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Insanely wonderful music from Andrew Hill – a lean, stripped-down session that has Hill working at his firey best – in a space that's somewhere between the "new thing" recordings of Jackie McLean, and the brooding brilliance of Andrew's later Smokestack session! The group here has some key figures fleshing out the sound – a young Joe Henderson, blowing tenor with a very edgey quality – the very versatile Richard Davis on bass – and the great Roy Haynes on drums, very much at his most fluid interpretation of rhythm! The whole set's pretty darn great – one of the more mindblowing Blue Notes you'll ever hope to buy – and tracks include "Pumpkin", "Subterfuge", "Cantarnos", and "McNeil Island".

Insanely wonderful music from Andrew Hill – a lean, stripped-down session that has Hill working at his firey best – in a space that's somewhere between the "new thing" recordings of Jackie McLean, and the brooding brilliance of Andrew's later Smokestack session! The group here has some key figures fleshing out the sound – a young Joe Henderson, blowing tenor with a very edgey quality – the very versatile Richard Davis on bass – and the great Roy Haynes on drums, very much at his most fluid interpretation of rhythm! The whole set's pretty darn great – one of the more mindblowing Blue Notes you'll ever hope to buy – and tracks include "Pumpkin", "Subterfuge", "Cantarnos", and "McNeil Island". CD features 2 bonus tracks too – alternate takes of 2 tracks on the album.

An early record by Experience Unlimited – better known to most of the world as EU, the DC funk outfit that went onto become pretty big in the GoGo scene, and who scored big with the 80s party cut "Da Butt". This one's nothing like that stuff – and instead catches the group when they were part of a more spiritual scene, the same DC one that gave the world Oneness Of Juju. This album has the group very much in a mid 70s Earth Wind & Fire mode – jamming hard and free, with plenty of electric guitar riffing, funky keyboards, horns, and lots of percussion. Some tracks have vocals, and some are instrumentals – but the whole thing's an extremely unified album with a great overall vibe. Titles include "Functus", "Free Yourself", "Hey You", "It's All Imagination", and "Funk Consciousness".

The first album by the group that later went on to become Oneness Of Juju! The album was recorded with a group that featured Plunky Nakabinde and Lon Moshe on reeds and percussion – plus Babatunde on congas and drums – and the overall sound is very much in kind of an Art Ensemble Of Chicago mode - with more "out" soloing overall, mixed with some of the spiritual jazz leanings that would show up more on the group's later work. The album's a fitting record for the Strata East label – as it shows the imprint's equal ability to carve up heavy avant work and more strident spiritual soul jazz. And if we say so ourselves, Plunky's really a wailer on tenor and soprano – sounding a lot like Kalaparusha or some of the other AACM players from the time! Titles include "(Struggle) Home", "Soledad Brothers", "Freedom Fighter", and "Nairobi/Chants".

A landmark of 70s Afro-styled jazz – and the first album by this famous underground collective! Oneness of Juju were a Washington DC-based group that grew out of the ashes of the Juju avant jazz ensemble – formed in the culturally rich African-American community of DC in the 70s, with spiritual and political aspirations that stretched far beyond the average funky combo. This first album is a masterful blend of percussion, jazz, and a slight bit of funk – alternating vocal tracks with harder-hitting jazz instrumentals, all held together under the leadership of sax player Plunky Nakabinde – a reedman whose work here alone is worth the price of admission – laid out nicely alongside some great percussion, Fender Rhodes, and wonderfully worm vocals on a few tracks. The album's one of the greatest independent soul jazz albums of the 70s – and it's filled with great tracks, such as the breakbeat classic "African Rhythms" and "Liberation Dues" – plus "Kazi", "Funky Wood", "Don't Give Up", "Poo Too", and "Incognito". CD features nice bonus tracks – "F#", "Don't Give Up (45 version)", "Got To Be Right On It (45 version)", "Nooky", and "Plastic (45 version)".

A fantastic record from one of the greatest underground jazz groups of the 70s! Oneness of Juju are perhaps best known for the heavy funk of their first album, African Rhythms – but we're actually partial to this second album – a warmly spiritual batch of soul jazz tracks, and a set that's filled with life, emotion, and wonderful instrumentation throughout! The group are a bit more relaxed overall – easing into things, but in a way that really builds up as the album moves on – as they layer together heavy percussion, sweet keyboards, and lots of great sax solos from Plunky Nakabinde – plus wonderfully warm vocals that add a soulful edge the group never had before, but which still is very jazzy – and not like the funky club of later years. The whole thing's wonderfully cohesive, and a treasure throughout – and titles include the warm vocal number "River Luvrite", to the harder hitting "Space Jungle Funk", and other gems like "Soul Love Now", "Follow Me", "The Connection", and "Love's Messenger". CD features lots of bonus tracks – "Love's Messenger (inst)", "Bootsie's Lament", "African Rhythm's Chant", "Make A New Start", "Nat's Rebellion", and "African Rhythms (45 version)".

An intense album of spiritual jazz tracks – played by Lon Moshe and the Southern Freedom Arkestra! The album was recorded in 1976, during the height of the Black Fire DC underground scene – and Moshe's playing vibes at the head of a large group that's perhaps the most spiritual ensemble on the already pretty darn spiritual Black Fire label. Tracks are long and free floating – as vibes and marimba mix with piano, strings, percussion, trumpet, and occasional vocals. Titles include "Low Ghost", "Ballad For Bobby Hutcherson", "Doin The Carvin For Thabo", "Survival Raga #9", and "Love Is Where The Spirit Lies".

A great set from Hamiet Bluiett – almost back to his roots in the St Louis underground scene, as the album's a live recording of long spiritual jazz tracks, arguably a lot more compelling than most of Bluiett's studio work from the time! The album was recorded at Sweet Basil in 1983 – with a group that features John Hicks on piano, Fred Hopkins on bass, Marvin Smitty Smith on drums, and Chief Bey playing some extra African percussion. Bluiett's tone is wonderful – deep and round, but also raspy, almost in the manner of Pharoah Sanders – and the group plays an incredible version of Wayne Shorter's "Footprints", a nice take on Curtis Lundy's "Gumbo", and the cuts "Song Song", "Ebu", and "Headless Blues".

An excellent funky fusion group from Chicago – and one of the best ensembles to record for the Black Jazz label! The group's made up of hip Chicago underground players – and includes Ken Chaney on electric piano, Ari Brown on saxes, and Frank Gordon on trumpet – a lineup that comes together with the same sort of righteous energy and soulful power as Windy City contemporaries like The Pharoahs or Earth Wind & Fire! On this first LP, they jam with a mix of righteous funk and spiritual soul jazz, mixing electric piano, choppy reeds, and tight horns with a powerful rhythm backing that never goes too over the top, and which stays in a good modal mode that works great for the soloists – soaringly expressive at a personal level, yet coming together with a really righteous group feel in the end. Tracks include "Jupiter", "Brand New Feeling", "Convulsions", and "Kera's Dance".

One of the best early soul albums by Roy Ayers! Roy's working here with Dee Dee Bridgewater, Edwin Birdsong, William Allen, Harry Whitaker, and other hip players – a perfect crew to forge Roy's unique blend of jazz and soul. This is perhaps the first record to really have Roy stretching out in this mode – moving more fully away from funky jazz, into a ream of vocal tracks that would make him one of the most unique artists of the 70s. This mid 70s period of Roy's career was remarkably fertile, creatively as well as for sheer productivity – and Tears To A Smile is one of them that shows some the most artistic growth, and also a deeper sense of soul! Features righteous cuts like "2000 Black", "Ebony Blaze", "Time & Space", and "A Tear To A Smile" – plus the mellow "Magic Lady", and a great remake of Earth Wind & Fire's "That's The Way Of The World".

