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Neither country, nor disco – despite what the cover might make you think – and instead a wonderful batch of southern soul that's even rootsier than most of the work from the 70s on the TK label! The album was actually recorded in Chicago with arrangements by Gene Barge – who used to do some pretty great work for Chess – and has a sound that's laidback and mellow, but often in ways that are very different than other Windy City soul of the 70s. In a way, the shift follows that great migratory pattern from the south up to Chi-town at the time – where Lee's groove was always popular in the clubs – and by that, we mean the smaller neighborhood joints, and hardly ever a disco at all! Titles include "We're Gonna Make It", "Me & My Woman", "I'm Willing", "The Love You Saved", and "I Think It's You".

The first great, label-spanning compilation of great 50s & 60s tracks by a variety of artists with some little in common in some cases, but share at least one unbreakable bond – they recorded these tracks with the incredible James Burton on guitar! It's got fiery, pivotal rockabilly Dale Hawkins and Bob Luman, pop takeover numbers by Ricky Nelson, rustic charisma from Lee Hazlewood, benchmark honky tonk from Merle Haggard, harmony country rock from Buffalo Springfield and much more – including numbers credited to James Burton himself and with Ralph Mooney. Includes "Susie-Q" by Dale Hawkins, "Red Hot" by Bob Luman, "Cannonball Rag" by James Burton, "Blood From A Stone" by Ricky Nelson, "A Child's Claim To Fame" by Buffalo Springfield, "Swamp Surfer" by Jimmy Dobro, "Someday, Someday" by The Shindogs, "Just For A While" by Carol Williams, "Tryin' To Be Someone" by David & Lee and more.

Smoking soul from the mighty Lee Fields – and a set that really has him getting back to his roots, as well! The record's billed as a follow-up to the previous My World – but it's got a style that's much more deep soul, much more southern-tinged than that great record – a beautiful indication of Lee's rich legacy in soul music – which stretches back decades, with rare releases on small indie labels! Yet the sound here is much stronger than Fields ever got back in the day – thanks to help from The Expressions, and some sublime Truth & Soul production – a combination that really has the record feeling as if it were recorded for Atlantic at Muscle Shoals at the end of the 60s. Lee's vocals really rise to the setting, and may well be some of his best in years – and that's saying a hell of a lot, given how great he always is! A stone home run throughout – with titles that include "Faithful Man", "Wish You Were Here", "Moonlight Mile", "Walk On Thru That Door", "Still Hanging On", "You're The Kind Of Girl", and "I Still Got It".

A sweet set of sides cut by the Wailers under Lee Perry's production. Crucial early roots versions of some of Marley's strongest material, like "Mr. Brown", "Soul Rebel", "Duppy Conqueror", and "400 Years" rendered in a raw Kingston soul style! Give us this stuff over the Island LPs any day! 13 tracks in all, this set also includes "Try Me", "It's Alright", "No Sympathy", "My Cup", "Rebel's Hop", "Corner Stone", "No Water", "Reaction" and "Soul Almighty".

A nice collection of early Bob Marley & The Wailers singles – all produced by Lee Perry! The music's a great meeting of two important reggae talents – quite different than both in later years, especially Marley – as the music has a great rawness that would get glossed over in Bob's years with Island, when he would go on to become an international star! The cuts were recorded at Randy's, and titles include "Soul Rebel", "Try Me", "It's Alright", "No Sympathy", "My Cup", "Soul Almighty", "Rebel's Hop", "Corner Stone", "Four Hundred Years", "No Water", "Reaction", and "My Sympathy".

A rare non-Blue Note late 50s session that features Hank Mobley and Lee Morgan – and a stone cooker that feels like some of the best Jazz Messengers dates of the time! There's a chance that the session was possibly cut "under duress", like a number of other jazz albums on Roulette during the period – but that doesn't stop it from being a full-on, open-fire groover – lots of long tracks done in perfect hardbop formation! In addition to Mobley's tenor and Morgan's trumpet, the combo also features Curtis Fuller on trombone, Billy Root on additional tenor, Ray Bryant on piano, Tommy Bryant on bass, and Specs Wright on drums. The album features four long blowing tunes – "Walkin", "All The Things You Are", "Bag's Groove", and "There Will Never Be Another You".

Much more of a hard rock affair than the group's third LP – kind of a return to the heavy guitars of Da Capo after the baroque beauty of Forever Changes – but a stone winner nonetheless! Arthur Lee's genius is still firmly in place, and although there's a back to basics rock feel on the record, it's still touched by the madness that haunted earlier records – and crackles with a drugged-up intensity that would still make it a hell of an album, even if it was the only one the band ever recorded! Titles include "Robert Montgomery", "I'm With You", "Your Friend & Mine – Neil's Song", "August", "Always See Your Face", "Talking In My Sleep", "Nothing", and "Dream".

A rare non-Blue Note late 50s session that features Hank Mobley and Lee Morgan – and a stone cooker that feels like some of the best Jazz Messengers dates of the time! There's a chance that the session was possibly cut "under duress", like a number of other jazz albums on Roulette during the period – but that doesn't stop it from being a full-on, open-fire groover – lots of long tracks done in perfect hardbop formation! In addition to Mobley's tenor and Morgan's trumpet, the combo also features Curtis Fuller on trombone, Billy Root on additional tenor, Ray Bryant on piano, Tommy Bryant on bass, and Specs Wright on drums. The album features four long blowing tunes – "Jamph", "Nutville", "Wee", and "It's You Or No One".

One of those rare treasures that was recorded by Blue Note in the 60s, but not issued at the time – a great late Hank Mobley set from 1967 that only saw the light of day in 1980! The album's got Hank really opening things up – using some of those more inventive rhythms and articulate phrasing that really graced his late years at Blue Note – a bold step forward, given his already-great run of material for the label! The core group is a quintet – with Lee Morgan on trumpet and Cedar Walton on piano – both of whom add to the lyrical edge of the playing – and most tracks feature additional work from James Spaulding on alto and flute, and the wonderful Sonny Greenwich on guitar – a player whose unique phrasing really helps shape the record's sound! Rhythms are from Walter Booker on bass and Billy Higgins on drums – again both great choices for the sometimes-modal qualities of the record – and titles include "Don't Cry Just Sigh", "Steppin Stone", "Third Season", "Boss Bossa", and "An Apertif". CD features one bonus track – an alternate of "Don't Cry Just Sigh".

The instrumentals for the smoking soul set by the mighty Lee Fields! The record's billed as a follow-up to the previous My World – but it's got a style that's much more deep soul, much more southern-tinged than that great record – a beautiful indication of Lee's rich legacy in soul music – which stretches back decades, with rare releases on small indie labels! Yet the sound here is much stronger than Fields ever got back in the day – thanks to help from The Expressions, and some sublime Truth & Soul production – a combination that really has the record feeling as if it were recorded for Atlantic at Muscle Shoals at the end of the 60s. A stone home run throughout – with titles that include "Faithful Man", "Wish You Were Here", "Moonlight Mile", "Walk On Thru That Door", "Still Hanging On", "You're The Kind Of Girl", and "I Still Got It".

A sweet set of sides cut by the Wailers under Lee Perry's production. Crucial early roots versions of some of Marley's strongest material, like "Mr. Brown", "Soul Rebel", "Duppy Conqueror", and "400 Years" rendered in a raw Kingston soul style! Give us this stuff over the Island LPs any day! 13 tracks in all, this set also includes "Try Me", "It's Alright", "No Sympathy", "My Cup", "Rebel's Hop", "Corner Stone", "No Water", "Reaction" and "Soul Almighty".

The credits on the back say the music is by "various Jamaican musicians" but we'll be darned if it isn't Sly & Robbie blazing away in top ranking style, as the front cover would suggest! Bunny Lee sure knows how to get his music out there, but this is one set of Striker productions you won't want to miss, and though the mix wizard isn't credited, we can guarantee you'll be satisfied as he goes to work on the Rhythm Twins bouncing finger and foot work! 10 tracks in all, including "Blazing Away Dub Style", "Top Ranking Style Dub", "The Mighty Dub Of Dubs", "Stone Age Dub", "Dub Hold I 7 I", "Liquidation Dub" and "A Roots This A Dub".

