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The Isleys sure aren't out to prevent teen pregnancy with the title of this set – but given the strength of the album, we can easily forgive them for any lack of social consciousness! In an era when countless young artists are copping the Isley groove of the 70s, the Brothers are back to show the world that they still do it best – with Ronald's vocals crackling sweetly over the top of the tunes, and plenty of classic guitar from Ernie on the bottom! Tunes are all in that vein that the Isley's virtually invented back in the day – mellowly stepping along a gentle groove that's perfect for the aging sound of Ronnie's voice – and although production is by a host of younger talents who include R Kelly, Jermaine Dupri, Manuel Seal, Troy Taylor, and Tim Kelley and Bob Robinson, the overall sound is still very firmly in a classic Isleys mode! Titles include "Blast Off", "Heaven Hooked Us Up", "Forever Mackin", "Pretty Woman", "Gotta Be With You", "You're My Star", and "Just Came Here To Chill".

Classic-styled soul from Musiq Soulchild – his debut set for Def Soul, and the start of a great run of mellow grooves! As you might guess from the compressed wording of the title, the tunes here have a great set of flow – a laidback, kicked-back sort of sound that's not nearly as full-on or swaggering as other male soul of the time. Musiq's even more relaxed than D'Angelo here – and the tunes are awash in warm keyboard lines and mellow bubbling beats – all with plenty of room for Musiq to stretch out in some sweeeeeet vocal lines. Titles include "Speechless", "You & Me", "Just Friends (Sunny)", "Girl Next Door", "Mary Go Round", "Love", "Poparatzi", and "You Be Alright".

A Def Jam classic from Tashan – and a record that really helped bridge the gap between male soul and hip hop in the 80s! The style's still as warm and soulful as most of Tashan's contemporaries, but the record definitely shows a bit of street soul in the rhythms too – often just a bit gentle, but prefacing the changes that would come more strongly in the next decade – an aspect that really made this one stand out from the rest! Tashan's vocals are in a classic romantic mode, but often set to beats that provide a nice contrast and a good sort of punch – a definite Def Jam mode that's famously heard on the title track. Titles include "Ooh We Baby", "So Much In Love", "I Don't Ever", "Love Is", "Read My Mind", "If Words Can Express", "Chasin A Dream", and "Strung Out On You". CD features bonus tracks – "Read My Mind (long version rmx)", "Read My Mind (short version rmx)", "Chasin A Dream (special mix)", and "Chasin A Dream (single)".

Macy Gray's steps to a higher level on The Id – this is no "sophomore slump" to our ears – actually a helluva lot better than her big selling debut! As on her first set, Macy's vocals are wonderful – totally unique, with that warm raspy soulful style that makes her one of the most instantly recognizable soul artists since Al Green. The production is very strong too – with a sound that's new and fresh compared to most chart soul acts, but which also has its roots in the Columbia crossover sound of the late 60s, with traces of artists like Sly Stone and Janis Joplin all colliding into one cool groovy sound! Titles include "Hey Young World (part 2)", featuring Slick Rick, plus "Blowin Up Your Speakers", "Forgiveness", "My Nutmeg Phantasy" (featuring Angie Stone & Mos Def), "Sweet Baby" (featuring Erykah Badu), "Sexual Revolution", and "Relating To A Psychopath".

The last Tribe Called Quest LP – one of those "end of an era" type experiences for sure – and record that was fairly slept on it the time given the dizzying heights of their earlier record – and holds up today as an essential! The tracks are all produced by The Ummah featuring J Dilla, and just a solid bed of production that's a reminder of how this excellent style of hip hop production excels so sweetly at both looking forward and making 70s soul jazz beats sound forever fresh – with tracks including "Pen & Pad", "Find A Way", "Like It Like That", "Steppin' It Up" (featuring Busta Rhymes & Redman), "Rock Rock Y'all" (featuring Mos Def, Jane Doe, Punchline & Wordsworth.) As an added bonus, the CD includes six rare classic Tribe Called Quest alternate tracks and remixes that this point only ever appeared on 12-inches – including the classic "Scenario" remix, "Oh My God" remix, "Hot Sex", "One, Two Sh*t", and "Jazz (We Got)" re-recorded version.

Timeless hip hop instrumentals crafted from and inspired by rare and 70s soul, funky soundtracks and classic east coast hip hop – and some of the most hypnotic material from K-Def in quite a while! The insistent head-nodding beats and recognizable bits and pieces of classic material keeps it in the producer-centric hip hop realm pretty strongly – but it really does have a band feel – so the title is no joke! Solid work from the ever-reliable K-Def. Includes "Funky Fridays", "Dark Soul", "I'm Chillin", "Touching Realness", "Street Jazz", "K Comes Through", "NJ Dodgers", "Lovely Woman", "Watching The Clouds", "I Seen A Blind Bat", "Soul Paper", "Ghetto's Groove" and more.

Get ready to discover a fantastic new soul music talent! Jill Scott's the best thing we've heard in years – and she's a perfect example of the killer NuSoul trends that have been forged in the past few years by artists like D'Angelo, Mshell N'degocello, or N'Dambe (but Jill doesn't have an apostrophe mark in her name!) The record's a totally seductive blend of warm instrumentation, subdued funky beats, and immensely captivating soul vocals. The whole thing's awash in Fender Rhodes, giving it a spacey soul sound that will make the record a classic for years to come! Titles include "The Way", "Do You Remember", "Long Rain", "Love Rain", "Honey Molasses", "Slowly Surely", "Watching Me", and "He Loves Me" – but it's allllll good! The LP includes a remix of "Love Rain" featuring Mos Def!

Timeless hip hop instrumentals crafted from and inspired by rare and 70s soul, funky soundtracks and classic east coast hip hop – and some of the most hypnotic material from K-Def in quite a while! The insistent head-nodding beats and recognizable bits and pieces of classic material keeps it in the producer-centric hip hop realm pretty strongly – but it really does have a band feel – so the title is no joke! Solid work from the ever-reliable K-Def. Includes "Funky Fridays", "Dark Soul", "I'm Chillin", "Touching Realness", "Street Jazz", "K Comes Through", "NJ Dodgers", "Lovely Woman", "Watching The Clouds", "I Seen A Blind Bat", "Soul Paper", "Ghetto's Groove" and more.

A beautiful second record from Abiah – warmly wonderful material that's as sensitive as a singer/songwriter set, yet also has a deep sense of soul as well! Vocals and piano are wonderfully intertwined – in a mode that has the depth of jazz, yet the focus of soul music as well – often handled at a gentle pace, but with a flow that really holds us rapt throughout – with an acoustic vibe that's somewhere in a space between Bill Withers and Joan Armatrading. Abiah is an artist who previously recorded for Universal under his first name, Jeremiah – but he sounds even more wonderful here, and the shift to using his last name is definitely a good choice for this next chapter in his music. Titles include "This Time", "Goodbye", "Foolish Heart", "September", "Turn The Light On", and "Life As A Ballad".

Great rootsy Cajun accordion – a version of the genre that's much grittier than any of the later versions that were spread more strongly through the mainstream – and definitely light years from the touristy sounds heard in more recent years! This set offers up a host of rare small label recordings from Nathan Abshire – a player who really handles his instrument with a personal touch – almost as raw and soulful as a harmonica in the hands of a blues musician, and often supported by rhythms that are pretty darn blue as well – although also with a definite Louisiana sound! The package features material with the Pine Grove Boys and Balfa Brothers group, plus others by Nathan on his own – and the set features 25 titles that include "Pine Grove Blues", "Offshore Blues", "Shamrock", "J'Etais Au Bal", "Choupique Two Step", "Partie A Grand Basile", and "Dying In Misery".

A gem of a record from Nat Adderley – filled with short soulful groovers, and done with an upbeat vibe that rivals some of Cannonball's best of the 60s! Joe Zawinul handled the arrangements, so there's definitely a strong influence here from the Cannon group – and although the players shift a bit throughout the course of the set, there's a really unified feel – thanks to a top-shelf lineup that includes Seldon Powell on tenor and flute, Ernie Royal on trumpet, Benny Powell on bass trombone, and Willie Bobo on percussion! The set features all original material by Nat – with older gems and new favorites that include "Little Boy With The Sad Eyes", "Never Say Yes, "Jive Samba", "Stony Island", "Junkanoo", and "Work Song".

An album that definitely lives up to its title – as congolero Francisco Aguabella comes on hard, hitting strong throughout – and serving up a wicked blend of Latin, funk, and soul! The mid 70s set is a standout recording from Aguabella – done after he left the group Malo, and one of the best west coast takes on the modes that scene was changing up from New York at the time – really transforming the sound of contemporary Latin with a trans-genre vibe that was easily some of the most revolutionary music of the period. Rhythms are acoustic, but there's a nice dose of electric energy too, thanks to some sweet keyboards. Some cuts have English vocals, others are instrumental – and titles include "Hitting Hard", "I Wanna Know", "Cisco", "Image of a Star" and a nice version of Edu Lobo's "Casa Forte".

The massive All Music Guide To Rock – The Definitive Guide To Rock, Pop And Soul (3rd Edition) – featuring reviews of thousands and thousands albums as rated and reviewed by the exceptional All Music Guide writers! The book is an encyclopedia of pop music from the 50s to the early 00s – and an very, very good one – we find the All Music Guide an indispensable reference around here, and this is a great one to have on the shelf! 14,000 reviews of albums by more than 2000 artists. Amazing! Paperback, 1399 pages.

