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An amazing record – quite possibly the best ever by Chicago soul legend Leroy Hutson! The whole thing's a smooth soul masterpiece beyond compare – a stunning blend of great songwriting, sexy vocals, and buttery production that rank it up there with the best work of 70s giants like Marvin Gaye, Leon Ware, or Roy Ayers. Leroy's got a voice that's both warm and mellow, yet incredibly honest at the same time – and the songs on the record show a range of colors and emotions that perfectly fit his unique style. Features mellow "Cool Out", the funky "Lucky Fellow", the sweet "All Because Of You", and the sublime cuts "It's Different" and "Can't Stay Away". The whole thing's great – and is one of the crowning achievements of the Chicago soul scene!

One of our favorite soul albums ever – a complete masterpiece from the mighty Leroy Hutson, easily one of the greatest soul singers of the 70s! The album's got a warmth that's amazing, yet also still manages to groove all the way through – hitting a subtle, almost mellow vibe that's like Marvin Gaye or Roy Ayers at their best – but somehow even better because the album's a lot less familiar than their work, and has a freshness that grabs us again and again over the years! Hutson arranged and produced the whole set himself – and the scope of his talents in the studio is amazing – tight on the rhythms, but broadly expansive on the other instrumentation – with a mix of intimacy and class that few other records from the 70s could ever hope to match. Perfect all the way through, and filled with genius cuts that include "Don't It Make You Feel Good", "I Think I'm Falling In Love", "Love to Hold You Close", "Flying High", "I Do I Do Want To Make Love To You", "Blackberry Jam", and "Sofunkstication".

Killer early soul by Leroy Hutson – and a record that really shows him opening up as a vocalist and songwriter! Leroy's style is not as smooth and polished as on later albums, and the record's got a bit of a rougher soul edge and a strong early 70s radio sound. Includes the wonderful soul classic "So In Love With You", a sweet mellow ballad that's extremely catchy, plus the moog-based funky instrumental "Gettin It On", a totally great number that often gets overlooked – and the cuts "Love Oh Love", "As Long As There's Love Around", and "Time Brings On A Change". Solid, mellow soul from Chicago in the seventies, with a sweet soul vibe, and great Curtom production.

Killer early soul by Leroy Hutson – and a record that really shows him opening up as a vocalist and songwriter! Leroy's style is not as smooth and polished as on later albums, and the record's got a bit of a rougher soul edge and a strong early 70s radio sound. Includes the wonderful soul classic "So In Love With You", a sweet mellow ballad that's extremely catchy, plus the moog-based funky instrumental "Gettin It On", a totally great number that often gets overlooked – and the cuts "Love Oh Love", "As Long As There's Love Around", and "Time Brings On A Change". Solid, mellow soul from Chicago in the seventies, with a sweet soul vibe, and great Curtom production. This is the second pressing – on Warner/Curtom, from the mid 70s.

A killer early album by the great Leroy Hutson! Hutson had originally been a later member of The Impressions – replacing Curtis Mayfield briefly after he'd gone solo – but he also had spent a fair bit of time noodling around the Chicago soul studio scene of the late 60s and early 70s. This album is kind of a "bustin' out of the studio" album in it's presentation of Hutson's material. The record features a number of great sweet soul cuts – like "Ella Weez" and "Can't Say Enough About Mom" – mixed with nice funky tracks, like "The Ghetto '74", which is a remake of "The Ghetto", a tune that Hutson wrote with Donny Hathaway. The record's a prime example of the genius of Chicago soul in the 70s – with great arrangements that have a lot of space for Leroy's singing, yet still come down hard and nasty in parts, like some of the funkier stuff on Curtom.

A killer early album by the great Leroy Hutson! Hutson had originally been a later member of The Impressions – replacing Curtis Mayfield briefly after he'd gone solo – but he also had spent a fair bit of time noodling around the Chicago soul studio scene of the late 60s and early 70s. This album is kind of a "bustin' out of the studio" album in it's presentation of Hutson's material. The record features a number of great sweet soul cuts – like "Ella Weez" and "Can't Say Enough About Mom" – mixed with nice funky tracks, like "The Ghetto '74", which is a remake of "The Ghetto", a tune that Hutson wrote with Donny Hathaway. The record's a prime example of the genius of Chicago soul in the 70s – with great arrangements that have a lot of space for Leroy's singing, yet still come down hard and nasty in parts, like some of the funkier stuff on Curtom.

A great little set from Leroy Hutson – proof that he was still going strong through all his years at Curtom! For years we passed this one by, wrongly thinking "it's late, it can't be that good" – but the album's a real winner, with a blend of clubby uptempo cuts and some super-great mellow soul material, stuff that has Leroy stepping into a smooth modern soul vein! Seminal tracks include "So Nice" and "Right or Wrong" – both of which are amongst some of his best work ever – and other tracks include "Unforgettable", "Funk In My Life", and "Lonely Without You".

