Soul — All Formats  

We don't know much about CM Lord, and this record's the only one we've ever seen from her, but she's got a nice deep soul voice, and the record's a great mix of southern-styled vocals and smoother LA backing. There's some slight country soul tinges to the cuts, but the best parts of the album feature CM opening up in a strong deep soul mode that's a bit like Doris Duke or Candi Staton. All the tracks are originals, and titles include "Steal Your Love Away", "Moody Woman", "The Peace", "Lovin' You Is So Easy", and "All I Need Is Your Sweet Love".

One of Capitol's biggest soul bands of the 70s – and a strong sweet group who made the shift from mellow soul to the disco years. Includes the band's massive "Heaven Must Be Missing An Angel", but we prefer their mellower stuff – like their sublime version of "She's Gone", "It Only Takes A Minute", and "The Love I Never Had". 16 songs total!

Smooth and soulful club from the mighty Capitol Records – one of the few major labels to really understand a groove at the end of the 70s! The 2CD package is a wonderful tribute to the hipper soul coming out of Capitol at the time – a set that features some hits, some album tracks, and a fair bit of rarities that we've never seen on CD before – some lesser-known club cuts that sit beautifully here next to the bigger names in the collection. But big or small, the artists here are all pretty darn great – much more soul artists heading for the clubs in the late 70s than quickie disco acts just looking for a buck. The collection features 31 tracks in all – including a few non-Capitol cuts – with tracks that include "A Little Bit Of Love" by Gentle Persuasion, "Expressway To Your Heart" by Margo Thunder, "Sophisticated Lady" by Natalie Cole, "Windstorm" by Gloria Jones, "One Thing On My Mind" by Evie Sands, "Surrender" by Barrett Strong, "Do It Good" by Taste Of Honey, "I'm Back For More" by Tavares, "Save Your Love For Me" by Donna Washington, "Conscience" by Sun, "Party In Me" by Gene Dunlap, "Our Love Is Insane" by Desmond Child, "I'm Going Through Changes Now" by Brown Sugar, "Southern Girl (live)" by Maze, "Adventures In Paradise" by Minnie Riperton, "Man Up In The Sky" by Barrett Strong, "Positive Forces" by Tavares, "Sixty Thrills A Minute" by Mystic Merlin, "Street Corner" by Ashford & Simpson, "We All Need Love" by Troiano, "Annie Mae" by Natalie Cole, "Don't Tie Me Down" by Brown Sugar, and "Ooh Child" by Charles Jackson.

Volume two of this excellent series which mixes fusion and modern soul from the Capitol/EMI 70's catalog. 15 excellent tracks, most of which we sell for a bundle in the original (when we can find them!). Includes "It's a Pleasure" by Sheree Brown, "Before You Break My Heart" by Gene Dunlap, "Inside My Love" by Minnie Riperton, "Beggar For the Blues" by Patti Drew, "Tidal Wave" by Ronnie Laws, "Theme for Relana" by Gene Harris, "Nightfall" by Stradavarious, and "Sunshower" by Alphonse Mouzon. Plus, the CD also includes two totally rare funk tracks: "Expressway to Your Heart" by Margo Thunder, and "Windy C" by 100% Pure Poison.

More than just a great overview of Lou Rawls' jazz work for Capitol Records – because the set also features 3 previously unissued numbers that Rawls recorded with the Curtis Amy Sextet! Those 3 tracks are almost worth the price of the album alone – as Amy's combo was one of the hippest on the LA scene of the time, and offers Lou a rare opportunity to sing in a more relaxed setting than some of his more tightly arranged big band numbers. But honestly, all the work here is pretty darn great – and even the already-issued tracks are tremendous – a great illustration of how Lou linked together jazz and blues during the 60s soul era – and came up with a classy, sophisticated groove that inspired many others in years to come! Arrangements are by Benny Carter, Onzy Matthews, and HB Barnum – and titles include "Nobody But Me", "How Long How Long Blues", "Blues For Weepers", "Something Stirring In My Soul", "I Wonder", "Let's Burn Down The Cornfield", "Old Folks", "Somebody Have Mercy", and "Why Do I Love You So" – as well as the 3 unissued numbers, "Fine & Mellow", "Mean Old World", and "Long Gone Blues".

A massive look at the mighty pairing of Cannonball Adderley and David Axelrod – a partnership that's way more than just jazz musician and producer! Axelrod's talents in the studio are many, but his greatest heights were possibly reached in collaboration with Cannonball – a relationship that spawned an amazing run of singles and albums that allowed the saxophonist to expand his music to amazing new levels, and touch audiences that few other jazz musicians could reach! Axelrod's sense of sound and timing are a perfect match for Cannonball's intrinsically funky approach to the saxophone – and no matter what the setting here, from big band to small combo, studio recordings to live date, high concept records to relaxed jazz sessions, there's an undeniable groove in the music that never lets up. The CD pulls together a very wide range of work from key Axelrod/Adderley Capitol recordings – and offers a double-length look at their pairing that's as soulful as it is essential. Titles include "The Black Messiah", "Space Spiritual", "Do Do Do", "Gone", "Ndolima", "Up & At It", "Hummin", "Make Your Own Temple", "Tensity", "Fun In The Church", "Khutsana", "Price You Got To Pay To Be Free", "Walk Tall", "Music You All", and "Dialogues For Jazz Quintet & Orchestra".

Dang, these guys could never miss! Even in later years, Ashford and Simpson were still going strong – working here in a wonderfully mellow style that's as soulful for the moment as their mid 70s groovers were for that time. The album's got a sweet modern style that's pretty much in the Capitol Rare sound of the time – a matured version of 70s soul, with wonderful depth and sophistication that really suits the pair well. Includes both the extended "Street Opera" suite and some shorter more straightforward tunes that include "Mighty Mighty Love", "Love It Away", "Make It Work Again", and "I'll Take The Whole World On". This remastered CD from Big Break UK has 3 bonus tracks: single versions of "Street Corner" and "Love It Away" a 12" long version of "Streeet Corner".

A fantastic bit of jazz funk fusion – and one of the landmark 70s albums produced by Larry Mizell! This is Gary Bartz's second (and most amazing) collaboration with Larry Mizell – a studio genius who could focus on the best talent of a jazz artist, then expand it using additional keyboards, percussion, and often a sweet bank of chorus vocals to give the tracks an extra soulful sound! By the time of this album, Larry had already worked to great fame with Donald Byrd, Bobbi Humphrey, and Johnny Hammond – and the record has him turning his talents towards Gary Bartz to unlock a whole hidden side of soulful expression that would never be matched again! The title cut – "Music Is My Sanctuary" – is a jazz fusion classic in anyone's book, and it features characteristic Mizell keyboards alongside Gary's soulful sax, augmented by a deep vocal chorus that's simply fantastic. Other highlights include "Carnaval De L'Esprit" and "Macaroni" – and the whole album's nice!

Heavy ballads from Peabo Bryson – a perfect sampling of the style he did so well back in the day, including a few of his famous duets with Roberta Flack and Natalie Cole as well! The set's overflowing with mellow jams from Peabo – the kind of laidback numbers that really helped him lock in his style, and help define a whole new level of maturity for the male voice in soul music. Titles include "What You Won't Do For Love", "Feel The Fire", "I'm So Into You", "Tonight I Celebrate My Love", "All My Love", "Show & Tell", "She's A Woman", "You're Looking Like Love To Me", and "Reaching For The Sky".

