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Erykah and The Roots, what else do you need to know?

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".

Produced by Timbaland.

A massively tripped-out set of guitar-based funk – played to perfection by the legendary Eddie Hazel, best known for his work in the George Clinton P-Funk empire! The album offers a different side of Eddie's talents – one that's produced with a smoothly compressed California groove, in a mode that's almost an extension of some of the themes explored by Shuggie Otis on his own 70s albums – taken with a bit more of a P-Funk style. George Clinton produced the set with Eddie – and the tunes have a nice slow-stepping groove that really opens up the guitar solos wonderfully. The record kicks off with a massive cover of "California Dreamin" – but the whole thing's great, with a wonderfully unified feel throughout! Other titles include "Frantic Moment", "What About It?", "So Goes The Story", "Physical Love", and a great cover of "I Want You (She's So Heavy)".

Nice popping electro Italian euro-disco.

Nice obscure one by this lost girl soul group from the 70's! The Jackson 5 wrote and produced "What's Your Game", and it's got a very tight mellow 70's soul groove, with almost a Curtom sound, and a feel that's surprisingly deep for The Jacksons at the time. Gene Page arranged the flip side, and it's also got a nice 70's feel, in keeping with his strongest work from the time.

Three really nice cuts from Kweli! "Never Been In Love" has some instantly identifiable production by Just Blaze. "A Game" hits a little harder on the flip. "Black Girl Pain" features a verse by Jean Grae.

17 full-length tracks produced by Domingo and DJ Rob. Ok, maybe not the strongest compilation all the way through but still a couple nice tracks not available on any other LP or single, including a nice remix of the Cocoa Brovas' "Super Brooklyn" featuring Mista Cheeks, Eminem/J Black/Masta Ace "Hellbound(H&H rmx)", and Cocoa Brovas "You Cant Take Me Out." The production on the other tracks ranges from Wu-Tang inspired to the hot sound to a few tracks with a latin sound. Also includes: TOMMOROWS WEAPON "Que Que", GHG "Roll Wit Me", ILLA NOISE "Who R U?", ROYAL FLUSH/J-MEL/151-RON/BACARDI/RAH BUMP "Creep", JNJ PROJECT "Chica Bonita", SU "Mamita", JNJ PROJECT & MISTA CHEEKS "Puff Harder", MASTA ACE "Spread It Out", DHARK CITI "Petrified", GROOVY "Smokin Trees", GODFATHER/ROYAL FLUSH/RAH FESE "Think Like Street", , COCOA BROVAS/XUN TSU/THE MOST TALENTED "Punch Out", J-BLACK/JUGGA/STEELE/GODFATHER/P DAP "Game Over", COCOA BROVAS "Super Brooklyn (original)"

A massively tripped-out set of guitar-based funk – played to perfection by the legendary Eddie Hazel, best known for his work in the George Clinton P-Funk empire! The album offers a different side of Eddie's talents – one that's produced with a smoothly compressed California groove, in a mode that's almost an extension of some of the themes explored by Shuggie Otis on his own 70s albums – taken with a bit more of a P-Funk style. George Clinton produced the set with Eddie – and the tunes have a nice slow-stepping groove that really opens up the guitar solos wonderfully. The record kicks off with a massive cover of "California Dreamin" – but the whole thing's great, with a wonderfully unified feel throughout! Other titles include "Frantic Moment", "What About It?", "So Goes The Story", "Physical Love", and a great cover of "I Want You (She's So Heavy)".

A huge collection of work from the great Tommy Edwards – a set that features four full albums' worth of material, and which stands as a rich testament of Edwards' contributions to American music at the end of the 50s! Tommy has a unique approach on these tracks – a style that's rooted in older jazz vocal modes, especially given his poise and class – but which also has some pop production too – in ways that arguably make Edwards a key figure in the development of early soul music! You'll definitely hear a key criss-crossing of modes on these tracks – heartfelt vocals mixed with captivating production – and the package features a whopping 57 tracks in all – material from albums that includes For Young Lovers, It's All In The Game, Step Out Singing, and You Started Me Dreaming – with titles that include "Music Maestro Please", "Please Mr Sun", "My Sugar My Sweet", "It's All In The Game", "You Win Again", "Always", "Until The Real Thing Comes Along", "The Composer", "Should I", "Suzie Wong", as You Desire Me", and "Once There Lived A Fool".

A massively tripped-out set of guitar-based funk – played to perfection by the legendary Eddie Hazel, best known for his work in the George Clinton P-Funk empire! The album offers a different side of Eddie's talents – one that's produced with a smoothly compressed California groove, in a mode that's almost an extension of some of the themes explored by Shuggie Otis on his own 70s albums – taken with a bit more of a P-Funk style. George Clinton produced the set with Eddie – and the tunes have a nice slow-stepping groove that really opens up the guitar solos wonderfully. The record kicks off with a massive cover of "California Dreamin" – but the whole thing's great, with a wonderfully unified feel throughout! Other titles include "Frantic Moment", "What About It?", "So Goes The Story", "Physical Love", and a great cover of "I Want You (She's So Heavy)".

The second full scale instrumentals set from Michigan underground hip hop veteran 14KT – one that stands up strongly among the best of his stuff that we've heard to date! The preceding Golden Hour instrumentals set was a tribute to Dilla, and damn fine one – and it's all the more rewarded to hear 14KT represent his own creatively as sharply as it's done here. Unpredictable beats paired with insistent melodies and a soulful undercurrent. Includes "Pick Up Sticks", "Blindsided", "Blessed", "Lessons From IX Love", "As We (Turn It Up)", "Rain Delay", "March Madness", "Another Age", "Where Else? (One For ATCQ)", "Width" feat Tony Ozier and more.

Wonderful work from drummer Gunter Baby Sommer – a player who always seems to bring a lot deeper feelings to his music than some of his European free jazz contemporaries – a sense of history and melancholy that really make records like this a treat! The group has a wonderful format – drums and percussion from Sommer, bass from Akira Ando, and some especially evocative reeds from Floros Floridis – who plays alto sax, clarinet, and bass clarinet – alternating instruments, and creating these really evocative sounds that are perfect for Gunter's inspiration. The style is definitely free at times, but there's an older sense of European melody too – a quality that's incredibly haunting, and which makes the record one of the best we've heard from Sommer in years. Titles include "For Kim", "Inside Outside Shout", "Hymnus", "Hora", "Goze", "Flageloet For PH", and "Blues For PK".

Thievery Corporation are back after a long hiatus – and they've returned to the fold with a host of surprising guest stars! The set's got a really wide range of grooves – as one might expect when the group's working with artists that include David Byrne, Perry Farrell, and The Flaming Lips! But over and above these bigger crossover names, the team's also sticking very true to their roots on other tracks – bringing in some great downtempo and Brazilian influences, and fleshing out tunes with an equally great array of lesser-known talents that includes Sista Pat, Gunjan, Verny Varela, Gigi Rezende, and Patrick De Santos. Titles include "Marching The Hate Machines", "Pela Janela", "Sol Tapado", "The Time We Lost Our Way", "A Gentle Dissolve", "Holographic Universe", "The Heart's A Lonely Hunter", and "The Cosmic Game".