An amazing record – quite possibly the best ever by Chicago soul legend Leroy Hutson! The whole thing's a smooth soul masterpiece beyond compare – a stunning blend of great songwriting, sexy vocals, and buttery production that rank it up there with the best work of 70s giants like Marvin Gaye, Leon Ware, or Roy Ayers. Leroy's got a voice that's both warm and mellow, yet incredibly honest at the same time – and the songs on the record show a range of colors and emotions that perfectly fit his unique style. Features mellow "Cool Out", the funky "Lucky Fellow", the sweet "All Because Of You", and the sublime cuts "It's Different" and "Can't Stay Away". The whole thing's great – and is one of the crowning achievements of the Chicago soul scene!

A really sublime rare groover from JR Bailey – vocalist in the Cadillacs back in their doo wop years, but a heck of a great 70s mellow soul artist in this obscure little set! JR wrote and co-produced all the tunes on the set – in a mode that steps along beautifully with a subtle groove at the bottom, but takes off with complicated touches in the backings, and some vocals from Bailey that really stand out from most of his contemporaries. There's echoes here of other 70s great like Donny Hathaway, Leroy Hutson, or Al Johnson – and like all those artists, JR's drawing a fair bit of jazz into his work – making for complicated changes and warmer overtones that really help take the record way past conventional soul! Arrangements are by Bailey with Bert De Coteaux, Ken Williams, Paull Griffin, and Horace Ott – and titles include "Love Love Love", "Cute As A Button", "After Hours", "Heaven On Earth", "She Called Me", "Everything I Want I See In You", and "Not Too Long Ago".

A fantastic bit of soul and house that was woefully overlooked at the time of its release – and one of our favorite albums of the past 25 years! The Blaze production team had been hitting the underground club scene hard for a few years with their raw New Jersey house singles – then Motown grabbed them in the studio, and had them cut this classic album of soul tracks that pays homage to a set of greats that runs from Leroy Hutson, to Donnie Hathaway, to Norman Harris, and a host of others – all with a sense of soulfulness and depth that goes way past their standard work for the clubs! The dancefloor tracks are great, but the album's also got some wonderfully mellow moments too – with tracks that include "So Special", "We All Must Live Together", "Missing You", and "Get Up".

Brilliant work from this long-lost Barry White protege! Tom Brock was one of the leading lights in Barry's stable of sweet mid 70s soul talents – a great writer who contributed songs to the legendary Gloria Scott album, and a heck of a great mellow soul singer on his own – with a style that's right up there with work by Leon Ware, Leroy Hutson, and some of our favorite 70s soul heroes! This album's the only one that Brock ever recorded – a great blend of mellow soul tunes, ballads, and a few tracks that have a nicely kicking Barry White-styled funk sound to them. White produced and arranged with Gene Page – and the whole album's great – the kind of mellow soul treasure you'll play again and again and again over the years! Includes the massive "I Love You More & More", plus "There's Nothing In This World That Can Stop Me From Loving You", "Shake Me Wake Me", "Naked As The Day I Was Born", "If We Don't Make It, Nobody Can", "Have a Nice Weekend Baby", and "The Love We Share".

Linda's first effort for Curtom, and a record that's got a bit more soul than some of her later more disco-oriented albums. Unfortunately, it's also got a bit more schmaltz – but if you stay away from the sillier cuts, you'll get some tasty mellow soul that's a good bridge between Linda's earlier singles and her later hits. Leroy Hutson produced the sophisticated stepper "Only Fooling Myself", and the rest of the material was handled by Gil Askey, including a good cover of Al Green's "Still In Love With You", Bunny Sigler's "From Now On", and the track "You Can Do It".

A wonderful album of mellow soul tracks! The record is Lou Courtney's masterpiece – and it's a jam-packed set filled with great tracks that rank right up there with classic 70s work by artists like Marvin Gaye, Leroy Hutson, or Leon Ware! Leon Pendarvis handled most of the arrangements – and the record's got a wonderfully full soul sound – with a mix of moody keyboard-driven groovers and ballads – all topped by excellent vocals from Lou, miles ahead of any work he did in the early days! The best thing, though, is the songwriting, as these tracks rank right up there with the best underground mellow soul we can think of – sophisticated yet not soppy, filled with soulful lyrics about love and losing it, never giving into cliches of other soul from the time. A real dream of an album – and filled with great tracks like "I Will If You Will", "I'm In Need Of Love", "Just To Let Him Break Your Heart", "Somebody New Is Loving On You", "Just To Let Him Break Your Heart", and "The Common Broken Heart".

A wonderful gem from Leon Dubouse – a singer whose voice is definitely the fine instrument promised in the title! The set's obscure, but put together with a really top-shelf approach – a mellow groove that's often a bit funky, too – even when warmly gliding on Leon's soulful vocals! The style's a lot like the best early Leroy Hutson work on Curtom – and Leon's voice has a very similar appeal, too – but the style's nicely farther-ranging too – a few familiar modes, and some other nice twists and turns that show that the instrumentation is mighty fine too. Arrangements were done by Clay Cropper, Mike Lewis, Roger Hattfield, and Norman Lotterer – and titles include "What Do We Do About Our Love", "Black Stallion", "Fast Food Chain", "It's True It's You", "In The Neighborhood", and "Every Fellas Girl".