Great post-Parliafunkadelicment work from George Clinton – surely the biggest hit of his albums for Capitol – especially since it features the singles "Atomic Dog" and "Loopzilla"! We'll be honest in saying that at the time this one came out, as die-hard Detroit funk fans, we remember thinking "oh gosh, George has lost it" – but from the perspective of many years later, the record sure sounds like classic P-Funk to us – really picking up where the last few Funkadelic and Parliament albums left off! The album sports a great Pedro Bell cover, features some nice work with Bootsy, includes the hits "Atomic Dog" and "Loopzilla" – and also features some lesser-known gems that include "Pot Sharing Tots", "Get Dressed", "Computer Games", and "One Fun At A Time".

Loopzilla is from the same species as Atomic Dog – both of them funky enough animals, with post Parliament/Funkadelic P-Funk groove!

"Nubian Nut" is more of the Atomic Dog formula – kind of a popping bass groove that was the inherited legacy of P-funk that every other band was ripping off at the time, and rap-like vocals that George would probably never claim were rap! "Free Alterations" is the real charmer here – a sweet mellow soul track with a midtempo stepping groove, great harmony vocals, and a sound that's very different than any other Clinton tune we can think of!

A triple pack of early magic from Natalie Cole! Inseparable is Natalie's stunning debut for Capitol Records in the mid 70s – a real surprise, and a set that should have had the singer blossoming even more than she did at the time! As with some of the other Capitol soul sessions of the time, the album's done very firmly under the guidance of Charles Jackson and Marvin Yancey – a pair who give Natalie just the right sort of backing to launch her career – a sound that's full and rich, deeply sophisticated – but also still plenty soulful, almost in the mode of some of Minnie Riperton's work at the time. Given the pair's Chicago roots – and the arrangement help from Richard Evans – that comparison is no surprise, and Natalie rises to the occasion nicely. Titles are all originals too – and include "Needing You", "Joey", "I Can't Say No", "Something For Nothing", "I Love Him So Much", "You", "Your Face Stays On My Mind", and the huge hit "This Will Be". Next up is Natalie – a record that really has Natalie Cole finding her groove – not needing any help from her famous familial legacy, thank you – and instead stepping out with a tight, proud mode that really helped refine the sound of female soul in the 70s! The album's got plenty of influences from the Chicago soul scene – including songwriting and production from the team of Chuck Jackson and Marvin Yancy – and work from key session players like Richard Evans and Gene Barge, who worked in the Curtom Studios to craft the grooves on the set! Titles include "Keep Smiling", "Mr. Melody", "Heaven Is With You", "Can We Get Together", "Touch Me", "Hard To Get Along", and "Good Morning Heartache". Unpredictable is an album that reunites Natalie Cole with the smooth soul team of Chuck Jackson and Marvin Yancey – the team who did such a great job with Natalie's Capitol debut, and who really continue the groove here too! The album's got a rock-solid approach through and through – a quality that has Natalie really standing out on her own as a positive young artist in soul – without any need to nod towards her father, as in later years. And Jackson and Yancey bring a nice dose of Chicago soul class to the affair – which turns out to be a perfect match for Natalie's vocals! Titles include "Be Mine Tonight", "Party Lights", "This Heart", "I've Got Love On My Mind", and "Still In Love".

Great earlier stuff from Natalie Cole – actually her third great album in a row – a tremendous early creative and commerical winning streak for Natalie! Thankful has her sweet, soulful voice out from of prodcution by Chuck Jackson and Marvin Yancy of the Independents, and they give her a nice jazzy sound that made the record one of her best of the 70s. Richard Evans and Gene Barge arranged, which probably had something to do with that, too – but Natalie truly deserves most of the credit of the strength of this set. It includes the standout groovers "La Costa" and"Annie Mae", but the whole record is really sweet – with "Lovers", "Our Love", "Be Thankful", "Just Can't Stay Away" and "Keeping A Light".

A massively wonderful album from Dayton – an album that has the group really getting their groove together – still sticking a bit in the older funk mode from the past, but also bringing in some warmer, deeper touches to their music too! There's a solidness here that's undeniable – a balance of rhythms and instrumentation that few other soul groups of the time were hitting – topped by vocals that have a nice dose of jazz in the mix too, with the sort of sophistication you might expect to hear from some of Wayne Henderson's At Home productions. Production is nice and warm, never too cold or commercial – and titles include the group's great cut "The Sound Of Music" – not the theme from the Broadway show, but a great two-stepper that's instantly infectious – plus "Caught In The Middle", "It Must Be Love", "Promise Me", and "Lookin Up".

A massively wonderful album from Dayton – an album that has the group really getting their groove together – still sticking a bit in the older funk mode from the past, but also bringing in some warmer, deeper touches to their music too! There's a solidness here that's undeniable – a balance of rhythms and instrumentation that few other soul groups of the time were hitting – topped by vocals that have a nice dose of jazz in the mix too, with the sort of sophistication you might expect to hear from some of Wayne Henderson's At Home productions. Production is nice and warm, never too cold or commercial – and titles include the group's great cut "The Sound Of Music" – not the theme from the Broadway show, but a great two-stepper that's instantly infectious – plus "Caught In The Middle", "It Must Be Love", "Promise Me", and "Lookin Up".

A massively wonderful album from Dayton – an album that has the group really getting their groove together – still sticking a bit in the older funk mode from the past, but also bringing in some warmer, deeper touches to their music too! There's a solidness here that's undeniable – a balance of rhythms and instrumentation that few other soul groups of the time were hitting – topped by vocals that have a nice dose of jazz in the mix too, with the sort of sophistication you might expect to hear from some of Wayne Henderson's At Home productions. Production is nice and warm, never too cold or commercial – and titles include the group's great cut "The Sound Of Music" – not the theme from the Broadway show, but a great two-stepper that's instantly infectious – plus "Caught In The Middle", "It Must Be Love", "Promise Me", and "Lookin Up".

Sweet Chicago soul from this ex-lead singer of the Drew-Vels! The tracks are arranged and conducted by Phil Wright, and they have a pretty nice groovy soul feel – in the Capitol mode of the late 60s. The record's got a fair number of covers, like "I, Who Have Nothing", "What the World Needs Now", and "Midnight Confessions" – but there's also a lot of good soul cuts, too, like the title cut "I've Been Here All The Time", "Just Can't Forget About You", and Patti's great version of "Hard to Handle"!

A classic doo wop side, but perhaps more famous for the hard to get cover of the first edition, than the music, even though the grooves are about as great as you can get, whether it's smooth ballads or more up tempo rocking numbers! A dozen numbers in all, including "Just For A Thrill","Who Do You Know In Heaven", "Maybe You'll Be There","Tiger Lily", "C'Est La Vie", "Dream", "Let There Be You", "All I Need IS You", "The Gypsy", "From The Bottom Of My Heart", "To Each His Own" and "Boom-Boom".

An 80s groove classic – and a killer bit of Captiol Records soul from High fashion! Of all US major labels, Capitol was probably putting out the best soul in the early 80s – and this is a tight modern batch of up-tempo tracks, right up there with other contemporary classics on the label, like work by BB&Q Band, Taste Of Honey, and TS Monk! The tunes all manage to have a great groove without sounding cheesy – thanks to some nice jazzy touches in the arrangements, good hooks in the songs, and some great soulful vocals. Very, very nice – and nearly every cut's a winner! Tracks include "Feelin Lucky Lately", "Next To You", "Hold On", "When The Lover Strikes", "I Want To Be Your Everything", and "You're the Winner".

An 80s groove classic – and a killer bit of Captiol Records soul from High fashion! Of all US major labels, Capitol was probably putting out the best soul in the early 80s – and this is a tight modern batch of up-tempo tracks, right up there with other contemporary classics on the label, like work by BB&Q Band, Taste Of Honey, and TS Monk! The tunes all manage to have a great groove without sounding cheesy – thanks to some nice jazzy touches in the arrangements, good hooks in the songs, and some great soulful vocals. Very, very nice – and nearly every cut's a winner! Tracks include "Feelin Lucky Lately", "Next To You", "Hold On", "When The Lover Strikes", "I Want To Be Your Everything", and "You're the Winner".

