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A great one from Mike Reed and his People Places & Things group – a clear, crisp statement of Chicago modernism at its best – not just modes from Reed's own generation, but from the 50s and 60s as well! Reed's an amazing player on his own – but we especially love the way that he's gone back into Windy City tradition, and found a way to re-introduce a special blend of Chicago jazz – that crucial pre-AACM, post-bop style that would often swing, but have really freewheeling solos too – a mode that really went onto influence American jazz in general once Chicagoans moved onto the New York scene in the 60s. The horns here are key to the approach – really deft work on alto from Greg Ward and tenor from Tim Haldeman – plus some great guest cornet from Josh Berman. Most tracks are piano-less, which allows for even freer reed work – but Craig Taborn guests on piano on two numbers – and the great bass of Jason Roebke holds the set together solidly throughout. Titles include versions of Roscoe Mitchell's "Old" and John Jenkins' "Sharon" – plus the tracks "Warming Down", "The Ephemeral Words Of Ruth", "House Of Three Smiles", and "The Lady Has A Bomb".

A tremendous set from bassist Nat Reeves – a player who doesn't always record as a leader, but one whose talents have graced countless great groups over the years! The album's got a tight, elegant sort of sound – rooted strongly in Nat's soulful basslines, which step out front all the time – a bit like Ray Brown in his best small combo work – yet still leave plenty of space for sparkling trumpet lines from Joshua Bruneau, warm-rolling piano lines from Rich Germanson, and drums from Jonathan Barber. The strength of the bass gives the album a soulful depth right from the start – which the other instruments only improve on – and titles include "Fungii Mama", "Moon River", "So Tired", "Little Waltaz", "Brick's Blues", and "Laverne Walk".

A beautiful second set from Seval – even more powerful and personal than the group's debut – with sublime compositions and cello by Fred Lonberg-Holm, and these fragile yet soulful vocals from Sofia Jernberg! Instrumentation is quite spare – just cello, guitar, trumpet, and bass – often not used entirely, which leaves Sofia out front to work through the lyrics with a warm, fluid feel. There's echoes of Joni Mitchell and Minnie Riperton at times – although the album's more jazz-based than either of their work – and titles include "Children Of Monsters", "Boredom Is Bliss", "Light Brush", "Simple Flowers", "Details", and "Super Seeded".

A really cool trio recording – one that has Fred Lonberg-Holm playing some mighty sweet tenor guitar in addition to his usual cello – an instrument that comes across with this great sort of fuzzy sound! The tones spin out in these fluid waves – often a bit more forward-moving than some of Fred's other music, thanks partly to the rhythmic progressions of Nick Macri on bass and Charles Rumback on drums – both players who have a way of staying free, yet still finding a pulse together. Titles include "Floating Melody", "Song For Salim", "Super Seeded", "Convulsive", "In Zenith I", and "The Profit Of Field Stripping".

A great mix of composition and improvisation from a really well-balanced group – one that expands the regular quintet of drummer Harris Eisenstadt into an octet! The core of the album features the excellent "Ombudsman" – a work in four parts – penned with a beautiful structure by Eisenstadt, which then lets loose with great solo moments from players who include Nate Wooley on trumpet, Ray Anderson on trombone, Dan Peck on tuba, Jason Mears on alto, Matt Bauder on tenor, and Chris Dingman on vibes! The vibes often sound great ringing out below the horns – and although some moments are quite free, there's a core sense of rhythm and melody that really unites the piece. The set ends with the lovely "Ballad For 10.6.7", grounded with subtle bass work by Gart Stevenson.

Dave Rempis blows here in a mighty nice setting – a "percussion quartet" that features the twin drums of Tim Daisy and Frank Rosaly, along with some heavy basswork from Ingebrigt Haker Flaten! The album features two long tracks – both freewheeling and wonderful – with Rempis deftly moving between alto, tenor, and baritone sax – blowing openly, yet also swinging nicely too! Like some of the other best projects on the 482 label, there's a great balance here between improvisation and structure – a real return to the best modernist moments of decades back – handled here by a quartet of bold young players. Titles include "If You Were A Waffle & I Was A Bee" and "This Is Not A Tango".

