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John Coltrane's classic – and only – recording as a leader for Blue Note! The album's no throwaway date, though – as it stands strongly with both Coltrane's other label work of the time, and with the best of the late 50s Blue Note scene – a time when the label was really cooking at full strength! The groove here is a bit harder, heavier, and hardbop-inflected than some of Trane's late 50s sides with Red Garland – thanks to a lineup that features Lee Morgan on trumpet, Curtis Fuller on trombone, Kenny Drew on piano, Paul Chambers on bass, and Philly Joe Jones on drums. There's a crisp modern edge to the record that really holds up beautifully – even after years of play – and titles include "Blue Train, "Locomotion", "Moment's Notice", and "Lazy Bird".

Beautiful guitar work from Elizabeth Cotten – much more sensitive and lyrical than you might expect – with a warmth that really goes beyond the usual Folkways record of this nature! Elizabeth sings on the set at points – in this raspy, time-worn style that's pretty compelling on its own – but honestly, it's the guitar that really grabs us – played with deftness that's impressive, and a sense of greater sound that really shows some unique phrasing throughout. Titles include "Freight Train", "Run Run Mama Your Son Done Gone", "Spanish Flang Dang", "When I Get Home", "Vastopol", and "I Don't Love Nobody".

A later effort from James D-Train Williams, but still plenty darn great – and proof that his groove was still one of the strongest in 80s soul music! The style of the set follows from Williams' best earlier work – a bit of bounce at the bottom of most of the tracks, but never too much – just enough to make the titles bubble with enough electricity to carry through the catchiest hooks of the lyrics. Instrumentation includes a fair bit of 80s drum machine rhythms, offset by the deeper soul of Williams' vocals – and titles include "Curious", "Runner", "In Your Eyes", "Order In The House", "Smile", "Runner (dub mix)", "With All My Heart", and "Shadow Of Another Love".

Al Green's first LP – with a very different feel than his later work on Hi. The record's got a harder southern soul groove – almost in a Wilson Pickett/Arthur Conley mode, but with some sweeter elements in the backing. Al's voice is still incredible, although different than later, in that he's singing with a really open vibe, letting himself go a bit more, and not keeping in that smooth sophisticated mode of later years. Originally released by the tiny Hot Line label, and issued later by Bell Records when Al started to hit big with Hi Records during the early 70s. Titles include "Back Up Train", "Get Yourself Together", "Don't Leave Me", "Let Me Help You", "Hot Wire", and "Stop & Check Myself".

We give up! Just when we thought the gravy train had stopped running, the last train to skaville pulls into the station with 16 jaunty numbers fusing ska and rocksteady with a healthy dose of Jamaican soul at the hands of Jackie Mittoo and the Soul Brothers under the guidance of Coxsone Dodd! After the Skatalites busted up in the mid 60s, Dodd set about assembling a new house band, bringing Mittoo and a number of the original members of the Skatalites, including Lloyd Brevett and Roland Alphonso, together with some of the new, younger talent, and the fine folks at Soul Jazz have assembled a mighty, mighty set of their finest moments. But as Coxsone says in the liner notes, let's "Cut the chatter and spin the platter"! Includes "James Bond", "Voodoo Moon", "Chicken & Booze", "Hpney Pot", "Mr Flint", "Dr Ring Ding", "Got My Boogaloo", "Home Made", "Sufferer's Choice" and "Hot & Cold".

One of Oscar Peterson's biggest records ever – one of those albums we turn up time and time again when digging through classic jazz collections – and for good reason too, given the lasting power of the set! The album's got a rock-solid sound that's filled with soul – almost a bit more down and dirty than some of Peterson's earlier work, very much in the spirit of the group's hit performance of the title track. In a way, the album's almost Oscar's answer to some of the rising younger stars in the soul jazz scene – and is proof that the master still can do things as great as the artists he inspired. Ray Brown is on bass and Ed Thigpen is on drums – and tracks include "Bag's Groove", "Georgia On My Mind", "Easy Does It", "Band Call", and "Night Train".

A pair of Oscar Peterson gems – back to back on a single CD! Night Train is one of Oscar Peterson's biggest records ever – one of those albums we turn up time and time again when digging through classic jazz collections – and for good reason too, given the lasting power of the set! The album's got a rock-solid sound that's filled with soul – almost a bit more down and dirty than some of Peterson's earlier work, very much in the spirit of the group's hit performance of the title track. In a way, the album's almost Oscar's answer to some of the rising younger stars in the soul jazz scene – and is proof that the master still can do things as great as the artists he inspired. Ray Brown is on bass and Ed Thigpen is on drums – and tracks include "Bag's Groove", "Georgia On My Mind", "Easy Does It", "Band Call", and "Night Train". Jazz Soul Of Oscar Peterson is one of the first Peterson albums to ever feature "soul" in the title – added, no doubt, as a way of keeping up with Ray Bryant and other pianists making their name in the growing soul jazz field at the time! There's a groove here that's a bit harder than usual for Peterson on Verve – a heavier approach to rhythm on the keys, and a more focused trio formation – one that clearly sets a pace for albums to come in the 60s, but which must have been relatively striking to Peterson fans at this point. The trio here features Ray Brown on bass and Ed Thigpen on drums – and tracks are longer than usual, with some really great room to stretch out! Titles include "Liza", "Con Alma", "Close Your Eyes", "Maidens Of Cadiz", and "Woody'n You".

Late 70s funky French grooves from Resonance! "OK Chicago" is a roaring, screeching exercise in cinematic funky exploitation – heavy drums, Euro disco synth and a slew of sound effects – ricocheting gunshots, squealing car tires and more. A hard-sought, should-be classic! "Yellow Train" isn't as crazy, but it's just as great – pummeling drums and cosmic touches.

Probably the funkiest record ever by this landmark soul combo! The Rimshots are one of these groups that you always find their later work, but in their early days they were an absolutely killer combo – with a hard funky groove that virtually defined the funky 45 sound. In fact, their singles were the stuff that funky collectors were going for way back in the day – when nobody collected funky 45s – and this album may well be the only full-length piece of wax that comes close to matching the strength of those singles. 9 tracks in all: "Neighbor! Get Your Own", "Born Funky", "Soultrain (parts 1 & 2)", "Coastin & Crashin (parts 1 & 2)", "In Cold Blood", "Love, True Love! (Please Pass My Way)" and "A Hot Day In Harlem".

One of the few small group sessions from vocalist Betty Roche – a singer who was known for her work with Duke Ellington, but who sounds even better in this setting! Betty's got a style that's warmly raspy – a bit more edge than some of the cooler vocalists on the Bethlehem label at the time, but still backed with a group that's slightly modern – in keeping with other dates on the label. The combo features Eddie Costa on vibes, Donn Trenner on piano, Conte Candoli on trumpet, Whitey Mitchell on bass, and Davey Williams on drums – all grooving gently with Betty on a set of tracks that includes "Take The A Train", "Something To Live For", "All My Life", "All Too Soon", "You Don't Love Me Any More", "Go Away Blues", and "September In The Rain". Japanese CD features 3 bonus alternate takes.

