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A full three albums by the legendary Pyramids – all packaged together in one complete set, with a bonus video too! The Pyramids recorded three key records during the 70s – each of them an underground classic, all served up in a wonderful bit of spiritual soul jazz with a really cosmic feel! The group are heavy on percussion and reeds – blending congas and assorted other percussion instruments with soprano sax, alto, and flute – all in a captivating sound that builds up nicely over the course of the album's two long tracks! The music is very organic – never too forced, nor never too far out – and there's a majestic quality to the whole thing, one that really lives up to the group's name and image on the cover. And although the ensemble hail from Ohio – hardly a spot you'd peg for spiritual jazz in the 70s – they're a key link between the early 70s avant movements in Chicago and St Louis, some of the hip grooves in Detroit's Tribe Records scene, and the growing loft jazz movement in New York. The reeds are especially nice – alto sax from Idris Ackamoor and flute from Margo Ackamoor – and all other group members play percussion, and vocalize too – singing along with some of the tunes in chanting, chorus formation, which adds an even further element of soul to the mix. Includes the full albums Lalibela, King Of Kings, and Birth Speed Merging – with bonus video content of The Pyramids Live On KQED in 1975.

Damn damn damn – maybe the funkiest album ever from Sharon Jones and The Dap Kings! The group have always been great, but there's something here that goes even farther than usual – an especially funky snap on the drums at the bottom, even on more laidback tunes – and a stone classic approach to funky soul, one that's definitely been honed to a "T" through their important work on the road during the previous few years! And Sharon Jones is great – with vocals that are way deeper and much longer-lasting than any rehab outpatient wannabe – sending home these tunes with a quality that may well pass most of her classic female soul inspirations from back in the day. And even though the set brings together some older singles and other odd bits, it's got a rock-solid punch that makes it a very unified album throughout! Titles include "Settling In", "I'm Not Gonna Cry", "When I Come Home", "Ain't No Chimneys In The Projects", "New Shoes", "Without A Trace", and "Inspiration Information".

Gritty, powerful raw soul from Charles Bradley – the full length debut from the 62-year-old Brooklyn singer – backed perfectly by The Menahan Street Band! It's incredible, a record that sounds just as rawly emotional and impeccably soulful in 2011 as it would have in 1971 – much like the work Sharon Jones and The Dap-Kings, there's no mistaking this for anything but the real deal. Rough hewn in beautifully so – with perfect, funky backing by team Menahan. A timeless treasure! Titles include "In You (I Found A Love)", "I Believe In Your Love", "The Telephone Song", "Golden Rule", "How Long", "Trouble In The Land", "Since Our Last Goodbye", "Heartaches And Pain", "The World" and more. Expanded version features two bonus tracks – INCREDIBLE covers of Neil Young's "Heart Of Gold" and Nirvana's "Stay Away".

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".

The great lost Darondo album – amazing Bay Area funky soul from a singular talent – and material that we did not even know existed! It was cut for Ray Dobard's Music City label – purportedly in just a couple of marathon sessions – most of which we've never heard before now, which is mindblowing in and of itself, as we had thought Ubiquity Records mined what little was available of Darondo for their killer Let My People Go compilation. Lo and behold – here's some more, and it's just as incredible! Slinky, stripped down funk and some sweeter soul that's as much influenced by Memphis recordings as it is the Bay Area – but all with Darondo's distinctive, freewheeling gritty baritone and when the mood strikes, piercing falsetto vocals. A total treasure! 16 tracks on the CD version: "I Don't Understand It", "I'm Gonna Love You", "Didn't I", "Luscious Lady", "Saving My Love", "Gimme Some", "Do You Really Love Me", "Listen To My Song", "Sexy Mama", "The Wolf", "Kings Man" and more.

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.

We love Kim Fowley, and can never get enough of his genius – and no matter what the setting, Fowley always seems to move around the maddest corners of rock and pop music! This raw batch of gems is all pulled from the Fowley vaults – and features a host of indie singles recorded in LA between his bigger bursts of fame – some with Kim in the lead, lots more with lesser-known talents all given Fowley's forceful treatment in the studio – a push forward that makes just about every track here sparkle like some long-lost garage rocker or weird novelty number. Norton provides very detailed notes that are as much a musical journey as the cuts themselves – and titles include "The Knight In Shining Armor" by Knights Of The Round Table, "Kalani Honey" by John Paul Jones, "Young & Wild" by Renegade Five, "Big Bad Wolf" by Kim Garry & The Rhythm Kings, "Watch Your Step" by Larry Green & The Rhythmaires, "Goin Away Baby" and "Golden Apples Of The Sun" by Grains Of Sand, "Wanted Dead Or Alive" by The Rogues, "Moses" by Navarros, and "The Trip", "Astrology", and a rare radio spot all by Kim Fowley.

A non-soundtrack album from Goblin – but one that's right up there with the spirit of their classic scores for director Dario Argento! The tunes here are a bit longer, and spin out with a great mix of funky rhythms and electric keyboards – Fender Rhodes and clavinet, mixed nicely with tight basslines and fuzzy guitar – really showing the group's earlier rockish roots, but handled with the lean, jazzy style that would make them kings of the Italian soundtrack scene of the 70s. Titles include the long versions of "Aquaman" and "Dr Frankenstein" – which were both used later in Suspiria – and other cuts include "Roller", "Goblin", "Snip Snap", and "Il Risveglio Del Serpente".

Definitely a soulful tapestry here – as the trio of Edna Wright, Shellie Clark, and Carolyn Willis are at the height of their 70s powers – soaring forth in a massive trio mode, and one that really rewrites the sound of girl group soul for the 70s! There's a bouncy, upbeat groove to the record – kind of a pre-disco approach, but one that's still strongly rooted in the best Detroit soul mode of the Holland-Dozier-Holland team too – balanced with just the right sort of force that makes the trio sound great, and all without any of the cliches that this sort of group might hit a few years later! Titles include the Honey Cone classics "One Monkey Don't Stop No Show (parts 1 & 2)" and "Want Ads", plus the tracks "VIP", "The Day I Found Myself", "Stick Up", "Don't Count Your Chickens", "All the Kings Horses", and "How Does It Feel". CD features the bonus track "We Belong Together (single version)".

One of Nico's darkest albums – and the kind of record we always suggest to those who doubt her genius! The incredibly spare set has Nico playing harmonium, which makes for a spooky off-kilter sound that really gives the record a somber approach – especially as the instrument sounds a heck of a lot like her voice – very dark and moody, with lots of offbeat tones! Nico also gets some hip help, too – as the set features Brian Eno on keyboards, and production by John Cale – who also plays a huge variety of odd instruments too. Titles include a sublime 9 minute reading of The Doors' "The End", one that makes the original seem like candy floss – plus the tracks "Secret Side", "Innocent & Vain", "Valley Of The Kings", "We've Got The Gold", and "It Has Not Taken Long". Great 2CD version features a bonus disc of rare live material from radio and TV performances – including "Das Lied Der Deutschen", a previously unreleased cut from the June 1st 1974 sessions – plus "Janitor Of Lunacy", "Secret Side", "We've Got The Gold", "The End", and "You Forgot To Answer" from unreleased Peel Sessions – and "Valley Of The Kings" and "Secret Side" from unreleased Old Grey Whistle Test performances!

A stellar set of surviving 70s Black Ark productions by Lee Perry – with rare and unreleased cuts plus pivotal, if long-buried sides by Junior Byles, U Roy, Delroy Butler, Tinga Stewart, The Upsetters, The Flames, The Ethiopians, Jah T and more – Perry-produced gems for Kingston's cultural rebels and sufferers! The Sound Doctor compilation is really an essential, perfectly-collected batch on Pressure Sounds – the UK label that once again proves to be among the finest and most respectful of Sound Doctor devotees. Among the exceptional rarities are the unreleased "Army Of Love" by Junior Byles, an exclusive dub plate mix of the Upsetters "Horny Train", the raw original mix of U Roy's "006" and many more – stirringly soulful Black Ark singles and dub versions including "Sound Doctor" by Bobby Floyd, "Do Good" by Al Maytone", "Different Experience" by Brother Ray", "Smiling Faces" by Tinga Stewart, "It’s Impossible" by The Ethiopians, "Grandfather Land" by Jah T, "King Of Kings" by Pat Francis, "Be Prepared" by Keith Poppin, "Key Card" by Lee & Jimmy, "Start Over" by The Gatherers and more.

The return of the great ones – and quite possibly the funkiest album ever from The Sugarman Three – a crowning achievement for this funky combo that we've loved for years! The core trio is still in place – soaring Hammond, tight tenor, and heavy drums – but they've also added in some extra help from the Daptone universe – which helps the group hit an ultra-funky sound here – one that's sharp-edged, no-nonsense, and a wicked blend of soul jazz and late 60s funk! There's still plenty of standout tenor solos from Neal Sugarman, and wicked organ lines from Adam Scone – but there's also a bit of added trumpet, and great Bosco Mann basslines – which really give the whole thing a heavy punch. The groove is much more stripped-down and hard-edged than the Dap-Kings – and burns with a fire that never lets up for a minute – proof that in a world of funky revival combos, some of the older act still do it best! Titles include "Mellow Meeting", "Dirty Water", "Rudy's Intervention", "Your Friendly Neighborhood Sugarman", "But It's Alright", "Witch's Boogaloo", "Brother T", and "Love Went Away".

A well done survey of the career of Thievery Corporation to date – selected by Rob Garza and Eric Hilton – wonderful stuff from the reigning kings of downtempo jazzy grooves! It's made up of the duo's best known tracks as well as their own personal favorites. You couldn't really ask for a better or more careful curated set! Includes "Amerimacka", "Lebanese Blonde", "Facing East", "Holographic Universe", "Until The Morning", "All That We Perceive", "The Richest Man In Babylon", "The Passing Stars", "Satyam Shivam Sundaram", "Vampires", "Warning Shots", "Shadows Of Ourselves" and more.