Beautiful sounds from the Chicago scene – a set that really showcases the new developments in the avant side of the spectrum in recent years! The group's made up of important players who've really helped push things forward with their own music – James Falzone on clarinet, Jason Adasiewicz on vibes, Jason Roebke on bass, and Tim Daisy on drums – with key help from Jeb Bishop on trombone, Josh Berman on cornet, Keefe Jackson on tenor and bass clarinet, and Fred Lonberg-Holm on cello and electronics! The musicians' resumes should more than speak for themselves – but the difference here is that there's kind of an "historical modern" feel to the sound – a vibe a bit like some of the 482 releases in recent years – reaching back over 50 years of leftfield expression, but finding a new voice for it in the 21st Century. Things are almost always swinging, although never straight ahead – and the interplay of clarinet and vibes is especially nice, even when other horns are present. Titles include "Breakfast Feud", "Memories Of You", "Rose Room", "Other Doors", "Six Appeal", "The Wang Wang Blues", and "AC/DC Current".

A cool collection of work from one of our favorite artists ever – literally one of the guys whose music was so great, it inspired us to start Dusty Groove! The package brings together a really hip assortment of Roy Ayers' best work for Polydor in the 70s – really incredible tracks that merge together jazz, soul, and funk at a level that nobody else can touch – not just the sum of the parts, but a sublime fusion that's completely Ayers-like, and which has gone onto inspire countless other folks over the years – even though nobody else can ever do it this well! The track selection is great – way hipper than the usual best-of on Roy – and titles include "And Don't You Say No", "Moving Grooving", "Come Out & Play", "Magic Lady", "Don't You Worry Bout A Thing", "Vibrations", "Tear To A Smile", "When Is Real Real", "Together", "He's A Superstar", and "He Gives Us All His Love".

Great lost work from the legendary Phil Cohran and his Artistic Heritage Ensemble – a composition that was recorded during the group's late 60s years on the Chicago scene – but which has never been released until now! The album stands beautifully alongside the group's self-titled classic and their tribute to Malcolm X – and like those amazing records, this one has a feel that's all its own – an exploration of Moorish elements in Spanish culture – which comes off as a Latin-inflected sound with African roots! The lineup here is similar to other Cohran classics – Donald Myrick on baritone sax, Charles James Williams on alto, Eugene Easton on tenor, Charles Handy on trumpet, Willie Woods on trombone, Aaron Dodd on tuba, Pete Cosey on guitar, Henry Gibson on congas, and Louis Satterfield on bass – a mix of musicians that includes members with Sun Ra and Earth Wind & Fire listed in their resumes! Cohran's vision in the suite is wonderful – and the music has all the depth and righteous energy of his self-titled record, but a bit more Latin fire too – a beautiful blend that really makes us appreciate his genius even more than before, and which finally gives us another record of his to love after all these years.

Fantastic stuff – and a record that may well be the greatest ever from the mighty Serge Gainsbourg – high praise indeed, considering the greatness of Gainsbourg's other music! The album is one long suite built around a spare, electric bass-driven theme – a slow funk riff that's been sampled countless times over the years, and which has gotten the album continuous play on both sides of the Atlantic for many many years. The mighty Jean-Claude Vannier handles the arrangements, and Serge mutters the lyrics over the top, in a raspy loud whisper – while the funky rhythms dart in and out of odd washes of sound, and unusual eerie sounds. There's a very strong soundtrack feel to the album, as waves of music envelop the lyrics – tripped out in funky beats that have become legendary over the years, thanks to some very famous samples! Titles include "En Melody", "Cargo Culte", "Ballade De Melody Nelson", "Valse De Melody", "Ah! Melody", and "L'Hotel Particulier". Wonderful US version too – with a 40 page deluxe booklet that features extensive notes on the album – and a 1971 interview with Gainsbourg!

The late 50's work of Max Roach is some of the most crucially overlooked material in the history of modern jazz. His various groups at the time were filled with some of the brightest young players of the time – like George Coleman, Julian Priester, and Booker Little – all of whom were firmly rooted in a bop tradition, yet also committed to pushing the envelope of the music whenever they could. This 1958 United Artists album by Little is virtually a Roach session, and features group members Coleman and Little, plus Art Davis and Tommy Flanagan – all of whom fall perfectly into line behind Roach's masterful drumming on tracks like "Rounder's Mood", "Dungeon Waltz", and "Jewel's Tempo".

