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

The cover's a bit cheesy, but the record's a great one – stunningly spiritual jazz from saxophonist Idris Ackamoor, and a set that really lives up to his soulful fame from the 70s! The record has a similar vibe to some of Ackamoor's recordings with The Pyramids – very well-crafted work that's filled with a rich spirit and lots of freely creative energy – often moved by rhythms that are warm and flowing, and recorded with a sound that's much more 70s than you'd guess from the date of the recording. Idris plays alto sax, and other group members include Art Hirahara on electric piano, Baba Duru on percussion, Destiny Muhammad on harp, and Fred Harris on drums. Some tracks have vocals – sung beautifully, in a really Strata East sort of way – and titles include "Our Voices", "Beckoning", "Libation Song", "Island Dance", "Move Towards The Light", and "Centurian".

Brilliant stuff – and one of the greatest P&P singles ever! Marta Acuna's "Dance Dance Dance" is one of those tracks that we never tire of – a sublime blend of Latin rhythms, warm disco vocals, and that great spacey P&P approach to production! Sweet female vocals glide in and out of the tune while a pumping bassy rhythm rolls along – gently grooving the track with a jazzy sort of flair, as moogy keyboards bring in a wonderful cosmic vibe!

Almost an underground groove supergroup – given that the set features work from Earl Zinger (Rob Gallagher of Galliano) at the helm, production from 2 Banks Of 4, vocals from Valerie Etienne, and funky rhythms from Shawn Lee! The combination of talents come together here in a very new way – with a style that's much grittier and earlier than before, although still pretty darn groovy overall – almost putting a raspy old school touch on a scene that's definitely matured on its own, and may well be old enough to lay claim to the rootsy sound of this set! Rob's songwriting has definitely matured, and at some of the best moments, there's almost a British Tom Waits-y kind of quality to the set. Titles include "Below Sea Level", "Burial Blues", "Whip Of The Wind", "Laxfield Blasphemy", "Velvets Eleven", "Margaret Catchpole", and "Foggy Dew".

"Nande" is a mighty burner from the African Souls Band – a tune that mixes balafon lines in with Afro Funk rhythms, and a bit of strings too – all to create a really compelling blend that's unlike most that we know from the time – yet still damn funky, and with a great lyric too! "El Abanico" has more trippy bass, almost psychedelic at times – and pops and percolates with some great funky energy on the back/forth vocals!

A great step forward for the Afro Latin Vintage Orchestra – even better than their previous album, and a set that beautifully mixes together jazz, Latin, and African elements into one seamless groove! Percussionist Masta Conga is at the head of the group – leading the ensemble with a unique vision that's less of the overdone Afro Funk you might know from other contemporary combos – and more of a classic 60s blend of elements – especially that unique hybrid of Latin modes you'd get from west coast groups – like the Afro Latin Soultet or Afro Blues Quintet – both clear choices of inspiration, given this group's name! Yet there's also some 70s elements moving through the grooves too – thanks to great Fender Rhodes lines, and bits of other keyboards too – often used in these cool spare ways that work perfectly with the mix of funk and Latin in the rhythms, and occasional bits of strings as well. Most tracks are instrumental, although there are a bit of vocals on the set – and titles include "Requiem Pour Un Grooveur", "Petrof Sublimination", "Onze De France", "Gibbon's Dub", and "Dimension 7".

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

An obscure Afro Funk combo from the early 70s – produced by Ronnie Lane of The Faces, who may very well have been inspired by Ginger Baker's love of the style! The record's got some pretty heavy guitar work, and there's lots of funky rock running through the grooves – so those African-inspired rhythms are touched by more than a bit of heavy tripped out electric fuzz. Titles include "Wajo", "Awade", "Happy Song", "Psychedelic Baby", "Midnight Lady", "Blow", and "Confusion".

Lots of complicated lines and rhythms going on here – a session recorded under the leadership of trombonist Jeff Albert, but which features equal energy coming from all members of the quartet – Kidd Jordan on tenor, Josh Abrams on bass, and Hamid Drake on drums! Abrams and Drake offer up way more than rhythms – and lines from all instruments intersect, criss-cross, and parallel each other – creating a rich tapestry of sounds and tones throughout! Titles include a few different installments of "Instigation Quartet" – plus the Fred Anderson songs "The Strut" and "Three On Two".

One of the funkiest soundtracks we've ever heard from Alessandro Alessandroni – a set that clearly shows he'd been listening to the score for Shaft, as well as a host of 70s sound library music too! There's lots of great Italian cop/crime grooves on the set – done at an understated level that's almost better than more familiar work of the genre – often strongly focused on the core rhythms, which are lean and plenty darn funky – bad-stepping with instrumentation that's often small combo funky jazz more than it is the bigger orchestrations of American cop scores. Titles include "Cop's Blood", "Amusement", "Duke Soul Jazz", "Tema Di Susie", "Club Jazz", "Palance", "Knell", "Sbirro In Fuga", and "Luxury".

Wonderful work from Johnnie Allan – and tracks that definitely live up to the "swamp" promise in the title! The vibe here starts with 50s southern rock – a bit of twang from rockabilly and country – but there's also a heavy New Orleans influence in the rhythms that makes things really unique – a rolling way of hitting the groove that changes up the music from styles you might normally know! And at points, some other Louisiana elements creep into the mix, and really come out sounding great – a very cool blend of styles that only gets stronger in the later years. The set features a wealth of recordings for the Jin and Viking labels, plus detailed notes as well – and titles include "Little Fat Man", "South To Lousiana", "The Promised Land", "Let's Do It", "Your Picture", "What'Cha Do", "Cajun Man", "Nights Of Misery", "Secret Of Love", "Graduation Night", "I Cried", and "Somewhere On Skid Row".

Beautifully free alto work from Byron Allen – a player who really shines brightly on this rare session for ESP Records – one of the few ever cut under his own name! Allen's got a style that's right up there with the 60s best from Ornette Coleman or Marion Brown – able to move with a fluidity that's breathless, even amidst rhythms that are very loose and open – as the trio here works in a style that almost echoes some of the harmelodic modes of Coleman, but which eventually pushes farther towards the freedoms of other artists on ESP! The set has some wonderful bass from Maceo Gilchrist, whose round, rolling tones really make the album sparkle – as do the punctuated drums of Ted Robinson. Titles include "Today's Blues Tomorrow", "Time Is Past", "Three Steps In The Right Direction", and "Decision For The Cole-Man".