A stone killer from organist Lonnie Smith – one of his completely cooking early albums for Blue Note, and a hard-burner all the way through! Smith's working here with a really great group that includes Idris Muhammad on drums and Melvin Sparks on guitar – both of whom give the album a really heavy bottom, and almost make the set feel like one of those classic Prestige jammers from the same time. But added to them is a great horn section of Lee Morgan on trumpet, Julian Preister on trombone, and Bennie Maupin on tenor – all of whom give the record a slightly hipper, more modern feel – in keeping with the Blue Note groove of the time. Tracks are all nice and long – and titles include the originals "Turning Point" and "Slow High" – plus versions of "See Saw", "People Sure Act Funny", and "Eleanor Rigby".

A soaring batch of boogie from the Sunburst Band – the group's long-awaited second album, and just as incredible as the first! Dave Lee's really gone all out for this session – dipping back into his classic references to feature vocals by older club singers that include Norma Jean and Lucy Martin of Chic, Taka Boom, and even Linda Clifford – while still getting the group to groove in that instant-classic blend of clubby rhythms and jazzy riffs! The sound is incredible – like finding some lost indie disco album from the end of the 70s – steeped in soulful production, and coming across as a stone winner on every single track! Imagine the excitement you felt when you first heard Incognito – and at that, you've only got a small bit of the sound! Titles include "Twinkle", "We Will Turn You On", "Until The End Of Time", "Fly Away (parts 1 & 2)", "Far Beyond", and "Just Do It".

Smoking soul from the mighty Lee Fields – and a set that really has him getting back to his roots, as well! The record's billed as a follow-up to the previous My World – but it's got a style that's much more deep soul, much more southern-tinged than that great record – a beautiful indication of Lee's rich legacy in soul music – which stretches back decades, with rare releases on small indie labels! Yet the sound here is much stronger than Fields ever got back in the day – thanks to help from The Expressions, and some sublime Truth & Soul production – a combination that really has the record feeling as if it were recorded for Atlantic at Muscle Shoals at the end of the 60s. Lee's vocals really rise to the setting, and may well be some of his best in years – and that's saying a hell of a lot, given how great he always is! A stone home run throughout – with titles that include "Faithful Man", "Wish You Were Here", "Moonlight Mile", "Walk On Thru That Door", "Still Hanging On", "You're The Kind Of Girl", and "I Still Got It".

Excellent r&b & soul from the Nashville scene of the 60s – lesser known and smaller label singles issued at the time that deserve to be heard – and with a pretty tight and consistent focus with numbers by just a handful of great singers and combos! Includes rollicking, bluesy and soulful numbers by Cornell Blakely, JJ Barnes, Stone Martin, Larry Birdsong, Clentt Gant, Robert Garrett and others. 24 tracks in all: "Don't Do It", "I Want My Share", "Who Knows" and more by Cornell Blekely, "Try Your Luck On Me" and "You Win Again" by Stonie Martin, "Night Train" and "Stagger Lee" by John R, "Big Oak Tree", "I Gotta Sit Down" and more by Herbert Hunter, ""Somebody Help Me" by Larry Birdsong, "Mean Man" and "I Don't Want To Be Sober" by Robert Garrett and more.

A different side of the stepper's scene in Chicago – the more bluesy, southern soul-inflected one – kind of a criss-cross of two different modes in the Windy City! The tracks here are from a variety of sources, but all echo kind of a down home mode – often a modern take on older southern styles that comes off with a sweet little groove – one that's almost a musical illustration of the regional shifts that have taken place as folks from points south moved up to Chicago over the years. That's not to say that all the tunes here have Chicago origins, just that they play well in a side of the city's scene – and the track list includes "Hard Road To Travel" by Shakey Jake, "Wrapped Up In Your Love" by Joe Perkins, "That's When The Crying Begins" by Kip Anderson, "A Good Date" by Charles Earland, "Man To Woman" by Lonnie Youngblood, "Too Many Hands" by Otis Clay, "I'm At The Crossroad" by Vernon Garrett, "Blues For Gerry" by Mark III Trio, "Stone Hearted Woman" by Andrew Tibbs, and "Give It Back" by Lee Roberts.

A great follow-up EP to Anika's addictive Stones Throw debut – a darkness-tinged batch of covers – bringing some great songs by The Kinks, The Crystals, Chromatics and Shocking Blue along with a pair of dubbed up versions of earlier Anika singles. There's a bit of no wave vibe of stark electronics and moody vocals, but Anika's got an overall presense unlike anyone else. Once again she gets some excellent production by Geoff Barrow of Beak> and Portishead. Titles include "I Go To Sleep", "He Hit Me", "Love Buzz", "In The City", "No One's There (Dub)" and "Yang Yang (Dub)".

A great follow-up EP to Anika's addictive Stones Throw debut – a darkness-tinged batch of covers – bringing some great songs by The Kinks, The Crystals, Chromatics and Shocking Blue along with a pair of dubbed up versions of earlier Anika singles. There's a bit of no wave vibe of stark electronics and moody vocals, but Anika's got an overall presense unlike anyone else. Once again she gets some excellent production by Geoff Barrow of Beak> and Portishead. Titles include "I Go To Sleep", "He Hit Me", "Love Buzz", "In The City", "No One's There (Dub)" and "Yang Yang (Dub)".

A stone classic from Blood Sweat & Tears – and a record that went onto have a tremendous impact in jazz, rock, funk, and soul! The group's format is plenty darn famous – adding a lot of horns to hip riffing grooves – but despite countless plays on oldies stations over the years, this initial album still has a power that's undeniable – a way of putting the whole thing together that really uses the best elements of the late 60s studio – handled with sweet production from James William Guerico that rivals his best work for Chicago! Even the lead vocals by David Clayton Thomas hold up nicely – and the set includes the classics "Variations On A Theme By Eric Satie", "And When I Die", "Smiling Phases", "More & More", "Spinning Wheel", and "You've Made Me So Very Happy". CD features bonus live tracks – "More & More" and "Smiling Phases".

A great later album from Bloodstone – recorded after their initial classics for London, but in a sweet and mellow soul mode that's totally outta site! Part of the strength of the set is the mighty Al Johnson – who provides arrangements here that push the group firmly into a more modern take on harmony soul, and which have a gentle groove that makes for plenty of sweet steppers and mellow midtempo groovers. The vocals are every bit as great as on the earlier albums – just given a brighter setting in which to shine. Titles include "Just Wanna Get The Feel Of It", "She Wants To Hear The Words", "It's Been A Long Time", "Throw A Little Loving My Way", "It's All Been Said Before", and "Don't Stop".

Bloodstone's augmented here by a heck of a lot of studio players – more than enough to fill out the needs of the soundtrack to this so-so film from the mid 70s. A few cuts still have the group singing in their better harmony style, but more than a few numbers are remakes of 50s vocal group classics or older standards – in a mode that clearly shows that Bloodstone's control over the score was maybe not as strong as that of other groups working on soundtracks at the time. Titles include "Yakety Yak", "Hooray For Romance", "Go To Sleep", "I'm In Shape", and "Money".

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

Cyclist rides in with Bones In Motion – a joint release by Stones Throw and Leaving Records – an icy cool mix of early electro and housey influences with grittier, more experimental touches! The hypnotic approach and 80s era synth atmosphere bring Tour De France era Kraftwerk to mind – which sure makes the name Cyclist an apt one – and whether the name is a Kraftwerk nod or not, there's a lot more going on here! It's ultimately quite unique and all Cyclist's own. There's a hazy digital fog hanging over these instrumentals that give it a far fuzzier vibe than most 80s electronics-inspired sounds of the post millenium years – plus a thoroughly modern take on avant sampler dynamics. Distorted as they might be, there's usually a compelling, danceable beat underneath, too! Titles include "Feel Beauty", "Mangel", "Bones In Motion", "Sheen", "Makeshift", "Stove", "The March", "Visions", "Fleet Meeting", Black Train", "Another Exploitation", "

Cyclist rides in with Bones In Motion – a joint release by Stones Throw and Leaving Records – an icy cool mix of early electro and housey influences with grittier, more experimental touches! The hypnotic approach and 80s era synth atmosphere bring Tour De France era Kraftwerk to mind – which sure makes the name Cyclist an apt one – and whether the name is a Kraftwerk nod or not, there's a lot more going on here! It's ultimately quite unique and all Cyclist's own. There's a hazy digital fog hanging over these instrumentals that give it a far fuzzier vibe than most 80s electronics-inspired sounds of the post millenium years – plus a thoroughly modern take on avant sampler dynamics. Distorted as they might be, there's usually a compelling, danceable beat underneath, too! Titles include "Feel Beauty", "Mangel", "Bones In Motion", "Sheen", "Makeshift", "Stove", "The March", "Visions", "Fleet Meeting", Black Train", "Another Exploitation", "

