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A killer groove! "Fallin In Debt" is a chunky, funky monster that feels like some lost southern funk cut from the end of the 60s – razor sharp drums that move surprisingly fast, tight horns that pepper the groove but never overwhelm, and great vocals from DeRobert that set the pace of the cut nicely! Guitar riffs quickly alongside the triple-time groove – and the whole thing's backed by "Stay On Point" – another wickedly funky tune with an offbeat sense of rhythm!

Raw funk and southern soul from DeRobert & The Half-Truths – a combo from Murfreesboro, TN who've knocked us out with a few very promising 45s – delivering in full on Soul In A Digital World! The title sums up the group's mission pretty well – blending raw, dirty live funk (we're guessing they absolutely tear it up on stage) with indelible grooves learned from decades of southern soul sounds. The group brings furiously paced funk vibe as sharply as any recent acts we've heard, but when they want to take it down to a simmer, it cooks just as well! DeRobert's vocals are passionate and real, backed excellently by raw drums and percussion, very nice guitar and bass, and a punchy horn section. The group is representing their own GED Soul Records – and they do so proudly! Titles include "Too Short", "The Joy", "Poor Man Walk", "I Swear I'm Not A Fool", "Too Busy", "I Know", "Take Me Out Of The Dark", "The Dole", "The Feel", "Got Soul In A Digital World" and more.

A triple-header from DeRobert and the Half-Truths – with plenty of punch in the grooves! "Too Busy" is a really raw number – riffing guitar with a darker edge than most funky tracks – topped with some off-kilter horns, all backing up DeRobert's vocals – which themselves have an edgey feel too! "Sucker Punch" has a wicked groove from the get-go – kind of a classic Memphis funk mode, as you'd find from early 70s Stax! "Cop Cars" has a great slow drum break at the start – just the sort that might have been sampled for some True School gem years back – and the whole tune builds very slowly, with snakey instrumentation, all very much in the best El Michels mode!

The eponymous full length from Nashville psyche funk trio Magic In Threes! There's something of a sound library style to the set – but the trio format gives their take on that groove in a bit of a tighter, more reigned in take on the groove. That's not to say it's not a diverse tapestry of tripped out grooves, but the cohesive mix of snaky rhythms, hazy organs and smoky atmosphere that gives it more of a working band vibe. Solid work on the GED Soul label! Includes "Nick's Theme", "Neal's Lament", "It's Good To Be The King", "I Got Warrants", "Rancho Relaxo", "Beatin' Tha Breaks", "Mesothelioma","Pushin' Off" and "Trinity Way".

Only a four track EP, but a record that packs the same solid punch as the full album from Sky Hi – and like that one, a smoking mix of funk and soul, served up with a very old school style! The horns here are especially nice – and often have these dark turns and twists that echo some of the growing sophistication of the group's arrangements – and of the excellent vocals of Dee Adams – a male singer who really helps give the record a solid, well-grounded approach – in a way that's quite different than the usual copycat funk of other singers in groups like this. Titles include "Numero Uno", "Reality Check", "Funk Til Dawn", and "Plan B".

Wonderfully heavy funk from DeRobert & The Half-Truths – a tune that may be the group's best to date! "I Got Burned" has this wicked JBs-type groove right at the start – that sharp mix of downbeats and horns that combo did so well – all a perfect foil for DeRobert's soulfully trilling vocals! "Nashville Country Bump" has a great groove that's very much what you might expect – a hip blend of Tennessee roots and harder funk – all instrumental, and with lots of twangy guitar!

A sweet summertime groove from Magic In Threes – a cut that feels like some lost weird funk track from the 70s – slightly offbeat, but in a great way! There's a nice thin little groove with guitar riffing along with snapping drums – and a keyboard tipples in with nice short steps – creating a strut that's plenty summertime! "Magic Mark In Tha Summer" is equally cool – kind of a wah wah sort of groove, but really laidback – almost at "Summer Madness" speed – with great spacey keyboards to match!

A mindblowing 7-inch EP from Nashville's DeRobert & The Half-Truths and the GED Soul team – who've shown enough potential thus far to make us think they'd eventually rise to the upper tier of neo classic funky soul collectives – and with this exceptional EP we think they've made it! Tight, punchy raw soul from the group and it's sung with grit, heart and truth by boss DeRobert Adams. It works as timelessly raw southern soul – drums, organ, guitar, bass and horns – but they bring uncommon elements to like steel pan and other bits to the table without sacrificing any of the soul. We've dug all we've heard by the group to date, but they take it a steep deeper and more effectively on this EP. Don't sleep! Includes "Beg Me", "Just Don't Care", "Finger Tips", "Reachin' Out" and "Call Me".

Raw funk and southern soul from DeRobert & The Half-Truths – a combo from Murfreesboro, TN who've knocked us out with a few very promising 45s – delivering in full on Soul In A Digital World! The title sums up the group's mission pretty well – blending raw, dirty live funk (we're guessing they absolutely tear it up on stage) with indelible grooves learned from decades of southern soul sounds. The group brings furiously paced funk vibe as sharply as any recent acts we've heard, but when they want to take it down to a simmer, it cooks just as well! DeRobert's vocals are passionate and real, backed excellently by raw drums and percussion, very nice guitar and bass, and a punchy horn section. The group is representing their own GED Soul Records – and they do so proudly! Titles include "Too Short", "The Joy", "Poor Man Walk", "I Swear I'm Not A Fool", "Too Busy", "I Know", "Take Me Out Of The Dark", "The Dole", "The Feel", "Got Soul In A Digital World" and more.

Old school funky soul from DeRobert & The Half Truths – served up here in a groove with tightly snapping drums on the bottom, great guitar riffing in the middle, and horns that have some nicely dark touches! These elements are all played with nicely on the dub version – although we kind of miss Derobert's vocals from the a-side!

Gritty funk from central Tennessee – the first single on a hip little indie! "Tennessee Strut" is a slow-stepping number with some rattling drums at the core – a snapping groove that lives up to the strut promised in the title – with a great bassline alongside the kid, which steps out a bit on its own in the middle of the tune! Other instrumentation includes sax and a bit of guitar – the latter of which shines nicely on "Fancy Roll" with these great chromatic tones.

An interesting early side by Cannonball that captures him before he'd really found his voice – and when the folks at Mercury still didn't really know what to do with him. The record's a tightly arranged set of tracks from Duke Ellington's musical "Jump For Joy" – with arrangements by Bill Russo, and small group playing that includes Emmett Berry, Bill Evans, Barry Gabraith, Jimmy Cobb, and a small string section. The sound's actually quite haunting – and Cannon's alto solos remind us more of some of the best "with strings" soloing heard on Verve in the early 50s than they do his later soul jazz classics on Riverside or Capitol. That's ok with us, though – because the session's still got a lot to offer in that respect, and Cannonball handles the solos wonderfully! Titles include "Bli Blip", "Just Squeeze Me", "Nothin", and "The Tune Of The Hickory Stick".

One of the all-time great ones by Cannonball! This record captures him in the prime of his early soul jazz fame – working with an unbelievably heavy quintet that featured Bobby Timmons on piano (with Barry Harris sitting in on a few tracks), Sam Jones on bass, Louis Hayes on drums, and brother Nat Adderley on cornet. The quintet forged a sound that made them an immediate hit – and which had their tight, jagged, soul-drenched sound getting copied by everyone. The record features some amazing soul jazz standards – like Nat's original version of "Work Song", the first-ever record of Timmons' amazing "Dat Dere", Cannon's slinky "Them Dirty Blues", and the jaunty groover "Jeannine", a wonderful cut by Duke Pearson that never sounded better! The CD features alternates of "Work Song" and "Dat Dere" – for a total of 9 tracks in all!

