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An interesting early album from Betty Carter – less jazz than some of her later work, but with a bit more of an edge than some of her ABC recordings. The album's got sort of an arranged sophisticated jazz style – in the mode of 60s work by Esther Phillips or Dinah Washington – and Betty handles some wonderful material with a dark edge, like "Two Cigarettes In The Dark", "Nothing More To Look Forward To", "Round Midnight", "I Wonder", "Who What Why Where When", and "The Good Life", all done in a sorrow-drenched style that's incredibly compelling, and a very different side to Betty's career. An album you'll be hard-pressed to find on vinyl – and nicely repacked for CD with 2 bonus cuts: "One Note Samba" and "Shine On Harvest Moon".

The amazing debut of RB Greaves – a soul singer with a difference! RB struck big with this album on late 60s Atlantic Records – yet despite production at Muscle Shoals, and arrangements from Arif Mardin, the sound here is quite different than most of his contemporaries – and certainly not the southern soul you'd expect! Instead, Greaves goes for a crackling quality that really showcases his trans-American roots – a vibe that's almost like Johnny Nash at points, and has a similar way of embracing a whole host of different sounds at one time – not just late 60s soul, but some other undercurrents of pop, and even some occasional folksy or island flavors as well. The album's standout hit is the legendary "Take A Letter Maria" – a cut that broke big on both sides of the tracks, and which is one of the most compelling story songs of the time. Other tunes include "This is Soul", "Ballad Of Leroy", "Ain't That Good News", "Home To Stay", and "Birmingham Alabama".

Great Latin grooves from Atlantic Records! It's a little known fact that Atlantic Records actually had a pretty hot Latin catalog at one time – and even though the label was best-known for their soul and jazz releases, they also took the time to cut a rare few Latin sides, all with the same high quality as their better-known output. The set only scratches the surface of that rich Latin tradition – but it does a great job of bringing out cuts from hard-to-find albums that we barely ever see on original vinyl. The general groove is Latin Soul and groovy Latin Jazz – and although a few of the cuts are by names that are more easily recognized, others are by artists you might be surprised to know recorded for Atlantic at all! Titles include "Stop & Go" by Willie Rosario, "Mambo Watusi" by Rene Bloch, "Tumbando Cana" by Louie Ramirez, "Baila Cinderella" by Hubert Laws, "Mambo Show" by Charlie Palmieri, "Motherless Child" by Luis Gasca, "Windjammer" by Mongo Santamaria, "Jumpin With Symphony Sid" by Louie Ramirez, and "Tell It" by Mongo Santamaria. 12 cuts in all.

Out of the wreckage of Cream came some very hip grooves! Ginger Baker was the hippest of the group's 3 members – and although he's often credited by soul fans for his work with Fela, he should also get a hats off for his work with the group Air Force – essentially a 10-piece (which seems to have been expanded beyond even that number for this set) that came up with some of the most monstrous art funk jamming we've heard! At its base, the group's in the jazz rock mode – with players that include Brit jazz luminaries Phil Seamen, Harold McNair, and Graham Bond, plus rockers like Baker, Steve Winwood, Denny Laine, and Rick Grech. The tracks are all long groovers in a post-beat group mode – and the best tracks have a jamming sound that's pretty over the top! It's full of the propulsive, Afro-influenced bass and percussion, some wild, jazz funk flute and sax, plus amazing work on violin, guitar and occasional, ephemeral vocals. Awesome stuff – one of the best and most innovative live albums of the era! Titles include "Da Da Man", "Aiko Biaye", "Do What You Like", "Doin It", and "Don't Care". It's about time this thing arrived on CD!

Amazing – simply amazing – and one of the best LPs of 60s soul you could ever buy! Darrell Banks was one of the many lost talents laboring in Detroit during the 60s – and he was part of the city's hip underground soul scene that included monster talents like Steve Mancha and JJ Barnes, all of whom fall into the "should have been famous" category, but who have fortunately been honored for years by soul fans worldwide. This album's one of two that Banks ever issued under his own name – and it's a collection of singles that were put together by Revilot, but issued in full LP format by Atlantic. Banks mixes together raw deep soul vocals with some hipper uptown production – and the result is soul that's about as classic as "classic" could be! Every single cut's a winner, written by some of the finest talents in soul music at the time – and tracks include "Here Come The Tears", "Our Love (Is In The Pocket)", "I'm Gonna Hang My Head & Cry", "Baby What'cha Got For Me", and Banks' semi-hit, "Open The Door To Your Heart".

