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A little more disco than some of Asha Pulthi's earlier releases – but still pretty darn nice stuff, handled in that spacey European mode that made her CBS records sound so compelling. Asha's still got that unique voice – kind of a mix of porno sleaze and Munich soul – and the arrangements have enough of a funky kick in them to keep things interesting. Titles include "Mr Moonlight", "Music Machine", "There Is A Party Tonight", "Legend Of Thais", and "I'll See You Around".

Sprightly, modernist Kollywood pop from the mid 80s – beautifully sung by KS Chithra, with the boundary-busting sounds and arrangements of Ilaiyaraaja! The songs are wonderful, time-honored regional pop sounds – traditionally-constructed songs blended with some 80s studio touches – loops, multi-tracking, drum machines, synths and electric keys – which all then fuse seamlessly with the haunting strings, percussion and achingly beautiful female vocals you'd expect from Kollywood – mixed with some madder, pulpy bits too! KS Chithra is as lovely of a vocalist as Asha Bhosle and other more internationally known singers, adding the warmth and depth of the songs collected here. We might even love this more than the earlier Ilaiyaraaja work Finders Keepers put together for the Solla Solla compilation – we didn't expect this to surpass it! Wonderful! Includes "Indha Vennila", "Yaaro Sonnaangalaam", "Vandadhe", "Oh My Love", "Pon Maaney", "Kankaliley", "Rathiri Thookkam", "Velli Kizhamai", "Oru Pooncholai", "Nethu Oruthara", "Hey Maina" and more.

Great grooves from Debo Band – a contemporary combo, but one who's steeped in older Ethiopian modes – particularly the best 70s sounds inspired by artists like Mulatu, Mohammad Ahmed, and Tilahun Gessesse! The album may well be the funkiest set ever issued by Sub Pop – and has a hard-rolling power that rivals classic sounds you might hear on the Ethiopiques series – sent home especially well by the sax lines of Danny Mekonnen, and amazing vocals of Bruck Tesfaye – an artist who's really got his sound just right! Other instrumentation is right on the money, with some occasional touches of funkier elements – but usually just the right sort of classic Ethiopiano percussion, horns, and strings to make the music come out beautifully. Titles include "And Lay", "Asha Gedawo", "Habesha", "Abassel", "DC Flower", "Not Just A Song", "Ney Ney Weleba", and "Akale Wube".

Great grooves from Debo Band – a contemporary combo, but one who's steeped in older Ethiopian modes – particularly the best 70s sounds inspired by artists like Mulatu, Mohammad Ahmed, and Tilahun Gessesse! The album may well be the funkiest set ever issued by Sub Pop – and has a hard-rolling power that rivals classic sounds you might hear on the Ethiopiques series – sent home especially well by the sax lines of Danny Mekonnen, and amazing vocals of Bruck Tesfaye – an artist who's really got his sound just right! Other instrumentation is right on the money, with some occasional touches of funkier elements – but usually just the right sort of classic Ethiopiano percussion, horns, and strings to make the music come out beautifully. Titles include "And Lay", "Asha Gedawo", "Habesha", "Abassel", "DC Flower", "Not Just A Song", "Ney Ney Weleba", and "Akale Wube".

A seminal electric session from Charlie Mariano – one recorded after his shift from bop-based work into trippier, more psychedelic influences – and one of his few American dates from the time! The record has Charlie working on soprano and alto sax, with a group that includes Pat Rebillot on electric piano and organ, Tony Levine on bass, and David Spinozza on guitar – all grooving along with the reeds in a stretched-out, tripped-out kind of way – a mixture of jazz and some Eastern influences, but always held together nicely – without some of the overindulgence of some other Mariano records from the period. Charlie's solos are still icy as ever, but much freer than on his classic work, and with definite post-Coltrane influences – and titles include "Madras", "Himalaya", "Vasi Bindu", and "Mirror", which has vocals by Asha Pulthi!

A funky psychedelic kaliedoscope of grooves from India – killer numbers from the 70s and into the early 80s – Psych Funk Sa-Re-Ga, from the folks who put together the equally heavy Psych-Funk 101 and Brazilian Guitar Fuzz Bananas compilations! Most of cuts here have a raw, fuzzed out undercurrent of psychedelia – guitars that buzz or lead searingly, depending on the needs of the number – with heavy, funk-based drums and/or hand percussion with rumbling bass rhythms. From that core, they bust out mightily with more furious percussion, rhythms, mad horn arrangements, and vocals that work as either a sweetener or for even more wild-eyed excitement! In short, global psychedelic funk rhythms with regional Indian folk and classical flourishes, blended with mod, soul, garage and soundtrack influences from around the globe. It's a funky, psychedelic fusion of east and west that's billed as a seminar, but this is no academic endeavor – it's a psych funk party all the way! Includes "The Mod Trade" by The Black Beats, "Psychedelia" by X'Lents, "Somebody To Love – Edit" by Kalyanji Anandji, "Dance Music From Hare Rama Hare Krishna" by RD Burman, "Mary Long" by Atomic Forest, "Dharmatma Theme Music" by Kalyanji Anandji, "Phir Teri Yaad" by Hemant Bhosle feat Asha Bhosle, and more. 20 tracks in all – with a booklet of notes on each track plus loads of photos.

One of Ornette Coleman's best recordings from the 70s – and like his other album for Columbia, quite a change from the freewheeling sounds he was blowing over at Blue Note! The style here is a bit more high concept, but in a good way – with all the edges that Coleman had developed from the late 50s onward, brought into tighter focus for the Columbia setting – given a bit more complexity, although still with plenty of room for freedom – and played both with a smaller combo, and a slightly larger group. The mix of players is as striking as the sounds on the record – and includes Coleman on alto, trumpet, and violin – plus Dewey Redman on tenor, Don Cherry on pocket trumpet, Bobby Bradford on trumpet, Jim Hall on guitar, Cedar Walton on piano, Charlie Haden on bass, and Billy Higgins and Ed Blackwell on drums. Asha Pulthi sings a bit on the larger ensemble tracks – making a rare appearance here before her 70s soul career in Germany – and titles include "What Reason Could I Give", "Street Woman", "The Jungle Is A Skycraper", and "All My Life".

