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A later MPS session that features some incredibly mellow guitar/bass duets between Gene Bertoncini and Michael Moore. Bertoncini's guitar is at the forefront, and Moore's playing is mostly to back him up as he solos virtuostically on titles like "Pavane", "Pensativa", "Eleanor Rigby", and "Prelude In D Minor".

A great little record by Jimmy Ponder – recorded late in the 80s, but with some nice touches that give the record more of an early 70s jazz funk groove – almost a style that hits the Prestige sound at times! John Patton's in the group on organ – making one of his best appearances of the 80s, and really hitting nicely with some lean and rhythmic lines that keep things grooving on most of the record's best tracks. Ponder's on hollow-body, but playing with a tune that's more line-focused than some of his more warmly chromatic sets from the late 70s and early 80s – a return to the sound he first forged in the late 60s, heard here with backing rhythm guitar from Geary Moore on 2 tracks, plus some nice flute and tenor from Bill Saxton throughout. Titles include the nice groover "Mean Streets, No Bridges", plus "After The Rain", "They Long To Be Close To You", and "Next Time You See Me".

An oft-overlooked jazzy gem from Gil Scott-Heron and Brian Jackson – and a beautifully swinging session that has Gil toning it down a bit, and working into a nicely musical groove that gets past the heavy politics of earlier years! The record's a great showcase for the more upbeat side of Gil's talents – and what it lacks in righteousness, it more than makes up for in a warmly flowing and very soulful vibe! The band's in great form – laying down tight warm jazzy riffs that provide some of the best backing for Gil's voice we've heard since Winter In America – and titles include the wonderfully catchy "Racetrack In France", plus "Hello Sunday Hello Road", "Under The Hammer", and "We Almost Lost Detroit".

An oft-overlooked jazzy gem from Gil Scott-Heron and Brian Jackson – and a beautifully swinging session that has Gil toning it down a bit, and working into a nicely musical groove that gets past the heavy politics of earlier years! The record's a great showcase for the more upbeat side of Gil's talents – and what it lacks in righteousness, it more than makes up for in a warmly flowing and very soulful vibe! The band's in great form – laying down tight warm jazzy riffs that provide some of the best backing for Gil's voice we've heard since Winter In America – and titles include the wonderfully catchy "Racetrack In France", plus "Hello Sunday Hello Road", "Under The Hammer", and "We Almost Lost Detroit".

Lost Latin funk from the Bay Area scene of the 70s – and an album that may well blow away better-known work by groups like Malo, Azteca, or El Chicano! The album's near-perfect right from the start – and brings in plenty of New York elements to the groove, thanks to the inclusion of a heady amount of jazz alongside the soul, Latin, and funk elements in the grooves! The legendary Teo Macero produced and arranged – and really takes a lot of care in the studio to focus the overall energy of the tremendous talents on the record – players who include Hadley Caliman on flute and tenor, Steve Marcus on soprano sax, Benny Velarde on timbales, and Francisco Aguabella on congas – plus the trio of Cesar, Mark Levine, and Merl Sanders on keyboards. Most numbers have this really full, flowing groove – jazzy, but with a strong emphasis on the rhythms – and often touched with some great work on guitar that echoes the Santana-inspired sound of the generation, yet never in a rock way at all. Linda Tillery sings vocals on a few numbers, but the main focus is definitely instrumental – and the whole album's great – with cuts that include "See Saw Affair", "Azucar", "Descarga", "The Devil & Montezuma", "Gotta Get Away", and "Bridges".

One of the best early albums from Ash Ra Tempel! Here they bring vocals into to the mix for the first time, though it's still a spacious blend of slow-building atmosphere and spare dynamics that evolve into more feverish and intense maelstroms. The vocals of John L are another instrument, really – with gruff screams and moodier howls that echo the instrumentation impressively. The drums and percussion and incredible, with sax, organ, guitar and electronics. Work that bridges earlier psych to later experimental rock pretty fearlessly! Includes the "Light And Darkness" suite of " A) Light: Look At Your Sun" and "B) Darkness: Flowers Must Die" (originally spanning a side), plus the Schwingungen side "A) Suche" and "B) Liebe".