The collected mid 70s psych/prog/funk rock of Benny Soebardja – a beacon from the Indonesian scene and for underground rock the world over – with nearly all of the material from his 3 great albums with his Lizard group! The Lizard Years is made up of tracks from the albums Lizard, Gut Rock and Night Train LPs – at a time when Benny was veteran of the regional scene with the groups Giant Step, The Peels and Shark Move – stepping out front and backed by an incredible group of musicians going by the name Lizard. The music is tripped out, though accessible – with guitars ranging from proggy to funky, spacey keys and quite a bit of flute – nicely sung by Benny, in English, and with a really unique vibe that sweeps you right in! We were introduced to Benny's style of this period via Now Again's Those Shocking, Shaking Days comp – and it's great to have such a sprawling collection here – complete with a great booklet that puts it all in perspective. 30 tracks on 2CDs: "18 Years Old", "Come Closer", "Crime", "In 1965", "Sunny Day", "Cynthia", "Candle Light", "The Advantage Of Music In Me", "Circle Of Love", "The End Of The World", "Someday", "I'm Still In Luv Wit Ya'", "Gut Rock", "Night Train", "Stroll On", "Talked About My Girl", "Woman Of Desire", "Struggle For Life", "A Signal From Outer Space" and more.

An incredibly groovy album – filled with instrumental tracks that shift between funky big band and groovy 60s soundtrack – all arranged by Mike Nesmith and Shorty Rogers! The feel here is like that of some of Rogers' other groovy late 60s instrumental one-off albums – like his hot rod, dune buggy, or surf-orchestra sides – and Nesmith brings in a slightly cynical tone that manifests itself in the choice of some of the instrumentation for the tracks, and the overall setting of the record. Think Monkees instrumentals gone groovier, and you've got part of the picture – but there's also plenty of snippets of Sunset Strip hip and Warner Brothers longing for the past too! Titles include "While I Cried", "Don't Cry Now", "Tapioca Tundra", "Nine Times Blue", "Carlisle Wheeling", and "You Told Me".

A set of some of the finest 70s recordings of mighty Ethiopians – many pulled directly from the excellent Slave Call album – plus a couple of early treasures and otherwise classic material! There's a tenderly soulful qualtity to the group's vocals that's always made them a favorite and this set filled with gems! Includes "Train To Skaville (Original Version)", "Guilty Conscience", "Hurry On", "Reggae Hit The Town", "The Selah", "Ethiopean National Anthem", "Need Someone", "Slave Call", "Everything Crash", "Love Jah", "Obeah Book" and more.

A sweet bit of funk from 70s France – and a great batch of electric keyboard tunes from Jacky Giordano, with a sound that's in the mode of 70s soundtrack work by Lalo Schifrin! The album was originally issued in 1976 as a small-run sound library record, and it's a masterpiece of keyboard grooves – spare and dark, with a mixture of moody and moogy grooves that lie somewhere between the American sound of CTI and Kudu. All tracks are great, and the album's got a warm finish that gives it a deeply soulful feel – a quality level that's high enough that would have made it a hit, were it issued over here in the US at the time. Titles include "Terefic War", "The Big Mameluk", "Moving Grooving", "Devil's Train", "Sex Girl", "Blue Circuit", and "Tabla Minor".

James D-Train Williams' first album for a major label – and a really great follow-up to the indie success of his initial recordings for Prelude Records! The style here is very similar to the clubby grooves of D-Train's earlier sides – thanks to strong keyboards, production, and songwriting help from Hubert Eaves – the jazzy talent who helped give Williams' his trademark groove! Instrumentation veers slightly more towards mainstream 80s soul at times, but the Eaves' sound is still very firmly in place here – and titles include the groovers "Oh How I Love You (Girl)", "Misunderstanding", and "Let Me Love You" – plus "You Are Everything", "I Got Your Number", "Stand Up & Fight", and "Miracle Of The Heart". CD also features 4 bonus tracks from singles – 12" mixes of "Misunderstanding" and "Oh How I Love You Girl" – plus "You Are Everything (acapella)" and "Oh How I Love You Girl (inst)".

An excellent 80s groove classic! James D-Train Williams sings it nice and deep on this catchy club cut – but the real groove is put over by Hubert Eaves, who does some excellent work on keyboards!

Gritty prose from the legendary Harlan Ellison – a writer known best for his science fiction work, but who's represented here by some very early material that's plenty violent and salacious! The writing should be taken in the spirit of the title and cover – and Harlan himself does a great job of situating the work in his introduction to the book – telling the tale of the somewhat sleazy roots of this read, which is almost as titillating as the stories themselves! Yet despite the obvious apology for the schlock quality of the stories (some weren't even originally billed under Ellison's own name!) – there's a real force to the writing throughout – a youthful, powerful feel that bridges the gap between classic noir and underground exploitation – as you'll find in stories like "Sex Gang", "Jeannie With The Bedroom Eyes", "A Girl Named Poison", and "Both Ends Of The Candle".

A wonderful album from Moody – one of his "comeback" albums for Chess/Argo, recorded after his release from the Overbrook institution, hence the title. By this point, Moody was writing and playing with much more of an edge than during his bebop days – and the record certainly shows that – not only on the title track "Last Train From Overbrook", a jumpy little number that became one of the big new tunes in Moody's book, but on the whole album, which features some well-conceived large charts written by Johnny Pate. Pate and Moody wrote the bulk of the songs, too – and titles include "Yvonne", "Brother Yusef", "The Moody One", "There She Goes", "Tico Tico", and "Why Don't You". The album also features a great double-exposed cover photo, and some of the most chilling liner notes you'll ever read about a jazzman's struggles with addiction.

Very hip gospel work by Sister Rosetta Tharp – singing here with her own guitar accompaniment, plus backing by small combos! The sound is a folksy mix of gospel and blues styles, with traces of early soul as well – and titles include "Didn't It Rain", "This Train", "Strange Things Happening Every Day", and "My Journey To The Sky".

John Coltrane's classic – and only – recording as a leader for Blue Note! The album's no throwaway date, though – as it stands strongly with both Coltrane's other label work of the time, and with the best of the late 50s Blue Note scene – a time when the label was really cooking at full strength! The groove here is a bit harder, heavier, and hardbop-inflected than some of Trane's late 50s sides with Red Garland – thanks to a lineup that features Lee Morgan on trumpet, Curtis Fuller on trombone, Kenny Drew on piano, Paul Chambers on bass, and Philly Joe Jones on drums. There's a crisp modern edge to the record that really holds up beautifully – even after years of play – and titles include "Blue Train, "Locomotion", "Moment's Notice", and "Lazy Bird".

Seminal 80s groove from James "D Train" Williams – a killer batch of tracks lifted from his strong 12" singles of the time! D Train was great in that he was one of the few artists of his scene who could come up with a whole album of strong material – but that didn't also stop hip from being the king of the male soul dancefloor tune, as you'll hear on this great little set! The package features 10 cuts in all, all produced and arranged by Hubert Eaves – and titles include "Keep On", "Walk On By", "Music", "Keep Giving Me Love", "Something's On Your Mind", "D Train Theme", "Just Another Night", "Trying To Get Over (edit)", "D Train Theme (dub)", and "You're The One For Me (Labor Of Love mix)".

Sweet soul with a nice disco groove – by a singer who was brought to light during the Bee Gees' big disco years of the 70s! Teri's got a wonderful approach here – almost earlier female pop, but with a soulful range too – one that's really brought out by the arrangements, which share a similar sort of balance. Things are never too overly disco, but groove nicely too – and the album's got a lot more than some of the other crossover projects of this nature. Titles include "Save Me Save Me", "Pleasure Train", "Back In Your Arms Again", "The Stuff That Dreams Are Made Of", and "Ain't Nothing Gonna Keep Me From You". CD features 2 bonus tracks – 12" versions of "The Stuff That Dreams Are Made Of" and "Ain't Nothing Gonna Keep Me From You".

