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Raucous, rumbling and hard-charging Chess rhythms, rock and roll by Chuck Berry – his legendary After School Session – and possibly his greatest album ever! It features not only some of Chuck Berry's most famous material, but some of the best early rock songs, period –particularly the revolutionary "Brown Eyed Handsome Man" – plus"Berry Pickin", "Deep Feeling"," School Day", "Too Much Monkey Business", "Roly Poly", and "No Money Down". 3 bonus tracks on the CD: The fierce"Thirty Days", "You Can't Catch Me" and the uber-legendary "Maybelline".

New grooves, but with an older dancefloor style – recorded here in a sound that's got lots of the dark electronics that showed up on the European scene in the early 80s! At many levels, this record is one that could have played big in the clubs in Berlin or Manchester, circa 1983 – as it's got lots of analogue electronics and programmed rhythms that pulsate strongly, but often with a colder sort of groove. The focus is mostly on the instrumentation, although there are a bit of vocals – and if the record didn't have a 2006 copyright date, the set could easily pass itself off as a lost relic from the Sheffield scene of many years back! Titles include "The Devil In Us", "Coach Me", "On Just Foot", "I Regret The Flower Power", and "An Other Skin".

Nocturnal boombap from Blockhead – a sleepless, samples and electic-beats heavy survey of an after hours metropolis – finding Blockhead as insistently inventive and timeless in approach as ever! We love that Blockhead's work kind of exists in it's own world, yet clearly shows love for NYC life – and the globally diverse soundscapes strongly represent both that great urban landscape and Blockheads inner genius. Includes "Never Forget Your Token", "Creeps Crouchin", "Panic In Funkytown", "Meet You At Tower Records", "Escape The Meadow", "Smoke Signals", "Midnight Blue", "Snapping Point", "Beyond Reach" feat Baby Dayliner and "The Robin Byrd Era".

One of Joe Bushkin's more jazz-oriented sessions – thanks to trumpet from Buck Clayton!

After Hours is the time when Crawford really hits his stride – playing lean and mellow in that easy soulful way that always seemed to work better than any of his other approaches to jazz. This album's got him blowing alto and even playing a bit of piano, in middle-sized groups that include players like Wendell Harrison, Joe Dukes, Sonny Forriest, and Willie Jones. These lesser-known soul jazz players do a pretty darn nice job of setting the mood, and Hank's comfortable approach puts everyone at ease. Tracks include "Soul Shoutin", "After Hours", "Junction", and "Next Time You See Me".

All twelve pieces are played on piano, which is amplified and modified in various ways.

A rare album by the legendary guitarist John Fahey. Despite a cheesy cover, and the proclamation that the record features Fahey "and his orchestra", the record's mostly just has Fahey's spare haunting guitar – although a few tracks have some larger arrangements, with sort of that Burbank-kitsch old time sound that was so popular with Van Dyke Parks and the Warner crew. Titles include "Bucktown Stomp", "Om Shanthi Norris", "Beverley", and "Horses".

With Fumo on trumpet, Wayne Peet on keyboards, and Nels Cline on guitar.

Lost genius from Dexter Gordon's initial years in Europe – a set that has him still stretching out in familiar Scandinavian modes, but with a slightly tighter sound too! The group's notable in that it features trumpeter Rolf Ericson – whose horn really adds a lot to the frontline, and has a surprisingly strong talent for matching Gordon's beautifully-blown longform solo modes! Rhythm is from the trio of Lars Sjosten on piano, Sture Nordin on bass, and Per Hulten on drums – and titles include "All The Things You Are", "Darn That Dream", "Straight No Chaser",and "I Remember You".

A rare Spanish session from trumpeter Dusko Goykovich – and easily one of the most soulful albums he ever recorded! The set's got a warm, laidback vibe – very much in keeping with the title and cover image – as Dusko blows some great open-ended solos with rhythm from the trio of pianist Tete Montoliu – working here as a great accompanist to the leader, with flowing lines that perfectly match Dusko's energy! Tracks are longish, with a very relaxed vibe – and the rest of the group features Robert Langereis on bass and Joe Nay on drums – helping Gokovich hit a very different sound than on some of his more exotic albums of the time. Titles include "Blues To Line", "I Remember OP", "Old Fisherman's Daughter", and "The Child Is Born".

A rare Spanish session from trumpeter Dusko Goykovich – and easily one of the most soulful albums he ever recorded! The set's got a warm, laidback vibe – very much in keeping with the title and cover image – as Dusko blows some great open-ended solos with rhythm from the trio of pianist Tete Montoliu – working here as a great accompanist to the leader, with flowing lines that perfectly match Dusko's energy! Tracks are longish, with a very relaxed vibe – and the rest of the group features Robert Langereis on bass and Joe Nay on drums – helping Gokovich hit a very different sound than on some of his more exotic albums of the time. Titles include "Blues To Line", "I Remember OP", "Old Fisherman's Daughter", and "The Child Is Born".

One of the greatest albums ever from the mighty Al Hibbler – a record that's filled with subtle power and deeper soul – and which really has Al working at the height of his vocal talents! Although Hibbler recorded often before this in the 50s, this session seems to have a specially magic feel – the kind of album in which all elements gel together perfectly – almost to Al's career what Two Steps From The Blues was to Bobby Bland. And like that other classic, there's a mix here of jazz and blues that's really unique – instantly timeless, and still quite powerful today. Titles include "Tell Me", "Travelin Light", "Dedicated To You", "You Will Be Mine", "Song Of The Wanderer", "If I Knew You Were There", and "The Blues Came Falling Down".

Iron Maiden's monumental Live After Death – a standard bearing live album in the metal realm – and a vital snapshot of the British heavy metal heroes at the peak of their powers! Maiden pretty much conquered the live metal world on this tour – and Live After Death features recordings from LA's Long Beach Arena and London's Hammersmith Odeon. Most of their their greatest songs to this point are represented, including "Aces High", "2 Minutes To Midnight", "The Trooper", "Revelations", "Rime Of The Ancient Mariner", "Powerslave", "Number Of The Beast" "Hallowed Be Thy Name", "Iron Maiden", "Children Of The Damned" and more!

