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A great lost album from James Brown – and totally funky! The record's got a super-hip cover that shows James standing in a blue room with three fine foxy ladies, and the words "I Can't Stand Myself When You Touch Me" are emblazoned across the top – and the whole thing's as super funky as it looks! The record features many obscure King singles from the mid and late 60s, great little tunes that we always enjoy on funky 45s, and which are sewn together into one of the rawer James Brown LPs from the decade. James and the band are playing Vox instruments – as you can tell by the shameless ad on the back cover – and the record has a garagey funk sound that reminds us of the best Desco work by artists like Lee Fields & Joseph Henry. A prize in any funk collection – and with the cuts "The Soul Of JB", "I Can't Stand Myself When You Touch Me (parts 1 & 2)", "Get It Together (parts 1 & 2)", "Funky Soul #1", "Why Did You Take Your Love From Me", and "Baby Baby Baby Baby". Also features the funky hit "There Was A Time" – always a treat!

A great mix of modes – and a set that represents a real turning point in the career of Otis Clay! The rougher edges of Clay's Chicago soul are warmed up here substantially by producer Willie Mitchell – bubbling up some Memphis soul for Otis, in a style that's similar to some of his backings for other singers on the Hi Records label – in a style that makes for a great step forward from Clay's singles of the 60s! The shift is a big one – the sort that helped make Otis one of the standout singers of his generation – really knocking it out of the park on tracks that include "House Ain't A Home", "Slow & Easy", "Born To Be With You", "Home Is Where The Heart Is", "Pussy Footing Around", and "Too Much Mystery".

The debut album from Tyrone Davis – a supreme achievement for the Chicago soul scene of the late 60s, and a record with a sound that would set the standard for years to come! Tyrone had been bumping around as a blusier singer before this set – but here, working with arrangements by Don Myrick and Willie Henderson, he gets a sound that's sweet and soaring – taking a rough-spirited soul, and recasting it in a sweeter sound for the 70s. Tyrone's not lapsing into bluesy cliches here, and instead keeps things wonderfully soulful by hitting a loping groove that picks up his beat and gives the songs a nice lilt. You can hear this to best effect on the title track "Can I Change My Mind", but all tracks are great – including "She's Looking Good", "Call On Me", "Open The Door To Your Heart", and "Have You Ever Wondered Why?".

Easily our favorite album ever by Ann Peebles – not just for the beathead title track, but also because it seems to be the one record where she brings a bit something extra to the studio! The sound is certainly in the classic Hi Records mode here – thanks to production by Willie Mitchell – but there's also a deeper groove overall, a stronger burning bottom, and an all-soul sound to most tracks that goes way beyond simple cliches of southern soul. Ann's vocals are tremendous throughout – sometimes sweet, sometimes mean – and titles include the sublime "I Can't Stand The Rain", plus "Run Run Run", "One Way Street", "You Keep Me Hangin On", and "If We Can't Trust Each Other".

Incredible work from a group who've definitely earned their name! Naming a group SOUL might be suicide for a band that can't carry off the groove – but these guys are funky monsters, with a real talent for a hard heavy sound that was rarely matched by other combos. The band have a great drummer, with a good talent for the funky break, but also a jazzy flourish that works well on SOUL's mellower numbers – and apart from the usual bass and guitar riffing, the album also features some great funky flute, in a mode that's similar to some of Jeremy Steig's excellent early work. Some tracks have vocals and some have instrumentals – but the whole album's great, and is an undisputed funky classic. Titles include "Can You Feel It", "Do What Ever You Want To Do", "Peace Of Mind", "Love, Peace & Power", and "My Cherie Amour".

Amazing work from The Voices Of East Harlem – a group with roots in gospel, but working here in a wonderfully soaring secular soul style – complete with arrangements and production from the legendary Leroy Hutson! The style here is similar to some of Leroy's best work, and that of his contemporaries on Curtom – a sound that's righteous and often funky, but able to hit some sweeter, warmer notes as well. Individual voices step out from the larger ensemble and take key leads on some tracks – and the overall style is simply mindblowing, at a level that makes us easily rank this as one of our favorite soul albums of all time! A must-have album, and one we've treasured for years – with tracks that include "Just Got To Be Myself", "So Rare", "March Across This Land", "Amazing Love", "Take A Stand", and "Can You Feel It".

Very nice spacey soul from the late 70s Columbus, Ohio scene by Norman Whiteside's Wee – a mindblowing mix of jazz funk sophistication, harmony vocals and electric keyboard led psychedelic soul! Whiteside started Wee after the dissolution of Capsoul Records, where he was an important figure to say the least – and here he's working with a great group of Columbus players harmony vocals in the frontline, backed by some great jazzy arrangements, with slight touches of a Mizell groove. Many of the tracks have a mellow midtempo feel, and some really innovative use of electric keyboards and flanged production on the vocals. A fantastic rediscovery from the fertile 70s Ohio scene! This stellar Asterisk reissue of the 9 track original Owl LP extends the tracklist to 20 songs – including a bunch of previously unreleased tracks – with "I'm All Changed", "Alone", "Put It In Real Good", "Leavin You Alone", "Try Me" (album and 45 versions), and "Find Me, Love Me", "Stay", "Trying To Tell You How I Feel", "I Luv You", "Do You Know", "I Think I Am In Love With You" and more. Vinyl version features 1 bonus track – and a really amazing package with a cool insert too!

An essential look at the key years of the Chicago house scene – the time when the city's musicians were carving out a whole new space in sound! Although early house first began as an extension of some of the later modes of disco and 80s club, influences from European post-punk and post-disco work soon crept into the mix, and pushed the Chicago artists to work in a darker, edgier sound that was completely unique! The work from this period is filled with stark, spare electronics – not the cheesy kind that showed up often in New York electro records, but intense analogue bits that had a really dark, dystopic space age sort of quality – laid out over harsh beats and bass, and often presented with no additional vocals at all. For the collection, Soul Jazz do a great job of picking out the best of the early acid house scene in Chicago (the key recordings before the term got picked up overseas, and used to make some very dodgy dance music at the end of the 80s) – and then they go on to pull together some of the best strands of the house revival in Chicago in the early 90s, including key work from the Cajual label. 2LP set features 8 tracks in all – including "This Is Acid" by Maurice, "Do You Want To Percolate" by The Sweat Boyz, "Beyond The Clouds" by Mr Fingers, "Go Wild Rhythm Track" by Virgo, "Acid Crash" by Tyree, "Dum Dum (part 2)" by Fresh, "Acid Bass" by Roy Davis Jr, and "Phuture Jacks" by Phuture.

An essential look at the key years of the Chicago house scene – the time when the city's musicians were carving out a whole new space in sound! Although early house first began as an extension of some of the later modes of disco and 80s club, influences from European post-punk and post-disco work soon crept into the mix, and pushed the Chicago artists to work in a darker, edgier sound that was completely unique! The work from this period is filled with stark, spare electronics – not the cheesy kind that showed up often in New York electro records, but intense analogue bits that had a really dark, dystopic space age sort of quality – laid out over harsh beats and bass, and often presented with no additional vocals at all. For the collection, Soul Jazz do a great job of picking out the best of the early acid house scene in Chicago (the key recordings before the term got picked up overseas, and used to make some very dodgy dance music at the end of the 80s) – and then they go on to pull together some of the best strands of the house revival in Chicago in the early 90s, including key work from the Cajual label. 2LP set features 9 tracks in all – including "I've Lost Control" by Sleezy D, "Take Me Higher" by Virgo Four, "Acid Over" by Tyree, "Box Energy" by DJ Pierre, "Video Clash" by Lil Louis, "Explorer" by Green Velvet, "Like This" by Two Of A Kind, "Acid Tracks" by Phuture, and "Downfall" by Armando.

A great compilation of rare versions of legendary recordings by Big Star – and also the soundtrack to the acclaimed feature length documentary Nothing Can Hurt Me – with demos, alternate mixes, studio banter and more. Includes perviously unreleased versions of classics that include "Oh My Soul", "In The Street", "Don't Lie To Me", "Stroke It Noel" and many more. 20 tracks on 2LPs.

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. Vinyl volume 1 features an insert with notes – and 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, and "Blacula" by Gene Page.