One of the all-time great ones by Cannonball! This record captures him in the prime of his early soul jazz fame – working with an unbelievably heavy quintet that featured Bobby Timmons on piano (with Barry Harris sitting in on a few tracks), Sam Jones on bass, Louis Hayes on drums, and brother Nat Adderley on cornet. The quintet forged a sound that made them an immediate hit – and which had their tight, jagged, soul-drenched sound getting copied by everyone. The record features some amazing soul jazz standards – like Nat's original version of "Work Song", the first-ever record of Timmons' amazing "Dat Dere", Cannon's slinky "Them Dirty Blues", and the jaunty groover "Jeannine", a wonderful cut by Duke Pearson that never sounded better! The CD features alternates of "Work Song" and "Dat Dere" – for a total of 9 tracks in all!

Very righteous work from percussionist Pheeroan Ak Laff – even more hard-edged than some of his other important recordings of the late 70s – and that's saying a lot! Allthough Pheeroan lent his talents to many other musicians, this is one of the few albums he cut under his own name – and it's a blazing hot batch of percussion – monstrous work on the drum kit, with other percussion instruments as well – all recorded with a spare, earthy sound that's really amazing! The feel is partly loft jazz, partly ethnographic percussion – the latter of which is augmented more when the album features a few spoken spiritual passages – and the tones that Ak Laff gets out of his percussion are amazing – surprisingly melodic moments, mixed with others of bombastic intensity. Titles include "Ayin Of Love", "Tzaddi Vau", "Michelle Del America De Sud", "Jarawa", "Freedom" and "3 In 1".

An amazing record by Mose Allison – with some good funky tracks! The real key here is the fact that Mose plays electric piano and is working in a hip trio with Billy Cobham playing some funky and soulful drums! We don't know what kind of piano Mose is using, but on the tracks where he's playing the electric, it's got a jagged and raw kind of sound, almost recalling the one used on the Atlantic albums by Eugene McDaniels. Includes the great funky track "If You Only Knew", which has a real McDaniels kind of feel – plus the cuts "Western Man", "Mountains", "Ask Me Nice", "Night Club", and "Meadows".

Dang! Poor Gene Ammons kept getting stuck with albums that had titles which referenced his prison time! Fortunately, the quality of this one's good enough to live past the stupid name – and the record has Gene blowing with a larger group of west coast soul jazz players, arranged by Bobby Bryant, in the style of big band funk he was using on his own work. More than a few nice moments arise – especially on the cuts "Crazy Mary", "Fru Fru", and "Jaggin".

A very soulful batch of fusion tracks from drummer Horacee Arnold – here leading a group that includes reed talents Billy Harper and Joe Farrell, percussionist Ralph McDonald, guitarist Ralph Towner, and Dave Friedman on vibes and percussion. Tracks are long and spiralling, with a spiritual approach that goes quite out at times, but which also returns to a modal groove at others. Thanks to great playing by Harper and Farrell, the album's got a lot more soul than some others of the type at the time. Tracks include "The Actor", "Professor Moriarty", "Orchards of Engedi", "Tribe", and "Banyan Dance".

A very soulful batch of fusion tracks from drummer Horacee Arnold – here leading a group that includes reed talents Billy Harper and Joe Farrell, percussionist Ralph McDonald, guitarist Ralph Towner, and Dave Friedman on vibes and percussion. Tracks are long and spiralling, with a spiritual approach that goes quite out at times, but which also returns to a modal groove at others. Thanks to great playing by Harper and Farrell, the album's got a lot more soul than some others of the type at the time. Tracks include "The Actor", "Professor Moriarty", "Orchards of Engedi", "Tribe", and "Banyan Dance".

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".

The first album by Atlantic Starr – a tight set of modern soul tunes with a very different feel than their later work! Part of the credit goes to Bobby Eli – who arranged and produced the set, giving it a feel that's almost late Philly – tight, sophisticated, and right on the money at all the best points! There's a number of sweet mellow ballads with lead vocals by Sharon Bryant, and other tracks that groove in an uptempo way that points towards more of the group's 80s work – a great mix of modes that makes for a really well-developed album right out of the gate. Titles include "Gimme Your Lovin", "The Love I Never Had", "Visions", "Keep It Comin", "Stand Up", "Where There's Smoke There's Fire", "We Got It Together", and "Being In Love With You Is So Much Fun".

One of the rarest and greatest Roy Ayers albums of all time – the sly, funky and spiritual masterpiece He's Coming from 1971 – really the beginning of the funk years from Roy Ayers Ubiquity! This one's a totally solid mix of soulful jazz, jazzy soul and righteous funk – and it's straight up wonderful all the way through – with a groove that's hugely influential to say the least! Includes the amazing track "We Live In Brooklyn Baby", which has a slow sample bassline in the intro that's just incredible – plus groovy cuts like the spiritual funk classic "He's a Superstar", "He's Coming", and "Sweet Tears". The lineup includes Sonny Fortune on soprano sax and flute and Billy Cobham drums and percussion, and the record's co-arranged by Harry Whitaker, who's also on keys and vocals – with other tracks include "He Ain't Heavy, He's My Brother", "Ain't Got Time", "I Don't Know How To Love Him", "Sweet Butterfly Of Love" and "Fire Weaver". Amazing stuff, really a beautiful encapsulation of Roy Ayers in peak form!

One of Roy Ayers' greatest albums of the 70s – a set that tightens up the groove from previous Polydor productions, yet still keeps all the soul intact! The record picks up the style begun with the Mystic Voyage album, and pushes it to some slightly tighter territory – a more focused Roy Ayers sound that's totally great, and which makes the album sparkle wonderfully throughout! All aspects of Roy's talents are perfectly balanced here – his warm vocals and jazzy vibes, his uptempo grooves and mellower rhythms – played to perfection by a hip lineup of players that includes Philip Woo on electric piano, Justo Almario on tenor sax, and Steve Cobb on drums. Edwin Birdsong guests a bit on the record – bringing in a nice edge to a few tunes – the album's got a really unique dark undercurrent, even in smoother moments – that subtle Roy Ayers' approach that's always made him one of our all-time favorite artists. Titles include the wonderful jazz-tinged "Searching", a great midtempo stepper that we really love; the funky break track "The Memory", a righteous number that feels like work from earlier records; the clubby classic "One Sweet Love to Remember"; and the sweet instrumental "Vibrations", which has a mellow kickback feel! Other tunes include "Higher", "Domelo (Give It To Me)", "Baby I Need Your Love", and "Better Days".

A folk funk classic from the early 70s – and a weird little record that has a sound that's unlike anything else we can think of! The arrangements are quite soulful, almost funky at times – with a righteous undercurrent that reminds us of Richard Evans or Charles Stepney at Cadet Records. But the vocals – by singer Barbara Massey – have a flanged-out quality that's clearly overdubbed, creating a double-voiced sound that's almost a bit like Brasil 66! This mix of modes is really great – completely unique, and sublime throughout – with a vibe that was years ahead of its time, and which is finally beginning to get some recognition these many years later. Arrangements are by the pair, but Deodato also had a hand in the record too – and the core combo of musicians includes Grady Tate on drums, Ralph McDonald on percussion, and Sam Brown on guitar – alongside more guitars from Ernie and keyboards and piano from Barbara. Tracks include "Searching the Circle", "Do You Know", "For You", "Play With Fire", "My Love & I", "Satisfied", and "Prelude" – plus a wild remake of "Somebody to Love"!

A stunner from Bill Barron! The set's one of the few rare sides that Barron cut as a leader during the early 60s – and it ranks right up there with work by Ornette Coleman or Joe Harriott for sheer raw modern power! The group's a quintet – with Barron and Booker Ervin on tenor, Larry Ridley on bass, Kenny Barron on piano, and Andrew Cyrille on drums – and the warm interplay between Ridley's bass and Barron's piano provides a striking contrast to the sharp-edged horn of Barron and the adventurous drumming of Cyrille. Tracks chop around in a modal groove, but still also retain a bit of soul jazz flair – and like all of Barron's best work, they never forget how to swing, and swing they do! Titles include "Bill's Boogie", "Groovin", "A Cool One", "Playhouse March", and "Work Song". 80's pressing, with previously unissued track "Billie's Bounce".

