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An amazing set of funky 45s from New Orleans and other points deep south – with a mix of obscure bits and a few "classic" Crescent City grooves! Southern Fried Funk is a collection of singles originally issued on regional labels such as Tou-Sea, Deesu, Quinvu, Budd, Gold Cup, Malaco, Milk and more – corralled here on CD by the reverent revivalists at Grapevine Records – who respect the more famous numbers, but also include plenty of other rare ones to keep the interest of more hardcore collectors! What we really love about this particular comp is the deep soul feel of the tracks – with all of the raw, thundering, sweaty funk elements in full force – but the material still has a soul feel underneath. It's the real thing! 22 tracks in all: "Get Out Of My Life Woman", "Underdog Backstreet" by Warren Lee, "Everything I Do Gonh Be Funky (From Now On)" by Lee Dorsey, "It's A Hang Up Baby" by ZZ Hill, "Real Soul" by Ted Ford, "Make It Real (Right On)" by Betty Ford, "I'm A Carpenter (Parts 1 & 2)" by David Robinson, "I Tired it And I Liked It' by Jewel Bass, "You Made Your Bed" by Eddie Bradford and more!

This ain't Chicago, but the sound here owes plenty to the Windy City as well – as the collection documents an amazing criss-crossing of cultural modes that occurred when early UK house musicians took the sound of the underground into the bigger British club scene! In a way, this music's a third chapter in a journey that began when the post-disco American underground were digging the styles of the British electronic generation – then began to craft their own music with early house productions from Chicago and Detroit. These rose in such popularity with UK listeners, that by the end of the 80s, the grooves reversed themselves, and flowed back over the Atlantic – inspiring musicians like these to take the best elements of American house music, particularly Chicago acid, and push it even further into something new! And while the generation yielded plenty of lame tracks and crossover pop, this set shows the real deal – those excellent initial singles that made digging UK singles almost as great as US ones, at least for a brief while. 2CD package features 24 titles that include "Take Me High (mansion mix)" by Colm III, "Show Me What You Got (acid mix part 1)" by SLF, "Jealousy & Lies" by Julian Jonah, "Where's The Love Gone (rmx)" by Julie Stapleton, "Safety Zone" by Exocet, "Pressure Dub" by Ability II, "1666 (pyro-maniac mix)" by MD Emm, "Free To Be" by Window Smashers, "Twin Tub" by Return Of The Living Acid, and "Crashing" by Baby Ford.

A treasure trove of rare soul and R&B 45 numbers from the King & Federal catalogs – featuring some big names and lesser-remembered singers – absolutely fantastic stuff, most of which have never been issued on CD before! King & Federal at it's most exciting. Compiled by DJ Mr Fine Wine, it includes "Marsanova" by Hank Marr, "The Buggy Ride" by Rudy Ray Moore, "The Bossa Nova Watusi Twist" by Freddy King, "What's Your Name" by Hank Ballard & The Midnighters, "Run Baby" by Carol Ford, "Steam Roller" by Mickey Baker, "Monkey Tonight" by Eddie Kirk, "Fun Fun" by Lloyd Nolen, "Shout Bamalama" by Otis Redding, "I Say, I Love You" by Johnny Watson and more.

Massive music from the Northern Soul years of the 60s – American tunes that played heavily on British dancefloors – and went on to fuel the all-night energy of the scene! The sound is upbeat soul throughout – killer tracks from Detroit, Chicago, New York, and other US locales – most of which were overlooked at the time by most US audiences, but discovered and brought to life overseas. This massive 2CD package brings together two classic Charly Records compilations dedicated to the glory days of the scene – put together by collectors who really know their grooves, and expanded here with lots of bonus tracks that weren't on the original versions! There's a whopping 56 tracks in the set, packaged in a hardcover book-style cover, with great color notes and images in the middle – and titles that include "Sweet & Easy" by Van McCoy, "You're Gonna Need Me" by Ted Ford, "Why Don't You Write" by Lee Bates, "But I Couldn't" by Willie Harper, "Touch Me Hold Me Kiss Me" by The Inspirations, "That Other Place" by Wade Flemons, "Come On Train" by Don Thomas, "Lonely For You Baby" by Sam Dees, "Omar Khayyam" by The Rubaiyats, "I Can't See Your Love" by The Ballads, "So Blue" by Joe Murphy, "Gonna Take A Journey" by Barrett Strong, "Shake Off That Dream" by Eddie Billups, "Just Like The Weather" by Nolan Chance, "Mr Bang Bang Man" by Little Hank, "Young Man Old Man" by The Stokes, "Halos For The Angels" by Blanch Carter, and "Momma's Gone" by Little Johnny Blair.