One of the most enduring albums on the Prelude label, and a great bit of modern soul by James "D-Train" Williams. Hubert Eaves produced the album, and he added lots of tasty electro keyboards to the set, played with his usual jazzy touches and a nice flourish that gives Williams' voice a strong kick on the best cuts. Sparklingly sophisticated – and proof that the indie labels could still churn out quality soul as well as they could disco! Includes the cuts "You're The One For Me", "D Train Theme", "Walk On By", "Lucky Day", and "Love Vibration".

A short, but totally killer Ghanaian disco record from KG Band – which is led and produced by multi-instrumentalist Kiki Gyan – and recorded at Lagos' Decca Studios in 1980! Disco Train is a rare one – with one long grooving dancefloor stormer per side. Each cut is a really sweet blend of global boogie, funk and soul – with distinctly African elements, too! "Disco Train" rolls beyond the 10 minute mark without coming close running off the rails. The drums don't stop and the bass is nice and funky – with some groovy falsetto vocals sung in English, a nicely vamping guitar groove, horns and Afro percussion. "Loving You" runs just shy of 10 minutes on the other side – and while the title of the song and the quiet opening seconds might trick you into the thinking it's gonna be straight and mellow, it's actually got a surprisingly adventurous groove overall! The drums are a bit feverish, which is a nice foil for the easygoing vibe and romantic lyricism – and it's again anchored by some funky bass, guitar and African percussion.

A great batch of lost funky club tracks – heavy moog in the mix, making some great wikki-wikki sounds over the album's smoothly grooving tunes! The group's got Gregg Phillinganes and Roger Smith in the frontline on keyboards – they also play Arp and Fender Rhodes next to moog – and Dick Griffey helped with the vocal arrangements, giving the record the smooth sophisticated feel of a classic LA Solar release from the late 70s, mixed with some of the jazzier grooving on Fantasy records from the same time. Titles include "Mood I Love Love", "Don't Overlook The Feelings", "So Long", "Let Love Flow For Peace", and "Fantasy". CD also features the bonus track "Erika (ext mix)".

Fantastic Norman Harris production makes this one of the best-ever efforts from The Whispers at this time! Norman put together the incredible "Living Together (In Sin)", and plays some excellent guitar on the track – and he takes the sweet west coast harmonies of The Whispers into the realm of Philly Groove greatness. Other nice tracks include "You're Only As Good As You Think You Are", "Sounds Like A Love Song", and "In My Heart".

Not really a set of funky 45s – despite the title – but a good selection of instrumental numbers with a hard New Orleans groove. The style of most of this stuff predates the funk era by a few years, but Booker's touch on the organ is very tasty – and the cuts have a nice feel that's kind of like stuff on the Sue label from the same time. Unfortunately, many of the tracks seem to be mastered from vinyl (even though the whole set's on the up-and-up) – so you might think you're actually listening to a funky 45 – but the musical quality's strong enough to override that factor in most parts. Titles include "Tubby (parts 1 & 2)", "The Duck", "Big Nick", "Beale Street Popeye", "Kinda Happy", and "Smacksie".

A landmark album – even if it was the only session that Cannonball Adderley ever cut for Blue Note! The album was recorded at a time when Adderley was working with Miles Davis – and as such, the session features a group that includes Miles, blowing in a cool tone that's a perfect offset to Cannonball's more soulful style. The rest of the group includes Hank Jones, Sam Jones, and Art Blakey – and like John Coltrane's Blue Train, the record's more of an "special session" than the usual Blue Note album, but the strength of the players make it one of the more memorable records of its day! Titles include "Somethin' Else", "One For Daddy-O", and a nice moody take on "Dancing In The Dark".

A landmark album – even if it was the only session that Cannonball Adderley ever cut for Blue Note! The album was recorded at a time when Adderley was working with Miles Davis – and as such, the session features a group that includes Miles, blowing in a cool tone that's a perfect offset to Cannonball's more soulful style. The rest of the group includes Hank Jones, Sam Jones, and Art Blakey – and like John Coltrane's Blue Train, the record's more of an "special session" than the usual Blue Note album, but the strength of the players make it one of the more memorable records of its day! Titles include "Somethin' Else", "One For Daddy-O", and a nice moody take on "Dancing In The Dark".

A landmark album – even if it was the only session that Cannonball Adderley ever cut for Blue Note! The album was recorded at a time when Adderley was working with Miles Davis – and as such, the session features a group that includes Miles, blowing in a cool tone that's a perfect offset to Cannonball's more soulful style. The rest of the group includes Hank Jones, Sam Jones, and Art Blakey – and like John Coltrane's Blue Train, the record's more of an "special session" than the usual Blue Note album, but the strength of the players make it one of the more memorable records of its day! Titles include "Somethin' Else", "One For Daddy-O", and a nice moody take on "Dancing In The Dark". Includes bonus track "Alison's Uncle".

One man rockabilly firebrand and Chicken Walkin' madman Hasil Adkins – done justice once more by his longtime champions at Norton Records! The title is as cheeky nod to the Velvets, but Hasil ain't no NYC art scenester, nope – he might be the true king of rock and roll, stumping out raggedly brilliant rockabilly wierdness all by his lonesome (for the most part...a fella named Sanford Stovers sings some on "Turn My Coat Tails Loose") at his home in West Virginia from the late 50s to mid 60s. Includes "Roll Roll Train", "Woke Up This Morning", "Donnio Boogie", "Donnio Shuffle", "Lonely Graveyard", "Somebody Help Me" and more.

Aerosmith's second album – and a prime slab of badass mid 70s rock – coming close to, maybe even equalling Toys In The Attic as ultimate Aerosmith badassery! It's got a tighter, puncier sound their debut – courtesy producer Jack Douglas – who would continue to produce Aerosmith in their pre-blowout 70s best. It opens on with one of their staples, "Same Old Song And Dance" and other tracks include their kickass cover of "Train Kept A Rollin'", plus "Lord Of The Thighs", "Spaced", "Woman Of The World" and "Pandora's Box".

A lost album of raw twangy guitar from Mickey Baker – best known as the noisier half of the Mickey & Sylvia team – and even more let loose here on his own! The record is pretty rocking all around – with lots of loud, complex guitar soloing from Mickey – in a manner that would later emerge more in surf recordings, but which is here set in nice jazz-based studio arrangements – of the sort that really lets Baker step out as a bold solo talent on his own, instead of lurking in the background of the countless other sides he cut with other artists. Mickey really wails, and the album's a great lost treasure in the Atlantic catalog – with grooves that include "Midnight Midnight", "Gloomy Sunday", "Baia", "Whistle Stop", "Milk Train", "Baker's Dozen", and "Chloe".

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

Pretty mellow stuff from George Benson, but with some nice moments! Don Sebesky handled the arrangements for this set of larger backings – but Benson's guitar is right out front, hitting some super-dope lines at the best moments, stretching out from the warm Fender Rhodes or horn heavy backings. Highlights include "No Sooner Said Than Done", which has some very weird processing on the guitar; "Full Compass", which has some nice hard drums; and "Summer Wishes, Winter Dreams", a mellow moody track. CD also features 3 bonus tracks – the previously unreleased "From Now On", and new mixes of "Serbian Blue" and "Take The A Train".