An amazing album that's one of the greatest-ever descarga sessions to come out of the New York scene! The album's supposedly a tribute to pianist Noro Morales – but it's got a fire and energy that goes way beyond even Morales' best work, one that has the group recording in a long-format approach that was very different, and much harder-jamming than any of Morales' recordings from the 50s. The tracks are mostly Morales originals, but you'd hardly recognize them in the way the band takes off from their simple structure – using the room of the full recording to groove hard on the album's best long tracks – "Mi Guajira", "Ponce", and "Vitamina" – all of which are the kind of Latin jammers you buy reissues like this for! Players include Louie Ramirez, Charlie Palmieri, Cachao, and Hector Rivera – and other tracks include "Perfume De Gardenia", "Desvelo De Amor", and "Malditos Celos".

Righteous earth mama vibes from our hometown sweetheart Bonnie Koloc. Bonnie was part of the original folk cabaret scene around old town here in Chicago, and this is her first album, with her gutsy, folky vocals and songwriting underpinned by a groovy rock-inflected backing band, that features Phil Upchurch on bass! Titles include "Don't Leave Me", "After All This Time", "new York City Blues", "Devil's Nine Questions", "Another new Morn", "Rainy Day Lady", "Jazz Man", "Victoria's Morning", "Got To Get What You Can", and "One Sure Thing".

Sublime solo work from Steve Lacy – a perfect demonstration of the great leap forward he took on the soprano sax in the early 70s – documented beautifully on overseas recordings like this! The core of the set features material recorded in Avignon in 1972 – with Lacy using his instrument in wonderfully expressive ways – not just "free" or "out", but really melodic and lyrical at points too – a side that doesn't always show up in some of his more aggressive solo performances, but which really comes through on tracks like "Cloudy", "The Stations", "Josephine", "Original New Duck", and "Weal". CD features four more previously unissued tracks from these same sessions, then more great solo work from 1974 in Berlin – again never issued before – a whopping 9 bonus tracks in all, with titles that include "The Owl", "The Dumps", "The New Moon", "Dome", and "Holding".

An amazing organist – probably the best in Europe! Eddy Louiss is a genius – a massive player who should have been huge, but who's barely been recognized over on this side of the Atlantic, save for a bit of recording with Stan Getz. This 1972 session is a gem – one of his best records, recorded in 1972 with a small quartet that includes Kenny Clarke on drums, Jimmy Gourley on guitar, and Guy Pederson on bass. The set's got a laidback soul jazz feel – with lots of long tracks that let Gourley and Louiss meander about, while Clarke punctuates the tracks nicely with some sharp work on the drum kit. Titles include "Bohemia After Dark", "Ow", "Bag's Groove", "I Should Care", and "Angel Eyes".

A pair of great albums from one of the coolest soul arrangers of the 70s – back to back on a single CD! Close Encounters is a cool collection of space-themed club tracks from Gene Page – and possibly one of his greatest albums of the 70s – dispite a gimmicky approach! There's a tightly soaring feel to most of the cuts that's Page at his best – arranging fully with styles borrowed from Barry White, but also hitting with a bit of Philly inspiration too – never too over the top, and never too commercially driven as you might expect from the concept. There's some great moogy bits on the record – and plenty of great session players who include David T Walker and Wah Wah Watson on guitars, Jack Ashford on percussion, and Ernie Watts on alto sax. Great Phillinganes sings a bit on the record – and titles include "Star Trek", "Close Encounters", "Saturn", "Dancin In The Sky", "I Feel Like I've Been Livin", "Beyond The Hole Space", and "I Sho Like To Ride On Your Star". Love Starts After Dark is a wonderfully well-rounded set from superstar arranger Gene Page – quite possibly his most fully-formed album as a lead act on his own! The set's got some great standout groovers – the kind of club cuts that have the vibe that Gene was doing well for so many others – and it's also got some mellow moments served up with a depth that's almost unexpected – thanks partly to some great vocals from Merry Clayton, Phyllis St James, and Charmaine Sylvers – all of whom help the album shine. Tracks are penned by Leon Ware, Leon Sylvers, Ray Parker Jr, and Joe Sample – and titles include "With You In The Night", "Second Time Around", "Put A Little Love In Your Lovin", "Love Starts After Dark", "You Are The Meaning Of This Song", and "I Wanna Dance".

Sweet grooves from this hip Spanish combo – one of the hardest-working deep funk combos on the European scene in recent years – and a mighty soulful one as well! Mayka Edjole sings lead vocals in English, but with this cool accent that really makes the music sound different – still as classic and vintage as you might hope for, but also not as much in the copycat mode you might find with other girl funk singers these days – definitely a voice of her own that really makes The Sweet Vandals stand out! Instrumentation is heavy on Hammond and guitar, with bits of added horns here and there, but not nearly as much as from other groups – and there's some light use of strings at a few points, which makes for a nice surprise. Titles include "Whether You Like It Or Not", "After All", "Ain't No Use", "Old Souls", "Out Of My Head", and "Waves & Wings".

Titles include "Gonna Run", "The Band With No Name", "I'm Coming On", and "Think About The Times".

The crossover rap classic from Tone-Loc! Temporary pop phenom this is not – the biggest couple of hits are still ubiquitous decades later – and Loc himself, with that raspy voice and smooth charisma, still stands as one of more unique voices of late 80s hip hop. On top of those attributes, Loc-ed After Dark is an early proving ground for the soon-to-be mega-producers The Dust Brothers. This 2012 CD edition features the original album and 7 bonus tracks. 3 cuts produced by the Dust Brothers – "Cutting Rhythms", "Next Episode", and "Don't Get Close" – plus the hits "Wild Thing", "Cheeba Cheeba", and "Funky Cold Medina", the title track, "On Fire (Remix)" and more. Bonus tracks include "On Fire (New Flavor)", "The Homies (On Tilt Mix)", "The Fine Line Between Hyper And Stupid", "Funky Beats" and more.

A mind-expanding look at Memphis soul – one that gets way past common cliches about the city and its music! There's a heavy dose of funk in the mix on most numbers here – a gritty, fuzzy approach to the music that seems slightly borrowed from the Detroit scene at the end of the 60s – then mixed with some rougher, rootsier southern soul styles too! But other tracks take on a more sophisticated sound too – some of the righteous elements that hit Stax in the post-1968 period, especially as Isaac Hayes and David Porter were working on their own great solo work. Yet unlike Hayes and Porter, most of the artists here are much lesser-known – singers and groups who never charted big, but who got the chance to record for Memphis labels like XL, Stax, Select-O-Hits, and Sounds Of Memphis. CD features 20 tracks in all – and titles include "Dig It" by The Optimistics, "Mississippi Mud" by Smithsonian, "Two Paces Ahead Of Love" by Willie Walker, "Pullin" by The Minits, "It's Bump Time" by Gene Bowlegs Miller, "Blackrock Yeah Yeah" by Blackrock, "Keep The Faith" by Mel & Tim, "Watch Dog (alt)" by Barbara & The Browns, "Come What May" by John Gary Williams, "Strange Things" by Art Jerry Miller, "Shake" by The Ovations, "Tip Toeing" by Alvin Cash, "The Way Of Me" by Hannon, "Take A Giant Step" by LaCleve Milon, "Papa Killed A Chicken" by Willie Toliver, and "Don't Boom Boom" by Lillian Hale.

