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The Raspberries fourth album has an ironic title – as it was the group's final pre-comback effort – and a pretty sharp one, with lots of biting, Kinks-esque discontent and crunching guitars! The group was clearly fed up with the industry at this point, but the songs are still quite tuneful, if a bit heavier. Certainly a step away from their more sunny pop of the first few records – but still a catchy, worthy effort from a largely unheralded group! Tracks include "Overnight Sensation (Hit Record)", "Play On", "Party's Over", "Rose Coloured Glasses", "Cruisin' Music", "I Can Hardly Believe You're Mine", "Hands On You", "Starting Over" and more.

The first couple Rene & Angela records for Capitol – together for the first time on this great CD from Expansion! First up, is the great self-titled debut from Angela Winbush and Rene Moore as a duo – a tight batch of modern soul that sounds great to this day! There's a mixture of sweet duet soul with the best kind of 80s grooving – clearly inspired by Ashford & Simpson, but also with a strong sound of its own. Skip Drinkwater and Bobby Watson handle the production, smartly carrying over the warmer live instrumentation styles of the late 70s, which ultimately gives the record a timeless vibe! Titles include "I Don't Know", "Turn It Out", "Do You Really Love Me", "Everything We Do", "Love Won't Slip Away", and "Free & Easy". Wall To Wall is easily one of the duo's best records ever, and a masterpiece of jazzy 80s groove! The sound here is clean, lean, and very bouncy on the bottom – that best blend of keyboard riffs and jazzier basslines that Capitol soul served up in the early 80s – and although tight enough to have hit potential, still more than soulful enough to keep on playing in the underground! The set's rock solid all the way through – with a great mix of midtempo steppers and more uptempo tunes – and titles include the nice groover "Secret Rendezvous", plus "Wanna Be Close To You", "I Love You More", "Love's Alright", and "Come My Way".

Hard to go wrong with Rene & Angela at this point in their career – as they're super tight, always upbeat, and plenty darn soulful – no matter what the groove! The album's a perfect example of 80s groove at its best – a reworking of mainstream soul modes with a slight modern dancefloor touch – still never disco cliches, nor some of the too-poppy modes used by some of their contemporaries – and a blend that's always right on the money for the vocals of Angela Winbush to shine! Titles include the groover "Can't Give You Up", the mellow number "My First Love", and the cuts "Take Me To The Limit", "When It Comes To Love", "Bangin The Boogie", "Rise", and "Keep Runnin". CD features 6 bonus tracks too – "Bangin The Boogie (single)", "Keep Runnin (single)", "My First Love (single)", "Bangin The Boogie (inst)", "Keep Runnin (12" version)", and "Keep Runnin (dub)".

A bit late in the game for Rene & Angela, though they're still pumping out some classic 80s groove numbers, with Angela Winbush's flair for great songs. There's a few numbers here that are moving a bit too far into the commercial radio slow jam territory for our tastes, but there's a couple of nice sleepers too. Includes "Save Your Love (For #1)", "I'll Be Good", "No How-No Way", "You Don't Have To Cry", "Street Called Desire", "Your Smile", 'Who's Foolin' Who" and "Drive My Love".

Tracks include "Moment With Minnie", "Perfect Angel", "Memory Lane", "Lovin You", "Here We Go", "Inside My Love", "Love & Friend (live)", "You Take My Breath Away", "Woman Of Heart & Mind" and "Adventures In Paradise".

A great little record – with some very groovy guitar! This is the kind of session that we used to pass up years ago because we never thought it was that pure. Now, though, thanks to beatheads worldwide, the great talents of Howard Roberts' Capitol years are finally getting recognized again. This album's a gem, with tight little arrangements that pit Howard's terse jazzy guitar against some very groovy organ riffs – and the sound is very fresh, and very lively. Includes the sampled track "Dirty Old Bossa Nova", plus "Deep Fry", "Rough Ridin", "Watermelon Man", "Smolderin", and "Turista".

The George Shearing Quintet – with added orchestrations – all in a blend that's got that pillow-soft sound that Shearing did so well back in the 50s! Arrangements are by George and Billy May – the latter of whom is especially subtle here, bringing things in with the best ballad mode he'd use behind Sinatra – yet tailored nicely for Shearing's use of vibes, guitar, and added Latin percussion. And as with some of George's best records, even when things are gentle, they still know how to swing – thanks to a sense of space and timing that's always a treat. Titles include "Moon Song", "The Folks Who Live On The Hill", "If I Should Lose You", "Black Satin", and "Starlight Souvenirs".

One of Sinatra's last great ballad albums for Capitol – a sad and dreamy batch of tunes that kicks off with the incredible "Only The Lonely" – one of those Sinatra torch songs that's so great, so sad, nobody else has ever been able to record a better version, nor have they really tried! The rest of the album's great, too – with arrangements by Nelson Riddle that are very much in the Wee Small Hours mode, and a selection of tracks that includes "Only The Lonely", "Angel Eyes", "What's New", "Ebb Tide", "Spring Is Here", "Goodbye", and the sublime "One For My Baby".

This Is Sinatra indeed – a wonderful collection of singles, and a near-lost album to the shifting sands of time! The record wasn't one of Frank's "album concepts" for Capitol, and has since been dismantled in the catalog – but for many in the 50s, this was one of THE Sinatra albums – overflowing with beautiful early singles that marked his initial comeback years for Capitol. Nelson Riddle and Billy May conduct – and titles include "Love & Marriage", "Young at Heart", "Learnin the Blues", "Love is the Tender Trap", "The Gal That Got Away", "South Of The Border", and "Rain".

Skyy is still shining brightly in the mid 80s – delivering nicely thumping, dancefloor ready soul on From The Left Side! After a number of sweet sets for Salsoul, the group moved on up to Capitol Records for this one set – embracing the era's synth soul production sheen more than ever, but their by now veteran status as a funky soul group on top of disco and dancefloor act informs the sound. The beats thump harder, the electronics resonate that much deeper, and overall they create a thoroughly contemporary mid-to-late 80s style groove that should have made this record bust out huge for them. Includes "Givin It (To You)", "Love Attack", "Non-Stop", "Big Fun". "Love Illogical", "Jealousitis" and "Rock It".