The long-running Mood Mosaic series is on its 14th trip and flaunts the most starkly naked cover model in all of the many travels! Here they lay out a mix of 70s exotic pop, soul and funk from around the world – sultry grooves from Camille Yarbrough, Ben Sidran, Asha Puthli, Kenny Rankin and many more! There's not a profoundly unifying theme to this entry, but it's a sweet set of slow-cooking, funky grooves ranging from bossa soul, to breathless female vocals to easy listening jazzy pop. Includes "But It Comes Out Mad" by Camille Yarbrough, "Now I Live" by Ben Sidran, "Lies" by Asha Puthli, "Use Me" by Liza Minelli, "Golden Lady" by Jose Feliciano, In The Name Of Love" by Kenny Rankin, "Motherless Child" by Sweetwater, "My Woman's Gone Now" by Emergency and more.

The Sitar Beat crew have done it again – and come up with a great selection of classic funky Indian tunes! The package is lean on notes – and doesn't even have a proper cover – but it more than makes up for that loss with a great batch of tracks lifted right out of the brownsploitation era! The set's got 4 core tracks – "Orchestral Music" by Raghunath Seth, "Aa Dekhen Jara" by RD Burman & Asha Bhosle, "Soul Sitar" by Sohail Rana, and "Dancing Drums" by Ananda Shankhar – plus 2 more bonus beat sitar cuts!

The long-running Mood Mosaic series is on its 14th trip and flaunts the most starkly naked cover model in all of the many travels! Here they lay out a mix of 70s exotic pop, soul and funk from around the world – sultry grooves from Camille Yarbrough, Ben Sidran, Asha Puthli, Kenny Rankin and many more! There's not a profoundly unifying theme to this entry, but it's a sweet set of slow-cooking, funky grooves ranging from bossa soul, to breathless female vocals to easy listening jazzy pop. Includes "But It Comes Out Mad" by Camille Yarbrough, "Now I Live" by Ben Sidran, "Lies" by Asha Puthli, "Use Me" by Liza Minelli, "Golden Lady" by Jose Feliciano, In The Name Of Love" by Kenny Rankin, "Motherless Child" by Sweetwater, "My Woman's Gone Now" by Emergency and more.

The long-running Mood Mosaic series is on its 14th trip and flaunts the most starkly naked cover model in all of the many travels! Here they lay out a mix of 70s exotic pop, soul and funk from around the world – sultry grooves from Camille Yarbrough, Ben Sidran, Asha Puthli, Kenny Rankin and many more! There's not a profoundly unifying theme to this entry, but it's a sweet set of slow-cooking, funky grooves ranging from bossa soul, to breathless female vocals to easy listening jazzy pop. Includes "But It Comes Out Mad" by Camille Yarbrough, "Now I Live" by Ben Sidran, "Lies" by Asha Puthli, "Use Me" by Liza Minelli, "Golden Lady" by Jose Feliciano and In The Name Of Love" by Kenny Rankin. 6 tracks on the picture disc version.

Spare set of moody out pieces, played by a trio that includes Andrews on reeds, Nana Vasconcelos on percussion, and Nat Adderley Jr. on piano – adding a surprisingly nice sound to the album. Titles include "Vamos Para Casa", "Danca Das Kashala E Sarhanna", and "Um Girrasol".

Rhythmic early 60s global grooves from John Berberian – a master of the oud with a great group of players on these oft intense takes traditional Turkish, Armenian and Arabic songs! The melodies and rhythms are pretty impressive – the percussion is particularly heavy and groovy! The oud is out front and supported by lots of clarinet and bongo, hand percussion, guitar, bass and some vocals, too! There's a passion here that easily trumps any initial thoughts that this would be a dry reading of middle-eastern folk material – it's appealing in many of the ways that Salah Ragab's Egyptian jazz material is, without the cosmic funkiness. Players include Souren Baronian on clarinet and bongos, Jack Chalikian on canun, John Valentine on guitar and dudoog, among others. Tracks include "Siseler", "Laz", "Basha Bella", "Whyek", "Taksim", and "Nubar Nubar".

Features Ashanti.

Everybody's favorite "cuchi-cuchi" girl shows her musical side in this trashed-out Salsoul set from the end of the 70s! Charo, apart from being well-built, sensual, and not ashamed to show it, is also a pretty decent guitarist, in a Spanish/flamenco mode. She plays a bit on the album – especially on her version of "Concierto De Aranjueuz", but most of the tracks are disco tunes, done with orchestrations by John Davis. Titles include "Ole Ole", "Stay With Me", "Hot Love", and (of course!) a version of the "Love Boat Theme"!

A great couple of harder-to-find Ornette Coleman records – nicely paired up in a 2CD set! First up is The Music Of Ornette Coleman, from 1967 – which is beautiful record that serves as both a showcase for Ornette's "serious" writing efforts – and his ability to play with a larger ensemble! It kicks off with Ornette playing trumpet solos with The Philadelphia Woodwind Quintet as they perform his "Forms & Sounds" live. That's followed by recordings of Ornette's "Space Flight" and "Saints & Soldiers" performed by The Chamber Symphony of Philadelphia Quartet, a string ensemble that brings a new light to Ornette's compositions! Skies Of America is an ambitious record with full orchestra, in a haunting sound that's light years from any of his smaller group recordings of the 60s and 70s! There's an incredible feel to the strings used here – played by the London Symphony Orchestra, conducted by David Measham – all tied up and dark, with swirling sounds that run up beautifully from the bottom, then take off to the skies promised in the title – opening the door for Ornette to come in and solo freely over the top – in a magical mix that easily makes the record a standout in his long and mighty career! Harmolodic theory is definitely a part of Coleman's conception here – but in very different ways than his quartet or quintet recordings. Lots of tracks on this one, including "Skies Of America", "The Men Who Live In The White House", "Sunday In America", "Dreams", "Native Americans", "Silver Screen", "The Artist In America" and more.

"Cali' Dreamin'" features Fashawn & Co$$.

