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Sweet and funky organ work from the great Henry Cain – a little known player who recorded on some excellent sides for Capitol in the 60s, including some of the albums by Howard Roberts! This set is Cain's one full album for the label – and it's a tight and jumpy set of instrumentals, produced by David Axelrod with a nice sharp edge. Arrangements are by HB Barnum and Oliver Nelson – both of whom really hit the right sound for Cain's clean approach to the Hammond keys – setting up enough space for him to groove freely, yet still keeping the band tightly reigned into the rhythm of the cuts. Titles include "Horror Scope", "Shake A Lady", "Dead End Street", "Why", "Sunny", "The Way I Feel", and "Critic's Choice".

Incredible stuff – a never-issued funky soul record from the 70s – but one that you'll proudly stack next to your rare classics from Ramp, 24-Carat Black, and James Mason! Like work by all three of those acts, this early set by Father's Children is massive righteous – filled with deep soul and strong social messages, while also coming across with a hell of a groove, too – thanks to some wickedly funky backings, and production that keeps the whole thing burning along beautifully! The set is amazing – quite different than the later Mercury Records album by the band – and more like the kind of record you'd expect to hear from Curtom or early 70s Stax – a perfect choice for the folks at Numero to bring to light after all these years – and another reason why their efforts are always worth checking out. As usual for the label, there's a full set of notes and photos that tell the story of the group and this lost treasure – but even if it came out with no artwork at all, the music would still have us raving – as you'll hear on cuts that include "Universal Train", "Everybody's Got A Problem", "Linda", "Dirt & Grime", "Who's Gonna Save The World", and "Kohoutek".

Incredible stuff – a never-issued funky soul record from the 70s – but one that you'll proudly stack next to your rare classics from Ramp, 24-Carat Black, and James Mason! Like work by all three of those acts, this early set by Father's Children is massive righteous – filled with deep soul and strong social messages, while also coming across with a hell of a groove, too – thanks to some wickedly funky backings, and production that keeps the whole thing burning along beautifully! The set is amazing – quite different than the later Mercury Records album by the band – and more like the kind of record you'd expect to hear from Curtom or early 70s Stax – a perfect choice for the folks at Numero to bring to light after all these years – and another reason why their efforts are always worth checking out. As usual for the label, there's a full set of notes and photos that tell the story of the group and this lost treasure – but even if it came out with no artwork at all, the music would still have us raving – as you'll hear on cuts that include "Universal Train", "Everybody's Got A Problem", "Linda", "Dirt & Grime", "Who's Gonna Save The World", and "Kohoutek".

A killer array of funky grooves from Fela Kuti – served up in a 6LP box set, with records chosen by Ginger Baker! Baker's a key choice to work on the set – given his famous recordings with Fela, heard here on the album's leadoff record – Fela & Ginger Baker Live! Next up is Roforofo Fight – an early full-length Fela LP, filled with 4 tight groovers that stand with his best work! "Go Slow" begins with this mad trumpet solo that you'll recognize from a famous sample, especially as it mixes in with keyboards; "Roforofo Fight" is a fast-time groover that has the drums working overtime to keep up with the political power of the cut. Confusion features a monster 26 minute track – and it begins with Sun Ra Arkestra-like washes of sound and spaciness, before leaping into a bass-heavy groove that provides a perfect platform for heavy jamming and vamping by the band. Alagbon Close is a lesser-known 70s session from Fela – but a great one too, and a record that captures the Africa 70 group at all their early raw best! Tracks are both very long – stretching for a side of the record apiece – and the title track "Alagbon Close" features some amazing keyboard lines on the intro, all tinny and thin – and done with this other-worldly almost Sun Ra-like quality! The other tune, "I Get No Eye For Back", also has some amazing electric piano too – but intertwined with some very strong horn work from the group! He Miss Road brings back Ginger Baker – who's producing the group, and gives them a sweet progressive vibe. Titles include "He Miss Road", "Monday Morning In Lagos", and "It's No Possible". Last up is the Na Poi album, with two long cuts cuts – "Na Poi" and "You No Go Die Unless"! Both have a freer feel than usual, with heavy percussion added into the usual mix of keyboards and sax solos. All records in original cover art, too!