A great compilation of rare versions of legendary recordings by Big Star – and also the soundtrack to the acclaimed feature length documentary Nothing Can Hurt Me – with demos, alternate mixes, studio banter and more. Includes perviously unreleased versions of classics that include "Oh My Soul", "In The Street", "Don't Lie To Me", "Stroke It Noel" and many more. 20 tracks on 2LPs.

Crispy, creative work from the team of Blu & Exile – a duo who may well be one of the most creative studio talents we've heard in years! There's loads of warm acoustic samples dropped into the mix – set against a sharper edge from the production, but still delivered with plenty of soul – almost a warmly jazzy vibe we remember from early Tribe Called Quest – with a similarly playful feel. The set features guest work by I Ced, Fashawn, Homeboy Sandman, Johaz of Dag Savage, Black Spade of Hawthorne Headhunters, and ADAD – and titles include "Don't Be Jelly", "The Great Escape", "A Man", "A Letter", "Ease Your Mind", and "O Heaven".

Pavement frontman and guests cover Can's krautrock classic in its entirety.

A back-to-basics return to electric blues for Muddy – after a few more funky albums for Chess. The style is pretty nice – and shows that Muddy had enough growing power at the time that he could get Chess to let him return to a purer Chicago electric blues style – one that would serve him well into later years, way beyond the style of his funk recordings! Titles include "Funky Butt", "After Hours", "Garbage Man", "Love Weapon", "Muddy Waters' Shuffle", and "Mother's Bad Luck Child".

Insanely great sounds from the legendary Tim Maia – easily the most soulful singer in 70s Brazil, and an artist with a heck of a strong ear for funk, too! The music here is an incredible hybrid of American soul and Brazilian elements – especially since some lyrics are in English – and the grooves are often mixed together in a sound that's nice and fuzzy around the edges, with some slight psychedelic elements that makes the cuts a perfect fit for this Luaka Bop series! Yet Tim Maia's hardly a guy who can easily fit into any easy slot or series – because as you'll hear on this set, he's got a vibe that's all his own – a really wonderful approach that's different even from some of his hippest contemporaries in Brazil – and which has gone onto have influence on countless other generations of singers and musicians – including his nephew Ed Motta. The package is great – a real visual tribute to the sounds within – and titles include "Que Beleza", "Ela Partiu", "Do Leme Ao Pontal", "Brother Father Mother Sister", "Quer Queira Quer Nao Queira", "Let's Have A Ball Tonight", "I Don't Care", "The Dance Is Over", "Rational Culture", "You Don't Know What I Know", and "Nobody Can Live Forever".

Timeless blues work from Boyd Rivers – played on both acoustic and electric guitar, but with a classic spirit that stretches back to the days of the delta! The recordings are from the early 90s, but done in a way that feels like they're from decades before – clear enough to bring out the best tones in Rivers' guitar and vocals, yet with a spare, stripped-down vibe that shows little change in the evolution of the blues over the 20th century! Titles include "Won't It Be Grand", "I Want To Be At The Meeting", "Get Away Jordan", "That Fire Shed In My Bones", "You Can't Make Me Doubt", "Church House Rock", and "When The World Seems Cold".

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

A damn legendary record from the last years of Chess Records – and for good reason, too! Archie Whitewater were a group that was years ahead of its time – a rock combo, but one with real genre-crossing sensibilities that made them perfect for the experimental styles at the Cadet/Concept side of Chess – the same slice of the musical universe that gave us Rotary Connection and important productions from Charles Stepney! The sound here has some surprisingly soulful elements at times – especially the instrumentation, which features some great break moments that get nice and funky, and strands of soulful jazz and blues that really make the music way different than most other groups we can think of – or maybe a bit like a rare elite who shared such visionary territory with Archie Whitewater, such as Shades Of Joy on their first Fontana record. The keyboards and sax lines are as great as the drums – and the vocals have a melancholy undercurrent that's a really refreshing change from some of the overly-postured modes you'd get from other groups in 1970. Titles include the sublime sample cut "Cross Country" – but there's loads of other nice ones with the same stripped-down "Dusty Fingers" sort of groove – and other titles include "Life Is A River", "Home Again", "Lament For The Walking Dead", "Seacoast", "Country To the City", "Friends & Neighbors", and "Mist Of The Early Morning".

What can we say? This is one of the greatest soul soundtracks ever! In a market that was dominated by the big-selling Shaft and Superfly albums, Roy slipped in this masterful blend of jazzy vibes and wah wah funk that's easily one of the best-composed records of the blacksploitation genre! The album's much more unified than your average funky soundtrack – and each track moves between styles that you'd hear on any of Roy's great albums from the time. There's heavy funk on the track "Brawling Broads", cool vibes and electric piano on "Aragon", off-beat jazz on "Coffy Sauna", and great soul on cuts like "Coffy Is The Color" and "Coffy Baby". Wonderful all the way through – and another jewel in the already-big crown of the great Roy Ayers!

What can we say? This is one of the greatest soul soundtracks ever! In a market that was dominated by the big-selling Shaft and Superfly albums, Roy slipped in this masterful blend of jazzy vibes and wah wah funk that's easily one of the best-composed records of the blacksploitation genre! The album's much more unified than your average funky soundtrack – and each track moves between styles that you'd hear on any of Roy's great albums from the time. There's heavy funk on the track "Brawling Broads", cool vibes and electric piano on "Aragon", off-beat jazz on "Coffy Sauna", and great soul on cuts like "Coffy Is The Color" and "Coffy Baby". Wonderful all the way through – and another jewel in the already-big crown of the great Roy Ayers!

Quite different than the original US release of this classic soundtrack – as this UK lineup features a lot more songs – a side one's worth of gems from the film, and side two featuring additional new tracks from Lennon & McCartney! Movie tunes include "If I Fell", "Hard Day's Night", "Can't Buy Me Love", "Tell Me Why", "I Should Have Known Better", and "And I Love Her" – and other tracks include "You Can't Do That", "Any Time At All", "Things We Said Today", and "I'll Cry Instead".

Sure it's a soundtrack, and sure it's got a number of songs that are just instrumentals from the film – but the record also features some excellent late Beatles tracks that can only be found here – including the killer tracks "Hey Bulldog" (almost a funky nugget), "Only A Northern Song", and "All Together Now". Also includes "Yellow Submarine" (natch) – plus "It's All Too Much" and "All You Need Is Love" – and side two features a number of groovy instrumentals from George Martin – including "Pepperland", "Sea Of Holes", "March Of The Meanies", and "Pepperland Laid Waste".

Brick City vet and Artifacts affiliate Beneficience delivers a sharp set of hip hop in Concrete Soul for Ill Adrenaline – featuring an impressive roster of guests – but to Bene's credit, he's never overshadowed here! Guests include Lord Tariq, Masta Ace, Chubb Rock, Roc Marciano, El Da Sensei, D-Flow, Billy Danze, AG and more. Includes "YWE" with Lord Tariq, "Reality Vs Fiction" feat Masta Ace, "Cold Train" with Grap Luva & Rob-O, "Concrete Soul" feat Troo Kula of Brainwash 2000, "Masterful Method" with Chubb Rock, "Art Of War" with Billy Danze of MOP, "All Real" feat AG, "Metal Cuff Links" feat Nature,, "Somethin' Yall Can Roll Wit", "Under Constructuon, "Hood Cartel" with Roc Marciano and more.

Way more than you might expect from the legendary Big Maybelle – a smoking collection of soulful tunes that goes way beyond her early blues of the 50s, and shows the lady to be one heck of a funky singer – on a par with the best 60s work from Etta James at Chess! The cuts here are pulled from Maybelle's Rojac recordings – rare indie tracks that hardly got much circulation at the time, but which make tremendous use of her powerful voice – re-fitting it for a whole new groove in the 60s – including socking soul numbers with plenty of punch, and a few laidback ballads that are dripping with deep soul! There's a total of 22 tracks in all on the set – not just rare singles and album tracks, but a few others we'd never seen before – a beautiful package that also features very detailed notes as well! Titles include "Careless Love", "Mama", "Love Is A Hurtin Thing", "Big Sweet Daddy", "I Can't Wait Any Longer", "Quittin Time", "Cold Cold Heart", "I Am Lost", "That's Life", "Why Was I Born", "Blame It On Your Love", and "Old Love Never Dies".