Cooler than ice – and cooler than just about any other label collection we've ever seen – a massive collection of work from the legendary Artic label, home to some of the best Philly grooves in the late 60s and early 70s! The package not only includes 6CDs, but also features 6 funky 45s as well – each of which features an unissued gem from the label – all wrapped up in a really well-done cover that comes with a 48 page booklet, and lots of vintage photos! There's never been a label overview like this one before – and the CDs feature every single issued by the company, both a and b-sides – a project that took the folks at Jamie many years to produce, but which has been well worth the wait. The music is wonderful throughout – great female soul, some soaring group tracks, and even a few funky nuggets too – way more than we ever knew that Arctic ever recorded. In addition to early efforts from later stars like Barbara Mason or Kenny Gamble, the set also features music by Honey & The Bees, The Ambassadors, The Combo Kings, The Rotations, Teddy & The Fingerpoppers, Three Strangers, Billy Floyd, Jack & Jill, The Temptones, Kenny Hamber, Herb Johnson, Winfield Parker, Lane Relations, Volcanos, Della Humphrey, Royal Five, and many others. The set's six 7" singles are amazing too – a dozen tracks that have never been heard before – including "He's Got To Love Me" and "Catch Him Love" by Barbara Mason, "I'm At My Best When I'm Down" and "The Rock" by The Combo Kings, "It Takes Two" and "Fat Daddy" by Kenny Gamble, "No Doubt About It" and "Lover Boy" by The Tiffanys, "Doctor Love" and "I Only Have Eyes For You" by The Ambassadors, and "I Love You Just The Same" and "Fallin Star" by Winfield Parker.

Stunning sounds from the farther reaches of the El Paso scene – amazing music that really gets at the rich array of underground acts working in the shadow of bigger local hero Bobby Fuller! The cuts here are very heavy on guitars, and often recorded with an echoey approach that makes each twang as resonant as thunder – a perfect way to make a heck of a lot out of a little, and really bring the best out of some of these groups! Our favorite cuts here are by Bob Taylor & The Counts – a combo that sports some really wicked guitar right up front, and raw vocals and tumultuous drums that almost recall the sound of early work by Johnny Burnette. Bob Taylor titles include "Taylor's Rock", "Child Fortune", "Thunder", and "Jill" – and other cuts include "You're Wrong" and "The Shadows Dance" by Johnny Garmon & The Shadows, "Be Mine" and "Jim's Jive" by Jerry Bright & The Embers, "Runaway" by Rock Kings, "Party" by Al Sims & The Alpine Two, "Little Rome" by Max Alexander & The Hi Fi Combo, and "Finders Keepers" by Don Guess & The Rock Kings.

Stellar material that Ike Turner produced in just a couple years for Modern Records – in many cases, with Ike also given the songwriting credit – New Orleans & LA recordings from '63-'65! Ike was one incredible vessel of pure musical talent and ingenuity – overshadowed badly by that red hot hell of a public and private life. That's a shame for a number of reasons, but the work speaks for itself. What's most incredible here, is that other voices speak for their own immense talent as well as Ike's work behind the scenes. It's get great, rare material by Ike & Tina Revue & Kings Of Rhythm members and others. 27 tracks in all: "Darkest Hour", "I Smell Trouble", "Feel So Good" and more by Jimmy Thomas, "All In My Mind" by Tina Turner, "In Love" by Jackie Brenston & The Ikettes, "That's All Right" and "You're So Fine" by Vernon Guy, "Think" by Bobby John & The Ikettes, "Walking Down The Aisle" by Ike Turner & The Ikettes and more.

A jaw-dropping compilation of garage rock singles from the mid 60s Swedish scene – hard driving tunes that stands up with some of the best 60s proto punk compilations we've come across! Searchin' For Shakes is a great listen purely for the visceral thrill of prime, pulpy rock & roll nuggets – but it's extra amazing for the prescient mid 60s sounds. Great stuff by Namelosers, Cherry Stones, Shakers, Boogjacks, Shanes and more! Titles include "Do-Ao" and "That's Allright" by Namelosers, "At The Club" by T-Boones, "Red Big Car" by Bootjacks, "I Don't Want Your Love" by Shanes, All I Want Is My Baby" by Shakers, "On My Way" by Lee Kings, "Go Away" by Cherry Stones, "Bo Bo Boggie Pack" by Annabee-Nox, "Out My Light" by Other Side, "Ramber" by Madmen, "Bye Bye" by Friends and more. 26 tracks in all!

British jazz/rock drum great Ginger Baker working live with is Air Force group in Germany, 1970! Live material from Ginger Baker's Air Force has always been sorely lacking in official releases, and this set from Offengach, Germany at the dawn of the 70s has 2CDs of material. From the official Ginger Baker archives! Titles include "I Got The Answer", "Free Kings", "Don't Care", "Sunshine Of Your Love", "12 Gates In The City", "Aiko Biae", "Do What You Lik" and more.

The music of Michael Carvin is always a revelation – a joyous, soulful outpouring of feeling that never fails to move us – and which always makes us wonder why more folks don't treasure gems like this that he made as a leader! Carvin's drum work is filled with energy from the get-go – but never in a too-showy, too-unbridled sort of way – just perfectly-balanced, perfectly-timed sense of rhythm that really seems to inspire the key players he's gathered around him. For this date, the lineup is especially nice – Claudio Roditi and Cecil Bridgewater on trumpets, Sonny Fortune on alto sax and flute, Cyrus Chestnut on piano, and David Williams on bass. John Hicks sits on on piano on one track – and the album's got some of the free-soaring spirituality that you'll find in Sonny Fortune's best work as a leader. Titles include "Morning", "Revelation", "Effi", "Thabo", "Avotcja", and "We Three Kings".

Veteran hip hop from the Hiero camp! Pep Love & Opio team up as First Light – with guest appearances by Phesto, Casual, A-Plus, Tajai, Knobody, Cold Showdda, Knowbody and Del The Funky Homosapien. Includes "Greetings" with Phesto, "Valley Of The Kings" feat Casual, "Over The Top", "Los Lobos", "Lighters" with A-Plus, Casual and Del The Funky Homosapien, "Shinin'", "Do What I Want", "Rock Raw", "Dip Dip Dive", "Make It Pop" feat Tajai, "Mission", "Libel" and more.

A stone classic from the legendary Hawkwind – a set that's steeped in all their best space rock modes of the 70s – yet which also has a wonderfully sharp sort of focus too! Keyboards, guitars, and drums soar to the skies right from the start – prefacing an intensity that so many others would later cop from the group, but never get this right – quite possibly because the simple 70s production really helps bring all the best elements right down on the money! In ways, the set almost echoes earlier psych performance and production – yet there's also a cleaner, clearer vibe going on – one that magically steps around the overindulgence of prog and the thinness of some of the later psych of the next decade. Titles include "The Demented Man", "Magnu", "Standing At The Edge", "Warriors", "Kings Of Speed", and "The Wizard Blew His Horn". CD features the bonus cut "Motorhead" – another start of a legend!

A great set from tenorist Ian Hendrickson Smith – a player you might know from his work with Sharon Jones & The Dap-Kings! Smith was in the Dap-Kings for a good part of the oughties, but has really opened up as a jazz musician too – and here, he really cooks in the wonderful setting of the Smalls Live series – hitting a tight, but openly-flowing groove that mixes together elements of 60s soul jazz with a few contemporary flavors as well! Instrumentation is almost all acoustic, save for the guitar of Al Street – and players include Marcus Parsley on trumpet, Rick Germanson on piano, Neal Miner on bass, Brian Floody on drums, and the mighty Bosco Mann on percussion! Titles include "Soweto Jam", "Love Is A Losing Game", "Our Day Will Come", "Butter Bean", and "Blues Medley".

An excellent collection of tight modern soul and funky uptempo numbers – cuts that aren't really disco, but which are smoother than the usual funk you'd hear on the Jazzman label – a really unique hybrid that's hand-picked by the mighty Fryer! Lots of the grooves here have a cool indie feel – a bit like Fantasy Records funky soul of the late 70s, and a bit like some of the more soulful club of the east coast scene at the time – and given the tightness of the instrumentation, there's often some nice jazzy touches in the mix – making some of the solos as appealing as the vocals! Most tracks here are of late 70s vintage, although there's a few bits from other years too – and titles include "People" by Elipsis", "Simple Song" by Zebra, "Life Goes On" by Freak, "Rollercoaster" by George Smallwood, "Mellow Feeling" by Barbara Lynn, "Funktown" by Nate Calhoun, "I've Got It" by Tolbert, "Party & Get On Down" by Big Apple Band, "Give Me One More Chance" by Target, "You're The One" by Kings Go Forth, "You're The Best" by Larom Baker, "What About The Child" by Gold, and "Keep Her Happy" by Phillip Wright.

They threw in an extra "wonderful" to describe the sound of Joey DeFrancesco's Hammond on this smoking little set – tighter than ever, with wickedly fluid solos, and set up in a hip trio that includes Larry Coryell on guitar and Jimmy Cobb on drums! The album's got a tight, no-nonsense approach that takes us back to some of the best Don Patterson trio dates of the 60s – with lots of those open, flowing rhythm patterns that really set fire to Don's solos – and which here, Joey uses to show that he's one of the current kings of the Hammond! Even familiar titles come out sounding mighty darn fresh in the setting – with tracks that include "Wagon Wheels", "Solitude", "Wonderful Wonderful", "JLJ Blues", "Old Folks", and "Five Spot After Dark".