A lovely later score from Ennio Morricone – done for a lesser-known TV film, but with a sense of majesty and greatness that really rivals his classics! Edda Dell'Orso gets plenty of chance to sing here – in those moody, wordless styles she does so well – and the set also features great solo work from Oscar Valdambrini – who blows smooth flugelhorn lines that arch out beautifully over the larger orchestrations – which themselves have that gently-stepping way of folding the strings together that only Morricone can do this well! A gem throughout – with tracks that include "The Endless Game", "Anif", "The Game Goes On", "Sylvia's Game", "Just A Game", and "Summer Solitude".

A late 70s classic from jazzy funk master George Duke! Master Of The Game is an excellent mix of jazz, smooth soul, and Latin riffing – really a perfect blend of styles that shows not only how far George's sound had progressed throughout the 70s, it also charts the development of the California scene during the late 70s. George has musical help from Ray Obeido, Roland Bautista, and Sheila E – plus vocals by Lynn Davis, Josie James, and Napoleon Brock. The tracks have a smooth sound that works perfectly with Duke's best keyboard approaches – subduing his tenency to "rock out" a bit, but bringing forward his classic ability to hit a stone mellow groove. Titles include "I Want You For Myself", "Every Little Step I Take", "Look What You Find", "I Love You More", "Dog Man", and "Games". This Soulmusic.com edition includes 2 bonus tracks: "I Want You For Myself (US Single Edit) and "Every Little Step I Take (US Single Edit)".

Featuring 50 Cent and produced by Dr Dre.

"Part Of The Game" produced by DJ Spinna.

Bad Meets Evil is Eminem and Royce the 5-9. Eminem's verses here are as good as the rhymes on his long out of print ep, and Royce's are just about as nice. Reef's production on both tracks is probably better than most of the production on Eminem's Aftermath/Interscope LPs.

A wonderful little session from Manny Albam – one that continues the strong tradition of larger group jazz arranging he began in the 60s, but which takes it to an even deeper level! Manny composed the entire set as kind of a "city suite" in jazz – one that paints the picture of many different shades of city life through jazzy solos and a range of deeper tones and colors from the larger ensemble. Players include Frank Wess, Phil Woods, JJ Johnson, Jerome Richardson, and Mike Manieri – all extremely well-suited to an outing like this – and titles include "The Game Of The Year", "Born On Arrival", "The View From The Inside", "El Barrio Latino", "Ground Floor Rear", and "Riverview".

Some consider this the worst point in Louis' career – when he was singing odd pop material for Decca, and had really left his jazz roots behind. We don't think it's that bad, though – and the album's got a wonderfully playful style that shows what a great entertainer Louis could be when he was up for the challenge. Gordon Jenkins did the arrangements, and the record features Louis' version of "Blueberry Hill" – plus the tracks "Chlo-e", "Jeannine", "Spooks!", "Trees", and "It's All In The Game".

Talk about a meeting of the minds – a pair of ultra-amazing classics from the team of Roy Ayers & Wayne Henderson – back to back in a single set! At the time of Step Into Our Life, Henderson & Ayers were probably the biggest names in the jazz funk business – both with a smooth soulful style that was pushing the genre onto whole new levels, while still keeping firm roots in jazz – a rare blend that few other artists could handle this well! This initial debut from the pair seems to be much more dominated by the spirit of Roy Ayers' work at the time – particularly the mellow jazzed up work he was laying down on albums like Vibrations and You Send Me – a wicked sound that's rooted in modern soul modes, but filled with plenty of warm jazz elements too. The album's got wonderful vibes and electric piano from Roy – and tracks include "Step Into Our Life", "Lovers Should Always Be Together", "No Deposit No Return", "Ooh Baby", and "For Real". Prime Time is a funky classic from the team of Roy Ayers and Wayne Henderson – both at the top of their game here, and effortlessly mixing together jazz, funk, and soul! The record really seems to embrace the best of both artists' styles – some of the bassy groovers that Wayne did so well himself, and while producing for other artists – and those snakey, soulful numbers that we love so much in the late 70s work from Roy Ayers – ultra-sophisticated, but still plenty darn grooving – and some of the most sensual soul you'll ever hope to hear. The whole thing's great – and titles include "Weekend Lover", "Thank You Thank You", "Can You Dance", "It Ain't Your Sign It's Your Mind", "You Make Me Feel Like Rockin With Ya", "Have Your Way", and "Million Dollar Baby".

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

Len Barry gets a bit soulful here – with arrangements from Joe Rnezetti, Jimmy Wisner, and Pete Dino – on cuts that include "Sweet Soul Music", "Mickey's Monkey", "The Moving Finger Writes", "Our Love", and "The Hunter Gets Captured By The Game".

Hip hop lifers and genre-defiant pop art blenders The Beastie Boys deliver the Hot Sauce – either their 8th or 9th album in 25 years, depending on how you count the Mix Up instrumentals set – and it sounds to us like a return to the good times hip hop funk style-hopping that the Boys flaunted so brilliantly in the period from Check Your Head to Hello Nasty! Hot Sauce was initially solicited as Part 1 to be followed by a Part 2, but the album was put on hold while Yauch battled cancer, which gave the Beasties plenty of time to finess the material and release it as the definitive project we have here. It's solid stuff and a Beastie Boys album through-and-through – and they're as immune to trends as ever. Guests include Nas, Santigold and Switch. Tracks include "Make Some Noise", "Nonstop Disco Powerpack", "Too Many Rappers (New Reactionaries Version)" with Nas, "Lee Majors Comes Again", "Don't Play No Game That I Can't Win" feat Santigold, "Tadlock's Glasses", "The Lisa Lisa/Full Force Routine", "Here's A Little Something For Ya" and more.

A great new album from this 70s Afro Funk legend – work that shows that Gydeu Blay Ambolley hasn't lost a bit of his groove over the years! There's a really great approach to the album that keeps things fresh – a sound that's lean and stripped-down, and not overproduced at all – creating a vibe that almost makes you think the record came from some Ghanian studio in the 70s! Gyedu Blay handles lead vocals and tenor, and the set features loads of tight percussion that bubbles along beautifully in an Afro Funk groove – plus tight horns on the top, and a bit of fuzzy guitar to give things a nice edge. Lyrics are nice and sharp, and titles include "Afrika Yie", "Game", "Bad Bad Boy", "Blakk Man Dey Suffer", "E Dey Walk For Ground", "Viktims", and "O Maame O Papa".

A set that definitely lives up to its title – a stone stormer from Brainstorm – one of the tightest funky ensembles of their generation, and one of the few who could go deep while still laying down a groove! The set's got a perfect balance of modes – enough of the appeal of bigger mainstream funk acts of the time, but also some righteous undercurrents that really show the group's roots – both in the approach of the lyrics, and in the jazzy instrumentation of the backings – which often show a righteous side of the group that's mighty surprising! The record's one that just grows and grows with each new listening, and is put together with some great sharp-edged production by Jerry Peters – who has a way of showcasing all the most interesting elements, while still keeping things focused too. Titles include the classic "Wake Up & Be Somebody" and "Loving You Is Really My Game" – plus "Waiting For Someone", "We Know A Place", "Hangin' On", "Easy Thangs", and "This Must Be Heaven". Great expanded version – in a cool book-like cover, with new notes, and bonus tracks that include "Lovin Is Really My Game (parts 1 & 2)", "Lovin Is Really My Game (single mix)", "Wake Up & Be Somebody (long)", and "Wake Up & Be Somebody (short)".

