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A peach of a record from Melba Moore – one that's produced by Eugene McDaniels, who helps find a tight funky sound that unlocks some of the most righteous elements in Moore's vocals! Like some of McDaniels' best productions of the time, there's a good sense of balance here – a way of going deep, then swinging back for a nice hook – ensuring that the record would reach just the right audience, while still helping get the message across! Gary King did all the arrangements, with a righteous soul style that works perfectly with Melba's vocals – and the set's got some great keyboards from Bob James, Richard Tee, and Dave Grusin – all of whom keep things hip. Titles include "If You Can Believe", "My Soul Is Satisfied", "Must Be Dues", "I Am His Lady", "A Million Years Before This Time", "If I Lose", and "Natural Part of Everything".

Not a live album – as you might think from the title – but a tight batch of tunes that shows the full funk and soul talents of the legendary Esther Phillips! The album's got a nicely dark undercurrent at times – a sound that's not as smooth as some of Esther's other Kudu albums from the 70s, with bits of R&B bubbling underneath the more contemporary arrangements. Backings are penned by Pee Wee Ellis and Gary King – and players include Bob James and Richard Tee on keyboards, Hubert Laws on flute, and Bernard Purdie and Steve Gadd on drums – the latter of whom provides a sublime beat on the album's standout funky number "Disposable Society" – one of those great little groovers that never did anything for Esther at the time of its release, but which has really gotten rediscovered in recent years! Other tracks include "Doing Our Thing", "Living Alone", "Can't Trust Your Neighbor With Your Baby", and "I Feel The Same".

Sublime soulful sax from Grover Washington – the man who virtually reinvented the sound of the instrument for a decade! The package here brings together some of the coolest cuts from Grover's years on Kudu Records – a place that really helped him hone his sound after initial recordings in the soul jazz underground – coming up with a compressed style that worked perfectly alongside keyboards and Hammond – played here by players who include Dave Grusin, Bob James, and Richard Tee! Tracks are often long and have a snakey vibe that's always funky, but a bit more too – that special blend that was Grover's imprint at the time – and which resonates a lot stronger here than on any later work. The package is overflowing with gems – including "Loran's Dance", "The Sea Lion", "Earth Tones", "Masterpiece", "Black Frost", "Ain't No Sunshine/Theme From Man & Boy", "All The King's Horses", and "Inner City Blues".

A totally great collection of grooves with a real range of material – nearly all fresh to our ears, and the kind of record that really makes us sit up and take notice! The set's got a loose approach to the selections – in that it features tracks from American and European sources, and easily blends together tunes from soul, jazz, funk, and easy records – but that's what makes it so great, and so fresh, as the tracks stand wonderfully back to back, sounding like a hip club night at some far-away place, the kind of all-great set that has you keep getting out of your chair, walking up to the DJ, and saying "Sorry to bother you again, but what's that track you're playing?" Titles include "Creative Musicians" by Lyman Woodard, "Stop" by Lonette, "Shabazz" by Rhoda Scott, "Don't Boom Boom" by Lillian Hale, "The Barracuda" by Leonard King & The Soul Messengers, "Questions (parts 1 & 2)" by Pat Stalworth, "Concentrate" by Willie Tee, "Mabusso" by Orchester Ambros Seelos, "Jumping" by Charlie Antolini, and "Highway 101" by John Barry.

Don't judge a CD by its cover, because this one is incredible – all-solid, filled with rare soul tracks all the way through, with a quality level and depth of material that runs way way past the strange appearance of the cover image! The package was put together by the author of the book The Soul Of New Orleans – and it's a wonderful trip through a sound of that city that's not always featured on reissues: the more upbeat, uptempo soul recordings of the 60s – faster tunes that easily fall within the Northern Soul style. The Crescent City soul scene is usually represented with slower, sleepier tunes that build off the "triplets" heavy sound of 50s New Orleans R&B – and although that stuff is great, and really unique, it's wonderful to hear this different side of the New Orleans scene, especially when it's represented by music this great! 18 tracks in all – packaged with a book that has great notes on the music – and titles include "Please Don't Go" by Willie Tee, "Who Can I Run To" by Gerri Hall, "Being Without You" by Maurice Williams, "Do You Love Me" by Senator Jones, "I Caught You In A Lie" by Robert Parker, "Lucky Fellow" by The Jades, "Take Me Home" by Donna King, "Mean Man" by Betty Harris, "You Don't Mean It" by Curly Moore, "Omar Khayyam" by The Rubaiyats, and "In My Corner" by Ray Algere.

One of Harley's beautiful albums for Atlantic, and a record that shouldn't work at all – but it does! Harley plays bagpipes throughout the album, and he does so in a way that sounds nothing like any of the snoozy Scottish assumptions you may have about the instrument. Instead, Harley draws from a rich African reed tradition, and gets these amazing off-kilter tones with a deep spiritual feel. It helps that he's backed by some great players here, including Richard Tee on piano, Chuck Raney on bass, and Eric Gale on guitar – plus some other African instrumentation on a few cuts. Tracks include "Kings", "Queens", and surprisingly wonderful covers of "8 Miles High" and "Windy".

Sly soul from the great King Curtis – one of his last albums ever, and one of his best as well! There's a hip sort of edge to the record that's different from the Curtis groove of the mid 60s – less standard soul instrumental covers, and a much more righteous feel overall – part of the vibe that King had been crafting for others in the late 60s Atlantic studios, and partly the funky undercurrents that would often only show up on some of his 45 releases for the label! The backing group here is really great – with rhythm work from Eddie Hinton on guitar, Barry Beckett on keyboards, David Hood on bass, and Roger Hawkins on drums – and solo moments from Cornell Dupree on lead guitar, and both Joe Newman and Ernie Royal on trumpets. King produced the record himself, and one cut features slightly different instrumentation – with organ by Jimmy Smith and piano by Richard Tee. Titles include "Floatin", "Sugar Foot", "Soulin", "Teasin", "Let It Be", "Someday We'll Be Together", "Something", and "Promenade".

Excellent rare soul from Atlantic – and a very different side of the label's output! The focus here is on tracks that are a bit more sophisticated than the hits – not really mellow, as most of the numbers are very nice groovers, but just with a twist that sets them apart from some of the label's other material. The 25-track set begins with a previously unissued gem from Ben E King – "Getting To Me", which has some of the most amazing arrangements we've heard on his records! Other titles include "Sly Girl" by Derek Martin, "My Love Is Getting Stronger" by Cliff Nobles, "Here Come The Tears" by Darrell Banks, "You My Love" by Tami Lynn, "Across The Street" by Lenny O'Henry, "Come On Baby & Hurt Me" by Naomi & Harris, "New Day Begins" by Parliaments, "Find Me Somebody" by Bobby Womack, "Got To Get You Back" by Johnny Newbag, "Suffering City" by Johnny Copeland, "Where Did I Go Wrong" by The Embers, and "Thank You John" by Willie Tee.

Don't judge a CD by its cover, because this one is incredible – all-solid, filled with rare soul tracks all the way through, with a quality level and depth of material that runs way way past the strange appearance of the cover image! The package was put together by the author of the book The Soul Of New Orleans – and it's a wonderful trip through a sound of that city that's not always featured on reissues: the more upbeat, uptempo soul recordings of the 60s – faster tunes that easily fall within the Northern Soul style. The Crescent City soul scene is usually represented with slower, sleepier tunes that build off the "triplets" heavy sound of 50s New Orleans R&B – and although that stuff is great, and really unique, it's wonderful to hear this different side of the New Orleans scene, especially when it's represented by music this great! 18 tracks in all – packaged with a book that has great notes on the music – and titles include "Please Don't Go" by Willie Tee, "Who Can I Run To" by Gerri Hall, "Being Without You" by Maurice Williams, "Do You Love Me" by Senator Jones, "I Caught You In A Lie" by Robert Parker, "Lucky Fellow" by The Jades, "Take Me Home" by Donna King, "Mean Man" by Betty Harris, "You Don't Mean It" by Curly Moore, "Omar Khayyam" by The Rubaiyats, and "In My Corner" by Ray Algere.

With "Bar Code", "L-I-K-S", "Da Da Da Da", "Sickness" and "Another Round". 19 tracks in all, counting the interludes, with guest spots by Xzibit, Defari, Busta Rhymes, King Tee and Kurupt, plus a couple of beats by Rockwilder and the Neptunes in addition to E-Swift.

Not a live album – as you might think from the title – but a tight batch of tunes that shows the full funk and soul talents of the legendary Esther Phillips! The album's got a nicely dark undercurrent at times – a sound that's not as smooth as some of Esther's other Kudu albums from the 70s, with bits of R&B bubbling underneath the more contemporary arrangements. Backings are penned by Pee Wee Ellis and Gary King – and players include Bob James and Richard Tee on keyboards, Hubert Laws on flute, and Bernard Purdie and Steve Gadd on drums – the latter of whom provides a sublime beat on the album's standout funky number "Disposable Society" – one of those great little groovers that never did anything for Esther at the time of its release, but which has really gotten rediscovered in recent years! Other tracks include "Doing Our Thing", "Living Alone", "Can't Trust Your Neighbor With Your Baby", and "I Feel The Same".

Prime early electro hip hop genius from Mantronix – and a set that includes tight singles, 12" mixes and some classic production work for T La Rock, Just Ice and more – 2CDs that cover the vital mid 80s period! Here are those classic early hits with the booming 808 and all the trademark elements – heavy bass, handclaps, high hats, vocoder vox and party rap. Vinyl version features 13 tracks on 2LPs: "Bassline", "Needle To The Groove (12" Version)", "Fresh is The Word (12" Version)" and "We Control The Dice" by Mantronix proper, plus "Turbo Charged" and "Cold Getting Dumb" (parts I and II) by Just Ice, "Breaking Bells" (12" and dub versions) by T La Rock and "Johnny The Fox" by Tricky Tee.

