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This is the Aesop album on MUSH records before he got signed to Def Jux. It is a piece of raw, dark, poetic artistry that describes his hometown of NYC and the trials and tribulations in it beautifully. This album is a little rougher and his lyrical style is just a little more advanced on his later work, but all the same, it deserves massive praise here. Tracks include "Commencement At The Obedience Academy", "Drawbridge", "Big Bang", "Garbage", "Basic Cable", "I'll Be OK", "Attention Span", "Spare A Match", "Breakfast With Blockhead", "Fascination", "Skip Town", "How To Be A Carpenter", "The Mayor And The Crook", "Prosperity", and more. 2012 reissue of the out of print, dawn of the 00s classic.

The electro classic, famous in part for that incredibly prescient sample from Kraftwerk that went on to become the basis for what seems like the entire Miami Bass industry for a while – but it's so much more than that. Truly a benchmark record!

A sublime debut from German prog outfit Agitation Free – a set that's definitely free of agitation, and one that spins out in these long, winding lines with lots of Eastern influences! There's a bit of drone to some of the grooves, but never in a sleepy or sloppy sort of way – and in addition to familiar prog instrumentation on guitar, keyboards, and percussion, there's also some added ethnic elements as well, and even a bit of steel guitar, zither, and live tape work too! Tracks are longish and nicely organic, and although there's some vocals on the record the whole thing's much more of an exploratory instrumental affair – very much like some of the best early work on Brain. Titles include "You Play For Us Today", "Sahara City", "Ala Tul", "Pulse", "Malesch", and "Rucksturz".

A blend of jazz funk and rawer informed grooves from Harold Alexander – and actually a step into more polished vibes thanks to some Arif Mardin arrangements and a new home at Atlantic Records! Although some of the earlier records cut by reed player Harold Alexander may have been more accurately described with the title Raw Root, this one stands up a lot better today than we remembered it! It has a pretty tight electric sound, and good Atlantic soul grooves running through it – with Alexander on flutes & saxes, Joe Boner in on keyboards, Ricard Davis on bass and Brian Beaks on drums on the bulk of it, with altered personnel on "De Black Musician" and "Lady Euphoria" (which also include vocals by Tequila). Soulful backing vocals credited to Something Different and some guitar by Junior Hanson and some spacey synth by Billy Allessi. Other tracks include "Country Soul", "Raw Root", "New York Sister", and "Street Life".

A blend of jazz funk and rawer informed grooves from Harold Alexander – and actually a step into more polished vibes thanks to some Arif Mardin arrangements and a new home at Atlantic Records! Although some of the earlier records cut by reed player Harold Alexander may have been more accurately described with the title Raw Root, this one stands up a lot better today than we remembered it! It has a pretty tight electric sound, and good Atlantic soul grooves running through it – with Alexander on flutes & saxes, Joe Boner in on keyboards, Ricard Davis on bass and Brian Beaks on drums on the bulk of it, with altered personnel on "De Black Musician" and "Lady Euphoria" (which also include vocals by Tequila). Soulful backing vocals credited to Something Different and some guitar by Junior Hanson and some spacey synth by Billy Allessi. Other tracks include "Country Soul", "Raw Root", "New York Sister", and "Street Life".

A sweetly dreamy little album recorded by Daevid Allen away from Gong – working here with his drum-less group Euterpe, described in the notes as "an amazing bunch of catalunatics"! The record was recorded in a home studio in Majorca, and has a really relaxed feel – one that's somewhat spare and intimate, but with a lyrically sing-song sort of approach – one that only further pulls out the more playful side of Allen's vocals. Instrumentation includes mandolin, moog, bass, and guitar – and the approach is almost a prog folk move into the territory of Syd Barrett. Titles include "Children Of The New World", "Spirit", "Song Of Satisfaction", "Have You Seen My Friend", "French Garden", and "Wise Man In Your Heart". CD also features the bonus track "Euterpe Gratitude Piece".

A really wonderful document of of the Takamba style of music in Northern Mali and Niger – passionate, energetic and hypnotically performed by Ali Ag Amoumine! Ali's home is in Timbouctou, a couple hundred kilometers upriver from the Takamba region, and it was here that this excellent recording by Christopher Kirkley took place. It's essentially traditional regional guitar music, electrified and played in droning, wholly entrancing patterns, while the rhythm is played on the calabash. The songs here are described as being informed by Ali's travels and including his own compositions, and it does have inimately personal feel, while also pulling us in strictly on the basis of the soaring, hypnotic sounds. Includes "Adernibah", "Khomeissa", "Fatimatou", "Damara", "Kalitay", "Hali Diallo", "Taliat Nouhirase", "Nouvelle Annee" and "Mali".

The second wonderful project from this cool collaboration – one that features Arnaldo Antunes, Antonio Pinto, Taciana Barros, Edgard Scandurra, and others – all working together on some completely charming songs for children! These aren't really kids songs – and are more tunes that have a sense of charming naivete, and lots of spare yet playful instrumental touches – almost little messages to the younger generation, but never too prescriptive, and always filled with a great sense of play. Some vocals are by youngsters, others by members of the project – and the whole thing's surprisingly captivating, way more so musically than we can really put into words. Titles include "Todo Dia", "Galaxia", "Mamae Tamo Chegando", "Os Moveis Da Minha Casa", "Lingua Do P", "De Noitinha", and "Fim De Semana".

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".

One of Roy Ayers' best-remembered albums of the 70s – a sublime blend of mellow numbers and some of his more club-oriented grooves of the time – all wrapped together with a genius that we can only describe as Ayers-like! The album's a beautiful example of the balance that Roy was striking in his work at the time – because alongside some of the more upbeat, catchy numbers, there's other tracks that are a fair bit more laidback, and almost abstract at times – a wonderful extrapolation of that sensitive Ayers blend of jazz and soul, with key emphasis on the vibes and keyboards. Titles include the massive groover "Running Away" – which you'll recognize from a key sample history over the years – and club cuts "Cincinnati Growl", "Fruit", "Sanctified Feeling", and "Stranded In The Jungle" – plus the more laidback cuts "Gotta Find A Lover", "I Still Love You", "Lifeline", and "This Side Of Sunshine". CD also features a bonus track – the 12-inch version of "Running Away"!

An incredible album by Roy Ayers – but one that's often overlooked because it was a rare indie effort issued between Roy's years at Polydor and Columbia! The session's Roy's only full album for Uno Melodic – the label he formed to showcase the talents of Sylvia Striplin, Ladies Of The Eighties, and others – and it's done in a snapping, boogie-styled groove that's very similar to the work by other Uno acts at the time. There's still plenty of the late Polydor Roy in the mix too – especially on the album's mellower numbers, which glide along nicely with all the right jazzy touches we love in a classic Ayers groove! Highlights include the excellent "Chicago", a really dark funk track with a mad descending groove; the Fela-styled "Black Family"; the warmly jazzy "Lots Of Love", an instrumental with vibes along strings; and the bass bumping "Everybody", a wicked later funk number! Other tracks include "And Then We Were One", "DC City", "Drive", and "Fast Money" – all great too!