A decade's worth of magic from the mighty Hugh Masekela – a sweet little set that brings together some of his most groovy tracks of the late 60s and early 70s – in a collection that's overflowing with goodness! Hugh's got a style here that's unlike anyone else – an approach that's rooted in South African jazz, which is definitely shown in his rhythmic progression – but taken to new heights in the Californian scene, where Hugh's music came into contact with folks like The Crusaders and some of the other cooler cats on the coast at the time. The result is a sublime blend of jazz, soul, and African rhythms – with tracks that include "Sipho", "The Boy's Doin It", "Ha Lese Le Di Khanna", "Kwa Blaney", "Stimela", "Maesha", "Phatsha Phatsha", "Child Of The Earth", and "U Dwi".

Two groovy sets from Paul Mauriat – both recorded in the magic year of 1966! More Mauriat really has Paul opening up with some hipper 60s sounds than usual – taking on a whole bunch of American pop tunes of the time, and retuning a French orchestral approach towards leaner, meaner modes – almost a soulful strings sort of vibe at times – although at others, definitely scored by Mauriat with the kind of French soundtrack styles we love in his music – especially in his great use of electric harpsichord on many of the tunes! Titles include "Bang Bang", "Black Is Black", "Sunny", "Guantanamera", "Lara's Theme", and "Reach Out I'll Be There". Prestige De Paris returns Mauriat to the songs of his homeland – classic French tunes from the more romantic previous generation – often done here with full strings and a relatively florid approach that's a bit different than some or Paul's worldwide hits. Titles include "Sous Le Ponts De Paris", "La Mer", "Moulin Rouge", "Les Feuilles Mortes", "La Seine", and "Fascination".

The start of a legend – and the very first album by Sergio Mendes' Brasil 66 group, proudly brought to the world through the godlike talents of a young Herb Alpert! Sergio was no stranger to the recording studio by the time of this set, but the record marked a real shift in his music – a change from the mostly-instrumental bossa modes he first forged back in Brazil, and a shift to warmer, sweeter pop with a nice sunny California finish – done through unique production techniques and the group's trademark two-lady lead vocals! The sound is tremendous, and is possibly heard in its purest form here – simple, focused, and given that near-perfect A&M sound through Herb's production skills. Titles include the classics "Daytripper", "Aqua De Beber", "O Pato", "Berimbau", "Mas Que Nada", and "The Joker".

A really unusual project from bassist William Parker – a great tribute to the legendary Godard film Alphaville, done with music that's a surprisingly great fit! There's almost a jazz soundtrack feel to the record at points – a bit straighter than usual for Parker, but still with plenty of edge – although other tracks sometimes get a bit more outside and improvisational, making for a really nice balance in the record. The core group features Parker on bass, Rob Brown on alto, Lewis Barnes on trumpet, and Hamid Drake on drums – which is then augmented by two cellos, violin, and viola – shading in the sound nicely. Parker really does a great job of capturing the quick shifts, bold moments, and striking qualities that make Godard's film so great – and titles include "Alphaville Main Theme", "Interrogation", "Alph 60", "Doctor Badguy", "Oceanville Evening", and "Civilization Of Light" – plus two versions of the great track "Natasha's Theme", a spiritual soulful number with vocals by Leena Conquest!

One of the first albums ever by this legendary bossa singer! Even at this young age, Elis Regina diplays a talent for interpretation and an emotional power that few other Brazilian vocalists could match – a way of putting over a tune that brought a whole new level of sophistication to Brazilian music in the 60s! On the set, Elis manages to give the songs a great deal of life, without smothering them in the heavier over-emotional style used by other Brazilian singers at the time – and works with light, lively, jazzy backings that are totally great. The result is a crackling batch of samba and bossa tracks that shines with warmth and imagination. The set includes a lot of tracks by Edu Lobo, and titles include "Sou Sem Paz", "Reza", "Por Um Amor Maior", "Joao Valentao", "Aleluia", "Ultimo Canto", and "Preciso Aprender A Ser So".

A beautiful example of the maturation of American avant jazz in the 70s – a set that has the Revolutionary Ensemble really drawing their sound into focus, drawing on older experimental modes and forging them into a rich new vision – one that would certainly live up to the AACM's promise of "Great Black Music"! The tracks here are all quite long, but they also have a careful, thoughtful feel too – not just improvisations, but measured exercises in spirit and sound – played beautifully by the trio formation of Sirone on flute and bass, Jerome cooper on drums, percussion, and balaphone, and Leroy Jenkins on violin, flute, and kalimba! The mixture of instrumentation is handled with Art Ensemble-like precision at points – never academic, and occasionally loose enough to be loft jazz – but always with an ear for organic richness of sound, in ways that make the album a surprising delight at each new turn. Titles include "Chicago", "March 4 1", "Clear Spring", and "Revolutionary Ensemble".

