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The Originals are hitting more of a dance-oriented groove here – a mix of disco, soul, and uptempo funk arrangements, but still maintaining their harmony sound, in the manner of other Detroit groups at the time, like The Fantastic Four or Detroit Emeralds. Titles include "Call On Your Six Million Dollar Man", "Hurry Up & Wait", "Been Decided", and "Down To Love Town".

A vocal gem on a small Chicago label – Rocco plays Hammond and sings with his trio!

Rare MGM recordings by The Seeds in a double 7" set!

A rare and great one from Luis Bacalov – his soundtrack for Una Questione D'Onore – fleshed out with bonus tracks for a first-time complete release! It's a mid 60s effort that pairs lush strings and grittier, oddball touches – soaring arrangements and stripped town pulpy movements alike. We know little about the film, but it's billed as a period set black comedy, which gives Bacalov plenty of motivation to pull together many of the aspects we love best about his 60s work, all into one soundtrack. Really wonderful stuff. Includes 43 tracks and nearly 80 minutes of music: Variations on the title theme as well as the tracks "Domenica Angela", "West Sardinia", "Modi Loro", "Valzer Per Una Pecora", "La Festa" and many more.

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

A pair of overlooked 70s gems from Jerry Butler – back to back on a single CD! Love's On The Menu is understated genius from Jerry – the kind of record that follows nicely off of his best strengths for Mercury in the early 70s – and which has him furthering the level of mature soul that was his greatest contribution to music in the decade! As before, the best tunes here are often the mellower ones – sung in a mode that's warmly soulful, and which often raises the bar for mainstream soul – to a level that would allow a lot more work to come from other singers a few years later. The title cut – "Love's On The Menu Tonight" – is a perfect illustration of this style – and other cuts include "The Devil In Mrs Jones", "Thank You Early Bird", "I'm Goin Left", "Don't Let This Smile Fool You", "I Don't Want Nobody To Know", and "This Is Your Life". Suite For The Single Girl is a great little concept album – and one that really shows the continuing sophistication and growth of Jerry Butler's music in the 70s! The record is dedicated to the "single girl" of the 70s (portrayed with the sad little photo of a brown bag lunch and a Gucci purse on the cover) – the new professional woman in the workplace – a surprisingly popular theme for many other singers of the period, but handled here by Butler with way more poise and class than any of his contemporaries! Arrangements are by James Mack and Paul Wilson, who often bring a great mellow mode to the best cuts – almost a Leon Ware style of laidback sensuality. A few other tunes are groovers, but still fit in just right – and titles include "Suite For The Single Girl", "I Wanna Do It To You", "Music In Her Dreams", "Only Pretty Girls", "Let's Go Get Out Of Town", "Chalk It Up", and "Ms Fine".

Wonderful Sammy from his years at Reprise – and a beautiful album cut in collaboration with arranger Marty Paich! Marty had a swinging, jazzy style that always brought out the best in Sam – even on an album of fuller, mellower tracks such as these. The title hit is done by Sammy in a heartfelt style that showed that he could be every bit the pop crooner as some of his contemporaries, and the album follows in a similar mode – but also throws in some more upbeat numbers that keep things fresh and grooving. Titles include "Song From Two For The Seesaw", "We Kiss In A Shadow", "Love Is The Tender Trap", "Back In Your Own Back Yard", "There Was A Tavern In The Town", and "Falling In Love With Love".

An excellent 70s Italian film score – penned for a political thriller, but handled with a fair bit of sweet and lovely themes! The album's one of the best we've ever heard from Francesco De Masi, and it nicely mixes his usual strong talents for action with a bit more warmth that befits the sexier side of the Italian cinematic spectrum. Sweet strings glide in alongside tighter electric basslines on some tracks – and others feature evocative woodwind bits, haunting piano, and a few more dramatic orchestrations – all wrapped up with really lovely sound throughout, and reissued here in a wonderful new package that really fits the music! There's a few vocal tracks – "Tomorrow Is A Foreign Land" and "Time On My Hands" – sung in English by Melody – and other titles include "The Story Of A Dream", "Running Against The Time", "Cape Town Harbour", "Soldiers Aboard", "Red Clouds", "Ending A Dream", "Suspect & Love", and "You'll Kill Her". CD also features 2 bonus tracks – LP versions of "Running Against The Time" and "The Story Of A Dream".