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

Surprisingly nice work from Peter Brown – a groover who still managed to hit on all burners after his early years at TK Records! Brown's definitely got a crossover feel here – clubby rhythms, but topped with vocals that belie his look on the front – and which, along with the catchy grooves, should have done more than enough to get Peter some wider play with early 80s audiences. Yet there's also some key dancefloor craft here – no-nonsense approach to the bottom of the tunes, and never too much cloying production up top – which serves to keep things nice and lean, and plenty clean too. Titles include "Give Me Up", "Heaven In Your Eyes", "Shall We Dance", "Danger", "The Love Game", "Satisfaction Guaranteed", and "Baby Gets High". CD features bonus tracks – "Baby Gets High (7" mix)", "Baby Gets High (12" mix)", "Overnight Sensation (12" mix)", and "Overnight Sensation (inst)".

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

A positive, powerful set from the always-great Sheree Brown – a new recording, but one that sparkles just as much as her rare classics for Capitol Records at the start of the 80s! Like those gems, there's a blend of jazz and soul here that's really wonderful – a special sound that puts Sheree in the rare company of artists like Minnie Riperton or Patrice Rushen – able to embrace so many ideas at once, and turn them into a rich new groove of her own! Rushen actually helps out a bit on the record, as does Leon Ware – although the main production credits go to Brown herself, who only seems to have stepped up her game in these recent years. Great proof that the great ones still keep on keepin on, if given the chance – with titles that include "Messages From The Heart", "Time For The Party", "Just A Simple Love", "I Think I'm Gonna Pray", "Getting Started", "We Can Chance The World", and a bonus version of Minnie Riperton's "Inside My Love".

Killer deep soul from James Carr – a landmark set that features 28 tracks pulled from his famous years at the Goldwax label! Carr's Goldwax recordings nearly died when they came out – hardly reaching the audience of contemporaries like Otis Redding or Wilson Pickett – but as years have progressed, these sides have become the treasures of soul collectors, and have thankfully hit the status of "classic" that they were due for! This set is one of the first times these tunes have been legitimately made available in a good package – and it's about time too, because the whole thing's excellent! Carr's voice is incredible, and the arrangements are great – with none of the hoke that you'd sometimes get in weaker acts of the time. Titles include "I'm A Fool For You", "A Losing Game", "Lovable Girl", "Love Attack", "She's Better Than You", "That's What I Want To Know", "You Don't Want Me", and "Lover's Competition".

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

Ok, ok – so Charo was everyone's idea of a joke on 70s TV, but this album's actually a pretty great little session – thanks to help from Vince Montana and the Philly crew! The album has Charo breathily singing and talking most of the lyrics – inflecting them with a slight Latin accent, as you'd expect from her many appearances on game and variety shows in the late 70s. Vince more than keeps things cool, though – providing some great soulful grooves, and a bit of vibes, to really flesh out the tunes, and keep them from being simple disco knockoffs. Titles include "Cookie Jar", "Speedy Gonzalez", "Only You", "Dance A Little Bit Closer", "El Reloj", "More Of You", and "Borriquito".

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

The group were certainly doing something right – as this album has Joe Cuba's sextet at the top of their game, easily showing why they were one of the best groups on the New York scene of the 60s! The album's a pivotal one in the development of Latin Soul – as it sports the incredible track "El Pito" – one of those Latin jammers that grabbed everyone right away, and which has barely ever been matched since! The album's also got some great use of English language lyrics – crucial to the unique crossover sound that Joe was forging, and a real bridge between Spanish and African American Harlem in the 60s. Titles include "My Wonderful You", "El Pito (I'll Never Go Back To Georgia)", "Pruebalo, OK?", "Bochinchosa", "Incomparable", and "Clave Mambo".

Galactic funk & synth soul from Dam-Funk – his epic full length debut Toeachizown for Stones Throw – and a record that should be a game changer for the southern Cali ambassador of cosmic funk beats, heavy bass and synth grooves! Dam-Funk is part throwback to the electro era – his vintage synths, bass and drum machine grooves are strongly rooted in the end of the 70s and first few years of the 80s vibe, but he's putting his own modern spin on the sounds, keeping it vital and fresh, and quite likely to be bitten by a bevy of superstar producers to come! Occasionally with slow jam or tripped out vocals, but with longer instrumental jams, Dam Funk's fusion of old school and future funk is in a cosmic realm of its own! Vinyl version was originally released as a 5LP set – and now it's available in separate volumes. Vol 1 includes: "Toeachizown", "Mirrors", "On & On", "Latrifying", "Let’s Take Off, Far Away!", Tunnels" and "Searchin' 4 Funk's Future".

Galactic funk & synth soul from Dam-Funk – his epic full length debut Toeachizown for Stones Throw – and a record that should be a game changer for the southern Cali ambassador of cosmic funk beats, heavy bass and synth grooves! Dam-Funk is part throwback to the electro era – his vintage synths, bass and drum machine grooves are strongly rooted in the end of the 70s and first few years of the 80s vibe, but he's putting his own modern spin on the sounds, keeping it vital and fresh, and quite likely to be bitten by a bevy of superstar producers to come! Occasionally with slow jam or tripped out vocals, but with longer instrumental jams, Dam Funk's fusion of old school and future funk is in a cosmic realm of its own! Vinyl version was originally released as a 5LP set – and now it's available in separate volumes. Vol 2 includes: "Flying V Ride", "Candy Danciin'" feat Mark De Clive-Lowe, "Burn Straight Thru U", "10 West", "I Wanna Know" and "Rollin'".

Galactic funk & synth soul from Dam-Funk – his epic full length debut Toeachizown for Stones Throw – and a record that should be a game changer for the southern Cali ambassador of cosmic funk beats, heavy bass and synth grooves! Dam-Funk is part throwback to the electro era – his vintage synths, bass and drum machine grooves are strongly rooted in the end of the 70s and first few years of the 80s vibe, but he's putting his own modern spin on the sounds, keeping it vital and fresh, and quite likely to be bitten by a bevy of superstar producers to come! Occasionally with slow jam or tripped out vocals, but with longer instrumental jams, Dam Funk's fusion of old school and future funk is in a cosmic realm of its own! Vinyl version was originally released as a 5LP set – and now it's available in separate volumes. Vol 3 includes: "Love Is Here 2nite (I Can Feel It)", "Could I Be Losing Another Lover?", "Show Me The Way U Feel", "One Less Day" and "I Wanna Thank U (4 Steppin' Into My Life)".

Galactic funk & synth soul from Dam-Funk – his epic full length debut Toeachizown for Stones Throw – and a record that should be a game changer for the southern Cali ambassador of cosmic funk beats, heavy bass and synth grooves! Dam-Funk is part throwback to the electro era – his vintage synths, bass and drum machine grooves are strongly rooted in the end of the 70s and first few years of the 80s vibe, but he's putting his own modern spin on the sounds, keeping it vital and fresh, and quite likely to be bitten by a bevy of superstar producers to come! Occasionally with slow jam or tripped out vocals, but with longer instrumental jams, Dam Funk's fusion of old school and future funk is in a cosmic realm of its own! Vinyl version was originally released as a 5LP set – and now it's available in separate volumes. Vol 4 includes: "Brookside Park", "Kll Dat", "Hood Pass Intact", "Mobbin' Thru Busters" and "Boogie Slyde".

