set that definitely shows her to be one of the more soulful members of her famous family! The set's got a much deeper soul sound than some of Dee Dee's other material – as Atlantic has Warwick working down at Criteria Studios, with production by Dave Crawford – in a mode that's steeped in previous southern soul styles from Memphis and Muscle Shoals! In a way, Atlantic was probably hoping to do to Dee Dee what they did to Aretha Franklin – take an already competent, sophisticated soul singer, and give her a deep soul sound that really pushes the boundaries. And in this case, the session actually works, and works great – thanks in part to The Sweet Inspirations, who back up Dee Dee in the same way they backed up Aretha – supporting her strong lead with some wonderful harmonies. Titles include "I Ain't Got To Love Nobody Else", "If This Was The Last Song", "I'm Glad I'm A Woman", "Who Will The Next Fool Be", and a great southern soul version of "More Today Than Yesterday".

Blue Magic getting a bit bolder than before – adding in some heavier funk that takes them past the mellow moments of their earliest years – yet still serving up some great harmonies in the process! The change is a subtle one – heard on some of the album's more hard-grooving tracks, which also bring in some full arrangements that echo the trippy feel of the cover – yet which still always respect that slight heartbreaking undercurrent of the group's great vocals, thanks to arrangements from Bobby Eli! Just about every moment from Blue Magic is totally great, and this album is no exception – with titles that include "Freak N Stein", "Mother Funk", "To Get Love", "See The Bedroom", "Summer Snow", "Making Love To A Memory", and "Spark Of Love".

Plenty of Impact from this great Philly group – a soaring quartet who harmonize with some great Bobby Eli arrangements – at a level that shines as strongly as the best 70s work by Blue Magic or The Spinners! Impact never broke the big time as strongly, but they're a great group in the best 70s Philly mode – rooted in an older harmony style, but able to really take off with some sweet Sigma Sound styles – the sort of balance that few other groups managed to handle this well. The quartet features Damon Harris, who sang with the Temptations after Eddie Kendricks left in 1971 – and the group is a re-formation of The Young Vandals, who recorded briefly on T-Neck before Harris left for the Temps. Titles include "Happy Man", "Give A Broken Heart A Break", "Love Attack", "It Only Happens In the Movies", and "Winning Combination".

Some of the last recordings ever made by Otis Redding – produced by Steve Cropper in mid 1967, but not issued by Atlantic until after Otis' tragic early death! The style of the tracks is very much in keeping with Redding's classic Stax work – and it seems that even more of the tunes on the set are original numbers, showing Otis' growing songwriting skills at the time, and making us wonder even more what might have happened if he'd stayed with us a bit longer. Titles include the single "The Happy Song", plus "Thousand Miles Away", "I've Got Dreams To Remember", "You Made A Man Out Of Me", "Think About It", "A Waste Of Time", "Champagne & Wine", "A Fool For You", and the killer funky number "Hard To Handle"!

One of Otis Redding's greatest LPs! Unlike some of his others – which either had some filler, some gimmicks, or were collections of material released after his death – this one is a totally solid batch of southern soul tracks that ranks with some of the best work to come out of Memphis during the 60s. The record features some real gems – originals by Redding like "Hey Hey Baby", "Security", "These Arms Of Mine", "Something Is Worrying Me", and "That's What My Heart Needs" – plus some great covers, like "The Dog", "Pain In My Heart", and "I Need Your Lovin".

A classic full-length album from The Coasters – one of the few the group ever cut for Atlantic Records – and a perfect illustration of everything that made them so great! Almost every cut here was penned by the team of Jerry Lieber & Mike Stoller – who were also working with the group in the studio, and giving this amazingly pyrotechnic approach to group harmony – one that moved way past the simple street corner modes of a few years before, and which brought all sorts of sinister and sharp changes to their music! The vocals come across with plenty of soul, and also a huge amount of dexterity and wit as well – so much so that just about nobody else could make these tunes shine so well as The Coasters on these vintage recordings. Titles include "Young Blood", "Searchin", "Lola", "I Must Be Dreamin", "One Kiss Led To Another", "Riot In Cell Block # 9", "Framed", "Smokey Joe's Cafe", "Turtle Dovin'", "Framed", and "Down In Mexico".

Dr. John's second record, cut back in the days when there was a lot more freakiness to his bag – as you'll notice by his eyeballs in the photo on the back cover! The tracks are wild, funky, and messed-up New Orleans R&B filtered through a heavy dose of psychedelics – a unique little mix that countless others copied in later years, but which John did better than anyone else! Harold Battiste produced and arranged – and tracks include "Mama Roux", "Croker Courtbullion", "Gris Gris Gumbo Ya Ya", and the original version of "I Walk On Guilded Splinters".

