All Categories — All Formats  

Earlier Clipse, produced by the Neptunes before they completely controlled the airwaves.

"What Happened To That" features Baby, "Star" features 702, "Mr Baller" features Royce 5'9".

Brian Auger's first album with The Oblivion Express – a harder-rocking ensemble than his initial Trinity trio, but one who also really pushed things with a really jazzy edge! Like many of Auger's contemporaries on the UK scene, Brian was making the shift from Brit beat group jazz and soul, into a style that was more progressive and harder-driving – one that blended together jazz and rock, but which still, in Auger's case, held onto many of the best soulful sounds of earlier years! Tunes are nice and long, and really hard-jamming – with plenty of soaring organ lines throughout – and titles include "Total Eclipse", "The Light", "Oblivion Express", "On the Road", and "The Sword". CD features the bonus track "Dragon Song".

Smoking tenor and organ work here from the team of Ralph Bowen and Jared Gold – two players who find a wonderful space together right from the start! Bowen's tenor has just the sort of sharp tone to match the energy of Gold's Hammond – able to take off right away, yet also stop on a dime – and still manage to keep things swinging in the process – a rare blend of modernism and soul, and one that takes us back to some of the most inventive sessions like this from the 60s! The group also features Mike Moreno on guitar and Rudy Royston on drums – both players who, like Bowen and Gold, seem to have rhythm on their minds at all times. Titles include "On Green", "Hip Check", "Exosphere", "Arrows Of Light", and "Into The City".

Brilliant 60s pop from the team of Tommy Boyce & Bobby Hart – best known for their key early songwriting work for The Monkees, but a heck of a great duo on their own! Boyce & Hart have a sparkly, sunshiney sound that's very much a part of The Monkees generation – a beautiful post-folk, post-surf blend of styles, and one that's served up with all the warmth and charm that made The Monkees so great. But if you're thinking that the CD is just a Monkees rehash, it's not – because there's very little work here that was associated with the more famous group – and instead, the collection really gets at the jangly genius of the Boyce & Hart sound, a style that should have sparkled strongly on its own in the 60s, but which was unfortunately always eclipsed by their work for other artists. Looking at the great photos in the CD's well-done booklet, it's clear that Boyce and Hart have a hell of a lot of charm – and that charm comes through brilliantly in the set's collection of 24 numbers pulled from their 3 albums for A&M Records. Titles include "For Baby", "Sometime She's A Little Girl", "Girl I'm Out To Get You", "Where Angels Go", "The Ambushers", "Love Every Day", "Teardrop City", "Pretty Flower", "I Wonder What She's Doing Tonite", "Six & Six", "Alice Long", "PO Box 9847", and "Strawberry Girl".

US pressing, with 8 mixes, several by David Morales.

Five killer albums from Billy Cobham – all records that really define his strength on the drums in the 70s! The music here is a groundbreaking mix of jazz, rock, and a bit of funk – a style of which Billy was one of the greatest proponents at the time – not just on albums like these, but in other key collaborations and session work as well! Yet these records really showcase Cobham at his best and boldest – working with a strength on the drum kit that's as forceful as most funk players of the period, yet which often takes off in even more propulsively jamming ways. Things are mixed up nicely a bit over the course of the records, but there's definitely a unified groove that holds the whole thing together! Features the full albums Spectrum, Total Eclipse, Crosswinds, Funky Thide Of Sings, and Shabazz – all packaged in tiny LP sleeves!

One of our favorite albums ever from John Coltrane – but a record that's sometimes eclipsed by the genius of A Love Supreme! The feel here is very similar to that one – long tracks that introduce a new mode of searching, spiritual jazz for the 60s – one that's performed by a core quintet with Coltrane, McCoy Tyner, Jimmy Garrison, and Elvin Jones – but which also features added players on the side-long title track! "Kulu Se Mama" is a tremendously bold statement in music – one that features a bit of spiritual vocals from Juno Lewis, plus added bass clarinet from Donald Garrett, tenor from Pharoah Sanders, and drums from Frank Butler. The two other tracks – "Vigil" and "Welcome" – are performed by a quartet, but are still equally great!