After "The Bottle", Joe's big remake of the Gil Scott Heron song in 1975, "Rap-O Clap-O" was probably his second biggest club cut. The track's got a very catchy groove – with sort of a stomping beat that Joe used to cook up his own dance. Arranged by the great Marty Sheller, so it's still got some Latin soul cred.

Wonderful early work from Madeline Bell – a great singer with a sound that's equal parts American soul and British 60s female pop! The recordings on the set are from Madeline's earliest years in the UK – long before she achieved greater fame on crossover rock recordings, at a time when she was just stepping off an early career in gospel, where she'd crafted some great recordings on Vee Jay with Alex Bradford. The sound of the album is wonderful – arranged to production by Arthur Greenslade, and produced by Johnny Franz with the same pop genius he brought to Philips work by Scott Walker and Dusty Springfield. The CD features the full tracks from the Poppin album, plus a number of contemporary singles – for a total of 20 tracks that include "Picture Me Gone", "Beat The Clock", "Can't Get Used To Losing You", "Didn't Want To Have To Do It", "Soul Time", "I'm Gonna Make You Love Me", and "You Won't See Me".

An amazing collection – every single Jorge Ben album recorded for Philips – one hell of a massive legacy in music, packaged here with a bonus CD of rare material too! The albums in the collection are the stuff of legend – amazing discs that forever changed the face of Brazilian music with Jorge's unique blend of samba and soul, plus a touch of funk as the 70s came on – and together, the music is a mindblowingly heavy batch of work that few other artists could ever match! Titles include Samba Esquema Novo, Sacudin Ben Samba, Ben E Samba Bon, Big Ben, Jorge Ben (1969), Forca Bruta, Negro E Lindo, Ben, 10 Anos Depois, A Tabua De Esmeralda, Solta O Pavao, Gil E Jorge, and Africa Brasil. Rarities disc is unique to this set, from what we can tell – and is filled with goodies too!

Trombonely jazz from Harold Betters – the Pittsburgh legend who had a tremendous reach in the 60s! The album features Betters working his magic in a variety of settings – from catchy soul jazz-inflected numbers, to gentle ballads, to the more R&B-tinged numbers that were most likely Betters' biggest crowd pleasers on his popular live sets. The album's got a great vocal number called "Tall Girl", a two-part original groover called "Do Anything You Wanna", and nice takes on "Twist & Shout" and "Girl From Ipanema".

3 lost vocal gems from 50s Paris! The set pulls together some rare eps on the Barclay and Fontana labels – all the picture of Left Bank hip! The first 8 tracks are by Harold Nicholas – singing in French and English with a swinging combo on tunes that include "Que Reste-t-il De Nos Amours?", "That Old Black Magic", "Teach Me Tonight", and "Smoke Gets In Your Eyes" – in a style that's similar to early work by Claude Nougaro, but perhaps a bit more mellow. The next 4 tracks feature June Richmond singing with a hip group arranged by Quincy Jones – and featuring work by Billy Byers, Roger Guerin, Kenny Clarke, and Henri Renaud. Tracks on that set include "Sleep", "Everybody's Doing It", and "I've Gotta Right To Sing The Blues". The last two tracks are rare gems by Andy Bey and his sisters Salome and Geraldine – performing in the style of their classic Andy & The Bey Sisters albums in the US, and recorded in 1959, quite early in their career! Their two tracks are wonderful – and feature the trio grooving soulfully on the tunes "Smooth Sailin" and "Scoubidou".

Surprisingly great later work from Salome Bey – a singer you might know as one third of the sublime Andy & The Bey Sisters from the 60s – stepping out here on a solo set of her own! Salome's voice hasn't changed a bit – and it's got all those soulfully expressive tones that made her so great back in the day – a mode of singing that really transforms the older standards on the set, and which sounds especially nice on the album's few original numbers too! Instrumentation is often quite spare – which gives us even more chance to focus on the vocals – and titles include "Untitled Love Song", "Don't Explain", "Washed Away", "I Like Your Company", "Do Nothing Til You Hear From Me", and "As Time Goes By".

It's been a few years since we last heard from Big Boss Man – but it's been well worth the wait, as these guys know how to cook up a mod groove better than just about anyone else! Winner's got a sound that takes us back to the swinginest days of London in the 60s – Hammond wailing over some snapping mod rhythms – sometimes instrumental, sometimes topped off by slightly psychedelic vocals that expand the sound even more. In the past few years, these guys have really grown a heck of a lot – and have managed to pick up some Latin influences that sit nicely alongside their straighter inspirations from jazz, soul, R&B, and 60s mod rock – making for an album of many surprises, and an expansive sound that's way more than just a quick retro-styled groove! Titles include "Kelvin Stardust", "Fall In Fall Out", "Complicated Lady", "Reach Out", "Oh My Gawd", "Boogaloo", "Fever Special", "Everybody Boogaloo", "The Hawk", and "Got It So Bad".

A strangely beautiful set of African-tinged folksy soul – with a sound that's pretty darn tough to describe! Birigwa plays guitar and sings – and he's got a breezy style that sounds a bit like Letta Mbulu on some tracks – but a bit more folksy on others, given the largely acoustic setting of the album. The rest of the instrumentation here includes a range of percussionists, plus flute, tenor, piano, flugelhorn, and bass – the last of which is played by Phil Morrison of Stark Reality. Many of the tracks are short, personal, and poetic – but the album also features one longer cut titled – "Yelewa" – which has a jamming Afro jazz sort of groove! Other tracks include "Lule Lule", "Okusosla", "Njabala", and "Obugumba".

A sweet Jamaican-tinged take on this tune by Bob & Gene – one that features the duo's vocals set to grooves from the Inversions, a group led by Ticklah – all in a style that turns the soul track into a lost rocksteady number! The approach is mighty nice – strange at first, but really a grower – and the flip features a track that's basically the instrumental version of the vocal number!

A mix of pretty heavy garage psych and airier, trippier pop from Sean Bonniwell and his Bonniwell Music Machine for Warner Bros – moving beyond the rawer, headier material from the earlier music the more simply monikered Music Machine! There's a much broader reach here, from rugged rockers with lilting, weird pop – and sometimes a mix of the two. Tripped out strangeness and strangely catchy grooves! Titles include "Astrologically Imcompatible", "Double Yellow Line", "The Trap", "Soul Love", "Bottom Of The Soul", "Me, Myself, And I" and more.

Soaring work from guitarist Michael Boothman – a record that's probably more in a soul instrumental mode than a jazz one – but which is plenty darn great, thanks to help from a variety of top-shelf talents! Boothman's working here with Leon Pendarvis – who plays keyboards on the record, and arranged the fuller backings for the record – ones that mix Boothman's guitar with some especially great wordless vocals from singers who include Lou Courtney and Edna Holt – singing alongside the strings with a sweetly scatting mode that's pretty great! There's a slightly tropical feel to some of the tunes here – which, mixed with a bit of jazz and the sophisticated backings from Pendarvis, almost puts the record in the territory of Jon Lucien – although obviously with less of a lyrical focus overall. Titles include "Heaven", "Song For My Soul", "Saying It With Music", "Diego Shuffle", and "Scorpio Stew".

Brilliant 60s pop from the team of Tommy Boyce & Bobby Hart – best known for their key early songwriting work for The Monkees, but a heck of a great duo on their own! Boyce & Hart have a sparkly, sunshiney sound that's very much a part of The Monkees generation – a beautiful post-folk, post-surf blend of styles, and one that's served up with all the warmth and charm that made The Monkees so great – yet also with some cool twists and turns that make a record like this so great – the kind of chance-taking that A&M sometimes allowed its artists to take at the time! Backings are super-groovy – arranged by Artie Butler and Don McGinis – and titles include "I Wonder What She's Doing Tonite", "Teardrop City", "I Wanna Be Free", "The Countess", "Population", and "Two For The Price Of One" – a great cover of a Larry Williams & Johnny Watson soul tune! Features bonus mono single tunes – "The Ambushers", "Love Every Day", "Where Angels Go Trouble Follows", and "I Wanna Be Free".

