All Categories -- All Formats  

Great stuff! Although the Four Tops are always best known as a Motown group -- they actually did some really wonderful work for ABC Records in the mid 70s -- a time that had the group really stretching out in their style, finding some great new sounds that really kept them alive, and in the forefront of the soul group scene. Production on many numbers is by Dennis Lambert and Brian Potter -- usually working with Steve Barri -- and the set's an excellent introduction to these overlooked years. Titles include "Are You Man Enough", the great theme to Shaft In Africa -- plus other nice ones like "Keep Of The Castle", "Sweet Understanding Love", "Midnight Flower", "Strung Out For Your Love", "One Chain Don't Make No Prison", "Am I My Brother's Keeper", "You'll Never Find A Better Man", and "Catfish".

With ABC, the boys are expanding their sound with the club-oriented grooves of the time -- using Holland, Dozier, and Holland on many cuts, trying for a similar strident groove as some of the trio's work on their own Invictus label. The move's actually a great one -- as the maturing group has a strong adult harmony sound, the one that they would lean on more heavily during their years as The Jacksons, and which calls for much smoother arrangements than before. The record's got a strident righteous sound -- and titles include "The Love You Save", "ABC", "One More Chance", "Never Had A Dream Come True", "I'll Bet You", "I Found That Girl", "La-La Means I Love You", "2-4-6-8", and "The Young Folks".

A treasure trove of work from one of the greatest southern soul singers ever -- and one of the few artists who's never gotten his proper due on the reissue market! OV Wright was a seminal figure in the Memphis scene before the Hi Records soul explosion of the 70s -- an artist who worked with Willie Mitchell, but in a way that was slightly different than the more polished style going down at Hi -- a bit rougher around the edges, and more of a link between the bluesier modes of Memphis in previous years, and the well-crafted soul of the 60s and 70s. Wright's albums on the Backbeat label are always treasured among soul collectors -- but most are nearly impossible to find on both LP or CD. This set wonderfully corrects that mistake, though -- by offering up the albums Memphis Unlimited, A Nickel & A Nail, Nucleus Of Soul, and 8 Men & 4 Women -- plus the later Treasured Moments collection of his earlier Goldwax work -- all presented in LP-styled sleeves, and wrapped up in a beautiful slipcover box with notes! The package is amazing -- almost as mindblowing as finding one of Wright's rare records in mint shape (which is pretty near impossible!) -- and our hat's off to P-Vine for doing such a wonderful job with the whole thing. There's a total of 71 tracks on the 5CD set -- and the artwork is as beautiful as the music!

2 of the best records ever by The Jackson 5! Diana Ross Presents is the fantastic first record from the Jacksons -- who were totally great, even at this early stage of their career. Proof enough is their big hit, the always-wonderful "I Want You Back", one of those tunes that we've heard a million times, but still love to death. Also included are a number of covers -- like "Stand", "My Cherie Amour", and "Standing In The Shadows of Love" -- all done in the nice Jacksons style. With ABC, the boys are expanding their sound with the club-oriented grooves of the time -- using Holland, Dozier, and Holland on many cuts, trying for a similar strident groove as some of the trio's work on their own Invictus label. The move's actually a great one -- as the maturing group has a strong adult harmony sound, the one that they would lean on more heavily during their years as The Jacksons, and which calls for much smoother arrangements than before. The record's got a strident righteous sound -- and titles include "Forever Came Today", "Moving Violation", "You Were Made Especially For Me", "Honey Love", "Body Language", "All I Do Is Think Of You", and "Breezy". CD also features the bonus track "Oh I've Been Bless'd".

A massive overview of the late 70s work of Denise LaSalle -- work originally recorded for the ABC and MCA labels, presented here in a 2CD package that's overflowing with goodness! Although Denise got her start in much more deep soul territory, she really hit her stride at ABC -- moving into better-produced, warmer-glowing styles that had a similar appeal as Millie Jackson's work of the time -- kind of a growing up of earlier deep soul modes, but in ways that kept all the life and energy of the original vocals intact. LaSalle had great control over most of the recordings at this time -- and nearly all the tracks in the set are her own compositions -- penned with an open, honest attitude towards life, love, and everything in between! The music's arguably much stronger than Denise's work to come in the following decade -- never too polished or commercial, despite its major label presence. 2CD set features 24 tracks in all -- including "Second Breath", "You'll Never Get Your Hooks In My Man", "Got Myself A Handyman", "Hellfire Loving", "Love Addict", "One Life To Live", "Fool Me Good", "Before You Take It To The Streets", "Talking Bout My Best Friend", "Feet Don't Fail Me", "Working Overtime", "Tighten Up On Your Good Thing", "My Groove Medley", and "Sweet Soul".

Nice record by Brass Fever, and a one that was recorded before their more disco-y Time Is Running Out LP. The band includes a host of great horn players like George Bohannon, Jerome Richardson, Oscar Brashear, and John Handy -- plus some good solos by Odell Brown on keyboards. Five long cuts, including covers of "Sunshine Superman" and "Lady Marmalade", plus the cuts "Djingi" and "Bach Bone".

A more Latin-styled set than usual from The Brass Ring -- as you might guess from the title and cover! The sound is slightly fuller here -- a bit of brassy trumpets used sparingly, but just enough to fill out the groove at times -- and other new elements too, like acoustic guitar, added rhythms, and a few other bits that help the group keep things fresh, while still staying in the same blend of dreamy, easy, and groovy modes hit on previous albums. There's a similarity here to some of the best playful instrumental work on Verve or Impulse at the time -- and titles include "Girl From Ipanema", "This Afternoon I Saw It Rain", "Sugarloaf", "Little Sea Shells", "Gazpacho", "Yours", and "Amanha".

Mel's a long way here from the dirty funk of earlier years -- in a richly-arranged style that has some of the touches of the disco years, but which also nicely sets up Brown's vocals in a few gentler ballads that are the real winners of the set. These numbers have a honest, almost earthy feel -- with a production approach that's a bit like that of The Dramatics' best mellow work on ABC at the time -- and production and arrangements are by James Gadson on most of the album. Titles include "Just Living", "Restless Moments", "Martha's Place", "Call On Me", "Does Anybody Really Care", "I A Man & You A Woman", and "Actor Of Music".

One of the jazziest Candido albums ever -- a tight little 50s set that features the master congolero working with a small combo that includes Al Cohn on tenor, Dick Katz on piano, and Joe Puma on guitar! The sound is nice and stripped-down -- bristling with a percussive approach to the grooves that really seems to inspire the soloists -- especially Cohn, who's playing here with a tone that we didn't expect! The session jams along nicely throughout -- and tracks include "Perdido", "Candi Bar", "Mambo Inn", "Candido's Camera", and "Indian Summer".

A much-needed look at the music of Carl Carlton -- in a set that fully traces his evolution of sound over the years! There's really three major chapters to Carlton's career here -- early recordings for the Backbeat label, bigger sides for ABC Records, and then his stunning collaboration with Leon Haywood on the 20th Century label -- all key passages of Carl's big run in the 70s, with key snippets from the end of the 60s and start of the 80s as well. Early tracks have a great mix of southern soul modes with some sweeter Northern styles -- then the groove picks up a fuller 70s mode as things roll on, to hit the sexier, funkier style of the Haywood years. The set features 22 tracks in all, with notes on each number included -- and titles include "Sure Miss Loving You", "Wild Child", "The Generation Gap", "Competition Ain't Nothin", "Don't Walk Away", "I Can Feel It", "Drop By My Place", "Look At Mary Wonder", "46 Drums 1 Guitar", "Everlasting Love", "Smokin Room", "Morning Noon & Nightime", "This Feeling's Rated X-tra", "She's A Bad Mama Jama", "I Think It's Gonna Be Alright", "Private Property", and "Slipped Tripped Fooled Around & Fell In Love".

A bit of a hit for the young Carl Carlton -- as the record features his version of "Everlasting Love", done in a mode that has a strident Stevie Wonder groove, with a few more touches of pop orchestrations in the background. The rest of the record has a similar feel, mixing older tunes with a Stevie sweet soul groove -- and titles include "Morning, Noon, & Night", "Signed Sealed & Delivered", "Hurt So Bad", "Smokin Room", "Our Day Will Come", and "La La Song".