The Ike & Tina Turner Revue shakes the foundation at Carnegie Hall on April Fools Day, 1971! There's a good reason for there being so many live albums by Ike & Tina – it's because they're damn great on stage – and this NYC set is a strong showcase for The Ikettes and The Kings Of Rhythm, too! The group was riding a peak wave of popularity around this time, and they cover a wide variety of songs in a set that's masterfully-paced – starting out slow and building up intensity as it goes! Titles include the Ikettes-led "Piece Of My Heart" and "Everyday People", the thunderous Tina intro "Doin' The Tina Turner", "Sweet Soul Music", "Proud Mary", "I Smell Trouble", "Ike's Tune", "I Want To Take You Higher", "I've Been Loving You Too Long", "Respect" and more.

Raw r&b, uptempo blues & hard soul from the vaults of Cobra Records – a Chicago label that really only operated from the mid-to-late 50s – but for a time rivaled Chess and helped form the seeds of some of the most incredible soul & blues for decades to come! Cobra and its subsidiary Artistic released really nice early sides by young Ike Turner, Betty Everett and Buddy Guy – plus work by comparative veterans of the time like Duke Reid and Harold Burrage – artists whose legacy would loom large in the years to come. Load of rollicking raw greatness – work that no doubt hugely helped influence loads of incredible Midwestern soul in the early 60s and onward! Titles include "This Is The End" and You Sure Can't Do" by Buddy Guy, "Roll Your Moneymaker" by Shakey Jake, "I'm Gonna Forget About You" and "You've Got To Lose" by Ike Turner's Kings Of Rhythm, "Something Else" and "The Duke Walks" by Duke Jenkins, "My Love" by Betty Everett, "Messed Up" by Harold Burrage, "I'll Just Keep Walkin'" by Lee Jackson, "Irma Lee" by Guitar Shorty and more!

Kenny Dope and Keb Darge together – an amazing team that's already resulted in some incredible records! Both Kenny and Keb are well-known for their record-hounding skills – and they've turned that energy towards the incredible Kay-Dee label – home to killer 45s both old and new, and fast becoming one of the best sources for all things deep and funky! This tasty little set brings together some of the best work unearthed by the pair – some of it in Kenny Dope edits that firmly respect the structure of the original tunes, but bring up the funkiest elements that might have been slightly buried in the original studio mix. CD features 15 titles, including "Spread Love" by Harris & Orr, "Got To Get Your Love" by Gary Davis, "Nervous Like Me" by The Dap Kings, "Tell Me" by Rickey Calloway & The Crack Mirrow Band, "Mr Hot Pants (aka Across The Track)" by The Believers, "Look At What You Can Get (Kenny Dope edit)" and "Bahama Soul Step (Kenny Dope edit)" by Funky Nassau, "I'm So In Love With You" by Wizdom, "Nervous (raw mix)" by New Mastersounds, and "Boogie With Your Baby (Kenny Dope edit)" by Willie J & Co.

A treasure trove of spiritual jazz from saxophonist Idris Ackamoor – featuring his famous 70s recordings with The Pyramids, solo material, and even some previously unissued titles! The bulk of the collection comes from The Pyramids' albums Birth Speed Merging, Lalibela, and King Of Kings – all freely creative records that build upon traditions initiated by the AACM in Chicago, and taken further groups like The Artistic Heritage Ensemble, The Human Arts Ensemble, or Oneness Of Juju. Many tracks build freely from earthy percussion, bits of vocals, and spiraling solos on saxes and flute – with a sound that's incredibly soulful and righteous – very positive and progressive, and easily some of the best work of this nature from the time! 2CD set features Pyramids tracks "The Land Of Eternal Song (part 3)", "Mohgo Naba", "Queen Of The Spirits (part 3)", "Black Man Of The Nile", "Aomawa", "The River Ganges", and "Masenko Nights" – plus "Spiritual Rebirth", "Centurian", "Topanga", "Cubana", and "Africa" by Idris Ackamoor; as well as "The Shepherd's Tune" by The Collective.

Key early work from Crown Heights Affair – the kings of the indie club scene of the mid 70s! There's a strong De-Lite funk groove firmly in place – with lots of electric keyboards, tight guitar, and harmony vocals in a very late 70s Kool & The Gang style! Titles include "Sexy Ways", "Far Out", "Music Is The World", "Love Me", and "Searching For Love". Also includes the nice funky funky "French Ways", which has some great moogy parts! CD features bonus mixes too!

The music of Otis Redding – sung by some of his hippest contemporaries, and by a whole new generation inspired by his talents! The tunes here are all numbers you'd know from Redding's famous recordings for Stax and Atlantic – yet the versions are nice and fresh – some done with a gritty down-home feel that's rougher than any of Redding's records, others done with an inventive style that pushes the music forward into new modes – possibly those that Otis might have explored on his own, had he not been taken from us so soon! The package is a great testament to the Otis Redding legacy in soul music – and is filled with a whopping 25 tracks, all of them well-chosen – including "Baby Cakes" by Maxine Brown, "Just One More Day" by Clarence Carter, "Give Away None Of My Love" by Buddy Miles, "Wholesale Love" by Arthur Conley, "Hawg For You" by Tina Britt, "Hard To Handle" by Patti Drew, "Chained & Bound" by Bettye Swann, "I'm Missing You" by Mitty Collier, "Sister Pitiful" by Judy Clay, "These Arms Of Mine" by Albert Washington & The Kings, "Monkey On My BacK" by Jackie Hairston – plus the previously unreleased "Loving By The Pound (part 2)" by Otis Redding himself!

Classic dub & rocksteady from Joe Gibbs & The Professionals and Sly & Robbie – Errol Thompson & Joe Gibbs produced dub,rocksteady and dancehall LPs – 4 classic albums in a great little 4CD box set! It starts with classic easy and dubby rocksteady of the State Of Emergency album, rolling on with the killer rhythms of Majestic Dub and African Dub Chapter 5 set, and ends with the crisp steppin' dancehall sounds of Sly & Robbie's Syncopation album. Includes 3 Joe Gibbs & The Professionals albums, including State Of Emergency from 1976 on the first disc, with "Bounty Hunter", "Wicked & Dreadful", "I Shot President", The Great Escape" and more. Majestic Dub from 1979 on the second disc, with "Ten Commandments", "Social Justice", "Kings Of Dub", "Bionic Encounter", "Martial Law", "Nations Of Dub" and "Embargo". The third disc features African Dub Chapter 5 from 1984, and titles include "The Day After", "Long Distance Affair", "Chaper Five", "Ladies Night Out" and more. The fourth disc features the Errol Thompson and Joe Gibbs produced Sly & Robbie set Syncopation from 1982, with "Syncopation", "Free Ticket To Ride", "Flirting In Space", "Flight To Nowhere" and more. Each comes in a mini replica sleeve of the original LPs.

Incredible early work from Lorez Alexandria – the kind of albums that instantly set her apart from other singers of the 50s, reissued here properly for the first time in years! On This Is Lorez, the singer is working with sublime small combo backings from the group of pianist King Fleming – an unusual Chicago ensemble that includes Wilber Wynn on guitar, Ronald Wilson on flute and oboe, Vernel Fournier on drums, and Audrey Jones on bongos – a musical lineup that brings in a different sort of sophistication to the record, shading tunes with moody colors on flute and oboe that perfectly support Alexandria's soulful and sensitive interpretations of the tunes. The whole thing is pure genius, and a key look at the new levels of sophistication that were bubbling everywhere on the Chicago scene during the years of Jamal and Sun Ra. Lorez Sings Pres follows in a very similar mode – with backing by a Chicago group that again includes King Fleming piano, plus Charles Stepney on vibes, Paul Serrano on trumpet, and Vernel Fournier on drums – an extremely hip lineup that makes the record far more than just the Lester Young tribute promised in the title! But despite the instrumentalists, the real star on all sides is Alexandria – who sings with dark tones and deep colors that go far beyond conventional jazz vocals – all carried off with that slightly breathy mode that was one more unique aspect of her work! CD features all tracks from both albums – a total of 22 titles that include "Snowstorm", "I'm Glad There Is You", "The Sky Is Crying", "I'm Making Believe", "Necessity", "Penthouse Serenade", "DB Blues", "This Year's Kisses", "Easy Living", "No Eyes Blues", "Jumping With Symphony Sid", and a key early reading of "Baltimore Oriole".

The debut album from Pier Angeli – equally known for her acting ability as well as her singing – and working here in a swinging late 50s American take on the sound of Italian pop! Pier was married to singer Vic Damone, and while his style's perhaps a bit fuller and more emotive than hers, there's a good degree of comparison – as Pier's working here to please the imagined Italy of the American audiences in the years when things settled down after World War 2 – singing in Italian throughout to a nice set of backings from Hugo & Luigi. Most of the album's in a lush, romantic mode that's in keeping with other Roulette vocal sessions of the late 50s – save for the fact that the language is Italian, not English! Titles include "Volare", "Anema E Core", "Nu Quarto E Luna", "Torero", "Arrividerci Roma", and "Suvenir D'Italie".

Sublimely satisfying work from Ashford & Simpson – a stone killer from the height of their late 70s glory days on Warner Brothers! The pair are working together wonderfully at this point – wrapped up in that blend of upbeat soul and righteous undercurrents that made them a real cut above in mainstream soul – getting great help from arrangers William Eaton, Paul Riser, and Al Gorgoni – all of whom know how to hit that perfect Ashford & Simpson balance between tightness, class, and soulful spontaneity! Backings are always filled with lots of jazzy touches, too – the kind of sophisticated soul elements other would cop from the pair in years to come – and titles include "Over & Over", "It's You", "If You're Lying", "Couldn't Get Enough", "Destiny", "So So Satisfied", and "Tried Tested & Found True". CD features 4 bonus tracks – "Over & Over (12" disco mix)", "Over & Over (Simphouse M&M mix)", "Tried Tested & Found True (12" disco mix)", and "Tried Tested & True (Simphouse M&M mix)".