A landmark album from Boyz II Men – and a set that shows that the classic harmony style was alive and well into the 90s! Although the production and rhythms here are somewhat contemporary, the vocals have a classic approach all the way through – maturing masculine soul styles that are totally great, and which have aged beautifully over the years – way past the chart-reaching cliches of other groups of the time, and well deserving of attention as a great later Motown moment! Most production is by Dallas Austin – who structured the album beautifully into "adagio" and "allegro" sections – and titles include "Please Don't Go", "Lonely Heart", "Little Things", "Motownphilly", "Under Pressure", "Sympin", "It's So Hard To Say Goodbye To Yesterday", and "Uhh Ahh".

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!

A tremendous bit of harmony soul from Chicago – one of the few cases where the Windy City really gave the east coast a run for its money – and the landmark album from teen soul quartet Brighter Side Of Darkness! Although young, Brighter Side managed to bring a depth to their work that was way more than kiddie soul – a heartfelt, heartbreaking quality that was all adult, no matter how youthful the themes – and their vocals are a perfect contrast to the fuller arrangements from producers Clarence Johnson and Johnny Cameron. The set contains the group's classic "Love Jones", still one of the best fragile harmony tracks of the early 70s – plus loads of other great numbers like "I Owe You Love", "I'm A Loser", "Just A Little Bit", and a superb remake of "Summer Ride".

Brilliant work from this long-lost Barry White protege! Tom Brock was one of the leading lights in Barry's stable of sweet mid 70s soul talents – a great writer who contributed songs to the legendary Gloria Scott album, and a heck of a great mellow soul singer on his own – with a style that's right up there with work by Leon Ware, Leroy Hutson, and some of our favorite 70s soul heroes! This album's the only one that Brock ever recorded – a great blend of mellow soul tunes, ballads, and a few tracks that have a nicely kicking Barry White-styled funk sound to them. White produced and arranged with Gene Page – and the whole album's great – the kind of mellow soul treasure you'll play again and again and again over the years! Includes the massive "I Love You More & More", plus "There's Nothing In This World That Can Stop Me From Loving You", "Shake Me Wake Me", "Naked As The Day I Was Born", "If We Don't Make It, Nobody Can", "Have a Nice Weekend Baby", and "The Love We Share".

Spiritually and politically charged hip hop from Brother Ali – fueled by funky soul-styled production from Jake One! Ali has long been one of the stronger MCs when it comes to balancing strident and socially cognizant lyricism, and he's at his best here – and working with producer who knows good and well how to frame the rhymes very strongly. Include"Letter To My Countryman" feat Cornell West, "Only Life I Know", "Stop The Presses", "Fajr", "Gather Round" with Amir Sulaiman, "Won More Hit", "Need A Knot" and more.

Ahhh. . . Nice! Wonderful intelligent, spiritual rhymes, full of Islamic prayer references, blunt antagonist rhymes, a battle with the ugliest of inner demons and broken artist poverty all hugged by catchy bouncing hook filled choruses. And all the production is handled by Ant, a true autuer akin to Pete Rock, now becoming more comfortable with his art with each release: tight organ loops, snapping drums, bright horns and nice upright basslines. "Soulful" is the key adjective here. Tracks include "Star Quality", "Pay Them Back", "Shadows On The Sun", "Forest Whitiker", "Room With A View", "Back Stage Pacin", "Missing Teeth", "Dorian", "Soul Whisper", "Champion", "Prince Charming", and more! Side F to this triple vinyl set has 4 added instrumental versions!

A stunning set of rare and unreleased grooves by James Brown – nearly all of which were cut during the classic early 70s years with the JBs, but never issued before this cool compilation! The set's got some essentials for any fan of JB – including the lost soul classic "She's The One", a duet with Bobby Byrd called "Since You Been Gone", a live version of "There It Is",an untitled instrumental and another one called "Funk Bomb." Plus, its got the full 9 minute version of the great "People Get Up & Drive Your Funky Soul" from Slaughter's Big Ripoff, and lots more excellent bits, packaged with great notes! The CD features a bonus remix of "I Got Ants In My Pants & I Want To Dance" – and this expanded version also features "You've Changed" and "Bodyheat (alternate mix)".

Here's where things really started getting interesting for James Brown! The album was issued right around the same time as James' single "Out Of Sight" on Smash – and like that track, "Papa's Got A Brand New Bag" was one of the first to use that "instruments on the beat" style of funk that would dominate all of James' work in years to come – that amazing groove that completely turned soul music on its ear – and paved the way for generations to come! The result is a startling sound that forever changed the face of groove – and you'll hear it nicely placed on this album, along with great cuts like "Cross Firing", "Mashed Potatoes USA", "Doin The Limbo", and "Love Don't Love Nobody".

One of James Brown's earliest full albums for King Records – and a set that kicks off with his monstrous reworkin of the tune "Think" – originally recorded by the Five Royales, but recast here by James as the blueprint for all the funky goodness in years to come! That track really sets the scene for the record – and James follows up with some other harder, sharp-edged tunes – offset by a few more deep-burning mellower soul tracks. Other titles include "You've Got The Power", "If You Want Me", "So Long", "Baby, You're Right", "I'll Go Crazy", "Good Good Lovin", and "I Know It's True". Reissued with the great original cover, too!

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".

Surprisingly nice work! Like the rest of Solomon's post-Atlantic LPs, this one has a sound that's different than his classic work, but which also exposes a whole new side of his talent, and range of vocals that didn't always show up for Atlantic. Solomon arranged and produced here, and the sound is mellow and a bit modern, but still with excellent southern soul touches. Most of the tracks are new, and are dedications to Martin Luther King Jr., who was the inspiration for the album. The stuff's a lot more political than most of Solomon's work, as you might guess by titles like "I Have A Dream", "Now Is The Time", "Social Change", and "Mountain Top".

One of Jerry Butler's funkiest moments of the 70s – served up in a fantastic soundtrack co-penned and arranged by the great Jerry Peters! Peters is best known for his hip work with a variety of soul acts in the studio, but he really steps out here for the score to Melinda – a lesser-known blacksploitation film from the early 70s, but one that boasts a heck of a great soundtrack! Peters approach here is a bit more baroque than some of his contemporaries – and he uses stepping strings equally alongside funky rhythms – creating a groove that's complicated, yet still plenty darn funky – and a sound that's as soulful on the mellower tunes as it is on the standout uptempo ones. Jerry Butler sings vocals on "Speak Truth To The People", "Tank's Theme", "Love is", and "Melinda Reprise" – but the instrumental tracks are even better, and inlcude the clavinet groover "Part III", the sitar-styled "Melinda Latino", and the cuts "Music For Tank's Boat", "The Blues (Dope Pusher's Theme)", and "I Can't Let You Go".

Classic soul jazz material from trumpeter Donald Byrd – one of his most sinister (and most rare) albums for Blue Note! The group's a quintet, with frequent bandmate Pepper Adams on baritone, Duke Pearson on piano, and Philly Joe Jones on drums – all grooving with some of the tightness heard on other Adams/Byrd dates, but also a warmer, more open-ended approach to the music, especially on the solos! The tracks slink along with a dark little groove – and although Pearson's piano is often sweetly lyrical, it also has a nice hard sound that works well with the sharp-edged horn lines of Byrd and Adams. The album's very much in the vein of the pair's work on the Warwick label during the same time – and with excellent compositions that include "Say You're Mine", "Duke's Mixture", "The Cat Walk", and "Hello Bright Sunflower".

Classic soul jazz material from trumpeter Donald Byrd – one of his most sinister (and most rare) albums for Blue Note! The group's a quintet, with frequent bandmate Pepper Adams on baritone, Duke Pearson on piano, and Philly Joe Jones on drums – all grooving with some of the tightness heard on other Adams/Byrd dates, but also a warmer, more open-ended approach to the music, especially on the solos! The tracks slink along with a dark little groove – and although Pearson's piano is often sweetly lyrical, it also has a nice hard sound that works well with the sharp-edged horn lines of Byrd and Adams. The album's very much in the vein of the pair's work on the Warwick label during the same time – and with excellent compositions that include "Say You're Mine", "Duke's Mixture", "The Cat Walk", and "Hello Bright Sunflower".