A mix of moods, colors, and feelings – handled with the full range of talents of David Amram, who's one of the few composers who could pull this one off! A number of the tracks have weird instrumentation that gives them a sound that's almost "eastern", and certainly exotic – and they're mixed here with some lightly jazzy touches, and a few mellower, more tender tunes that offset the rest of the album nicely. Titles include "Other Dreams", "Definitely Blue", "Anatolia", "Old Country Soul", "Sunny Days", "Blue Tomorrow", and "Love Is Never Out Of Style".

Lost Latin funk from the Bay Area scene of the 70s – and an album that may well blow away better-known work by groups like Malo, Azteca, or El Chicano! The album's near-perfect right from the start – and brings in plenty of New York elements to the groove, thanks to the inclusion of a heady amount of jazz alongside the soul, Latin, and funk elements in the grooves! The legendary Teo Macero produced and arranged – and really takes a lot of care in the studio to focus the overall energy of the tremendous talents on the record – players who include Hadley Caliman on flute and tenor, Steve Marcus on soprano sax, Benny Velarde on timbales, and Francisco Aguabella on congas – plus the trio of Cesar, Mark Levine, and Merl Sanders on keyboards. Most numbers have this really full, flowing groove – jazzy, but with a strong emphasis on the rhythms – and often touched with some great work on guitar that echoes the Santana-inspired sound of the generation, yet never in a rock way at all. Linda Tillery sings vocals on a few numbers, but the main focus is definitely instrumental – and the whole album's great – with cuts that include "See Saw Affair", "Azucar", "Descarga", "The Devil & Montezuma", "Gotta Get Away", and "Bridges".

A groovy little classic from Atlantic Starr – and a great example of the group's wonderfully catchy way of hitting a groove! The music's never pop, but has some captivating hooks all the way through – sweet little bits mixed in with the funky soul approach of the ensemble – made even better by the great way the vocals get traded back and forth! There's a careful approach to the whole set – a way of putting things together with a good degree of class – and definitely avoiding most of the cliches that would make a similar project sound a lot more clunky. Great stuff throughout – and titles include "Who Could Love You Better", "Second To None", "Touch A Four Leaf Clover", "Tryin", and "Island Dream".

Maybe the best record we've ever heard from Cosmic mainman Daniele Baldelli – and definitely a set that really lives up to the funky side promised in the title! Baldelli's got a much deeper groove here than ever before – a great ear for tight elements on the basslines, mixed with jazzy work on keyboards and guitar – all woven into a groove that's every bit as club-worth as his other music, yet a lot more warm and soulful overall! It's almost like Daniele's going back to discover a disco generation he might have missed the first time around – with a retro style that's hard to distinguish from the original, a lot like Joey Negro and some of his Sunshine Band work. Titles include "Mellow Game", "Good Day", "What Da Funk", "Voltage Groove", "Synthesized Honey", "Break Loose", "Drive Me Crazy", and "Fontainebleau".

A surprisingly great little set – one that definitely lives up to the retro feel of the cover, and which has a soulful sound we really didn't expect! The trio are more of a soul act than a girl group pop outfit – and they get some sharp backing here by a quartet of funk-steeped players who really help keep just the right sound for the record – a mode that has plenty of 60s soul touches in the instrumentation, which definitely seems to inspire the vocal performance as well! And even though the singers may look a bit stodgy on the front, they really know how to wail together – and really have a way of stretching out and soaring whenever one of them takes the lead. Titles include "Not Your Fool", "Another Notch On His Belt", "No Mater What You Do", "Make It For The Door", "Let Me Down Easy", "Hold On", and "Needle In A Haystack".

A surprisingly great little set – one that definitely lives up to the retro feel of the cover, and which has a soulful sound we really didn't expect! The trio are more of a soul act than a girl group pop outfit – and they get some sharp backing here by a quartet of funk-steeped players who really help keep just the right sound for the record – a mode that has plenty of 60s soul touches in the instrumentation, which definitely seems to inspire the vocal performance as well! And even though the singers may look a bit stodgy on the front, they really know how to wail together – and really have a way of stretching out and soaring whenever one of them takes the lead. Titles include "Not Your Fool", "Another Notch On His Belt", "No Mater What You Do", "Make It For The Door", "Let Me Down Easy", "Hold On", and "Needle In A Haystack".

A wonderful set by the enigmatic Charles Bell – a 60s modernist, but one with a great sense of soul! The album definitely lives up to its title, and has a fresh approach to the medium – a style that has some of the Modern Jazz Quartet influence in its structure, yet which also shares some more complex rhythmic ideas from the Ornette Coleman camp – mixed with a straighter hardbop vibe as well! The blend is quite compelling – and in addition to Bell's work on piano, the set also features Bill Smith on guitar, Ron Carter on bass, and Allan Blairman on drums. Titles include "Satan Said", "Django", "Portrait Of Aunt Mary", "Theme", and "Bass Line".

Compelling work by this Chicago combo – a really unique ensemble led by a trombonist with a wide range of skills! Big James claims James Brown as a big inspiration, but he also came of age in the Chicago blues scene – which is where his horn-heavy combo has mostly found a home, playing their own Windy City variant of rootsy funk! There's definitely a blues bent to the music, but the sound is quite different than most other contemporary groups on the scene, too – not just because James' trombone is firmly in the lead, but also because the group have a great ear for strong funk and deep soul roots too. Titles include a cover of the P-Funk gem "Qualified 2 Satisfy" – plus original tunes "Da Coldest Man I Ever Knew", "Low Down Dirty Blues", "Never Loved Any 1 Like U", "A Happy Fool", and "Da Best Love I Never Had".

The most fully-formed album from Nat Birchall so far – and one that has him definitely going into another dimension in jazz, thanks to a slightly expanded lineup! The shift here is almost that betweeen the 60s spiritual sounds on Impulse Records, and the label's groundbreaking material in the post-Coltrane years of the early 70s – a time when folks like Pharoah Sanders, Marion Brown, Alice Coltrane, and others were really helping to redefine a sense of spiritualism in jazz – yet always at the best moments still hanging onto the core sense of individualism that first got the movement started in the 60s! Nat Birchall is at the head of the group – blowing fantastic lines on tenor and soprano sax – searching and righteous, but always with a sense of gentleness too – a really special blend that makes the album sparkle. Other players include Adam Fairhall on piano, Corcy Mwamba on vibes, and Rachael Gladwin on harp – and there's lots of nice percussion touches that are nestled in on the bottom. Birchall wrote all tracks – and titles include "Ancient World", "Dance Of The Mystic", "Radiant Will", "Peace In Ninevah", and "Sacred Dimension".

The earliest work we've ever heard from tenorist Nat Birchall – a player who's really blown our minds with his recent albums from the UK! This set's from the late 90s, and already has Birchall really finding his voice – a freewheeling approach to tenor that's unlike most of his contemporaries, and definitely steeped in strong influences from the spiritual jazz generation! Yet while recent records have Nat in a more meditative mode, the sound here is almost more explosive – with echoes of 60s avant in the mix, amidst some bold rhythmic impulses from the group – almost with a quality that reminds us of some of those brilliant moments when an American soloist would combine with a European combo in the heady 60s scene. In addition to Birchall's tenor, the group also features John Hulme on trumpet and flugelhorn, Richard Wetherall on piano, Dave Tompkins on bass, and Danny Ward on drums – and titles include "Redemption", "Helix Nebula", "Unity Blues", "Passion Dance", and "Ism Schism".

One of the earliest albums on Hi Records – and a full set of heavy instrumentals from the Bill Black Combo! The groove is more R&B than Memphis soul – and is especially heavy on the sorts of rolling rhythms you'd hear from New Orleans – a sound that had obviously filtered north, and which at this time was still helping the Tennessee scene find its groove. Yet there's some definite Memphis touches going in here too – especially in the basslines and guitar, and a bit in the tenor solos – which can be nice and biting, with plenty of soul! Titles include "Smokie (parts 1 & 2)", "Cyclone Boy", "Dee J Special", "Anytime", "Before Dawn", "Special Duty", and "Crankcase". CD features two bonus tracks too – "Smokie (part 2) (stereo)", and "Smokie (part 2) (alternate version)".

It's been quite a few years since we last heard from Black Mighty Wax – but it's definitely been well worth the wait – as these guys are deeper and more sophisticated than ever, with a range of sounds we never would have expected on the last release! Soul styles are still very much at the front of their mix – and the record features vocals from a range of great singers who include Sarah Jane Morris, Neffa, Ricardo Phillips, Lily Latuheru, Silvia Donati, and others – set to grooves that still sparkle with the same keyboard elements that have always made Black Mighty great – but which also have more acoustic touches from time to time, and a rhythmic variation that goes way past the usual Irma groove! Titles include "Shake Your Heart", "We The Family", "Let Me Go", "Pull Down", "Follow That Fellow", "Riverside", and "Nightdriver" – and the CD features a few bonus remixes too!

The wild first album from Bloodstone – a much trippier affair than some of the group's later work, as you might guess from the image on the cover! There's a really heavy vibe going on with some of the tracks here – almost an echo of psychedelic soul from the Norman Whitfield camp, with perhaps some of the fuzzy guitars of the Westbound scene too – all a very different change from the sweeter harmonies Bloodstone would drop later in the 70s still a bit rough around the edges here, but in a great way! The album's got plenty of appeal for fans of heavy funk, and there's a definite righteous undercurrent to the music – as you'll hear on tracks like "This Thing Is Heavy", "Dumb Dude", "Lady Of The Night", "Friendship", and "Take These Chains".

