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A sweet instrumental tribute to the 70s soul genius of Thom Bell – plus the Delfonics and Stylistics as well – served up with lots of mellow keyboards from the mighty Bob Baldwin! Given that Bob's got a firm lock on soulful sounds of the 21st Century, he's a great choice to revive the music of Bell – helping to bridge the space of decades with his well-crafted lines on piano and keyboards – and with great guest work from artists who include Marion Meadows, Vivian Green, Will Downing, Paul Taylor, Ragan Whiteside, and Russ Freeman! Titles include "Didn't I Blow Your Mind This Time", "Betcha By Golly Wow", "People Make The World Go Round", "Break Up To Make Up", "I'll Be Around", and "La La Means I Love You".

Fantastic work from Archie Bell & The Drells – an important record that bridges their earlier and later sounds! It's a key transitional album for the crew – as most of the album's in the harder rawer Texas funk groove of earlier year, but some of it features newer production by Gamble & Huff, in that excellent smooth dancing style that took Archie light years from his roots. The Gamble & Huff tracks are the most obvious – the singles "I Can't Stop Dancing" and "Do The Choo Choo" – and the album's got other great cuts like the original tunes "Do You Feel It?", "You're Such A Beautiful Child", "Jammin In Houston", and "Love Will Rain On You", plus versions of Curtis Mayfield's "I've Been Trying" and "Sometimes I Wonder". CD also features three bonus tracks – "Low Down", "Going Out Of My Head (demo)", and "Who's Loving You (demo)".

An incredible bit of southern funk – the first landmark LP by Archie Bell & The Drells, and the first big burst of energy from the Texas scene of the 60s! The album's incredible – with Archie up front on rough-hewn vocals, the band grooving in a mad tangle of guitar, bass, and drums, and some super-fierce horn work by the TSU Tornadoes! You've no doubt heard the band's classic "Tighten Up (part 1)", but this album also includes the incredible "part 2" to the track – which takes the groove a million miles higher! And the whole album's equally great – filled with other tight soul gems that include "A Thousand Wonders", "I Don't Want To Be A Playboy", "Give Me Time", and "When You Left Heartache Began".

An incredible bit of southern funk – the first landmark LP by Archie Bell & The Drells, and the first big burst of energy from the Texas scene of the 60s! The album's incredible – with Archie up front on rough-hewn vocals, the band grooving in a mad tangle of guitar, bass, and drums, and some super-fierce horn work by the TSU Tornadoes! You've no doubt heard the band's classic "Tighten Up (part 1)", but this album also includes the incredible "part 2" to the track – which takes the groove a million miles higher! And the whole album's equally great – filled with other tight soul gems that include "A Thousand Wonders", "I Don't Want To Be A Playboy", "Give Me Time", and "When You Left Heartache Began".

A great look at the never-ending genius of the legendary Steve Ditko – one of the greatest comic book artists of all time, and someone who's given us decades of enjoyment! This beautiful oversized book is a great companion to all the vintage Ditko material that's been reissued in recent years – and features a brilliantly-illustrated bio of Steve – with loads of images from his work at Marvel, Charlton, DC, Warren, and on his own – plus a key look at the influence of Ayn Rand on Ditko's images and ideas. A very hefty book, filled with color images – hardcover, and oversized!

A wonderful set by the enigmatic Charles Bell – a 60s modernist, but one with a great sense of soul! The album definitely lives up to its title, and has a fresh approach to the medium – a style that has some of the Modern Jazz Quartet influence in its structure, yet which also shares some more complex rhythmic ideas from the Ornette Coleman camp – mixed with a straighter hardbop vibe as well! The blend is quite compelling – and in addition to Bell's work on piano, the set also features Bill Smith on guitar, Ron Carter on bass, and Allan Blairman on drums. Titles include "Satan Said", "Django", "Portrait Of Aunt Mary", "Theme", and "Bass Line".

Wonderful early work from Madeline Bell – a great singer with a sound that's equal parts American soul and British 60s female pop! The recordings on the set are from Madeline's earliest years in the UK – long before she achieved greater fame on crossover rock recordings, at a time when she was just stepping off an early career in gospel, where she'd crafted some great recordings on Vee Jay with Alex Bradford. The sound of the album is wonderful – arranged to production by Arthur Greenslade, and produced by Johnny Franz with the same pop genius he brought to Philips work by Scott Walker and Dusty Springfield. The CD features the full tracks from the Poppin album, plus a number of contemporary singles – for a total of 20 tracks that include "Picture Me Gone", "Beat The Clock", "Can't Get Used To Losing You", "Didn't Want To Have To Do It", "Soul Time", "I'm Gonna Make You Love Me", and "You Won't See Me".

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

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

Some of the greatest work ever recorded by Allen Toussaint – his legendary Toussaint album for Scepter (aka Whisper To A Scream) – plus some rare late 60s singles that have never been on CD before! The core album is amazing – Allen Toussaint's first big move as a solo act, and the start of some great fame that would blossom even more strongly in the 70s! This indie effort has a rougher edge than Allen's later albums at Warner Brothers – a sly, wicked slow funk approach that's a real transformation of the older New Orleans groove for a hipper, more contemporary 70s audience. The instrumentation is relatively lean – with lots of nice organ and piano lines alongside slow-stepping and vamping rhythms – and the set was actually recorded in LA, but still has very strong roots in New Orleans! Titles include the classic "From A Whisper To A Scream", plus "Working In A Coal Mine", "Everything I Do Gonna Be Funky", "What Is Success", "Either", "Pickles", and "Louie" – a few of which are hip piano instrumentals! 17 track CD completes the genius of this point in Toussaint's career – by adding in some killer funky singles – including "Get Out Of My Life Woman", "Gotta Travel On", "We The People", "I've Got That Feelin Now", "Tequila", and "Hands Christiananderson".

What can we say? "Ring My Bell" was one of the biggest crossover disco tracks of the late 70s – with a cool electronic groove on the beat, and lyrics and production by Frederick Knight, making the southern soul singer one of the more unlikely disco forces of the time. This 12" single features the full 8 minute version – with the "Midnight Mix" by Richie Rivera.

A stormer from Archie Bell & The Drells – one of our favorite soul albums ever, and a masterpiece of mid-tempo soul! Archie Bell & The Drells sound amazing here – light years from the rougher funk of their earlier years, yet still with a groove that's undeniable – an incredible meeting of soul music scenes handled by the young Gamble & Huff team – who not only produce most of the record, but also wrote most of the tracks on the set! The groove is lightly lilting, and totally on the money – a sound that's incredible, and hard to describe in words – but which really grabs us from the get-go. All tracks are great, and totally fresh – and tunes include "I Love My Baby", "Houston Texas", "Showdown", "My Balloon's Going Up", "Giving Up Dancing", "Girl You're Too Young", and "Green Power".

A loving tribute to the legendary Bill Everett – filled with rare drawings, vintage comics, and a huge amount of biographical information! Everett was one of the key forces of comic books in the early days – creator of Sub-Mariner for Marvel/Timely, and artist of countless action, horror, and sci-fi features – a good deal of which are referenced in the book! Everett emerged on the scene with draftsmanship that was already head and shoulders above most of his contemporaries – and by the late 40s, his work was incredible – a sense of line, space, and balance that was simply beautiful – presented here in some oversized images that really leave us breathless! The book's filled with color images, nestled alongside the writing – and it's coffee-table sized, almost 200 pages in length!