A pair of overlooked gems from Ronnie Dyson – both of which show there's way more to love than just his early hits! On Love In All Flavors, Ronnie's older than during his falsetto soul early years – and he's working here with some impeccably mature Chicago soul arrangements by Gene Barge, Gene Page, and Richard Evans. The album's produced by the always-great modern soul dynamic duo of Chuck Jackson and Marvin Yancey (ex-Independents), and it's got an approach that mixes deeply soulful vocals with smoother backings, kind of in the same mode that The Manhattans were using, but with a bit more of a modern tip that points towards the Capitol work by the Jackson/Yancey team. Tracks include "I Want To Be Where You Are", "Sara Smile", "Don't Be Afraid", "I Just Want To Be There", and "Ain't Nothing Wrong". On More You Do It, Dyson works with the 70s hit soul team of Chuck Jackson and Marvin Yancy – the pair who brought great sound to Natalie Cole, and who work some similar magic with Ronnie! The album was recorded in Chicago – partially at Curtom – and has arrangements from Gene Barge, Gene Page, and Richard Evans – all of whom bring a fullness to the record that's a nice change from Dyson's more fragile work of earlier years. Some of the best cuts have a gentle midtempo groove that's almost like Leroy Hutson – warm, and never slick – very personal, and stepping along nicely. Titles include "The More You Do It", "You & Me", "Jive Talkin", "Close To You", "Love Won't Let Me Wait", and "Lovin Feelin".

Mindblowing work from Roberta Flack – an album that should be in the collection of any fan of righteous soul music! Forget all the wimpier modes of Flack's later years – because here, the young Roberta is a vision of positive power and spiritual soul – a singer with roots in jazz, which helps to transform some of the album's very surprising song choices – and a depth and sensitivity that goes way past the usual female soul modes of the time. Donny Hathaway handled half the arrangements for the record – a perfect choice for Flack – and Deodato handles the other, with some large arrangements that still have just the right sort of gentleness to go with her voice. Titles include a version of "Reverend Lee", penned by Eugene Daniels – and the great "Gone Away", written by Curtis Mayfield, Leroy Hutson, and Hathaway – plus the tracks "Just Like A Woman", "Do What You Gotta Do", "Business Goes On As Usual", and "Until It's Time For You To Go".

Mindblowing work from Roberta Flack – an album that should be in the collection of any fan of righteous soul music! Forget all the wimpier modes of Flack's later years – because here, the young Roberta is a vision of positive power and spiritual soul – a singer with roots in jazz, which helps to transform some of the album's very surprising song choices – and a depth and sensitivity that goes way past the usual female soul modes of the time. Donny Hathaway handled half the arrangements for the record – a perfect choice for Flack – and Deodato handles the other, with some large arrangements that still have just the right sort of gentleness to go with her voice. Titles include a version of "Reverend Lee", penned by Eugene Daniels – and the great "Gone Away", written by Curtis Mayfield, Leroy Hutson, and Hathaway – plus the tracks "Just Like A Woman", "Do What You Gotta Do", "Business Goes On As Usual", and "Until It's Time For You To Go".

Sublime 70s work from Darrow Fletcher – a singer we mostly know for his early soul singles in Chicago – but one who really hits his stride on these rare sessions from LA! The music was mostly recorded for Ray Charles' Crossover label – although a few singles also appeared on Atlantic too – and the work has Fletcher's wonderful sweet soul vocal approach coming into play with these warmly flowing grooves that are mighty nice – almost a west coast take on the style that Leroy Hutson was doing in Chicago on Curtom! In the setting, Fletcher's even more appealing than before – a mature singer with a hell of a balance between class and soul, poise and swing – more than enough to rival his hippest contemporaries. Production on most tracks was done by Joel Webster – who also recorded for Crossover – and titles include "The Rising Cost Of Love", "Honey Can I", "Try Something New", "Secret Weapon", "Let's Get Together", "It's No Mistake", "Election Day", "Improve", and "Wind Up Toys".

Massive uptempo two-part funk track from Chicago, with arrangements by Leroy Hutson, and a heavier sound than on his own records. Very nice approach, with a good choppy "bump" groove to it!

A 70s soul genius – even if you've never heard of the guy! Ron Henderson's a real enigma – a totally great soul artist who recorded throughout the 60s and 70s, but never really cracked the big time – thanks to the fact that his work was spread out over a number of different labels, and never given the push or full album release it deserved. His sound is one that rivals the best bigger names of the 70s mellow soul era – and Ron's got a wonderful talent for gently grooving rhythms and lovingly laidback tunes – in a style that reminds us a bit of Bobby Wilson, or of some of Leroy Hutson's first solo work, and which has a similar evolution as the 70s progress. This excellent CD finally gives Henderson his due – and presents a total of 20 tracks recorded during the early and mid 70s – all packaged with great sound and a full set of notes on Ron's life and music. Titles include "Gemini Lady", "I Feel I Have It In Me", "Your Love", "Problem Child", "The Other Side", "Hooked On Your Love", "Yours Is The Love I Want", "I'll Be Around", "Baby I Wanna Be Yours", "Sunshine", "Mary Green", "You're Twenty One Today", and "She Pleases Me".