Warm and laidback soul jazz from the great Hank Crawford – cut in a relaxed mode that makes the set feel like some of the late nite smokers on the Prestige label at the time! Hank's alto work is perfectly placed on the set, and he's working with fellow Ray Charles bandmember David Fathead Newman on tenor – plus John Hunt and Phil Guilbeau on trumpets, and Leroy Cooper on baritone sax – plus guitar from Sonny Forrest on two tracks. Titles include "The Peeper", "Sherri", "Sweet Cakes", "Don't Cry Baby", "What Will I Tell My Heart", and "But On The Other Hand".

A great lost bit of mid 70s Motown – a pair of should-be classic albums by Dynamic Superiors – in a single set! Dynamic Superiors were a great harmony group with an east coast sound – quite different from the usual Motown combo in that their vocals were often allowed very free range, with less of the tightness of the usual Motown group soul album. Ashford & Simpson produced the record – with arrangements by Leon Pendarvis, Richard Tee, and Arthur Jenkins – and the whole thing's a sweet soul treasure that's got some excellent mellow soul cuts! Titles from the self-titled set include "One Nighter", "Don't Send Nobody Else", "Shoe Shoe Shine", "Star of My Life", and "Leave It Alone". Pure Pleasure is another sweet set – arranged with a bit more of a high stepping groove than some of the other Motown work of the time. Backings are handled by a range of talents that includes Paul Riser, William Eaton, Al Gorgoni, and Horace Ott – but the real charm is the way the group's innocent harmony style puts over the lyrics, all of which are very strong tunes written by the team of Ashford & Simpson. Titles include "Face The Music", "Hit & Run Lovers", "Deception", "Pleasure", "Nobody's Gonna Change Me", "Feeling Mellow", "Ain't Nothing Like The Real Thing", and "Don't Give Up On Me Baby".

Joe Gibbs and Errol Thompson more than live up to their title as the Mighty Two just as this heavy compilation more than lives up to the title of nothing but scorchers! Gibbs and ET showcase their mastery of all styles here, veering from hard and heavy roots to sweet lover's numbers and even a few bouncing tracks aimed a the dancehall! Top notch singers and dee jays are all featured over throbbing rhythms at the hands of Gibbs' Professionals crew, with 28 tracks in all, including "Two Sevens Clash" by Culture, "Babylon Too Rough" by Gregory Isaacs, "Cool Out Son" by Junior Murvin, "Boxing Around" and "No Man's Land" by Cornell Campbell, "Just Like A River" by the Mighty Diamonds, Left With A Broken Heart" by George Nooks, "Funeral" by Prince Alla,"Rockers A Nuh Crackers" by Glen Washington, "Jah Bring I Joy In The Morning" by Bobby Melody, "Burn Babylon" by Sylford Walker, "Keep On Knocking" by Jaco Miller, "Virgin Girl" by Eek-A-Mouse, "Hello Carol" by Enos McLeod, and "UptownTop Ranking" by Althea & Donna.

A real dancefloor set from Curtis – recorded with some sweet Philly production from the likes of Norman Harris and Bunny Sigler – in the sweeping, soaring, strings-heavy mode of the Philly disco records of the time! And yes, this isn't classic Curtis from the righteous years – but the surprising thing is how well his voice really holds up in the tracks – coming through with a strength that's fresh and surprising, given some of his disco contemporaries, and sounding pretty darn nice overall, thanks to some tight arrangements by the likes of Fred Wesley, Norman Harris, and Gil Askey. Linda Clifford does a duet with Curtis on "Between You Baby & Me", and the other cuts include "Victory", "Tell Me Tell Me", "You're So Good To Me", "You Better Stop", and "Over The Hump".

