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A repackaged version of the album Summer Days & Summer Nights – one of those stupid Capitol reissues that somehow contains less tracks than the original album! Fortunately, there's enough good stuff on here to make this one worth checking out – like some key pre-Pet Sounds gems that include "Let Him Run Wild" and "You're So Good To Me", both of which define the Pet Sounds love essence at its best – as well as the amazing "Summer Means New Love", an instrumental that hints at what Brian would soon do later in the studio!

The CSUF combo gets help from Chicago arranger Burgess Gardner – on a set of tracks that includes "Foxy", "Blusef", "How Are You", and "Evanstune".

One of the harder to find Sammy records, and one of the best! Sammy takes Mel Torme's drippy "California Suite", an extended work about how great California is – and he turns it into an extended chat between Sammy and a friend in a bar in New York City, with twists and turns that are way jazzier, and way hipper than Mel's version, which features a whiny woman playing the part of the New Yorker. Side two of the record features some great sensitive versions of Mel Torme tunes – like "Welcome To The Club", "A Stranger Called The Blues", and "Willow Road". Arrangements by Marty Paich, too – one of Mel's best arrangers!

A classic live album by Gerry – featuring one set of tracks recorded in Stockton, CA in 1954, with Chico Hamilton, Red Mitchell, and Jon Eardley; and another recorded in San Diego the same year, with Zoot Sims, Bob Brookmeyer, Larry Bunker, Red Mitchell, and Eardley. Gerry even plays a bit on the piano, despite its absence from his other work – and titles include "Western Reunion", "Little Girl Blue", "Blues Going Up", and "The Red Door".

Another stapled, b&w, muy extraño rock screed from Roctober! This issue features a really nice paneled portrait sketch cover by Rob Syers, Jason Lutes, and others, the always entertain "Punk'n Head" strip by Jake Austen, features on lost Bee Gee Maurice Gibb, the late 60s circus-theme exploits of Buddah Records artist conglomerate the Kasenetz-Katz Orchestral Singing Circus, The Musical World of Sid Laverents, the wierd world of Gamma Goochee, an interview with Guy "the Armenian Mickey Katz" Chookoorian, Nardwuar Vs. Gene Simmons, and a lot more – plus the usual array of reviews, discographies, ads, and comics!

Groovy album that has a number of vocal tracks from the Hair soundtrack, plus other late 60s groovy pop titles – all performed by the obscure California Poppy Pickers (who we seem to remember being someone else, but we're not sure.) Titles include "Good Morning Starshine", "Narrow People", "Hair", "Sunshine Summer Days", "Clean Up Your Own Backyard", and "Oh Happy Day".

Although the genius of the CTI label might be often thought of in a studio format – especially since the Creed Taylor Influence on the label is what really turned the sound into something wonderful – this live set from 1971 shows that the label's players, with the right frame of mind, can easily get into the CTI groove in any setting – soaring out in a magical blend of acoustic and electric instrumentation, really stretching out on some killer long tracks! The group's a great all-star one – with organ and electric piano by Johnny Hammond, guitar by George Benson, flute by Hubert Laws, trumpet by Freddie Hubbard, tenor by Stanley Turrentine, and percussion by Airto – and all tracks are long, and very free-flowing. Titles include "Red Clay", "Sugar", "Blues West", "Leaving West", and "Fire & Rain".

A nice little batch of Albert King's raw blues, we're guessing all pulled from 45s. Titles include "Travelin To California", "I Get Evil", "What Can I Do To Change Your Mind", "Let's Have A Natural Ball", "Dyna Flow", "Ooh Ee Baby", and "This Funny Feeling".

It's hard to overstate the influence of Max Roach and Clifford Brown on the west coast scene of the 50s – as the two players helped draw out the bop sound of LA that was quickly getting lost in the cool jazz shuffle of the time, and gave it a strength and focus that not only made the group one of the strongest of the time, but which also sparked new life and a hardbop generation on the LA scene! This classic set of live recordings was one of the first great Brown/Roach moments – recorded during 2 different concerts by Gene Norman Presents, and featuring some great tenor work by LA giants Teddy Edwards and Harold Land, plus some piano by the amazing "sideways" player Carl Perkins, as well as Bud Powell's brother Richie – a key factor of the group's studio recordings on Mercury, and a player who would perish in the same accident that took the life of Clifford Brown. This CD features the full versions of most of the tracks that have been highly edited on the GNP albums over the years – including "Clifford's Axe", "Sunset Eyes", "Jordu", "I Can't Get Started", "Parisian Thoroughfare", and "Tenderly". A few edits persist in a few parts, as the unedited tapes appear to be lost – but many of the tracks are in nice longish versions!

Includes performances by Joan Baez, Kris Kristofferson, Country Joe McDonald, the Beach Boys, Merry Clayton, and Linda Ronstadt.

Amazing sights and sounds from the 80s soul underground – rare videos and TV footage from the same sort of groups we've loved in the PPU reissue series! The quality of the images is really striking – lots of over-saturated 80s video that really works well with the electro funky rhythms in the grooves – a stunning portrait of these underground heroes, with work by Glass Pyramid Band, Incredible Rock City Band, Uku Kuut, and California Flight Project – plus some hotel party clips too! The DVD runs for 90 minutes, and is like taking a time machine back to an 80s underground that few of us were ever hip enough to have experienced!

A pretty well-done look at the effect of recording technology on music in the 20th century – with an especially strong focus on the way that classical has been shaped by the evolution in sound! Author Arved Ashby definitely writes here from an academic perspective, but has a way of making the information really come alive – even if, like us, you don't have a great understanding of the artists and works involved – but have an ear that's been trained on a lifetime's worth of records! There's plenty of pop reference points too – crucial to an understanding of the way that technical shifts impacted all sorts of music – and the book features a huge section of notes at the back as well. 316 pages, softcover.

A much-needed look at the amazing underground jazz scene in LA – the richly creative spiritual and avant underground that flourished strongly in the 60s, 70s, and 80s! Although the city's best known for its cool jazz of the 50s, there's an even greater amount of left-field jazz that's come from LA – work that rivals eastern scenes like the AACM in Chicago or loft jazz world in 70s New York – but even more righteous and spiritual overall! The book does a great job of laying the groundwork for this scene to emerge – and offers an incredible amount of detail on its evolution – with an especially focused look at Horace Tapscott and his Pan-Afrikan Peoples Arkestra, as well as some of the artists who recorded for Nimbus Records. The book comes with a CD, too – mostly with work by Tapscott, but also featuring tracks by Linda Hill and Fuasi Abdul Khaliq.

One of Airto's greatest records ever – a really hard hitting batch of tracks that mix sharp-edged fusion lines with some earthier Brazilian percussion touches – all in a way that nicely steps off of Airto's first few American releases, and warms the groove up with a nice dose of California soul! Flora Purim joins in here on both vocals and percussion – and the rest of the group features Hugo Fattoruso on keyboards and harmonica, Jorgte Fattoruso on drums, and David Amaro on both electric and acoustic guitars – shifting nicely between both instruments in a way that further underscores the blended vibe of the record! Most of these tracks are Airto classics – like "Tombo in 7/4", "San Francisco River", "Romance Of Death", "Ringers", and "Wind Chant" – and the record has a very sweet CTI production style, but is still rough enough around the edges to keep things nice and real!

A return to Stax by Rance Allen – his first album for the label after a stellar set for Capitol, and a much smoother set than before! Rance has learned from his work with Larry Mizell on Capitol, and is using a warmer glide on his tracks on this set – arrangements mostly done by producer Henry Cosby, used to kick Rance's sound up to a smoother modern soul kind of sound. The overall groove isn't as spacious as his work on Capitol, but the record's still pretty darn nice – and given Rance's always-great vocals, we tend to love just about anything he does. Titles include "Stand Up For Love", "I Belong To You", "Joy", "Security", "California Gold", "I Found A Friend", and "The Wheel Of Life".

Classic level greatness from Bobby Bare – with The Real Thing from 1970! At his peak – and we consider this to be peak material – Bobby Bare had an easygoing, laconic storyteller vocal style that's as great as any of his more celebrated peers – plus add a perfect mix Nashville Sound lushness and stripped-down country laid down by the best session musicians in the business and the recipe is pretty close to perfection! Includes: "Sunday Mornin' Comin' Down", "The Chicago Story", "Maggie (I Wish We'd Never Met)", "California Dreams", "Tulsa County", "Barbara Joy", and more.

A mixed bag record, but with some really wonderful moments – and essential listening as a lead-up to the Pet Sounds album to follow! There's a mix of styles here – some rough rocking numbers that are a bit stiff, mixed with some really amazing tunes that get at Brian Wilson's new sensitivities – tunes like "Girl Don't Tell Me", "You're So Good To Me", "Summer Means New Love", and "Let Him Run Wild" – all complicated in subtle ways, with a great sense of tension underneath. Other tracks include "Help Me Rhonda", "California Girls", "I'm Bugged At My Old Man", and "Amusement Parks USA". Includes the complete album in both the mono and stereo mixes.