Biz's second LP from 1989 – what can we tell you about the Biz that you don't already know? As far as we're concerned there are a lot of MCs that could still learn a lesson or two from the Biz, and producers too! Good time mid school hip hop, with nice sample based production and a great sense of humor, that makes us nostalgic for the late 80s early 90s glory days. 13 tracks in all, with the cuts "Spring Again", "Just A Friend", "A Thing Named Kim", "The Dragon", "Things Get A Little Easier", "I Hear Music", "Biz In Harmony", "Check It Out" and more.

The Beatles had Abbey Road – and Booker T & The MGs had McLemore Ave, the main street running outside the Stax studios, and a fitting title for the album that has them playing tunes from The Beatles' incredible Abbey Road album. If you've ever thought that Abbey Road was a soft-rock lowpoint in the Beatles' career, consider how many soul and jazz artists either covered the whole album, performed songs from it, or referenced it in their album covers. This little gem is proof that the compositions already had a life of their own within a short time of the release of the record – as Book and crew take the Beatles' tunes to whole new heights, working them together into a complicated batch of grooves that really pushes past their earlier work on Stax. Who knows, perhaps The Beatles were just the kick that Book needed – we can't ever tell the whole story, but we can say that the record marks a strong turning point for the group, and is well worth having for a variety of reasons. Titles include "The End", "You Never Give Me Your Money", "Because", "I Want You/She's So Heavy", and "Polythene Pam".

One of the hippest records ever to come out of Chicago – the sole recording by Boscoe, a group who was even more obscure and experimental than contemporaries like The Pharoahs or Artistic Heritage Ensemble! Like those groups, Boscoe has a very unique, very visionary approach – one that's not content just to echo the standard post-Coltrane modes that other spiritual jazz groups around the country were hitting – but which instead moves into territory that touches on the darker sides of funk, soul, and spoken word of the time – all with a message that's incredibly powerful, and conception that's wonderfully fresh throughout! The group's lineup features tenor, trumpet, trombone, guitar, bass, and drums – but they way they're put together is often far different than other funky combos – and it's clear that the group had as much of a sensibility about the overall sound of their record as they did their freer grooves. At times, there's a righteousness here that recalls the best of the early Westbound Records scene from Detroit – but there's an even higher agenda too, which is more in keeping with the spiritual aspriations of their Chicago contemporaries, and which really show up in the lyrics. The whole album's a masterpiece from start to finish – unlike anything that we can think of, still ripe for rediscovery today, and just the kind of set that makes us prouder than ever of our Chicago heritage! Titles include "We Ain't Free", "Money Won't Save You", "Now and Den", "He Keeps You", "I'm What You Need", and "Writin' On The Wall".

David Bowie's grabbing the cover of Heroes for this surprisingly great album – using the old cover art, then marking it over – in ways that definitely give a hint at the sound underneath! The style's darker and edgier than we've heard Bowie in years – kind of in "Joe The Lion" territory at times – given the fuzzy use of guitar, and raspy touches on the vocals and other instrumentation – almost as if the whole thing's got the same sort of back to basics approach that David found during his years in Berlin. Yet overall, there's more sweet moments too – some surprisingly warm tunes that, while not like contemporary pop hits, may well help remind the world that the Bowie star can still shine brightly in the right setting. Titles include "Dirty Boys", "The Next Day", "If You Can See Me", "Boss Of Me", "Dancing Out In Space", "Love Is Lost", and "Valentines Day".

An American psychedelic classic from mid 70s Baltimore – awash in heavy fuzz and lots of electric effects! Jungle Rot has a raw, earnest quality that few other records can match – perhaps the first albums by MC5 or The Stooges – or the very first EP by Pussy Galore – but it's also very much its own animal, as is most music that's come out of Baltimore over the years! Brigman's guitar is recorded here with lots of pedals, effects, and echo – all very spaced out and trippy, and sounding a lot more late 60s than you'd guess from the date of the record. The tunes are often simple and straightforward – and sometimes slightly bluesy underneath all the fuzz – and the vocals are wonderfully abstracted in all that echo, coming out almost like Alan Vega on the first Suicide album. Titles include "Jungle Rot", "DMT"," Don't Bother Me", "Schoolgirl", "I Feel Alright", "Worrying", and "It's Misery".

One of the youngest groups of the zydeco wave of the 70s – and one of the grooviest too! The group's got a solid swing and sense of soul that goes beyond most of their contemporaries – almost a deeper current of blues at most points, especially in the guitar – and even in some of the accordion, which can come across like a harmonica at points! Titles include "Mama", "La La Waltz", "Sugar Cane Patch", "Country Boy", "SB 5", and "SAM".

The title sounds like an old R&B song from the 50s, but the album's a searing collaboration between three of the boldest improvisers in 70s European jazz – Peter Brotzmann on reeds, Harry Miller on bass, and Louis Moholo on drums! Although Miller and Moholo can have warmer moments when working in British Ogun modes, they're definitely well-matched here with the young Brotzmann's energy – very freewheeling on both of their instruments, and rising to Peter's challenge to find new sounds at just about every twist and turn of the record! Titles include "Long Time Service", "Kucken und Drucken", "Schnell Im Biss", and "The Nearer The Bone The Sweeter The Meat".

A great little album by James Brown – and very different than his other work! He cut this one with the groovy Dee Felice Trio – a jazz-based combo that he recorded on their own for King, on another very rare, very excellent record. The band's in similar form here, although not necessarily as funky – and they do a great job of giving James' vocals a jazzy twist that they don't have on other albums – proving yet again that The Godfather can handle just about any sort of groove that he wants! Features a wonderfully groover version of "Sunny", which moves along very nicely – plus remakes of "There Was A Time" and "Cold Sweat", along with the tracks "Uncle" and "That's Life".

Quite possibly THE James Brown album of the mid 60s – a solid set of hard-grooving tracks, based around the monster title hit "I Got You (I Feel Good)"! The tune's one of those numbers that has been used a gajillion times over the years in commercials and promos – but which never sounds better than here, on James' original version – one of those cuts that never gets old! The hit's also nicely offset by a number of other more obscure numbers that make the album really worth tracking down – titles that include "I Can't Help It (I Just Do Do Do)", "Good Good Lovin", "I've Got Money", "Three Hearts In A Tangle", "You've Got The Power", and "Love Don't Love Nobody" – all on the rougher side of the JB spectrum.

One of the wilder James Brown instrumental LPs from the late King period. The James Brown Band is fronted by a heavy fuzzy guitar sound, which gives the LP a sort of rock-break feel, with nice fuzzy electric tones. All tracks are by James and Dave Matthews, and the record is sort of a second album by Matthews' Grodeck Whipperjenny group. Titles include "Can Mind", "Don't Mind", "Bob Scoward", and "Just Enough Room for Storage". Wild, and tough to find these days, too!

Easily one of the funkiest albums that James Brown ever recorded – and one of his few entries into the blacksploitation genre of the 70s! James really outdid himself for this one – working at a hard burning pace that had the JBs cooking up some killer funk for just about every number in the set – and which also has James himself stepping out vocally for a few key tracks. The album features the massive groover "People Get Up and Drive Your Funky Soul" – a slamming track that beats nearly every number in the JB 70s catalog – plus other cuts that include "To My Brother", "Brother Rapp", "Sexy Sexy Sexy", "Slaughter Theme", "Transmogrification", "King Slaughter", and "How Long Can I Keep It Up".

A pretty compelling record from the Chicago scene – one that brings together the city's historical music roots and some of the best improvisers working today! Side one features these cool little cuts from Nick Butcher – made up of "microsamples" of older Chicago jazz and house records, and really deconstructed so that you can hardly hear a trace of the original sounds at all – nicely obtuse, and sounding a lot like Nick was working from scratch! Side two features other musicians each given a track from side one, then encouraged to play their own live improvised take on the track – each with a very different flavor! So on the first half, you've got Nick serving up cuts like "Cozy Kitchen", "Great Lake", "Formats", and "Implements" – and side two features 6 solo numbers, each with a different artist – Jason Adasiewicz on vibes, Keefe Jackson on tenor, Jason Roebke on bass, Tim Daisy on marimba, Jason Stein on bass clarinet, and Mike Reed on drums! Very nice package, too – with a hand-printed die-cut cover and sleeve!