A really special record from a really special group – one of two sublime 70s gems from Azteca – a wicked blend of jazz, funk, Latin, and soul – all put together by a young Coke Escovedo! Coke's ostensibly the leader of the group, but there's also a richly collaborative feel going on – a style that brings together jazz players like Tom Harrell on trumpet, Mel Martin on saxes, George Muribus on Fender Rhodes, and Flip Nunez on organ – and Latin players like Victor Pantoja on congas, Coke Escovedo on timbales, and Pete Escovedo on added percussion. In fact, the set's a key early example of the strength of the Escovedo family – and like their best later efforts, the set really stretches out and pushes the boundaries of conventional genres. There's also some great guest work from Lenny White on drums, Mike Nock on keyboards, and Neal Schon on guitars – and vocals are by a range of singers who really keep things fresh. Titles include "Red Onions", "Mazatlan", "Whatcha Gonna Do", "Mexicana, Mexicana", and "Love Is A Stranger".

Insanely wonderful work by Bacharach – in a way that we can hardly begin to describe (but we'll certainly try!) By the time this one was recorded – 1971 – Burt's reputation as a songwriter and arranger were so firmly established that he had an incredible amount of freedom in the studio. Here, working with tunes that were mostly well-worn, plus a new one or two – Burt comes up with an amazingly complex set of arrangements, opening up his tunes like little flowers, focusing on a particular instrumental tendril, and drawing it out into incredible lines of melody and color. Proof of this is the album's extended version of "Wives & Lovers", or its suite for orchestra, entitled "And The People Were With Her". All tracks are great – from Burt's intimate vocal on "Hasbrook Heights", to the jangly instrumentation of "Freefall", to the completely recast versions of hits like "One Less Bell To Answer", "April Fools", and "Mexican Divorce". CD features a bonus track – a rare mono version of "All Kinds Of People".

Amazing work from Gato Barbieri's legendary exploration of Latin American sounds for Impulse Records – a set that's heavy on Cuban influences, thanks to arrangements from the mighty Chico O'Farrill! The sound is sublime – a bit fuller than some of Gato's other albums in the run, but never with any slick or commercial styles – just more of a richness from O'Farrill's backings, matched perfectly by Barbieri's amazing tones on the tenor! There's a lot of Latin percussion in the backings – courtesy of Ray Mantill, Luis Mangual, and Ray Armando – and Eddie Martinez mixes in some sweet electric piano with his acoustic lines, deepening the soul of the record in a really 70s way. Titles include "Milonga Triste", "Lluvia Azul", "La Padrida", "Viva Emiliano Zapata", and "El Sublime" – the last of which is a good description of the record!

Stunning soul from the great Joe Bataan – a really groundbreaking mix of modes that's right up there with the best of the Spanish Harlem scene of the late 60s! The album is Joe Bataan's debut for the Fania Records label – and the start of an incendiary run of Latin classics that forever changed the face of the New York scene – a mindblowing mix of Latin rhythms and soul-based inspiration, served up in a mix of English and Spanish language lyrics! The title track is a sublime cover of Curtis Mayfield's "Gypsy Woman" – one that's even more heartbreaking than the original – and other titles include "Ordinary Guy", Sugar Guaguanco", "So Fine", "Fuego", and the groovy "Chickie's Trombone" – a tight little jammer that shows that Joe's group also drew plenty of inspiration from the descarga scene too.

A real killer from the legendary Joe Bataan – an album of righteous power that really lives up to the dynamic promise of the title and cover! Joe Bataan's in top form throughout – serving up a blend of Latin grooves and 60s soul influences that few other artists of the time could touch – soaring and upbeat one minute, but mellow and laidback the next. There's a number of longer tracks on here that really move past the standard Latin Soul modes – bringing in bits of descarga jazz, instrumental soul, and mellower ballads to Joe's already-great blend of styles. The depth here is tremendous, and nearly every track's a winner! Titles include the slamming "It's A Good Feeling (Riot)", "Muneca", and "Mambo De Bataan" – plus the soul tracks "What Good Is A Castle", "My Cloud", "Daddy's Coming Home", "Ordinary Guy", and "For Your Love".

A greatest hits package with ""World Famous", "Watch Out Now", "No Escapin'", "Off The Books", "However Whenever", "We Got The Funk", "Reign Of The Tec", "Props Over Here", "Beatnuts', "Get Funky" and more.

Big Boi's got plenty of help this time around – a huge array of guest talents that includes Sleepy Brown, Phantogram, TI, Ludacris, Kelly Rowland, Killer Mike, Bosko, and many others – but there's still a nicely unified feel to the set – a strength of vision that holds on even in the more commercially-tuned numbers, of which there are definitely a few that should push this one over the top! Titles include "Shoes For Running", "Apple Of My Eye", "CPU", "In The A", "The Thickets", "Lines", "Tremendous Damage", and "Descending".

Big Boi's got plenty of help this time around – a huge array of guest talents that includes Sleepy Brown, Phantogram, TI, Ludacris, Kelly Rowland, Killer Mike, Bosko, and many others – but there's still a nicely unified feel to the set – a strength of vision that holds on even in the more commercially-tuned numbers, of which there are definitely a few that should push this one over the top! Titles include "Shoes For Running", "Apple Of My Eye", "CPU", "In The A", "The Thickets", "Lines", "Tremendous Damage", and "Descending". Deluxe edition features 3 bonus songs!

Ruben Blades's first album – recorded shortly after his arrival in New York from Panama, with top-notch backing by the band of Pete Rodriguez! The album's an interesting one, in that it catches Ruben shortly before the salsa era, singing in a mix of styles that reminds us of some of Jimmy Sabater's work with Joe Cuba's group – doing mid and uptempo numbers in Spanish, and laying down a few mellower moments with the occasional English vocal! The style's not entirely Latin Soul, but not far off either – and the work is a nice contrast to the later work of Ruben. Titles include the lively groover "Descarga Caliente", the soulful "When", and the cuts "El Bravo", "De Panama A New York", "Donde", and "Hey Man".

An amazing achievement for Ruben Blades – a full suite of tracks conceived and composed by Ruben as a "disco drama" on wax! The work isn't the disco-styled album you might think from this description – and is more of a mini-opera or concept album by Blades, one that features ambitious arrangements from Louie Cruz, Marty Sheller, and Carlos Franzetti – using strings and more standard Latin backings to expand the tunes tremendously, and make the whole album work with the full drama it requires. There's a few spoken bits on the set, which give way to some great songs – and the album also has a few instrumental passages. Willie Colon produced and supervised the whole effort – and tracks on this second part include "Epilogo", "El Velorio", "Manuela Despues", "El Entierro", "Hay Que Viver", and "Maestra Vida".

