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A really cool little tune – a northern soul killer at the heart, and served up with soaring vocals from Candy & The Kisses – a group who seem to have almost the full power of a choir, given the richness of the arrangement here! "Bok To Bach" is spelled weirdly here, and has an equally quirky sound too – electric harpsichord strutting away over a "Bend Me Shape Me" sort of groove – soul instrumental, but with a catchy pop twist, too!

Organist Rhoda Scott takes on the Bach jazz groove of the French jazz scene – using her Hammond with just a bit of drums in the background, all in a style that's pretty darn spacious, and which shows a tremendous command of the instrument! Given the setting, there's certainly some echoes of pipe organ work in Scott's tones – but as on her other albums of the time, she still manages to swing at the right moments, which usually kick in as the tunes roll on! Most numbers mix up an initial theme from Bach with a groovier contemporary song – in ways that make for a pop/classical medley mode that's quite unique. Titles include "Symphonie Du Noveau Monde/Sitting On The Dock Of The Bay", "Prelude En Sol Mineur/Moanin", "Toccata En Re Mineur/Les Feuilles Mortes", and "Prelude En Si Bemol Majeur/The Preacher".

The UK hit "Beware Of The Boys" is a pretty irresistible club track that fuses a Punjabi born bhangra groove with hip hop beats and clever pop culture samples, most notably the theme of the cheesy Night Rider show from 80s television. Here, power remixer Switch "garridges" the crap out of the song for the remix. There's a fine line between generally strong tracks like this and bad short-lived novelty singles – here's hoping P MC can follow this up with something equally great!

One of Lamont Dozier's true 70s classics – an amazing album of baroque soul with an undeniable groove – kind of the best aspects of Detroit soul, wrapped up together! The arrangements here are fantastic – a mix of strings and soul that surpasses any of Lamont's previous albums, and which holds together perfectly throughout. The whole thing's orchestrated by McKinley Jackson, Gene Page, and Paul Riser, who all do a perfect job of keeping the realness in Lamont's vocals, while expanding the palette of expression to soul classic possibilities! Titles include "All Cried Out", "Let Me Start Tonight", "Put Out My Fire", "Shine", "I Wanna Be With You", and "Thank You For The Dream".

Very groovy stuff – two unlikely gems from mid 70s MPS! First up is Amazing Strings from Svend Asmussen – a set that features his famous jazz violin in the lead, but amidst larger arrangements that feature MPS players like Dieter Reith on keyboards, Sigi Schwab on guitar, and Gunter Lenz on bass! The tunes are mostly classical numbers, but are mixed with fresh arrangements from Christian Schmitz Steinberg – who swings them with a Euro jazzy style that's mighty nice, especially when the keyboards and guitar kick into the mix! Titles include "Golgatha", "Men's Living Joy", "Danse De Jeunes Filles", "Fur Elise", and "Ah Vous Dirais Je Maman". Rockin Bach Dimensions is even cooler – a batch of numbers penned by Johann Sebastian Bach, but taken to groovy new heights by some funky MPS players of the 70s! The album's arranged and conducted by Mladen Gutesha – who you might know from his excellent Und album – and it features Wolfgang Dauner on keyboards, Sigi Schwab on guitar, Herb Geller on flute, Ake Persson on trombone, Ack Van Rooyen on trumpet, and Horst Jankowski on electric harpsichord – all very groovy players who get plenty to do here – breaking out in jazzy inflections that underscore some of the funkier elements in the charts! Much groovier than any other jazz/classical project of this nature – with titles that include "Air", "Fuga In A", "Fuga In D", "Inventio 13", "Inventio 9", and "Inventio 15".

A real treat for the 2001 generation! Apollo 100 takes Bach's "Jesu, Joy Of Man's Desiring", and gives is a jazzy electric keyboard reading – kind of a perfect bit of fluffy pop for a generation that was already digging the classical/easy experiments of the Swingle Singers and Walter Carlos. Not all the material is classically oriented, but most of the tracks have some very nice keyboard work. Titles include "Jazz Pizzicato", "Evil Midnight", and "Reach for the Sky".

Also included are Elgar transcriptions of Bach's "Fantasia & Fugue In C Minor" and Handel's "Overture In D Minor".

A great record from a great guitarist – one of Mundell Lowe's best small group sessions of the 50s, and a record with a wonderful sound overall! One of the key factors in the record's success is the presence of pianist Dick Hyman – who plays organ as well as piano here (plus celeste on one especially nice track) – already using that "groovy" approach to the instrument that we love in his work of the 60s! The clean, lean Hyman tone makes a great match for Lowe's single-note lines on guitar – and although subtle, the record explodes with creative tones that really push this one past the usual "mood" style of other guitar-based jazz albums of the period! Titles include "Bach Revisited", "The Night We Called It A Day", "Will You Still Be Mine", "I Guess I'll Have To Change My Plans", "All Of You", "I'll Never Be The Same", and "Far From Vanilla".

Two sweet 80s scores from Michel Magne – still very much at the top of his game here! First up is the sexy soundtrack for Emmanuelle 4 – done in a style that's very similar to some of the 70s films in the series, but with some slight 80s twists in the instrumentation and overall execution. Instrumentation includes the requisite sweet keyboards needed to convey Euro sexiness – but there's also a few nice Brazilian touches which open up some of the more tropical scenes in the films. A few numbers feature vocals – by David Rose and Christiane Legrand – and titles include "La Pampa", "La Bergerie", "Bach Anal", "Prisoner Of Love", "Fuite D'Emmanuelle", and "Bresil My Love". Next up is SAS A San Salvador – obviously a more serious film at some level, yet handled by Magne with some 80s "action" modes that are heavy on processed keyboards and electric touches – very much what you'd expect for a film like this at the time. David Rose again sings two numbers – and titles include "Sex Love & Money", "Theme Cubain", "Theme Malko", "To Be My Love", and "SAS A San Salvador".

A groovy groovy treasure! The work of The Swingle Singers is well known to any fan of 60s French tunes – as their groundbreaking approach to vocalese had a huge influence on other pop, easy, and soundtrack work of the time. This nicely-done set features jazz scat versions of tunes by all three members of the Bach family, Handel, and Vivaldi – with tracks that include "Air", "Badinerie", "Gigue", "Prelude No 7", "Solfeggietto", "Allegro", and "Preambule".