Includes "Here Comes The Break", "Dopest Verse", "Ph*ck What Ya Hear" & "Check It Out" which has got Tash & King Tee guesting on it. 9 tracks plus a bunch of the obligatory interludes & so forth.

Amazing stuff from Ahmed Abdul-Malik – one of the early 60s most enigmatic jazz talents! Malik was Thelonious Monk's bassist for a few years, but by the time of this record, he was working in a very sophisticated cross-cultural mode – pulling together many different strands of jazz and Eastern music, forging them into a very unique sound. Unlike some of Malik's other records, which featured a style that was very heavy on Middle Eastern instrumentation, this one's got a very even blend of jazz, and features excellent work by Tommy Turrentine on trumpet, Calo Scott on cello, Eric Dixon on tenor, and Andrew Cyrille on drums. Malik himself plays bass and oud, and the record's got a snaking mix of jazz and exoticism that's roughly similar to Yusef Lateef's work on Savoy, or some of Sun Ra's work from the time. Titles include "Nights On Saturn", "La Ibkey", "The Hustlers", and "Oud Blues".

A swingin' Japanese concert by one of Cannonball's best groups from the 60's. Joe Zawinul's on piano, brother Nat's on cornet, Sam Jones is on bass, and Louis Hayes is on drums. But the real treat here is Yusef Lateef, who does some excellent reed work on tenor, flute, and oboe – and who's playing at this point with that great mix of soul jazz and out-sounds that he was cooking up at the time. There's some great long cuts, including an excellent 12 minute reading of Lateef's "Brother John", plus the title track, "Come Sunday", "Tengo Tango", "Easy To Love" and "The Weaver".

Incredible work from the obscure African Music Machine – a southern funk combo led by bassist Louis Villery – a legendary batch of funky singles, finally brought together as a full album! The band has a very unique sound that involves a lot of rolling bubbling basslines, spacey organ grooves, tight choppy guitar riffs, and punchy horn blasts – almost with the African elements promised in the title, but served up with a deeper funk sound all the way through! In a way, the group's a bit like Cymande or some of the other 70s hybrid ensembles – yet they've got a lot less dub, a much more direct funky groove, and plety of raw southern elements in the mix as well! This is the funky 45 material we first cut our teeth on back in the day – and the original singles are legendary! Includes massive cuts like "Black Water Gold (Pearl)", "A Girl In France", "Never Name A Baby (Before It's Born), "Making Nassau Fruit Drink", "Camel Time", "The Dapp", "Tropical", and "Mr. Brown".

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.

A lost classic in the funky poetry mode of the 70s – and right up there with the best work from the time by the Last Poets, Jim Ingram, or Gil Scott Heron! Bama's got a rough-edged voice that works very well with the funkier backings of the set – handled by a team that includes Bernard Purdie on drums, Richard Tee on keyboards, and Cornell Dupree on guitar – and this rough vocal style also fits the themes of the tunes, which are still as political and righteous as other work in the genre, but a bit more down to earth as well. The music itself was arranged and composed by Jimmy Wizner and Billy Jackson – and titles include "Ghettos Of The Mind", "The Right To Be Wrong", "Nothingness", "Drunken Sister", "I Got Soul", "Welfare Slave", "Social Narcotics, and "Blackman, My Brother".

A surprisingly great little set – one that definitely lives up to the retro feel of the cover, and which has a soulful sound we really didn't expect! The trio are more of a soul act than a girl group pop outfit – and they get some sharp backing here by a quartet of funk-steeped players who really help keep just the right sound for the record – a mode that has plenty of 60s soul touches in the instrumentation, which definitely seems to inspire the vocal performance as well! And even though the singers may look a bit stodgy on the front, they really know how to wail together – and really have a way of stretching out and soaring whenever one of them takes the lead. Titles include "Not Your Fool", "Another Notch On His Belt", "No Mater What You Do", "Make It For The Door", "Let Me Down Easy", "Hold On", and "Needle In A Haystack".

A surprisingly great little set – one that definitely lives up to the retro feel of the cover, and which has a soulful sound we really didn't expect! The trio are more of a soul act than a girl group pop outfit – and they get some sharp backing here by a quartet of funk-steeped players who really help keep just the right sound for the record – a mode that has plenty of 60s soul touches in the instrumentation, which definitely seems to inspire the vocal performance as well! And even though the singers may look a bit stodgy on the front, they really know how to wail together – and really have a way of stretching out and soaring whenever one of them takes the lead. Titles include "Not Your Fool", "Another Notch On His Belt", "No Mater What You Do", "Make It For The Door", "Let Me Down Easy", "Hold On", and "Needle In A Haystack".

Soulful vocals, synths and orchestral pop from Beauty Room on Far Out! Beauty Room features joint production and songwriting by singer Jinadu and synths maestro Kirk Degiorgio – the latter a Far Out veteran at this point, and an artist whose creative evolution has been a joy to follow! They work in some pretty diverse influences, from classic folk soul to modern avant pop – and an approach that's more about soulful songcraft than exercises in mood and atmosphere. Jinadu's soul-steeped voice has a lot to do with that, but the instrumentation is and production are top notch. Synth, Rhodes, guitars, bass and drums at the core – plus some very nice use of strings, courtesy of the Metropole Orchestra and strings arranger Paul Buckmaster. Includes "We Can't Throw You Away", "Shadows Falling", "All In My Head", "But For Now", "Walking The Fine Line", "One Man Show", "So Far", "The Last Calling", "Heaven Is In Your Mind" and "No Rejections". 11 tracks on the CD.

An early George Benson groover from the A&M years of CTI – a set that's quite different than his famous 70s sets, with a really unique sound overall! The arrangements here are by Latin Soul maestro Marty Sheller – who brings some of the vibe to the set that he brought to his 60s work with Mongo Santamaria – not a straight Latin sound overall, but one that comes through strongly in some of the percussion and horns! Players are all pretty hip – and keyboards are from Richard Tee on most of the best tracks – and drums are from Idris Muhammad throughout, working here under his original name of Leo Morris. Main solos are from Benson on guitar – although the record also features alto solos from Sonny Fortune and Bobby Porcelli – who'd both stepped out a bit with Santamaria too. Titles include "Water Brother", "Jama Joe", "Dontcha Hear Me Callin' To Ya", "Jackie All", "Soul Limbo", "Are You Happy", "Land Of 1000 Dances", and "Out in the Cold Again".

A whole set of rocking instrumentals from the Bill Black Combo – their own Memphis instrumental versions of tunes recorded by Chuck Berry at Chess – served up in the group's trademark blend of guitar, organ, and tenor sax! There's a bit more guitar than usual on some of the cuts – an obvious nod to Berry's prowess on the instrument – yet other tunes have the tenor taking this place, and working some cool groovy sounds with the lead instrument lines. Titles include "Roll Over Beethoven", "Sweet Little Sixteen", "School Days", "Carol", "Maybellene", "Thirty Days", and "Reelin & Rockin".

Incredible work from Blaze – one of their most soulful records in years! In a way, the album's a return to the group's roots in the New Jersey garage scene of the late 80s – a smooth blend of styles that has the feel of an instant classic club record – pumping forth majestically with very well-conceived songs, steeped in great vocals, impeccable production, and a hook-heavy style that makes nearly every tune feel like an instant hit. We've always loved these guys, especially their early work – and this album is a killer set that we'll treasure for years! Titles include "Melodies Of Love", "I Think Of You", "One World", "World Peace", "Black Byrd", "Where You Are", "Sweeter Than The Day Before", and "Breathe".

A Christmas jazz album – even though you might not guess it from the title and cover – and one that really takes a fresh approach to a wide range of Holiday classics! Guitarist Craig Brann isn't content to simply rehash old melodies – and instead really steps out with creative jazz reworkings of these classic tunes – re-arranging almost all of them with a fresh sense of rhythms, and some angular energy that makes them all a lot more striking than most familiar versions! Tunes are short, but get in plenty of creative changes – and in addition to Brann's guitar, the set also features tenor and alto from Gregory Tardy, piano from Joel Weiskopf, and alto from Nicholas Kozak. Maybe the most openly creative Christmas jazz album since God Rest Ye Merry Jazzmen – with titles that include "We Three Kings", "Angels We Have Heard On High", "God Rest Ye Merry Gentlemen", "Hark The Herald", "Little Drummer Boy", and "Joy To The World".

A brilliant reworking of older gospel themes – beautifully recast here through the cosmic talents of King Britt, in an album that's quite possibly his most interesting work to date! For the session, Britt's taking older acapella vocals and tambourine rhythms from New Orleans evangelist Sister Gertrude Morgan – originally recorded in 1969, but expanded tremendously here through use of additional keyboards, percussion, and a surprising amount of acoustic instrumentation! Britt's got his usual drum patterns and electronics in the mix, but there's also a fair bit of slide guitar, harmonica, acoustic guitar, and even a bit of lap steel on the set – all of which makes for a sound that's as folksy as it is modern – really opening up a whole new chapter in Britt's career! Titles include "Let's Make A Record", "Living Bread", "Devil's Music", "Power", "New World In My View", "Unceremonious", and "I Was Healed By The Wounds".

A sweet bit of funky jazz vocals from Oscar Brown Jr – recorded during his early 70s stay at Atlantic Records, in a style that's very different than his early work! The tracks are all still original numbers by Oscar – penned with that clever bad-rapping approach to the lyrics that always earned him a huge audience in the cognoscenti. The feel is a bit more electric than before, with Richard Tee on electric piano, Cornell Dupree on guitar, and percussion by Ralph MacDonald. A few cuts have female backing vocals, and titles include "Gang Bang", "Feel the Fire", "Dime Away from a Hot Dog", and "Young Man".