A stunning standout from Ray Charles' years on ABC Records -- and a set that brings in a bit of hard-swinging jazz to the country-styled groove Ray was hitting at the time! Backings are by Ralph Burns, who keeps things pretty hip -- not as modern as some of his 50s charts for other singers, but with some great horns that cascade beautifully alongside Ray's raspy vocals in the lead. The "road" title leads to a bunch of travel-themed tunes -- but that approach also yields one of Charles' biggest classics -- his version of "Georgia On My Mind" -- heard here amidst other tracks that include "New York's My Home", "Moonlight In Vermont", "Deep In The Heart Of Texas", "Blue Hawaii", "Carry Me Back To Old Virginny", "Alabamy Bound", and "Mississippi Mud". CD features 7 more bonus tracks -- mostly travel-related numbers from later years -- with titles that include "Hit The Road Jack", "I Was On Georgia Time", "Take Me Home Country Roads", "Blue Moon Of Kentucky", and "The Long & Winding Road".

Brilliant work throughout -- both of Ray Charles' classic country albums on a single CD package! Volume one is the stuff of legends -- and what seemed a silly idea at the time was true proof of Ray's genius -- the most successful album of his career and a bona-fide number one hit that rode the charts for years and years! Ray's voice works perfectly with the material, and thanks to soulful arrangements by Gil Fuller, Marty Paich, and Gerald Wilson, the whole thing comes off to perfection. Titles include "You Don't Know Me", "I Can't Stop Lovin You", "Careless Love", "You Win Again", and "Worried Mind". Volume 2 is the second installment of one of Ray's greatest albums -- and a landmark in the genre of country soul! As the title implies, Ray's singing a host of tunes best known from the country side of the spectrum -- but he's working here with arrangements by LA jazzers Marty Paich and Gerald Wilson, to completely re-cast the tunes into the "modern sounds" mode promised in the title. The result is wonderful -- a style that gave Ray's career a whole new boost, and a genre that was a perfect foil for his rich bluesy mode of singing. Titles include "No Letter Today", "Take These Chains From My Heart", "Teardrops In My Heart", "Making Believe", and "Hang Your Head In Shame".

Chic caught live at the Mt Fuji Jazz Festival -- a surprisingly consistent setting for great performances from American soul acts! The music was recorded well into the 21st Century, but the energy here is right up there with the best Chic sound of the late 70s -- sharply funky, with loads of great guitar in the mix, and other instrumentation that's put together pretty darn well -- never too tinny or modern at all. Titles include "I'm Coming Out", "Upside Down", "He's The Greatest Dancer", "Dance Dance Dance", "I Want Your Love", "Everybody Dance", "We Are Family", "Good Times", and "My Forbidden Lover".

Cold Blood are still going strong in the mid 70s -- a lot stronger than anyone would imagine for a group that was kind of a white-boy (and girl) soul group coming out of the magical Bay Area scene of the late 60s. The group's actually a lot tighter here than before -- and the instrumentation has kind of an Average White Band funky groove to it, one that offers up some nice moments in the breakdowns. Lydia's vocals are still something we can't cotton to, though! Titles include "Drink The Wine", "We Came Down Here", "I Get Off On You", "Feel The Fire", "Blinded By Love", "Back Here Again", "Let Me Be The One", and "It Takes A Lot Of Good Lovin".

A very groovy mid 60s set from Chris -- recorded with arrangements by Don Costa, and a sound that's quite different than her earlier albums! Don never goes to over the top here, but he does add in some nice groovy touches -- things like bossa rhythms and electric harpsichord, used sparingly, but to very nice effect! Tracks include "Love Life", "You're Gonna Hear From Me", "Who's Afraid", "Nowhere Man", and "Goin Out Of My Head".

Another chapter in the excellent series of recordings made by The Dramatics at ABC -- great group soul gems that are sometimes overlooked because they didn't yield as many hits as earlier sets -- but which are stellar records nonetheless! This one's got all the right elements firmly in place -- killer production by Don Davis, and smooth but real harmonies from LJ Reynolds, Ron Banks, and the rest of the group. There's a few tracks that hit a smooth sort of groove that might be tagged as "disco" -- but which is really just an extension of the super-dope mode that the group used in earlier years -- and which has a lot more to offer than just a cheap dancefloor cash in. Titles include "Life Is Just A Playground", "Love Birds", "A Marriage On Paper Only", "I'm Hooked On You", "That's My Favorite Song", "I Think About You", and "I Just Wanna Dance With You".

One of their best, and a real masterpiece of 70's group soul. The arrangements are sweet, but the group is as hard as they ever were, but free to soar in their singing with the massive arrangements provided by the Detroit Groovesville crew. Ron Banks and LJ Reynolds are in perfect form, and this album is solid all the way through. Titles include "I Dig Your Music", "How Do You Feel", "Thousand Shades Of Blue", "I Cried All The Way Home", and "Good Things Don't Come Easy".

Their classic, with the great long version of "Float On", which is a monster soul cut that stands tall with steppers and rappers alike. It's probably the best track they ever did, and it's all here in a version that's nearly 12 minutes long -- with loads of samples that you'll recognize from numerous recent records. Also includes a number of other great, mellow 70s soul numbers, like "You Don't Have To Say You Love Me", "Everything Happens For A Reason" and "No Stronger Love".

Eydie's definitely in love on this one -- given the romantic nature of most of the tunes, and the gentle, ballad-heavy approach of the record -- and although her longtime paramour Steve Lawrence is pictured in a photo on the back cover, the album's all Gorme's own! Backings are by Don Costa, in that lightly sparkling style he often used to great effect with Eydie over the years -- a mode that keeps things simple and direct, but which brings out a personal, honest sort of warmth that cascades over the whole album with a nice sort of glow. Titles include "Love Letters", "In Other Words", "Why Shouldn't I", "In The Wee Small Hours", "Here I Am In Love Again", "In Love In Vain", and "Idle Conversation".

Pretty stunning work from the team of Richard Harris & Jimmy Webb -- a shining point in both of their careers! Harris wasn't much of a singer, and was mostly known as an actor before these two albums. He teamed up with Jimmy Webb as the perfect foil for some of Webb's late sixties song-stories -- crafted here into extended arrangements penned and conducted by Webb, who was just a wee lad at the time. The album went onto become a genre-busting superhit, and pretty much burned out the career of both parties involved -- but with brilliance like this, you could hardly expect otherwise! The highlight here is the original 7 minute version of "MacArthur Park", but there's loads of other tracks that are great too -- and titles include "Didn't We", "Lovers Such As I", "A Tramp Shining", "Paper Chase", and "In The Final Hours".

Hardly the disco set you might guess from the title -- and instead, a surprisingly soulful gem from the post-Stax years of Isaac Hayes! There's certainly a bit of uptempo grooving in the mix -- but, as on Ike's Polydor years, the approach is still handled with the deeper sounds that Hayes first forged over at Stax -- a way of putting together the groove that's almost like a mini-symphony in soul -- still quite complex, even when aimed at the dancefloor! But not all cuts are groovers, too -- as there's some key mellow moments on the record that really help balance things out, and which we really like a lot -- those slow-stepping, mature masculine numbers that always marked Hayes as one of the hippest talents of his generation. There's some key Memphis help on the record from The Movement -- who handle rhythm and horns -- and titles include "Let's Don't Ever Blow Our Thing", "Lady of The Night", "The Storm Is Over", "Juicy Fruit", "Thank You Love", and "Music To Make Love By".

After working for years in the Crusaders, then honing his production skills with excellent work for Fantasy and Mercury, Wayne Henderson put out this album of his own, which drew on a lot of the work he'd been doing during the mid 70s. The album's a showcase for his At Home productions team, and it features work by Bobby Lyle, Roland Bautista, Ronnie Laws, and others. Henderson plays trombone, but he also gets in the way a bit with some hipster vocalizing that doesn't quite work. Titles include "Lady Bug", "Foot Stompin Music", "I'm Staying Forever", and a version of the great stepper "Keep On Keepin On".

Sweet falsetto soul from Eddie! "I'll Be There" has Eddie tweaking along in the same mode as "Hey There Lonely Girl" -- slowly stepping his way through some strings and vibes, offering comfort to a lady in the background. "Cause You're Mine" is a great one -- even better than the main track -- with a bank of swirling strings, and amazing vocals from Eddie, stepped down a few registers from his falsetto mode, and singing with incredible range!