Fantastic work from Archie Bell & The Drells – an important record that bridges their earlier and later sounds! It's a key transitional album for the crew – as most of the album's in the harder rawer Texas funk groove of earlier year, but some of it features newer production by Gamble & Huff, in that excellent smooth dancing style that took Archie light years from his roots. The Gamble & Huff tracks are the most obvious – the singles "I Can't Stop Dancing" and "Do The Choo Choo" – and the album's got other great cuts like the original tunes "Do You Feel It?", "You're Such A Beautiful Child", "Jammin In Houston", and "Love Will Rain On You", plus versions of Curtis Mayfield's "I've Been Trying" and "Sometimes I Wonder". CD also features three bonus tracks – "Low Down", "Going Out Of My Head (demo)", and "Who's Loving You (demo)".

One of our top 10 dub albums of all time! This album bridges the gap between the the low-fi, down and dirty excursions of the 70's dub era, and the later high tech dub revolution brought on by On-U, Mad Professor and Jah Shaka. The rhythms here are all first rate, drawn mostly from their Chill Out LP with a few from Red, fueled by Sly and Robbie and a cast of regulars from the Island/Mango stable. Sly & Robbie also handle the production duties, and there's no shortage of fat grooves and unrelenting rhythms, then taken to the next level with deep space echo drops and 21st century sound effects and tape edits. Includes "Ion Storm", "Big Spliff", "Boof'N'Baff'N'Biff", "Puffed Out" and "Android Rebellion". This CD reissue's been newly remastered, with 3 additional dubs as bonus tracks: "Cool Off", "Destination Unknown" and "Fire & Brimstone".

A heavily detailed story of the great Nina Simone – her really unique place in music and American society – with a strong focus on the boundaries she broke and bridges she burned! Author Nadine Cohodas wrote a previous book on Dinah Washington, and does an even better job here with Simone – really laying out the complexity of the woman and her music, but in ways that never over-sensationalize any of the key historical details either. There's a pacing here that really shows Nina's strong commitment over the years – and the heavy notes in the back show that Cohodas really did her research. 448 pages, hardcover, with black and white images.

Killer work by Astrud Gilberto – very different than her Verve sides of the 60s! The album was produced by Astrud, arranged by Deodato – and has that wonderful warm full jazz feel of her classic album on CTI, but also a bit more like some of the funky work of Jorge Ben at the time – choppy at the bottom, with a sound that's a bit samba, and a bit funky at times. Mike Longo and Deodato play keyboards on the session, giving it an electric groove that works perfectly with Astrud's soaring vocals – and the whole album really holds together wonderfully! There's a nice bit of funk on the cut "Take it Easy My Brother Charlie" – and other tracks include "Zigy Zigy Za", "Baiao", "Gingele", "Bridges", and "Where Have You Been?".

Pivotal singles from the amazing Wanda Jackson – one of the greatest female rock and country voices from the 50s onward – who mixes a cutesy coo and a feral growl for a sound that was pretty much unprecedented at the time! The material bridges proto rock and country music in a way that confused the heck outta radio programmers and the label's hope to break her into superstardom back in the day – and Wanda had a voice that could've (and should've) made her a star on par with the Sun Studios boys club. She's tough and tender at the same time – and Capitol producer Ken Nelson is near the top of his game here, too. This really is the best of her Capitol singles – 29 in all – including "I Gotta Know", "Fujiyama Mama", "Honey Bop", "Did You Miss Me?", "Right Or Wrong", "Sinful Heart", "In The Middle Of A Heartbreak", "Mean Mean Man', "Sympathy", You Bug Me Bad", "Silver Threads And Golden Needles", "Rock Your Baby", "(Every Time They Play) Our Song", "Little Charm Bracelet", "No Wedding Bells For Joe", "Honey Bop" and more.

Great work by a great singer – the far under-recorded Irene Kral, a lovely lady who really bridges a number of different camps in the vocal jazz world! At one level, Irene's got the coolness of a Christy or Connor, but at another, she's got a more open, swinging, and soulful style – one that comes off with none of the hoke of Anita O'Day, and which is a perfect balance between class, cool, and easy going honesty. The trio of Junior Mance provides the backings, and titles include "Better Than Anything", "The Meaning Of The Blues", "Passing By", "No More", "Nobody Else But Me", "This Is Always", and "It's A Wonderful World".