A triple-header of hardbop albums – a great package that features 3 Savoy Records classics from 1955, with bonus tracks and great notes too! First up is Bohemia After Dark – an excellent hardbop session from the glory days of the Savoy label – easily one of the label's key 50s classics! Drummer Kenny Clarke's at the front of the group – but all players are great, and the set features work by Cannonball Adderley on alto, Jerome Richardson on tenor, Donald Byrd on trumpet, Nat Adderley on cornet, Hank Jones or Horace Silver on piano, and Paul Chambers on bass. The Adderley brothers sound especially great – and the young Cannonball has a quality here that's more soulful and sharp-edged than his work on Mercury – much more in a Prestige blowing session style! Titles include "Late Entry", "Chasm", "Bohemia After Dark", and "Hear Me Talkin To Ya". Next is more material from the same stretch, originally issued under the title Spontaneous Combustion under Cannonball's name. Adderley and his alto sax are joined by Donald Byrd on trumpet, Nat Adderley on cornet, Jerome Richardson on tenor sax and flute, Horace Silver on piano, Paul Chambers on bass and Kenny Clarke on drums. The tracks include "Spontaneous Combustion", "Caribbean Cutie", "A Little Taste", "We'll Be Together Again", "Still Talkin To Ya", and "Flamingo". Last up is the album That's Nat – a real smoker from a young Nat Adderley – a session that has the leader on cornet, working in a tight hardbop combo with Jerome Richardson on tenor and flute, Hank Jones on piano, Wendell Marshall on bass, and Kenny Clarke on drums! The tracks are all nicely sharp-edge – that soulful Savoy sound of the mid 50s – and Richardson is especially nice, really getting a great sound from both his tenor and flute. Tracks are somewhat long, with good room for solos – and titles include "Porky", "I Married An Angel", "Kuzzin's Buzzin's", and "You Better Go Now".

A totally great mellow soul track – recorded during the late Curtom years, by a group that may or may not be the same one on Salsoul! "Yes I'm In Love" is a really heavenly little number – a tune that builds and burns with a solidly soulful feel – mature 80s soul at its best, really sent home with the track's incredibly catchy hook! There's a nice stepping rhythm around the middle of the tune – and the flipside's equally nice too! "After All This Time" has much more of a boogie sort of groove – sweeping along in a great post-disco sound, with full arrangements that still keep things soulful enough overall!

Biggie's second LP, and while the production on some of the tracks features a fair bit of Puff Daddy's gloss, they'll still get your head nodding along to Biggie's incomparable flow. It was definitely hard to follow up Ready To Die, but the best cuts here manage to live up to the promise of his debut album. 24 tracks, including "Hypnotize", "Kick In the Door", "Mo Money Mo Problems", "Miss U", "Ten Crack Commandments", 'What's Beef?" and "Nasty Boy".

Massive soul from Wendy Rene – one of the lesser-known talents from the Stax Records scene of the 60s, and an artist who's finally getting her due! We're not sure why Wendy never hit bigger at the time – because her singles here are wonderful – excellent female soul that not only ranks with the best of the Stax sound of the time, but which also challenges the bite of some of the best Motown music too – thanks to a particularly northern groove on some of the best cuts here! In fact, it may well be this style – often closer to Detroit soul than the usual Memphis bag at Stax – that might have held Wendy back. But that's hardly an issue all these many years later – and our hat's off to the folks at Light In The Attic for not only bringing together her rare singles, but also collecting unreleased songs, other rarities, and even material performed with the group The Drapels – all recorded in the years 1964 and 1965, and supported by some great notes too. Titles include "Bar B Q", "I Wish I Were That Girl", "What Will Tomorrow Bring", "Last Love", "Crowded Park", "Give You What I Got", "Deep In My Heart", "Wondering", "First Kiss", "Reap What You Sow", "After Laughter Comes Tears", and "He Hasn't Failed Me Yet".

Atlanta's Seek have been a big hit with Dusty Groove fans for their smooth funky classic soul style – and that style's made even better here by extra remixes! The track "Surrender" is offered up here in 2 versions – one given a housey tip by Ron Trent, the original done in a straight soul style by the group. The real charmer, though, is "Ever After", a catchy midtempo track with some great keyboard work under the catchy vocals – and in this case, the original's a-ok with us, as the remix obscures the best parts!

Two takes on the classic soul tune "After Laughter Comes Tears" – the sublime original by Wendy Rene, from the vaults of Stax Records – and another version by Sweet Tea – done with an equally classic sound! The tune's a stone heartbreaker – and both versions are totally great – almost making the record feel like a two-part funky 45 from years back – instead of a limited contemporary offering!

Sweet grooves from this hip Spanish combo – one of the hardest-working deep funk combos on the European scene in recent years – and a mighty soulful one as well! Mayka Edjole sings lead vocals in English, but with this cool accent that really makes the music sound different – still as classic and vintage as you might hope for, but also not as much in the copycat mode you might find with other girl funk singers these days – definitely a voice of her own that really makes The Sweet Vandals stand out! Instrumentation is heavy on Hammond and guitar, with bits of added horns here and there, but not nearly as much as from other groups – and there's some light use of strings at a few points, which makes for a nice surprise. Titles include "Whether You Like It Or Not", "After All", "Ain't No Use", "Old Souls", "Out Of My Head", and "Waves & Wings".

The album that really put Sarah Vaughan on the map – a killer set that really showed how sultry jazz vocals could sound in the postwar years – never overtone, nor torchy-cliched – but right on the money, with a sense of grace and poise that few others can match – even after all these decades! Tracks include "Black Coffee", "After Hours", "Street Of Dreams", "My Reverie", "I Cried For You", "Deep Purple", and "Just Friends".