One of the greatest new male soul voices of the 80s – served up here in a beautiful batch of ballads, love songs, and mellow cuts! Freddie Jackson could number plenty of groovers amongst his hits, but he also always seemed most at home with a ballad – where the complexities of his vocal approach usually hit their height, and his confidence was always well-placed! This set features a dozen great reminders of Jackson at his best – titles that include "You Are My Lady", "Rock Me Tonight", "Hey Lover", "You & I Got A Thang", "Love Me Down", "Main Course", "Do Me Again", "I Could Use A Little Love", "Have You Ever Loved Somebody", and "Love Is Just A Touch Away".

Surprisingly enjoyable record in which King Curtis runs through a number of C&W favorites, and turns them into R&B sax instrumentals. The album shows what a clear link there was between the two musical traditions, and includes classics like "Night Train To Memphis", "You're Cheatin Heart", "High Noon", "I'm Movin' On", and "Walkin The Floor Over You".

A pair of classics from Ronnie Laws – back to back on a single CD! On Mr Nice Guy, Laws really makes a big move into the soul field – quite a big record for him back in the day, and a set that helped him reach an even wider audience at the time! Ronnie sings as much as playing sax on the set – and he also handles a fair bit of keyboards too – often laid down alongside the beats with a snapping 80s groove sort of feel – a sound that's just right for the jazzy flourishes you'd expect from Laws, but much more soul-styled than before! Laws' vocals have a lightness that really works well with the instrumentation – a catchy charm we wouldn't have expected a few years before. Tracks include "In The Groove", "Mr Nice Guy", "Big Stars", "Can't Save Tomorrow", "What Does It Take", "Off & On Again", and "Rolling". Classic Masters features the best of Ronnie Laws' 70s material, plus a few new tracks as well – an album that definitely lives up to its title! The music is awash in both jazz and soul modes – jazz, thanks to Ronnie's well-played solos, which soar out in an amazing blend of new ideas and on-the-money groove – and soul, with production that really helped Laws cross over to big audiences at the time – a blend that's like the best Blue Note jazz funk of the mid 70s! The new cuts include "City Girl" and "(You Are) Paradise" – and some of the classics include Wayne Henderson-produced gems, like "Friends and Strangers", "Saturday Evening", and the big big hit "Always There".

A 60s LP that compiles Julia's earlier sides for Capitol – a mixture of jump blues, swing, and R&B, recorded with players that include Red Norvo, Benny Carter, Vic Dickenson, and Baby Lovett. Titles include "Last Call For Alcohol", "After Hours Waltz", "King Size Papa", "Snatch It & Grab It", "You Ain't Got It No More", and "Crazy World".

A 50s LP that compiles Julia's earlier singles for Capitol – a mixture of jump blues and early R&B, done with some nice jazzy touches that give the tracks a Kansas City groove. Titles include "Last Call For Alcohol", "I Was Wrong", "Tell Me Daddy", "Ain't It a Crime", "King Size Papa", and "Snatch & Grab It".

A funky fusion classic – and quite possibly Bobby Lyle's most perfectly realized album! The set was Bobby's first full US outing, and it's filled with soaring, riffing keyboards that stretch out into territory explored a few years before by Johnny Hammond and Lonnie Liston Smith! The real difference, though, is the album's sweet soulful production from Wayne Henderson – who hooks in the best bits of Bobby's sound, and fuses them with a modern soul-styled groove that creates the same blend of jazz and R&B that you'd get on some of Eddie Henderson's best records from the time, or some of the best Ronnie Foster work on Columbia from a few years later. Bobby's keyboards are capable of hitting both a soulful groove and a deep jazzy vibe – and the record's got a rich palette of tunes that never fail to amaze us! Titles include "Mother Nile", "You Think Of Her", "The Genie", "Pisces", "Magic Ride" and "Night Breeze".

A funky fusion classic – and quite possibly Bobby Lyle's most perfectly realized album! The set was Bobby's first full US outing, and it's filled with soaring, riffing keyboards that stretch out into territory explored a few years before by Johnny Hammond and Lonnie Liston Smith! The real difference, though, is the album's sweet soulful production from Wayne Henderson – who hooks in the best bits of Bobby's sound, and fuses them with a modern soul-styled groove that creates the same blend of jazz and R&B that you'd get on some of Eddie Henderson's best records from the time, or some of the best Ronnie Foster work on Columbia from a few years later. Bobby's keyboards are capable of hitting both a soulful groove and a deep jazzy vibe – and the record's got a rich palette of tunes that never fail to amaze us! Titles include "Mother Nile", "You Think Of Her", "The Genie", "Pisces", "Magic Ride" and "Night Breeze".

A wonderful record by Bobby Lyle – and a genius blend of jazz, soul, and lots of other righteous sounds! Lyle started out as a keyboardist, but this album really has him taking off as a vocalist too – working in a sweet Roy Ayers-styled groove – one that blends mellow rhythms with warmly jazzy inflections – with roots in fusion, yet a tighter soul finish overall! Lyle's still got a few keyboard flights – of the sort heard on The Genie – but with Wayne Henderson at the production helm, things are a bit tighter overall – given a really wonderful focus that makes Bobby sound better than ever. Titles include the great funky number "Groove (Ain't No Doubt About It)", the warm stepper "Good Inside", and cool keyboard grooves like "Star Traveler", "Missing Your Love", and "Inner Space".

A stone classic from Bobby Lyle – and a record that really has him stepping out strongly, both as a keyboardist and a singer! Bobby's strength at this point is undeniable – and he's got a perfect sense of balance that rivals contemporaries like Roy Ayers or Webster Lewis – both of whom work in a similarly jazzy groove! Lyle plays some great Fender Rhodes on the set – plus other more way-out keyboards too – and production is by the At-Home team, who really know how to bring in a strong sense of focus to the grooves, while still letting the best jazzy elements flourish. Titles include "Space Place", "Stop Running Away From Love", "Getting Into Love", "Dream Lady", "Stop Running Away From Love", and "For Love".

It's always a sign of how huge Frankie Beverly was during the 80s that Capitol let him cut not one, but two double live albums during the early part of the decade. This one, his first, has the band grooving wonderfully before a crowd going mad in New Orleans. The tracks retain all the charm of the studio renditions – and are stretched out a bit more, with some nice interplay with the crowd. Includes early Maze classics – like "Southern Girl", "Look At California", and the big sample track "Joy & Pain".

It's always a sign of how huge Frankie Beverly was during the 80s that Capitol let him cut not one, but two double live albums during the early part of the decade. This one, his first, has the band grooving wonderfully before a crowd going mad in New Orleans. The tracks retain all the charm of the studio renditions – and are stretched out a bit more, with some nice interplay with the crowd. Includes early Maze classics – like "Happy Feelins", "Southern Girl", "Look At California", and the big sample track "Joy & Pain".

Great stuff from this famous Philly team – not nearly as well-known as their work on Philly International, but a strong batch of modern soul tunes and 80s groover that stands with the other excellent work coming out on Capitol at the time. McFadden & Whitehead wrote, arranged, and produced the whole album – and even though the instrumentation's smoother than on other albums, their vocals are impeccable, with a deeper soul quality than we ever remember them having! There's some great mellow steppers on the album, as well as a few midtempo groovers – and overall, the record may well be their most coherent album. Titles include "Not With Me", "Are You Lonely", "Without You", "Movin On", "Trying To Get Back (To The Love I Lost)", "The Best Of Me", and "Everything I Do".