One of the greatest Northern Soul albums ever – completely great all the way through, and filled with songs that have been burning up dancefloors for years! The vocals are incredible – soaring harmonies that hold together perfectly, even when the grooves are hard and heavy – and the instrumentation is great too – handled by the Pied Piper team, who were kind of a Motown offshoot that featured Jack Ashford on vibes and percussion, Dave Hamilton and Ray Monette on guitar, and Joe Hunter on piano. Hunter and Ashford handled the arrangements – with a pitch-perfect sound that's completely sublime – sweet and grooving at the same time, and put together with the same kind of care you'd find at Motown – but with all the harder-edge qualities that always made indie work from Detroit so great. Every cut is a winner, and the set is the only full album ever done by the group – with cuts that include "Egyptian Love", "Till The End Of Time", "Since I Found My Baby", "Sweetest One", "Unlucky Sun", "I'll Never Forget You", "Do The Pied Piper", and "I'm With You All The Way". Great reissue – fully remastered from the original tapes – with new liner notes too!

A classic set of 70s crossover deep soul – recorded in the mode of similar work by Betty Wright or Laura Lee, and done with a similar mix of raw southern vocals and tighter production! About half the work was handled by the team of Dave Crawford and Brad Shapiro – working in the Criteria Studios in Miami to give Jackie a sound that's similar to Shapiro's work with Millie Jackson. The other half was produced in Philly, by the Young Professionals team of LeBaron Taylor, Tony Bell, and Phil Hurt – who give Jackie a warm, gliding, sweet 70s Philly groove! And although you might think that this Philly/Miami split would make for a mixed bag of tunes, the album's surprisingly unified – and in a way, does plenty to link together the growing dancefloor scenes in both cities. Titles include "Willpower", "Both Ends Against The Middle", "Time", "Something In A Look", "Clean Up Your Own Yard", "If", and "Darling Baby".

One of our favorite-ever albums from Esther Phillips – an album that really helped her transform her sound for the 70s! The approach here is a lot more jazzy than before – served up with a good dose of funk, thanks to arrangements from Pee Wee Ellis – fresh from his work with James Brown, but even more electrically-oriented here! The groove is great – and the album's one of the best Kudu sides from the early 70s – a perfect blend of soul, jazz, and funk – all wrapped up with a new level of sophistication that benefits all parties involved. Other players include Richard Tee on keyboards, Eric Gale on guitar, Bernard Purdie on drums, Airto on percussion, and Hank Crawford on alto sax. Titles include an incredible cover of Gil Scott Heron's "Home Is Where The Hatred Is", plus "From A Whisper To A Scream", "Till My Back Ain't Got No Bone", "Your Love Is So Doggone Good", Scarred Knees", and "Baby, I'm For Real".

One of the few records ever cut by bassist Ben Tucker – known to most as the composer of 60s jazz hit "Comin' Home Baby", which was riding very high in the charts at the time of this session! The album's a very rhythmic one – with Ben in the lead on bass, working with a combo that includes Larry Bunker on vibes, Victor Feldman on piano, Ray Crawford on guitar, and Carlos Valdez on Latin percussion. Tracks are short, groovy, and have plenty of Latin touches – and titles include "The Message", "Baby You Should Know It", "For Heaven's Sake", and "One for The Woofer".

A legendary night at Chicago's Checkerboard Lounge – when The Stones, in town for some shows out in Rosemont, sat in with their hero Muddy Waters! First and foremost – we're in Muddy's wheelhouse here – it's his show, and he sounds great, even this late in the game! The Stones, who are hardly ever better from the early 80s onward than when they're in hard blues homage mode, provide stellar support, and they may very well instigate Muddy and his band to bring their best, which they handily do! Also in action are Muddy's own great band and other guests, including John Primer, Rick Kreher, Earnest Johnson, Ray Allison and Mojo Buford – plus Junior Wells, Buddy Guy (who does some singing on the set, along with Mick and Muddy), Lefty Dizz and Nick Charles. The whole thing sounds great, and this 2LP edition also includes a DVD of the live show – and titles include "Sweet Little Angel", instrumental takes on "Country Boy" and "Baby Please Don't Go", "Hoochie Coochie Man", "Mannish Boy", "Got My Mojo Workin'", "One Eyed Woman", "Clouds In My Heart", "Champagne And Reefer" and more.