Some of the most important recordings in the career of Sarah Vaughan – rich package of albums that really helped her refine her style strongly, and unlock an approach to jazz that nobody else could touch! Vaughan had always been a great singer, no matter what the setting – but here, she takes things a strong step forward – by mixing instrumental inspiration with careful lyrical delivery, all at a level that's quite different than Billie Holiday, Ella Fitzgerald, or any other contemporaries! Vaughan's got this mature approach that's never overdone, and never tries to call too much attention to itself – even though Sarah's singing in ways that are technically mindblowing, and set to the kinds of backings that never would have been so subtle a few years before. The beautiful package is a 7" square book – with heavy hardcovers, and lots of color images on the many pages inside – plus four CDs nestled alongside the words – containing the full albums Images, In The Land Of Hi Fi, Sarah Vaughan, At Mister Kelly's, After Hours At The London House, and No Count Sarah – plus 11 bonus tracks added to the Mister Kelly's album, and 5 more bonus tracks from the Swingin Easy record as well. 72 tracks in all – in a really lovely package!

One of the coolest albums we've ever heard from trumpeter Stephane Belmondo – a mighty tribute to the great Donny Hathaway – based around a mix of Hathaway's famous tunes and Belmondo's original tracks – and featuring a bit of guest work on vocals from Gregory Porter and Sandra Nkake! The instrumentation is the main focus here, though – and in addition to some great solos and leads from Belmondo, the set also features Fender Rhodes from Jacky Terrasson, and acoustic piano from Kirk Lightsey – plus some strings that help flesh out the sound with that special majesty that Donny brought to his music! Titles include great remakes of "Flying Easy" and "Someday We'll All Be Free" – plus "Turn Around Go Deep", "For All We Know", "You Were Meant For Me", "Ever After", and "Thought Of Spirit".

Raucous, rumbling and hard-charging Chess rhythms, rock and roll by Chuck Berry – his legendary After School Session – and possibly his greatest album ever! It features not only some of Chuck Berry's most famous material, but some of the best early rock songs, period –particularly the revolutionary "Brown Eyed Handsome Man" – plus"Berry Pickin", "Deep Feeling"," School Day", "Too Much Monkey Business", "Roly Poly", and "No Money Down".

A late 70s set from tenor maestro George Coleman – who was never recorded often enough! The set has a really timeless quality, quite uncommon for pieces recorded at the tailend of the fusion mad late 70s, and at the cusp of the ultra polished 80s sound. The support players couldn't be tighter – with Billy Higgins on drums, Sam Jones on bass and Hilton Ruiz on piano. The tunes are firmly led by Coleman – who rolls out those great loping lines, that circular sound we wouldn't trade for an other tenor the of period! Includes the title track, "New Arrival", "Lo-Joe", "Autumn In New York", "Apache Dance" and "Blondie's Waltz".

Produced and mixed by James Murphy. Includes Soulwax remix + dub version by Pulp! Side A (45 RPM) is the Pulp Vs Soulwax vesrion. Side B (33RPM) features the original version and Pulp's 4AM Desperation Disco To Disco Dub Version.

Massive soul from Wendy Rene – one of the lesser-known talents from the Stax Records scene of the 60s, and an artist who's finally getting her due! We're not sure why Wendy never hit bigger at the time – because her singles here are wonderful – excellent female soul that not only ranks with the best of the Stax sound of the time, but which also challenges the bite of some of the best Motown music too – thanks to a particularly northern groove on some of the best cuts here! In fact, it may well be this style – often closer to Detroit soul than the usual Memphis bag at Stax – that might have held Wendy back. But that's hardly an issue all these many years later – and our hat's off to the folks at Light In The Attic for not only bringing together her rare singles, but also collecting unreleased songs, other rarities, and even material performed with the group The Drapels – all recorded in the years 1964 and 1965, and supported by some great notes too. Titles include "Bar B Q", "I Wish I Were That Girl", "What Will Tomorrow Bring", "Last Love", "Crowded Park", "Give You What I Got", "Deep In My Heart", "Wondering", "First Kiss", "Reap What You Sow", "After Laughter Comes Tears", and "He Hasn't Failed Me Yet".

Muddy's grooving hard and funky – with help from Cadet studio funksters like Charles Stepney, Phil Upchurch, Louis Satterfield, and Morris Jennings – one of the best ever of the once oft-maligned, now oft-beloved funk era Chess/Cadet albums! After The Rain has more of Muddy's classic bluesy finish than some of the other Chess blues remodel albums from the time – but it's still got plenty of raw production and great fuzzed out guitar that totally killer! Hard charging dirty grooves from Muddy Waters that we've always dug – and we're thrilled to see these kinds of records get some belated love! Titles include "I Am The Blues", "Hurtin Soul", "Bottom Of The Sea", "Honey Bee", "Rollin' And Tumblin'", "Screamin & Cryin", and "Blues & Trouble".

Muddy's grooving hard and funky – with help from Cadet studio funksters like Charles Stepney, Phil Upchurch, Louis Satterfield, and Morris Jennings – one of the best ever of the once oft-maligned, now oft-beloved funk era Chess/Cadet albums! After The Rain has more of Muddy's classic bluesy finish than some of the other Chess blues remodel albums from the time – but it's still got plenty of raw production and great fuzzed out guitar that totally killer! Hard charging dirty grooves from Muddy Waters that we've always dug – and we're thrilled to see these kinds of records get some belated love! Titles include "I Am The Blues", "Hurtin Soul", "Bottom Of The Sea", "Honey Bee", "Rollin' And Tumblin'", "Screamin & Cryin", and "Blues & Trouble".

A stone classic – with "Southern Man", "Crippled Creek Ferry", "I Believe Inh You", "After The Goldrush", and "Only Love Can Break Your Heart".