The second Arthur Conley album for Atlantic – and like the first, a record that really cooks with some great Otis Redding production! The sound and style is very similar to Otis' work for Stax during the 60s – but the album was recorded at Fame Studios in Muscle Shoals, with engineering by Jimmy Johnson, and it's got a bit of a different sound from the Memphis soul of Otis' records. There's more horns, and less organ and guitars, and Conley's vocals are produced in a raw style that brings out the best of his work. Includes versions of the Otis Redding tracks "Ha Ha Ha" and "I've Been Loving You Too Long", plus Conley's own "Love's Got Me", "Hand & Glove", and "I'll Take The Blame".

A massive bit of funky fusion from the 70s – an album that was crucially overlooked at the time, but which has gone onto become a crate-diggers classic over the years! The group's fronted by Polish jazz legends Michal Urbaniak and Urszula Dudziak – but it also features a fair bit of American players too – all working together in a blend of the best funky fusion modes going down in both the US and Eastern Europe in the mid 70s! Drums on the set are totally great – played by Steve Gadd or Gerald Brown, depending on the track – and some tracks have weird vocal bits that riff around the instrumentation, sung either by Urszula, Bernard Kafka, or some other backing singers. The keyboards are great – quite tripped-out at times, but never too over the top – and overall, the album's a fair bit more soulful and funky than most of Urbaniak's other work of the 70s. Titles include the killer sample track "Rien Ne Va Plus" – used famously by the Beastie Boys many years back – plus "After The World Goes Home", "Funk It", "Sinkin Low", "Next Please", "Horsing Around", and "Watusi Dance".

Both Donny Hathaway concert albums in a single set – both on US CD for the first time! CD 1 features Donny Hathaway Live – massively beautiful work from the legendary Donny! After two studio albums that had firmly put him on the map as one of the 70s best soul talents, Atco had the genius to have Donny record this live album before very enthusiastic crowds in Hollywood and New York. The result is one of the best soul albums ever – one that shows a totally different side of Donny, and which has him jamming with a smaller, hipper, jazz-oriented group in long versions of some of his best tracks. Features a massive 12 minute version of "The Ghetto", which has loads of excellent instrumental breakdowns, a 13 minute version of "Voices Inside (Everything Is Everything)", a superior version of the track "Little Ghetto Boy", which was only ever on a soundtrack, and covers of "What's Going On" and "Jealous Guy" that really transform them from the original versions. Very similar to the classic Curtis Mayfield 2LP live set on Curtom – and with a similar "Chicago studio soulster goes jazzy and intimate" feel. In Performance was issued after Donny's untimely death, and features rare live material from his classic years – most recorded during the same concerts on Donny Hathaway Live! As the fame of his first concert album will attest, Donny's an extremely wonderful live performer, with a wealth of talents that show that his studio work is only half the picture of his soulful creativity. Includes a great version of "Sack Full Of Dreams", plus "Nu-Po", "Song For You", "I Love You More Than You'll Ever Know", and "To Be Youg, Gifted, & Black". 2CD set features new remastering too – better than ever!

Smoking tenor from one of the greatest reedmen of all time – and one of the few who could easily bridge the worlds of jazz, soul, and R&B! The set's one of King's earliest albums – recorded back in 1959, and really given a tight Atlantic Records focus that takes the music way past some of Curtis' recordings for other labels – a sharp, tight punch in the rhythms that really works perfectly with his horn! Most of the players have a jazz pedigree, but fall nicely in line behind the tenor lead – on a rich range of original titles that include "Midnight Ramble", "The Shake", "Lil Brother", "Jaywalk", "Snake Eyes", "The Groove", and "Chili" – plus a sweet take on "Peter Gunn" too!

A great little live set from King Curtis – cut in his local turf of Harlem, with a very loose sort of feel and nice gritty groove – which lets both King and his combo get even freer and funkier than usual! There's an edge here you don't usually get on the studio work from Curtis – or at least the material you'd find on other 60s albums from the same stretch – which often just featured sax instrumental reworkings of pop hits. Instead, this cooker has King's horn working in a cool combo with keyboards from Paul Griffin and guitar from Cornell Dupree – really all coming together as a tight funk act, and more in the mode that you'd find on some of King's overlooked b-sides from his Atco singles. Titles include "Philly Dog", "Tough Talk", "Soul Theme", "Something On Your Mind", and "Pots & Pans".