A legendary album of Memphis soul – and a full length set that helped redefine the sound of instrumental music in the 60s! The record's a monumental follow-up to Booker T & The MGs' huge hit single "Green Onions" – an extremely seductive organ-based instrumental that the band cooked up while just messing around in the studio – and it's filled with other organ-heavy grooves played by this tight Memphis quartet – a group who were just starting out at this point, but already had a sound that's unlike anyone else! The work of Booker T is especially nice – Hammond with a bit more punch than other combos of this nature – backed by some wicked guitar from Steve Cropper, bass from Lewis Steinberg, and drums from Al Jackson. The set features a nice mix of covers and original tunes – with titles that include "Green Onions", "I Got A Woman", "Twist & Shout", "Lonely Avenue", "Comin Home Baby", "Mo Onions", "Behave Yourself", and "Rinky Dink". CD features two bonus live tracks from 1965 – versions of "Green Onions" and "Can't Sit Down".

Booker T's definitely getting a bit funky with this one – stepping off with the incredible title cut, a tune which really complicates the groove from the earlier years! The sound is still solid Memphis soul, with a raw instrumental vibe – but the grooves are even better than before, and the set includes loads of great original number written by the group – the kind of cool tunes they most likely cooked up while jamming live in the studio! These gems include the seminal "Hip Hug Her" – plus "Carnaby Street", "Booker's Notion", "Soul Sanction", "Double Or Nothing", and "Slim Jenkins' Place". But the covers are groovy too – and include a version of "Pigmy", plus "Groovin" and "Sunny".

Seminal work from The Brecker Brothers – 6 of the group's best albums, plus the two Blue Montreux live albums – packaged together in one very cool set, in tiny LP-like sleeves! The self-titled Brecker Brothers album is the first super effort from the team of Randy & Michael Brecker, whose twin-horn frontline forged a very popular sound in the mid 70s – some really well-crafted numbers, done with a strong smooth approach that still sits well after all these years! Back To Back features the twin horns of Randy & Michael Brecker, along with alto by David Sanborn, keyboards by Don Grolnick, and guitar by Steve Khan – but one of the things that really makes the album great is the vocal arrangements, which were handled by Luther Vandross, who also sung on the album along with Patti Austin. The set's got a great soulful feel – with some wonderful mellow groovers that have a sweet 70s sound! Don't Stop The Music is a stone classic from The Brecker Brothers – working with touches of club and disco grooves to give an even smoother edge to the jazz funk of the pair. And thanks to some solid soloing that's not afraid to go for the easy spots, the album's a lot more solid than an number of sound-a-like copycat LPs to come out at the time! Heavy Metal Be Bop is tight and funky jamming, with a bit more guitar here than on some of their other records – hence, possibly, the title! Keyboards and guitar jam strongly, but Randy and Michael still get in plenty of space for their solos – pushing their jazz licks with the jamming intensity that might normally be relegated to guitar heroes in the rock world. On Detente, the Brecker's are still rooted in jazz, but definitely step out with plenty of soul in the mix too – vocals from DJ Rogers, Carl Carlwell, Luther Vandross, and others – all of whom really add a lot to the set! On Straphangin, the BBs manage to groove with a sharpness and depth that most of their smoother fusion contemporaries just weren't hitting – an edge that reminds us of the deeper roots these guys had before they started hitting the mainstream! Last up are the live fusion classics Blue Montreux Vols 1 & 2 – both recorded as a unique live all-star outing by a group of Arista's best jazz players at the time! The group's an octet, but plays together in differing formations throughout the record – with Warren Bernhardt on keyboards, Michael Brecker on saxes, Randy Brecker on trumpet, Steve Jordan on drums, Steve Khan and Larry Coryell on guitars, Tony Levin on bass, and Mike Maineri on vibes – the last of which really make for some of the best numbers on the album!

Wow, we knew almost nothing about this record! Freddy Briggs is the main force behind Coldwater Stone – as he wrote and produced all the tracks, and sings lead vocals throughout the record. His style's sort of a mix of funk and soul, and he works in the heavier style that was used by some of the other bands on the legendary GSF imprint – but also has a nice southern soul style in the best moments! Not as grittily funky as the Skullsnaps, but a fitting labelmate – and with a smoldering, geniune soulfulness that's positively killer – a record that's as rare as any other on the label, if not more so! Titles include "End Of the World", "Jefferson Park", "Outside Love Affair", "You're the One", "Biggest Mistake In The World", and "Without The One You Love". This excellent CD version from Outta Site UK packages the remastered Coldwater Stone's Defrost Me album with 2 bonus tracks: "Sound Off" and "I'm So Sorry", with credit and top billing to Freddy Briggs – with notes that provide some insight in the man that we simply didn't have before and we appreciate it!

A bit of a comeback for James Brown – a mid 80s outing recorded with Dan Hartman, who gives the record a "contemporary" sound that's definitely a great way to slide James in with the younger crowd at the time! The style's still funky, but has more street soul elements too – and the record sports guest appearances by Alison Moyet, Steve Winwood, and Stevie Ray Vaughan – and although the production is a bit stiff at points, there's some undeniable quality in James that still makes some nice moments shine through! Titles include "Gravity", "Let's Get Personal", "How Do You Stop", "Living In America", "Goliath", "Repeat The Beat", and "Return To Me".

Sweet 80s disco from Peter Brown – proof that man still wants to get funky, even after most of his contemporaries had long left the dancefloor! The style here is as compellingly crossover as before – lots of lively rhythms that percolate with pop-inflected hooks – soul at the core, definitely, but with enough winning elements to keep Brown moving through the wider audiences that brought his initial fame. A few sweet moments almost seem to echo some of the best Euro club styles of the time – and titles include "Rock With Me", "Double Or Nothing", "Love Is Just The Game", "Classical Dancing", "Hot Flash", "They Only Come Out At Night", "Zie Zie Won't Dance", and "Electric Shoes". CD features lots of bonus mixes – including "Love Is Just The Game (inst)", "Love Is Just The Game (12" mix)", "They Only Come Out At Night (12" mix)", "They Only Come Out At Night (inst)", "Zie Zie Won't Dance (12" rmx)", and "Zie Zie Won't Dance (inst)".

Fantastic funky jazz from tenorman Rusty Bryant – one of the real standout titles in the classic early 70s Prestige jazz/funk years! Rusty leads a group that includes heavyweights like Charles Earland on organ, Virgil Jones on trumpet, Melvin Sparks on guitar, and Idris Muhammad on drums – all top-shelf players who make for a date as great as you might imagine – one that definitely liberates Rusty's soul from older modes, and sets it free into new funky pastures! The vibe here is right up there with Bryant's legendary Fire Eater record – and titles include "Soul Liberation", "Cold Duck Time", "Lou Lou", and "Freeze Dried Soul".

Fantastic funky jazz from tenorman Rusty Bryant – one of the real standout titles in the classic early 70s Prestige jazz/funk years! Rusty leads a group that includes heavyweights like Charles Earland on organ, Virgil Jones on trumpet, Melvin Sparks on guitar, and Idris Muhammad on drums – all top-shelf players who make for a date as great as you might imagine – one that definitely liberates Rusty's soul from older modes, and sets it free into new funky pastures! The vibe here is right up there with Bryant's legendary Fire Eater record – and titles include "Soul Liberation", "Cold Duck Time", "Lou Lou", and "Freeze Dried Soul".

Heavy ballads from Peabo Bryson – a perfect sampling of the style he did so well back in the day, including a few of his famous duets with Roberta Flack and Natalie Cole as well! The set's overflowing with mellow jams from Peabo – the kind of laidback numbers that really helped him lock in his style, and help define a whole new level of maturity for the male voice in soul music. Titles include "What You Won't Do For Love", "Feel The Fire", "I'm So Into You", "Tonight I Celebrate My Love", "All My Love", "Show & Tell", "She's A Woman", "You're Looking Like Love To Me", and "Reaching For The Sky".

A killer set that's extremely well-titled – as BT Express were one of the hottest ensemble funk acts of their time! The groove here is definitely aimed at a more disco-oriented dancefloor than before – but the overall sound is plenty funky enough for our ears – thanks to some amazing horn passages arranged by Carlos Ward, whose own work on sax and flute really add an edgey quality to the set. Ward's horns are really fantastic – cutting and turning with a sharply-honed tone that keeps things fresh throughout – even when the rhythms are hitting more of a mainstream dancefloor sound. Titles include the group's mellow soul version of "Now That We've Found Love", plus "Herbs", "Time Tunnel", "Energy To Burn", and "Make Your Body Move".

With a cell phone on the cover, blues has definitely gone far from the delta – yet this recent set from Willie Buck still keeps strongly in a Chicago electric tradition! Backing is by a tight group of north side players – including Rockin Johnny on guitar, who helps underscore Willie's soulful lead vocals as the set rocks and rollicks along! There's a surprising amount of cuts on the record – and titles include "Streamline Woman", "What's The Matter With The Mill", "Tow Truck Man", "Doin Good & Bad At The Same Time", "Cell Phone Man", "Strange Woman", and "Blow Wind Blow".