A tremendous solo act from GC Cameron – a singer who first rose to fame in The Spinners, but who really sounds wonderful on his own! GC's moved away from The Spinners here – into a wide range of styles that show him ready to take on most of the rest of the competition! He's working here with the best of the best of Motown – production from Stevie Wonder and Willie Hutch – and arrangements by both, plus Paul Riser, Gene Page, James Carmichael, and Frank Wilson – all of whom really give their best to the record, and show that Motown was putting plenty of effort into making GC one of the next big stars of the 70s. We're not sure why things never took off as strongly for Cameron, but whatever the case, the album's a great step for the solo artist – on cuts that include "If You Don't Love Me", "Tippin", "All In Love Is Fair", "If You're Ever Gonna Love Me", "Come Get This Thang", "I'm Gonna Give You Respect", and "Let Me Down Easy". CD features an insane amount of bonus tracks – 13 more tracks that include "Act Like A Shotgun", "Girl I Really Love You", "I'm Gonna Get You (parts 1 & 2)", "Don't Wanna Play Pajama Games", "You Are That Special One", "Have I Lost You", "Time", "Topics", and "No Matter Where".

The cover's a bit weak, but the music is mighty strong – a killer collection of James Carr's 60s Memphis soul for the Goldwax! As you'll hear right from the start, Carr had a quality level that easily rivaled greats like Otis Redding or Wilson Pickett – whether on the kind of heartbreaking ballads that fans always love, or on the harder-edged numbers that we especially love in James' music! The whole thing feels like an expanded set of 60s classics from Stax Records – and titles include "She's Better Than You", "Let It Happen", "Adorable One", "There Goes My Usta Be", "A Woman Is A Man's Best Friend", "Love Attack", "These Ain't Raindrops", and "I'm A Fool For You".

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".

Another one of the great LPs by a band that was probably one of the best to grace the Muse label – and who have not really ever been reissued. Eddie Green, Odean Pope, Tyrone Brown, and Sherman Ferguson form the core of this funky fusion outfit, and they play in a beautiful way that mixes choppy fusion riffs with more soulful instrumentation. Their sound is really unique, and is an incredibly clear realization of a style that a lot of other groups attempted, but always managed to muddy up. Tracks on this one include "Maze", "Athene", "Mail Order", and "Shorter Street". Nice stuff, and one that we just about never see!

An obscure record with a silly title – but a seminal batch of southern soul instrumentals, recorded at the height of the Muscle Shoals scene! The record's a really odd one in the Chess catalog – because it's got the feel of a record that should have come out on Atlantic or Capitol, or more appropriately Fame – as Rick Hall arranged and produced the record, and it features instrumentation by all his best Fame Studios session players, including Charlie Chalmers and Andrew Love on tenor, Gene Miller and Wayne Jackson on trumpet, Jimmy Johnson guitar, Spooner Oldham on piano, Carl Banks on organ, and Roger Hawkins on drums. Chalmers handles the main solo lines on tenor – cutting nice King Curtis-y lines over some well crafted southern soul grooves with a strong funky 45 feel. There's some particularly great cuts on the album – and titles include "Night Rumble", "Velvet Soul", "Groovin", "Soulin", "Two In The Morning", and "Poppin".

A pair of great ones from this overlooked soul group from Illinois! Modern Heart is wonderful work from Champaign – a really self-contained group, and one who really rise above the rest of the early 80s soul scene! The album's got a tightness that's hard to beat – yet a sound that's never too slick or commercial either – kind of that best balance you'd find more in late 70s mainstream soul work, save for the fact that any upbeat numbers here have more of an 80s groove style than a disco one. The mellow tracks balance things out nicely, and show a deeper songwriting sound from the group than we might have expected – further testament to the strength of the album, along with the group's own arrangements and production. Titles include "Cool Running", "Party Line", "Try Again", "Let Your Body Rock", "Get It Again", "Love Games", and "Walkin". Woman In Flames is sweet, tight, and right on the money – a stellar bit of soul from Champaign – one of those great 80s groups who never seemed to get their due, but managed to make some really wonderful music right from the start! The album's got a slightly heavier production tip than before – arrangements from James Newton Howard that link Champaign a bit more to the sound of their mid 80s contemporaries – especially some of the other groups on Columbia. Yet there's also a healthy core to the album that comes from the group's own contributions – their continued strong sense of songwriting and performance, which makes their overall sound a lot less reliant on outside help than other groups of the period. Titles include "This Time", "Off & On Love", "Be Mine Tonight", "Mardi Gras", "Capture The Moon", "Woman In Flames", and "Intimate Strangers".

A wonderful wonderful soul album from the great Gene Chandler – quite possibly our favorite work ever from this under-acknowledged Chicago singer! Chandler's way past his "Duke Of Earl" years on this record, and is hitting his stride as one of Chicago's best soul singers of the late 60s – working with a style that's harder than ever before – and a bit more sophisticated, too – with touches of that masculine maturity that Walter Jackson helped to bring to the scene. Carl Davis produced, and backings are by Sonny Sanders and Gerald Sims – providing a great Chicago groove over tunes penned by Curtis Mayfield, Billy Butler, and Otis Leavill – as well as Davis, Sanders, and Sims – all representing the unusual depth in Windy City soul at the time. Tracks include "To Choose", "Nothing Can Stop Me", "You Can't Hurt Me No More", "The Girl Don't Care", "Good Times", "Here Come The Tears", and "Fool For You".

Excellent early work by The Chi-Lites – work that instantly soars above that of most of their contemporaries – with that incredible Windy City soul sound forged by the group's Eugene Record and producer Carl Davis! The groove is wonderful – free and easygoing, yet tight and right on the money too – lighter than the dancefloor styles of Detroit, a bit more sophisticated too – yet never apt to fall into all of the overly-emotive styles of the east coast too. This balance is what makes the group so wonderful – and really comes through on this early album – a treasure trove of songs penned by Eugene Record too! Titles include "Let Me Be The Man My Daddy Was", "Give It Away", "What Do I Wish For", "My Whole World Ended", "24 Hours Of Sadness", and "To Change My Love".

Sweet Miami funk from the team of George "Chocolate" Perry and Clay Cropper – one of the rarest TK albums from the time, and also one of the funkiest too! The sound here is slightly polished, but never too much – a bit more in the sound of bigger Florida groups, like Miami, with a tight groove overall, but still enough sharper funky bits on the edges! George plays bass and Clay handles guitar and keyboards – and the vocals seem to be sung by both parties, often in that slightly-flanged Miami style of the time. Titles include "My Uncle Funky", "Sweet Mary", "Cream Is Rising To The Top", and "Two Different Worlds" – plus the excellent mellow soul track "Free (I'll Always Be)", which has a nice sweet sound in the same vein as work by Milton Wright.

One of the first-ever albums to feature the music of Suzanne Ciani – and one of the wildest, too! The set was originally pressed up in a tiny 50 copy run – as part of an art exhibit in Brussels to feature a sound sculpture collaboration between Ciani and another artist – filled with loads of weird, wild, offbeat electronics by Suzanne – including some cool processed vocal passages, and loads of spare, stark sounds that work together as a beautiful collage – moving from noise to notes to noise and back again! The sound is very dark throughout – quite different than the new age sounds that Ciani would record a few decades later.

A mighty run of classic fusion from Stanley Clarke – some of his biggest albums for Columbia Records, packaged here in mini LP-styled sleeves in a 6CD slipcase! The package is a great one – especially given that some of these records aren't easy to find on CD – and it traces the evolution from the more experimental Stanley Clarke of his Columbia debut and Journey To Love albums, into mega-hit status on School Days, more soulful modes on Modern Man, and even features some great Live work too – a great document of the unbridled power that Stanley had when away from the studio! Full albums include Stanley Clarke, Journey To Love, School Days, Modern Man, I Wanna Play For You, and Live 1976/1977 – all packaged together in a box with notes!