Great stuff – and possibly the best album ever by this classic harmony soul group! The style is wonderful – with Brenda's sweet voice in the lead, and backing by the all-male Tabulations. The overall approach was used by Gladys Knight & The Pips for years, but we've always liked Brenda's stuff better – because it's got a deeper soul approach, and much richer harmonies. This CD features all the tracks from the group's rare 1971 album, plus a number of singles that weren't on the record. Titles include "Right On The Tip Of My Tongue", "Don't Make Me Over", "The Touch Of You", "California Soul", "A Part Of You", "And My Heart Sang", "Lies Lies Lies", and "A Child No One Wanted".

A rare roller boogie soundtrack from Stelvio Cipriani – one that brings together his best funky keyboard styles of the 70s with a sweet new sort of disco groove! A number of the tracks here are instrumentals, and done in a style that's right up there with the best Italian club work of the time – and a few others are vocal tracks, with an even more soulful feel overall – lyrics sung by the likes of Dwayne Ford, Patsy Gallant, and Ranee Lee. The whole thing's easily one of Cipriani's most soulful records – and titles include "The Road To California", "Disco Men", "Tintikitikitin", "The Rollerboy", "It's Got To Be You", and "You've Got To Be Mean".

A trio of early 80s efforts from Con Funk Shun in a 2CD set – with bonus tracks! Touch is a killer from the group – one of the few mainstream funk groups who actually managed to sound better and better with each new record – and on this set, they really seem to come into their own! Titles include "Too Tight", "Lady's Wild", "Give Your Love To Me", "Kidnapped", "Welcome Back To Love", "Touch", and "Play Widit". Includes 2 bonus tracks: "Lady's Wild (12" Version)" and "Body Lovers (12" Version)". 7 is not the group's 7th album, but a bold statement of the unity they feel as a 7 piece ensemble – perfectly lived up to in the record's well-crafted grooves! The album's one of Con Funk Shun's best overall – really solid, but never too slick, very tight in the bass department, but still soulful on the vocal tip, and never afraid to slip into a sweeter, more mellow tune. Titles include "Straight From The Heart", "Bad Lady", "Promise You Love", "I'll Get You Back", "A Song For You", and "California 1". To The Mix has snapping grooves and a sweet clubby sound. The bass is tight, the keyboards are electric, and the rhythms are great – never forced or stiff, and always flowing with a sense of soul that's head and shoulders above most of the group's contemporaries. Vocals are strong too – especially on the numbers that step things down a few notches – and titles include "Ms Got The Body", "Let's Ride & Slide", "Everlove", "Hide & Freak", "You Are The One", "Take It To The Max", "The Freak", and "Love's Train". Includes the bonus "Ms Got The Body (12" Version)" and an instrumental version.

A tasty session of west coast Brazilian grooves – cut by the great percussionist Paulinho Da Costa, with a group that includes Claudio Slon, Larry Williams, and Lee Ritenour. The record's got a very nice breezy feel – with a sound that's similar to some of the Fantasy Brazilian LPs of the time, which mixed tight Brazilian playing with a soulful sense of California production. With the cuts "Simbora", "Toledo Bagel", "Ritmo Number One", and "Berimbau Variations".

An interesting little record – with kind of a crossover California soul feel overall – recorded with Rene Hall arrangements that echo a few rootsy modes at times, mixed in with fuller orchestrations that step a bit back towards Jackie's earlier years on Imperial – a surprisingly nice blend, with a fresh sound for the 70s. The album features a number of great tracks co-written with Jimmy Holiday – a fellow Imperial talent – and titles include "Mediterranean Sky", "Sooner Or Later", "What Was Your Day Like", "Livin On The Easy Side", "Brighton Hill", and "When Morning Comes Again".

American sounds, but forged in Sweden – a surprisingly great batch of work from expatriate Jack Downing – including some rare singles, previously unreleased tunes, and even some live material too! Downing clearly picks up some of the folk rock styles of the post-Dylan generation – but he's also got this rough, raspy style of singing that's much more garagey at points than any folkies in the US – a weird sort of hybrid that only gets more interesting as the music here moves into the early 70s! The package brings together a full album recorded for RCA in Sweden, singles for Karusell, RCA, and CBS, and some live material recorded for Swedish radio too – 37 tracks that include "No Man's Land", "Out My Light", "Muddy Water", "Queen Jane Approximately", "Branded Man", "Only Dadd That'll Walk The Line", "The Kind Of Words", "Greenback Dollar", and "Going To California".

A sweet bit of modern funk from George Duke – working here in a mode that's definitely tighter and more soul-based than his trippier albums of the early 70s – but also in a groove that's pretty darn sweet! George wonderfully blends together his jazz roots and some of the wider soul styles he'd helped forge on the California scene – keeping things smooth, but never slick – bringing in some nice acoustic percussion alongside the album's overall electric sound. A number of cuts have vocals, and George handled both production and arrangements – on tracks that include the P-Funky "Dukey Stick", an old sample from way back – plus "Movin On", "The Future", "We Give Our Love", and "Percussion Interlude".

A sweet bit of modern funk from George Duke – working here in a mode that's definitely tighter and more soul-based than his trippier albums of the early 70s – but also in a groove that's pretty darn sweet! George wonderfully blends together his jazz roots and some of the wider soul styles he'd helped forge on the California scene – keeping things smooth, but never slick – bringing in some nice acoustic percussion alongside the album's overall electric sound. A number of cuts have vocals, and George handled both production and arrangements – on tracks that include the P-Funky "Dukey Stick", an old sample from way back – plus "Movin On", "The Future", "We Give Our Love", and "Percussion Interlude". CD features great additions of the key single – an 8 minute "Dukey Stick (12" single mix)" – plus "Dukey Stick (parts 1 & 2)" from the 7" single!

A pair of great albums – brought together in one super-heavy package! First up is the legendary East Of Underground record – an uber-obscure LP recorded in 1971 by a group of US Army serviceman at the Armed Forces Network studios in Frankfurt, Germany – originally used as a recruiting tool during the Vietnam war! Given the strength of the set, we wouldn't be surprised if plenty of folks signed up for a tour of duty after hearing it – as the set cooks like some of the best American funk from the indie 45 world at the time. The production is nice and dark – with an echoey quality that makes us guess the album was a live recording – done by American servicemen with the feel of some backroom funk show from the Indy or Ohio scene of the 70s. Some of the tracks are familiar numbers from American hits – but redone here with a nicely gritty feel – and titles include the awesome medley "Bet'Ya Never Lose My Love California Dreamer" – plus "Higher", "Smiling Faces", "Hell Below", "Getting Over", "Popcorn/Santana", "I Love You", "Java Girl", and "Walk On By". The set also includes the Soap album – a very similar record with a mix of rock and soul, done with the same sort of US Army-endorsed approach – and some great raw production that really makes the album sparkle! Many tunes are covers, but they're played here with a gritty live energy – so that even the rock tunes feel a bit funky at times – given a really odd edge. Titles include weird versions of "Uncle Albert", "Ticket To Ride", "Southern Man", "I Just Want To Celebrate", "Get Together", and "Walk Away".

An amazing record! By all rights, this shouldn't be so good – but it's an incredible album of haunting tracks that really has us coming back again and again over the years. The formula is simple: Jose plays late 60s pop tunes on acoustic guitar, and sings them in his spacey soulful voice. Backings are by George Tipton, plus a jazz combo made up of Jim Horn, Ray Brown, and Milt Holland – but it's Jose that really makes the whole thing amazing! His style of presentation is like anything else we can describe – filled with sadness and soul, but enough joy to keep moving forward. He takes tracks like "Light My Fire", "In My Life", "Sunny", and "California Dreamin", and transforms them into an amazing document of the darkness hidden behind the sun of southern California. "California Dreamin" is especially amazing – and Jose's version is one of the best soul songs of all time!

An early 80s classic from Richard Dimples Fields – one of the most unique talents in soul music of his generation – with an appeal that's both down home, and smoothly sophisticated at the time! In a way, Fields' music represents many changes his audience was going through at the time – classing things up a bit, and heading into the mainstream – yet still very much concerned about the same issues and challenges of years past. The approach is almost southern soul by way of southern California – rough edges polished out, but still earthy enough to hang out with the crowd from back home. Almost all titles are originals, and Richard handled most of the production too – on tracks that include "If It Ain't One Thing It's Another", "After I Put My Lovin On You", "Baby Work Out", "Mr Look So Good", "Taking Applications", and "A Freak On The Side".