A masterpiece from SF rocker Steve Miller – and a perfect summation of the years of blues, soul, funk, and rock he'd been soaking up in the Bay Area scene! The album crossed over instantly with the massive cut "Fly Like An Eagle" – already great on its own, but supported here with the massive "Space Intro", which adds an extra minute of cool electronics to the tune. Other great cuts include the amazing funky rocker "Take The Money And Run", plus "The Window", "Mercury Blues", and "Dance, Dance, Dance".

A Capitol classic from Meli'sa Morgan – filled with sweet 80s grooves, and delivered with a style that's nicely lighter than some of her contemporaries! Morgan can still manage a nice hook when she wants, but the album's also got her working as a richer soul artist overall – eschewing the obvious chart territory of other 80s female singers, and stepping back to hit some great midtempo modes that really let her open up with amazing vocals! The mode's almost a female take on the quiet storm style at its best moments – and titles include "Now Or Never", "Lies", "Fool's Paradise", "Heart Breaking Decision", "Do You Still Love Me", and "I'll Give It When I Want It". CD features lots of bonus tracks – including "Do Me Baby (US 12" single)", "Do Me Baby (interlude – inst)", "Deeper Love (ext rmx)", "Deeper Love (dub)", "Fool's Paradise (paradise mix)", "Fool's Paradise (single)", and "Getting To Know You Better (12" mix)".

Meli'sa Morgan doing what she does best – pushing the envelope for mainstream soul, but often in really subtle ways! There's a majestic sweep to these tunes that's a real surprise – a class and care that takes Morgan's music past some of her poppier contemporaries, and which always brings a little something extra to the table – maybe a bit of jazz inflection to the vocals at points, or some deeper lines that really help send a lyric home! And although the production is relatively commercial, the end result is a lot richer, too – thanks to work in the studio from Kashif and Lesette Wilson – both of whom leave their mark on the set. Titles include "Love Changes", a duet with Kashif – plus "You're All I Got", "Good Love", "If You Can Do It I Can Too", "Here Comes The Night", "Just For Your Touch", and "I Still Think About You". CD features lots of bonus tracks – including "If You Can Do It I Can Too (club house mix)", "If You Can Do It I Can Too (dub)", "Good Love (ext rmx)", "Good Love (rmx edit)", "Here Comes The Night (special club opus)", and "Here Comes The Night (special club opus 12")".

A great record by east coast funky soul group Mystic Merlin – and a diverse one, with some jazzy uptempo club tracks, and others on the funkier edge of that style – excellent work from this oft-overlooked band on Capitol! There's a bit of that nice, smoothed out group soul sound that Capitol was hitting so well at the beginning of the 80s, but the band does it their own way – which includes a more searing, funkier sound on a few tunes! Titles include "Just Can't Give You Up", "Dark Side Of Your Love", "Dreams", "Burned To Learn", and "Don't You Want To Be A Star". 4 bonus tracks on this Big Break CD edition: "Burned To Learn (Single Version)", "Got To Make The Best (Of A Love Situation)" (12" Disco Version)", "Just Can't Give You Up (Single Version)" and "Can't Stop Dancing (No Matter What I Do (Single Version)".

A standout classic from one of the all-time overlooked greats – the sublime Mystic Merlin, a group who cut a handful of killers in the early 80s! The group's biggest claim to fame is a young Freddie Jackson on vocals – but they're honestly much more an ensemble act than a backup for a lead star – and have this wonderfully-crafted blend of soul, jazz, and funk that never lets up – a really sophisticated groove, yet one that still knows how to be straight ahead and funky too! This classic set is wonderful all the way through – far from cliche, and head and shoulders above most of their contemporaries – with a wonderful array of grooves that includes the killer cut "Mr Magician", plus "Your Love", "Rock The World", "Full Moon", "Back To Zero", "Mindreader", and "Love Is What You Need".

A standout classic from one of the all-time overlooked greats – the sublime Mystic Merlin, a group who cut a handful of killers in the early 80s! The group's biggest claim to fame is a young Freddie Jackson on vocals – but they're honestly much more an ensemble act than a backup for a lead star – and have this wonderfully-crafted blend of soul, jazz, and funk that never lets up – a really sophisticated groove, yet one that still knows how to be straight ahead and funky too! This classic set is wonderful all the way through – far from cliche, and head and shoulders above most of their contemporaries – with a wonderful array of grooves that includes the killer cut "Mr Magician", plus "Your Love", "Rock The World", "Full Moon", "Back To Zero", "Mindreader", and "Love Is What You Need". CD features a bonus single version of "Mr Magician".

Mellow O'Jays galore – a great set of some of the group's more mature ballads from later years – served up with a harmony sound that's mighty darn nice! The trio really sparkle here – taking on subjects with the all-adult approach that made them last a lot longer than most of their Philly contemporaries – really sounding wonderful here on slow jams that include "Serious Hold On Me", "Emotionally Yours", "Closer To You", "Rainbow", "Fading", "If I Find Love Again", "Somebody Else Will", "Keep On Lovin Me", and "Don't Let Me Down".

A wonderful chapter in the career of Freda Payne – a gem of a set recorded for Capitol – and put together a sweet modern soul groove, thanks to tight production work from the legendary Skip Skarborough! Skip's getting a bit of help here from David Crawford on arrangements, who brings in some of the styles he was using on Candi Staton's clubbier work of the time – including an undercurrent of deep soul that really respects the lead vocals – but the overall style is more in the sophisticated midtempo mode that made so much of Scarborough's work so great – an approach that really works well for Freda's vocals in the years after her earlier pop hits, and helps give her sort of a newfound majesty. Titles include "Pullin Back", "Tell Me Please", "Just The Thought Of You", "Storybook Romance", "Livin For The Beat", and "Falling In Love". CD features a bonus single mix of "Happy Days Are Here Again/Happy Music".

A pretty great little live set – recorded in Central Park in the late 60s, before a very large crowd! Lou sounds great, as always – and the Ramsey Lewis material is very much in the spirit of the live mid 60s Cadet recordings. Maxine Brown is the real treat, though, as the live setting is quite a contrast to her more staid sides for Wand. Maxine sings "In The Midnight Hour" and "Soul Serenade", Lou Sings "They Don't Give Medals", "Tobacco Road", and "On Broadway", and Ramsey plays "Salute To Ray Charles", "Hang On Sloopy", and "Goin Out Of My Head".

The first full length from Rene & Angela for Capitol – a tight batch of modern soul that sounds great to this day! There's a mixture of sweet duet soul with the best kind of 80s grooving – clearly inspired by Ashford & Simpson, but also with a strong sound of its own. Skip Drinkwater and Bobby Watson handle the production, smartly carrying over the warmer live instrumentation styles of the late 70s, which ultimately gives the record a timeless vibe! Titles include "I Don't Know", "Turn It Out", "Do You Really Love Me", "Everything We Do", "Love Won't Slip Away", and "Free & Easy".

A killer album of modern soul from ex-Dramatics singer LJ Reynolds! The album's in a modern Detroit mode all the way through – with top-shelf production by Reynolds, Don Davis, and Ronnie McNeir – and Ronnie, who'd been lost to the industry for a few years, also re-emerges as a writer on the songs "Southern Pearl", "Lonely Superstar", and "Ain't No Woman Like My Baby". The real standout, though, is the amazing cut "Key To The World", a killer steppers track that has a hook that won't quit, and this wonderful brassy finish that gives the track a really triumphant sound that works perfectly with the righteous lyric. The track's been a fave on the Chitown steppers scene for years – and for good reason!