A massive amount of rare Northern Soul cuts – almost all of them from the Heritage Records empire of producer Jerry Ross! There's plenty of Philly elements in the mix, but the set also shows Jerry's good ear for crossing over into other camps too – and some of these tunes also have a sound that would have been right at home in the Detroit scene of the late 60s. A few numbers are even rock/pop cuts, but still work very well in the context of the soul material – and the CD features 20 titles that include "Green Grow the Lilacs" by The Festivals, "Ain't Nothin' But A House Party" by The Showstoppers, "I Dig Everything About You" by The Mob, "You Gave Me Somebody To Love" by The Dreamlovers, "Loan Shark" by Chapter One, "I Get By Without You" by Kenny Gamble & Tommy Bell, "Baby Show It" by The Festivals, "Bok To Bach" by Father's Angels, "Eeny Meeny" by The Showstoppers, "Pick Up My Toys" by The Devonnes, "I've Been Hurt" by Bill Deal & The Rhondels, and "You Aint' Sayin' Nothin' New" by Virgil Henry.

We've said it before, and we'll say it again – Andrew White really blows our mind! Here, he offers up a solo set of tracks on alto – but in ways that are different than you might expect – straight one minute, offbeat the next – never too far out, but always with a consciousness for the freer sides of the jazz spectrum! The first fourth features themes from Bach, Corelli, and Handel – but blown in ways that are nothing like classical music. The next batch is some French tunes by Barbara – but again taken in wild ways unlike the originals – and side two is a mixture of White originals with a Coltrane number and a standard – all a rich showcase of sounds that is really amazing!

We love this one – a lot more than we expected from the stupid cover! The record is a great blend of retro and easy tunes – some with a bit of a beat to them – but a lot more that are in a mode that's completely Bacharach, completely baroque, with bits of soul, soundtrack, and bossa running through the mix. These guys actually do the job right – and take the easy tunes at an easy pace, the breezy ones at a breezy pace, and don't try to muddle things up with too much remixology. They're also great writers and darn good producers – and the record sparkles on many tracks like some lost A&M classic! Titles include "Coconut Conga", "Freedom Right Now", "We Are A&C", "Up", "BB Electro", "5th Dimension", and "Ocean Drive".

Insanely wonderful work by Bacharach – in a way that we can hardly begin to describe (but we'll certainly try!) By the time this one was recorded – 1971 – Burt's reputation as a songwriter and arranger were so firmly established that he had an incredible amount of freedom in the studio. Here, working with tunes that were mostly well-worn, plus a new one or two – Burt comes up with an amazingly complex set of arrangements, opening up his tunes like little flowers, focusing on a particular instrumental tendril, and drawing it out into incredible lines of melody and color. Proof of this is the album's extended version of "Wives & Lovers", or its suite for orchestra, entitled "And The People Were With Her". All tracks are great – from Burt's intimate vocal on "Hasbrook Heights", to the jangly instrumentation of "Freefall", to the completely recast versions of hits like "One Less Bell To Answer", "April Fools", and "Mexican Divorce". CD features a bonus track – a rare mono version of "All Kinds Of People".

An incredible live recording by Burt Bacharach – and one that wasn't issued in the US! This early 70s concert is great proof that the Bacharach magic didn't come from any studio tricks – but from the genius of Burt himself – as the maestro's working here in a fantastic larger-than-life setting, one that offers slightly different takes on the magical tunes of his A&M years. The arrangements include a large instrumental group, plus strings and uncredited singers – and Burt himself delivers some wonderful vocals on a few tunes too. Titles include "Promises Promises", "The Look Of Love", "Walk On By", "Come Touch The Sun", "Bond Street", "Close To You", "A House Is Not A Home", and 2 nice medley tracks!

Quite possibly the greatest moment ever for Burt Bacharach – and that's saying a heck of a lot, considering the greatness of all of his work! The record's a slightly-overlooked gem from Burt's 70s years – a record that steps off the compressed sophistication of his best 60s work for A&M, but pushes things slightly into even more adult territory – a space that's beyond simple instrumental pop, and which features complicated rhythms, amazing songwriting, and a batch of tunes so great, you'll be coming back to this one for years to come! The record leads off with the sublime "Something Big", a building vocal number that always sends chills down our spine – then follows with the skittish rhythm of "Monterey Peninsula", almost drum and bass at times! Even the mellower tracks are great – somewhat soulful, and always touched with unusual phrasings, timings, or jazzy changes that are simply mindblowing. Other tracks include "The Balance of Nature", "Lost Horizon", "Walk The Way You Talk", "Reflections", "Long Ago Tomorrow", and "I Might Frighten Her Away".

An unusual version of this album – not the soundtrack, but a special radio promo, recorded on opening night – with interviews with Burt Bacharach and Jerry Orbach – plus snippets from other folks like Neil Simon, Herb Alpert, Sidney Lumet, Ben Gazzara, Milton Berle, and even Burt's parents!

An obscure and wonderful chapter in the career of Burt Bacharach – material penned for a 1967 TV musical starring Rick Nelson and Joanie Sommers – all of it perfect 60s Bacharach pop all the way through! The plot of the musical is a bit silly, but the performance isn't – tightly-crafted vocal numbers that often mix Burt's older Brill Building style with a bit more of a Sunshine Pop kind of approach. Although penned by Bacharach, the music is actually conducted by Peter Matz – who does a great job of retaining the maestro's sense of space and timing, but also unlocks some bolder flourishes in the tunes, and manages to get some really amazing vocal performances out of both Sommers and Nelson! There's a sophistication here that goes beyond the roots of both singers – and the record's filld with lesser-known tracks that still sparkle with plenty of Bacharach brilliance – including "It Doesn't Matter Anymore", "They're Gonna Love It", "Juanita's Place Montage", "Try To See It My Way", "They Don't Give Medals", "Fender Mender", and "Juanita's Place".

A stunner of a solo acoustic folk guitar record from Daniel Bachman – one that rivals some of the great archival releases on Tompkins Square – though this one was recorded in 2012, and Bachman is a young player just a couple years into his twenties! Raw, string-buzzing immediacy and dexterous playing from young Bachman – and it's incredibly engaging stuff, too! He's also one of the relatively few contemporary folk instrumentalists – along with with Nashville's William Tyler – who truly evoke the spirit of trailblazers like Fahey and Basho for us. Includes "Copperhead", "Seven Pines", "Sun Over Old Rag", "Long Nights I", "Mount Olive Chohoke", "With Signs Following" and '218 To Caledon".

British jazz/rock drum great Ginger Baker working live with is Air Force group in Germany, 1970! Live material from Ginger Baker's Air Force has always been sorely lacking in official releases, and this set from Offengach, Germany at the dawn of the 70s has 2CDs of material. From the official Ginger Baker archives! Titles include "I Got The Answer", "Free Kings", "Don't Care", "Sunshine Of Your Love", "12 Gates In The City", "Aiko Biae", "Do What You Lik" and more.