A great lost chapter in the Larry Mizell story – a record that's not nearly as well known as Mizell-produced jams for Bobbi Humphrey or Johnny Hammond, but which is every bit as great! Roger Glenn's a funky flute player with a really great groove – California groovy, with just a touch of Latin – served up here with some great Mizell-infused touches – that rolling rhythm on the bottom, soaring instrumentation on the top, and some great Latin elements that are wrapped up warmly in the fusion! There's plenty of great keyboards, too – played both by Larry Mizell, and also by Mark Soskin – a range of Fender Rhodes, Arp, mini-moog, and more – all adding in the right sort of warmth to Roger's flute, and the album's rich array of percussion. Titles include "Kick", "Reachin", "Rio", "Gloria", "Overtime", and "Don't Leave".

A pair of disco gems – back to back in a single set, and with bonus tracks too! First up is the album On Such A Winter's Day by Grand Tour – a unique side project of the Canadian team who gave the world the THP Orchestra, but one that's done with a bit more Euro style overall! The grooves are full and sweeping right from the start – not as cold as the sounds coming from some of the German studios, but with a similar use of vocals tied up inside the strings – a quality that has the singer equally placed with the instrumentation in the mix, and not as much as a standout soloist. These strings are arranged to perfection by the legendary Jimmie Haskell – who really changes up his mode here, and works great with the groove. The set's got a killer clubby remake of "California Dreamin" – done with female lead vocals and a disco pace that's somehow more chilling than the original. Other titles include "Still I'm Sad", "The Grand Tour", "Flight To Versailles", and the great jazzy groover "Late November". Bonus tracks include "Grand Tour (7" mix)", "Let's Go Boating (promo 7" mix)", "Grand Tour Medley", "Lat November (promo 7" mix)", and "Still I'm Sad (7" mix)". Headin South is a standout album from Southern Exposure – a sweet disco set from the Canadian scene of the late 70s – and one that's as sexy-sounding as its cover might imply! The tracks are long and nicely stretched-out – and have a great use of percussion at the core, mixed with spacier keyboards that really help refine the groove – and give the tracks more than enough energy to push well past the 5 minute mark – even without any sort of strong vocals in the lead! Lyrics are mostly in the catch chorus style of this sort of work – but the main appeal is really the instrumentation, including keyboards from Carl Marsh, alongside some nice riffing guitar and bass as well. Titles include "On Our Way", "Love Is", "Tight Pants", and "Headin South". Bonus tracks include "Headin South (edit)", "On Our Way (edit)", "Love Is (7" mix)", and "Tight Pants (7" mix)".

A very groovy set of pop-jazz guitar tunes – originally recorded by Metronome Records in Sweden, but issued here by Atlantic. The core of the recording is Gustafsson's guitar trio, but the record also features some larger backing by Georg Riedel that have a nice airy feel to them. While the record isn't totally funky, it's got a nice slightly funky easy sound that's very nice. Includes a good version of "California Soul", plus "Waltz A Nova", "The Look Of Love", "Witchita Lineman", and "Me On The See Saw".

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

A warm, southern-inflected batch of bluesy sunshine rock from Dale "The Hawk" Hawkins – best known for gifting the world with his Chess original version of "Suzie Q" back in the late 50s – a big step away from the r&b steeped rockabilly he made his name on a decade earlier! LA, Memphis & Tyler, Texas is a catchy title and kind of a good hint at the sound – which has a breezy late 60s California vibe, but it's laid down with Memphis style horn backings and swampy guitars. Dale's vocal delivery is his most effervescent ever – and the players include James Burton, Spooner Oldham, the Memphis horns and even Taj Mahal! Tracks include "LA-Memphis-Tyler", "Heavy On My Mind", "Joe", "Houndog", "Back Street", "La-La La-La", "Candy Man". "Ruby, Don't Take Your Love To Town", "Little Rain Cloud" and more.

A massively tripped-out set of guitar-based funk – played to perfection by the legendary Eddie Hazel, best known for his work in the George Clinton P-Funk empire! The album offers a different side of Eddie's talents – one that's produced with a smoothly compressed California groove, in a mode that's almost an extension of some of the themes explored by Shuggie Otis on his own 70s albums – taken with a bit more of a P-Funk style. George Clinton produced the set with Eddie – and the tunes have a nice slow-stepping groove that really opens up the guitar solos wonderfully. The record kicks off with a massive cover of "California Dreamin" – but the whole thing's great, with a wonderfully unified feel throughout! Other titles include "Frantic Moment", "What About It?", "So Goes The Story", "Physical Love", and a great cover of "I Want You (She's So Heavy)".

A massively tripped-out set of guitar-based funk – played to perfection by the legendary Eddie Hazel, best known for his work in the George Clinton P-Funk empire! The album offers a different side of Eddie's talents – one that's produced with a smoothly compressed California groove, in a mode that's almost an extension of some of the themes explored by Shuggie Otis on his own 70s albums – taken with a bit more of a P-Funk style. George Clinton produced the set with Eddie – and the tunes have a nice slow-stepping groove that really opens up the guitar solos wonderfully. The record kicks off with a massive cover of "California Dreamin" – but the whole thing's great, with a wonderfully unified feel throughout! Other titles include "Frantic Moment", "What About It?", "So Goes The Story", "Physical Love", and a great cover of "I Want You (She's So Heavy)".

Thelma Houston's first album for Motown – and the start of a tremendous run of music in the 70s! The set's a great mix of modes – with vocals from Thelma that definitely show her roots in gospel – and rich, mature backings that give Houston the same sort of star treatment that Diana Ross would get during her early solo years – or which Dionne Warwick was getting over at Warner! Like the latter, Thelma's got a great way of being smooth, yet still keeping it real – and the set sparkles with warm soulful backings by Artie Butler, Gene Page, and Michael O'Martian. Tracks include "What If", "Black California", "Blackberries", "And I Never Did", "And I Thought You Loved Me", "There Is A God", and "I'm Letting Go". CD features an insane amount of bonus tracks – 9 more numbers from singles and non-LP tracks – with titles that include "Nothing Left To Give", "I Ain't Going Nowhere", "No One's Gonna Be A Fool Forever", "Pick Of The Week", "I Want To Go Back There Again", and "I'm Just A Part Of Yesterday".

Super-dope work from Willie – a great selection of laidback and electric grooves, done here with plenty of great work on hollow-body electric guitar, which adds a nice raspiness to the instrumentation, and creates the same sort of vibe you'd hear on Willie's best soundtrack work. The record's got a great cover of "I Wanna Be Where You Are", plus Willie's originals "If You Ain't Got No Money, You Can't Get No Honey", "California My Way", the sample classic "Tell Me Why Has Our Love Tuned Cold", "Ain't Nothing Like Togetherness", "Sunshine Lady" and more.

Obscure synth boogie EP out of California. Includes vocal and instrumental mixes of the title track, "I'm Ready For You", "Together At Last", "Pleasures In Me", and "Good Woman".

A goofy title track, and a groovy little album from Jan & Dean – a set that has them settling nicely into their role as one of the most playful pairs in west coast pop – with a heck of a lot more staying power than some of their more surf-washed contemporaries! The album's got a number of tracks that follow in the similar LA-environs mode as the title track – but instead of being gimmicky, they almost come across with this whimsical sort of charm – like they're Jan & Dean's version of British tunes from The Kinks – a wonderfully playful picture postcard version of California, with more wit than you might expect! Titles include "The Little Old Lady From Pasadena", "The Anaheim Azusa & Cuckamonga Sewing Circle", "Summer Means Fun", "Old Ladies Seldom Power Shift", "Sidewalk Surfin", "One Piece Topless Bathing Suit", and "Horace The Swinging School Bus Driver".

A goofy title track, and a groovy little album from Jan & Dean – a set that has them settling nicely into their role as one of the most playful pairs in west coast pop – with a heck of a lot more staying power than some of their more surf-washed contemporaries! The album's got a number of tracks that follow in the similar LA-environs mode as the title track – but instead of being gimmicky, they almost come across with this whimsical sort of charm – like they're Jan & Dean's version of British tunes from The Kinks – a wonderfully playful picture postcard version of California, with more wit than you might expect! Titles include "The Little Old Lady From Pasadena", "The Anaheim Azusa & Cuckamonga Sewing Circle", "Summer Means Fun", "Old Ladies Seldom Power Shift", "Sidewalk Surfin", "One Piece Topless Bathing Suit", and "Horace The Swinging School Bus Driver".

Margie Joseph's working here with 70s smooth soul maestro Johnny Bristol – and the resulting album is every bit as great as Bristol's own work from the time! Johnny's in perfect form here – coming up with those slightly funky, slightly polished backings that were his best stock in trade in the years after he parted company with Motown – a way of hitting the rhythms that was partially learned from Detroit, but which grew into even warmer, more sophisticated territory in the California sun. Margie's deeply crafted vocals are a great match for Bristol's music – searching, soaring, and digging in nicely when the lyrics really need it. The album's a wonderful treasure – especially given that Joseph easily could have been turning out weaker work at this point in her career! Titles include "You Turned Me On To Love", "He Came Into My Life", "I Feel His Love Getting Stronger", "Come On Back To Me Lover", "Love Takes Tears", "Discover Me", and "All Goodbyes Aren't Gone".