An unusual bit of female pop – recorded down in Memphis at American studios by Tommy Cogbill! At some level, Angeline's got a style that's a bit like Dusty Springfield – mostly pop, but with a soulful undercurrent – one that might not come out as strongly otherwise, but which definitely takes flight in the hands of Cogbill. The overall sound's not as soulful as Dusty, but there's certainly some elements of that trend – as well as some echoes of country that run through a few of the tunes. Titles include "Keep On Keeping A Man", "Let Me Be Yours Until Tomorrow", "The Sound Of Love", "What's A Matter Baby", "Different Worlds", and "Until It's Time For You To Go".

An overlooked gem from the revival years of Impulse Records – a set recorded in the mid 80s, but one that easily matches the soul and spirituality of the label's best work from the late 60s and early 70s! Pianist Henry Butler steps out here with a strong musical vision – one colored by his own bold McCoy Tyner-esque lines on the piano – and embellished by great solo work from Freddie Hubbard on trumpet and Azar Lawrence on tenor. Rhythm is by Charlie Haden on bass and Billy Higgins on drums – who definitely match Butler's pulsating, modal-influenced groove here – and additional instrumentation includes bits of flute and oboe, plus a string quartet on 2 numbers – coming off with Alice Coltrane-like brilliance! Great proof that righteous jazz was still being made in the 80s – with titles that include "Fivin Around", "LA Samba", "Improvisation On An Afghan Theme", "Giant Steps", and "Butler's Blues".

A Donald Byrd treasure – and an album that was almost left in the vaults by Blue Note, until they briefly released it at the end of the 70s! The cover and title are a bit unfamiliar, but the music is right up there with Byrd's classic sessions with baritonist Pepper Adams – a great player here, with a deftness on his horn that's incredible – matching all the sharp changes and soulful undercurrents of Byrd's sparkling trumpet! There's a nice hard sound to the whole thing – almost the raw power of the pair's albums for the Warwick label – and as with those, Herbie Hancock is on piano – giving the whole thing an excellent soul jazz groove that really kicks the main soloists into action! Titles include "Great God", "I'm An Old Cowhand", "That's All", "You're Next", and "Chant".

A Donald Byrd treasure – and an album that was almost left in the vaults by Blue Note, until they briefly released it at the end of the 70s! The cover and title are a bit unfamiliar, but the music is right up there with Byrd's classic sessions with baritonist Pepper Adams – a great player here, with a deftness on his horn that's incredible – matching all the sharp changes and soulful undercurrents of Byrd's sparkling trumpet! There's a nice hard sound to the whole thing – almost the raw power of the pair's albums for the Warwick label – and as with those, Herbie Hancock is on piano – giving the whole thing an excellent soul jazz groove that really kicks the main soloists into action! Titles include "Great God", "I'm An Old Cowhand", "That's All", "You're Next", and "Chant".

The full scope of genius from the legendary Alvin Cash – not just his 60s gritty groovers, but a host of later funk tracks as well – all packaged into a beautiful book-styled package! Cash is one of our favorite Chicago artists ever – a dancer by trade, but a flamboyant personality who always managed to make his way center stage – whether live or in the recording studio! The set begins with early "twine" numbers from Alvin – some romping heavy soul tracks that have a very deep bottom, and a raw sound that's equal part R&B and Chicago soul – definitely tuned towards the dancefloor crowd that was a natural fit for Cash's energy. As the set moves on, it then picks up some wicked late 60s singles for the Toddlin Town label, and also includes some excellent early 70s groovers for Sound Stage Seven – some of Alvin's hardest, heaviest numbers ever. The set features work by Alvin Cash with The Registers, Hundred Dollar Bills, The Crawlers, and Scott Brothers Orchestra – and titles include "Keep On Dancing (parts 1 & 2)", "Funky 69", "Moanin & Groanin", "Doin The Creep", "It's Party Time", "Funky Washing Machine", "Alvin's Doin His Thing", "Funky Street", "Doin The Ali Shuffle", "Whip It On Me", "The Charge", "Boston Monkey", "The Philly Freeze", "Alvin's Boogaloo", "Let's Do Some Good Timing", "The Bump", "Twine Time", "Twine Awhile", "The Barracuda", and "You Shot Me Through The Grease".

A killer set from Cashmere – and a batch of music that definitely turns us on! The album's got a lean, mean groove that's mighty nice – a tight, keyboard-driven approach to 80s soul – but one that's also held together beautifully by lead vocals from Dwight Dukes, who was previously a member of Heaven & Earth! Dukes has this sweet falsetto mode that works perfectly with the cuts – and on many numbers, he gets vocal support from Dean Williams, whose deeper style really helps ground the tunes nicely – making for a blend that only gets richer as the album rolls on. Groovers dominate the styles, but there's a few nice laidback numbers too – and the contrast makes for the same energy that always made a record by Heaven & Earth so great. Titles include "Contemplation", "Try Your Lovin", "Inner Feelings", "Let The Music Turn You On", and "Do It Anyway You Wanna". CD features 5 bonus tracks – including "Do It Anyway You Wanna (12" version)", "Let The Music Turn You On (single)", "Try Your Lovin (single)", "Do It Anyway You Wanna (inst)", "Try Your Lovin (12" inst)".

Majestic Motown from the 70s – an almost-overlooked record, but a surprisingly sophisticated gem that's well worth discovering again! The album's definitely soul at the core, but embraces so many other rich styles too – and at points, almost feels like some of the most ambitious material of the Cadet/Concept scene in Chicago – especially given the full orchestrations on the tracks, handled by Jimmy Haskell and Jerry Long! Leonard Caston's the real genius behind the record, though – and works here to provide great support for co-vocalist Carolyn Majors – who trades leads back and forth with him, and is sometimes showcased on tracks that really let her heavenly vocals take off! The whole thing's great – and titles include an early version of the cut "I'll Keep A Light In My Window", which was later recorded by other groups – plus "Child Of Love", "There's Fear", "Satisfied Mind", "Let There Be Love", "No One Will Know", and "Say You Love Me True". CD features loads of bonus tracks too – 9 more numbers that act as a great second chapter to the album – titles that include "Mother's Son", "What About The Price", "If I Can", "We're Together", "I've Got To Fly", "Don't Let", and "I'm Flying Your Sky".

Contemporary soul from Miami – a set issued by the legendary Henry Stone, and done with a vibe that's a great update of his TK Records sound from the 70s! Certified Slim is a singer with a definite southern pedigree – a soulful style that's got a few undercurrents of blues, in a way that reminds us a lot of Latimore – yet with a markedly more youthful feel. Like Latimore, Slim gets some great keyboards bubbling underneath his vocals – and some sweet riffing guitar that's definitely a key element in keeping the Henry Stone sound strong. Titles include "Lease To Own It", "Move Somethin", "If It's Love You Want", "Baby I Will", "So Independent", and "She's Her Own Boss".

The Chambers Brothers may not actually be playing on Mars for this set, but they've definitely got a spaced-out sound – a freaky electric groove that goes even farther than some of their other studio work of the 70s! The set has some of the earthy soulful moments from the group's earliest years, but it also brings in blend of electric guitar too – extended the styles first explored at Columbia in the freer space of the live setting here. Steve Cropper joins the group for the performance, and you can definitely hear some of his grit in the grooves – and some tracks are quite long and jamming, even more so than we might have expected from the group! Side two features a 17 minute medley of "Stealing Watermelons" and "Mama Your Daughter (Is Hot Enough To Burn Water)" – and side one features "Me & Your Mother", "Superstar", and "Midnight Blue".

An overlooked set from Change – a record that possibly wasn't as hit-worthy as some of their previous efforts – yet one that still had the group very much at the top of their game! By this point, Change had really evolved past being just a studio project, into a rock-solid soul group with a definite ear for a groove – particularly the tight, lean sort of rhythms that percolated in the post-Chic era – making a perfect fit for the slightly jazzy production of the record. Bassbits and beats drive most of the rhythms, but there's still a nice degree of warmth – and vocals are handled by Deborah Cooper, James Robinson, Rick Brennan, and Timmy Allen – who each seem to get their moment in the spotlight, furthering the well-rounded sound of the record. Titles include "Magical Night", "Angel", "This Is Your Time", "Stay N Fit", "Tell Me Why", "Got To Get Up", and "Don't Wait Another Night".

Sweet 80s grooves from Cherrelle – a set that really has the singer cooking strongly with the production team of Jimmy Jam and Terry Lewis – complete with all the heavy beats you might expect! Jam and Lewis borrow plenty of bottom sounds from the styles of hip hop and electro, and do a great job of mixing the rhythmic elements with Cherrelle's catchy vocals – all in a way that really blows away some of their more chart-topping productions, as the tunes have a bit more of an underground appeal! Make no mistake, this is definitely the poppier side of the soul spectrum – but there's also a freshness here that goes way past Janet Jackson – and which retains some of that smoother, more sophisticated sound we always love in the Tabu label. Titles include "You Look Good To Me", "High Priority", "Artificial Heart", "Saturday Love", "Oh No It's U Again", and "New Love". 2CD version features a cool book-style cover, new notes, and 11 bonus tracks that include "Artificial Heart (dance rmx)", "Oh No It's U Again (ext version)", "Saturday Love (ext version)", "Saturday Love (feelin luv ext mix)", "Saturday Love (Steve Anderson rmx)", and "You Look Good To Me (ext rmx)".