An essential batch of music – four overlooked gems from the German Ego label of the late 70s – one of which is a stone classic that we've treasured for decades! All albums here are incredible – but our absolute favorite is Benny Bailey's Serenade To A Planet – a set that we think is one of the greatest jazz records ever! By the time of this 1976 release, trumpeter Benny Bailey had already had quite a history – working with Quincy Jones in his early years, and recording for MPS with the likes of Nathan Davis and the Clark Boland Big Band, as well as some of the best other players in Europe. This set's Benny's masterpiece – a soulful batch of tunes that feels like it was lifted from the catalog of Strata East, but which is played by a quintet that features Europeans Ferdinand Povel on tenor, Joe Haider on piano, and Isla Eckinger on bass – as well as American Kenny Clarke on drums. The vibe is perfect – and the group's harmoniously searching with a strong modal groove on nearly every track. Titles include "Aquarian Moods", "Neptunis", "Little B", and "The Kicker". East Of Isar is something of a follow-up to that date – done by Bailey with tenorist Sal Nistico – in a wonderful group that also includes Joe Haider on piano, Isla Eckinger on bass, and Billie Brooks on drums! The Haider/Eckinger team are known from other Bailey sessions in Europe – all of which are fantastic – and they perform extremely well here, too. Tracks are long, with a wonderfully searching quality – and titles include "Blues For Trane", "Joyful Sadness", and "East Of Isar". Then, the set steps into Just For Fun – another great album with a very similar groove – thanks to rhythm from Joe Haider on piano, Gunter Lenz on bass, and Joe Nay on drums. The group's backing up tenorist Sal Nistico – usually a sleepy talent, but a sparkling one on this session, thanks to a lively lyrical rhythm section, and some great compositions by Joe Haider. The whole thing sparkles with the kind of imagination and energy that keeps you tracking down sessions on MPS and other European labels – and with tracks like "Beautiful Black Casanova", "Do Not Make Circles", and "7787", you won't be disappointed in this one! And last by not least is After A Long Time – from trumpeter Dusko Goykovich – a rare gem that's in a similar format to Benny Bailey's classic Serenade To A Planet! Dusko stretches out beautifully on the record – in a group that features Joe Haider on piano, Roman Schwaller on tenor, Isla Eckinger on bass, and Alvin Queen on drums. Titles include "Emotionally", "After A Long Time", "Summit", "Mountain Witch", and "The Hunt Is On".

A sweet soulful groover from the great Harold Vick – quite a different record than some of his other 70s sessions, but a nice one too! The sound here is very mellow – and very much in the "After The Dance" mode that the album references from the Marvin Gaye tune – laidback, slinky, sexy, and a sweet blend of jazz instrumentation and some larger backdrops put together by William Eaton – almost with a vibe that would be more at home on Kuduo or CTI! Vick solos wonderfully – stepping out with a line that's spare, but right on the money – similar to some Stanley Turrentine solo work on projects like this – amidst other instrumentation from Richard Tee on keyboards, Eric Gale on guitar, and Ralph MacDonald on percussion. Titles include a great version of Marvin Gaye's "After The Dance", plus "You Are Everything", "Blue In The Face", "Ghetto Fantasy", "In My Life" and "Things Ain't Right".

Muddy's grooving hard and funky – with help from Cadet studio funksters like Charles Stepney, Phil Upchurch, Louis Satterfield, and Morris Jennings – one of the best ever of the once oft-maligned, now oft-beloved funk era Chess/Cadet albums! After The Rain has more of Muddy's classic bluesy finish than some of the other Chess blues remodel albums from the time – but it's still got plenty of raw production and great fuzzed out guitar that totally killer! Hard charging dirty grooves from Muddy Waters that we've always dug – and we're thrilled to see these kinds of records get some belated love! Titles include "I Am The Blues", "Hurtin Soul", "Bottom Of The Sea", "Honey Bee", "Rollin' And Tumblin'", "Screamin & Cryin", and "Blues & Trouble".

Quite possibly the greatest record ever from Clifton Dyson – a solo effort that has him stepping away from his Dyson's Faces group, and emerging as a heck of a great singer on his own! The album's got a warm modern soul feel throughout – much more mid 70s indie than you'd guess from the date on the record – and every aspect of the record is great – from the vocals to the instrumentation to the tight production on the record – a sound that's professional, and really a cut above the usual effort of this type. Al Johnson and Rodney Brown helped on arrangements – and titles include the extended groover "Slow Your Body Down", which takes up all of side one – plus "Hypnotize", "I'm Giving Up", and "So Lonely".

A lost treasure from Antiono Adolfo – keyboard player, arranger, and one of the greatest Brazilian talents of his generation! Adolfo's sound and style is contemporaneous with the best work of Marcos Valle, Edu Lobo, and others – and like them, he has an approach that mixes together jazz, MPB, baroque orchestrations, easy scoring, and a bit of funk – similar to the best work of the Blue Brazil generation on EMI/Odeon Records. The approach is one that's rarely been matched by any other artist – and it's a strong reason why Adolfo's records from this period are extremely sought after in the world of collectors. This beautiful album from 1970 has Adolfo working with the group A Brazuca – who bring some wonderful vocal harmonies to the set, mixing with strings, guitars, and some great electric piano work from Adolfo. Includes the breezy classic "Transamazonica", plus the cuts "Que Se Dane", "Atencao Atencao", "Claudia", "Panorama", "Tributo A Victor Manga", "Caminhada", "Grilopus No 1", and "Cotidiano".

Rare funk from the Kelekye Band – material recorded after their legendary Moving World album, but never issued at the time! This amazing package is totally great – four tracks of offbeat Afro Funk, with an approach that's heavy on percussion, and topped by jazzy riffs that really complicate the sound – a vibe that goes way deeper than more common Afro modes of the time, thanks to the rich solo energy of the horns! Trumpet is especially nice, and works great with the vocals – especially when they hit a warmer 70s soul mode that almost makes the record feel like Hugh Masekela teaming up with The Blackbyrds. Titles include "Mother Africa", "Munchin Session", "Too Bad Girl", and "Jungle Funk".

An album that definitely lives up to its title – as congolero Francisco Aguabella comes on hard, hitting strong throughout – and serving up a wicked blend of Latin, funk, and soul! The mid 70s set is a standout recording from Aguabella – done after he left the group Malo, and one of the best west coast takes on the modes that scene was changing up from New York at the time – really transforming the sound of contemporary Latin with a trans-genre vibe that was easily some of the most revolutionary music of the period. Rhythms are acoustic, but there's a nice dose of electric energy too, thanks to some sweet keyboards. Some cuts have English vocals, others are instrumental – and titles include "Hitting Hard", "I Wanna Know", "Cisco", "Image of a Star" and a nice version of Edu Lobo's "Casa Forte".