One of Jerry Butler's funkiest moments of the 70s – served up in a fantastic soundtrack co-penned and arranged by the great Jerry Peters! Peters is best known for his hip work with a variety of soul acts in the studio, but he really steps out here for the score to Melinda – a lesser-known blacksploitation film from the early 70s, but one that boasts a heck of a great soundtrack! Peters approach here is a bit more baroque than some of his contemporaries – and he uses stepping strings equally alongside funky rhythms – creating a groove that's complicated, yet still plenty darn funky – and a sound that's as soulful on the mellower tunes as it is on the standout uptempo ones. Jerry Butler sings vocals on "Speak Truth To The People", "Tank's Theme", "Love is", and "Melinda Reprise" – but the instrumental tracks are even better, and inlcude the clavinet groover "Part III", the sitar-styled "Melinda Latino", and the cuts "Music For Tank's Boat", "The Blues (Dope Pusher's Theme)", and "I Can't Let You Go".

Stunning! Although many know Bobby Byrd as the longtime associate of James Brown, and although his singles do turn up from time to time on compilations, this one and only album by him is super-rare. The album's a live recording (although we've never been sure if it's not one of James Brown's "fake" live projects, with studio tracks and applause added in) – and it contains a killer batch of funky tracks like "I Need Help (I Can't Do It Alone)" (parts 1 & 2), "Funky Soul", "My Concerto", "You Got To Have A Job (If You Don't Work, You Can't Eat)", and "Hang Ups We Don't Need (The Hungry We've Got To Feed)". Loads of breakbeats, and a killer funky groove with Bobby singing in a style that's as great as James Brown's best funky stuff from the time, but with a darker edge to it. Classic stuff, and an unbelievable one to have on low-priced reissue!

A historic pairing of blues talents – one that only flourished for a few short years, but created some wonderful music together! Leroy Carr brings lots of jazz inflections to his work on piano, but the overall sound is definitely blues – thanks strongly to the guitar lines of Scrapper Blackwell, who really helps give the tunes a nice rough edge, and hammers home the punch of the lyrics too! This LP is a beautiful presentation of rare 78rpm material from the pair – and titles include "What More Can I Do", "Fore Day Rider", "How About Me", "Memphis Town", "Getting All Wet", "Naptown Blues", "Carried Water For The Elephant", and "Papa Wants To Knock A Jug".

A mad mix of Latin and funky rhythms – a 70s classic from the Belgian group Chakachas! The album's best known for its title hit "Jungle Fever" – an insane cut that features heavy drums, choppy guitar, and a stop/start action that's peppered with sounds of female pleasure! The track was a worldwide hit, and continues to be a funky classic today – thanks to a heavy sample history, and a life in playlists worldwide – but the rest of the album's pretty darn great too, and even weirder. Some tracks mix easy Euro grooving with heavy conga, others have kind of an LA Chicano funk approach, and still others throw in some mad horns to complicate matters with nice jazzy riffing. Really great throughout – and maybe one of the best funky albums to ever come out on a major label! Titles include "Jungle Fever", "El Canyon Rojo", "Chica Chica Bau Bau", "Eso Es El Amor", "Ay Mulata", "Cha Ka Cha", "Latin Can Can", and "Yo Soy Cubano".

A wonderful wonderful soul album from the great Gene Chandler – quite possibly our favorite work ever from this under-acknowledged Chicago singer! Chandler's way past his "Duke Of Earl" years on this record, and is hitting his stride as one of Chicago's best soul singers of the late 60s – working with a style that's harder than ever before – and a bit more sophisticated, too – with touches of that masculine maturity that Walter Jackson helped to bring to the scene. Carl Davis produced, and backings are by Sonny Sanders and Gerald Sims – providing a great Chicago groove over tunes penned by Curtis Mayfield, Billy Butler, and Otis Leavill – as well as Davis, Sanders, and Sims – all representing the unusual depth in Windy City soul at the time. Tracks include "To Choose", "Nothing Can Stop Me", "You Can't Hurt Me No More", "The Girl Don't Care", "Good Times", "Here Come The Tears", and "Fool For You".

The legendary 1970 recordings Alex Chilton made at Ardent Studios – recorded in a brief moment after the bust up of the Box Tops and before the debut of Big Star – and a truly powerful precursor to that most iconic of soulful Memphis rock acts! For the longest time, the 1970 sessions were something of a rock & roll holy grail – having been oft-discussed, if rarely heard, by Chilton and Big Star diehards. In the mid 90s, Ardent Records finally released the heart of this collection as 1970 – and here it's done up with even more love and respect by Omnivore, which over the course of just a handful of releases has become one of the very best deep digging reissuers of great, should-be classic soul & rock treasures. The vibe swings from stripped down, soulful rock that sometimes flirts with country rock – those songs featuring gruff, bluesy vocals from Chilton that belie his actual youth, just as greatly as his vox for The Box Tops – to gentler soul pop numbers that truly prefigure the Big Star sound to come. 12 tracks on the vinyl version – plus great liner notes by Bob Mehr, a living encyclopedia of Memphis musical knowledge. Includes "Free Again (Original Mono Mix)", "Come On Honey", "Something Deep Inside", "I Can Dig It", "The EMI Song (Smile For Me)", "Every Day As We Grow Closer/Funky National", "I Wish I Could Meet Elvis", "All We Ever Got From Them Was Pain", "All I Really Want Is Money", "Jumpin' Jack Flash" and more.

The mellower of Lyn Collins' two albums for the People label – but still pretty darn fantastic! At some level, it seems like Lyn's taking on the rest of the soul industry – showing them that she can kick some major booty on her interpretations of hits like "Backstabbers", "If You Don't Know Me By Now", "Try A Little Tenderness", and "Mr Big Stuff", which is one of her best funky tracks ever, and better than Jean Knight's original! She also shines extremely well on the original cuts, though – especially the funky classic "Rock Me Again & Again & Again", plus the often-overlooked mellow soul groovers "To Each His Own", "Put It On The Line", and "How Long Can I Keep It Up". Production by James Brown, of course!

Amazing! This album is one of the great lost classics of East Coast harmony soul of the 70s – and it always leaves us breathless! Continental 4 may not have been as big as some of their contemporaries, but the cut "(You're Living In) A Dream World" is one of the most sublime soul tracks ever recorded – with stunning harmonies, fragile production, and some wonderful Philly ballad instrumental touches. The rest of the album is just as good – with slowly plucked electric sitar, soaring harmonies, and an amazing batch of orchestrations that are just out of this world! Titles include "Escape From Planet Earth", "Running Away", "I Don't Have You", and "How Can I Pretend". Dream work from Philly Maestros like Bobby Martin and Norman Harris!

Galactic funk & synth soul from Dam-Funk – his epic full length debut Toeachizown for Stones Throw – and a record that should be a game changer for the southern Cali ambassador of cosmic funk beats, heavy bass and synth grooves! Dam-Funk is part throwback to the electro era – his vintage synths, bass and drum machine grooves are strongly rooted in the end of the 70s and first few years of the 80s vibe, but he's putting his own modern spin on the sounds, keeping it vital and fresh, and quite likely to be bitten by a bevy of superstar producers to come! Occasionally with slow jam or tripped out vocals, but with longer instrumental jams, Dam Funk's fusion of old school and future funk is in a cosmic realm of its own! Vinyl version was originally released as a 5LP set – and now it's available in separate volumes. Vol 3 includes: "Love Is Here 2nite (I Can Feel It)", "Could I Be Losing Another Lover?", "Show Me The Way U Feel", "One Less Day" and "I Wanna Thank U (4 Steppin' Into My Life)".

A should-be Cali country rock classic by Chris Darrow – and a real rare gem of a record we'd put right up there with the best of its kind! Multi-instrumentalist Darrow might be best known to psych enthusiasts – as he was a founding member of Kaleidoscope – but as a session player, he's worked with an eclectic roster of major players that includes Frank Zappa, Gram Parsons, Leonard Cohen, Sly Stone, the Nitty Gritty Dirt Band and others. His solo work is akin to some other great, but better-known Cali country rockers, and honestly, we'd rate this record up against the aforementioned Mr. Parsons – it's really that good – but with more eclectic instrumentation. Catchy songs that are well sung and expertly-crafted – with Chris playing guitars, mandolin, dobro, fiddle and just about anything else with strings on it – and some light percussion, too! Other players include Ed Black, Loren Newkirk, Arnie Moore and Mickey McGhee – plus a sweet group of backing vocalists that includes Jennifer Warren. Titles include "Beware Of Time", "Lovers Of Sleep Abed Tonight", "Shawnee Moon", "Move On Down The Line", "Song For Steven", "Cocaine Lil", "Alligator Man", "Keep On Trying", "New Zoot", "The Show Must Go On", "The Sky Is Not Blue Today" and "We Can Both Learn To Say I Love You".

