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This album gives you three sides of live material and one side of four studio tracks. The live songs include "You Got Love", "Dance Wit Me", "Sweet Thing", "Pack'd My Bags", "Tell Me Something Good", "Ain't That Peculiar", and "Do You Love What You Feel". The studio tracks include "Ain't Nobody", "One Million Kisses", "Try A Little Understanding", and "Don't Go To Strangers".

Includes "Raga Palas Kafi", " Raga Bilashkani Todi", "Raga Ramdas Malhar" and "Raga Malika".

A really unique album for Chaka Khan – one in which she teams up with a host of jazz artists to craft a classic-styled set of vocals! Given that Chaka was at the height of her 80s groove solo career at the time of this one, the move was a surprising one – but also a great chance for Chaka to show that she had a lot more to offer than just pop chops, as she sounds pretty darn great scatting on these classic jazz numbers. Players include Freddie Hubbard, Joe Henderson, Lenny White, and Chick Corea – and titles include "Them There Eyes", "All Of Me", "Take The A Train", "Hire Wire", "The Aerialist", and "I Hear Music".

By the time of this release, Chaka's name had supplanted that of Rufus on the marquee – but the record's still very much in the band's classic jazzy soul style, with a production tip that's perhaps a bit larger than usual. Clare Fischer and Seawind help out on the arrangements – and tracks include "Street Player", "Stranger To Love", "Turn", "Change Your Ways", "Take Time", "Turn", and "Best Of Your Heart".

An under-appreciated gem by Rufus – the group's last album before Chaka left to depart on her successful early 80s solo career – and a nice one nonetheless! There's a trace of 80s groove in the mix – especially on the bass and percussion – but these elements are handled with all the warmth and jazziness that we've come to love from the group's 70s recordings – and Chaka's voice, as always, keeps things strongly soulful no matter what the setting! The album's overflowing with catchy groovers – and titles include "Secret Friend", "Jigsaw", "Better Together", "Music Man", "True Love", "Quandry", "Lilah", "Sharing The Love", and "Losers In Love".

Chaka Khan steps off her smoother sets from the early 80s here – into a groove that's a bit chunkier, funkier, and with some key 80s groove touches! Arif Mardin's still in charge of the whole project here, but he's opened the door to a host of other producers to update Chaka's sound for the dancefloor – including John Robie, Russ Titelman, James Newton Howard, and others. The title hit – "I Feel For You" – is a vocoder bumping classic from back in the day – and other tracks include "Chinatown", "This Is My Night", "La Flamme", "My Love Is Alive", "Hold Her", "Through The Fire", and "Stronger Than Before".

A great album of mellow modern soul tracks recorded in Chaka's post-Rufus years! The record was produced by the great Arif Mardin, the man who made so many of the 70s Atlantic soul records work so well – and he handled Chaka's voice with a sweet sweet sound that you don't always get on her other albums. Includes the great "Papillon", her remake of "Hot Butterfly", plus "Move Me No Mountain", "So Naughty", "Too Much Love", and "Clouds".

One of the archetypal funky soul bands of the 70s – and a group whose impact is still being felt today! Of course, one of the reasons for that is Chaka Khan's incredible vocals – caught here at a prime early point, and very nicely set against some warm electric keyboards and tight groovy guitars. But another reason is the sweet funky playing of Rufus – a bit jazz, a bit rock, and pretty darn soulful right down the middle. Titles include "Jive Talking", "Sweet Thing", "Fools Paradise", "Circle", "Everybody Has An Aura", and "On Time".

Nothing fancy, but a great import 12" single that features three of Rufus' best tracks! "Stop On By" is the best to have here – as it's a perpetually favorite groover that sounds great as a single!

Sure, it was a hit – but it's also an excellent batch of jazzy soul, sung by one of the 70's greatest voices, backed by a sweet mellow vibe that's still influencing hip hoppers today. Includes the incredible track "Stop On By", plus the instrumental "Rufusized", "I'm A Woman", "Somebody's Watching You", "Please Pardon Me (You Remind Me Of A Friend)", and "Right Is Right".

A stone cold classic, and probably the best record Rufus or Chaka ever did! By this point, they've honed their soul style into a nice jazzy groove, and Chaka's voice is in total control – without too much pyrotechnics, and with a nice mellow sound. Includes the classic hit "Hollywood", plus "Slow Screw Against The Wall", "Close The Door", and "Everlasting Love".

A classic early album by Chaka Khan and the jazzy soul group Rufus – and the record that pushed them over the top, chartwise! The album features their huuuuuge hit "Tell Me Something Good", a simply incredible workout that was the perfect mainstream showcase for Chaka's great voice, made even better by the use of one of those cool Peter Frampton-vocoder thingies. The album also features some other excellent material that's a bit more restrained, and more in the band's usual jazz funk mode – like "Ain't Nothing But A Maybe", "You Got The Love", "Smokin Room", and "Sideways".

Khan Jamal takes on the music of John Coltrane – in a wonderful session that returns the vibist to the glory days of his 70s work! There's a soulful swing to most of the numbers here – thanks to rhythm from a trio that features Curtis Lundy on bass, Farid Barron on piano, and Edgar Bateman on drums – and on one track, the great Odean Pope joins in on tenor, bringing a very strong Coltrane-esque vibe to the group's reading of "Blues For PC". Alto saxophonist Byard Lancaster plays on a version of "Mr PC" – but honestly, our favorite tracks here are the quartet ones – as it's great to hear Jamal's vibes stretch out in some cool Coltrane modes – ringing out with rich sound that's completely sublime. Other titles include "One Down One Up", "Naima", "Impressions", "Afro Blue", "Central Park West", and "Cousin Mary".