The landmark first album from Os Ipanemas – a runaway set of smoking bossa jazz – and a record that really helped set a whole new tone for the genre! The group here is a cooking quintet of Brazilian all-stars – including Astor Silva on trombone, Wilson Das Neves on percussion, Neco on guitar, and Rubens Bassini on drums and percussion – a great lineup that comes together perfectly – in a blend that has raw Brazilian percussion mixed with tighter jazz elements – a mode the bridges two sides of Brazil in the 60s, in a really great way! And although the group have come back to fame in recent years, this initial set may well be our favorite by them – filled with great cuts that include "Nana", "Clouds", "Zulus", "Congo", "Java", and a great cover of "Berimbau".

The landmark first album from Os Ipanemas – a runaway set of smoking bossa jazz – and a record that really helped set a whole new tone for the genre! The group here is a cooking quintet of Brazilian all-stars – including Astor Silva on trombone, Wilson Das Neves on percussion, Neco on guitar, and Rubens Bassini on drums and percussion – a great lineup that comes together perfectly – in a blend that has raw Brazilian percussion mixed with tighter jazz elements – a mode the bridges two sides of Brazil in the 60s, in a really great way! And although the group have come back to fame in recent years, this initial set may well be our favorite by them – filled with great cuts that include "Nana", "Clouds", "Zulus", "Congo", "Java", and a great cover of "Berimbau".

A full funky session from master drummer Bernard Purdie – a set that expands out his previous Prestige vibe, and almost goes for a soundtrack scope to match the record's Shaft title! The set leads off with a great take on the Isaac Hayes hit – one that follows in the same fully-flowing, slow-building mode as Ike's – but which comes across here as an instrumental with some great solo work from Houston Person – playing here almost in a Stanley Turrentine sort of mode! Other tracks continue the hip mix of jazz and larger backings – and feature a lineup of players that includes Neal Creque on electric piano, Gerry Thomas and Danny Moore on trumpets, Willie Bridges and Houston Person on tenors, Billy Nichols and Lloyd Davis on guitars, Gordon Edwards on Fender bass, and Norman Pride on congas. The sound is warm without ever sounding too smooth – and Purdie's funky drums at the bottom ensure that most tunes are nicely lively. Titles include "Shaft", "Butterfingers", "Summer Melody", "Changes", "Way Back Home", and "Attica".

Marlena Shaw's first-ever album – and while not as all-out righteous as some of her later work, still a really unique record that quickly put Marlena head and shoulders above the rest of the pack! The record's a mix of jazzy vocal numbers and heavier soul tunes – arranged by Richard Evans with a hiply swinging sound that bridges modes nicely – and which offers a deeper, more sophisticated take on the kind of territory explored by Nancy Wilson on Capitol during the 60s. Tunes are a real mix of material, but all transformed nicely in this setting – so that standout session tunes like "Ahmad's Blues", "I've Gotten Over You", and "Nothing But Tears" sit very nicely next to more familiar numbers like "Matchmaker Matchmaker", "Alone Together", and "The Eyes Of Love". Also includes a great reading of "Somewhere In The Night"!

Thaione's eighth album – and he's sharp as ever here – with solid beats, atmospheric production touches and tough, honest and personal rhymes. Thaione handles the bulk of the production, but Seventeen includes trio of tracks produced by GEAUX. Includes "Push", "Stolen Moments", "The Listen", "From Where The Devil Smiles", "Enhancements", "Falling Down", "Posterboise", "Magnetic", "Top Shottas", "Bridges Of Yesterday" and more.

A landmark album from The Trammps – and a record that broke the group firmly out of the Philly ghetto, yet still carried all the best touches of the Sigma scene! Sure, the title track was a super-huge hit – thanks to a plug in Saturday Night Fever – but the record itself is Philly club soaring high, with key arrangements and production from the team of Norman Harris, Ronald Baker, and Earl Young – all of whom provide tremendously mighty grooves to soar the multi-voiced sound of the group well over the top of the clubs! Titles include an 11 minute version of "Disco Inferno", plus "Starvin", "Don't Burn No Bridges", "You Touch My Hot Line", and "I Feel Like I've Been Livin (On The Dark Side Of The Moon)".