A 70s soul genius – even if you've never heard of the guy! Ron Henderson's a real enigma – a totally great soul artist who recorded throughout the 60s and 70s, but never really cracked the big time – thanks to the fact that his work was spread out over a number of different labels, and never given the push or full album release it deserved. His sound is one that rivals the best bigger names of the 70s mellow soul era – and Ron's got a wonderful talent for gently grooving rhythms and lovingly laidback tunes – in a style that reminds us a bit of Bobby Wilson, or of some of Leroy Hutson's first solo work, and which has a similar evolution as the 70s progress. This excellent CD finally gives Henderson his due – and presents a total of 20 tracks recorded during the early and mid 70s – all packaged with great sound and a full set of notes on Ron's life and music. Titles include "Gemini Lady", "I Feel I Have It In Me", "Your Love", "Problem Child", "The Other Side", "Hooked On Your Love", "Yours Is The Love I Want", "I'll Be Around", "Baby I Wanna Be Yours", "Sunshine", "Mary Green", "You're Twenty One Today", and "She Pleases Me".

Two early 70s gems from The Impressions – back to back on a single CD! Preacher Man is heavy soul from the early 70s version of the group – put together with all the same depth as Curtis Mayfield's work of the time! This time around, Rich Tufo is at the helm on production and arrangements – but he continues to wave the Curtom flag high with some wonderfully put-together backings that mix swirling strings and heavy funk, all in support of some very message-oriented lyrics! Tufo also penned most of the tracks on the set, and has a great ear for bringing the new politics of the 70s into play with the sweeter soul harmonies of the group's earlier years – still carried strong by original group members Sam Gooden and Fred Cash. Titles include "Find The Way", "Preacher Man", "What It Is", "Simple Message", "Thin Line", and "Color Us All Gray (I'm Lost)". Finally Got Myself Together is a great little album by The Impressions – possibly their best of the 70s! The record's got a very solid harmony soul approach, and Lowrell Simon wrote and produced a number of tracks with Rich Tufo – giving the album the same sweet sexy sound that he brought to his best solo records, and his late work with The Lost Generation! The best example of this is the fantastic soul cut "We Go Back A Ways", a sweet mellow groover in the Leroy Hutson vein, and one of their standout cuts in the post-Curtis days. Ed Townsend worked on a number of other cuts, too, and he brings a real tightness to the songwriting – especially on the cuts "Guess What I Got", "Try Me (One More Time)", and "I'm A Changed Man".

Smooth and sweet soul from Jeffree – an unsung 70s vocalist with a really great approach! Jeffree, aka Jeff Perry, is the brother of Greg Perry – and works in a similar style to his more famous brother – warmly grooving soul with a fluid, mellow approach – served up with great production, bubbling rhythms, and a really solid sound overall. The work is very much in the best tradition of 70s giants like Marvin Gaye or Leroy Hutson, and the collection brings together the best tracks from the self-titled Jeffree album on MCA from 1979, plus other assorted singles recorded under the name of Jeff Perry for Arista and Epic. Titles include "Love's Gonna Last", "Gentle Love", "Love Loan", "Unforgettable Person", "Call On Me", "Love Don't Come No Stronger", "Mr Fix-it", "Honest Baby", and "Take My Love".

An excellent 2nd album from Lew Kirton – a bit smoother than his first one, but still with that great mellow soul sound that we dig so much! Lew's a strong singer in a tradition that includes Leroy Hutson and Leon Ware – sweetly grooving in a warm and mellow style, but also kicking things up a bit more for this set with some touches of 80s groove! The songwriting is especially nice, and Lew's firmly in control of the session at a level that was becoming increasingly rare for male singers at the time. Titles include "Just Can't Get Enough", "Talk To Me", "Always Will", "I Can't Live Without You", "Got To Find Somebody To Love", and "Here's My Love (Come & Get It)".

A jazzy soul masterpiece from Webster Lewis – light years away from the rougher funk he cut at the start of the 70s! The album's beautifully put together – almost perfect at all points, at a level that we'd rank right up there with the best work by Leroy Hutson, Roy Ayers, or other contemporary maestros in the studio. Unlike some of the more commercial artists of his generation – who also came to soul through jazz – Webster doesn't push the hooks too hard, nor try too much for a hit. And instead, he's more than happy to stay in his own righteous space – with a sound that's smooth, but never slick – tight, but not uptight. He's got some great help on the record – including keyboards from Herbie Hancock and Skip Scarborough, guitar from David T Walker, and percussion from Willie Bobo – all of whom keep things cool. Vocals are handled by a number of singers, including Webster himself – and titles include "Bout The Love", "Let Me Be The One", "Love Won't Harm No One", "El Bobo", "Kemo Kemo", "A Quiet Thing", and "Flying High". CD features 2 bonus tracks – "Reach Out" and "Boston".