Mac really steps out on this one – pushing past his usual hip studio take on New Orleans soul, to a more expansive style that includes performances by a host of surprise guests like Mick Jagger, Eric Clapton, PP Arnold, Graham Bond, and Doris Troy. That loping, trippy groove of John's is still firmly in place, shifted slightly – kind of a New Orleans meets post 60s London style. There's also a really unique, kind of mellow Cajun folk blues thing going on, and it balances a lot of really disparate elements in a fairly unified feel. It's sort of like Captain Beefheart playing lounge piano in a swamp – an ambitious style that you really have to respect and appreciate. Titles include "Craney Crow", "Black John The Conqueror", "Zu Zu Mamou", and "Pots On Fiyo" "Where Ya At Mule", "Familiar Reality", and more.

Landmark stuff, and a beautiful album that mixes soulful tracks with Donny's nascent jazz sensibility! The set's a key chapter in the history of soul music – a record that has Donny emerging from shadows of the Chicago studio scene to become one of the most promising soul artists of the 70s. The album was recorded in Chicago, with a host of great players that had been gigging for years in the Chess studios – and the record is the rich culmination of talents that had been brewing in the Windy City for years. Includes the monster hit "The Ghetto" – one of Donny's best-known tracks and a rollicking funky number – in a full extended version with a good instrumental breakdown. Also features a remake of "Voices Inside (Everything Is Everything)", which shows Donny's strong ties to the Earth, Wind, & Fire organization – plus moody spiritual numbers like "I Believe To My Soul", "Thank You Master", and "To Be Young, Gifted, and Black".

Plenty of Impact from this great Philly group – a soaring quartet who harmonize with some great Bobby Eli arrangements – at a level that shines as strongly as the best 70s work by Blue Magic or The Spinners! Impact never broke the big time as strongly, but they're a great group in the best 70s Philly mode – rooted in an older harmony style, but able to really take off with some sweet Sigma Sound styles – the sort of balance that few other groups managed to handle this well. The quartet features Damon Harris, who sang with the Temptations after Eddie Kendricks left in 1971 – and the group is a re-formation of The Young Vandals, who recorded briefly on T-Neck before Harris left for the Temps. Titles include "Happy Man", "Give A Broken Heart A Break", "Love Attack", "It Only Happens In the Movies", and "Winning Combination".

One of the all-time soul classics from Atlantic – the fantastic debut of singer Arthur Conley, introduced as a protege of Otis Redding, who also produced the record! The sound is similar to Otis' own work, but often a fair bit rawer – and Redding works here with both Jim Stewart of Stax and Rick Hall of Fame Studios, ensuring that the album has equal doses of Memphis and Muscle Shoals in the mix! Otis also wrote some great tracks for the album, along with Conley and the legendary Dan Penn – and although the title track is Conley's huge single "Sweet Soul Music", the album is filled with loads of other great original tracks, including "Who's Foolin' Who", "There's A Place For Us", "Wholesale Love", "I'm Gonna Forget About You", and "Let Nothing Separate Us".

A tasty set that compiles tracks from Donny's three albums on Atco, plus a single, and two tracks from his work with Roberta Flack. The latter includes successful AOR ballads "You've Got A Friend" and "Where Is The Love", and Donny album cuts include "The Ghetto", "Valdez In The Country", and "Giving Up". Also includes the excellent holiday tune "This Christmas", which was only ever issued as a 45, for a total of 9 numbers in all, this set also includes "You Were Meant For Me", "A Song For You", "Someday We'll All Be Free" and "Giving Up"

One of the best albums ever by this legendary Chicago soul star! The album's masterful blend of spiritual soul tracks that plumb the depths of Donny's dark soul – done with a level of sophistication that you won't hear in other soul albums from the time! Classic cuts include "A Song For You", "She is My Lady", "Giving Up", and "Take a Love Song" – plus versions of "Put Your Hand In The Hand" and "He Ain't Heavy, He's My Brother". The record also includes the great funky cut "Magnificent Sanctuary Band", which has some nice haaaard drums at the beginning, and which has been sampled who knows how many times!

Previously unreleased Donny Hathaway at Atlantic! A cover of Addrissi & Addrissi’s "Never My Love" plus the Hathaway original "Memories Of Love".