A return to Stax by Rance Allen – his first album for the label after a stellar set for Capitol, and a much smoother set than before! Rance has learned from his work with Larry Mizell on Capitol, and is using a warmer glide on his tracks on this set – arrangements mostly done by producer Henry Cosby, used to kick Rance's sound up to a smoother modern soul kind of sound. The overall groove isn't as spacious as his work on Capitol, but the record's still pretty darn nice – and given Rance's always-great vocals, we tend to love just about anything he does. Titles include "Stand Up For Love", "I Belong To You", "Joy", "Security", "California Gold", "I Found A Friend", and "The Wheel Of Life".

A wonderful tribute to Tony Allen's landmark Black Voices album – re-presented here with the full original record, plus a host of bonus cuts too! The core record is amazing – a set that really re-introduced Allen to the world, after falling into a bit of obscurity in the 80s years after he broke with Fela Kuti – the start of a rich new chapter in his career that's continued to burn strongly for the past decade or so! The album still holds up wonderfully – as Allen's still swinging hard, in a heavy afro funk groove that sounds a lot like his 70s work – with great electric keyboards, tight guitars, and some very nice flanged-out vocals. The drumming is nice and tight – but with a freer edge that mixes elements from the older work with a dubby spacey approach that recalls rhythms of groups like Can or Cymande! Titles include "Asiko", "Get Together", "Black Voices", "The Same Blood", and "Ariya Psyche (Juju mix)". CD also features 5 more tracks – titled Black Voices Revisited – including different versions of "Asiko" and "The Same Blood" – plus "Ariya", "Get Together (with Mudbone Cooper)", and "Black Voices (with Clip Payne)".

The only album ever from Allspice – but a hell of an incredible soul record – and one that's kept the group's name strong with collectors and rare groove fanatics for years! The album's on of the best Fantasy Records productions by Wayne Henderson and his At Home team – and like some of the others, is handled with a groove that's tight, yet plenty sophisticated too – light years from mainstream disco or common club of the late 70s, and instead informed by plenty of jazz and deeper ideas as well! The vibe is perfect – as heavenly and righteous as some of the best Roy Ayers club tracks of the time – which proves to be a perfect foil for the Allspice style of mixing male and female vocals – which again is often done in an Ayers-like mode. The sound is sublime throughout – one of those real treasures that should have been a huge record in the 70s, but was barely pressed up at all – and quickly forgotten about by the record company. Yet even after all these years, the whole thing sounds amazing – one of those albums we'd never part with at all! Titles include the groovy "Slipped Away", the funky stepper "Hungry For Your Love" – and loads of other great tunes that include "Love Fire", "Destiny", "She's A Lady", "I Don't Know", and "Give It Time".

The debut album from Pier Angeli – equally known for her acting ability as well as her singing – and working here in a swinging late 50s American take on the sound of Italian pop! Pier was married to singer Vic Damone, and while his style's perhaps a bit fuller and more emotive than hers, there's a good degree of comparison – as Pier's working here to please the imagined Italy of the American audiences in the years when things settled down after World War 2 – singing in Italian throughout to a nice set of backings from Hugo & Luigi. Most of the album's in a lush, romantic mode that's in keeping with other Roulette vocal sessions of the late 50s – save for the fact that the language is Italian, not English! Titles include "Volare", "Anema E Core", "Nu Quarto E Luna", "Torero", "Arrividerci Roma", and "Suvenir D'Italie".

One of the last live appearances by Louis Armstrong – presented here in a really charming little album, issued in a small pressing by The National Press Club! The album's a great document of all the Armstrong charms in one package – as Louis talks as much as he plays – telling stories and speaking about the music on the first half of the set. The second half then features material recorded after Armstrong's passing – with Tyree Glenn and Tommy Gwaltney keeping up the vibe, especially on some of the spoken passages where Glenn talks about Louis! The sound quality is a bit "broadcast"-styled at the start – and titles include "Rockin Chair", "Royal Garden Blues", "Love For Sale", "Crazy Rhythm", and "It's Alright With Me".

The start of a beautiful relationship between the Art Ensemble Of Chicago and the DIW label – a Japanese imprint who brought the group back to full prominence in the years after they stopped recording for ECM! DIW also let the group really do their own thing, too – almost moving back to some of their best 70s modes in a recording like this – nicely mixing up many different strands of musical influences, all in a very open space that leaves plenty of room for more sensitive moments. The only change might be the increasing presence of some of Lester Bowie's brassier modes – which bring a straighter groove at a few points – but the offbeat reed work of Joseph Jarman and Roscoe Mitchell more than offset those moments. Titles include "Charm #10", "Dancer", "We Bop", "Galactic Landscape", "RMR", and "Way Way Down Yonder".

One of the most hard-hitting albums ever cut by pianist Georges Arvanitas – an early effort that's all soul jazz all the way through! Although Arvanitas is best known as a committed modernist, especially in later years, this sweet early 60s session is a stone cooker in the best mode of Blue Note dates of the time – tight, swinging, and perfectly poised with just the right space for some excellent solos from Francois Jeanneau on tenor, Bernard Vitet on trumpet, and Arvanitas himself on piano – all grooving in a style that would make the Jazz Messengers proud, but also one that's got some key touches of postwar Parisian jazz too. Bass is by Michel Gaudry and drums are by Daniel Humair – and titles include "Oblivion", "This Here", "Poco Loco", "Bouncin With Bud", "Bohemia After Dark", and "Mister X".

One of the greatest albums ever by studio genius David Axelrod! The album's one of Axelrod's first on his own – cut for Capitol Records at a time when he was working with some of the label's biggest selling soul acts – like Cannonball Adderley and Lou Rawls – turning their already-successful sounds into super-hit material by adding some nice funky touches, and excellent baroque production. This album lets Axelrod fully explore his talents for larger studio arrangements, and complex yet soulful instrumentation. The record is subtitled "an anthology of awareness after birth, based on the 18th century poems of William Blake" – and it features incredible arrangements conducted by Don Randi, played by a host of excellent LA jazz and studio players. The overall sound is spacey and dark, with nice touches of funk, and plenty of cool instrumental passages that have been sampled over the years by hip hoppers and other producers. Titles include "London", "The Fly", "The Human Abstract", "A Divine Image", and "The Sick Rose". Reissued with the original gatefold cover, and everything!