A spacey, soulful and funky showcase for singer Amalia – one the finds her collaborating with an impressive roster of guests including Atjazz, Portformat, Opolopo and others! Amalia blends inspirations that range from heartfelt, though trippy 70s soul and funk, to 80s electro and the more creative underground soul of the hip hop generation and beyond. What sets Making Of Amalia apart is the way that she's adapting it all so seamlessly into a vibe of her own. It doesn't hurt that she has an amazing vocal range, and the creative mind to use it as a spontaneous, unpredictable instrument above all others. Nor does it hurt that the record is filled to catchy, sexy and spacey songs that are a flat out blast to listen to! Creative and stylistically daring soul in the tradition of Chaka Khan, Betty Davis, Erykah Badu, Labelle and other free spirits! Titles include "Just Like Magic" with B Bravo & Teeko, "Get Caught" and "Cuttify It!" credited to Cutty Lark & Amalia, "Where Do I Belong" (Portformat & Amalia)", "She Want It All" (Bakura feat Amalia), "Hysteria" (Reggie B & Amalia), "Still In Love With You" (Sage Monk & Amalia) and more.

Not quite the Wild Style soundtrack, but still not a bad one, and with a good assortment of popular hip hop cuts. Features tracks like Beastie Boys "She's On It", LL Cool J "I Can't Live Without My Radio", Kurtis Blow "If I Ruled The World" (with the chorus Lauryn Hill sings on the new Nas single), Fat Boys "All You Can Eat", Krush Groove All-Stars (Run-DMC, Fat Boys, Kurtis Blow, Sheila E) "Krush Groovin'", Chaka Khan "Krush Groove" and 4 more!

Sweetly jazzy soul from George Benson – a key classic from his great run at Warner Brothers Records, and the kind of record that George did better than anyone else at the time! Back in the 60s, we'd never have guessed that Benson's sweetly crackling vocals would dominate popular jazz more than his great guitar work – but hearing George here, it's clear that his soul work could easily outshine his guitar, especially when set up in a package like this! Atlantic soul maestro Arif Mardin produced, and as with his Chaka Khan productions for Warner at the time, he gives Benson a clean, clear modern style that's certainly pop, but also a lot less cluttered and clunky than modes used with other artists at the time. George is mostly on the vocal tip for the set, and Kashif helps out on one track – no surprise, given that Kashif was soon to walk down the path that Benson had started with his first few vocal albums in the 70s. Titles include "Love Will Come Again", "Use Me", "Late At Night", "In Search Of A Dream", "Lady Love Me", "In Your Eyes", and "Never Too Far To Fall".

The sun shines brightly on Mario Biondi – really making this record sparkle with a charm that goes way beyond Mario's previous albums – a quality that's less retro than before, and which shows Biondi as a growing soul star with really universal appeal! There's still some of the old school jazz in the mix that we love from Mario's Schema work – but the album's also got a fuller production style at times, one that really expands the palette of Biondi's colors, and which has him working here with help from key guests who include Omar, Leon Ware, Al Jarreau, Incognito, and Chaka Khan – and even a bit of organ from the James Taylor Quartet! Jean-Paul "Bluey" Maunick helped co-write a good number of tracks on the set – and titles include "Shine On", "Come To Me", "Woman Woman", "What Have You Done To Me", "Never Stop", "La Voglia La Pazzia L'Idea", "Girl Blue", "Light To The World", and "Catch The Sunrise".

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

An overlooked fusion set from the mighty Muse Records – an early 80s date recorded under the leadership of keyboardist Mitch Farber, and featuring work from Randy Brecker on trumpet, Gary Campbell on tenor and soprano, and Steve Khan on guitar! Given the players, there's almost a major label fusion feel to the set, although the overall sound is more open and laidback – not slick at all, and a nice reminder that in the farther corners of jazz in the early 80s, fusion didn't always have to be focused on commercial hits. Rhythm is from Mark Egan on bass, Danny Gottlieb on drums, and Sammy Figuera on percussion – and titles include "Monuments", "Sky Dance", "The Chooser", "Lonely Promises", and "Starclimber". CD also features the bonus track "Theme From Travels" – recorded in 1990.

An early 80s gem from Aretha Franklin – one of the best of her years at Arista Records, thanks to solid help in the studio from the mighty Arif Mardin! Mardin's in perfect form here – the same blend of older soul and jazzier, more sophisticated styles that he was also bringing to Chaka Khan at the time – although Franklin's arguably more deserving of his talents, given her long relationship with the producer! There's a full, mature feel here – one that really gets Aretha back in gear as a singer, and shows off her talents to a new generation in new ways – yet all without trying too hard for a crossover hit. Tunes include a few originals by Franklin, and titles include "Kind Of Man", "Whole Lot Of Me", "Love All The Hurt Away", "You Can't Always Get What You Want", "It's My Turn", "There's A Star For Everyone", and "Hold On I'm Coming".

A great later album from the Juicy duo – very much in the tightly grooving mode of their debut, thanks to continued production work by Deodato! The style's smooth, focused, and sharp-edged – but all without sounding too chart-oriented or clunky – and although the beats are electric, and supported with plenty of keyboards, there's a nice sense of warmth to the record overall – a key hallmark of Deodato's sensitivity in the studio. All tracks are originals by the Juicy team of Jerry and Katreese Barnes, and guests on the record include Chaka Khan and Bernard Wright. Titles include "Make You Mine", "All Work No Play", "Show & Tell", "After Loving You", "Private Party", "Serious", and "Midnight Love". CD features bonus tracks – "All Work No Play (all work mix)", "All Work No Play (all play mix)", and "All Work No Play (going left)".

Chico Mann's cosmic funky soul tune "Same Old Clown" – featuring some sizzling vocals by Kendra Morris – plus a trio of remixes on this great 12-inch single on Soundway! Ain't nothing funny about "Same Old Clown" – it's a straight-up scorcher of a clubby soul tune – with a thick synth groove that nods to 80s boogie without falling into a throwback vibe – it's timeless all the way! Kendra's vocals are great, too, reminding us a little bit of I Feel For You era Chaka Khan! Also includes the Linkwood and KON remixes, plus the KON dub version.