A great little record that really lives up to the Wonderland in the title – as it's a really rich place for vocalist Bajka to open up and do her thing – stretching out wonderfully here, after some key previous work on singles and remix projects! Bajka's got a voice that's instantly recognizable – almost a 21st Century Billie Holiday approach – with nice raspy edges, and a mix of sadness and warmth that really goes past other contemporary singers on records like this! Backings are great too – handled with plenty of righteous jazz touches at times, thanks to work from Jerker Kluge, who you'll know as the leader and bassist in Deep Jazz. Every bit as hip as we could have hoped for – and titles include "The Hunting", "The Barrister's Dream", "The Baker's Tale", "The Vanishing", and "The Landing".

Smooth, soulful piano from David Benoit – sounding stronger than ever here in a collection of classics recorded for the GRP label! Although the setting's often a bit electric, David plays acoustic throughout – bringing in a core sense of humanity to the tracks, and often a strong sense of individuality as his leads and solos echo out from the smoother backings. The set list is overflowing with tracks – 18 numbers in all – and titles include "Houston", "I Remember Bill Evans", "Cast Your Fate To The Wind", "Saturdays", "Some Other Sunset", "Getting Ready", "Gothic Jazz Dance", "Linus & Lucy", and "Reflections".

Pretty mellow stuff from George Benson, but with some nice moments! Don Sebesky handled the arrangements for this set of larger backings – but Benson's guitar is right out front, hitting some super-dope lines at the best moments, stretching out from the warm Fender Rhodes or horn heavy backings. Highlights include "No Sooner Said Than Done", which has some very weird processing on the guitar; "Full Compass", which has some nice hard drums; and "Summer Wishes, Winter Dreams", a mellow moody track. CD also features 3 bonus tracks – the previously unreleased "From Now On", and new mixes of "Serbian Blue" and "Take The A Train".

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

One of the headiest albums from the team of Tommy Boyce & Bobby Hart – as you might guess from the image on the cover! The album continues the playful quality of previous A&M sets, but also has a deeper feel too – a bit more soul on the vocals, which really comes through on the album's few covers – and a slightly more socially-conscious approach to the lyrics too – supported by backings by a core group that features John Gallie on some especially great organ and keyboards, and great arrangements from Jimmie Haskell! The shift is great proof that these two were way more than just songwriters – and titles include "Change", "Maybe Somebody Heart", "Abracadabra", "My Baby Loves Sad Songs", "Thanks For Sunday", and "Strawberry Girl". CD features bonus mono tracks – "Six & Six", "LUV – Let Us Vote", "We're All Going To The Same Place", "PO Box 9487", and "Alice Long".

A beautiful tribute to the genius of trombonist/arranger Melba Liston – and a set that doesn't just copy her music, but really opens up a whole new spirit from its inspiration! Reedman Geof Bradfield composed all the tracks in the set, and puts things together with a spirit that's not unlike some of Melba's best arrangements for middle-sized groups – that way she had of making things tight, and rhythmically soulful – yet still allowing plenty of room for improvisation and individuality amidst the fuller picture of the tunes. Bradfield gets in plenty of great moments on tenor, soprano sax, and bass clarinet – and the rest of the group features Victor Garcia on trumpet and flugelhorn, Joel Adams on trombone, Jeff Parker on guitar, Ryan Cohan on piano, Clark Sommers on bass, and George Fludas on drums. Titles include "Central Avenue", "Dizzy Gillespie", "Detroit/Kingston", "Randy Weston", and "Homecoming" – and the set ends with vocals by Maggie Burrell on the tune "Let Me Not Lose My Dream".

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

Some of the earliest work of Jacques Brel – and some of the best as well! The collection is a massive overview of Brel's first recordings in the mid 50s – all original compositions that marked not only a new generation for songwriting in France, but a revision of the role of the male singer as well! Brel is at once sardonic and emotive – carefully balanced between up-close observation and a slight sense of distance that shows in the wit he brings to the topics of his tunes. Arrangements are often simple and stylish – shifting strongly to fit the spirit of the songs, making for a slightly un-definable quality to the overall album – but in a way that also keeps things interesting. The work was recorded between 1953 and 1956, with backings by Andre Grassi, Michel Legrand, and Andre Popp – and the CD features a whopping 34 tracks that include "La Bastille", "La Haine", "Grand Jacques", "Il Pleut", "S'Il Te Faut", "A Deux", "Les Gens", "Saint Pierre", "Quand On N'A Que L'Amour", "La Foire", "Le Troubadour", "C'Est Comme Ca", "L'Accordeon De La Vie", and "L'Ange Dechu".

As great as he is in the studio, Chico Buarque's almost even better live – especially in a setting like this, where all his personality and charm can really shine through! The set's an extremely well done recording – one that features Chico working with backings that are full, but never clunky, nor competing with his vocals in the space of the arena. And if anything, the overall sound is an extension of the warm modes that Chico laid down on his great studio album Carioca – but made even more personal through the live performance here. The double-length set is overflowing with great tunes – and is another great illustration of the increasing depth of Buarque's music in his later years. Titles include "Renata Maria", "Outros Sonhos", "Imagina", "O Futebol", "A Historia De Lily Braun", "Ela Faz Cinema", "Eu Te Amo", "Bolero Blues", "Leve", "Futuros Amantes", "Joao E Maria", and "Quem Te Viu Quem Te Ve".

Some of the greatest work we've ever heard from Dutch singer Ann Burton – rare recordings presented here for the first time ever, and arguably even better than some of the commercially-issued material she cut back in the day! There's a light, swinging style to many of these tunes we really like – especially the 60s cuts that make up the first half of the record, which feature Ann in an ebullient, highly jazzy mode that recalls Blossom Dearie and some of our other favorites of the 60s. Lyrics are in English throughout, and backings are a variety of combos – and all the original recordings are from the archives of the Netherlands Institute of Sound & Vision. Titles include "Put On A Happy Face", "Once", "The Wildest Gal In Town", "Gypsy In My Soul", "Me Myself & I", "The End Of A Love Affair", "Round About", "Humpty Dumpty Heart", and "In The Wee Small Hours".

A pair of classics from guitarist Charlie Byrd – back to back on a single CD! First up is Latin Impressions, a set that's more Brazilian than Cuban – and maybe a bit Spanish, too – given the strong use of acoustic guitar from Charlie Byrd! The set's got a laidback, open feel – and Byrd's guitar work is mighty deft, yet without all the frills and flowers of some of the more dramatic, emotive players of the time – a great illustration of the huge shift that the early bossa guitar recordings had at a global level. Byrd was one of the first big American proponents of bossa, and you can definitely hear that influence at work here – amidst additional guitar from Gene Byrd, bass from Keter Betts, and drums from Bill Reichenbach. A few tunes feature Charlie on solo guitar with no backing – and titles include "O Pato", "Homage A Villa Lobos", "Bogota", "Vals", "Samba De Uma Nota So", "Amor Flamengo", and "Azul Tiple". Bossa Nova Pelos Passaros is a landmark, as guitarist Charlie Byrd was one of the first American players to record bossa nova tunes – but although his work with Stan Getz has always been well-documented, some of the titles under his own name can be quite hard to come by. This is one of the best ones that Charlie cut on his own – and it features tight guitar work in a mode that's similar to that used by Baden Powell on his early bossa recordings, augmented by trio rhythms – plus some occasional larger backings by Walter Raim, and some extended group settings that feature Charlie Hampton on alto, Earl Swope on trombone, and Willie Rodriguez on percussion. Tracks include "Ho Ba La La", "Samba Triste", "Yvone", "O Barquinho", "Un Abraco Do Bonfa", and "O Passaro".

A seminal debut from the great Clarence Carter – proof that there was still a lot of genius to be heard in southern soul at the time! The 60s were just about over when Clarence appeared on the recording scene – and it seemed that most of the big names in soul had already grabbed most of the thrones in the kingdom. Clarence was a real comer, though – and his sweet style of southern soul was immediately popular, filling a void promptly after the death of Otis Redding, and setting a bit more fire than some of the other Atlantic male singers, who were waning a bit at the time. Of course, it certainly helps that that lil' ol' genius Rick Hall was behind Clarence's move – arranging and producing this album with some of the strongest, least cliched Muscle Shoals backings of the time. Titles include "Slip Away", "Funk Fever", "Thread The Needle", "Do What You Gotta Do", "Looking For A Fox", and "Slippin' Around".

An overstuffed package that feature 2 albums from Italian guitarist Franco Cerri! First up is Metti Una Sera Cerri, from 1973 – an unusual album that has Cerri working with larger backings, in a style that's almost a bit like soundtrack work of the time! Franco's guitar lines are clean and clear – right up front in the mix, over a range of strings, plus bits of organ, harpsichord, and flutes too – all directed by the great Nando De Luca, with a feel that's warm and sweet, but never too mellow! The guitar glides nicely over the top – making for a really light sort of groove, and a change from Cerri's straighter work of previous years – on titles that include "Miss Iva", "Bostrizione", "Toilette", "Lady Stinta", "Penelope Jane", and "Vado E Tornio". CD also features the album Merci Beaucoup – recorded more recently, in 2003 – some tracks with piano trio backing, others with Cerri's Guitar Ensemble, a more guitar-based group. Titles include "Domino", "Yardbird Suite", "Just A Gigolo", "Merci Beaucoup", and "Out Of Nowhere".

A motherlode of music from the glory days of Chairmen Of The Board – tremendous tunes from that time when the group were one of the freshest things in soul music – partly for their unique vocal approach, and partly for the bold, upbeat sound of their backings! All the work here comes from the Invictus Records years of the early 70s – and the set rolls out strongly with bold production from Holland Dozier Holland – often with a heady vibe that adds a nice degree of righteousness to the mix. The set's got over 20 tracks in all – and titles include "Skin I'm In", "Feeling Alright", "Elmo James", "Finders Keepers", "I'm A Sign Of Changing Times", "Let's Have Some Fun", "So Glad You're Mine", "Everything's Tuesday", "Chairman Of The Board", "Pay To The Piper", "Give Me Just A Little More Time", and "Working On a Building Of Love".