CD version of Fashawn's tight Champagne & Styrofoam Cups project – which finds the Cali rhymer working over beats by Exile, Jake One, Evidence and others. Includes "Hola Santiago" and "Heard It All Before" produced by Exile, "Coogi" feat Mr Mfn Exquire and "I Love With A Lie" and "Medicine Man" with Wiz Khalifa produced by DJ Dahi, "Stardumb" produced by Evidence, "Worldwide" feat TL Cross and production by Phonix, "Color Blind" produced by Hecktik, "Heaven" producted by ATG, "Grizzly City Boy 2" feat Dinero Sucio and produced by Cheffy P, "Just A Man" produced by Jake One and more.

Modern avant pop from Brooklyn with love for the 80s post-punk and post-disco gamechangers – dancefloor ready acts from Liquid Liquid to ESG to Tom Tom Club – though done with a hooky, contemporary vibe! It's irresistible stuff to us – we couldn't shrug it off, even if we tried to. Lovely feminine vocals and a breezy pace keeps the Friends vibe inviting all the way through, though underneath that is a diverse bed of instruments and influences. Friends draws from the same pool of influences as a ton of their hip peers, but to us, Friends pull it with a lot more charm. Titles include "Friend Crush", "Home", "A Life", "Ruins", "Proud/Ashamed", "Sorry", "A Think Like This", "Ideas On Ghosts", "Stay Dreaming" and "Mind Control".

With Dennis Gonzalez on trumpets, both acoustic and electric – plus Prince Lasha on reeds, Ed Smith on vibes, and James Zitro on drums and percussion!

A second chapter of excellent jazzy soul from the HE3 (Herman Eberitzch III) Project – killer stuff recorded from 1974 to 1977 at Different Fur Studios in San Francisco – with a sound that blends intense, yet sultry disco era live soul with both jazzier and funkier sounds! HE is on piano, Rhodes, synths – and the vibe on Chapter Two has moments of jazz funk reminiscent of the previous Chapter One set from Family Groove – but others that have a straight up, live and direct modern live soul feel, and others that are straight up jazzy. It's all great stuff – and alternate group lineups throughout include vocalists Johnny Lyvett, Linda Tillery and Wendy Hass, trombone player Sheldon Bermont, sax players Robert Olivera and Jerry Vejmoja, percussionist John Mingo Lewis, guitarist Pat Duffy, drummer Amadeus Barrios and others. Includes "Thesis On Love", Soul Support", "From Africa To Oakland", "Try A Different Road", "It Came From The Clear Blue Sky", "Sashay Sahay", "She Got You By The Hook', "I Know You", "Inspiration", "Make It Sweet", "Hop Skip & Jump", "Summertime" & "High Life".

One of the most starkly beautiful recordings in Paul Horn's career – with spiritually resonant, almost spine tingling solo flute and some chants, all recorded in the Taj Majal one day in April of 1968! It's really all about the atmosphere, as it would have to be given the location – with Horn playing of the amazing echo in a completely wonderful way, never feeling anything less than wholly authentic and genuinely inspired! Titles include "Vibrations", "Akasha", "Jumna", "Shah Jahan", "Mantra II/Duality", and "Unity".

The third album in Margie Joseph's early 70s run for Atlantic Records – and like the rest, a batch of super-tight tunes arranged and produced by Arif Mardin – done with the same sense of sophisticated soul he was bringing to the work of Aretha Franklin at the time! Margie's nicely a bit more laidback than Aretha, though – not nearly as cliched at times, and capable of hanging onto her southern roots, even in a fuller setting. Many numbers feature backing vocals – by singers who include Donny Hathaway, Cissy Houston, and Tasha Thomas – but Joseph is right out front on all numbers, singing strongly in the lead, yet without any too-diva sort of tendencies! Titles include a nice version of Bill Withers' "The Same Love That Made Me Laugh", plus "Stay Still", "Just As Soon As The Feeling's Over", "Sign Of the Times", and "Promise Me Your Love".

The third album in Margie Joseph's early 70s run for Atlantic Records – and like the rest, a batch of super-tight tunes arranged and produced by Arif Mardin – done with the same sense of sophisticated soul he was bringing to the work of Aretha Franklin at the time! Margie's nicely a bit more laidback than Aretha, though – not nearly as cliched at times, and capable of hanging onto her southern roots, even in a fuller setting. Many numbers feature backing vocals – by singers who include Donny Hathaway, Cissy Houston, and Tasha Thomas – but Joseph is right out front on all numbers, singing strongly in the lead, yet without any too-diva sort of tendencies! Titles include a nice version of Bill Withers' "The Same Love That Made Me Laugh", plus "Stay Still", "Just As Soon As The Feeling's Over", "Sign Of the Times", and "Promise Me Your Love".

Nice little soundtrack for this obscure thriller starring Sean Connery. Michael Kamen (ex-New York Rock & Roll Ensemble) lays down some groovy tracks with a good 70's crime/thriller feel. Some tracks are more orchestral, but there's some nice moments with a good bass-y feel. Titles include "Irish Drive", "Magic City", "Baxter Bus", "Beach Scene", and "Stay With Me", which has vocals by Tasha Thomas.

Three remixes from the Konomka project – all of which really expand the spirit of the original! Chico Mann remixes "Sibashaya Woza", and somehow manages to bring this really earthy, almost muddy vibe to the track – but we mean that in a good way – as his style kind of fuses the Afro Funk rhythms all down at the bottom, then packs an even more powerful punch than before! Auntie Flo take on "Handkerchief" – bristling up the cut with a crackle on the beats – and Debruit remix "Kpanlogo", to give the whole thing a really tribal feel!

Seun Anikulapo Kuti returns with another strorming set of neo classic Afro Funk in the great tradition of his father – once again fronting the incredible Egypt 80 group! It's remarkable stuff that finds Seun – the youngest son of Fela – standing up as a visionary talent. He's not only living up to an immense legacy, but moving forward with it in ways that will absolutely stand the test of time. The insistent rhythms and intense energy of the Egypt 80 group – led by Lekan Animashaun – are Afrobeat perfection, with Seun's forthright vocals out front of it. But their approach here is anything but a retread of family glories. The songs are urgent and fierce, and there are subtle modern florishes in the production – thanks in part, no doubt, to co-producer Brian Eno. Titles include "African Soldier", "You Can R Un", "Rise", "Slave Masters", "For Dem E Ye", "The Good Leaf" and "Giant Of Africa".