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

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

One of the holy grails of the Spaced Out club music scene! Patrick Adams produced and arranged (and wrote and probably performed) this stunning set of spacey club grooves with a cool electronic feel, and a nice sense of mid to up-tempo rhythms. Includes the classic "Atmospheric Strut", one of the moogiest tracks around, plus the classics "Spaced Out" and "Disco Juice". All cuts are great, though, and the album's also got a good soul sound that often gets overlooked, especially on the cut "Doin' It All Night Long". A great one, and on the rare P&P label!

Great earlier stuff from Natalie Cole – actually her third great album in a row – a tremendous early creative and commerical winning streak for Natalie! Thankful has her sweet, soulful voice out from of prodcution by Chuck Jackson and Marvin Yancy of the Independents, and they give her a nice jazzy sound that made the record one of her best of the 70s. Richard Evans and Gene Barge arranged, which probably had something to do with that, too – but Natalie truly deserves most of the credit of the strength of this set. It includes the standout groovers "La Costa" and"Annie Mae", but the whole record is really sweet – with "Lovers", "Our Love", "Be Thankful", "Just Can't Stay Away" and "Keeping A Light".

A great set from Chicago's Joan Collaso – one of the hippest vocalists working today in the Windy City! There's a soulful swing to the record that grabs us right from the get-go – thanks to a killer take on "My Favorite Things" – done in an open-ended spirit that owes plenty to the John Coltrane legacy! Other tunes are quite nice too – and really pick up a great sense of rhythm that keeps things fresh – a hip sort of swing that makes the whole record feel like some lost soul jazz treasure from years back. Tunes are familiar, but they're really recast nicely – and Joan and the combo take things into mighty lively territory – on cuts that include "My Favorite Things", "Ooo Whee", "Return To Paradise", "Peel Me A Grape", "You've Changed", "Here's To Life", and "In A Sentimental Mood".

A mighty helping of music from the overlooked Mitty Collier – a 60s soul singer on Chess Records, and one who was every bit as great as bigger label stars like Etta James or Fontella Bass! Like both of those singers, Mitty's got a voice that grabs you right from the get-go – a deeply soulful approach to her music that's really fresh and without cliche – especially considering she got her start belting out tunes years before some of the bigger names in 60s female soul, and managed to keep things mighty real all the years she was working at Chess. Production and arrangements here are all top shelf – handled by Phil Wright, Riley Hampton, and others – and the CD offers up 24 gems from Mitty's years at Chess – the a-sides of all 15 singles cut for the label, plus 9 more great tunes from the flips! Titles include "Everybody Makes A Mistake Sometimes", "Gotta Get Away From It All", "I've Got Love", "I Had A Talk With My Man", "Walk Away", "My Party", "Sharing You", "That'll Be Good Enough For Me", "Git Out", "Watching & Waiting", "Like Only Yesterday", "No Faith No Love", "I'm Your Part Time Love", and "Miss Loneliness".

John Coltrane made plenty of great music during his late 50s time at the Prestige Records label – some of it under his own name, and a lot more while working with other leaders! This package presents the full recordings from that second half of Coltrane's Prestige performances – material recorded with Coltrane on tenor, under the leadership of Red Garland, Sonny Rollins, Tadd Dameron, Gene Ammons, and others – all packaged together beautifully, in the same sweet style as the Interplay and Fearless Leader box sets! There's a total of 43 long, soulfully-blown tracks on the set – alongside a heavy 72 page booklet that features full session details, a discography, rare photos, and even all the original artwork and notes from the records. Titles include "Two Bass Hit", "Weeja", "Gnid", "Soultrane", "Tenor Madness", "Our Delight", "One By One", "Blue Calypso", "The Real McCoy", "Ammon Joy", "Paul's Pal", "Two Sons", "Filide", "Clifford's Kappa", "Under Paris Skies", "Lazy Mae", "Birk's Works", and "Soul Junction".

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

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 second sublime set from Ruth Copeland – a funky female singer from the Detroit scene of the early 70s, with key ties to the P-Funk universe, and a unique groove that mixes singer/songwriter modes with the fuzzier funkier elements of artists like Betty Davis or Yvonne Fair! There's a bit more emphasis on soul here than the funk of Copeland's previous efforts – but in a way that makes for an even more impressive record overall, especially when you realize that Ruth arranged and produced the whole thing. George Clinton and Eddie Hazel both had a hand in co-writing songs with Copeland – and instrumentation features Hazel on guitar, plus Bernie Worrell on piano – so there's still a key P-Funk link. Titles include the breakbeat track "Suburban Family Lament", the fuzzy stoner funk number "Don't You Wish You Had", and covers of the Rolling Stones' "Gimme Shelter" and "Play With Fire" – plus "Crying Has Made Me Stronger", "Hare Krishna", and "The Medal". CD features bonus single versions of "Hare Krishna" and "Gimme Shelter".

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".

A harder-edged set than before from Corduroy – a record that's still heavily steeped in the 60s territory of previous releases, but one with a bit more of a mod feel overall! There's lots of heavy Hammond and guitar in the mix, and the vocals have a warm appeal too – kind of a blue-eyed soul take on mod London modes – served up here with a sound that's arguably tighter and more soulful than lots of current work of this nature! Corduroy was always a group that never fully got its due – and with records like this under their belt, they were easily one of the hippest acts on the Acid Jazz imprint at the time. Titles include "Don't Wait For Monday", "Practice What You Preach", "Magic Carpet", "January Woman", "Mini", "Motorhead", "Along The Rooftops", "End Of The Rainbow", and "Red Mercury".

A harder-edged set than before from Corduroy – a record that's still heavily steeped in the 60s territory of previous releases, but one with a bit more of a mod feel overall! There's lots of heavy Hammond and guitar in the mix, and the vocals have a warm appeal too – kind of a blue-eyed soul take on mod London modes – served up here with a sound that's arguably tighter and more soulful than lots of current work of this nature! Corduroy was always a group that never fully got its due – and with records like this under their belt, they were easily one of the hippest acts on the Acid Jazz imprint at the time. Titles include "Don't Wait For Monday", "Practice What You Preach", "Magic Carpet", "January Woman", "Mini", "Motorhead", "Along The Rooftops", "End Of The Rainbow", and "Red Mercury".

A wonderful album from this enigmatic soul group! Cornelius Brothers & Sister Rose were one of a handful of early 70s groups – like Chairmen Of The Board or 100 Proof Aged In Soul – who had a sound that was incredibly hard to peg. There were bits of southern rawness in the vocals, but the overall approach also had plenty of elements of smoother Northern Soul, and wasn't afraid to use strings or uptown arrangements when they were needed. This album's their best, and features 10 tracks written by Eddie Cornelius, plus a great little cover of Al Green's "Let's Stay Together". Tracks include the sublime easy soul number "Too Late To Turn Back Now", choppy odd groover "Treat Her Like A Lady", and the cuts "Gonna Be Sweet For You", "Let Me Down Easy", and "Lift Your Love Higher".

The long-overdue return of Coultrain – an artist we've been digging right from the start, when he dropped off a pile of handmade CDs as freebies to give away in our store! Since that time, Coultrain has emerged to become one of the freshest talents of the underground – through work with the Platinum Pied Pipers and Hawthorne Headhunters, and work on other projects as well. But we've always loved the man himself out front of the spotlight – sharing his really unique vision of cosmic soul music – a sublime blend of inventive sounds, creative beats, and songwriting that will take you way way way past the usual! This album's been well worth the wait, and shows that our faith in Coultrain has certainly been well-placed – a beautiful set that features the tracks "A Gem Iza Jewel", "Gazelle's Dance", "Y Not", "Deception", "Sassyphrass", "Wanted", and "Asherah Le Chameleon".