The second album from The Sons Of Champlin – a record that actually has the group shortening their name to The Sons, but expanding their sound past the jamming bluesy roots of their debut! The record's got a tightness that brings a bit of jazz into the mix – not much, in a way that's blended with folksy instrumentation in a really gentle way – fleshing out acoustic guitars with a bit of horns, vibes, and other nice touches that give some of these tunes a much more timeless feel than you'd think. The album's a bit sparse on notes, but someone's doing a great job with the arrangements here – putting more of a high-concept spin on the record, yet still retaining the personal feel of the group. Titles include "Why Do People Run From The Rain", "It's Time", "Country Girl", "You Can Fly", "Love Of A Woman", and "Boomp Boomp Chop".

A cool Capitol quartet from the end of the 60s – every bit as Sunshine Pop sounding as you'd guess from their name and image on the cover! There's a style here that's a bit different than some of the sweeter pop of the time – a slight undercurrent of darkness that's hard to peg easily, but which comes a bit from the way the male and female voices interact – and from the slightly unusual arrangements, which seem to rely heavily on some of the bluer notes in the spectrum. Vocals are arranged by Peter Mann, the leader of the group – and the instrumentation is by Mort Garson, whose presence is always appreciated. Titles include "Take Me Away", "Privilege", "Hanging Together", "The Candy Children Song", "Papa Won't You Let Me Go To Town With You", "Baby Baby", "Let The Truth Come Out", and "The Attitude". CD features lots of bonus tracks too – acetate takes of "Easy To Be Hard" and "Save The Country, a live version of "Charlie & Fred", and mono versions of "Let The Truth Come Out", "Privilege", and "Skip A Long Sam".

The group's second album – and one that really shows them hitting their stride, harmonically. The album's got some impeccable vocals that really come together well – not as slick as on later albums, but with a polished perfection that shows Tavares as one of the 70s ultimate pop soul combos. Production's by the team of Dennis Lambert and Brian Potter – who also contributed the tracks "To Love You", "Hard Core Poetry", "Too Late", "What You Don't Know", "My Ship", "Someone To Go Home To", and "Leave It Up To The Lady" to the album. Also includes a great rendition of the Hall & Oates tune "She's Gone".

A pair of great Nancy Wilson albums from the mid 70s in a single set! All In Love Is Far is a sophisticated album of soul tracks arranged and produced by Gene Page, in a string-heavy, slightly-funky style that reminds us of Gene's work with Barry White at the time. The tracks are all pretty hip – and include titles written by Stevie Wonder, Johnny Guitar Watson, Thom Bell & Linda Creed, Billy Page, and Tennyson Stevens. No standout singles, but plenty of nice moments, and a good side of Nancy's career that isn't always given that much exposure. Titles include "Tell The Truth", "Try It, You'll Like It", "All In Love Is Fair", "There'll Always Be Forever", and "You're As Right As Rain". Come Get To This is a real sweet soul gem from '75. It also has arrangements and production by Gene and Billy Page – who give the record a great smooth 70s soul finish, and a feel that's a lot more unified than some of her other efforts from the decade. Nancy sings some great versions of "If I Ever Lose This Heaven" and "Come Get To This", plus the original tracks "Houdini Of The Midnight Hour", "Like A Circle Never Stops", "Boogeyin All The Way", and "Happy Tears".

One of the greatest Nancy Wilson albums of the 60s – a small combo jazz date, done with a style that's different than some of Wilson's larger sessions of the time! The group has a relaxed, easygoing feel – and Wilson slides in with a style that's a lot more laidback and subtle than on other Capitol dates – almost the mellow feel of a late 50s Dakota Staton date, but still song with all the careful class that Nancy brings to her vocals! The group's a quartet, led by pianist Hank Jones – and featuring Gene Bertoncini on guitar, Ron Carter on bass, and Grady Tate on drums – on titles that include "Happiness Is A Thing Called Joe", "Do it Again", "Glad To Be Unhappy", "Prelude To A Kiss", "Supper Time", and "I Thought About You".

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

Nancy sings a nice set of sophisticated jazz and pop tunes, with arrangements from the hands of Billy May, Olver Nelson, and Sid Feller. There's a bit less of a swing than on other albums, but Nancy's fragile and soulful voice comes through loud and clear – and the track list includes some nice lesser-known material like "River Shallow", "Free Again", "Only The Young", "The Right To Love", and "Over The Weekend".

A pair of overlooked gems from Nancy Wilson – on CD for the first time ever! The Sound Of Nancy Wilson is mighty darn groovy – a wonderful blend of upbeat late 60s modes, and some of the more compressed class of her earlier years! Arrangements are by Jimmy Jones, who finds just the right balance of jazz and soul to work perfectly with Wilson – so that when things are bouncy and swinging, she's got the punch to beat all the younger soul singers who were copping her game at the time – and when they're mellow, she shows that she can still blow anyone else out of the water on a sad-tinged ballad! Familiar tunes are reworked wonderfully by Jones – who definitely gives them all the sound of Nancy here – and titles include the righteous "Black Is Beautiful", plus "Below Above", "The Rules Of The Road", "Peace Of Mind", "The Other Side Of The Tracks", "It Only Takes A Moment", "Alone With My Thoughts Of You", and "This Bitter Earth". Nancy is a self-titled set from Nancy Wilson – and a record that definitely lives up to everything the Nancy name meant at the end of the 60s! The album's got a depth that can take on comers from all corners – enough class and sophistication to match the modes of Marlena Shaw or Dionne Warwick, but also enough punch to tackle the heavier soul styles of singers like Aretha Franklin or Fontella Bass – thanks to some heavier groovers on the package! There's loads of fresh numbers on the record – many given a great blast of jazz and soul by arranger Jimmy Jones – and titles include "Prisoner Of My Eyes", "Looking Back", "You'd Better Go", "What Do You See In Her", "We Could Learn Together", and "Player Play On".