Classic work by one of our favorite pop singers ever – the full-voiced Cilla Black, a vocalist we'd trade for Petula Clark or Dusty Springfield in a minute! During the 60s, Cilla was working in a strongly Bacharach-influenced mode – a style that picked up a lot of uptown touches from the New York scene, but which infused them with the more belting mode of Brit female singers of the time. The result is an incredibly powerful approach to pop – one that showcases Cilla's incredible voice, but which also has her wrapped up in beautifully full arrangements, and rhythms that often have that slightly syncopated gentle groove that we love from Bacharach's work with pop singers. CD features 25 tracks in all – including 6 making their CD debut – titles that include "Yo Yo", "A Man & A Woman", "Anyone Who Had A Heart", "You're My World", "Love Letters", "One Little Voice", "Alfie", "Baby I'm Yours", "A Lover's Concerto", "Step Inside Love", "Liverpool Lullaby", "Forget Him", "Little Pleasure Acre", and "Rule Britannia".

Nigerian guitar from Bombino –produced by Dan Auerbach of The Black Keys! "Azamane Tiliade" is from the Nomad LP. "Si Chilan" is exclusive to this single.

A collection that Milestone issued in 1973 that includes tracks from three of Byrd's early 60s Bossa Nova records – Latin Impressions, Bossa Nova Pelos Passaros and Once More/Charlie Byrd's Bossa Nova. Byrd and his unamplified guitar are joined by Keter Betts on bass and Bill Reichenbach on drums and Latin percussion; other players are also featured. The tracks are mainly composed by the big names of Bossa Nova – Jobim, Powell, Caymmi, Lyra – but there are several Byrd originals as well such as "Socegadamente (Softly)", "Cancao De Nimar Para Carol", "Three Note Samba", and "Ela Me Deixou". Other tracks include "Samba Triste", "Desafinado", "Saudade Da Bahia", "Carnaval" and many others.

A pair of classics from guitarist Charlie Byrd – back to back on a single CD! First up is Latin Impressions, a set that's more Brazilian than Cuban – and maybe a bit Spanish, too – given the strong use of acoustic guitar from Charlie Byrd! The set's got a laidback, open feel – and Byrd's guitar work is mighty deft, yet without all the frills and flowers of some of the more dramatic, emotive players of the time – a great illustration of the huge shift that the early bossa guitar recordings had at a global level. Byrd was one of the first big American proponents of bossa, and you can definitely hear that influence at work here – amidst additional guitar from Gene Byrd, bass from Keter Betts, and drums from Bill Reichenbach. A few tunes feature Charlie on solo guitar with no backing – and titles include "O Pato", "Homage A Villa Lobos", "Bogota", "Vals", "Samba De Uma Nota So", "Amor Flamengo", and "Azul Tiple". Bossa Nova Pelos Passaros is a landmark, as guitarist Charlie Byrd was one of the first American players to record bossa nova tunes – but although his work with Stan Getz has always been well-documented, some of the titles under his own name can be quite hard to come by. This is one of the best ones that Charlie cut on his own – and it features tight guitar work in a mode that's similar to that used by Baden Powell on his early bossa recordings, augmented by trio rhythms – plus some occasional larger backings by Walter Raim, and some extended group settings that feature Charlie Hampton on alto, Earl Swope on trombone, and Willie Rodriguez on percussion. Tracks include "Ho Ba La La", "Samba Triste", "Yvone", "O Barquinho", "Un Abraco Do Bonfa", and "O Passaro".

Organist and pianist David Chacksfield and his orchestra tackle a collection of some of the best known Hal David and Burt Bacharach tunes such as "The Look of Love," "Alfie," "Paper Mache," and "Wives & Lovers." Arranged by John Keating and produced by Tony D'Amato.

A record with a title that sounds like it should be something of a bachelor pad release from the title, but which is instead a good old fashioned, no holds barred, open-ended jazz session from trumpeter Buck Clayton! All tracks are nice and long – way more than usual for big label jazz at the time – and Clayton's trumpet is lineup alongside those of Joe Newman and Joe Thomas, plus other players who include Woody Herman on clarinet, Urbie Green and Benny Powell on trombones, Julian Dash and Al Cohn on tenor, Charlie Fowkes on baritone, Freddie Green on guitar, and Sir Charles Thompson on piano. Titles include "Moten Swing", "Sentimental Journey", "How Hi The Fi", and "Blue Moon".

The best record in years – maybe decades – from the legendary Dr John – and a set that stands up strongly next to the messed-up Crescent City vibe of his 70s classics! Big thanks are due to Black Keys' guitarist Dan Auerbach – who produced and supervised the whole recording – and helped create the kind of rootsy studio proceedings that make for just the right vibe to help the Doctor hit all his best classic modes! Leon Michels brings in some great keyboards, too – and an undercurrent of El Michels funk – and Dr John's vocals really sparkle in the setting – stepping out with all the weird raspy elements we love so much. Titles include "Ice Age", "Getaway", "Kingdom Of Izzness", "You Lie", "Eleggua", "My Children My Angels", "Locked Down", and "Big Shot".

A heavy record with a heavy pedigree – a smoking set of funky instrumentals, all recorded directly to tape! The trio has a hard-burning sound that takes us back to the Prestige records jazz funk sound of the early 70s – the sort of groove you might have heard from Leon Spencer or Melvin Sparks – with Mike Flanigin on sweet Hammond, Jake Langley on smoking guitar, and Kyle Thompson driving the whole thing with some mighty fierce drums! The CD version has a few great cover versions on top of the solid Dupree originals – and the titles include "The Turtle", "Malibu Classic", "KC", "Moto Guzzi", "Leon's Thing", a great take on the Bacharach/David classic "Close To You", Tina Brooks' "David The King", Horace Silver's "Cookin' At The Continental" and more, 10 tracks on the CD.

Hanni El Khatib's superior second album for Innovative Leisure – mixing up raw, fuzzy garage rock stormers and raucous R&B influences even better than before! The blend of riff heavy garage and unshakable rhythms references Hanni's influences every step of the way, but the way go down together isn't like anyone else out there right now, or from the glory years of the late 60s. There probably couldn't be a better producer for a record like this than Dan Auerbach, either – who perfectly captures the both the raucous edge and the surprisingly soulful touches just as well as he does in The Black Keys. Includes "Head In The Dirt", "Family", "Skinny Little Girl", "Penny", "Nobody Move", "Can't Win 'Em All", "Pay No Mind", "Save Me", "Sinking In The Sand", "House On Fire" and more.

Great work from this cool European sextet – a vocal group that features three gals and three guys – or pals, as their name might indicate! Their style's a bit like the Double Six, in that it's rooted in harmony jazz – but given the choice of material here, and the overall execution, there's more of a Sunshine Pop feel in place on most numbers – which is plenty darn great for us! The tunes are all Burt Bacharach numbers, but they're done here in really fresh ways – not simple copycats of familiar Brill Building hits, but often arranged with unusual twists that make the most of the group's multi-voiced style, and which throw in a few unique instrumental touches as well. Titles include "Walk On By", "Wishin & Hopin", "Blue On Blue", "Close", "Cross Town Bus", "My Little Red Book", "Anyone Who Had A Heart", and "Here I Am".