Like Dave Brubeck's legendary Time Out set? Try this one – a great record that takes off from the concept of the first, but which goes in some very fresh new directions – using the same great group with Paul Desmond on alto, Eugene Wright on bass, and Joe Morello on drums! Dave's still working out some nutty time signatures here – but apart from the science, the thing that really makes the record cook is Desmond's alto – icy, edgey, floating, and always a treat – almost even more amazing in the space of some of these offbeat numbers. Titles include "Maori Blues", "Far More Drums", "Bluetee", "Far More Blue", and "It's A Raggy Waltz".

Genius work from Solomon Burke – the kind of all-out, no-nonsense soul album that made Atlantic Records one of the strongest forces in the genre during the 60s! If you've ever bought one of Solomon's weaker recent albums, you owe it to yourself to check this one out – as it's a brilliant batch of tunes, 12 in all, with not a dud in the lot! The vocals are incredible, production is sublime, and the style is a teetering blend of country, gospel, R&B, and soul – never duplicated so well again on wax. Titles include "Can't Nobody Love You", "Goodbye Baby", "Cry To Me", "If You Need Me", "Just Out Of Reach", "You're Good For Me", "Someone To Love Me", and the incredible "He'll Have To Go".

Gary Burton hits a sweet electric funky sound here – a great groove that really makes the album stand out from most of his other work! The support Burton gets is a big reason for the greatness of the date – as he's working in a group that includes Eric Gale on guitar, Richard Tee on piano and organ, Chuck Rainey on bass, and Bernard Purdie on drums. The album's got a bit of trippiness to it – kind of in the style of some of Herbie Mann's funky production work for the Vortex label – and a few cuts have producer Joel Dorn working with Arif Mardin on the cuts, giving them a more expansive sound that pushes Burton's playing nicely. The vibes have a dark chromatic quality to them that sounds great next to the sweeter playing of the funky player – and the record's filled with nice numbers like "Vibrafinger", "Las Vegas Tango", "Boston Marathon", and "Leroy The Magician".

Raw, original instrumental funk from The Cactus Channel – who are coming straight outta Melbourne – and they're barely outta high school! It's kind of stunning that a group as youthful as this one is delivering such a finely-honed set of rave-up funk! It's largely done in the 70s action soundtrack and psych funk modes – recorded to analog for an authentic feel – with heavy drums, solid guitar and bass, a five piece horn section and lots of organ. There's some slower-cooking groovers, too, leaving space for some sharp solos. We really need to visit Australia and study whatever it is down there that's inspiring such a wealth of modern funk! Includes "Emanuel Ciccolini", "The Colour Of Don Don", "Budokan", "Tom Has Ideas", "Level Up", "Boss Cat", "Jungle Run", "Under The Birdcage" and "Hot Teeth".

Raw, original instrumental funk from The Cactus Channel – who are coming straight outta Melbourne – and they're barely outta high school! It's kind of stunning that a group as youthful as this one is delivering such a finely-honed set of rave-up funk! It's largely done in the 70s action soundtrack and psych funk modes – recorded to analog for an authentic feel – with heavy drums, solid guitar and bass, a five piece horn section and lots of organ. There's some slower-cooking groovers, too, leaving space for some sharp solos. We really need to visit Australia and study whatever it is down there that's inspiring such a wealth of modern funk! Includes "Emanuel Ciccolini", "The Colour Of Don Don", "Budokan", "Tom Has Ideas", "Level Up", "Boss Cat", "Jungle Run", "Under The Birdcage" and "Hot Teeth".

Seminal sounds from John Cage – his groundbreaking Sonatas & Interludes of the late 40s – performed here with a rich sense of tone and timing by James Tenney! The performance is easily the most striking we've ever heard of these short pieces – and really bring out the magical sounds that Cage composed when conceiving of his "prepared piano" approach to music – interpreted wonderfully by Tenney, with a great ear for the sounds inside the instrument! Given that the compositions were initially what had inspired a young Tenney to take up music in his teens, this performance has a deeply personal undercurrent – and it's perhaps that which makes the music here sound so great.

A cool little set from pianist Barbara Carroll – a player who got her start in the New York scene of the 50s, and served up some excellent work in later years – but who also comes across surprisingly well in this overlooked 70s session for Blue Note! The album's not nearly as electric as others on the label at the time – and instead, Carroll really demonstrates her warm touch on acoustic piano – working with just a bit of bass from Chuck Domanico and drums from Colin Bailey – but often driving the rhythms herself, with her own fluid work on piano! The set also features guest guitar from Dennis Budimir on one track – and titles include "Baubles Bangles & Beads", "Blues For Artie", "At Seventeen", "In Some Other World", and "It Never Entered My Mind".

A sweet surprise from Andy Compton of The Rurals – work that's even more profoundly steeped in deep soul atmosphere – with Compton collaborating with seductive female vocalists for one of the sultriest underground soul sets we've heard in a while! This is one of those records that you'd expect to be good, given Andy's previous work – and it's actually a knockout! It's elegant and slow cooking, but it's too hypnotic and intoxicating to call it laidback. Smolders with keys, beats and bass with some jazzy soul flourishes. 9 of the 13 tracks are sung by Jaidene Veda, with some great spoken passages, too. Other vocalists include Diviniti, Kafele and Ladybird – and the singers write their own lyrics, giving the album a collaborative vibe as a whole. Includes "And It Rains", "Bluenotes", "Believing", "Imagined", "Where Do We Go", "Record By Record", "Tomorrow", "Oh Love I", "7 Days", "Soon" and "No Limits".

A sweet surprise from Andy Compton of The Rurals – work that's even more profoundly steeped in deep soul atmosphere – with Compton collaborating with seductive female vocalists for one of the sultriest underground soul sets we've heard in a while! This is one of those records that you'd expect to be good, given Andy's previous work – and it's actually a knockout! It's elegant and slow cooking, but it's too hypnotic and intoxicating to call it laidback. Smolders with keys, beats and bass with some jazzy soul flourishes. 9 of the 13 tracks are sung by Jaidene Veda, with some great spoken passages, too. Other vocalists include Diviniti, Kafele and Ladybird – and the singers write their own lyrics, giving the album a collaborative vibe as a whole. Includes "And It Rains", "Bluenotes", "Believing", "Imagined", "Where Do We Go", "Record By Record", "Tomorrow", "Oh Love I", "7 Days", "Soon" and "No Limits".

The genius of Nicola Conte gets the remix treatment – in this wonderful new album that steps off heavily from his massive Jet Sounds set of a few years ago! If you know know Nicola, he's the wunderkind behind the Schema label – and, probably more than anyone in the world right now, one of the few producer/musicians who can really handle a retro-sounding groove. Conte's steeped in classic jazz, soundtracks, and bossa nova – all of which come into play in his music – and this set has him working with a host of able talents who help to take his unique creative vision even farther than before! This double 10" package is totally cool – with a total of 5 tracks from the full LP, laid out over double DJ-friendly vinyl. Each track takes on a whole new life, as lots of new elements are added to the music, and most of the tracks are almost completely remade – and titles include "Jazz Pour Dadine" remixed by The Dining Rooms, "Arabesque" done by Micatone, "Forma 2000" reformed by Les Gammas, "Dossier Omega" redone by Espen Horne, and "Trappola Mortale (traffic replay) done anew by The Freeform Arkestra.

Ronnie Cuber's an overlooked monster in jazz – a hell of a player, and has been for decades – and one of the last few cats who can really handle a baritone sax! Cuber was late in a legacy of baritonists that included Pepper Adams, Sahib Shihab, Cecil Payne, and Lars Gullin – a youngster when all those players were getting old, but more than able to swing with the lean energy that made the 50s baritone sax players as important as the giants on tenor! Here, Cuber really demonstrates that legacy strongly – picking up the giant horn and handling it with effortless ease – producing these beautifully-blown solo lines that are nice and long, and filled with imagination – in the company of a combo that features Kenny Drew Jr on piano, Ruben Rodriguez on bass, and Ben Perowsky on drums. The recent date is a great reminder that Cuber can still cook heavily – and titles include "Passion Fruit", "Coco B", "Perpetuating The Myth", "Tell Me A Bedtime Story", and "Arroz Con Pollo".

Beautiful stuff from singer Diana Darby – one of our favorite voices in the indie folk landscape! There's a hushed tone to Diana's voice that softens some fairly heavy lyricism – on personal songs that manage to speak the plain, sometimes harsh truths of love and spirituality with a fragile, hypnotic beauty. She accompanies herself on guitar, and the other instrumentation is as subtle and strong as her singing and songcraft – with light percussion, cello, bass, pedal steel, banjo and sax. Diana has been with Delmore Recordings for over a decade now – the label that's doing the world such a service by unearthing archival Karen Dalton – and it's great to hear new music on Delmore that'll truly stand the test of time just as strongly! Includes "Looking For Trouble", "Snow Cover Me", "If Love", "Spinning", "Buttercup", "Oh Butterfly", "Ugly Little Toad", "Heaven", "The Alphabet", "Elena", "Little One" and "Talking To God".

Beautiful stuff from singer Diana Darby – one of our favorite voices in the indie folk landscape! There's a hushed tone to Diana's voice that softens some fairly heavy lyricism – on personal songs that manage to speak the plain, sometimes harsh truths of love and spirituality with a fragile, hypnotic beauty. She accompanies herself on guitar, and the other instrumentation is as subtle and strong as her singing and songcraft – with light percussion, cello, bass, pedal steel, banjo and sax. Diana has been with Delmore Recordings for over a decade now – the label that's doing the world such a service by unearthing archival Karen Dalton – and it's great to hear new music on Delmore that'll truly stand the test of time just as strongly! Includes "Looking For Trouble", "Snow Cover Me", "If Love", "Spinning", "Buttercup", "Oh Butterfly", "Ugly Little Toad", "Heaven", "The Alphabet", "Elena", "Little One" and "Talking To God".