A should-be Cali country rock classic by Chris Darrow – and a real rare gem of a record we'd put right up there with the best of its kind! Multi-instrumentalist Darrow might be best known to psych enthusiasts – as he was a founding member of Kaleidoscope – but as a session player, he's worked with an eclectic roster of major players that includes Frank Zappa, Gram Parsons, Leonard Cohen, Sly Stone, the Nitty Gritty Dirt Band and others. His solo work is akin to some other great, but better-known Cali country rockers, and honestly, we'd rate this record up against the aforementioned Mr. Parsons – it's really that good – but with more eclectic instrumentation. Catchy songs that are well sung and expertly-crafted – with Chris playing guitars, mandolin, dobro, fiddle and just about anything else with strings on it – and some light percussion, too! Other players include Ed Black, Loren Newkirk, Arnie Moore and Mickey McGhee – plus a sweet group of backing vocalists that includes Jennifer Warren. Titles include "Beware Of Time", "Lovers Of Sleep Abed Tonight", "Shawnee Moon", "Move On Down The Line", "Song For Steven", "Cocaine Lil", "Alligator Man", "Keep On Trying", "New Zoot", "The Show Must Go On", "The Sky Is Not Blue Today" and "We Can Both Learn To Say I Love You".

A stone pop soul winner from DeBarge – the kind of record that made the group a heck of a lot of money back in the 80s, and which sounds surprisingly great to our ears today! The record features lots of electro arrangements – fuzzy keyboards and bass pedals grooving around in a way that's got traces of "street" electro, mixed with some super-smooth LA production, and used brilliantly by the group in a family-based pop harmony way that stretches back to some of the great 70s groups of the same style – like The Sylvers or the Stairsteps. A heck of a lot nicer than we remember, and pretty great all the way through – with tracks that include "I Like It", "I'll Never Fall In Love Again", "All This Love", "I'm In Love With You", "Can't Stop", "It's Getting Stronger", and "Life Begins With You".

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

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

Beautiful live recordings from Bill Evans – recorded with his late 60s trio that included the incredible Eddie Gomez on bass, plus Marty Morell on drums – a lineup that was really taking off with Bill at the time, and learning how to make some wonderful music together! The setting is the Jazzhus Monmartre in Copenhagen, in November of 1969 – and the tracks have a nice compact feel, not as drawn out as other recordings from the venue at the time – still showing Evans to be a master of economy, even when opening up and exploring new ideas. Bill's also got a bit more punch on the piano than a few years later, which mixes the soulful and lyrical sides of his talents nicely – on titles that include "How My Heart Sings", "Autumn Leaves", "Five", "Polka Dots & Moonbeams", "Sleepin Bee", and "Stella By Starlight".

A hip little rock group from the upstate NY scene – and heck, they had to be hip, to record on the Just Sunshine label! The sound here has a bit of a funky rock approach, colored by a Band-like hominess – but thanks to some strong famous guests on the session, the instrumentation steps out way past the vocals on the best numbers – with help from a crack lineup that includes Toots Thielemans, Tito Puente, David Sanborn, and the Brecker Brothers! The core group are great, too – with the same sort of tight rhythms and soulful vocals we loved from their previous release – and titles include "Vicious Circle", "Freewheelin", "Down To The City", "What Becomes Of Your Life", "Do It Like Ya Mean It", and "Whitecaps".

A killer album of southern soul harmony from The Facts Of Life – a trio with one female singer, two guys, and a great sound overall! The album's actually produced by Millie Jackson – and has that great blend of modern and southern modes that she was hitting in her best mid 70s years. The sense of interplay and harmony between the singers is a bit like Soul Children at their height – and the album's also got some warm Muscle Shoals backing that really makes the whole thing come off right! Titles include "Did He Make Love To You", "We Can't Hide It Anymore", "I'm Way Ahead Of You", "This Ain't No Time To Sleep Apart", and "It's Only A Matter Of Time".

The rare folksy psychedelic solo set from Tommy Flanders of the Blues Project – a fairly stripped down, acoustic guitar and misty-eyed vocals led set of tunes. Moonstone is fairly straight forward singer songwriter record in some ways, with lovelorn lyrics and laidback arrangements – but it has flashes of out there mysticism. The LA session players are impeccable, too! Titles include "Since You've Been Gone", "Blue Water Blue", "Morning Misty Eyes", "Purple And Blue", "Moonstone", "By The Mailbox We Stood", "Angel Of Mercy", "Boston Girls", "Sleepin'", "She's My Love" and more.

Fantastic funk from a group who definitely earn their name – a sweet jelly bean jar of 70s groovers – played in this great compressed bass-heavy style! The group hail from southeast Asia, but sing in English throughout – and play tunes that clearly echo their love of American funk by groups like War or Sly & The Family Stone – both covered here, but in ways that really tune the tunes inside out nicely! There's never too much jamming on the instrumentation, but the production has a way of folding the edges into the middle – creating this cool cross-filtered sound that works especially well on the vocals, and gives them this offbeat quality that really furthers the charm of the set. Titles include "Stand II", "Assassination", "Spill The Wine", "Get It Together", "You Got Me", and "Thank You". CD features the bonus track "Jerry Beans Xtract".

One of Carlos Garnett's great soul jazz albums for the Muse label from the mid 70's. There's a very deep feel here, and the music is played by an ensemble that's fairly large, and which has a similar sound to the Norman Connors jazz LPs that were on Buddah and Cobblestone (which is no surprise, since Garnett played on those). The lineup includes Hubert Eaves, Reggie Lucas, and Olu Dara, and the tracks are long and spiritual. Includes "Senor Trane", "Samba Serenade", and "Ghetto Jungle".

A remarkable collection of a half century of writings on James Brown – from a Variety piece way back in 1959 up to a Rolling Stone profile from 2006 – edited by Nelson George & Alan Leeds and featuring work items from trades, newspaper and magazine profiles, select liner notes and much more! It's an impressive presentation with diverse voices, from cultural watchdogs such as Chuck D and Robert Christgau, and an impressive variety of sources all around and throughout the decades. Paperback, 318 pages.

Macy Gray's steps to a higher level on The Id – this is no "sophomore slump" to our ears – actually a helluva lot better than her big selling debut! As on her first set, Macy's vocals are wonderful – totally unique, with that warm raspy soulful style that makes her one of the most instantly recognizable soul artists since Al Green. The production is very strong too – with a sound that's new and fresh compared to most chart soul acts, but which also has its roots in the Columbia crossover sound of the late 60s, with traces of artists like Sly Stone and Janis Joplin all colliding into one cool groovy sound! Titles include "Hey Young World (part 2)", featuring Slick Rick, plus "Blowin Up Your Speakers", "Forgiveness", "My Nutmeg Phantasy" (featuring Angie Stone & Mos Def), "Sweet Baby" (featuring Erykah Badu), "Sexual Revolution", and "Relating To A Psychopath".

Sanctified, indeed – and just the kind of record to show why Slide Hampton was unlike any of his trombone-playing contemporaries! The set's got a tightness and punch that's really unique – not the compact quality of JJ Johnson and Kai Winding, but also not the hardbop of Curtis Fuller either – instead king of a rousing approach to jazz trombone that really makes Hampton the kind of the soul jazz approach to the instrument! Slide's working here with a cool octet that has the focus of a group half their size – a really well-chosen lineup of young, hip players that includes George Coleman on tenor sax, Hobart Dotson and Richard Williams on trumpets, Larry Ridley on bass, and additional trombone from a y oung Charles Greenlee! Titles include "El Sino", "Ow", "Milestones", and the stormin' title cut "Somethin Sanctified".

A 12 X 7" box set version of Mayer Hawthorne's breakout How Do You Do – with each track from the album paired with its own previously unreleased instrumental version – in individual photo sleeves that lay out as a full mosaic! The Mayer Hawthorne story was a strange one from the start – white producer/DJ crafting real-deal, moody, sultry throwback soul under a pseudonym that gets him signed to Stones Throw. The best news, really, is that he's still doing what we loved on the Stones Throw record and singles. Skirting both throwback Motown AND indie soul conventions, but winking ever so slyly at them, making strings sound scratchy, warm and well-worn, subtle horns to sooth and stir, his own vocals layered for a group-like effect. Bonus points for his use of the superstar cameo – he brings Snoop Dogg in to SING, not to serve as an obligatory rhyme cameo. Well played, Mayer Hawthorne! Includes "Get To Know You", "A Long Time", "Can't Stop" with Snoop, "Finally Falling", "Hooked", "You Called Me", "No Strings", "Dreaming", "The Walk" and more. Comes in a heavy duty box – which also includes a custom display sheet that can hold all 12 singles. Beautiful!