Wonderful work from Ty Karim – a singer who definitely lives up to the "soul goddess" promised in the title! Ty might not be the biggest name in California soul, but she's a hell of a great talent here – starting out in the 60s with upbeat Northern Soul groovers – then moving into the 70s with material that's even deeper, and a bit more sophisticated – laidback numbers that really show a maturation in style, and which are filled with wonderful twists and turns! Ty's vocals have a burning quality that's quite surprising, given her kittenish look on the cover – and as the themes get hotter, her singing gets even more righteous – making the whole package a really wonderful journey in soul. And although most of these numbers were issued (or recorded, but unissued) by tiny indie labels, they often have a very full, spacious approach to production – one that's really trying to hit the heights of Detroit or New York at the time. A good number of these cuts weren't issued at the time, and together with the rare singles, they really go a long way towards filling in the gaps in Ty's too-short career on record – further illuminated in the detailed notes from Ady Croasdell. Titles include "Lighten Up Baby", "Help Me Get That Feeling Back Again", "Only A Fool", "All At Once", "Lightin Up", "I Ain't Lying", "You Just Don't Know", "Natural Do", "I'm Leavin You", "All In Vain", "After Your Love Has Gone", "Don't Let Me Be Lonely Tonight", and "Don't Make Me Do Wrong".

Wonderful work from Ty Karim – an LA singer from the 60s, just waiting to be rediscovered! Ty might not be the biggest name in California soul, but she's a hell of a great talent here – starting out in the 60s with upbeat Northern Soul groovers – then moving into the 70s with material that's even deeper, and a bit more sophisticated – laidback numbers that really show a maturation in style, and which are filled with wonderful twists and turns! Ty's vocals have a burning quality that's quite surprising, given her kittenish look on the cover – and as the themes get hotter, her singing gets even more righteous – making the whole package a really wonderful journey in soul. And although most of these numbers were issued (or recorded, but unissued) by tiny indie labels, they often have a very full, spacious approach to production – one that's really trying to hit the heights of Detroit or New York at the time. A good number of these cuts weren't issued at the time, and together with the rare singles, they really go a long way towards filling in the gaps in Ty's too-short career on record. Titles include "Lighten Up Baby", "Help Me Get That Feeling Back Again", "Only A Fool", "All At Once", "Don't Let Me Be Lonely Tonight", "Wear Your Natural Baby", and "Don't Make Me Do Wrong".

Hard rock perfected! It's around Led Zeppelin IV you can easily say that the group moved up from being incredibly great to flat-out legendary. On IV, they do a bit of what the did on each of the three preceding albums, but rather than starting to repeat themselves, they get better! Amazing. Every song a classic: "Black Dog", "Stairway To Heaven", "Rock And Roll", "Misty Mountain Hop", "When The Levee Breaks", "Going To California", "Four Sticks" and "Battle Of Evermore".

With a name like this, you'd expect Lollipop Shoppe to be a sweet California band with a sunny pop feel – but instead, they've got a really nasty, nicely gritty sort of feel – kind of Sunset Strip garage rock turned towards more manic modes, a bit like early Love at their best! There's a raw power here that's simply wonderful – hardly what you'd expect from the usual groups on Uni Records at the time – and more the style you'd be likely to find from some small indie set out in the hinterlands. Guitars are raw and rugged, vocals are sung with a heartbreaking intensity – and a clear bit of craziness – and the rough-edged production really suits the group's sound wonderfully. Titles include "You Must Be A Witch", "It's Makin It", "I'm Gonna Be There", "It's Only A Reflection", "It Ain't How Long", and "Don't Close The Door On Me". CD also features 2 bonus tracks – "Someone I Know" and "Through My Window".

Two of our favorite albums by The Main Ingredient – back to back on a single CD! Euphrates River is a wonderfully complex batch of tunes that shows that the group were taking a cue from some of their hipper contemporaries, and pushing past a stock hit formula. Bert DeCoteaux was still arranging, but the group produced themselves, giving the record a sexy funky feeling in the best parts, not that dissimilar from some of Marvin Gaye's work, or records by groups like The Isley Brothers or The O'Jays. Includes great versions of two Seals & Crofts songs – "Summer Breeze" and "Euphrates" – both a perfect example of this style, as is "Happiness Is Just Around The Bend" – plus a great reading of Willie Hutch's "California My Way", which has a super-dope sample at the beginning. Of course, the album still includes material like their hit " "Just Don't Want To Be Lonely", a sweetly style AM radio pop hit in the band's best style of earlier years. Afrodisiac is one of the most righteous albums ever from the Main Ingredient – as you might guess from its title and stylish cover! The group are really opening up here – and show a distinct Stevie Wonder influence throughout – not just because they perform their own hip takes on a number of tunes by Stevie, but also because Wonder himself plays a bit on the record! Rhythms are inventive, and grooves nice and complex – way past standard chart soul, into a heady mix that holds up beautifully over the years. Keyboards slide in great with the harmonies – and titles include great versions of Stevie Wonder tunes "Superwoman", "Where Were You When I Needed You", "Something Lovely", "Girl Blue", and "I Am Yours" – plus the great breakbeat track "You Can Call Me Rover", which has a very tight drum sound at the beginning, and tight soul harmonies all the way through. Also features a hip take on the Isleys' "Work To Do" too!

Some of the greatest work ever by The Main Ingredient – a selection of their singles for RCA records from the late 60s and early 70s – but one that goes way past just the hits, in order to fully trace the evolution of their heavenly vocal style! The trio started out as an already-great harmony act in the late 60s – a group who were even sweeter and more soaring than some of their contemporaries – making them perfectly placed to move into some of the more righteous harmony modes of the 70s – including some surprising turns towards more righteous, political material. The 22 track package is the greatest we've ever seen on the group – 15 pages of deeply detailed notes, in true Ace/Kent mode – plus singles that include three by The Insiders, "I'm Better Off Without You", "If You Had A Heart", and "I'm Just A Man" – as well as Main Ingredient singles that include "Black Seeds Keep On Growing", "California My Way", "Magic Shoes", "Everybody Plays The Fool", "You've Got To Take It If You Want It", "Girl Blue", "Happiness Is Just Around The Bend", "I Was Born To Lose You", "Brotherly Love", "You've Been My Inspiration", "I'm So Proud", "Spinning Around", "I'm Leaving This Time", "Rolling Down A Mountainside", "The Gold Old Days", and "Shame On The World".

Wonderful stuff! You probably know Mama Cass as one of the "mamas" in the Mamas & Papas – but she's got an insane pop vision on her own, a mad mix of the sweet, psychedelic, and historic, filtered through the haze of a late 60s LA summer afternoon. File this one next to your gems by The Association, Harper's Bizarre, and Van Dyke Parks – and you'll grow to love Mama for her tripped-out groovy pop! Titles include "You Know Who I Am", "Sweet Believer", "Rubber Band", "Long Time Loving You", and "California Earthquake".

Maybe the greatest album that Teena Marie ever cut – and that's saying a lot, given the strength of the lady's work for Motown! The set's got this bright, positive bounce that grabs you right from the start – but also moves into a depth that's way different than other funk albums of the time – a way with a ballad and a thoughtful track that almost makes Marie the 80s heir to the Minnie Riperton legacy, especially given the strength of her voice on the set – and the fact that Teena wrote and produced the whole album herself! At a time when so many other female soul singers were at the mercy of other folks' talents and ideas, Lady T steps forth boldly with this classic set – brimming over with greatness on cuts that include the stellar "Portuguese Love", plus "Yes Indeed", "Where's California", "Opus III", "Square Biz", "365", "Revolution", and "Ballad Of Cradle Rob & Me".

Maybe the greatest album that Teena Marie ever cut – and that's saying a lot, given the strength of the lady's work for Motown! The set's got this bright, positive bounce that grabs you right from the start – but also moves into a depth that's way different than other funk albums of the time – a way with a ballad and a thoughtful track that almost makes Marie the 80s heir to the Minnie Riperton legacy, especially given the strength of her voice on the set – and the fact that Teena wrote and produced the whole album herself! At a time when so many other female soul singers were at the mercy of other folks' talents and ideas, Lady T steps forth boldly with this classic set – brimming over with greatness on cuts that include the stellar "Portuguese Love", plus "Yes Indeed", "Where's California", "Opus III", "Square Biz", "365", "Revolution", and "Ballad Of Cradle Rob & Me". This expanded CD also includes 2 live tracks recorded in Long Beach – versions of "Deja Vu" and "Someday We'll All Be Free" – plus the bonus track "Square Biz", done in an instrumental version. All written & produced by Teena, too!

It's always a sign of how huge Frankie Beverly was during the 80s that Capitol let him cut not one, but two double live albums during the early part of the decade. This one, his first, has the band grooving wonderfully before a crowd going mad in New Orleans. The tracks retain all the charm of the studio renditions – and are stretched out a bit more, with some nice interplay with the crowd. Includes early Maze classics – like "Happy Feelins", "Southern Girl", "Look At California", and the big sample track "Joy & Pain".