A powerful single from the team of Chuck & Mac – and easily one of the deepest soul records we've heard on Twinight! "Powerful Love" has this beautiful slow-burning feel that's completely sublime – a stone mellow duet that has the vocals rising up together wonderfully – yet set to this raw production that's even more rootsy than work you'd hear from Memphis or Muscle Shoals! Almost accapella in approach – save for a bit of guitar, some occasional drum beats, and very light horns and organ. "The Bear" is heavier and funkier, but definitely has a deep soul feel too – raw vocals from the duo, yet set to the kind of funky backings you might hear on a Syl Johnson Twinight groover!

Common returns with a lean, filler free full length in Finding Forever – a set that's definitely the thematic follow up to the BE LP – and a solid one, with highpoints that equal Com's best work of the decade! The set is largely produced by Kanye, with some terse, harder hitting moments, some laidback and soulful ones, and some really nice homage moments to Dilla and DJ Premier. Another winner! Titles include "Start The Show", "The People", "Drivin' Me Wild" feat Lily Allen, "I Want You", "Southside" feat Kanye West, the killer "The Game" featuring scratches by Premier (and a sound that's a total Primo tribute), "U, Black Maybe", "So Far To Go" feat D'Angelo, "Break My Heart", "Misunderstood" and more.

A legendary run of music from the late, great Sam Cooke – almost all of his recordings for RCA Records, packaged here in one sweet little package! The scope of the set is wonderful – and almost something of a revelation, given that a number of these titles have never appeared on CD in the US before – making this collection a real discovery in soul music! Cooke first came out of the underground in the late 50s – and by the time he hit RCA, was really ready to take on new challenges – recording some key tracks that would help redefine the sound of soul for the 60s – and also working on some special album projects that expanded the range of work that he was handling – showing off some great sides of his talents. The set features the killer live album One Night Stand – recorded at the Harlem Square Club – plus the studio albums Cooke's Tour, Hits Of The 50s, Swing Low, My Kind Of Blues, Twistin The Night Away, Mr Soul, and Night Beat – all packaged in these cool little LP-styled sleeves!

A surprisingly groovy little set – one of a few outings cut by singer Ruth Copeland – kind of an enigmatic figure in the early P-Funk years! The approach here is more rock than soul, but there's definitely some funky undercurrents too – of the sort that have always made Copeland a favorite with break freaks over the years – thanks to help on the album from Dennis Coffey, Eddie Hazel, Bernie Worrell, and George Clinton! Ruth arranged, performed, and produced the core part of the album herself – but the production style is surprisingly strong – with a use of space and strings that almost shows a bit of Axelrod influence at times, although more skewed towards the Detroit soul scene that Copeland called home. Titles include the classic "Your Love Been So Good To Me", which starts with a very fuzzy electric break, and "I Got a Thing For You Daddy", which has some great spacey guitars on the intro – plus "Child of the North", "No Commitment", "A Gift of Me", and "The Music Box". CD features three bonus tracks too – single versions of "The Music Box", "A Gift Of Me", and "No Commitment".

The drums are definitely exciting here – really tight rhythms that drive most of these cuts into a funky frenzy – even if the groove is more based on American soul of the late 60s than the African rock promised in the title! Most of the tunes are covers, but remade here as really hip instrumentals – often with bold work from the Count on his drum kit – which then sets fire to the larger group's blend of tight horns and electric rhythmic instrumentation – all coming across with that perfect cusp of the 70s Japanese jazz sound we love so much! Most tracks are shortish, and very groovy – and titles include "The Cat", "Touch Me", "Amen", "Soul Limbo", "Hold Tight", "Otis Sleep On", "Sidewinder", "Going Up The Country", and "Windy".

A cool step sideways for the great Don Covay – a set that still holds onto all the soul of his earlier work for Atlantic – but one that also has Don hitting a rootsier, bluesier mode too! The combo's definitely a blues group at their core, but apart from some harmonica and a bit more twang in the guitar, they come across more like a rough soul combo behind Covay's lead – a quality that comes through especially strong on some of the points where the drums step out a bit more than usual. Our hat's off to Don for making this move – as the record really shows a whole new side of his vocal talents, and has a deeper vibe than he'd go for in his later crossover soul of the 70s. Titles include "Homemade Love", "Steady Roller", "Four Women", "Mad Dog Blues", and "Shut Your Mouth".

A really compelling blend of sounds – and a set that's billed as a hip hop album, but which is way way more than that – more a wonderful hybrid of global styles, all wrapped up with the crispness of the contemporary Brazilian underground! The set begins with a number that's straight out Afro Funk, the rolls into tracks that really run the gamut – a hip hop number or two, other African styles, and most especially, some of those cool genre-defying moments that we've really come to love from Brazil in recent years. Criolo's vocals are wonderful, especially when he's singing – with a warmth that takes us back to singers of the samba soul generation – and titles include "Bogota", "Mario", "Subirusdoistiozin", "Linha De Frente", "Lion Man", "Sucrilhos", and "Samba Sambei".

A massive set from Nigeria's CS Crew – and a set that definitely lives up to its title! The bass is super-heavy on these grooves – way more so than on other Afro Funk records of the time, and in ways that easily match, if not beat, the early best by Fatback Band and Kool & The Gang – grooves that have amazing dexterity that few others could match, yet which always come through right on the money every time! The bass dips, turns, soars, and drops magically on each number – setting things up strongly for the group's riffing guitar, sweet keyboard lines (including a big of moog!), and few horn moments – which themselves often come across more like an American group than a Nigerian one. Vocals have this rough approach – often part of the rhythm more than anything else – and titles include "Love Is Peace", "Freaky Funkyfied Fix", "Bread Power", "Doin The Good Thing", "I've Found Love", "Last Day", and "Dig In With Time".

A massive set from Nigeria's CS Crew – and a set that definitely lives up to its title! The bass is super-heavy on these grooves – way more so than on other Afro Funk records of the time, and in ways that easily match, if not beat, the early best by Fatback Band and Kool & The Gang – grooves that have amazing dexterity that few others could match, yet which always come through right on the money every time! The bass dips, turns, soars, and drops magically on each number – setting things up strongly for the group's riffing guitar, sweet keyboard lines (including a big of moog!), and few horn moments – which themselves often come across more like an American group than a Nigerian one. Vocals have this rough approach – often part of the rhythm more than anything else – and titles include "Love Is Peace", "Freaky Funkyfied Fix", "Bread Power", "Doin The Good Thing", "I've Found Love", "Last Day", and "Dig In With Time".

One of the few albums as a leader from Mighty Mike Cuozzo – a tight tenor player with a great sort of 50s swing! The set's the kind of no-nonsense, well-blown effort you might expect from Sonny Stitt or Seldon Powell at the time – tunes that pack in plenty over a relatively short space – really transformed by Mike's deft talents on the tenor, with a surprising degree of soul in the mix as well! Rhythm is by Eddie Costa on piano, Vinnie Burke on bass, and Nick Stabulas on drums – and the whole thing's got the solid feel of a lost Roost session. Titles include "Blue Jeans", "Bounce For Mike", "Ten AM", "Lover Man", and "That Old Feeling".

The best of a handful of albums that the one-time Prince bassist put out in the early 80s – a record that made a splash via the great Prince-penned "The Dance Electric" – possibly a blessing and a curse for AC, as Prince was so huge at the time that the record going public was too quick to dismiss him as a clone! But don't let that stop you – as Cymone's got a groove that's all his own – and an 80s soul star definitely worth rediscovering. The percussive vibe is similar to Prince, but Andre's got a leaner, funkier style overall – virtually working as a one man band here, and handling most instrumentation himself – which brings a compact feel to the record that really comes through in the tightness of the grooves. Titles include "The Dance Electric", "Lipstick Lover", "Pretty Wild Lover", "Book Of Love", "Vacation", "Satisfaction", and "Neon Pussycat".

A collection of rare projects from southern club artist Cyril Walker – a great batch of early 80s groovers with a decidedly indie feel! The tracks are heavy on beats and keys – and the rhythms are on the more electro side of boogie – still nice and bouncy, with a definite ear for the dancefloor – but with a lean quality that strongly recalls some of the New York street soul sounds of the time – even though Cyril recorded the set in North Carolina! Some of the tracks feature female lead vocals – depending on the project – and titles include "Won't You Serve Him" by The Project, "Saturday Night" and "Will You Show Up" by Marcel Evans, and "You're A Star", "Let's Partay", "So Proud", and "Too Quick" by Mile High Pie.

An overlooked gem from 80s Brazil – a rare bit of indie samba work from Luiz Carlos Da Vila – and a record that's definitely a cut above the usual material in the genre! There's a wonderfully rich sound to the record right from the start – soulful vocals from Luiz Carlos, and some rootsy percussion – but also these warmer backings that almost have jazzy changes at times – of the sort that you might get if Joao Donato ever arranged a samba record. The original was issued on the small Arca label – so has escaped the attention of global ears for years – but the set's a record well worth seeking out. Titles include "Morro Molhado", "Diamante", "Das Origens", "Bracos De La", "Notavel Amiga", "A Flor Da Esperanca", and "Tudo Se Ilumina".