Muddy Waters' band meets the vocals and guitar of Luther Snake Johnson – in a sweet little set that's almost a double-header, given the talent on deck! The material's got a gritty feel that's right up there with Muddy's best for Chess – and the group features Mojo Buford on harmonica, Otis Spann on piano, and Waters on guitar (Muddy couldn't sing, due to contractual obligations!) Johnson's got a nice rough approach – almost a touch of soul at times – and the group keeps things nicely in a classic 60s electrified Chicago mode. Titles include "Sad Day Uptown", "I'm So Glad", "Chicken Shack", "Long Distance Call", "Digging My Potatoes", "Coming Home Baby", and "Mud In Your Ear".

One of the greatest songwriting partnerships of the 60s – featured here in a great mix of soul, rock, and vocal numbers from the time – including a fair number of unusual versions of hits from the team of Barry Mann & Cynthia Weil! Weil's got a style that's sometimes a bit deeper than her contemporaries – and when mixed with Barry's strong sense of punch in a tune, has a way of bringing some surprising sophistication to pop music – little emotive moments that peek out from more hook-heavy numbers – but all without ever sounding lachrymose or overblown. As part of that quality, lots of these tunes have some great New York-styled production – that uptown balance of emotion and class – and as with other titles in Ace's excellent songwriter series, the notes alone are almost worth the price of admission – given all the historical detail, cultural commentary, and cool images. Titles include "New World Coming" by Mama Cass, "Love Is Only Sleeping" by The Monkees, "Angelica" by Scott Walker, "Looking Through The Eyes Of Love" by Gene Pitney, "Love Him" by Doris Day, "Good Good Lovin" by Bobby Hebb, "You Baby" by Len Barry, "Born To Be Together" by The Ronettes, "This Is A Love Song" by Bill Medley, "Make Your Own Kind Of Music" by The Happenings, "Shape Of Things To Come" by Slade, and "Proud" by Johnny Crawford.

Rare gems from the funky 45 underground of the late 60s and early 70s – and maybe the most smoking volume in this all-great series so far! The sound is hard and heavy right from the start – very much in the best mode of the funky 45 reissues we've been hearing from Tramp in recent years – right up there with the deepest funk you'd get from labels like Ace/Kent or Jazzman on their best compilations! And although other volumes have all been great, there's a special sort of magic this time around – an edge that really shows the evolution of Tramp's ear for picking a groove – and deep notes that also show their growing knowledge of the most obscure cuts from back in the day. We can guarantee there's plenty here you don't already have in your record collection – and titles include "Funky Screw" by Lee Fields, "Soul Chicken" by Bobby Allen & The Exceptions, "Ease It On In" by Sunrize, "Deepest Sympathy" by Theodis Ealey, "Tend To Your Business (parts 1 & 2)" by Wildfire, "Pat's Rubber Band" by Alley Pat, "Puttin It On Your Mind" by Jimmy Ellis, "Nobody Loves Me Like My Baby" by Jimmy Gilford, "99/44 100 Pure Love" by Al Reed, and "Monkey In A Sack" by Lil Buck & The Top Cats.

Rare gems from the funky 45 underground of the late 60s and early 70s – and maybe the most smoking volume in this all-great series so far! The sound is hard and heavy right from the start – very much in the best mode of the funky 45 reissues we've been hearing from Tramp in recent years – right up there with the deepest funk you'd get from labels like Ace/Kent or Jazzman on their best compilations! And although other volumes have all been great, there's a special sort of magic this time around – an edge that really shows the evolution of Tramp's ear for picking a groove – and deep notes that also show their growing knowledge of the most obscure cuts from back in the day. We can guarantee there's plenty here you don't already have in your record collection – and titles include "Funky Screw" by Lee Fields, "Soul Chicken" by Bobby Allen & The Exceptions, "Ease It On In" by Sunrize, "Deepest Sympathy" by Theodis Ealey, "Tend To Your Business (parts 1 & 2)" by Wildfire, "Pat's Rubber Band" by Alley Pat, "Puttin It On Your Mind" by Jimmy Ellis, "Nobody Loves Me Like My Baby" by Jimmy Gilford, "99/44 100 Pure Love" by Al Reed, and "Monkey In A Sack" by Lil Buck & The Top Cats.