A pair of classic early 80s soul albums from ex-Dramatics singer LJ Reynolds! The self-titled '81 set is killer material in a modern Detroit mode all the way through – with top-shelf production by Reynolds, Don Davis, and Ronnie McNeir/ Ronnie, who'd been lost to the industry for a few years, also re-emerges as a writer on the songs "Southern Pearl", "Lonely Superstar", and "Ain't No Woman Like My Baby". The real standout, though, is the amazing cut "Key To The World", a killer steppers track that has a hook that won't quit, and this wonderful brassy finish that gives the track a really triumphant sound that works perfectly with the righteous lyric. LJ Reynolds' sounds great on '82's Travelin', too – stepping even more strongly away from his work with The Dramatics, and emerging as one of the best male soul acts of the early 80s! The production on this one is split between Reynolds and Don Davis, in a mode that's contemporary, but which allows LJ plenty of space for old school vocal expression – that far-reaching style of singing that always made him stand out strongly from the pack! There's a sublime mellow version of Aretha Franklin's "Call Me" on the set – and other tracks include "Words", "Trust In Me", "Say You Will", "You & Me", "Let Me Satisfy You", and "Fast Action"…

LJ Reynolds' sounding great on his own here – stepping strongly away from his work with The Dramatics, and emerging as one of the best male soul acts of the early 80s! The groove here is a nice extension of his earlier group work – still produced by Don Davis in a mode that's contemporary, but which allows LJ plenty of space for old school vocal expression – that far-reaching style of singing that always made him stand out strongly from the pack! There's a sublime mellow version of Aretha Franklin's "Call Me" on the set – and other tracks include "Words", "Trust In Me", "Say You Will", "You & Me", "Let Me Satisfy You", and "Fast Action". CD also includes the bonus track "Look What Your Love Has Done For Me".

After Minnie Riperton's heavenly first LP on Cadet – the sublime Come To My Garden – this one's got to be her most perfectly realized full LP. The album's sparkling work of jazzy soul, with touches of the heavenly production that Minnie got in years past, and lots of smooth mellow songs that are perfectly suited to her other-wordly voice. Includes the massive track "Baby, This Love I Have" – a slow funk number that's be sampled many times over the years – plus the spacey tunes "Minnie's Lament", "Inside My Love", and "Alone In Brewster Bay", remade from Minnie's first LP.

The last album ever from the amazing Minnie Riperton – and one of her greatest records as well! The album was sadly issued after Minnie's untimely early passing from this planet – but it's a heavenly batch of tunes that definitely shows that her love of music lives forever – thanks not only to a strong talent for songwriting and sublime production from husband Richard Rudolph – but also some important help from a variety of all-star guests who are all brought together out of deep affection for Minnie. George Benson, Stevie Wonder, Michael Jackson, Roberta Flack, Patrice Rushen, Peabo Bryson and others all make key appearances here – working with arrangements from Johnny Pate, and vocals the Minnie recorded for the record before its completion. Titles include the perennial favorite "Here We Go" – easily one of Minnie's greatest tunes ever – plus "I'm In Love Again", "You Take My Breath Away", "Strange Affair", "Island In The Sun", and " The Song Of Life (La-La-La)".

Minnie's last LP – or at least the last LP released while she was alive – and a wonderful batch of jazzy modern soul cuts that gives a good indication of the direction that Minnie might have gone in the 80s. The album's got plenty of great guest players – including Minnie's longtime fan/friend Stevie Wonder, plus Phil Upchurch, Jose Feliciano, Hubert Laws, Harvey Mason, Tom Scott, and many others – and production is handled by the usual Rudolph/Riperton team, with help from Henry Lewy. Includes the great track "Memory Lane", which gets endless airplay here in Chicago, plus the beautiful ballad "Never Existed Before", and the cuts "I'm A Woman", "Lover & Friend", and "Return To Forever".

One of the greatest records ever cut by Sun – the late 70s funk group who some excellent albums for Capitol Records – a group whose records never made the charts as strongly as their contemporaries, but not for lack of quality! This set's a great batch of heavy ensemble funk with an edge that's not always heard on other Sun records – lots of razor-sharp guitars riffing away in saw-cut modes, striking hard at the grooves of the record, and chilling out nicely for the mellower cuts. The blend is wonderful – totally tight, and totally top-shelf all the way through – yet never in a commercial way at all. Titles include "Wanna Make Love", "My Woman", "Live On Dream On", "The Show Is Over", "Love Is Never Sure", and "They're Calling For Me".

A pair of stormers from Sun – back to back on a single CD! Wanna Make Love is one of the greatest records ever cut by Sun – a group whose records never made the charts as strongly as their contemporaries, but not for lack of quality! This set's a great batch of heavy ensemble funk with an edge that's not always heard on other Sun records – lots of razor-sharp guitars riffing away in saw-cut modes, striking hard at the grooves of the record, and chilling out nicely for the mellower cuts. The blend is wonderful – totally tight, and totally top-shelf all the way through – yet never in a commercial way at all. Titles include "Wanna Make Love", "My Woman", "Live On Dream On", "The Show Is Over", "Love Is Never Sure", and "They're Calling For Me". Sun Power is a solid smoker from Sun – the kind of tight funk set that made the group one of the greatest soul acts on Capitol Records during the late 70s! There's a wicked Ohio vibe going on throughout – everything focused together, and right on the money – even despite the large size of the ensemble – and touched with a slightly jazzy undercurrent that carries strong echoes of Earth Wind & Fire! Rhythms are nice and tight, with keyboards, guitar, and brassy horns over the top – and on the mellower cuts the vocals have a nicely compressed quality. Titles include "Conscience", "We're So Hot", "Organ Grinder", "She Lives Alone", "Time Is Passing", and "Light Me Up".

Two gems from The Sylvers – back to back on a single CD! Showcases is filled with great groovers from The Sylvers – a set cut when the group were firmly in their disco years – a great setting for their playful family-style vocals! In fact, moving to disco may well have been one of the greatest things the group could have done – because it really set them apart from the rest of the pack, and helped them find a way for their maturing vocals to really stretch out! Foster, Leon, Angie, and the whole Sylvers gang sound mighty great here – as they groove hard on their classic "Boogie Fever", plus other tracks that include "Ain't No Good In Goodbye", "Free Style", "I Can Be For Real", and "Ain't Nothin' But A Party". New Horizons is hard grooving work from The Sylvers – LA's favorite family soul act of the 70s, really burning strong here for the Capitol club years! The album follows nicely in the mode of some of their bigger chart hits of the time – using the group's surprisingly well-crafted harmonies in a playful mode that often has some nice uptempo dancefloor touches, but which still manages to lay back at just the right points for a mellow cut. The album's self-produced by the group, and titles include "New Horizons", "The Party Maker", "Another Day To Love", "Star Fire", "Any Way You Want Me", "Dressed to Kill", and "Lovin' Me Back".

Always-great work from Tavares – one of those groups who never seemed to miss, and who seemed to weather the disco era a lot better than most of their contemporaries! This 1980 album is key proof of that fact – a tremendous little set, done at a point when Tavares could have rested on their hits – yet they kept on getting better and better – really soaring here with impeccable vocals, and tightening things up into a mode that's not exactly 80s groove, but which sure isn't disco either! Harmonies are great – and titles include "Love Uprising", "Break Down For Love", "Only One I Need To Love", "Don't Wanna Say Goodnight", "She Can Wait Forever", "Do You Believe In Love", and "Life Time Of Love". CD features the bonus track "Love Uprising (7" single version)".

A tremendous sophomore set from Donna Washington – working perfectly here in the hands of Capitol soul maestro Chuck Jackson! Jackson's touch is wonderful here – just the right blend of cool and class, groove and grace that he brought to some of the label's best at the time – including Natalie Cole! And like Cole, Washington's got a hell of a great voice when someone points it in the right direction – which it definitely is here, in a blend of warm mellow groovers and a few more upbeat tracks – numbers that push Donna into an 80s groove mode and avoid any of the clunky disco cliches that another producer might have tried. The balance is wonderful – and carried off by a range of top-shelf studio players like Patrice Rushen on keyboards and Ndugu Chancler on drums – on titles that include "I See Home", "Scuse Me While I Fall In Love", "I Want You Tonight", "Share Your Love With Me", and "Going For The Glow". CD also features a bonus track – "Scuse Me While I Fall In Love (single mix)".