Tremendous work from the legendary Prince Lasha – a rare UK-only date from 1966 – and one that has the reedman working away from more familiar contemporaries like Sonny Simmons and Eric Dolphy! The approach on this session is very unique – as Lasha includes harp with the instrumentation, played by David Snell in a style that's right up there with Dorothy Ashby's best jazz work. Pianist Stan Tracey is also on board – playing beautiful notes that have a sharp modern edge, while still falling on the inside of the spectrum – and Lasha himself is especially great – blowing plastic alto sax and wooden flute, both of which have a slightly offbeat sound – but one that's surprisingly warm, which makes the album one of his most sensitive and soulful sessions ever! The tunes are a mix of standards and originals – and there's a wonderful sense of balance here – sounds that are sometimes more inside than other records from Lasha, but which have a really Dolphy-like sense of expression – right at home amidst a wider history of jazz, yet also reaching for new ideas at the same time. Pure genius throughout, and a record that was never made available to audiences in the US. Titles include "Nuttin Out Jones", "Impressions Of Eric Dolphy", "Out Of Nowhere", "Just Friends", "Body & Soul", and "Everything Happens To Me".

Flute, strings, and soul – a wonderful counterpart to some of Hubert Laws' funkier albums of the time – and a record cut with some tremendous backings! The core group features Hubert on assorted flutes, Gary Burton on vibes, Chick Corea on piano, and Bernard Purdie on drums – all augmented by larger string backings arranged and conducted by John Murtaugh, with a dark-tinged style that's a bit in the mode of some of the work at the time by William S Fischer, but with a sound that's even moodier and more introspective. Laws' work on flute is a brilliant example of understatement – lots of space between the notes, and a rich exploration of sound that's completely mindboggling! Titles include "Ashanti", "Equinox", "Pensativa", "Wild Flower", and "Yoruba".

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

A classic of spiritual jazz! The album is one of the few rare pairings of Sonny Simmons and Prince Lasha from the 60s – and it's arguably the greatest album they ever cut! The set was recorded for the Contemporary label in LA, but it's far far different than the cool jazz that was the label's stock in trade during most of the 50s – done instead with a pulsating spiritual feel that really takes off as the album progresses! The lineup features the twin-reed frontline of Lasha on flute and Simmons on alto, plus an amazing rhythm section that includes 2 bass players (Gary Peacock and Mark Procter), who really give the tunes a pulsating feel overall – plus drums by Gene Stone. Titles include the famous groover "Congo Call", plus the tracks "AY", "Lost Generation", "Red's Mood", and "Green & Gold".

Dramatic funk from 70s Iran – some really compelling grooves, set to rich vocals by the lovely Ramesh! The approach here definitely borrows bits from Western culture – some rhythms and elements that echo American mainstream soul and funk of the time, with moogy touches too – but the overall execution is often a lot more exotic, and often has the same sort of appeal as Bollywood funk – with all the offbeat references that might imply! In another setting, Ramesh might sound too soppy or emotive – but here, amidst some very groovy grooves, her vocals are wonderful – and ring out as just the right topping for the creative instrumentation of the tracks. Titles include "Nago na", "Delakam", "Labe Daryaa", "Ghoroobaa Ghashangan", "Zoj", "Sharm-E Boos-E", and "Afosoos".

Dramatic funk from 70s Iran – some really compelling grooves, set to rich vocals by the lovely Ramesh! The approach here definitely borrows bits from Western culture – some rhythms and elements that echo American mainstream soul and funk of the time, with moogy touches too – but the overall execution is often a lot more exotic, and often has the same sort of appeal as Bollywood funk – with all the offbeat references that might imply! In another setting, Ramesh might sound too soppy or emotive – but here, amidst some very groovy grooves, her vocals are wonderful – and ring out as just the right topping for the creative instrumentation of the tracks. Titles include "Nago na", "Delakam", "Labe Daryaa", "Ghoroobaa Ghashangan", "Zoj", "Sharm-E Boos-E", and "Afosoos".

A super-absorbent sponge that's great for cleaning records – made of viscose, and highly absorbent – and wrapped in a lint-free cloth that keeps away the dust! The sponge is a great one for wiping down dirty records – and it's machine washable too, so you can throw it in the wash when it needs a good cleaning itself!

A Def Jam classic from Tashan – and a record that really helped bridge the gap between male soul and hip hop in the 80s! The style's still as warm and soulful as most of Tashan's contemporaries, but the record definitely shows a bit of street soul in the rhythms too – often just a bit gentle, but prefacing the changes that would come more strongly in the next decade – an aspect that really made this one stand out from the rest! Tashan's vocals are in a classic romantic mode, but often set to beats that provide a nice contrast and a good sort of punch – a definite Def Jam mode that's famously heard on the title track. Titles include "Ooh We Baby", "So Much In Love", "I Don't Ever", "Love Is", "Read My Mind", "If Words Can Express", "Chasin A Dream", and "Strung Out On You". CD features bonus tracks – "Read My Mind (long version rmx)", "Read My Mind (short version rmx)", "Chasin A Dream (special mix)", and "Chasin A Dream (single)".

Some of the hippest sounds ever recorded on the Afghan scene – and a great reminder that the nation's got some standout music if you know where to look! The package is the third whopping volume in Pharaway's look at Ahmad Zahir – a charismatic singer who rose to huge fame in the 70s, but still has a sound that's pretty darn fresh to our Western ears – a mix of psychedelic production, exotic instrumentation, and some surprisingly compelling lead vocals – which tend to hold us rapt, even though we can't understand the language! Instrumentation often features plenty of raw percussion and offbeat reed lines – mixed with keyboards and guitar, to create this pan-generational sound that's really unique. Titles include "Shaady Kunaid Aye Dostan", "Tu Barayem Mogadasi", "Duzdi Eshgam", "Ansiman Begoyed", "Kai Bashad Kai", and "Nay Nay Hargez".