Amazing stuff from No Wave legends DNA – a vinyl set that features material that wasn't on the CD collection of the same name! DNA was one of the most uproarious acts in that increasingly legendary NYC scene – featuring Arto Lindsay's scratchy guitar and haggard banshee wail of a lead vocal presence, those primitive Bowery funk keyboards by Robin Krutchfield, and thumping, metronomic bass and drums by Tim Wright and Ikue Mori. The band's songs rarely marched past the 2 1/2 minute mark or so, getting in-and-out for a quick catharsis. These tracks trace the range of the under-recorded group perfectly, from the raw punk squall of the early singles to the funkier, sinister post disco sound later on. Amazing, awe inspiring stuff from a scene that keeps on belching greatness! Great notes and photos, here too! Includes "You & You", "Egomaniac's Kiss", "Not Moving", "Size", "New Fast", "New New", "Young Teenagers Talk Sex", "Police Chase", "Cop Buys A Donut", "Nearing", "Low", "Brand New", "Horse", "Forgery", "A New Low" and tons more! 37 tracks in all – with vinyl-exclusive tunes "Pompeii", "Shrinking Thing", "Drinking Water", and 2 live titles from CBGBs.

Stone cooking hardbop – done with all the sharp edges of a New York session, even though the material was recorded live in Rio! The setting is an unusual one – a State Department tour of American jazz musicians – but a lineup that moves way past some of the overly-mainstream "ambassadors" out there – given that the players include Kenny Dorham on trumpet, Zoot Sims and Al Cohn on tenors, Curtis Fuller on trombone, Herbie Mann on flute, and even Ahmed Abdul-Malik on oud! Tracks are nice and long – very much in a jam session mode on the best numbers, but mixed with some well-played mellower moments too – and titles include "Wee Dot", "Red Door", "Autumn Leaves", and the haunting original "Ismaaa", which has a great Eastern feel, thanks to the oud!

Classic-style dubwise recordings – spearheaded by Dub Club DJ Tom Chasteen and Jamaica's Tippa Lee – each dub featuring dancehall icons who have taken the stage over the years at Dub Club events in LA! Dub Club has been championing classic and contemporary dub, dancehall and reggae for years on the west coast club scene – and this record doesn't set out to replicate a Dub Club live show or DJ nights as much as it serves as a fresh tribute, that's also a creative and original piece of work. Jointly produced by Chasteen and Lee and recorded over a few years period in both LA and Jamaica. A hand-picked group of LA reggae musicians laid down the instrumentation, including Ras Benjy, Eddie Ruscha, Freddie Flint, Mark Lightcap, Kofi, Roger Rivas and Bongo Herman. Includes "Dub Me Now Star", "Majesty Dub", "Dub And Come Over", "Beware Dub", "Chant Dub", "Dub Of Kings", "Mr Big Dub", "Keep On Dubbing", "Bring The Dub" and "Bonus Beat".

Bob Dylan and his great band whip up a moody, yet darkly humorous Tempest – and while the overall greatness of his records came down just notch or two after Love And Theft – this one goes the other way and comes pretty damn close to his late-era peaks! Lyrically, it's definitely better than the past couple records – with verse after verse of poetic storytelling – which is carried all the more effectively by his weathered rasp. Sound-wise, Dylan is as indebted as ever to pre-rock rhythm & blues, but there's some nice fuzzy electrified arrangements, too – and it's all played by a stellar band that's been with him for a long time now, one perfectly-suited for the style: guitarists Charlie Sexton & Stu Kimball, BR5-49 fiddler and steel guitarist Donnie Herron, bassist Tony Garnier, drummer George Receli, and a most noteworthy guest in Los Lobos' David Hidalgo on accordion. Includes "Duquesne Whistle", "Soon After Midnight", "Narrow Way", "Long And Wasted Years", "Pay In Blood", "Scarlet Town", "Early Roman Kings", "Tin Angel", "Tempest" and "Roll On John". This deluxe limited CD edition includes a 60-page bound notebook with dozens of rare vintage magazine covers – produced exclusively for this edition.

A great lost bit of mid 70s Motown – a pair of should-be classic albums by Dynamic Superiors – in a single set! Dynamic Superiors were a great harmony group with an east coast sound – quite different from the usual Motown combo in that their vocals were often allowed very free range, with less of the tightness of the usual Motown group soul album. Ashford & Simpson produced the record – with arrangements by Leon Pendarvis, Richard Tee, and Arthur Jenkins – and the whole thing's a sweet soul treasure that's got some excellent mellow soul cuts! Titles from the self-titled set include "One Nighter", "Don't Send Nobody Else", "Shoe Shoe Shine", "Star of My Life", and "Leave It Alone". Pure Pleasure is another sweet set – arranged with a bit more of a high stepping groove than some of the other Motown work of the time. Backings are handled by a range of talents that includes Paul Riser, William Eaton, Al Gorgoni, and Horace Ott – but the real charm is the way the group's innocent harmony style puts over the lyrics, all of which are very strong tunes written by the team of Ashford & Simpson. Titles include "Face The Music", "Hit & Run Lovers", "Deception", "Pleasure", "Nobody's Gonna Change Me", "Feeling Mellow", "Ain't Nothing Like The Real Thing", and "Don't Give Up On Me Baby".

Carribbean rhythms meet psychedelic soul – courtesy of The Dynamites! A pretty chunky guitar sound, some thick organ groove, heavy bass and nice drums from producer's Clancy Eccles esteemed early 70s players. The King Tubbys version does a great job of bringing in the atmospheric echoes without overshadowing the group instrumentation.

Just like the title says, two bad, bad Dee Jays plying their trade over niced up rhythms from Junjo Lawe – with all star backing that includes Flabba Holt, Sly & Robbie, Style Scott, Santa Davis, Sowell, Chinna Smith, Bo Pee, Bingy Bunny, Gladstone Anderson, Ansel Collins, Steelie, Winston Wright, Sky Juice, Skully Sims and others! 10 tracks in all, including "Can't TakeAnother World War", "Another One Bites The Dust", "Talk About Run", "Sweet Sweet Matilda", "Special Request To All Prisoner", "Dance It Have Fe Nice", "Gal Pon The Front Line", "Jack Spratt", "Tribute To General Echo" and "Hey Mr DJ".

Kind of a silly name for a group – but the record's pretty nice! Elbow Bones & The Racketeers were one of the many retro-soul groups working under the guidance of producer August Darnell – aka Kid Creole – who gave the group a style that was similar to his own unique blend of 80s club grooves, 40s swing, and 30s gangster cliches! Vocals are by Gichy Dan, Stephanie Fuller, and Dutch Robinson – and the set's unified by Darnell's good ear for a catchy hook – those quirky, groovy little numbers that always made the Kid Creole and Dr Buzzard albums so great! Titles include "A Night In New York", "Other Guys", "Our Love Will Always Stand", "You Got Me High", and "I Call It Like I See It". CD features a huge amount of bonus tracks – 7 more numbers that include "Night In New York (12" ext)", "Happy Birthday Baby (12" ext)", "Happy Times (12" ext)", "I Wanna Remind You", "Night In New York (single)", and "Happy Birthday Baby (single)".

Fuzzy and genuinely well-crafted private press grooves from the Emerson brothers – with crazy good hooks, some surprisingly solid musicianship – and songs that range from straight-up catchy, though fuzz-drenched rock, to funk and soul! Donnie Emerson is the lead singer, guitarist and bass player, along with some synth – and on the best tunes, he's got a confident, laidback and warm style on vocals that truly doesn't feel the voice of a kid still in his teens – with brother Joe on drums and other friends on backing vocals here and there. Here's a record that profoundly transcends the private press novelty and the goofy jumpsuits they're rocking on the front cover! Includes "Good Time", "Give Me The Chance", "Baby", the instrumental groover "Feels Like The Sun", "Love Is", "Don't Go Lovin' Nobody Else", "Dream Full Of Dreams" and "My Heart".

Fuzzy and genuinely well-crafted private press grooves from the Emerson brothers – with crazy good hooks, some surprisingly solid musicianship – and songs that range from straight-up catchy, though fuzz-drenched rock, to funk and soul! Donnie Emerson is the lead singer, guitarist and bass player, along with some synth – and on the best tunes, he's got a confident, laidback and warm style on vocals that truly doesn't feel the voice of a kid still in his teens – with brother Joe on drums and other friends on backing vocals here and there. Here's a record that profoundly transcends the private press novelty and the goofy jumpsuits they're rocking on the front cover! Includes "Good Time", "Give Me The Chance", "Baby", the instrumental groover "Feels Like The Sun", "Love Is", "Don't Go Lovin' Nobody Else", "Dream Full Of Dreams" and "My Heart".

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

Everything But The Girl – smack dab in the middle of a great run during the 80s! The style here moves a bit more towards conventional pop – but there's a depth that still lives up to the group's initial genius – songwriting that's gently expressive, but never overdone – and backings that still steer clear of most of the clunkiest moments that were often holding back other groups at the time. The rich background of Tracey Thorn and Ben Watt is what really makes the whole thing sparkle – that care for a song that they had right from their solo starts – still very much intact here – on titles that include "Love Is Here Where I Live", "These Early Days", "I Always Was Your Girl", "Goodbye Sunday", "Shadow On A Harvest Moon", "Lonesome For A Place I Know", and "Apron Strings". 2CD version features tracks from singles that include – "Home From Home", "I Don't Want To Talk About It", "Another Day Another Dollar", "No Place Like Home", and "Dyed In The Grain" – plus demos of 8 more tracks from the album – and a bonus outtake of "Apron Strings (alt film version)".