Fantastic stuff from John Lee Hooker, and a record that's unlike any other he's ever done! The groove is very hard and funky, with tight drumbreaks and excellent basslines that you'd hardly expect to find on an album by a blues artist -- jamming around with a tight groove that really makes us love the record! The guitar on the set is wonderfully scratchy -- ripping up and down over heavy drums, with some nice horn touches to flesh the sound up -- and wicked vocals from Hook that give the whole set a nice and nasty feel! The best cuts include "Make It Funky", "713 Blues", "714 Blues", and "Bluebird" -- and the record's got some very nice breaks!

A great little album of up-tempo soul from Al Hudson -- recorded in the years before he formed his One Way group, but with a similar approach that's kind of an answer to disco, putting a bit more funk into the mix for the dancefloor. His group benefits from the talents of Kevin McCord, who plays bass and sings a bit -- although Al's doing all the lead vocals on this album. Titles include "Tripped, Slipped, Stumbled, & Fell", "If You Get Caught", "If You Feel Like Dancing", and "I Like Everything About You".

Classic work from Al Hudson -- pre One Way, but in the same uptempo soul vein. Al's working here with arrangements by Kevin McCord, Rudy Robinson, and Dave Roberson -- in a mix of club-heavy tunes that are augmented by a few welcome mellower numbers. Titles include "I Don't Want You To Leave Me", "Another Love Song", "You Can Do It", "In The Basement", "Call me", and "Rock".

Excellent early work from Al Hudson -- a soulful talent who stood his own in the late 70s, forging an up-tempo funk sound that lived long past disco, and which was sort of a platform for groups of the 80s to build a new dancefloor sound. Hudson relied heavily on bass-y funk to hit his groove, but he also gave strong focus to the good singers who worked with his groups -- adding in good ballads that act as a showcase to members like bassist Kevin McCord, who sings some great vocals on this set. The album kicks off with the up-tempo groover "Spread Love", an anthemic dancefloor tune that almost points the way towards soulful house, and it's got some other nice cuts, like the ballads "Lost Inside Of You" and "Love Me Forever", plus the funky numbers "How Do You Do", and "Dance, Get Down".

A groovy LP that features this swinging 60s keyboardist playing his versions of some of the bigger soul covers of the day! The album features Hyman on piano, organ, and clavinette, and he's playing with "The Group", a tight little combo that gives him a hip kind of mod edge that wasn't heard on some of his earlier albums. Tracks include "Chain of Fools", "Sweet Sweet Soul", "Soul Man", and "Honey Chile".

Jackie & Roy at the height of their ABC powers -- really stepping out strongly here with a bold jazz vocal approach that nobody else can touch! Both Roy Kral and Jackie Cain get a few moments of their own in the spotlight, especially Jackie, who steps out on a number of the tracks -- but as usual, the duo's at their best when singing together -- which they do beautifully here, trading lyrical lines with tremendous charm! Most instrumentation is small combo -- with Roy on piano, Monty Budwig on bass, and Shelly Manne on drums -- and titles include "From This Moment On", "Kiss & Run", "Cake Walk", "Have You Met Miss Jones", "Who Cares", and "How Are You Fixed For Love".

Lost bit of soul by Chuck Jackson, recorded in LA in the early 70s, between his Wand hit years, and his later stuff on All Platinum. The sound is sort of a rootsy studio soul sound, if that makes any sense -- but some of the tracks are also a bit funky. There's a great sample on the cut "Talk A Little Less", which is also a killer soul number itself -- and other titles include "Maybe This Will Be The Morning", "Put A Little Love Away", "If That's The Way That You Want It", "Just a Little Tear", and "I Only Get This Feeling". Surprisingly great work from Chuck -- and a record that should have been bigger, but which got buried when it came out.

Quincy turns his soul jazz arranging style to a band filled with West Coast players, and he gets them to groove a lot more than you'd expect! Players include Herb Geller, Art Pepper, Charlie Mariano, Bill Perkins, and Walter Benton. The tracks are short, with tight solo space, and most of them were written and arranged by West Coasters like Jimmy Giuffre, Lennie Niehaus, and Johnny Mandel. Titles include "Be My Guest", "London Derriere", "Kings Road Blues", "The Oom Is Blues", and "Bright Moon".

Two early 70s burners from BB King -- back to back as a 2CD set! LA Midnight has BB King bringing in a sweet dose of jazz to his work -- just a touch of the funkier backings that some of his electric contemporaries were getting at the time -- maybe not as hard-wailing as some of the Chess funky blues records, but definitely somewhere in that direction! Players on the date include Mel Brown and Jesse Davis on guitars, Bobby Bryant on trumpet, Red Holloway on tenor, Plas Johnson on baritone, Clifford Coulter and Victor Feldman on piano, and the great Earl Palmer on drums. Titles include "Help The Poor", "Can't You Hear Me Talking To You", "Midnight", "I Got Some Help I Don't Need", "I've Been Blue Too Long", "Lucille's Granny, and "Can't You Hear Me Talking To You". To Know You is a set that has BB King teaming up with southern soul maestro Dave Crawford -- an arranger/producer who helps BB find a whole new groove! Crawford's approach is wonderfully warm and soulful -- almost a Hi Records sort of take on the music, which brings King's traditional blues into much fresher territory -- an update of older Memphis modes, with a really great sound for the 70s. In addition to The Memphis Horns, there's also a bit of Philly help on the record too -- thanks to Vince Montana's vibes, Norman Harris' guitar, Ron Kersey's keyboards, and Ronnie Baker's bass. Stevie Wonder makes a brief guest appearance on keyboards too -- and titles include "Oh To Me", "Love", "Respect Yourself", "I Like To Live The Love", "Who Are You", "I Can't Leave", and "Thank You For Loving The Blues".

One of the first albums ever by this legendary jazz vocal group! LHR do the incredible -- and create a set of vocal renditions of standards by the Basie band, putting jazzy lyrics in to replace the instrumental solos, but keeping the same vibe as the original tracks. The sound and approach is amazing -- and it's no wonder this record made them instant legends. Titles include "Down For The Count", "Fiesta In Blue", "Blues Backstage", and "It's Sand, Man!"

Denise is shaking off some of the rougher edges of earlier recordings, working here in that modern Detroit style that would show up occasionally on some of these mid 70s ABC soul releases. Arrangements are by David Van DePitte, who gives Denise a smooth soaring sound that pushes her a lot vocally -- while backing by strong Detroit studio players still keeps the proceedings nice and real. Titles include "Sweet Soul", "I'm Back To Collect", "Get Your Lie Straight", "I Get What I Want", "Hellfire Loving", and "Sit Down & Hurt Awhile".

A Philly-styled groover from Eloise Laws -- a tune that's got plenty of rolling clubby rhythms on the intro, then gives way to a great soulful lyric that almost hearkens back to Ella's earlier days! "1000 Laughs" is pretty good too -- also upbeat, but somehow just a few notches not as catchy.

Weird mix of Philly soul production with vocals that have more of a southern soul kind of feel to them. Charles' voice is nice and rich, and the tracks are arranged by Vince Montana & Norman Harris. Includes some nice ballads, and a few uptempo tracks, including a Philly version of Steely Dan's "Do It Again". Other titles include "Say You Love Me Too", "It's All Over", "Stop", "Be Real Black For Me", and "You Came Out Of Nowhere".

The first solo album from the team of Marilyn McCoo & Billy Davis Jr -- and a set that's arguably even more soulful than their work together in The 5th Dimension! The pair are lucky to have Groovesville soul maestro Don Davis at the helm -- helping them hit a more mature, more contemporary sound that mixes equal parts club rhythms with some of the smoother styles of the late 5th Dimension years. McCoo's vocals are especially wonderful -- classy, but always quite heartfelt -- at a level that almost comes across like some of the best Philly International vocalists of the same period -- especially on the soaring disco numbers! Titles include "You Can't Change My Heart", "You Don't Have To Be A Star", "We've Got To Get It On Again", "Easy Way Out", "My Love For You", and "I Hope We Get To Love In Time".

A non-Philly International, non-Teddy LP for the group -- but still recorded in the City of Brotherly Love, with a classic 70's sound that's pretty similar to their work with Gamble & Huff. Titles include "Hostage", "He Loves You And I Do Too", "Stay Together", and "Reaching For The World".