Mindblowing music from the trio of Nick Ashford, Valerie Simpson, and Jo Armstead – most of it composed and recorded in New York during the mid 60s – before Armstead left for the Chicago scene, and Ashford & Simpson went to work for Motown in Detroit! The three writers have a really beautiful way of putting over a tune – fresh lyrics that are perfect for the budding soul generation of the 60s – and which often get some production work from the members of the trio too, especially on some of the tracks here that were issued by Wand Records. The package does a perfect job of unearthing these early years – pulling together compositions by the three (and occasionally just by Ashford & Simpson) – and illuminating this period with notes that are as thorough as the selection of tracks on the set. Titles include "Dance Children Dance" by Mary Love, "The Shoe Won't Fit" by Betty Everett, "Look Away" by The Shirelles, "Are You Trying To Get Rid Of Me Baby" by The Crystals, "I Don't Need No Doctor" by Sandy Nelson, "Please Little Angel" by Doris Troy, "The Real Thing" by The Chiffons, "Smokie Joe's" by The Jewels, "Say It Again" by Marie Knight, "Looky Looky" by Candy & The Kisses, "Mr Creator" by The Apollas, "You're Absolutely Right" by Tina Britt, "I'm Satisfied" by Chuck Jackson & Maxine Brown, "Cry Like A Baby" by Aretha Franklin, "Same Old Feeling" by Jo Ann & Troy, "Only Your Love Can Save Me" by Betty LaVette, and "Love Ain't What It Used To Be" by The Diplomats.

An amazing look at an amazing label – the groundbreaking Dandelion Records, an early home to John Peel's much heralded talent for picking up on the best new music! The label only existed for a few short years, but left behind an amazing legacy of music – a blend of folk, rock, and other genres that are usually presented in a deeply personal, sometimes-leftfield sort of way. Peel gave full control of the music and its presentation to the artist – and as a result, most of the tunes here are quite free from cliche and conventional expectations you may have of music from the period. Perhaps the greatest Dandelion contribution was giving a space for up and coming singer/songwriters – and you'll hear plenty of them here alongside other artists who are both more traditional and more experimental. Titles include "To B Without A Hitch" by Bridget St John, "Sleeping Town" by Beau, "All For Tomorrow" by Medicine Head, "Harry Krishna" by Bill Oddie, "Almost Liverpool" by Mike Hart, "Ruby Baby" by Gene Vincent, "You Really Got Me" by Stackwaddy, "Carrie" by Clifford T Ward, "No Tree Will Grow" by Supersister, "Mood" by The Coxhill/Bedford Duo, "Cheat Me" by Kevin Coyne, "Strange Locomotion" by Siren, "King Dick II" by The Way We Live, and "Yamasuki" by The Yamasukis. An amazing package – 3CDs, 64 tracks, and a huge booklet of notes on the label and artists!

One of the greatest sides of The Blackbyrds' music – their mellower, more chilled-out tunes – all tracks that we like almost as much as their funkier classics! Although the combo first earned their name for upbeat, sharp-edged funky fusion, they also had a wonderful way with a laidback groove – sweetly stepping instrumentals that were often a bit overlooked next to some of their bigger 70s hits, but which are equally great – and perhaps even more so, as they represented a really unique approach to the music at the time! There's a vibe here that we'd rank right up there with Kool & The Gang on "Summer Madness" – an approach that's often spare, and focused around a key instrumental bit – and which is a great antidote to some of the heavier-handed funk of the time! Keyboards are often heavy on these numbers, and although there's some vocals, the instrumentation is almost always center stage – served up over some sweetly stepping rhythms that are really great. Titles include "Lady", "Wilford's Gone", "A Heavy Town", "All I Ask", "At The Carnival", "April Showers", "Love Is Love", "Soft & Easy", "Lady", "Flying High", "The Baby", "Summer Love", "Dreaming Of You", and "Time Is Movin".

A great collection of some of the less-collected work by Clifford Brown – 1953 recordings done in Europe for the Metronome and Vogue labels, plus a date for Prestige with Tadd Dameron's band! Although Brown's work for Blue Note and Pacific Jazz has been well documented and presented over the years, this set is the first to do such a good job with some of these other sides – bringing to light some impeccable work from a key point in Brownie's career! Sides feature Brown working with the Swedish All-Stars led by Quincy Jones, Gigi Gryce & Orchestra, the Gigi Gryce-Clifford Brown octet, and a Parisian quartet with Henri Renaud, Pierre Michelot, and Benny Bennett. The set features 31 tracks in all – and titles include "Scuse These Blues", "Brown Skins", "Goofin With Me", "Choose Now", "Theme Of No Repeat", "Hello", "All Weird", "Strictly Romantic", "Baby", "No Start No End", "I Can't Dream Can't I", and "Conception".