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

A stone classic in the genre of bad-rapping female soul – and one of the key albums cut by the trio of Patti Labelle, Nona Hendryx, and Sarah Dash! The arrangements and production are handled by David Rubinson, who gives the set a nicely polished feel that gets a bit past some of the slight cliches that had been creeping into the girls work – a style that shows them equally well skilled at mellower numbers than at the funkier rockier tunes that were their more familiar stock in trade. Titles include "Come Into My Life", "A Man In A Trenchcoat (Voodoo)", "Get You Something New", "Going Down Makes Me Shiver", "Gypsy Moths", and "Who's Watching The Watcher?".

Waltzing heartbreakers and teardrop soaked honky tonk from Wilma Lee & Stoney Cooper – never too perfectly vocalized by the duo, really evocative of the true rural roots of the sound – material taked from their output on their Hickory Records label in the late 50s & early 60s! The duo touches on Louvins inspired country gospel as well as tradition honky tonk styles, and it's all good stuff. This is a duo that should be better remembered! Titles include "Heartbreak Street", "How It Hurts To Cry Alone", "On The Evening Train", "Have Faith In Me", "Just For Awhile", "Six More Miles", "The Story Of The Three Nails" and many more. 25 tracks in all!

A motherlode of mid-to-late 60s Killer – 5 whole albums for Smash Records – I'm On Fire, Return Of Rock, Memphis Beat, Soul My Way and Together (with Linda Gail Lewis) – in a 2CD set! The heart of the collection are the records Jerry Lee cut for Smash from '65-'67 – and they're classic to us, but actually quite overlooked in the canon – with some blistering takes on Memphis rock, soul and boogie woogie – great records that didn't sell a ton of copies at the time, leading up to his stellar run as a country music star. It also includes '69's I'm On Fire compilation of singles from the earlier 60s, and his decent country duets album with sister Linda Gail Lewis. 58 songs and almost 2 1/2 hours of vintage Jerry Lee Lewis! Includes "Memphis Beat", "I'm On Fire", "This Must Be The Place", "Hit The Road Jack", "Flip, Flop And Fly", "Baby, Hold Me Close", "Sexy Ways", "Mathilda", "Sticks And Stones", "Big Boss Man", "The Urge", "Shotgun Man", "I Bet You're Gonna Like It", "Secret Places", "Jackson", "We Live In Two Different Worlds" and many more!

What can we say? This is one of the greatest albums of all time – and it's made even better through the addition of a bunch of previously unissued tracks! The record's got a sound that's completely unique – as crack LA garage punk rock meets Hollywood baroque production, and the result is an amazing bit of loud guitar noise backed by strings and horns, all graced by the godlike vocals of the great Arthur Lee. Forever Changes is a milestone in rock – an incredibly bleak document about insanity, escape, and the coming revolution that never happened. Think of all the best moments of Wild In The Streets, Zabriske Point, and Invocation of My Demon Brother rolled into one – and you'll only have a tiny slice of the picture! A record that will haunt us until the day we die – filled with incredible songs like "Alone Again Or", "Old Man", "Red Telephone", and "Maybe The People Would Be The Times Or Between Clark & Hilldale".

A Miami soul classic from the 70s – and a legendary pairing of George and Gwen McCrae – with results that soar past the individual work by the pair! Gwen's vocals are killer – deep, soulful, and still with the bite of her own TK albums – and the grooves here echo a bit more of George's world, but in a way that really makes for great interplay between the two singers – a back/forth sort of energy that pushes things away from any sleepy moments and throwaway tracks – and which also offers up a great 70s Miami take on the soul duo mode of the 60s. The record includes the wonderful "I'll Do The Rocking", plus "Mechanical Body", "Winners Together Or Losers Apart", "The Rub", "You And I Were Made For Each Other", "Let Your Love Do The Talking", and "I'm Coming At You".

One of the most righteous albums ever issued by the always-righteous Tribe Records label of Detroit – a really collective effort, one that features ensemble vocals and spiritual jazz – all pulled together by pianist Harold McKinney! The album showcases a group named Voices Of The Creative Profile – formed by McKinney to accompany his Creative Profile instrumental group – and the overall style is a great blend of spiritual soul jazz that gives equal time to the voices and instruments in the set. Gwen McKinney heads up the vocal ensemble, and other players on the set include Wendell Harrison on flute, Marcus Belgrave on trumpet, Billy Turner on percussion, and Ed Pickins on bass. Also features some cool moog from Darryl Dybka – and titles that include "In The Moog", "Freedom Jazz Dance", "Dolphin Dance", "Heavenese", "Ode To Africa", "Out Of The Blues", and "Cornerstone". CD also features 2 bonus tracks pulled from a single – "Ode To Africa" and "Jelly Loa".

A stone classic from the Modern Jazz Quartet – recorded back when the group still featured Kenny Clarke in its membership, but already with some of the more serious, somber tones that would mark the combo's more famous years! Tracks here are from a variety of sessions in 1953, 1954, and 1955 – and trace an evolution of the MJQ style from initial more composed renditions of bop and modern jazz, to some of the more ambitious colors and tones of the Lewis-penned songbook. Titles include longish readings of "Django" and "La Ronde Suite", plus "Milano", "But Not For Me", "The Queen's Fancy", and "Delaunay's Dilemma".

A massive batch of stoned-out funk from the Ohio Players – recorded here during their legendary years at Detroit soul powerhouse Westbound Records! At this point, the band have a style that's a mix of psychedelia, funk, and harmony soul – similar to labelmates Funkadelic, but perhaps not as crazy. The set includes most of their best cuts from the time – including gems like "Funky Worm", "Varee Is Love", "Walt's First Trip", "Food Stamps", "Laid It", "Singing In The Morning", "Ecstasy", "Climax", "Pain", "Sleep Talk", and "Player's Balling".

A great self-titled set from Toncho Pilatos – the early 70s Mexican group's wild first album, cut for Polydor! The group has familiar influences, but they put those pieces together in a unique way, with a sound that's really something else! The vocals are echoey and tripped out, with raw drums way out from in the mix – and overall it has kind of an otherworldly Stonesy vibe. Includes "Wait", "Kukulan", "Drunk Again", "Blind Man", "Dejenla En Paz", "La Ultima Danza", "Dulce Monserrat" and "Tommy Lyz".

An amazing set of music – two rare albums from Ohio funk legend Lou Ragland, plus bonus tracks, and a whole set of unreleased sessions too – a huge amount of new music, even if you've got some of the previous reissues! First up is the legendary Hot Chocolate album – one of the greatest lost funk records of all time! The group is not the British pop band, but an Ohio funk group led by the great guitarist Lou Ragland. The album's originally from Canada, which makes it super rare – and these guys are funky funky funky, and kick some major booty with a heavy guitar sound that's just great! Some of the cuts are instrumental, and some of them have some excellent soul vocals that are produced with a nice deep sound that's brought out nicely by the excellent quality of the reissue. The record's got a bit of Sly Stone, a bit of Grant Green, and a bit of Mike James Kirkland – with a tasty raw indie soul vibe – and the original album was only pressed up at 500 copies. Titles include "So Dam Funky", "Ain't That A Groove", "Sexy Moods Of Your Mind", "Messin With Sly", and "What You Want To Do" – plus 8 more tracks from the same vintage – "Good For The Gander" by Hot Chocolate, "I Travel Alone" and Big Wheel" by Lou Ragland, "Red Robin" and "I've Got Something Going On" by Volcanic Eruption, and "I Can't Take It" and "What The Doctor Prescribed" by Lou Ragland & Hot Chocolate. Next is The Conveyor – the second album from Lou Ragland, stepping out here in a great set of mellow soul tracks! The album's quite different from the heavy funk of the Hot Chocolate album – more of a message-oriented approach to soul, in the vein of similar 70s indie work by Mike James Kirkland. The arrangements are also bigger – not smooth, but ambitious, in a style that perfectly matches the higher vision Lou's going for in tracks like "Understand Each Other", "What Should I Do?", "The Next World", and "It's Got To Change". Conveyor also comes with bonus tracks too – "Tend To Your Business" by Wildfire, plus "Since You Said You'd Be Mine" and "I Didn't Mean To Leave You" by Lou Ragland. And last up is an incredible batch of unreleased material – maybe the biggest and best so far from Ragland – tracks that have this really ambitious quality that mixes soul, funk, and larger orchestrations – especially some light strings, which really expand the sound, and push the music into this righteous territory that reminds us a lot of the creative experiments in Chicago during the Cadet/Concept years! Lou's vocals are great, and the message is totally righteous – and even though the tape quality is slightly aged, the soulful vibe really comes through – on cuts that include "Understand Each Other", "It Ain't My Fault", "Could It Be I'm Falling In Love", "Spend My Life Loving You", "Until I Met You", and "Brother Louie". Lovingly packaged by Numero – with a huge booklet of photos and history – and cool mini-LP sleeves too!