One of the greatest soundtracks we've ever heard from Piero Umiliani – an incredibly groovy record from the very first note! The score's got a fantastic mix of groovy scoring, jazzy bits, and cool little vocals – spare organ lines that set the tune on most numbers, stepping basslines to set the rhythms, and scatting lyrics from I Cantori Moderni – a group who make the act of counting to 5 sound incredibly cool! The feel is quite similar to Umiliani's sublime Sweden Heaven & Hell soundtrack (and at one point, you even can hear the guy with the funny voice from "Mah Na Mah Na") – and the music is exactly the kind of wonderful stuff that first got us digging Italian film scores so many years ago. This great reissue adds a bunch of previously unreleased tracks to the original – a whopping 34 tracks in all – 14 from the original album, plus 3 stereo bonus cuts, and another 17 mono tunes. Titles include a few versions of the main theme, plus "Titoli Coda", "Luna Di Piero Agosto", "Bambola Omicida", "Interludio Azzurro", "Cinque Bambole", and "Danza Jazz Moon".

One of the most unique albums to ever come out of the Miami soul scene of the 70s – a sublime set of work that we'd easily rank right up there with the best material of the time from Donny Hathaway or Stevie Wonder! Milton Wright has a really jazzy groove to his music – and he mixes his own acoustic guitar lines with warm keyboards and unusual rhythms that often have a bit of synth or moog – never too much, and almost more of a Mizell-like touch, but a bit more understated overall! The cuts are wonderfully written – quite righteous, almost with a Terry Callier sort of sensitivity – and Milton's vocals more than have the chops to live up to the heady batch of artists we're comparing him to in these notes. The sound is amazing throughout – one of those soul records that feels like nothing else you've ever heard, but which you can't live without once you've heard it! Titles include "Friends & Buddies", "Keep It Up", "Brothers & Sisters", "Get No Lovin' Tonight", "Po Man", "Black Man", and "Silence That You Keep".

A heavy dose of funky jazz – and one that goes way past the obvious too – to include some real gems from the 70s that even we'd passed up! The package is filled with stellar jazz from the Fantasy Records family – Prestige, Pablo, Galaxy and Fantasy proper – choice numbers by The Blackbyrds, Stanley Cowell, Charles Earland, Patrice Rushen and others – funky jazz, soul, boogie and Brazil-flavored numbers from the top shelf of the diverse period! It's a tight, well chosen compilation with numbers you simply could not overlook in putting a set like this together – productions by the Mizells, Donald Byrd, Earland and others – but there's a few of leftfield choices, too. Simply a great little snapshot of the funky jazz and soul period and the family of labels that generated so much of the most creative music to come from it! 14 tracks and nearly 80 minutes of grooves: Includes "Happy Music" by Blackbyrds, "Close To You" by Marlon McClain, "Let Me Love You (Let Me Be Me)" by Stanley Cowell, "Taj Mahal" by Paulinho Da Costa, "Nov Ano" by Azar Lawrence, "Moon Dreams" by Flora Purim, "Montevideo" by Opa, "Glide" by Pleasure, "Shout It Out" by Patrice Rushen, "If Only I Could Prove To You" by The 3 Pieces and more.

An amazing dip into the best years of Japanese jazz – that special time when the nation was really finding its own musical voice – and turning out some sounds that are still pretty darn incredible all these many years later! Despite the dates in the title, most of these tracks hail from the cusp of the 70s – the late 60s/early 70s stretch when things really took off in Japanese music, and players began to really experiment with new sounds and styles! All tracks here are groovers – and some have exotic elements that echo their Japanese origin, while others take on complex rhythmic modes, or use trippy electric touches – almost always with pretty darn soulful results. Titles include "Babylonia Wind" by Kiyoshi Sugimoto, "Blue Soul" by Modern Jazz Sannin No Kai, "Tabaruzaka" by Nobuo Hara & Hozan Yamamoto, "Like Miles" by Teramasu Hino, "Favela" by Kazuo Yashiro, and "My Favorite Things" by Sadao Watanabe.