A pair of London Records albums from Margaret Whiting – back to back on a single CD, with bonus tracks too! Maggie Isn't Margaret Anymore is cool crossover pop from Whiting – a late 60s album that still draws strongly on her roots in jazz, but which also has Maggie trying on some younger styles too! The set isn't all 60s pop overall, but there's definitely a nice choice of tracks that goes way past the usual Margaret Whiting bag – although often arranged in ways that still hold more strongly to the sentimental echoes of Whiting's past. Titles include "This Is My Song", "Somethin Stupid", "If This Is Goodbye", "Because","Only Love Can Break A Heart", and "Just Like A Man". Pop Country is exactly what's promised in the album's title – a set of popular country numbers, sung by Margaret Whiting in a style that carries plenty of echoes of Nashville! The style is often soft and dreamy – with Whiting's blue-tinged vocals moving gently over backings that are usually given a slight bit of electric bass, just to step things along slowly. The approach works surprisingly well – a real winner for Margaret – and titles include "I Love You So Much It Hurts", "Release Me", "I Hate To See Me Go", "Am I Losing You", "You Don't Know Me", and "Gentle On My Mind". CD also features four totally groovy cuts – unreleased tracks that include "I'm Losin My Mind", "The Heart Of A Sailor", "Boys Fall In Love", and "Believe In Me".

Chicago house music really takes off – in this massive collection that really documents the most experimental years in the Windy City club scene! By the mid 80s, Chicago house had already had a few years under its belt – stepping strongly forward as a revolutionary new mode of club music – stripped-down from disco, borrowing some electronics from overseas, and giving the world a fresh new vision of dancefloor sounds that would have a huge influence for decades to come! And by the end of the decade, folks were really starting to play with the format – bringing in lots of older analogue electronic sounds, dubbed "acid" for the way they burned and tweaked – and garnering the city even more interest from the UK and European scenes – who thought the name referred to drug usage, and took the cue to ignite their own waves of house-based parties on the other side of the Atlantic. While back home, Chicago artists were spurred on to experiment even more – and things went from warm and clubby to downright sci-fi – an aesthetic that's really captured strongly in this set from Soul Jazz. LP part two features the cuts "Washing Machine" by Mr Fingers, "The Night Calls" by Bizzy B, "Go Wild Rhythm Trax No 3" by Virgo, "World Turns Around" by Cool McCool, "House Nation" by The Housmaster Boyz, "Love Trak" by Acid Wash, "Strength Of Bass" by Devotion, "Abstract Expressionism" by The Unknown, "No Way Back" by Adonis, "Choice Of The Underground" by Rocky Jones, and "The Juice" by Mr Fingers.

Classic cuts on Salsoul are remixed by the legendary Larry Levan – guru of the Paradise Garage scene, and a mixer who always knew how to make the floor move! Tracks include "I Got My Mind Made Up" by Instant Funk, "Double Cross" by First Choice, "First Time Around" by Skyy, "The Greatest Performance Of My Life" by Loleatta Holloway, "Handsome Man" by Sparkle and "How High" by Salsoul Orchestra.

The first ever compilation of the best music made for MoWest – the eclectic, but still soulful cuts made when Berry Gordy Jr. relocated from Motown to the west coast in the early 70s – releasing cool and sometimes strange music with a soul background, yet toasted by LA sunshine! The MoWest subsidiary lasted just a few years, and gets overlooked in the canonization of Motown at it's most classic and revolutionary – but the legacy is pretty incredible. Funk, sunshine rock and soul fused adventurously by a stunningly diverse roster – late period Frankie Valli & The Four Seasons (who's comp-opening track is a slept on sunshine pop-soul classic), breezy-jazzy-soul from Odyssey, the sister funk of Sisters Love, a stunning solo left turn from Spinners singer GC Cameron and more great stuff from Syreeta, The Commodores, Suzee Ikeda, Thelma Houston and others. We've been dying for a well selected MoWest comp like this for years, and Light In The Attic stepped to the plate and knock it right out of the park. The songs choices are great, the notes are great. . .everything about it is a win. Essential! Includes "You're A Song (That I Can't Sing)" and "The Night" by Frankie Valli & The Four Seasons, "Our Lives Are Shaped By What We Love" and "Broken Road" by Odyssey, "Don't You Be Worried" by The Commodores, "A Heart Is A House" Nu Page, "I Ain't Going Nowhere" by Thelma Houston, "I Can't Give Back The Love I Feel For You" by Suzee Ikeda, "You've Got To Make The Choice" and "Give Me Your Love" by The Sisters Love and more.