A real sweet soul gem from Nancy! The record has her working with arrangements and production by Gene and Billy Page – who give the record a great smooth 70s soul finish, and a feel that's a lot more unified than some of her other efforts from the decade. Nancy sings some great versions of "If I Ever Lose This Heaven" and "Come Get To This", plus the original tracks "Houdini Of The Midnight Hour", "Like A Circle Never Stops", "Boogeyin All The Way", and "Happy Tears".

A pair of stunners from Nancy Wilson – back to back in a single set! Music On My Mind is an overlooked gem from Wilson's excellent 70s run on Capitol Records – a set that goes way beyond the spirit of some of her earlier records, and features a very unified vibe overall! The set was done in heavy collaboration with producer/composer Clarence McDonald – and features all original album penned for the date, most of which has a sublime blend of strings and soul that really pushes Wilson into even more sophisticated territory than before! Nancy's really on a par here with Marlena Shaw at her 70s best – even though Wilson had hit some of the territory years before – and the set's overflowing with great little numbers – including the funky classic "I'm In Love", plus "Let It Flow", "I'm Gonna Let Ya", "Music On My Mind", "He Makes Me Feel Good About Myself", and "Light". Life Love & Harmony is a killer from Nancy – very different than most of her earlier work, and proof that she was still growing as an artist on Capitol! The record's arranged and produced by Larry Farrow – who gives the session a jazz funk feel that brings Nancy into a whole mode, a smooth modern one that's kind a perfect fit for the rich character of her vocals – a much-needed update of the classy sound of her late 60s work, in territory that still shows that Wilson can hit this sort of groove better than anyone else! The standout cut is the massive "Sunshine" –a sparkling jazzy groover with a monster hook and some wonderful stepping arrangements – and other tracks include "You're The One Wrapped Up In The Comfort Of Your Love", "Heaven", "Here's To Us", and "Life, Love, & Harmony". CD also features bonus single mixes of "Sunshine" and "Life Love & Harmony".

One of the coolest, baddest, funkiest albums Cannonball Adderley ever recorded – a massive suite of tunes based on the signs of the Zodiac, produced to perfection by David Axelrod, and featuring some hip recitations from the mighty Rick Holmes! The double-length set is completely compelling all the way through – a darkly brooding batch of funky jazz that shows a strong Miles Davis electric influence at points, thanks to Nat Adderley's spacey trumpet lines, Mike Deasy's trippy guitar, and George Duke's excellent keyboards! Other tracks are a bit more laidback, fitting the mood of their respective signs – and overall, the whole thing slips and slides wonderfully from cut to cut – taking you through the star signs with a really righteous, soulful approach. Titles include "Cancer", "Sagittarius", "Pisces", "Aquarius", "Capricorn", "Virgo", "Taurus", "Aries", "Libra", and a special "Introduction".

An instant classic from the moment it was first released – and still pretty darn pleasing these days! D'Angelo's first album, and a sweetly crafted batch of songs that have a strong "return to the classic sound" vibe to them. Cuts include "Smooth", "Me & Those Dreamin Eyes Of Mine", "Brown Sugar", "Alright", and "Jonz In My Bonz".

An amazing debut album from Frankie Beverly and Maze – as perfect as the group would ever sound, with an impeccable approach to both funk and ballads that put them at the top of the stack immediately! Of course, Frankie had been knocking around in indie soul obscurity for a number of years before the album came out – which is why he's so perfectly formed at the start. And like Maurice White, another soul star who spent many years woodshedding all over the place before hitting the majors, Frankie has the talent to lead the group to a unique place in the star system of soul – a unique orbit that was important to mellow soul as Earth Wind & Fire's was to funk. The record features some unbelievably amazing numbers, gems that shine again year after year, no matter where you hear them – on an AM radio, a crusty old tape in a car stereo, or bursting out of the grooves of this beautiful LP. Great ones include the sublime stepper "Happy Feelin's", the smooth mellow groover "While I'm Alone", and the tightly compressed "Look At California".

Minnie Riperton's first album for Epic – and the record that broke her from a hip Chicago underground artist into one of the seventies' biggest soul divas! The record moves past the baroque soul of Minnie's early years with Rotary Connection and Charles Stepney – and hits a mix of mellow compressed LA styles and slicker funkier numbers that do the same thing for her Chicago-trained vocals that Rufus' backing did for that of Chaka Khan. Of course, it helps that she's got some superbly sensitive writing and arranging help by husband Richard Rudolph – and Stevie Wonder's definitely lurking in the background, too. Includes Minnie's huge crossover hit "Loving You", a perfect showcase for her beautiful 5 octave voice, plus the tracks "Our Lives", "Every Time He Comes Around", "Perfect Angel", and "Reasons".

One of the two beautifully sweet albums of soul that the lovely Sheree Brown cut for Capitol in the early 80s. This one has less of a smooth jazzy sound than her first one, but it compensates by adding some tracks in a nice 80s groove mode – pushing the sound a bit further than before. Sheree still sings lead with her fragile Minnie Riperton-esque voice, and she also plays a fair bit of acoustic guitar on the LP – and the LP features guest work by Syreeta, Stevie Wonder, and Patrice Rushen, all a perfect fit for Sheree's lightly jazzy style. Tracks include "On My Way Home", "Feels So Good", "Love Only Knows", "Got To Get Away", and "Happy Music".

A wonderful album of breezy jazzy soul from the sweet voiced Sheree Brown! The record is one of two that Brown cut for Capitol, and it was produced by Richard Rudolph – husband and collaborator of the late Minnie Riperton – in the immediate years after Minnie's death, leading us to wonder if Rudolph was trying for another hit with a different female vocalist. This LP's got a bit of a Minnie Riperton-ish feel, but Sheree also brings a lot more to the session – including some nice guitar work, and a sophisticated soul style that's kind of in a Jean Carn mode. Features the wonderful jazzy stepper "It's A Pleasure", which has a compressed jazz funk groove, and bouncy vocals over the top. Other trakcs include "I Wanna Be By Your Side", "Happiness Flows", and "Everything You Do". Very nice stuff, and a lot harder to find than it should be!

We kept hoping and hoping throughout the 80s that Clinton would get back into the funk of things, but it seems he never quite hit his stride, with the exception of the "Atomic Dog". And though we can't hold this up anywhere near his best work, it's a reasonably solid effort, given that we're now looking back on those 80s keyboard sounds, cheesy drum machines and bass heavy grooves with a bit more fondness these days. By this point, his band included former Headhunter Blackbyrd McKnight and former JB's Fred Wesley and Maceo Parker, plus the inimitable Bootsy Collins, and they cut seven grooves for you here, including "Electric Pygmies", "Do Fries Go With That Shake?" and the "Mix Master Suite".

Great earlier stuff from Natalie Cole – actually her third great album in a row – a tremendous early creative and commerical winning streak for Natalie! Thankful has her sweet, soulful voice out from of prodcution by Chuck Jackson and Marvin Yancy of the Independents, and they give her a nice jazzy sound that made the record one of her best of the 70s. Richard Evans and Gene Barge arranged, which probably had something to do with that, too – but Natalie truly deserves most of the credit of the strength of this set. It includes the standout groovers "La Costa" and"Annie Mae", but the whole record is really sweet – with "Lovers", "Our Love", "Be Thankful", "Just Can't Stay Away" and "Keeping A Light". This Soulmusic.com edition includes a bonus track: "Our Love (US Single Edit).