The one and only album from Detroit underground legend Ronn Matlock – but a modern soul classic through and through! By the time of this late 70s set, Matlock had spent nearly a decade working under Motor Town legends like Norman Whitfield and the Holland-Dozier-Holland team – and he emerges here fully formed as a wonderful soul songwriter with a really mature approach to his music! The album's more mellow soul than the uptempo disco you might expect for the time – and Matlock's very much in the spirit of Leroy Hutson or Leon Ware here – hitting gentle grooves that are never too sleepy, and which come off with a really mature, sophisticated feel. Production and arrangements are by Michael Stokes, but we're guessing that it's Matlock's talents that are still the main guiding light on the set – and titles include the sublime stepper "I Can't Forget About You", plus "Take Me to the Top (Of Your Mountain)", ""Back Street", and "You Got the Best of Me". CD also features 2 bonus tracks – "Let Me Dance (single version)" and "You Got The Best Of Me (mono single version)".

A great album of mellow soul tracks from Curtis Mayfield – laidback, slinky, and almost to his earlier work what Let's Get It On was to the early 70s career of Marvin Gaye! The album's got a warm, soulful vibe that's totally great – not as all-out funky or politically righteous as before, and instead more deeply personal, and almost intimate at times – in a way that really lets Curtis open up with those fragile and heartbreaking vocals that made his 60s work so great. The restraint here is totally great – another mid 70s masterpiece from arranger Rich Tufo – and at times, Mayfield hits a similar mode to some of Leroy Hutson's best Curtom work from the time! Titles include "Just Want To Be With You", "All Night Long", "When We're Alone", "I'm Gonna Win Your Love", "Sparkle", "Never Say You Can't Survive", and "Show Me Love".

A beautiful debut from Frank McComb – a singer we've really grown to love and know well from his indie releases of the 21st Century, but who surprisingly got his start on a major label! The album's near perfect all the way through – as wonderful a mellow soul document as you could hope for from 70s Marvin Gaye or Leroy Hutson at their best – and Frank's got an amazing talent for blending together rich vocals and lush arrangements, yet somehow never making the whole thing too sleepy or slow. We've still never been sure as to why Sony never decided to do more with Frank at the time – and after falling in love with this album, if we ever happened to run into the exec who let McComb go, we'd certainly give him a talking to! Titles include "Looking At You", "Gotta Find A Way", "If This Is Love", "Love Natural", "Future Love", "Wasting Your Time", and "Listen To Your Heart".

The amazing debut of Ronnie McNeir – a 70s soul maestro we'd rank right up there with Donny Hathaway, Leroy Hutson, or Leon Ware – but one who's possibly even more impressive, given that he cut this record when he was only 22 years old! The album's quite heavy on keyboards – played by Ronnie underneath his wonderful vocals – with jazzy touches that give the record a strongly mature sound, almost in the realm of Stevie Wonder at points, especially Stevie's sound right at the end of the 60s. But Ronnie's also very much his own man too – and puts together the album with a great deal of thought – a few recurring musical themes between some tunes, and even bits of dialogue which serve to unite the different tunes, and almost make the record a mini-symphony of soul! The songwriging is beautiful too – numbers that have a deeply personal feel, but without any common cliches – often a righteous undercurrent that creates a spiritual vibe that links things together wonderfully. There's a depth here that goes way beyond common soul albums of the time – and the album's a real treasure of 70s soul – the kind we'd never part with! Titles include "In Summertime", "Young Girl", "Daddy's Coming Home", "Girl You're Gonna Lose Your Groove", "Keep Your Hands Off My Lady", "Extra Extra", "Gone Away", and "I'm So Thankful".

A classic set of smooth 70s soul from an under-recognized genius! Phillip Mitchell is a bit like his Atlantic Records contemporary Sam Dees – in that he wrote a lot of material for other singers, recorded a handful of singles, and worked mostly in the southern scene – but he also had a sophisticated, modern style that sounded a lot more like work coming out of New York, Philly, or Chicago. This lost album for Atlantic is a great example of that fact – as it was recorded at Muscle Shoals, but also features some Philly elements too – creating a great mix of modes that's wonderfully unique! There's a feel here that's just like some of the best work from Leroy Hutson, Johnny Bristol, or Leon Ware at the same time – a majestic, mature approach to soul that's simply tremendous. Titles include "In Between Lovers", "Top Of The Line", "I'm So Happy", "Let's Get Wet", "Paying The Price", and "If It Ain't Love It'll Go Away". Also features the bonus track "Take Me Away".