Buzz Clifford will probably always be remembered for the title hit to this one – the slightly goofy "Baby Sittin Boogie", which has the sounds of a baby along with his guitar and vocals – but on this full length set he actually comes off pretty darn great – singing raw and raspy on the more rocking numbers, and blue and mellow on the dreamier ballads. Tunes are a mix of covers and some more obscure numbers – and titles include "Baby Sittin Boogie", "True Love True Love", "Simply Because", "Hello Mr Moonlight", "Driftwood", "Blue Lagoon", and "Loneliness".

A nice little collaboration between saxophonist Hank Crawford and guitarist Calvin Newborn – a record that turns out to be one of the best from both players for the time! Crawford's managed to shake off some of the hoke of his earlier records – and although his sound here isn't earth-shattering, it's a lot fresher than it might be – with a laidback use of the alto that's augmented by some especially nice Fender Rhodes, as part of Hank's growing talents on the keyboard. Crawford also arranged and produced, but Newborn still gets in plenty of space too – using some bluesier licks to bring in an earthier tone, while still also staying in the smoother feel of the record. Titles include a remake of "Breezin", plus "Centerpiece", "Gee Baby Ain't I Good To You", "I Can't Stand It", "I Had A Dream", and "Frame For The Blues".

A sweet set of vocal group tunes from the Dynamic Superiors – arranged with a bit more of a high stepping groove than some of the other Motown work of the time. Backings are handled by a range of talents that includes Paul Riser, William Eaton, Al Gorgoni, and Horace Ott – but the real charm is the way the group's innocent harmony style puts over the lyrics, all of which are very strong tunes written by the team of Ashford & Simpson. Titles include "Face The Music", "Hit & Run Lovers", "Deception", "Pleasure", "Nobody's Gonna Change Me", "Feeling Mellow", "Ain't Nothing Like The Real Thing", and "Don't Give Up On Me Baby".

An album of duets that Curtis cut with rising disco star Linda Clifford – who by 1980 may well have been earning more money for Curtom than Curtis! The album's about half disco tracks, half soul duets in a Chicago mode – and arrangements are by Gil Askey and Norman Harris. Tracks include "Ain't No Love Lost", "It's Lovin Time", "Love's Sweet Sensation", "Between You Baby & Me", and "The Right Combination".

One of a rare few albums ever from singer Patty Waters – an extremely experimental vocalist who was part of the mid 60s ESP Records scene! Patty was one of the first to ever go way past conventional singing – and work more in a vocalizing style that had just begun in avant classical – often more concerned with sounds and shapes than melody and music! Sometimes, though, she hits a surprisingly soulful note – almost a touch of Nina Simone's righteousness, before moving into more experimental territory once again. Waters is almost the Cathy Berberian of the jazz vocal world – and works here with a hip ESP lineup that features either Dave Burrell, Burton Greene, or Ran Blake on piano – depending on the track – plus Giuseppi Logan on flute, Perry Lind on bass, and Scobe Stroman on drums. The set was recorded live, but with great fidelity that really respects the subtle moments of Waters' vocals – and titles include "Wild Is The Wind", "Song Of Clifford", "Song Of The One I Love" and "Song Of Life With Hush Little Baby".

A killer collection of singles from the legendary Cotillion arm of Atlantic Records – all presented as individual 7" records with original labels, served up in a hip limited edition package! The work here would already be great as a CD compilation – but it's extra special when served up in this stunning format – like finding a pile of rare soul singles in the back of a rack in an overlooked record store – still in great shape, and ready to explode anew on your turntable! The music is very well-chosen – and includes cuts by some key artists who only worked briefly for Cotillion, and never cut a full album for the label – such as Baby Washington, Otis Clay, or Walter Jackson. Other artists are ones who really hit their height at Cotillion, but still remain relatively obscure – and the singles here easily represent some of their best work ever. All cuts are right from the hippest tail end of the 60s – and titles include "Do Right Woman" and "That Kind Of Lovin" by Otis Clay, "Keep On Striving" and "Come On Let Me Love You" by Moses Smith, "Night After Night" and "The Love That I Needed" by The Blendells, "The Love Of My Woman" and "I Wanna Go Home" by Darrell Banks, "I've Fallen In Love" and "You Are The Circus" by C & The Shells, "Any Way That You Want Me" and "Life Has Its Ups & Downs" by Walter Jackson, "I Gotta Get Back To Lovin You" and "LA/USA" by Hollywood Spectrum, "I Don't Know" and "I Can't Afford To Lose Him" by Baby Washington, "Don't Play That Song" and "People In Love" by Lou Johnson, and "Ain't No Sun" and "Murder IN The First Degree" by The Dynamics.