Some of the hippest sounds ever recorded on the Afghan scene – and a great reminder that the nation's got some standout music if you know where to look! The package combines the second and third volumes in Pharaway's look at Ahmad Zahir – a charismatic singer who rose to huge fame in the 70s, but still has a sound that's pretty darn fresh to our Western ears – a mix of psychedelic production, exotic instrumentation, and some surprisingly compelling lead vocals – which tend to hold us rapt, even though we can't understand the language! Instrumentation often features plenty of raw percussion and offbeat reed lines – mixed with keyboards and guitar, to create this pan-generational sound that's really unique. Titles include "Shaady Kunaid Aye Dostan", "Ahange Zindegi, "Az Nazo Che Maykhande", "Baduhait Konam", "Begzaro Ta Begeeryam", "Dil Ze Sowda", "Che Koosh Amadi Safaa Kardi", "Tu Barayem Mogadasi", "Duzdi Eshgam", "Ansiman Begoyed", "Kai Bashad Kai", and "Nay Nay Hargez".

Massive Afro Funk! This slammin' batch of funky African (and African-sounding) tunes was put together by the same team who did the Africa Funk set on Harmless – and it's even better than that one was! Like Africa Funk, this set compiles a whopping batch of rare tracks from the 70s, plus a few from other eras that have a 70s feel – and the mix of tracks is filled with heavy drums, pounding percussion, funky keyboards, and choppy guitar riffs. You might have a few of the cuts on here, but most of them are quite rare, and the set's well worth having for newcomers and trainspotters alike! Titles include "Silver Black Summer Day" by Living Funk, "Rhythm On Rhythm" by Sookie, "Afro Funk" by Peter King, "Jungle Funk" by Nkengas, "Samba" by Miriam Makeba, "Everybody's Groove" by Ashantis, "Karam Bani" by Buari, and a nice remake of "Soul Makossa" by The Gaytones!

Ethiopian R&B, jazz and funk from the late 60s to mid 70s – essential numbers by Mahmoud Ahmed, Alemeyahu Eshete, Lemma Demissew, Sefu Yohannes, Bahta Gebre-Heywet, Teshome Metuku and others – all of which are appearing on vinyl for the first time since the incredibly rare original releases! Hasabe works as both a stellar introduction to the adventurously soulful music of Ethiopia during this pivotal period – and as a tightly-focused vinyl sampler of the extensive (27 CDs and counting) Ethiopiques series from Buda Musique. It focuses squarely on the R&B and funkier strains of the diverse Ethiopiques – and as connoisseurs of the series since the beginning – we can honestly tell you that it's impeccably well selected! 10 classic tracks: "Astawesalehu" and "Adrashash Tefabegn" by Lemma Demissew, "Yehagere Sheta" by Tlahoun Gessesse, "Mela Mela" by Sefu Yohannes, "Aynotche Terabu" by Mahmoud Ahmed, "Ayalqem Tedenqo" by Alemayehy Eshete, "Tessaassategn Eko" by Bahta Gebre-Heywet and more.

A triple-length set – one that brings together two classic Charly Records compilations! The bulk of the set is from the great 2LP collection Mr Joe's Jambalaya – an amazing collection of New Orleans soul from the legendary Minit and Instant labels – both imprints under the guidance of producer Joe Banashak – the "Mr Joe" in the title! The work here includes a good number of lesser-known gems from the Crescent City – mixed in with a few key classics that are really well-chosen numbers that illustrate the kind of important influence that New Orleans would have on soul music for generations to come! Grooves are mostly gritty, with more than a few hints of funk in the mix – and there's plenty of tracks that are filled with that tripling rhythmic mode that was quite specific to New Orleans at the time. Titles include "I Need Money" by Lee Dorsey, "The Sad One" by Eddie Lang, "The La La Man (part 1)" by Oliver Morgan, "Go Back Home" by Allen Toussaint & The Stokes, "Pass The Hatchet (part 1)" by Roger & The Gypsies, "It Will Stand" by The Showmen, "I'm Gonna Put Some Hurt On You" by Raymond Lewis, "In The Night" by Chucik Carbo, "Green Door" by Eskew Reeder, "Something You Got" by Barbara George, and "Beverly Baby" by Allen & Allen. The remaining third of the package is from the collection Loaded Down With The Blues – another compilation of Joe Banashak recordings, but one that focuses a bit more on gritty, bluesy material – mostly from the late 50s and early 60s. Titles include "Tight Like That" by Edgar Blancahrd, "Loaded Down" by Matthew Boogie Jake Jacobs, "Way In The Middle Of The Night" by Nolan Pitts, "Ain't Broke Ain't Hungry" by Polka Dot Slim, "Moanin & Screamin" by Diamond Joe, and "Nervous Condition" by The Pitter Pats. 2CDs, and 46 tracks in all!

Funky disco re-edits/reworks compiled by Russian DJ Kirill Sergeev, aka Saint Petersburg Disco Spin Club! The set pulls together tracks by other club soul, deep house and funk spinning producers on the contemporary Russian scene – including Lesca, Arsenii, Simple Symetry, Quick Soviet Cuts and others! Soulful dancefloor ready grooves from beginning to end – in a 2CD set – one unmixed and the other contiuously mixed. CD 1 (unmixed) includes "Let's Love" by Lesca, "Bennie's Deal" by Lay-Far, "Doesn't Really Matter" by Simple Symmetry, "Romeo 'N' Juliet" by Beard In Dust, "Be Good To Me Baby" by Lipelis & Sasha Lipsky, "Jozefino" by Quick Soviet Cuts and more, including 2 bonus tracks: "Can't You See Me (Dub Mix)" by Saint Petersburg Disco Spin Club" and "Sandworms" by Arsenii. CD2 is a contiuous mix of the material from the CD1 and more!

A great little set of smooth soul tunes – put together from the Chicago Stepper's scene, and featuring some great obscure gems from the late 70s, 80s, and 90s! Titles include "Long Distance Love" by Faze, "Got The Right Attitude" by Tashan, "The Affair" by Lonnie Jordan, "So I Like You" by Degree Of Motion, "Hail The Word (deep state dub)" by Isis, "Day Dream" by Mark Johnson, "True Love" by Billy Porter, "Little Red Boat (Gizmo's Groove)" by Angel Grant, and "Close" by Mark Winkler.