Nocturnal boombap from Blockhead – a sleepless, samples and electic-beats heavy survey of an after hours metropolis – finding Blockhead as insistently inventive and timeless in approach as ever! We love that Blockhead's work kind of exists in it's own world, yet clearly shows love for NYC life – and the globally diverse soundscapes strongly represent both that great urban landscape and Blockheads inner genius. Includes "Never Forget Your Token", "Creeps Crouchin", "Panic In Funkytown", "Meet You At Tower Records", "Escape The Meadow", "Smoke Signals", "Midnight Blue", "Snapping Point", "Beyond Reach" feat Baby Dayliner and "The Robin Byrd Era".

2 beautiful tracks of group soul by this lost Chicago group. "I Owe You Love" is a smooth ballad cut, with a very nice descending chorus that's extremely catchy. "Summer Ride" is a remake of a track done by the Sandpebbles, and is a very nice groover!

A real killer from James Brown – and one of his most open-ended LPs of the early 70s! The record's got tracks that kind of go a lot further than those on many of James' other albums (except maybe Payback, which has loads of long cuts) – and it includes an extended 9 minute reading of "Hot Pants", the hard groovy "Blues & Pants" (also 9 minutes), and the 2 part "Escape-Ism" (which goes on for about 7 minutes.) There's great stuff all the way through, plenty of nice breaks, and the JBs lay down some great solos!

A great lost album from James Brown – and totally funky! The record's got a super-hip cover that shows James standing in a blue room with three fine foxy ladies, and the words "I Can't Stand Myself When You Touch Me" are emblazoned across the top – and the whole thing's as super funky as it looks! The record features many obscure King singles from the mid and late 60s, great little tunes that we always enjoy on funky 45s, and which are sewn together into one of the rawer James Brown LPs from the decade. James and the band are playing Vox instruments – as you can tell by the shameless ad on the back cover – and the record has a garagey funk sound that reminds us of the best Desco work by artists like Lee Fields & Joseph Henry. A prize in any funk collection – and with the cuts "The Soul Of JB", "I Can't Stand Myself When You Touch Me (parts 1 & 2)", "Get It Together (parts 1 & 2)", "Funky Soul #1", "Why Did You Take Your Love From Me", and "Baby Baby Baby Baby". Also features the funky hit "There Was A Time" – always a treat!

Subtitled "Live At the Apollo Vol 3", but waaay better than any of the earlier volumes, this monster 2LP live set has James and the JB's wailing away in a freewheeling live set of hard hard hard funky grooves. Excellent work by the band, and a great way to see how sharp they were out of the studio, and proof that their funkiness was not the product of any clever editing tricks. Stone cold all the way through, with lots of great funky solos, cool rapping by James, and long versions of tracks like "Sex Machine", "Escape-Ism", "Make It Funky", and "Give It Up Or Turn It Loose".

Subtitled "Live At the Apollo Vol 3", but waaay better than any of the earlier volumes, this monster 2LP live set has James and the JB's wailing away in a freewheeling live set of hard hard hard funky grooves. Excellent work by the band, and a great way to see how sharp they were out of the studio, and proof that their funkiness was not the product of any clever editing tricks. Stone cold all the way through, with lots of great funky solos, cool rapping by James, and long versions of tracks like "Sex Machine", "Escape-Ism", "Make It Funky", and "Give It Up Or Turn It Loose".

Subtitled "Live At the Apollo Vol 3", but waaay better than any of the earlier volumes, this monster 2LP live set has James and the JB's wailing away in a freewheeling live set of hard hard hard funky grooves. Excellent work by the band, and a great way to see how sharp they were out of the studio, and proof that their funkiness was not the product of any clever editing tricks. Stone cold all the way through, with lots of great funky solos, cool rapping by James, and long versions of tracks like "Sex Machine", "Escape-Ism", "Make It Funky", and "Give It Up Or Turn It Loose".

The monumental debut of BT Express – and an excellent funk album that often gets overlooked by fans of the music because of the band's bigger fame as a disco group! This first record has the combo grooving hard and instrumentally – in the mode of a tight blacksploitation soundtrack, with plenty of tight wah wah guitar riffing, conga beats, and funky flute and sax – topped off by just the right amount of strings to make the set soar even more! The album's best known for the title track "Do It (Til You're Satisfied)" – which was a big hit, but is still an excellent groover – and the set also includes loads of other great cuts too – like "Express", which was the original song that the created the JBs' response track "Monorail"; "This House is Smokin'", which has lots of funky descending horn bits; and other great tunes that include "Mental Telepathy", "If It Don't Turn You On", and "Do You Like It".

A rarity from the early 90s funky underground by Bus People Express – who were alternately working as Soul Saints during this period – and they would soon trailblaze the contemporary funk scene as Poets Of Rhythm! "Augusta Georgia (Here I Come)" starts out with stripped-down drums and some gritty call and response group vocals, before the guitar and bass come storming in. Reminiscent of James Brown at his rawest and grittiest, ala Motherlode! "South Carolina" has a slower cooking style with some southern funky soul swagger, as you might guess from the title. A prescient blast of modern funk to come!

Get ready to discover a true soul genius – the vastly under-known Richard Caiton, an excellent sweet soul singer who hailed from the New Orleans scene of the 60s! Unlike some of his more famous Crescent City contemporaries, who sung in a chunkier funkier style, Caiton's got a mellow soul approach that's much more in keeping with east coast work of the same period. His voice has a sweetly crackling style that we really love – never too sweet, but with an honest and personal approach that brings some nice fragile touches to his music. This collection of work is the first time Caiton's genius has ever been properly brought to light, as most of his tunes were issued on smaller labels, only as singles – leaving it to the genius compilers at Grapevine to bring together all of these great rare tracks from the late 60s and early 70s. 20 tracks in all, with titles that include "I Like To Get Near You", "Take A Hold Brother & Sister", "Superman", "Got To Get Across To You", "I See Love Girl In Your Eyes", "I Gotcha My Love", "Forgive Me Baby", "Reflections", "Our Love Is True", "I'm Not The Other Man", and "What's Wrong Baby".

A surprisingly great album – even if it's short on information! There's no real dates on this one, so we have to assume that it's of the vintage of the album's release date – somewhere in the early 60s – making the album pretty late for Benny, but also pretty great as well! The sessions have a pretty unique feel – with Benny's alto in front of gentle small group backings that have a bit of a sweet feel – and some occasional vocal chorus bits that slide in and out very gracefully. Carter's tone is tremendous, and the sound of the record is really incredible – hard to describe, but much more than you'd expect from the title, label, and the date! Titles include "Waltz Gay", "Bagatelle", "Blues For Benny", "Black Knight", and "Cuando Caliente El Sol".

Excellent work from Betty Carter – much more sophisticated than some of her 60s work! Betty's captured here in her hip trio format that she developed to fantastic heights during the 70s. Betty sings standards and originals with a warmth an imagination that we can hardly describe accurately – bringing emotion into the songs that we'd hardly heard in earlier recordings, and using a trio in ways that we'd never heard before with a vocalist. Incredible stuff all the way through, very much on a par with any of Betty's later work, with "Do Something", "My Shining Hour", "What's New", "Round Midnight" and "I'm Pulling Through".