An overlooked late 60s treasure on Blue Note – one of the few new groups to work on the label at the time, and an up-and-coming modern combo from Detroit! The album's quite unique for a number of reasons – not just because the group was a little-known new signing to the label, but also because the work is quite far-reaching at times – some of the most free-thinking jazz recorded for Blue Note during the time, with a sense of boldness that almost stretches back to Jackie McLean's first few records of the new thing years, or a sense of lyrical invention that's a bit like Wayne Shorter when he made a shift towards the outside. Some numbers are awash in fast colors and changes, while others are a bit more in the pocket, with echoes of soul jazz – but the whole thing's incredibly fresh and free, a wonderful little record that only gets better and better over the years! The group features pianist Kenny Cox as the leader, plus Charles Moore on trumpet, Leon Henderson on tenor, Ron Brooks on bass, and Danny Spencer on drums. Titles include "Mystique", "You", "Trance Dance", "Eclipse", and "Number Four".

One of Duke's last albums – and a great one! The session is right up there with some of Ellington's best late "suites" – an extended work that features writing around exotic themes, played by stalwarts like Paul Gonsalves, Harold Ashby, Rufus Jones, Cootie Williams, and Harry Carney – all coming together with more energy and imagination than you'd expect after all these years! The writing is fantastic, and the moods change strongly with each tune – running through numbers like "Afrique", "Chinoiserie", "Didjeridoo", "Gong", "Tang", and "Hard Way" – all of which sound as great as their titles might imply!

Seminal 70s work from Sarah Webster Fabio – an amazing blend of poetry and music, and incredibly hip all the way through! Fabio's got a depth that goes beyond other commercial poets of the time – a righteousness that's right at home in the spiritual jazz scene of the 70s, and which is supported here by some great backings on guitar, bass, and percussion – plus some especially evocative saxophone, played by Denianke (Leon Williams) on some of the best tracks. The voice of Thomas Fabio joins Sarah on some of the numbers – with a brooding, echoey feel that's really great – and titles include "Eclipse", "Interrogation", "Together To The Tune Of Coltrane's Equinox", and "A Black Girl's Mean Ol Low Down Blues".

A totally fantastic set from the turn of the 70s, and one of Freddie Hubbard's most soulful, spiritual albums ever – a seminal chapter in the evolution of soul jazz – and a record that was a keen inspiration for changes to come on labels like Strata East and Black Jazz! The group here features Kenny Barron on both electric and acoustic piano – really stretching out with a hip, open sort of sound – possibly his first of this type on record – and other players include James Spaulding on alto and flute, Reggie Workman on bass, Louis Hayes on drums, and Patato Valdes on added percussion – giving a more complicated groove to the best numbers. Tunes are all long and well-penned – three by Freddie himself ("Eclipse", "Spacetrack", "Gittin' Down"), one by Kenny Barron ("Black Angel"), and one by Walter Bishop (the original recording of his classic "Coral Keys"!)

A totally fantastic set from the turn of the 70s, and one of Freddie Hubbard's most soulful, spiritual albums ever – a seminal chapter in the evolution of soul jazz – and a record that was a keen inspiration for changes to come on labels like Strata East and Black Jazz! The group here features Kenny Barron on both electric and acoustic piano – really stretching out with a hip, open sort of sound – possibly his first of this type on record – and other players include James Spaulding on alto and flute, Reggie Workman on bass, Louis Hayes on drums, and Patato Valdes on added percussion – giving a more complicated groove to the best numbers. Tunes are all long and well-penned – three by Freddie himself ("Eclipse", "Spacetrack", "Gittin' Down"), one by Kenny Barron ("Black Angel"), and one by Walter Bishop (the original recording of his classic "Coral Keys"!)

An overlooked gem from Freddie Hubbard – a late fusion outing, done for the Japanese market at a time when most of his American work was returning to more acoustic modes! Freddie's trumpet sparkles brilliantly in the lead – hitting the same sort of soulful, stretching vibe as his best CTI recordings from the mid 70s – served up with an equally great mix of electric and acoustic instrumentation in the arrangements! The lineup of musicians is pretty unique, too – with Art Pepper on alto, George Cables on acoustic and electric piano, Phil Ranelin on trombone, and Roland Bautista on guitars – usually working in these gentle grooving rhythms that have a soulful stepping vibe – and which really let Freddie soar on his trumpet solos. Titles include "Eclipse", "Sunshine Lady", "I Love You", and "Bring It Back Home".