One of the greatest Jackie Gleason albums ever – intially released in a heavy duty package that took the listener through a full evening's worth of seduction! Jackie put together the record as a bachelor's "do it yourself" kit – filled with four different sides of music – one apiece for "sippin", "listenin", "dancin", and "lovin" – all modes the maestro is mighty darn great at! The "sippin" selections feature solo piano with a bit of bass and drums – the "listenin" section is a trad jazz combo led by Gleason – the "dancin" set is bigger band society numbers – and the "lovin" secion features some of Jackie's famous lush orchestrations – pillowy waves of sound designed to relax even the most uptight of lovers. The whole thing's very cool – and is designed to take you from start to finish in the course of a very sucessful evening – and as Jackie says, "Man Is The Hunter, Woman Is His Game!"

A brilliant recording from this seminal group – recorded by Conny Plank in his famous studio – and featuring Manfred Schoof and Kenny Wheeler on trumpets, Peter Brotzmann and Evan Parker on tenor, Gunter Christmann and Albert Mangelsdorff on trombone, and Alexander Von Schlippenbach on accordion!

A pair of instrumental classics from Marty Gold – back to back on a single CD! Sounds Unlimited is filled with soaring sounds from RCA maestro Marty Gold – maybe not the totally unlimited record you might expect from the title, but definitely a key 60s entry in the genre of bachelor pad hi fi records! There's a fair bit of horns in the orchestrations, with solos by Don Butterfield, Joe Wilder, Phil Bodner, and Mel Davis – all of whom help to color the tunes with lots of nice jazzy tones – giving the whole thing a bit more depth than the usual instrumental outing. Titles include "Alone Together", "When I Fall In love", "Ballerina", "Skylark", "The Donkey Serenade", and "Tonight". For Sound's Sake has Marty Gold really pushing the needle into the red – using lots of jazzy inflections to expand the dynamic range of the instrumentals on the set – with key solo work by players who include Phil Bodner and Jerome Richardson on reeds, as well as Joe Wilder on trumpet. Titles include "Mood Indigo", "Memories Of You", "Yesterdays", "All The Things You Are", "I Love Paris", "El Cumbanchero", and "Baubles Bangles & Beads".

Steve Gunn's first album with a full band – which seems a bit strange to say, given how warm and lived-in it feels – and pretty strong one! Steve's guitar is the focus, as it should be, as his playing is incredible – and his somewhat hushed vocals and inviting songcraft seal the deal pretty firmly. He's backed by drums and bass, plus a bit of cello, flute and piano on this record – on songs that recall timeless folk rock, country blues and folk jazz – enough to show Gunn's depth and diversity – but it's all finely honed and with a focused feel. Strong stuff for a brilliant player and talented friends. Includes "Water Wheel", "Lurker", "Street Keeper", "New Decline", "Old Strange" and "Trailways Ramble".

A really wonderful soundtrack, with loads of groovy tracks! The film stars Jack Lemmon, and the format of the record is similar to the Odd Couple – in that musical tracks are interspersed with dialogue, to keep the feel of the progression of the movie. Side one has some especially groovy moments, as Percy Faith and chorus perform a great version of Bacharach's "April Fools", which then leads into Mongo Santamaria's chunky groover "La La La", and "Wake Up" by The Chambers Brothers, which is one of their nicest tracks! Other tunes include the instrumentals "The April Fools", "I Remember The Rain", "The Safari Club", and "Peter's Pad" – plus "Sugar Kite" by California and "Flame" by Robert John.

An excellent record from Hiss Golden Messenger – who blend rootsy, but freewheeling instrumentation with artful, ambitious songwriting – and they're one of the most creative groups around making brilliantly original music that still hold true to southern folk and roots history The anchors are singer/guitarist/mandolin player MC Taylor and guitar and bass player Scott Hirsch – but the music is fleshed out by a large group of great musicians on a diverse list of instruments – piano, Rhodes and Hammond on the keyboards spectrum, banjo, fiddle, pedal steel and and array of acoustic and electric strings, sax and more. In a way, it's the mix of traditional reverence and straight up newness is reminiscent of The Band in the late 60s and early 70s – but they ultimately have a vibe all their own. Includes "Red Rose Nantahala", "Sufferer (Love My Conqueror)", "I've Got A Name For The Newborn Child", "Devotion", "Hat Of Rain", "The Serpent Is Kind (Compared To Man)", "Cheerwine Easter", "Busted Note", "What Shall Be (Shall Be Enough)".

An excellent record from Hiss Golden Messenger – who blend rootsy, but freewheeling instrumentation with artful, ambitious songwriting – and they're one of the most creative groups around making brilliantly original music that still hold true to southern folk and roots history The anchors are singer/guitarist/mandolin player MC Taylor and guitar and bass player Scott Hirsch – but the music is fleshed out by a large group of great musicians on a diverse list of instruments – piano, Rhodes and Hammond on the keyboards spectrum, banjo, fiddle, pedal steel and and array of acoustic and electric strings, sax and more. In a way, it's the mix of traditional reverence and straight up newness is reminiscent of The Band in the late 60s and early 70s – but they ultimately have a vibe all their own. Includes "Red Rose Nantahala", "Sufferer (Love My Conqueror)", "I've Got A Name For The Newborn Child", "Devotion", "Hat Of Rain", "The Serpent Is Kind (Compared To Man)", "Cheerwine Easter", "Busted Note", "What Shall Be (Shall Be Enough)".

A pretty darn amazing album from Thelma Houston – recorded during the zenith of Jimmy Webb's career, when Jimmy was not only one of the hippest songwriters in pop, but also kind of a mini-Burt Bacharach, writing, arranging, and conducting albums for a variety of stars. This little gem features Thelma fronting a set of 11 original tunes by Jimmy – arranged with a hip pop sophistication that few other talents of his time could match – soul and strings coming together in a wonderful swirl that makes for one of Thelma's most compelling records. Titles include "Mixed Up Girl", "This Is Where I Came In", "Pocketful Of Keys", "Cheap Lovin", "This Is Your Life", "If This Was The Last Song", and "Sunshower".

A pretty darn amazing album from Thelma Houston – recorded during the zenith of Jimmy Webb's career, when Jimmy was not only one of the hippest songwriters in pop, but also kind of a mini-Burt Bacharach, writing, arranging, and conducting albums for a variety of stars. This little gem features Thelma fronting a set of 11 original tunes by Jimmy – arranged with a hip pop sophistication that few other talents of his time could match – soul and strings coming together in a wonderful swirl that makes for one of Thelma's most compelling records. Titles include "Crazy Mixed Up Girl", "This Is Where I Came In", "Pocketful Of Keys", "Cheap Lovin", "This Is Your Life", "If This Was The Last Song", and "Sunshower". This version includes a handful of bonus tracks released as singles for ABC Dunhill in 1970 including a sweet version of Laura Nyro's "Save The Country", plus "I Just Can't Stay Away", "I Just Gotta Be Me", "Crying In The Sunshine", "(The) Good Earth" and "Ride, Louis, Ride".