Galactic funk & synth soul from Dam-Funk – his epic full length debut Toeachizown for Stones Throw – and a record that should be a game changer for the southern Cali ambassador of cosmic funk beats, heavy bass and synth grooves! Dam-Funk is part throwback to the electro era – his vintage synths, bass and drum machine grooves are strongly rooted in the end of the 70s and first few years of the 80s vibe, but he's putting his own modern spin on the sounds, keeping it vital and fresh, and quite likely to be bitten by a bevy of superstar producers to come! Occasionally with slow jam or tripped out vocals, but with longer instrumental jams, Dam Funk's fusion of old school and future funk is in a cosmic realm of its own! Vinyl version was originally released as a 5LP set – and now it's available in separate volumes. Vol 5 includes: "Come On Outside", "The Sky Is Ours", "New Frontiers", "Spacecapades", "Fantasy" and "Keep Lookin' 2 The Sky".

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".

Jackie DeShannon serves up some wonderful renditions of popular tunes from the 50s and 60s – stepping aside from her usual role as songwriter, and singing sweetly to some great arrangements from George Tipton! The style is somewhere between 60s pop and more sophisticated vocals – often sharing the best elements of both at the time, and offering a side of Jackie's talents that isn't often captured this way on record. The song choices are especially nice – making the record way more than just a "filler" set – and titles include "If You Gotta Make A Fool Of Somebody", "Are We Dancing", "Everything Under The Sun", "Merry Go Round In The Rain", "No Easy Way Down", "Dream", "Don't Dream Of Anybody But Me", and "It's All In The Game". CD adds 9 more tracks from the album New Image – a similar set of standards and covers with arrangements by Marty Paich – and a set of titles that includes "A Proper Girl", "Sunday Kind Of Love", "The Carnival Is Closed Today", "I'll Be Seeing You", "That's The Name Of The Game", and "Poor Someone".

The Horsemen is a fairly obscure film that was shot in Afghanistan, and Delerue evokes the landscape in his orchestrations, with subtlety for the most part. Haunting in spots, with bits of harp and dramatic voice arrangements with some grander string bits, too. Titles include "At The Bazaar", "Frustration", "Man Of Great Riches", "The Fair", "Savage Game For A King" and more.

The lyrically focused set in the 2 Stepping Stones compilations from DJ Krush – part remix album, part retrospective – featuring Company Flow, Black Thought & Malik B of the Roots, Mos Def, Aesop Rock, Zap Mama and others! Lyricism kind of finds Krush in his most hip hop reverent game, naturally – but he runs the gamut of possibilities within the genre. Krush never battles the MCs for track supremacy as many of the superstar producers of the day do. He's laying proper groundwork for the mic styles, yet still laying down his experimental funk signature – and the wide variety of vocalists gives him ample opportunity to show his unrivaled breadth! Tracks include "Only The Strong Survive (Bon mix)" feat CL Smooth, "Vision Of Art (Vib mix)" feat Company Flow, "Zen Approach (Cradle mix)" feat Black Thought, "Kill Switch (Beep mix)" feat Aesop Rock, "Song For John Walker (Sticky mix)" feat Anticon, "Danger Of Love (Gray-Sky mix)" feat Zap Mama, "Shinjiro (Harsh mix)" feat Mos Def and more.

A 7" single, but one that packs the punch of a 12" – thanks to impeccable production from DJ Spinna, who's really bringing back the crisper side of his game! "Motion Picture" bristles with action right from the start – leading in with a cool spoken bit, then exploding out of the gate to match the rhymes of Shabaam Sahdeeq! "Do You" has a more elliptical approach to the beats – but then gets a great focus once the lyrics start flowing – all with a complexity that's a nice change from the usual.

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

The Dramatics hit an 80s groove mood here – and as on their clubbier sides from the end of the 70s, the vocals are still wonderful – and more than anything, the set's a strong soul-based set that still has the group at the top of their game! Ballads actually sparkle the best here – and showcase that wonderfully full mode that was the best side of The Dramatics harmonies – but the uptempo tunes are good, and have breakout moments that sparkle nicely. Production is by Ron Banks and LJ Reynolds, but Don Davis still oversees the whole thing – and titles include "It Ain't Rainin", "Wecome Back Home", "Love Is Here", "Be With The One You Love", and "Music Is The Peoples Choice".

A nice little funky fusion set by Dreams – who were basically the Brecker Brothers, before they stepped out on their own and started calling themselves by that name! The fusion super group actually hews a little closer to the rock side of the fusion game at times, but there's no shortage of jazzy chord structures and some nice riffing and soloing going one – not unlike Chase or some of the other groups that were grooving in a similar jazz rock vein at the time! Billy Cobham joins the Breckers on the set – and titles include "Devil Lady", "15 Miles To Provo", 'The Maryanne", "Holli Be Home", "try Me", "Dream Suite" and "New York".

Solid work from one of the longest running players in the game – the mighty Edo G! Longtime hip hop fans surely know Edo's name, but his longevity and consistently strong output make him one of hip hop's more unsung careerists. Intelligence & Ingorance features production by Oh No, Microphono, Max Mostley & RMG – and the titles include "Done Talking", "What They Say", "Power", "Easy", "Love I Need" with Freestyle, "Bags & Shoes", "Give It To Me", "Can't Wait" and "Change" with Noel Gourdin and "Hold U".

A sublime set of soul instrumentals – very funky work, and sort of a 70s follow-up to the Soulful Strings albums on Cadet Records from the 60s! Maestro Richard Evans is at the top of his game here – stepping out with that hip Chisoul mode he first forged at Chess, tuned here towards some even more sophisticated modes for Atlantic Records! Many of Evan's previous players are on board to make the record great – including Lennie Druss on flute, Paul Serrano on trumpet, Odell Brown on organ, and Phil Upchurch on guitar. Evans himself plays bass for the record – using a very funky bottom sound – and the set also features some wicked vibes from the legendary Billy Wooten, working away from his Nineteenth Hole group on a rare major label date! The sound is blacksploitation soundtrack, part Curtom funk – and titles include the great originals "Pie Daddy's Dream", "Wado City", "Angela My Sister", and the great "Patutu" – which was done by the Soulful Strings – plus a few nice covers like "Mercy Mercy Me" and "Ellie's Love Theme", by Isaac Hayes.

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

Massive music from one of the greatest Motown groups ever – served up here as a set of 78 singles from the 60s and early 70s – not just all the US releases for Motown, but also UK-only singles, Italian singles, and work with the Supremes as well! The lavish book-style set is done in the same mode as the excellent Complete Motown series from a few years back – with a heavy 7" cover, loads of color pages in the middle, and a wealth of information and photos – maybe the nicest set we've ever seen on the Four Tops! But the music here is more than enough, too – killer singles that mix big hits with more obscure numbers – on title that include "Sad Souvenirs", "Walk Away Renee", "The Key", "Still Water", "Together We Can Make Such Sweet Music", "You Keep Running Away", "If You Don't Want My Love", "I'll Never Change", "Can't Seem To Get You Out Of My Mind", "You Stole My Love", "Simple Game (UK version)", "Piangono Gli Uomini", "Gira Gira", and "Until You Love Someone".