A wonderful tribute to Tony Allen's landmark Black Voices album – re-presented here with the full original record, plus a host of bonus cuts too! The core record is amazing – a set that really re-introduced Allen to the world, after falling into a bit of obscurity in the 80s years after he broke with Fela Kuti – the start of a rich new chapter in his career that's continued to burn strongly for the past decade or so! The album still holds up wonderfully – as Allen's still swinging hard, in a heavy afro funk groove that sounds a lot like his 70s work – with great electric keyboards, tight guitars, and some very nice flanged-out vocals. The drumming is nice and tight – but with a freer edge that mixes elements from the older work with a dubby spacey approach that recalls rhythms of groups like Can or Cymande! Titles include "Asiko", "Get Together", "Black Voices", "The Same Blood", and "Ariya Psyche (Juju mix)". CD also features 5 more tracks – titled Black Voices Revisited – including different versions of "Asiko" and "The Same Blood" – plus "Ariya", "Get Together (with Mudbone Cooper)", and "Black Voices (with Clip Payne)".

Carl Craig meets Tony Allen – in a wonderfully warm remix of Allen's "Kilode"! Craig really helps add a lot to the tune here – taking the strong vocals and forceful rhythms of the original, and inflecting them with a slight bit of spacier soul – not nearly as cold or abstract as some of Carl's other work at first, but then really running away with some heavier bass near the end!

Amazing sounds from one of the best funky combos anywhere – ever! Antibalas have certainly risen to fame in the years since we first heard their Afro-styled grooves – working famously in the Fela musical, and reaching generations of ears with their own brilliant records. Yet throughout it all, they've always stayed true to their sound – and, if anything, are even sharper, tighter, and funkier than before – all extremely adept not only at playing their instruments, but at hitting the right sort of sound to cut through all the BS that was holding back funky Afro grooves for years! Part of that sound comes from superb Daptone production by Gabriel Roth – who really knows how to keep things lean and mean and full of energy. But the core credit really goes to the group – who never cease to amaze us here – and continually come up with fresh sounds on their keyboards and horns – and inventive rhythms to match! Titles include "Dirty Money", "The Rat Catcher", "Ari Degbe", "Ibeji", "Sare Kon Kon", and "Him Belly No Go Sweet".

A great mid 70s record by Antorcha – whose late 60s records as Las Antorchas were a great mix of styles – from beat, to garage, mod and psych – and by this point in the mid 70s, shortened their name and honed their groove into heavier, moodier style that's even better! Heavy rhythms and moody textures – with some really haunting organ grooves – and an overall vibe that's up there with some of greater underground rock around the world at the time. By this point, the band was producing and promoting themselves – and put up a number of EPs that are compiled here for this great 11 song set: with "En El Jardin Del Eden", the English-sung "Grass" and "Going Down", "La Tierra", "Crisalida", "Bracero", "Mira", Quiero Vivir" and more.

One of the most creative albums ever from UK composer Neil Ardley – and that's saying a lot, given the complexity of his other work! The set's got a wonderful blend of jazz arrangements and some freer passages – scored by Ardley with some of his most sensitive, most beautiful music ever – almost as if the whole thing's an extended soundtrack for a passage in time – or at least a sonic journey that's filled with some wonderful twists and turns! There's definitely some jazz/rock elements in the music, but the main focus is jazz – and Ardley has that same strong sense of large charts and forward-moving rhythms that you'd find in the best early work of Mike Westbrook, particularly his albums for Deram. Players are a very familiar, and very top-shelf batch of British musicians – including Barbara Thompson, Dick Heckstall-Smith, and Don Rendell on reeds; Harry Beckett and Henry Lowther on trumpets; Derek Wadsworth on trombone, Frank Rocotti on vibes, and Stan Tracey on both piano and celeste. Ardley plays prepared piano, and Ivor Cutler makes a great guest appearance on one track – reciting "The Dong With A Luminous Nose" – and Norma Winstone sings on "Will You Walk A Little Faster". The title track – "A Symphony Of Amaranths" – is dedicated to Duke Ellington and Gil Evans – with a feel that more than lives up to both! LP features a bonus "outro" track too.

Not Afrobeat, but Astrobeat – a unique hybrid of older funk modes and contemporary cosmic touches – all served up beautifully by Ariya! The album definitely echoes older modes from the Ethiopian scene of the 70s – particularly the chugging rhythms and tightly vamping instrumentation that you might know from the work of Fela or Tony Allen – but there's also some more 21st Century elements on the keyboards, which have a crackling bit of electricity that goes beyond the usual electric piano used back in the day – and which really helps give the record a different feel. Don't get us wrong – because nothing here is too slick, overproduced, or remix-heavy – the music is definitely Afro Funk at the core, just inflected in some really sweet ways – and served up mostly instrumental, on cuts that include "Blood In The Water", "Turncoat", "Future Ancestors", "New Frontiers", "Towards Other Worlds", and "Old Ground".

A mid 80s classic from Atlantic Starr – at the height of their catchy commercial fame – bouncing along with rhythms that crossover nicely to the mainstream, yet still keep a bit of their previous funky edge intact! The groove here is almost in the style that Atlantic Starr inspired in so many other younger groups in the earlier part of the 80s – although it's also a bit more polished too. Most instrumentation is electric, and tunes are mostly written by the team of David and Wayne Lewis – both of whom sing on the record. Barbara Weathers also handles female vocals, and titles include "Once Lover At A Time", "Let The Sun In", "My Mistake", "I'm In Love", "Always", "Don't Take Me For Granted", and a version of Sam Dees' "All In The Name Of Love".

The title's certainly right on this one – because Atlantic Starr serve up a really brilliant blend of electro funk and mainstream soul – balanced with that near-perfect sound that made them one of the best groups of their generation! Despite the size of the combo, the sound is relatively lean – a very focused balance of basslines, keyboards, and some tightly snapping 80s groove rhythms – served up with vocals that warmly cascade over the tops of the tunes, but usually take a second seat to the extremely compelling instrumentation. The sound is polished, but never too slick – and the group are a great example of how well soul from this time could sound when done just the right way! Titles include "Love Me Down", "Sexy Dancer", "Circles", "Love Moves", "Your Love Finally Ran Out", and "You're The One".