One of the hippest albums ever cut by Letta Mbulu – a perfect mix of her Soweto roots and the funky styles of her adopted California home! The album's the only one that Mbulu ever recorded for Fantasy Records – and the style brings together those great sing-song vocal modes perfected on her 60s records, with some of the funky jazz elements that were bubbling in the Fantasy scene during the years of Cannonball Adderley and David Axelrod! No surprise, both Cannonball and Nat Adderley appear on the record, and the set's produced by their own company – with lots of great early arrangements from the great Wayne Henderson. Some of the best tracks have a spacious groove that leaves plenty of room for funky basslines – and titles include "Afro Texas", "Learn To Love", "Never Leave You", "Zimkile", "Setho", and "Saddest Day".

The start of a legend – and the very first album by Sergio Mendes' Brasil 66 group, proudly brought to the world through the godlike talents of a young Herb Alpert! Sergio was no stranger to the recording studio by the time of this set, but the record marked a real shift in his music – a change from the mostly-instrumental bossa modes he first forged back in Brazil, and a shift to warmer, sweeter pop with a nice sunny California finish – done through unique production techniques and the group's trademark two-lady lead vocals! The sound is tremendous, and is possibly heard in its purest form here – simple, focused, and given that near-perfect A&M sound through Herb's production skills. Titles include the classics "Daytripper", "Aqua De Beber", "O Pato", "Berimbau", "Mas Que Nada", and "The Joker".

The start of a legend – and the very first album by Sergio Mendes' Brasil 66 group, proudly brought to the world through the godlike talents of a young Herb Alpert! Sergio was no stranger to the recording studio by the time of this set, but the record marked a real shift in his music – a change from the mostly-instrumental bossa modes he first forged back in Brazil, and a shift to warmer, sweeter pop with a nice sunny California finish – done through unique production techniques and the group's trademark two-lady lead vocals! The sound is tremendous, and is possibly heard in its purest form here – simple, focused, and given that near-perfect A&M sound through Herb's production skills. Titles include the classics "Daytripper", "Aqua De Beber", "O Pato", "Berimbau", "Mas Que Nada", and "The Joker".

A great little album – even if it tries to promise too much! The set bills itself as "the swinginest Hammond organ album since the birth of psychedelia" – and while that sort of a claim is so high that nobody could ever match it, the album is a great batch of offbeat soul instrumentals – recorded in kind of a tripped-out take on the Memphis groove! We're not sure who the mysterious "Mustang" is (although it could be Paul Griffin, who also recorded for the same label in a similar mode) – but we're guessing here that the name is also used to convey the fact that many of the tunes have a "Mustang Sally" sort of rhythm. Backing is in a hip small combo mode – with nice go-go drums, tight rhythm guitar, and soulful honking sax behind the organ – and although the sound is more straight soul instrumentals, the titles are nicely tripped-out – and include "The Acid Test", "California Time", "Joshua Got Busted", "Haight Ashbury Time", "Swing Low Sweet Truth", and "Golden Gate Freakout".

A great little title for this stone cooker – as The New Mastersounds play with enough raw funk energy, the could easily crack the coast of northern California! We've loved these guys for years – and they still blow us away with their razor-sharp energy – a mindblowing sense of perfection that's still deeply funky and very spontaneous – not slick or smooth, as musicians of this caliber could easily be – but delivered as a socking punch to the rest of the deep funk underground – as proof that if you've been playing together this long, you can rise to the top of the heap with an amazingly funky sound! The guitar of Eddie Roberts is sublime, the drums of Simon Allen are nice and heavy, and the organ of Joe Tatton really cooks the whole thing together – on tracks that include "You Mess Me Up", "Yo Mamma", "Mission Creep", "Ding A Ling", "Turncoat", "Make Up Your Mind", "Each To Their Own", and "Welcome To Nola".

A great little title for this stone cooker – as The New Mastersounds play with enough raw funk energy, the could easily crack the coast of northern California! We've loved these guys for years – and they still blow us away with their razor-sharp energy – a mindblowing sense of perfection that's still deeply funky and very spontaneous – not slick or smooth, as musicians of this caliber could easily be – but delivered as a socking punch to the rest of the deep funk underground – as proof that if you've been playing together this long, you can rise to the top of the heap with an amazingly funky sound! The guitar of Eddie Roberts is sublime, the drums of Simon Allen are nice and heavy, and the organ of Joe Tatton really cooks the whole thing together – on tracks that include "You Mess Me Up", "Yo Mamma", "Mission Creep", "Ding A Ling", "Turncoat", "Make Up Your Mind", "Each To Their Own", and "Welcome To Nola".

A set from 1989 that somehow manages to return to the style that Flora used a bit more often on 70s California albums – still electric and fusion-based, but freer and more open – in the manner that we first came to love in her work! Titles include "The Sun Is Out", "The Hope", "Asas Da Imaginacao", "Olivia", "Midday Sun", and "Lua Flora".

The fun fun soundtrack to Rock 'N' Roll High School – that gloriously, knowingly trashy Roger Corman produced movie vehicle for the Ramones! Of course The Ramones are all over he soundtrack, but it's got a bunch of 70s new wave and hard rock from Devo, Eno, Nick Lowe, Todd Rundgren and more. Includes "Rock N Roll High School", "I Want You Around", a medley of "Blitzkrieg Bop", "Pinhead", "California Sun" and more by The Ramones, "Come Back Jonee" by Devo, "Energy Fools The Magician" by Eno, "So It Goes" by Nick Lowe, "School Days" by Chuck Berry, "School's Out" by Alice Cooper and more.

Great material from Norwegian pianist Christian Reim – all of it unreleased, but all of it pretty darn great! Reim's honestly not a player we know at all, but he emerges as a heck of a great talent in this set – a pianist with a really thoughtful, lyrical sort of feel – but one who also knows how to keep up a groove as well! The set features some early work in a soul jazz combo mode, then moves into more complicated grooves – but ones that all stay pretty darn swinging, without any too-modern or too-out moments – all to end with a wonderful quartet of tracks from the end of the 70s, showing a bit of a California sense of warmth in some of the tunes. Reim plays mostly piano, but also a bit of organ – and other players include Ditlef Eckhoff on trumpet, Knut Riisnaes on tenor, Helge Hurum on flute, and Carl Magnus Neumann on alto sax. Titles include "Away", "Revolution", "Hippie", "Llut", "Shalom", "Quiquenita", and "Variasjoner Over Et Tema Av Nordraak".

Sweetly grooving vocals from Judy Roberts – a Chicago homegirl, but one with the warm sunny touches of the California scene of the late 70s! The record's got Judy working with a tight small combo – keyboards, bass, guitar, and percussion – grooving away in a sweet mode that works well with her vocals – almost bossa-inspired at points, but mostly with a soaring, open sort of quality that's almost a cross between some of the hip European singers of the 70s, and the best jazz vocal talents from the Bay Area. The album's got some nice electric remakes of tunes like "Senor Blues", "Round Midnight", and "Last Tango In Paris" – plus the tracks "The Other World", "The River Must Flow", "Rainbow In Your Eyes", and "No Turns".

One of the more righteous albums from the early years of Diana Ross' solo career – a set that really has her moving past the familiar Motown groove of previous years, into a vibe that really shows the label's new California influence! The tracks here often feature expansive arrangements that mix soul and larger orchestrations – arranged by Gene Page, James Carmichael, Gil Askey, and Michael Randall – all of whom preserve the class that Diana's always had in her music, while still also opening things up to some of the more thoughtful elements of 70s soul. The album includes a nice medley of Oscar Brown Jr's "Brown Baby" and Marvin Gaye's "Save The Children", plus a version of "Imagine", and the tracks "Leave A Little Room", "I Won't Last A Day Without You", "All Of My Life", and "Touch Me In The Morning". Expanded CD version is amazing, too! CD 1 features the full original album, plus 5 more previously unreleased bonus tracks – alternate versions of "Touch Me In The Morning", "All Of My Life", "Leave A Little Room", and "We Need You". Then, CD 2 features the stunning To The Baby album – a previously unreleased effort that's appearing here for the first time ever, really continuing the vibe of Touch Me In The Morning! Titles include "A Wonderful Guest", "Young Mothers (alt)", "Part Of You", "First Time Ever I Saw Your Face", "To The Baby", "A Wonderful Guest", "Imagine/Save The Children", and "Brown Baby (alt)" – plus two more bonus tracks, "When We Grow Up" and "Kewpie Doll".

A lost bossa classic from Wanda De Sah – aka Wanda Sa, the wife of Edu Lobo, and a singer who worked with Sergio Mendes in his pre-Brasil 66 days! The album's got a wonderfully laidback feel – languid, yet jazzy, with the feel of some of Astrud Gilberto's best work on Verve, yet with vocals that are possibly better – thanks to Wanda's pedigree in Brazilian pop. Recordings were done in California, not Rio – and arrangements are handled by the great Jack Marshall – who's got a strong ear for keeping things interesting with a mix of strings, Latin rhythms, and Capitol pop shadings. Titles include "Aqua De Beber", "Ho Ba La La", "Sweet Happy Life", "The Dreamer", and a great version of "Aruanda".