Mindblowing music from this ultra-cool musician – nearly three albums packaged on one CD! First up is Stones – a very groovy set of tunes that we'd rank right up there with Hal Blaine's Psychedelic Percussion for sheer nuttiness! Emil Richard plays a range of percussion instruments – as on other albums from the time – vibes and lots of mallet and percussion instrument – but he's also working with a really noisy moog, handled by Paul Beaver, and some weird "22-tone-to-the-octave" instruments that give the album an other-worldly tone that we really love. The whole thing bubbles and bleeps and grooves – with plenty of jazz still in the mix, as befits Richards' roots in the LA scene of the late 50s. 12 tracks in all – all named after birthstones – with titles that include "Garnet", "Moonstone", "Emerald", "Topaz", "Opal", and "Ruby". Next up are 6 tracks from New Time Element – one of the grooviest albums to come from the godlike hands of Emil Richards! This album's got a bit more punch than some of Richard's more jazz-based sessions – with Emil playing a wide range of percussion instruments, plus vibes and marimba – all backed by some incredibly groovy work on organ and piano by Dave McKay! Arrangements are by Tom Scott and Paul Beaver – and the record's got the jaunty, swinging quality of some of Scott's best early work of the time – particularly his early gems for Impulse! Titles include a great version of Tom Scott's oft-recorded "Blues for Hari", a very groovy number with a great 60s eastern feel – plus "Hot Fudge Sundae", "Happy Together", "Jimmy", and "Georgy Girl". And last but not least are 8 tracks that comprise Journey To Bliss – a fantastic bit of "Eastern" tinged jazz – and a real musical Journey To Bliss on its own! Vibist Emil Richards has always been totally groovy in our book – but he really outdoes himself here – working in an exotic mode that features lots of weird percussion over choppy modal grooves from keyboards, guitar, and drums – all in a wild blend of rhythms and grooves played by Richards and his Microtonal Blues Band. Players include Tom Tedesco and Dennis Budimir on guitar, Dave MacKay on keyboards, and Joe Porcaro on drums – but all players handle a variety of instruments, as does Richards, who must play dozens of different percussion elements on the set! Side one of the album features some great short groovers – like "Maharimba", "Bliss", "Mantra", and "Enjoy Enjoy" – all of which are in a tripped-out LA guru hippy mode that's simply wonderful! Side two features the extended "Journey To Bliss" suite, which has some spoken bits and a much wilder sound – but also the same sort of groovy pop-Eastern sound as side one!

The Rolling Stones at their rawest, most shambling, sleazy and brilliant – the epic, unimpeachable Exile On Main Street! What can we say about one of the most iconic LPs of all time other than chime in with our agreement that it's one of the greatest rock albums ever! Big choruses come and go, but the easy hooks of earlier and later Stones hits are buried in mud, grit and a sleazy bluesy groove. Titles include "Rocks Off", "Rip This Joint", "Tumbing Dice", "Sweet Virginia", "Loving Cub", "Torn And Frayed", "Let It Loose", "All Down The Line", "Shine A Light", "Soul Survivor" and more.

A landmark live set from the Rolling Stones – featuring material from their smoking tour of 1969! The set really captures the Stones at their most nasty – that great turning point when their edge was maybe sharpest of ever, right in the best Let It Bleed mode – but with even more raw energy from the live setting. Titles include "Carol", "Live With Me", "Street Fighting Man", "Sympathy For The Devil", "Little Queenie", and "Stray Cat Blues". Massively expanded package features a huge amount of music – the unreleased Stones tracks "Prodigal Son", "You Gotta Move", "I'm Free", and "Satisfaction" – plus material from sets by BB King and Ike & Tina Turner on a full separate disc – both pulled from the same tour! Also features a DVD with backstage footage by the Maysles Brothers, and song performances of all the extra Stones tracks!

Titles include "Angie", "Star Star", "Hide Your Love", "Winter", "Can You Hear The Music", "100 Years Ago", and "Doo Doo Doo Doo Doo".

Way more than the disco cash-in some folks thought at the time – and a surprisingly classic set that perfectly sums up the late 70s Stones ethos – and, in a way, the vibe of a changing New York! Titles include "Miss You", "Beast Of Burden", "Shattered", "Imagination", "Lies", "Far Away Eyes" and "When The Whip Comes Down".

Titles include "Brown Sugar", "Wild Horses", "You Gotta Move", "Can't You Hear Me Knocking", "Bitch", "Sister Morphine", "Dead Flowers", and "I Got The Blues".

An excellent blacksploitation soundtrack – and every bit as funky as any of Willie Hutch's work for other Motown soundtracks at the time! Larry Mizell and Dennis Coffey help out on the instrumentation – giving the album an extra funky instrumental edge, one that takes it way past Edwin Starr's other work – and the tracks are a nice mix of vocals and instrumentals. Titles include "Ain't It Hell Up In Harlem", "Airport Chase", and the massive "Easin' In", a stone sample classic!

We love Frank Strozier – and think he's one of the greatest talents in jazz – period! This long-overdue CD brings together two of Frank's early 60s sessions for the Jazzland label – both of them gems that have lain under-discovered for years. Long Night is an excellent example of the maturity and modernism that was coming out of the Chicago jazz scene as it hit the early 60s – and it features Strozier's soulful alto in the company of some of the city's best players, like pianist Chris Anderson, drummer Walter Perkins, bassist Bill Lee, and baritonist Pat Patrick, playing here away from Sun Ra's group! The title track alone is an incredibly fantastic composition, full of moodiness and incredible reed work – but the rest of the record's great, too, and features excellent originals like "The Need For Love", "The Crystal Ball", and "Pacemaker". March Of The Siamese Children continues the trend – with a sound that goes far beyond the hardbop and soul jazz in which Strozier first cut his teeth – into a mode that's angular and exploratory, yet also still warmly expressive – filled with a richness of sound that holds up fantastically year after year. Titles include "March Of The Siamese Children", "Our Waltz", "Hey Lee", "Lap", "Extension", and "Something I Dreamed Last Night".

A bevy of beat-oriented abstractions from the man behind the Wagon Christ and Plug monikers, cut at the height of the Mo Wax driven headz era. You can call this downtempo, trip hop, abstract beats or whatever you like, but we know you know what we're talking about here – sampler science for the head nod set! 16 tracks in all, including "Rank Rink Ring", "Voyage Into The Unknown", "Fused Into Music", "No Turn Unstoned", "Reality Check", "Am I Still Dreaming?", "2001 Beats", "Original Soundmaster" and "Space Race".

Stones Throw does it again – with a massive batch of older funk rarities that tops most of the rest on the market! Cold Heat is a follow-up to the label's smoking Funky 16 Corners set – and like that one, it's overflowing with great bits that have barely (or never) been heard by the rest of the world at large. Compiler Egon has gone through a range of rare singles, masters, and demos – and has come up with tunes that burn with a brightness that's undeniable. The grooves are all on the harder end of the James Brown Funky People side of the spectrum – and some tracks are by names that are finally getting their due, thanks to the work of Egon, Wax Poetics, and some of the other funky forces doing the good work over the past few years. In a way, the collection's a summation of some of the singles and reissues coming out through the Now Again/Stones Throw imprint – but it also features some other bits and alternate versions that are totally great! Titles include "Don't Go" by Aristocrats Organization, "Loaded To The Gills (edit)" by Michael Liggins & The Supersouls, "Mr Chicken (alternate)" by The Soul Seven, "Slipping Into Darkness" by Dayton Sidewinders, "James Brown Medley" by The Apollo Commanders, "Scorpio" by Kashmere Stage Band, "Sad Chicken" by Leroy & The Drivers, "Street Scene" by Leon Mitchinson, "Free Your Mind" by Amnesty, "The Thing" by Carleen & The Groovers, "Go For Yourself (edit)" by Kenny Smith & The Loveliters, and "The Stretch (edit)" by Detroit Sex Machines.