The first Salsoul album from Aurra – and the start of a great run that would make the group one of the label's strongest acts in the early 80s! Things are nicely funky throughout – more 80s groove than the disco that first brought Salsoul success – and right from the start, Aurra have a well-conceived approach that uses both male and female vocals to flesh out the rhythms with plenty of soul! Instrumentation is as tight as older funk, but served up more at an 80s club clip – yet all still with a very live feel, and none of the too-stiff modes that were hurting other groups at the time. The album has 6 long tracks – and titles include "In The Mood To Groove", "Too Much", "Who Are You", "When I Come Home", and "You're the Only One". CD features the bonus tracks "When I Come Home (Larry Levan 12" mix)", "In The Mood To Groove (orig 12" mix)", "When I Come Home (ext album mix)", and "In The Mood To Groove (orig single)".

Sweet 80s grooving from one of Salsoul's best acts of the post-disco years – a group with a groove that comes up right from the bottom, thanks to a great ear for a funky bassline! The sound is nice and lean – but all still mighty live, with a lot of spontaneous energy in the instrumentation – and none of the too-programmed rhythms that could hurt a project like this! Steve Washington plays bass, arranges, produces, and heads up the conceptual side of things – and vocals alternate between male and female leads in a really great way – creating this warm, almost family-like approach to the sound. The whole thing's wonderful – tight and soulful, in a mode that should have made these guys climb higher on the charts – and titles include "Are You Single", "Forever", "Send Your Love", "Living Too Fast", and "Keep Doing It". CD features two bonus tracks – original single versions of "Are You Single" and "Living Too Fast".

No Mirage here – as the album's got a presence that's impossible to deny – a solid, soulful uttering from this key Chicago combo of the 70s! The group's led by reedman Ari Brown – better known for his later avant work – and they've got a wicked blend of keyboards and horns with lots of complicated touches, played out over funky rhythms that are completely mindblowing! The great Ken Chaney plays keyboards, and in addition to Brown's reeds, the set also features trumpet from Frank Gordon, trombone from Steve Galloway, and bass from Rufus Reid – plus cool percussion from Arlington Davis and Drasheer Khalid. Most cuts are instrumental, and recorded beautifully – but one number, "The Ultimate Frontier", also features vocals from Anita Jefferies. Other cuts include "Slinky", "Mirage", "Just a Little Peace", and "March On".

David Axelrod takes on Handel's Messiah – and the result is an amazingly complex set of music – very similar to his earlier albums on Capitol Records, and his Warner work with the Electric Prunes! If you love the Axe, you'll find plenty to love here – spare, dark orchestrations, often with a subtle hint of funk in the rhythms, some jazzy flourishes, and this bold sense of studio majesty that marks Axelrod as one of the most inventive producers of his time! The sound's one that gave birth to a whole generation of hip hoppers and beatheads – and the proceedings are conducted by Cannonball Adderley, with a feel that's similar to other Adderley/Axelrod high-concept sets – like Soul Of The Bible or Soul Zodiac. Titles include "Overture", "Worthy Is the Lamb", "Behold Recitative", "Comfort Ye My People", and "And The Angel Said Unto Them".

A great little album from Roy Ayers' early years with Polygram – often overlooked amidst some of the bigger records in the catalog, but a very soulful set that's got some wonderful funky numbers! There's a really jazzy feel going on here – Roy's nod back to his older roots in music, touched with some of the sharper styles of the 70s generations – especially in the rhythms, which are starting to have that snapping sound that was the Ayers trademark in the 70s. Vibes ring out wonderfully throughout – often getting more space than vocals – and other instrumentation includes soprano sax from George Braith, keyboards from Harry Whitaker and Leon Pendarvis, and drums from Bernard Purdie. Bits of strings slide in nicely, showing a deeper sound to Roy's arranging skills – and titles include the funky break classic "The Boogie Back", a sweet reading of "Feel Like Makin' Love", with all the right electric effects to get the best out of the song's mellow righteous vibe – and the great cuts "Fishika", "Sensitize", "Don't You Worry Bout A Thing", "When is Real Real?", and "Change Up The Groove".

Pure magic from the height of Roy Ayers' classic 70s run on Polydor – a record that's filled with warm, jazzy grooves – all served up in that unique style that Roy was forging at the time! The album perfectly balances dancefloor tracks with mellower numbers – stepping out one minute with a funky groove on the bottom, then sliding into some slinkier laidback styles that are equally great. William Allen handles the arrangements with Roy, and does the strings himself – and also plays some monstrous bass on most numbers, which really brings up the rhythms from the bottom! Titles include the killer groovers "Sweet Tears", "When Is Real Real", "Let's Do It", and "Freaky Deaky" – and the warm mellow cuts "You Came Into My Life", "Kiss", and "Melody Maker".

Seminal early funk work from Roy Ayers! The record catches him at that perfect point when he was turning from a straight jazz player into a sinister force in 70s funk – and the group on the session includes super-hip soul jazz giants like Charles Tolliver, Sonny Fortune, and Harry Whitaker, running through short hip soul tracks that were very different than the style of music they were laying out on albums of their own. Roy's on organ, piano, vibes, and vocals – and he also handles the arrangements, with extra help on strings by William S Fischer, whose usual dark touches come across very well here. The album features some great soul covers – like "Ain't No Sunshine" and "Day Dreaming" – plus the original tracks "Cocoa Butter", "Rhythms of Your Mind", and "Red Black & Green".

Warm, wonderful, and incredibly far-reaching in scope – possibly the most ambitious record cut by Azymuth in recent years – a perfect blend of jazzy fusion, Brazilian rhythms, and some of the London broken beat culture that the group have come into contact with through their label, Far Out. The sound is clean and spare – a dance between percussion and keyboards that reminds us how great Azymuth can sound when they keep things simple. A few cuts have vocals, but the overall approach is instrumental – and the record features production and programming by Roc Hunter, and was recorded by Kirk Degiorgio. Titles include "Tempo Classico", "Em Marica", "Partido Novo", "Sudade Do Doutor", "Nome Dele E Joan", "Algoado Doce", and "Rede De Espera". CD has 12 tracks in all.