A stone classic from Black Heat – the group's second album, and even tighter than their first! The group's size has dropped a bit between albums – but that only helps them cook even more – dropping a bit of the horn section from before, which allows even more emphasis on their razor-sharp rhythms! There's a slight hint of Afro Funk in some of the rhythms – and the keyboards cook with lots of sweet clavinet lines – mixed with a production style that features some bubbling electronic elements that remind us a lot of that crazy "magic bag" that was used by the Lafayette Afro-Rock Band. That group might be a good point of comparison, but the band also shares a lot of Kool & The Gang's ensemble funk style – especially on their cover of "Love The Life You Live" – which they burn here beautifully! Other tracks include "Super Cool", "M&M's", "Rapid Fire", "You Should Have Listened", "Times Have Changed", and "Check It All Out".

One of our top 10 dub albums of all time! This album bridges the gap between the the low-fi, down and dirty excursions of the 70's dub era, and the later high tech dub revolution brought on by On-U, Mad Professor and Jah Shaka. The rhythms here are all first rate, drawn mostly from their Chill Out LP with a few from Red, fueled by Sly and Robbie and a cast of regulars from the Island/Mango stable. Sly & Robbie also handle the production duties, and there's no shortage of fat grooves and unrelenting rhythms, then taken to the next level with deep space echo drops and 21st century sound effects and tape edits. Includes "Ion Storm", "Big Spliff", "Boof'N'Baff'N'Biff", "Puffed Out" and "Android Rebellion". This CD reissue's been newly remastered, with 3 additional dubs as bonus tracks: "Cool Off", "Destination Unknown" and "Fire & Brimstone".

The follow up to the burning Showcase set and second LP finding the harmony trio of Michael Rose, Puma Jones and Duckie Simpson under the heavy guidance of Sly & Robbie. While it didn't produce as many singular hits as the preceding set or the following Red LP, this album's still solid from top to bottom, with mighty, might Taxi productions grooves throughout. 10 tracks in all: "Happiness", 'World Is Africa", "Push Push", "There Is Fire", "No Loafing (Sit & Wonder)", "Sinsemilla", "Endurance" and "Vampire", plus the added bonus tracks "Guess Who's Coming To Dinner (discomix)" and "Sinsemilla (discomix)", and newly remastered too!

An excellent album of smooth soul tracks – one that reaches back to some of Norman's earlier records for inspiration, and which takes the sound up a few notches to expand the groove. Norman gets help on the arranging tip from Al Johnson, McKinley Jackson, and Paul Riser – which is why the album has such a great 70s smooth soul feel – and there's loads of guest appearances, like vocals by Johnson, Jean Carn, and The Jones Girls, and instrumental solos from Freddie Hubbard and Gary Bartz. Adaritha sings lead vocals on a number of cuts, and Glenn Johnson takes the lead on "Melancholy Fire". Includes a great version of "Black Cow", plus "Take It To The Limit", "Justify", "You've Been On My Mind", and an excellent remake of "I Don't Need Nobody Else", with Al Johnson on vocals!

A pair of groovers by Norman Connors from the start of the 80s – Take It To The Limit and Mr C – together in a single set! Take It To The Limit is excellent album of smooth soul – one that reaches back to some of Norman's earlier records for inspiration, and which takes the sound up a few notches to expand the groove. Norman gets help on the arranging tip from Al Johnson, McKinley Jackson, and Paul Riser – which is why the album has such a great 70s smooth soul feel – and there's loads of guest appearances, like vocals by Johnson, Jean Carn, and instrumental solos from Freddie Hubbard and Gary Bartz. Adaritha sings lead vocals on a number of cuts, and Glenn Johnson takes the lead on "Melancholy Fire". Includes a great version of "Black Cow", plus "Take It To The Limit", "Justify", "You've Been On My Mind", and an excellent remake of "I Don't Need Nobody Else", with Al Johnson on vocals! Mr C is a real sleeper from Norman Connors, but a great record – one that shows him still moving strong in the 80s, always continuing to develop his smooth jazzy soul style! Backing is by the Starship Orchestra, with Marion Meadows on most sax solos – and vocals are by Beau Williams, Jean Carn, and Glenn Jones. There's a number of great uptempo tunes – with a tight hard jazz funk backing, and kind of a sweet early 80s club style in the vocals. Titles include "Love's In Your Corner", "She's Gone", "Stay With Me", "Keep Doin It", "Anyway You Want", and "Sing A Love Song".

Obscure bit of spiritual soul by Wayne Davis, who also recorded another record for the Black Fire label (home of Oneness of Juju). Roberta Flack guests on this album, and gives him the thumbs up in the notes on the back, and the whole thing's got the same sort of jazzy soul feel of her first album, or of other work in the same vein. Includes a nice long one called "Joel 2:28", plus "I Love You So", and a cover of "Somebody's Watching You". Very righteous stuff!

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".

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.

A split LP by 2 of the better psyche folk bands in modern rock – Hush Arbors and Arbouretum – a team effort that makes sense stylistically on top of the conveniently alliterate band names! Hush Arbors' 5 songs kick it off in timeless, insistently melodic fashion. Arbouretum deliver 3 longer tracks to close, nicely akin to the preceding Hush Arbour tracks, though with more hypnotic vibe. Both bands have a nice bit of fuzz in the guitars. Great stuff! The Includes "Lovely Ghost", "Prayer Of Forgetfulness", "Up Yr Coast", "People & Places" and "The Sleeper" by Hush Arbors. Arbouretum's tracks includes "New Scarab", "The Black Sun" and "St Anthony's Fire".

One of the hippest albums that Rahsaan Roland Kirk ever recorded – a perfect realization of his "black classical music" ethos, and a pan-generational jazz album that's all held together by one unique musical vision! Side one features the extended suite "The Seeker", which mixes together bop, avant garde, and New Orleans styles – and side two features more of the same in an extended medley of tracks, plus the titles "Baby Let Me Shake Your Tree" and "Sweet Fire". The album's got a few cool passages that feature recitations by Rahsaan – stating his musical philosophy, and tracing the development of the styles of work – and other players include Leroy Jenkins on violin, Dick Griffin on trombone, Ron Burton on piano, and Sonelius Smith on celeste!

One of the hippest albums that Rahsaan Roland Kirk ever recorded – a perfect realization of his "black classical music" ethos, and a pan-generational jazz album that's all held together by one unique musical vision! Side one features the extended suite "The Seeker", which mixes together bop, avant garde, and New Orleans styles – and side two features more of the same in an extended medley of tracks, plus the titles "Baby Let Me Shake Your Tree" and "Sweet Fire". The album's got a few cool passages that feature recitations by Rahsaan – stating his musical philosophy, and tracing the development of the styles of work – and other players include Leroy Jenkins on violin, Dick Griffin on trombone, Ron Burton on piano, and Sonelius Smith on celeste!

A late 60s groover from the second Ramsey Lewis trio – the one that features Cleveland Eaton on bass and Maurice White on drums, both doing a pretty great job of filling the spot vacated by Eldee Young and Red Holt! The album's a live one, cut in the successful mode of Ramsey's records with the Young/Holt group – mostly featuring familiar numbers transformed by the Lewis Trio's hard-grooving approach to their work! It's great to hear Maurice White in a pre-Earth Wind & Fire jazz setting – and the album's got a slightly more open sound than some of Ramsey's earlier live dates – especially on the Brazilian tinged numbers that include "Mood For Mendes", "Corcovado", and "Medley From Black Orpheus". Other tracks include "Struttin Lightly", "Dancing In The Street", "You Don't Know Me", and "What Now My Love".