Fantastic work from Archie Bell & The Drells – an important record that bridges their earlier and later sounds! It's a key transitional album for the crew – as most of the album's in the harder rawer Texas funk groove of earlier year, but some of it features newer production by Gamble & Huff, in that excellent smooth dancing style that took Archie light years from his roots. The Gamble & Huff tracks are the most obvious – the singles "I Can't Stop Dancing" and "Do The Choo Choo" – and the album's got other great cuts like the original tunes "Do You Feel It?", "You're Such A Beautiful Child", "Jammin In Houston", and "Love Will Rain On You", plus versions of Curtis Mayfield's "I've Been Trying" and "Sometimes I Wonder".

Al Green's first LP – with a very different feel than his later work on Hi. The record's got a harder southern soul groove – almost in a Wilson Pickett/Arthur Conley mode, but with some sweeter elements in the backing. Al's voice is still incredible, although different than later, in that he's singing with a really open vibe, letting himself go a bit more, and not keeping in that smooth sophisticated mode of later years. Originally released by the tiny Hot Line label, and issued later by Bell Records when Al started to hit big with Hi Records during the early 70s. Titles include "Back Up Train", "Get Yourself Together", "Don't Leave Me", "Let Me Help You", "Hot Wire", and "Stop & Check Myself".

A second return to the American studios – with arrangements by Al Capps – and titles that include "The Singer", "The Loving Song", "Dandelion", "Like A Main Theme", "Just Another Face", and "Dance Over The Water".

Second version of Woody's very first LP – and a pretty great album of standup material, cut back when he was just a budding writer for TV. The set was recorded at Mr Kelly's in Chicago, and has an easy going flow – with Woody just talking his way through material, almost in a Lenny Bruce sort of way.

Ahh, we'd so love to see a bunch of killer Morricone numbers on funky 45s – but if that doesn't happen, we've got a really great one here!!! "Le Casse" is a moody bit of crime score funk, a killer beat under some harpsichord, strings and somewhat soaring atmospherics that pair so nicely with the rawer undercurrent. "Rodeo" has a more measured approach with a groovy payoff, and some sweet horns in the mix. Great stuff pulled from an early 70s film with Jean-Paul Belmondo & Omar Sharif!

An unbelievably fantastic soundtrack – written for the silly sequel to the film Born Free! Howard Blake lays down some amazingly funky instrumental tracks that have a light "jungle" sound – with lots of rolling bass and hard drums in a sweet late 60s funky sort of style. There's at least 2 or 3 great break tracks on here, and there's a number of other nice ones with a breezy jazzy feel to them. The whole thing's great, with nary a dud track, and the highlights include "An Elephant Called Slowly", "Mr. Mopoji", "Elephant Rides Again", "Poli-Poli", and "Cheetah".

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".

Cool repackaging of some of Burt's great work for Kapp from the 60's. The album, which has a cover that makes him look like a statue at a piano in a forest, was put together for the Abbott pharmaceutical company as a promotion for their drug Placidyl! A wild package, and a great batch of cuts that includes Burt's good versions of early stuff like "Saturday Sunshine", "Don't Go Breaking My Heart", "One Less Bell To Answer", and "Walk On By".

Nicely-structured performances between pianist Ran Blake and guitarist David Knife Fabris – done with plenty of free-thinking elements, including those bold-ringing tones that we've always loved in Blake's recordings – yet still based around some relatively tight song structures overall! Most numbers are relatively short, but benefit from that fact – as they let Fabris bring in a flurry of chromatic sounds from his instrument, and Blake hit those almost bell-like notes on the piano – often doing a lot with just a little. And the setting sometimes has one player handling all the work on a track, then shifting to the other on the next one – and coming together on duets on others. Titles include "Watch What Happens", "Desafinato", "My Cherie Amour", "Sontagism", "Driftwood", "In Pursuit", "Cry Wolf", and "Shlof Manyn Kind".

Even at an early age, Anthony Braxton was already experimenting with new forms of jazz composition – and this 1968 debut as a leader is filled with the imaginative approaches to music that would make him a key shaper of jazz in the next decade! The tracks here are all quite long, and although free-sounding, still have an intrisic logic dictated by Braxton's compositional ideals – played by himself on alto, soprano sax, clarinet, flute, and a variety of other instruments – in a quartet that features Leo Smith on trumpet and mellophone, Muhal Richard Abrams on piano and cello, and Leroy Jenkins on violin and viola. In true AACM fashion, all players pick up other instruments as the tunes roll on – percussion bits, kazoo, slide whistle, bells, and more – almost more Art Ensemble-like than some of Braxton's more tightly-controlled environments on later records. Titles include two pieces titled in Braxton's equation-like style – plus "The Bell".

Groundbreaking work on vibes by Gary Burton – recorded in a setting that's live and open, yet quite groovy too! There's a rhythmic freeness that marks the set from the very first note – lessons learned from the generation of Ornette, yet taken in new direction – and definitely into new colors and tones – thanks to Burton's amazingly chromatic vibes, and the vivid guitar of Larry Coryell – not to mention the unusual rhythms from Steve Swallow on bass and Bob Moses on drums. These youthful players push the envelope even more than on some of Burton's other RCA albums of the time – going for a groove that's much more open and abstract, and which puts Coryell's guitar in a role that's as important as Burton's vibes in the set. Titles include "Wrong Is Right", "Walter L", "Lines", "The Sunset Bell", and "Blue Comedy".

A cooker from this Chicago living legend – and proof that the passage of time hasn't dimmed the talents of Eddie Campbell at all! Eddie's firmly in the lead on vocals and guitar – plus a bit of harmonica, too – and the setting is mostly stripped-down, with the kind of no-nonsense contemporary blues production you'd expect from Delmark – almost a back-to-basics mode that really fits the music. Lurrie Bell guests on a few tracks – and titles include "Brownout", "I Do", "Call My Mama", "I Don't Understand This Woman", "Boomerang", "Starlight", "All My Life", "Skin Tight", and "My Friend".

Great post-Parliafunkadelicment work from George Clinton – surely the biggest hit of his albums for Capitol – especially since it features the singles "Atomic Dog" and "Loopzilla"! We'll be honest in saying that at the time this one came out, as die-hard Detroit funk fans, we remember thinking "oh gosh, George has lost it" – but from the perspective of many years later, the record sure sounds like classic P-Funk to us – really picking up where the last few Funkadelic and Parliament albums left off! The album sports a great Pedro Bell cover, features some nice work with Bootsy, includes the hits "Atomic Dog" and "Loopzilla" – and also features some lesser-known gems that include "Pot Sharing Tots", "Get Dressed", "Computer Games", and "One Fun At A Time".

A nice little set that combines some of Eddie's rare work for King from the mid 50s! Eddie's tenor is in wonderful form here, working with a real sense of economy on the album's short tracks – a sense that you don't always get in some of his more stretched-out sets for Prestige. Backing on most tracks is by an organ trio – with either Shirley Scott or Doc Bagby at the keys – and titles include "Mean To Me", "The Happy Whistler", "Smooth Ride", "Yesterdays", and "If I Were A Bell".