One of the rawest, hardest-hitting albums of soul poetry of the 70s! Kain – aka Gylan Kain – was a member of the original Last Poets, a group who emerged in New York during the late 60s, but were eclipsed by the second (more famous) ensemble sharing the name who recorded for Douglas Records. Kain's anger and passion is incredible – far stronger than anything you'd hear on any of the better-known Last Poets records of the early 70s – and this solo record is completely over the top, both politically and performance-wise. The record has a hard hard hard sound – with over-the-top spoken bits that almost make the other Last Poets seem like they're kind of mellow. Cuts include "Silly Sh*t", "Harlem Preacher", "I Ain't Black", and "Constipated Monkey". Juggy Murray produced – and the album's a wild wild trip!

One of the wildest albums ever by the mighty Last Poets! Billed as "a woodstock in poetry", this is the soundtrack to the obscure film Right On (billed as "the hit film" on the cover), which was shot using the first version of the Last Poets that included Felipe Lucianao, David Nelson, and the wild card Gylan Kain – a group who originally had the name and style of protest poetry, but who had been eclipsed when the poet Abiodun left them and formed the group that first recorded for Douglas Records. The album, sort of a "we're back" effort, was produced by Juggy Murray, and apparently all recorded at the Cubiculo Theatre in New York – and it's one of two albums on the Juggernaut label, which also featured Kain's solo record. Most of the record is spare percussion, with the band shouting over the top – and the sound is even rawer than the group's first LP on Douglas. The titles should say it all – as the record features "My Pretty N*gger", "Tell Me Brother", "Die Nigga!", "James Brown", "Soul", "Poetry Is Black", "Into The Streets", and "Library", clearly a big influence on KRS-1.

An unusual chapter in the label-hopping career of Charles Mingus – a one-off date recorded for Mercury right after Mingus' legendary sessions for Columbia! The format here may well be Mingus' most ambitious to date – as the album features larger groups than before, exploring a range of musical ideas that run from Charles' own highly political expressions of the Civil Rights era to some of his landmark explorations of Duke Ellington! As always, the individual players in the group are given a strong voice in the proceedings – and the record bristles with energy from solos by Ted Curson, Eric Dolphy, Booker Ervin, Jimmy Knepper, Yusef Lateef, and a young Joe Farrell – as well as vocal performances by Lorraine Cousins, who sings on the classic "Weird Nightmare" and the haunting "Eclipse". A tremendous record throughout – filled with life, imagination, and boundless creativity – with titles that include "Mingus Fingus no. 2", "Weird Nightmare", "Eclipse", "Bemoanable Lady", "Half Mast Inhibition", and "Prayer for Passive Resistance".

One of our top 5 favorite Blue Note records of all time – a bold and powerful session from trumpeter Lee Morgan, but one that sat in the vaults for 15 years before release! The session was recorded around the same time as Morgan's hit The Sidewinder (which eclipsed its release at the time) – but it's got the soaring, searching energy of later Morgan work on records like Sixth Sense or Charisma – a whole new groove at the time, and one that's explored perfectly by a group that includes Jackie McLean on alto sax, Curtis Fuller on trombone, McCoy Tyner on piano, Bob Cranshaw on bass, and Art Blakey on drums. Modal lines come into play with older hardbop and soul jazz modes – and the result is an explosive batch of tunes that resonate with bold power throughout! Nearly all tunes are incredible originals by Lee Morgan – and titles include "Tom Cat", "Exotique", "Twice Around", and the completely captivating "Rigor Mortis". A treasure, and one not to pass up!

A cool record by ne of our favorite artists of the mid 60s to early 70s! Fred Neil is best known to the world as the man who wrote "Everybody's Talkin'", which was used excessively in the film Midnight Cowboy, but since the version in the film was sung by Nilsson, Fred's talents werelargely eclipsed. This Capitol album has the singer/songwriter playing in a very relaxed studio vibe – with some spare backing, and edgey playing that opens up a side of him that we've rarely heard elsewhere. Supposedly, the session was largely improvised, and designed to recreate the feel of his legendary live shows. The tracks are fairly long, and include titles like "Felicity", "Send Me Somebody To Love", "Looks Like Rain", and "Fools Are A Long Time Coming".

Weird and spooky sounds from Oscillotron – a one-man outfit, but working here in sharply cinematic splendor! The music here takes plenty of cues from the late 70s/early 80s horror generation – with some wonderfully dark keyboard lines that resonate strongly throughout the entire set – sometimes spare and moody, sometimes quite full and forceful! Like other titles on the great Cineploit label, this one has a new artist picking up a sweet retro cinematic vibe – and honestly carrying off the whole thing almost better than original film scores from years back. Titles include "Embryo", "Oracle", "Dawn", "Eclipse", and "Assembly".