A stunner of a joint effort from Ethio jazz funk visionary Mulatu Astatke and psych funk genre-busting combo the Heliocentrics – a record we had the highest hopes for and still find wildly above and beyond our loftiest expectations! The collective touch on some classic Mulatu compositions, but the bulk of the material here is brand new, and purely collaborative – if you know the Helioecentrics or you know Mulatu, you can clearly hear what each bring to the table – and it works together brilliantly! There's often a gritty funk bottom end, the best drums and percussion, fat electric bass lines underneath Ethio jazz inspired sax, trumpet, trombone and flute – swirling psychedelic flourishes with theremin and other effects that never take away from the groove. Mulatu's on vibes, percussion, Wurlitzer, drums and keyboards – and his compositions and the Helios trade back and forth throughout the set. There's some additional Ethiopian instrumentation and atmospheric vocals in the mix on some tunes, and more of an astral, avant funk vibe on others, but there's always a brilliant confluence of styles. Bottom line, the album is everything we wanted it to be and more – this will undoubtedly be favorite for years to come! Titles include "Masenqo", "Cha Cha", "Addis Black Widow", "Mulatu", "Blue Nile", "Esketa Dance", "Chik Chikka", "Live From Tiger Lounge", "Chinese New Year", "Phantom Of The Panther", "Dewel"., "Fire In The Zoo", "An Epic Story" and "Anglo Ethio Suite".

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.

Breakout sounds from Shoes – and an album that may well stand as the group's lasting treasure! The set's got a sharp-edged quality that still sounds pretty tremendous all these many years later – power pop, but without any commercial elements to smooth out its energy – served up with a raw, earnest quality that's neither punk nor hard rock – yet which deserved to be praised every bit as much as the best contemporary efforts in those genres too! These guys have a hell of a way with a hook, yet never hit you over the head with it either – and there's a lack of posturing that's really refreshing – a key difference between the sound of Shoes and their bigger Northern Illinois contemporaries Cheap Trick – an attitude that's different than, yet not that far off from the energy of The Replacements to come. Titles include "Capital Gain", "Boys Don't Lie", "She'll Disappear", "Fatal", "It Really Hurts", "Nowhere So Fast", and "Fire For Awhile".

Back to back killers from the legendary Billy Stewart – two great albums for Chess in one sweet set! First up is Unbelievable – a truly unbelievable album from Billy – maybe his standout moment of the 60s, and a record that set him apart from every other singer of his time! Stewart's famous vocals break out instantly on the huge hit "Summertime" – a leadoff number that really sets the record on fire – and sets the scene for an amazing batch of tunes that follow a similar format – familiar tracks that are completely recast in a new mode by Billy – pyrotechnic soul vocals that are as filled with feeling as they are shaped by technique! Backings are great, too – full and a bit jazzy at points – and with just the right sort of energy to keep things bouncing along all the way through. Titles include "Summertime", "A Foggy Day", "Canadian Sunset", "Time After Time", "Misty", "Moon River", "My Funny Valentine", and "That Old Black Magic". Cross My Heart is a collection of killer singles from the legendary Billy Stewart – put together by Chess after his too-early passing – but an amazing document of his completely unique talents as a soul singer! The work here is brilliant – vocals that soar and take off on the upbeat numbers, and reach deep deep levels on the mellower ones – and the set's a great one to take you past some of Billy's familiar hits, into territory of the great singles he issued with Chess in the 60s. Titles include the sublime "Cross My Heart", plus "Tell Me the Truth", "I'm In Love", "Fat Boy's Boogaloo", "Crazy 'Bout You Baby", "Why Am I Lonely", "How Nice It Is", "I'm In Love (Oh Yes I Am)", "What Have I Done" and "Why Do I Love You So".

Amazing sounds from British pianist Keith Tippett – a startling crossroads of musical scenes that beautifully brings together the best jazz, rock, and jazz rock impulses on the UK scene at the time – still with a freshness and clarity that the work would never reach a few years later! The sound here is brilliant – often a bit funky at the bottom, and definitely stretching out to freer jazz ideas on the solos, yet always managing a sense of soul and swing that really gives the record a rock solid core – so that even loopy lines seem to land back on the ground, and set the group on fire with a whole new energy. In addition to Tippett's work on electric and acoustic piano, the set also features Elton Dean on alto and saxello, Marc Charig on cornet, Nick Evans on trombone, and Robert Wyatt on drums – on titles that include "Gridal Suite", "Five After Dawn", "This Is What Happens", "Thoughts To Geoff", and "Black Horse".

Possibly the best-ever collection of blacksploitation grooves we've ever seen – a really comprehensive package that not only manages to cover the classics, but which also digs deep enough to come up with lots of fresh bits too! The set really sets a new level for the Soul Jazz label – and is carried off with enough authority towards Black Action films as the label's legendary efforts towards a host of less mainstream genres – truly an achievement for the label's crew, not to mention a heavier bonus for our funky listening pleasure! There's way more here than just a slapped-together batch of tunes from the early 70s – as the set's very carefully put together to showcase a wide range of sounds, along with notes that really get at the social and political power of both the music and the films. 2CD package features a massive color booklet inside the slipcase – and features 34 tracks that include "Shaft In Africa" by Johnny Pate, "Down & Out In New York City" by James Brown, "Wilford's Gone" by The Blackbyrds, "Run Fay Run" by Isaac Hayes, "Theme From Black Belt Jones" by Dennis Coffey, "Willie Chase" by JJ Johnson, "T Plays It Cool" by Marvin Gaye, "Charley" by Don Costa, "Brother's Gonna Work It Out" by Willie Hutch, "Blacula" by Gene Page, "Theme From Cleopatra Jones" by Joe Simon, "Pursuit Of The Pimpmobile" by Isaac Hayes, "Sweetback's Theme" by Earth Wind & Fire, "Aragon" by Roy Ayers, "Strung Out" by Gordon Staples, "Easin In" by Edwin Starr, "The Bus" by Solomon Burke & Gene Page, "Make A Resolution" by The Impressions, "Ed & Digger" by Cotton Comes To Harlem, "Las Vegas Strut" by Jack Ashford, "Lay It On Your Head" by Don Julian, and "Zombie March" by Nat Dove & The Devils.

Yeah, it's spectacular alright – a sturdy box set featuring 7 X 7" singles from the Channel One vaults – all in replications of the original sleeves! It includes mid 70s singles originally issued on Well Charge and Channel One, plus a trio of early 80s Hitbound singles – stellar original tracks by Delroy Wilson, Leroy Smart, John Holt and Sammy Dread backed by the Revolutionaries versions, plus Michael Palmer, Barrington Levy, Roots Radics and more! Includes "It's A Shame" by Delroy Wilson w/ "Fire Bun" by Revolutionaries, "Jah Jah" by Leroy Smart w/ the Revolutionaries version on the flip, "Up Park Camp" by John Holt (plus Revolutionaries version)", "Jah Will Work It Out" by Mighty Diamonds w/ "Masculine Gender" by Ranking Trevor, "M16" by Sammy Dread w/ the Revolutionaries version, "Pon Your Toe" by Michael Palmer w/ "Unmetered Taxi" by Sly & Robbie, Dean Fraser & Robbie Lyn and "Black Rose" by Barrington Levy w/ Roots Radics version.

A great set of purely classic level Studio One material – great stuff from the early 60s onward to around 1980 – and unfailingly amazing all the way through! Studio One opened up in the fall of '63, and soon after, the best of the best of Jamaican music greats of the time were wanting to record there for Coxsone Dodd. The set features the unstoppable rhythms of The Skatalites and timeless greatness from The Heptones, Maytals, Horace Andy, Lone Ranger, Freddy McKay, Wailing Souls, Willie Williams, Marcia Griffiths, Dub Specialist, Doreen Schaeffer, Ernest Ranglin and many more. 18 tracks in all: "Ball Of Fire" and "Fidel Castro" by The Skatalites, "I'm Your Man" by The Heptones, "Watch Your Step" by Freedy McKay, "Mr Music" by Pablove Black, "Sitting With Stupid" by Dub Specialist, "Let Me Hold You Tight" by Marcia Griffins, "Treat Me Bad" by The Maytals, "Everything She Want" by Lone Ranger and more.