A bit silly at times, but still pretty great! Bill Cosby teams up with old LA cronie Stu Gardner to do a set of tracks that are parodies of other big soul artists of the early 70s – and thanks to Stu's good work with the music, most of the tracks work a lot better than you'd expect! The record leads off with some sly slinky Barry White parodies – including "Yes, Yes, Yes" and "Shift Down"; then goes into a great James Brown funk number, "I Luv Myself Better Than I Luv Myself". It's hard to figure out where some of the other tracks are going – but the album also features a great spacey jazz number with lots of keyboards, "You're Driving Me Crazy".

One of the more obscure Bill Cosby soul albums – not nearly as "disco" as the title implies, more in a smoother soul vein, almost a bit like Barry White. Stu Gardner does the backings, and Bill either sings or talks over the top, in a deep sexy voice that's his comical rendering of some of the more sensual soul artists of the time. Titles include "Section 9", "A Simple Love Affair", "Boogie On Your Face", "Happy Birthday Momma", "That's How I Met Your Mother", and "One Two Three". Also includes the oddly-titled, but great track "What You Think About Lickin' My Chicken?"

One of Patti's excellent (and rare) soul albums for Capitol from the late 60s – proof that the uptown sound could come out of the Windy City! The album's got a great bouncy Chicago 60s soul approach – with that sort of pop swing feel that a lot of the Chi-town female singers were laying down at the time, less "little girl" than before, and with a sophisticated groove that really opened up the material. Titles include "Baby I Just Don't Feel It", "Without A Doubt", "Pee Wee", "I Get A Funny Feeling", and her great cover of "Workin On A Groovy Thing".

An instant classic the day it was released – and a perfect blending of the group's older freaked-out style with a slick late 70s funk sound that started showing up in the work of many other groups. "One Nation Under A Groove" is a monster cut with a hook that won't quit, and the LP version runs way over 7 minutes long. Other tracks are equally great, and the whole thing's woven together with the same sort of skill as some of the best Parliament albums from the mid 70s. Tracks include "Into You", "Grooveallegiance", and "Cholly". Plus, this CD reissue also includes the bonus cuts from the original 45rpm ep that came with the album – including "Maggot Brain (live)" and "Doodoo Chasers".

A pair of gems from High Fashion – back to back on a single CD! Feelin Lucky is an 80s groove classic – and a killer bit of Captiol Records soul from High fashion! Of all US major labels, Capitol was probably putting out the best soul in the early 80s – and this is a tight modern batch of up-tempo tracks, right up there with other contemporary classics on the label, like work by BB&Q Band, Taste Of Honey, and TS Monk! The tunes all manage to have a great groove without sounding cheesy – thanks to some nice jazzy touches in the arrangements, good hooks in the songs, and some great soulful vocals. Very, very nice – and nearly every cut's a winner! Tracks include "Feelin Lucky Lately", "Next To You", "Hold On", "When The Lover Strikes", "I Want To Be Your Everything", and "You're the Winner". Make Up Your Mind offers up more sweet modern soul tracks from High Fashion – a short-lived combo who cut a few high quality sides for Capitol at the beginning of the 80s, part of that imprint's strong commitment to R&B at the time. The group here features lead vocals by Alyson Williams, caught at a very young point in her career, plus other leads by Eric McClinton, who's on most of the best tracks on the set. At their best, the group hits a smooth stepping modern sound that's really nice – a toned-down approach for the clubs, infused with a bit of quiet storm soul. Titles include "Show Me", "A Little More Time", "Pump On The Pipe", "Just A Little More Love", "Love", and "Make Up Your Mind".

Freddie Jackson was certainly one of the biggest new soul stars of the 80s – and this debut LP is still a treasure! Freddie's got a skill that transcends his age – with an approach that's decidedly 80s, but classic enough to last for years and years. The songs on the record are all extremely well-written, and although the arrangements have certain elements that might date – like DX7, drum machine beats, and floppy bass pedal riffing – the quality of the work is super-high all around, and Freddie's rich soul vocals hold everything together perfectly. Catchy tunes abound – and tracks include "He'll Never Love You (Like I Do)", "Rock Me Tonight (For Old Times Sake)", "Calling", "I Wanna Say I Love You", and "You Are My Lady".

One of the many chapters of Jimi's career before his famous Experience recordings – a set of hard rocking soul tracks with singer Curtis Knight, recorded in a really lively sort of party feel! The quality of the set almost makes us think this one was a live session – especially on the really great 10 minute track "Get That Feeling" – a stone jamming number that features some mean funky guitar from Jimi, and some screaming vocals from Curtis! Other titles include "How Would You Feel", "Simon Says", "Hush Now", "Welcome Home", and "Strange Things".

A pair of killers from Kwick – back to back on a single CD! First up is the self-titled Kwick – sweet 80s groove from a quartet who were once known as The Newcomers, and recorded some Memphis singles for Stax – but who here reemerge more than fully-formed – leaping into the new decade with an amazingly rich sound! Given the group's previous work, the vocals here are really wonderful – trained on old school harmony modes, and refitted to some more contemporary rhythms – yet all in a way that never loses the depth that made them so great in the first place. Although never super-huge, the group have a quality level that rivals the best of their contemporaries in this mode from the time – making this debut a stone gem to rival the best from acts like Switch or Tavares. Titles include "I Want To Dance With You", "Can't Help Myself", "Serious Business", "Let This Moment Be Forever", and "Tonight Is The Night". To The Point is a wonderful second set from Kwick – a bit more grooving than their first, with added emphasis on funky bass bits and keyboards – yet a set that's still filled with all the great vocals from before! It's not easy to harmonize tightly while stepping along with a lively rhythm, but Kwick make it all sound perfect here – super-tight, yet never uptight – in a rare blend that few other groups could ever reach in such a setting! The whole album's a charmer – and titles include "Split Decision", "Nightlife", "You're The Star Of My Show", "You're The Kind Of Girl I Like", "No Winner No Loser", and "I Choose You".

A stone classic from Bobby Lyle – and a record that really has him stepping out strongly, both as a keyboardist and a singer! Bobby's strength at this point is undeniable – and he's got a perfect sense of balance that rivals contemporaries like Roy Ayers or Webster Lewis – both of whom work in a similarly jazzy groove! Lyle plays some great Fender Rhodes on the set – plus other more way-out keyboards too – and production is by the At-Home team, who really know how to bring in a strong sense of focus to the grooves, while still letting the best jazzy elements flourish. Titles include "Space Place", "Stop Running Away From Love", "Getting Into Love", "Dream Lady", "Stop Running Away From Love", and "For Love".

Mystic Merlin runnin' at Sixty Thrills A Minute! It's a sweet ride, too, piloted by one of the best of the funky soul groups on Capitol. This one! As you might guess from the title, the record's got a bit more uptempo stuff than on their earlier album, and the band works incredibly well in this mode – moving briskly, but smoothly – and locked into unshakably solid grooves! Includes a couple of standouts tracks in "Goddess Of The Boogie" and "Haunting You (Crystal Ball)" – but the whole record is really nice! Other titles include" "Sixty Thrills A Minute", Sign Of the Times", "Monkey Love", "Hideaway", and "Get It For Yourself". This Big Break CD edition includes the bonus "Sixty Thrills A Minute (Single Version)".