A landmark album of 70s soul – and perhaps the most enduring full LP by this enigmatic harmony group! The vocals of General Crook alone are more than enough to win us over – some of the most distinct lead soul singing we've ever heard, pitched perfectly with the backings of the rest of the group. But the overall package is even better – righteous arrangements that really show the new Holland-Dozier-Holland energy for the 70s – more of a punch than most of Motown a few years before, and open to some headier elements that only serve to do even more with the vocals! Titles include the group's huge hit "Give Me Just A Little More Time", a totally compelling number with a scattershot beat, and some wonderful lead vocals from the always-great General Johnson – plus, their cover of Clarence Carter's "Patches" – which was a big single for them – and the tracks "Bravo Hooray", "Since The Days Of Pigtails & Fairytales", "Come Together", "You've Got Me Dangling on a String" and "Tricked & Trapped".

Nothing cheesy about this sweet little set – a warmly soulful batch of tunes from this lesser-light of the TK Records universe in the 70s – a great group with a beautiful way of mixing compressed rock and tight soulful undercurrents! The approach has echoes of more commercial work of the time – but all the charm of a more heartfelt indie – the kind of obscure record that still holds onto an AOR vibe, yet really shows us all the best potential of that genre when it's not being pointed to strongly towards the charts! Backings have some nice jazzy inflections, and the vocals are recorded in this way that slides them right down with the grooves – on titles that include "I Got Love", "Sweet Harmony", "Man In Love", "City Life", "Time Is An Arrow", and "Lady Of The Night".

Really sweet later work from The Chi Lites – 2 classics on a single set! The sound on Heavenly Body is less Brunswick Chicago soul than before – and the group step along in warm and sophisticated backings that sparkle in the best Chi-Sound style – uptempo at some times, but sweet and mellow at others. The vocals are superb – easily adaptable to both sorts of settings, but especially great on the ballads – which really seem to benefit from the move away from some of the more cliched styles that the Chi-Lites were falling into during their last years on Brunswick. Eugene Record produced, and titles include "Love Shock", "Round & Round", "Heavenly Body", "All I Wanna Do Is Make Love To You", "Give Me A Dream", and a remake of "Have You Seen Her". Heavenly Body has the group hitting a whole new groove, but keeping things real in the vocal department! The album's got a great mix of ballads and groovers – similar to other Chi-Sound productions at the time – and the upbeat numbers follow nicely from the group's work on Mercury in the late 70s, more kicked up than their fragile ballads of the early 70s, but with great vocals nonetheless. Production is by Carl Davis with group leader Eugene Washington, and arrangements are by an old Brunswick crew who include Tom Tom and Sonny Sanders. Titles include "Whole Lot Of Good Good Lovin", "Tell Me Where It Hurts", "Me & You", "Never Speak To A Stranger", "Get Down With Me", and "Try My Side".

A great mix of modes – and a set that represents a real turning point in the career of Otis Clay! The rougher edges of Clay's Chicago soul are warmed up here substantially by producer Willie Mitchell – bubbling up some Memphis soul for Otis, in a style that's similar to some of his backings for other singers on the Hi Records label – in a style that makes for a great step forward from Clay's singles of the 60s! The shift is a big one – the sort that helped make Otis one of the standout singers of his generation – really knocking it out of the park on tracks that include "House Ain't A Home", "Slow & Easy", "Born To Be With You", "Home Is Where The Heart Is", "Pussy Footing Around", and "Too Much Mystery".

Otis Clay in a gospel setting – yet still working with all the deep soul we've come to love in his secular work! And in fact, given the style of the album, Otis is more paying tribute to gospel's influence on soul instead of serving up a straight gospel session – really recalling the mix of modes that were strongest in the early days of soul music – captured beautifully here by Clay's southern-styled vocals. Backings are relatively light, and have less of the bluesy tones of some of Otis' other recent recordings – and the set also features guest appearances from Carla Thomas, and Arthur and Leroy Crume. Titles include a great remake of "Walk A Mile In My Shoes" – plus "God Is Standing By", "His Love", "Heaven Is My Home", "Love's In Need Of Love Today", "If I Could Reach Out & Help", and a great "Soul Stirrers Medley".

Groovy girl pop from late 60s France – a treasure trove of under-discovered numbers from the lovely Clothilde! Clothilde's from the same vintage as France Gall and Francoise Hardy – but she's got a style that's a bit sweeter vocally, yet still set to the mod-styled backings that really make 60s French pop so great! Tunes are plenty groovy, with a few trippy touches from time to time – and most numbers have a bouncy groove that really keeps things interesting – especially when odd instrumentation creeps into the mix – like bits of musical saw, oddball percussion, and bells and whistles! Titles include "Fallait Pas Ecraser Lau Queue Du Chat", "La Chanson Bete Et Mechante", "Le Boa", " "Saperlipopette", "102-103", "La Ballade Du Bossu", "A Ora Sos'e", and "Qualcosa Che Non Va".

Two rare European records from Freddy Cole – best known to most of us in the US as a jazz singer! One More Love Song is surprisingly soulful set from Freddy – quite different than some of the straighter jazz vocals he's cut over the years! This rare gem was recorded in The Netherlands in the mid 70s – and features backings from Jerry Van Rooyen and Tony Noite, both of whom mix jazzy inflections with fuller orchestrations – helping to bring Cole's rich background into a whole new light! Freddy's voice still has that wonderful trademark rasp – familiar to, yet quite different than brother Nat – and the use of some smoother soul modes makes for a really great contrast. Titles include "One More Love Song", "I Loved You", "I Need You So", "Still Wanna Be With You", "Isn't She Lovely", and "Here Is Where Your Love Belongs". Right From The Heart has Freddy Cole taking on a mix of adult ballads and some groovier numbers – set to arrangements by John Gally, Hennie Bekker, and Steve Gray – and recorded in London with a nicely mature feel. There's a bit of polish to the production, especially on the more upbeat cuts – but the mellower numbers still have Cole singing in a great old school mode. Titles include "The Girl From The Piano Bar", "To Be With You", "Teach Me Tonight", "Summer Love", "Somewhere Down The Line", and "Right From The Start".

The killer first album from Don Covay – working here with his classic Goodtimers combo in a nicely gritty groove! The record really stands out from other Atlantic soul of the time – as Covay keeps things tight, and fresh – providing most of the tunes himself, and working in a style that has echoes of southern soul, but which comes off with a bit more of an east coast sort of groove! Lots of tracks are upbeat, party soul type numbers – and the backings by the Goodtimers are totally great – just the sort of rollicking backdrops you'd expect to hear Don singing with on any of his well-traveled live dates of the time. Titles include the hit "Mercy Mercy" – plus "Daddy Loves Baby", "Take This Hurt Off Me", "I'll Be Satisfied", "Can't Stay Away", and "Come On In".

An overlooked gem from 80s Brazil – a rare bit of indie samba work from Luiz Carlos Da Vila – and a record that's definitely a cut above the usual material in the genre! There's a wonderfully rich sound to the record right from the start – soulful vocals from Luiz Carlos, and some rootsy percussion – but also these warmer backings that almost have jazzy changes at times – of the sort that you might get if Joao Donato ever arranged a samba record. The original was issued on the small Arca label – so has escaped the attention of global ears for years – but the set's a record well worth seeking out. Titles include "Morro Molhado", "Diamante", "Das Origens", "Bracos De La", "Notavel Amiga", "A Flor Da Esperanca", and "Tudo Se Ilumina".

Killer work from Betty Davis – one of the most impressive female funk talents ever! If you ever needed a definition of funk, this record may well be it – snapping drums, sharp-edged guitars, and sex-filled basslines that slink and slide all over the bottom of the grooves – a perfect setting for Betty's incredible vocals – which themselves have a smokey, raspy quality that's completely unique! At times, Davis is almost speaking, but at others she's practically screaming – belting out the lyrics in a way that makes you feel like you're sharing some space with her at the end of the bar as she gets more and more wound up about issues and people who are on her mind. And as if the vocals weren't enough, the backings are incredible too – filled with drum breaks and basslines that few other albums can match – all wrapped around badass tunes that include "Shoo-B-Doop & Cop Him", "He Was A Big Freak", "70's Blues", "Git In There", "Special People", "Don't Call Her No Tramp", and "Your Mama Wants Ya Back". Expanded CD features new remastering, a deluxe 32 page booklet, and 4 previously unreleased bonus tracks that include Record Plant rough mixes of "70s Blues", "Git In There", "He Was A Big Freak", and "Don't Call Her No Tramp".

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

A beautiful collaboration between Miles Davis and the great Gil Evans – and perhaps the most perfectly realized of all their projects! The album's got a wonderfully unified feel – as it begins with long compositions that have a distinct Spanish-tinge (and not a Latin-tinge, which is an important distinction to the way the album progresses.) Evans' arrangements have a majesty that takes the songs to the next level – working them as lush, lively backings for Davis' equally majestic trumpet solos, some of the finest he ever recorded with large group backing. Wonderful all the way through – and with the tracks "Concierto De Aranjuez", "Saeta", "The Pan Piper", and "Solea". In a special box, with the full CD – and a limited edition t-shirt by The Thread Shop!