A trio of classics from the Thad Jones/Mel Lewis Orchestra! First up is the initial Presenting album – great music by one of the hippest large American ensembles of the late 60s – almost a US equivalent to the groovy sound of the Clark Boland Big Band over in Europe! Trumpeter Thad Jones and drummer Mel Lewis had already made some great music together on their own – but once they came together in a record like this, they really found a great new direction for their energy – a bold musical force that's strong enough to also encompass the rich talents of players who include Pepper Adams on baritone sax, Joe Farrell on tenor, Jerome Richardson on soprano sax, Richard Williams on trumpet, Bob Brookmeyer and Tom McIntosh on trombones, Hank Jones on piano, and Richard Davis on bass! The sound is full, but never overwhelming – and like the Clark Boland group, this one has a great way of breaking open to allow key soloists to have some great space on their own – a modern approach, and one that still never has the band losing its groove. Titles include "ABC Blues", "Mean What You Say", "Three & One", and "Once Around". The next album was recorded live in the Thad Jones/Mel Lewis home turf at the Village Vanguard! The group at this point was a freshly-created outfit filled with some of the best large group jazz soloists of the time – players that included Jerome Richardson, Joe Farrell, Eddie Daniels, Pepper Adams, Richard Williams, and Bob Brookmeyer – not to mention Jones and Lewis themselves! The style here is very much in the mode that the Clarke Boland Band was crafting in Europe during the same period – a redefinition of the larger jazz group, in a way that allowed it to swing with the dynamic energy and soul of some of the smaller combos of the 60s. And while the Jones/Lewis group had many years over which to hone their craft, they've never sounded better than on these initial recordings – as you'll hear on tracks that include "Samba Con Getchu", "A That's Freedom", "Bachafillen", and "Little Pixie". On the last album in the set, Ruth Brown joins the big band of Thad Jones and Mel Lewis – in a set that's a real standout in the career of all three artists! Thad and Mel already have a pretty great groove going at this point – a large ensemble approach to jazz, yet one that's swingingly soulful – very much on a par with some of Gerald Wilson's hip work of the same time at time. And adding in Ruth Brown's vocals is a great choice – as she not only needs a great showcase like this for her amazing voice, but also because she really helps unlock a soulful sort of energy that the group always had in their instrumental music. The approach is a bit like some of Etta Jones' best 60s recordings – a nice shift for Brown – and titles include "Black Coffee", "Fine Brown Frame", "You Won't Let Go", "Trouble In Mind", and "Be Anything (But Be Mine)".

Although the Anita Kerr singers were not often the swinginest group in town, this LP has them doing a nice selection of Bacharach material, including "What's New Pussycat?", "Are You There (with Another Girl)", and "Windows of the World".

Hildegard Knef isn't always the hippest singer in the world, but this album is plenty darn groovy – a real masterpiece of baroque pop that really stands out from her other recordings! The session was done in close collaboration with arranger Hans Hammerschmid – with all original lyrics by Hildegard and original music by Hans – done in a mode that easily rivals the best from Jimmy Webb or Burt Bacharach on the US scene at the end of the 60s! Larger orchestrations play easily with lighter instrumental touches – sometimes sweeping, sometimes slightly funky – creating a sense of counterpoint that's filled by Knef's snappily punctuated vocals. Lyrics are all in German, but the whole thing's so groovily compelling that you hardly notice the language difference – and titles include "Im 80 Stockwerk", "Eisblumen", "Schwertfisch", "Ich Brauch Tapetenwechsel", "Elvira O", "Mein Zeitbegriff", "Der Tag Holt Luft", and "Liebe Auf Den Hundersten Blick".

Proggy mid 70s jazz from Swiss sextet Magog – brilliant stuff with a free-thinking approach that's comparable to some of the diverse jazz rock around Europe and the US at the time, but certainly more strongly rooted in jazz than some of the more experimental-leaning groups! Magog's groove is plenty adventurous, with some dexterous solos and spacey movements, but in a composed setting, as opposed to freeform improvisation. The group includes pianist Klaus Koenig, bassist Peter Frei and drummer Peter Schmidlin – whose names you may recognize from their work in Jazz Live Trio – who often accompanied touring jazz legends of the time. This is a pretty exciting change of pace! Magog also includes trumpeter Hans Kennel, Andy Scherrer on saxes and Paul Haag on trombone. Titles include "Lock", "Gogam", "Rhoades", "Der Bachstelzer", "Smmervogel" and "New Samba".

A seminal bit of Latin funk from the Bay Area scene of the early 70s – the second album from Malo, and an even harder-hitting jam session than the first! The group are really in top form here – taking off with Santana-inspired riffs that are filled with heavy percussion, soaring organ, and guitar from Carlos' brother Jorge – all matched by some incredible horn work from trumpeter Forrest Bachtel and a young Hadley Caliman – sounding especially great here before his solo years as a jazz artist! The legendary Francisco Aguabella is on conga, and tracks include "Momolombo", "Oye Mama", "I'm For Real", "Midnight Thoughts", "Hela", and "Latin Bugaloo".

A great step forward for Manfred Mann – a record that's deeper, stronger, and nastier than previous efforts – as evidenced by their wicked take on Burt Bacharach's "My Little Red Book"! What the cats do to that tune perfectly sums up their genius at this point – a sharp fusion of blues and soul influences, put together in ways that are really different than other UK combos of the period – often past any cliches that would show their roots too much, and with the start of a sneer that would appear more strongly from other fronts in the 60s. Original tunes include "You're For Me", "The One IN The Middle", and "Without You" – and the set also features versions of "Brother Jack", "Poison Ivy", "With God On Our Side", and "My Little Red Book".

A pair of gems from Johnny Mathis' years at Mercury Records – back to back on a single CD! First up is So Nice, an album that definitely lives up to its title – with a sound that extends strongly from the lushness of Mathis' early 60s recordings, but which also has a bit of a nod to the late 60s scene too – thanks to tunes from Marcos Valle, Michel Legrand, Burt Bacharach, and others! Glenn Osser handles most of the arrangements – in that shimmering strings style that always seemed to work best for Johnny during this period – a mode that never overshadows his vocals, and really lets that Mathis magic unfurl – on titles that include "The Music That Makes Me Dance", "I Will Wait For You", "So Nice", "Elusive Butterfly", "What Now My Love", and "What The World Needs Now Is Love". Johnny Mathis Sings is the final Johnny Mathis album for Mercury Records – and one of our favorites from the time! There's a nice little bounce to some of these cuts that really opens Johnny up – a style that's never too groovy, but which brings in some slight 60s syncopation to the rhythms – albeit in a gentle sort of way. Strings and horns shimmer over the top, next to Johnny's great vocals – which are still the center stage of the session – almost a bit more mature, and sounding wonderful on cuts that include "Strangers In The Night", "Who Can Say", "I Wish You Love", "The Second Time Around", "Sunny", "Saturday Sunshine", and "Eleanor Rigby".