Triple strength Trinity – featuring Sadat X, AG and DJ Lab – delivering a full scale attack on Fat Beats! Guests include Eternia, Janelle Collins, Ill Bill, Roc Marciano, Slug and Immortal Technique – with beats and production by J Dilla, Kixnare, DJ Jab and more. Includes "Up To The BX" feat Eternia, "Rap Attack", "Twenty In", "My Way" with Janelle Collins, "Corrupt" feat Ill Bill & Immortal Technique, "MY Bridges", "Victory" and the large scale "Sometimes" with Reef The Last Cause, Eternia, Slug, Everlast, Roxanne Shante, Immortal Technique and more!

Joe Williams was really reviving his career as a vocalist at this point – working with the Thad Jones/Mel Lewis big band on a few well-selling records, and on this smoother set with arrangements by Horace Ott. The overall feel is kind of in a swinging Grady Tate mode, with jazziness underneath larger orchestrations that have more of a popish quality to them – and Joe stretches his style to work on songs like Milton Nascimento's "Bridges", plus "Didn't We", "You Send Me", "I Hold No Grudge", "Oh Darling", and "Can't Take My Eyes Off You".

Incredible stuff from the jazz underground of Newark! This is one of the rarest albums ever recorded by jazz organist Larry Young – cut for the tiny Perception label during the early 70s, and featuring some of the cream of the New Jersey jazz underground. The album's got playing that bridges a number of Young's different styles – from his straighter soul jazz work at Blue Note, to his harder jamming with Santana and John McLaughlin, to his more fusion oriented albums for Arista. James Blood Ulmer's on guitar, but there's also a large ensemble of excellent players, and lots of other percussion and cool instrumentation that really gives the album an "out there" sound! Titles include "Sunshine Fly Away", "Saudia", "Hello Your Quietness", and "Khalid Of Space".

Left coast rhythm & blues from Kent "Boogaloo" Harris & his inner circle of LA family & friends – late 50s & 60s treasures from Boogaloo & His Gallant Crew, The Francettes, The Harris Sisters, Eddie Bridges, Fay Ross, The Lon-Genes, The Valquons and many more! Harris was the songwriter, label head, record shop keeper and sometimes singer at the center of a vibrant scene – which indeed included family members as well as friends. His sisters performed and recorded as The Harris Sisters, Marcene "Dimples" Harris stepping out as a headliner, plus many more excellent associated acts over the years. It's got some jumping late 50s style R&B and more grandly orchestrated numbers, though still rooted in rhythm. 25 tracks in all, including a handful of previously unreleased gems – though even the biggest movers here have been overlooked for far too long! Titles include "Big Fat Lie" by Boogaloo & His Gallant Crew, "Long Lean Lanky Juke Box" by Dimples Harris & here Combo, "Double Locks" by Johnny Gosey, "So Far Away" by Rooty Poots, "Our Love Is Like The Sea" by The Lon-Genes, "Don't Just Stand There" by Cry Baby Curtis, "You Ain't Right' by Faye Ross and more.

A mix of modern Armenian music circa the late 60s-late 70s – amazing stuff that bridges traditional Armenian folk to global funk, psych, soul and jazz – put together by Bei Ru! Mochilla is one of the great outlets for some of best world-travelling DJs/producers/compilers to shine a light on the diverse global funk that's either currently or eternally blowing their minds, while showcasing their skills as master DJs – and this set works well on both fronts! There's a strong current of psychedelic funk & soul in the instrumentation, flowing underneath Armenian folk vocalists. The CD is a continuous mix, running just under an hour. Lacks a tracklist, but it's got a surplus of wonderful music, expertly sequenced by Bei Ru!

The birth of a genius – and Dionne Warwick's first album in a mighty 60s run for Scepter Records! The album's the first full length collaboration between Warwick and the team of Burt Bacharach and Hal David – but it's already the stuff of legend – an album that easily bridges the worlds of soul, vocal, and pop with its unique sense of poise and class – sung perfectly by Dionne throughout, and arranged with orchestral brilliance by the young Burt! Titles include "Don't Make Me Over", "Wishin & Hopin", "Make It Easy On Yourself", "The Love Of A Boy", "I Cry Alone", "Make The Music Play", "If You See Bill", "It's Love That Really Counts", and "This Empty Place".