An amazing batch of sophisticated soul tracks – and a favorite with the righteous groove scene! On the surface, the record's a combination of jazz and soul tracks in the same mode that you'd find on some of Nancy Wilson's albums for Capitol during the same time – but digging deeper, you'll find an undercurrent of politics, feminism, and social commentary delivered with surprising intensity. Marlena Shaw's voice is generally sweet, but she's set up in some extremely powerful arrangements by Richard Evans and Charles Stepney that recast even the simplest phrase into a whole new setting of strength and pride – and Bobby Miller of Dells fame also helped make the record what it is, and helped write some of the best songs on the record. The set includes Marlena's classic original reading of "Woman Of The Ghetto", which has been sampled by just about everyone, plus "California Soul", which has a nice hard break, and the tunes "Liberation Conversation", "Where Can I Go?", and the original version of "Go Away Little Boy" – as sweet a statement of womanhood if there ever was one!

A tightly-curated soundtrack for the Source Family documentary – a film the looks at the California commune and spiritualist refuge of Father Yod and his followers – and a creative engine for the psych folk sounds of Father, The Source Family, Ya Ho Wa 13 and others! It features 1973 and 1974 recordings by the sprawling collective – with songs credited to Father Yod & The Spirit Of 76, Ya Ho Wa 13 and Father And The Original Source Family and others– and it's probably the best and most accessible compilation of the commune's recorded output that we've ever heard. They probably recorded hundreds of songs, chants and jams the early-to-mid 70s, but this set has just 14 – ranging from weird spiritual folk soul tunes, to gorgeous female choruses, to freaky guitar and drums heavy jams. It's as great of a jumping in point to The Source Family groove as we've ever seen! Includes "Home", "How Long In Time", "Every Morning", "Man The Messiah", "Godmen", "Chant 10", "I'm Gonna Take You Home", "Expansion", "Kahoutek", "Penetration", "Contraction" and more.

The crowning achievement of Spirit – and a record that you probably could have found in any college dorm room in the early 70s! The record's really a cut above for their generation – an expansive effort that hangs together with a bit of a concept, and which interweaves strands of rock, folk, and a bit of jazz – yet also a record that has a lot more polish than other efforts of its type, and which trades a bit of psychedelic indulgence for a tighter focus that really lets the best tunes sparkle wonderfully! Production is great – clear, but trippy at the same time – and Randy California's guitar work has never sounded better. Titles include "Nature's Way", "Animal Zoo", "Love Has Found A Way", "Mr Skin", "Soldier", "Street Worm", and "Space Child".

A real breakout album for Edwin Starr – and the kind of full-on set that really helped give his music a bold new focus! Starr had already scored nicely on some playful tracks from the Motor City scene of the late 60s – but here, he emerges as a singer with a lot more depth than before – not only on the righteous tunes, like the classic title track – but also on some of the warmer ones too, which showcase a new adult style of singing we might not have expected a few years before! Unlike other Motown efforts of this level, there doesn't seem to be any core arranger and producer – which means that Edwin himself did an even greater job of pulling the whole thing together – a great run of tracks that includes the classic "War (What Is It Good For)", a killer version of "California Soul", one of the best Motown-penned tracks from the time – and the tracks "Time", "I Just Wanted To Cry", "All Around The World", "At Last I Found A Love", "I Can't Replace My Old Love", and "She Should Have Been Home".

A lost bit of mid 70s soul from Candi – an album that's often eclipsed by the Young Hearts hit before it, but which actually comes across stronger than that one! The groove is funky southern soul on the best cuts – tight and full, but still with a harder edge on the bottom, and rhythms that are more funky soul than the disco used on some of Candi's other late 70s albums. The set was recorded in California, with lots of sweet jazzy touches alongside the vocals – and titles include "Nights On Broadway", "Cotton Candi", "A Dreamer Of A Dream", "You Are", "Listen To The Music", "Music Speaks Louder Than Words", and "One More Chance On Love".

One of the most obscure Stylistics albums of the 70s – a smooth late 70s modern soul effort, headed up by group soul maestro Teddy Randazzo! Teddy wrote, arranged, and produced the whole set – and the record nicely links together older group harmony styles, especially 60s uptown soul mode, with the more modern approaches that were appearing in the wake of the early 70s super-hit status of The Stylistics and other groups on the scene. The result is an approach that's more mature than the group's earlier work – still sweetly soulful, but also more confident and mature. Titles include "First Impressions", "You're The Best Thing In My Life", "Looking At Love Again", "I Can't Stop Lovin", and "California Sun".

A tremendous bit of psychedelic pop from sunny California at the end of the 60s – one of those records that has a heck of a lot more going on than most of the bigger sets at the time! Sunlight work in territory that's not unfamiliar – harmony vocals, guitar-based grooves, and slightly hippieish lyrics – but they've got a way of putting together the tunes that's really a cut above – a compelling style that somehow makes all the best elements really resonate strongly, with a perfection that delights more and more with each new track on the album! There's kind of a timeless quality to the record that almost makes it feel like something recorded many years later – but the overall production and instrumentation are very 60s-based, with a really great sound throughout. CD features the full album plus bonus tracks – and titles include "David", "Light Without Heat", "Hammond Eggs", "Sometimes A Woman", "Second Thoughts", "Seven Times Infinity", and "The Fun Machine".

An incredible album by the Tamba 4 – one of 2 albums the Brazilian bossa combo did in the US for A&M Records, during the brief time when they were expanded to a quartet from the original Tamba Trio lineup! The set is completely sublime – a wonderful mix of the group's trademark harmony vocals and crackling bossa rhythms, with the warmly flowing CTI production style of the time – not funky like the CTI sound of the 70s, but a bit more sophisticated than the style Creed Taylor had been using earlier at Verve. Tracks are short, breezy, and often very lively – bossa grooving warmed in the California sun – and titles include "Samba Blim", "Watch What Happens", "Pregao", "San Salvador", "Know It All", and "Palladium".

A tightly funky set from The Temptations – a record that has the group still standing strong in the post-Norman Whitfield years – working here with producer Jeffrey Bowen in a groove that's almost got some P-Funk touches at times! Things are somewhat polished, but still in the best mainstream funk mode of the time – and in a way, the record's almost a blueprint for the style that so many California groups would pick up in the next few years – upbeat grooves, often driven with some heavy bass at the bottom, but still with enough room for well-crafted vocals on the top. Arrangements are by James Carmichael on most tracks – and the backing group includes Wah Wah Ragin and Eddie Hazel on guitar, both of whom get plenty of space to work out on the set. Tracks include the instrumental "Happy People" – plus "Glass House", "Shakey Ground", "The Prophet", "A Song For You", "Firefly", and "I'm A Bachelor".

One of our favorite-ever albums from Mel Torme – a set that sparkles with the same smooth swing as his best late 50s dates for Bethlehem records! Like those sets, this one features Torme's voice really taking off over some tight jazzy charts – arranged by Johnny Williams, Shorty Rogers, and Dick Hazard – all in styles close to those used previously by Marty Paich. But almost even better is the New York theme of the record – surprising, given the anti-NYC vibe of Torme's classic "California Suite" – but perfect, too, as it really ties the whole thing together wonderfully – creating this beautiful picture of the Big Apple in the postwar years. Titles include the greatest version of "Sunday In New York" you'll ever hear – plus "Let Me Off Uptown", "Autumn In New York", "New York New York", "Manhattan", and "My Time Of Day".

A rare full album from The Tradewinds – a wonderful harmony pop group with a Sunshine Pop feel! The Tradewinds have a style that's heavily in a Beach Boys mode – sunny California harmonies on the vocals, and a sort of post-Pet Sounds approach to songwriting – one that makes for some really compelling songs in the set! The group's best known for their "New York's A Lonely Town" hit, but the whole album is great – filled with inventive songs, compelling vocals, and cool arrangements from Jimmy Wisner and Artie Butler – two very groovy talents. Titles include "Mind Excursion", "Bad Misunderstanding", "Only When I'm Dreamin", "Small Town Bring Down", "To Be With You", "Little Susan's Dreamin", and "Huggin In The Hall". CD also features 2 bonus tracks – "That's When Your Heartaches Begin" and "Hard Life".

A perfect example groove that got The Undisputed Truth big hit fame in the early 70s – sort of a rumbling funk, full-on approach, using male/female vocals in kind of a "wall of soul" approach. Includes the huge hit "Smiling Faces Sometimes", plus lots of covers of cool tracks like "California Soul", "Like A Rolling Stone", "Ball Of Confusion", and "You Got The Love I Need". Norman Whitfield production all the way through, with a lot of nice twists similar to those he was taking with other Motown groups at the time.