The only album we've ever seen from Gilson De Souza – and a great bit of 70s samba with a really deep sort of feel! Gilson's got a laidback way of singing that's mighty nice – still enough punch to get things going, but couched in these really lovely backings that often have some floating flute above acoustic guitar and percussion – in ways that bring in a touch of 60s Elenco, but with a definite samba direction! Arrangements are by Wilson Mauro – who's clearly a key force in the sound of the set – and titles include "So Deus Sabe", "Eh Tata Eh", "Dor De Poeta", "Se O Amor For Coisa Certa", "Gaviao Calcudo", and "Noite Vadia". CD also features 4 bonus tracks from singles – "Preto E Branco", "Meu Violao", "Oi", and "Consequencias".

2 great later gems from The Dells – both essential sides of their later catalog! I Touched A Dream is an especially tremendous record – a bit smoother than before, but still much more daring vocally than most other harmony groups at the time, cutting through some smoother arrangements with a sublime approach to the material that's all-soul all the way! Arrangements are sometimes bit uptempo and modern, but they're still in a strong Chicago groove – with backings by Tom Tom 84 and Sonny Sanders – and production by Carl Davis and Eugene Record, making for a late 70s update of the classic Brunswick soul approach! Titles include "Look At Us Now", "All About The Paper", "So You Are Love", "Passionate Breezes", and "I Touched A Dream". Whatever Turns You On is another later winner from The Dells – a record that has the group mixing uptempo grooves and sublime mellow numbers – all of which are sung with heartbreaking vocals that show the group as still one of the best in soul music – even after more than 20 years on record! Arrangements are by Tom Tom 84 and Sonny Sanders, and production by Carl Davis and Eugene Record – all key factors in the success of the album, thanks to a long local history with the Chicago soul legends – and a respect that's very clear in their handling of the sound on this set. Titles include "Happy Song", "It Took A Woman Like You", "Whatever Turns You On", "Ain't It A Shame", "Stay In My Corner", "is It It", and "Heaven's Just Step Away".

Early bossa magic from Deodato – cut years before his electric fusion albums in the 70s! This little gem shows Deodato to be quite the arranger – working in a small combo mode that mixes percussion, guitars, and horns with his own sweet piano and organ licks – grooving in a gentler, sparer sort of way than on his albums with the Os Catedraticos ensemble – and going for a really warm and wonderful sound! The album's got a feel that's different than a lot of other bossa albums from the time – at one level, a bit more sophisticated on the rhythms, but at another level, done with a style that's cleaner and more down to earth than the larger backings on other Brazilian sides. Tracks include "Samblues", "Nuvens", "Encanto Triste", "So Tinha De Ser Come Voce", and "Deus Brasileiro".

Classic grooves of Wilson Simonal – redone here as jazzy instrumentals by Zeca Do Trombone! The trombone-heavy approach is mighty nice – and almost feels like the sort of tribute you might hear by Raul De Souza – served up with plenty of the lead instrument stepping out in soul, yet lots of sweet Brazilian rhythms to really infuse the tracks and give them a mighty nice bite! Zeca pays special attention to Wilson's big years of the late 60s – and the music is balanced between modern reworkings with some contemporary touches, and a few tunes that take an older approach. Titles include "Balanco Zona Sul", "Lobo Bobo", "Sa Marina", "Que Maravilha", "Nem Vem Que Nao Tem", "Zazueira", and "Manganga".

Denise Donatelli gets some great backings here from Geoff Keezer – mostly in a straight jazz mode, but sometimes in a fuller style that really opens her up! Donatelli's got a sound that's rooted in jazz, but more expressive than most – and Keezer really sets her up nicely for the record – shifting the instrumentation a bit from track to track, and showcasing her strength both on ballads and more upbeat numbers. Titles include "Soul Shadows", "Another Day", "Ange", "Too Late Now", "Postcards & Messages", and "No Better".

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

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".

2 early 70s sessions from Billy Eckstine – both recorded for Stax Records! First up is Senior Soul – a well-titled set not only given Billy's age, but also because of the surprisingly soulful undercurrent to the record – an extension into the genre even greater than Eckstine's previous recordings for Motown – and proof that he was really trying to stretch out towards new audiences at the time! Artie Butler handled the backings, and he uses a groove that's pretty full, but never overwhelming – more ebullient soul than some of Eckstine's more familiar jazz – with backing vocals and bright horns, yet still plenty of space for Billy to do his thing. The best numbers have Eckstine coming across with the 70s cool of Grady Tate on his vocal sides – and titles include "Thank You For The Moment", "A Song For You", "A Man Who Sings", "Today Was Tomorrow Yesterday", "I Believe In Music", and "Living Like A Gypsy". If She Walked Into My Life is extremely compelling stuff – and you've really got to give Billy credit for reinventing himself like this! The album features Billy's deep deep voice amidst arrangements by Artie Butler, Jimmy Jones, Mike Melvoin, and Billy Byers – sort of a blend of Grady Tate sophisti-jazz, and Scott Walker baroque, with a moody mellow sound that would make either of them proud. Titles include "The Taste Of My Tears", "I Am Yours", "Maybe This Time", "The Very Thought Of You", and "All In Love Is Fair".

One of the more unusual albums we've ever heard from Japanese vocalist Chiemi Eri – a set done in collaboration with the famous Delta Rhythm Boys quintet from the US – pictured here on the cover in unusual Japanese outfits! Backings are by the large group of Nobuo Hara, who really knows how to make the proceedings swing – and the set begins with Chiemi alone, first in a medley of tunes that includes "A Guy Is A Guy" and "C'Est Si Bon", then on a haunting version of "Sanosa" – a Japanese geisha song with a really soulful quality. Then, the Delta Rhythm Boys come in – and do this really cool job of harmonizing along with Chiemi's vocals – on titles that include "Marina", "Soran Bushi", and "It's Only A Paper Moon" – before Eri then cuts them loose, to sing on their own on tracks that include "Mack The Knife", "Historia De Un Amor", and "Alright OK You Win" – all surprisingly swinging, thanks to Hara!

Plenty of crazy rhythms here – as singers Chiemi Eri and Carl Jones are joined by Japanese jazzmen who include Nobuo Hara & His Sharps & Flats, saxophonists Sadao Watanabe and Sleepy Matsumoto, guitarist Shungo Sawada, and the Hideo Shiraki Quintet! The backings on all tracks are superb – and elevate the already-great team of Eri and Jones to a wonderful new level – one that easily matches some of the hippest vocal jazz sessions cut in the US during the same period, especially some of the more inventive albums on the soul jazz side of the spectrum. Titles include "The Big Twister", "My Funny Valentine", "Just Squeeze Me", "Love Is Here To Stay", "I Get A Kick Out Of You", and "Midnight Sun Will Never Set".

Prepare yourself to discover a funky jazz genius! We don't know much about Bernard except that he was French – but this CD's a stunner, and is filled with the kind of funky little gems that we always try to find on European jazz and studio library albums. There's lots of late 60s mod touches – like organ, electric piano, and even a bit of electric harpsichord – and the record kind of sounds like funky French backings for a pop record from the same time. Titles include "Le Pain, Le Vin", "De Temps En Temps", "Autoscopie", "Cha Tatch Ka", "Monsieur Detour", "Bave A Roi", and "Meut's Boogie".

Sweet 70s grooving from Brazilian singer Eva – a bit of soul, a bit of easy, all styled together nicely by orchestrations from the magical maestro Gaya! Gaya's work here is similar to his best backings for other artists in the Blue Brazil generation – a mix of American pop, post-bossa instrumentation, and in this case, some very slight electric touches – kind of hipping up the tunes a bit with some nice keyboards! The album's got a really nice version of "Moon River" that skips along at a nice pace – plus some great originals that offer a strong update to the sound of other Brazilian pop/post-bossa singers, like Doris Monteiro or Claudette Soares. Titles include "O Homem Do Tempo", "Vinte Leguas", "Na Baixa Do Sapateiro", "Olha Eu Aqui Oh Oh Oh", "Talisma", and Sonho Lindo".

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)".

Incredible work by The Exciters – material we totally love to death, most of which is a lot harder-hitting than the group's earlier hits in the 60s! The package pulls together their post-UA recordings for the Bang, Shout, and RCA labels – the first to of which are represented by singles, the last by a full LP and some great extra material from 45s – all of which is really incredible stuff that moves way past any pop soul expectations you may have! Production is by Bert Berns on the non-RCA material, and Larry Banks on the RCA sides – and both producers bring an incredibly hip sound to the recordings, mixing the unique deep soul lead of Brenda Reid with some very groovy backings – arranged by Artie Butler, George Patterson, and Teacho Wiltshire, all of whom bring something unique to the mix. The force of these sides is amazing – almost a revolution in female soul, captured in the history of one group – and the booklet features very full notes on the girls, culled from interviews, and telling the story of their legendary years in the 60s. CD contains all of the legendary Caviar & Chitlins LP, plus lots of singles – 21 tracks that include "Take One Step I'll Take Two", "Soul Motion", "Number One", "A Little Bit Of Soap", "Number One", "You Don't Know What You're Missing", "Blowing Up My Mind", "Movin Too Slow", "Turn Me On", "A Year Ago", "You Got Me", "Always", "Fight That Feelin", "Give It All", and "Weddings Make Me Cry".

An incredible concept album from the end of the 60s – the only set we've ever seen by The Family Tree, but a record of baroque brilliance that sits beautifully with some of the best of its generation! The session was recorded at the same time as Nilsson's classic Aerial Ballet – with the same arranger, producer, studio, and session musicians – and it's got a similarly spacious feel that goes way beyond conventional pop. George Tipton's backings are simply breathtaking – a majestic filling out of the group's initial ideas for the record, blending core Sunshine Pop tunes with strings, horns, piano lines, and more – all produced to perfection. Titles include "Birthday/Dirgeday", "Sideshow", "Any Other Baby", "Simple Life", "Slippin Thru My Fingers", "Lesson Book Life", "Nine To Three", "Miss Butters", and "The Underture". CD also features the bonus tracks "Keepin A Secret", "Do You Have The Time", "She Had To Fly", and "He Spins Around".