Black Sabbath going strong – very much in their own space by this point in their career, setting a sound that countless others would try to follow – but never match for fierceness like this! The fuzz is definitely turned up to 11, the rhythms move at a breakneck speed, and Ozzy's vocals have all the mean, sinister sounds that set a generation on fire – plenty of energy to fill up long tracks that include "Megalomania", "Hole In The Sky", "Symptom Of The Universe", "Supertzar", "Am I Going Insane", and "The Writ".

A lost west coast gem from the 50s – a unique quintet session for Atlantic Records, cut by a group co-led by trumpeter Conte Candoli and pianist Lou Levy! There's a bit more fire here than in some of the other sides from the time by the players – especially Levy – and in a way, the record goes a bit farther past the limits of Candoli's Bethlehem sessions, showcasing an especially searing sound in his horn! Other players here include the great Bill Holman on tenor, Leroy Vinnegar on bass, and Lawrence Marable on drums – and titles are all hard and short, and include "Marcia Lee", "Pete's Alibi", "Jordu", "Cheremoya", and "Comes Love".

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.

A rare split promo single from Columbia – featuring one of its hit acts of the time, and a really hot up-and-comer! "Turn It Out" is catchy club from The Emotions – a tune with a great hook and a really high-stepping 80s groove. "It's You" is a real killer from Afterbach – produced by Verdine White with a groove that's a bit like Earth Wind & Fire at their best, but a lot more clubby and catchy too – especially on the chorus!

An excellent full length set of beats & genius from J Dilla – put together by fellow beatmaker extraordinaire Pete Rock, with all Dilla beats – a surprising triumph! Call us jaded, but honestly, we weren't sure how deep the well could go of ready-to-go beats from Dilla, but this stuff is truly top shelf – nearly as strong as the instant classic Donuts from a few years back! Pete Rock crafts the set as if it's a radio show or mixtape, but his skill in so doing is well above and beyond the norm – neither Pete's interjections nor the guest rappers ever get in the way of the flow, it's as smooth as can be. Vocal guests include Ma Dukes (the album was made under Ma's auspices), plus Lil Fame & MOP, Black Thought, Frank Nitty of Frank N Dank, Doom, Illa J & Cue D, Blu, and others. Titles include "King", "I Told Yall", "Smoke" feat Blu, "CaDILLAc". "Fire Wood Drumstix" feat Doom, "Big Day", "24K Rap" feat Havoc of Mobb Deep & Raekwon, "Coming Back", "Mythsysizer" and more. 28 tracks in all, about an hour of unreleased Dilla!

One of the darkest records to ever come out of the Chicago scene of the 70s – an unreleased gem from Medusa – a group who really know how to go head to head with some of the most frenetic acts of their generation! The set's got a blistering array of guitars right up front in the mix – brilliant solos that are very much in the metal mode, yet without all the posturing that usually comes along with such dexterity – a style that's often more content to hide behind the larger, darker trappings of the entire group! There's plenty of cuts on the set that would have set late night FM radio on fire at the time – plus a few more than would definitely have been too dangerous for the airwaves too – and Numero's done a wonderful job of resurrecting this lost nugget – giving it a lavish velvet-covered jacket, with the kind of presentation that no big record labels would have paid for at the time! Titles include "Strangulation", "Temptress", "Feelings Of Indifference", "Black Wizard", "Frustration's Fool", and "Unknown Fear".

The mothership has landed! While attempting to make a definitive compilation of all of Scratch's productions would take well more than 3 CDs, this set does a fine job of touching on important highlights and unearthing a few hidden gems, from the fertile Black Ark period. 55 tracks in all, with a fat 52 page book with extensive notes and loads of great photos, we'll let the exhaustive track list speak for itself: Max Romeo "One Step Forward", "War In A Babylon", "Chase The Devil" and "Norman", Devon Irons "Vampire", the Heptones "Sufferer's Time", "Mr. President" with Jah Lion, "Why Must I (version)" with Lee Perry and "Make Up Your Mind", Junior Dread "Sufferer's Heights", The Congos "Don't Blame On I", "Feast Of The Passover" and "CongoMan", The Meditations "Much Smarter", "Life Is Not Easy", and "No Peace", Junior Murvin "Tedious", 'police & Thieves", "Bad Weed" and "Roots Train" with Dillinger, Mikey Dread "Dread At The Mantrols", Errol Walker "In These Times", "John Public" and "John Public (version)" with Enos Barnes, Glen DaCosta "Magic Touch", Jah Lion "Soldier & Police War", Raphael Green & Doctor Alimantado "Rasta Train", Augustus Pablo "Vibrate On", The Upsetter Review with Junior Murvin "Closer Together", Keith Rowe "Groovy Situation", George Faith "To Be A Lover (Have Some Mercy)", Lee Perry "Dub Revolution Pt. 1", "Dreadlocks In Moonlight", "Soul Fire", "Curly Locks" and 'Roast Fish & Cornbread" and The Upsetters "One Step Dub", "Vamp A Dub", "Sufferer's Dub", "Much Smarter Dub", "Life Is Not Easy Dub", "Revelation Dub", "In These Times Dub", "Grumblin' Dub", "No Peace Dub", "Party Time pt. 2", "Vibrator", "Bird In Hand", "Dyon Anasawa" featuring Full Experience, "Rastaman Shuffle", "Groovy Dub" and "Corn Fish Dub".

A legendary album from Chicago – recorded by a group with ties to Sun Ra, Phil Cohran, and Earth Wind & Fire! The set's got a sound that more than lives up to all those references – a vibe that's jazzy and soulful, yet often quite righteous too – imbued with the sort of spirit you'd guess from the group's name and the album's cover image – but often served up with a tight enough groove to make the set a favorite for fans of funk as well! There's a really special mix going on here – and unlike other ensembles of the time, The Pharoahs never go too far out – and instead really have the great sort of focus you'd hear even more strongly with Earth Wind & Fire. The lineup features Louis Satterfield on bass, Willie Woods on trombone, Don Myrick on saxes, Black Herman on drums, and Derf Reklaw on percussion and flute – and titles include "Ibo", "Somebody's Been Sleeping", "Damballa", "Freedom Road", "Great House", and "Black Enuff".

An excellent set from Tito – very funky, unlike most of his other work from the time! The record has a great electric vibe to it – thanks to a hip bass player in the group, to Charlie Palmieri, who plays organ and electric piano on the record, and to Tito himself, who's never sounded better, playing a range of percussion, vibes, and electric piano too! The best tunes have a funky NuYorica groove – nice and driving, about as funky as Tito can get – with jazz solos by Sal Nistico, Dick Menza, Rene McLean, and others. Cuts include "Black Brothers", "110th Street and 5th Ave", "Ritual Fire Dance", "Mambo Diablo", and "Ah! Ah!". Very cool, and a very different side of his style!

A tremendous bit of jazz history – 2 classic Archie Shepp albums on 1 CD! Yasmina features Archie Shepp at his spiritual best – recording in Paris in 1969, and absorbing a heck of a lot of pan-African influences! The centerpiece of the album is the amazing "Yasmina" – a long track that builds with passion and fire, pulsing with an intensity that you'd expect more from Pharoah Sanders than Shepp himself. Next up is "Sonny's Back", a wonderful straight jazz groover with Archie and Hank Mobley on twin tenors upfront – making a rare and memorable recorded appearance together! The set's capped off by a mellow version of "Body & Soul", one that points towards the more soulful side of Shepp's work in the 70s. Poem For Malcolm is one of Shepp's most memorable LPs for BYG. Side one has him playing with Burton Greene, Alan Silva, Philly Joe Jones, and Claude Delcloo on the extended Mamarose/Poem For Malcolm. The track starts out with very free playing, then moves into a more subdued passage, with Shepp's recitation of his "Poem For Malcolm". Side two has a great lineup that includes Grachan Moncour III, Malachi Favors, and Hank Mobley, who gives one of the wildest performances of his life! The group runs through the 20 minute track Rain Forest/Oleo, and begins with a dark, spare performance, then leaps into a reading of "Oleo" that's filled with fire.