A surprise mid 70s hit for Dionne Warwick – a warm and bubbling bit of soul, done with uptown maestro Jerry Ragovoy in a perfect AM pop style! The centerpiece of the album is the super-hit tune "Then Came You" – a duet with The Spinners produced and arranged by Thom Bell at Sigma Sound, and one of those tunes that sounded instantly great, and stayed on the airwaves for years. Ragovoy expands on this style for the rest of the album – moving past the easy hit hook to show Dionne as a maturing singer of her time, working in a variety of moods that stretch way past the early Bacharach hits. Titles include "Move Me No Mountain", "How Can I Tell Him", "Getting In My Way", "Who Knows", "Take It From Me", and "We'll Burn Our Bridges Behind Us".

The grandest scale and most elaborately furnished Black Sabbath album to this point – but they still bring the heavy! The title track is one of the most influential metal songs ever, with the foreboding lyrics, trudging stomp of a rhythmic pace and those bridges that are almost pretty – and the most of the rest of the album is great, too – more carefully produced than the previous few without compromising the menace. Titles include "A National Acrobat", "Fluff", "Sabbra Cadabra", "Spiral Architect", "Looking For Today", and "Who Are You".

Brilliant early work from a young Willie Colon – a true hustler if there ever was one! The album has an amazing energy that really bridges a number of Latin scenes – it's part descarga jamming, part Latin soul, and part traditional Latin – put together with a no-nonsense approach that makes the whole thing come off like magic. A young Hector LaVoe is on lead vocals, but the real star here is the group – who have a lean, mean, stripped-down sound that's really great! Includes the jammer "The Hustler", plus "Eso Se Baila Asi", "Havana", "Guajiron", "Montero", and "Que Lio".

Gritty prose from the legendary Harlan Ellison – a writer known best for his science fiction work, but who's represented here by some very early material that's plenty violent and salacious! The writing should be taken in the spirit of the title and cover – and Harlan himself does a great job of situating the work in his introduction to the book – telling the tale of the somewhat sleazy roots of this read, which is almost as titillating as the stories themselves! Yet despite the obvious apology for the schlock quality of the stories (some weren't even originally billed under Ellison's own name!) – there's a real force to the writing throughout – a youthful, powerful feel that bridges the gap between classic noir and underground exploitation – as you'll find in stories like "Sex Gang", "Jeannie With The Bedroom Eyes", "A Girl Named Poison", and "Both Ends Of The Candle".

A pair of scores recorded a decade apart – both working pretty well together on a single CD! Seven Days In May is a mid 60s military thriller – scored by Jerry Goldsmith with a fair bit of snapping snare – but used in a way that kind of bridges suspenseful moments and more war-like themes – pretty darn taught throughout the entire soundtrack! The numbers have a nice sort of resonance with each other, and really keep up the energy – and tracks include "Main Title", "Pickets", "First Sign Of Trouble", "Midnight Rendezvous", "Casey Is Caught", and "Scott Defeated". The Mackintosh Man sounds quite different, and provides a great change of pace after the tenseness of Seven Days In May – a slightly whimsical score penned by Maurice Jarre for an overlooked early 70s spy thriller with Paul Newman – handled with this great main theme that's provided in a number of different variations – almost a jaunty number, with echoes of Italian modes of the time, but almost more comedy than spy! The pace and instrumentation changes a bit from track to track, but this great theme repeats often – and titles include "Postal Thief", "Meeting In Prison", "Escape Route", "Drugs For Rearden", "Party 2", "Loose Talk", and "Rendezvous With Wheeler". Features some bonus tracks too!

Maybe our favorite Beatles album ever – a key set that bridges the catchiness of the early years and the sharper ideas of later albums – with a slightly sinister undercurrent that really keeps things fresh! The album's got some great early psych in spots, offset with wonderfully mature and sweet lyrics on the love songs – cross-cut with a bit of witty social commentary too! Tracks include "Taxman", "Eleanor Rigby", "Love You To", "Here There & Everywhere", "She Said She Said", "And Your Bird Can Sing", "Tomorrow Never Knows", and "For No One".

Fantastic sounds from Monday Michiru – quite possibly her greatest album in years, and one that really draws together all the best elements of her style! The vocals are wonderful – soaring, fluid, and filled with soul – almost more confident than ever – and set to these small group jazz arrangements that still bounce around with lots of contemporary rhythms – yet all played live, almost in a clubjazz mode – which makes for a perfect backdrop for Monday's lyrics! As always, the vibe is righteous, and the spirit is totally uplifting – the kind of amazing music that's held us rapt, watching her career for the past two decades – never disappointed, and always blown away by the rich progression in her music. Monday plays a bit of flute on the record, Ed Motta sings guest vocals on a version of the Milton Nascimento classic "Bridges" – and other titles include "Adventures", "What Is In A Soul", "Map Of The Soul", "What Defines You", "Brasilianos", "Til Morning Comes Again", and "The Elusive Song".