Mod mod 60s jazz – and 12 tight-as-can-be instrumentals from London's Dave Davani combo! Dave's a Hammond player with a great mix of soul jazz and R&B in his grooves – very much the best sort of instrumental work you might expect from London in the swinging 60s – a great blend of American influences and UK mod styles. The rest of the group includes guitar, bass, and drums – plus a bit of vocals and Latin percussion from Beryl Wayne. The groove here is clearly a precursor to the James Taylor Quartet, and the overall sound is better than some of the more famous groups from the time – such as the combos of Brian Auger or Graham Bond. Titles inlcude "Big Boss Man", "Working Out", "Funky Mama", "Sack O Woe", and "Pig Foots".

Killer work from Betty Davis – one of the most impressive female funk talents ever! If you ever needed a definition of funk, this record may well be it – snapping drums, sharp-edged guitars, and sex-filled basslines that slink and slide all over the bottom of the grooves – a perfect setting for Betty's incredible vocals – which themselves have a smokey, raspy quality that's completely unique! At times, Davis is almost speaking, but at others she's practically screaming – belting out the lyrics in a way that makes you feel like you're sharing some space with her at the end of the bar as she gets more and more wound up about issues and people who are on her mind. And as if the vocals weren't enough, the backings are incredible too – filled with drum breaks and basslines that few other albums can match – all wrapped around badass tunes that include "Shoo-B-Doop & Cop Him", "He Was A Big Freak", "70's Blues", "Git In There", "Special People", "Don't Call Her No Tramp", and "Your Mama Wants Ya Back".

Sweet disco and soulful jazz – the only album we've ever seen from Copeland Davis, a great talent on the piano, and a mellow soul singer with a clear inspiration from Marvin Gaye! The album's a pretty unusual one – in that the overall groove is instrumental, mostly tight rhythms and strings with Copeland playing piano over the top – but a few cuts have Copeland singing as well – in this great sexy style that really adds a lot to the record. The approach is a bit rough at times, but it's kind of a rough version of slickness, which makes for a compelling set, and gives the album a few nice underground clubby numbers! Titles include "Look What We've Found", "Morning Spring", "So In Love", "Jet", and "No Arms Can Ever Hold You".

What can we say? This is the ultimate Miles Davis album – the one that includes so many songs that we've heard way too much in Starbucks, in retail stores, or at a friend's house who claims to be a "jazz expert", but is really a yuppie dilettante. Yet somehow, over all the years, and all those playings, the record manages to still sound fantastic – a truly inspirational piece of music that's long deserved all the attention it gets! The legendary group on the album includes John Coltrane on tenor, Cannonball Adderley on alto, Bill Evans on piano, and Paul Chambers on bass – working with Miles in a relatively modal style, with brilliant rhythm changes and a wonderful sense of space. The whole thing's sublime – and titles include "Blue In Green", "All Blues", "So What", and "Freddie Freeloader".

Del Tha Funkee Homosapien, Kid Koala, and Dan The Automator pool their skills for this dawn of the 2000s sci-fi hip hop classic – the masterful Deltron 3030! The guest list is almost too long to get into, but Money Mark, Prince Paul, PB Wolf and Mr. Lif are all here, along with many others. One of the benchmark albums in the leftfield underground hip hop canon – and a hugely influential set that burst the doors wide open for the more creative spirits in the hip hop and even experimental pop. Tracks include "State Of The Nation", "3030", "The Fantabulous Rap Extravaganza", "Things You Can Do", "Positive Contact", "St Catherine St.", "Virus", "Mastermind", "National Movie Review", "Time Keeps On Slipping", "Turbulence (remix)", "Battlesong", "Memory Loss" and more.

Bo Diddley tearing it up in the mid 80s – with a fairly raucous, hard-charging presentation of his iconic sound, plus more electric bluesy numbers with sax and a more stretched out groove. Titles include "Intro/Bo Diddley", "Doctor Jekyll", "Everleen", "I Don't Know Where I've Been", "You Can't Judge A Book By It's Cover", "I'm A Man", "Road Runner" and "Mona".

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

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".

Just like the title says, two bad, bad Dee Jays plying their trade over niced up rhythms from Junjo Lawe – with all star backing that includes Flabba Holt, Sly & Robbie, Style Scott, Santa Davis, Sowell, Chinna Smith, Bo Pee, Bingy Bunny, Gladstone Anderson, Ansel Collins, Steelie, Winston Wright, Sky Juice, Skully Sims and others! 10 tracks in all, including "Can't TakeAnother World War", "Another One Bites The Dust", "Talk About Run", "Sweet Sweet Matilda", "Special Request To All Prisoner", "Dance It Have Fe Nice", "Gal Pon The Front Line", "Jack Spratt", "Tribute To General Echo" and "Hey Mr DJ".

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.

Monumental Afro Soul from El Rego Et Ses Commandos – El Rego's best recordings from the late 60s to early 70s – a beautifully done compilation put together by Daptone and Frank Gossner, the deep digging West African music expert behind Voodoo Funk! Theophile Do-Rego is a legend in his native Benin, essentially credited as the godfather of Benin funk – but to date, he hasn't been celebrated around the world nearly as famously as the superstars of African music hailing from Nigeria and Ghana. That's something that can change really quickly if enough people pick up this truly great compilation of pioneering recordings. Singer El Rego and his excellent, diversely capable band – sax and flute by Baboni Oudou, sax by Michel Diogo, guitar by Oscar De Souza, trumpet by Emmanuel Ganssounou, guitar by Roger Coffi, tumba by Marcelin Kpohonon, additional vocals by Christian Agueh, and bass by band leader Paul Hounnou – take a tighter approach to funky soul. Just a couple tracks on this set roll past the 4 minute mark – which gives it a tighter soul sound, along with some Benin blues and some riveting JB-indebted vocal affections. We owe Voodoo Funk and Daptone big for putting this together! Includes "Feeling You Got", "Zon Dede", "E Nan Mian Duku", "Dkobime", "Dis-Moi Oui", "Djobime", "Hessa" (the centerpiece of the album, 3 minutes of Afro Soul perfection. . .the whole set is great, but this track is unforgettable), "Kpon Fi La", "Do Do Baya", "Vive Le Renouveau", "Achuta", "Cholera" and "Ke Amon-Gbetchea".

One of the best moments ever from Enchantment – a set that has the group still sticking with the great harmonies that got them started in the 70s, yet stretching out with a tight 80s groove that's just perfect for their energy! There's a decidedly old school feel going on here – a real love of the sorts of group singing you might know from the indie days of soul from the decade before – preserved surprisingly well in the sensitive production by Michael Stokes – who manages to modernize the sound with some key instrumental elements, yet never get in the way of the vocal charts from Emanuel Johnson! The blend is great – a real standout, even amongst the incredibly strong run of soul records coming from Columbia in the early 80s – and titles include "I Know Your Hot Spot", "I Can't Forget You", "Your Love Is Like A Melody", "Only You", and "Peace Is What The World Needs".

The cover's a silly one, but the record is rock-solid all the way through – a wonderful blend of funky jazz and warmer soul, and a real lost treasure from the 70s TK Records empire! Fat is Fats Gallon – who plays drums on the record, and also sings lead vocals a bit too – with this raspy southern soul style that's a great counterpoint to the smoother sounds on the set! Things get plenty funky and tough throughout – and the small combo lineup ensures that the record steers quite clear of the more commercial styles that were coming out of the Miami scene in the 70s. There's a jazzy inflection to most of the instrumentation, which makes for some compelling changes that have kept this set going strongly with new generations over the years – and the instrumentation includes loads of great guitar and keyboard bits too. Titles include "Doing Bad", "Tip Of My Tongue", "How Can I Explain", "Magician Man", "Life Is A Beautiful Thing", "Satan's Dream", and "Free My Mind".

Essential reissue of one of the greatest funk albums ever! This is the great LP of hard funky cuts that perfectly sums up the Fatback style that you've heard so much about – but which you can't find on much of their late 70s albums! The whole album is filled to the brim with loads of great hard funk cuts, with cool crowd noises and a non-stop groove all the way through. Monster cuts, including "Nija Walk", "Fatbackin", "Soul March", "Soul Man", "Kiba", "Clap Your Hands", and lots more!