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!

Heavy sounds from Melbourne, Australia – a really unlikely source for soul music a few decades back, but quite a hotbed of activity in recent years! The set's put together by Lance Ferguson of The Bamboos – whose funky work you'll know from a variety of different projects – and the artists here not only represent a few of his other projects, but also some of his best contemporaries on the funk scene down under – including a few that we'd never heard before! The collection's like finding a pile of deep funk 45s all stacked tight together – and titles include "Waz That" by The Putbacks, "Baby Your Lovin" by The Electric Empire, "Love & Feeling" by Chet Faker, "Debris" by Axolotl, "Nakamurra" by Hiatus Kaiyote, "Is It Because I'm Black" by Syl Johnson with The Bamboos, "Skeletor" by Cookin On 3 Burners, "Stepping Stones" by Gypsy Brown, "Love Letter" by Clairy Brown & The Bangin Rackettes, and "Hippy Skippy Moonstrut" by The Mighty Show Stoppers.

Pure genius from Ray Bryant – the kind of a record that few other players could ever hope to cut, and a fantastic demonstration of Ray's extremely soulful approach to the trio format! Bryant's working here with Bill Lee on bass and Mickey Roker on drums – in a triple-burning setting that has all players contributing equally to the groove – and often working strongly to create a great sense of counterpoint in the rhythms. Roker's drums are magically playful throughout – snapping and skipping along the top of the snare in a way that only furthers the rhythmic agenda of Bryant's piano. And Lee's bass has a laidback and mellow delight – one that rings out alongside the keys of the piano, and fleshes them out with some additional depth and color. The title track is a brilliant reading of "Con Alma", and the set also features Bryant's famous tune "Cubano Chant" – as well as the titles "Autumn Leaves", "Milestones", "Ill Wind", and "C Jam Blues".

Wonderful easy grooves – from an orchestra leader who couldn't read a note of music! During the 60s, Andrew Oldham was probably best known to the world as the flamboyant manager of the Rolling Stones – but during the same period, or at least the earliest stretch of it, he also headed up his own studio orchestra – working with pop arranger David Whittaker to craft some incredibly groovy albums! This one's the ensemble's fourth and final effort – a magical transformation of familiar Rolling Stones numbers into some sweet easy instrumentals – all asparkle with the best styles of mid 60s Brit easy, served up with orchestrations that run from baroque to breezy! Titles include "Blue Turns To Grey", "You Better Move On", "Heart Of Stone", "Time Is On My Side", "The Last Time", "Theme For A Rolling Stone", and "Tell Me".

An insane bit of choppy jazz funk – and easily the best record ever cut by this monster combo! The group's a trio of jazz fusion luminaries – with Steve Grossman on tenor, Don Alias on drums and percussion, and Gene Perla on bass and piano – and the best cuts have a raw chopping groove to them that other groups at the time were trying to cop, but could never match! Includes the insane break track "Sweetie Pie", plus Stevie Wonder's "Creepin", "Duet", "King Tut", "Samba De Negro" and "Vaya Mulatto".

Out of New York rock and roll ideas, Debbie Harry decides to pilfer the subcultures to make her sound a bit more interesting! Fortunately for us, she got some help from guitar maestro Chris Stein on the track "Rapture" – and Stein's real interest in the music gave it a stone old school groove that's held up pretty well over the years! More famously, Harry went for a bit of reggae on the track "The Tide Is High" – taking Duke Reid's original, and turning it into a global hit!

Sublime early 70s work from Jimmy Heath – a record that shows that he was really stretching out with a new sound in the decade – even away from his better-known sides with The Heath Brothers! Jimmy plays tenor, flute, and soprano sax beautifully on the record – with a tone that's incredibly soulful, and even better-blown than his recordings of the 60s – a style that's got a new sense of spiritualism in the post-Coltrane years, one that really stretches out magnificently on the longer tracks in the set. The group's great too – and features Kenny Barron on both acoustic and electric piano, Bob Cranshaw on bass, Tootie Heath on drums, and Mtume on percussion. Heath plays flute, soprano, and tenor – with a group that includes Kenny Barron, Bob Cranshaw, and Mtume. The group performs Mtume's "Alkebu-Lan (Land Of The Blacks)", plus "Heritage Hum", "Angel Man", "Sound For Sore Ears", and "Gap Sealer".

An 80s issue looking back on alternate takes of seminal bop material cut by Bird for Savoy. The recordings here are all of alternate versions of those originally released by Savoy on 10"s and 78s, and feature Parker alongside Miles Davis, Dizzy Gillespie, Max Roach, Bud Powell and others. 16 tracks in all, including "Tiny's Tempo", "Romance Without Finance", "Billie's Bounce", "Thriving On A Riff", "Donna Lee", "Chasin' The Bird", "Milestones", "Half Nelson", "Bluebird" and more. . .

Excellent spacey soul from Bloodstone – one of the early 70s best crossover groups! The band has a nice mellow sound, mixed with some elements of uptempo production, and kind of a slightly funky ensemble feel. There's also some of the best elements of that east coast early 70s sound – like electric sitar, soaring strings, and weird spacey instrumentation that drifts in and out of the vocal passages. Titles include "What You Did To Me (parts 1 & 2)", "Outside Woman", "Let Me Ride", "Traffic Cop", and "Keep Our Own Thing Together".

The second album from Brass Construction – heavy horns, basslines, and stellar dancefloor grooves – a stone classic! The first one was totally great, but they cast a wider stylistic claim on II – their trademark funky sound is still very firmly in place, but they bring more to the plate. The rhythms and percussion have a more globally steeped flare at points on the album, and there's a more smoldering, slightly mellower vibe on some tracks, without sacrificing the funk. The whole thing's fused together wonderfully – with the larger group moving with the energy a much smaller combo – and titles include "Sambo", "Screwed", "Get To The Point", "What's On Your Mind", and "Now Is Tomorrow".

A stone classic from The Brecker Brothers – working here at a new level for 70s jazz fusion! Sure, it's as slick as it can be – with touches of club and disco grooves to give an even smoother edge to the jazz funk of the Brecker Brothers – but thanks to some solid soloing that's not afraid to go for the easy spots, the album's a lot more solid than an number of sound-a-like copycat LPs to come out at the time! There's more than enough interesting jazz funk numbers on here to keep you happy if you dig a soulful fusion groove, and with Steve Gadd and Lenny White on drums, the beats are heavy enough in the right places. Titles include "Tabula Rasa", "Finger Lickin Good", "Funky Sea, Funky Dew", "Squids", "Petals", and "As Long As I've Got Your Love".

An excellent collection of Charles Earland's early 70s work for Prestige – a great set of grooves that trace his evolution from straight organ/tenor soul jazz, into the realm of more complicated arrangements that would show up heavily in his later fusion work! Players on the tunes include Lee Morgan, Houston Person, Virgil Jones, Melvin Sparks, Idris Muhammad, and Harvey Mason – and tracks include shorter numbers and single edits that include "Milestones", "More Today Than Yesterday", "Speedball", "Raindrops Keep Falling On My Head", "Leaving This Planet", "I Was Made To Love Her", and "Black Talk".

A stone slammer from saxophonist Steve Grossman – and a set that's served up in the same funky style as the best work by the related Stone Alliance combo! The core trio features tremendous interplay between the hard-biting tenor of Steve Grossman the funky bass of Gene Perla, and slamming drums and percussion of Don Alias – and the set also features some great contributions from Jan Hammer on keyboard – playing Fender Rhodes and moog with a wonderfully funky, soulful style – quite different than some of his more jamming work with other artists. There's a really sharp, angular feel to the whole set – electric grooves that are heavy on rhythms, yet also have a nice sense of freedom on the tenor – and titles include "This Way Out", "Inmate Man", "Katonah", "Enya", and "In It".

A 60s collection that brings together some of Chico's best early work for Pacific Jazz – including his groundbreaking Quintet, a group that completely redefined the sound of jazz on the west coast! The album's filled with playful tracks that feature Chico's unique rhythms next to instrumentation that includes guitar, flute, cello, and alto – with players that include Eric Dolphy, Jim Hall, Paul Horn, and Buddy Collette. Titles include "Soft Winds", "Satin Doll", "Caravan", "Taking A Chance On Love", "Sleep", "Take The A Train", and "Siete Quatro".