A really sublime rare groover from JR Bailey – vocalist in the Cadillacs back in their doo wop years, but a heck of a great 70s mellow soul artist in this obscure little set! JR wrote and co-produced all the tunes on the set – in a mode that steps along beautifully with a subtle groove at the bottom, but takes off with complicated touches in the backings, and some vocals from Bailey that really stand out from most of his contemporaries. There's echoes here of other 70s great like Donny Hathaway, Leroy Hutson, or Al Johnson – and like all those artists, JR's drawing a fair bit of jazz into his work – making for complicated changes and warmer overtones that really help take the record way past conventional soul! Arrangements are by Bailey with Bert De Coteaux, Ken Williams, Paull Griffin, and Horace Ott – and titles include "Love Love Love", "Cute As A Button", "After Hours", "Heaven On Earth", "She Called Me", "Everything I Want I See In You", and "Not Too Long Ago".

A great little record that really lives up to the Wonderland in the title – as it's a really rich place for vocalist Bajka to open up and do her thing – stretching out wonderfully here, after some key previous work on singles and remix projects! Bajka's got a voice that's instantly recognizable – almost a 21st Century Billie Holiday approach – with nice raspy edges, and a mix of sadness and warmth that really goes past other contemporary singers on records like this! Backings are great too – handled with plenty of righteous jazz touches at times, thanks to work from Jerker Kluge, who you'll know as the leader and bassist in Deep Jazz. Every bit as hip as we could have hoped for – and titles include "The Hunting", "The Barrister's Dream", "The Baker's Tale", "The Vanishing", and "The Landing".

Bessie Smith by LaVern Baker – a great blend of modes that really comes off great! Instead of sounding like a throwback blues album, the set comes across with a nice degree of contemporary class – thanks in part to a jazzy presentation that's a bit different than some of Baker's other music of the time – and which sports reeds from Sahib Shihab, tenor from Paul Quinichette, trumpet from Buck Clayton, and trombone from Jimmy Cleveland! Baker's voice is in fine form in this comfortable setting – and really works magic with tracks that include "After You've Gone", "Preaching The Blues", "Empty Bed Blues", "Back Water Blues", and "Gimme A Pigfoot".

A perfect illustration of the genius of guitarist Robbie Basho – a set recorded early in his career, but with music that's light years ahead of most of his contemporaries! Although a set of solo acoustic guitar tracks, the music isn't really folk – nor is it the sort of acoustic underground music that would emerge more strongly in the 70s – and instead, it's got a real edge throughout – lots of odd tones and weird phrasings that almost preface a whole generation of guitar experimentalists like Derek Bailey or Eugene Chadbourne – yet still within a setting that's relatively tuneful overall! Basho's music has this subtle mysticism that we really love – and the solo sounds here are as evocative as the titles – which include "Mountain Man's Farewell", "Seal Of The Blue Lotus", "Sansara In Sweetness After Sandstorm", "Dravidian Sunday", and "Bardo Blues".

Spacey fingerstyle guitar meanderings from Robbie Basho – a contemporary of John Fahey who helped create the genre of tripped out, open tuning excursions! This album was recorded after Basho's early work for the Takoma label, and it's got a bit less Native American imagery than before – replaced with more of a sense of Eastern mysticism for inspiration that also features some vocals alongside the guitar! Titles include "Venus In Cancer", "Eagle Sails The Blue Diamond Waters", "Kowaka D'Amour", "Song For The Queen", "Cathedrals Et Fleur De Lis" and "Wine Song (Sweet Wine Of Love)".

Very righteous work from Fontella Bass – an album done after her time at Chess Records, and after her work in Paris with the Art Ensemble Of Chicago – in a heartfelt, southern soul mode that's totally great! Fontella's back working with producer Oliver Sain, who first brought her fame back in the 60s – but the sound is a bit more sophisticated than before, drenched with roots from gospel and country soul, but also inflected with some of the more righteous modes of the early 70s, too. Fontella's vocals are incredible – with a range that should have made her one of the leading ladies of soul in the 70s – and titles include "To Be Free", "I Need Love", "Wiping Tears", "Hold On this Time", "Talking About Freedom", and "My God My Freedom My Home". 4 bonus tracks on this CD edition: "It Sure Is Good", "I'm Leaving The Choice To You", "Home Wrecker" and "It's Hard To Get Back In".

After "The Bottle", Joe's big remake of the Gil Scott Heron song in 1975, "Rap-O Clap-O" was probably his second biggest club cut. The track's got a very catchy groove – with sort of a stomping beat that Joe used to cook up his own dance. Arranged by the great Marty Sheller, so it's still got some Latin soul cred.

My God – they finally did it! After all these years of hearing about the legendary Smile album from The Beach Boys – hearing snippets on other albums, studio bonus tracks, re-recordings, and all the other sources they've dangled in front of us for decades – Capitol's finally gone and done what they never did back in the 60s – released the whole legendary set together, as one package – and in formats that even exceed anything that might have been issued back in the day! You've probably heard a good number of the songs here before – some as they were chopped up and included on Smiley Smile, 20/20, and other post-Pet Sounds albums by the group – and in some recent re-recordings by Brian Wilson. But trust us, they all sound amazing here together – in the original recordings, with sublime 60s studio production, and godlike arrangements by the young Brian Wilson. Titles include "Our Prayer", "Gee", "My Only Sunshine/You Are", "Cabin Essence", "Wonderful", "Surf's Up", "Holidays", "Vege-Tables", "Good Vibrations", "Love To Say Dada", "Do You Like Worms", "Barnyard", and "I'm In Great Shape". Plus, this hip box set has loads of cool bits – 2CDs that include the original album with 8 bonus tracks on the first disc – then a full bonus CD of "finished" work from the project – alternate takes, expanded versions, and more – including "Our Prayer Dialogue", "Surf's Up 1st Movement", "Vege-Tables (fade)", "Cool Cool Water (version 2)", "Heroes & Villains (children were raised)", and more. Box also comes with a poster, a 36 page booklet, and a button!

The slimmed-down, single LP effort that Capitol issued after the collapse of the legendary Smile album – and a pretty sublime set nonetheless! Sure, some might argue that you can't enjoy Brian Wilson's genius until you've listened to 20 bootlegs of the sessions with dozens of takes on the tunes – but honestly, this slim little set is more than enough to prove to us that the man's a genius – and it's filled with really wonderful tunes that still stand as some of the most incredible moments in 60s pop! Production is amazing, vocals are wonderful, and the quick changes of theme and setting really keep things interesting – all without making us feel like we're getting hit over the head with some cheap gimmicks. Titles include "Vegetables", "Heroes & Villains", "Fall", "Little Pad", "With Me Tonight", and "Wind Chimes".