Great stuff – and a very sharp album cut by Willie during the Latin soul era, featuring a bunch of tracks that veer more towards the boogaloo side of things than his later albums! The groove is nice and hard – stripped down with the youthful energy that Willie brought to the scene at the time – and the record features great vocals by Hector Lavoe, Yayo El Indo, and Elliot Romero. Features the wonderful piano-bassed groover – "Jazzy" – which spirals out with descarga-like energy! Other great tracks include the boogaloo numbers "Skinny Papa", "Willie Baby", "Willie Whopper", and "El Malo" – but the whole album's a winner!

Great stuff – and a very sharp album cut by Willie during the Latin soul era, featuring a bunch of tracks that veers more towards the boogaloo side of things than his later albums! The groove is nice and hard – stripped down with the youthful energy that Willie brought to the scene at the time – and the record features great vocals by Hector Lavoe, Yayo El Indo, and Elliot Romero. Features the wonderful piano-bassed groover – "Jazzy" – which spirals out with descarga-like energy! Other great tracks include the boogaloo numbers "Skinny Papa", "Willie Baby", "Willie Whopper", and "El Malo" – but the whole album's a winner!

Wild early work from Willie Colon – a record that's equally poised between the Latin Soul and later salsa era, and which features great lead vocals from Hector Lavoe! The album's got some very strong tracks that percolate in Willie's dark trombone-led groove – like the mighty 7 minute "No Me Den Candela", which steps about majestically in a slow and soulful groove; or the great instrumental cut "I Wish I Had a Watermelon", a nice mini-descarga with some really great piano! Other tracks include "El Titan", "Oiga Senor", "Guisando", and "Te Estan Buscando". Great stuff all around!

Amazing! This album is one of the great lost classics of East Coast harmony soul of the 70s – and it always leaves us breathless! Continental 4 may not have been as big as some of their contemporaries, but the cut "(You're Living In) A Dream World" is one of the most sublime soul tracks ever recorded – with stunning harmonies, fragile production, and some wonderful Philly ballad instrumental touches. The rest of the album is just as good – with slowly plucked electric sitar, soaring harmonies, and an amazing batch of orchestrations that are just out of this world! Titles include "Escape From Planet Earth", "Running Away", "I Don't Have You", and "How Can I Pretend". Dream work from Philly Maestros like Bobby Martin and Norman Harris!

A classic collection of grooves from the legendary Cortijo – most of which feature lead vocals from Ismael Rivera – mixed with a few other great tracks from later years too! Cortijo's combo was one of the leading lights of the pre-salsa scene – and his firey percussion really keeps things going here – helping to lay down some excellent rhythms that are perfect for the soaring vocals from Rivera, and other singers who include Azuquita, Pepito Negron, Jorge Millet, and Nacho Sanabria. Titles include "Sacame De Aqui", "Fuerza E Cara", "Coje Pa La Cola", "Calambre", "Bombon De Canela", "Agua Que Va A Caer", "Se Escapo Un Leon", "Aqui Estoy Ya Llegue", and "Arrecotin Arrecotan".

A classic collection of grooves from the legendary Cortijo – most of which feature lead vocals from Ismael Rivera – mixed with a few other great tracks from later years too! Cortijo's combo was one of the leading lights of the pre-salsa scene – and his firey percussion really keeps things going here – helping to lay down some excellent rhythms that are perfect for the soaring vocals from Rivera, and other singers who include Azuquita, Pepito Negron, Jorge Millet, and Nacho Sanabria. Titles include "Sacame De Aqui", "Fuerza E Cara", "Coje Pa La Cola", "Calambre", "Bombon De Canela", "Agua Que Va A Caer", "Se Escapo Un Leon", "Aqui Estoy Ya Llegue", and "Arrecotin Arrecotan".

Enigmatic sounds from UK reedman Lol Coxhill – a really cool collaboration with Morgan Fisher – who adds in his own tape manipulation, guitar, and piano next to Coxhill's work on soprano sax – plus a bit of carillion too! The style's even more spacey and laidback than Lol's 70s duets with Steven Miller – but has a similarly hypnotic quality – proof that Coxhill was always trying to go way beyond jazz, and way beyond some of the standard free modes of his contemporaries – always interested in shaping sounds to new ends – with fascinating results that make the album a corker! Titles include "Slow Music", "Matt Finish", "Jetsam", "Flotsam", "Vase", and "Que En Paz Descanse". CD features a bonus sound collage titled "Play Quiet" – with work by Gavin Bryars!

Warmly wonderful sounds from Maria Creuza – really coming into her own at the time of this mid 80s set – and finding a way to blend together rootsy sounds and sophisticated production – all with a result that's a bit like Gal Costa at the time! There's a gentle feel to the set – not sleepy or mellow, but kind of easygoing – as Maria delivers the lyrics with a relatively personal feel, over arrangements that sometimes have a touch of samba, more often a touch of light jazz. Titles include "So Pra Descansar", "Maliciosa", "Tua", "Milagre De Amor", "Fragmentos", "Vontade", "Estrela Cadente", and "Sessoes De Cinema".

A mellow soul classic from Chicago – and one of the last great records to come out of the city's hip 70s soul scene! We know very little about Crystal Winds – save for this excellent record, one of the few titles issued on the short-lived Cash Ear label, a south-side imprint in the tradition of 70s powerhouse labels like Curtom or Chi-Sound. The work's got a wonderfully polished feel – lots of jazzy harmonies on the vocals, and a smooth midtempo groove that reminds us of some of the best work on Fantasy Records, especially those handled by Wayne Henderson and At Home Productions. Includes a great jazzy stepper called "Signs of Winter's Time", plus other great tracks like "So Sad", "Love Ain't Easy", and "It's A Wondrous Thing".

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".

One of the greatest grooves from the legendary Desco Records years – a brilliant album of modern Afro Funk done by The Daktaris – in a groove that's just as hard-hitting as any of Fela's work from the 70s! The album was one of the first to bring back an older African style to current funk – and even years later, it's still one of the best examples of the sound – a razor-sharp session that helped set the stage for better-known Antibalas work to come! Percussion and guitar is super-heavy throughout – produced with that bare-bones Desco style, and handled in a way that makes you think the record might be some treasure from mid 70s Nigeria – a trick the label tried to pull when it was released! Cuts include a cover of Fela's "Upside Down", James Brown's "Give It Up Or Turn It Loose", and the originals "Super Afro-Beat", "Daktari Walk", "Voodoo Soul Stew", and "Quiet Man Is A Dead Man".

One of the greatest grooves from the legendary Desco Records years – a brilliant album of modern Afro Funk done by The Daktaris – in a groove that's just as hard-hitting as any of Fela's work from the 70s! The album was one of the first to bring back an older African style to current funk – and even years later, it's still one of the best examples of the sound – a razor-sharp session that helped set the stage for better-known Antibalas work to come! Percussion and guitar is super-heavy throughout – produced with that bare-bones Desco style, and handled in a way that makes you think the record might be some treasure from mid 70s Nigeria – a trick the label tried to pull when it was released! Cuts include a cover of Fela's "Upside Down", James Brown's "Give It Up Or Turn It Loose", and the originals "Super Afro-Beat", "Daktari Walk", "Voodoo Soul Stew", and "Quiet Man Is A Dead Man".