An incredible collection of work from the vastly-overlooked Geater Davis – and a set that definitely lives up to its title! Geater Davis is a tremendous singer from the south – but one who barely ever got his due back in the 70s – even though these recordings for the tiny House Of Orange label are every bit as amazing as work coming out for bigger labels like Stax or Hi Records! Although Davis didn't record nearly as much as his contemporaries, he's got a sound that matches or beats them – a raw, raspy quality that's a bit like Bobby Blue Bland, touched with the depth of feeling we love in James Carr, peppered with elements of other Memphis singers – all produced to perfection with a sound that's got a deep-burning soul that never lets up. This excellent collection features all tracks from Geater's rare album Sweet Woman's Love, plus additional singles from the time – all produced by Allen Orange, an overlooked genius in the southern studio scene of the 70s. Titles include "Don't Marry A Fool", "Cry Cry Cry", "I Love You", "I Know My Baby Loves Me", "I Can Hold My Own", "Cold Love (long version)", "I'll Get By", "I'll Play The Blues For You", "Breath Taking Girl", and a killer long take on "For Your Precious Love".

Smooth soul from Cliff Dawson – a singer as classy as his look on the cover, and definitely a cut above most of the mainstream soul artists of his time! The album's an overlooked gem that's very nicely put together – well recorded, arranged with a subtle flair, and usually done with a warmer sound than you might guess for the vintage of the set – almost like some late 70s underground modern soul set, which is saying plenty to ears like ours! Thor Baldursson did most of the arrangements, but in ways that are much more restrained than his disco years – and titles include "It's Not Me You Love", "Waiting For Your Love", "Betcha Didn't Know", "I Can Love You Better", "Ocean Green Eyes", and "Never Say I Do".

A wonderful gem from Leon Dubouse – a singer whose voice is definitely the fine instrument promised in the title! The set's obscure, but put together with a really top-shelf approach – a mellow groove that's often a bit funky, too – even when warmly gliding on Leon's soulful vocals! The style's a lot like the best early Leroy Hutson work on Curtom – and Leon's voice has a very similar appeal, too – but the style's nicely farther-ranging too – a few familiar modes, and some other nice twists and turns that show that the instrumentation is mighty fine too. Arrangements were done by Clay Cropper, Mike Lewis, Roger Hattfield, and Norman Lotterer – and titles include "What Do We Do About Our Love", "Black Stallion", "Fast Food Chain", "It's True It's You", "In The Neighborhood", and "Every Fellas Girl".

A real lost treasure – and an incredible session that offers a real meeting of minds that's far more than you'd expect from the simple cover and title! The set is a later one for Vee Jay, and it brings together half of the Jazz Messengers with a batch of west coast players – in a groove that wonderfully mixes together different traditions and rhythms in jazz – and which steps out with a sound that's far more than the sum of its parts! Art Blakey, Lee Morgan, and Curtis Fuller join a group headed by Buddy De Franco, and featuring Victor Feldman on piano and vibes, plus Victor Sproles on bass and Freddie Hill on trumpet. The sound of the group is quite unusual – and a lot lighter than you'd guess – giving Buddy plenty of room to solo in a breezy style that's grown tremendously since his 50s recordings – pushed along by some heavier soul from Art and the group. Titles include "Rain Dance", "Blues Bag", "Twelve Tone Blues", "Kush", and "Cousin Mary".

A pair of late 60s albums from Martin Denny – back to back on a single CD! Exotic Love is an overlooked gem from Martin Denny – cut during a range of later sides for Liberty Records, but somehow a standout, thanks to some soulful undercurrents in the music! The arranger is billed as Harold Johnson – who may well be the same cat leading the groovy sextet over on Revue Records at the same time – and the record has this subtle groove that's mighty nice – definitely an ear for some of the more soul-based instrumental styles of the 60s, with a nice bounce on the bottom that might almost make some of these cuts just right for older-style steppers. Instrumentation has a few exotic touches, but more piano than anything else – and titles include "A Beautiful Morning", "Love Exotic Style", "I Say A Little Prayer", "This Guy's In Love With You", "Love Is All Around", and "Voodoo Love". Exotica Today is an album that signifies its style right from the first track – which echoes Martin Denny's classic "Quiet Village", but which then rolls into a set of sprightly arrangements from Julius Wechter – who almost brings an A&M Records vibe to the album! Tunes are mostly Denny remakes of 60s instrumental themes, plus a few originals co-penned with Wechter – and there's some nice percussion bits that lurk in the background next to Denny's piano – which mostly rings out in the lead. Titles include "The Shadow Of Your Smile", "Lara's Theme", "Strangers In The Night", "You Don't Have To Say You Love Me", "Patch Of Blue", "Promises", and "Snowflakes In Summer".

The final third of Jackie DeShannon's legendary run for Imperial Records in the 60s – a smashing batch of singles that really represent some great musical growth at the time! On these sides, Jackie's even more soulful than before – definitely taking inspiration from the generation of singers who were singing her songs – and from the growing wave of girl vocalists who were working with more soulful styles too – especially those from the Brill Building scene. The result is a great blend of New York uptown and LA sunshine – a superb batch of tunes that really sums up the unique place that Jackie DeShannon had in modern music. Many tunes are originals by Jackie – and the set also features great tunes penned by Jimmy Holiday and Bobby Womack too – titles that include "Changin My Mind", "I Keep Wanting You", "What Is This", "Nicole", "Nobody's Home To Go Home To", "You Keep Me Hangin On/Hurt So Bad", "Brighton Hill", "Christmas", "Keep Me In Mind", "Bird On The Wire", "What Was Your Day Like", "Put A Little Love In Your Heart", "Always Together", and "Do You Know How Christmas Trees Are Grown".

Quite a chance for singer Dessy Di Lauro – but no surprise, either – given that Dessy's always been one of the more inventive talents of the underground! The set definitely takes its title seriously – and although served up in a contemporary soul style, the music sometimes echoes modes from a century ago – using them with just the right balance to spice things up without pushing Di Lauro into a style that's too far from before. Many numbers have a slight vamp in the rhythms – a gentle swing that bounces around in the way you might have heard in Kid Creole work from the early 80s, but tuned here towards a style that's more 21st Century overall. Some cuts are a bit more straight ahead – and whatever the setting, Dessy sounds great! Titles include "Mysterious", "Bringin It Back", "Never Existed", "Lost In The Jungle", "Why U Raggin", and "Popularity Contest".

The stellar remix version of DJ Shadow's early 00s masterpiece Private Press – made for the Japanese market and never released in the US – featuring remixes, b-sides and more – with mixes or appearances by Unkle, Roots Manuva, Mos Def, Z Trip and others! 14 tracks in all: "Six Days (Soulwax mix)", "GDMFSOB" (Unkle Undcensored) feat Roots Manuva, "Walkie Talkie" (extended radio edit), "Six Days" (rmx) feat Mos Def, "Mashin On The Motorway" (radio edit), "Right Thing" (Z-Trip 'Get The Party Off Mix' In Three Parts) and more. CD is enhanced, featuring videos for "Walkie Talkie" and "Six Days".

Excellent funky work from Lou – and a groundbreaking record that was the first to feature him playing on Blue Note with drummer Idris Muhammad – who is listed on the session under his birth name, Leo Morris! Muhammad gives the album that crackling funky bottom sound that instantly defined Lou's later years at Blue Note – a hard and heavy approach to soul jazz that's had incredible repercussions in the world of hip hop, as well as soul and funk. The rest of the group features soul jazz burners Lonnie Smith on organ, Melvin Lastie on trumpet, and George Benson on guitar – and the album includes the highly successful "Alligator Boogaloo", plus hard groovers "The Thang", "Aw Shucks!", and "One Cylinder".

Excellent funky work from Lou – and a groundbreaking record that was the first to feature him playing on Blue Note with drummer Idris Muhammad – who is listed on the session under his birth name, Leo Morris! Muhammad gives the album that crackling funky bottom sound that instantly defined Lou's later years at Blue Note – a hard and heavy approach to soul jazz that's had incredible repercussions in the world of hip hop, as well as soul and funk. The rest of the group features soul jazz burners Lonnie Smith on organ, Melvin Lastie on trumpet, and George Benson on guitar – and the album includes the highly successful "Alligator Boogaloo", plus hard groovers "The Thang", "Aw Shucks!", and "One Cylinder".

The title's no lie – because the album is one of the shining jewels of Lou Donaldson's legendary funk years for Blue Note – that second period when he returned to the label at the end of the 60s, and really helped redefine the sound of soul jazz at the time! The format here is very much the same as other Donaldson classics from the time – like Hot Dog or Possum Head – in that the tracks are long, open, and plenty darn grooving – locked in some funky rhythms that feature Idris Muhammad on some very heavy drums! Other players are great too – and include Blue Mitchell on trumpet, Melvin Sparks on guitar, and Lonnie Smith on Hammond – all cooking things up nicely on tracks that include "West Indian Daddy", "Donkey Walk", "Everything I Do Gonh Be Funky", and "Hamp's Hump".

A sterling set from the great Will Downing – and a record that definitely has the master at the top of his game throughout! The package features some songs from his recent trilogy of EP releases – Yesterday, Today, and Tomorrow – but also includes five new songs too – and together, the tunes work wonderfully to create one of the best full length efforts from Downing in years! Will's got this style that's easy-flowing, yet completely confident too – a reminder that sometimes the best approach to male soul music is one that relaxes into the groove – in ways that so many other singers in the younger generation seem to have forgotten. The backings are great too – as laidback as Downing's vocals, without any of the clunk that might have happened if Will was recording for a bigger label trying to push him into the charts. There's plenty of glow and warmth throughout – and titles include "Only One", "Send For Me", "Falling", "Stuff That I Like", "One Step Closer", "Never Find Another Love", "Sexy", and "You Were Meant Just For Me" – a duet with Avery Sunshine. Also includes a totally great long track – a "live rehearsal" of the medley "I Go Crazy/Wishing On A Star/Try".