Miles Davis' first-ever performance in Japan – a really unique concert that featured the quintet with Herbie Hancock, Ron Carter, and Tony Williams – augmented by a young Sam Rivers on tenor! The presence of Rivers really gives the set an edge – and although Miles is holding Sam a bit more in check than on some of his "new thing" albums from the time, there's an overall quality here that's different than the other Davis quintet albums of the time. The set was one of a number of important Miles Davis live sessions from the period – including albums from Berlin, Antibes, and Chicago – and titles include "If I Were A Bell", "My Funny Valentine", "So What", "Walkin'" and "All Of You".

One of the classic early Miles Davis & John Coltrane sessions for Prestige – a well-crafted quintet album that shows Miles finding a stronger voice than ever, and Coltrane beginning to emerge as a key force on his own! Backing is subtle and soulful – handled by the trio of Red Garland, Paul Chambers, and Philly Joe Jones – and although the tracks are mostly ballads and standards, they're all nicely given the Davis treatment on the set, turned into beautiful new vehicles for jazz imagination and improvisation! Titles include "If I Were A Bell", "I Could Write A Book", "Oleo", and "Woody'n You".

Incredible stuff – and a rare meeting of two giant jazz talents you'd never thought would appear on the same stage! The album features a 1960 concert in Sweden – Miles and Sonny upfront, with backing by the trio of Wyton Kelly, Paul Chambers, and Jimmy Cobb. Tracks are long, fiery, and a bit dirty (if we can say that in mixed company!) – and titles include "No Blues", "If I Were A Bell", "Walkin", "All Of You", and "On Green Dolphin Street".

A groundbreaking album of vocal group soul – right from the first note! The record kicks off with the sublime "Ready Or Not, Here I Come" – which starts with fierce stepping strings that are actually funky, then soars into some of the best harmonies the group ever put to record, superbly arranged by the great Thom Bell, who also wrote the track. As the album progresses, the sound expands further to encompass many elements that would become the blueprint for vocal groups over the next few years – like twangy electric sitar, cascading orchestrations, and pinched lead vocals that take a lot more chances than most group singers had been taking for years! There's still a bit of a 60s soul sound to some of the cuts, but the album's a watershed – not only for Thom Bell and the group, but for harmony soul as well! Titles include "Ready Or Not Here I Come", "My New Love", "Loving Him", "With These Hands", "Somebody Loves You", and "Everytime I See My Baby".

A groundbreaking album of vocal group soul – right from the first note! The record kicks off with the sublime "Ready Or Not, Here I Come" – which starts with fierce stepping strings that are actually funky, then soars into some of the best harmonies the group ever put to record, superbly arranged by the great Thom Bell, who also wrote the track. As the album progresses, the sound expands further to encompass many elements that would become the blueprint for vocal groups over the next few years – like twangy electric sitar, cascading orchestrations, and pinched lead vocals that take a lot more chances than most group singers had been taking for years! There's still a bit of a 60s soul sound to some of the cuts, but the album's a watershed – not only for Thom Bell and the group, but for harmony soul as well! Titles include "Ready Or Not Here I Come", "My New Love", "Loving Him", "With These Hands", "Somebody Loves You", and "Everytime I See My Baby".

An incredible album from Dinosaur L – the legendary New York dancefloor project of Arthur Russell! – fleshed out and expanded more than ever before by Sleeping Bag and Get On Down Records! The group's core sound is a punky, funky, chunky amalgam of bass thumping, guitar riffing, keyboard filling, and sax honking – all very much in the spirit of Russell's best quirky club work of the time, but with the added sound here of a more expanded approach – one that takes the tunes in a whole new territory than the more famous 12" singles! The tracks on the original set were simply numbered – "1", "2", "3", and so on – and come across almost as free-jamming instrumentals – but this reissue appends the songs with their 12" titles, so "#1" gets parenthetically entitled "You're Gonna Be Clean On Your Bean" and "#5" as "Go Bang!", plus this disc adds several 12" versions that were not on the original LP release, like Francois K's mix of 'Go Bang!" and Larry Levan's mix of "In The Corn Belt". Totally great stuff – as experimental as it is funky! This 4LP box set edition is amazing – coming in a beautiful hand-pulled silkscreen box – and it includes more Arthur Russell collaborative and/or pseudonymous material for Sleeping Bag with or as Bonzo Goes To Washington, Felix, Sounds Of JHS Brooklyn and Indian Ocean. Other tracks include "School Bell/Treehouse" (Indian Ocean), "You Can't Hold Me Down (Extended Version)" (Felix), "5 Minutes (R-r-r Radio Mix)" (Bonzo Goes To Washington) and more. Also includes an oversized booklet of photos, artwork and artist testimonials – plus notes by Russell biographer Tim Lawrence.

The album's hardly breakthrough for pianist Eldar Djangirov, given his success in recent years – but it is another bold step forward, served up in his richly flowing approach to the keys! Eldar's trio rolls out here with tight energy from the start – gathering force as they move forward, with a wonderful tangle of piano, bass, and drums – all effortlessly pulsing, dipping, and turning – even while Djangirov flows ahead on some wonderful free flights of his own! The approach is everything that's made Eldar such a strong new voice on the piano – and the group also features guest appearances from Chris Potter on tenor and Joe Locke on vibes – each on a different track. Titles include "Blink", "No Moon At All", "What'll I Do", "In Pursuit", "Morning Bell", "Point Of View Redux", and "Breakthrough".

A sublime little set – one of Art Farmer's seminal quartet recordings from the mid 60s, and a blend of modern lyricism with an ease and economy that's hardly ever been matched again! There's a careful, measured style here that's really tremendous – one that's never too sleepy or lazy with its approach, and which almost seems to carry on the modes of expression first begun by Jimmy Giuffre in the 50s – although in completely different ways! The group features Pete LaRoca on drums, Steve Kuhn on piano, and Steve Swallow on bass – but it's Art's effortless trumpet solos that really make the album sparkle, as they drift over the top of the album's hip original tunes, written by Carla Bley and LaRoca. Titles include "Ad Infinitum", "Petite Bell", "Tears", and "One For Majid".

A soulful 70s set from Cheo Feliciano – cut-above salsa done in close collaboration with songwriter C Curet Alonso, who wrote most of the songs on the set! Bobby Valentin handles arrangements – and the groove here has that joyous, upbeat style of his own work at the time – pushed forward strongly with basslines from Bobby, plus Ray Barretto on congas, Vinnie Bell on guitar, Dave Carey on vibes, and Larry Harlow on piano. The core combo's nice and tight, and gives the album a personal feel that matches the tunes nicely – and titles include "Nabori", "Salome", "Guaguanco Te Dedico", and "Hace Furo", a nice jazzy mambo track.

An oft-overlooked gem by Funkadelic – the group's last album for Westbound, and a record that really has them growing into a great new groove! Bootsy and Eddie Hazel have stepped aside for the set, but that gives Bernie Worrell plenty of room to work his magic on keyboards – in a way that really increases the spacier elements of the set, and almost trades a messed-up moogy sort of feel for the heady guitars of earlier years – a slippery kind of Funky Worm groove that we totally love! The set is self-described as "delightfully putrid" on the Pedro Bell cover – and we couldn't agree more! Titles include "Undisco Kidd", "Let's Take It To The People", "How Do Yeaw View You", "Butt-to-Butt Resuscitation" and "Take Your Dead Ass Home!".