If the 60's ever had a "hit" jazz record, it was probably this one! The album's a sparkling live session featuring the trademark soul jazz sounds of the Cannonball Adderley group with Joe Zawinul on acoustic and electric piano, and brother Nat Adderley on cornet. The tracks have a long soulful groove, with gutbucket solos from the 3 above-mentioned players, and tight live production by a young David Axelrod. Titles include "Sticks", "Hippodelphia", "Sack O Woe", and the classic "Mercy, Mercy, Mercy" – a jazz theme that you'll recognize instantly!

Darn solid work from Ashford & Simpson – one of the duo's biggest albums for Capitol Records, and a great set from their 80s run for the label! The groove here is a bit more heavy on keyboards and beats than before, but the pair still keep things plenty soulful with their positive, upbeat approach to the music – rich, full, and always steeped in soul! The title track, "Solid", is one of the most-remembered tunes from the duo – and other cuts include "Outta The World", "The Jungle", "Honey I Love You", "Babies", "Cherish Forever More", and "Tonight We Escape".

A sublime second solo effort from Syd Barrett – and maybe his most perfectly-formed album ever! There's a sinister balance to the record right from the start – a gentle approach to the offbeat themes that is almost more unsettling than if the matter was undertaken more forcefully – weird little bits just tossed off by Syd as if they're really the ramblings of the madman promised on the cover of his first LP – almost with a deadpan quality that makes the whole thing even more unsettling with repeated listenings! Instrumentation is relatively lean – almost a folksy mix of acoustic guitar, electric, sullen bass, and some haunting keyboards – all as if someone picked apart Pink Floyd, then started to construct a rough sketch from the parts that lay scattered on the floor. The album's had an influence from psych through punk and many years beyond – and titles include "Baby Lemonade", "Gigolo Aunt", "Wolfpack", "Effervescing Elephant", "Winde & Dined", "Rats", and "It Is Obvious". CD features loads of bonus tracks too – lots of alternate takes of tunes on the album!

Savage stuff! This is one of Les Baxter's greatest albums ever – and it's right on a par with African Jazz, which uses a similar formula: Plas Johnson's up front playing gutsy tenor, and Les is behind, working a large group of exotica players into a tribal frenzy of mellow grooves. Titles include "Amazon Falls", "Coco", "Isle Of Cuba", "Jungla Brava", "Go Chango", and "Blue Jungle".

My God – they finally did it! After all these years of hearing about the legendary Smile album from The Beach Boys – hearing snippets on other albums, studio bonus tracks, re-recordings, and all the other sources they've dangled in front of us for decades – Capitol's finally gone and done what they never did back in the 60s – released the whole legendary set together, as one package – and in formats that even exceed anything that might have been issued back in the day! You've probably heard a good number of the songs here before – some as they were chopped up and included on Smiley Smile, 20/20, and other post-Pet Sounds albums by the group – and in some recent re-recordings by Brian Wilson. But trust us, they all sound amazing here together – in the original recordings, with sublime 60s studio production, and godlike arrangements by the young Brian Wilson. Titles include "Our Prayer", "Gee", "My Only Sunshine/You Are", "Cabin Essence", "Wonderful", "Surf's Up", "Holidays", "Vege-Tables", "Good Vibrations", "Love To Say Dada", "Do You Like Worms", "Barnyard", and "I'm In Great Shape". 2LP set is on super-heavy vinyl, with a really great cover packaging job – and features 5 bonus tracks that are alternate takes and mixes of album tunes! Includes lyrics and liner notes too.

Early work from The Beach Boys, but Brian Wilson's genius is already starting to show – tucked in between some more obviously poppy numbers that first put the group on the map! The album obviously features the big title hit, but there's some other great gems here that are much lesser known – our favorite of which is "The Lonely Sea", an incredible number filled with sadness and longing, and a real precursor to the Pet Sounds years! Other titles include "Finders Keepers", "Lana", "Farmer's Daughter", "Noble Surfer", "Stoked", "Surfin USA", "Miserlou", "Shut Down", and "Let's Go Trippin".

A rare Beach Boys treasure – an ultra-limited 10" single that almost makes us think we're getting their music on a 78rpm disc! The heavy vinyl is packaged in a cool gatefold cover – and features the first two songs ever issued by the group!

Double LP reissue of these two post-Pet Sounds albums – Wild Honey, the stripped down, back-to-basics record that they put out after the failure of Smile; and 20/20, a weird mix of stuff, but a record that also contains some of the lost tracks from Smile. Loads of great tracks, including "I'd Love Just Once to See You", "Let the Wind Blow", "Country Air", "I Can Hear Music", "Cabinessence", and lots of other nice moments from this point in their career. Still essential stuff.

What can we say? The Beasties continue with the live jazz/funk/garage (as in rock, not house) sound and keyboards by Money Mark. With the classic "Get It Together" featuring Q-Tip. And you can't go wrong with any LP that samples Ramelzee and K-Rob's "Beat Bop." Other tracks include "Sure Shot", "Futterman's Rule", "Shambala", "Sabotage", "The Scoop", "Do It", "Heart Attack Man", "Bodhisattva Wow", and "Root Down".

Great post-Curtom work from Linda Clifford – an album that has her nicely shaking off the excesses of the disco years, and going for a warmer, more sophisticated sound! The style here is almost a bit like the Jones Girls at the time – full modern soul, often grooving in a midtempo mode – but not nearly as over the top as late 70s club. Linda's really nicely laidback on the vocals – rolling warmly with most of the grooves – and the arrangements are by Leon Pendarvis and James Mack, with some especially great vocal arrangements by Luther on some of the best numbers – done in a way that buoys Clifford's vocals up with just the right bit of backing! Titles include "Build A Fire", "Never Say Never", "Let It Ride", "I Lied", "I'll Keep On Loving You", "Don't Come Crying To Me", "Ain't You Glad", "Only The Angels Know", and "All The Man I Need". This CD edition has 2 bonus tracks: 12-inch versions of "I'll Keep On Loving You" and "Don't Come Crying To Me".