Reputedly, this is an African funk band recorded recently by the folks at Desco Records – but as with a lot of their projects, we're not entirely sure whether or not to believe them, since they're always a bit too mysterious about the origins of their material, and this may just be some new grooves, cut by a funk band of non-African origin. Whatever the case, though, the record kicks butt, and is a very tight batch of funky instrumentals that have a classic sound that hints at Fela, Manu Dibango, and other Afro Funk artists of the 70's. There's lots of choppy guitar grooves, heavy percussion, and raw blaring sax solos. Very nice stuff, and every bit as great as the other stuff on Desco! Cuts include a cover of Fela's "Upside Down", James Brown's "Give It Up Or Turn It Loose", and the originals "Super Afro-Beat", "Daktari Walk", "Voodoo Soul Stew", and "Quiet Man Is A Dead Man".

Groovy stuff! The album features Johnny Dankworth's fab score for Modesty Blaise – the sexy slinky British queen of international adventure, played by Monica Vitti in the 1966 film. The soundtrack's got some great jazzy numbers, a few variations on the theme, and some weird groovy tracks that feature some odd instrumental turns. Titles include "Modesty Blaise", "Moods Of Modesty", "More Moods Of Modesty", "Modesty & Willie Escape", "Canal Trip", "At The Doll's House", "The Shiek To The Rescue", and "Ice Is Nice", with vocals by Bob Breen!

Mad MPS material from Wolfgang Dauner – right up there with some of the wildest records on the label during the 70s! The album's easily one of Dauner's most striking sessions – a set that has him handling a whole host of electric keyboards, and working with a group that also includes fuzzy guitar from Larry Coryell, bass from Gunter Lenz, and some really heavy drums from Jon Hiseman and Fred Braceful! Some moments are tight and funky, while others offer up a sweet spacey vibe – and overall, the album's got a perfect blend of MPS groove and some of the freakier, more far-reaching elements of the German scene at the time. The group take on a killer version of Coryell's classic "The Really Great Escape" – then roll into Dauner gems that include "Yin", "Sun", "Tuning Spread", and "Yan" – which features some guest voice and sound effects from Richard Ketterer.

An early pairing of Miles Davis & John Coltrane – one of the duo's mid 50s classics for Prestige, as you might guess from the verb in the title! And although "Steamin" might be a word that's a bit too firey to describe the action going on here, the album's got a tremendous sense of presence throughout – as Davis' cooler trumpet is matched with Trane's earthier solo work – all supported by Red Garland trio backing in a style that's as near-classic as it comes for 50s jazz. Titles include "Diane", "Something I Dreamed Last Night", "When I Fall In Love", and "Salt Peanuts".

A really well-penned western score from Francesco De Masi – put together in ways that are even richer and more vivid than usual! The tunes are short, but really work some scene-setting magic in just a short space – leaning heavily on the full range of soundtrack drama while mixing in key western elements – and almost acting as a link between the spaghetti western generation and the previous era of Hollywood scoring. Instrumentation features great harmonica from Franco De Gemini, and a few vocal bits from I Cantori Moderni – and tracks include "Where Are The Killers", "Johnny Revenge", "Wishville", "Sibyl Murder", "Bloody Sunset", and "Over Death" – plus 13 more bonus tracks too!

A soaring, joyous score from Francesco De Masi – not nearly as dark as some of the other spaghetti western soundtracks of the time – and filled with the sort of proud, bold sounds you might expect from a more mainstream American western! There's still plenty creative going on in the orchestrations, though – lots of cool woodwind and brass passages, layered with the strings to create rich textures in sound – and often holding back energy with this sort of inherent drama that really keeps things moving nicely. There's a bit of chorus vocals at points, from I Cantori Moderni – who sound more heavenly than usual – and titles include "Armonica Western", "Arkansas Commento No 1", "Arkansas Suspense", "Yucca Theme", and "Non Sparate Sul Cantate".

Horns, harmonica, and more – all wrapped up beautifully in the hands of soundtrack maestro Francesco De Masi! The core music for Arizona Colt is done with these soaring brass parts that really recreate the scope of the scene – bursting forth in full, yet gentle modes that really stretch out for the sky – intercut with mellower, more isolated sounds on harmonica from Franco DeGemini or guitar from Alessandro Alessandroni! I Cantori Modern sing just a bit on the record – especially on two vocal versions of the theme, sung by Raoul – and the CD features a whopping 31 tracks in all, with great remastering – and titles that include "Gordon Guitar", "Agguato Al Passo", "Sentieri Misteriosi", "Arizona Ferito", "Attesa E Dolore", "Arizona Colt", "Jane E Arizona", and "Preludio Strip Tease E Fuga".

An excellent 70s Italian film score – penned for a political thriller, but handled with a fair bit of sweet and lovely themes! The album's one of the best we've ever heard from Francesco De Masi, and it nicely mixes his usual strong talents for action with a bit more warmth that befits the sexier side of the Italian cinematic spectrum. Sweet strings glide in alongside tighter electric basslines on some tracks – and others feature evocative woodwind bits, haunting piano, and a few more dramatic orchestrations – all wrapped up with really lovely sound throughout, and reissued here in a wonderful new package that really fits the music! There's a few vocal tracks – "Tomorrow Is A Foreign Land" and "Time On My Hands" – sung in English by Melody – and other titles include "The Story Of A Dream", "Running Against The Time", "Cape Town Harbour", "Soldiers Aboard", "Red Clouds", "Ending A Dream", "Suspect & Love", and "You'll Kill Her". CD also features 2 bonus tracks – LP versions of "Running Against The Time" and "The Story Of A Dream".

A wonderfully complicated soundtrack – one with many moods, and some really great work overall! The set starts out a bit strangely – pushing the "concerto" aspect with some overly-dramatic classically-styled themes – but as the work unfolds, a range of different influences come into play – including some jazzier themes, some sparer instrumental ones, and a few really nice lighter and groovy numbers that almost have a love comedy sort of approach – one that's much more in keeping with the 1970 date of the film! Instrumentation on these gets nicely electrified, and titles include "Tema Di Barbara", "Seduzione E Incubo", "Sweet Barbara", "Thorpe Overture", "Isabel & Tom", "Cercando Un Fantasma", "90 Miles To London", "Good Night Anthony", and "Georgy & Mamie". CD features much better art than the previous version – and a total of 11 more bonus tracks – which makes for a mighty sweet package!

One of the most heartfelt film scores we've ever heard from Francesco De Masi – thanks to some great guitar work from the legendary Alessandro Alessandroni! There's a nice mix of moods in the soundtrack – some playful melodies that almost have a Nino Rota quality, offset by other moments that have the scene-setting quality of a western – all brought togther nicely in a round of short tracks that change mood easily as the set rolls on! Great remastering, and a bit of viola from Dino Asciolla too – and titles include "I Fiori Di Noe", "Ferace Destino", "Il Circo", "L'Amore Di Noe", "Noe", "Eroe Vagabundo", and "Il Tango Di Noe".