A great solo record from Donald Fagen – tightly anchored by the best of his elegant jazz funk tendencies – and one that we're comfortable calling his best since The Nightfly! Shoot, we'll even go one step further and call this the best Steely Dan-related record since Two Against Nature. Sunken Condos is co-produced by frequent latter-day Dan collaborator Michael Leonhart, who put out a terrific record of his own on Truth & Soul a couple years prior, on top of serving as a go-to horn player for team Truth & Soul over the years. It's possible that working with a relatively youthful producer (Leonart was born the year that Pretzel Logic came out) has pushed Donald to raise the bar a bit, or perhaps he's been off the road long enough to take his time and deliver a stronger album in 2012. Whatever the reason – it's great stuff! They've put together a top notch studio band (naturally), and the slick groove sounds natural here, rather than shined to a high gloss, ala most Steely Dan and solo projects from Aja onward. We're so deep "in the tank" when it comes to Steely Dan that we're a pretty easy mark, but honestly, we can set aside our lifelong fandom to objectively tell you how good this one is! Titles include "Slink Thing", "I'm Not The Same Without You", "Memorabilia", "Weather In My Head", "The New Breed", "Out Of The Ghetto", "Miss Marlene", "Good Stuff" and "Planet D'Rhond A".

A sublime little set – quite possibly the greatest album ever from Brazilian keyboardist Manfredo Fest! Manfredo first cut his teeth on the bossa scene of the 60s – but by the time of this rare indie session, he'd moved up to the US – and was working with sweet keyboards to really electrify his groove! The record's a wonderful blend of 70s Brazilian fusion modes and just a dash of American soul – and in addition to Manfredo's wonderful work on Fender Rhodes, the set also has these brilliant vocals from Roberta Davis – a singer who works wordlessly, using her voice as an instrument in this really cool way – sliding along with the grooves, and making the album sound unlike anything else we can think of. The overall feel is a bit like Joao Donato's excellent Quem E Quem album – and titles include "Jungle Cat", "Facing East", "Who Needs It", and "Brazilian Dorian Dream".

Tight!! Lee Fields, one of the great criminally under appreciated funky geniuses of the 70s is back with another pounding, raw funk classic that still finds the man at the peak of his powers, decades after he first made mark on the funk landscape! This is Lee's first full length effort for Soul Fire, a label that we all know goes to painstaking lengths to carefully carry the torch lit by the People Records scene in the 70s into the future, and it's great to see a titan like Lee do amazing work for a great label that does it purely for the love! Lee is absolutely on fire on all 10 of these tracks, with a Godfather like delivery that knocks us out of our chairs every time, whether it's that fiery funk howl that we love so much, or a smooth, soulful glide on the occasional ballad. He's backed up by a bona fide funky orchestra at Soul Fire Studios that includes TONS of hot drums, propulsive percussion, and some driving conga work that steers things into an afro funk groove on several of the tunes. The group MVP, other than Lee himself, could be multi instrumentalist Leon Michels, whose work on flute, keys, tenor and baritone sax, as well guitar and bass not only helps keep the classic 70s feel going, but keeps things crackling at breakneck speed. This isn't newfangled funk revival, this is the real deal from one of the originators – a 33-minute funk maelstrom that will knock you right out of your chair, and have you restarting it the second it ends! Includes "Problems", "The Right Thing", "Rapping With Lee", "I Don't Know Where I'm Going", and "Honey Dove". Oh, if only all of our heroes remained this vital!

A pair of killer albums from The Five Stairsteps – 1967's self-titled set for Windy C – plus '68's Love's Happening by The Five Stairsteps & Cubie – together with bonus track on this great set from Outta Sight UK! The Five Stairsteps album is a landmark batch of sweet soul – recorded by the still youthful group that included a 13 year old Kenny Burke! The kids were brought together by their parents Clarence and Betty Burke, but it was Curtis Mayfield who really gave them a push – as he discovered them, produced them, and wrote some excellent songs for them during their best early years. Mayfield's sweet soul style forged with The Impressions runs through most of these tracks – and although the group is young, they really do a fantastic job with the material, and infuse it with a soulfulness way past their years. Titles include "Danger She's A Stranger", "World Of Fantasy", "Ooh Baby Baby", "Don't Waste Your Time", and "Behind Curtains". Love's Happening might be the best record ever by this Chicago soul group! The record's got a full batch of original tracks written and produced by Mayfield – including their amazing, funk steeped version of "Don't Change Your Love", with a breakbeat that lit up the sampler culture for years! That raw drum sound is in effect on even the more delicate numbers, and the lead vocals and harmonies soar or sink deep to the soul, as the groove demands. There's also some kind of tripped out touches in the production in spots, making for a nice balance of sweet soul and leftfield touches. Kind of an underappreciated effort in the grand scheme of Curtis Mayfield productions, but wholly essential! Other titles include "Stay Close To Me", "New Dance Craze", "Baby, Make Me Feel So Good", and "Little Young Lover". 5 bonus singles in the set: "Ain't Gonna Rest (Til I Get You)", "You Can't See", "Change Of Pace", "Madame Mary" and "We Must Be In Love".

Rock 'n' soul from South Africa's The Flames – their '67 set Burning Soul and '68's Soultime – on a single CD! Burning Soul wasn't the group's first album, but it's the first featuring vocalist Blondie Chapman, who helped steer the group's more rocking roots to a sound more indebted to classic Motown and Atlantic soul! They do keep a nice undercurrent of rock & roll, though,and this is a nice little set with some really groovy covers. Titles include "You Got It Made", "Stop, Look And Listen", "Knock On Wood", "Hold On I'm Coming", "Purple Haze" and more. Soultime has a pretty cool mix of straighter late 60s style soul-rock with a bit of trippy psyche influences in the mix. At this point, the group reminds us a little bit of Soul Survivors and some of the acts on Dunwich – and the bass-heavy groove of the tracks is really wonderful. Titles include "Lost", "If You Think You're Groovy", "I Was Made To Love Her", "Useless Illusions", "Restless", "Wishes", and "Solitude".

There's lots of great guitar/tenor interplay in this live set from Joel Frahm – a date that's recorded with a wonderfully warm feel that almost makes it top any of Frahm's studio sessions! Tracks are nice and long, and really balance a lot of Frahm's snaking tenor lines with the guitar of Kurt Rosenwinkel – in a quartet that also features Otis Brown III on piano, and Joe Martin on bass. The set features many originals by Frahm – including "Alert", "Song For Mom", "A Little Extra", and "Short Rack" – plus versions of "Chelsea Bridge" and "Steeplechase".

Quite an unusual little album from Connie Francis – her attempt to join in on the Bonnie & Clyde album craze of the late 60s – but a set that's got a different feel than most! While others were steeped in country and bluegrass sounds, the approach here is mostly in a 30s pop vocal mode – playful arrangements from Don Costa, occasionally augmented to give them an "old time" feel in the studio – and vocals from Connie that are quite different than her usual pop modes – really changed up nicely to fit the different spirit of the tunes. Titles include "Ace In The Hole", "Gold Diggers Medley", "Connie & Clyde", "Maybe", "Button Up Your Overcoat", and "Am I Blue".

A sweet overview of the early years of Aretha Franklin's career – her formative days at Columbia Records, when she was working in a variety of styles before heading over to bigger fame at Atlantic! Even at this early stage, Aretha's one hell of a singer – and, despite what folks who listen to Jerry Wexler might say, this early Columbia work is pretty darn amazing throughout – steeped in a number of different modes, with bits of jazz, R&B, and early soul sewn together beautifully throughout. The double-length set is filled with key early moments from Aretha – and titles include "Don't Cry Baby", "Lee Cross", "Skylark", "One Step Ahead", "Evil Gal Blues", "Take A Look", "Runnin Out Of Fools", "People", "Try A Little Tenderness", and "Take It Like You Give It".

A pair of 70s guitar classics from Eric Gale – back to back on a single CD! Ginseng Woman is a wonderfully strong effort from Gale – a player who'd done countless studio work on fusion sessions in the 70s, but who never really broke that strongly as a leader until this set! Gale's tone here is nicely compressed, but still has a warmth that comes from his use of a hollow-body – smooth enough to slide alongside the electric Bob James production, but with enough humanity to allow Gale's spirit to shine through nicely. Richard Tee plays organ on the set, some tracks have backing vocals, and the overall sound is sort of post-CTI, or Kudu-esque. Titles include "Red Ground", "Ginseng Woman", "Derabbit", "East End, West End", and "Sara Smile". Multiplication is a great late 70s fusion set from guitarist Gale working here with his CTI labelmate Bob James. In fact, except for the absence of Creed Taylor, this set is in many ways like a CTI session, with sidemen that include James, Steve Gadd and Anthony Jackson – and a full string and brass section, plus other players who you might not associate with that label, like Richard Tee, Alphonso Johnson and Ralph Macdonald. The groove is slightly mellow at times, almost like James' own work from the period – but which also shows a bit of a tight funk approach on the best cuts too. Titles include "Gypsy Jello", "Morning Glory", "Oh Mary Don't You Weep", "Thumper", and "Multiplication".

A tremendous debut from this overlooked late 60s group from the UK – a powerhouse that would later go onto fuel bigger groups like Jethro Tull, Emerson Lake & Palmer, and Uriah Heep! This initial outing has a surprisingly soulful feel at times – still very rockish in the presentation, but with a style that's still tipping out of the Brit beat group years too – so that even when things are freewheeling and almost progressive, you can still feel some bluesy undercurrents in the vocals and keyboards! John Glascock handles bass, Ken Kensley keyboards – and both sing as well, along with guitarist Joe Konas. Drummer Lee Kerslake completes the group – and titles include "Radio Show", "Farthing Man", "I Never Knew", "Towards The Skies", "Looking Glass", and "Candles Getting Shorter". 2CD set features the full original mono and stereo mixes of the album – plus bonus tracks that include "Somewhere In The Stree", "Baby's Rich", "Real Love Guaranteed", and a great cover of The Beatles' "Hey Bulldog".