Classic guitar from one of the all-time greats – a smoking selection of rare Capitol and Deltone Records singles from the legendary Dick Dale – and virtually a blueprint for generations of surf guitar to come! Sure, there were loads of other great players up and down the Pacific coast back in the 60s – but Dick had a way of making things cook that was unlike anyone else – more of an edge, more of a rocking raw feel, and honestly, a lot more balls than most of his contemporary – as you'll hear in this classic set of cuts that includes "Tidal Wave", "Surfing Dreams", "Mr Peppermint Man", "A Run For Life", "Death Of A Gremmie", "Surfin Rebel", "The Wedge", "Shake N Stomp", "Surfing Drums" and an archetypal recording of "Miserlou". 14 on the vinyl version.

Legendary work from Miles Davis – large group sessions that virtually define the "cool" in cool jazz! The work's quite different from Davis' earlier bop sides with Charlie Parker – and show a distinct influence from modernists like Gerry Mulligan (who is on the recordings) and from the experiments of the Tristano school. Miles is less the leader than the creative visionary – as all players come together in a perfect blend of sound, perfectly polished, and with a very dark edge. Titles include "Jeru", "Move", "Venus De Milo", "Budo", and "Deception". Also includes 13 live session tracks.

Bass-heavy funk from Ebonee Webb – one of the more all-out funk acts of the Capitol 80s groove scene – but a group who could also sound great on some of their mellower numbers! The group really put the bass and guitar work upfront in the tunes – and about half of the tracks on the record really foreground this element, and have a focus that seems more intent on the frenetic basswork than the vocals. Not that that's a problem, though, because at the group's best, they've got a repetitive focus on rhythm that almost places them more in the Zapp generation style. Titlesinclude "Gonna Get Cha", "Anybody Wanna Dance", "Woman", "Throwdown", "Keep On Steppin", and "Do Me Right".

A killer album from funky jazz combo The Fourth Way – one of the best groups of the progressive jazz era in America, thanks largely to the work of its excellent members! First to get big credit is Mike Nock – the Aussie pianist who worked with Yusef Lateef in the mid 60s, and really came into his own by the time of this album – grooving on electric piano in a stone cold way that still sounds great today, and also doing wonderful on the acoustic keys. Next up is Michael White, one of the few jazz violinists to really know how to groove – and how to avoid getting too flowery at the wrong moments. The group's completed by a fantastic rhythm team – drummer Eddie Marshall and bassist Ron McClure, who plays a range of electrified basses! The album kicks off with the incredible break track "Everyman's Your Brother", and the whole thing's great – with tracks that include "Bucklehuggin", "Dance Of The Mechanical Men", "Openings", "Gemini Trajectory", and "The Sybil".

A wacko Kim Fowley solo album – released on Capitol in the mid 70s featuring recordings he made in '69 & '70 – and we must say, it's aptly titled! It's wild stuff in which Fowley shrieks, barks and occasionally sings on material that ranges from feral freakouts (including one tune that Kim wrote with Iggy & The Stooges in mind) to more accessible, yet primitive garage rock. Fowley plays all the instruments, too, and titles include "Night Of The Hunter", "Long Live Rock 'N' Roll", "Werewolf Dynamite", "Is America Dead?", a cover of Link Wray's "Rumble", "Ain't Got No Transportation" and more.

A dramatic score by Jerry Goldsmith – written for the film Papillon, a dark prison film that starred Steve McQueen and Dustin Hoffmann. The manner of the work is similar to other Goldsmith scores of this nature – with many tense horn and string passages that underlie the mood of the film. Titles include "Gift From The Sea", "Cruel Sea", "Survival", "Hospital", "Reunion", and "The Camp".

Career-to-date spanning Ben Harper ballads compilation hand-picked by Ben.

Iron Maiden at their mid 80s peak – and along with Number Of Beast and Piece Of Mind, Powerslave completes one of the mightiest trilogies in metal history – pretty much cementing the Maiden legend! Kicking off with the incredible one-two punch of "Aces High" and "2 Minutes To Midnight" and closing up with the title track and the epic "Rime Of The Ancient Mariner", there's really no way to call this anything but a classic – but the remaining album tracks are among Maiden's finest, too! Those include killer instrumental "Losver Words (Big 'Orra)", "Flash OF The Blade", "The Duellists" and "Back In The Village".

The first of John Anderson's albums recorded under his alter ego of Kasandra – and quite possibly the best! The set is almost more tripped-out than his work on Stax/Respect – arranged and conducted by Shorty Rogers with a style that's late 60s Capitol hip at its best – almost in the HB Barnum/David Axelrod mode used with Lou Rawls, but even groovier overall! Side one begins with the extended cut "Mose", which mixes a hip spoken part with some very cool slow funk instrumentation – and other cuts are lively, upbeat, and almost sock soul – done with righteous themes and lyrics, and plenty of odd instrumental touches that even include some electronics! Other titles include "My Neighborhood", "Don't Pat Me On The Back & Call Me Brother", "Preacher Man", "The Flag", and "If A Storm Wind Blows".

An incredibly lovely record from Kraftwerk – fashioned along the same suite-like style as Radio Activity, and served up with some haunting and charming tunes throughout! The electronics are quite spare, yet very thoughtful – never a note out of place, as the quartet build their careful efforts together to create a tapestry of surprisingly warm sounds – using just a bit of vocals in really great ways, and almost prefacing a whole generation of UK and Euro pop to come – yet without any of their schmaltz! Titles include "Europe Endless", "Hall of Mirrors", "Abzung", "Franz Schubert", and "Showroom Dummies" – not to mention the awesome title track and electro break number "Metal On Metal".