Amazing harmony soul – two massive albums, plus bonus cuts too! Natural Four's first self-titled album on the Curtom label has an amazing "rough with the smooth" quality that really sets them apart from east coast groups of the time! Part of the strength of the set has to do with Leroy Hutson – who arranged and produced the whole album, and gives it a superdope quality that makes it stand proudly with the best work on Curtom Records of the time. The sound is full and polished, yet also honest, earnest, and personal – in that great mix of moods that Hutson and Curtis Mayfield could bring to their own work of the time. The whole set's a classic, and titles include "Try Love Again", "You Bring Out The Best In Me", "Can This Be Real?", "This is What's Happening Now", and "Things Will Be Better Tomorrow". Heaven Right Here On Earth features stellar production by Leroy Hutson and Rich Tufo, and Hutson wrote a lot of the tracks. One of the best records ever to come out of the Curtom studios, and (dare we say it!) even better than the group's first one. In a market that was dominated by east coast falsetto groups, the Natural Four emerged with kind of a super-dope style that was part Curtom righteousness, part Brunswick vocal harmony, and righteous 70s soul songwriting. And as proof of this style, the album's got loads of great tracks like "While You're Away", "Count on Me", "Heaven Right Here On Earth", and "Love's So Wonderful". CD also features 4 bonus tracks from singles – "Get It Over With", "How Have You Been", "Eddie You Should Know Better", and "I Think I Found The Girl".

The second LP by this obscure group from Chicago who never really managed to crack the big time, but who managed to be one of the bigger independent soul acts of the early 80's. Like their first, this one was recorded in Chicago with a sound that's similar to some of the other modern soul stuff that was coming out of the city's crumbling soul scene – good harmonies at the core, with all of the best songwriting elements of the glory days, but a bit more of a modern finish over the top. Still, Omni were always committed to a strong soul groove – as you can tell from their back cover thanks and endorsements to Leroy Hutson, Frankie Knuckles, and other Chicago soul giants! Cuts include "Body Groove", "Just How Bad", "Leave It Up To Me", "Out Of My Hand", and "All For The One".

Massive massive work from Starship Orchestra – a trio of talents from the Norman Connors universe, but one who get some heavy help in the studio from arrangers Bobby Lyle, McKinley Jackson, and Jerry Peters! There's a real Aquarian Dream sound at play here – all the best energy of Connors' soulful years of the mid 70s, fused into a jazzier vibe overall – played to perfection, yet without any commercial touches at all – a really amazing thing for a major label album of the time! We've loved this record for years, and easily rank it right up there with the most sophisticated grooves of the time – like the best from Roy Ayers or Leroy Hutson, with some echoes of James Mason's wonderful album too. One cut has lead vocals from Joe Saulter – and other players include Lyle and Peters on keyboards, Wah Wah Watson and Paul Jackson on guitars, Don Myrick on saxes, and Louis Satterfield and George Bohannon on trombones. The whole thing's perfect – and titles include "You're A Star", "The Genie", "All Those Things", "Serious Business", and "New York New York".

Amazing work from The Voices Of East Harlem – a group with roots in gospel, but working here in a wonderfully soaring secular soul style – complete with arrangements and production from the legendary Leroy Hutson! The style here is similar to some of Leroy's best work, and that of his contemporaries on Curtom – a sound that's righteous and often funky, but able to hit some sweeter, warmer notes as well. Individual voices step out from the larger ensemble and take key leads on some tracks – and the overall style is simply mindblowing, at a level that makes us easily rank this as one of our favorite soul albums of all time! A must-have album, and one we've treasured for years – with tracks that include "Just Got To Be Myself", "So Rare", "March Across This Land", "Amazing Love", "Take A Stand", and "Can You Feel It".

A masterpiece of sweet group soul! This was the first secular record cut by The Voices Of East Harlem – a group who'd had an earlier gospel-tinged album on Elektra, but who are soaring out here in a brilliant mix of righteous mainstream soul styles – courtesy of the Curtom power team of Rich Tufo, Leroy Hutson, and Curtis Mayfield! The album's an unusual non-Curtom effort by the Hutson and Curtom – who collaborated in producing the record with Tufo, who himself did most of the arrangements with Hutson – in a mode that's wonderfully in the same spirit as Leroy's seminal work for Curtom in the mid 70s. There's a depth here that makes the album one of our favorite-ever soul records from the 70s – brilliant not just for the overall sound, but also for the pointed lyrics and really personal feel of the songs. Lead vocals shift between the different tunes – but are mostly handled by Gerri Griffin and Monica Burress, with warm support by the rest of the group. Titles include "Giving Love", "Cashing In", "Could This Be Love", "New Vibrations", and "Wanted Dead or Alive".

Sublime soul from the Miami scene at the end of the 70s – a mellow groover that's totally wonderful, and done in a sound that's a far cry from the TK hits of earlier years! There's a solid stepping sophistication to the track that's totally great – a bit like Lew Kirton, but even more like Leroy Hutson or some of the best mellow groove meisters of a few years previous! "Love Was Really Meant For You" is slower and even mellower – a great late nite track with a seductive quiet storm sound!