The title track to Fanga's great Natural Juice album is served up here in a sweet extended version – one that spins out with all the skittish percussion, scratchy guitar, and snakey keyboards of a 70s Afro Funk number! The keyboard work is almost moogy at times, but never too thin – just nicely spooky – and the vocals are chanted strongly at the start, then drop out for plenty of long instrumental jamming! "I Didn't Know" is another great groove with a really Fela-like feel, and some especially nice horns – and the bonus beats on the single are both nice percussive breaks!

An amazingly unique little group – one that kind of stepped in the Impulse Records back door from the Coltrane galaxy, but which features some very unique aspects overall! As the cover states, the ensemble's led by bassist Jimmy Garrison and drummer Elvin Jones – and also features McCoy Tyner from Coltrane's quartet – yet the real charm of the record comes from the reed men, who include Prince Lasha on flute and clarinet, Sonny Simmons on alto and English horn, and Charles Davis on baritone sax! All players are free-thinking modernists, with ties to some of the farther reaches of 60s jazz – yet they work here in a beautifully inside mode, similar to Lasha's excellent Insight album on CBS UK – a vibe that takes all the most wonderful aspects of the Coltrane generation, but pushes them even further with some deeply personal expressions. Tracks include the seminal "Half & Half" – plus "Aborigine Dance In Scotland", "Oriental Flower", and "Nuttin Out Jones", and "Gettin On Way".

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".

One of the most ambitious albums on CTI – a very large project in which Don Sebesky seems to work with just about everyone else who recorded for the label! The Giant Box title is apt – as the record originally came packaged in a cardboard box – room enough to hold the 2 records that comprised it, all the long tunes on the set, and the huge array of cast who helped out on the project. Players include Sebesky on organ, piano, and electric piano – plus Baws, Joe Farrell, Paul Desmond, and many others. There's some sweet vocal backgrounds on the set – by Jackie & Roy, Lani Groves, and Tasha Thomas – and titles include "Vocalise", "Semi Tough", "Firebird/Birds Of Fire", "Free As A Bird", and "Song To A Seagul". Great stuff – with bits of funk, jazz, and ambitious arrangements – all filtered into the cool CTI sound!

A brilliant little album from Archie Shepp – material recorded on a variety of dates at the end of the 60s, but packaged together as an extremely soulful set in the mid 70s! There's a feel here that rivals some of the best moments of the Attica Blues years – a mix of spiritual soul jazz and bolder modern moments – reigned in nicely from the freer Shepp sound of a few years before, and given a really righteous focus by the addition of vocals on some tracks. Archie sings a bit himself, and one number features Leon Thomas singing with Tasha Thomas and Doris Troy – a very odd meeting in the studio! Players include Woody Shaw, Jimmy Owens, Dave Burrell, Grachan Moncur III, and Wally Richardson – and the tracks even get a bit funky at times! Titles include an excellent version of "New Africa", which was recorded later in Paris by Grachan Moncur III – plus "Back Back", "Spoo Pee Doo", "Slow Drag", and Cal Massey's "Bakai".

You could go 'round and 'round with music historians arguing whether or not this album, Java Java Java or Aquarius Dub was the first full length dub LP, but it makes no difference to us – as this is one mighty set of Perryisms – wrought in the pre-Black Ark era. There's a dozen of the Upsetter's finest rhythms rendered in dub versions here, and though he's uncredited on the sleeve, we've read that King Tubby was responsible for the wonderful reverb and mixing console action taking these tracks to the next level. Essential! Includes "Blackboard Jungle Dub (version 1)", "Rubba, Rubba Words", "Cloak A Dagger (version 3)", "Dreamland Dub", "Fever Grass Dub", "Sinsemilla Kaya Dub", "Moving Forward", "Kasha Macka Dub" and "Setta Iration Dub". Amazing package – comes in a box, with 3 vinyl 10-inch LPs.

You could go 'round and 'round with music historians arguing whether or not this album, or Java Java Java or Aquarius Dub was the first full length dub LP, but it makes no difference to us, this is one mighty set of Perryisms, wrought in the pre-Black Ark era. There's a dozen of the Upsetter's finest rhythms rendered in dub versions here, and though he's uncredited on the sleeve, we've read that King Tubby was responsible for the wonderful reverb and mixing console action taking these tracks to the next level. Essential! Includes "Blackboard Jungle Dub (version 1)", "Rubba, Rubba Words", "Cloak A Dagger (version 3)", "Dreamland Dub", "Fever Grass Dub", "Sinsemilla Kaya Dub", "Moving Forward", "Kasha Macka Dub" and "Setta Iration Dub".

Crispy, creative work from the team of Blu & Exile – a duo who may well be one of the most creative studio talents we've heard in years! There's loads of warm acoustic samples dropped into the mix – set against a sharper edge from the production, but still delivered with plenty of soul – almost a warmly jazzy vibe we remember from early Tribe Called Quest – with a similarly playful feel. The set features guest work by I Ced, Fashawn, Homeboy Sandman, Johaz of Dag Savage, Black Spade of Hawthorne Headhunters, and ADAD – and titles include "Don't Be Jelly", "The Great Escape", "A Man", "A Letter", "Ease Your Mind", and "O Heaven".

A wonderful album by Odell Brown – recorded years after he broke up with his Organizers group, with a sweet electric groove that's very different than his Chess LPs – and also quite a bit different from other records on Paula in the mid 70s! Odell's playing electric piano on the set – grooving in a mellow funky way that reminds us of some of the early 70s Young-Holt albums, no surprise, since Odell and the Young-Holt team came out of the same scene. The tracks are nice and long, and nearly all originals. It kicks off a killer cover, though: an 11 minute jazzy soul take on Stevie Wonder's "I Love Every Little Thing About You" – and it also includes "South of 63rd", "Simizzoke", "Song Theme" and "Tasha".