An original promo single from Kraftwerk's groundbreaking Trans Europe Express album featuring the awesome genre-crossing title track, and the clanging coda, plus the cool, cool "Europe Endless" on the b-side, with a similarly machine like groove.

Sparkling work from singer Irene Kral – and possibly the best album she ever cut! The backings here are by the Herb Pomeroy group – a slightly modern ensemble that still knows how to swing with a good dose of Boston soul – and the overall feel of the album's a lot more forceful than some of Irene's other albums, packing a punch we didn't know she had, and which we're happy to hear! There's a few cooler overtones here – somewhat in the June Christie mode – but overall the sound is upbeat, full, and swinging – served up with in arrangements by Ernie Wilkins and Al Cohn. Titles include "This Little Love", "What's Right For You", "Comes Love", "Lazy Afternoon", "I'd Know You Anywhere", and "It Isn't So Good".

The great John Lennon album from 1973 – still in an exhilaratingly creative mode with strong Plastic Ono traces, even if the overall effect is more mainstream friendly – ultimately, an album that stands incredibly well on its own, even if its something of a bridge to John's rock and roll years to come! The songs aren't as overtly strident as the ones on Sometime In New York City, but there's plenty of passion bubbling under the surface – and the struggle to be as honest and passionate as he can be without bludgeoning us over the head with his feelings brings an underlying tension the work as whole that's pretty amazing to this day. Includes the great, always emotionally resonant title track plus "Bring On The Lucie", "Nutopian International Anthem", "Intuition", "You Are Here", "Meat City", and "I Know I Know".

An overlooked gem from the David Axelrod years at Capitol Records – a set that also features some nicely snapping arrangements from HB Barnum! Given that the Axelrod/Barnum team was the force behind Lou Rawls best work of the time, the sound here is pretty darn similar – simple pop, but with a great sense of space, and a nice little bounce at the bottom – a gently jaunty groove that would be great on its own, even if we didn't like Tina Mason's vocals! Fortunately, though, Tina also sounds pretty darn great – almost a bit like some of the Brit female singers of the time, even though she's an American – sweet, but never too sweet, and with a strong sense of rhythm that really works well with the backings. Speaking of backings, instrumentation includes guitar from Howard Roberts and organ from Gerald Wiggins – on titles that include "Life & Soul Of The Party", "Are You There", "A Good Kind Of Hurtin", "The Way Of Love", "You Can Have Him", and "What".

A nice late 50s record Skeets McDonald cut for Capitol that probably left a few heads spinning back in its day for its mix of twangy vocals, bluesy song choices, guitar & rhythms more often than not steeped in rockabilly – and probably would annoy hard honky tonk purists to this day – but damn it all, it sounds pretty great to us! Stylistic lines were drawn pretty clearly in the late 50s in the hillbilly music racket, and the records that crossed them either failed commercially or made legends. Some did both. This one finds middle ground, hardly iconic, but still wholly pleasing proto-rock informed late 50s country. Titles include "Goin Steady With The Blues", "Gone And Left Blues", "Yard And A Half Blues", "Hawaiian Sea Breeze", "Fort Worth Jail" and more. This Righteous UK CD includes early singles that are mostly straight up rockabilly, including "You Oughta See Grandma Rock", "Heart-Breaking Mama", "Mean & Evil Blues" and more.

The coolest version you'll ever find of this legendary single from Pink Foyd – a sing-song gem backed with the equally-eerie "Scarecrow" – pressed up on pink vinyl, and in a unique oversized bag with bonus booklet/poster!

If you've ever doubted that Vincent Price was a creepy guy, you've got to hear this album! The 2LP set is a mad exploration into the world of the supernatural – with Vincent speaking on topics that include "Witch Tortures", "How To Communicate With The Spirits", "The Magic Bloodstone", "Instruments Of Magic", "Witch Burning", and "How To Make A Pact With The Devil". The script was written by Terry D'Oberoff, with electronics by Douglas Leedy – but it's Price who makes the whole thing really work, reading in a dark, spooky tone, set in a really echoey space – really making us believe that he knows all about this weird stuff!

One of Lou's excellent Capitol sessions produced by David Axelrod! The record's not an outwardly funky one, but Axe gives the set a nice loping groove on the best tracks – the sound that he brought to his best work with Rawls, and which really put him over the top back in the 60s. Titles include "Mean Black Snake", "Walking Proud", "Trouble Down Here Below", "A Woman Who's Woman", and "Something Stirrin In My Soul".

Hard to go wrong with Rene & Angela at this point in their career – as they're super tight, always upbeat, and plenty darn soulful – no matter what the groove! The album's a perfect example of 80s groove at its best – a reworking of mainstream soul modes with a slight modern dancefloor touch – still never disco cliches, nor some of the too-poppy modes used by some of their contemporaries – and a blend that's always right on the money for the vocals of Angela Winbush to shine! Titles include the groover "Can't Give You Up", the mellow number "My First Love", and the cuts "Take Me To The Limit", "When It Comes To Love", "Bangin The Boogie", "Rise", and "Keep Runnin".

Hard to go wrong with Rene & Angela at this point in their career – as they're super tight, always upbeat, and plenty darn soulful – no matter what the groove! The album's a perfect example of 80s groove at its best – a reworking of mainstream soul modes with a slight modern dancefloor touch – still never disco cliches, nor some of the too-poppy modes used by some of their contemporaries – and a blend that's always right on the money for the vocals of Angela Winbush to shine! Titles include the groover "Can't Give You Up", the mellow number "My First Love", and the cuts "Take Me To The Limit", "When It Comes To Love", "Bangin The Boogie", "Rise", and "Keep Runnin". CD features 7 bonus tracks too – "Do You Really Love Me", "Wall To Wall", "Secret Rendez Vous", "I Love You More", "Keep Runnin (rmx)", "Imaginary Playmates", and "Turn It Out".