One of the best things to ever happen to The Persuaders – a wonderfully rich album that has the group still sparkling strongly, long after their early hits! The harmonies are wonderful – very much on par with the bigger names at Philly International at the time – and recorded with sweet Sigma Sound production, and arrangements by Tony (not Thom) Bell that are a perfect blend of sweet and soulful – strings at some points, but a bassy bottom at others – so that the group manage to hit some even more righteous moments than before. Tunes are great, too – with some killer originals by Phil Hurtt – and the whole set's a no-filler gem that's kept us coming back for years! Titles include "Some Guys Have All The Luck", "Hold On (Just A Little Bit Longer)", "All Strung Out On You", "Stay With Me", "That's The Way She Is", and "We're Just Trying To Make It".

The second album by this sublime 70s soul harmony group – and a real treasure trove of under-discovered soul numbers all the way through! Most tracks are written by group member Bobby Poindexter – making for a fresh, unified batch of tunes – handled by the quartet in a style that's even more mature than their previous work – really hitting some heights that should have made them huge! Yet despite that lack of fame to score again with the same big hit as "Thin Line" from their debut – or maybe because of it – the record's a great fresh discovery – the kind of treasure you'll love if you dig east coast group soul as much as we do – especially work along the Philly/New Jersey side of the spectrum. Titles include "Peace In The Valley Of Love", "Bad Bold & Beautiful Girl", "Love Goes Good When Things Go Bad", "What Is The Definition Of Love", and "Trying Girls Out".

One of the few albums ever issued by female alto player Vi Redd – a really unique artist, and a greatly overlooked talent from the time! Vi's got a wonderfully warm approach – and she often sings in addition to playing alto sax – with this vocal style that's really great, and completely charming! There's a slight rasp to both Vi's horn and her voice – which gives the record a soulful presence that's undeniable – and that kind of unique feel that we might link with Trudy Pitts – not because the pair share an instrument, but because as female players, perhaps they were a bit more able to break free from the usual constraints. The track list includes a lot of lesser known tracks like "Yours", "This Love of Mine", and "Your Love is Like the Wind" – plus a Redd original, "Lady Soul".

A great bit of soul from Clarence Reid – otherwise known as Blowfly – and a key album in the Miami scene at the end of the 60s! Clarence is working here in a very classic Atlantic records style of soul – with all the rootsy southern elements of the previous southern work at Memphis and Muscle Shoals, but handled with a well-produced sound that has elements of New York Atlantic. Most of the album's in a tight funky soul mode – with bits of Sly Stone or Charles Wright showing up a lot on the grooves – and cuts include the single "Nobody But You Babe", plus "Doggone It", "Get Back", "Tear You A New Heart", "Fools Are Not Born", and "Send Me Back My Money". There's also a goofy photo on the front – proving that Clarence Reid was better off behind a mask as Blowfly!

A great little record – and perhaps the most soulful outing by this white rock band with a great talent for crossing over! The record was partially produced by Gamble & Huff, and partially produced by Rick Hall at Fame Studios in Muscle Shoals – and it's a wonderful blend of the two styles that these massive forces in soul music were laying down at the time. Gamble & Huff retain the group's sweet post-harmony combo "Expressway To Your Heart" sound forged on their first album, and Rick Hall gives the band a funkier rawer sound that has them giving up a few nice funky moments. Titles include "Darkness", "Turn Out My Fire", "We Got A Job To Do", "Tell Daddy", "Go Out Walkin", and a nice cover of Calvin Arnold's "Funky Way To Treat Somebody".

An excellent group from the 70s East Coast scene – one with a heavy harmony sound that should have made them huge! The record was cut during the prime early days of the Sigma Sound Studios – and the record features arrangements by Philly greats like Norman Harris, Ronnie Baker, and Vince Montana – all working here in a mode that's similar to that applied to The Spinners after they made their move to Atlantic, but with a bit more edge. Yet it's the vocal harmonies that really take the cake – as they mix together deep-rooted Temptations-esque righteous vocals with sweeter harmonies in the New Jersey falsetto mode – a perfect blend that's carried off with a great deal of power here! The style is very compelling, and great on just about every cut – and titles include "Society", "That Was Yesterday", "It Really Hurts", "Look At All The Lonely People", and the great cut "Whispers".