A sweet bit of modern funk from George Duke – working here in a mode that's definitely tighter and more soul-based than his trippier albums of the early 70s – but also in a groove that's pretty darn sweet! George wonderfully blends together his jazz roots and some of the wider soul styles he'd helped forge on the California scene – keeping things smooth, but never slick – bringing in some nice acoustic percussion alongside the album's overall electric sound. A number of cuts have vocals, and George handled both production and arrangements – on tracks that include the P-Funky "Dukey Stick", an old sample from way back – plus "Movin On", "The Future", "We Give Our Love", and "Percussion Interlude".

A sweet bit of modern funk from George Duke – working here in a mode that's definitely tighter and more soul-based than his trippier albums of the early 70s – but also in a groove that's pretty darn sweet! George wonderfully blends together his jazz roots and some of the wider soul styles he'd helped forge on the California scene – keeping things smooth, but never slick – bringing in some nice acoustic percussion alongside the album's overall electric sound. A number of cuts have vocals, and George handled both production and arrangements – on tracks that include the P-Funky "Dukey Stick", an old sample from way back – plus "Movin On", "The Future", "We Give Our Love", and "Percussion Interlude". CD features great additions of the key single – an 8 minute "Dukey Stick (12" single mix)" – plus "Dukey Stick (parts 1 & 2)" from the 7" single!

A great little groover from keyboardist Charles Earland – and an album that definitely lives up to its title! There's plenty of street sounds going on here – lots of modern R&B modes that echo the changing styles of early 80s soul music, especially on the east coast! And as part of that, there's a good deal of vocals on the record, alongside Charles' keyboards – work by singers who include Larry Hancock, Bruce Gray, and Sheryl Kendrick – each of whom adds plenty to the record, working over jazzy grooves nicely scored by Earland. Titles include "Be My Lady", "Take Me Away", "Feels So Good To Me", "Burning Devotion", "Tell Me What It Is", and "Go All The Way". CD features a bonus track – "Be My Lady (7" mix)".

One of the freshest albums in years from Chicago percussion legend Kahil El'Zabar – the recording debut of a great little combo he's been heading for the past few years – and a group who would have been right at home during the more progressive 60s years at Blue Note! The sound here is wonderfully soulful, but in ways that are different than some of Kahil's other records – thanks in part to the strong use of tenor from Kevin Nabors – a player who helps give the record a bold bite right upfront, with tones that hearken back to some of the late 60s' best soulful and spiritual moments – played with more forward focus than some of El'Zabar's other reedmen. The album's definitely got an AACM pedigree, but it's more straightforward, too – and we mean that in a good way – often pushed by modal elements that seem to also give Kahil a rich new sort of energy in his drumming too. Justin Dillard plays some great Hammond, Fender Rhodes, and piano – and the group's completed by Junius Paul on bass. Titles include "Song Of Myself", "What It Is", "Impressions", "The Nature Of", and "Kari".

Heavy funk from the great Jimmy Ellis – billed here with a "preacher" in his name, which is a great indication of the spiritual soul going on in the music! Jimmy's grooves here are definitely secular, but there's a depth that definitely echoes some gospel roots too – mixed nicely with some sharp jazzy changes in the instrumentation, and given a sweet funky 45 twist throughout! Some of the best cuts here are in that great space between late R&B and early soul – but often still have the funkier bite of later years too – a perfect blend that makes the music here really stand out, and which makes the set essential for fans of all things funky. Titles include "Cry No More", "Go Head On", "Kiddio", "Looking Through The Eyes Of Love", "Tough Competition", "Puttin It On Your Mind", "Work With What You Got", "Baby I Love You", "Happy To Be", and "Don't Tax Me In".

A huge hit for both The Emotions and Maurice White – whose Kalimba Productions handled this album in the same hit mode they'd been using for Earth Wind & Fire! There's a polished, soaring bounce her that definitely shows the Earth Wind & Fire touch – and which takes the girls miles from their rougher, rootsier soul of the Stax/Volt years – yet like all the best EWF records of the time, the sound is also plenty soulful, with lots of righteous undercurrents. The album includes the group's wonderful track "Don't Ask My Neighbors", a heavenly tune that builds on a long tradition of sweet female soul from Chicago; the super-huge "Best Of My Love", a hit on dancefloors and radios for years to come – and many other nice numbers like "Blessed", "How'd I Know That Love Would Slip Away", and "Key To My Heart".

Mindblowing work from Booker Ervin – one of our favorite albums ever from his years at Prestige, and a record that really earns its haunting title and cover image! Book's definitely headed out to space on this one – working in a freer mode than on some of his Texas tenor-styled albums – and getting great accompaniment in his journey from Jaki Byard on piano, Richard Davis on bass, and Alan Dawson on drums. The Davis/Dawson team is a delight throughout – soulful and in the pocket, yet working with enough sense of space to allow Ervin and Byard to really take off on their solos! The album features 4 long tracks – and titles include "There Is No Greater Love", "Number Two", "Mojo", and "I Can't Get Started".

Great tenor sounds from Wayne Escoffery – set to an excellent groove that mixes Fender Rhodes and acoustic piano! The album's one of the best we've heard from Escoffery in years – a date that really sets his horn free, yet also has a soulful focus, too – one that definitely comes from the Rhodes, handled by Orrin Evans, plus more keyboards from Adam Holzman. Basslines – from Hans Glawischnig and Ricky Rodrigues – are nice and warm, and often quite mellow – and Jason Brown's drums have this subtle approach that really lets the tenor and keyboards take the lead. Titles include "World Of The Bardo", "Banishment Of The Lost Spirit", "If I Am Who You Are", "Selena's Song", and "Presumed Innocence" – plus "Two Souls", which features Escoffery on soprano, blowing spontaneously alongside acoustic piano from Evans.

A great little set from Alan Evans – better known as the drummer in Soulive, but equally smoking out here on his own! Alan doesn't always record on his own, but when he does, it's usually a great thing – and this cooking little album definitely lives up to the funky tightness we'd expect! In addition to drums, Evans also plays guitar and bass on the record – and other instrumentation includes more guitar and lots of Hammond too – but used in a style that's very different than Soulive – still funky, but a bit spacey and cosmic too – a bit in keeping with the image on the cover! Evans also sings a bit, with this great raspy style buried down amidst the groove – and titles include "Hotcakes Meltdown", "Thor", "Cosmic Hazel Dust", "Who Dare Knock", "They Call Me Velvet", "Have You Seen Him", and "Biscuits".

A great little set from Alan Evans – better known as the drummer in Soulive, but equally smoking out here on his own! Alan doesn't always record on his own, but when he does, it's usually a great thing – and this cooking little album definitely lives up to the funky tightness we'd expect! In addition to drums, Evans also plays guitar and bass on the record – and other instrumentation includes more guitar and lots of Hammond too – but used in a style that's very different than Soulive – still funky, but a bit spacey and cosmic too – a bit in keeping with the image on the cover! Evans also sings a bit, with this great raspy style buried down amidst the groove – and titles include "Hotcakes Meltdown", "Thor", "Cosmic Hazel Dust", "Who Dare Knock", "They Call Me Velvet", "Have You Seen Him", and "Biscuits".

Rare grooves from Evans Pyramid – a sweet set of cosmic disco from the end of the 70s – recorded with a lean, almost spiritual vibe – quite similar to some of the great tracks reissued in the Soul Cal series! There's a definite ear for the dancefloor here – lots of upbeat rhythms, touched with sweet keyboards riffs, and layered with vocals that are almost an afterthought – yet have their own sort of message at the right moment. The group's the brainchild of Andre Evans, an artist whose huge legacy of music business work includes stints with Dyke & The Blazers, Little Anthony & The Imperials, and Tribe – as well as a host of key album sessions as well – but the sound is unlike any of those references, and has this great stripped-down late 70s club vibe throughout. The rare album is offered here with unreleased bonus tracks – and titles include "Rubber Band", "Never Gonna Leave You", "Dip Drop", "No I Won't", "Soul Petrol", and "Dance A Thon".

Rare grooves from Evans Pyramid – a sweet set of cosmic disco from the end of the 70s – recorded with a lean, almost spiritual vibe – quite similar to some of the great tracks reissued in the Soul Cal series! There's a definite ear for the dancefloor here – lots of upbeat rhythms, touched with sweet keyboards riffs, and layered with vocals that are almost an afterthought – yet have their own sort of message at the right moment. The group's the brainchild of Andre Evans, an artist whose huge legacy of music business work includes stints with Dyke & The Blazers, Little Anthony & The Imperials, and Tribe – as well as a host of key album sessions as well – but the sound is unlike any of those references, and has this great stripped-down late 70s club vibe throughout. The rare album is offered here with unreleased bonus tracks – and titles include "Rubber Band", "Never Gonna Leave You", "Dip Drop", "No I Won't", "Soul Petrol", "I Got A Rush For You", "Dance A Thon", and "Sugar Stop".

Eight soulful brothers of the Luckett family – all coming together here in a wonderful gospel set from the 70s! The harmonies are tremendous, and often balanced with great leads from Rev LC Luckett – creating the kind of interplay you might get in the front of a church, yet given a lot more soulful focus for the album – often with a vibe that takes us back to soulful interplay from rootsier records of the 60s! The album's a tremendous one – the sort of obscure gospel set that definitely gets you digging for more spiritual sides – and a key illustration that many male groups of this nature were almost more soul than some of their secular contemporaries. Titles include "Just Moving On", "Around This Altar", "Joy When I Think About", "Help Me To Carry On", and "Where He Leads Me".