A pair of Mercury Records albums from Johnny Mathis – back to back on a single CD! First up is This Is Love – a record that really sparkles, thanks to backings from Allyn Ferguson, done in that perfect mix of soft strings and shimmering brass that seems to work best for the vocals of Johnny Mathis! The album's got a feel that's full, but never in a too-lush or sleepy way – that perfect balance you find on Johnny's key classics from the early years – of which this album is certainly a real standout. Ferguson's backings have a subtle sense of drama, but never overdone – and titles include "Over The Weekend", "More", "You Love Me", "Poinciana", "The Touch Of Your Lips", and "Just Move Along Meadowlark". Ole is an unusual Latin-themed album from Johnny Mathis – one that uses the drama of Spain, the exotic sounds of South America, and even a bit of bossa nova – all to help Johnny hit some new styles in his music! Backings are by Allyn Ferguson, and still cast perfectly for Mathis' vocals – so that while sounding fresh, the album also has a strong quality that ties it to other Johnny Mathis albums of the time – particularly the overlooked gems he cut for Mercury Records. Titles include "Samba De Orfeu", "Manha De Carnaival", "Serenata", "Bachianas Brasileiras", "Granada", and "Without You".

A moody early 60s set by the MJQ for Atlantic. Overall the group rolls and swings in a bit rougher mode than they do on their brighter efforts, but they still hit the sweet spot and swing when the mood fits! The record works best when Milt Jackson's vibes are let loose, as on the playful reading of "Mean To Me", and John Lewis's piano sets the mood as in "Carnival" (the Luiz Bonfa tune). Other tracks include Lewis's "The Sheriff", "In A Crowd", "Donnie's Theme" and "Natural Affection", plus "Bachianas Brasileiras".

The subtle genius of Stanley Myers isn't always as well appreciated as his contemporaries in the 60s soundtrack business – but a record like this will more than have you digging Stan's talents, as he mixes together numbers that run through a range of soundtrack styles – from fuzzy, to serious, to groovy, to Brit whimsical, to Bacharach breezy. Vocals on 2 numbers are by Don Partridge, and on one more are by Alex Keenan – and titles include "Tell Her You Love Her", "Mock Baroque Rock", "Persian Version", "Fuzz", "Homeless Bones", "The Good The Bad & The Simply Disgusting", and "Sauna Corner".

The tinkling piano of Peter Nero – heard to great effect on these two 60s albums for RCA! On Impressions, the sweet piano of Peter Nero takes on the music of Burt Bacharach – all with results that are every bit as groovy as you might expect! There's a bit more punch to the record than some of Nero's other 60s outings – possibly from the arrangement help from Frank Hunter, but maybe just from the original tunes themselves – which seem to allow for a syncopated punch that really brings out some of Peter's boldest work on piano. The whole thing's great – an overlooked 60s easy gem – and titles include "Wives & Lovers," "Walk On By," "Who Is Gonna Love Me," "Alfie," "This Guy's In Love With You," and "Look of Love." Love Is Blue really soars with great arrangements from Frank Hunter – an artist who often knows how to bring in a subtle soulful feel to the music – an aspect that really helps Peter Nero mature a bit on records like these, and come across with a really groovy sound! The tracks are mostly late 60s numbers – and titles include "Love Is Blue", "The Happy Time", "Sunny", "Windy", "The Glory Of Love", "Theme From The Fox", and "I Say A Little Prayer".

The 101 Strings organization matches up with a groovy percussion ensemble, for a sound that's like some of the good RCA percussion bachelor pad LPs from the 50's. Tracks include "Voodoo Moon", "Ski Run", "Dizzy Fingers", "Roller Coaster", and "Bats In The Belfry". We think you get the picture!

Amazing grooves from the legendary Dave Pike – one of the American vibists' few albums for the MPS label – and quite possibly the trippiest of the bunch! The set's a beautiful illustration of the freedoms that the MPS label offered American players like Pike – a chance to really open up and do his thing, and find new sides and styles he'd never expressed before on his records back home! Of course, part of the strength of the set is the group he's working with here – an ensemble that includes the amazing Volker Kreigel on guitar (and sitar!), plus JA Rettenbacher on bass and Peter Baumeister on drums. But, lest you think this is a standard quartet affair, let it be known that all players – including Pike – handle a very wide variety of instruments throughout the session – including bongos, toys, maracas, other percussion, and more – even a bit of vocalizations as well! Tracks often have a slow-building, slightly-trippy feel that's totally great – and Kreigel's work on guitar is a perfect pairing with Pike's vibes – especially as both players are clearly digging an Eastern influence for the set. Titles include "Suspicious Child", "Soul Eggs", "Raga Jeeva Swara", "Rabbi Mogen's Hideout", "Attack Of The Green Misers", "Infra Red", and "Send Me The Yellow Guys".

Funky, fantastic, and nicely tripped-out – one of the legendary MPS classics by the Dave Pike Set of the late 60s – a combo that did a great job of mixing Dave's vibes with some headier sounds and psychedelic elements! There's a warmth here that's missing from some of the other Pike dates for MPS – wonderful tones that really show Dave growing a lot as an artist, and settling into a beautiful working relationship with guitarist Volker Kriegel – who also plays some sitar and electric bass on the record too! Main bass bits, though, are handled by JA Rettenbacher – who's got this bottom sense of flow that's really wonderful – kind of a building swell that works perfectly, no matter what the flavor of the tune – and there's a mighty nice array of flavors on the set. The group's completed by drummer Peter Baumeister, who's no slouch either – and titles include "Greater Kalesh No 48", "Professer Porno's Romance", "Cornflower Girl", "The Seventh Day", and "A Nose Opener".

The rare late 60s album by Plant And See! The record is a great mix of psych and soul released on White Whale – the adventurous label home of fellow funk rock/country soul genre buster Jim Ford – and another essential gem! Led by Native American guitarist and lead vocalist Willie French Lowery, the group is notable for it's multi-racial lineup – which was, sadly, a real anomaly at the time – but the music is their greatest selling point! There's a bit of a funky, kinda swampy rock vibe throughout, plus some straight up blistering tunes with furious drums and blazing guitars, and some sweeter moments, thanks to female backing vocals. Includes "Put Out My Fire', "Flat On My Face", "Mrs. Tree", "Henrietta", "Love & Affection", "Poor Rich Man", "Seekin' Advice", "Witches Brew" and "Leavin" (the lead vocal by backing singer Carol Fitzgerald.