Beautiful Persian pop from Faegheh Atashin, aka Googoosh (alternately, Gougoush)– and like some of the best, adventurous pop music from around the world at the the time, it's steeped in myriad styles – from emotionally string-laden to funky and danceable! Googoosh is a genuine cultural icon in the realm of period Iranian pop music, but even with that status, some of her most amazing music is stunningly rare. Finders Keepers focuses a bit on the rare stuff for this incredible set – all from the early to med 70s – and it's one of their best ever releases. We don't speak the language, but there's no mistaking the genuine soul at the center of the songs. Really great stuff! Includes "Shekayat", "Talagh", "Mano Tou", "Pishkesh", "Mano Gonjishkaye Khooneh", "Digeh Geryeh Delo Van Menikoneh", "Gharibe Ashena" and more.

Fantastic work from a lost chapter of Coltrane's career! Sure, you may know his early work with Miles Davis, or his groundbreaking later recordings on Atlantic and Impulse – but in the late 50s, 'Trane recorded some fantastic sides with trumpeter Wilbur Harden for Savoy Records, and the material is unlike anything he ever did for other labels. In a way, the Harden tunes are similar to Yusef Lateef's work for the label – hardbop at the core, but with touches of exoticism and spiritualism that brings out whole new modes of playing from the musicians. Most tracks are long and modal, a perfect platform for Coltrane's new ideas of soloing that were beginning to take shape at the time. Harden's a much different horn player than Miles Davis ever was – with a fiercer approach to rhythm that kind of drives Coltrane along in a more souful groove than ever before. This CD features 19 tracks from the Savoy Sessions – lovingly packaged in a way that really helps you navigate the confusing structure of the LP releases. Titles include "Gold Coast", "Dial Africa", "BJ", "Once In A While", "Tanganyika Strut", "West 42nd Street", and "Rhodamagnetics" – and the CD includes alternate versions of some tracks.

A charming batch of mid 60s popular tunes done in loungey, sort of boozy arrangements in some places and uptempo mod in others from Noel Harrison – who went on to have a few hits as well as a successful acting career – tackling Dylan, Lennon/McCartney, and more with a really swinging aplomb! Moddish touches abound, with some rocking soul & pop backing in the rolling drums, trippy organ washes, horn punctuation and girl backing vocals! Really cheeky stuff and good fun! "It's All Over Now Baby Blue", "God Bless The Child", "She's A Woman", "Mr Tamborine Man", "A Young Girl (Of Sixteen)", "All Blues", "Like Stranger", "Tomorrow Is My Turn" and more.

A pair of classics from John Hartford – with bonus tracks too! First up is Aereo Plain – a groundbreaking album from the young John Hartford – not really folk, not really country – but a unique hybrid of both, and done with a good ear for unique sounds as well! Hartford's a really unique artist, especially at this key point in his career – and he's working here with producer David Bromberg, who himself was also helping to reinvent acoustic music at the time. The Warner Brothers placement of the record is key – as Hartford's got this sense of the past, mixed with the irony of the present – one which strongly echoes some of the hip rock contemporaries on the label, particularly the up and coming brand of post-Sunset LA talents. Titles include "Turn Your Radio On", "Up On The Hill Where They Do The Boogie", "First Girl I Loved", "With A Vamp In The Middle", and "Tear Down The Grand Ole Opry". Next is Morning Bugle – a record that's even rootsier than John's first for Warner – with just a bit of bass backing from Dave Holland, and excellent guitar from Norman Blake next to Hartford's own banjo. As before, the lyrics have this really unusual bent – steeped in images of the past, but with the sensibilities of the present – particularly the left-leaning politics of the early 70s time in which the album was recorded. Titles include "Streetcar", "My Rag", "Old Joe Clark", "On The Road", "Howard Hughes Blues", and "Got No Place To Go". 2CD set features 8 bonus tracks too – including "Airport Floor", "Back Up & Push", "Flower Power Died", and "Weave & Way".

The darkly brooding image of Hampton Hawes on the front cover of this one is a real standout in the mostly-sweet cover lineup of the Contemporary label – but it's also a great indication of the sound of the record, which is something different than most of its contemporaries! Hawes is working here at his top-shelf early best – stepping around the keys of the piano with a sense of grace and spaciousness – but also a hard-hitting, highly rhythmic mode on the left – a bit soul jazz at times, mixing earthy elements with the sweeter, lyrical moments in his solos. Rhythm is by the team of Red Mitchell and Chuck Thompson – and titles include "Yesterdays", "Blues For Jacque", Stella By Starlight", "Steeplechase", "Round Midnight", "Autumn In New York" and "Section Blues".

A warm, southern-inflected batch of bluesy sunshine rock from Dale "The Hawk" Hawkins – best known for gifting the world with his Chess original version of "Suzie Q" back in the late 50s – a big step away from the r&b steeped rockabilly he made his name on a decade earlier! LA, Memphis & Tyler, Texas is a catchy title and kind of a good hint at the sound – which has a breezy late 60s California vibe, but it's laid down with Memphis style horn backings and swampy guitars. Dale's vocal delivery is his most effervescent ever – and the players include James Burton, Spooner Oldham, the Memphis horns and even Taj Mahal! Tracks include "LA-Memphis-Tyler", "Heavy On My Mind", "Joe", "Houndog", "Back Street", "La-La La-La", "Candy Man". "Ruby, Don't Take Your Love To Town", "Little Rain Cloud" and more.

Cinematic funky instrumentals (plus a few guest vocal cuts) from Herbaliser – working with as diverse of a stylistic backdrop as ever before, and once again with a nice live band feel on a good deal of the record – which is quite impressive, given that The Herbaliser duo of Jake Wherry and Ollie Teeba are largely responsible for the sprawling sound on There Were Seven! There's quite a lot of moody hip hop funk on this one, with some deft use of sampled bits of vocal, programming, bass and keys – plus a handful of standout vocal tunes with guests Hanna Clive, Twin Peaks, George The Poet and Teenburger. Includes "Return Of The Seven", "The Lost Boys" with Hanna Clive, "Welcome To Extravagance", "Mother Dove", "Take 'Em On", "Setting Up", "What You Asked For", "Deep In The Woods", "Inside The Machine", "Danny Glover" feat Twin Peaks, "Move As One" and more.

A heady power trio, with a sound that's a lot more heavy than you'd guess from the cover! These guys come across looking like they might be a soft rock harmony group, but instead they wail away beautifully with a pre-metal sort of sound – lots of full, fierce rhythms and fuzzed-up guitar – very lean and mean, and quite uncharacteristic for the RCA label at the time. Solos are especially burning – right up there with Sabbath at the time – and believe it or not, the guys actually do harmonize a bit on the lyrics too! Titles include "Lazy Woman", "Mystery Rider", "Fifteen", "All I Need", "Promotion Man", and "Bells".

An excellent record from Hiss Golden Messenger – who blend rootsy, but freewheeling instrumentation with artful, ambitious songwriting – and they're one of the most creative groups around making brilliantly original music that still hold true to southern folk and roots history The anchors are singer/guitarist/mandolin player MC Taylor and guitar and bass player Scott Hirsch – but the music is fleshed out by a large group of great musicians on a diverse list of instruments – piano, Rhodes and Hammond on the keyboards spectrum, banjo, fiddle, pedal steel and and array of acoustic and electric strings, sax and more. In a way, it's the mix of traditional reverence and straight up newness is reminiscent of The Band in the late 60s and early 70s – but they ultimately have a vibe all their own. Includes "Red Rose Nantahala", "Sufferer (Love My Conqueror)", "I've Got A Name For The Newborn Child", "Devotion", "Hat Of Rain", "The Serpent Is Kind (Compared To Man)", "Cheerwine Easter", "Busted Note", "What Shall Be (Shall Be Enough)".

An excellent record from Hiss Golden Messenger – who blend rootsy, but freewheeling instrumentation with artful, ambitious songwriting – and they're one of the most creative groups around making brilliantly original music that still hold true to southern folk and roots history The anchors are singer/guitarist/mandolin player MC Taylor and guitar and bass player Scott Hirsch – but the music is fleshed out by a large group of great musicians on a diverse list of instruments – piano, Rhodes and Hammond on the keyboards spectrum, banjo, fiddle, pedal steel and and array of acoustic and electric strings, sax and more. In a way, it's the mix of traditional reverence and straight up newness is reminiscent of The Band in the late 60s and early 70s – but they ultimately have a vibe all their own. Includes "Red Rose Nantahala", "Sufferer (Love My Conqueror)", "I've Got A Name For The Newborn Child", "Devotion", "Hat Of Rain", "The Serpent Is Kind (Compared To Man)", "Cheerwine Easter", "Busted Note", "What Shall Be (Shall Be Enough)".

It's been many years since we last heard from Italian Secret Service – but these guys still sound pretty darn great, with all the breezy, bossa-styled grooves we remember! There's a bit of a retro vibe to the record, but one that's never too strong – just a hint of 60s in the mix, and a real respect for the kinds of older instrumentation that always sounds warm on record – bits of organ, flute, vibes, and more – laid out somewhat sparely, but usually with a good sense of soul – making the album almost sound like a modern take on some of the hipper sounds you might hear on Verve Records in the 60s. The group's just a duo, and handle most of the instrumentation themselves – so there's definitely some overdubs and programming used to create the sound – yet things never sound too overly-mixed, and at many points the pair comes off with the spontaneity of some of the more jazz-based groups around of late. There's just a bit of vocals on the record, and the album also features a number of bonus tracks too – making for over 75 minutes of music, with cuts that include "Call Me Linda", "Cartoons", "Haupe", "Lazy Man", "Last Samba In Paris", "It's Monday Too", "Tch K Ten", "Digital World", "So Tired", "Italian Melody", and a wild bossa cover of "Smells Like Teen Spirit".