Lovely 60s girl pop from Lesley Gore – the sweet, soaring, brightly sunny Magic Colors album – released in full for the first time ever – and with a huge assortment of bonus tracks, too! Magic Colors should have come out on Mercury in 1967, but it wasn't to be. Well, better late than never, right? It's fluffy, but fun – with sweet vocals by Leslie and with arrangements by Bob Crewe, Jack Nitzsche, Gamble & Huff, Thom Bell and others. The album tracks include "It's A Happening World", "Magic Colors", "Brink Of Disaster", "I'm Fallin' Down", "To Sir With Love" and more. Includes a whopping 15 bonus singles: "Summer And Sandy", "Small Talk", "I Can't Make It Without You", "Summer Symphony", "One By One", "Wedding Bell Blues" and more. 25 tracks in all!

A killer late 60s Chicago blues set from Earl Hooker – one of his best! Earl is one of the great blues slide guitarists, and his tone is captured so incredibly well here – songs recorded at Chicago's Sound Studios with impeccable players. Earl sings on "Anna Lee" and "You Don't Want Me", does some conversing with Andrew Odom on the great title track. Louis Meyers contributes some great harmonica on "Anna Lee", with Carey Bell on vocals and harmonica on "Love Ain't A Plaything". Geno Skaggs is on bass, Joe Willie Perkins the keys and Levi Warrens on drums. Other songs include "Off The Hook", "You Don't Love Me" and "Earl Hooker Blues".

The last Arista album from Phyllis Hyman – and a set that really sums up all the genius she expressed at the label! Some tunes are upbeat and catchy – the kind of tracks that had Hyman reaching a much wider audience in the early 80s – while others are more sophisticated and mellow, the kind of all-woman tunes that made Phyllis a genre-defining artist that so many others tried to match in years to come! These latter tracks are our favorites, and are still the type that Hyman can do better than anyone else – couched here in perfect production for the mode by Thom Bell and Narada Michael Walden. Titles include "Why Did You Turn Me On", "Your Move My Heart", "Falling", "Riding The Tiger", "Goddess Of Love", "Just Twenty Five Miles To Anywhere", "Just Me & You", "We Should Be Lovers", and "Let Somebody Love You".

The last Arista album from Phyllis Hyman – and a set that really sums up all the genius she expressed at the label! Some tunes are upbeat and catchy – the kind of tracks that had Hyman reaching a much wider audience in the early 80s – while others are more sophisticated and mellow, the kind of all-woman tunes that made Phyllis a genre-defining artist that so many others tried to match in years to come! These latter tracks are our favorites, and are still the type that Hyman can do better than anyone else – couched here in perfect production for the mode by Thom Bell and Narada Michael Walden. Titles include "Why Did You Turn Me On", "Your Move My Heart", "Falling", "Riding The Tiger", "Goddess Of Love", "Just Twenty Five Miles To Anywhere", "Just Me & You", "We Should Be Lovers", and "Let Somebody Love You". CD features the bonus tracks "Riding The Tiger (dance version)", "Riding The Tiger (single version)", and "Riding The Tiger (inst)".

A beautiful second album from Idea 6 – the cool Italian combo who first blew our minds with their excellent Metropoli set! The style here is similar to that great album – a recasting of older Italian jazz modes from the 60s – the mix of hardbop and modalism that flourished during some of that scene's best postwar years, served up here in a mix of younger and older players with a great degree of sensitivity for each other. The album's produced by maestro Paolo Scotti – and has all the care for classic touches as his other great projects in recent years – and the lineup features Gianni Basso on tenor, Guido Pistocchi on trumpet, Dino Piana on valve trombone, and Andrea Pozza on piano. Guests include Francesca Sortino on vocals and Anibale Modoni on vibes – both of whom bring in a slight bit of Schema energy – and titles include "OM Blues", "Tempura 4/4", "Junior Is Back", "Dance Of The Crickets", "Mr GB", "Tune Up", and "Bell's". Includes a bonus DVD too – with an intro and interview with the group – plus videos of the tunes "Tune UP", "Mr GB", and "Bell's".

Great long piano grooves from the trio of Masaru Imada – augmented here with additional instrumentation as well! Masaru alone is already great – a Japanese pianist with a strong sense of rhythm – those rolling lines we love in his trio dates from the 70s, usually with a nice dose of modal energy and an undercurrent of soul. Yet here, his sound goes even farther – as the album adds in some work by Fushimi Tetsuo on trumpet, Mitsumori Ichiroh on tenor and soprano sax, and Nakajima Osamu on percussion – coming in on the latter half of the record to push things along nicely. Tracks are all very long – and titles include "Glitter", "Blackdog", "Bell Flower", "Quarter", "World Line", and "Little Step".

A monster – and quite possibly one of the greatest Fender Rhodes albums of all time! Bob James is really at the height of his powers here – stepping out with a sound that's a lot smoother than some of his earlier work, yet in a groove that's never too slick or too overproduced – as happened with some of his later records on the Tappan Zee imprint. Here, James is still a master of space and sound – using the Fender Rhodes with bell-like tones to craft some key grooves that are still having an amazing impact today, more than 30 years after the album was initially recorded! There's a darkness here that we totally love – and tracks include the legendary "Take Me To The Mardi Gras", which has been sampled by Run DMC and loads of others – plus"The Golden Apple", "I Feel A Song", "You're As Right As Rain", "Farandole", and "Dream Journey".

A monster – and quite possibly one of the greatest Fender Rhodes albums of all time! Bob James is really at the height of his powers here – stepping out with a sound that's a lot smoother than some of his earlier work, yet in a groove that's never too slick or too overproduced – as happened with some of his later records on the Tappan Zee imprint. Here, James is still a master of space and sound – using the Fender Rhodes with bell-like tones to craft some key grooves that are still having an amazing impact today, more than 30 years after the album was initially recorded! There's a darkness here that we totally love – and tracks include the legendary "Take Me To The Mardi Gras", which has been sampled by Run DMC and loads of others – plus"The Golden Apple", "I Feel A Song", "You're As Right As Rain", "Farandole", and "Dream Journey".

One of the strangest albums ever issued on Philly International – a set of tunes by Dick Jensen, who was part blue-eyed soul singer, part easy male vocalist – sounding here as if he'd almost hit the market about 5 years too late to make a difference. The record's the kind that would be more at home on late 60s Capitol than early 70s Philly – but they must have had big plans for it, as all the tracks are originals by Gamble & Huff, who also do the production with Thom Bell and Bunny Sigler. Bobby Martin, Vince Montana, and Norman Harris all arrange, so the backings are top-shelf too – it's just that Dick can't seem to figure out what he wants to be from track to track on the record. Titles include the funky "Fat Mama", plus "Peace Of Mind", "Going Up To The Mountain", "I Don't Want To Cry", "32nd Street", and "Tamika".