One of Hank Crawford's first big records of the 70s – a really great set that helps him shake off some of his stock modes of the 60s and find a very different groove! A big part of the album is arranger Don Sebesky, who gives Hank a backdrop that's sophisticated and smooth, yet still pretty soulful in all the right places – a style that's almost a bit like mainstream soundtrack work of the time, but a bit more jazz focused overall. Hank's solos are right out front on most tracks – blown with that nicely pinched tone that made him a standout back in the day – and other players include Richard Tee on both organ and piano, as well as Idris Muhammad and Bernard Purdie on drums. Titles include "Uncle Funky", "Imagine", "The Sun Died", "Brian's Song", and "Ham", which was arranged by Pee Wee Ellis.

A sweet and smooth batch of modern soul tracks – arranged and produced by Tony Camillo, and the only album we've ever seen by this obscure east coast group! The set's got a really nice jazzy flourish – part New York club, part mellow studio soul – and the overall presentation of the set is wonderful, with a solid sound that's right up there with the big name groups of the time. Plenty of great instrumental touches in the mix – popping along on an uptempo groove on cuts like "Doin' The Dog", "Nasty Street", and "Gimme Your Love" – and bubbling in a sweet mellow vibe on tracks that include "Mr. Me, Mrs. You", "I Don't Ever Wanna Love Nobody But You", and "I Will Never Stop Lovin' You". Very nice!

Pure magic from the lovely Maria Creuza – a singer who only seems to get more soulful as the years go on! The set's got a different feel than some of Maria's earlier work – rootsy some minutes, but with a soul-styled sophistication at others – often arranged with jazzy undercurrents that really seem to let her vocals take off nicely. Arrangements are by Sivuca (who also makes a guest appearance on the set) – plus Gilson Peranzzeta, Carlos Kalunga, and Luiz Roberto – and titles include "Coracao Vira Lata", "Ifa Uma Canto Pra Subir", "Luz", "Pura Magica", "Delicado Perfume", "Sou Rei", and "De Tentacao A Cantada".

They certainly got the title right on this one – as the album's one of THE soul/gospel crossover albums of the 70s – a masterpiece of majestic soul that's right up there with similar work from the time by Rance Allen and The Mighty Clouds Of Joy. Crouch's vocals are wonderful – as great as any secular soul act from the time – and the style of the album really soft-pedals the spiritual side of things to go for the soulful. Backing is in a nice small combo mode, and titles include "Everything Changed", "Satisfied", "Through It All", "Oh I Need Him", "I Come That You Might Have Life", and "It Won't Be Long".

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".

A lost album from 70s funk diva Betty Davis – and one that's every bit as essential as her music released back in the day! The set was recorded hot on the heels of Betty's classic Nasty Gal album – but it's got a groove that's almost more in the territory of her first two records on the Just Sunshine label – very hard, heavy, freaky, and fuzzy – with lots of sharp-edged guitar licks wrapped up around Davis' badass vocals – which have just as much attitude as ever! It's not clear why the album never saw the light of day back in the 70s, but it's an essential follow-up to Davis key classics – undeniably funky music by one of the most unique figures ever in soul – the kind of set that would have been a bomb, had it dropped in the 70s – and which will have an even greater impact when let loose in the 21st Century. Titles include "Stars Starve You Know", "Bottom Of The Barrel", "Crashin From Passion", "Whorey Angel", "It's So Good", "Is It Love Or Desire", "Bar Hoppin", and "Let's Get Personal".

A lost album from 70s funk diva Betty Davis – and one that's every bit as essential as her music released back in the day! The set was recorded hot on the heels of Betty's classic Nasty Gal album – but it's got a groove that's almost more in the territory of her first two records on the Just Sunshine label – very hard, heavy, freaky, and fuzzy – with lots of sharp-edged guitar licks wrapped up around Davis' badass vocals – which have just as much attitude as ever! It's not clear why the album never saw the light of day back in the 70s, but it's an essential follow-up to Davis key classics – undeniably funky music by one of the most unique figures ever in soul – the kind of set that would have been a bomb, had it dropped in the 70s – and which will have an even greater impact when let loose in the 21st Century. Titles include "Stars Serve You Know", "Bottom Of The Barrel", "Crashin From Passion", "Whorey Angel", "It's So Good", "Is It Love Or Desire", "Bar Hoppin", and "Let's Get Personal".

Another one of the famous live sets that Eddie Lockjaw Davis & Johnny Griffin cut together during the early 60s – recorded at Minton's Playhouse in Harlem, with a very lively audience, and a twin tenor frontline that was quite popular while it lasted! Davis & Griffin groove soulfully and in a modern mode – playing versions of Monk's "In Walked Bud" and Tadd Dameron's "Our Delight", as well as Davis' hard-grooving, darkly-tinged original "Beano".

Don't pass this one up! Although lots of other albums by Eddie Lockjaw Davis are laidback quartet and quintet sessions, done in a soul jazz organ/tenor mode – this session features Eddie working with stunning bigger band backings, in a searingly soulful sound that's simply incredible! The leadoff track, "Trane Whistle", has Lockjaw really working new waves of sound into his tenor sax – screaming the horn in a way that you thought you'd never hear, and playing with tones that are a lot darker than usual! The set moves on from there in a nice batch of material that includes "Whole Nelson" and "Stolen Moments", two fantastic originals by Oliver Nelson, who also arranged the album – and takes a great deal of responsibility for the strength of the set. The record shows a whole new side of Davis' talents – one that was barely if ever recorded like this again – and which is made even better by the presence of freshly modern players that include Eric Dolphy, Richard Williams, Melba Liston, and Roy Haynes. Great stuff!

Don't pass this one up! Although lots of other albums by Eddie Lockjaw Davis are laidback quartet and quintet sessions, done in a soul jazz organ/tenor mode – this session features Eddie working with stunning bigger band backings, in a searingly soulful sound that's simply incredible! The leadoff track, "Trane Whistle", has Lockjaw really working new waves of sound into his tenor sax – screaming the horn in a way that you thought you'd never hear, and playing with tones that are a lot darker than usual! The set moves on from there in a nice batch of material that includes "Whole Nelson" and "Stolen Moments", two fantastic originals by Oliver Nelson, who also arranged the album – and takes a great deal of responsibility for the strength of the set. The record shows a whole new side of Davis' talents – one that was barely if ever recorded like this again – and which is made even better by the presence of freshly modern players that include Eric Dolphy, Richard Williams, Melba Liston, and Roy Haynes. Great stuff!

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".

Far more than just a full album from keyboard wiz and producer Mark De Clive-Lowe – a much-needed collection of his various remixes, small label recordings, and small projects from the past few years – pulled from a variety of labels around the globe, and packaged into one overstuffed set! The tunes all have different lives and histories, but they're linked together here by Mark's wonderfully spacey sound and cosmic musical vision – a key force in 21st century soul, heard to positive effect on every tune on the collection. Titles include "Pan Africa (Melodious rmx)" by Danilo Perez, "Life Mirrors" by Beatless, "Africa (Restless Soul mix)" by Meitz, "No Fusion Generation (rmx)" by Til Bronner, "Return To Paradise (rmx)" by Shirley Horn, and the tracks "Relax Unwind", "Move On Up (Opaque rmx)", "The Way It Goes", "Day By Day (DJ Spinna rmx)", and "Nites Like These" – all by Mark.

A beautiful bit of funky rocking soul – and the one and only album by the Deirdre Wilson Tabac – a group whose name is as strange as their grooves are funky! The group are best known for their well-compiled track "I Can't Keep From Cryin Sometimes" – an uptempo jazzy gem that mixes skipping Hammond with soaring vocals and some really great horns – and the rest of this set has a very similar feel – one that blends jazz rock with more soulful vocals, in a groove that's totally unique! Sonny Casella wrote, arranged, and produced the record – and he's also the drummer in the group, so there's keen attention to rhythms on all tracks. Titles include "I Can't Keep From Cryin", "Magic One", "I Go To You", "Other Side Of Life", "Angel Baby", "Get Back", "The Last Thing On His Mind", and "Let's All Join Together". Includes two bonus tracks "Turn Around" and "Children Listen".