The amazing legacy of Alicia Myers – two classic MCA albums, back to back on a single CD! First up is the self-titled Alicia – a set that's right up there with Myer's recordings with the group One Way, but with some deeper, more personal touches as well! Production is by Kevin McCord and Al Perkins from the One Way camp – and they bring in a nice mix of the funkier numbers that group was known for, and some warmer, mellower cuts that really show Myers maturing as a soul singer – a depth that might not have been expected a few years before, and which should have made her a bigger act for years to come after this wonderful set! The setting really lets Alicia open up on vocals, singing with a power and presence that's really great – and titles include "We Can't Stay In Bed Forever", "Don't Stop What You're Doin", "I Want To Thank You", "If You Play Your Cards Right", "Reggae Funky Dance", "Reservation For One", and "Life Joy & Happiness". Alicia Again is equally great – and has a strong smooth midtempo groove – with the beat toned down a bit from earlier days, in a style that works perfectly for Alicia's voice. A perfect bit of soul for that warm Sunday afternoon in the fall – king of similar to Chaka Khan's great solo work on Warner from the same time. Titles include "When Love Starts To Go", "I'm So Lonely", "Love Me Or Leave Me Alone", and "Do Your Kind Of Dance".

A hell of a trumpeter – making his debut here on one of the grooviest albums on the legendary Latin Percussion label! The session's a bit fuller than some of the other LP albums – a crackling blend of jazz, funk, and Latin rhythms – warm, but with some pretty complicated moments, very much in the best spirit of the second wave of NuYorica grooves! There's still lots of the tight percussion that makes Latin Percussion sessions so great – but the record also features fuller instrumentation too – in ways that really make things soar. Players include Eddie Martinez on Fender Rhodes, Jon Faddis and Randy Brecker on additional trumpets, Steve Khan on guitar, and Carlos Patato Valdez on congas – and Ruben Blades even plays a bit of acoustic guitar on the record. The overall feel's a bit like some of the great Fania/Columbia co-productions – but a bit rawer at points – and titles include "Diana", "Genesis", "Nice & Warm", "Viva Martinez", "I Know", "Hot Blood", and "Perico" – most of which are separated by short percussion interludes!

An important and overlooked British ensemble of the late 60s – a group who were contemporaries of the Spontaneous Music Ensemble and AMM, but who never fully received the same sort of attention! The People Band have a relatively loose approach to improvisation – one that's sometimes a bit warmer and more personal than some of their UK contemporaries – definitely driven by freedom, but also still hanging onto an inherent sense of soul that almost recalls the AACM a bit more than anything else. As with a group like the Art Ensemble Of Chicago, the players switch up instruments a fair bit – really trading sounds and notes in a spontaneously creative way – with Mel Davis on piano, trombone, and cello; Terry Day on drums and alto sax; Lyn Dobson on tenor; Mike Figgis on flugelhorn and acoustic guitar; Frank Flowers on bass; Russell Hardy on piano and keyboards; Eddie Edem on congas and trumpet; Terry Holman on bass and one string thingaphone; and George Khan on tenor and flute. Titles include "Home Trio", "Conduction", "Skip To Part 3", and "Conduction 3". CD features the full album originally issued on the Transatlantic label, plus a few bonus tracks.

One of Esther Phillips' biggest comeback albums from the 70s – a tight batch of jazzy soul, with backing by funky fusion players like Steve Khan, David Sanborn, and The Brecker Brothers – plus guitarist Joe Beck, who almost gets equal billing on the original album cover! Titles include a good version of Grover Washington's "Mr Magic" – with the same funky undercurrent as the original – plus the tracks "One Night Affair", "I Can Stand A Little Rain", "Hurtin House", "Turn Around Look At Me", and a semi-hit version of "What A Diff'rence A Day Makes".

A rare treasure from British trumpeter Dizzy Reece – quite different than his albums at the time for Blue Note! Dizzy's playing here with a style that has a fair bit of exotic touches – not entirely in the Yusef Lateef mode, but definitely with a similar blend of hardbop, soul jazz, and some of the Eastern-styled themes that you might expect from an album entitled Asia Minor. His trumpet is still firmly in the lead, but it's boldness is inflected by some great work from reed players Cecil Payne on baritone and Joe Farrell on tenor sax and flute – making a young appearance here, but already showing a great talent for soulful exploration. The rest of the group features Hank Jones on piano, Ron Carter on bass, and Charlie Persip on rhythm – and all players are surprisingly well matched, and led strongly by Reece through a visionary set that includes the titles "The Story Of Love", "The Shadow Of Khan", "Yamask", "Spiritus Parkus", and "Ackmet".

Minnie Riperton's first album for Epic – and the record that broke her from a hip Chicago underground artist into one of the seventies' biggest soul divas! The record moves past the baroque soul of Minnie's early years with Rotary Connection and Charles Stepney – and hits a mix of mellow compressed LA styles and slicker funkier numbers that do the same thing for her Chicago-trained vocals that Rufus' backing did for that of Chaka Khan. Of course, it helps that she's got some superbly sensitive writing and arranging help by husband Richard Rudolph – and Stevie Wonder's definitely lurking in the background, too. Includes Minnie's huge crossover hit "Loving You", a perfect showcase for her beautiful 5 octave voice, plus the tracks "Our Lives", "Every Time He Comes Around", "Perfect Angel", and "Reasons".

Minnie Riperton's first album for Epic – and the record that broke her from a hip Chicago underground artist into one of the seventies' biggest soul divas! The record moves past the baroque soul of Minnie's early years with Rotary Connection and Charles Stepney – and hits a mix of mellow compressed LA styles and slicker funkier numbers that do the same thing for her Chicago-trained vocals that Rufus' backing did for that of Chaka Khan. Of course, it helps that she's got some superbly sensitive writing and arranging help by husband Richard Rudolph – and Stevie Wonder's definitely lurking in the background, too. Includes Minnie's huge crossover hit "Loving You", a perfect showcase for her beautiful 5 octave voice, plus the tracks "Our Lives", "Every Time He Comes Around", "Perfect Angel", and "Reasons".