10 tracks, including "Puerto Rico/Black People", "Feel The Vibe", "You & You & You", "Boriquas On Da Set" (original and remix), "The Cypher Pt 3", "Know Da Game" and "Pay Ya Dues", featuring an all start cast of rappers, including Heltah Skeltah, Lost Boyz, Sadat X, Fat Joe, Craig G, Roxanne Shante, Biz Markie, Big Daddy Kane, Mobb Deep, Kool G Rap, Keith Murray, Busta Rhymes and the Cocoa Brovaz.

Funky organ, hard tenor sax, and plenty of choppy guitar make this another jazz funk gem in the crown of the legendary Funk Inc! The group are still totally at the top of their game here – stepping out with a deep, soulful Indy-bred blend of jazz and funk – a groove that was easily one of the hippest going in the early 70s Prestige Records scene – and that's saying a lot, given the company the label was keeping at the time! The record's got one track that features some nice soulful vocals – the political cut "Let's Make Peace & Stop The War" – but the best cuts are the instrumentals, grooving along hard in the band's best modal funky tradition! Titles include "The Better Half", "Jung Bungo", and "Running Away".

Marvin Gaye's last album for Motown – and a wonderful cap to a great run of sexy soul for the 70s – filled with great mellow grooves that rival the genius of his earlier work in the decade! There's a glowing, slow-burning feel to some of the best numbers here – a vibe that's right out of the I Want You era, with touches of Let's Get It On too. But there's also a slightly more mature approach too – a bit more cautious, even when confident – no doubt informed by the struggles of his Here My Dear album, which also echoes somewhat in this set. The record's more proof that even when not coming across with a classic hit, Marvin's still very much at the top of his game – an artist that stands head and shoulders above his contemporaries – with none of the too-commercial or too-dated modes that held other folks back! Titles include "Life Is For Learning", "Praise", "Funk Me", "Far Cry", "Love Party", and "Love Me Now Or Love Me Later".

A pair of killers from keyboardist Gene Harris – both recorded for Blue Note, and back to back on a single CD! First up is Gene Harris/The 3 Sounds – the last Three Sounds album for Blue Note – and the funkiest too – thanks to lots more electrification than usual, and some killer arrangements from the mighty Monk Higgins! Monk's really at the top of his game here – going past even his great previous work for the group, and working with a tight, sharp edge that recalls his funky 45 brilliance of the 60s – yet tuned a bit more towards the electric Cali jazz of early 70s Blue Note! Gene Harris plays loads of funky piano lines – and in addition to the trio's core electric bass and drums, the set also features some added work on percussion from Paul Humphrey – who really brings in a kick – plus added guitar, congas, and even a bit of Hammond from Higgins too! Some cuts even have a bit of vocals too – sung in this offbeat way that's a wild approach to soul. There's some killer breaks on the set – including the massive "Put On Train" and "What's The Answer" – but the whole set smokes, and other cuts include "I'm Leaving", "You Got To Play The Game", "Your Love Is Just Too Much", "Did You Think", "Hey Girl", and a mad version of "Eleanor Rigby". On the second album – Gene Harris Of The Three Sounds – Gene really steps into the solo spotlight – moving away from his work with the Three Sounds trio, and headed into even more righteous territory – as you might guess from the trippy image on the cover! The set features Harris mostly on acoustic piano, but amidst larger arrangements from Wade Marcus that really round things out with a warm, soulful edge – mixing guitar from Sam Brown and Cornell Dupree with Gene's lines on piano – and giving things an extra kick at the bottom with drums from Freddie Waits, and percussion from Johnny Rodriguez and Omar Clay. The record echoes Harris' older roots at some points, yet comes across with a richer 70s vibe too – a hip 70s style that's strongly due to the contributions of Marcus' arrangements. Tracks include a great remake of "Listen Here", which begins with a great funky break; a sweet steppers version of "Killer Joe"; and the tracks "Lean On Me", "Day In The Life Of A Fool", "Django", "Emily", and "C Jam Blues".

A great little soundtrack – to one of the creepiest baby films ever! The score is one of the last from the legendary Bernard Herrmann – and it's one that's got all the depth and majesty of his best work for Hitchcock – an amazing sense of tone and texture that's hardly what you'd expect to such a gory little thriller! Herrmann was always one to bring his a-game to the studio, but he really knocks it out of the park with this one – using classic modes to hit some newly-creepy styles – in a way that's almost as if he's trying to show a whole younger generation of soundtrack artists that things can still be done best the old way. This reissue presents the music for the first time ever in its entirety – with amazing sound, and a very well-done booklet filled with notes and spooky photos. Titles include "Father & Child/Father Protects Child", "Raid On The School", "Frank Visits Basement", "It's Alive", "Charley's Dead", "The Big Search", and "Empty Fridge/Father Stalks Baby".

The first ever retrospective of the late 60s & early 70s work of singer Willie Hobbs – a great mix of uptempo southern soul, slow cooking groovers, tender ballads and more – and Hobbs nails it on all fronts! Most of the singles were cut for Nashville labels– including Silver Fox, Seventy Seven, Sound Plus and others – with top notch production and song selections, when added to Willie's exceptional vocals, adds up to excellence that rivals the best soul of the period made anywhere. It includes some great stuff recorded at Fame in Muscle Shoals, with that sound well represented, plus a bunch of stellar Nashille recordings that range from gospel-tinged soul to funky beaters! 22 tracks: "Yes, My Goodness Yes", "The Game Of Love", "Where The Sweetness Lies", "Where Did I Go Wrong", "Do Your Own Thing", "Big Legged Woman", "Mr. Lovemaker", "Why Me", "Judge Of Hearts", "At The Dark End Of The Street", "(Please) Don't Let Me Done", "Why Does It Hurt So Bad", "Somebody Love Me" and more..

A funky holy grail – one of the rarest of the rare, and the only album ever cut by funky guitarist Carl "Sherlock" Holmes! Carl's work on the guitar is incredible – fast riffing and jazzy, with a style that's dirtier and messier than some of his 70s jazz funk contemporaries, but which also lays back on a few tracks so that Carl can deliver a sweetly soulful vocal. The album's a real blend of styles, all handled pretty darn well – from the hard funk of "Black Bag" and "Investigation", to the Latin jamming of "Modesa", the fast grooving of "Get Down Philly Town", and the mellow soul of "Think It Over" and "Your Game". Great stuff – and a real treat to finally have reissued!

A funky holy grail – one of the rarest of the rare, and the only album ever cut by funky guitarist Carl "Sherlock" Holmes! Carl's work on the guitar is incredible – fast riffing and jazzy, with a style that's dirtier and messier than some of his 70s jazz funk contemporaries, but which also lays back on a few tracks so that Carl can deliver a sweetly soulful vocal. The album's a real blend of styles, all handled pretty darn well – from the hard funk of "Black Bag" and "Investigation", to the Latin jamming of "Modesa", the fast grooving of "Get Down Philly Town", and the mellow soul of "Think It Over" and "Your Game". Great stuff! This excellent 2012 CD version on Tramp includes one bonus track – "The Pot's Hot".