Quite possibly the greatest moment ever for Burt Bacharach – and that's saying a heck of a lot, considering the greatness of all of his work! The record's a slightly-overlooked gem from Burt's 70s years – a record that steps off the compressed sophistication of his best 60s work for A&M, but pushes things slightly into even more adult territory – a space that's beyond simple instrumental pop, and which features complicated rhythms, amazing songwriting, and a batch of tunes so great, you'll be coming back to this one for years to come! The record leads off with the sublime "Something Big", a building vocal number that always sends chills down our spine – then follows with the skittish rhythm of "Monterey Peninsula", almost drum and bass at times! Even the mellower tracks are great – somewhat soulful, and always touched with unusual phrasings, timings, or jazzy changes that are simply mindblowing. Other tracks include "The Balance of Nature", "Lost Horizon", "Walk The Way You Talk", "Reflections", "Long Ago Tomorrow", and "I Might Frighten Her Away".

A Brazilian underground classic from the early 70s – mindblowing work that mixes heavy percussion with lots of guitar – in a style that's samba soul one minute, but heavier rock the next! There's a bit of a Jorge Ben influence going on at times – particularly in the way the record uses quickly-strummed acoustic guitar next to the earthy rhythms – but the overall sound is also a bit more fragile at times, and rougher around the edges, especially at its most expressive moments. But that quality only serves to make the album more striking – an instantly captivating set that needs no previous cultural knowledge at all! Really tremendous stuff – the kind of lost treasure that will have you scratching your head, but loving it at the same time! Titles include "Apelo", "Grinfa Louca", "A Mente", "Tramba", "Madalena", "Mensageiro", "Cristina", "Olhar Animal", and "Microfones Metalicos".

Ginger Baker recorded late in the 80s – but still keeping up the Afro-styled grooves he forged with Fela during the decade before! The set's got Baker very much upfront on drums – but he's also working with a range of African percussionists who really help shape the rhythms – plus great work on guitar, trombone, and a range of saxes as well! Many tunes are very heavy on the groove – building things up before adding in more from the horns, or the occasional vocals – and the set features material recorded with two different groups, but both around the same stretch in 1987, with relatively similar lineups. Titles include "Brain Damage", "Sokoto", "Go Do", "Adoa", "Abyssinia", "Want Come Go", and "Ginger's Solo".

A rare later album from 50s guitar giant Mickey Baker – recorded overseas, and with a different vibe than his legendary R&B work – including some nice funky moments too! The album's not really jazz, and it's hardly rock at all – and instead is more of a bluesy effort with slight undercurrents of funk – some modern touches provided by the tight rhythms of bassist Alex Sanders and his combo – who provide a nice backdrop for Baker's sharp lines on guitar! Mickey's picked up a few modern tones over the years, but still has plenty of grit in his grooves – and titles include "Pop Off", "Prelude", "Ouagadougou", "Sophie", "Wag Your Tail", "Shadadabah", and "Alexander's Funk Time".

Mindblowing work from the early years of Schema Records – a set that really helped set a whole new tone for a generation – and which still sounds wonderful all these many hears later! Balanco work up a perfect blend of bossa rhythms and soulful jazz – all wrapped up with the kind of slinky, sexy vibe the Italian scene first perfected back in the 60s – when they were borrowing lots of Brazilian elements for their best soundtracks! Balanco's sound here really recalls those glory days – mixing together sweet female vocals, lively bossa rhythms, and great work on Fender Rhodes – all under the guidance of Nicola Conte, who manages to make everything sound beautiful together. Highlights include versions of Morricone's "Metti Una Sera A Cena" and the classic "Cinnamon & Clove" – and the vinyl version features 4 more tracks, "Balanco", "Fantasia", "Aguadream", and "Blue Skat Samba".

A wonderful collection of work from Balla Et Ses Balladins – one of the leading group on the Guinean scene during its "authenticite" years of the 60s and 70s – presented here in a massive 2CD package of their work for the Syliphone label! The group have a really wide-ranging approach to their grooves – a sound with space for both modern and traditional elements of African music, as well as some of the Cuban touches that were showing up in the scene during the 60s. The rhythms here are always pretty lively, crafted out of heavy percussion and guitar lines – and most numbers have vocals in French. As with others in the Syliphone Years series, this collection is beautifully done – with a 44 page booklet that features extensive notes in both French and English, as well as color images of the group and it's orignal records. 2CD set features 28 tracks in all – including "Toure", "JRDA", "Belebele", "N'Na Soba", "Kaira", "Sakhodougou", "Tara", "Sara 70", "Nyo", "Ancien Combatant", "Sankaran Ka", and "Yadhai Gere".

A far reaching late 70s set from Gato Barbieri – a record that blends fusiony jazz funk, lush stings, and Latin rhythms and fluid solos on a varied batch of tunes! One of the more interesting things about the production is that those varied approaches often come into play within the same tunes – with clean, lean fusiony bass and percussion underneath swelling string accents, showing Barbieri was unafraid to intermingle myriad influences at the time. Titles include a take on Caetano Veloso's "Odara", plus "Poinciana (Song Of The Tree)", "Latin Lady" (which guest Carlos Santana trading solos with Gato over tropical jazz funk backing), "She Is Michelle", "Where Is The Love", "Evil Eyes" and "Bolero".

A cool cooker from Dean Barlow – one of those mambo-styled R&B tunes that has some cool percussion underneath the vamping rhythms – all topped by this sinister vocal from Dean that's mighty nice! "He's Coming Home" features lead singer Carole Bennett with great backings from The Sapphires – whose harmonies really make for a smooth groove next to the twangy vamp in the rhythms!

One of our favorite Ray Barretto albums of the 60s – a real gem from the pre-Latin Soul years! The album's a clear attempt to cash in on the cash in on the James Bond craze of the time – issued by United Artists, who were releasing the Bond films, but also had Ray under contract during the period too. But despite that simple gimmick, it's a great little set – with a quality level that goes way beyond Bond soundtracks, or the usual from Barretto at the time! The tracks are all hard and groovy, with an excellent jazz feel – and some killer arranging from Ray that's right up there with the work he did for his legendary Charanga Moderna album! You may recognize the song titles – but their versions here are superb, and the album's filled with many many wonderful moments that step out with mad rhythms and great jazzy touches. Titles include "Mister Kiss Kiss Bang Bang", "OO7", "Search For Vulcan", "Thunderball", and "Goldfinger". Nice "spy" shot of Ray on the cover, too!