A dream come true – Minnie's first two solo albums for Epic, back to back on one CD! Perfect Angel was one of THE albums that helped define the sound of female soul in the 70s – a record that moves past the baroque soul of Minnie's early years with Rotary Connection and Charles Stepney – and hits a mix of mellow compressed LA styles and slicker funkier numbers that do the same thing for her Chicago-trained vocals that Rufus' backing did for that of Chaka Khan. Of course, it helps that she's got some superbly sensitive writing and arranging help by husband Richard Rudolph – and Stevie Wonder's definitely lurking in the background, too. Includes Minnie's huge crossover hit "Loving You", a perfect showcase for her beautiful 5 octave voice, plus the tracks "Our Lives", "Every Time He Comes Around", "Perfect Angel", and "Reasons". Adventures In Paradise is even better – and may well be Minnie's greatest album ever! The album's a sparkling work of jazzy soul, with touches of the heavenly production that Minnie got in years past, and lots of smooth mellow songs that are perfectly suited to her other-worldly voice. Includes the massive track "Baby, This Love I Have" – a slow funk number that's be sampled many times over the years – plus the spacey tunes "Minnie's Lament", "Inside My Love", and "Alone In Brewster Bay", remade from Minnie's first LP! 19 tracks in all – and an essential CD for any fan of 70s soul!

Not the whole life of Ravi Shankar in music – and instead, a really cool concentration of work from one of his greatest periods ever – that magical late 50s/early 60s moment when he was completely transforming the sound of Indian music, and beginning to have an influence on the wider world as well! Most of the numbers here are long ragas, played in that complicated rhythmic style that made Shankar so great – and most numbers are quite extended, all going well over 10 minutes, and a few even pushing close to the half hour mark as well. One title – "Raga Palas Kafi" – features work with Ali Akbar Khan – and other titles include "Raga Jog", "Dhun In Mishra Mand", "Raga Rageshri", "Raga Desi", "Raga Charu Keshi", "Misra Piloo", and "Raga Ahir Bhairav".

Ashford & Simpson recorded plenty of great work on their own, but they were also a tremendous pair of songwriters – and had a way of penning can't-miss work that sounded great in just about anyone's hands! This collection is great testament to that fact – as it starts with gems the duo first wrote back in their early Motown days, then quickly moves up to their late 70s fame, and the way they had a major impact on the dancefloor. The tracks here are often quite familiar, but the actual recordings are sometimes obscure – lesser-known takes on some of Ashford & Simpson's best numbers, laid out back to back as proof of their genius talent for a groovy soul tune. Titles include "Top Of The Stairs" by Collins & Collins, "Keep It Coming" by Tata Vega, "Rough Times" by Angela Bofill, "California Soul" by Marlena Shaw, "Bourgie Bourgie" by Gladys Knight & The Pips, "Have You Ever Tried It" by The Main Ingredient, "I Wouldn't Change The Man He Is" by Blinky, "It's In There" by Jennifer Holiday, "Clouds" by Chaka Khan, "Over & Over" by Sylvester, "Hit & Run Lover" by The Dynamic Superiors, "The Boss (ext club)" by Diana Ross, "Is It Still Good To Ya" by Teddy Pendergrass, "Keep It Coming" by Tata Vega, and "Keep Away Girls" by Stephanie Mills.

Funky mod grooves galore – and a sublime second set in the Le Beat Bespoke series! This one is even better than the first – and seems to dig even deeper in the crates to come up with a range of rare singles from around the globe – all dripping with heavy drums, fuzzy guitars, and sweet sweet Hammond organ work! Many numbers have vocals, and most are from the rockish side of the spectrum – but they've all got a romping, grooving bottom end that more than makes them a little bit funky – usually in a groove that's way different than the sort you'd find on other funky compilations! The notes are great, the tracks are amazing, and the CD's one of the freshest funky sets to hit our racks in a long long time. CD features 20 titles that include "Madeline" by Dick Turpin, "Dude" by Poppys Haunted House, "Springtime" by Jimmy Thomas, "One Two Boogaloo" by The Light Nites, "Little Louise" by Shere Khan, "I Found You" by The Tops, "You Know He Did" by Mary McCarthy, "Rouge Rouge" by Christie Luame, "Truth In My Tears" by Louisa Jane White, "Berlin" by Heidi Bruhl, and "Run Shaker Life" by Paul Nicholas.

An amazing introduction to one of the most significant cultural movements in the latter half of the 20th Century – the groundbreaking years of Tropicalia in late 60s Brazil! The music and legacy of Tropicalia are referenced often, but hardly ever presented this well – and this package is everything we could have hoped for as an introduction to the movement – filled not just with great music, but also an overwhelming amount of notes that trace the history of Brazilian music and art through their changes in relation to Tropicalia! In fact, the notes are almost worth the price of the compilation alone – very densely written over 48 pages in the CD booklet, with more information in one place than we've ever seen before. But as you might imagine, it's the music that really makes the set special – and Soul Jazz have done an excellent job of pulling together key late 60s works from the most important musicians associated with Tropicalia – an great starting point for the movement that's filled with most essential tracks! Titles include "Bat Macumba" by Gilberto Gil, "Tuareg" and "Sebastiana" by Gal Costa, "A Minha Menina" and "Panis Et Circenses" by Os Mutantes, "Alfo Mega" and "Tropicalia" by Caetano Veloso, "Gloria" and "Jimmy Renda-Se" by Tom Ze, "Procissao" by Gilberto Gil, "Ave Genghis Khan" by Os Mutantes, "Take It Easy My Brother Charles" by Jorge Ben, "Quero Sambal Meu Bem" by Tom Ze, "Lost In The Paradise" by Caetano Veloso, "Bat Macumba" by Os Mutantes, "Domingo No Parque" by Gilberto Gil & Os Mutantes, and "Irene" by Caetano Veloso.