2nd pressing of some early material by Wes Montgomery -- a tasty trio session cut when he was working with hometown talent from Indianapolis. The set's a real treat because it features organ work by the great Mel Rhyne, an oft-overlooked player who began with Montgomery, but who got left in the dust when he started recording with bigger players. The trio's completed by drummer Paul Parker -- and tracks include "Whisper Not", "Ecaroh", "Missile Blues", and "Jingles".

One of the greatest blacksploitation soundtracks ever -- a massively beautiful record that goes beyond any cliches of the genre, and serves up a fantastically unique batch of tracks! Chisoul arranger Johnny Pate did the music for the film -- and (dare we say it?) it's even greater that Issac Hayes' work for the first Shaft film -- with a depth, sensitivity, and soul that's really amazing -- and which has kept the record at the top of our crates for many years. The 4 Tops turn out a great later vocal on the album's theme tune "Are You Man Enough" -- and Johnny himself does stellar work on the tracks "Shaft In Africa", "Headman", "You Can't Even Walk In The Park", "El Jardia", "Jazar's Theme", and "Truck Stop"!

One of the greatest blacksploitation soundtracks ever -- a massively beautiful record that goes beyond any cliches of the genre, and serves up a fantastically unique batch of tracks! Chisoul arranger Johnny Pate did the music for the film -- and (dare we say it?) it's even greater that Issac Hayes' work for the first Shaft film -- with a depth, sensitivity, and soul that's really amazing -- and which has kept the record at the top of our crates for many years. The 4 Tops turn out a great later vocal on the album's theme tune "Are You Man Enough" -- and Johnny himself does stellar work on the tracks "Shaft In Africa", "Headman", "You Can't Even Walk In The Park", "El Jardia", "Jazar's Theme", and "Truck Stop"!

Genius work from Freda Payne -- a set recorded after her bigger fame years for Invictus/Hot Wax -- but a record that's done with an even deeper feel overall! The album features some key contributions from Lamont Dozier -- who wasn't credited on the original record, due to his continuing contract with HDH -- and his bold, righteous approach in the studio is definitely felt here -- as he gives Freda the same great groove he'd hit on his own ABC albums! As with those, McKinley Jackson handles the arrangements -- which work perfectly with the punctuated groove of Dozier's production -- and Payne really sparkles in the setting, stretching out with these magnificent vocals that go way beyond what you might expect. The tunes are impeccable -- as well-written as those on other Dozier projects of the time -- loads of original numbers that include "Didn't I Tell You", "It's Yours To Have", "I Get Carried Away", "Run For Your Life", "Shadows On The Wall", and "Don't Wanna Be Left Out" -- plus versions of "A Song For You" and "I Won't Last A Day".

A collection of Lloyd's biggest hits during his early years -- 15 tracks that have plenty of New Orleans influences, yet which also define that unique quality that made Price one of the stand-along singers of his time! Includes hits like "Stagger Lee", "Personality", "Lady Luck", and "Lawdy Miss Clawdy" -- plus "You Need Love", "I'm Gonna Get Married", "Never Let Me Go", and "Have You Ever Had The Blues?".

One of Della's grooviest records, and a great little live set -- recorded at the Playboy Club in Hollywood, with backing by the soulful Bobby Bryant Quintet. The group features some nice tenor work by a young Hadley Caliman, and groovy organ by Henry Caine -- all of which sets Della's vocals in a much nicer groove than on some of her other albums from the 60s. Tracks include "So Nice", "Good Times", "Big City", and "Don't You Know" -- and many tracks are preceded by a hip monologue, in a manner that's similar to that used on some of the best Lou Rawls albums for Capitol.

We love this record! Although Howard Roberts has always been known around here as a competent funky guitarist who's made some pretty good records, this record is totally unlike anything else he did, and it will blow your mind! The whole thing is sort of a complicated electronic instrumental suite in the David Axelrod mode, this one's got Howard playing crazy guitar over weird electronic passages and jazzy changes that are slow, spooky, and ripe for sampling. Great stuff, and really one of those that we passed up for years before discovering it by accident! Cuts include "Unfolding In", "Timelaps", "Slam", and "Mavro". Very very nice!

Two dreamy little albums from Tommy Roe -- definitely more tripped-out than his usual work! First up is It Is Now Winter's Day -- a set that goes way farther than Tommy's "Dizzy" hit, thanks to production and arrangements from Sunshine maestro Curt Boettcher! The style here is definitely a lot more trippy than we remember in Tommy's work -- still pop, but filled with weird rhythms, odd production, and unusual references in most every tune. Credit should definitely be given to Roe too, as he wrote nearly every song on the album -- but we can also hear a real Millenium-era sound in the way the whole thing was put together, a sense of playful polish and gentle fuzz that really keeps the record exciting! Titles include "Leave Her", "Moontalk", "Golden Girl", "Misty Eyes", "Long Live Love", "Nightime", "Sweet Sounds", "Cry On Crying Eyes", and "Have Pity On Me". Phantasy is great work from the trippier period of Tommy Roe's career -- a time when he was picking up some much headier influences in his music, as you might guess from the spelling of the title! There's still a bit of a pop undercurrent in the music, but it's also inflected by odd use of strings, strange-sounding guitar, and other instrumental elements that work against the sweeter qualities of Tommy's vocals to help give these songs a fair amount of depth. Most tracks are originals by Roe, but the album also features a few by Sandy Salisbury, who also sings a bit on the record -- as part of the harmony backup that surfaces on some of the better tunes. Arrangements are by Mike Henderson, and titles include "Plastic World", "Paisley Dreams", "Mystic Magic", "The Executive", "The You I Need", "It's Gonna Hurt Me", and "Little Miss Sunshine".

One of the archetypal funky soul bands of the 70s -- and a group whose impact is still being felt today! Of course, one of the reasons for that is Chaka Khan's incredible vocals -- caught here at a prime early point, and very nicely set against some warm electric keyboards and tight groovy guitars. But another reason is the sweet funky playing of Rufus -- a bit jazz, a bit rock, and pretty darn soulful right down the middle. Titles include "Jive Talking", "Sweet Thing", "Fools Paradise", "Circle", "Everybody Has An Aura", and "On Time".

A stone cold classic, and probably the best record Rufus or Chaka ever did! By this point, they've honed their soul style into a nice jazzy groove, and Chaka's voice is in total control -- without too much pyrotechnics, and with a nice mellow sound. Includes the classic hit "Hollywood", plus "Slow Screw Against The Wall", "Close The Door", and "Everlasting Love".

God, we love this record -- and we're not ashamed to admit it! Sure, it sold a gazillion copies -- and sure, for some folks it showed the true demise of the Crusaders ensemble. But for us, it's a masterpiece of smooth fusion, and a landmark album of easy jazz that spawned countless imitators that could never hope to match Sample's simple and elegant use of funky riffing and lyrical chords -- coming in with just the right dash of darkness when the record's in danger of sounding too light. Most of the rest of the Crusaders had a hand in the record, and the set's got the smooth west coast sound you'd expect from the title. Tracks include "Carmel", "Cannery Row", "Sunrise", and "More Beautiful Each Day".

Sublime early work from Robert Wyatt and crew -- a psychedelic accented jazz rock classic that never gets old -- and a visionary set that inspired a generation! The heavily fuzzy guitar sound is transcendent on Volume Two -- with sudden jazzy changes, augmented by horns, and all done with a sly sense of humour for which the group doesn't get enough credit. The set's broken up into two different "concept" halves -- and side one is "Rivmic Melodies" -- and includes "Pataphysical Introduction", "A Concise British Alphabet", "Dada Was Here", and "Out Of Tunes". Side two is "Esther's Nose Job" -- with the parts "Pig", "Fire Engine Passing With Bells Clanging", "Orange Skin Food", and "A Door Opens & Closes". Wyatt's on vocals and drums; Hugh Hopper is on bass, guitar, and alto; and Mike Ratledge plays some great Lowry and Hammond organ, plus a bit of harpsichord and flute!

Superb work from Steely Dan -- and a record that really shows them hitting perfection in the studio! The core sound of this one's jazzier than before -- with some great help on instrumentation from Victor Feldman, Lanny Morgan, Bill Perkins, and other west coast jazzers -- all helping the group sound great on some of the tightest tracks ever written by the team of Becker and Fagan! Ecstasy is definitely in reach with the sound of this set -- a sublime effort all the way through that really set a whole new standard in 70s rock! Includes classics like "Bodhisattva", "Your Gold Teeth", "My Old School", and "Show Biz Kids".