Not Sweet Soul, but deep soul – courtesy of one of the best artists recording for Atlantic Records in the 60s! The album's way more than a similarly-titled follow up to Conley's debut for the label – and stands beautifully on its own with a host of great numbers that are right up there with the best 60s soul on Atlantic! Production was handled both at Fame Studios and American Recording – giving a mixed Memphis/Muscle Shoals groove to the set that really keeps things fresh. Also keeping things fresh is a good selection of tunes that includes original Conley tunes "Aunt Dora's Love Soul Shack", "Run On", and "Shing A Ling" – plus the cuts "Stuff You Gotta Watch", "Take A Step", "Speak Her Name", "Ob La Di Ob La Da", and "Something You Got".

Nice compilation of the best cuts that First Choice cut for the Philly Groove label before moving onto Warner Brothers and Gold Mind. The tracks are classic Philly girl group soul from the 70's, and the sound that they get is the stuff that laid the foundation for a whole club generation. Norman Harris produced, with his usual flair, and the titles include "Smarty Pants", "Newsy Neighbors", "The Player", "Armed & Extremely Dangerous", "Wake Up To Me", and "Runnin' Out Of Fools".

Chicago house music really takes off – in this massive collection that really documents the most experimental years in the Windy City club scene! By the mid 80s, Chicago house had already had a few years under its belt – stepping strongly forward as a revolutionary new mode of club music – stripped-down from disco, borrowing some electronics from overseas, and giving the world a fresh new vision of dancefloor sounds that would have a huge influence for decades to come! And by the end of the decade, folks were really starting to play with the format – bringing in lots of older analogue electronic sounds, dubbed "acid" for the way they burned and tweaked – and garnering the city even more interest from the UK and European scenes – who thought the name referred to drug usage, and took the cue to ignite their own waves of house-based parties on the other side of the Atlantic. While back home, Chicago artists were spurred on to experiment even more – and things went from warm and clubby to downright sci-fi – an aesthetic that's really captured strongly in this set from Soul Jazz. 2CD set features the cuts "Can You Feel It" from Mr Fingers, "Hallucinate" by Acid Wash, "151" by Armando, "The Jacking Zone" by Risque Rhythm Team, "I Can't Understand" by Pleasure Zone, "Rabbit Trax 1" by James Jack Rabbit Martin, "Freedom (Factory mix)" by The Children, "Ecstasy" by Mr Fingers, "Washing Machine" by Mr Fingers, "The Night Calls" by Bizzy B, "Go Wild Rhythm Trax No 3" by Virgo, "World Turns Around" by Cool McCool, "House Nation" by The Housmaster Boyz, "Love Trak" by Acid Wash, "Strength Of Bass" by Devotion, "Abstract Expressionism" by The Unknown, "No Way Back" by Adonis, "Choice Of The Underground" by Rocky Jones, "The Juice" by Mr Fingers, and "I Believe" by A Black Man, A Black Man, & Another Black Man.

Smoking 60s soul from the Memphis scene – and quite possibly the best collection so far in this Goldwax series! The cuts here come from a point when the Memphis sound had really come together – grown in earlier years by labels like Goldwax and Stax on the local scene, now spilling out strongly to influence generations around the world. And although most of the Goldwax recordings on this collection never got the circulation enjoyed by other Memphis imprints, they definitely follow in spirit to some of the bigger hits of the time. The mix here is about 2/3 soul, with touches of country and funk on some of the other singles – although still a pretty hip variant on those genres too – and like the other volumes, this one presents both a and b-sides of all Goldwax singles, in numerical order. Titles include "Love Me Tonight" by Carmol Taylor, "Lonely Man" by Spencer Wiggins, "He Called Me Baby" by Jeannie Newman, "You Name It I've Had It" by Willie Walker, "She's About A Mover" by Percy Milem, "A Message To Young Lovers" by James Carr, "It's My Life" by Timmy Thomas, "You Had Your Choice" by The Ovations, "Soul City USA" by Spencer Wiggins, "Ticket To Ride" by Wee Willie Walker, "That's The Way Love Turned Out For Me" by James Carr, "Love Me Tonight" by Carmol Taylor, and "He's Too Old" by Spencer Wiggins. 56 tracks on 2CDs!