The excellent annual roundup of out-of-print issues of Shindig – plus a pair of previously unpublished articles from the groovy magazine for psyche, garage, prog, powerpop, soul, folk and more! Annual Number Three comes hardbound with cool, foil on black cover art – and items on Pretty Things, Flamin' Groovies, Kevin Ayers, The Scaffold, The Strawbs, Procession, Fire, Alice Cooper, The 14 Hour Technicolor Dream, Procession, Green Beat, David Daltrey and more!

London's always been one of the hippest cities in the world – but back during the postwar years, there was an especially wonderful outpouring of music on the scene – a rich array of new sounds and styles pulled from around the globe – as so many residents from crumbling British empire came to live in the UK! Musicians and listeners arrived in London with plenty of cultural baggage on hand – influences from the Caribbean, West Africa, and India too – plus other smaller scenes that once fell under the British banner, all now the fuel for the cultural fire that was happening in England! The title here tells plenty about the music being made in this newly-formed scene – bits of African highlife, Jamaican calypso, American jazz, Cuban Latin, and more – all filtered into the modernism of the 50s, and given a new twist that was decidedly urban as well. The package may well be the most impressive so far in this legendary series – and is certainly the one that moves the farthest past any sort of easy expectations or cultural conventions. Titles include "Women Police In England" by Mighty Terror, "My Sorrow" by West African Swing Stars, "Cricket Umpires" by Lord Kitchener, "Jordhu" by Caribbean Swing Band, "Trumpet Highlife" by Shake Keane, "Calypso Mambo" by George Browne, "Cuban Nightingale" by Buddy Pipp's Highlifers, "Kitch" by The Quavers, "Tabu" by Mona Baptiste, "King Jimmy Foo Foo" by Tejan Sie with The West African Rhythm Brothers, "The Escape" by Dizzy Reece, "Mambo Contempo" by Ginger Johnson, "Life In Britain" by Mighty Terror, "Sway" by Buddy Pipp's Highlifers, "Song Of Joy" by Rupert Nurse's Calypso Band, "Joe Louis Calypso" by Lord Beginner, "Uncle Joe" by Fitzroy Coleman Quintet, "Me Donkey Want Water" by Tony Johnson, "Belly Lick" by Eric Hayden, "Nigeria Odowoyin" by West African Rhythm Brothers, and "Football Calypso" by King Timothy.

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

Landmark stuff, and a beautiful album that mixes soulful tracks with Donny's nascent jazz sensibility! The set's a key chapter in the history of soul music – a record that has Donny emerging from shadows of the Chicago studio scene to become one of the most promising soul artists of the 70s. The album was recorded in Chicago, with a host of great players that had been gigging for years in the Chess studios – and the record is the rich culmination of talents that had been brewing in the Windy City for years. Includes the monster hit "The Ghetto" – one of Donny's best-known tracks and a rollicking funky number – in a full extended version with a good instrumental breakdown. Also features a remake of "Voices Inside (Everything Is Everything)", which shows Donny's strong ties to the Earth, Wind, & Fire organization – plus moody spiritual numbers like "I Believe To My Soul", "Thank You Master", and "To Be Young, Gifted, and Black".

Overlooked genius from Hampton Hawes – one of a number of excellent albums made during a late 60s stint on the European scene – and a set that really has Hamp pushing forward from his previous albums in the US! The tracks are wonderfully fluid – set fire with that Hawes style that was already magical at the start, but which really seemed to find a new sort of energy overseas – possibly here because of the excellent rhythms from Jimmy Woode on bass and Art Taylor on drums – also two players who were really coming into their own at the time. Hampton's got this great blend of lyricism and soulful swing – one that feels a bit like some of the MPS projects that Woode was recording at the time with other players, and which makes the album a real treasure in Hawes' catalog. Every cut save one is an original – and titles include "Sonora", "Blues Enough", "Black Forest", "Spanish Steps", and "Dangerous". CD features 5 bonus tracks – including "Blues For Bud", "Children's Play", "They Say It's Wonderful", and alternate takes of "Black Forest" and "Spanish Steps".

Later work from Pat Martino, but a set that shows that the guitarist has lost none of his fire over the years! The set's done with a relatively freewheeling sound – not free, but open, as Martino spirals out wonderfully with some very creative solo lines – often quite extended, and filled with the sort of rapid-fire creativity we've always loved in his work. The group on the date is a quartet – with James Ridl on piano, Marc Johnson on bass, and Sherman Ferguson on drums – but most numbers feel very dominated by Martino's guitar, which is a good thing by us. Titles include "Black Glass", "Interchange", "Just For Then", "Blue In Green", and "Catch".

Lee Scratch Perry's funky reggae party, put together at the Black Ark, with Boris Gardner, Mickey Boo, Sly Dunbar & Winston Wright. A nice batch of skanking Jamaica funk, with the requisite Black Ark smoke blowing throughout. Includes a bunch of classic Perry-isms, with Scratch dropping verses with his own unique perspective, like "Yu Squeeze My Panhandle", "Roast Fish & Cornbread", "Soul Fire" & "Free Up The Weed"

Jazzy 45s galore – and a huge dip into the vaults of Prestige Records! This tasty set brings together 18 classics recorded in the heyday of the jazz funk years at Prestige – the late 60s and early 70s, a time when the soul jazz sounds of previous years were being forged into a leaner, meaner, harder-hitting groove. And although the LP was the growing format during these days, there was actually a heck of a lot of great work issued on 45s – still spinning strong with the jukebox crowds in the clubs and tap rooms, and still getting major play on radio stations, where the single was still king. The set features many 45 mixes of funky classics that you might know from LPs – and intersperses them with some other more obscure numbers pulled from full albums – making for an all-solid, all-funky set of tracks from one of the hippest jazz labels ever! Titles include "Fire Eater" by Rusty Bryant, "Don't Knock My Love" by Idris Muhammad, "Jungle Strut" by Gene Ammons, "Express Yourself" by Idris Muhammad, "Right On" by Boogaloo Joe Jones, "Who's Gonna Take The Weight" by Melvin Sparks, "Sing A Simple Song" by Charles Earland, "Son Of Man" by Houston Person, "Listen Here (part 1)" by Freddie McCoy, "Black Talk (part 1)" by Charles Earland, "Message From The Meters" by Leon Spencer, "Reelin With The Feeling" by Charles Kynard, "I Want You Back" by Harold Mabern, and "Thank You (part 1)" by Melvin Sparks.

London's always been one of the hippest cities in the world – but back during the postwar years, there was an especially wonderful outpouring of music on the scene – a rich array of new sounds and styles pulled from around the globe – as so many residents from crumbling British empire came to live in the UK! Musicians and listeners arrived in London with plenty of cultural baggage on hand – influences from the Caribbean, West Africa, and India too – plus other smaller scenes that once fell under the British banner, all now the fuel for the cultural fire that was happening in England! The title here tells plenty about the music being made in this newly-formed scene – bits of African highlife, Jamaican calypso, American jazz, Cuban Latin, and more – all filtered into the modernism of the 50s, and given a new twist that was decidedly urban as well. The package may well be the most impressive so far in this legendary series – and is certainly the one that moves the farthest past any sort of easy expectations or cultural conventions. Titles include "Women Police In England" by Mighty Terror, "My Sorrow" by West African Swing Stars, "Cricket Umpires" by Lord Kitchener, "Jordhu" by Caribbean Swing Band, "Trumpet Highlife" by Shake Keane, "Calypso Mambo" by George Browne, "Cuban Nightingale" by Buddy Pipp's Highlifers, "Kitch" by The Quavers, "Tabu" by Mona Baptiste, and "King Jimmy Foo Foo" by Tejan Sie with The West African Rhythm Brothers.