A perfect example groove that got The Undisputed Truth big hit fame in the early 70s – sort of a rumbling funk, full-on approach, using male/female vocals in kind of a "wall of soul" approach. Includes the huge hit "Smiling Faces Sometimes", plus lots of covers of cool tracks like "California Soul", "Like A Rolling Stone", "Ball Of Confusion", and "You Got The Love I Need". Norman Whitfield production all the way through, with a lot of nice twists similar to those he was taking with other Motown groups at the time.

Funky soul from the great Marcos Valle – a great blend of mellow grooves and upbeat tunes recorded at the same time Valle was working in the US with Leon Ware! The style here is very similar to Ware's 2 albums for Elektra – both of which feature work from Valle, and include tunes that are also done here in Portuguese versions! Marcos makes a real departure from some of his earlier work here, and emerges as a surprisingly great soul star with plenty of talents for penning two-step tunes and keyboard-heavy tracks that glisten with a sweet California groove. A few tracks recall some of Valle's Odeon work – like the baroque instrumental "Camina Grande" – but we're most partial to the soul tracks that dominate the record, and which include "Bicho No Cio", "Pecados De Amor","Garimpando" and "A Paraiba Nao e Chicago".

Groovy psychedelic rock from Brazil – the self-titled effort from Ronnie Von – a Brazilian television personality and musician who stayed incredibly busy from late 60s through the 70s – but recorded few albums as sublime as this album from 1968! It's really a near-perfect batch of sunshine rock – sung in Portuguese and featuring some of the similar freeform sounds of his Brazilian contemporaries of the time – with groovy western touches in the instrumentation. Ronnie's vocals are backed up by organ washes and piano, buzzing guitars and walloping drums – but the overall feel is quite melodic. A wonderful blend of California sunshine and Brazilian rock grooves! Tracks include "Meu Novo Cantar", "Chega De Tudo", "Espelhos Quebrados", Anarquia", "Esperahca De Cantar", "Contudo, Todavia", "Anarquia", "Mil Novecentos E Alem", "Canto De Despedida" and more – plus 6 bonus tracks!

One of our favorite South American rock records of all time – and maybe even one of our favorite rock albums too – a magnificent set by this sublime Peruvian group – done with a sound that's somewhere between late Beatles, early Bee Gees, and ELO in their prime! Yet the production style here is also a lot more primitive than that used by any of those bigger groups – which puts a lot more emphasis on the song structures and vocal phrasing of the tunes – a beautiful balance between harmony vocals, simple guitar lines, and these subtle rhythms that slide in with a seductive feel, and really send the whole thing home! Vocals are all in English, with these soulful undercurrents that are quite unexpected – and the overall sound is way more sophisticated than even their hippest SA contemporaries! Titles include "Children", "Carry On Till Tomorrow", "Walking In The Rain", "The City Will Be A Country", "It's A Sin To Go Away", and "Tomorrow". CD features 8 bonus tracks too – including "Blue", "Mornin", "California", "Feel", "Any World", and "Wake Up Joe".

That's Paul Williams, lost amidst the whiteness of the cover – kind of fuzzy around the edges, just like the warm feelings in his music! The album's got all the best elements that Williams had to offer in the 70s – some incredible songs that are instantly more personal and more upfront than most of his contemporaries, sung by Paul in that weird, raspy style that really makes you know he's not making any of this up – no false bravado, or pop star cockiness – just that up-close element that made this lil' ol' short guy a surprisingly strong singer in the 70s. Arrangements are by Kenny Ascher, and are some of the best that Williams got at the time – and titles include "Sunday", "Margarita", "Sleep Warm", "A Little Bit Of Love", "The Family Of Man", "California Roses", "She Sings For Free", and "Sad Song".

Ashford & Simpson recorded plenty of great work on their own, but they were also a tremendous pair of songwriters – and had a way of penning can't-miss work that sounded great in just about anyone's hands! This collection is great testament to that fact – as it starts with gems the duo first wrote back in their early Motown days, then quickly moves up to their late 70s fame, and the way they had a major impact on the dancefloor. The tracks here are often quite familiar, but the actual recordings are sometimes obscure – lesser-known takes on some of Ashford & Simpson's best numbers, laid out back to back as proof of their genius talent for a groovy soul tune. Titles include "Top Of The Stairs" by Collins & Collins, "Keep It Coming" by Tata Vega, "Rough Times" by Angela Bofill, "California Soul" by Marlena Shaw, "Bourgie Bourgie" by Gladys Knight & The Pips, "Have You Ever Tried It" by The Main Ingredient, "I Wouldn't Change The Man He Is" by Blinky, "It's In There" by Jennifer Holiday, "Clouds" by Chaka Khan, "Over & Over" by Sylvester, "Hit & Run Lover" by The Dynamic Superiors, "The Boss (ext club)" by Diana Ross, "Is It Still Good To Ya" by Teddy Pendergrass, "Keep It Coming" by Tata Vega, and "Keep Away Girls" by Stephanie Mills.

The best bits from one of our favorite compilation series ever – Blue Juice, the 3 volume set on Blue Note that brings together a mind-bending mix of funky soul, jazzy funk, groovy grooves, and other odd and delightful bits from a wide variety of sources! This one shows the expansive scope of the groove scene and crate-diggers over the past decade – turning a focus on some great and passed-over grooves from the late 60s and early 70s that sparkle again on this fantastic set! Titles include "Feelin Alright" by Trinidad Oil Company, "Fever" by Patti Drew, "Tighten Up" by Benny Gordon, "Sookie Sookie" by Tina Britt, "I Want To Testify" by Bobby Bryant, "Listen Here" by Groove Holmes, "Get Out Of My Life Woman" by George Semper, "Never Come Closer" by Doris, "California Soul" by Gerald Wilson, "Cristo Redentor" by Ferrante & Teicher, and "Mississippi Delta" by Bobbi Gentry.

An under-discovered treasure trove of southern soul – incredible early 70s work from the Sounds Of Memphis label – arguably a hipper imprint than Stax Records at the time! Sounds Of Memphis, and related XL imprint, were a perfect showcase for the growing sophistication in southern soul at the time – the generation of artists who were shaking off the cliches of soul that played big with crossover crowds in the 60s, but which were holding back development of the music in the following decade. The styles here are every bit as rootsy as before, but they offer up new sounds, new styles, new subjects, and new singers – plus some older artists who shine even more brightly in this setting. The package is a great counterpart to the other Sounds Of Memphis set on Kent – that based on Barbara & The Browns – and the production, presentation, and care of this set is every bit as great as that one. Titles include "I Can't Be Satisfied" by Spencer Wiggins, "Last Mile Of The Way" by The Minits, "You're Welcome Back" by Ann Hodge, "Tell Him Tonight" by Rudolph Taylor, "Everything You Always Wanted To Know About Love" by Lou Roberts, "Talking About The Love I Have For You" by George Jackson, "Hook Like & Sinker" by Dan Greer, "You Can Lead Your Woman To The Altar" by William Bollinger, "Take It From Someone Who Knows" by The Ovations, "California Dreamin" by The Jacksonians, "Let the Movement Last" by Vision, and "Play Thing (alt mix)" by Barbara & The Browns.

Incredible tunes from the second generation of the surf music scene – a time when the sweeter sounds of Southern California were shed for the heavier, headier modes of the late 60s! The package is a wonderful look at this under-exposed genre – and features rare work recorded for surf films from both the US and Australia – the latter of whom would carry the genre forward more strongly than even her American counterparts. Most tracks here are instrumental, but they're a far cry from The Surfaris or Ventures – as the guitars are often fuzzy and jamming, over rhythms built from rumbling bass and heavy drums. Titles include "Crumple Car" and "Innerspace" by Farm, "Junkyard" and "Hollywood" by G Wayne Thomas, "Big Green" and "Sitar Track" by Music Convention, "Dream Chant" by Ticket, "Transparent Dream" and "Animal Kingdowm" by Smoghorn, "Drainpipe" by The Protein Brothers, "Evolution" by Tamun Shud, and "Gypsy Shoes" by G Wayne Thomas.

Dancefloor cookers from the prime Northern Soul years – all instrumental numbers on this sharp compilation on Kent – 45 sides from a labels like Money, Villa, Swan, King, Epic and Warner Brothers! For all the wonderful Kent soul compilations we've gotten our dusty fingers on over the years, it's a wonder they're never been one devoted to instrumentals – until now! Rhythms roll along at a tight tempo, the tight guitars punch it up, some strings soar, and a pounding Northern beat keeps it all stomping! Those core elements are key, but others weave in an out, from hand claps on the beat, to organ grooves, bursts of brass and more. 24 tracks in all: "Double Cookin" by Checkerboard Squares, "Make Me Yours" by Arthur Wright & His Orchestra, "Festival Time" by San Remo Golden Strings", "The Sounds Of Lane" by Tracks To Your Mind, "Champion Pt 1" by Willie Mitchell, "The Guys From Uncle" by The Spy, "Stirrin Up Some Soul" by The Mar-Ketts, "Hey America (Sing Along)" by James Brown, "California Montage" by Young-Holt Unlimited and more.