One of the strangest albums ever issued on Philly International – a set of tunes by Dick Jensen, who was part blue-eyed soul singer, part easy male vocalist – sounding here as if he'd almost hit the market about 5 years too late to make a difference. The record's the kind that would be more at home on late 60s Capitol than early 70s Philly – but they must have had big plans for it, as all the tracks are originals by Gamble & Huff, who also do the production with Thom Bell and Bunny Sigler. Bobby Martin, Vince Montana, and Norman Harris all arrange, so the backings are top-shelf too – it's just that Dick can't seem to figure out what he wants to be from track to track on the record. Titles include the funky "Fat Mama", plus "Peace Of Mind", "Going Up To The Mountain", "I Don't Want To Cry", "32nd Street", and "Tamika".

A nice bit of psych folk from the UK – Paul Korda's Passing Stranger record from 1971. It's pretty driving set in moments, and quite delicate in others – voiced impressively by Korda, who's also really strong in the songwriting arena! The songs are really inspired, still carrying some of the romance and idealism of the later 60s, and his voice is quite soulful, too! It's co-produced by Vic Smith and features some stellar guests on the sessions, including AWB guitarist Alan Gorrie, plus Chris Spedding, Onnie McIntyre, Madeline Bell and Doris Troy. Includes "Between The Road", "Morning Wakes The Sun", "Dover Ferry", "Ode To The Ministry", "Into Your Station", "Pass Me Winter", "Rubble My Cauldron", "We Are Each Other", "A Passing Stranger", "Mud Mother" and more. 2 bonus tracks: "English Country Garden" and "Seagull" – pulled from rare singles!

One of the greatest Yusef Lateef albums on Atlantic Records – and that's saying a lot, given the high level of quality he was hitting at the label! The album's a perfect blend of the newly-funky Lateef style with some hipper, more sophisticated touches – a mode that hints at his bigger-concept recordings to come, but which is still pretty lean and clean overall – and damn funky on most of the best tracks! Yusef plays a host of hip flutes here, plus tenor and oboe – and an almost equal star on the record is Kenny Barron, whose electric piano lines really make the album something special. The album begins with a long take on Barron's "Nubian Lady" which begins the record – and Kenny also contributed the tighter grooving "Jungle Plum". Other tracks include "African Song", "Queen Of The Night", "Poor Fishermen", "Below Yellow Bell", and a strange version of "Hey Jude" that goes on for a long time, and really messes with the volume – listed on the cover with the note "Do not adjust the playback level on your audio equipment – readjust your mind!"

Excellent work from Gamble & Huff – with a strong Philly groove on just about every track, and good instrumental moments that really keep the groove fresh and strong. Many tracks have background female vocals on the choruses, and the record's got good percussion by Leroy Bell and synth and keyboards by Casey James. Tracks include "Use Ta Be My Guy", "To Be In Love", "Is It Something I Said", and a nice version of "Wishing On A Star".

A nice one! The MJQ record for the Beatles' famous Apple label, and the album's one of their most interesting of the 60s! The production's pretty straight, but the group's playing in a cool open-ended style that still has elements of their earlier work, but which really makes things a lot more interesting than some of the Atlantic recordings. Milt Jackson's vibes have a bit more of a bell-like quality on some parts, and the rhythm team of Percy Heath and Connie Kay kick it with a soul jazz vibe on a few numbers – a nice change from the sleepier rhythms of earlier albums. Titles include "The Blue Necklace", "Exposure", "Jasmine Tree", and "Three Little Feelings".

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".

A self-titled set from the mighty Music Machine – a studio ensemble who were as important to the sound of European club music in the 70s as Instant Funk and MFSB were to the Philly scene in the US! The Machine features a host of players who'd previously backed Donna Summer and other Giorgio Moroder projects, stepping out here as an act on their own – grooving tightly with the kinds of stretched-out disco modes that Moroder really helped pioneer, graced by some excellent keyboards from Thor Baldursson! Most cuts have some sort of chorus vocals – sung by Madeline Bell, Sue Glover, and Sunny Leslie – and titles include the extended "Get On The Funk Train", a short remake of "Love To Love You Baby", and the cuts "Spring Affair", "Trouble Maker", "Try Me I Know We Can Make It", and "I Wanna Funk With You Tonight".

Laura Nyro's first album ever – originally issued by Verve/Forecast in the mid 60s, but brought back out on the market by Columbia, during the height of Nyro's early 70s fame for the label! Even at this early point, Nyro sounds wonderful – a fair bit more soulful than most other female pop singers of her time – with a fully-fleshed out approach to the vocals that's mature and sensitive, and almost a bit more confident at times than in later years. Arrangements are by Herb Bernstein, and almost have the same sort of sunny feel as The 5th Dimension in their famous covers of Nyro's tunes – again with more soul than we might have expected for the time. Titles include "Lazy Susan", "Stoney End", "Flim Flam Man", "Buy & Sell", "He's A Runner", "Billy's Blues", and "Wedding Bell Blues".

Laidback duets between pianist Hod O'Brien and guitarist Wim Overgaauw – both aging players who relaxed nicely here in each other's company! There's a really clean sound to the set – open lines on Wim's hollow-body guitar, and a tinkling piano tone from O'Brien's keyboard – one that's a bit different than his usual mode, and almost shows a bit more sensitivity in this setting. But that's not to say that the album's a sleepy one, because even without bass or drums, the tunes have a strong sense of swing – an inherent rhythm that both players bring to the date, making the album a bit different than the usual duet date of this nature. Titles include "Along Came Betty", "Autumn Leaves", "If I Were A Bell", "I Love You", "Stablemates", "Just Friends", and "My Romance".

Marty Paich takes on a host of Broadway tunes from the 50s – but as always with his best work, the result is something quite far from its roots – an amazing batch of jazzy instrumentals that owes very little to the original conception of the tunes! Paich's got an incredible ear for arrangements here – one that manages to make a large ensemble swing with even more dynamic modes than some of his 50s LA contemporaries, but never in ways that fall into some of the more hi-fi oriented tricks or gimmicks of the time. There's always great space for solo voices and personal feelings in the music – which is important, given that the lineup includes Art Pepper on alto, Bill Perkins on tenor, Jimmy Giuffre on baritone, and Stu Williamson on trumpet – not to mention the legendary Scott LaFaro on bass. Titles include "I Love Paris", "I've Grown Accustomed To Her Face", "It's All Right With Me", "Just In Time", "Lazy Afternoon", "If I Were A Bell", and " Younger Than Springtime".

2 funky sample classics - back to back on one 45! "EVA" is one of the greatest tracks ever by Jean Jacques Perry – a mad mix of snapping beats, spacey moog, and these cool bell tones – sampled famously by Gang Starr, but even funkier straight up in this original mix! "Take Yo Praise" is a great bit of work from righteous poetess Camille Yarbrough – starts with a spare vocal bit, then bubbles with a superdope bass part that snaps along with some heavy guitar and conga beats!

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".

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 Wicked Pickett takes his groove up to Philly – and comes up with a whole new sound in the process – a raw new style for the 70s, and one that's almost even more compelling than his Muscle Shoals groove! The album was recorded at the early Sigma Sound studios in Philly – and features arrangements from Bobby Martin, Lenny Pakula, and Roland Chambers – all artists who really help bring in a northern vibe to Pickett's music, yet still let those amazingly raw vocals do their thing! In a way, it's this mix of raw and smooth that almost sets the scene for Philly International gems to come a few years later – especially since a lot of the tunes are penned by Gamble & Huff – and instrumentation is provided by Thom Bell on organ, Norman Harris and Bobby Eli on guitars, Ronnie Baker on bass, Earl Young on drums, and Vince Montana on vibes and percussion. Titles include "Days Go By", "Run Joey Run", "Help The Needy", "Don't Let The Green Grass Fool You", "Ain't No Doubt About It", "Come Right Here", and the classic 2-part track "Get Me Back On Time, Engine Number 9".