A cool combat-themed country rock record by The Red Rippers – largely the work of songwriter and Vietnam veteran Lt. Edwin Bankston – and a pretty riveting obscurity from the early 80s private press vaults! The sounds range from breezy, Creedence-styled backdrops and 70s outlaw country inspired grooves, to more of a fuzzed out, slightly harder-edged feel – but it's the lyricism that really pushes Red Rippers into a different realm. It's full of war-wizened songs about forgotten soldiers, bloody jungle battles and other prideful and mournful tales from this veteran's point of view! The difference between the catchy, if quite raw tunefulness and the frank lyricism gives it a really dichotomous, intriguing feel! Includes "I Roll", "Soldier Of Fortune", "Firefight", "Who Remembers", "Vietnam Blues", "The Dark And Bloody Road", "She's Been Down", "Body Bag".

Mindblowing work from Minnie Riperton – her first solo album, cut at the end of the 60s, after a number of years of work with the group Rotary Connection. The album builds off the now famous sound of Rotary Connection – but takes it to the next level, with arch-baroque production by the great Charles Stepney – who couches Minnie's fantastic vocals in a suite of shimmering soulful tracks that mix strings, horns, jazzy piano, and slight touches of bouncing rhythms. The overall sound is impossible to describe – sort of a cross between Burt Bacharach on A&M, Scott Walker's 3rd album, and the sound of Marvin Gaye's What's Goin' On. The album's pure genius all the way through – one of the highlights of the Chicago scene of the 60s – and proof that Riperton, Stepney, and crew were shooting for the outer limits of soul music! Titles include "Les Fleur", "Only When I'm Dreaming", "Rainy Day In Centerville", "Memory Band", "Expecting", "Whenever Wherever", and "Oh, By The Way".

A landmark in the European avant scene of the 60s – the first self-released album by pianist Alexander Von Schlippenbach – an all star session that features work by Peter Brotzmann, Manfred Schoof, Paul Rutherford, Han Bennink, and others! The work here is very free and a spacious – with slow-building, tentative rumblings from all players involved, gently feeling out the space between them as the set goes on – energy levels increasing with confidence as tighter and stronger movements emerge. Titles include "The Living Music", "Into The Staggerin", "Tower", "Wave", "Past Time", and "Lollopalooza". Greatness!

One of the earliest albums on the Free Jazz Productions label – a large group session led by trumpeter Manfred Schoof, and featuring a wealth of great talents from the European avant garde of the 60s – including Peter Brotzmann on tenor, Enrico Rava on trumpet, Irene Schweizer and Alexander Von Schlippenbach on piano, Derek Bailey on guitar, Evan Parker on soprano sax, Paul Rutherford on trombone, and both Han Bennink and Pierre Favre on drums! The album features one long track – Schoof's "European Echoes" – the kind of extended, freewheeling, large group improvisation that was exemplary of the united front being expressed across nations by the free jazz movement of the late 60s. Still as powerful today as it was back then!

One of Sinatra's greatest records ever – pure genius all the way through! Frank's backed here by the orchestra of Count Basie, with some incredible arrangements by Quincy Jones that really have a jazzy, syncopated kick to them. The move seems to be an unintentional way of covering for Frank's slightly failing pipes – but it also picks up on a seminal beat change in 60s pop, the same sort of gentle snapping groove that you'd find in the best work by Bacharach, a shift that really infuses Frank's vocals with a whole new sound, one that shows that he's ready to keep on growing and growing after being stuck in a Nelson Riddle rut. All tracks are superb – hip 60s pop and showtunes, like "I Believe In You", "Fly Me To the Moon", "More", "The Good Life", "Wives & Lovers", and "I Wanna Be Around".

One of those great 70s records that really reminds us that, way past Burt Bacharach, Dionne Warwick's a heck of a great soul singer! The album's a bit more polished than some of her other post-Scepter efforts from the decade – yet still comes off quite well, with Dionne really stretching out vocally – and bringing a lot more to the table than might be expected. There's a few uptempo cuts that are a bit off the mark, but Warwick really shines on the mellow and midtempo numbers. Titles include "Who What When Where Why", "All The Time", "In Your Eyes", "Feeling Old Feelings", "Deja Vu", "I'll Never Love This Way Again", and "After You". CD features two bonus tracks – single versions of "Deja Vu" and "After You".

It's plenty easy to make way for Dionne Warwick with an album as great as this – the kind of set that spawned countless imitators in later years, but which still sounds better than most of the rest! Hearing the record is almost like going back to the headwaters of 60s pop – especially the more mature version that started to take hold later in the decade at labels like A&M or Capitol. But here, recording for Scepter, Dionne's already got it all in place – thanks in large part to a young Burt Bacharach, who's set things up here with poise and perfection that match the vocals perfectly! Titles include "Get Rid of Him", "A House Is Not A Home", "They Long To Be Close To You", "You'll Never Get To Heaven", "Walk On By", and "Make The Night A Little Longer".

Dionne Warwick now – a surprisingly great set of contemporary recordings, done without any schlock or gimmick at all – and instead a really back to basics approach that really works well! Instrumentation on most cuts is relatively stripped-down, almost jazzy – which makes the set's revisited Bacharach & David classics come off in ways that are quite different than the originals, yet still retain all their charm. The album's also got a handful of new tracks too – titles written by one or the other of the team – and cuts include "Don't Make Me Over", "Always Something There To Remind Me", "Be Aware", "99 Miles From LA", "Reach Out", "I Just Have To Breathe", and "It Was Almost Like A Song".

A really sweet side of Weather Report – a rare live performance from 1978, featuring a tight quartet version of the group! Peter Erskine's drums do a great job of propelling the music from Joe Zawinul's keyboards, Jaco Pastorius' bass, and Wayne Shorter's tenor and soprano sax – and the rhythms almost feel like they dominate more than usual for a Weather Report album – giving an especially great chance to hear the magic of Jaco at work! As with other live performances by the group in the 70s, there's some nice free play at points that really pushes things past the studio albums – and this double-length set features titles that include "Black Market", "Scarlet Woman", "Young & Fine", "River People", "A Remark You Made", "In A Silent Way", "Waterfall", "Fred & Jack", "Badia", "Elegant People", "Birdland", and a few medley tracks!