The last Honey Cone album for Hot Wax Records – and a set that's still very much at the top of their game! As with other artists from the Holland-Dozier-Holland stable of hits in the 70s, Honey Cone have a massive amount of force behind their groove – so much so, the record might still be great even if the vocals were nothing special – but fortunately, the trio of Edna Wright, Shellie Clark, and Carolyn Willis bring plenty to the table too – a great sense of individual soul and all-together harmonies! Titles include "Who's Lovin You", "Stay In My Corner", "I Lost My Rainbow", "Ace In The Hole", "Sittin' On a Time Bomb", and "A Woman's Prayer". CD features great bonus tracks too – "It's Better To Have Loved & Lost", "Ace In The Hole (single version)", "If I Can't Fly", "Somebody Is Always Messing UP My Good Thing", and "The Truth Will Come Out".

A sublime second chapter in the career of Memphis soul singer Luther Ingram – one of the greatest talents of his generation, represented here by some of his best work ever! Ingram first got his start doing rougher, more fragile soul tunes – but by the time of these 70s recordings, he'd really found his voice – and hit a more confident, more sensuous style that could easily go head to head with Al Green or any of his southern soul contemporaries. There's a key Stax connection to most of the material here, but the sound's a bit different too – thanks to the production efforts of Koko label head Johnny Baylor, who gives Ingram a sound that's nicely apart from the pack. The booklet features a really in-depth look at the music – 14 pages of track-by-track notes on the tunes – and the CD features 19 singles recorded over most of the mid 70s. Titles include "Missing You", "Puttin Game Down", "If Loving You Is Wrong I Don't Want To Be Right", "Always", "Help Me Love", "Love Ain't Gonna Run Me Away", "Ain't Good For Nothing", "These Are The Things", "Let's Steal Away To The Hideaway", "I Like The Feeling", "I'm Gonna Be The Best Thing", "Do You Love Somebody", "Get To Me", "How I Miss My Baby", and "You Were Made For Me".

A seminal collection of work from this legendary Philly group – a set that brings together some of their best singles from the early days – all in a hip 70s package! Despite mid 70s issue of the album, most of the work here come from the group's late 60s start – and they represent a new step forward in harmony soul from the Philly scene – a way of putting over a tune that set the stage for countless other sweet soul groups to come, but which is still handled best by The Intruders! Gamble & Huff produced these early gems, and arrangements are by Bobby Martin and Joe Renzetti – both of whom really know how to mix the mellow with the mighty. Titles include "Cowboys To Girls", "Sad Girl", "Me Tarzan, You Jane", "Love Is Like A Baseball Game", "Slow Drag", "Together", "(We'll Be) United", 'When We Get Married", "Sad Girl", "A Love That's Real", "Friends No More", "Gonna Be Strong", and "Check Yourself".

Pivotal singles from the amazing Wanda Jackson – one of the greatest female rock and country voices from the 50s onward – who mixes a cutesy coo and a feral growl for a sound that was pretty much unprecedented at the time! The material bridges proto rock and country music in a way that confused the heck outta radio programmers and the label's hope to break her into superstardom back in the day – and Wanda had a voice that could've (and should've) made her a star on par with the Sun Studios boys club. She's tough and tender at the same time – and Capitol producer Ken Nelson is near the top of his game here, too. This really is the best of her Capitol singles – 29 in all – including "I Gotta Know", "Fujiyama Mama", "Honey Bop", "Did You Miss Me?", "Right Or Wrong", "Sinful Heart", "In The Middle Of A Heartbreak", "Mean Mean Man', "Sympathy", You Bug Me Bad", "Silver Threads And Golden Needles", "Rock Your Baby", "(Every Time They Play) Our Song", "Little Charm Bracelet", "No Wedding Bells For Joe", "Honey Bop" and more.

Dark genius from Waylon Jennings' late 60s/early 70s years at RCA – a surprisingly wonderful batch of tunes that have the deep-voiced singer working through an array of contemporary themes! True, a number of the cuts here are country covers of mainstream hits – but Waylon's deeply personal readings really transform the songs magically – almost pointing the way towards years-later country variants from folks like Johnny Cash or Willie Nelson, delivered here with a subtlety that's kept them hidden for all these many years. And as with other great sets on the Omni label, there's a rich batch of unusual tunes in the mix, too – the kind of offbeat country gems that we've come to love Omni for, and really praise them highly for brilliant collections like this! 28 tracks in all – including "Rock Salt & Nails", a duet with Lee Hazlewood – plus "Just To Satisfy You", "For The Kids", "Yes Virginia", "Singer Of Sad Songs", "Beautiful Annabel Lee", "Delia's Gone", "Don't Play The Game", "Where Love Has Died", "Sunday Morning Coming Down", "The Road", "The Days Of Sand & Shovels", and "Destiny's Child".

We know, we know, you're wondering "Why is this here?". And truthfully, if it weren't for the fact that Quincy was at the top of his game when he produced this version of The Wiz, we'd write it off as total crap too, but there are a few moments peppered in here and there that will make this worthwhile to some of you out there! Skip past "Ease On Down The Road" to the "Emerald City Sequence", "Poppy Girls", 'So You Wanted To See The Wizard" and "Home".

The fourth album from Sharon Jones & The Dap-Kings – solidifying what we learned pretty early on from the indomitable soul spirit that is Sharon and her impeccable combo the Dap-Kings – it's that this is not some retro soul revival novelty act, what they are is the greatest active embodiment of a true soul sound that will never go away! We've always loved that Sharon Jones & The Dap-Kings recognize the studio and the stage as different worlds. On stage, Sharon is the possibly the most energetic, charismatic presence you'll ever see and the band brings heft and heat. In the studio, they stretch out and diversify wonderfully, bringing both raw, unpolished funky soul realness to some more stripped down numbers and a full on Stax or Hi level heaviness to the bigger ones. The songs are better and more memorable than ever on this record – with "The Game Gets Old" and "I Learned The Hard Way" (an astoundingly strong one/two punch for the opening minutes) plus "Better Things", "Give It Back", "Money". "The Reason", "Window Shopping", "I'll Still Be True", "Without A Heart", "If You Call" and "Mama Don't Like My Man".

The album that catapulted Jurassic 5 from the underground! Quality Control is one of the great hip hop albums, a record that's filled with great tracks, yet flows along as the ultimate headphones experience. The rhymes by Zaakir, Chali 2na, Akil, and Marc 7even are top notch in group dynamics and the solo shots, and the record has some of the best production Cut Chemist & Nu-Mark ever put down. Tracks include "How We Get Along", "Contact", "Quality Control", "World Of Entertainment (Woe Is Me)", "The Influence", "Monkey Bars", "Quality Control", "Twelve", "Contribution", "The Game", "Improvise", "Swing Set", "Jurass Finish First", and more.

One of the best-remembered moments from the mighty King Floyd – a southern soul singer who came into the game slightly later than some of his Atlantic Records contemporaries, but who still packs a punch that's right up there with the best of them! The album's best known for the huge hit "Groove Me" – a slinky, catchy tune that's gotten King plenty of play over the years – but the whole thing is pretty darn great, and shows a new sound and style of southern soul coming into play – as Floyd's working in Jackson, at the Malaco Studios, with Wardell Quezergue producing – in a sound that's a bit free of some of the more obvious Memphis and Muscle Shoals modes, yet without any of the cliches that would later hold some folks back too. King balances things perfectly throughout – and in addition to "Groove Me", the set also features "Let Us Be", "Messing Up My Mind", "What Our Love Needs", and "Don't Leave Me Lonely".