An amazing little record – with results that are even greater than the sum of its parts! As you'd guess from the title, Count Basie takes on the 60s sounds of The Beatles – but he's doing so with arrangements from the great Chico O'Farrill – who really keeps things interesting throughout – throwing in those hip rhythms and odd twists and turns he first forged with his Latin recordings – in ways that definitely live up to the groovy pedigree of the tunes. And the Basie group's got a groovier sound than usual – probably due to the arrangements – and Basie plays some nice organ riffs on a number of the album's tracks – one of the Count's rare outings on the instrument, always a treat. Titles include "Help!", "Can't Buy Me Love", "I Wanna Be Your Man", "All My Loving", and "And I Love Her". Proof that The Beatles' influence was way farther reaching than you'd ever expect!

Joe Bataan working in a pronounced dancefloor soul mode! While the legendary Bataan was no stranger to the fusion of Latin, soul and funk, this some of the most club soul oriented sounds from Joe we've ever heard – and the sessions are seeing official release for the first time ever! The recording feature players who worked on Joe's stellar Afrofilipino and features a backdrop of wonderful Afro and Latin percussion and rhythms with the best sounds of the NYC dancefloor soul in the mix – with uptempo and midtempo vocal numbers flirting with disco and modern soul very nicely – with solid lead vocals and groovy female backup! Most tunes bring a bit of harp into the mix for a little more of a soar that plays off the percussion in really cool way. Titles include "Sadie", "When We Get Married", "My Cloud", "I Need Love", a take on the Isaac Hayes "Theme From The Men", "Let Me Kove You", "My Opera" and "I Do Love You".

A landmark album from Joe Bataan – so great, that it made the entire record company change its name! The record has Joe really bursting out after his seminal Latin Soul work of the late 60s – blending Latin rhythms and American soul into a whole new style of music – one that Joe called "Salsoul", because of it's mixture of salsa and soul! The blend is fantastic, a real milestone in the NuYorican scene – and handled perfectly by Joe on every cut! There's some massive Latin funk on here, including the tracks "Latin Strut" and "Aftershower Funk", plus some straighter Latin jazz, like "Sunny Gets Blue Mambo", and a great Latin Soul cut with English vocals called "Johnny".

A great live date from Batacumbele – a double-length album that really lets the group open up, stretch out, and do their thing! Given that Batacumbele's all about complicating the percussion patterns of their rhythms, the album's live, extended jams are perfect for demonstrating their best musical skills – a rich array of sounds on congas, timbales, bata, bongos, and other percussion instruments – providing the core grooves for instrumentation on keyboards, trumpets, tenor, and trombone! Most tracks have some sort of vocals, but the focus is often mostly on the instrumentation – and titles include "May Day", "Elegua", "Muevete", "La Tia", "Danzonete", "Calabo Y Bambu", "Hot Blood", and "Batacumbele Te Saluda".

Crucial work from Moreno Batamba – a set that brings together his Sister Pili album with a few bonus tracks as well! The core record is a cracker from 1983 – a set that shows the farther-reaching style in East African music at the time, yet without any too-commercial styles at all – just a really strong focus on the uniquely raspy vocal approach of Moreno, set to these long-spun grooves that beautifully intertwine rhythms and guitar lines! All tracks are more than nine minutes in length – really allowing for some spontaneous interplay as things spin out – and titles include "Adidja", "Kaka Punguza Wivu", "Aoko", and "Sister Pili". CD also features two tracks from 1977, even rootsier than the Sister Pili material – "Rehema Piri" and "Teresia (edit)", both recorded with L'Orchestra Banza Nzadi.

Lots of earthy percussion here – especially on the leadoff 12" mix of "Alegria" – a flurry of bumping basslines and heady rhythms, peppered here and there with these echoes of older African grooves – almost drifting into the mix as if they're coming from a radio in the next room! The tune's also featured in a radio edit – and the flipside features the very percussion "Cuca (Manga Bo rmx)", which is almost a batucada cut at points – plus the heavier "Puxa (Beat Laden rmx)".

Genius work from Les Baxter – two of his best albums for Capitol, back to back on one CD! Ritual Of The Savage is one of those must-have albums from the 50s – a super-huge record upon its initial release, and an album that pushed the genre of exotica far further than most others at the time! Before this record, most attempts at exotica were simple instrumental pop, colored with slight worldly instrumentation – or too-dreamy recordings, putting over a sleepy version of life on the islands. Enter Les Baxter, who had an amazing ear for sounds, rhythms, and arrangements – one that was the first to record this sort of music in a way that was sonically evocative, and could stand on its own without other referents. Instrumentation is often conventional, but used oddly here – and Baxter's original compositions are all pretty darn great – playful without being goofy, and nicely mixing Latin and Pacific rhythms at the bottom. Titles include "Busy Port", "The Ritual", "Coronation", "Jungle Jalopy", and Les' original version of "Quiet Village". Heck, even the cover is gorgeous – with a brilliant blue illustration of some guy putting the moves on a woman amidst spooky tribal relics! The Passions is a really obscure box set recording – done as Les Baxter's classic exploitation of "a woman's passions", using vocalist Bas Sheva in the role of the tormented female! Shiva's got a bold, evocative style that's not unlike Yma Sumac – and she sings here wordlessly, as an added instrument on top of Baxter's orchestrations – playing the role of the inner psyche of woman, on titles that include "Lust", "Terror", "Joy", "Hate", "Ecstasy", and "Despair"! The whole thing's a mini docu-drama in sound – beautifully recorded in a flurry of red, blue, and other chromatic hues – not as exotic as Baxter's other work from the 50s, but equally great as a modern sonic psychoanalytic text!

A groovy little version of The Beach Boys' "Here Comes The Night" – updated to a clubbier style from the original version – with soaring strings, dancefloor rhythms, and a bit of keyboards too!

Kenny Dope takes on the funkiest sounds of the Miami Soul generation – on a single that's got more heavy funk than most full albums! Side one features a great edit of Beginning Of The End's "Come On Baby" (aka "Come Down Baby") – a groove that's just as heavy as their famous "Funky Nassau", and done with a similar blend of choppy guitar, romping rhythms, and blasting horns! Next up is Willie Johnson's amazing "Lay It On Me" – a tune that's got a really amazing bassline – one that moves faster than anything in the tune – including the blasting horns and rip-shot drums! And last is "Till I Get My Share" – one of the funkiest tunes ever from Clarence Reid – a hard and heavy number that feels a lot like the best Syl Johnson work for Twinight!