Weird and spooky sounds from Oscillotron – a one-man outfit, but working here in sharply cinematic splendor! The music here takes plenty of cues from the late 70s/early 80s horror generation – with some wonderfully dark keyboard lines that resonate strongly throughout the entire set – sometimes spare and moody, sometimes quite full and forceful! Like other titles on the great Cineploit label, this one has a new artist picking up a sweet retro cinematic vibe – and honestly carrying off the whole thing almost better than original film scores from years back. Titles include "Embryo", "Oracle", "Dawn", "Eclipse", "Terror" and "Assembly".

A wicked fusion set from saxophonist Michael Paulo – noteworthy not just for the efforts of the leader, but for the album's sweet keyboards from Herbie Hancock too! The style's relatively stripped-down – electric, but never too polished, nor too jamming – often with the kind of gentle groove we love in the best late 70s Japanese fusion sessions. Paulo plays alto, tenor, soprano sax, and flute – and Herbie Hancock plays piano and prophet, alongside additional keyboards from Kimo Cornwell, guitar from Ray Obiedo and Ron Yuen, and drums from Alvin Fejarang. Titles include "Mr Spock's Revenge", "My Favorite Cousins", "Merry Go Round", "Eclipse Of The Full Moon", and "Rainbow Island".

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

A strange little record – instrumental tunes arranged as a "symphony for soul", and mostly comprised of late 60s soul numbers! The whole thing was put together by Mort Garson – known better for his later moog work, but still sounding pretty nice here with some cool twists on the tunes that make them more enjoyable than you might think. The instrumentation includes strings, horns, and some nice use of organ in just the right places – and titles include "Happy Together", "Release Me", "Respect", "Hold On I'm Coming", "Hold What You've Got", "In The Midnight Hour", and "Searching For My Love".

Louie Vega on Fania Records – a long-overdue match that really makes for some amazing sounds on this set! The pairing isn't that much of a surprise – given that Louie's done plenty to keep Latin music alive in the past few decades in the clubs – from his own Nuyorican Soul experiments, to some of the key remixes he's done for other artists. Yet this time around, there's something extra-special going on – not only a presentation of the Vega sound that's even tighter than before, but which has a way of pulling together a rich array of historical strands – and not just the salsa you might expect from Fania! Rootsy elements mix perfectly with tight club instrumentation – and the set features great guest work from Josh Milan, Lisa Fischer, Cindy Mizelle, and Anane – on cuts that include some very cool covers – including "Overtake Don Overtake Overtake", "Barbara Ann", "I Believe In Miracles", "Sodade", "I Dream A World", "Harlem River Drive", "Berimbau", and "Children Of The World". 2CD version features a massive 24 tracks – including some bonus remixes too!

Louie Vega on Fania Records – a long-overdue match that really makes for some amazing sounds on this set! The pairing isn't that much of a surprise – given that Louie's done plenty to keep Latin music alive in the past few decades in the clubs – from his own Nuyorican Soul experiments, to some of the key remixes he's done for other artists. Yet this time around, there's something extra-special going on – not only a presentation of the Vega sound that's even tighter than before, but which has a way of pulling together a rich array of historical strands – and not just the salsa you might expect from Fania! Rootsy elements mix perfectly with tight club instrumentation – and the set features great guest work from Josh Milan, Lisa Fischer, Cindy Mizelle, and Anane – on cuts that include some very cool covers – including "Overtake Don Overtake Overtake", "Barbara Ann", "I Believe In Miracles", "Sodade", "I Dream A World", "Harlem River Drive", "Berimbau", and "Children Of The World".