Interviews with songwriter Paul Williams (focussing on his soundtracks to Phantom of the Paradise and The Muppet Movie), Chicago R&B radio legend La Donna Tittle, Chuck Dukowski (Black Flag, CD6), blues guitarist Walter Trout (Canned Heat), pop vocalist April March, Franco-genius Bertrand Burgalat, Mecca Normal, and Nardwuar versus Afrika Bambaataa. Plus Jobriath, Def Leppard, a lushly illustrated history of Studio One, archival Pedro Bell cartoons, Johnny Cash, Fats Domino, Voivod, Syd Barrett, Arthur Lee, Johnny Thunders, and over 1000 poorly written record reviews!

A lengthy discussion with Chris James of the stellar seventies sweet soul act The Natural Four, Nardwuar vs Queens of the Stone Age, interviews with the last living brother of The Maddox Brothers and Rose, Mark Ridlen of 70s/80s Texas punk/psych band Lithium Xmas (also a member of Rapid Fire, the evil band from Ron Howard's "Cotton Candy"), New Orleans musical eccentric Quintron on his return to his ravaged city, Brazilian guitar legend Toquino, and Beach Boys' biographer Domenic Priore. Also, the scrapbook of Black punk legend Neon Leon, a Clancy Eccles tribute, hundreds of novelty celebrity records profiled, and a history of Diabolik. Plus, lots of great comix, including Freaky Bear by Plastic Crimewave, an incredible recreation of R. Kelly's "Trapped in the Closet" starring Batman by K. Thor Jensen, and lost comics and 70s rock writing by Funkadelic's Pedro Bell.

Roctober strikes again with another fantastic issue of music wisdom and knowledge from the far side of the spectrum! This time around, the spotlight's on Zory Zenith & Zolar X – who are covered in unusual detail – but our Dusty Groove ears are most tuned to the articles on Archie Bell, Kraftwerk, and Bernie Worrell. Yet as usual, we find our eyes straying all over the issue – captivated by features on oddball artists we'd never heard before, and drawn in by the always-great reviews, comics, and smaller bits in the magazine! Other features include It's The Law, Hall Of Dynamic Greatness, Gaybot, Nardwuar Vs Tommy Chong, and Willie Restum.

Another great issue from Roctober – one that includes interviews with Neon Leon (great lost New York punk figure), Fred Anderson and Hamid Drake, James Brown, and numerous obscure but amazing Brazilian musicians. Melvin Van Peebles critical discography. Jake Austen and Chris Ware on vaudeville/minstrel legend Bert Williams. The history of Black All Girl Jazz orchestras in the 1930s and 1940s. Archival Pedro "Funkadelic" Bell articles and comics from his early 1970s college newspaper. Comics and articles about Aliyaah, Jimi Hendrix, Jackie Mittoo, Sun Ra, Funkadelic, and Black skinhead Reggae. And, believe it or not, more!

Roctober's famous "Kissue" – featuring interviews with Kiss cover band Strutter, Bruce Kulick, Cynthia Plaster Caster, Jumpin Gene Simmons, and a Japanese Archival Kiss interview! Also features Kiss Toy Rejects, Pedro Bell Almost Meets Kiss, and comics by Eric Searleman, Jenny Zerkavis, Olaf, Rob Syers, Cathy Hamilton, Soul Finger Tattoos, and others. Also includes a bonus 8" vinyl record, featuring songs about Kiss by The Polkhaholics, Social Parasite, Cynthia Plaster Caster, Ratso, Buh Zombie, DJ Josh, Dom Nation, and Beau Grumpus.

The Equals story (60s brit mod bubblegum soul). Ludicrous Dolly Parton critical discography (over 100 lps reviewed). The mysterious ? (Question Mark and the Mysterians) interviewed and observed. The West Coast Pop Art Experimental Band. 2 Live Crew get the Pedro (Funkadelic lp cover artist) Bell treatment. Johnny Thunders comix. Los Crudos anarchist interview. Roctober #1 reprint with rockabilly behemoth Sleepy Labeef, the Connells, Scott Radinsky (hardcore punk vocalist turned major league pitcher). Plus Runaways, Weird Al, KISS, the Goblins, Godzilla, zillions of comix

Snack rock superheroes the Go Nuts interviewed. R&B eccentrics celebrated. KISS worldwide convention coverage. Brother Wayne Kramer tells it like it is. Includes flexi disc with original songs by Girl Trouble, Mcrackins, Pedro Bell, Goblins, Butterglory, Scissor Girls, Geezers, Blanche, Jak Shit, John Huss, Ligon brothers, Royal Crowns, Combustible Edison, USA, Asstroland, Iggy and the Stooges, Buck & Betty, the Singing Cockroaches.

A late date for Woody Shaw, but a great one too – a bit more straightforward than some of his more righteous albums of the 70s, but still proof that Shaw is easily one of the greatest trumpeters of his generation! The album's got a laidback sort of feel, and features a fair bit of familiar standards – but Woody and the group do plenty to transform them, especially on the solo spots. Shaw's leading a quintet here – with Steve Turre on trombone, Kirk Lightsey on piano, Ray Drummond on bass, and Carl Allen on drums – and titles include "Steve's Blues", "Dat Dere", "Imagination", "If I Were A Bell", "You & The Night & The Music", and "Stormy Weather".

A sweet early album from Sister Sledge – a great transformation of an earlier girl soul sound into a fuller, more mature disco mode for the 70s – all served up with a freshness that's quite appealing if you only know their later hits! Production is by Tony Silvester and Bert De Coteaux – and the style is very much in the Philly mode of the time (even though the album was recorded in New York) – a full sound on the more upbeat numbers, but a warm and gentle approach on the mellower numbers – especially some of the great harmony tracks that really stand out in the set! Most titles were co-written by Gwen Guthrie and Patric Grant – but the album also includes tunes by Patrick Adams and Thom Bell & Linda Creed too. Titles include "Circle Of Love", "Give In To Love", "Cross My Heart", "Love Don't You Go Through No Changes On Me", "Don't You Miss Him Now", "Pain Reliever", and "Fireman".

About as classic as you can get for The Spinners – and one of the group's marvelous 70s collaborations with the mighty Thom Bell! Before hooking up with Philly, The Spinners were already a wonderful vocal group – but here, in the hands of Bell, they hit a sound that's completely sublime – a mix of well-crafted harmonies and well-directed backings – soaring one minute, gently fragile the next – all delivered with the same sort of charm that you might expect from Blue Magic or The Stylistics at their best. Like those groups, The Spinners here manage a depth that goes way beyond simple hitmaking soul – as you'll hear on the album's wonderful assortment of tracks that include "Mighty Love", "He'll Never Love You Like I Do", "Love Don't Love Nobody", "Ain't No Price On Happiness", "Since I Been Gone", and "I'm Glad You Walked Into My Life". CD also features 4 bonus tracks – "I Wish I Could Sleep", "I Just Gotta Make It Happen", "Mr Big Man", and "You Sure Are Nasty".