The first new music by Bill Fay in decades – and it's wonderful stuff – just a beautiful set of songs that balance hauntingly subtle sounds with more enigmatic touches! Bill's voice and piano are front and center for the most part here. The lyrics are poetic, but unpretentious – covering life, love, loss and the big issues we deal with – in a really artful way. Producer Joshua Henry does a great job of creating a stirring sound, without layering anything on too thickly, so not to bury the intimate charm of the songs – and using a subtle backing vocal choir, some lovely strings and additional keys at times. Includes "There Is A Valley", "Big Painter", "The Never Ending Happening", ", "The Healing Day", "City Of Dreams", a wonderfully spare cover of Wilco's "Jesus, Etc.", "This World" featuring Jeff Tweedy (speaking of Wilco), "Empires", "The Coast Man Can Tell" and more.

A never-heard soundtrack for a never-seen film – and a record that's every bit as funky as better-known sets from the blacksploitation era! Final Solution were a small time group from Chicago's west side in the 70s, but on this wicked little soundtrack they sparkle just as brightly as Isaac Hayes, Willie Hutch, Curtis Mayfield, or any of our favorite soundtrack soul artists from the time – working in a really righteous approach to soul with lots of heavy rhythms on the bottom and rumbling bass in the mix – so that even when the tunes are mellow, there's still a bold, brash sort of power to the set! The vocals are mostly delivered in harmony style, again with a nice edge – a bit like The Impressions work on Three The Hard Way, but with more of an indie soul feel overall, given the production circumstances. Once again, our hats are off to Numero for unearthing this gem. Titles include "Brotherman", "Never Coming Back Again", "I Don't Care", "Girl In My Life", "Gotta Get Through To You", "One Day", "I'm Ready For Love", and "We Can Work It Out".

A fantastic compilation of work from one of the grooviest groups on the UK scene of the late 60s – a mod combo with a surprisingly funky undercurrent at times – and a sound that's virtually the definition of the freakbeat groove! The drums here are wonderful – as heavy and massive as the fuzzy guitars – and although most of the tracks have a tuneful approach on the vocals, it's the bottom end that really drives the numbers strongly – a crossover between rock and soul that's a perfect summation of the mod aesthetic at its best! Titles include "Tick Tock", "Love Them All", "Hold On", "Mud In Your Eye", "Gotta Get Enough Time (demo)", "I Forgive You", "Two Can Make It Together", and "Gong With The Luminous Nose".

Great work by the team of Brigitte Fontaine and Areski Belcam – two of the most enigmatic talents you'll ever hear on record! The album's the only one they ever recorded that wasn't issued by the Saravah label – and it's a fantastic blend of otherworldly vocals with spare instrumentation that includes electric piano, flute, bandoneon, and percussion – wrapped together wonderfully with a haunting sound that's just amazing. Even if you don't understand French, the sound and style of the voices are more than enough to keep you captivated – and the album is some of the most indescribably beautiful music we can think of! Titles include "Le Borgais", "L'Abeille", "Les Petites Madones", "Le 6 Septembre", and "Ragilia".

We love Kim Fowley, and can never get enough of his genius – and no matter what the setting, Fowley always seems to move around the maddest corners of rock and pop music! This raw batch of gems is all pulled from the Fowley vaults – and features a host of indie singles recorded in LA between his bigger bursts of fame – some with Kim in the lead, lots more with lesser-known talents all given Fowley's forceful treatment in the studio – a push forward that makes just about every track here sparkle like some long-lost garage rocker or weird novelty number. Norton provides very detailed notes that are as much a musical journey as the cuts themselves – and titles include "The Knight In Shining Armor" by Knights Of The Round Table, "Kalani Honey" by John Paul Jones, "Young & Wild" by Renegade Five, "Big Bad Wolf" by Kim Garry & The Rhythm Kings, "Watch Your Step" by Larry Green & The Rhythmaires, "Goin Away Baby" and "Golden Apples Of The Sun" by Grains Of Sand, "Wanted Dead Or Alive" by The Rogues, "Moses" by Navarros, and "The Trip", "Astrology", and a rare radio spot all by Kim Fowley.

Lost funky work from one of the soulful sisters of Aretha Franklin! Erma's got a hard-hitting style that's right up there with Aretha's best for Atlantic – and on this album, she's working in Chicago with Johnny Pate, Sonny Sanders, and Willie Henderson – for a harder-hitting sound than her famous sis, really in the groove with the best of Brunswick from the late 60s! Erma's vocals are incredible – equally at home with the original tracks on the record, as well as some late 60s hits that are nicely soulized by the boys in the band! Titles include "Hold On I'm Coming", "Baby I Love You", "Light My Fire", "You've Been Cancelled", "Can't See My Way", and "Gotta Find Me A Lover".

A legendary bit of funk, from one of the most overlooked guitarists ever! George Freeman's got a sound and a style unlike any other player we can think of – an approach to funky guitar that's often got a really hard touch on the strings, and which gets nice and noisy at the best funky moments. Freeman's probably best known for the few obscure records he cut with Groove Holmes, but this album's his out and out masterpiece – a rare one-off session cut in the funky Philly scene and supervised by DJ Sonny Hopson – and featuring a rare mix of players that includes Cesar Frazier on organ and Charles Earland on Arp! The mix of organ and Arp is really incredible – especially on the side-long jammer "Franticdiagnosis", which runs for nearly 20 minutes, and is one of the most messed-up funky jazz jams of the 70s! Other players include Von Freeman on tenor sax and Dave Hubbard on alto flute – and the album features the legendary jazz dance track "The Bump", plus the cuts "Free-Man" and "God Bless The Child".

The great K Frimpong & His Cubano Fiestas self-titled set from 1976 – trailblazing work that helped cement Frimpong's legend! The singer is backed on it by the group Vis-a-Vis, as he would be on the equally great and similarly titled album from the following year, appearing as his Cubano Fiestas. The opening track, "Kyenkyen Bi Adi M'Awu" is positively revelatory, and pretty much the starting point for Frimpong discovery and fandom for many of us. Just for that, the full album can be considered something of a lost treasure, so it's wonderful to be able to say that it's just as great from beginning-to-end! Soul shaking lead and chorus vocals, funky drums and keyboards, feverish rhythms, guitar, percussion, sax and some flute. Other tracks include "Gyae Mensu", "Yaw Barimah", "Susu Ne Won Nka", "Baabi A Obi Awuo", "Afe Nkyere Ba", "Obi Nnim" and "Koforidua Nsuo".

Freewheeling, tripped out Catalonian rock from Fusioon! The album groove has bits of spacey rock, prog and freaked out bits of funk – you can pick it apart for trace influences, but ultimately, the vibe is all their own – Absolute Fusioon, indeed! Cosmic keyboards, dexterous drum work, otherworldy vocals and and and jazz rock flourishes find room in Fusioon – some classifiable fusion, but much, much weirder than the crossover sounds that word can bring to mind. Fantastic, unclassiable 70s stuff from the Spanish scene brought to our attention by our friends at Finders Keepers! Includes "Dialogos", "Cyclos", "Ya Se Van Los Pastores", "Contraste", "Rondo Y Final", "Fusioon Rapsodia" and more.

80s groove from the Ingram Family – a record that features the core vocals of Ron Aikens and Galaxy, plus plenty of great backing funk from the Ingrams! The style here is a great mix of boogie, street soul, and bits of electro – with a style that's a bit like Aleem from the same period, but a bit funkier overall. Ron's lead vocals can be nice and sweet on the mellower tracks, and on the funkier ones the rest of the trio come in and chant with the chorus in a sweet ensemble mode. There's also plenty of great keyboards in the mix too – some with great squishy and splashy bits that really make the tunes sound great! Butch Ingram produced, and titles include "We're Here To Rock You", "You Got It", "Party", "Spend Some Time", "Come Let Me Love You", and "Give Your Dog A Bone".