Hip sh*t from Howard Roberts – working here with David Axelrod production, which brings an even cooler edge to his already-great approach to jazzy funk. Tom Scott is on saxes, Dave Grusin plays organ and electric piano, and Roberts' guitar is a lot more unbridled than on some of the other Capitol albums. Titles include "Captain Bacardi", "Cantaloupe Island", "Bros Of Serendipity", "Spinning Wheel", and "More Today Than Yesterday".

2 Latin lovelies back to back – some of George Shearing's best late 50s work for Capitol! Latin Lace may not be the hardest-hitting Latin jazz session you might find, but it's a wonderful record filled with complicated changes, and a mix of vibes, piano, and percussion that went onto inspire countless groups at the time! The tracks have a simple approach, but really hook into the groove nicely – gliding easily with an impossibility that makes you understand why Shearing was so popular at the time these records were released. Titles include "The Story Of Love", "Cali Mambo", "Rondo", "To The Ends Of The Earth", "Wonder Struck", "Sand In My Shoes", and "Mambo No 2". Latin Affair is wonderful exotic work from George Shearing – a mixture of jazz piano, Latin percussion, and lyrical guitar and vibes intertwined around the whole operation. The set's got the feel of a Martin Denny album – but without all the easy tricks, and with a lot stronger jazz feel on the part of the piano and vibes. Titles include "Afro #4", "Magic", "Mambo Balahu", "This Is Africa", and "Estampa Cubana".

One of the greatest vocal albums of all time! Sinatra's never sounded better than on this album – one of the first truly cohesive albums of torch and ballad songs ever recorded – done by Frank at a time when his heart was really breaking, and sung with a depth you'd hardly ever find in his other work. The whole thing's sublime – one of the darkest, moodiest selections of material we've ever heard – and the record never fails to send chills down our spine, no matter how many times we hear it! Tracks include "Mood Indigo", "I See Your Face Before Me", "Deep In A Dream", "Ill Wind", "I'll Be Around", "This Love Of Mine", "Dancing On The Ceiling", "Glad To Be Unhappy", and "I Get Along Without You Very Well".

A beautiful album of baroque soul from Verdelle Smith – a singer who was destined to score big in the mid 60s, but somehow only managed to cut a handful of records before dropping out of secular music forever! Verdelle's got an unusual style that's halfway between Dionne Warwick and Nancy Wilson – sharing the sophistication of both, but also coming across with a fragile quality at times – one that's almost a maturation of the girl group ethos, turned onto a more adult world of pop. The approach is a bit similar to the changes going on in the Walker Brothers near the end of the trio's time together – and it's no surprise that Scott Walker did a tremendous version of the tune "Alone In My Room" himself. But we love Verdelle's original take on the track – a sad and dreamy little tune that makes wonderful use of organ and creates one of the saddest moments in 60s pop that we can think of! This beautiful CD features that great cut, plus 21 more numbers that represent everything that Verdelle recorded apart from gospel – mostly titles done for Capitol, plus a few Columbia singles as well. Titles include "Walk Tall", "Sexy", "A Piece Of The Sky", "Catch A Falling Star", "In My Room", "Autumn Leaves", "Carnaby's Gone Away", "Baby Baby", "There Is So Much Love Around Me", "Juanito", and "You Only See Her".

Sweet Lucy, and mighty groovy – a wonderful album from Raul De Souza, cut during the height of his fame on the California scene! Like Raul's other work for Capitol, this record really sparkles from tight help from George Duke – who handles production, and some of the arrangements – and really helps De Souza find a tight jazzy groove! The instrumentation is a bit leaner than some of Raul's other records of this nature, which is a nice thing – as you get to hear plenty of keyboards from Patrice Rushen, Fender Rhodes from Dawilli Gonga, trumpet from Freddie Hubbard, and percussion from Airto. There's a bit of chorus vocals at times, but the main focus is on Raul's trombone solos – and cuts include of Joao Donato's "Banana Tree", plus "Sweet Lucy", "New Love", "Wild & Shy", "Bottom Heat", "Wires", and "At Will".

A 3 X 7" box set of early solo Ringo Starr singles – some of the best songs he ever recorded outside of The Beatles, actually – with standouts from the Ringo and Goodnight Vienna albums, circa the early 70s! Comes in nice lift-top box with each single in reproductions of the original sleeves – with an 18 X 24 poster and custom plastic adapter hub. Includes "Photograph" b/w "Down And Out", "It Don't Come Easy" b/w "Early 1970" and "(It's All Down To) Goodnight Vienna" b/w "Oo-Wee".

A near-lost 80s groover from T-Connection – recorded after their more famous albums for TK, but every bit as nice! By this point, the group have really sweetened their sound in a nice way – and are working in a Capitol Rare-styled 80s groove that's filled with rolling basslines, spacey keyboards, and mature vocals that get past the ensemble funk mode of their earliest records. There's plenty of catchy clubby numbers on the set – and titles include "Girl Watching", "A Little More Love", "Slippin Away", "Rushing Through The Crowd", "Might As Well Dance", and "Goombay Time".

Hip hop lifers and genre-defiant pop art blenders The Beastie Boys deliver the Hot Sauce – either their 8th or 9th album in 25 years, depending on how you count the Mix Up instrumentals set – and it sounds to us like a return to the good times hip hop funk style-hopping that the Boys flaunted so brilliantly in the period from Check Your Head to Hello Nasty! Hot Sauce was initially solicited as Part 1 to be followed by a Part 2, but the album was put on hold while Yauch battled cancer, which gave the Beasties plenty of time to finess the material and release it as the definitive project we have here. It's solid stuff and a Beastie Boys album through-and-through – and they're as immune to trends as ever. Guests include Nas, Santigold and Switch. Tracks include "Make Some Noise", "Nonstop Disco Powerpack", "Too Many Rappers (New Reactionaries Version)" with Nas, "Lee Majors Comes Again", "Don't Play No Game That I Can't Win" feat Santigold, "Tadlock's Glasses", "The Lisa Lisa/Full Force Routine", "Here's A Little Something For Ya" and more.