A sweet sweet set from The Spinners – and a record that's more "today" than "yesterday", given the tight 70s arrangements from Thom Bell! Bell's Philly approach is still perfect for the group – unlocking their harmonies in very different ways than back in their Motown roots – and the set's got a wicked balance between these sublime slow ballads and some uptempo numbers that bubble like the best of the group's clubby contemporaries. And in the best Philly style, the set even features a few longer tracks that push the 8 minute mark – kind of soul symphonies, of the sort you'd be much more likely to hear from Gamble & Huff – and which really work well with the group's maturing vocal approach. Titles include "I'm Riding Your Shadow (Down To Love)", "You're Throwing A Good Love Away", "Honey I'm In Love With You", "I Must Be Living For A Broken Heart", "Just To Be With You", "Me & My Music", "You're The Love Of My Life", and "I Found Love (When I Found You)".

The Staple Singers are cooking on all burners at this point – and it's hard to stop them with that much power – a soaring, searing sort of energy that definitely earns them a place in the sky! The set's a totally strong batch of gospelly soul tracks – produced by Al Bell with that great early 70s Stax deep soul sound – at a point that's still without the sort of cliche that might hold back material of this type in later years. Instrumentation is by Clayton Ivey on Hammond, Barry Beckett on keyboards, and Jimmy Johnson and Eddie Hinton on guitar – and titles include "Getting Too Big For Your Britches", "Today Was Tomorrow Yesterday", "Something Ain't Right", "My Main Man", "Blood Pressure", "Who Made The Man", "Back Road Into Town", and "If It Ain't One Thing It's Another".

The Staple Singers are cooking on all burners at this point – and it's hard to stop them with that much power – a soaring, searing sort of energy that definitely earns them a place in the sky! The set's a totally strong batch of gospelly soul tracks – produced by Al Bell with that great early 70s Stax deep soul sound – at a point that's still without the sort of cliche that might hold back material of this type in later years. Instrumentation is by Clayton Ivey on Hammond, Barry Beckett on keyboards, and Jimmy Johnson and Eddie Hinton on guitar – and titles include "Getting Too Big For Your Britches", "Today Was Tomorrow Yesterday", "Something Ain't Right", "My Main Man", "Blood Pressure", "Who Made The Man", "Back Road Into Town", and "If It Ain't One Thing It's Another". CD features 4 bonus tracks – "Oh La De Da", "I Like The Things About You", "Respect Yourself", and "I'll Take You There".

Groovy groovy sitar pop – played by Big Jim Sullivan, also known as Lord Sitar! This set is a great session of 60s pop tunes, turned Eastern, in the mode of work by Ananda Shankar or Vince Bell – with a blend of original compositions, mixing sitar, tabla, and all manner of baroque 60s arrangements. The tracks include some excellent originals – like "Ltts" and "The Koan" – plus groovery covers like "She's Leaving Home", "Sunshine Superman", and Donovan's great "Trans Love Airways"!

The Sweet Sweet Sweet Inspirations get the Gamble Huff treatment – and as it worked with Archie Bell, so it works with these guys – really well! The Philly sound gives the girls the right push that they need to keep from being just another snoozy Atlantic stable band, and it pushes them way past the cliched role they'd had as Aretha's backing group. Bobby Martin handled all the arrangements, Ugene Dozier produced – and cuts are written by the pair of them (among others) and the Gamble & Huff team. Vince Montana sneaks in some tasty vibes, and there's strong bubbling electric piano and organ from Thom Bell and Lenny Pakula. Titles include "Two Can Play The Game", "Shut Up", "That's The Way My Baby Is", "Gotta Find a Brand New Lover", "Ain't Nothin' in the World", and "Them Boys".

A surprisingly great little record from Clark Terry – filled with warmth, humor, and some really great grooves! The core of the album is the track "Mumbles", one that's based around Terry kind of slurring a scat vocal to a jazzy 60s groove. The track was a minor hit at the time, and Mainstream recorded a whole album around it – using the arranging talents of Joe Cain, who runs through a lot of elements that really make the set cook – from Latin percussion, to Hammond organ grooving, electric guitar, and an overall sound that's got a hip Verve Records feel. Players include Vinnie Bell, Willie Bobo, Grady Tate, and Jerome Richardson – and Cain really makes the record groove in ways that we've never heard on another Terry session. Titles include "Mumbles", "Rum & Mumbles", "Big Spender", "The Mumbler Strikes Again", "El Blues Latino", and "The Cat From Cadiz".

One of the only few albums to ever feature the vocals of Judy Clay – a wonderful deep soul singer who also cut a handful of excellent singles for Stax in the late 60s! Like some of that work – specifically her Stax duets with William Bell – this set really showcases Judy's strength as a partner in song – a really great match for Billy Vera, who sounds way better here than you might expect! Billy and Judy trade lines in this really fantastic way – often blue-tinged and melancholy, a style that is quite different from most of the peppier male/female work of the 60s – although there's also two tracks on which Vera sings solo. Backing is by a small combo with Vera on electric guitar, Chip Taylor on acoustic guitar, and Paul Griffin on piano – and titles include "Storybook Children", "Ever Since", "When Do We Go", "Just Across The Line", "Soul Man", "Good Morning Blues", "Bring It On Home To Me", and "So Good (To Be Together)".

One of THE disco hits of the 70s – a set that spawned not only a huge hit single for Anita Ward, but which also firmly pushed the Miami scene over the top! The record's a wonderful mix of modes – served up with stone southern soul production from Frederick Knight, but also given plenty of disco touches from arranger Mike Lewis – who famously works in strings and keyboards in ways that really help the vocals soar! The mellower numbers are a great reminder that Anita's way more than just the usual club diva – a singer able to make things work strongly on a ballad front as well – and some of the best tracks here are penned by Sam Dees, who brings a level of songwriting that you normally wouldn't find on a disco record. Titles include the hit "Ring My Bell" – plus "If I Could Feel That Old Feeling Again", "Sweet Splendor", "You Lied", "Make Believe Lovers", and "I Won't Stop Loving You".

One of THE disco hits of the 70s – a set that spawned not only a huge hit single for Anita Ward, but which also firmly pushed the Miami scene over the top! The record's a wonderful mix of modes – served up with stone southern soul production from Frederick Knight, but also given plenty of disco touches from arranger Mike Lewis – who famously works in strings and keyboards in ways that really help the vocals soar! The mellower numbers are a great reminder that Anita's way more than just the usual club diva – a singer able to make things work strongly on a ballad front as well – and some of the best tracks here are penned by Sam Dees, who brings a level of songwriting that you normally wouldn't find on a disco record. Titles include the hit "Ring My Bell" – plus "If I Could Feel That Old Feeling Again", "Sweet Splendor", "You Lied", "Make Believe Lovers", and "I Won't Stop Loving You". CD also features bonus tracks "Ring My Bell (single)" and "Make Believe Lovers (single)". (Note – song order is reversed on the CD – side two of the record comes before side one – but everything else is great, and this is only a minor flaw.)