One of the hottest locker rooms in town – thanks to sublime Salsoul grooves from the always-great Double Exposure! The album's got a bouncy groove that's topped by the quartet's wonderfully warm harmonies – easily some of the best from the disco generation, served up in a careful classy style that makes them a perfect heir to some of the initial harmony grooves from the east coast scene of the early 70s! Norman Harris here handles production with associates Bruce Hawes, Ron Kersey, and Ron Baker – all of whom ensure just the right blend of Philly poise and soulful swing – and titles include "Can We Be In Love", "(Where Have You Been) All My Life", "I've Got The Hots For Ya", "I Wish That I Could Make Love To You", and "Why Do We Have To Go Our Separate Ways".

One of the hottest locker rooms in town – thanks to sublime Salsoul grooves from the always-great Double Exposure! The album's got a bouncy groove that's topped by the quartet's wonderfully warm harmonies – easily some of the best from the disco generation, served up in a careful classy style that makes them a perfect heir to some of the initial harmony grooves from the east coast scene of the early 70s! Norman Harris here handles production with associates Bruce Hawes, Ron Kersey, and Ron Baker – all of whom ensure just the right blend of Philly poise and soulful swing – and titles include "Can We Be In Love", "(Where Have You Been) All My Life", "I've Got The Hots For Ya", "I Wish That I Could Make Love To You", and "Why Do We Have To Go Our Separate Ways". CD features three bonus versions of a single – "I've Got The Hots For Ya (Bobby Guttadaro 12" mix)", "I've Got The Hots For Ya (Bobby Guttadaro & Keny Kayre 12" mix)", and "I've Got The Hots For Ya (orig single)".

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

60s cookers from Dizzy Gillespie – back to back on a single CD! New Wave is a lost bossa jazz classic from Dizzy Gillespie – recorded at a time when Lalo Schifrin was working in his combo! The record's got a cool, laidback kind of groove – one that's miles away from Gillespie's earlier bop work, and which shows him opening up his rhythmic conception strongly in the 60s. Rhythms are percolated by the piano of Schifrin, guitar of Bola Sete, bass of Chris White, and some well-chosen added percussion work – and the overall groove is one of the best American takes on the bossa jazz sound of the time, delivered with wonderful horn work from Dizzy on trumpet, Leo Wright on flute and alto, and Charlie Ventura on tenor! Even familiar tunes are transformed by the sound – and titles include "In A Shanty In Old Shanty Town", "Careless Love", "Taboo", "One Note Samba", "Pergunte Ao Joao", and "Chega de Saudade". On The French Riviera isn't really French, but actually a killer batch of Latiny tinged tracks from Dizzy & Co – with with great arrangements by Lalo Schifrin! There's a wonderful 10 minute version of "Chega De Saudade", done as "No More Blues" to start it out, and it's got a great loping Latin vibe, in the manner of Dizzy's best sides from the 60s. Lalo's on piano, and the great Leo Wright is on flute and alto, with Tzigane Elek Bacsik on guitar, Chris White on bass, Ruby Collins on drums and Pepitoo Riestria on percussion. Other nice ones include "Long Long Summer", "Desafinado", and "Pau De Arara". A great album, and one not to pass up!

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

An amazing record from the young Lee Hazlewood – recorded in the years before working with Nancy Sinatra, and done with a very hip edge that stretches way past its date of origin – to a time ten years later, when the LA scene would be in the midst of a fascination with country and roots music! Hazlewood is the lost link in that tradition, and this album is key proof of that fact – served up with a mixture of warmth, cynicism, and just plain wit that was extremely unusual for the early 60s. Lee uses the fictional town of Trouble as the setting for the 10 little story tracks in the album – which are great little songs about love, life, not loving, and not living. The music is deceptively simple, and Hazlewood weaves the songs together with narration that brings the whole thing alive nicely – really showcasing the warmth and wit that makes his music so special. Titles include "We All Make The Flowers Grow", "Six Feet Of Chain", "Trouble Is A Lonesome Town", "The Railroad", "Run Boy Run", "Son Of A Gun", and "Look At That Woman". Rare mono mix, beautifully presented with great sound and loads of notes – and also features a huge amount of bonus tracks too! Bonus tracks include "It's An Actuality", "Forth Worth", "I Guess It's Love", and the incredible promo-only "Lee Hazlewood Autobiography" – which features Hazlewood telling his life story set to his own acoustic guitar playing, with even more wit than on the album – plus two vocal tunes with Duane Eddy – "The Girl On Death Row" and "Words Mean Nothing" – and four more recorded under the name of Mark Robinson – "Pretty Jane", "Want Me", "Can't Let Her See Me Cry", and "I've Made Enough Mistakes Today".