Great old school spaghetti western scoring from Francesco De Masi – and a soundtrack with so many wonderful elements in place! The leadoff tune – "Oklahoma John" – is sung in English, and has a nice sort of 50s feel to it – proud and bold. Following instrumental tunes mix in plenty of traditional western modes – strummed guitar here, Alessandroni whistling there, and just the right sort of dramatic flourishes to spur the action onward – yet always used in the best sort of economical way – the truly great contribution of the Italian scores of this generation. CD features a whopping 23 tracks in all – newly remastered too!

Francesco De Masi's soundtrack to the original Inglorious Bastards, aka Counterfeit Commandos – the seedy little 70s Italian-made war yarn with Fred Williamson and Bo Svenson that influenced Tarantino's not-really-a-remake! De Masi's symphonic suite and live orchestrations bring a triumphant sweep, as the best Italian soundtrack composers of the era did, just pulpy enough, and provide the right levels of dramatic sounds. Great stuff!

Dramatic action from Francesco De Masi – scored with plenty of exotic touches as well! The style here is a mix of spy/crime with touches of the peplum genre too – some of the cooler, leaner modes of the former – mixed with the sensitive, sensual sounds of the latter – more than enough to fit the far-flung mood of the film's locale! The balance is what makes the score so nice – a bit lighter than some of the heavier Italian offerings from few years before – yet quite different than some of the simpler spy soundtracks that were coming on the market at the time. The package features 16 tracks in all – newly remastered, in a sweet-looking package!

Dramatic Italian action – scored to perfection by Franceso De Masi! The soundtrack's got all the best elements of the blood n sandals generation – rich orchestrations that echo the most dramatic Hollywood modes of the 40s and 50s, driving moments that almost have a fast-paced action sort of feel, and a few exotic touches that reflect the ancient setting of the story – although in ways that still echo more strongly with contemporary instrumentation. Tracks are short, but pack plenty of punch – and the CD features a whopping 33 tracks in all, including some bonus rarities too!

A great late 60s western score from Italian composer Francesco De Masi – hitting on all of favored sounds to accompany the best Italian made westerns of the era – rustic solo guitar, string-tightened tension, both lonely and densely orchestrated horns, and swaggery mood to spare! Excellent work that hits all the right notes – and it's got a groovy vocal opener, to boot! This CD marks the first ever release of the complete score, mastered from the original mono tapes. "Maybe Somwhere, Maybe Someday", plus "Non Potro Domenticare", "Sogni Ed Ombre Nell'Incubo", "La Pista Nella Sabbia", "Ecce Homo", "Triste E Sospeso", "Un Giorno Ti Pentirai", "Passagio Ne Nistero" and many more.

A rare score by Francesco De Masi – with a sound that ranges from sophisticated strings, to marching fanfare and overtures, to stripped-down and eccentric bits! It works well on all fronts. The grander numbers are on par with any of the more sophisticated soundtracks of the period, the marches are exciting, and the oddball tunes have everything from whistling to a nursery rhyme. Titles Include "Dedicated To Love", "New Year's Day March", "No Problem", "Farewell March", "Sad End To The Game", "Opening Party", "Sadness Among Friends", "In His Honour", "The Circus Arrives".

A wonderful tribute to the mighty talents of trombonist Raul De Souza – a package that features individual DVD and CD performances by the musician, brought together in one cool little set! Both formats feature recent material, ostensibly recorded for this package – and all tracks on the CD are not on the DVD – and vice versa – which means that you'll get an even broader picture of Raul than you might expect! The performances are great, too – very jazzy, with a style that focuses heavily on De Souza's lead trombone lines and solos – without much other instrumentation getting in the way. Given the many styles that Raul's used over the years, it's great to hear such a back to basics jazz-based set – echoed by guest work on the DVD from Joao Donato on piano and Hector Costita on tenor sax. DVD titles include "Spiritual", "A Vontade Mesmo", "St Remy", "Funky Man", "Bossa Eterna", "Jumping Street", and "Violao Quebrado" – and CD titles include "Alibi", "Ligia", "10 Minutos", "Voila", "Viva O Rio", "Up Jumped Spring", and "Todas As Tribos". Comes in an oversize package – with notes in English and Portuguese!

The best work so far from Rosalia De Souza – a session that features production and guitar from bossa legend Roberto Menescal, and a sound that's deeper and even more classic than any of Rosalia's other work! Most of the instrumentation here is in an older acoustic mode – piano, percussion, and horns arranged by Menescal with that beautifully lighter than air style that he first pioneered in the 60s – an approach that lets Rosalia's vocals drift along on wonderfully gentle rhythms, and dominate the record even more than before. Given that the set's on Schema, there's still a nicely rhythmic component to most numbers – but overall, the record's a bold step forward even for the label – similar to the all-acoustic move made by Nicola Conte in his own recordings! Marcos Valle joins in on vocals on "Que Bandeira", and other tunes include "Onde Anda O Meu Amor", "Voz Da Lapa", "Jogo De Roda", "Rio De Janeiro", "Mar Amar", "Um Novo Dia", and "Vivo Sonhando".

A pre-punk bit of charged, hard grooving Motor City rock from Death – a lost record that takes a tightly coiled, blazing approach to their influences of garage rock and psychedelia – and a record that's all the better in that it was recorded way back in 1975! To put it bluntly, music didn't really sound like this in '75 – and it would be as easy to label the sound as something like, "mid 70s Detroit African American precursor to Husker Du", etc, but this is a honestly a pretty remarkable album for its time that we don't want to trivialize it with a lazy nutshell description. The group does distill their influences in a way that's reminiscent of some midwestern post punk, but Death is pre-punk, making it a really fascinating record, and a blast to crank up in your headphones! Titles include "Keep On Knocking", "Rock-N-Roll Victim", the longer, seemingly Arthur Lee influenced "Let The World Turn" (eventually nailing a fiercer sound the likes of which Love never messed with), "You're A Prisoner", "Freakin Out", "Where Do We Go From Here???" and "Politicians In My Eyes". 7 songs, 27 minutes, and pretty awesome.

Nobody can write a modern soundtrack like Georges Delerue – and even for a so-so movie like this, he really knocks it out of the park! There's a sense of grace and poise to the music right from the start – not the staid sounds you'd normally find in a mainstream movie, but incredibly thoughtful orchestrations that really have a great sense of balance – never going too over the top, nor overstating their presence – yet really pulling us in because of that subtle action too. Most instrumentation is in the best moody Delerue mode – sometimes with a touch of jazz – and titles include "Alan Au Bar", "La Plage", "Alan", "Bonheur Trompe-L'Oeil", "La Mort De Kleber", and "Feu Dans La Nuit". CD features 6 more previously unreleased bonus tracks too!