A treasure trove of Brit sound library work – most of it from the legendary KPM 1000 Series, plus assorted bits from the Conroy label as well! The work here leans heavily towards funky jazz – those fuzzy, hard-driving tunes that always made KPM sides a key choice for action films and cop shows – and which have made digging through sound library records such a delight all these many decades later! The compilers did a really wonderful job with this set – creating a feel that's a bit different than the usual sound library collection – because although funky overall, the package also features some jazzy moments too – key cuts that are interspersed with the action moments to create a really fleshed-out sense of mood and feeling. Plus, the set list is huge – 25 tracks in all, running for well over 70 minutes – truly the treasure trove we promised at the start of this review, with titles that include "Soul For Sale" and "Tycoon" by Keith Mansfield, "Block Buster" and "Head In The Clouds" by Johnny Pearson, "Loco Motion" and "Soul Foot Strut" by Dave Gold, "Traffic" and "Challenger" by Alan Hawkshaw, "Short Cut" by James Clarke, "Heavy Traffic" by James Cameron, "Speculation" by David Lindup, "Vegas To LA" by Dick Doerschuk, "Tough Assignment" by Chris Gunning, "Speedway" by Nick Ingman, "String Boogie" by Brian Bennett, and "The Double Take" by Steve Gray.

The second volume of this series was even better than the first, and contains more hard funky stuff, like "Jungle Fever" by Chakachas, "Doin' It to Death" by the JB's, "Theme from Cleopatra Jones" by Joe Simon, "Fencewalk" by Mandrill, and 16 other funky cuts from the likes of James Brown, Lyn Collins, First Choice, O'Jays, Chi-Lites, Curtis Mayfield, etc. Have yourself a funky K-Tel record party!

Live and studio rarities The Grateful Dead – early stuff, too – all recorded from the first few months of 1966! Includes the only known recording of Jerry Garcia singing "Promised Land", an alternate version of "Cream Puff War" and other choice nuggets. 18 in all. 2 X 180 gram vinyl!

Live and studio rarities The Grateful Dead – early stuff, too – all recorded from the first few months of 1966! Includes the only known recording of Jerry Garcia singing "Promised Land", an alternate version of "Cream Puff War" and other choice nuggets. 18 in all.

The first ever compilation of the best music made for MoWest – the eclectic, but still soulful cuts made when Berry Gordy Jr. relocated from Motown to the west coast in the early 70s – releasing cool and sometimes strange music with a soul background, yet toasted by LA sunshine! The MoWest subsidiary lasted just a few years, and gets overlooked in the canonization of Motown at it's most classic and revolutionary – but the legacy is pretty incredible. Funk, sunshine rock and soul fused adventurously by a stunningly diverse roster – late period Frankie Vallie & The Four Seasons (who's comp-opening track is a slept on sunshine pop-soul classic), breezy-jazzy-soul from Odyssey, the sister funk of Sisters Love, a stunning solo left turn from Spinners singer GC Cameron and more great stuff from Syreeta, The Commodores, Suzee Ikeda, Thelma Houston and others. We've been dying for a well selected MoWest comp like this for years, and Light In The Attic stepped to the plate and knock it right out of the park. The songs choices are great, the notes are great. . .everything about it is a win. Essential! Includes "You're A Song (That I Can't Sing)" and "The Night" by Frankie Valli & The Four Seasons, "Our Lives Are Shaped By What We Love" and "Broken Road" by Odyssey, "Don't You Be Worried" by The Commodores, "A Heart Is A House" Nu Page, "I Ain't Going Nowhere" by Thelma Houston, "I Can't Give Back The Love I Feel For You" by Suzee Ikeda, "You've Got To Make The Choice" and "Give Me Your Love" by The Sisters Love and more.

Two really wild records from underground singer/songwriter Arthur Lee Harper – an artist who might have been a folk singer a few years before, but who sounds a lot trippier on this pair of late 60s recordings! Dreams & Images boasts production from Lee Hazlewood and arrangements by Don Randi – both bigger names who work here in really subtle ways – especially Lee, given how different most of Harper's music is from his own recordings. There's a great undercurrent of sadness – those gentle strings and blue notes that Hazlewood might cut through with his own wry wit – but which Arthur takes as a cue to open up with some of the most heartbreaking sides of his vocals. Titles include "Sunshine Soldier", "Children Once Were You", "Blue Museum", "Living Circa 1920", "Valentine Gray", "Dreams & Images", and "Pandora". Love Is The Revolution is a bit more upbeat at times – with some expanded instrumentation that really helps flesh out the more psychedelic corners of Lee's songwriting – as you'll hear on cuts that include "Flowers After Childhood", "Light Up Your Man", "New Day", "Annie Moore", "I/Soldier/Time Love", and "My Woman".