Smooth modern grooves – and a great collection of tunes that break big on the Chicago steppers scene! There's a really specific vibe running through the set – modern soul with a mellow feel, but plenty of emphasis on the groove, no matter how slow the tunes may be – all making for a perfect batch of tracks to glide onto the dancefloor, and stay until the late hours! Tracks span a few decades of vintage, but tie together nicely – and titles include "Cool Out" by Leroy Hutson, "All We Need Is A Place" by Freddie Cole, "If It Isn't Love (inst)" by New Edition, "All True Man (inst)" by Alexander O'Neal, "Everytime I See A Pretty Lady" by Gemini, "Love Ain't No Holiday" by Native, "Jus Reach" by Galliano, "Ms" by David Oliver, and "Suger Mama Baby" by Steve Arrington.

Some of our favorite sorts of soul tracks from the 70s – those mellow groovers that never get too over the top, and have a great slow-burning energy that goes on and on through the night! The tracks here are the sort that bubbled under during the disco generation – more laidback tracks that often used the same arrangers, producers, and studios – but came up with a groove that was much more gentle, and which was perfect for the soulful, sensual lyrics of the tunes! Thanks to efforts by the two-step scene in 80s London, and Chicago steppers in the 90s, lots of these tracks have had great staying power for years – and are perfectly put together in this sublime little compilation. Titles include "Take It Slow" by The Notations, "Trying To Get Next To You" by Arnold Blair, "Ain't It A Shame" by The Dells, "This Feeling's Killing Me" by The Jones Girls, "Sweet Music Soft Lights & You" by Ken Williams, "Love Sounds" by Intimate Strangers, "Let's Do It Again" by The Staple Singers, "Try Love Again" by Natural Four, "Lucky Fellow" by Leroy Hutson, "How Glad I Am" by Joyce Cobb, and "We Got Some Catching Up To Do" by Jean Carn.

One of the last great 70s soundtracks on Curtom Records – a smoking little set that pairs the music of Curtis Mayfield with the vocals of Mavis Staples! Curtis is very much in charge of the record from the start, and works in a hard-stepping and righteous mode that recalls his earlier work on the Staples' soundtrack for Let's Do It Again – no surprise, given that Piece Of The Action was the next installment in the successful series of films that starred Bill Cosby and Sidney Poitier! The sound here is nicely full, hitting that rich mid 70s Curtom mode that sounded so great on Leroy Hutson and Natural Four albums of the time – a slightly more sophisticated approach that mixed in a bit of strings with the heavier funk at the bottom. Titles include "Chocolate City", written by Curtis with Keni Burke and Henry Gibson, plus "Getting Deeper", "A Piece Of The Action", "Orientation", and "Of Whom Shall I Be Afraid".

A stunning set – and one of our favorite modern soul albums ever! The set was recorded at Sigma Sound Studios in 1980, and it's one of the best-ever records to come out of that hallowed hall of grooves – a one-off debut from the team of Tonee & Bill Collins, set to impeccable arrangements from the mighty John Davis! The set's not really disco – more a blend of mellow soul and midtempo club – with a sound that evokes artists like Barry White, Leon Ware, and Leroy Hutson – but which also grooves with a feel that's all its own. Nearly every cut's fantastic, and although you may know the duo's classic "Top Of The Stairs" from other collections, there's loads of other nice tracks here too – like "You Know How To Make Me Feel So Good", "Can't Turn Down Love", and "You Made Me Believe".

A post-Curtis Mayfield album by The Impressions – but one that crackles with the raw righteousness of Curtis' first few solo albums on Curtom! Mayfield's place here is held by the amazing Leroy Hutson – one of our favorite soul talents of the 70s, really sparkling here in the trio before moving onto his own run of classics for Curtom – with a vocal quality that's solidly soulful, and possibly even more progressively pointed than Curtis. Hutson helped co-arrange the album with Riley Hampton – and production is by Curtis Mayfield, who brings in all the right elements of fuzz and funk to really keep the group sounding hip. Titles include the classic peace song "Stop the War", plus "I Need To Belong To Someone", "Love Me", "Our Love Goes On & On", "This Love's for Real", and a cool cover of "Inner City Blues".

Essential reissue of this great mellow grooving soul LP from the late 70s! All the tracks are very deep, in the vein of Leroy Hutson, but with a club-tinged groove that makes the music even more solid for groovers. Includes the classic cut "Give Me the Sunshine", and the original recording of "I'm Back for More", which was the big hit for Al Johnson a few years later. Great stuff, with a very smooth sound and an excellent approach to production. There's a total of 8 cuts – 4 vocals, and 4 instrumental versions of the same tracks – just right for DJs!

Two tasty cuts by one of Chicago's best vocal groups ever! Both tracks were written by Leroy Hutson – and "Can This Be Real" was one of the group's bigger hits! Heavenly soul, and produced with a great sound.

Warm and wonderful soul from David Ruffin – key proof that the singer could keep on going strong, long after his earlier fame at Motown! The record's got a new sense of sophistication that really breaks David into new territory – a style that's nicely different than the backings Ruffin got from Van McCoy in his later Motown years – and which opens up a more mature sound, courtesy of producer Don Davis – who's casting Ruffin in the same blend of rough and smooth that worked so well for The Dramatics! There's a sophistication here that's completely sublime – a sound that's right up there with Leroy Hutson or Leon Ware – and most tunes hit a mellow or midtempo mode that's totally great! Tracks include "Chain On The Brain", "Break My Heart", "Morning Sun Looks Blue", "Let Your Love Rain Down On Me", "So Soon We Change", and "Sexy Dancer".