The slimmed-down, single LP effort that Capitol issued after the collapse of the legendary Smile album – and a pretty sublime set nonetheless! Sure, some might argue that you can't enjoy Brian Wilson's genius until you've listened to 20 bootlegs of the sessions with dozens of takes on the tunes – but honestly, this slim little set is more than enough to prove to us that the man's a genius – and it's filled with really wonderful tunes that still stand as some of the most incredible moments in 60s pop! Production is amazing, vocals are wonderful, and the quick changes of theme and setting really keep things interesting – all without making us feel like we're getting hit over the head with some cheap gimmicks. Titles include "Vegetables", "Heroes & Villains", "Fall", "Little Pad", "With Me Tonight", and "Wind Chimes". Includes the complete album in both the mono and stereo mixes.

A bittersweet farewell from The Beatles – a record that definitely shows the fracturing unity of the group, with lots of near-solo moments – but a set that also makes us really wonder what they'd have done with all this genius, had they managed to hold it together! There's great hints here of the solo work to come – especially from George Harrison and John Lennon – and the Phil Spector production really helps open up a new sound for the group. Includes the genius cuts "I Dig A Pony", "Two Of Us", "Across The Universe", "I Me Mine", "One After 909", "For You Blue", and "Let It Be".

Socking soul from the 60s – a record with American roots and a very groovy British sound! The set was the second full length album from Madeline Bell – an American singer transplanted to the mod UK scene of the 60s, where she really flourished in a rich career of hit singles, endless session work, and later fame with the group Blue Mink. The tunes on this set are a wonderful bridge between Madeline's two worlds – and have a sound that's a lot like the uptown soul coming out of the US at the time – sweet and smooth arrangements, topped by deeper soul vocals that make for a wonderful juxtaposition. Arrangements are by British talents Arthur Greenslade, Ian Green, and Keith Mansfield – and titles include "Step Inside Love", "Hold It", "Help Yourself", "After All Is Said & Done", "For Your Pleasure", and "It's Up To You". CD features bonus singles too – 6 more tracks that include "Thinkin", "Go Ahead On", "How Much I Do Love You", "What'm I Supposed To Do", and "We're So Much In Love".

It's clearly long after his Stax years at this point, but the album's still got some nice enough soul moments, and was still all recorded in the south. Tracks include "Yesterday I Lied, Today I Cried", "Morning Glory", "Your Love Keeps Me Going", "Let it Shine", and "Satin Sheets".

A fantastically soulful album from Jorge Ben – one of his greatest records ever, and a key part of Brazilian music in the 70s! The album marks an earthier shift for Jorge – a sound that's still rooted in the samba influences of the 60s, but which also takes on a bit more soul at the bottom – thanks to rhythmic contributions from Trio Mocoto, who work here famously to help Ben shape the overall feel of the set! There's still a bit of larger orchestrations at moments, but these are used sparingly just to sweeten the sound – leaving the main force of the music to come from Jorge's guitar, and the cuica, percussion, and tamborim of the trio. The vocals are wonderful too – slightly raspy, and with a bit more feeling than we ever remember Jorge having on record – sometimes a bit intimate, yet always with an undeniable presence throughout. One of those records that still sends chills up our spines, year after year – with tracks that include "Oba La Vem Ela", "Ze Canjica", "Pulo Pulo", "Apareceu Aparecida", "Terezinha", "Mulher Brasileira", "Forca Bruta", "O Telefone Tocou Novamente", and "Charles Junior".

A split set of soundtracks – both penned for films directed by Jean-Louis Bertuccelli! Richard Rodney Bennett really charms us with his score for L'Imprecateur – easily one of his most carefully creative film pieces of the 70s – and really nicely balanced between space and sound, in ways that have the subtle drama of the film welling up beautifully as the music unfolds! The instrumentals from the film are presented in two smaller "suites" – with tracks that include "New York", "Le Bus", "Ecoute", "La Vueve", "Le Cafe", "Retour A La Lumiere", and "L'Accident". Next is Gabriel Yared's music for Interdit Aus Moins De 13 Ans – written five years after Bennett's score, but done with a similarly evocative feel! Instrumentation has a bit of an 80s quality at times – but not in a cheesy way – more in the sonically sensitive qualities that you might find in a Wim Wenders score of the decade. Titles include "L'Autre Rive", "Louis Et Lucie", "La Nuit De Noel", and "Scene D'Amour".

Brook Benton comes full circle – and after helping to form the idiom that would later become known as southern soul, he gets a chance to appear on Atlantic's new Cotillion label – easily a showcase for some of the best up-and-coming southern work at the end of the 60s! Brook's warm vocals are a perfect fit here – and the album was recorded in Miami, fast becoming Atlantic's new home in the south – with full arrangements by Arif Mardin that help take Brook past some of the country cliches of earlier years. Backing is by a small combo, and the Sweet Inspirations add in some vocals – and titles include the sublime "Rainy Night In Georgia", plus "We're Gonna Make It", "A Little Bit Of Soap", "Desertion", "Where Do I Go From Here", "Life Has Its Little Ups & Downs", and "Baby".

Ruben Blades's first album – recorded shortly after his arrival in New York from Panama, with top-notch backing by the band of Pete Rodriguez! The album's an interesting one, in that it catches Ruben shortly before the salsa era, singing in a mix of styles that reminds us of some of Jimmy Sabater's work with Joe Cuba's group – doing mid and uptempo numbers in Spanish, and laying down a few mellower moments with the occasional English vocal! The style's not entirely Latin Soul, but not far off either – and the work is a nice contrast to the later work of Ruben. Titles include the lively groover "Descarga Caliente", the soulful "When", and the cuts "El Bravo", "De Panama A New York", "Donde", and "Hey Man".

Possibly the first true moment of genius from Paul Bley – a key indie standout after a few years working for bigger American labels! By the time of this early ESP album, Paul Bley was no stranger to the American scene – having recorded a few records for different labels in the 50s, and making some surprise appearances on other sessions in the early part of the 60s. But by the time of this mid 60s set, Bley was really coming into his own – working in a style that would have a huge influence on the style of jazz piano for the next few decades, and which was one of the first strong statements of modernism from the Canadian scene. Here, he's working with Steve Swallow on bass and Barry Altschul on percussion in a trio format, working through a great batch of tracks by then wife Carla – like "Ida", "Start", "Closer", "Batterie", and "Sideways In Mexico" – as well as versions of Ornette Coleman's "Crossroads", Annette Peacock's "Cartoon", and his own "Figfoot".