A wonderful tribute to Caetano Veloso – put together by a really surprising range of artists! The tunes are all classic Veloso compositions – Brazilian nuggets that have been making our lives wonderful for years – and they get fresh reinterpretations by a range of artists that includes The Magic Numbers, Beck, Ceu, Chrissie Hynde, Kassin, Moreno Veloso, Tulipa Ruiz, Beck, Mariana Aydar, Seu Jorge, Toninho Horta, and others – a great mix of Brazilian and American artists who really show the far-reaching influence Caetano's had over the decades. Most numbers are pretty well done – never too commercial, and surprisingly sensitive to the lyrics, while also offering up fresh twists with their own arrangements. Titles include "The Empty Boat" by Chrissy Hynde with Moreno, Kassin, and Domenico – plus "London London" by Os Mutantes, "Michaelangelo Antonioni" by Beck, "Eclipse Oculto" by Ceu, "You Don't Know Me" by The Magic Numbers, "Araca Blue" by Marian Aydar, "Alguem Cantando" by Momo, "Quem Me Dera" by Devendra Banhart & Rodrigo Amarante, and "Peter Gast" by Seu Jorge, Toninho Horta, and Arismar Espirito Santo.

Although often eclipsed by their bigger hits, and lost in the shuffle because it didn't have a proper title – this is probably one of the finest albums ever by this legendary Chicago harmony soul group! The record has a very sophisticated soul sound, with harmonies that are even better than on earlier albums – and a great batch of tracks with some very unusual twists and turns that take them farther than the band's big hits. Includes the great groover "Go Away Dream", the hits "Marriage License" and "Stoned Out Of My Mind", and lots of other nice ones like "Homely Girl", "I Never Had It So Good", and "I Found Sunshine".

A cool record by ne of our favorite artists of the mid 60s to early 70s! Fred Neil is best known to the world as the man who wrote "Everybody's Talkin'", which was used excessively in the film Midnight Cowboy, but since the version in the film was sung by Nilsson, Fred's talents werelargely eclipsed. This Capitol album has the singer/songwriter playing in a very relaxed studio vibe – with some spare backing, and edgey playing that opens up a side of him that we've rarely heard elsewhere. Supposedly, the session was largely improvised, and designed to recreate the feel of his legendary live shows. The tracks are fairly long, and include titles like "Felicity", "Send Me Somebody To Love", "Looks Like Rain", and "Fools Are A Long Time Coming".

Although often eclipsed by their bigger hits, and lost in the shuffle because it didn't have a proper title – this is probably one of the finest albums ever by this legendary Chicago harmony soul group! The record has a very sophisticated soul sound, with harmonies that are even better than on earlier albums – and a great batch of tracks with some very unusual twists and turns that take them farther than the band's big hits. Includes the great groover "Go Away Dream", the hits "Marriage License" and "Stoned Out Of My Mind", and lots of other nice ones like "Homely Girl", "I Never Had It So Good", and "I Found Sunshine".

A near-lost session from west coast tenorist Harold Land – recorded in the 60s, not issued at the time, and easily one of his greatest albums ever! The set is one of the few from the period that really has Harold biting hard on the tenor – grooving with a soulful edge that shows the other, under-recorded side of the LA scene of the late 50s and early 60s – the one that was too often eclipsed by bigger names on bigger labels. Land's set up here with a very unusual group (especially for Blue Note) – nearly all lesser-known players that include Martin Banks on trumpet, Amos Trice on piano, Clarence Jones on bass, and Leon Pettis on drums – all of whom work with styles that really help contribute to the freshness of the set. Land's tone is wonderful – slightly more open and personal than on some of his more tightly-crafted sets, and sparkling with some modern edges that we really like a lot! Titles are mostly originals too, and include "Blue Nellie", "Land Of Peace", "Take Aim", "Reflections", and "As You Like It".

An unusual chapter in the label-hopping career of Charles Mingus – a one-off date recorded for Mercury right after Mingus' legendary sessions for Columbia! The format here may well be Mingus' most ambitious to date – as the album features larger groups than before, exploring a range of musical ideas that run from Charles' own highly political expressions of the Civil Rights era to some of his landmark explorations of Duke Ellington! As always, the individual players in the group are given a strong voice in the proceedings – and the record bristles with energy from solos by Ted Curson, Eric Dolphy, Booker Ervin, Jimmy Knepper, Yusef Lateef, and a young Joe Farrell – as well as vocal performances by Lorraine Cousins, who sings on the classic "Weird Nightmare" and the haunting "Eclipse". A tremendous record throughout – filled with life, imagination, and boundless creativity – with titles that include "Mingus Fingus no. 2", "Weird Nightmare", "Eclipse", "Bemoanable Lady", "Half Mast Inhibition", and "Prayer for Passive Resistance".