Steely Dan really hitting the heights -- moving into hipper, more sophisticated territory than before -- pushing the envelope with both their music and lyrics, which are completely sublime! It's hard to put our finger on the magic of this one, but it's the perfect summation of everything that's come before, with a bit of a nod towards the future -- yet all with a simple, song-based charm that we really love. The Becker and Fagan team get some key studio help here -- showing a move away from previous group-based recordings -- and Phil Woods turns in some especially nice work on his sublime solo for "Doctor Wu". Other tracks include "Black Friday", "Bad Sneakers", "Any World That I'm Welcome To", "Your Gold Teeth II", "Daddy Don't Live In That New York City No More", "Throw Back The Little Ones", and "Everyone's Gone To The Movies".

Magical music from the team of Donald Fagan and Walter Becker -- one of those records that seems to state its existence in simple, straightforward terms -- but which is also filled with undeniably complex moments! There's a definite echo of older jazz here -- heard famously in the Horace Silver riff stolen for "Rikki Don't Lose That Number", or the Duke Ellington cover of "East St Louis Toodle-oo" -- as well as in the group's own "Parker's Band" -- one of the strangest songs you'll ever hear about Bird! Yet there's also a lot more going on too -- complicated changes and timings, oblique lyrics, and a warmly produced sound that really sparkles on tracks like "Any Major Dude Will Tell You", "Monkey In Your Soul", "With A Gun", "Pretzel Logic", "Night By Night", and "Charlie Freak".

Groovy Toots -- just the way we like him, with a bit of jazz, a bit of easy, and some cool 60s approaches to his sound! The album has Toots on both harmonica and guitar -- working in a stripped-down small combo setting that has some really surprising elements, like piano and organ by Dick Hyman, additional piano by Herbie Hancock, and some added guitar on rhythm on a number of tracks. Tunes are great -- and even familiar numbers are handled in a light and pixieish style that really gets the best out of Toots' sound, and which makes the album swing nicely overall. The package features 2LPs worth of material pulled from earlier Command albums -- with titles that include "Spanish Flea", "Blue Lady", "So Nice", "Preachmanship", "I Can't Get Started", "Bluesette", "Blues Talk", "Royal Garden Blues", and "Whispering".

Really standout material from Lucky -- an excellent set collecting small group sessions recorded for Paramount in the mid 50s, featuring Oscar Pettiford on bass! The format's a bit like the small combo mode that Americans from larger touring ensembles were recording in Europe -- a bit more laidback, and with more solo focus for players who were sometimes eclipsed in larger groups. There are 2 sides with Lucky playing in a quintet format, the first with Hank Jones, Pettiford, and Osie Johnson in the rhythm section -- plus Jimmy Cleveland on trombone, and the second subbing Don Abney for Hank Jones. The real treat here though are the 2 sides of trio material, which feature Lucky, Oscar, and the guitar of Skeeter Best -- setting up a spare, drum-less sound that really lets Lucky open up like we've never heard before. Titles include "Tricotism", "Bo Bi My Boy", "Op Meets It", "Tom Kattin", "Translation", "NR #2", "Once There Was", "Good Luck", "Mister Man", and "Little Tenderfoot".

A selection of tracks culled from the days when War were working with Eric Burdon -- during the years 1969 and 1970, when the ex-Animal tried to show the world that he actually had some real soul cred, and hooked up with this hip funky combo from LA to lay down his groove. The tracks are very much in the vein of Burdon's best early stuff with the group -- and the album includes two funky rock workouts, versions of "Paint It Black" and "Day In The Life" that both run for a very long time. Other tracks include "Love Is All Around", "Magic Mountain", and "Home Dream".

A nice track from Lenny Williams, and though he's from the west coast, he's definitely going for a very Philadelphia sound with this nice uptempo number.

A real classic from Lenny Williams -- most likely his strongest solo album ever! By the time of this set, Lenny had been out of Tower Of Power for a few years, working on his own in the west coast scene. But the real genius here comes from producer/arranger Frank Wilson -- once a key force at Motown, but here a key contributor to the album -- creating a set of smooth groovers and wonderfully mellow tracks that bring out a warmly silky quality that we'd never heard in Lenny's vocals before! Includes the smooth ballads "Think What We Have" and "Cause I Love You", the latter a fantastic stretched out soul track that has Lenny in a Teddy Pendergrass mode that's miles ahead of his old work! Other tracks include "Midnight Girl", "Changes", and "You Got Me Running" -- all key numjbers in this excellent set!

Majestic music from the mighty Popcorn Wylie -- the Detroit soul legend best known for his work in the 60s, but an artist who really shines on this rare 70s set for ABC! The album was done during the same stretch as Lamont Dozier's ABC work -- and like those records, this set features killer arrangements and production from McKinley Jackson -- who updates an older Detroit groove strongly, while still keeping all the real soul elements of Popcorn's music intact! Dozier helped a bit on some of the tunes, and the whole thing's got a soaring, joyous feel that's really wonderful -- uptempo without being uptight, positive without sounding hokey, and perfectly in a unique space that's all its own. Gene Page and Paul Riser throw in a bit of soul on some tracks too -- sweetening things up with just the right touches of strings and horns -- and Popcorn's vocals are great, especially on some of the more hauntingly-constructed tunes. Titles include the massive "ESP", which begins with an echoey breakbeat, then rolls into a great hook -- plus "Trust In Me", "How Did I Lose You", "Georgia's After Hours", "Lost Time", "I Can Take The World On With You", "Both Ends Against The Middle", and "Singing About You And Me".

A nice little record from Bobby -- quite different from his 60s sides for Duke/Peacock, and recorded in California (as you might guess from the title!) with a smoother more soulful approach. The style works well for Bobby -- and kind of gave him a new lease on life during the 70s, as he mixed his rougher bluesy vocals with some hipper arrangements -- still quite deep in soul, but with a compressed sound that creates a new mode of expression. Titles include "Goin Down Slow", "Up & Down World", "Help Me Through The Day", "Where My Baby Went", "Friday The 13th Child", "This Time I'm Gone For Good", and "I've Got To Use My Imagination".

Brilliant work throughout -- Ray Charles' classic country album is the stuff of legends -- and what seemed a silly idea at the time was true proof of Ray's genius -- the most successful album of his career and a bona-fide number one hit that rode the charts for years and years! Ray's voice works perfectly with the material, and thanks to soulful arrangements by Gil Fuller, Marty Paich, and Gerald Wilson, the whole thing comes off to perfection. Titles include "You Don't Know Me", "I Can't Stop Lovin You", "Careless Love", "You Win Again", and "Worried Mind".

The complete early-to-late 60s singles of Curtis Mayfield & The Impressions -- some of the best Chicago soul of all time -- and some of our favorite songs of the era, period! All of the great ABC-Paramount era singles are here, from the beautiful, post doo wop vocal gems with Curtis Mayfield's always emotional falsetto out front, to the innovative Johnny Pate arrangements, to the more strident and empowering (but no less catchy) groovers later on in the decade. Beautiful stuff, and nice to have in a package that features both the front and back sides of so many excellent 60s singles! 30 tracks on 2CDs, with the A's on disc one and the corresponding B's on disc two! Includes "Gypsy Woman", "As Long As You Love Me", "Grow Closer Together", "Can't You See", "Little Young Lover", "Never Let Me Go", "I'm So Proud", "I Made A Mistake", "Can't Satisfy", "This Must End", "It's Hard To Believe", "You Ought To Be In Heaven", "Don't Cry My Love", "Sometimes I Wonder" and much more!

My God, what a record! This one's genius through and through -- a set that sometimes gets eclipsed in the brilliance to come, but which is easily one of our favorites ever by Steely Dan! There's a beautifully focused feel here -- thanks to Donald Fagan's incredible lead vocals, and a sense of songwriting that never takes any left turns -- no odd forays into different styles or previous genres, just all steeped in Steely, as the group should be by this point! John Klemmer turns in some wonderful sax work that really helps shape the sound, and titles include the wonderful "Caves Of Altimira", "Kid Charlemagne", "Don't Take Me Alive", "Green Earrings", and "The Royal Scam".