An extremely groovy soundtrack from Carlo Rustichelli – one that bridges two generations of Italian comedy scores! At one level, there's a bouncing melodic feel to the score – done in a very Nino Rota-esque way, with plenty of jazzy touches on electric guitar, and some extremely captivating tunes. At another level, there's more of the mod 60s approach at work too – particularly in the way Pier Luigi Urbini interprets the score, and in the way the whole thing's recorded. Very nice stuff – and filled with classic Italian-styled tunes! Titles include "Night Dance", "Il Ricatto", "La Domenica", "Chiacchiere", "Prima Della Festa", and "Sarabanda Allegra". Great CD version features 10 more bonus tracks, including some rare mixes – 26 titles in all!

Way more than just a jazz funk revival – given that all of the tracks here are from the mighty Muse Records, one of the coolest companies going back in the 70s! The set does a great job of mixing straighter funk with some more righteous numbers – showing two key sides of the label's genius at the time – and really blowing our mind with the range of wonderful music in the set! There's loads of overlooked gems here – packaged nicely in one cool little set – and titles include "Mean Streets No Bridges" by Jimmy Ponder with John Patton, "Chameleon" and "Thank You Falletinme Be Mice Elf Again" by Eddie Jefferson, "In the Middle of It All" by Neal Creque, "Mystery Of The Ages" by Carlos Garnett, "In The Meantime" by Kenny Barron", "Walk That Funky Dog" by Stan Bronstein, "Philadelphia Bright" by Walter Bishop Jr, "and both "Let Us Go" and "Black Love" by Carlos Garnett.

A wild little soundtrack that's equal parts biker and hot rod – a great rocking rarity that really bridges two sub-genres of rockish sounds in the 60s! The set's one of Mike Curb's great soundtracks for AIP – and like some of the others, it features a set of lesser-known talents coming together in a batch of tracks that works equally well as a rock album or a soundtrack! Some cuts have vocals, other feature fuzzy guitars riffing away instrumentally – a bit more surf/hot rod than psych, but still nice and trippy at times – and the lineup features the great "Theme From Thunder Alley" by Band Without A Name –plus "Pete's Orgy" and "Mud Fight" by The Sidewalk Sounds, "Calahan's Theme" by The Lorraine Singers, "When You Get What You Want" by Annette, and "Riot In Thunder Alley" by Eddie Beram – which is an excellent drum and sitar track that is worth the price of the album alone!

Fantastic work from Archie Bell & The Drells – an important record that bridges their earlier and later sounds! It's a key transitional album for the crew – as most of the album's in the harder rawer Texas funk groove of earlier year, but some of it features newer production by Gamble & Huff, in that excellent smooth dancing style that took Archie light years from his roots. The Gamble & Huff tracks are the most obvious – the singles "I Can't Stop Dancing" and "Do The Choo Choo" – and the album's got other great cuts like the original tunes "Do You Feel It?", "You're Such A Beautiful Child", "Jammin In Houston", and "Love Will Rain On You", plus versions of Curtis Mayfield's "I've Been Trying" and "Sometimes I Wonder".

A damn funky record – way more so than you might expect from the "string" in the title! The group's kind of an answer to the Soulful Strings ensemble headed by Richard Evans for Cadet/Concept in Chicago – and like that group, it mixes up funky rhythms with some sweet large orchestrations – in a style that's almost a precursor of blacksploitation funk to come in the 70s! Paul Riser handles arrangements – very much in the same spirit of Evans – and he picks up a hip Motown groove that bridges sweeping soul and gritty funk – all played to perfection by an ensemble led by Gordon Staples, and featuring players from the Detroit Symphony Orchestra! There's lots of funky nuggets in the set – and titles include excellent originals like "Strung Out", "Toonie", and "Sounds of the Zodiac" – plus "The April Fools", "The Look Of Love", "Get Down", "If Your Love Were Mine", "Someday We'll Be Together", and "From A Heart That's True To Only You".