A cool record by ne of our favorite artists of the mid 60s to early 70s! Fred Neil is best known to the world as the man who wrote "Everybody's Talkin'", which was used excessively in the film Midnight Cowboy, but since the version in the film was sung by Nilsson, Fred's talents werelargely eclipsed. This Capitol album has the singer/songwriter playing in a very relaxed studio vibe – with some spare backing, and edgey playing that opens up a side of him that we've rarely heard elsewhere. Supposedly, the session was largely improvised, and designed to recreate the feel of his legendary live shows. The tracks are fairly long, and include titles like "Felicity", "Send Me Somebody To Love", "Looks Like Rain", and "Fools Are A Long Time Coming".

My god, what a record! This one's genius through and through – a set that sometimes gets eclipsed in the brilliance to come, but which is easily one of our favorites ever by Steely Dan! There's a beautifully focused feel here – thanks to Donald Fagan's incredible lead vocals, and a sense of songwriting that never takes any left turns – no odd forays into different styles or previous genres, just all steeped in Steely, as the group should be by this point! John Klemmer turns in some wonderful sax work that really helps shape the sound, and titles include the wonderful "Caves Of Altimira", "Kid Charlemagne", "Don't Take Me Alive", "Green Earrings", and "The Royal Scam".

A real lost treasure on Hi Records – one of the few albums ever cut by Don Bryant, a singer whose talents seemed to be eclipsed by the rising stars of Al Green and Ann Peebles – but who was every bit as great! Bryant's got a sound here that's still firmly in the Hi style forged by Willie Mitchell – who produces this set – but there's also some nicely rougher edges too, a sound that's almost more Stax than Hi – and which certainly features a bit of a nod to Wilson Pickett down in Muscle Shoals – not exactly funk, but with some nice grit in the grooves! The whole thing's great – and titles include "Try Me", "Cry Baby", "Funky Broadway", "Soul Man", "Land Of 1000 Dances", "She's Looking Good", and "Slip Away".

A wonderful album by one of the all-time greats! The record is Joao Gilberto's best in years, and it was produced by Caetano Veloso – in a spare, stripped-down style that's very similar to Joao's classic self-titled album from 1973, with an equally moody sound overall! Veloso used some wonderful recording techniques – and Joao's warm vocals and haunting guitar work are handled in a manner that unlocks all of their dark beauty and charm – without any of the sweetness that sometimes holds back some of his other later recordings. Titles include "Voce Vai Ver", "Segredo", "Chega De Saudade", "Eclipse", "Desde Que O Samba E Samba", "Eu Vim Da Bahia", and "Da Cor Do Pecado".

One of our top 5 favorite Blue Note records of all time – a bold and powerful session from trumpeter Lee Morgan, but one that sat in the vaults for 15 years before release! The session was recorded around the same time as Morgan's hit The Sidewinder (which eclipsed its release at the time) – but it's got the soaring, searching energy of later Morgan work on records like Sixth Sense or Charisma – a whole new groove at the time, and one that's explored perfectly by a group that includes Jackie McLean on alto sax, Curtis Fuller on trombone, McCoy Tyner on piano, Bob Cranshaw on bass, and Art Blakey on drums. Modal lines come into play with older hardbop and soul jazz modes – and the result is an explosive batch of tunes that resonate with bold power throughout! Nearly all tunes are incredible originals by Lee Morgan – and titles include "Tom Cat", "Exotique", "Twice Around", and the completely captivating "Rigor Mortis". A treasure, and one not to pass up!

Dancefloor soul, disco, boogie and otherwise club ready jams from the early 70s to mid 80s from Chicago and beyond – an excellent batch of rare grooves put together by Mr. Peabody's – a great follow up to excellent Real Sound Of Chicago compilation on BBE! As justly revered as the Chicago scene is for the pioneering club music of the 80s is, the soul and disco of the 70s years and some of boogie and other sounds that ran parallel with the house scene in the 80s too often get overlooked. We love us a soulful history lesson, but what's most important is how great the music is throughout this set – which moves a bit beyond Chicago, too! The vinyl version features 8 longer tracks on 2LPs and heavy on Mr Peabody Re-Edits: "Cancion Ritual" by Hot Pepper, "What You Got Left For Love" by Kenny Wells, "Do What You Can Do" by Spaceark, "Loves Gonna Find You" by Judy Clayton, "Lover" by Lily Fields, "Build (Pts 1 & 2)" by Kurtis Scott, "Space Disco Boogie" by Total Eclipse and "She's Hot" by Sun Sect feat Pam.