One of the Dramatics' best albums, and a real masterpiece of 70's group soul! The arrangements are sweet, but the group is as hard as they ever were, but free to soar in their singing with the massive arrangements provided by the Detroit Groovesville crew. Ron Banks and LJ Reynolds are in perfect form, and this album is solid all the way through. Titles include "I Dig Your Music", "How Do You Feel", "Thousand Shades Of Blue", "I Cried All The Way Home", and "Good Things Don't Come Easy".

Killer 70s work by the Four Tops -- one of the group's best post-Motown albums, and a really hard-hitting batch of live tunes! There's a sound here that's grittier than just about any other Four Tops album -- and that includes the classics for Motown -- a style that brings together all the group's best growth of the time, and serves it up with a spontaneous, spirited approach that puts key emphasis on the vocals, and which also offers some tremendous interplay with the audience. Plus, the backing combo on the set are pretty darn funky -- so that the rhythms on most tracks are a lot harder and heavier than their studio counterparts! Includes a sublime 9 minute version of "I Am Your Man", plus excellent takes on "Ain't No Woman", "Are You Man Enough", "Baby I Need Your Loving", "Midnight Flower", "Keeper Of The Castle", and "One Chain Don't Make No Prison".

A hip mix of raunchy blues and rootsy rock -- all stretched out over a double-length set that's easily one of John Lee Hooker's loosest albums ever! The album has Hooker playing in a number of settings with hip rock and funk players from the California scene -- including Steve Miller, Mel Brown, Clifford Coulter, and others -- but in spite of the presence of a few younger stars on the record, the album's still very much Hooker's own -- down-home and earthy, with plenty of the rawness and heavy mojo that set Hooker apart from the bar blues artists of his time! Titles include "Doin The Shout", "I Don't Need No Steam Heat", "Pots On, Gas High", "We Might As Well Call It Through", and "Kick Hit 4 Hit Kix U".

A great 60s TV soundtrack -- penned by the crucially overlooked Joseph Mullendore, and done with a real Mancini-esque flair! The show itself is the ultra-camp Honey West -- based around the adventures of the female spy in the title -- and although the program itself was short-lived, its soundtrack has an timelessness that's made it one of our favorites from the period. Mullendore has a great way of blending west coast jazz with some larger orchestrations -- in a manner that still keeps the tight punch of the best sort of crime or spy soundtrack work, but which also provides just the right amount of sexy swells to flesh out the figure of Honey West! Players include Buddy Collette, Don Fagerquist, Richard Nash, Larry Bunker, Barney Kessel, and Paul Smith -- and titles include "Serape", "Silk N Honey", "Wait & See", "Bolero", "Jazzito", and "The Ocelot".

A great lost chapter in the career of Sonny Rollins -- material recorded live at MOMA in 1965, but unissued until this brief package in the late 70s! The work is right up there with Rollins' best for RCA at the time, and almost feels a bit like his live Village Vanguard material from Blue Note -- freewheeling, open, and with that continuously creative style that marks his solo talents at their best! The group's a quartet -- with Tommy Flanagan on piano, Bob Cranshaw on bass, and either Billy Higgins or Mickey Roker on drums -- and tracks are longish, and have that arch mix of modern and traditional modes that we always appreciate in Rollins. Titles include "On Green Dolphin Street", "To A Wild Rose", "Three Little Words", and "There Will Never Be Another You".

The first album from Steely Dan, and already a leading light in the world of 70s rock! The album's got a bit less of the polish of later years, but is still filled with gems -- the kind of tunes that nobody ever seemed to pen before, and which few other groups could match later -- despite the countless legions who tried! There's less jazz too, but the guitars are all nice and strong -- that sharp Skunk Baxter edge that helped get the group firmly onto the charts right away. Titles include "Do It Again", "Dirty Work", "Kings", "Midnite Cruiser", "Only A Fool Would Say That", "Reelin' In The Years", "Fire In The Hole", "Brooklyn (Owes The Charmer Under Me)", "Change Of The Guard", and "Turn That Heartbeat Over Again".

One of Art Blakey's best non-Blue Note albums of the 60s -- a hard-wailing live set that fully exploits the best talents of the six-piece version of the Jazz Messengers! The group here is that tremendous sextet that featured Freddie Hubbard on trumpet, Curtis Fuller on trombone, Wayne Shorter on tenor, and Cedar Walton on piano -- all working with Blakey to rework the earlier mode from his quintet years -- in a way that actually allowed for a bit more lyricism and introspection! Titles include Cedar Walton's original "Ugetsu", Curtis Fuller's "Time Off", and Wayn Shorter's great "One By One", "Ping Pong", and "On the Ginza".

A key look at a near-neglected side of the career of legendary soulman Solomon Burke! The collection brings together some wonderful work that Solomon recorded for MGM, Chess, and ABC in the early 70s (including one funky soundtrack) -- records that step nicely off the style of Burke's later work on Atlantic, and which show him growing tremendously at the time! Most of the work is still in the southern soul mode of earlier years, but the production and arrangements show Solomon picking up some great elements of 70s modern and mellow influences -- smoothing things out instrumentally, occasionally getting a bit funky, but still keeping plenty of space for his incredible vocals! It's about time that somebody put these tracks together -- and although the package is a budget one, it features 19 tracks in all, with nearly all the best cuts from these albums! Titles include "Let Me Wrap My Arms Around You", "You & Your Baby Blues", "Get Up & Do Something For Yourself", "Fight Back", "We're Almost Home", "Love's Street & Fool's Road", "Electronic Magnetism", "Shambala", "Georgia Up North", "I Have A Dream", "Midnight & You", and "All For The Love Of Sunshine".

We might argue with the mathematics in the title -- or at least joke that Ray was using equations as titles years before Anthony Braxton -- but you can't contest the fact that this one's a classic treat, and a legendary attempt to class up Ray's bluesy style for the masses. Quincy Jones and Ralph Burns handled the arrangements, and given that the record was issued by ABC a few years before they brought Ray into a country mode, it's interesting to think what might have happened had his career continued this way. There's only a small number of vocal tracks on the record, and most of the rest feature Ray at the organ, grooving away very nicely! Titles include "One Mint Julep", "Moanin", "I've Got News For You", "Mister C", and "Stompin Room Only".

A righteous early 70s set from Ray Charles -- and a record with a much deeper vibe than you might guess from the image of Ray and some kids on the cover! Arrangements were handled by Quincy Jones, Sid Feller, and Mike Post -- and the record is kind of a 70s take on the fuller modes that Charles explored for ABC during the 60s -- moved into more contemporary territory with some sweet Fender Rhodes, full strings, and a funky undercurrent in some of the rhythms -- never too forced or over the top, but in ways that makes some of the tunes sly steppers that work great with Charles' aging vocals. Titles include "Abraham Martin & John", "Heaven Help Us All", "There'll Be No Peace Without All Men As One", "Hey Mister", "Lift Every Voice & Sing", "Seems Like I Gotta Do Wrong", and "What Have They Done To My Song Ma".

A wonderful collection of tunes from Lamont's first two albums for ABC -- Out Here On My Own and Black Bach -- both of them classics of 70s soul! Both albums have a quality that's impossible to describe accurately -- kind of a post-Motown full-on approach to soul that mixes strings, piano, and that wall of sound groove that was one of Dozier's biggest contributions to the Motor City. The songwriting is impeccable -- and nearly every track is an instant classic -- with a depth of lyricism and vocal expression you'd be hard pressed to find from any of Dozier's contemporaries. The CD contains most of the tracks from both albums -- 15 tracks in all, with titles that include "Breaking Out All Over", "Fish Ain't Bitin", "Shine", "Take Off Your Make Up", "Put Out My Fire", "All Cried Out", "Out Here On My Own", "I Wanna Be With You", "Let Me Start Tonite", and "Trying To Hold On To My Woman".

A sweet mellow groover from the mighty Lamont Dozier -- a set that's not nearly as well known as his earlier work of the 70s, but one that has the Motown man still riding strong! In contrast to the fuller, clubbier grooves of Dozier's ABC work, most of the tunes here are a bit more laidback and mellow -- still with a groove, but not nearly as full-on -- and with a sophisticated, sensual feel that's a fair bit like Leon Ware at his best! Production is nice and warm throughout, but never too slick -- and there's some really compelling keyboard bits, especially some use of Prophet 5, which makes for a nice contrast with Lamont's vocals. The whole thing's great -- and titles include "Why", "Playing For Keeps", "Chained", "Cool Me Out", "Working On You", "Starting Over", and "You Made Me A Believer".