Don Gere's dusty, jangly soundtrack to the bikers and werewolves and satanists (oh my!) epic Werewolves On Wheels – a pretty great one with spare, post folk psych atmosphere, a little bit of groovy country rock, eerily percussive errata and choice soundbites from the flick! Finders Keepers has a knack for describing their great and obscure soundtrack and otherwise oddball discoveries that goes well beyond ours – they describe Don Gere as a "disjointed psych rock stoner" and the sound as "ritualistic commune country". We can't speak for Don's personality, but they pretty much nail the vibe! Most importantly, it works fine as trippy leftfield psychedelia and groovy country rock even without the crazy context of the movie – with a couple solid vocal tunes, fuzzed out instrumentals (particularly the "Ritual" tracks), sparer bits of tension and classic style B-movie biker elements. Includes "Werewolves On Wheels (Main Theme)", "Mount Shasta Home", "Ritual", "Ritual 2", "The Devil's Advocates", "One Foot In Heaven", "Burning Grass", "Tarot", "Tarot Trail", "Dust Bowl", "Ritual 3", "Werewolves On Wheels (End Theme)" and more.

An overlooked chapter in the Zapp/Roger story of the 80s – the only album ever issued by vocalist Bad Bobby Glover! Roger Produced, and there's plenty of Zapp talent on hand for the record, too – which means that the overall groove is heavy on the kind of funky basslines, electrified keyboards, and tight rhythms you'd expect – all put together at a level that's especially got the sharp focus of the first few Zapp albums! Glover's a great vocalist for the project – one who slides in perfectly with the groove, making his voice fit just like a key element in the rhythms – which makes for a very groove-heavy set overall. Titles include "What Kind Of Lady", "Bright Skies Sunny Days", "I Love You", "It's My Turn", "Your Spell", "So Mean", "Happy", and "I Can't Stand the Pain".

Al Green's first major album, and a killer batch of Memphis soul tracks with a sound that's a bit rawer than later years. The formula for the hits is firmly in place – and Al's beautiful voice is swept up wonderfully in very sympathetic production by the great Willie Mitchell. Although Mitchell had worked fine on his own before the record, it's his work with Green that really pushes him to the top of the soul hall of fame – as it's hard to imagine how anyone could have come up with a better showcase for Al's amazing voice. Proof of this can be heard on the record's great original tunes by Green – like "All Because", "I'm A Ram", "You Say It", and the classic "Tired Of Being Alone" – as well as on covers like "Driving Wheel", "Can't Get Next To You", and "Light My Fire".

What can we say? Most of the biggest hits, and many of the very best tracks cut in the prime of Al Green's career – which is to say some of the very best Memphis soul ever recorded! 10 essential tracks in all, and it's just one of these Greatest Hits packages of pure, inarguable perfection – with "Call Me", "Let's Stay Together", "Tired Of Being Alone", "I'm Still In Love With You", "Here I Am (Come & Take Me)", "How Can You Mend A Broken Heart", "I Can't Get Next To You", "You Ought To Be With Me", "Look What You Done For Me" and "Let's Get Married".

A damn good bit of beautiful soul from Memphis that stands as one of Al Green's most enduring classics! There's nothing to say about the record except that it's beautiful – and that it's one of Al's most solid albums all the way through (although it's always hard to find fault with any of his classics from the same time.) Classic Al Green songs with classic Willie Mitchell Memphis soul production – what else can you ask for? Includes "I've Never Found A Girl", "La La For You", "Let's Stay Together", "Old Time Lovin", "I've Never Found A Girl" and his beautiful reading of "How Can You Mend A Broken Heart", one of the best soul covers ever!

Lost European jazz recordings from the vaults of producer Gigi Campi – and a stellar batch of non-US material with Johnny Griffin at the lead – working in the company of Clarke/Boland compatriots who include Benny Bailey, Sahib Shihab, Jimmy Woode, Idrees Sulieman, and Milt Jackson! Despite the "Bags" in the title, Milt's only on a few tracks – but that's fine with us, because Johnny Griffin is the main attraction – and the material is good small group sides with Griff soloing and trading lines with players like Sulieman and Bailey, or with some of the other players on their own. The recordings are different than the usual breed of Johnny Griffin European recordings – most of which have him soloing with a piano quartet on extended tracks. On this release, most of the tracks are short, hard, and very nicely swinging with a good hard bop groove – as with the best of Griffin's Riverside and Blue Note recordings. Kenny Clarke's on drums on nearly all the material, and he pulls out his bop chops to drive Griff's hard solos as fast as he can. The set's a great batch of work, with excellent notes and photos, and some great playing all around. Cuts include "Gamal Sady 'n Em", "Foot Patting", "Lady Heavy Bottom's Waltz", "Blues For K", "Muvaffak's Pad", "The Girl & The Turk", and "Gyson's Bag". 16 cuts in all, and none of them are from the Griffin/Davis LP on MPS (just in case you thought to ask!)

The first full length collaboration between blues, soul and rock slide guitar eclecticist Ben Harper and harmonica master Charlie Musselwhite – and it's win for both – with a vibe that's rooted in many traditions, but feels right at home in both Harper's and Musselwhite's wheelhouses. We expected a blues & soul covers set when we first heard that this project was in the works – and while the prospect of these 2 fellows working together on the classic Americana songbook sounds like a pretty good idea to us – we're actually all the more impressed with this all originals take on classic styled craft. A bit of blues and blues rock, a bit of gospel, and a bit of southern styled folk soul – and a bunch of great songs! It's a full band set up for the most part, too, as opposed to a spare duos set – and the titles include "Don't Look Twice", "I'm In I'm Out And I'm Gone", "We Can't End This Way", "You Found Another Lover (I Lost Another Friend), "I Ride At Dawn", "Get Up!", "She Got Kick", "Blood Side Out" and "All That Matters Now".

Mayer Hawthorne moves to the majors on How Do You Do – bringing that fun, neo classic bedroom soul sound he did so well on Stones Throw with him – pretty much picking up right where Strange Arrangement left off! The Mayer Hawthorne story was a strange one from the start – white producer/DJ crafting real-deal, moody, sultry throwback soul under a pseudonym that gets him signed to Stones Throw. The best news, really, is that he's still doing what we loved on the Stones Throw LP and singles. Skirting throwback Motown and indie soul conventions, but winking ever so slyly at them, making strings sound scratchy, warm and well-worn, subtle horns to sooth and stir, his own vocals layered for a group-like effect. Bonus points for his use of the superstar cameo – he brings Snoop Dogg in to SING, not to serve as an obligatory rhyme cameo. Well played, Mayer Hawthorne! Includes "Get To Know You", "A Long Time", "Can't Stop" with Snoop, "Finally Falling", "Hooked", "You Called Me", "No Strings", "Dreaming", "The Walk" and more.

Baroquely beautiful work from the Stax soul master – one of Isaac Hayes' heaviest albums of the 70s – and a record so massive, they needed 2LPs to contain the whole thing! The record's a culmination of the rich, full style of soulful arranging that Hayes had pioneered in his early solo work at Stax – a sound that's incredibly rich, filled with added voices and instrumentation, but totally dominated by Ike in a powerful, masculine approach to soul. Some tunes are familiar – like the album's versions of "Never Can Say Goodbye", "Close To You", "Going In Circles", "Never Gonna Give You Up", and "Need To Belong To Someone" – but they're all completely transformed here by Hayes with a bad-rapping, personal mode that's totally great. Album also features some great "Ike's Rap" cuts too! Great reissue – super-heavy vinyl, and the original fold-out cover design!

An amazing record from the young Lee Hazlewood – recorded in the years before working with Nancy Sinatra, and done with a very hip edge that stretches way past its date of origin – to a time ten years later, when the LA scene would be in the midst of a fascination with country and roots music! Hazlewood is the lost link in that tradition, and this album is key proof of that fact – served up with a mixture of warmth, cynicism, and just plain wit that was extremely unusual for the early 60s. Lee uses the fictional town of Trouble as the setting for the 10 little story tracks in the album – which are great little songs about love, life, not loving, and not living. The music is deceptively simple, and Hazlewood weaves the songs together with narration that brings the whole thing alive nicely – really showcasing the warmth and wit that makes his music so special. Titles include "We All Make The Flowers Grow", "Six Feet Of Chain", "Trouble Is A Lonesome Town", "The Railroad", "Run Boy Run", "Son Of A Gun", and "Look At That Woman". Rare mono mix, beautifully presented with great sound and loads of notes – and also features a huge amount of bonus tracks too! Bonus tracks include "It's An Actuality", "Forth Worth", "I Guess It's Love", and the incredible promo-only "Lee Hazlewood Autobiography" – which features Hazlewood telling his life story set to his own acoustic guitar playing, with even more wit than on the album – plus two vocal tunes with Duane Eddy – "The Girl On Death Row" and "Words Mean Nothing" – and four more recorded under the name of Mark Robinson – "Pretty Jane", "Want Me", "Can't Let Her See Me Cry", and "I've Made Enough Mistakes Today".