One of the greatest moments ever from Dee Dee Warwick – and a set that definitely shows her to be one of the more soulful members of her famous family! The set's got a much deeper soul sound than some of Dee Dee's other material – as Atlantic has Warwick working down at Criteria Studios, with production by Dave Crawford – in a mode that's steeped in previous southern soul styles from Memphis and Muscle Shoals! In a way, Atlantic was probably hoping to do to Dee Dee what they did to Aretha Franklin – take an already competent, sophisticated soul singer, and give her a deep soul sound that really pushes the boundaries. And in this case, the session actually works, and works great – thanks in part to The Sweet Inspirations, who back up Dee Dee in the same way they backed up Aretha – supporting her strong lead with some wonderful harmonies. Titles include "I Ain't Got To Love Nobody Else", "If This Was The Last Song", "I'm Glad I'm A Woman", "Who Will The Next Fool Be", and a great southern soul version of "More Today Than Yesterday".

Blue Magic getting a bit bolder than before – adding in some heavier funk that takes them past the mellow moments of their earliest years – yet still serving up some great harmonies in the process! The change is a subtle one – heard on some of the album's more hard-grooving tracks, which also bring in some full arrangements that echo the trippy feel of the cover – yet which still always respect that slight heartbreaking undercurrent of the group's great vocals, thanks to arrangements from Bobby Eli! Just about every moment from Blue Magic is totally great, and this album is no exception – with titles that include "Freak N Stein", "Mother Funk", "To Get Love", "See The Bedroom", "Summer Snow", "Making Love To A Memory", and "Spark Of Love".

A classic full-length album from The Coasters – one of the few the group ever cut for Atlantic Records – and a perfect illustration of everything that made them so great! Almost every cut here was penned by the team of Jerry Lieber & Mike Stoller – who were also working with the group in the studio, and giving this amazingly pyrotechnic approach to group harmony – one that moved way past the simple street corner modes of a few years before, and which brought all sorts of sinister and sharp changes to their music! The vocals come across with plenty of soul, and also a huge amount of dexterity and wit as well – so much so that just about nobody else could make these tunes shine so well as The Coasters on these vintage recordings. Titles include "Young Blood", "Searchin", "Lola", "I Must Be Dreamin", "One Kiss Led To Another", "Riot In Cell Block # 9", "Framed", "Smokey Joe's Cafe", "Turtle Dovin'", "Framed", and "Down In Mexico".

Plenty of Impact from this great Philly group – a soaring quartet who harmonize with some great Bobby Eli arrangements – at a level that shines as strongly as the best 70s work by Blue Magic or The Spinners! Impact never broke the big time as strongly, but they're a great group in the best 70s Philly mode – rooted in an older harmony style, but able to really take off with some sweet Sigma Sound styles – the sort of balance that few other groups managed to handle this well. The quartet features Damon Harris, who sang with the Temptations after Eddie Kendricks left in 1971 – and the group is a re-formation of The Young Vandals, who recorded briefly on T-Neck before Harris left for the Temps. Titles include "Happy Man", "Give A Broken Heart A Break", "Love Attack", "It Only Happens In the Movies", and "Winning Combination".

Some of the last recordings ever made by Otis Redding – produced by Steve Cropper in mid 1967, but not issued by Atlantic until after Otis' tragic early death! The style of the tracks is very much in keeping with Redding's classic Stax work – and it seems that even more of the tunes on the set are original numbers, showing Otis' growing songwriting skills at the time, and making us wonder even more what might have happened if he'd stayed with us a bit longer. Titles include the single "The Happy Song", plus "Thousand Miles Away", "I've Got Dreams To Remember", "You Made A Man Out Of Me", "Think About It", "A Waste Of Time", "Champagne & Wine", "A Fool For You", and the killer funky number "Hard To Handle"!

A late 60s southern soul gem from then 14-year-old belter Betty Wright – her early singles for the Alston label that eventually became her debut album for Atlantic! Clarence Reid wrote most of the tracks, with arrangements and production handled by Steve Alaimo's Marlin Productions. It's done in the raw southern soul style which made that organization's name at the time – and Betty carries that groove incredibly well – as well as a woman of any age group! Essential! Cuts include "I'm Thankful", "The Best Girls Can't Always Win", "Girls Can't Do What the Guys Do", "I'm Going To Hate Myself In The Morning", "I Can't Stop My Heart", He's Bad, Bad, Bad", "Funny How Love Grows Cold", the incredible "Cry Like a Baby", "Circle Of Heartbreak", "Just You" and more!