An amazing introduction to one of the most significant cultural movements in the latter half of the 20th Century – the groundbreaking years of Tropicalia in late 60s Brazil! The music and legacy of Tropicalia are referenced often, but hardly ever presented this well – and this package is everything we could have hoped for as an introduction to the movement – filled with key late 60s works from the most important musicians associated with Tropicalia – an great starting point for the movement that's filled with most essential tracks! And even if you have some of this stuff already on individual albums, it really sounds great together – a rich document of this amazing musical moment. Titles include "Bat Macumba" by Gilberto Gil, "Tuareg" and "Sebastiana" by Gal Costa, "A Minha Menina" and "Panis Et Circenses" by Os Mutantes, "Alfo Mega" and "Tropicalia" by Caetano Veloso, "Gloria" and "Jimmy Renda-Se" by Tom Ze, "Procissao" by Gilberto Gil, "Ave Genghis Khan" by Os Mutantes, "Take It Easy My Brother Charles" by Jorge Ben, "Quero Sambal Meu Bem" by Tom Ze, "Lost In The Paradise" by Caetano Veloso, "Bat Macumba" by Os Mutantes, "Domingo No Parque" by Gilberto Gil & Os Mutantes, and "Irene" by Caetano Veloso.

The sun shines brightly on Mario Biondi – really making this record sparkle with a charm that goes way beyond Mario's previous albums – a quality that's less retro than before, and which shows Biondi as a growing soul star with really universal appeal! There's still some of the old school jazz in the mix that we love from Mario's Schema work – but the album's also got a fuller production style at times, one that really expands the palette of Biondi's colors, and which has him working here with help from key guests who include Omar, Leon Ware, Al Jarreau, Incognito, and Chaka Khan – and even a bit of organ from the James Taylor Quartet! Jean-Paul "Bluey" Maunick helped co-write a good number of tracks on the set – and titles include "Shine On", "Come To Me", "Woman Woman", "What Have You Done To Me", "Never Stop", "La Voglia La Pazzia L'Idea", "Girl Blue", "Light To The World", and "Catch The Sunrise".

A definite masterjam from Chaka Khan and Rufus – one of the group's last key efforts together – produced to perfection by the mighty Quincy Jones! Chaka's vocals are sublime right from the start – taking on the soaring majesty she'd use on her initial solo recordings – and the group's tighter than ever – really hitting the right mix of jazzy funk and soul to make the whole thing come together perfectly. Greatness like this only gets better with years – and this sweet little album is more than proof of that fact! Tracks include a version of "Body Heat", plus "Heaven Bound", "Live In Me", "Any Love", "Do You Love What You Feel", and "What Am I Missing".

An obscure modern soul group on Warner, working here with production by Freddie Perren. Nothing that standout, but the record's not a bad one – and was cut during a time when Warner were pushing into the soul market with some good lesser-known acts, possibly to beef up their catalog after the success they were having with artists like Prince and Chaka Khan. Includes the tracks "We Gon' Make You Feel Good", "Love is Growing Stronger", "Keep Trying", and "Nobody's Waiting".

An early 80s gem from Aretha Franklin – one of the best of her years at Arista Records, thanks to solid help in the studio from the mighty Arif Mardin! Mardin's in perfect form here – the same blend of older soul and jazzier, more sophisticated styles that he was also bringing to Chaka Khan at the time – although Franklin's arguably more deserving of his talents, given her long relationship with the producer! There's a full, mature feel here – one that really gets Aretha back in gear as a singer, and shows off her talents to a new generation in new ways – yet all without trying too hard for a crossover hit. Tunes include a few originals by Franklin, and titles include "Kind Of Man", "Whole Lot Of Me", "Love All The Hurt Away", "You Can't Always Get What You Want", "It's My Turn", "There's A Star For Everyone", and "Hold On I'm Coming". CD features bonus tracks – "Hold On I'm Comin (12" ext)", "Livin In The Streets (12" ext)", and "It's My Turn (single)".

An obscure American album cut by Australian soul singer Renee Geyer – one of the country's greatest talents during the 70s, and an artist who was trying to crack the US market at the end of the decade. This one takes off from Renee's classic Ready To Deal album, with a smooth jazzy soul style that's part Chaka Khan, part crossover rock/funk, with a bit of LA studio jazz. The record features a remake of Geyer's huge hit "Heading In The Right Direction", plus a great modern soul track called "Be There In The Morning" (not the Brian Wilson song!) Other tracks include "Quicker Than The Eye", "Touch", and "Moving Along".

One of the most far-reaching sets of UK jazz we've heard from the mid 60s – the recording debut of pianist Peter Lemer, working here in a quintet that also features a young John Surman! The leadoff track is a version of Carla Bley's great "Ictus" – and the style of the work definitely echoes that early 60s generation that Bley was a part of – a darker, more angular approach to modernism than previous years – yet still without the completely unbridled freedoms to come. Most titles are fairly elliptical – circling around a specific territory of tones and rhythms at the core, while some of the other players open up in freer solos – and other players in the group include Nisar Ahmad Khan on tenor, Tony Reeves on bass, and John Hiseman on drums. Surman plays baritone, soprano sax, and bass clarinet – and titles include "Carmen", "In The Out", "Enahenado", "Flowville", "City", and "Ictus".

An overlooked record in the grand scheme – which is unforgivable in our book! This self-titled album Prince's second LP, and already his vision is becoming a little more focused, and you could really hear the seeds of his later efforts – and really remarkable, unique, and fascinating record that stands up with some of his best work, and bucks all late 70s trends and cliches in pop, soul and funk. In some ways this is one of our favorite Prince LPs, as it has a kind of intimacy that was lacking on later LPs, or maybe it's because the hit "I Wanna Be Your Lover" has such a mad groove! "Why You Wanna Treat Me So Bad" has the sly sound that would run throughout the rest of Prince's better work for years to come and Chaka Khan would later cover "I Feel for You" and hit large with it in the 80s. Also includes "Sexy Dancer", "With You" and "When We're Dancing Close And Slow".