The final proper album by The Jam! The Gift is a far more diversely soul-steeped set of tunes than anything they'd done up to this point – and in hindsight, it feels more like a starting point for Paul Weller's career to come than a final album for The Jam! While they're working more soul influences into the formula, there's still a devotion to insistently catchy hooks that they'd sported since the beginning. A classic that really deserves a lot more respect than it gets in some circles! Includes "Happy Together", "Ghosts", the nice "Psychedelic Shack"-styled "Precious", "Just Who Is The 5 O'Clock Hero", "Running On The Spot", "Circus", "The Planner's Dream Gone Wrong", "Carnation", the great Motown-homage and superhit "Town Called Malice" and "The Gift". This great 2CD 30th anniversary edition has bonus disc of singles, B-sides and most excitingly a bunch of previously unreleased demos! 15 tracks on Disc 2: "Beat Surrender", "Shopping", "Move On Up", "Stoned Out Of My Mind", "Carnation (instrumental demo)", "Shopping (aka Paul's demo)", "Solid Bond In Your Heart (demo)" and more.

A kind of twisted, but totally groovy collection of oddball pop & rock from Rodd Keith, aka Rod Rogers – the king of the song poem – a collection of mostly small combo singles recorded between 1963 & 1974! On top of being the go to guy for folks to have someone turn their often terrible poetry and lyrics into real life records, Rodd & his groups recorded all kinds of organ steeped, totally catchy tunes with far out hallucinogenic lyrics. The singing ranges from pop combo harmonies to loungey crooning, and the Rodd's work on organ & piano rolls with a little bit of blue eyed funk to more of an austere pop & rock groove – and the songs are just weird enough to still work as glorious pop tunes. Really cool stuff from an ultimately tragic character, who left far too few recordings with his personal brand of strangeness! Includes tunes credited to Rodd Keith, Rodd Keith & The Raindrops, Rod Rogers & The Singing Strings and other combos. 26 tracks including "Lettuce & Lace", "You Only Wnat To Hurt Me", "Saucers In The Sky", "My Living Doll", "Don't Be A Dope", "Magic In Her Eyes", "Merry Go Down", "Ravens", "Next Time", "Ship For Home" and much more.

A 60s set from Memphis bluesman BB King – but one put together with a very distinct Chicago touch as well! The set's produced by Johnny Pate, and recorded live with a vibe that's similar to King's classic recording at The Regal – but it's almost got even more of a soulful punch, thanks to backing from a cool small combo that includes Bobby Forte on tenor, Kenneth Sands on trumpet, Duke Jethro on Hammond, and Louis Satterfield on bass! BB's vocals are great – in his best early form – and the tunes are bluesy, but also smoke with a nice degree of soul – and almost some jazzy touches at times from the tenor and organ. Titles include "Don't Answer The Door", "Blind Love", "Tired Of Your Jive", "Night Life", "Buzz Me", and "Waitin On You". CD features two bonus tracks – "Goin Down Slow" and "Sweet Sixteen (parts 1 & 2)" – both additional live numbers.

An overlooked later gem from Ben E King – and a record that goes way past the overplayed hits of the early years! Ben's always been a hell of a singer – but on a record like this, we can really rediscover his genius all over again – hearing him on a fresh batch of Atlantic recordings from the 60s – raspy charm fully intact, and set to some growing sophistication in the uptown backings – some of which even introduce a slight touch of funk to King's groove! The key cut in this respect is the amazing title cut – "What Is Soul" – worth the price of the album alone, but mixed with loads of other nice ones too – including "Teeny Weeny Little Bit", "Get In A Hurry", "Katherine", "There's No Place To Hide", "Cry No More", and "The Record".

The rare second album from Clydie King – recorded at a time when she was lending her backing vocals to artists like The Rolling Stones, Steely Dan, and Humble Pie – but a set that firmly puts Clydie in the lead! King's got an amazing style of singing – deep and raspy at one moment, with key southern soul roots – yet also totally tight and together, too – with a focus that really shines on the album's more upbeat tracks – groovers that almost have an east coast club vibe at times, quite similar to material that Clydie recorded with the group Brown Sugar! Titles include "Rushing To Meet You", "Loving You Is So Easy", "Steal Your Love Away", "Punish Me", "Our Love Is Special", and "Morning Sun".

High school and hot rods – groovy Capitol work, courtesy of producer Gary Usher – and of course, it features an incredible roster of west coast studio geniuses behind the curtain! A fun mix of instrumentals and vocal tunes, with beach and surf harmonies, R&B-indebted rumblers and other thematic touches – honking sax, gritty percussion, nicely grooving organs and chugging guitars – what more could you ask for? The niceness of the vocal tunes is a surprise, but the instrumentals are unsurprisingly great! Titles include "Hot Rod High", "Midnight Auto", "School Days", "Be True To Your School", "Hot Rod, USA", "I Get Around", "Rock Around The Clock", "Skippin' School", "Theme For Teen Love" and more.

One of Yusef Lateef's most fantastic records, and an album that grooves in a way that few of his other ones do. Recorded live in 1964, this material was part of the same session that comprised the classic Club Date LP, which included the track "Brother John" (not on this album). This album has a lot of material in the same vein, and features some amazing playing by Mike Nock on piano and Richard Williams on trumpet. A great mix of Lateef's weird reeds with rolling soul jazz backing. Titles include "The Magnolia Triangle", "Sister Mamie", "Number 7", "The Weaver", and "Slippin' & Slidin'".

A groundbreaking set from Yusef Lateef – one that mixes together a number of different soul jazz styles! In a way, Atlantic records tried to handle Yusef Lateef in the same way they did Roland Kirk – by creating recordings that either let him express himself strongly as an arch-modernist, or those that focused on his solo talents in material that was a bit more funky and soulful. This album's got a bit of both – as side one has Yusef playing with slightly electric groups on short tracks that feature vocal backings by the Sweet Inspirations, and side two features Yusef playing with the Cologne Radio Orchestra, conducted by William Fischer, on an extended work called "The Symphonic Blues Suite". We dig the shorter tracks better, and those titles include "Nocturne", "Buddy & Lou", and "Down In Atlanta".

70s soundtrack work from the mighty Michel Legrand – his score for the famous Three Musketeers film directed by Richard Lester, and unissued music for the film Robin & Marian! The Musketeers music is quite dramatic – often filled with action, but with a few tender spots as well – and although somewhat more conventional in terms of scoring, there's still some of those sweeter Legrand touches we love so much – especially in some of the orchestral moments that echo his energy from Peau D'Ane. As you might guess from the story, there's a few period themes at points – although not as many as you might expect – and this balance continues in the Robin & Marian soundtrack from 1976, in music that would mostly be right at home in any other 70s film as well. CD features 24 tracks in all, with notes in French and English – and titles that include "Bustling Buckingham", "He Ain't Heavy He's The Cardinal", "Four Abreast", "Sword For Your Supper", "To Love A Queen", "Back From The Crusades", "Reunion", "The Attack", "The Chase Fugue", and "An Unforgotten Love".

A brilliant tribute to the youthful talents of Barrington Levy – a set of sweetly soulful numbers that were mostly recorded when Levy was in his late teens! The package is overstuffed with goodness from these key Levy years – music that often moves through the groove with a really laidback vocal, yet still has this sharp bite underneath – that special mix that always made Barrington so great. And although young here, there's still a depth to his vocals that few other older acts can touch – a heartfelt, sometimes heartbreaking quality that really comes through. CD features a whopping 40 tracks in all – with titles that include "She Rob & Gorn", "Poor Man Style", "Rubber Man", "My Woman", "21 Girls Salute", "Collie Weed", "Bounty Hunter", "Walk 2000 Miles", "Mini Bus", "Black Hen Chicken", "Look Youthman", and "Wedding Ring".

A brilliant tribute to the youthful talents of Barrington Levy – a set of sweetly soulful numbers that were mostly recorded when Levy was in his late teens! The package is overstuffed with goodness from these key Levy years – music that often moves through the groove with a really laidback vocal, yet still has this sharp bite underneath – that special mix that always made Barrington so great. And although young here, there's still a depth to his vocals that few other older acts can touch – a heartfelt, sometimes heartbreaking quality that really comes through. 10 tracks on the vinyl version. Titles include "21 Girls Salute", "Whom Shall I Be Afraid Of", "Mini Bus", "Here I Come", "Pon Your Toe", "Mini Bus", "Hammer" and more.

A great blend of choppy reeds, soaring keys, and romping rhythms – handled here by an extremely inventive 70s group! Listen is the brainchild of reedman Mel Martin – who plays soprano sax, tenor, flute, and piccolo on the record – but it also features some wicked keyboards and steel drums from Andy Narrell, who sounds way better here than in his later new age years. Martin's got a really sharp-edged sort of sound – almost in the 70s Steve Grossman mode, especially on soprano, or maybe a bit like early Dave Liebman – nicely cutting alongside rhythms from bassist Dave Dunaway and drummer George Marsh, both of whom bring their own creative touches to play, while still making things groove nicely. Titles include "A Tribute To Clark Kent", "Aural Hallucination", "The Mosquito Steps Out", "Gazpacho Sabroso", "Jesse's Theme", and "Dance For Denica".

A killer from trumpeter Booker Little – one of the last few records that Book cut before his early death, and one of his only ones as a leader! The album features an excellent soulbop quintet with Wynton Kelly and Tommy Flanagan on piano, Scott LaFaro on bass, and Roy Haynes on drums – working with that dark, sharp edge that always seemed to characterize Little's sessions – kind of an added fire he always brought to the studio when working as a leader. Little's trumpet has some of those great modern tones he blew with Max Roach – and the album's got some great little tracks like "Bee Tees Minor Plea", "Opening Statement", "Minor Sweet", and "The Grand Valse". Excellent stuff all around – and a record that would have been bigger, had it been issued on a larger label!