Raw southern soul from Hermon Hitson – a howler in the tradition of Wilson Pickett, Otis Redding, Otis Clay and Bobby Bland! This collection of singles originally cut for Atco, Minit and other smaller labels is bit of a sprawl – from the early 60s on through the mid 70s – which is great, because it gives you a real feel for Hitson's depth! The earlier tracks rock in the Pickett, Bland school of invigorating soul shouters, but as the years progressed Hitson adapted with some occasional ballads and strains of funk – all of it compellingly raw! 21 tracks in all: "You Are Too Much For The Human Heart", "I Got That Will", "Show Me Some Sign", "Bad Girl", "Georgia Grind". "Why Is It Taking So Long", "Where Can I Find My Baby", "Please", "Been So Long", "Sweeter", "A Dream I Had (I Love Her)", "They Kept On Laughin'" and more – including a few unreleased gems!

Funky nuggets from a vastly under-tapped source – the mighty holdings of Warner Music, which include some great funky singles from Atlantic, Atco, and Reprise – as well as even deeper gems on a batch of obscure labels like Kwanza and Clintone! The package is totally great – with a heavy, hard edge that goes way past the more famous soul tunes on Atlantic – into the deeper funky territory normally reserved for smaller indie labels at the time. A few tracks on here are by well-known acts, but there's a lot more that aren't – and this all-legit, well-noted collection kicks it far better than any old dodgy funky 45 set! 25 fantastic cuts in all, including "Improve" by Darrow Fletcher, "I'm Just Like You" by 6ix, "Rise Up" by The Commodores (pre-Motown!), "Help Me Make Up My Mind" by Joyce Jones, "Do The Funky Boogaloo (part 1)" by Barry Jones, "Mashed Potato Popcorn" by Freddie & The Kinfolk, "Get In The Groove" by The Mighty Hannibal, "Funky John" by Johnny Cameron & The Camerons, "The Memphis Train" by Rufus Thomas, "I'm On The Move" by Bobby Byrd, "Whatever's Fair" by Mark Holder & The Positives, "Hang On In There" by Stovall Sisters, "Won't Nobody Listen" by Black Haze Express, and "Your Love Is Certified" by Rasputin's Stash.

Massively beautiful work from the great Donny Hathaway! After two studio albums that had firmly put him on the map as one of the 70s best soul talents, Atco had the genius to have Donny record this live album before very enthusiastic crowds in Hollywood and New York. The result is one of the best soul albums ever – one that shows a totally different side of Donny, and which has him jamming with a smaller, hipper, jazz-oriented group in long versions of some of his best tracks. Features a massive 12 minute version of "The Ghetto", which has loads of excellent instrumental breakdowns, a 13 minute version of "Voices Inside (Everything Is Everything)", a superior version of the track "Little Ghetto Boy", which was only ever on a soundtrack, and covers of "What's Going On" and "Jealous Guy" that really transform them from the original versions. Very similar to the classic Curtis Mayfield 2LP live set on Curtom – and with a similar "Chicago studio soulster goes jazzy and intimate" feel.

Two amazing albums from sound library maestro Patrice Sciortino – experimental, but also pretty darn groovy too! Percuplusions features tunes that often mix odd rhythms and weird keyboard parts – sometimes electric harpsichord, sometimes an instrument that may well be prepared piano – used in a way that's every bit as rhythmic as the percussion! There's a core rootsy feel to the music that's almost like some of Moondog's 50s recordings – although the overall approach has more of a French avant style as well – like some of the late 60s records coming out on Philips, issued here on the Limelight electronic series. Titles include "Isogones", "Natcos", "Wood Wood", "Cryptile", "Ronces", and "Matic". Next is Gynorhymies 1 – a record that sounds like it's got sort of a dirty title, but which was actually composed for dance excercises – although exercises of a very offbeat nature! The music is a nice blend of acoustic percussion and some electric touches – the latter of which are usually used sparely, mostly on keyboard, and folded into the percussion – so that the music is very rhythmic throughout! The CD features all the short tracks from the original album – plus some bonus tracks as well – 44 titles in all, and almost 80 minutes of very unusual sounds!