A great album of modern soul that always seems to get overlooked! The record was produced by Mtume and Reggie Lucas, and a lot of it has a sweet mellow vibe that reminds us of Leon Ware or Leroy Hutson. The title cut "One Way Love Affair" is a killer, and the record includes other nice ones like "Sit Up", "Love Can't Wait", "Midnight Love Dance", and "Make Up Your Mind".

One of the last great 70s soundtracks on Curtom Records – a smoking little set that pairs the music of Curtis Mayfield with the vocals of Mavis Staples! Curtis is very much in charge of the record from the start, and works in a hard-stepping and righteous mode that recalls his earlier work on the Staples' soundtrack for Let's Do It Again – no surprise, given that Piece Of The Action was the next installment in the successful series of films that starred Bill Cosby and Sidney Poitier! The sound here is nicely full, hitting that rich mid 70s Curtom mode that sounded so great on Leroy Hutson and Natural Four albums of the time – a slightly more sophisticated approach that mixed in a bit of strings with the heavier funk at the bottom. Titles include "Chocolate City", written by Curtis with Keni Burke and Henry Gibson, plus "Getting Deeper", "A Piece Of The Action", "Orientation", and "Of Whom Shall I Be Afraid".

A great little album from Roy Ayers – a very funky record that's almost all instrumental all the way through! The sound is a bit in the vein of Roy's Live At Montreux set – but funkier overall, thanks to some very heavy rhythms on the bottom – and an approach to the tunes that's short, tight, and very much on the money! In addition to Roy's great vibes, the set also features Harry Whitaker on electric piano, Jimmy Owens and Cecil Bridgewater on trumpets, Garnett Brown on trombone, and Dennis Davis on drums and percussion – all very hip players who really help Roy find the mix of jazz and funk he was going for at the time. Dee Dee Bridgewater sings a bit of vocals on the record, joining Roy on the sublime spiritual track "Love From The Sun" – but most other tracks on the album have a more instrumental approach. The record includes a great remake of Leroy Hutson's track "Giving Love", sung more famously by Voices of East Harlem, and it's also got a nice funky cover of the hit "Brother Louie" – plus the tracks "The Morning After", "Des Nude Soul", "Virgo Red", "Love From The Sun", and "I Am Your Mind".

A stunning lost Curtom track – funky mellow soul at its best, with Leroy Hutson arrangements and production that are right up there with his own best work! Arnold's got a voice that's warm and mellow, but which has a nice little crackle – sounding great on the sublime a-side that breaks and steps along with a sweet mellow groove that we totally love, and on the mellow, mellow late night flip too. Like finding a lost Leroy Hutson recording with a slightly different vocal style!

A jazzy soul masterpiece from Webster Lewis – light years away from the rougher funk he cut at the start of the 70s! The album's beautifully put together – almost perfect at all points, at a level that we'd rank right up there with the best work by Leroy Hutson, Roy Ayers, or other contemporary maestros in the studio. Unlike some of the more commercial artists of his generation – who also came to soul through jazz – Webster doesn't push the hooks too hard, nor try too much for a hit. And instead, he's more than happy to stay in his own righteous space – with a sound that's smooth, but never slick – tight, but not uptight. He's got some great help on the record – including keyboards from Herbie Hancock and Skip Scarborough, guitar from David T Walker, and percussion from Willie Bobo – all of whom keep things cool. Vocals are handled by a number of singers, including Webster himself – and titles include "Bout The Love", "Let Me Be The One", "Love Won't Harm No One", "El Bobo", "Kemo Kemo", "A Quiet Thing", and "Flying High". CD features 2 bonus tracks – "Reach Out" and "Boston".

A treasure trove of twelve inch singles from Solar Records – the west coast powerhouse for uptempo soul! Most of the numbers here date from the early 80s years when Solar were totally on top of their game – really dominating mainstream soul of the time in the same way Philly International did a decade before. The 2CD set features 12" mixes for all tracks – which mean that most are longer than the LP versions – and most grooves here are in a bumping, stepping, or boogie-oriented mode – post-disco with plenty of great west coast R&B touches. Titles include "Midas Touch" and "Scientific Love" by Midnight Star, "Show Me Where You're Coming From" and "Dance With You" by Carrie Lucas, "Call Me" by Bill Wolfer, "There It Is" and "Night To Remember (US ext mix)" by Shalamar, "No Pain No Gain" and "Rock Steady" by The Whispers, "I Don't Wanna Be A Freak" and "Love In The Fast Lane" by Dynasty, "It's All The Way Live" and "One Minute After Midnight" by Lakeside, "Classy Lady" by Leroy Hutson, "Romeo Where's Juliet" and "Winners & Loser" by Collage, "Street Beat" by The Deele, and "Come Back Lover" by The Sylvers.