Overlooked genius from Nancy Wilson – a pair of gems, back to back on a single CD! Can't Take My Eyes Off You is a really great album from Nancy Wilson – a set that still has her working with the jazzy undercurrents of her best 60s work for Capitol Records – yet also moving into some hipper, more sophisticated soul styles too! There's a really strong adult vibe to the record – not that Nancy didn't have one before, but this time around there's even more sense of personality and experiential depth that really comes through in the choice of songs – and in Wilson's wonderful treatment of them. Tunes that might be stiff in the hands of someone else are really transformed here – with added thanks to Phil Wright for great arrangements on the record. Titles include a version of Leonard Cohen's "Suzanne", Burt Bacharach's obscure "Waitin For Charlie To Come Home", and the tracks "Trip With Me", "This Girl Is A Woman Now", "Mixed Up Girl", and "Words & Music". Now I'm A Woman is a really unique moment for Nancy – one in which she leaves the LA sound behind, and gets some special treatment from the young Philly crew of the Gamble & Huff studios! Arrangements on the set are by Thom Bell, Lenny Pakula, and Bobby Martin – and the style's an interesting mix of Nancy's pop jazz vocals with some of the lighter, sweeter sounds of the Philly scene at the start of the 70s. The result is a surprisingly wonderful album – quite different for Nancy, and with the kind of backings that really break her out of the sound of the 60s – and pave the way for the sophisticated style of the 70s. Titles include "Now I'm A Woman", "Let's Fall In Love All Over", "Lonely Lonely", "Joe", "How Many Broken Wings", and "The Real Me". CD features three bonus tracks – "Go Away & Find Yourself", "When You're Alone", and "I'm Gonna Make You Love Me".

Melodic psychedelia from 70s Iran – an incredible full scale anthology of recordings by guitarist and vocalist Kourosh Yaghmaei from the pre-revolution years – and an absolute treasure! Kouroush often recorded with his brothers – Kourosh singing lead and playing guitars or bass – with Kamran Yaghmaei on guitars and backing vocals and Kambiz Yaghmaei on keys and backing vocals. Other players contribute drums, bass and occasional additional elements – harmonica or horns on few tracks. The sound is a really wonderful amalgam of western garage, psych and strains of funk with native Iranian modes and tempos. The songs here sink in on an emotional level without us knowing a word of the language – the passionate vocals work wonderfully in that regard – but musically, it's innovative stuff that's nicely tripped out and heavily rhythmic, without compromising the melodic sensibility. The heavy duty 3LP set features 21 tracks in all – in a sweet 6 panel gatefold with a 24 page booklet – featuring extensive notes and photos, with Kourosh's story told in autobiographical detail. Like other recent Now Again packages, it's really beautifully done! Titles include "Gol E Yakh", "Dar Enteha", "Paiz", "Leila", "Del Dareh Pir Misheh", "Shirin Joon", "Ghazal", "Mosafere Shahre Baran", "Saghe", "Niyayesh", "Saraabe Toe", "Baroona", "Khaar", Bachehaye Khoobe Koocheh" and more.

A pretty cool little collection – a Japanese-only set that's filled with various versions of Burt Bacharach classics pulled from the vaults of Universal Music – including a rich array of 60s recordings we might have missed otherwise! The set appears to have been done in support of a 2008 Bacharach tribute tour, but all of the recordings are of older vintage – and the set includes a huge amount of rare numbers from the first years when Burt's music was getting out to the masses. Titles include "Forgive Me" by Babs Tino, "That's The Way I'll Come To You" by Jack Jones, "Rome Will Never Leave You" by Richard Chamberlain, "These Desperate Hours" by Mel Torme, "The Look Of Love" by Chris Montez, "Magic Moments" by Ronnie Aldrich, "This Guy's In Love With You" by Frankie Valli, "Alfie" by Dee Dee Warwick, "April Fools" by Vanessa Williams, "Promise Her Anything" by Tom Jones, "Who's Got The Action" by Phil Colbert, "Say Goodbye" by Pat Boone, "Waiting For Charlie To Come Home" by Marlena Shaw, "He Who Loves" by Lenny Welch, "Loving Is A Way Of Living" by Steve Lawrence, "With Open Arms" by Jane Morgan, "Ten Thousand Years Ago" by Rusty Draper, "Wishin & Hopin" by The Merseybeats, "For The Children" by Burt Bacharach, and "A House Is Not A Home" by Julie Rogers.

Sublime mid-period work from The Drifters – a record cut when the group was working with the team of Lieber & Stoller, who revamped their sound into a sweetly soulful groove that really set the scene for the New York uptown sound of the 60s! The tracks here often have a lilting little rhythm at the bottom – just enough to get thing stepping along in a mode that's sweeter, and arguably more sophisticated than the group's earlier R&B work. And the overall sound is so great, we hardly miss Clyde McPhatter or Ben E King – because the rest of the group has a nicely unified sound. Tracks include "Nobody But Me", "Room Full Of Tears", "No Sweet Lovin", "Jackpot", "Sweets For My Sweet", and more! Also includes the great early Bacharach track "Mexican Divorce"!

A sweet little set from mid 60s Capitol records – a wonderful blend of jazz and percussion, handled by two of the most inventive musicians on the LA scene! Jack Marshall's probably best known for his excellent arrangements for the label on sets with singers – but here, he's playing guitar alongside the percussion of Shelly Manne – who handles a whole host of unusual instruments, always with the fluid swing he brought to his jazz recordings of the 50s! There's definitely a lot more jazz going on here than the heavier percussion you'd hear on a bachelor pad record of this nature – and the open strings on Marshall's guitar make for plenty of nice bossa inflections, too. Titles include "Theme From Lawrence Of Arabia", "Yesterdays", "Manha De Carnaval/Sweet Happy Life", "The Girls of Sao Paulo", "The Rain in Spain", and "Choros".

Can 60s pop get any better than this? It's hard to think so – given the near-perfect sound of this album, and its unique blend of soul, vocal, and mainstream modes! The album's only the second in the career of Dionne Warwick, but she's already at the top of her game – singing with a sense of grace and poise that's simply tremendous, and getting some equally great backing from a young Burt Bacharach – who himself co-wrote most of the tunes here with Hal David. There's a sense of completeness to the record that few other pop albums of the time could boast – a mature, thoughtful presentation of the material that certainly set a new standard for many artists to come! Titles include "Anyone Who Had A Heart", "Don't Make Me Over", "Getting Ready For The Heartbreak", "Any Old Time Of Day", "Mr Heartbreak", "Put Yourself In My Place", and "Please Make Him Love Me".

A great post-Scepter album by Dionne Warwick – one that still has her working with Burt Bacharach, but at a level that's somehow more mature, more adult than even before! There's a gentle quality here that gets beyond the straighter pop of Warwick's 60s hits, and moves into the realm inhabited by Bacharach's sublime solo sets for A&M – a style that still has the singer at the forefront, but which is equally concerned with the full spectrum of sound on the set, and which has the whole album flowing together beautifully. Burt and Hal David produced, and arrangements are by Bacharach, Don Sebesky, and Bob James. Titles include a great reading of "Hasbrook Heights", plus "I Just Have To Breathe", "The Balance Of Nature", "If You Never Say Goodbye", "Be Aware", "If We Only Have Love", and "Love Song".