A late 60s southern soul gem from then 14-year-old belter Betty Wright – her early singles for the Alston label that eventually became her debut album for Atlantic! Clarence Reid wrote most of the tracks, with arrangements and production handled by Steve Alaimo's Marlin Productions. It's done in the raw southern soul style which made that organization's name at the time – and Betty carries that groove incredibly well – as well as a woman of any age group! Essential! Cuts include "I'm Thankful", "The Best Girls Can't Always Win", "Girls Can't Do What the Guys Do", "I'm Going To Hate Myself In The Morning", "I Can't Stop My Heart", He's Bad, Bad, Bad", "Funny How Love Grows Cold", the incredible "Cry Like a Baby", "Circle Of Heartbreak", "Just You" and more!

A great batch of harmony vocal tracks – nearly all of them with an upbeat, kind of silly approach – similar to The Coasters at their best! The Olympics owed a lot to the late 50s Atco recordings The Coasters did with Lieber & Stoller – and they had a similar tight-lipped approach, with lots of vocal tricks, and a set of song themes that runs through the dregs of pop culture of the time – titles like "The Slop", "Little Pedro", and "Private Eye". Other tracks include "Baby Hully Gully (parts 1 & 2)", "Dance By The Light Of The Moon", and "Big Boy Pete". The Marathons were actually The Vibrations – recording under another name, to showcase their more novelty type numbers – again like The Coasters, and also a bit like The Cadillacs. Titles by them include "Oink Jones", "Chicken Spaceman", "Tight Sweater", "Peanut Butter", and "Talkin Trash".

Not necessarily a complete "history" of the man – but a classic "best of" compilation that includes some of his greatest tracks ever! Titles include "Security", "Mr Pitiful", "I've Been Loving You Too Long", "Try A Little Tenderness", "Shake", "My Lover's Prayer", "Pain In My Heart", and "These Arms Of Mine".

Raw southern soul from Hermon Hitson – a howler in the tradition of Wilson Pickett, Otis Redding, Otis Clay and Bobby Bland! This collection of singles originally cut for Atco, Minit and other smaller labels is bit of a sprawl – from the early 60s on through the mid 70s – which is great, because it gives you a real feel for Hitson's depth! The earlier tracks rock in the Pickett, Bland school of invigorating soul shouters, but as the years progressed Hitson adapted with some occasional ballads and strains of funk – all of it compellingly raw! 21 tracks in all: "You Are Too Much For The Human Heart", "I Got That Will", "Show Me Some Sign", "Bad Girl", "Georgia Grind". "Why Is It Taking So Long", "Where Can I Find My Baby", "Please", "Been So Long", "Sweeter", "A Dream I Had (I Love Her)", "They Kept On Laughin'" and more – including a few unreleased gems!

Funky nuggets from a vastly under-tapped source – the mighty holdings of Warner Music, which include some great funky singles from Atlantic, Atco, and Reprise – as well as even deeper gems on a batch of obscure labels like Kwanza and Clintone! The package is totally great – with a heavy, hard edge that goes way past the more famous soul tunes on Atlantic – into the deeper funky territory normally reserved for smaller indie labels at the time. A few tracks on here are by well-known acts, but there's a lot more that aren't – and this all-legit, well-noted collection kicks it far better than any old dodgy funky 45 set! 25 fantastic cuts in all, including "Improve" by Darrow Fletcher, "I'm Just Like You" by 6ix, "Rise Up" by The Commodores (pre-Motown!), "Help Me Make Up My Mind" by Joyce Jones, "Do The Funky Boogaloo (part 1)" by Barry Jones, "Mashed Potato Popcorn" by Freddie & The Kinfolk, "Get In The Groove" by The Mighty Hannibal, "Funky John" by Johnny Cameron & The Camerons, "The Memphis Train" by Rufus Thomas, "I'm On The Move" by Bobby Byrd, "Whatever's Fair" by Mark Holder & The Positives, "Hang On In There" by Stovall Sisters, "Won't Nobody Listen" by Black Haze Express, and "Your Love Is Certified" by Rasputin's Stash.

Massively beautiful work from the great Donny Hathaway! After two studio albums that had firmly put him on the map as one of the 70s best soul talents, Atco had the genius to have Donny record this live album before very enthusiastic crowds in Hollywood and New York. The result is one of the best soul albums ever – one that shows a totally different side of Donny, and which has him jamming with a smaller, hipper, jazz-oriented group in long versions of some of his best tracks. Features a massive 12 minute version of "The Ghetto", which has loads of excellent instrumental breakdowns, a 13 minute version of "Voices Inside (Everything Is Everything)", a superior version of the track "Little Ghetto Boy", which was only ever on a soundtrack, and covers of "What's Going On" and "Jealous Guy" that really transform them from the original versions. Very similar to the classic Curtis Mayfield 2LP live set on Curtom – and with a similar "Chicago studio soulster goes jazzy and intimate" feel.