An all-star tribute to the legendary Ella Fitzgerald – one that features a number of contemporary singers trying to recapture the magic of Ella's best work from the 50s and 60s! We'll be honest in saying that we were a bit suspicious of this one at first, but the quality is surprisingly strong – mostly in an acoustic, swinging, jazzy mode – with arrangements predominantly by Rob Mounsey, and most singers really doing their best to hit a Fitgerald sort of groove. It's interesting to hear some of these vocalists doing their best to match Ella's phrasing, on titles that include "Blues In The Night" by Ledisi, "The Lady Is A Tramp" by Queen Latifah, "A Tisket A Tasket" by Natalie Cole, "Lullaby Of Birdland" by Chaka Khan, "Angel Eyes" by KD Lang, "Reaching For The Moon" by Lizz Wright, "Someone To Watch Over Me" by Gladys Knight, "Do Nothin Till You Hear From Me" by Etta James, and "You Are The Sunshine Of My Life" by Ella Fitzgerald & Stevie Wonder.

Soulful fusion from The Brecker Brothers – a set that's one of their standout efforts from the 70s – and a record that went onto influence a whole generation of jazz musicians too! The album features the twin horns of Randy & Michael Brecker, along with alto by David Sanborn, keyboards by Don Grolnick, and guitar by Steve Khan – but one of the things that really makes the album great is the vocal arrangements, which were handled by Luther Vandross, who also sings on the album along with Patti Austin! The set's got a great soulful feel – with some wonderful mellow groovers that have a sweet 70s sound – titles that include "Lovely Lady", "Night Flight", "Slick Stuff", "What A Miracle Can Do", "I Love Wastin Time With You", "Keep It Steady", "Grease Piece", and "Dig A Little Deeper". CD features 2 bonus tracks – "If You Wanna Boogie (single version)", and "Slick Stuff (single version)".

2 Columbia killers from Charles Lloyd – back to back in a single set! Discovery is a wonderful bit of soul jazz – much less trippy than some of Lloyd's later work, and handled with a soulful flair that's a mix of Coltrane spiritualism, with an even larger dose of the sort of post-Trane experimentations in jazz that would crop up during the early 70s on smaller independent labels. The record's quite advanced for its time – and features Lloyd's tenor and flute next to piano by Don Friedman, bass by either Richard Davis or Eddie Khan, and drums by Roy Haynes or JC Moses. Includes Lloyd's classic "Forest Flower", plus "Little Peace", "Love Song to A Baby", "Sweet Georgia Bright", and "Bizarre". Nirvana is lovely work from Charles Lloyd – recorded at the point when he was just pushing off from Chico Hamilton's group, and before he got too noodly for his own good! Side one of the record features Lloyd with his own group – jazzing it up in a mix of flute, guitar, and percussion on a number of short tracks that have a light and breezy feel. There's a nice dose of bossa in the set, plus some of the other freer rhythmic styles that Lloyd and Hamilton experimented with together at the time – but all of the tracks have a strong rhythmic pulse, and never lose their groove for too much experimentation. Side two features two wonderful tracks with Hamilton's group at a point when Lloyd was still working with the ensemble – both long tracks with a modal pulse and a great deal of spirituality – again free, but never too much so! A nice little album – with tracks that include "Island Blues", "Carcara", "Long Time Baby", "One For Joan", and "Freedom Traveler".

The first album – and an archetypal bit of jazzy rocking soul that would forever change the face of 70s pop. Chaka Khan and the band are still working things out at this point, but the record's got some excellent sweet funky moments, and some great LA production that drives the whole thing home nicely. Titles include "Haulin Coal", "Satisfied", "Feel Good", "Keep It Coming", "Slip N Slide", and "There's No Tellin".

Malian singer Rokia Traore is on the cover – talking about her new John Parish-produced Beautiful Africa – plus features on kora player Bllake Sissoko, Sarawak, Borneo's Rainforest Festival, the musical communities-bridging Nile Project, Alex Wilson and Kishon Khan's collaboration at the Songlines Encounters Festival, the nominees for this year's Songlines Music Awards and more! Also includes a free CD with 10 tracks from Songlines-praised new releases and 5 more selected by Jocelyn Pook. Includes tracks by Rokia Traore, Tim O'Brien & Darrell Scott, Airileke, Emma Sweeney, Natacha Atlas, Los Piranas, Boban Markovic and more.

A German disco extravaganza – and a much-needed look at one of the strongest 70s club outlets next to the US! At first glance, the mix of Germany and disco might seem like an unlikely fit – but the German scene gave the world some key disco hits back in the 70s, as well as a huge variety of underground and lesser-known gems! The German approach was often a bit heavier on electronics than the American one – modes that were slightly pulled from prog and fusion that was bubbling around earlier in the decade, then fused into a cleaner, leaner, more rhythmic groove – and often topped with vocals in English, sometimes by American vocalists living overseas. Even the older German instrumentalists got in on the act – and the 70s saw both jazz and easy players hitting a disco groove with a new approach to their music! This great collection – put together by the folks who gave us The In Kraut – showcases all these aspects of the scene, and brings together a few hits with a lot more obscure gems – many of which we've never seen on this side of the Atlantic before. Titles include "Opium" by Peter Thomas, "Philodendron" by Veronika Fischer, "Illegal Toys" by Alfie Khan Sound Orchestra, "Lovemachine" by Supermax, "You've Got The Power (parts 1 & 2)" by Su Kramer, "Fashion Pack" by Amanda Lear, "Weider Zusammen" by Marianne Rosenberg, "Sex World" by Berry Lipman, "Get On The Funk Train (part 1)" by Munich Machine, "I Can't Move No Mountains" by James Last, "Treat Me Like A Woman" by Jackie Carter, "Feedback Brother" by Peter Herbholzheimer Rhythm Combination & Brass, "Disco Cisco" by Carsten Bohn's Bandstand, and "Love In A Sleeper" by Silver Convention.