The first couple Rene & Angela records for Capitol – together for the first time on this great CD from Expansion! First up, is the great self-titled debut from Angela Winbush and Rene Moore as a duo – a tight batch of modern soul that sounds great to this day! There's a mixture of sweet duet soul with the best kind of 80s grooving – clearly inspired by Ashford & Simpson, but also with a strong sound of its own. Skip Drinkwater and Bobby Watson handle the production, smartly carrying over the warmer live instrumentation styles of the late 70s, which ultimately gives the record a timeless vibe! Titles include "I Don't Know", "Turn It Out", "Do You Really Love Me", "Everything We Do", "Love Won't Slip Away", and "Free & Easy". Wall To Wall is easily one of the duo's best records ever, and a masterpiece of jazzy 80s groove! The sound here is clean, lean, and very bouncy on the bottom – that best blend of keyboard riffs and jazzier basslines that Capitol soul served up in the early 80s – and although tight enough to have hit potential, still more than soulful enough to keep on playing in the underground! The set's rock solid all the way through – with a great mix of midtempo steppers and more uptempo tunes – and titles include the nice groover "Secret Rendezvous", plus "Wanna Be Close To You", "I Love You More", "Love's Alright", and "Come My Way".

Hard to go wrong with Rene & Angela at this point in their career – as they're super tight, always upbeat, and plenty darn soulful – no matter what the groove! The album's a perfect example of 80s groove at its best – a reworking of mainstream soul modes with a slight modern dancefloor touch – still never disco cliches, nor some of the too-poppy modes used by some of their contemporaries – and a blend that's always right on the money for the vocals of Angela Winbush to shine! Titles include the groover "Can't Give You Up", the mellow number "My First Love", and the cuts "Take Me To The Limit", "When It Comes To Love", "Bangin The Boogie", "Rise", and "Keep Runnin". CD features 6 bonus tracks too – "Bangin The Boogie (single)", "Keep Runnin (single)", "My First Love (single)", "Bangin The Boogie (inst)", "Keep Runnin (12" version)", and "Keep Runnin (dub)".

A bit late in the game for Rene & Angela, though they're still pumping out some classic 80s groove numbers, with Angela Winbush's flair for great songs. There's a few numbers here that are moving a bit too far into the commercial radio slow jam territory for our tastes, but there's a couple of nice sleepers too. Includes "Save Your Love (For #1)", "I'll Be Good", "No How-No Way", "You Don't Have To Cry", "Street Called Desire", "Your Smile", 'Who's Foolin' Who" and "Drive My Love".

Tracks include "Moment With Minnie", "Perfect Angel", "Memory Lane", "Lovin You", "Here We Go", "Inside My Love", "Love & Friend (live)", "You Take My Breath Away", "Woman Of Heart & Mind" and "Adventures In Paradise".

Skyy is still shining brightly in the mid 80s – delivering nicely thumping, dancefloor ready soul on From The Left Side! After a number of sweet sets for Salsoul, the group moved on up to Capitol Records for this one set – embracing the era's synth soul production sheen more than ever, but their by now veteran status as a funky soul group on top of disco and dancefloor act informs the sound. The beats thump harder, the electronics resonate that much deeper, and overall they create a thoroughly contemporary mid-to-late 80s style groove that should have made this record bust out huge for them. Includes "Givin It (To You)", "Love Attack", "Non-Stop", "Big Fun". "Love Illogical", "Jealousitis" and "Rock It".

The group's second album – and one that really shows them hitting their stride, harmonically. The album's got some impeccable vocals that really come together well – not as slick as on later albums, but with a polished perfection that shows Tavares as one of the 70s ultimate pop soul combos. Production's by the team of Dennis Lambert and Brian Potter – who also contributed the tracks "To Love You", "Hard Core Poetry", "Too Late", "What You Don't Know", "My Ship", "Someone To Go Home To", and "Leave It Up To The Lady" to the album. Also includes a great rendition of the Hall & Oates tune "She's Gone".

An incredible album from Tavares – every bit as great on the uptempo end, as you'd expect from their bigger hits, as it is on the sweeter ballad tracks – which step out here as a tremendous surprise! The set was crafted with help from Philly maestro Bobby Martin – and begins with a groove that certainly shows Martin in all of his Sigma-inspired glory – but as the set moves on, it glides into some sweeter, gentler tracks that come across with a mighty mellow soul approach! The set features 3 stellar tracks written by the great Sam Dees – "Games, Games", "Let Me Heal The Bruises", and "My Love Calls" – all of which show a strong deeper soul side of the group. Other tracks are great, too – and include "I'm Back For More", Never Had A Love Like This Before", "Straight From Your Heart", "One Telephone Call Away", and "Positive Forces". 3 bonus tracks: "Never Had A Love Like This Before (US Capitol 12" Single" – and the great instrumental version for that – plus ""Straight From Your Heart (US Capitol 7" Single)".

A pair of great Nancy Wilson albums from the mid 70s in a single set! All In Love Is Far is a sophisticated album of soul tracks arranged and produced by Gene Page, in a string-heavy, slightly-funky style that reminds us of Gene's work with Barry White at the time. The tracks are all pretty hip – and include titles written by Stevie Wonder, Johnny Guitar Watson, Thom Bell & Linda Creed, Billy Page, and Tennyson Stevens. No standout singles, but plenty of nice moments, and a good side of Nancy's career that isn't always given that much exposure. Titles include "Tell The Truth", "Try It, You'll Like It", "All In Love Is Fair", "There'll Always Be Forever", and "You're As Right As Rain". Come Get To This is a real sweet soul gem from '75. It also has arrangements and production by Gene and Billy Page – who give the record a great smooth 70s soul finish, and a feel that's a lot more unified than some of her other efforts from the decade. Nancy sings some great versions of "If I Ever Lose This Heaven" and "Come Get To This", plus the original tracks "Houdini Of The Midnight Hour", "Like A Circle Never Stops", "Boogeyin All The Way", and "Happy Tears".

One of the greatest Nancy Wilson albums of the 60s – a small combo jazz date, done with a style that's different than some of Wilson's larger sessions of the time! The group has a relaxed, easygoing feel – and Wilson slides in with a style that's a lot more laidback and subtle than on other Capitol dates – almost the mellow feel of a late 50s Dakota Staton date, but still song with all the careful class that Nancy brings to her vocals! The group's a quartet, led by pianist Hank Jones – and featuring Gene Bertoncini on guitar, Ron Carter on bass, and Grady Tate on drums – on titles that include "Happiness Is A Thing Called Joe", "Do it Again", "Glad To Be Unhappy", "Prelude To A Kiss", "Supper Time", and "I Thought About You".

Overlooked genius from Nancy Wilson – a pair of gems, back to back on a single CD! Can't Take My Eyes Off You is a really great album from Nancy Wilson – a set that still has her working with the jazzy undercurrents of her best 60s work for Capitol Records – yet also moving into some hipper, more sophisticated soul styles too! There's a really strong adult vibe to the record – not that Nancy didn't have one before, but this time around there's even more sense of personality and experiential depth that really comes through in the choice of songs – and in Wilson's wonderful treatment of them. Tunes that might be stiff in the hands of someone else are really transformed here – with added thanks to Phil Wright for great arrangements on the record. Titles include a version of Leonard Cohen's "Suzanne", Burt Bacharach's obscure "Waitin For Charlie To Come Home", and the tracks "Trip With Me", "This Girl Is A Woman Now", "Mixed Up Girl", and "Words & Music". Now I'm A Woman is a really unique moment for Nancy – one in which she leaves the LA sound behind, and gets some special treatment from the young Philly crew of the Gamble & Huff studios! Arrangements on the set are by Thom Bell, Lenny Pakula, and Bobby Martin – and the style's an interesting mix of Nancy's pop jazz vocals with some of the lighter, sweeter sounds of the Philly scene at the start of the 70s. The result is a surprisingly wonderful album – quite different for Nancy, and with the kind of backings that really break her out of the sound of the 60s – and pave the way for the sophisticated style of the 70s. Titles include "Now I'm A Woman", "Let's Fall In Love All Over", "Lonely Lonely", "Joe", "How Many Broken Wings", and "The Real Me". CD features three bonus tracks – "Go Away & Find Yourself", "When You're Alone", and "I'm Gonna Make You Love Me".