London's always been one of the hippest cities in the world – but back during the postwar years, there was an especially wonderful outpouring of music on the scene – a rich array of new sounds and styles pulled from around the globe – as so many residents from crumbling British empire came to live in the UK! Musicians and listeners arrived in London with plenty of cultural baggage on hand – influences from the Caribbean, West Africa, and India too – plus other smaller scenes that once fell under the British banner, all now the fuel for the cultural fire that was happening in England! The title here tells plenty about the music being made in this newly-formed scene – bits of African highlife, Jamaican calypso, American jazz, Cuban Latin, and more – all filtered into the modernism of the 50s, and given a new twist that was decidedly urban as well. The package may well be the most impressive so far in this legendary series – and is certainly the one that moves the farthest past any sort of easy expectations or cultural conventions. Titles include "The Escape" by Dizzy Reece, "Mambo Contempo" by Ginger Johnson, "Life In Britain" by Mighty Terror, "Sway" by Buddy Pipp's Highlifers, "Song Of Joy" by Rupert Nurse's Calypso Band, "Joe Louis Calypso" by Lord Beginner, "Uncle Joe" by Fitzroy Coleman Quintet, "Me Donkey Want Water" by Tony Johnson, "Belly Lick" by Eric Hayden, "Nigeria Odowoyin" by West African Rhythm Brothers, and "Football Calypso" by King Timothy.

A fantastic collection of rare bossa material from Italy! The set's one of the best we've ever seen of this type, and it's a completely fresh batch of tunes that breaks past a lot of the other Italian compilations of recent years. Some of the artists are familiar names – like Morricone, Piccioni, and Trovajoli – but there's plenty of other artists that we've never even heard before! A few themes are reworkings of familiar soundtrack tunes, but most of the material is original – and done with a sparkling sound that's really great! The grooves are filled with loads of tight drums, bubbling organ, jangly piano, and sweet female vocals in sort of a Morricone-ish tradition. Great stuff, and with 20 excellent tracks that include "Amori Finiti" by Giancarlo Gazzani, "Relief" by The Black Fire, "Rossana" by Armando Trovajoli, "Sometime" by A Santisteban, "Tema Di Linda" by Franco Micalizzi, "Curriculum" by Franco Chiari, "Coronado 990" by Orchestra Henry Stone, "Meditation" by Romano Mussolini, and "Warm Blood" by Tullio Gallo.

A fantastic collection of rare bossa material from Italy! The set's one of the best we've ever seen of this type, and it's a completely fresh batch of tunes that breaks past a lot of the other Italian compilations of recent years. Some of the artists are familiar names – like Morricone, Piccioni, and Trovajoli – but there's plenty of other artists that we've never even heard before! A few themes are reworkings of familiar soundtrack tunes, but most of the material is original – and done with a sparkling sound that's really great! The grooves are filled with loads of tight drums, bubbling organ, jangly piano, and sweet female vocals in sort of a Morricone-ish tradition. Great stuff, and with 20 excellent tracks that include "Amori Finiti" by Giancarlo Gazzani, "Relief" by The Black Fire, "Rossana" by Armando Trovajoli, "Sometime" by A Santisteban, "Tema Di Linda" by Franco Micalizzi, "Curriculum" by Franco Chiari, "Coronado 990" by Orchestra Henry Stone, "Meditation" by Romano Mussolini, and "Warm Blood" by Tullio Gallo.

Stunning compilation of Italian grooves from the early 70's – and one that has a slightly different twist than some of the other one's we've been stocking. The folks at Schema have put this one together, and the set's got a feel that's similar to some of the newer releases they've been working on over the past few years. The grooves are funky, yes, but they also have a light and airy sound, with lots of groovy bossa tinges, cool vocal parts, and the kind of smooth Italian feel that you'd never find on American records from the time. The tracks are played by groups like Expo 80, The Paris Studio Group, The Psycheground Group, The Black Fire, and The Hawksworth Big Band and String. Most of the tracks are breezy and groovy, with a sound that's similar to some of the best stuff on the Sound Gallery compilation – and different than the other funky Italian grooves we've been stocking! Nice one.

Another one of the greatest mid 60s Columbia albums by Cash, with a proper CD release! Orange Blossom Special is probably the most successful of Johnny's LPs in which he balances the profound influence of Bob Dylan with his own rough hewn style for something wholly unique. Cash covers 3 of Dylan's tunes on Orange Blossom, "It Ain't Me Babe", "Mama, You've Been On My Mind", and "Don't Think Twice, It's Alright". Other tracks include "You Wild Colorado", "When It's Springtime In Alaska", "Amen", and "Danny Boy". This remastered set includes 3 bonus tracks that were never issued in the US, but can (and should!) also be found on Bear Family's amazing Man In Black: 1963-1969 box set. Those include "Engine 143", "(I'm Proud) The Baby Is Mine", and another version of "Mama, You've Been On My Mind", this one featuring Mariachi horns in the tradition of "Ring Of Fire".

One of the hippest albums that Rahsaan Roland Kirk ever recorded – a perfect realization of his "black classical music" ethos, and a pan-generational jazz album that's all held together by one unique musical vision! Side one features the extended suite "The Seeker", which mixes together bop, avant garde, and New Orleans styles – and side two features more of the same in an extended medley of tracks, plus the titles "Baby Let Me Shake Your Tree" and "Sweet Fire". The album's got a few cool passages that feature recitations by Rahsaan – stating his musical philosophy, and tracing the development of the styles of work – and other players include Leroy Jenkins on violin, Dick Griffin on trombone, Ron Burton on piano, and Sonelius Smith on celeste!

A quartet of the most furiously grooving, dancefloor ready numbers from the African Music Today compilation on Truth & Soul – featuring modern African combos working in the tradition of Fela, Tony Allen, Mulatu and others! The 7" EP version features an Ethio jazz inspired Zafari, the heavy percussion grooves of Friends Of The Family, and a great on Original Brothers that takes inspiration from Mulatu and serves him proudly. Includes "Zafari" by King Masuru, "Percussive Movement" (Parts 1 & 2) by Friends Of The Family, and "Black Out" by The Original Brothers.

One of the coolest collections of rare psychedelia we've heard in a while from anywhere in the world – this one focusing on Afro Rock & psych from 70s Nigeria – among the greatest releases to date on the Soundway label, which only does great work! The music has the touchstone elements of raw garage funk & rock sounds from around the globe at the time – fuzzed out guitars and organs, searing solos, hard grooving rhythms and passionate vocals. But the guitars and rhythms are uniquely African, too, with highlife and Afrobeat gestures along with the global psychedelic soul sounds! Titles on this second vinyl volume include "Isi Agboncha" by The Semi Colon, "Egwu Aja" by Ofo The Black Company, "Bullwalk" by The Comrads, "Active Action" by Action 13, "Chokoi & Oreje" by The Elcados, In Concert" by Ofege, and "The World Ends" by The Black Mirrors – plus vinyl-only tracks "Straight To My Heart" by Celstine Nyam & The Voices Of Darkness, and "You've Got To Try" by T-Fire.