Way more than you'd expect from the title and cover – not a batch of familiar disco hits, but a treasure trove of club classics from the early 80s! Sure, some of the artists here are familiar – but most of them are from the indie side of the spectrum, and even the few big stars are represented by either non-hit tracks, or hard to find remixes that make this collection well worth seeking out! And given the early 80s focus of the track selection, there's less disco here than 80s groove and boogie-styled rhythms – heavy on the beats and keyboards, and still filled with plenty of great vocals. 20 tracks on 2CDs – with titles that include "Dreamer (long vocal)" by BB&Q Band, "Nights Of Pleasure (Nick Martinelli mix)" by Loose Ends, "You Can't Run From My Love" by Stephanie Mills, "I'm Out To Catch" by Leon Haywood, "Just Another Lover (12" mix)" by Johnny Kemp, "Fall Down" by Tramaine, "I Feel For You (12" mix)" by Chaka Khan, "Got To Be Real" by Selection, "Garden Of Eve (long)" by Yvonne Gage, "The Rhythm Of The Jungle" by The Quick, "Burnin Love" by Con Funk Shun, "I Need You" by Network, "Love Take Over" by Five Star, and "To Be With You" by Maxx Traxx.

Guess what? They DO make 'em like they used to – as Amalia steps out here on two tracks that easily rival the best female soul from the early 80s! "Welcome To Me" feels just like Chaka Khan on Warner Brothers from 1982 – complete with sweet keyboards that percolate wonderfully alongside the soaring lead vocals! "Bonafide" is even better – a funky funky number with a really partyful groove right from the start – romping in a wonderful 80s way!

The glorious return of Os Mutantes – a recent live performance that marks the group's first new album in many many years! The show was recorded before a very enthusiastic audience in London – at a time when the city was in the throes of a recent new wave of interest in Tropicalia – clearly the inspiration for the group's performance here, which is heavy on work from their best years! The lineup features Zelia Duncan in place of Rita Lee on vocals – alongside founders Arnaldo Baptista and Sergio Dias – and the overall sound is pretty great, with some very focused and full-on guitar work throughout. Titles include "Don Quixote", "Ave Gengis Khan", "Tecnicolor", "Virgina", "Cantor De Mambo", "Baby", "El Justiciero", "Balada Do Louco", and "Ave Lucifer".

The sun shines brightly on Mario Biondi – really making this record sparkle with a charm that goes way beyond Mario's previous albums – a quality that's less retro than before, and which shows Biondi as a growing soul star with really universal appeal! There's still some of the old school jazz in the mix that we love from Mario's Schema work – but the album's also got a fuller production style at times, one that really expands the palette of Biondi's colors, and which has him working here with help from key guests who include Omar, Leon Ware, Al Jarreau, Incognito, and Chaka Khan – and even a bit of organ from the James Taylor Quartet! Jean-Paul "Bluey" Maunick helped co-write a good number of tracks on the set – and titles include "Shine On", "Come To Me", "Woman Woman", "What Have You Done To Me", "Never Stop", "La Voglia La Pazzia L'Idea", "Girl Blue", "Light To The World", and "Catch The Sunrise". CD has a great package – hardcover book-style, with pages inside!

A beautiful double-length package of work from drummer Louis Moholo – a 2CD set that features one record from recent years, and a key classic from the 70s! Spirits Rejoice is one of the strongest 70s statements from ex-Blue Notes drummer Moholo – recorded in the company of fellow expatriots and UK avant jazzers that include Johnny Dyani, Evan Parker, Kenny Wheeler, Nick Evans, Radu Malfatti, and Harry Miller. The album shifts easily between strongly rhythmic passages that show Moholo's roots in the South African jazz scene, and other, freer sections that also illustrate his importance in the European avant scene of the 70s – and overall, the record's got a beautifully soulful quality that guides it well through all of these moments. Titles include "Wedding Hymn", "Khanya Apho Ukhona", "Ithi Gqi", "Amaxesha Osizi", and "You Ain't Gonna Know Me". That record is followed here by 1995's Bra Louis Bra Tebs – a session with a similar style, especially in its use of African-inspired rhythms – but one that also features a different lineup, and some great use of vocals! Francine Luce sings on a number of the album's best tracks – in a style that's almost an avant-tuned approach to vocalese, and which seems to carry echoes of Norma Winstone – a voice that's dreamy one minute, challenging the next – and often used as a key instrument in the combo's lineup of tenor, alto, trumpet, piano, bass, and drums. Titles include "Utshaka", "Maybe Of Cause", "Moegoe", "Sonke", and "Lakutshona Ilanga".

A standout session from Jack Montrose – one of the most overlooked players on the west coast scene of the 50s! Montrose's tenor work is always a treat, but here, he's playing in an unusual setting that includes Red Norvo on vibes, Joe Maini on alto sax, and Jim Hall on guitar – all working with Jack on a set of tunes that have the tight arrangements of his work on Atlantic and Pacific Jazz – yet which also open up with some interesting instrumental twists that break the mold a bit! Side one of the set features the 18 minute tune "Concertino Do Camera" – a nicely extended track that offers plenty of room for solo work – and the other shorter tracks still offer up strong solos too – on titles that include "Bernie's Tune", "A Dandy Line", "Bockhanal", and "For The Fairest".

Some of the hippest sounds ever recorded on the Afghan scene – and a great reminder that the nation's got some standout music if you know where to look! The package combines the second and third volumes in Pharaway's look at Ahmad Zahir – a charismatic singer who rose to huge fame in the 70s, but still has a sound that's pretty darn fresh to our Western ears – a mix of psychedelic production, exotic instrumentation, and some surprisingly compelling lead vocals – which tend to hold us rapt, even though we can't understand the language! Instrumentation often features plenty of raw percussion and offbeat reed lines – mixed with keyboards and guitar, to create this pan-generational sound that's really unique. Titles include "Shaady Kunaid Aye Dostan", "Ahange Zindegi, "Az Nazo Che Maykhande", "Baduhait Konam", "Begzaro Ta Begeeryam", "Dil Ze Sowda", "Che Koosh Amadi Safaa Kardi", "Tu Barayem Mogadasi", "Duzdi Eshgam", "Ansiman Begoyed", "Kai Bashad Kai", and "Nay Nay Hargez".