One of the lesser-known groups of the early 80s funk scene in Ohio – but a killer combo with a groove that's as good as their contemporaries! The album's got production and arrangements from Ranhi Harris of Dayton, who also plays a bit on the record as well – and the groove is kind of a funkier take on the territory of Dayton – a more pumped-up sound rhythmically, with traces of both older P-Funk modes and some of the newer styles from the Prince empire. The keyboards are one of the tightest aspects of the record, and really hold things together nicely, even when the beats get a bit jaunty – coming across with a warmth and almost a hint of jazz at points – clearly a lesson learned from the Dayton groove. The album's only an EP with 5 tracks that include "Come See The Band", "Crazy", "The Best In Me", "On My Radio", and "Just Like In The Movies".

A hard to find later album from Dayton – and a set that still has the group riding high at Capitol Records! Production and arrangements here are by Rahni Harris of the group – and there's a bit more of a chunky/funky sense of rhythm than before – that kind of jaunty way of hitting beats and basslines that crossed over big for some 80s soul groups, but which is still handled here with a bit more restraint. As before, the group manage to bring a solid vocal approach to the tunes, and also balance things nicely with a few key ballads – on a set of titles that includes "This Love Will Last", "Nobody Else", "Hang Out", "This Time", "You Should Be Dancin", and "Coming To Get My Love".

Very groovy work from the Four King Cousins – a sweet quartet of lovely voices peeled off of the larger King Family ensemble, singing here in a spare and syncopated groove with lots of late 60s Capitol touches! Maestro Lex De Azevedo produced, arranged, and conducted – and the album's got a really unified sound that links together harmonies from Sunshine Pop and a bit of the loping styles that were showing up in mainstream easy at the time – a sublime blend of vocals and lightly snapping rhythms that's totally outta site! All tracks are covers, but done in really wonderful versions – and tunes include the great Roger Nichols track "I Fell", plus "Love So Fine", "God Only Knows", "California Nights", "This Girl's In Love With You", and "I Wanna Be Free".

Probably the greatest record that the Louvin Brothers ever made – and a haunting batch of songs filled with death and disaster, sung in a crystalline harmony style by Ira and Charlie! Includes the oft-quoted "Kentucky", plus loads of other great ones, including "Take The News To Mother", "What Is Home Without Love", the ever-scary and beautiful "Knoxville Girl", and "Mary Of The Wild Moor". Country harmony grandeur and entirely essential!

An overlooked gem from the killer soul years at Capitol Records – the only record we've ever seen from Pyrymyd, a group with grooves as angular as their name! The tunes have a mix of bassy funk and clubby rhythms – that sweet 80s groove style that nobody seemed to do better than Capitol at the time – as heard to best effect from artists like BB&Q Band or TS Monk, both labelmates who'd make a good comparison to the Pyrymyd sound! There's some tight horns on the top of the arrangements, which warms things up nicely – and lead vocals are by Van Ross "Sonny" Redding – who often gets harmony support in the background, with a bit of an Earth Wind & Fire vibe. Titles include "All I'll Ever Need", "Shake It Down", "Fly To Paradise", "I'm Yours Forever", "We've Got Love Together", and "Mr Music Man".

2 early Capitol classics by Lou Rawls – back to back on one CD, and perfectly paired throughout! Black and Blues is quite possibly the first truly great Lou Rawls album for Capitol – an all-out swinging jazz session done with arrangements by Onzy Matthews, in a mode that firmly helped put the Lou Rawls sound on the map! The tracks are mostly older numbers from a long lineage of blues and R&B – but with hipper 60s touches by Matthews in the backings, Lou really swings the work into a whole new territory – moving older, clunky compositions into more adult, more mature modes that aren't nearly as sad or downtrodden as their roots! Titles include "I'd Rather Drink Muddy Water", "Roll Em Pete", "Kansas City", "World Of Trouble", "Trouble In Mind", "Strange Fruit", and "Six Cold Feet Of Ground". Tobacco Road was a real breakthrough for Lou – a set that again paired him with arranger Onzy Matthews, and which even more deeply explored the unique space between jazz, soul, and the blues that became Rawls' prime territory back in the 60s! Matthews' backings are hip and jazzy throughout – filled with bold horn touches from players that include Lou Blackburn, Curtis Amy, Sonny Criss, and even Horace Tapscott – who's playing trombone here instead of his more familiar piano. Ray Crawford's guitar underscores a good number of the tracks here with that clean, lean, single-note style of his – but Lou is the clear star throughout with his deeply-voiced lyrics of older familiar tunes. Titles include his landmark reworking of "Tobacco Road", plus "Summertime", "Stormy Weather", "Rocking Chair", "Ol Man River", "St Louis Blues", and "Sentimental Journey". CD also features 2 bonus tracks – "When It's Sleepy Time Down South" and the previously unissued "Gloomy Sunday".

2 albums on one CD – and some great early work by Lou Rawls! No, the albums don't have funky David Axelrod arrangements – but they do feature Lou with some great jazzy backing by Benny Carter – who really knows how to put the right degree of punch in the arrangements to bring out the best in Lou's voice. Together, the albums rank as some of Lou's best pre-Axelrod albums for Capitol – filled with strong renditions of standards and familiar tunes. Titles include "Nobody But Me", "If I Had My Life To Live Over", "Power Of Love", "It's Monday Every Day", "My Buddy", "Three O'Clock In The Morning", "Charmaine", "Cold Cold Heart", "Margie", and "Two Tickets West".