A classic slice of Jamaican roots! No collection of Lee Perry's work is complete without this chapter, which has been hard to get in spite of being reissued in a number of different formats. This version features a slight twist on the original cover art, but is an expanded double LP set with a bonus disc of later self-produced material. On the original album, recorded at the Black Ark in 1976, Cedric Mytton teams up with Roy Johnson on harmony vocals, with Lee Perry steering the Ark with a heavyweight supporting crew, for a true milestone in Jamaican music, and a classic of universal proportions. The second LP features material from 4 different sessions, all great, with tracks from the 1979 LPs Cvongo Ashanti and Image of Africa, the 1981 LP Face The Music and a couple of tracks from 1999. 22 tracks in all, including "Fisherman", "Congoman", "Open Up The Gate", "Children Crying", "La La Bam-Bam", "Can't Come In", "Sodom & Gomorrow", "The Wrong Thing", "ArkOf Covenant", "Don't Blame On I", "Solid Foundation", "Days Chasing Days", "Youth Man", "Only Jah Know", "Music Maker", "Stay Alive (ext)", "Problems", "Face The Music", "Enemy & Spy (ext)" and "Aaron & Moses (ext)".

Essential! The mighty debut album from African disciples Culture pairing up with the Mighty Two, Joe Gibbs and Errol Thompson is one of the landmark sets of roots reggae, a defining moment of the genre dropped during the year when two sevens clashed. And though the apocalypse didn't rain down from the skies in '77, this album was certainly a world-changing event, one of the finest moments in Kingston's rich musical history! Gibbs provides the trio with a set of uplifting rhythms over which to harmonize, and Culture comes correct on every track, combining a tightly harmonized approach with a rawer, rootsier sound. 10 tracks in all, including "I'm Alone In The Wilderness", "Pirate Days", "Two Sevens Clash", "Caling Rastafari", "I'm Not Ashamed", 'Get Ready To Ride The Lion To Zion", "Black Starliner Must Come", "Jah Pretty Face", 'See Them A Come" and "Natty Dread Taking Over".

A seminal set from Eric Dolphy – one of his most perfectly realized moments at the head of a larger ensemble – and a record that definitely set the tone for countless spiritual jazz sessions of the 70s! Dolphy recorded this session for Alan Douglas in 1962, and it features a larger array of players than you'll find on most of his records for other labels – the cream of the "new thing" players that were around New York at the time, including Bobby Hutcherson on vibes, Woody Shaw on trumpet, Prince Lasha on flute, Sonny Simmons on alto, and even Clifford Jordan on soprano sax – making a rare appearance on record on that instrument! Together, the players create a set of soundscapes that lies somewhere between Dolphy's Out To Lunch album, and some of the more modernist work by Mingus – a stunning batch of tracks that go out, but never too far. Titles include "Ode to CP", "Burning Spear", "Iron Man", and "Mandrake".

There's plenty of Afro Funk combos working today, but these guys are one of the greatest – a totally hip French ensemble with a really amazing sound! Fanga has a groove that's really a cut above – a way of pulling together all the best elements of the 70s generation of Afro Funk, and sifting them out with a new sense of power – a boldness that grabs you right from the get-go, and which makes the album way more than just a simple copycat of Fela modes! The percussion is especially great – nicely gritty on the bottom, and played with a sharp sense of focus – and the keyboards also stand out too, with a haunting quality that spooks things up nicely and unsettles some of the best tunes. The group also have plenty of space in their egos for outside help from others – and the album features key guest work from Tony Allen and Segun Damisa. Titles include "Crache La Doleur", "Noble Tree", "Natural Juice (Ashanti mix)", "I Didn't Know", "Kononi", "Iba", "Bolli", and "Ni I Matoro".

A contemporary Afro combo, but one with a really unique twist – a focus on older Ghanaian styles of grooves, which makes them sound different than a lot of other groups of this nature! Unlike some of the more Nigerian-grooving groups out there these days, Konkoma take their inspiration from Ghana – and do a really good job of echoing the older funky styles we've been digging on compilations and reissues from the Soundway label – working here with a tight lineup of London musicians, and getting some sharp help in the studio from Nostalgia 77 and Prince Fatty! The sound is right in line with vintage work on Soundway – and honestly, the album could easily pass itself off as some under-discovered 70s rarity – just on the strength of its grooves. Titles include "Lie Lie", "Another Day", "Yoo Eh", "Jojo's Song", "Senture", "Me Kyin Kyin", "Sibashaya Woza", "Handkerchief", and "Accra Jump".

Seun Anikulapo Kuti returns with another strorming set of neo classic Afro Funk in the great tradition of his father – once again fronting the incredible Egypt 80 group! It's remarkable stuff that finds Seun – the youngest son of Fela – standing up as a visionary talent. He's not only living up to an immense legacy, but moving forward with it in ways that will absolutely stand the test of time. The insistent rhythms and intense energy of the Egypt 80 group – led by Lekan Animashaun – are Afrobeat perfection, with Seun's forthright vocals out front of it. But their approach here is anything but a retread of family glories. The songs are urgent and fierce, and there are subtle modern florishes in the production – thanks in part, no doubt, to co-producer Brian Eno. Titles include "African Soldier", "You Can R Un", "Rise", "Slave Masters", "For Dem E Ye", "The Good Leaf" and "Giant Of Africa".

An incredible collection of revolutionary jazz album cover art from the 60s & 70s – bold, vivid and unforgettable art for bold, vivid and unforgettable jazz – compiled and edited by Gilles Peterson and Stuart Baker! It's a snapshot of an era in jazz music when cultural and stylistic boundaries were besting wide open – and many of the ones documented are the holy grails of the era – pressed in small quantities and firing up the rare crate diggers since! Iconic art for labels such asa BYG/Actuel, Strata East, Nimbus, ESP and many more, and artists including Sun Ra, Phil Cohran, Pharoah Sanders, Prince Lasha, Hannibal Marvin Peterson, and Marcus Belgrave to name just a few. Gilles Peterson, Stuart Baker and Soul Jazz have done an exceptionally great job with the notes and text, too – much better than other books of its kind! Heavy duty, large format hardcover, to give you true-to-life-size cover art – as it was meant to be seen! 179 pages.