Really tremendous stuff – and kind of a genre-defining compilation – one that will ship our listening for years to come! We've heard a bit of 70s Iranian music before, but this overstuffed package really opens up our ears – to a range of funky, freaky sounds that go way beyond just the kind of unusual psyche that folks have been passing around for years – and more into the kind of amazing and unreal sounds you might expect to find more in Indian music of the time! As with some Indian cuts, there's a wicked blend of Western funk and Eastern exoticism going on here – while others have a haunting feel that's a bit more regional, especially the vocal numbers – and throughout it all, the set continues to deliver some really wonderful surprises, with a track list that's very well thought out – and supported by great notes too. Titles include "Baanoye Sahar Aavaaz" by Soli, "Jodayee" by Afsar Shahidi, "Nefrin Nameh" by Dariush, "Ki Bood" by Neli, "Gharibaneh" by Beti, "Dokhtar Khoshgel" by Aghassi, "Khana Khana" by Habib Mohebian, "Kavire Del" by Marjan, "Do Ta Cheshmoon" by Mahsati, and "Woman" by Shahram.

Really tremendous stuff – and kind of a genre-defining compilation – one that will ship our listening for years to come! We've heard a bit of 70s Iranian music before, but this overstuffed package really opens up our ears – to a range of funky, freaky sounds that go way beyond just the kind of unusual psyche that folks have been passing around for years – and more into the kind of amazing and unreal sounds you might expect to find more in Indian music of the time! As with some Indian cuts, there's a wicked blend of Western funk and Eastern exoticism going on here – while others have a haunting feel that's a bit more regional, especially the vocal numbers – and throughout it all, the set continues to deliver some really wonderful surprises, with a track list that's very well thought out – and supported by great notes too. Titles include "Baanoye Sahar Aavaaz" by Soli, "Jodayee" by Afsar Shahidi, "Nefrin Nameh" by Dariush, "Ki Bood" by Neli, "Gharibaneh" by Beti, "Dokhtar Khoshgel" by Aghassi, "Khana Khana" by Habib Mohebian, "Kavire Del" by Marjan, "Do Ta Cheshmoon" by Mahsati, and "Woman" by Shahram.

Some of the wildest sounds we've ever heard from Iran – a wealth of wonderful grooves that show that there was plenty happening in that unique scene before the Ayatollah came in and clamped down on Western culture! Styles really intertwine nicely throughout – mixing funk with pop with psych, disco, and even some soundtracky styles that feel a bit Bollywood at points – all coming across with a really cool, groovy, and other-worldly sound that has us loving the whole thing all the way through! The folks at Guerssen have done a great job with the package – adding enough good notes and quality sound to ensure that this one's not just a knockoff – and instead features a great range of well-chosen tracks, put together beautifully. Titles include "Setareh" by Azita, "Aroos Khanom" by Amir Rassaie, "Zandooni" by Farzin, "Bi Vafa" by Kambiz, "Safar" by Hassan Shamaizadeh, "Ey Vatan Iran" by Emad Ram, "Ghebleh" by Nooshafarin, "Gholake Cheshat" by Simin Ghanem, and "Rahgozar" by Morteza.

Some of the wildest sounds we've ever heard from Iran – a wealth of wonderful grooves that show that there was plenty happening in that unique scene before the Ayatollah came in and clamped down on Western culture! Styles really intertwine nicely throughout – mixing funk with pop with psych, disco, and even some soundtracky styles that feel a bit Bollywood at points – all coming across with a really cool, groovy, and other-worldly sound that has us loving the whole thing all the way through! The folks at Guerssen have done a great job with the package – adding enough good notes and quality sound to ensure that this one's not just a knockoff – and instead features a great range of well-chosen tracks, put together beautifully. Titles include "Setareh" by Azita, "Aroos Khanom" by Amir Rassaie, "Zandooni" by Farzin, "Bi Vafa" by Kambiz, "Safar" by Hassan Shamaizadeh, "Ey Vatan Iran" by Emad Ram, "Ghebleh" by Nooshafarin, "Gholake Cheshat" by Simin Ghanem, and "Rahgozar" by Morteza.

A decade's worth of magic from the mighty Hugh Masekela – a sweet little set that brings together some of his most groovy tracks of the late 60s and early 70s – in a collection that's overflowing with goodness! Hugh's got a style here that's unlike anyone else – an approach that's rooted in South African jazz, which is definitely shown in his rhythmic progression – but taken to new heights in the Californian scene, where Hugh's music came into contact with folks like The Crusaders and some of the other cooler cats on the coast at the time. The result is a sublime blend of jazz, soul, and African rhythms – with tracks that include "Sipho", "The Boy's Doin It", "Ha Lese Le Di Khanna", "Kwa Blaney", "Stimela", "Maesha", "Phatsha Phatsha", "Child Of The Earth", and "U Dwi".

Some of the wildest sounds we've ever heard from Iran – a wealth of wonderful grooves that show that there was plenty happening in that unique scene before the Ayatollah came in and clamped down on Western culture! Styles really intertwine nicely throughout – mixing funk with pop with psych, disco, and even some soundtracky styles that feel a bit Bollywood at points – all coming across with a really cool, groovy, and other-worldly sound that has us loving the whole thing all the way through! The folks at Guerssen have done a great job with the package – adding enough good notes and quality sound to ensure that this one's not just a knockoff – and instead features a great range of well-chosen tracks, put together beautifully. Titles include "Setareh" by Azita, "Aroos Khanom" by Amir Rassaie, "Zandooni" by Farzin, "Bi Vafa" by Kambiz, "Safar" by Hassan Shamaizadeh, "Ey Vatan Iran" by Emad Ram, "Ghebleh" by Nooshafarin, "Gholake Cheshat" by Simin Ghanem, and "Rahgozar" by Morteza.

Prime Keith Jarrett on Impulse Records – and a still-wonderful session that features work by Dewey Redman, Charlie Haden, and Paul Motian! The sound here is a bit more focused than on some of Jarrett's earlier Impulse sides – but still has that rich and organic sound overall – blending instruments from all players with a sound that's spontaneous and flowing. Jarrett himself plays a bit of percussion and wood flute – and Redman also plays maracas and musette! Tracks are long, and include "Kuum", "Inflight", "Vapallia", and "Backhand".