A classic killer from The Fabulous Rhinestones – a group with a plenty soulful approach to their music, even if the group was probably more of a rock outfit than a funk-based one! There's some heavy rhythms on most of the tracks – kind of a gentle funky groove that's mixed in with great organ lines and sweet guitars – all to couch perfectly the lead vocals of Kal David, who sings with a raspy, earnest tune that really fits the grooves! The group are definitely lesser-known than some of the bigger funk rock acts of the time – but they're also one of the best, too. Titles include "Big Indian", "Positive Direction", "Nothing New", "Free", "Living On My Own Time", and "Easy As You Make It".

Hard to go wrong with a set like this – because in our opinion, just about every track recorded by Fela is a "best" – which makes the collection a massive batch of goodness all the way through! Every track here is presented in its original extended version – a dozen massive slices of Afro Funk, which packaged together equal the equivalent of at least 5 or 6 separate albums by Fela – another factor that makes the collection a great one! The 2CD set is filled with gems that helped redefine the sound of funk, soul, and world music back in the 70s – titles that include "Monkey Banana", "Everything Scatter", "Expensive Sh*t", "Trouble Sleep Yanga Wake Am", "Underground System (part 2)", "Sorry Tears & Blood", "Colonial Mentality", "Yellow Fever", "He Miss Road", "Black Man's Cry", "Mr Follow Follow", and "Na Poi".

Hard to go wrong with a set like this – because in our opinion, just about every track recorded by Fela is a "best" – which makes the collection a massive batch of goodness all the way through! Every track here is presented in its original extended version – a dozen massive slices of Afro Funk, which packaged together equal the equivalent of at least 5 or 6 separate albums by Fela – another factor that makes the collection a great one! The 2CD set is filled with gems that helped redefine the sound of funk, soul, and world music back in the 70s – titles that include "Monkey Banana", "Everything Scatter", "Expensive Sh*t", "Trouble Sleep Yanga Wake Am", "Underground System (part 2)", "Sorry Tears & Blood", "Colonial Mentality", "Yellow Fever", "He Miss Road", "Black Man's Cry", "Mr Follow Follow", and "Na Poi". Also features a bonus DVD – with Fela's 1984 performance at the Glastonbury Festival, and an interview too!

Early early work from Lee Fields – a set originally issued at the end of the 70s, but with a raw funky power that's much more like music from a decade before! The set was a real anomaly at the time, and was passed over for years – but through the decades, it's earned Lee legendary status as one of the few cats who were keeping things hard and funky when the rest of the country was going disco – a reputation that's definitely held up strongly by the gritty tracks in the set! There's a strong echo of southern soul in the music – again the feel of something from years before – and the raw production only seems to make the whole thing sound even better – with an edge that's even different than Fields' better-known work of recent years. The album was done for the tiny Angle 3 label – a company so small that it opted for one of the "stock" images that was given the album by the pressing plant, which gave the album a very unspectacular cover – corrected on this deluxe reissue by the great cover image here. This reissue also features loads of bonus tracks too – other rare Lee Fields singles from over the years – making the package a true testament to his pre-revival genius! Album tracks include "Everybody Gonna Give Their Thing Away (parts 1 & 2)", "Flim Flam", "Wanna Dance", "She's A Lovemaker", "Mighty Mighty Love", and "Let's Talk It Over". Bonus tracks include "Fought For Survival", "Funky Screw", "The Bull Is Coming", "Take Me Back", "You Been Cutting Out On Me", and "Bewildered".

Sweet poppy soul from Five Star – moving strongly here on a set that's got lots of early 90s new jack elements – including a fair bit of beats that really work well with the group's trading of male and female vocals! Things are plenty catchy throughout – not the deepest soul you might ever listen to, but the kind of work that definitely shines brighter than most in the mainstream R&B world at the time. Titles include "Come To Me", "Shine", "Love Can't Wait", "Right Over", "The Start Of Forever", "Sentimental", "Save A Place", and "The Love You Bring To Me". CD features 6 bonus tracks – all different mixes of "Shine"!

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

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

A definite delight from Ronnie Foster – a post-Blue Note set that actually has the keyboardist sounding better than ever! Ronnie's always been one of those guys who seems to work best when moving against a bit of structure – and here, that force is provided by the excellent Jerry Peters – who's come up with some great soul backings that also have these nicely offbeat corners – more than enough to preserve some of the quirkiness of Foster's work from previous years – yet also giving him a bit more direction too! There's a bit of vocals on the set – mostly from Ronnie – with backing from Phyllis Hyman, Jim Gilstrap, and Peters himself. Titles include "Argentina", "We As Love", "Let Me In Your Life", "I've Got Your Love", and "When Will I Write You A Song?". This CD version also includes the bonus "You're The One (US 7" Single)".

Frank Frost really kicks it hard on this set of classic recordings from the 60s – a batch of tracks that easily show why Frost was one of the funkiest bluesmen to record for the Jewel/Paula label! Frank sings and plays harmonica – but an equal attraction here is the rhythms – which are often tight and vamping, and sometimes hard and heavy too – definitely more funk-based at points than the more common rolling blues of the time – although when Frost hits more standard modes, he's still pretty great too. Titles include "Harpin On It", "My Back Scratcher", "Never Leave Me At Home", "Janie On My Mind", "Ride With Your Daddy Tonight", "Five Long Years", "Pretty Baby", and "Harp & Soul".

Tia Fuller's always a player who really grabs our ears – and an artist who always manages to work with a surprising degree of depth, despite the sometimes sexy look of her album covers! Take this set – which has kind of a "smooth jazz" look on the front, but burns with intensity right from the start – a soaring, righteous style that's right up there with the most soulful indie jazz around – served up by Fuller on alto, soprano sax, and flute – in a hip combo that features Shamie Royston on Fender Rhodes, Mimi Jones on bass, and Rudy Royston on drums. The set boasts a bit of guest work – Terry Lyne Carrington on three tracks, John Patitucci on six, and Dianne Reeves on one – but the real star here is definitely Fuller – a wonderfully soulful talent, especially on the alto – and a heck of a great leader too. Titles include "Ralphie's Groove", "Body & Soul", "Lil Les", "Angelic Warrior", "Tailor Made", "Core Of Me", and "Simpli-City".

A record that's got a lot more to offer than just the "fun" promised in the title – and a set with a much deeper feel than you might guess from its wrapping paper cover! The quartet is definitely heavy on horns – soprano and alto sax from Volker Schlott, tenor and flute from Thomas Klemm, trombone from Jorg Huke, and trumpet and flughelhorn from Joachim Hesse – all working here with only a bit of percussion, but mostly just crafting these amazing lines in space between their horns – in ways that maybe echo a bit of the sax quartet style of the time from the US, but which definitely goes way way beyond as well! Things are never too far outside, and at many times, there's this sense of color and tone that almost recall some late 50s/early 60s experiments from folks like Jimmy Giuffre or Art Farmer – with all the sense of swing and soul that might imply. Other numbers have a more contemporary feel – and titles include "Round Funk", "Primo Tono", "Permanent'z", "Kanon II", "Bluestekuchen", "3 Saxophonie Nr 2", "Free Notes", and "Largo Lapidarius".

The first album in years from this favorite Brazilian funk combo – and less of a straight album than a collection of different recordings from all the time we haven't heard from them! Funk Como Le Gusta are tighter than ever – still strongly inspired by American funk and soul, and able to fuse it into a groove that's slightly contemporary – but way better than the usual mainstream R&B from Brazil! There's a lean quality here on most of the tracks – instrumentation that's still mostly live, and definitely linked to the contemporary deep funk underground at points – while getting even bolder production at others. Titles include "Balacobaco", "Sweet Ronie Song", "Putz", "Muchacha Fantastica", "Ire", and "Preludio Do Sol".

Modern electronic grooves from Funkadiba – a duo that features the legendary Daniele Baldelli, the DJ reknowned for his contributions to the famous Cosmic nightclub! The styles here are definitely an update of that classic Cosmic groove – lots of spare, stark beats mixed with synth and keyboard parts – but usually handled with a slightly warmer feel overall – one that almost shifts back from the 80s roots to grab a bit more 70s funk too – which is mixed in with the rhythms to deepen the soul of the cuts nicely! Titles include "Dirty Sun", "Countdown", "I Must Feel Better", "Barabba Funk", "Funka Takin Over", and "Skippy & The Funky Boys".

Here's a group who definitely live up to their name – a damn funky 70s act from Nigeria, with a tight, righteous groove that's completely outta sight! The Funkees have an approach that's a lot more compact than Fela, and a lot more soulful than some of their more tripped-out contemporaries – and they also had some recording experience in London, which possibly gave them an even hipper focus – like some of the great post-colonial combos that were brewing up sounds on the British scene of the 70s! This wonderful package brings together the best of the group's work – their rare early Nigerian 45s, and key cuts from the UK albums – all with the incredible Soundway ear for a groove – meaning that The Funkees sound pretty darn funky all the way through. Titles include "Mimbo", "Dancing Time", "Break Through", "303", "Life", "Ole", "Akpankoro", "Abraka", "Acid Rock", "Slipping Into Darkness", "Point Of No Return", and "Dancing In The Nude".