The return of The Heavy – the UK funky soul and rock combo who put out a couple of catchy records before unexpectedly delivering an advert/sporting event smash hit with their "How You Like Me Know" single! The Heavy have been at it for a few albums now, serving up a punchier, brasher brand of funk-rock-soul than most of their contemporaries – and their still doing just that! They're as eclectic as ever, too, with slick modern takes on old school rhythm & blue along with the kind of anthemic funk pop that made "How You Like Me Know" so inescapable. Includes "Can't Play Dead", "Curse Me Good", "The Big Bad Wolf", "Be Mine", "Same Ol'", "Just My Luck", "Don't Say Nothing", "Blood Dirt Love Stop", "The Lonesome Road" and more. Vinyl version includes the bonus instrumentals LP!

A really amazing live set from Jimi Hendrix – recorded in Berkeley at a very fervent time in that city's scene – which spins out in some amazing interplay between the musicians on the stage, and the rapturous fans in the audience! Hendrix is right on the money throughout – ripping through guitar lines that remind us that there's few out there who can still touch his genius in this stretch – and the show's recorded with just the right focus on Jimi to really make his power resonate strongly throughout! The set features the full second set of the May 30 performance from 1970 – presented in order, in its entirety, with beautiful mastering. Titles include "Pass It On", "Hey Baby", "Foxy Lady", "Purple Haze", "Star Spangled Banner", "Hey Joe", "Stone Free", and even an introductory part that's pretty compelling!

Kelly Hogan makes a huge step up to Anti- – home to fellow traveler Neko Case and some of her heroes and heroines, from Mavis Staples and Bettye Lavette to Booker T and Tom Waits – and with I Like To Keep Myself In Pain, Kelly's made a better record for Anti- than any of them! If you're unacquainted with Kelly Hogan (which is forgivable if you're not a Chicagoan...maybe), she's always singing and performing, though rarely recording – for herself, anyway. Not only is Hogan's first new album in years near-perfect, she makes it sound easy! A love for country soul and the best kinds of 60s vocal pop inform the style, but she makes it all her own – and that's especially impressive given the diverse crop of songwriters she interprets. Truly one of best albums from a solo singer in recent years – in any genre! Booker T, Dap-King Gabriel Roth, and longtime Hogan-friend Scott Ligon play on the record, and songs include "Dusty Groove" (it's not about us, though if it's possible to be flattered by a coincidence, we'll take it), "We Can't Have Nice Things", "Daddy's Little Girl", "Golden", "Ways Of This World", "Plant White Roses", "Whenever You're Out Of My Sight", "Pass On By" and more.

A funky holy grail – one of the rarest of the rare, and the only album ever cut by funky guitarist Carl "Sherlock" Holmes! Carl's work on the guitar is incredible – fast riffing and jazzy, with a style that's dirtier and messier than some of his 70s jazz funk contemporaries, but which also lays back on a few tracks so that Carl can deliver a sweetly soulful vocal. The album's a real blend of styles, all handled pretty darn well – from the hard funk of "Black Bag" and "Investigation", to the Latin jamming of "Modesa", the fast grooving of "Get Down Philly Town", and the mellow soul of "Think It Over" and "Your Game". Great stuff – and a real treat to finally have reissued!

A killer early album by the great Leroy Hutson! Hutson had originally been a later member of The Impressions – replacing Curtis Mayfield briefly after he'd gone solo – but he also had spent a fair bit of time noodling around the Chicago soul studio scene of the late 60s and early 70s. This album is kind of a "bustin' out of the studio" album in it's presentation of Hutson's material. The record features a number of great sweet soul cuts – like "Ella Weez" and "Can't Say Enough About Mom" – mixed with nice funky tracks, like "The Ghetto '74", which is a remake of "The Ghetto", a tune that Hutson wrote with Donny Hathaway. The record's a prime example of the genius of Chicago soul in the 70s – with great arrangements that have a lot of space for Leroy's singing, yet still come down hard and nasty in parts, like some of the funkier stuff on Curtom.

Bold bass saxophone sounds from the overlooked Helmut Brand – a German player of the postwar years, and one with a sense of tone and texture to rival that of Gerry Mulligan at his west coast best! The work here is all previously unreleased, but shows Brand as one of the key reed innovators of the German scene at the time – right up there with the experiments of Hans Koller, especially in the way that Helmut can work fresh tones in with a strong sense of soul and swing! Many of these cuts feature trumpeter Conny Jackel joining in the frontline – folding his horn in with Brand's to create a cool wash of color – and a few other numbers feature Helmut alone as the lead soloist in a quartet, one with Roland Kovac on piano and Kenny Clarke on drums. Titles include "Bami", "Nordlicht", "Yesterdays", "Salute To Lars Gullin", "Love For Sale", "Berlin Calling", and "Sum".

A really old school jam from guitarist Larry Coryell – one that takes us back to some of the most tripped-out sounds of his early years! Given the cover, you can definitely expect a psychedelic influence to the music – and the group here really helps Larry get back to his roots – finding a sound that's still plenty jazz, but which mixes in some funky and progressive elements too – that genre-stepping quality that really helped Coryell break down a lot of barriers back in the day. Coryell plays both acoustic and electric on the date, and the lineup features some especially nice Fender Rhodes – plus trombone, saxes, bass, and plenty of percussion. Titles include "Torchlight", "Cobalt", "Terco", "The Last Drop", "Return Of Shirtless", "December Blues", "Honey Dijon", and "Dream Scene".

Godlike! This is probably the finest Nick Drake album that you can buy, and it's an incredible mix of folksy vocals, jazzy guitar, and incredible baroque arrangements! The album includes Drake's wonderful "River Man", one of his best-ever songs (and maybe one of THE best-ever songs!) – plus loads of other excellent cuts like "Fruit Tree", "Day Is Done", "Three Hours", "Saturday Sun", and "Time Has Told Me". Fantastic – and essential!

One of the most righteous albums of jazz ever recorded – a brilliant blend of soulful and avant garde styles, backed up by a chorus of voices that have a really soulful sound! The album's the second recorded for Blue Note by the Ghetto Music ensemble of trumpeter Eddie Gale – a lesser-known talent who recorded previously with Cecil Taylor, but who made a turn away from modernism at the end of the 60s, in order to express himself at a level that he felt was more clearly grounded in the people. The result of that effort is sheer brilliance – an album that sounds like nothing else you can imagine. Part of the style shares the energy of similar vocal/jazz projects by Max Roach and Billy Harper, but Gale's conception of the music is much more dynamic, and very carefully rooted in song structures – with a sound that's as powerful today as it was when it was recorded! Titles include "Ghetto Love Night", "Song Of Will", "Ghetto Summertime", "Black Rhythm Happening", and "Look At Teyonda".

Beautiful early work by Al! The record is a haunting mix of tender soul tracks filled with love, warmth, and Al's sexy soul. It's hard to distinguish this one from other records of his at the time, because they're all so good – but we can tell you that the album features Al's stone classic "Love & Happiness", plus the tracks "I'm Still In Love With You", "I'm Glad You're Mine", "What A Wonderful Thing Love Is", "Look What You Done For Me", and his great remake of Kris Kristofferson's "For The Good Times", a country/soul classic if there ever was one!

A pretty great late live set from Buddy Guy – who's tearing it up at his namesake Legends club in Chicago! Buddy's been throwing it down for years at Legends during annual winter residencies – which can be among the tougher tickets to score in the winter live club scene around here – so it's a bit surprising that there hasn't been a proper live document before the top notch Live At Legends! Better late than never. It kicks off with a profane stage intro that lets you know that Buddy and his band aren't messing around or coasting on reputation, before they shake the roof with "Best Damn Fool", "Mannish Boy", "I Just Want To Make Love To You", "Damn Right I Got The Blues", "Skin Deep" and a couple killer medleys: "Boom Boom/Strange Brew" and "Voodoo Chile/Sunshine Of Your Love". The set also includes 3 bonus studio recordings: "Polka Dot Love", "Country Boy" and "Coming For You" – the latter featuring The Memphis Horns.