A record we'd never part with – and easily our favorite album ever from The Who! Quadrophenia represents the group at its peak from all perspectives – songwriting, performance, and even studio presence – as the album's got a sonic sensibility that few other albums of the time can match! The set's a concept record – a story, like Tommy – yet it remains incredibly lean, without any overcluttered rock opera feel – so much so that most tunes stand mightily on their own, but also have a dense sense of texture when taken together as part of the double-length album. And we'll also say that the record's one of the few extended sets we always end up breezing through from start to finish – almost surprised by the time it comes to a close – and often hitting repeat to hear the whole thing over again! Titles include "I Am The Sea", "The Real Me", "Cut My Hair", "The Punk & The Godfather", "Sea & Sand", "5:15", "Bell Boy", "Love Rein O'Er Me", and "Is It In My Head".

My Melody from Deniece Williams and it's definitely one of here most beautiful albums of the early 80s – the more we think about it, it may be one of her best ever from beginning-to-end! It's lush and beautifully produced set Thom Bell, providing such a lovely backdrop for Deniece's incomparably soaring vocals – but it doesn't skimp on the soulfulness, either. Really great stuff! Titles include "It's Your Conscience", "My Melody", "Silly", "What Two Can Do", "All That Matters", and "Suspicious". This Big Break UK remastered edition has bonus single versions of "It's Your Conscience" and "Silly".

Totally great work from Deniece Williams – still mostly free from the tinny pop of later years, and done in a solidly soulful style at Sigma Sound, with arrangements and production from the mighty Thom Bell! The groove is almost an update of 70s Philly, with traces of the maturing mellow side of Williams – all wrapped up with a good degree of confidence on the vocals, but enough tenderness to remind us of the greatness of Williams' roots. Deniece at her early 80s best! Titles include "I Believe In Miracles", "Waiting By The Hotline", "It's Gonna Take A Miracle", "Love Notes", "How Does It Feel", "Now Is The Time For Love", "Waiting" and "A Part Of Love".

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.

Culled from the rich history of the Atlantic records label, and lovingly put together with great notes and everything! 25 tracks in all, including "Knock On Wood" by Eddie Floyd, "Try A Little Tenderness" by Otis Redding, "Mustang Sally" and"Funky Broadway" by Wilson Pickett, "When Something Is Wrong With My Baby" and "Soul Man" by Sam & Dave, "Sweet Soul Music" by Arthur Conley, "I've Never Loved A Man The Way I Love You", "Do Right Woman – Do Right Man",'Respect", "Baby I Love You", "Natural Woman" and "Think" by Aretha Franklin, "Show Me" and "Skinny Legs & All" by Joe Tex, "Memphis Soul Stew" by King Curtis and "Tighten Up" by Archie Bell & The Drells.

The blueprint of a generation – a set that brings together a huge amount of rare singles from the start of the 60s – most of which helped form the groove for years to come! The set's got a great early soul feel – tracks that show a genre still in formation – as bits of R&B, vocal jazz, blues, and other styles are pulled together in the new groove of the time – not yet as upbeat as the Northern Soul you'd know from a few years later – but definitely cooking with a similar sort of energy. There's plenty of numbers here to appeal to a mambo soul crowd – and titles include "You Ain't So Such A Much" by Blanche Thomas, "Feelin Kind A Lonesome" by Willie J Charles, "She Knocks Me Out" by Harold Burrage, "My Heart's On Fire" by Billy Bland, "Good Enough" by Bobby Guy, "He's The One That Rings My Bell" by Sherri Taylor, "I Think I Love You" by Helen Troy, "Little Annie" by Anna Bell Caesar, and "You Don't Have To Go" by Sam Myers.

A classic set from 1969 – issued as a special project by Stax in their first year after parting with Atlantic, almost as a message to that label that they were more than capable of handling things on their own! The double-length set brings together the label's best male and female artists, each in duets that largely only ever appeared on this LP. Other soul labels – like Vee Jay or Motown – had had good luck with the male/female duet sound, but the quality of Stax's singers puts them right up there with the top of the genre – as singers like William Bell, Mavis Staples, Carla Thomas, Johnnie Taylor, and Eddie Floyd all seeem to work perfectly together. Titles include "All I Have To Do Is Dream" and "I Need You A Woman" by William Bell & Carla Thomas, "Love's Sweet Sensation" and "I Thank You" by William Bell & Mavis Staples, "Ain't That Good" and "Piece Of My Heart" by Eddie Floyd & Mavis Staples, "It's Unbelievable (How You Control My Soul)" and "I'm Trying" by Pervis Staples & Carla Thomas, "It's Our Time" and "Don't Make Me A Storyteller" by Eddie Floyd & Carla Thomas, and "Soul-a-Lujah", sung by the whole group. 22 tracks in all.

A totally groovy batch of mid-to-late 60s London rock– wonderful work by Small Faces, Chris Farlowe, Billyy Nicholls, Australian Playboys, Amen Corner and more – plus loads of period interviews and soundbites from hipsters, movers and shakers of the era! The whole thing has the feel of a soundtrack, of a time and place rather than from a film – with classic tunes and some lesser known gems as well! A groovy throwback to 60s swinging London! Titles include "Itchycoo Park" by Small Faces, "Night Time Girl" by Twice As Much, "Out Of Time" by Chris Farlowe, "Portobello Road" by Billy Nicholls, "I'll Go Alone" by Humble Pie, "Alfred Bell" by Duncan Browne, "If Paradise Is Half As Nice" by Amen Corner" and more – plus bits of dialogue, interviews and statements from Mick Jagger, Andrew Loog Oldham, Allen Ginsberg, Michael Caine and more!

Badass sounds brewed up in the border town of El Paso – amazing guitar-driven gems recorded for a handful of indie labels in the late 50s and early 60s – served up here with wonderfully great sound, and a full set of notes as well! The set's a stunning volume in Norton's deep-digging project on the El Paso scene – and it's really rich with discoveries throughout – loads of rough-edged rockers that lie somewhere in a space between rockabilly and 60s garage – every one a treasure. Titles include "Across The Bay" by Joe Richie, "Lonely Before Dawn" by Night People, "I Love You Baby" by The Ravons, "Cradle Rock" by Rhythm Heirs, "Long Grey Highway" by Frank Thayer & The Lyonals, "Sarah Jane" by Don Orr & The Original Rockets, "Lonely Teardrops" by The Fortunes, "Jungle Bunny" and "Bacardi" by Jerry Bell & The Original Rockets.

Badass sounds brewed up in the border town of El Paso – amazing guitar-driven gems recorded for a handful of indie labels in the late 50s and early 60s – served up here with wonderfully great sound, and a full set of notes as well! The set's a stunning volume in Norton's deep-digging project on the El Paso scene – and it's really rich with discoveries throughout – loads of rough-edged rockers that lie somewhere in a space between rockabilly and 60s garage – every one a treasure. Titles include "Across The Bay" by Joe Richie, "Lonely Before Dawn" by Night People, "I Love You Baby" by The Ravons, "Cradle Rock" by Rhythm Heirs, "Long Grey Highway" by Frank Thayer & The Lyonals, "Sarah Jane" by Don Orr & The Original Rockets, "Lonely Teardrops" by The Fortunes, "Jungle Bunny" and "Bacardi" by Jerry Bell & The Original Rockets.