Italy from the sky, served up in a wonderful 60s soundtrack from Francesco DeMasi – a really unique record that moves past most of the familiar genres of the period! The cover looks a bit cartoony, but the music is much more serious overall – yet never try or boring, as you might expect from a travelogue film – and instead touches with these beautiful scene-setting elements that also have occasional moments of whimsy – and groovy enough sounds that there's no attempt at realism or localization in the music either. A really great discovery, and a real standout in the long career of DeMasi – with cuts that include "Nebbie Sulla Palude", "Altalena Party", "Nuvole Nel Cielo", "Filessi Nella Laguna", and "Little Bar". CD has 4 bonus tracks too!

Classic stuff from the man who brought the Exotica sound to the mainstream! We hardly need to tell you about these albums – as they're virtually the blueprint for countless exotica albums to come, a mixture of 50s easy listening, strange tropical rhythms, and odd little sound effects! Denny's playing with his original combo of Arthur Lyman, Augie Colon, and John Cramer – in a mixture of piano, percussion, vibes, and lots of bird calls! Tracks include "Stone God", "Island Of Dreams", "Escales", "When First I Love", "Bacoa", "Ebb Tide", "Rush Hour In Hong Kong", "Singing Bamboos", "Jungle Flower", "Busy Port", "Lotus Land", and his hit recording of "Quiet Village".

With Steve Swallow and Jacques Mahieux.

A cool jazz classic from altoist Paul Desmond and guitarist Jim Hall! The album was recorded under Desmond's name, but Hall's the guitarist throughout, and his playing lends an indescribably wonderful edge to the set, making the album a real team effort! Unlike other RCA sides by Hall and Desmond, this one features the pair with larger string backings by Bob Prince, which create a dreamy pillow for alto and guitar to solo across. Titles include the Desmond originals "Late Lament" and "Desmond Blue" – plus "Ill Wind", "My Funny Valentine", and "Like Someone In Love".

Amazing stuff! This is a totally cool bit of early electronics from the late 60s – and the music is dark and spooky, with lots of weird wild harsh electronics (if you know Dissevelt's other albums, you'll know what we mean!) The whole thing sounds sort of like a mad robot playing a crazy space organ on a merry go round while dropping acid – and that description only gets at half the record! It's a great one if you like spooky 60s electronics, and titles include "Moon Maid", "Sonik Re-Entry", "Twilight Ozone", "Orbit Aurora", and "The Ray Makers". Very cool! Omni Records always fleshes out their releases with loads great bonus material – and they once again go to great lengths on this one! It features the rare stereo version of the album with outtakes, alternates, mono versions more previously unreleased raritites. 20 tracks in all!

A groovy little record from Domenico – one that's got the same best elements of his music with Moreno Veloso and Kassin, but which almost has a more intimate feel overall! Most tunes here have a relatively tight song structure – almost always with lyrics by Domenico, although Moreno joins in and sings a bit too – and backed with small combo instrumentation that's mostly played live, but occasionally inflected with the kinds of subtle production twists we've always loved in the music of Domenico! It's always hard to describe the exact charm of Domenico's music – but if you've heard him before – or frequent partners Kassin and Moreno Veloso – then you'll know exactly why we like this one so much. Titles include "Cine Prive", "Receita", "Su Di Te", "Sua Beleza", "Zona Portuaria", "Pedra A Areia", "Hugo Carvana" and more. 13 in all.

A really warm and wonderful little record – one that features the collaborative talents of these four bossa nova giants, all coming together in a really relaxed, intimate setting! Although most of these artists didn't work together in the 60s, they all share a very similar spirit, and come together beautifully here – all four working together on the first and last track in the set, then splitting apart to work in smaller duos, and each take a track or two on their own. Instrumentation is mostly small combo, and warmly jazzy – and Valle, Lyra, Menescal, and Donato all handle the arrangements too – furthering the collaborative spirit of the set. Titles include "Balansamba", "Ate Quem Sabe", "Tereza Da Praia", "Ate O Fim", "Bewitched", "Sextante", "Gente", "Vagamente", "De Um Jeito Diferente", and "Ciume".

A hip little look at Lee Dorsey's best music of the late 60s and 1970s – and a set that features some really great surprises! The core of the collection is some of Lee's funky work recorded with Allen Toussaint on production, and the Meters helping out in the backing – the kind of gritty New Orleans grooves that forever made Lee one of the leading lights of the Crescent City scene. Later tracks are a bit more polished, but pretty great too – numbers that show an evolution of the original Dorsey groove, often still in the hands of Toussaint. CD features 16 tracks in all – including the great "Radio Commercials", which features 2 numbers recorded for Coke – plus "My Babe", "What Am I Living For", "Sneakin Sally Through The Alley", "Night People", "Behind The 8 Ball", "Great Googa Mooga", "Ya Ya", "You Better Tell Her", "Lonleyology", "Yes We Can", and live versions of "Ride Your Pony", "Lottie Mo", and "Working In The Coal Mine".

Fantastic soul from Lamont Dozier – his first LP as a solo artist, and one of the best debuts of the 70s! The record has a quality that's impossible to describe accurately – but it's kind of a post-Motown full-on approach to soul that mixes strings, piano, and that wall of sound groove that was one of Dozier's biggest contributions to the Motor City. Surprisingly, the album's produced by McKinley Jackson – leader of The Politicians, who provided regular backing for Dozier's HDH productions of the time. The real strength, though, is Dozier's voice – which is produced here in a compressed way that brings up the better raspy qualities of his style, juxtaposing them with the tightness of the arrangements in a mode that's similar to Bobby Womack's work of the time. However, Dozier's songwriting is way way better than Womack's by this point – and the album's filled with anthemic soul cuts like "Fish Aint' Bitin", "Out Here On My Own", "Take Off Your Make Up", "Trying To Hold Onto My Woman", and "Let Me Make Love To You".

The best record in years – maybe decades – from the legendary Dr John – and a set that stands up strongly next to the messed-up Crescent City vibe of his 70s classics! Big thanks are due to Black Keys' guitarist Dan Auerbach – who produced and supervised the whole recording – and helped create the kind of rootsy studio proceedings that make for just the right vibe to help the Doctor hit all his best classic modes! Leon Michels brings in some great keyboards, too – and an undercurrent of El Michels funk – and Dr John's vocals really sparkle in the setting – stepping out with all the weird raspy elements we love so much. Titles include "Ice Age", "Getaway", "Kingdom Of Izzness", "You Lie", "Eleggua", "My Children My Angels", "Locked Down", and "Big Shot".

Nick Drake's second album, and a fantastic batch of jazz-tinged folksy tracks that's virtually unlike anything else ever done on this planet! The compositions are amazing, and Drake's execution of the material is masterfully produced by Joe Boyd, who brings out all the rich tonal qualities of the music. Drake's work is impossible to describe adequately, but if you've ever heard him, you probably stopped dead in your tracks the minute you first caught his voice. We still do the same – and it's a pleasure to have this one in stock! Titles include "Fly", "At The Chime Of A City Clock", "Hazy Jane", "Poor Boy", and "One Of These Things First".