Seminal Chicago sounds from cornetist Josh Berman – and a record that's not just a key example of his talents, but of the whole energy of the Windy City scene as well! There's a nice gag in the "His Gang" on the cover of the record – but it's also somewhat well put, too – as Berman's definitely got ears for the old-time sounds such a name might imply – yet always has ways of making those older modes come out with freshly modern energy! The balance is amazing – and really shows Josh's ear for trad jazz, mixed with his contemporary avant expressions – a pan-historical jazz mode that's hardly ever been handled this well – except maybe by Jaki Byard at a few moments. At some level, the instrumentation reads like an old trad band – cornet, clarinet, trombone, bass clarinet – but the sounds here are definitely 21st Century – played by a great "gang" that includes Guillermo Gregorio on clarinet, Jeb Bishop on trombone, Jason Stein on bass clarinet, Keefe Jackson on tenor, Jason Adasiewicz on vibes, Josh Abrams on bass, and Frank Rosaly on drums. Berman's arrangements are wonderful – very offbeat, but swinging too – and titles include "Sugar", "Mobile & Blues", "Liza", "Cloudy", "One Train May Hide Another", and "Jada".

A beautiful little soundtrack for this late John Wayne western – scored by Elmer Bernstein in a wonderfully expressive way – with a quality that goes way past the usual entries in the genre! There's almost a slight undercurrent of sentimentality to the music – not in a cloying way, but with a quality that seems to reference the entire history of the western with sensitive ears – in a way that the film almost seems to do with its story, as well – carrying things forward without too much drama, but this subtle depth that really makes the music special! The recording quality is excellent, and Bernstein's scoring shows some instrumental modernity he wouldn't have had a few years before – complex use of subtle elements that really comes through in the production. Titles include "Born To Hang", "Necktie Party", "Smoke", "New Money", "Surrounded", "Thickening Plot", "Billy Joe", "Train", and "Venture".

Surprisingly groovy work from Tony Blackburn – a guy most folks know for his famous DJ work in the UK, from the pirate radio years onwards – but also a singer who cut a fair number of cool singles – most of which are packaged here in this overstuffed set! Blackburn's got a voice that was great for speaking on radio – and his approach to pop is often touched with that same sort of depth – perfect for subtle drama on more driving numbers, or a simple sort of charm that works very well with the more laidback tunes too! Musical styles run a gamut of pop psych, mod, and cool compressed 70s Brit pop modes – all of the sort you're likely to hear from some of the bigger acts that Tony might have been spinning on the air. Titles include "It's Only Love", "Open Your Eyes", "Janie", "Chop Chop", "Happy", "If You Were A Dream", "Fairy Tales", "Dusty", "Cindy", "House Of Cards", "Don't Get Off That Train", "Green Light", "Winter Is Through", and "In The Night".

Some of the moodiest sounds you'll ever hear in a record to feature banjo as the main instrument – a classic set of recordings from the legendary Dock Boggs! The set was put together by Mike Seeger, who also plays a bit of guitar on the record – but most of the sounds are up-close, very personal work by Boggs – whose voice has as much character as his inventive sounds on the banjo. Titles include "Wise County Jail", "Brother Jim Got Shot", "Little Black Train", "Danville Girl", "Old Joe's Barrom", and "Glory Land".

A great little record from Booker T and group – often overlooked amidst the range between Green Onions and Melting Pot, but a very strong album of soulful Memphis instrumentals all the way through! Book's organ is bubbling hot, and the band's tight rhythm style works in a perfect laid-back mode to push the group way past the stock grooves of earlier albums – thanks to great work from the rest of the combo too. There's some mighty nice rhythm changes on this one, and a good range of non-pop tunes like "Night Owl Walk", "Chinese Checkers", "Soul Dressing", "Tic Tac Toe", "Outrage", "Home Grown", "Big Train", "Jelly Bread", and "Plum Nellie".

The rare self-titled set from the Bobby Boyd Congress – a killer combo with roots in early 70s Long Island, but relocated to France to make this killer set! The group is lead by tenor sax player and lead vocalist Boyd – although this set is heavy with instrumental passages. We're loving the way they mix brass heavy funk with lumbering psych steeped organ and fuzzed out guitar grooves. They even sneak in a laidback or jam, too – bringing a pretty versatile approach to this album! Titles include "Straight Ahead", "In A Toy Garden", "I'm Undecided", "Train", "It's Good To See Your Face Again", "Dig Deep In Your Soul" and "Bright Flowers".

A swirling blend of soul, funk, and jazzy grooves – and a super-rare album that we've never seen in the original! Supposedly, backing on the record is by the British Afro-Funk group Assagai – which sounds right to us, because there's a nice rolling conga groove on many of the tracks. Lead vocals are by Charles Hilton Brown, in a nicely raw soul style that reminds us a bit of Otis Redding, and a bit of Mike James Kirkland on some of his early 70s material. The record features vocal covers of a number of soul hits – like "Try A Little Tenderness", "Love Train", and "Ain't No Sunshine" – plus some originals that are even better, like the funky instrumental "GRF", and the tunes "Maddox" and "Tell Me Once Again". Nice and raw, and with a sound hip enough to match the record's cover!

A slammin' set of heavy R&B numbers from James Brown – combined in here with some other nice tracks from King Records artists of the time! The set almost has the same feeling as some of the James Brown Show albums – in that James is presented with other hard-hitting artists of his time – yet the difference here is that the others are King Records giants in their own right. The album features about 50% material by James – all hard hitters that include "Suds", "Hold It", "Scratch", "Night Train", "Cross Firing", and "Night Flying" – nearly all of which are instrumentals, in the best early King tradition! These are followed up by other tunes, mostly instrumental, from other artists – including "Doin Everything" and "Switch A Roo" by Henry Moore, "Tonk Game" by Hank Marr, "Bushy Tail" by Clifford Scott, "The Wobble" by The Wobblers, and "Just A Little Bit Of Everything" by Herb Hardesty'.

The Dave Brubeck Quartet goes to college – a pretty good place for the combo, considering how many fans they had on campus in the 50s! The sound here is never too academic for the setting, though – just the same sort of Brubeck groove first forged in the small clubs in San Francisco – played beautifully by an incarnation of the quartet that includes Paul Desmond on alto sax, Bob Bates on bass, and Joe Dodge on drums. The long, bluesy "Balcony Rock" is a real gem, with some standout work by Desmond that reminds us that he could be a great improvisor in an extended format – and other tracks include "Out Of Nowhere, "Le Souk", "The Song Is You", "Don't Worry Bout Me", and "Take The A Train".

We're not normally the biggest fans of The Chambers Brothers, but this album's a cracking winner from the mid 70s. Shouldn't be so, given the date and the label, but there's a really funky track on here that's one of their best – the great break cut "Stealing Watermelons", which has a great drum part, a strong bassline, and cool harmonica on the intro! Other tracks are pretty nice too – and titles include "Stop The Train", "Miss Lady Brown", "Lotta Fine Mama", "Smack Dab In The Middle", and "Pretty Girls Everywhere".

Great early genius from the Clarke Boland Big Band – proof that Kenny and Francy were onto something great, right from the start! The album really has the group hitting the heights of their MPS years – stretching out way past earlier big band modes, into the hip mix of rhythms and soulful solos that made the ensemble unlike any other group in the 60s – a really groundbreaking approach to their music, delivered by a range of top-shelf players! Arrangements are by Boland, who also plays piano – and other group members include Benny Bailey and Jimmy Deuchar on trumpets, Derek Humble on alto sax, Carl Drewo and Zoot Sims on tenor, Sahib Shihab on baritone sax and flute, and Ake Persson on trombone – plus rhythm from the rock-solid duo of Jimmy Woode on bass and Kenny Clarke on drums. Titles include the Latin-tinged "Los Bravos", and more great originals by Boland – including "Volutes", "The Styx", "Charon's Ferry", and "Box 703 Washington DC" – plus versions of "Gloria" and "Last Train From Overbrook".