Think you know Huey Piano Smith? Think again – as this massively overstuffed set shows that there's plenty more to discover! Instead of Huey's over-reissued New Orleans tracks from the early years, this package brings together late 60s soul and raw 70s funk – a lesser-known side of Smith's career, and proof that he had plenty of greatness to offer well into the 70s! There's still plenty of heavy Crescent City soul at the bottom of the grooves – but Huey also really takes off in a fast flurry of new styles too – some modes that get increasingly hip on the second half of the collection, as the tunes take on plenty of wonderful 70s funk elements. As with other Charly collections, there's a huge amount of material here – a whopping 45 tracks, packaged in a book-styled cover with a very vivid booklet – and titles that include "Ballad Of A Black Man", "The Whatcha Call Em (ext version)", "Don't You Just Know It", "Funky Funky Football", "High Blood Pressure", "Coo Coo Over You", "You Ain't No Hippie", "Smile For Me", "Twowaypockaway (parts 1 & 2)", "Eight Bars Of Amen", "Epitaph Of Uncle Tom", "Bury Me Dead", "Baby You Hurt Me", "Young Blood", and "We Like Mambo".

Stunning stuff – and one of the few reissues we've ever seen to really do justice to this legendary New Orleans soul label! The Ric and Ron imprints were a key indie force in the development of Crescent City soul music – home to some of the better artists who didn't get scooped up by the bigger companies – still working for the hometown label to really serve up the real New Orleans vibe! This special package is put together by the joint forces of Rounder, Ace, and Numero – three labels that have already turned us onto a wealth of great music over the years – and it's a limited edition of 1500 copies, with a host of previously unreleased tracks – all pressed up as 10 funky 45s, in a sweet box with a booklet! Essential stuff for any fan of New Orleans soul – or 60s soul in general – with previously unissued tracks that include "Lena Come What May (demo)" by Al Johnson, "Found My Good Thing" and "Question Of Love" by Barbara Lynn, "I Won't Cry (audition)" and "Walking The Floor Over You" by Johnny Adams, "Blues Cha Cha" by Edgar Blanchard & The Gondoliers, "Goofer" by Paul Marvin", and "Nothing Withotu You", "Satisfied With Your Love", and "Ain't You Ashamed" by Eddie Bo.

A killer follow-up to the earlier Nigeria 70 compilation on Strut Records – a second set that digs even deeper than before, and one that shows a huge range of Nigerian grooves from the 70s! The styles here go way beyond familiar Afro Funk – and the rhythms here are often quite complicated – rootsy at times, modern at others – and served up in a blend of acoustic and electric instrumentation that dances together wonderfully! Most numbers have vocals, but those are often delivered as rhythmically as the instrumentation – and the package is filled with under-reissued gems that make the package an essential addition to any collection of global grooves. As with other sets on the newly-revived Strut label, there's full notes on the music and track-by-track details – all supporting a set list of 16 titles that includes "Everybody Likes Something Good" by Ify Jerry Krusade, "Yabis" by Sir Shina Peters & His International Stars, "Onyame" by Ashanti Afrika Jah, "Ezuku Buzo" by Bola Johnson & His Eazy Life Top Beats, "African Dialects" by Peter King, "You Are My Heart" by Rex Williams, "Hot Tears" by The Immortals, "Dododo (Ekassa No 1)" by Sir Victor Uwaifo & His Melody Maestros, "Happy Survival" by Ifeanyi Eddie Okwedy & His Maymores Dance Band, "Tug Of War" by The Faces, "Ire Africa" by Chief Checker, and "Eddie Quansa" by Peacocks Guitar Band.

A legendary German session from the 60s – and a record that really showcases the unusual criss-crossing of modes that was going on in the European scene at the time! There's a very strong MPS vibe here – as trumpeter Dusko Goykovich leads a swinging sextet that includes Nathan Davis on flute, soprano, and tenor – blowing some tremendously soulful reed lines – plus incredible rhythms from Mal Waldron on piano, Peter Trunk on bass, and Cees See on drums. The record's an attempt to bring traditional Macedonian rhythms into a jazz perspective – but with players like these, it swings in a way any Macedonian album never could – damn soulful, and with a great exotic vibe. Davis is especially great, and plays in a soaring modal vein that's similar to his work on his classic MPS sides, and on the records he cut in America in the early 70s. The album's a beautiful session that often get's overlooked because it blends it with the Enja catalog – but it's really more of a record that belongs in an MPS reissue series, and is a great lost groover that's waiting to be rediscovered by the Dusty Groove crowd. Titles include "Macedonia", "Old Fisherman's Daughter", "Jumbo Uganda", "Bem Basha", "Saga Se karame", and "The Nights Of Skopje".

Vintage ska with stellar roster of prime era players in the early-to-mid 60s scene – led by The Skatalites and featuring production by King Edwards – with numbers by Otis Alphonso, Lord Briscoe, Baba Brooks, Hersans Combo, Cosmo & Denzil, Drumbago and more! The mighty Skatalites kick off both sides, beginning with the classic title track – and the set goes pretty deep here into the King Edwards vaults – and features material that's tends to get overlooked in ska overviews. 14 tracks in all: including "Spree Boy" by The Skatalites, Don't Be Ashamed" by Otis Alphonso, "Sweet Day" by Archibald Trott, "Cool Breeze" by Raymond Harper, "Strong Man's Weed" by Baba Brooks, "You've Been Drunk" by Drumbago, "Golden Way" by Hersans Combo and more.

You could go 'round and 'round with music historians arguing whether or not this album, or Java Java Java or Aquarius Dub was the first full length dub LP, but it makes no difference to us, this is one mighty set of Perryisms, wrought in the pre-Black Ark era. There's a dozen of the Upsetter's finest rhythms rendered in dub versions here, and though he's uncredited on the sleeve, we've read that King Tubby was responsible for the wonderful reverb and mixing console action taking these tracks to the next level. Essential! Includes "Blackboard Jungle Dub (version 1)", "Rubba, Rubba Words", "Cloak A Dagger (version 3)", "Dreamland Dub", "Fever Grass Dub", "Sinsemilla Kaya Dub", "Moving Forward", "Kasha Macka Dub" and "Setta Iration Dub".