Easily one of the most powerful albums ever cut by Don Cherry – a searing set of tracks done for Blue Note in the late 60s – and featuring some tremendous tenor work by Pharoah Sanders! There's a tightness and level of energy here that surpasses even Cherry's other excellent Blue Note sessions – a rawness that recalls the style forged often on key ESP albums of the 60s, but honed here into a slightly tighter mode. Sanders' horn is especially well-placed in the set – and pushes Cherry past the spacier notes of other recordings, in a way that unlocks fire from the years with Ornette – but which opens up into a much freer groove. The rest of the group includes Henry Grimes on bass and Ed Blackwell on drums – both a perfect match for the quartet – and titles include the 17 minute "Unite", plus "There Is A Bomb", "Awake Nu", "Taste Maker", and "The Thing".

Righteous soul – and the only record ever cut by East Coast – a group led by Larry Blackmon, featuring early vocals by Gwen Guthrie! The style is very hip – a mixture of funk and progressive grooving, all held together with a sound that's young, proud, and which moves easily between influences from a number of different camps. In a way, the group's almost a cross between early Earth Wind & Fire and The Voices Of East Harlem – with a style that's got some nicely soulful jazz elements, but served up with a dose of sweeter soul. Gregory Johnson plays some great keyboards on the set, and titles include "I've Got To Reclaim You", "Something Deep Inside", "Any Thing You Have In Mind", "Miss Gigi", "Keep On Trying", "I Found You", and "You Can't Let It Get You Down".

A great little album from Herbie – it that says "previously released" on the back cover, but was actually released with Tootie Heath as leader under the name Kuumba, entitled Kawaida. It's a hip batch of afro-centric jazz, with a Strata East sort of feel: lots of percussion and spacey soul jazz work in a very righteous vein! Don Cherry, Buster Williams, Mtume, Herbie Hancock, and Ed Blackwell are all part of the group – and the tracks are all long and spiritual, in a style that's similar to the Heath Brothers album on Strata, but with a bit more fire. 3 tracks: "Maulana", "Dunia", and "Kamili".

A brilliant collaboration between Clifford Jordan and Sonny Red! At the time of this recording, Jordan was one of a number of firey young tenor players from Chicago – all of them hard-blowing, with a nice soulful bottom that opened up a bop sound to more moods and emotions – but Jordan stood apart from most of them with an approach that was decidedly more complex and forward-thinking. As you'll hear on the album's tracks, he wasn't content enough to just blow off a riff – but had to twist things up a bit, working a tune for more shades and colors than it might yield with another player, pushing on the proceedings with an edge that works especially well for Red, who opens up here more than he does on some of his other sides from the time. Red's tone is excellent – a sharper one next to Jordan's more supple blowing – and the pair are a perfect team to lead off tunes like "Prints", "Hip Pockets", "A Story Tale", and "Defiance".

A strangely beautiful set of music composed by Zdenek Liska – described as orchestral/electronic, and it's soaring, haunting stuff – music with a great deal of subtley and abstract beauty on one level, and tense, fractured and spooky atmospherics on another! This is complex, accomplished material – classic soundtrack styled strings and other grander orchestrations blend with soundscape errata that's hard to define and describe – be it creaky, crackling beats, eerie bits of echo, or fuzzy effects. Titles include "Mala Morska Vila", "Witches Firewall", "The Sixth Sister", "The Black Sea", "The Kiss", "Games/Echoes", "Behind The Rock", "The Pendant" and more.

Nicely priced US reissue of this classic! This was Curtis Mayfield's first solo album after leaving the Impressions, and it's a firey album of political soul that shows just how much he was holding back when he was with the group. The tracks are longer, angrier, more experimental, and a lot more funky. Standout tracks include "If There's a Hell Below, We're All Gonna Go", "Miss Black America", and "We the People Who Are Darker Than Blue" – but the whole album's a classic! Reissued with the original gatefold cover!

This was Curtis Mayfield's first solo album after leaving the Impressions, and it's a firey album of political soul that shows just how much he was holding back when he was with the group. The tracks are longer, angrier, more experimental, and a lot more funky. Standout tracks include "If There's a Hell Below, We're All Gonna Go", "Miss Black America", and "We the People Who Are Darker Than Blue" – but the whole album's a classic!

A thick, photo heavy book dedicated to the greats of Latin rock – from the creative firestorm that burst from the 60s San Franisco Haight scene, up to Santana's surprise commercial juggernaut Supernatural in the late 90s. The book goes far deeper Santana, though, with reminiscences from a number of pivotal figures, and reintroduction to greats such as Malo, Azteca and many more, plus the funkier side of things with Mandrill and others. Definitely not an academic tome, either, this is a visual feast for both fans and neophytes. Large, kind of coffee table style paperback, beautifully illustrated with tons of amazing photographs (black & white). Forward by Carlos Santana.

Deadlier than Dracula – and a lot funkier too! This is the original soundtrack for the classic blacksploitation horror flick starring the baaadest Drac ever to grace the screen of all those shabby downtown theaters that were still around in the 70s – a wicked batch of wah wah tunes penned by Gene Page – and featuring a lot of groovy keyboards as well! The set's got a few vocal numbers, sung by 21st Century Ltd and The Hues Corporation, but it's the instrumentals that really steal the show– and there's plenty of great ones here that rank with the best blacksploitation work of the decade – hard and funky groovers that have kept this one flying out of the crates for many many years. Titles include Blacula (The Stalk Walk)", "Blacula Strikes!", "Heavy Changes", "Movin'", "Run Tina Run!", "Firebombs", "I'm Gonna Catch You", "Finding Love, Losing Love" and "Good To The Last Drop".

A landmark set for Blue Note – one that features Freddie Hubbard working in raw, firey, freewheeling territory – given space that few other players at the label were getting at the time! The two volume set features tracks recorded live at Club La Marchal in Brooklyn – and have Hubbard working with a completely hip group that features Lee Morgan, James Spaulding, Harold Mabern, Larry Ridley, Pete La Roca, and Big Black on conga. The sound is incredible – a full on burner that easily earns the "cookers" status of the title – and which sounds quite different from most other live jazz albums of the time! Each side of the album features one long track – and this 2CD set features both volumes, with 4 extended titles that include – "Pensativa", "Walkin", "Jodo", and "Breaking Point".

A treasure trove of rare funk – a massive package that not only includes the legendary Inspiration Information album by Shuggie Otis, but which also adds in four bonus tracks to that classic – plus a full other album of unreleased vintage work! Shuggie Otis is the son of Johnny Otis – the LA R&B maestro who was moving heavily into funk at the end of the 60s – and he has this tripped out, super-dope guitar style that he played to strong effect on Johnny's albums of the late 60s and early 70s, and on his first two solo albums, which were kind of bluesy in tone. But for Inspiration Information, he shocked the world by moving into a stripped-down mode that pairs his guitar with spare drum machine rhythms, flanged-out deeply soulful vocals, and one of the most laidback conceptions of funk you'll ever hear. The album's a landmark – one of those gems that's unlike anything else you can think of, but which will redefine your concept of what you want in a record for years to come. Every track's a winner – and the whole thing's a perfectly unified batch of tunes that includes instant classics like "Inspiration Information", "Island Letter", "Aht Uh Mi Hed", "XL 30", and "Rainy Day" – plus unreleased bonus tracks "Miss Pretty", "Magic", "Things We Like To Do", and "Castle Top Jam". Then – as if that's not enough – the set features incredible rare material from Shuggie – 14 more tracks as the Wings Of Love album, mostly recorded in the late 70s post-Inspiration years, plus a few tracks from later vintage too! The sound is great – the kind of extra bits we've been wanting to hear from Otis for many many years – finally unleashed from the vaults, and showing a style that really echoes the groove that others had copied from him – like The Brothers Johnson and some later contemporaries. There's plenty of great lost nuggets on Wings – and titles include "Trying To Get Close To You", "Give Me Something Good", "Wings Of Love", "Give Me A Chance", "Fireball Of Love", "Fawn", "If You'd Be Mine", "Black Belt Sheriff", and "Destination You".