An overlooked gem from the glory days of the west coast surf scene – the standout set from The Fantastic Baggys, a group who are also known for their backup work with Jan & Dean! There's a very Jan & Dean vibe going on here – right down to the backings from Hal Blaine and the Wrecking Crew – but the overall sound's a bit looser, too – a bit less iconic, and almost a bit less perfect – in ways that make for a lot of charm as the album rolls along! The set's almost worth it alone for the track "This Little Woody" – and other titles include "Big Gun Board", "Alone On The Beach", "Surfer Boy's Dream Come True", "When Surfers Rule", and "Wax Up Your Board".

Incredible stuff – a never-issued funky soul record from the 70s – but one that you'll proudly stack next to your rare classics from Ramp, 24-Carat Black, and James Mason! Like work by all three of those acts, this early set by Father's Children is massive righteous – filled with deep soul and strong social messages, while also coming across with a hell of a groove, too – thanks to some wickedly funky backings, and production that keeps the whole thing burning along beautifully! The set is amazing – quite different than the later Mercury Records album by the band – and more like the kind of record you'd expect to hear from Curtom or early 70s Stax – a perfect choice for the folks at Numero to bring to light after all these years – and another reason why their efforts are always worth checking out. As usual for the label, there's a full set of notes and photos that tell the story of the group and this lost treasure – but even if it came out with no artwork at all, the music would still have us raving – as you'll hear on cuts that include "Universal Train", "Everybody's Got A Problem", "Linda", "Dirt & Grime", "Who's Gonna Save The World", and "Kohoutek".

A holy grail of funky music – and a rare gem from the DC scene of the 70s! Keyboardist Hilton Felton cut this wicked killer for his own tiny label – Hilton's Concept – and it's a very unique blend of jazz and funk modes, done with help from members of The Blackbyrds and Three Pieces! Felton plays Fender Rhodes, vibes, organ, and even some percussion on the record – grooving in this stretched-out, easygoing way that's unlike anyone else we can think of – often with fuller backings that might be at home on a soundtrack, but which have a much more open flow overall. Most tracks are nice and long, with plenty of sweet electric solo space – and titles include the classic "Bee Bop Boogie", a 9 minute groover with a monster break on the intro – plus "The Light Of Mankind", "Man For All Reasons", "Tell Her Love Has Felt The Need", "Love's Losers", and "Blues For a Weary Man".

A soul set from Spain – a really sweet debut from Veronica Ferreiro, a singer with depth to rival the best of the American underground! There's a surprisingly non-commercial feel to the music – nicely laidback production, and strong traces of jazz that really make the backings sparkle – and match the great range that Veronica brings to her music – making for a blend that's a lot like some of our favorite Neo Soul albums from the early years of the genre in the US! Lyrics are partly Spanish, partly English – and on the latter, Ferreiro comes across with a sensitive quality that could well have her reaching a wider audience over the next few years. Titles include "Floating Lovers", "Non Quero Crer", "Riverside", "Laio", and "Please Don't Fall In Love".

One of the best records ever cut by this soulful Philly female trio! The album's one of the first on Salsoul's Gold Mind subsidiary – and it features sparkling club production by the Harris/Baker/Young team – a landmark force not only in Philly disco, but 70s female soul as well – as their backings for groups of this nature are always sensitive to the complexities of the vocals! The record's mostly uptempo – with plenty of soaring tracks that still retain the more soulful sound of the group's early work – and the songwriting's generally tight, a few notches above earlier albums on Warner – showing that their return to the indie fold was a very good move. Titles include the classic "Let No Man Put Asunder" – plus "Doctor Love", "Indian Giver", "Do Me Again", and a great version of Stevie Wonder's "Love Having You Around". CD features lots of bonus tracks – including "Doctor Love (single)", "Love Having You Around (single)", "Indian Giver (single)", "Doctor Love (12" Tom Moulton mix)", "Let No Man Put Asunder (12" Shep Pettibon mix)", and "Let No Man Put Asunder (12" Frankie Knuckles mix)".

A beautifully trippy album from the Danish scene of the late 60s – one that's as playful and psychedelic as you might guess from the cover! The tunes are all originals, and all sung in English – and have this great mix of jangle-pop and pop-psych elements that's totally great – clearly inspired by The Beatles in the post-Rubber Soul years, but also coming across with a more personal sort of charm as well – with styles that echo some of the best Hollies material of the period. Some tunes have great baroque backings, others are nice and stripped-down – and the whole thing's the sort of heavy winner that would have made much bigger waves had it gotten issued here in the US. Titles include "Hey Mr Flowerman", "Trusting Mr Jones", "In Every Hand", "Mrs O'Grady", "Nevertheless", "Little Mr So & So", and 'Hush". CD features two bonus tracks from singles – "You Ain't Going Nowhere" and "Open The Door Homer".

A definite delight from Ronnie Foster – a post-Blue Note set that actually has the keyboardist sounding better than ever! Ronnie's always been one of those guys who seems to work best when moving against a bit of structure – and here, that force is provided by the excellent Jerry Peters – who's come up with some great soul backings that also have these nicely offbeat corners – more than enough to preserve some of the quirkiness of Foster's work from previous years – yet also giving him a bit more direction too! There's a bit of vocals on the set – mostly from Ronnie – with backing from Phyllis Hyman, Jim Gilstrap, and Peters himself. Titles include "Argentina", "We As Love", "Let Me In Your Life", "I've Got Your Love", and "When Will I Write You A Song?". This CD version also includes the bonus "You're The One (US 7" Single)".

One of Aretha's undisputed classics – a seminal session that furthered her deep soul agenda with key backings from Arif Mardin and Tom Dowd! The Sweet Inspirations provide sublime backing vocals behind Franklin's maturing delivery of the lyrics – and the music is by an all-star group of players that includes Spooner Oldham, Bobby Womack, Jimmy Johnson, King Curtis, Tommy Cogbill, Roger Hawkins, and even Eric Clapton! Cuts include "You Make Me Feel Like A Natural Woman", "Chain Of Fools", "Money Won't Change You", "Come Back Baby", and "Ain't No Way". CD includes 4 bonus tracks "Chain of Fools (unedited version)", "(You Make Me Feel Like) A Natural Woman (mono single version)", "Since You've Never Been Gone (Sweet Sweet Baby) (mono single version)", and "Ain't No Way (mono single version)"!

No baby pop here, as France Gall is all-woman throughout – one of the best of the French female pop singers of the mid 60s, working here with an upbeat, groovy sound throughout! Backings are by the great Alain Gouraguer, who gives the record a tightly jerking kind of feel – a sound that's the Paris contribution to the same sort of mod grooves that were coming out of the London scene at the time. The album's filled with classics by Gall, all sung in a sweet voice that's a great contrast to the music – wonderful stuff throughout, with titles that include "Baby Pop", "Cet Air La", "L'Amerique", "Mon Bateau De Nuit", and "Deux Oiseaux".

A great little album from vocalist Dana Gillespie – one that's done in a style that's much sweeter than some of her later work, and which features superb arrangements by the great Mike Vickers! Vickers really has an ear for a record like this – and mixes bits of folk with more pop/baroque backings that turn the tunes on nice little corners that bring out the sweetest side of Dana's young voice at the time. The style is kind of a mix of mainstream mid 60s female Brit pop with some of the trippier touches of the American post-folk singers of the period – not exactly sunshiney, but definitely in the same camp. Titles include "Foolish Seasons", "Can't You See I'm Dreaming", "No No No", "He Loves Me He Loves Me Not", "You Just Gotta Know My Mind", "Tears In My Eyes", "Life Is Short", and "Souvenirs Of Stefan".

A very groovy record with a very fitting title – especially once you hear the lyrics of the tunes! The Girls From Bahia are actually the Quarteto Em Cy – one of the best harmony groups of the bossa era, and famous for classic recordings on the Elenco label – but working here in a rare American context that has them singing in English with heavily accented voices! The overall setting's quite similar to their Brazilian classics – gentle bossa backings arranged by Oscar Castro Neves, who brings an airy feel to the set – and it's great to hear the girls singing here in English, in ways that link back to the older harmony groups that clearly inspired them. The whole thing's incredibly charming, and titles include "Surfing In Rio", "Tup A Tup", "The Face I Love", "Canto De Ossanha", "Image", "Useless Landscape", "Tears", "Voce", and "Pardon My English". CD also features the bonus tracks "Berimbau", "I Live To Love", and "Amaralina Beach".

An overlooked gem from the equally-overlooked Clay Hammond – a sweet 70s groover that offers up a great mix of modern and deep soul modes! Clay's vocals are still every bit as great as on some of his earlier soul singles, but the arrangements push things into tighter territory that's mighty nice – a lot like some of the later Hi Records work from Al Green – or even better, like that great sound that Otis Clay hit at the end of the 70s! Like Otis Clay's best records from the time, Clay's vocals stay nice and real – wrapped up in a sweet mix of blues and soul – and although the backings often hit a warmer midtempo groove, they're never overdone or commercial at all – just a maturation of southern soul modes – in ways that kind of point towards the later Malaco scene, while avoiding any of its cliches. Titles include "Tuning Up", "Rap On Wood", "Don't Stop Your Love", "Come Into These Arms Of Love", "Part Time Love", "Love Won't Let Me Stay Away From You", and "Women Are Human".