A groundbreaking album of vocal group soul – right from the first note! The record kicks off with the sublime "Ready Or Not, Here I Come" – which starts with fierce stepping strings that are actually funky, then soars into some of the best harmonies the group ever put to record, superbly arranged by the great Thom Bell, who also wrote the track. As the album progresses, the sound expands further to encompass many elements that would become the blueprint for vocal groups over the next few years – like twangy electric sitar, cascading orchestrations, and pinched lead vocals that take a lot more chances than most group singers had been taking for years! There's still a bit of a 60s soul sound to some of the cuts, but the album's a watershed – not only for Thom Bell and the group, but for harmony soul as well! Titles include "Ready Or Not Here I Come", "My New Love", "Loving Him", "With These Hands", "Somebody Loves You", and "Everytime I See My Baby".

A groundbreaking album of vocal group soul – right from the first note! The record kicks off with the sublime "Ready Or Not, Here I Come" – which starts with fierce stepping strings that are actually funky, then soars into some of the best harmonies the group ever put to record, superbly arranged by the great Thom Bell, who also wrote the track. As the album progresses, the sound expands further to encompass many elements that would become the blueprint for vocal groups over the next few years – like twangy electric sitar, cascading orchestrations, and pinched lead vocals that take a lot more chances than most group singers had been taking for years! There's still a bit of a 60s soul sound to some of the cuts, but the album's a watershed – not only for Thom Bell and the group, but for harmony soul as well! Titles include "Ready Or Not Here I Come", "My New Love", "Loving Him", "With These Hands", "Somebody Loves You", and "Everytime I See My Baby".

Damn great work from Raheem DeVaughn – the full promise of his soulful sojourn in the underground mixtape scene! Raheem first got his start laying down vocals over beats and other folks' tracks on self-crafted CDs that changed hands covertly in the east coast scene – and that experience gave him plenty of time to grow and mature, quietly developing his sound to a point where he can really burst forth with power on a record like this! There's still a bit of the old mixtape feel going on here – a range of older musical influences that inform Raheem's tunes – and a personal, almost casual approach that has DeVaughn speaking intros to some tracks, almost as if he's spinning them out with a personal, conversational style. Yet the production is also much better than before too – quite warm, with some great beats and keys in the mix – proof that stepping out of the underground can often be a good thing for a soul artist. Titles include "Customer", "Hello Love", "Woman", "Love Drug", "Friday", "Can We Try Again", "Empty", "Four Letter Word", and "Woman I Desire". Includes guest appearances from Floetry, Big Boi, and Malik Yusef.

Funky funky Hammond – a rare late 60s album from organist Bill Doggett, done with some help from James Brown – and a set that's unlike anything Doggett ever recorded before – or since! There's a blasting groove to the record right from the start – thanks to help from The James Brown Band on the leadoff cut – but even when they drop out, and Doggett's combo goes out on their own, the sound is still amazing – tight, soulful, and very much in a funky 45 style all the way through! Drums are hard, the organ is nice and fluid, and the sound is prime late 60s instrumental funk – a groove that Doggett never managed to reach again, which makes this record a real standout treasure. The album includes the legendary funky break cuts "Honky Tonk" and "Honky Tonk Popcorn", plus lots of other nice groovers, like "A Doozy", "Mad", "Slippin In", and "Corner Pocket".

A killer from Lou Donaldson's early hardbop years at Blue Note – recorded right during his classic run of albums for the label, but not issued until many years later! There's a sweet bounce to most tracks here – the kind of vibe that Lou had most famously on his Blues Walk album – thanks to the presence of Ray Barretto on congas, in the company of Horace Parlan on piano, Ben Tucker on bass, and Al Harewood on drums! Parlan's piano gives the whole thing a great soulful bottom – and titles include "Midnight Sun", "Dog Walk", "The Squirrel", "Si Si Safronia", and "Candy". CD features a bonus alternate of "Candy".

A really unique album for Lou Donaldson – especially for his early 70s run on Blue Note! The session lives up to its title by offering up a batch of soulful ballads from Lou – tunes that really focus on his sweet lines on alto, yet set amidst some larger backing arranged by Wade Marcus – which also feature some wonderful Fender Rhodes from Derek Smith in the mix! The groove is relatively gentle, and has a nicely laidback sort of feel – the kind of lush yet soulful sounds that Marcus could do so well almost a CTI/Kudu vibe, but a bit more easygoing overall. Titles include a version of Lou's "Blues Walk", plus "What Are You Doing The Rest Of Your Life", "The Long Goodbye", "Stella By Starlight", "You've Changed", and "Autumn In New York".

Beautifully mature work from Brazilian piano legend Joao Donato – an album that draws on his rich legacy of musical expression from the bossa years onward, presented here with a few surprising twists and turns! The core format is piano trio – Joao on the acoustic keys, with Luiz Alves on bass and Robertinho Silva on drums – yet the sound is quite changed from the early days when Donato recorded heavily in this way, inflected with some really complicated rhythms at points, and turned towards these soulful undercurrents we especially love. Instrumentation includes a bit of guest strings on one track – plus vocals from Zeca Pagodinho, flute from Ricardo Pontes, and cavaquinho from Paulinho Soares – artists who each appear on a track in the set. Titles include "Sambolero", "E Menina", "A Ra", "Jodel", "Sambou Sambou", "Amazonas", "Quem Diz Que Sabe", "Surpresa", and "Brisa Do Mar".

Sure, it was silly stuff when we were kids – but once De La Soul sampled "Three Is The Magic Number", this record became one of the most prized in our possession! And thanks to that hip hop reintroduction, we've really fallen in love with the music again over the years – partly because the tunes are all so groovy, and partly because we've really come to know the jazz-based work of composer Bob Dorough! At the time of this set, Dorough was coming off some great work in the 60s – his own rare recordings, music for Spanky & Our Gang, and others – all of which seems to inform these math-based tunes written for Saturday morning TV. The tunes are all pretty darn catchy, and often quite jazzy – and instrumentation often features some great electric piano nestled in alongside the vocals. Dorough sings the lion's share of the work for this album – although Grady Tate sings on two numbers, and Blossom Dearie on one more. Titles include the amazing "Three Is A Magic Number" – plus "Lucky Seven Sampson", "Little Twelve Toes", "Ready Or Not Here I Come", "I Got Six", "Naughty Number Nine", "Figure Eight", and "The Four Legged Zoo".

One of the excellent recordings made by The Dramatics at ABC – great group soul gems that are sometimes overlooked because they didn't yield as many hits as earlier sets – but which are stellar records nonetheless! This one's got all the right elements firmly in place – killer production by Don Davis, and smooth but real harmonies from LJ Reynolds, Ron Banks, and the rest of the group. There's a few tracks that hit a smooth sort of groove that might be tagged as "disco" – but which is really just an extension of the super-dope mode that the group used in earlier years – and which has a lot more to offer than just a cheap dancefloor cash in. Titles include "Life Is Just A Playground", "Love Birds", "A Marriage On Paper Only", "I'm Hooked On You", "That's My Favorite Song", "I Think About You", and "I Just Wanna Dance With You".

One of the excellent recordings made by The Dramatics at ABC – great group soul gems that are sometimes overlooked because they didn't yield as many hits as earlier sets – but which are stellar records nonetheless! This one's got all the right elements firmly in place – killer production by Don Davis, and smooth but real harmonies from LJ Reynolds, Ron Banks, and the rest of the group. There's a few tracks that hit a smooth sort of groove that might be tagged as "disco" – but which is really just an extension of the super-dope mode that the group used in earlier years – and which has a lot more to offer than just a cheap dancefloor cash in. Titles include "Life Is Just A Playground", "Love Birds", "A Marriage On Paper Only", "I'm Hooked On You", "That's My Favorite Song", "I Think About You", and "I Just Wanna Dance With You".