The cream of modern jazz in Germany during the postwar years – the kind of amazing music that never made it over to our side of the Atlantic, but which was really marking some great jazz development on the European scene of the time! As Germany picked itself up from the ashes of the war, it also experienced an amazing cultural rebirth – in film, literature, and especially music – music like this, which bursts forth with a freshness and urgency that still sounds as creatively compelling here in the 21st Century as it did back at the end of the 50s! The vibe is very much a precursor to better-known sounds from the Saba/MPS scene, and many of these artists later recorded for that label too – but here, the work is nicely early, and pretty darn great – a selection of titles that includes "Domicile" by Joki Freund & Albert Mangelsdorff, "Minority" by Michael Naura, "Lover Man" by Inge Brandenberg, "Night Bounce" by Attila Zoller, "Ease It" by Albert Mangelsdorff, "Madam B" by Die Deutschen All Stars, "Mike's Blues" by Michael Naura, and "Meeting At The Barberina" by Horst Jankowski & Rolf Kuhn.

10-track e.p. including three different recordings of "Root Down" from Ill Communication, based on the Jimmy Smith's jazz/funk of the same name – the "Free Zone" mix, LP version and "PP Balloon" mix. Also some live versions of tracks from Check Your Head – "Time For Livin", "The Maestro", "Somethin's Got To Give", plus a live version of "Time To Get Ill" the rock track "Heart Attack Man", the funky instrumental "Sabrosa" and "Flute Loop".

The final LP of the first round of EPMD, and the hardest to get on vinyl since it's not been made available in multiple pressings or reissues. 11 tracks of the LI hardcore boom bap with Eric and Parrish reppin' the East coast in fine style over their patented bass heavy trunk rattling beats. Non stop head nodders from start to finish including "Boon Dox", "Nobody's Safe Chump", "Can't Hear Nothing But The Music", "Chill", "Headbanger", "Scratch Bring It Back (Part 2 - Mic Doc)", "Cummin' At Cha", "It's Going Down", "Who Killed Jane", "Play The Next Man" and "Crossover".

The hippest comeback album to date from Al Green – a massively soulful set that we might well rank right up there with his classics from the 70s! Green's got some very hip help in the studio here – production help from James Poyser and Ahmir "?uestlove" Thompson – both of whom push the record past cliche, but also almost help Al sound even more classic than before! There's still a warm Memphis glow to most of the music, but the sound is somewhat leaner too – with a real focus on the best sort of elements that have always made Al Green sound so great – preserved perfectly in these years of his recent return to secular music. The album's got some great guest spots too – horns by The Dap-Kings, drums by ?uestlove, and vocals from Anthony Hamilton, Corinne Bailey Rae, and John Legend – but the show's still clearly all Al's, all the way through – because none of the younger talents ever get in the way of the man doing his thing – and doing it beautifully, too! Titles include "Lay It Down", "Take Your Time", "Too Much", "Just For Me", "You've Got The Love I Need", "Standing In The Rain", "I'm Wild About You", "What More Do You Want From Me", and "No One Like You".

A legendary bit of Latin from the New York scene of the 60s – recorded by a host of youthful players working under the direction of percussionist Montego Joe! The group's name is a contraction of "Harlem Youth" – a program in which all players participated, as part of an effort to get kids involved in music uptown – spearheaded by Montego Joe, whose guidance in the set is greatly appreciated! There's a strong Latin Soul vibe running through the set – but one that's different than Joe's other work, a bit more rootsy at times, given all the percussion in the lineup – but warmed up nicely with bits of guitar, trumpet, and alto sax. The album's filled with great groovers – including the classic "Welcome To The Party Jam", and the amazing "Oua-Train" jazz cut, which has a slightly spiritual feel. Other tracks include "Feed Me Good", "Barrets Bag", "Tico", "Har-You Theme", "Ngoma", and "Santa Cruz". CD features a bonus track – "Montego Joe's Har-You Postscript 2008".