Rhythmic early 60s global grooves from John Berberian – a master of the oud with a great group of players on these oft intense takes traditional Turkish, Armenian and Arabic songs! The melodies and rhythms are pretty impressive – the percussion is particularly heavy and groovy! The oud is out front and supported by lots of clarinet and bongo, hand percussion, guitar, bass and some vocals, too! There's a passion here that easily trumps any initial thoughts that this would be a dry reading of middle-eastern folk material – it's appealing in many of the ways that Salah Ragab's Egyptian jazz material is, without the cosmic funkiness. Players include Souren Baronian on clarinet and bongos, Jack Chalikian on canun, John Valentine on guitar and dudoog, among others. Tracks include "Siseler", "Laz", "Basha Bella", "Whyek", "Taksim", and "Nubar Nubar".

A trio of modern talents, working beautifully together on a set of extended live tracks! The group features guitar from Peter Bernstein, Hammond from Larry Goldings, and drums from Bill Stewart – coming together in ways that remind us of the hipper side of 60s organ combos – those moments when Grant Green and Larry Young really opened things up with a long-flowing groove! There's still a nice undercurrent of soul in the mix, but the rhythms are relatively free and unfettered too – moving forth with energy that might be called modal by some, but which is even less constricted by a simple tag like that – more just pure, beautiful waves of sound from both the organ and guitar. Titles include "The Danger Zone", "Milestones", "Just A Thought", "Molto Molto", and "Chant".

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 great little club set from the enigmatic Edwin Birdsong – a artist that we first came to love for his quirky early recordings on Polydor, and his later collaborations with Roy Ayers – but who sounds equally great here in a Salsoul setting! Birdsong's always had a great talent for spinning an offbeat sort of groove – one that stretches out with unusual rhythms, funky basslines, and odder-than-usual subject matter and lyrics. And here, he's taking the smoother Salsoul sound and infusing it with some of his own offbeat phrasings – in a mode that's got some great 80s groove old school funky touches! The set includes the classic "Rapper Dapper Snapper", a tune that's got a fair bit of Roy Ayers touches in the mix – plus the tracks "Funtaztik", "Win Tonight", "Two Faced Lover", and "Fortune & Fame".

One of the rarer Ethiopian recordings we've heard from the 70s – and one of the most compelling, too! The sounds here are just as haunting as more familiar Ethiopian music, but also have a nicely unbridled feel too – almost a bit rough at times, especially in the way the rhythms unfurl – followed by snakey guitar lines, and these vocals that are richly expressive, but in a way that's quite different from the emotion of Anglo pop! The set's a great discovery of these rare sides from 1976 – and titles include "Siin Baarbaada", "Ishururuu", "Silaa Murtii Beeke", "Kophaa Koo", and "Ammalele".

The keys are coral, and the sound is sublime – one of the greatest albums ever from pianist Walter Bishop Jr, and proof that he can really stretch out, given the right setting! The piano here is all acoustic, but there's an almost-electric vibe to the date – long, open tracks that sway and swell with some great spiritual energy – made even more wonderful by work from reedman Harold Vick, who plays tenor, flute, and soprano sax on the record – and makes it one of his best recordings ever! The reedwork alone is worth the price of admission – but the rhythms are also great too – a mix of soulful, modal, and some slight funky bits – handled by Reggie Johnson on bass, and either Idris Muhammad or Alan Benger on drums. Woody Shaw plays trumpet on some cuts, too – and titles include "Coral Keys", "Soul Turn Around", "Freedom Suite", "Track Down", "Waltz For Zweetie", and "Three Loves".

A pair of Italian comedy soundtracks – both put together with a very unique feel! The scores on both sets is by the trio of Franco Bixio, Fabio Frizzi, and Vince Tempera – well known from edgier work on other soundtracks – but coming across here with some really unusual elements – including some plunky rhythms on main themes, mixed with melancholy melodies – plus isolated instrumental passages that really run the gamut – clearly changing to fit the whimsy of different scenes. There's a huge amount of material in the set – 62 tracks between both soundtracks, most of them relatively short and playful – and the set also comes with a DVD that features interviews with the composers.

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

Classic work by one of our favorite pop singers ever – the full-voiced Cilla Black, a vocalist we'd trade for Petula Clark or Dusty Springfield in a minute! During the 60s, Cilla was working in a strongly Bacharach-influenced mode – a style that picked up a lot of uptown touches from the New York scene, but which infused them with the more belting mode of Brit female singers of the time. The result is an incredibly powerful approach to pop – one that showcases Cilla's incredible voice, but which also has her wrapped up in beautifully full arrangements, and rhythms that often have that slightly syncopated gentle groove that we love from Bacharach's work with pop singers. CD features 25 tracks in all – including 6 making their CD debut – titles that include "Yo Yo", "A Man & A Woman", "Anyone Who Had A Heart", "You're My World", "Love Letters", "One Little Voice", "Alfie", "Baby I'm Yours", "A Lover's Concerto", "Step Inside Love", "Liverpool Lullaby", "Forget Him", "Little Pleasure Acre", and "Rule Britannia".

New grooves, but with an older dancefloor style – recorded here in a sound that's got lots of the dark electronics that showed up on the European scene in the early 80s! At many levels, this record is one that could have played big in the clubs in Berlin or Manchester, circa 1983 – as it's got lots of analogue electronics and programmed rhythms that pulsate strongly, but often with a colder sort of groove. The focus is mostly on the instrumentation, although there are a bit of vocals – and if the record didn't have a 2006 copyright date, the set could easily pass itself off as a lost relic from the Sheffield scene of many years back! Titles include "The Devil In Us", "Coach Me", "On Just Foot", "I Regret The Flower Power", and "An Other Skin".

A stone classic from Black Heat – the group's second album, and even tighter than their first! The group's size has dropped a bit between albums – but that only helps them cook even more – dropping a bit of the horn section from before, which allows even more emphasis on their razor-sharp rhythms! There's a slight hint of Afro Funk in some of the rhythms – and the keyboards cook with lots of sweet clavinet lines – mixed with a production style that features some bubbling electronic elements that remind us a lot of that crazy "magic bag" that was used by the Lafayette Afro-Rock Band. That group might be a good point of comparison, but the band also shares a lot of Kool & The Gang's ensemble funk style – especially on their cover of "Love The Life You Live" – which they burn here beautifully! Other tracks include "Super Cool", "M&M's", "Rapid Fire", "You Should Have Listened", "Times Have Changed", and "Check It All Out".