Raw, rare material from The Knack – a previously-unissued live performance from 1978 – recorded a year before their famous debut! We love that album to death, but the group have even more bite here – a rough-edged quality that's almost garagey at points – and which does a great job of linking together the Sunset Strip energy of both the 60s and 70s scenes – really showing that LA evolution that birthed The Knack in the first place! Most of the tunes here are familiar from the first album, but the versions here are much more powerful – almost like hearing some gritty demos of the band in formation. Titles include "Daughter Of The Law", "She's So Selfish", "Art War", "My Sharona", "That's What The Little Girls Do", "Good Girls Don't", "Let Me Out", "End Of The Game", "It's Alright", and "Your Number Or Your Name".

Two stone classics from Ronnie Laws – back to back on a single CD! Friends & Strangers is a stone classic from reedman Ronnie Laws – and an album that really helped set a whole new standard for funky fusion in the 70s! Laws works here with great Wayne Henderson production – which gives the album an even sharper sound than other Blue Note sets of this vintage – and that kind of tight blend of funk and jazz you'd find in the Crusaders, with a similar no-nonsense approach in the grooves! Henderson's got a great way of never being too smooth – and Laws responds with some wicked solos on tenor, soprano sax, and flute – soaring out over the course of the whole wonderful album. Titles include "Goodtime Ride", "Just Love", "Saturday Evening", "Friends & Strangers", "Nuthin Bout Nuthin", "New Day", and "Same Old Story". Flame features Ronnie Laws at the top of his early game – working in a tight mix of jazz and soul put together with some great help from Wayne Henderson's At Home Productions – very much in the hit style that team was putting out at the time! The work's surprisingly open and hip compared to efforts like this from a decade later – still smooth in production, but with lots of room for instrumental solos, and a groove that's still more heavy on fusion influences than anything else! Laws plays tenor, flute, and soprano sax – and other players include Larry Dunn on keyboards and Melvin Robinson on guitar – and a few cuts feature chorus vocals, by hip singers who include Eloise and Debra Laws, Diane Reeves, and Phillip Bailey. Titles include "All For You", "These Days", "Flame", "Living Love", "Joy", "Live Your Life Away", and "Love Is Here".

MF Doom and Madlib, two of the most ubiquitous characters in underground hip hop – hell, perhaps THE most ubiquitous characters in underground hip hop, pair up for an outing on Stones Throw! "Money Folder" is Doom's real showpiece of the couple of tracks here. Metal Face kicks his gravelly, atomically charged word bombs over some really hot start & sto(m)p beats by 'Lib. "America's Most Blunted" is the DJ's game, with a string of strange samples and soundtrack vibe with a Cut Chemist feel. Madlib's knob twirlin' and wheel spinnin' on the two main cuts and remixes is much more in his funk beats and wacked samples guise than the mad jazz vibe he's been rocking on other recent projects.

Two sweet 80s scores from Michel Magne – still very much at the top of his game here! First up is the sexy soundtrack for Emmanuelle 4 – done in a style that's very similar to some of the 70s films in the series, but with some slight 80s twists in the instrumentation and overall execution. Instrumentation includes the requisite sweet keyboards needed to convey Euro sexiness – but there's also a few nice Brazilian touches which open up some of the more tropical scenes in the films. A few numbers feature vocals – by David Rose and Christiane Legrand – and titles include "La Pampa", "La Bergerie", "Bach Anal", "Prisoner Of Love", "Fuite D'Emmanuelle", and "Bresil My Love". Next up is SAS A San Salvador – obviously a more serious film at some level, yet handled by Magne with some 80s "action" modes that are heavy on processed keyboards and electric touches – very much what you'd expect for a film like this at the time. David Rose again sings two numbers – and titles include "Sex Love & Money", "Theme Cubain", "Theme Malko", "To Be My Love", and "SAS A San Salvador".

An excellent album of Latin material from Herbie Mann – and proof that he's equally great in just about any setting! The album's a rare Columbia Records outing from Herbie – but it's easily one of his greatest of the 60s, thanks to some really smoking arrangements from Oliver Nelson – plus an all-star cast of players that includes Carmell Jones, Dave Pike, Jimmy Heath, Patato Valdez, Willie Bobo, Charlie Palmieri, and a young Chick Corea on piano! Tracks are short, tight, and very rhythmic – grooving in a snapping approach to Latin that's filled with plenty of soul, but which also features plenty of jazzy touches as well. A few tunes here are familiar, but they're given wonderful new treatment by Herbie and Nelson – and the record easily beats most Verve or Impulse sessions of this type at their own game! Tracks include "Bijou", "Ave Maria Morena", "Watermelon Man", "Interlude", "Let's Boom Chitty Boom", "Senor Blues", "Jungle Fantasy", and "Jive Samba".

If Terry Melcher hadn't given Charles Manson the brush off, this album may well have come out on Columbia in the late 60s, and made Manson the rock and roll star he wanted to be! And while we're as disturbed as everyone else by the history of Charlie's violence, we also have to admit that we're kind of taken by this album – and find it a surprisingly good little record in a 60s folksy mode. There's really none of the creepiness that you might expect, and Manson's got a naivete that kind of transforms a Dylan-esque style into one that's overflowing with the raw emotion and personality of Jonathan Richman (but none of the silliness, of course.) CD features 26 tracks in all – the most expansive version we've seen – and also includes a few alternate takes. Most of the music is recorded in a spare style, with acoustic guitar backing and a bit of additional vocals – and titles include "Ego", "Look At Your Game Girl", "I'll Never Say Never To Always", "Home Is Where You're Happy", "Big Iron Door", "I Once Knew A Man", "Garbage Dump", "True Love You Will Find", "Who To Blame", "Don't Do Anything Illegal", and "Sick City".

Sweet, smooth, and soulful sounds from Mint Condition – still very much at the top of their game, and running strong with that tight harmony style that's always made them a favorite 'round these parts! The album's got a great balance between mainstream tightness and indie soul looseness – a quality that has the group sounding right on the money throughout, yet with a vibe that's nicely spontaneous and personal too – especially on some fo the mellow steppers that represent some of the best tracks on the set. Titles include "In The Moment", "Believe In Us", "What I Gotta Du", "Nothin", "Be Where You Are", "Never Hurt Again", and "Girl Of My Life".

Very spare sounds from Roscoe Mitchell and drummer Tyshawn Sorey, but still very sharp-edged too – and in a way, a mix of deeper thoughts and spontaneous energy that reminds us a lot of some of the more "out there" moments of the Art Ensemble back in the 70s! Roscoe's reeds have those complex qualities that we've heard in recent compositional work – but the overall approach is a bit looser, too – and clearly dictated by the range of percussion added by drummer Tyshawn Sorey. Trumpeter Hugh Ragin blows a fair bit on the record too – adding in sounds that shift from textural to musical – and overall, it may well be his tracks that we like the best. Titles include "The Horn", "Bells In The Air", "Out There", "A Cactus & A Rose", "Meadows", "A Game Of Catch", "Waves", and "Windows With A View".