Deadlier than Dracula – and a lot funkier too! This is the original soundtrack for the classic blacksploitation horror flick starring the baaadest Drac ever to grace the screen of all those shabby downtown theaters that were still around in the 70s – a wicked batch of wah-wah tunes penned by Gene Page, and featuring a great bit of keyboards as well! The set's got a few vocal numbers, sung by 21st Century Ltd and The Hues Corporation, but it's the instrumentals that really steal the show here – and there's plenty of great ones here that rank with the best blacksploitation work of the decade – hard and funky groovers that have kept this one grooving in the crates for many many years. Titles include "Blacula Strikes", "The Stalkwalk", "Movin", "Run Tina Run", "Firebombs", and "Good To The Last Drop".

One of Perez Prado's classics, with a side of Latin stuff and a side of jazz stuff – all played by Prado's classic group. Tracks include "Maria Bonita", "Machaca", "Marta", "Fireworks", "Leo's Special", and "Lullaby Of Birdland". Good 50's Mambo, in the same vein as a lot of the other Latin LPs on RCA at the same time.

An incredible set of funky piano tunes from 70s Italy – featuring the sweet electric keyboards of Johnny Cabildo, grooving like work from a lost funky blacksploitation soundtrack! The album's got a dozen totally hot funk instrumentals, with a cool Italian Fender Rhodes feel, and nice Latin tinges from time to time – filled with funky breaks and hard hard hard grooves, and it's just about impossible to find in the original. This CD reissue adds 2 extra cuts to the original release, and features the tracks "Barrio Bueno", "African Jewel", "Borderland", "Smallest Share", "Slide Dance", "Habana Keynote", and "Devilry Time". Great stuff!

An amazing double-header – and a set that really adds a lot more music than we might have expected! First up is a richly expanded version of Cleopatra Jones – one of the best of the blacksploitation scores of the early 70s – a masterpiece of music that we rate every bit as high as Shaft or Superfly – maybe even higher! The music here is incredible – a surprising funky turn for JJ Johnson, who most folks know for his straighter jazz work – and like Marvin Gaye, Barry White, and others who were surprising the world with their ability to score music for a full film during the early 70s, JJ really knocks it out of the park with this one – coming up with a batch of tunes that are a wonderful mix of sophisticated scoring, creative instrumentation, and some damn funky grooves! The title cut features Joe Simon on vocals, and Millie Jackson sings on the cuts "Love Doctor" and "It Hurts So Good". The rest of the set is instrumental, and other cuts include an instrumental take on "Cleopatra Jones", plus "Go Chase Cleo", "Goin To The Chase", "Wrap Up", and "Airport Fight". This new version features 17 bonus tracks from the original film score, not the record – amazing extra music by Carl Brandt, with titles that include "Emdee", "Elevator/Cleo & Captain", "Pot Burn/Mommy/Police Raid", "Ambush", "Doodle Apartment", "Before Crash", and "Snake Crib". CD 2 features some long-lost music from the film Cleopatra Jones & The Casino Of Gold – a well-known follow-up to the original movie, but one that was never properly represented on record – making this CD set a long-awaited premiere of the original music for the film! The set features music by Dominic Frontiere – penned in a mix of funky action modes, with some slight exotic touches too, due to the location of the story. Frontiere's in his best soul/funk mode – a side that few folks realize he can do this well – and the music has a slightly different feel than JJ Johnson's Cleo Jones work, but is equally nice. Titles include "Casino Source", "Chopped Meat", "Oymia", "Les Orgie", "Fatman Stomp", "Dead Dragon Lady", and "Pool Hall Rock" – plus the vocal number "Playing With Fire". CD also features 4 more bonus tracks from Cleopatra Jones – including extended versions of the theme, and Pattie Brooks singing "Swing Down Chariot" and "Am I Blue". Great notes too – very full, with lots of photos, in the best Film Score tradition!

Raw crackling hip hop funk beatcraft at its deepest from mighty Madlib – working in his Beat Konducta style for this third entry in the epic Madlib's Medicine Show Series! Beat Konducta In Africa is a hazy hip hop instrumental set from 'Lib (lest you thought it might be a funky compilation of rare African material) with some additional mixing from J Rocc – based on rare African vinyl. The sound is pure Madlib/Beat Konducta heady hip hop funk – recognizable as being spun from and inspired by African material, and impeccably so, with that instantly identifiable, exploratory Madlib sonic stamp. He looks far beyond Afrobeat and funk sources, with some raw funk rock beats, psych, garage and more with some trippy vocal samples – and he's building up from blueprints records originally pressed all over Africa – Zambia, Nigeria, Ethiopia, Ghana, Botswana and Ivory Coast. But too much mention of the source material risks making this sound like a compilation or a mix set, when it's Madlib all the way! Titles include "Motherland", "Raw Introduction To Afreaka", "Warrior's Theme", "Street Hustler", "Afritonic" (Pts 1 & 2), "Tradition", "Blackfire", "Obtaive", "Mtima", "African Bounce", "Freedom Play", "Natural Sound Waves", "Unika (Outro)" and many more. 37 tracks on the vinyl version.

A set that's gotta be one of the most righteous school band records ever – way more than just a bunch of students doing big band numbers, and instead a killer batch of spiritual jazz numbers, directed by the legendary Alvin Batiste! The record's one of a rare few 70s sets of this nature – one that shows a group of younger musicians really reaching out for bold new sounds – every bit as complex and soulful as work on labels like Strata East or Black Jazz, with a firey power that signals a new generation of the jazz underground! And while Batiste is at the head of the group, there's plenty of other great younger players too – including Henry Butler on piano, Henry Scott on flute, Kirk Ford on tenor, Reginald Houston on baritone, Raymond Deggs on trumpet, Julius Farmer on bass, and Herman Jackson on drums! Side one features burning ensemble numbers that include "Music Came", "Tunjii", "Straight Life", and "North American Idiosyncrasy" – and side two features early material by the Henry Butler Trio, on titles that include "So What", "In My Solitude", and "Milestones".

The spookier side of Les Baxter – an amazing soundtrack penned for the film debut of director Mario Bava! The film was somewhat notorious in the US, but was actually from Italy – and it's got a quality that's darker than even the darkest of the Italian horror classics of the time – really creepy demonic and torture images, which seem to inspire Baxter to hit new styles he'd never touched at the time! There's definitely some echoes of Les' more familiar exotic modes, but everything is much more tense and dramatic – as if the local witch doctor had knocked over the tiki hut, and started burning all the south seas tourists at the stake. Presentation of the material here is really great – lots of bonus tracks, and notes on the film, plus spooky images too – and titles include "That's The Man/Find Her", "Katia Alone & Afriad", "Bleeding Dogs/Firey Drapes", "Kruvajan/Asa Alive", "Main Titles", and "Drinking At The Inn/Scary Woods".

One of the greatest crime jazz TV soundtracks ever – a searing batch of tracks from the pen of Johnny Williams! The work on the set is possibly more famously known from the Shelly Manne album of small combo performances – but this original soundtrack is possibly even more exciting, as Williams uses some great twists and turns in the larger orchestrations – creating really evocative moody passages, yet still sticking to a jazzy approach overall. There's some soaring tunes that groove in a nicely compressed way – moving much more into a 60s mode, and leaving the cliches of 50s crime jazz behind – and overall, we've gotta say that this one may be Williams' finest soundtrack moment ever! Packaged with a very cool cover image, and featuring tracks that include "The Black Knight", "Fireside Eyes", "The King Swings", "Shy Youth", "Far Out Place", and "Cyanide Touch".