Wow! The one-and-only album by Trinidadian combo Black Truth Rhythm Band – a completely incredible one at that – hypnotic Caribbean funky soul, jazz and wildly impressive musicianship all around by this group led by singer and multi-instrumentalist Oluko Imo. The record was made in the mid 70s era in which the Afro Funk sound was hitting it's peak – when African rhythms and James Brown style funk were being fused so furiously – but Black Truth Rhythm Band take a different approach, working more with sounds from African spectrum and the West Indies. It's really amazing stuff that takes unpredictable twists from stripped down rhythms, to jazzy guitars and cosmic synths – always with straight up brilliant playing by the group. A fusion of African rhythms, strains of Calypso and boundary free jazzy grooves that balance and exploratory sensibility with tight, irresistible rhythms. Soundway raises the bar once again! Titles include "Ifetayo", "You People", "Saved Musician", "Kilimanjaro", "Aspire", and "Umbala" – plus a bonus 7" single with the track "Imo".

Wow! The one-and-only album by Trinidadian combo Black Truth Rhythm Band – a completely incredible one at that – hypnotic Caribbean funky soul, jazz and wildly impressive musicianship all around by this group led by singer and multi-instrumentalist Oluko Imo. The record was made in the mid 70s era in which the Afro Funk sound was hitting it's peak – when African rhythms and James Brown style funk were being fused so furiously – but Black Truth Rhythm Band take a different approach, working more with sounds from African spectrum and the West Indies. It's really amazing stuff that takes unpredictable twists from stripped down rhythms, to jazzy guitars and cosmic synths – always with straight up brilliant playing by the group. A fusion of African rhythms, strains of Calypso and boundary free jazzy grooves that balance and exploratory sensibility with tight, irresistible rhythms. Soundway raises the bar once again! Titles include "Ifetayo", "You People", "Saved Musician", "Kilimanjaro", "Aspire", "Umbala" and the bonus track "Imo".

One of our top 10 dub albums of all time! This album bridges the gap between the the low-fi, down and dirty excursions of the 70's dub era, and the later high tech dub revolution brought on by On-U, Mad Professor and Jah Shaka. The rhythms here are all first rate, drawn mostly from their Chill Out LP with a few from Red, fueled by Sly and Robbie and a cast of regulars from the Island/Mango stable. Sly & Robbie also handle the production duties, and there's no shortage of fat grooves and unrelenting rhythms, then taken to the next level with deep space echo drops and 21st century sound effects and tape edits. Includes "Ion Storm", "Big Spliff", "Boof'N'Baff'N'Biff", "Puffed Out" and "Android Rebellion". This CD reissue's been newly remastered, with 3 additional dubs as bonus tracks: "Cool Off", "Destination Unknown" and "Fire & Brimstone".

Pure genius from the hipper side of the LA scene – 2 rare early sessions from trombonist Lou Blackburn, both cut in collaboration with a young Horace Tapscott! The style here is quite hard to peg – a unique blend of soul jazz and modernism – handled with a key focus on unusual rhythms and timings. Blackburn's work on trombone is nicely matched with trumpet by Freddie Hill in the frontline – and the pair work together perfectly in a recasting of some of the modes explored by both instruments in the more mainstream side of the LA scene of the 50s. Tapscott's piano is not nearly as unbridled as in later years, but his presence here is clearly felt on the record – as there's a similar collaborative feel here to some of his later, larger, more spiritual groups. The albums are filled with great original tunes – and titles include "Harlem Bossa Nova", "New Frontier", "The Clan", "Scorpio", "Two Note Samba", "Grand Prix", "Jean Bleu", "Blues For Eurydice", and "Jazzanova". 19 tracks in all – and incredible throughout!

A true orgy in rhythm from Art Blakey – a set that not only features his drums next to the kit of Art Taylor, but which also adds in a bevy of other percussionists – including Sabu Martinez, Patato Valdez, and Jose Valentine! Joe Jones and Specs Wright also bring in additional jazz drums – making for more drummers than you might even find in a high school band – all working together with amazing qualities in sound, sometimes even melodic amidst all of the rhythms. Lighter lyrical touches are provided by Herbie Mann's flute, and Ray Bryant throws in some great lines on piano – underscoring the grooves in a nice way. Titles on this first volume include "Buhaina Chant", "Split Skins", and "Toffi".

Two great new tracks from Gyedu Blay Ambolley – both reworks of older Afro Funk classics! "Mumunde" features sharp arrangements from Ebo Taylor – and a tight groove that has the vocals wrapped firmly around the tune's infectious rhythms – a blistering blend of bass, guitar, and percussion – topped with a bit of chorus vocals as well. "Fa No Dem Ara" is even better – a really funky track with some great organ in the middle, and a groove that's almost more James Brown than Afro Funk!

One of the hippest groups of the Nigerian scene of the 70s – presented here in two classic albums, back to back on a single CD! Chapter One is a landmark set of African grooves – very unusual in both conception and execution – with a feel that's unlike anything we can think of! There's definitely a rock influence in the set, but the music isn't rock at all – it's a very dark, almost dubby groove at points – and a bit more straightforwardly funk at others – almost a post-colonial style that clearly comes from a London influence, given to the group by a previous association with Ginger Baker. Rhythms are quite tight, and the bass is as strong as the drums – mixed up nicely with riffing guitar, and moody vocals that color the whole thing nicely. Titles include "Preacherman", "Time To Face The Sun", "We Are Out Together", "Chant To Mother Earth", "Miss Sagitt", "Beware", and "We Gonna Have A Party". Phase II is a critical next step for the group – music that's even deeper than before, but a bit funkier too! There's clearly some touches here of other African funk of the time – especially in the way the guitar parts groove with the rhythms – although those heavy Blo basslines from before are still nicely in place, as are some of the fuzzier production elements too. Titles include "Whole Lot Of Sh*t", "Atide", "Blo", "It's Gonna Be A Good Day", "Native Doctor", and "Don't Take Her Away From Me".

It's the end of the 70s, but Blowfly's still going strong on this album! The record features his "Blowfly's Rapp" – billed as "the dirtiest rap ever heard", and certainly true in those pre-gangsta days! The rest of the tracks are a mix of boogie grooves, late 70s club rhythms, and a few southern soul numbers – all featuring x-rated lyrics from Blow. Titles include "Blowfly's Rapp", "Can I Come In Your Mouth", "Who Did I Eat Last Night?", "Nobody's Butt But Yours, Babe", and "Panty Lines".