Nigerian funk & boogie numbers from the late 70s & early 80s – post Afrobeat and post disco material from the prosperous, post dictatorship years – funk, soul and disco infused stormers from Mixed Grill, Bayo Damnazio, The Stormmers, Joe Maks, Segun Robert, Martha Ulaeto, Honey Machine, Emma Baloka and more! Joyous, infections grooves with modern production and masterful musicianship – be it tight jazz funk, dancefloor soul, or synth & keys flavored boogie. The set has English vocals throughout, and the titles include "A Brand New Wayo" by Mixed Grill, "Show Me Your Backside" by Kris Okotie, "Boys And Girls" by Joe Moks, "Music Alone" by Martha Ulaeto, "Slow Down" by Amas, "Funky Situation" by Chris Mba, "Pleasure" by Honey Machine, "Love Or Money" by The Stormmers, "Let's Love Each Other" by Emma Baloka and more. 15 tracks on 2LPs.

Stunning – simply stunning! This new album by Scandinavian group Beady Belle is the first to really unlock their full potential – and offers a haunting blend of jazz, electronics, and other elements that make for a record beyond description. Beady has a style that's impossible to peg right away – but one listen to this set, and you'll be pulled into a strange world of sound, one that will restore your faith in modern music! Lyrics are in English, and titles include "Hindsight", "Big Balloon", "One & Only", "Shadow", "On The Ground", "April Fool", "Bella", and "Wounded Pride".

Fantastic stuff – and a record that may well be the greatest ever from the mighty Serge Gainsbourg – high praise indeed, considering the greatness of Gainsbourg's other music! The album is one long suite built around a spare, electric bass-driven theme – a slow funk riff that's been sampled countless times over the years, and which has gotten the album continuous play on both sides of the Atlantic for many many years. The mighty Jean-Claude Vannier handles the arrangements, and Serge mutters the lyrics over the top, in a raspy loud whisper – while the funky rhythms dart in and out of odd washes of sound, and unusual eerie sounds. There's a very strong soundtrack feel to the album, as waves of music envelop the lyrics – tripped out in funky beats that have become legendary over the years, thanks to some very famous samples! Titles include "En Melody", "Cargo Culte", "Ballade De Melody Nelson", "Valse De Melody", "Ah! Melody", and "L'Hotel Particulier". Great new LP reissue package – with 180 gram vinyl, notes, an interview, and even lyrics in English & French!

Classic dancefloor electronics from Giorgio Moroder – and the "first electronic live to digital album", which must have cost a bundle to make! Giorgio is in prime electro disco mode here – spinning out long lines of catchy synthesizer tunes – in a way that takes Kraftwerk aesthetic and turns it towards the dancefloor, and also tops it off with some nice pop-styled vocals too! According to the notes, Giorgio's working with "music programmed as bursts of energy" – but to us, it's just plain groovy disco! Tracks are long, and titles include "I Wanna Rock You", "Baby Blue", "What A Night", "If You Weren't Afraid", and "In My Wildest Dreams". CD features 2 bonus tracks – "Love's In You Love's In Me" and "Evolution".

The darkness rises again – as this issue features a heady look at the music of Black Sabbath – and all the rare collectibles they've left us! Other articles include Bowie On TV, a special on The Canterbury Scene, The James Taylor Quartet, Why Reissues Sound Different, the 80s Mod Revival, and Emmitt Rhodes – The One Man Beatles! As usual, the images are as great as the writing – and not only does the issue feature loads of great reviews, but it's also got plenty of ads for records too!

A wealth of spiritual blessings from the incredible Pharoah Sanders – a saxophonist who learned key lessons from John Coltrane, then really ran with his inspiration after his too-early death! The tracks here are all pulled from Sanders' sublime recordings for Impulse Records – amazing work that really helped redefine the sound of soulful jazz for the 70s – by adding in a spiritual undercurrent that really pushes the whole Love Supreme agenda forward strongly – not just through Pharoah's wonderfully raspy lines on tenor, but also via work here from Lonnie Liston Smith on piano, Leon Thomas on vocals, and Idris Muhammad and Norman Connors on drums. Every track is great – and the collection is perfectly put together to illustrate the most heavenly side of Sanders' music – with titles that include "Colors", "Astral Traveling", "The Gathering", "Memories Of Lee Morgan", "Upper Egypt & Lower Egypt (edit)", "The Creator Has A Masterplan (edit)", "Wisdom Through Music", and "Hum Allah Hum Allah Hum Allah".