Blood & Fire dips into their excellent catalog of fine, fine reggae and pulls together an outstanding little compilation of some of the best tracks from the catalog! This nicely priced set focuses on vocal numbers, all voiced by top notch artists, showcasing the breadth of great music cut during the golden era of Jamaican music that makes up the body and soul of Blood & Fire's dynamite releases! 18 tracks in all, including "Fire Fe The Vatican" by Max Romeo, "Storm" by Gregory Isaacs, "Children Of Jah" by the Chantells, "Problems" by Horace Andy, "Rent Man" by Black Uhuru, "Chant Down Babylon" by Sylford Walker, 'Go Down In Silence" by Prince Alla, "Man Next Door" byDennis Brown, "Fight It To The Top" by Michael Prophet, "Every Knee Shal Bow" by Johnny Clarke, "At The Feast" by the Congos, "Yes Yes Yes" by Errol Holt, "Jah Jah The Conqueror" by Linval Thompson, "Give Jah Praise" by WIlli Williams, "Deliver Me From My Enemies" by Yabby You, "Judgement Time" by Junior Ross & The Spear, "Bandulu" by Cornell Campbell and "Remember Me" by Junior Byles & Rupert Reid.

An excellent compilation in the "funky jazz meets easy" vein – similar to some of the Brit easy ones we've stocked, like the Dimensions In Sound series. The groove runs from obscure European jazz to funky Brazilian to soulful easy tunes – and nearly all of the cuts aren't available elsewhere. Tracks include "Comin Home Baby" by Bob Bernard, "Chewing Gum Delerium" by Free Pop Electronic Experiment, "Blues For Hari" by Emil Richards, "Sunny" by Anita O'Day, "Beginnings" by Astrud Gilberto, "Lady Montego" by Ayers Rock, "My Love Is A Monster" by Clea Bradford, "Sambleebloo" by Johnny Teupen, "Berimbau" by Stanley Black, "Mambo Del Norte" by San Francisco Ltd, "Pobodizna" by Prazky Big Band, and "Little Green Apples" by Fats Sadi.

A treasure trove of Tennessee soul – a package that brings together two classic compilations on Charly Records, along with a host of rare bonus tracks too! The original release of Music City Soul and SSS Soul Survey were not only the kind of sets that first got Charly recognition as a key label for reissuing soul – but they also drew much-needed focus to the efforts of the Nashville labels working at the end of the 60s – surprising powerhouses for soul music, even though much of their efforts failed to chart at the time! As you'll hear in this set, labels like SSS International, Silver Fox, and Minaret were filled with deep soul gems – the kind of music you'd normally expect to hear from Memphis or Muscle Shoals – but which was coming out in droves from Music City during a brief musical moment at the end of the 60s. The 2CD set features a whopping 50 tracks in all – with titles that include "Baby You Got It" by Clarence Murray, "The Game Of Love" by Willie Hobbs, "I Have No One" by Big John Hamilton, "Action Speaks Louder Than Words" by Reuben Bell, "Soul Ranger" by Clifford Curry, "The Night The Angels Cried" by Johnny Dynamite, "Natural Soul Brother" by Danny White, "Shell Of A Woman" by Doris Allen, "Sundy Morning Coming Down" by Hank Ballard, "I Almost Called Your Name" by Johnny Soul, "Soulshake" by Peggy Scott & Jo Jo Benson, "Medley Of Soul" by Big Al Downing, "My Train's Coming In" by Betty Lavette, "All Night Long" by T Bone Walker, "My Ancestors" by Willie Charles Gray, and "The Pleasure Of My Woman" by Georgie Boy.