Quite possibly the most beautiful record we've ever seen from the folks at The Numero Group – and that's saying a lot, given the quality of all their top-shelf releases! This beautiful edition features a hardcover book of vintage black and white photographs taken on Chicago's south side in the mid 70s – images of patrons and proprietors from long-lost nite spots that include Perv's House, Pepper's Hideout, The High Chaparral, and The Showcase Lounge – all the kind of clubs that were likely to feature the sort of Chicago funk and soul that Numero's been reissuing for the past few years! The images are amazing – a really rare look into the community that supported this sort of music – caught far far from the mainstream, in placed that were almost even private, compared to more well-travelled entertainment outlets. Photographs come from the collection of Michael Abramson – and are beautifully reproduced on LP-sized pages, in a book that also features some vintage flyers, posters, and business cards from the clubs! And if that's not enough, Numero also throws in some great notes of their own, and a bonus 2LP set with music that includes "I'm A Streaker Baby" by Arelean Brown, "No Better Time Than Now" by Ricky Allen, "The Same One" by Malcolm Simmons, "You Made Me Suffer" by Andrew Brown, "This Is My Prayer" by Lady Margo, "It's A Dream" by Little Ed & The Soundmasters Band, "I Sayed That" by Slim Willis Band, "Bring It Down Front" by Hugh Hawkins, "Womans Lib" by Lucille Spann, "Gimmie Some Of Yours" by Artie White, "Baby" by Walter Butterball Davis, "Is It Because I'm Black (inst)" by Syl Johnson, "Goose Walk" by Little Mack, "Young Blood" by Detroit Jr, "California Lady" by James Kinds & Stack, and "I Learned My Lesson" by Willie Davis. The albums are packaged in their own Numero-like cover – then nestled in a slipcover with the book – a hell of a sweet set at this price, and it also comes with an introduction by Nick Hornby!

Stellar soul singles on Brunswick – nearly all of which come from the prime mid-to-late 60s period at the legendary Chicago label – with Jackie Wilson, Billy Butler, Barbara Acklin, Gene Chandler, Erma Franklin, Lavern Baker and many more! There's a tight focus here on mid-to-late 60s Brunswick – all of them great – and many are quite rare. There are some modest or regional hits in the set, but most might have been forgotten if not for the devotion of the Northern Soul scenes to come. It's got a number of uptempo stormers, midtempo groovers and some sweet surprises. Soul galore, indeed! Includes "Soul Galore" by Jackie Wilson, "Have More Time" by Marvin Smith, "Oh Linda" by Leroy Taylor, "I'll Bet You" by Billy Butler, "There Was A Time" by Gene Chandler, "Sweet, Sweet Revenge" by Alvin Valentine, "A Strange Way" by The Loreleis, "Just Ain't No Love" by Barbara Acklin, "I'm The Only One To Do It" by Lavern Baker, "California Montage" by Young-Holt Unlimited and many more.

Here's a pretty groovy set of tunes – and all scored at a thrift store in California by the compilers! The album's filled with tunes pulled from obscure albums of instrumental music from Southeast Asia, circa late 60s/early 70s – mod and swinging instrumentals that are going for a serious western pop kind of sound. There's lots of different styles running through the mix – from guitar or organ-based instrumentals, to soundtrack-type numbers with a John Barry or Morricone feel, to other tracks that mix together Latin rhythms and other groovy 60s touches. There's not a lot known about most of the artists on the set – but that also is one of the things that makes it pretty darn compelling! Titles include "Themes From James Bond" by The Stylers, "For A Few Dollars More" by Man Chau Po Orchestra, "Tabu" by The Sound Of Silverstones, "Indecipherable" by The Polar Five, "Funny Funny A Go Go" by The Brothers Hawk, "Chella-La" by The Stylers, and "Enjoy Yourself" by The Stylers.

The Verve vaults are open again – and as with other Remixed sets, they've let in a host of hip talents to change up their classics! This time around, the results seem even better than before – thanks partly to a very strong array of mixers, including some of our own personal funky favorites – but also thanks to a change in remixing styles for this sort of work – an added complexity, and respect for the originals – so that the tunes aren't just simple smatterings of old vocals over contemporary beats! Titles include "Cry Me A River" by Dinah Washington remixed by Truth & Soul, "Everybody Loves The Sunshine" by Roy Ayers remixed by 9th Wonder, "Gimme Some" by Nina Simone remixed by Mike Mangini, "There Was A Time" by James Brown remixed by Kenny Dope, "California Soul" by Marlena Shaw remixed by Diplo, "Take Care Of Business" by Nina Simone remixed by Pilooski, "Bim Bom" by Astrud Gilberto remixed by Psapp, "Dilo Como Yo" by Patato & Totico remixed by Antibalas, "Evil Ways" by Willie Bobo remixed by Karriem Riggins, "I Get A Kick Out Of You" by Ella Fitzgerald remixed by Cinematic Orchestra, and "Tea For Two" by Sarah Vaughan remixed by Chris Shaw.

A host of songs that may be familiar to your ears – but in versions that pretty obscure! The collection follows wonderfully in the spirit of the unique first volume – and again offers up the original versions of songs that later went onto become big hits for other artists – often presented here as indie 45s that hardly made much noise upon original release, but which obviously harbored enough genius to lead to famous recordings in later years! Styles change up nicely – a bit of rock, soul, and other modes in the collection's mix of 24 tracks – and titles include "California Dreamin" by Barry McGuire, "Hush" by Billy Joe Royal, "Sorrow" by The McCoys, "I've Got My Mind Set On You (parts 1 & 2)" by James Ray, "Old Man Willis" by Tony Joe White, "You Got What It Takes" by Bobby Parker, "Then You Can Tell Me Goodbye" by Don Cherry, "Leavin It All Up To You" by Don & Dewey, "Sing In The Sunshine" by Hoyt Axton, "Mustang Sally" by Sir Mack Rice, "Mbube" by Solomon Linda's Original Evening Birds, and "Higher & Higher" by The Dells.

A lost bossa classic from Wanda De Sah – aka Wanda Sa, the wife of Edu Lobo, and a singer who worked with Sergio Mendes in his pre-Brasil 66 days! The album's got a wonderfully laidback feel – languid, yet jazzy, with the feel of some of Astrud Gilberto's best work on Verve, yet with vocals that are possibly better – thanks to Wanda's pedigree in Brazilian pop. Recordings were done in California, not Rio – and arrangements are handled by the great Jack Marshall – who's got a strong ear for keeping things interesting with a mix of strings, Latin rhythms, and Capitol pop shadings. Titles include "Aqua De Beber", "Ho Ba La La", "Sweet Happy Life", "The Dreamer", and a great version of "Aruanda".

Joanie's second album for Warner Brothers – and a date that features some especially nice backings from Neal Hefti, who helps swing Sommers into some great jazzy territory, but always with that playful Hefti touch that we love so much! Instrumentation is always interesting, even underneath the vocals – and the record sparkles like some of the better upbeat jazz vocal sides on Capitol from the time – much better than the usual mainstream fare, with kind of a cool California wink at the listener. Titles include "Aren't You Glad You're You", "For All We Know", "Nobody Else But Me", "This Can't Be Love", "Let There Be Love", and "This Heart Of Mine".

Groovy psychedelic rock from Brazil – the self-titled effort from Ronnie Von – a Brazilian television personality and musician who stayed incredibly busy from late 60s through the 70s – but recorded few albums as sublime as this album from 1968! It's really a near-perfect batch of sunshine rock – sung in Portuguese and featuring some of the similar freeform sounds of his Brazilian contemporaries of the time – with groovy western touches in the instrumentation. Ronnie's vocals are backed up by organ washes and piano, buzzing guitars and walloping drums – but the overall feel is quite melodic. A wonderful blend of California sunshine and Brazilian rock grooves! Tracks include "Meu Novo Cantar", "Chega De Tudo", "Espelhos Quebrados", Anarquia", "Esperahca De Cantar", "Contudo, Todavia", "Anarquia", "Mil Novecentos E Alem", "Canto De Despedida" and more – plus 6 bonus tracks!

The final Warner Brothers album from Dionne Warwick – and a smooth, sophisticated affair done with full arrangements from Michael Omartian! The sound's still not as pop disco as you might expect from the time, and Dionne's gentle vocals are often cast in backings that step along nicely with a mellow, midtempo groove – one that's a bit like some of the best Philly soul of the period, yet still with a bit more California polish overall. The album works surprisingly well as a soul record – and really puts Warwick in the company of a whole generation of younger singers who'd risen above her by this point in the 70s. Titles include "One Thing On My Mind", "Don't Ever Take Your Love Away", "Livin It Up Is Startin To Get Me Down", "Since You Stayed Here", "A Long Way To Go", and "Keepin My Head Above Water".