A great slice of work from trumpeter Bill Coleman – an American player by birth, but one who became a key part of the French jazz scene in the postwar years – thanks to a big move overseas! Yet the sides here show Bill in an even fresher setting – not just a UK venue, but also working in more of a bop-oriented mode – which is a change from the trad and swing of some of his better-known albums from France! Coleman's trumpet has plenty of charm – a raspy, soulful approach that really makes his swing sessions sparkle – but which turns out to work equally well on some of the more hard-driving tracks here – which, mixed with the gentler lines, almost feel like some great lost 50s Verve album. The set features a lineup of players who include Lou Hooper on tenor, Alan Littlejohn on additional trumpet, Tony Millener on trombone, Ron Matherson on piano, Ron Rubin on bass, and Johnny Richardson on drums – and titles on this second volume include "Impulsive You", "Jam", "Theme Song", "Take The A Train", and "Blue Turning Grey".

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

Cyclist rides in with Bones In Motion – a joint release by Stones Throw and Leaving Records – an icy cool mix of early electro and housey influences with grittier, more experimental touches! The hypnotic approach and 80s era synth atmosphere bring Tour De France era Kraftwerk to mind – which sure makes the name Cyclist an apt one – and whether the name is a Kraftwerk nod or not, there's a lot more going on here! It's ultimately quite unique and all Cyclist's own. There's a hazy digital fog hanging over these instrumentals that give it a far fuzzier vibe than most 80s electronics-inspired sounds of the post millenium years – plus a thoroughly modern take on avant sampler dynamics. Distorted as they might be, there's usually a compelling, danceable beat underneath, too! Titles include "Feel Beauty", "Mangel", "Bones In Motion", "Sheen", "Makeshift", "Stove", "The March", "Visions", "Fleet Meeting", Black Train", "Another Exploitation", "

Cyclist rides in with Bones In Motion – a joint release by Stones Throw and Leaving Records – an icy cool mix of early electro and housey influences with grittier, more experimental touches! The hypnotic approach and 80s era synth atmosphere bring Tour De France era Kraftwerk to mind – which sure makes the name Cyclist an apt one – and whether the name is a Kraftwerk nod or not, there's a lot more going on here! It's ultimately quite unique and all Cyclist's own. There's a hazy digital fog hanging over these instrumentals that give it a far fuzzier vibe than most 80s electronics-inspired sounds of the post millenium years – plus a thoroughly modern take on avant sampler dynamics. Distorted as they might be, there's usually a compelling, danceable beat underneath, too! Titles include "Feel Beauty", "Mangel", "Bones In Motion", "Sheen", "Makeshift", "Stove", "The March", "Visions", "Fleet Meeting", Black Train", "Another Exploitation", "

Classic tenors head-to-head – as Griff & Lock lay out one of their excellent 2 tenor classics from the early 60s! The rhythm section's deeply soulful – with Junior Mance on piano, Larry Gales on bass, and Ben Riley on drums – and the album grooves through some long blowers, a mellow number, and a few choppy modern ones. Titles include "Last Train From Overbrook", "Second Balcony Jump", "Midnight At Mintons", "Hey Lock", and "Good Bait".

One of Martin Denny's greatest albums – thanks to some extra special added elements! For the record, Denny's classic quartet is augmented by a wealth of odd added percussion – including gongs, cymbals, tuned logs, steel drums, chimes, and "chromatic bamboo"! All of these elements take Denny's exotica sound way further than ever before – and if that's not enough, the legendary Tak Shindo plays a bit of Koto on the record too! Titles include "M'Bira", "Burma Train", "Kalua", "M'Gambo Mambo", and "Mau Mau".

A nice mix of danceable beats, keys and sampled atmospheres from DJ Sun – a producer with an appropriate moniker – as he delivers a nice and warm batch of grooves! Jazzy hip hop beats and samples, global beatcraft and some nice, fusiony keys float in and out here – with a guest list that includes Leah Alvarez, Jessica Zweback, Tim Ruiz, Mark Sound and Meghan Hendley. "Tomorrow", "Bus", "Break", "Sednsation", "Stinger", "Heart Seed" feat Leah Alvarez, "Ten" feat Jessica Zweback, "Monday Drive", "F Train To Church", "Brown Brother" feat Tim Ruiz", "Seconds", "Fun", "Dubai", "Life" and more. Also includes a bonus version of "Heart Seed" with Leah Alvarez and Martin Perna.

A pivotal moment for Bob Dylan – and maybe one of THE albums of the 60s! The newly-electrified Dylan really takes off here – putting more punch and bit into his already-strong lyrical approach – and twisting things in amazing ways that still leave us breathless all these many years later! And sure, the album gave Bob a few hits – which are nestled in here next to headier tunes that work together perfectly. Titles include "Like A Rolling Stone", "Ballad Of A Thin Man", "It Takes A Lot To Laugh It Takes A Train To Cry", "From A Buick 6", "Desolation Row", "Highway 61 Revisited", and "Queen Jane Approximately".

One of Duke Ellington's standout sides for Columbia – a strong recording that revisits many of the best elements of his earlier work, and offers up some more sophisticated scoring for the 50s – thanks to extended track length in the LP generation! The tunes here are older ones, but they're taken to some nicely hip territory – thanks to Duke's strong ear for modern changes, and a line up of players that includes Billy Strayhorn on piano, Paul Gonsalves on tenor, Clark Terry and Ray Nance on trumpets, Juan Tizol on trombone, and Louis Bellson on drums. Bellson does a great job on the classic "Skin Deep" – a real showcase for his talents in this recording – and other titles include "The Mooche", "Take The A Train", and "Perdido" – plus "The Controversial Suite".

Hard to believe it took a few decades in the careers of both players for them to record together – but that's exactly what you've got here – a landmark meeting of Count Basie and Duke Ellington from the early 60s, near the tail end of Duke's classic stretch on Columbia! Teo Macero produced the session with just the right amount of care and class to keep the whole thing from being an exercise in cliche – and there's a surprising amount of depth here that you might not expect – the best modern elements of Duke's orchestra on Columbia, coming into play with a bit more of the fire and vamp of the Basie group at the time! Titles include "Battle Royal", "Wild Man", "Segue In C", "Jumpin At The Woodside", "To You", and "Take The A Train".

One of the best of John Fahey's Takoma records of the late 60s – and made up of some great Fahey recordings that he made with other musicians – including some great ones with Fahey accompanied by his alter ego Blind Joe Death! Some of the tracks are folk & blues guitar tunes that are as easygoing and charming as they are adventurous – and others go into more of spooky Eastern raga inspired direction – and some tunes do both! Includes "Bottleneck Blues", "Bill Cheatum", "Lewisdale Blues", "Bean Vine Blues", "A Raga Called Pat Part III", "A Raga Called Pat Part IV", "Train", "Je Ne Me Suis Reveillais Matin Pas En May", "The Story Of Dorothy Gooch Part I", "Nine-Pound Hammer" and "Lonesome Valley".

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".

Titles include "Admiral's Horn", "Jar Star", "Take The A Train", "Latino Lovewalk", "Sesame Street", "As Time Goes By", "Go With The Flow", and "Hit In The Head".