Classic stuff – Rudy's first album, and a fitting launch to his famous career of party records and live club performances! The cover's got Rudy in front of a nude black model, laying back on the couch, and encouraging him to do the thing that's implied by the title – but the record itself is far more creative than just a bit of nasty words and sexy references. Rudy's at the top of his game here, bad rapping over a bit of music in a landmark effort that set the stage for countless other party records to come – but which is still presented here in one of its strongest examples. The set kicks off with an extended take on "Dolemite", with other tracks that include the funky groover "You Could Be Ugly Too", plus "Pimpin Sam", "So Glad I Could Come", and "Ballad Of A Boy & Girl".

Searing 60s work from Dick Morrissey – a UK tenor player who only ever recorded a handful of dates as a leader! This smoking material features Dick at the top of his game – right up there at the same level as his classic early 60s sides, like Here & Now – blowing tight and soulfully, but also with this really dark edge in his horn – a perfect accompaniment for the piano of Michael Garrick, caught here at an early point in his career, but already with a voice on his instrument that's bold and righteous. The setting is simple – none of the higher concepts in some of Garrick's later work – but the power of the record is undeniable, even over the course of its short 20 minutes of music. Titles include "The Girl With The Brown Hair", "The Gypsy", "Blues", and "Autumn Leaves".

A bit dated at this point, but it still has it's moments. With "Singers", "Ice Cream Man/Shoe Throwin' Mothers", "Modern Women", "The Barbecue", "The Fart Game", "Politics/Racism", "Languages" and "TV".

Beautiful early work from New Order – a stunning full-length set that brilliantly follows on the promise of their initial singles! Production is by Martin Hannett at the top of his game – almost even more sonically sensitive to New Order's work than that of Joy Division – especially given the additional electronics here. Tracks are all quite dark, but never too overdone – and although there's a hint of dancefloor energy, it's definitely second on the agenda in the music – since most tunes still have a moody post-punk feel. Titles include "Truth", "Senses", "The Him", "ICB", "Denial", "Doubts Even Here", and "Dreams Never End".

The competition heats up a little in the portable turntable game as Numark has improved their older PT-01 – now with the much needed USB output so you can convert your vinyl to MP3s, WAV or to a CD! For starters, this baby's 12" x 12" so it'll fit in your crates, right next to all the dusty goodies you're digging up! Plus you get all the standard stuff you'll never find on any thrift shop kids cheapo portable – 3 speeds 33, 45 and 78 – both size headphone jacks for large and small headphone plugs, line outputs and a built in speaker. It works on batteries, or if there's AC handy, you can plug it in too! What more could you ask for? Turntable comes with a protective cover, power adapter, USB cable, recording software and a quick start guide.

A great testament to the depth and versatility of Orquestra Harlow in the 70s – and a record that shift easily between traditional modes and more contemporary styles! Larry Harlow is at the top of his game here – working with careful sensitivity on some of the more fragile numbers, but still letting the group hit with the power that made their fame on others – and in doing so, Harlow continues to move right in pace with the changes on the New York scene at the time, particularly the return to charanga modes and its use of violin and flute. But in addition to that instrumentation, the album also features a wider range of sounds – including bits of moog and celeste from Larry himself, plus tres, guiro, and plenty of percussion. Vocals are by Junior Gonzalez, and titles include "El Negrito Nengere", "El Lugar", "El Dolorcito De Mi China", "Buenavista Guaguan O", "Agonia", and "Latin Roots", which is a fantastic NuYorican groover, with plenty of percussion, touches of funk, and a sweet electric groove!

One of Art Pepper's classic recordings, in which he plays with a spare quartet backing by Miles Davis' rhythm section at the time – Paul Chambers, Red Garland, and Philly Joe Jones. An essential "east meets west" jazz recording, with Art at the top of his game, playing in a unique setting for the first and only time (it's said that Art didn't even know of the date until the morning of the session). Pepper is one of the few alto players to really establish his own voice on the horn, without aping Bird, and his emotive playing really shines here. A definitive version of "Straight Life" is on this album, along with "Waltz Me Blues", "You'd Be So Nice To Come Home To". and "Star Eyes".

Billy Preston right in the middle of a classic 70s run – hitting a trademark blend of soul, jazz, and other groovy influences – all with a sound that's very much his own, and which puts him in the same company as Sly Stone or Stevie Wonder! Preston's market was a bit more mainstream than those two, but at this point in his career he's very much on top of his game – really pulling together all the experience of woodshedding in the 60s, and bursting forth with a sense of pop power and pride that's totally great! Billy plays a fair bit of different keyboards on the set – and rhythms run from the respected Preston romping modes, to others that are a bit more laidback and soulful. Titles include the hit "Nothing From Nothing", plus "St Elmo", "Sometimes I Love You", "You Are So Beautiful", "Creature Feature", "Tell Me You Need My Loving", "Sad Sad Song", and "Sister Sugar".

Billy Preston & Syreeta handled the music for this slightly-lame, kind of strange Gabe Kaplan vehicle from the late 70s. The music is relatively fine, although the album lacks any totally funky moments. Instrumentals include "Books & Basketball", "Half Time", "The Big Game", and "Welcome To Cadwaller". Also includes regular and disco versions of "Go For It", the theme of the movie.

The complete Public Enemy Def Jam collection on vinyl – Yo! Bum Rush The Show, It Takes A Nation Of Millions To Hold Us Back, Fear Of A Black Planet, Apocalypse '91. . .The Enemy Strikes Black, Muse Sick-N-Hour Mess Age and the He Got Game soundtrack – that's 6 albums on 9 pieces of vinyl in a heavy-duty box! Put together to commemorate PE's 25th Anniversary, it's really beautifully done. Little more needs to be said about PE's late 80s/early 90s golden age of classic records – all of which are included here, of course – but the one-time panned later Def Jam recordings are pretty damn great, too – and you also get those here – and on vinyl, they way always sounded best! Everything Public Enemy Def Jam studio release from 1987 to 1998 is here.

Laetitia Sadier's second excellent post-Stereolab album – a mix of breezy and moody avant pop with some occasionally strident lyricism – a rewarding record that's reminiscent of the timelessly innovative Stereolab, but it's ultimately much more personal! The vibe is less indebted to vintage keyboard atmosphere, though there's some nice use of Moog and other subtle electronics – and the songs really stand out above the atmospherics. We were Stereolab fans right up to the end, so it's all the more rewarding to have Laetitia in such great form outside of that beloved group. Recorded in Toulouse and in Chicago. Titles include "The Rule Of The Game", "Find Me The Pulse Of The Universe", "Silent Post", "Auscultation To The Nation", "Between Earth And Heaven", "Lightning Thunderbolt", "Fragment Pour Le Future De L'Homme", "Invitation Au Silence" and more.

Cool duets between Czech reedman Jiri Stivin and guitarist Rudolf Dasek – a set with a lot fuller feel than you might expect! The work is straight, and never too outside – and although there's no drums or bass in the performance, there's an inherently rhythmic sensibility to most numbers – that modal sort of style that Stivin always brings to his reeds, especially on 70s recordings like this! Jiri plays alto, soprano, flute, and a bit of recorder – and there's a dynamic energy to the record that's really wonderful. Titles include "What's Your Theme", "Puzzle Game", "Fiddle Flowers", "Hey Man", and "Shepherd Song".