Tough, dirty and stylish late 50s short stories by the great Harlan Ellison – who would go on to be hailed as one of great science fiction and suspense writers in print, film and television – but working here as a very young man, under pseudonyms, on seedy crime and pulp stories! It's gritty, yet charmingly trashy stuff – with story titles that let you know what you're in for here – including Dead Wives Don't Cheat, God Bless The Ugly Virgin, Gang Girl, Portrait Of The Artist As A Zilch Writer, An Episode Of Sunbathers and more. A treasure trove, rescued from pulp obscurity by Kick Books! Paperback, 174 pages.

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.

Coke Escovedo's best album and a nice bit of groovy soul from the mid 70's. Patrick Gleeson produced, Harvey Mason plays drums, and the whole thing's got a nice laid back spacey soul sound. Includes covers of Lamont Dozier's "Why Can't We Be Lovers" and Leon Ware's "If I Ever Lose This Heaven", plus "What Are You Under", "No One To Depend On", "Easy Come, Easy Go", and "Make It Sweet".

The one and only album Kansas City singer songwriter Jeff Eubank – his rare, should be classic A Street Called Straight from 1983! The album was recorded in KC after Eubank spent some months puttering around the LA scene, and it's a low key, brilliant effort with a lot of love for the best folk rock and soft rock of the previous decade – plus some occasional oddball flourishes – filtered through Eubank's own considerable talents. Easy melodies and solid lead and harmony vocals lead the way, and Eubank somehow either had the foresight to avoid early 80s production trappings that could have dated the recording. The timeless is very impressive and this is worthy discovery! Titles include "Feels Like Me", "For Your Return", "Inside", "Earthian Children", "A Street Called Straight", "Summersong", "Adolescent Daydream" and more.

A plenty groovy little record – an obscure indie soul set from the Detroit scene of the early 80s, served up in a nice blend of modern grooves and mellower moments! The vocals are really great on some numbers – with soaring harmonies that really bring a lot out of the tunes, especially on some of the more laidback ones – giving the record a sense of depth and fullness that often matches that of bigger known groups from the time. The whole thing was arranged and produced by Jim Roach – and titles include "Dream Machine", "Escape", "You Are My Lucky Star", "I Love You Girl", and "Money's Only Paper".

A lively bit of soca from Explainer – bubbling, jumpy, and a good version of the music that escapes many of the cliches that crept in later in the 80s. Titles include "Rasta Chick", "Not Tonite", "Heroes", "Getting Down", and "Panorama".

A brilliant criss-crossing of group from this cool trans-global group – a set recorded in London, but with roots in Venezuela, LA, and Ghana – served up with a sound that's even greater than the sum of its parts! Malcolm Catto recorded the record – and really helps bring a funky energy to the record, by working alongside lead studio help from Jack Yglesias of The Heliocentrics – pushing here into a space that's even more offbeat than the grooves of that group! There's loads of rich acoustic instrumentation – especially percussion – and Mulatu joins the record at one spot, furthering the exotic appeal of the set. Some tracks have an almost ethnographic vibes, while others are a bit more contemporary – although the overall sound is more than worthy of placement on the Soundway label. Titles incude "Arena", "Cumbacutiri", "Fly Through The Lightning To Speak With The Sun", "El Negrero", "Escape To The Palenque", "Manicero", "La Familia", and "Speak To The Spirit Of The Sea".

An amazing record! By all rights, this shouldn't be so good – but it's an incredible album of haunting tracks that really has us coming back again and again over the years. The formula is simple: Jose plays late 60s pop tunes on acoustic guitar, and sings them in his spacey soulful voice. Backings are by George Tipton, plus a jazz combo made up of Jim Horn, Ray Brown, and Milt Holland – but it's Jose that really makes the whole thing amazing! His style of presentation is like anything else we can describe – filled with sadness and soul, but enough joy to keep moving forward. He takes tracks like "Light My Fire", "In My Life", "Sunny", and "California Dreamin", and transforms them into an amazing document of the darkness hidden behind the sun of southern California. "California Dreamin" is especially amazing – and Jose's version is one of the best soul songs of all time!

An obscure set by this overlooked trumpeter – with Mulgrew Miller on piano and Kenny Garrett on alto sax!

A pair of dramatic action soundtracks, both for Don Siegel films – each with a slightly different feel! The CD begins with ten tracks from the 1962 military thriller Hell Is For Heroes – scored by Leonard Rosenman with a subtle sense of drama at points – the kind of different gentle instrumental passages needed to support the diverse personality in the cast – which includes Bobby Darin, Bob Newhart, Fess Parker, and Steve McQueen! Things are pretty restrained, but in a good way – mostly that sort of tense holding back you'd get in a 60s thriller, than any over the top military moments. Titles include "The Mine Field", "Back To The Line", "Off Limits Bar", "Reese", and "Homers Disappointment". Escape From Alcatraz is a great Jerry Fielding score for a late 70s Clint Eastwood film – almost a reverse heist, given the subject matter – with the sort of brooding, tense moments, followed by bursts of action – as you'd get in a heist score. Fielding's music has a great way of conveying the literal darkness and shadows in many of the scenes on the screen – and there's a few moments that have a weird crackle, almost an instrumental sound effect of sorts. Titles include "To The Finish Line", "Trial Run", "Nosey Cop", "The Pipe", "Carpenter Shop", "Cockroach", and "Welcome To Alcatraz".

Great work by the team of Brigitte Fontaine and Areski Belcam – two of the most enigmatic talents you'll ever hear on record! The album's the only one they ever recorded that wasn't issued by the Saravah label – and it's a fantastic blend of otherworldly vocals with spare instrumentation that includes electric piano, flute, bandoneon, and percussion – wrapped together wonderfully with a haunting sound that's just amazing. Even if you don't understand French, the sound and style of the voices are more than enough to keep you captivated – and the album is some of the most indescribably beautiful music we can think of! Titles include "Le Borgais", "L'Abeille", "Les Petites Madones", "Le 6 Septembre", and "Ragilia".

A wicked dip into Colombian music – focused around the work of two true giants of the scene! CD1 features 21 massive tracks from Fruko – one of the hardest-hitting artists working in Colombia in the 70s – often in a sound that starts out in New York salsa, but takes all these weird little twists and turns as it adapts to the local rhythms! Joe Arroyo's tracks start where Fruko's leave off – pushing the groove even more with a bolder, more confident Colombian style – still filled with some great jazzy riffs that you'd hear in salsa, but moving into some especially nice tropical touches too! The production on the material for both artists is great – often filled with some sweet studio tricks – and the booklet features notes on the artists, plus images of lots of vintage album covers too. 38 tracks in all – with tracks billed to each artist separately, or The Latin Brothers, La Verdad, or Afrosound – on titles that include "El Preso", "El Violento", "Tu Sufriras", "La Pintosa", "Ocho Dias", "El Esclavo, "Tifit Hayed", "San Juan De Puerto Rico", "Palenque", Pobre Naci, "El Son Del Caballo", "Baila Simon, "Musa Original", "Matigua", "Vuelve", "Son Apretao", and "En Barranquilla Me Quedo.