Two early gems from this fab French singer! First up is the self-titled Francoise Hardy album from 1962 – a seminal debut from the young Hardy, and a record that set the tone for a whole generation of French music to come! The album's a remarkable achievement – especially considering that Francoise was 18 at the time – filled with original tunes that have a really fresh presentation – not just in the lyrics, but in the overall presentation – which was a huge change from the overly emotive modes of the generation before. Hardy plays a fair bit of acoustic guitar along with her vocals – furthering the groovy feel of the set – and backings are by the orchestra of Roger Samyn, who adds in some slight rockish touches. Titles include "On Se Plait", "Oh Oh Cheri", "Ca A Rate", "Tous Les Garcons Et Les Filles", "La Fille Avec Toi", and "J'Suis D'Accord". Canta Per Voi In Italiano has Hardy changing up her lyrics entirely – using Italian instead of French, in a way that was not uncommon for other European singers of her time! The vibe is similar to her French work of the time – a beautiful blend of dreamy female vocals and some slight rockish touches – the latter of which are always underplayed, so as to keep the youthful quality of Hardy in the lead. Titles include "Ci Sto", "Per Tanto Tempo", "Io Vorrei", "E Alla'Amore Che Penso", and "L'Eta Dell'Amore".

Rare English language recordings from the sublime Francoise Hardy – music that's every bit as wonderful as her famous French recordings – and even more compelling to our Anglo-styled ears! The vocals are wonderful – sung with this sense of darkness that's almost got an echo of Nico at points, given the accent – set to backings that balance this darkness with a bit more light, but never in ways that are overly poppy – and which definitely continue that more sophisticated style that Hardy always brought to her music! There's less "yeh yeh" to the tracks than a few years before – and Francoise is definitely digging deeper music at this point in her career – sometimes with a breathy brilliance that's a bit like Jane Birkin too. Titles include "Bown Bown Bown", "Till The Morning Comes", "Loving You", "In The Sky", "Midnight Blues", "Magic Horse", "Song Of Winter", "Strange Shadows", "Ocean", "The Garden Of Jane Delawney", "Sometimes", "Let My Name Be Sorrow", "Times Passing By", "I Just Want To Be Alone", and "Suzanne".

Overlooked gems from this key reedman on the Brit modern scene of the 60s – two rare albums in a single package! First up is Movement – one of the most obscure albums recorded by Joe Harriott – leading light of the British avant scene in the 60s – and one of the best, too! The album features Harriott working with a quintet that includes Shake Keane on trumpet, Pat Smythe on piano, Bobby Orr on drums, and Coleridge Goode on bass – playing in territory that's somewhat in the neighborhood of his Abstract and Free Form albums, but also a bit more inside, with more of a focus on swinging, hard-hitting jazz. The rhythms are often quite tight and soulful, and although the album's touched with lots of angular moments – both in the solos and backings – the overall sound is wonderfully grooving and tremendously captivating! The album's got that perfect blend of modern, modal, and soul that make the best Brit jazz albums from the mid 60s so wonderful – and the set list includes original tunes such as "Movement", "Spaces", "Blues On Blues", "Revival", "Beams", and "Count Twelve". High Spirits is pretty unique – a set of takes on tunes that come from a musical show, but recast strongly as soulful sides for the Harriott combo! Pianist Pat Smythe re-arranged all tracks in the set – and really gives them a new sort of energy – opening them up for lots of solo work on his own piano, plus alto from Harriott, and some beautiful trumpet lines from the great Shake Keane – a player who always sounds great next to Joe. The rest of the group features Coleridge Goode on bass and Bobby Orr on drums – and titles include "Home Sweet Heaven", "Something Tells Me", "Go Into Your Trance", "I Know Your Heart", and "Was She Prettier Than I".

Funky, soulful, and completely sublime work from keyboardist Gene Harris – working here with some great help from Jerry Peters on arrangement and production – in a style that makes the album one of Harris' most compelling sets of the 70s! The backings are full, but tight too – and in addition to Gene's own sweet work on keyboards, the set's also got some massive drums from Harvey Mason and James Gadson – both of whom really help things crackle at the bottom! Other instrumental highlights include more keyboards from Jerry Peters, tenor from Azar Lawrence, and trombone from George Bohannon – plus guitar from Lee Ritenour too. There's a bit of vocals on the set – mostly a soul chorus sort of mode that works perfect with Peters' groovy arrangements – and titles include "Love For Sale", "Theme For Relana", "Rebop", "Zulu", and "Soft Cycles".

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.

Two Verve albums from Johnny Hodges – both relatively obscure, and both pretty darn great! The Eleventh Hour is an overlooked gem from Johnny Hodges – a 60s session that hearkens back to the "with strings" Verve mode of the 50s – but one that also updates the approach strongly, thanks to some well crafted arrangements by Oliver Nelson! Nelson's work in the jazz backings for soloist mode during the 60s was some of the best of the big band genre – and although his work here is much more in the mellow tone mode than his backings for players like Jimmy Smith and Lou Donaldson, Hodges is still getting top shelf treatment, some really wonderful washes of sound and color that show that his tone is still very much alive! A nice preface to the pair's classic set for Flying Dutchman – and with tracks that include "Something to Live For", "Don't Blame Me", "Warm Valley", "The Eleventh Hour", "Guitar Amour", and "You Blew Out The Flame In My Heart". Sandy's Gone is a set that has the sweet alto sax of Johnny Hodges working with great arrangements from Claus Ogerman – a mode that's a bit more groovy and 60s than some of Johnny's previous work – in a setting that offers up a nice change for his sound! Claus is in fine form here – swinging with the same style as his own instrumental records for RCA in the 60s – echoes of his German roots, especially in the use of bass at the bottom – which gives even some of the gentler tunes a nice kick we're not used to hearing in Johnny Hodges material. Johnny's got a sound that's soulful, yet sweet too – almost pop, but still very strongly rooted in jazz – on titles that include "Again", "Sandy's Gone", "Monkey Shack", "Scarlett O'Hara", "Candy's Theme", and "Follow Me".

Funky funky Groove Holmes – one of his tightest albums ever! The set's a monumental batch of organ jazz groovers – recorded with some larger backings from Manny Albam, and a super-dope, super-funk sort of 70s feel that's really outta site! The tracks are lean and very rhythmically oriented – all instruments grooving very strictly on the beat, except for Groove's wailing Hammond – which takes off over the top in some fierce musical flights! Bernard Purdie chops up some wicked drums on the set, and titles include "Red Onion", "Meditation", "Good Vibrations", "Chu Chu", and the solid groover "You've Got it Bad".

Tremendous sounds from Honey Cone – easily one of the most hard-hitting girl groups in soul music – thanks to some funky funky backings on these early 70s tracks! The trio work in a mode that was first forged by female soul groups in the 60s – yet really push things forward with a righteous groove that totally kicks ass – lots of funk at the bottom, burning soul at the core, and soaring vocals that really take off wonderfully throughout! And while there's been plenty of collections of Honey Cone work over the years, this one may well be the best – thanks to a massive 22 track set list, and a really well-chosen batch of tracks that includes "When Will It End", "Want Ads (long version)", "While You're Out Looking For Sugar", "Take Me With You", "If I Can't Fly", "Stay In My Corner", "Woman Can't Live By Bread Alone", "Innocent Til Proven Guilty", "Sitting On A Time Bomb", "Who's It Gonna Be", "Stick Up", and "The Feeling's Gone".

Two excellent early albums from Shirley Horn – back to back on a single CD! Travelin Light is one of the greatest jazz vocal albums of the 60s, and probably the greatest album ever by Shirley Horn! The session's got a beautiful lively sound, with extremely interesting arrangements by Johnny Pate, and a flute/piano/guitar sound that works perfectly with Shirley's lovely voice. The material is a great mix of lesser-known songs, sung with a maturity and honesty that will make your heart break. We love this one way better than any of Shirley's recent albums, and we can't recommend it highly enough! Titles include "Sunday In New York", "Yes, I Know When I've Had It", "Someone You've Loved", "I Could Have Told You", "Travelin Light", and "Don't Be On The Outside". Horn Of Plenty is hip stuff from Shirley Horn – very mature and swinging jazz! The set features the sharp early vocals of Shirley Horn nicely set up with some larger backings – hip arrangements handled by Quincy Jones, Thad Jones, and Billy Byers – with all the groovy 60s punch you can imagine from a lineup like that! And although Horn later became well known for some gentler, mellower cuts, we're huge fans of her singing like this – which has a righteous power that really tops some of the vocalists from the previous generation. Titles include "Wee Small Hours", "That Old Black Magic", "The Great City", "On The Street Where You Live", and "Let Me Love You".

Thelma Houston's first album for Motown – and the start of a tremendous run of music in the 70s! The set's a great mix of modes – with vocals from Thelma that definitely show her roots in gospel – and rich, mature backings that give Houston the same sort of star treatment that Diana Ross would get during her early solo years – or which Dionne Warwick was getting over at Warner! Like the latter, Thelma's got a great way of being smooth, yet still keeping it real – and the set sparkles with warm soulful backings by Artie Butler, Gene Page, and Michael O'Martian. Tracks include "What If", "Black California", "Blackberries", "And I Never Did", "And I Thought You Loved Me", "There Is A God", and "I'm Letting Go". CD features an insane amount of bonus tracks – 9 more numbers from singles and non-LP tracks – with titles that include "Nothing Left To Give", "I Ain't Going Nowhere", "No One's Gonna Be A Fool Forever", "Pick Of The Week", "I Want To Go Back There Again", and "I'm Just A Part Of Yesterday".

Funky blues work from Howlin Wolf – his key entry into the funked-up genre that Chess Records was cutting at the end of the 60s with other blues artists like Etta James, Bo Diddley, and Muddy Waters! As on records with those artists, Wolf's older modes are updated here for a hipper, younger audience – backed up with a bouncing batch of electrified backings arranged by Sonny Thompson, and conducted by Thompson and Cash McCall, the latter of whom is most likely playing a bit of guitar here. Tracks are a bit longer than usual, and filled with plenty of heavy guitar bits next to the vocals – and titles include "I Smell A Rat", "Miss James", "If I Were A Bird", "She's Lookin Good", "Turn Me On", and "Message To The Young".