A new taste from Humble Pie – who moved into more of a rock 'n' soul vibe on 1973s Eat It than the more hard rocking previous couple of albums– originally a double LP of studio material on 3 sides a 4th side of live numbers captured at Green's Playhouse in Glasgow. The Clydie King vocal arrangements have plenty of soul, and there's loose, swaggery early 70s vibe that's quite infectious. These later Humble Pie albums are a bit overlooked, but there's plenty to dig here! 15 songs in all: "Get Down On It", "Is It For Love?", "Drugstore Cowboy", "Say No More", "Up Our Sleeve", "Summer Song" takes on the Stones' "Honky Tonk Women", Ike & Tina's "Black Coffee", Holland/Dozier/Holland's "Road Runner" and more.

Think what you might about Rick James, this is actually a pretty darn funky album – with lots of tight bass-heavy grooves! Rick's working here with the Stone City Band, in a style that's leaner and less commercial than some of his later work – going for a mainstream funk approach, but still leaving enough roughness around the edge to make the album appealing to our ears. In a way, the sound here is kind of a tightening up of Fantasy Records funk, given a few P-Funk twists – slick, but never too slick to groove soulfully! Titles include "Bustin Out", "Love Interlude", "High On Your Love Suite", "Spacey Love", "Cop N Blow", and "Fool On The Street".

Late work by The JBs – but pretty darn nice! The cut begins with fast and soft guitar riffing – very fast, just going on and on like a record stuck in the groove, creating a very cool beat while another guitar starts picking its way across the top, and some other horns come into the groove. The flip's got more of the same, with a nice little vamp at the beginning, and some shouted lyrics over the top!

A monumental bit of 80s soul – the first solo album from Kashif, issued hot on the heels of a few years spent penning and producing work for a range of bigger artists! Given his experience with the pros, Kashif's emerging here as a very fully-formed talent in soul – a singer with a way of keeping things real, even when the tunes are catchy – and a producer with a great ear for the changing styles of soul at the time. The grooves are often nicely spare and stripped down, yet never without a good sense of feeling – and titles include "I Just Gotta have You (Lover Turn Me On)", "Stone Love", "Say Somethin' Love", "All", "Help Yourself To My love", "The Mood", "Don't Stop My Love", and "Rumors"

One of the greatest albums ever from pianist Ronnie Kole – a hip cat who played heavily on the New Orleans scene of the 60s and 70s – but who also had a soulful sound that was much more in keeping with piano work from the Windy City! This set has a nice crackle from the start – and although some of the cuts are ballads, Ronnie still brings in this gentle swing that's mighty nice – a bit in the way that Ramsey Lewis or Ahmad Jamal might have handled the cuts for Chess Records in the mid 60s – with a similarly hip approach to soul jazz. Some cuts feature a bit of added instrumentation from arranger Charlie Brent – and titles include the sweet "Great Stone Bottle", which has a nice break and some organ in the background – plus "Love Story", "Close to You", "Secret of My Soul", "My Sweet Lord", "He Ain't Heavy", and a groovy cover of "Sesame Street"!

A pretty strange little album from LTG Exchange – a blend of Latin, funk, and soul – wrapped up in a comic-stripped cover that pushes the album as sort of a "black rock operetta"! The feel here is different than the group's earlier work – a bit more disco oriented, but also with touches of mid 70s Philly soul. Jerry Ross produced, John Davis arranged, and the set was recorded at Sigma Sound – and titles include "Cop & Blow World", "Trickin", "Sky High", "Satisfied With Your Love", and "Stone Broke".

A Stones Throw sci-fi masterpiece – one that was destined for greatness from conception, but we're still pretty well blown away by the final product! MC Doom and beatmaster Madlib couldn't be better suited for a collaboration. As much as we've dug the best of Doom's material of the last couple years, he's always needed a good editor – and Madlib brings nothing but the best sci-fi sound collages, scratches, and titanically driving funky beats – the grooved out 70s side of 'Lib's personality is wisely given a powder, while in the company of a vocal presence that's as insane as Doom. When it's not so pounding, the sound drops into the kinda gloomy, murky crackle of earliest Wu Tang. This is easily the best album of its kind since Dr. Octagon tore the flood gates open. Essential!!! "The Illest Villains", "Accordian", "Bistro", "Raid" feat Medaphoar, "America's Most Blunted", "Rainbows", "Curls", "Money Folder", "Hardcore Hustle","Fancy Clown", "Supervillain", "All Caps", "Rhinestone Cowboy" and more.

Hard to go wrong with a Stones classic like this one – a record that really has the group hitting their late 60s stride, and coming across with a depth and power that really goes beyond their earlier releases! There's a sinister quality to the record right from the start – thanks to the brooding, haunting power of "Gimmie Shelter" – and the sublime "Monkey Man", which may well be one of our favorite Rolling Stones songs ever! But the whole thing's great – and other tracks include "Love In Vain", "Let It Bleed", "Live With Me", "Midnight Rambler", "Country Honk", and the classic "You Can't Always Get What You Want".

An underrated 70s effort from Sonny Rollins, featuring him fronting a dynamite group with Stanley Cowell and Mtume at the height of their Afro-centric electric jazz period. Longtime sideman Bob Cranshaw plus David Lee round out the rhythm section, and this is one of Rollins' LPs featuring the excellent Japanese guitarist Masuo, plus Rufus Harley guests on one number, so you can guess this is one righteous affair. Rollins sounds awesome, laying extended solos over some tremendous funky vamps by the group on numbers like "The Cutting Edge" and "First Moves", and working in a more contemplative vein on "To A Wild Rose" and "A House Is Not A Home". Also includes a lengthy take on "Swing Low, Sweet Chariot".

One of Sonny Rollins' sweetest electric sessions from the 70s – a date that features Patrice Rushen handling some keyboards, and Lee Ritenour on guitar – but Sonny blowing solid, soulful tenor all the way through! The setting is the sort that might initially turn off fans of Rollins' classic era, but it's great to hear him change things up here – picking up some rhythms that you might not normally expect, and really doing some great things with them – as on his Caribbean-inflected RCA album from the 60s. Other players include Alex Blake on bass, Billy Cobham on drums, and Bill Summers on congas – and there's a horn section on some numbers too. Rollins composed most of the tracks and they include "Island Lady", "Asfrantation Woogie", "Happy Feel", and "Charm Baby". Other titles includes the George Duke numbers "Love Reborn" and "The Way I Feel About You" – plus Rushen's "Shout It Out".

The very last performance at the legendary Keystone Korner in San Francisco – a well-blown session from Zoot Sims' overlooked years on Pablo Records! Like other Pablo dates, this one's got a very easygoing groove – a relaxed format that allows Sims to really stretch out on his horn – tenor on most numbers, but some surprisingly great soprano sax as well – a subtle delight that shows up at key points during the Pablo years. Rhythm is by the trio of Frank Collett on piano, Monty Budwig on bass, and Shelly Manne on drums – and titles include "Dream Dancing", "Changes", "I'll Remember April", "Tonight I Shall Sleep", and "If You Could See Me Now".

Sly's leaping into the air on the cover of this one – and for good reason too, given the overall groove of the set! The album's a bit more stripped-down and upbeat than the previous few – almost more of a return to the simple funky style of the first albums, but with a slightly more electric sound than before – especially in the keyboards, which almost slide into the mix here with a Stevie Wonder-like quality. The electricity bubbles and brews wonderfully at the bottom of the rhythms – charging things up a bit, but still hanging back with a super-cool, laidback quality that few other groups could muster! There's a great sense of balance here that's brilliant – and which makes the album one of Sly's undisputed masterpieces from the Columbia years. Titles include the incredible "If You Want Me To Stay" – one of our favorite Sly Stone cuts ever – plus "Keep on Dancin", "Babies Making Babies", "Que Sera Sera", "If It Were Left Up To Me", "In Time", and "Let Me Have It All".

One of the funkiest albums on the legendary TK Records label – and that's saying a lot, given the strength of the imprint back in the 70s! This sole album by Trama is a stone cooker all the way through – done up in a heavy ensemble funk mode of the time, with some extra sharp bits around the edges – and a slight spiritual undercurrent too – almost a Soul Cal vibe at times! The guitars snake nicely around the keyboards, and Donna Allen's lead vocals really sparkle on some of the best numbers – widening the soulful appeal of the grooves, while the rest of the group still do their thing on instrumentation and backup vocals. Production is by Sax Kari, who's clearly going for a club vibe, but leaves nice rough bits around the edges – which gives the record a less polished feel than other TK disco records, and much more of an indie 12" sort of groove! Titles include "Gimme Some Lovin", "Captain Of The Ship", "If I Ever Do Wrong", "Come With Me", "Straight Groove", and "It's Amazing".