The issue's got a full 10 page feature on The Next Day – David Bowie's long-awaited album – and also features a bonus CD of other compelling contemporary music as well – with work from Billy Bragg, Edwyn Collins, Hiss Golden Messenger, Jim James, Low, and others! Plenty more great articles and features – as the issue includes bits on Kraftwerk, My Bloody Valentine, Wilko Johnson, Stephen Stills, Fela Kuti, The Yardbirds, and others – as well as 39 pages of reviews!

Gilles Peterson does it again – and proves that he's still got one of the best ears around for choosing new music! Even after seven previous volumes, the Bubblers series is still plenty darn incredible – a great place for getting a taste of the best of the contemporary underground – those amazing artists that Gilles always features on his BBC show – always hand-picked, and chosen without any consideration for commercial directions – as you'll hear on the really revolutionary music in the package. There's a nicely laidback vibe this time around – a reminder of Peterson's tastes for more acoustic and jazz-based modes – and some of the tunes almost echo some of the rootsier music that Brownswood has recorded in recent years, too. Titles include "Volver" by Ana Tijoux, "She Was Out In The Water" by One Little Plane, "Crush" by Hello Skinny, "Linha De Frente" by Criolo, "Again" by Def Sound, "Manchild" by Haydn, and "Bout You" by Rainy Milo.

Classic early 90s charity compilation with now hard-to-find tracks by Uncle Tupelo, Beastie Boys, American Music Club, Pavement, Soundgarden, Nirvana, Uncle Tupelo, Smashing Pumpkins, Patti Smith and more.

The blues boomed big on record in the 20s and 30s – but in order to get that music to market, most labels had to really improvise – come up with whole new ways of recording the artists, and often going far afield with relatively little equipment! This well-done book by blues historian Paul Oliver really documents those formative years – a time when labels were working harder than ever to capture the growing range of American blues musicians – taking frequent trips south with recording equipment at hand – and cutting discs that would have a huge impact for decades to come. In addition to information about recording techniques, Oliver also breaks down different categories of the music, and showcases different approaches too – and also provides some more detailed information on recordings in his notes. 228 pages, hardcover, with some black and white images.

Vintage album covers from the 70s – all hand-picked by Aubrey Powell of Hipgnosis – a company responsible for some of their own classic images back in the day! Powell does a great job with the package – and manages to go way beyond just Hipgnosis covers, to include a really wide-spanning set of images that really sums of the depth of 70s music! You'll find covers here from artists that really run the gamut – Sex Pistols, Rolling Stones, Kate Bush, The Damned, Be Bop Deluxe, Boz Scaggs, The Cramps, Joe Jackson, The Slits, Pop Group, Peter Gabriel, David Bowie, and dozens of others – all laid out in a full-color book that's about 10" square – which makes for a great read as you're flipping through the pictures. The book is divided into years – showing a great evolution of style during the decade, matched with key news moments from each period too. 191 pages, full color, and nice and heavy!

Uncut covers The Beatles: The Complete Story for this essential issue in their Ultimate Music Guide Series – focusing solely on their years as a band – with both classic interviews and new content from the expert team at Uncut! We saw the cover and wondered how they could pull this off – but they do it quite well, actually, by focusing square on John, Paul, George and Ringo as a band – and saving the solo output for another day. It features reviews of each Beatles era LP, from the raw debut of Please, Please Me to the Phil Spector polished swan song Let It Be – and also the best of later compilations like Past Masters, Anthology and others. Even better are the reprints of classic features from Uncut, Melody Maker and NME and the dozens of classic and rare photos of the group!

A heavy-hitting batch of salsa from the legendary Fania Records catalog – and a collection that's almost more on fire than the first volume in the series! As before, the tracks here showcase the best sounds of New York's glory days for Latin music – that point in the 70s when the scene was exploding anew with a fresh sense of power and pride – and really hitting the best elements of the groove that was starting to be known as salsa! The package digs a bit deeper than before, and features some great lesser-known gems – and like other titles from the revived Fania, the packaging and presentation is superb. Titles include "El Remolon" by Cabrerita, "Timbalero Mayor" by Menique, "Payaso" by La Muralla, "Resignacion" by Gilberto Cruz, "Don Anastacio" by Javier Vazquez, "Arenque" by Alfredo Vargas, "Nosotros" by Monguito Santamaria, "Catano" by Justo Betancourt, "La Fiera" by Kako & Azuquita, and "Dejame En Paz" by Johnny Colon.