Blowfly changes up his groove nicely for the 80s – taking on a tightly-stepping approach to funk that's clearly inspired by some of the changes on the west coast scene – using Zapp-ish rhythms in a mode that ends up working pretty darn well for his off-color spoken lyrics! There's almost a P-Funk quality to the record – especially as the themes get a bit more political and current events-ish than usual – trading the easy sex jokes for some other comic fare on tunes that include "Convoy", "Blowfly Vs. Darth Vadar", "The Incredible Fulk", and "The Insects Theme".

Blowfly changes up his groove nicely for the 80s – taking on a tightly-stepping approach to funk that's clearly inspired by some of the changes on the west coast scene – using Zapp-ish rhythms in a mode that ends up working pretty darn well for his off-color spoken lyrics! There's almost a P-Funk quality to the record – especially as the themes get a bit more political and current events-ish than usual – trading the easy sex jokes for some other comic fare on tunes that include "Convoy", "Blowfly Vs. Darth Vadar", "The Incredible Fulk", and "The Insects Theme".

A lost treasure – never-issued material from the legendary Blue Notes combo – and a set that really helps fill some space in their all-too-small recorded catalog! The set captures the group at the end of the 70s, working in their most openly-creative mode – a style that partly shows their strong roots in the South African jazz scene of the 60s, but which also really opens up with some of the freer modes of the following decade – hitting a mix of modes that's not unlike some of the AACM at their best, although often with a lot more intensity, too! The group at this point is a quartet – with Chris McGregor on piano, Johnny Dyani on bass, Louis Moholo on drums, and Dudu Pukwana on some especially amazing alto sax – blown with such righteous force, we might well say that his instrument is center stage on the record – were it not for the wonderfully complex rhythms from the other three group members too! Tracks are long, and filled with righteous soul – and titles inlcude "Ithi Gui", "Mange", "Lonta Uyagula", "Lakutshonga Ilanga", "The Bride", and "Funk Dem Dudu".

A rare rare jam from Willie Bobo – a lively little set with a really mod groove! This pre-Verve album has Willie working in a variety of styles – from straight Latin jazz to a mode that's got some groovier 60s touches – emphasized by a bit of electric guitar on a few numbers, and by snapping dancefloor rhythms on a few of the others. Tracks are all short and hard, with a groove that's quite different than the Latin soul styles of Willie's more famous work for Verve. The group's not named in the notes, but there's some pretty nice sax work on a few of the cuts – as well as plenty of that great guitar! Titles include "Twist The Monkey's Tail", "Get Crackin", "The Hip Monkey", "Timbale Groove", "Go Go Go", "Be's The Other Way", and "Ala Bobo".

Way more than just a James Bond cash-in record – and instead an ultra-hip jazz session from the west coast scene of the 60s! The James Bond at the helm of the record is actually Jimmy Bond – the great bassist who worked on some key sessions of the late 50s and early 60s as a sideman, and who turns out to be a surprisingly great leader on this rare mid 60s date! The record is more jazz than anything else – played with a crime/spy bent, to be sure – but also flowing with really great solos and a fair bit of a bossa influence in the rhythms! The group here is more than hip enough to make the record work – with Harold Land on tenor sax, Bobby Bryant on trumpet, and Buddy Colette on flute and tenor – all working in a sextet led by Bond, with plenty of round, warm, almost modal lines on his bass – punctuated nicely by piano from Joe Parnello and drums by Joh Guarin. Arrangements are by Dick Groove – who keeps things very groovy – and many of the tracks here are actually original numbers written by Bond and Warren Baker, titled after Ian Fleming books that had not yet been made into movies at the time of this album! Titles include "Casino Royale", "Moonraker", "For Your Eyes Only", "007 Theme From Dr No", "Man With The Golden Gun", "Diamonds Are Forever", and "Live & Let Die".

Bootsy's still keeping the P-Funk flag flying high at the end of the 70s – arguably stepping out here with a sound that's got more of the Parliafunkadelicment elements intact than some of George Clinton's other spinoff groups! The tracks are long, and plenty jamming – still with plenty of star power from Bootsy upfront – but also some wonderfully tight rhythms from the rest of the players too, all in that mix of hard-rolling, and light-tripping funk modes that still set the P-Funk groups apart from the pack of imitators who'd cropped up in their wake! Titles include "Jam Fan (Hot)", "Bootsy Get Live", "Under The Influence Of A Groove", "Chug-A-Lug", "Oh Boy", and "Shejam".

A wonderfully edgey album – and a lost classic of South American jazz! The album's a rare 1966 set cut by Argentinian tenorist Chivo Borraro and his quartet – done in a style that uses some fantastic influences from American modal and soul jazz of the 60s, filtered through some of the freer rhythms of the European scene of the same time. There's a number of cuts on here that remind us of the best expatriot work of American player Nathan Davis – raw and emotive playing, yet always swinging as much as possible – as you'll hear on the album's killer cut "Half and Half", it's great take on "Summertime", and the standout "Charlie's Blues".

A groovy bossa gem from the glory days of A&M Records – an ultra-hip group recorded with production by Sergio Mendes! The feel here is a lot like that of Brasil 66 – bossa rhythms, sunny CA instrumentation, and lovely female vocals – in this case sung singularly, by the lovely Gracinha Leporace – aka Mrs Mendes! Instrumentation is arguably even better than on Brasil 66 records – with wonderfully groovy organ lines from Manfredo Fest, who plays Lowrey organ instead of the usual Hammond. A really essential slice of bossa nova – and a record we'd never part with! Filled with wonderful tunes that include "Gentle Rain", "Up Up & Away", "Wave", "Do You Know The Way To San Jose", "Cacao do Sal", "Veleiro", "Saiupa", and "Nana".

The bossa remix combo of Bossacucanova wisely get a dose of history and soul from guitarist Roberto Menescal, one of the original bossa nova geniuses of the 60s – and an artist who's really come back into the fold in recent years. The record features Menescal's guitar upfront in the mix – with bouncy bossa rhythms, souped up by electronics, all handled with the right amount of subtlety on the best tracks. Titles include "Surfboard", "Telefone", "Nana", "Rio", "Nos E O Mar", "Garota De Ipanema", "Agua De Beber", and "A Morte De Um Deus De Sal".

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".