If Hawaii was this funky, we'd move there in a minute – and honestly, we wouldn't be surprised if this record did a heck of a lot for the image of state back in the day! The soundtrack is one of our all-time favorites – a driving batch of larger orchestrations that is heavy on percussion, filled with jazzy riffs, and which makes great use of electric bass to round out the bottom nicely! Mort Stevens goes way beyond the typical cop show groove on this one – filling up the record with rich colors, unique tones, and some great inflections on the horn passages that charge each tune with a mad level of excitement. There's some great instrumental touches in the set too – like occasional fuzzed-out guitar, Hammond organ, and even a bit of sweet flute and soulful sax – giving the whole thing a feel that reminds us of Lalo Schifrin's best work from the time. Includes the massive "Hawaii Five-O" theme, plus the cuts "Call To Danger", "Up Tight", "Blues Trip", "The Long Wait", "The Floater", "Beach Trip", "Operation Smash", "McGarrett's Theme", and "Front Street". Book 'em Danno!

A surprisingly great comeback for The Beach Boys – working here with Brian Wilson at the production helm, in a mode that really recalls the glory of the group's post-Pet Sounds years! We'll be honest that we were initially cringing at the title – and expected the worst – but there's a compelling, charming quality here that comes not just from the group's well-crafted harmonies, or the sensitive and careful production – but also from the fact that these guys have aged a heck of a lot, and seem to bring a sense of humanity to the music they wouldn't have had before! It's almost like that early 20s moment when the Boys were starting to grow up and bringing a new sense of pain to their previous teen lyrics – but recast here in a post-middle age mode that's even more human and honest – yet somehow still served up with all the sweetness that's always made the group great! It's that mix of sweet sounds and bittersweet undercurrents that really makes the album shine – a balance that even Brian Wilson never managed to capture this well in some of his own solo projects over the past few decades. So our hat's off to the group (showing the same bald spot that most of them have too) – thanks for a nice album that includes the cuts "Shelter", "The Private Life Of Bill & Sue", "Think About The Days", "Isn't It The Time", "Pacific Coast Highway", "Summer's Gone", and "From There To Back Again".

One of the greatest Jackie Gleason albums ever – intially released in a heavy duty package that took the listener through a full evening's worth of seduction! Jackie put together the record as a bachelor's "do it yourself" kit – filled with four different sides of music – one apiece for "sippin", "listenin", "dancin", and "lovin" – all modes the maestro is mighty darn great at! The "sippin" selections feature solo piano with a bit of bass and drums – the "listenin" section is a trad jazz combo led by Gleason – the "dancin" set is bigger band society numbers – and the "lovin" secion features some of Jackie's famous lush orchestrations – pillowy waves of sound designed to relax even the most uptight of lovers. The box comes with 2 disks in plain sleeves, plus a cool booklet that includes drink recipes, wine tips, and seduction techniques! The whole thing's very cool – and is designed to take you from start to finish in the course of a very sucessful evening – and as Jackie says, "Man Is The Hunter, Woman Is His Game!"

Sweet smooth and funky work from Eddie Henderson – a nice move from his more righteous work of the mid 70s, into an R&B-tinged sound that would take him far in years to come! The sound is surprisingly great, and still pretty darn righteous – thanks to some great production by Skip Drinkwater – working with Eddie in the same funky fusion mode as on his records with Bobbi Humphrey from the same time. There's a warm compressed groove to the session that's really great – and Eddie's working with a top-shelf batch of players that include Patrice Rushen, Paul Jackson, Julian Priester, and George Cables. Titles include "Movin On", "Say You Will", "Source", "Open Eyes", and "Beyond Forever".

A collection of some of Kenton's early 50s hits, presented here as "encores", with most of the tracks arranged by Pete Rugolo. 11 tracks in all, including "He's Funny That Way", "Painted Rhythm", "Journey To Brazil", "Somnambulism", "Chorale For Brass, Piano And Bongo", "Capitol Punishment", "Ecuador" and "Abstraction". Packaged in a very cool cover featuring a conductor standing amidst a odd Dali-esque landscape of hands and lines.

Beautiful modernist work from Kenton – one of the first albums to cull his genius together as a whole, filled with the kind of tracks that perfectly sum up his unique approach at the time! If you've ever wondered what makes Kenton so great, this is the album to begin with – as it's filled with fantastic original tunes that provide a shimmering solo showcase for work of players like Lee Konitz, Frank Rosolino, and Bill Holman. Titles include "23 N - 82 W", "Young Blood", "Improvisation", and the haunting "Invention For Guitar And Trumpet", which features Sal Salvador and a young Maynard Ferguson. CD adds 4 bonus tracks to the original 10" LP.

A fantastic record from Kitty Haywood and her female vocal quartet – an ensemble that shifted easily between secular and spiritual material, and who did a lot of backing work on the Chicago scene in the 70s. The set's one of their few albums as a group – and it's a sublime batch of Chicago modern tunes produced by Gene Barge, with a sparkling Capitol Rare sort of sound. Kitty's got an approach that's a bit like Minnie Riperton at times – and Gene's production is perfect for her here, keeping most of the tracks in an unobtrusive mellow groove mode that makes the album really hold together. Includes the sublime "Mystic Stranger", plus "Sweet Taste Of Honey", "You Are The Reason", "It's Real", "You Can't Say I Didn't Try", and "Can't Wait For Your Love".

One of Francis Lai's best soundtracks from the 70's, and one of the few that live up to the greatness of his classic scores for A Man & A Woman and Live For Life. The instrumental tracks are moody and spare, with a cool European sound, and lots of nice keyboards and solo instruments. Tracks include "The Arrest", "Wedding Waltz", "Ambivalence", "Theme Of The Cars", and "The Savage Theme". Very good stuff, and a record we don't see that much at all!

A surprising return to jazz by Dinah Shore – recorded with backings by the Red Norvo Quintet, and a swinging style that makes us like her more than we'd think! Titles include "Who", "It's Funny To Everyone", "Bye Bye Blues", "Lover Come Back To Me", "Skylark", and "Lucky In Love".