The first full length for The Five Americans – a great set of mid 60s heartland rock by a group that could deliver raucous garagey nuggets, sweeter harmonies, and jangly pop tunes – with equal excellence! The group vocals are fantastic, and it's especially impressive that they could handle organ and heavy drums drenched rockers and groovy pop vocals at the same time. These five fellas should be much better remembered! Includes the killer title track "The Losing Game", "Goodbye", "The Train", "it's A Crying Shame", "I Know They Lie", "Twist And Shout", "I'm So Glad", "The Outcast" and more. Reissued for the first time in mono here by Sundazed – and it sounds great!

A split LP, but a seminal full length album in the doo wop genre – one that was issued on Vee Jay in the early 60s, but brought together some key earlier work by The Flamingos and The Moonglows! Both groups here are at the height of their early powers – singing in a stripped-down and nearly acapella mode that's totally great – often with just a bit of rhythm to keep things grooving along. The sound is much different than the later Flamingos' sides on End, and represents The Moonglows before they'd softened things up a bit. Titles include "I Was Wrong", "Real Gone Mama", "Oh Rockin Daddy", "Secret Love", "Whistle My Love", and "219 Train" by The Moonglows – and "Vooit Vooit", "Someday Someway", "Golden Teardrops", "Carried Away", and "If I Can't Have You" by The Flamingos.

Excellent work from a player we love more and more with each new album – Roberto Gatto, an artist we love equally both for his work as a leader, and on the drums! The set features a slightly larger group than usual – Gatto's Lysergic Band, with alto from Gaetano Partipilo, tenor and soprano sax from Max Ionata, trombone from Roberto Rossi, and trumpet from Giovanni Falzone – all horn players who are used sparingly, in really wonderful ways to flesh out the music, and give it a great deal of individual personality! This is less an ensemble recording than a shifting set of voices that have found some great space to come together – working under Gatto's strong guidance in these moody blends of darkness and light. Other players include Battista Lena on guitar and Alessandro Lanzoni on piano – and titles include "The Swinging Cats", "Lysergic", "Take The Dark Train", "Deep", "Fall", and "Queen Porter March

Rare work from British easy maestro Ron Goodwin – one of England's most important orchestral talents of the 50s and 60s! Disc one of the set features Goodwin's instrumental singles of the 50s – many of which were done in a style that's similar to some of Les Baxter's pre-exotica work for Capitol. Like Baxter, Goodwin came from a more traditional style of mood music, but was also willing to work in farther-reaching modes – and would pick up traces of some of the more ambitious easy styles of his time. The second disc features Goodwin's soundtrack work of later years – much of which was done in highly dramatic styles that often supported historical narratives, war stories, and other films of an epic nature. Together, the 2CD set makes for a great look at Goodwin's oft-neglected work – and is packaged with a great set of notes and a huge amount of tracks! Titles include "Concetta", "Red Cloak", "The Melba Waltz", "Messenger Boy", "Jet Journey", "Tropical Mirage", "Josita", "Wagon Train", "Aces High", "Departure", "Frenzy", "Decline & Fall", "Cafe Royal Waltz", "Return My Love", and "When Eagles Dare". 53 tracks in all!

A rare early chapter in the career of guitarist Grant Green – local material, cut in his hometown of St Louis – in the years before Lou Donaldson picked him up and delivered him to Blue Note Records! Amazingly, though, the Grant Green heard here is every bit as great as the guitarist who emerged strongly on his early Blue Note dates as a leader – a smoking soloist with a strong talent for single-line grooving – working here in a hip organ combo that features Sam Lazar on Hammond and Bob Graf on tenor sax! Lazar's got a mean bite to his organ, and pairs beautifully with Green – and together, the players hit a groove that's gritty, yet which has surprisingly strong fidelity – more than enough to make the record an essential piece of Grant's catalog. The CD's hardly a muddy live recording, and instead has surprisingly great fidelity – and lots of long tracks with open solos, on titles that include "Deep", "Blue Train", "Holy Barbarian Blues", "Caramu", "Grovvin High", and "Out Of Nowhere".

One of the most dynamic George Gruntz albums we've heard in years – a sweet tribute to the Village Vanguard recordings of John Coltrane! The album's a modern one, and done with a large ensemble – but it's a really well-spirited tribute to Trane's famous live material from the Vanguard – music that not only stands out as some of his best from the time, but which also really went on to open up some fresh new spaces in jazz! Gruntz explores this space with a group that's quite different than Coltrane's Quartet – an ensemble of younger Swiss players who really hit some sharp edges under his leadership – with soloists who include Fiete Felsch on soprano sax, Peter Bolte on alto, Ingolf Burkhardt on trumpet, Frank Delle and Bjorn Berger on tenor, and Klaus Heidenreich on trombone – all musicians we don't know at all, but who are definitely infused with the spirit of Coltrane on the set. Titles include "Big Nick", "Impressions", "Moment's Notice", "Naima Mysterious", "Blue Train", "After The Rain", "Lazy Bird", and "My Favorite Things".

Live solo work by Roland Hanna – a set that starts out kind of slow, as Hanna performs 2 Ellington crowd-pleasers – but which then really takes off as he moves into his own beautiful compositions! These really have Hanna unfolding on the keys, and playing with a rich lyrical quality that always marked his best work – and which makes him a compelling player that can really hold sway even in a solo set. Titles include "Wistful Moment", "Perugia", "Time Dust Gathered", and "A Child Is Born" – as well as versions of "Take The A Train" and "I Got It Bad & That Ain't Good".

A legendary bit of Latin from the New York scene of the 60s – recorded by a host of youthful players working under the direction of percussionist Montego Joe! The group's name is a contraction of "Harlem Youth" – a program in which all players participated, as part of an effort to get kids involved in music uptown – spearheaded by Montego Joe, whose guidance in the set is greatly appreciated! There's a strong Latin Soul vibe running through the set – but one that's different than Joe's other work, a bit more rootsy at times, given all the percussion in the lineup – but warmed up nicely with bits of guitar, trumpet, and alto sax. The album's filled with great groovers – including the classic "Welcome To The Party", and the amazing "Oua-Train" jazz cut, which has a slightly spiritual feel. Other tracks include "Feed Me Good", "Barrets Bag", "Tico", "Ngoma", and "Santa Cruz".

Sax-heavy New Orleans R&B instrumentals from Herb Hardesty – the tenor player and secret weapon in Fats Domino's band – one of those incredible players whose name isn't as well known as the sound of his instrument! His sax sounds really great out front and in the lead – tightly grooving late 50s and early 60s rhythm & blues. This first ever CD retrospective of Herb's relatively few recordings as a leader features sessions recorded in New Orleans in '58, NYC in '59 and Cincinnati in '61 – with stellar players that include Hank Jones, Jimmy Davis, Walter Nelson, Clarence Ford and Roy Montrell. 12 of the tracks from a never-released Mercury LP – and the set has 20 tracks in all! Includes "Sassy", "Goldie", "Herb's Mood", "Nat", "Adam And Eva", "Coach Train", "69's Mother's Place, "The Chicken Twist", "Perdido Street" and more – plus 2 tunes with vocals by group guitarist Walter "Papoose" Nelson – "It Must Be Wonderful" and "Why Did We Have To Part".

Titles include "Here Comes The Sun", "Some Will Wait", "Patient Lady", "Missing Train", and "End Of The Seasons".