C'mon, you can never have too much Love – particularly the beautiful, soulful voice of Darlene Love – and this fantastic compilation from Ace puts together a diverse set of singles from the 60s & 70s, a few rare demos, plus hard to find tunes from earlier and later years! Darlene had an incredibly wide ranging career, from girl group leader, to in demand session singer, to Broadway star, but this set is heavily steeped in the soaring, beautifully arranged solo soul singles and remarkably diverse stuff with her group The Blossoms – plus some really cool session tunes with Dick Dale, Hal Blaine and others. Gorgeous! Titles include "That's When The Tears Start", "So Much Love", "The Gospel Truth", "Good, Good Lovin'" and more with the Blossoms, solo tracks "Too Late To Say You're Sorry", "Ooh-Wee Baby", "Let Him Walk Away", "Mr Fix It" and more, "King Of The Surf Guitar" with Dick Dale & The Del Tones, "Drummer Boy Plays For Me" with Hal Blaine, and much more. 24 tracks in all.

Although South African vocalist Miriam Makeba had been cracking the American scene for the better part of the 60s, this was the album that really put her on the map – as her hit version of the song "Pata Pata" forever guaranteed that African-tinged grooves would have a place in the pop charts! The track's included as the lead off song on this classic album of "uptown African soul" (if we might use such a term), and other goodies include "Click Song Number 1", "A Piece Of Ground", "West Wind", "Ha Po Zamani", and "Jol'inkomo".

A 12" LP that brings together 2 different earlier 10" sessions by Manne – groundbreaking work in a freer mode than most of what was going on in LA during the mid 50s! Side one features material from The Three – a 10" session that featured Manne on drums, Shorty Rogers on trumpet, and Jimmy Giuffre on tenor, clarinet, and baritone. The trio work their way – bass and piano-less – through tunes that include "Pas De Trois", "Flip", "Abstract No 1", and "Steeplechase". Side two features material from The Two – an even freer session, with Manne on drums and Russ Freeman on piano – no other accompaniment, and sounding quite revolutionary for the time! Titles include "Billie's Bounce", "The Sound Effects Manne", "Everything Happens To Me", and "Speak Easy".

A wonderfully mixed-up, messed-up batch of jazzy tracks from the great Steve Marcus – working here at the height of his late 60s powers on Atlantic's ultra-cool Vortex label! As with other Marcus albums of the time, there's kind of a long haired, freewheeling energy to the set – jazz that's still steeped in some of the best modern and soulful styles of the 60s, yet also touched a bit with some of the rock experiments at the time – not really in the instrumentation, but in the way the whole group approaches the groove. Marcus blows some mighty tenor sax – and the lineup also includes Herbie Hancock on electric and acoustic piano, Miroslav Vitous on bass, and Bob Moses on some pretty heavy drums. Some cuts have some hip larger arrangements – and titles include "Hope", "Wild Thing", "T With Strings", "America", "Amy", and "Hey Jude".

Teena Marie steps out strongly on her own – really knocking it out of the park on this initial album for CBS – entirely written, arranged, and produced by Lady T! The grooves are as funky as before, but possibly have a leaner quality overall – a tighter 80s groove approach to the music, yet always with the fully fleshed-out soul that we love in Teena's handling of the vocals. Basslines are mighty nice –more than enough to hook us in on just about every tune – but the ballads are pretty sweet, too! Titles include "Robbery", "Playboy", "Ask Your Momma", "Dear Lover", "Stop The World", "Midnight Magnet", and "Cassanova Brown". CD features 4 bonus tracks – "Playboy (US 12" rmx)", "Fix It (US 12" rmx)", "Fix It (US 12" rmx inst)", and "Midnight Magic (US 12" inst)".

Very righteous work from Esther Marrow – a soul sister who sings with a hell of a lot of power! The set's an overlooked gem in the Fantasy catalog of the 70s, and it's one of only two secular soul albums cut by Marrow – and quite possibly the best of the bunch, too! Esther's got some great help on the set from arrangers Richard Tee, Bernard Purdie, and Bobby Scott – each of whom set Marrow up with some small group backing that keeps things tight and soulful throughout – thanks in big part to the drum work, which is handled by Purdie, Jimmy Johnson, and Idris Muhammad. Other players include Tee on organ and piano, Cornell Dupree on guitar, and Ralph McDonald on congas – whose percussion really helps shape the sound of most of the grooves. There's a horn section too – used sparingly – and there's also a bit of backing vocals from The Reflections, although Esther's pretty much in the lead on all numbers. Titles include "Trade Winds", "Things Ain't Right", "Ask Me To Dance", "Woman In The Window", and "Ghetto".

One of the best solo records from Harvey Mason – best known as the drummer on some really monster 70s funky fusion sessions (such as Johnny Hammond's Gears album) – but a surprisingly well-rounded R&B artist overall! As with Norman Connors, another fusion drummer gone soul star, Harvey's working here in a style that mixes jazz influences with modern soul – grooving things for a more mainstream audience, but still keeping things real underneath. The record's filled with guest appearances by fusion greats – like Bob James, David Spinozza, Richard Tee, Lee Ritenour, and others – and Jim Gilstrap sings vocals on a cut or two. Titles include "The Race", "Groovin' You", "Wave", "We Can", and "Here Today, Gone Tomorrow". This Soulmusic.com edition has 2 bonus versions of "Groovin' You": the 6+ minute 12" version and the shorter-grooving 7" single version.

A full blown duets album by Bonnie Prince Billy and Dawn McCarthy of Faun Fables –co-headlining a straight-up beautiful set of tunes once sung by The Everly Brothers! They're not going for the hits here, rather taking on some of the more unusual Everly originals and covers – which include tunes written by Kris Kristofferson, Jackie Edwards, John Denver, King/Goffin and others. As longtime fans of The Everlys at their wierdest and most adventurous, we can't recommend this enough! Billy & Dawn clearly love the songs, and deliver with genuine warmth and affection – and go all in with the production, too! It's sweet and intimate, yet beautifully textured with steel, electric and acoustic guitars, mandolin, harmonium, flute, cello and keyboards – even a sousaphone and tuba! It's mostly got some leftfield country charm, but there's a chugging rocker or 2 in the mix, too. Titles include "Breakdown", "Empty Boxes", "Milk Train", "What Am I Llivng For", "My Little Yellow Bird", "So Sad", "Omaha", "Poems, Prayers And Promises", "Just What I Was Looking For", "Kentucky" and more.

A full blown duets album by Bonnie Prince Billy and Dawn McCarthy of Faun Fables – co-headlining a straight-up beautiful set of tunes once sung by The Everly Brothers! They're not going for the hits here, rather taking on some of the more unusual Everly originals and covers – which include tunes written by Kris Kristofferson, Jackie Edwards, John Denver, King/Goffin and others. As longtime fans of The Everlys at their wierdest and most adventurous, we can't recommend this enough! Billy & Dawn clearly love the songs, and deliver with genuine warmth and affection – and go all in with the production, too! It's sweet and intimate, yet beautifully textured with steel, electric and acoustic guitars, mandolin, harmonium, flute, cello and keyboards – even a sousaphone and tuba! It's mostly got some leftfield country charm, but there's a chugging rocker or 2 in the mix, too. Titles include "Breakdown", "Empty Boxes", "Milk Train", "What Am I Llivng For", "My Little Yellow Bird", "So Sad", "Omaha", "Poems, Prayers And Promises", "Just What I Was Looking For", "Kentucky" and more.

A classic set of soul jazz from Chicago – a rare indie date recorded in the early 80s, but with a tight and swinging feel that's more 70s jazz funk than you might think! Corky's on Yamaha keyboards, and he's backed by a hip group of Chicago players that includes Curtis Prince on drums, Artee Duke Payne on saxes, and Stephen Harris on guitars – all working together in a tightly rhythmic sound with some slight spiritual undercurrents – almost in the same territory as James Mason on his legendary record from a few years before! As with that set, there's a bit of polish here, but never too much – a balance that makes the record a wonderfully mature record with a depth that keeps it going for years. Byron Woods sings lead vocals on the album's jazz dance classic "Searching For Soul" – and a few other tracks feature Theresa Davis on lead vocals. Other titles include "Everything Must Change", "Open Wide", "Passion", "Jive Mama T", "Off C", and "Mirror Mirror".

A classic set of soul jazz from Chicago – a rare indie date recorded in the early 80s, but with a tight and swinging feel that's more 70s jazz funk than you might think! Corky's on Yamaha keyboards, and he's backed by a hip group of Chicago players that includes Curtis Prince on drums, Artee Duke Payne on saxes, and Stephen Harris on guitars – all working together in a tightly rhythmic sound with some slight spiritual undercurrents – almost in the same territory as James Mason on his legendary record from a few years before! As with that set, there's a bit of polish here, but never too much – a balance that makes the record a wonderfully mature record with a depth that keeps it going for years. Byron Woods sings lead vocals on the album's jazz dance classic "Searching For Soul" – and a few other tracks feature Theresa Davis on lead vocals. Other titles include "Everything Must Change", "Open Wide", "Passion", "Jive Mama T", "Off C", and "Mirror Mirror".

Willie Mitchell's definitely on top with this smoking little set – a record that seems to allow even freer interplay between the members of his group – in ways that make the album one of Mitchell's jazziest efforts of the 60s! The players of the group are getting a bit of credit on the back cover this time around – a great revelation that the smoking tenor on the record comes from Willie's brother James Mitchell, and that the cool tight guitar lines are from Mabon Teenie Hodges – who we don't think we know from anywhere else! Most tunes are familiar songs, but reworked with hip Memphis instrumental arrangements – on titles that include "30 60 90", "Big Power House", "Ain't Too Proud To Beg", "Come See About Me", "Sunshine Of Your Love", "Who's Makin Love", and "Take Five".

Post-Monkees work from Mike – and a pretty sweet record, too! That twang that was always in the background comes forth nicely – and the set has some nice pedal steel and piano, too.