Great late Philly – played by a group that features plenty of talents from the legendary Sigma Studios scene of the 70s! As you'd guess from the title, most of the cuts here are remakes of earlier Philly cuts – mostly Gamble & Huff favorites from back in the day – but redone here in a session from the start of the 80s, so most of the classic elements are still very firmly intact! Plus, the players are all the right choice to make the record come off just right – a lineup that includes Norman Harris on guitar, Lenny Pakula on organ, Vince Montana on vibes, Ronnie Baker on bass, Earl Young on drums, and Larry Washington on congas – about as great a Philly rhythm section as you could hope for! Vocals are by a well-chosen group too – David Simmons, Ron Tyson, and Joe Freeman – who might be best known for his work with The Ethics and Love Committee. There's a very strong Gamble & Huff vibe running through the set – and titles include "Philly Medley (parts 1 & 2)", "Bad Luck", "I Don't Love You Anymore", "Backstabbers", "Love Train", "The Love I Lost", and "TSOP Medley".

Not 80s hits, but a great collection of lesser-known gems from the left side of the soul spectrum – some cuts by bigger artists that sparkle even more strongly than their hits – mixed with work by some less common acts too – all served up in a double-length package that's filled with surprises! Most numbers have a boogie bounce or an 80s groove approach – nice and funky, but in a post-70s sort of style – and titles include "Hypnotized" by Scott White, "Don't Wanna Wait" by Lew Kirton, "Ladies Choice" by Stone City Band, "Joy" by Band Aka, "Sexy Sassy" by Bobby Nunn, "Don't Bust Yo Bubbles" by Muscle Shoals Horns, "My Simple Heart" by Carol Douglas, "Happy Days" by Forecast, "Let's Dance" by Tom Browne, "Don't Stop" by Shine, "Special Delivery" by Ann Fields, "Shout About It" by Lamont Dozier, "Love Follows" by Steven Dante, and "Stomp" by Moses Tyson.

A pre-Beach Boys gem from Bruce Johnston – and definitely the party promised in the title! We're not sure about the pajamas, though – because things are so romping, nobody's sure to get any sleep – as Johnston and crew cook things up with a great mix of garage and surf, and maybe a dose of Memphis soul too – loads of gritty guitars, rumbling rhythms, and a slightly sinister sound that hints at the changes to come on the Sunset Strip! Johnston sings a bit on the record – in a rough style that's more influenced by R&B than the sweet harmonies of his later group – and the recording has a "live in studio" quality that really keeps things on edge throughout. A surprising gem – with cuts that include "What'd I Say", "Surfer Stomp", "Ramrod", "Last Night", "Surfer's Delight", and "Mashin The Popeye".

Munich disco, retooled for the Salsoul Sound – thanks to some great remixing for this US version by Tom Moulton! ORS aren't nearly as cold or cheesy as some of their Munich contemporaries – making them a great choice for Salsoul through their tight use of stripped-down rhythms, rolling percussion bits, and just the right amount of moog to give the album a spacey feel that's very much in keeping with its astral cover image! The record sports the big single "Moon Boots" – a spare, but surprisingly catchy number – plus the cuts "Dream Machine", "Sweet Release", and "Body To Body Boogie".

A great collection of hard-to-find work from Milton Nascimento – compilation tracks, guest appearances, and special projects all recorded over the past decade or so – most of which are almost better than material from albums recorded under his own name! There's a number of wonderful duets on here – showing Milton's strong spirit of reaching out to a larger musical community – and a few solo numbers too – often surprising song choices that really show his skill as an interpreter. Titles include a duet on "Imagine" with Gilberto Gil, versions of "Caca A Raposa" and "Coisa No 8", and other cuts that include "Enfim SOS", "Angelus", "Sino Claro Sino", "Luar Do Sertao", "Circo Marimbondo", "I'd Have You Anytime", and "Discovery".

A pretty strong set of some of the more essential DJ Shadow – and one that smartly digs past the more obvious selections to include some great single edits, deeper mid- and later-era Shadow gems, one of the stronger Shadow-era UNKLE cuts and other leftfield choices! That said, there's some straight up essential DJ Shadow classics here, too – and it's well paced, to boot. If you don't already own most of Shadow's catalogue, you probably need this! Includes "Midnight In A Perfect World", "High Noon", "I've Been Trying", "This Time (I'm Gonna Try It My Way", "You Can't Go Home Again (Radio Edit)", "Scale It Back (Radio Edit)" feat Little Dragon, "Listen" feat Terry Reid, "Stem (Single Edit)", "Six Days", "Won't You Be", "Lonely Soul (7" Version)" with Richard Ashcroft, "Blood On The Motorway", "You Made It" with Chris James and "Redeemed".