Amazing sounds from Lee Hazlewood – some of his most offbeat, unbridled recordings ever – and that's saying a lot if you've already heard his classics for Mercury, MGM, and Reprise! The package here brings together rare work from Lee's own LHI label – packaged beautifully with a rich set of notes, session details, and some amazing photos that follow in the spirit of the nutty-looking cover image! Hazlewood's voice is sublime throughout – that deeper-than-deep quality that always leaves us breathless – perfect for the sly wit and and "aw shucks" sensibility of the tunes – and also for unlocking the growing adult sensuality that Lee was letting into his work at the time. A few female singers step forth in that great Hazlweood duet mode – Nina Lizell, Suzi Jane Hokom, and Ann Margret – who each sing on a few tracks – but Lee's in the lead on most numbers, and titles include the previously unreleased "I Just Learned To Run" – plus "The Bed", "Sleep In The Grass", "The Night Before", "If It's Monday Morning", "Won't You Tell Your Dreams", "Hey Cowboy", "No Train To Stockholm", "What's More I Don't Need Her", "Trouble Maker", and "Nobody Like You".

Amazing sounds from Lee Hazlewood – some of his most offbeat, unbridled recordings ever – and that's saying a lot if you've already heard his classics for Mercury, MGM, and Reprise! The package here brings together rare work from Lee's own LHI label – packaged beautifully with a rich set of notes, session details, and some amazing photos that follow in the spirit of the nutty-looking cover image! Hazlewood's voice is sublime throughout – that deeper-than-deep quality that always leaves us breathless – perfect for the sly wit and and "aw shucks" sensibility of the tunes – and also for unlocking the growing adult sensuality that Lee was letting into his work at the time. A few female singers step forth in that great Hazlweood duet mode – Nina Lizell, Suzi Jane Hokom, and Ann Margret – who each sing on a few tracks – but Lee's in the lead on most numbers, and titles include the previously unreleased "I Just Learned To Run" – plus "The Bed", "Sleep In The Grass", "The Night Before", "If It's Monday Morning", "Won't You Tell Your Dreams", "Hey Cowboy", "No Train To Stockholm", "What's More I Don't Need Her", "Trouble Maker", and "Nobody Like You".

The brilliant bluesy side of Hendrix – great stuff recorded from '66-'70 – including his most blues based originals and incredible covers! Bluesy it is, but it's also Jimi – with the soaring, loose and massively influential lead guitar grooves and many of which went unreleased until the 90s – and remains among the most essential of posthumous Hendrix releases. Includes "Hear My Train A Comin'" (acoustic and electric versions), "Born Under A Bad Sign", "Catfish Blues", "Red House", "Voodoo Chile Blues", "Mannish Boy", "Once I Had A Woman", "Jam 292" and "Electric Church Red House".

What? A brand new album from Jimi Hendrix? Didn't he, uh, check out a few decades ago? Well, turns out that the Experience folks have found some amazing work on the vaults – really incredible tracks that are way more than just a rehash of previous releases, aren't demo recordings at all – and are instead some wonderful work that really comes together well as a long-overdue full album! The set's a stunning smoker through and through – filled with the kind of deft guitar work that made Jimi a legend right from the start – and stuffed into tunes that pack as much of a punch as any of the famous Hendrix singles that have kept spinning for so many years. All tracks are studio recordings, all previously unreleased – and titles include new songs like "Somewhere" and "Hear My Train A Comin", plus studio takes of "Inside Out" and "Bleeding Heart" – and lots more great tracks that include "Earth Blues", "Let Me Love You", "Izabella", "Crash Landing", "Easy Blues", and "Mojo Man".

What? A brand new album from Jimi Hendrix? Didn't he, uh, check out a few decades ago? Well, turns out that the Experience folks have found some amazing work on the vaults – really incredible tracks that are way more than just a rehash of previous releases, aren't demo recordings at all – and are instead some wonderful work that really comes together well as a long-overdue full album! The set's a stunning smoker through and through – filled with the kind of deft guitar work that made Jimi a legend right from the start – and stuffed into tunes that pack as much of a punch as any of the famous Hendrix singles that have kept spinning for so many years. All tracks are studio recordings, all previously unreleased – and titles include new songs like "Somewhere" and "Hear My Train A Comin", plus studio takes of "Inside Out" and "Bleeding Heart" – and lots more great tracks that include "Earth Blues", "Let Me Love You", "Izabella", "Crash Landing", "Easy Blues", and "Mojo Man".

Back to back jazz soundtracks – the cream of the crop of the early 60s! First up is The Hustler – a killer jazz score from Kenyon Hopkins – a composer we can almost always trust to turn around a killer jass score! The work is mostly in a jazz ensemble mode – and moves between swinging segments, and sadder ones – those beautifully blue passages that Hopkins did so well in the early 60s – full of emotion, but in a really subtle, mature sort of way that also marked a shift in American cinema too – quite a change from the overblown emotion of a decade before, both in the music and on screen. Players include Phil Woods, Jerome Richardson, and Phil Bodner on reeds; Joe Wilder on trumpet, Jimmy Cleveland on trombone, Hank Jones on piano, and Barry Galbraith on guitar – and titles include "Derby Time", "Dining Out", "Fast Buck", "Small Time Charlie", "The Loser", and "Minnesota Fats". Paris Blues is a moody introspective score, written for a 1961 film that starred Paul Newman as a frustrated jazz musician living in Paris. The "Paris Blues" theme is a dark, somber composition that is supposedly Newman's masterpiece as a jazz writer – and it works beautifully with the film's themes of frustration and unfulfilled desire. Ellington's at his best here, and apart from the main theme, the score also has great versions of classics like "Mood Indigo" and "Take The A Train", plus originals like "Nite", "Wild Man Moore", "Guitar Amour", and "Paris Stairs". Also features Louis Armstrong on one track! CD also features 7 more tracks from The Long Hot Summer – a more traditional score penned by Alex North, and featuring a title song by Jimmie Rodgers.

A record that really lives up to its title, given the sweet Philly grooves of the set – a real surprise, given that the album was recorded in Germany! The session's a rare studio project in the early years of the German disco scene – and comes off with the best soulful styles that were bubbling up in the US at the time – clubby instrumental grooves that are filled with soaring strings and tight rhythms – yet served up in ways that are never too overdone! In fact, if you slapped some obscure US label on this one, folks would be more than willing to believe that the set's some underground corner from the New York scene – quite a surprise for a record that was initially cut just for sound library usage. Titles include "City Train", "Alaska Flight", "Skyline", "Night Shift", "Full House", "Star Shot", "Rush Hour", "Sun Ship", and "Flash Point".

A record that really lives up to its title, given the sweet Philly grooves of the set – a real surprise, given that the album was recorded in Germany! The session's a rare studio project in the early years of the German disco scene – and comes off with the best soulful styles that were bubbling up in the US at the time – clubby instrumental grooves that are filled with soaring strings and tight rhythms – yet served up in ways that are never too overdone! In fact, if you slapped some obscure US label on this one, folks would be more than willing to believe that the set's some underground corner from the New York scene – quite a surprise for a record that was initially cut just for sound library usage. Titles include "City Train", "Alaska Flight", "Skyline", "Night Shift", "Full House", "Star Shot", "Rush Hour", "Sun Ship", and "Flash Point".

One of the most fantastic albums by the JBs – a masterpiece of funky jamming, tight instrumentation, and that free yet tight style of the James Brown 70s years! The tracks are longer than on some of the earlier singles – especially the 8 minute jammer "(It's Not The Express) It's the JBs Monourail", an answer to BT Express' theme song, and a fantastic cut that's held up through so many years and so many scenes! Another great jammer is the group's version of "Thank You For Letting Me Be Myself", which runs for nearly 10 minutes – plus spacey funk tracks "Transmogrification" and "Taurus, Aires, & Leo", and the tighter jammer "Soul Funky Train", which returns to the group's funky 45 mode. Fantastic all around – and the kind of record you'll be playing for your grand kids!