A sweet collection of early 70s female post folk revival material – independent and long lost recordings from unknowns that used folk and psychedelia as offerings to each singer's idiosyncratic muse – and another incredible collection of deeply sought rare tunes from the Numero Group! Numero really blows us away with their ability to seek out and lovingly reissue lost recordings – and package them in beautiful and insightful collections – and this one is as impressive as anything they've done to date. It features singer songwriters from sleepy midwestern Illinois and Minnesota, to the enlightened, heightened Bay, and points between and beyond – with songs from records originally pressed in runs of 500 to 5000. The thick booklet includes a page of notes for each artist in the collection, really rich stuff with photos, original single/album art, etc. The music is warm, groovy and sincere as can be, much of it surprisingly timeless! 14 tracks in all: "A Special Path" by Becky Severson, "Cricket" by Collie Ryan, "Sunlight Shadow" by Linda Rich, "Engram" by Caroline Peyton, "And I A Fairytale Lady" by Carla Sciaky, "Window" by Judy Kelly, "Dedication" by Mary Perrin, "Rain" by Marj Snyder, "Wildman" by Ginny Reilly, and a cover of the Stones/Marianne Faithful treasure "Sister Morphine" by Ellen Warshaw.

A great mix of funky jazz, jazzy funk, and funky soul – all pulled from the Atlantic catalog of the 60s, and including some very tasty numbers that were only ever issued as funky 45s! The set's one of the nicest in the great Mod Jazz series on Ace, and it's the only one to feature Atlantic material, which rarely ever gets the same funky treatment as other labels from the 60s. Titles include "The Sidewinder" by Tamiko Jones & Herbie Mann, "Do It To Death" by Jackie Ivory, "Jet Set" by Dave Pike, "Fever" by Esther Phillips, "Jam Up Twist" by Tommy Ridgely, "Sticks & Stones (part 1)" by Gene Ludwig, "Bloodshot" by Hubert Laws, "Sombrero Sam" by Charles Lloyd, "The Foolkiller" by Mose Allison, "One Note Samba" by MJQ & Laurindo Almeida, "It's A Funky Thing – Right On (part 1)" by Herbie Mann, "Watermelon Man Ska" by Byron Lee & The Dragonaires, "Trese Lobos" by Mark III Trio, "You're The Boss" by LaVern Baker & Jimmy Ricks, "Burnin Coal" by Les McCann, and "Twist City" by Matthew Gee & Johnny Griffin. 26 cuts in all – and like finding a jukebox that's lain dormant in a jazz lounge for 30 years!

A classic slice of Jamaican roots! No collection of Lee Perry's work is complete without this chapter, which has been hard to get in spite of being reissued in a number of different formats. This version features a slight twist on the original cover art, but is an expanded double LP set with a bonus disc of later self-produced material. On the original album, recorded at the Black Ark in 1976, Cedric Mytton teams up with Roy Johnson on harmony vocals, with Lee Perry steering the Ark with a heavyweight supporting crew, for a true milestone in Jamaican music, and a classic of universal proportions. The second LP features material from 4 different sessions, all great, with tracks from the 1979 LPs Cvongo Ashanti and Image of Africa, the 1981 LP Face The Music and a couple of tracks from 1999. 22 tracks in all, including "Fisherman", "Congoman", "Open Up The Gate", "Children Crying", "La La Bam-Bam", "Can't Come In", "Sodom & Gomorrow", "The Wrong Thing", "ArkOf Covenant", "Don't Blame On I", "Solid Foundation", "Days Chasing Days", "Youth Man", "Only Jah Know", "Music Maker", "Stay Alive (ext)", "Problems", "Face The Music", "Enemy & Spy (ext)" and "Aaron & Moses (ext)".

A should-be Cali country rock classic by Chris Darrow – and a real rare gem of a record we'd put right up there with the best of its kind! Multi-instrumentalist Darrow might be best known to psych enthusiasts – as he was a founding member of Kaleidoscope – but as a session player, he's worked with an eclectic roster of major players that includes Frank Zappa, Gram Parsons, Leonard Cohen, Sly Stone, the Nitty Gritty Dirt Band and others. His solo work is akin to some other great, but better-known Cali country rockers, and honestly, we'd rate this record up against the aforementioned Mr. Parsons – it's really that good – but with more eclectic instrumentation. Catchy songs that are well sung and expertly-crafted – with Chris playing guitars, mandolin, dobro, fiddle and just about anything else with strings on it – and some light percussion, too! Other players include Ed Black, Loren Newkirk, Arnie Moore and Mickey McGhee – plus a sweet group of backing vocalists that includes Jennifer Warren. Titles include "Beware Of Time", "Lovers Of Sleep Abed Tonight", "Shawnee Moon", "Move On Down The Line", "Song For Steven", "Cocaine Lil", "Alligator Man", "Keep On Trying", "New Zoot", "The Show Must Go On", "The Sky Is Not Blue Today" and "We Can Both Learn To Say I Love You". This great 2013 version on Drag City has 5 bonus demos, too!

A very cool package – one that features a vintage-styled 7" single – with "Like A Rolling Stone" and "Gates Of Eden" – all in a cool pic sleeve design! Then, the box also features an XL t-shirt – with a white pixilated Bob Dylan image on a black background!

A stone classic from the young Johnny Osbourne – solo vocals over backings from the Roots Radics – all served up with some nice dubby touches in the production! Johnny's vocals have this almost innocent quality at times, especially on his frequent lyrics about the ladies – often a lot less posturing than some of his contemporaries, in a really compelling way. Titles include "Fally Lover", "You're Too Sexy", "No Lollipop No Sweet So", "Mushroom", "Love So Strong", and "He Can Surely Turn The Tide".

Hard to go wrong with a Stones classic like this one – a record that really has the group hitting their late 60s stride, and coming across with a depth and power that really goes beyond their earlier releases! There's a sinister quality to the record right from the start – thanks to the brooding, haunting power of "Gimmie Shelter" – and the sublime "Monkey Man", which may well be one of our favorite Rolling Stones songs ever! But the whole thing's great – and other tracks include "Love In Vain", "Let It Bleed", "Live With Me", "Midnight Rambler", "Country Honk", and the classic "You Can't Always Get What You Want".

A great package – with a dozen Rolling Stones albums on sweet import vinyl! Includes the albums The Rolling Stones, Around & Around, The Rolling Stones No 2, Out Of Our Heads, After Math, Got Live If You Want It, Between The Buttons, Their Satanic Majesties Request, Beggars Banquet, Let It Bleed, Get Yer Ya Ya's Out, and Metamorphosis.

One of Sonny Rollins' real standout sessions from the 70s – a different vibe than before, but a sound that's still as striking than any of his earlier records! The record features him in a slightly more modern group – with backing by Walter Davis Jr on piano, Masuo on gutiar, Bob Cranshaw on bass, David Lee on drums, and Mtume on percussion – a great mix of acoustic and electric elements that brings up a sweet 70s sound for the record. Sonny's solo power is still tremendous – differently pitched here, but still incredibly inventive – and titles include "Pictures In The Reflection Of A Golden Horn", "Notes For Eddie", "Love Man", and "Sais", a great composition by Mtume, which is handled here by Rollins in an incredibly soulful manner!

Cinematic soul rooted in the rawer organ, drums and horns vibes that resonated deeply in records from north to south in the 70s – done with a lean, tight and head nodding groove no doubt informed by Aloe Blacc's own roots in hip hop – on his best album yet and one of best raw soul styled albums ever to come from our friends at Stones Throw! Good Things is a giant leap ahead of Shine Through, Aloe's previous full length on the label. We loved that record for its gritty, unique approach to funky soul, but, Good Things reaches for the heights of Aloe's heroes from Donny Hathaway to Marvin Gaye – and comes closer than we could have imagined! It's produced by the Truth & Soul team, with a timeless funk & soul vibe comparable to their work with the great Lee Fields. We have a feeling we'll still be listening to this album 10-15-20 years from now. Essential! Titles include the underground breakout "I Need A Dollar", an incredible cover of The Velvet Underground's "Femme Fatale" (we must have dropped the needle on that 50 times in the first couple days we had it), "Green Lights", "Miss Fortune", "Good Things", "Loving You Is Killing Me", "Mama Hold My Hand", "Hey Brother" and more.