Overlooked work from these mighty Motown legends -- two later albums recorded in the early 80s for Casablanca Records! Tonight is a surprisingly great set from The Four Tops -- hardly the throwaway effort you might expect from some of the other Casablanca projects of the time -- and instead a really solid effort that follows strongly from the sound of the group's best moments during their ABC Records years! The vocals are sublime -- just what you'd expect from the maturing group -- and Levi Stubbs gets some really great moments to shine, especially on a few of the mellower tracks. But the harmonies are the key here, and they cascade with a smooth-stepping sophistication that's not unlike the groove The O'Jays were hitting around the same time too -- a classy update of their older mode that really opens the Tops up to a new audience, but hardly in a way that's commercial at all. Titles include "When She Was My Girl", "Tonight I'm Gonna Love You All Over", "Who's Right Who's Wrong", "Let Me Set You Free", "From A Distance", "Something To Remember", and "I'll Never Leave Again". One More Mountain is more Casablanca magic from The Four Tops -- a record that really offers up some great work by the group, at a level that really rivals any of their other post-Motown efforts -- proof that the Tops could really keep on going on their own, away from the Gordy kingdom! As on their previous record, the best grooves here are the mellow and midtempo ones -- which really work wonderfully with the harmonies, and take them far past crossover pop, into a more sophisticated adult soul world that's totally great. Whereas other aging soul acts were trying to hit the charts with clunkier pop cuts, the Tops really keep things real here -- an even greater surprise, considering the crossover Casablanca style that could have cropped up. In a way, it's almost like the group are getting more careful Philly International treatment here -- very respectful, and it's clear they respond in kind with their vocals. Titles include "One More Mountain To Climb", "Sad Hearts", "Keep On Lightin My Fire", "Dream On", "Whatever It Is", "I'm The One", and "I Believe In You & Me".

Possibly the last big hit that the Four Tops ever cut for Motown -- and proof that they could still turn out strong material, as was later proven by their work at ABC. The title cut -- "Still Waters (Run Deep)" -- is one of those always enjoyable, surprisingly sophisticated little pop soul tunes -- and the record features a lot of other nice moments like "Love Is The Answer", "Reflections", "I Wish I Were Your Mirror", "Bring Me Together", and a reprise of "Still Waters". Nice use of moog, too!

A great double-header from Aretha Franklin -- her first 2 Columbia albums back to back on a single CD! Electrifying Aretha Franklin is one of the first albums she cut with John Hammond at Columbia, and although it's not in the classic soul mode of the Atlantic sessions, it's a darn nice batch of bluesy jazz tracks that would still stand the test of time well if people weren't so hung up on the pro-Atlantic propaganda that plays down the Columbia years. Backings are by Richard Wess on most tracks, and at times Aretha's voice is recorded with a nice echoey touch that gives the material almost an R&B-ish feel. Titles include "Rough Lover", "You Made Me Love You", "It's So Heartbreakin", "Nobody Like You", "I Told You So", and "Just For You". Laughing On The Outside is a real gem too -- jazzy, and not at all like Aretha's soul sides for Atlantic -- but her vocals sound wonderful on the record, in a completely different way than on later albums. Arrangements are by Robert Mersey, and they've got a feel that's similar to some of the classic Ray Charles large group recordings for ABC -- with slightly churchy backings behind the lead vocals, which are right out front in the set, and almost warmer than on other albums. Aretha sings mellow versions of standards like "Skylark", "For All We Know", "Until The Real Thing Comes Along", and "Where Are You?" -- plus the obscure "Mr Ugly".

One of a few of Isaac Hayes' mid 70s albums issued on his own label, Hot Buttered Soul, originally by ABC, but now back out again on Stax, where he'd originally found his musical home. After Ike's first few albums for Stax, he seemed to be trying to turn himself into more of a Barry White-style artist -- with more emphasis on original tracks about love and loving, instead of his older method of transforming pop hits into little baroque symphonies. On a record like this, the approach meant that Ike was sometimes hitting a disco mode, but at the best points, he's also in more of a sweet mellow soul style that has all the best parts of his earlier records, mixed with a smoother modern style that was well suited for the changing times. Tracks include "Rock Me Easy Baby", "Your Loving Is Much Too Strong", "We've Got A Whole Lot Of Love", and "Make A Little Love To Me".

Two of the most excellent Impressions ABC albums, and the one's that are always nearly impossible to find on wax. Recorded in the years 1964 and 1965, just when Curtis Mayfield was beginning to get his political teeth, but when he still had an amazing talent for heartrending love songs. Includes "We're In Love", "See The Real Me", "Get Up and Move", "I Love You", "I Made a Mistake", "I Thank Heaven", "Long, Long Winter", and (of course) the famous title cuts.

2 of our favorite Impressions albums ever -- both righteous late 60s sessions, back to back on one CD! This Is My Country has The Impressions wearing their politics much more on their sleeve than before -- with a cover that shows them standing in the rubble of the ghetto, and a title that is both a bold proclamation of ownership, and a sad comment on the state of affairs. Curtis Mayfield's pen is in perfect form here, and the group hits that perfect mix of sweet soul and politics that make these late 60s efforts some of their (and Curtis') strongest work, with harmonies that far surpass the earlier years, and which still kind of make us wish that Curtis hadn't gone solo, because we just love the sound of his sweet raspy voice next to the deeper style of Fred Cash. The set's filled with great cuts like "This Is My Country", "Loves Happening", "Fool For You", and "Stay Close To Me". Young Mod's Forgotten Story is a key transitional set -- a record that has the group opening up the politics that were often hidden by spiritual metaphors on earlier ABC albums, into a righteous soul groove that hints a lot at the overblown direction Curtis Mayfield would take in the 70s, yet which still retains all the tightness of the group's earlier work. Nearly every single cut's a classic -- and the group outdid themselves vocally, especially Curtis, who always makes our heart break on this one! Donny Hathaway and Johnny Pate handled the arrangements, and tracks include "Choice Of Colors", "The Girl I Find", "Mighty Mighty (Spade & Whitey)", "Soulful Love", and "Seven Years".

A well chosen compilation of prime Motown era Michael Jackson and The Jackson Five -- getting to the heart of the classic singles, early solo numbers and unstoppably great group numbers! It's the kind of stuff you'll never get tired of, both the uptempo singles and the more ballady tracks. What else can anyone say about it? Simply some of the catchiest 70s soul ever made, and bubblegum pop will never again be as amazing as this stuff is. Titles include "I Want You Back", "ABC", "The Love You Save", "I'll Be There", "Never Can Say Goodbye", "Maybe Tomorrow", "Got To Be There", "Rockin Robbin", "Ben", "Dancing Machine", "Just A Little Bit Of You" and more. One bonus track: "I'll Be There" (Minus mix). 19 tracks in all.

Classic Michael Jackson -- with a difference! The package is an amazingly fresh look at the earliest solo years of Michael, and the best Motown sides recorded by the Jackson 5 -- one that goes back to the original tapes, and represents the material here in nearly-acoustic versions -- leaving out most of the backing, save for just a bit of instrumentation -- and giving us mostly a focus on the beautiful vocals of Michael and his brothers! The approach sounds gimmicky, but it's not -- because the style here is incredibly hip -- almost making these familiar Motown nuggets sound like lost tracks from the Cadet Concept studios -- with almost a folk-funk undercurrent at times -- much more righteous than the versions you might know over the years, and even more personal than ever. Titles include "We've Got A Good Thing Going", "I'll Be There", "Ben", "Who's Loving You", "Ain't No Sunshine", "I Want You Back", "ABC", "Got To Be There", and "Never Can Say Goodbye".