One of the most fantastic albums by the JBs – a masterpiece of funky jamming, tight instrumentation, and that free yet tight style of the James Brown 70s years! The tracks are longer than on some of the earlier singles – especially the 8 minute jammer "(It's Not The Express) It's the JBs Monourail", an answer to BT Express' theme song, and a fantastic cut that's held up through so many years and so many scenes! Another great jammer is the group's version of "Thank You For Letting Me Be Myself", which runs for nearly 10 minutes – plus spacey funk tracks "Transmogrification" and "Taurus, Aires, & Leo", and the tighter jammer "Soul Funky Train", which returns to the group's funky 45 mode. Fantastic all around – and the kind of record you'll be playing for your grand kids! CD adds 5 extra bonus cuts, all from hard-to-find People singles, and not on other LPs – including "J.B. Shout", their version of "Alone Again", "Sportin Life", "Dirty Harri", and the two part classic "Everybody Wanna Get Funky One More Time". Nice stuff, and a good reason to pay the extra price for the Japanese reissue!

One of our favorite albums ever from Eddie Jefferson – one of the last sessions he ever recorded as a leader, and a stone cooker through and through! The arrangements here are by Slide Hampton, who hits a really soulful groove for the set – one that moves away from some of the more experimental modes of other Jefferson dates of the 70s, and hits a snapping, swinging style that moves Eddie back to his hippest modes of the 60s. Hampton plays trombone in the group, and other players include Charles Sullivan on trumpet, Richie Cole on alto, Junior Cook on tenor, Hamiet Bluiett on baritone, and Harold Mabern on piano and electric piano. Leon Thomas produced the record, and Joyce Lawson guests as the female voice on a remake of "Moody's Mood For Love". Other titles include a killer version of Duke Pearson's "Jeannine" that is probably worth the price of the album alone – and there's also "Benny's From Heaven" and "Freedom Jazz Dance", both of which are great, too – plus "Summertime", "Exactly Like You", and "Night Train".

A beautiful example of the mid-60s power of JJ Johnson – a big band session that features arrangements by JJ, Gary McFarland, and Oliver Nelson – all a very cooking mix of modernism, soul, and swing! The groups are large on all numbers, but there's plenty of room for Johnson to solo out in the lead – in a tightly-blown approach to trombone that almost comes across like a trumpet, given JJ's focus on the instrument. Other horn parts back him up lightly, but never overwhelm – and titles include "So What", "Stratusphunk", "Winter's Waif", "El Camino Real", "Stolen Moments", "Train Samba", and "Bemsha Swing".

Classic trumpet-heavy jive from Jonah Jones! The focus is on Jonah's gutbucket swinging style, with his trumpet up front in the mix in post-KC swing-type tunes. Things get a bit campy at times, but this pop-jazz-swing style worked extremely well for Jones and Capitol. Titles include "Moten Swing", "Lots Of Luck Charley", "Ballin The Jack", "Slowly But Surely", "Night Train", "The Blues Don't Care", and "Just A Gigolo". Sure to be a big hit with the modern swingers!

Surprisingly enjoyable record in which King Curtis runs through a number of C&W favorites, and turns them into R&B sax instrumentals. The album shows what a clear link there was between the two musical traditions, and includes classics like "Night Train To Memphis", "You're Cheatin Heart", "High Noon", "I'm Movin' On", and "Walkin The Floor Over You".

A wonderful full album from keyboardist Jessica Lauren – a London talent we've loved for years, and have watched mature deeply over the past few decades! Jessica's keyboards have graced a number of key recordings from the past 20 years or so on the British scene – but she's issued woefully few albums under her own name, which makes this jazzy session an even greater treat! Jessica plays acoustic piano and organ on the record – the latter of which still brings in some of the more electric modes we know from her roots – while the piano tones ring out with a beautifully earthy feel – alongside bass, drums, and a heck of a lot of percussion – more than enough to bring in plenty of Latin and other global elements to the music! Most tunes are instrumentals, but the set does feature guest vocals from Jocelyn Brown on the tracks "Happiness Train" and "I Believe". Instrumental cuts include "The Name Of Fela Will Always Stand For Freedom", "White Mountain", "Vaya Con Dios", "Dogtown", "Gangaman", and "Mel Benson".

Classic soul from Bettye Lavette – with some her best recordings ever – a batch of tunes cut in Memphis with Lelan Rogers for the Silver Fox label in '69 & '70! The Betty heard here is a lot harder than on her earlier soul sides – recorded with a raw power that could easily blow away Aretha Franklin or any of her hard soul sisters – and done with a unique crossing of southern, funky, and country soul modes! Amazing! Titles include "My Train's A Coming", "Do Your Duty", "Love Made A Fool Of Me", "At The Mercy Of A Man", "Piece Of My Heart", "Easier To Say Than Do", "He Made A Woman Out Of Me", "We Got To Slip Around", "I'm In Love", and "Games People Play".

As the title implies, Lewis takes eight different styles of boogie-woogie, including his own, and gives the listener his interpretation of the styles via piano. Tracks include "Pinetop's Boogie", "Cow Cow Blues", "Yancey Special", "Mr. Freddie Blues", "Suitcase Blues", "Albert's Blues", "Jumpin With Pete", and "Honky Tonk Train Blues".

One of the strongest early albums by the Ramsey Lewis Trio – especially because it features some great original material! The group – with the usual Redd Holt and Eldee Young lineup – is augmented by Chris White on a few tracks, who plays bass while Young switches to cello, an instrument that he played better in jazz than just about anyone. Apart from the group's great title reading of Cannonball Adderley's "Barefoot Sunday Blues", the record also features original tracks "The Train Won't Wait", "Come On Baby", "I Spend My Life", "Act Like You Mean It", "Salute To Ray Charles", and "Don't Even Kick It Around". Also includes Charles Lloyd's evocative composition "Island Blues".

A really cool record from the late 60s Spanish rock scene – done with a pop-ready simplicity, but accented with some gritty, garage psych touches too! Contrabando features a newer line-up of the group, after Juan Pardo and Antonio "Junior" Morales left the group to for Juan Y Junior (who were replaced by a couple members of The Shakers) – and the group succeeds with a mix of UK and US rock influences (the album was recorded in London) – a little bit of Byrds in the vocals, some Kinks-y angst and some Beatles psychedelic pop – without compromising their Spanish style one bit, particularly with some brass in the arrangements and the mostly Spanish language vocals. A real gem! Includes "Lola", "Pequeno Pajaro", "El Pasaporte", "Rapidamente", "The Train", "Nadie Te Quiere Ya", "Contrabando", "Big Temptation", "Soy Como Quiero", "Nunca Cambiaras" and more. CD features loads of bonus tracks too – a whopping 26 titles in all!

An unusual album from Arthur Louis – and a set that features some surprising guest work from Eric Clapton on guitar! Louis has this raspy style that's not far from Clapton's – and the presence of the famous guitar definitely helps shape the sound of the record too – giving it a compressed but rocking style that's at the sharper edge of the British scene in the 70s. Things are never too slick, but they're tight enough to not be gritty either – a surprising balance that's a bit different than more commercial albums of this nature. Gene Chandler provides guest vocals on "The Dealer" – and other titles include "Knockin On Heaven's Door", "Plum", "Been On The Road Too Long", "Train 444", and "It Feels Good".