What a great idea! The classic Motown work of The Jackson 5 is remixed and remade by a host of super-hip producers! The cuts really retain a lot of their Motown soul flavor, and the remixers do an excellent job of pulling out some of the best elements -- like guitar riffs, piano lines, and drumbeats -- while still preserving the original vocal direction of the songs. This limited package features tracks from both of the older Soul Source remix collections of The Jacksons -- with a total of 15 tracks that include "Ben (HF rmx #4)", "Darling Dear (rejuvenated by Muro mix)", "I'll Be There (Small Circle Of Friends rmx)", "It's Great To Be Here (Kenny Dope rmx)", "We're Almost There (DJ Spinna rmx)", "Get It Together (4Hero rmx)", "ABC (Love Stream mix)", "I Want You Back (Kei Kobayashi's routine jazz party mix)", "Ain't No Sunshine (SSY rmx)", "Never Can Say Goodbye (Shinichi Osawa 3000 rmx)", and "The Love You Save (Asakusa Sunaga T Experience SC 01 mix)".

Really amazing stuff -- a true treasure for fans of The Jacksons, and for any lover of classic soul music as well! This set's exactly what it promises -- unreleased recordings made by the Jackson 5 during their early years at Motown -- all music that's totally excellent, and which really stands up to their better-known hits of the time! There's a few alternate takes here, but there's also lots of fresh tunes too -- the kind of gems its great to hear the group recording -- and which really makes this package as essential as any of their full length albums on Motown. Production is impeccable -- no rough studio mixes or unfinished tunes -- and most of these tracks would have still beat most of the rest of the soul music world at the time, had they ever been issued as singles! Titles include "Love Comes In Different Flavors", "Listen I'll Tell You How", "Man's Temptation", "That's How Love Is", "Love Call", "Buttercup", "Lucky Day", "I'll Try You'll Try", "Dancing Machine (alternate version)", "ABC (alternate version)", "Never Can Say Goodbye (alternate version)", and a great medley of "I Want You Back/ABC/The Love You Save".

Thad Jones and Mel Lewis had one of the hippest bands around -- and their best work was sort of an American equivalent to the 60s genius of the Clarke-Boland Big Band. On these classic recordings cut for Solid State, the Jones/Lewis group features a host of excellent players -- like Richard Williams, Joe Farrell, Pepper Adams, Richard Davis, Tom McIntosh, and Bob Brookmeyer -- and the band has a tight, hard rolling format that keeps the rhythm nice and hard, and which lets the better players in the band stretch out on nice solos. Titles include "ABC Blues", "Mean What You Say", "Three & One", and "Once Around".

Fantastic work from John Klemmer -- hard-edged, exploratory, with a mix of spiritualism and soulfulness, and a few touches of easy soloing. Todd Cochran (Bayete) plays Fender Rhodes, Woody Theus is on drums, and Klemmer's got an echoplex hooked up to his tenor on a few cuts. The tracks were recorded in a number of different settings, with different personnel -- but the whole thing's got a unified feel, and shows the depth of Klemmer's approach to a variety of styles. Titles include the Miles-esque jammer "Last Summer's Spell", plus "Rapture Of The Deep", "Sea Of Passion", "Prayer For John Coltrane", and "Love Song To Katherine".

The Mama Cass Telelvision Program -- a special that ran on the ABC network in 1969 -- one of the groovy, kind of goofy, but totally wonderful programs from the days when TV executives were down with the sunshine era! Cass was an incredible personality, to say the least, and sings here solo standout "Dream A Little Dream Of Me", plus solo versions of Mamas & Papas hits, and teams with guests John Sebastian, Joni Mitchell and Mary Travers. Includes comedy sketches with Buddy Hackett (!) Barbarba Bain and Martin Landau (!!!) -- plus bonus footage with Sammy Davis Jr singing "I Dig Rock & Roll Music" and extra interview footage with John Sebastian. In color, approximately 65 minutes.

Impulse issue of an excellent Saturn session from 1959. Ra and the Arkestra are playing in a fine mix of straight jazz and spacey styles, with Ra on electric piano throughout the entire set. A few tracks have some great chanted vocals -- and we're not sure if they're sung by one of the Saturn doo wop groups, or by the ensemble -- but they give the tracks a great sound, and the whole set has a good late 50's Arkestra sound. With the tracks "Nubia", "Plutonian Nights", "Star Time", and "Watusa".

The four great albums Emitt Rhodes cut between 1969 and 1973 -- Emitt Rhodes, Mirror and Farewell To Paradise for ABC-Dunill, and the belatedly released American Dream for A&M -- in one incredible 2CD package from Hip-O Select! We've always been huge fans of Emitt's earlier work with the late 60s psyche pop group The Merry Go Round, but these solo LPs hold an even more special place for us, since it's the last of his stuff we'd ever hear! Emitt is a home recording genius from the days when crafting a pop record in a home studio -- essentially writing, arranging and playing the instruments all by himself, was a nearly unbelievable accomplishment -- and that's the case with 3 of the 4 albums in this set. The exception, American Dream, was recorded first, but released a couple years later by A&M, and features wonderful tunes originally intended as Merry Go Round material, with exceptional session players such as Hal Blaine, Larry Knechtel & Don Randi. It was recorded 1969 and finally released by A&M in '71, and it includes "Mother Earth", "Pardon Me", "Let's All Sing", "Holly Park", "'The The Day After" and more. Disc one of this set also includes the near perfect self-titled set, which was recorded and released in 1970, with the tracks "With My Face On The Floor", "Somebody Made For Me", "Long Time No See", "Lullabye", "Fresh As A Daisy", "You Must Have" and more from the Emitt Rhodes LP. Disc two includes the Mirrors album from 1971, with "Birthday Lady", "Better Side Of Life", "Mirror", "My Love Is Strong", the "Bubblegum The Blues/I'm A Cruiser" medley and more, plus the Farewell To Paradise album with "Warm Self Sacrifice", "Drawn To You", "See No Evil", "Bad Men", "Farewell To Paradise" and more, plus the bonus non-album track "Tame The Lion". Amazing stuff -- really some of our favorite easygoing post psyche pop of the era -- and this set captures all of it!

Sure, you've heard a lot of these cuts a million times -- but honestly, it's still great to hear Rufus and Chaka, whatever the setting! The set dips back into the ABC recordings by the group, and features tracks from the years 1974 to 1979. Titles include "You Got The Love", "Sweet Thing", "Hollywood", "Tell Me Something Good", "Do You Love What You Feel", "Stay", and "Once You Get Started".

Rare work from Buffy Sainte Marie -- the Canadian singer who first got her start in the 60s folk scene, but who's heard here in a trio of mid 70s LPs! The albums all have a sound that's a compelling extension of Buffy's better-known 60s recordings -- a mode that takes her unique vocal style, and sets it up with some more mature backings with a sweetly compressed feel. There's a bit of warble in Buffy's singing, but with more of a time-tested, around the block sort of feel than the 60s -- a mode that suits the adult sensuality of the tunes nicely. Albums include Buffy (1974) and Changing Woman (1975) for MCA, and Sweet America (1976) for ABC -- and the 2CD set features 33 tracks that include "Star Boy", "Sweet Little Vera", "Waves", "I Can't Take It No More", "Til I See You Again", "You Take Me Away", "The Beauty Way", "Mongrel Pup", "Free The Lady", "Sweet America", "I Don't Need No City Life", and "Star Walker".

A wonderful reunion of Pharoah Sanders and vocalist Leon Thomas -- and a set that captures a lot of the same energy as the pair's previous record -- Karma! Thomas' vocals are in wonderful form for the set -- stretching out soulfully on the extended classic "Hum-Allah-Hum-Allah-Hum-Allah" -- a title that has much of the same grace and power as "The Creator Has A Master Plan. The rest of the players on the date include Lonnie Liston Smith on piano, Richard Davis and Cecil McBee on basses, and Idris Muhammad and Roy Haynes on drums -- and unusually enough, each of the double bassists and drummers gets their own channel of sound to work with! The other long track on the album is the extended "Sun In Aquarius" -- which is a bit more outside, but still pretty great!

Compilation put together by the GRT label in the mid 70s, who owned the chess/cadet group of labels, so it's heavy on the Chicago sound. There's a few cuts from ABC records too, like the Impressions "It's All Right" and Bobby Bland's "Turn On Your Love Light", but basically the track listing reads like the playlist from WVON or WBEE from the early 70s, loads of heavy hitting South Side R&B and soul numbers: the Dells "Stay In My Corner", Gene Chandler "I Fooled You This Time", Fontella Bass "Rescue Me", Pigmeat Markham "Here Comes the Judge" and Ramsey Lewis' "Wade in the Water" and 18 more!