An amazing record from the young Lee Hazlewood – recorded in the years before working with Nancy Sinatra, and done with a very hip edge that stretches way past its date of origin – to a time ten years later, when the LA scene would be in the midst of a fascination with country and roots music! Hazlewood is the lost link in that tradition, and this album is key proof of that fact – served up with a mixture of warmth, cynicism, and just plain wit that was extremely unusual for the early 60s. Lee uses the fictional town of Trouble as the setting for the 10 little story tracks in the album – which are great little songs about love, life, not loving, and not living. The music is deceptively simple, and Hazlewood weaves the songs together with narration that brings the whole thing alive nicely – really showcasing the warmth and wit that makes his music so special. Titles include "We All Make The Flowers Grow", "Six Feet Of Chain", "Trouble Is A Lonesome Town", "The Railroad", "Run Boy Run", "Son Of A Gun", and "Look At That Woman". Rare mono mix, beautifully presented with great sound and loads of notes – and also features a huge amount of bonus tracks too! Bonus tracks include "It's An Actuality", "Forth Worth", "I Guess It's Love", and the incredible promo-only "Lee Hazlewood Autobiography" – which features Hazlewood telling his life story set to his own acoustic guitar playing, with even more wit than on the album – plus two vocal tunes with Duane Eddy – "The Girl On Death Row" and "Words Mean Nothing" – and four more recorded under the name of Mark Robinson – "Pretty Jane", "Want Me", "Can't Let Her See Me Cry", and "I've Made Enough Mistakes Today".

Excellent work from this smooth Chicago vocal group! The album may well be the best the group ever recorded – and it features some stellar ballad work produced with a nice spacey tone, almost in a Rose Royce mellow mode – by Jerry Butler's Fountain Productions team and by Clarence Johnson, who brought the group up from the beginning! The real strength of the album, though, is the group's vocals – wonderfully harmonious, but with a rougher edge and a deeper soul than many other 70s groups of the same type. The album includes the massive semi-hit "Guess Who's Back In Town" – plus other good ballads like "How Do You Think You're Gonna Find Love", "Let's Work It Out", and "Distant Melody". The album also features some uptempo numbers – and other tracks include "Run & Tell That", "Dance A Thon", and "No Limit".

Excellent work from this smooth Chicago vocal group! The album may well be the best the group ever recorded – and it features some stellar ballad work produced with a nice spacey tone, almost in a Rose Royce mellow mode – by Jerry Butler's Fountain Productions team and by Clarence Johnson, who brought the group up from the beginning! The real strength of the album, though, is the group's vocals – wonderfully harmonious, but with a rougher edge and a deeper soul than many other 70s groups of the same type. The album includes the massive semi-hit "Guess Who's Back In Town" – plus other good ballads like "How Do You Think You're Gonna Find Love", "Let's Work It Out", and "Distant Melody". The album also features some uptempo numbers – and other tracks include "Run & Tell That", "Dance A Thon", and "No Limit".

Seminal southern soul from the great Willie Hightower – a singer we'd rank right up there with Otis Redding, Al Green, and James Carr! Willie's got an incredible voice that grabs you right away – earthy and honest, yet also extremely well controlled – almost a down home take on the sound of some of the smoother soul singers of the 60s – in a manner that reminds us a bit of Garnett Mimms, and which really stands apart from other vocalists of the time. The 18 tracks on this set represent Willie at his best – and the collection features material recorded for producer Bobby Robinson (issued on both the Capitol and Enjoy labels), and Muscle Shoals maestro Rick Hall – brought together with beautiful fidelity, in a package that finally gives Willie his due, and which will hopefully get his name out there with the rest of his lendary contemporaries! Titles include "Walk A Mile In My Shoes", "You Used Me", "Back Road Into Town", "Nobody But You", "I Love You", "Poor Man", "Let's Walk Together", "Somebody Have Mercy", "You Are Mine", "It's A Miracle", and "Ooh Baby How I Love You".

Illinois Jacquet's gutsy tenor sound is restrained a bit in this beautiful set of Cole Porter ballads, played with accompaniment by a small orchestra of woodwinds and strings – but the sound is great throughout, thanks to some wonderfully deep tones and great production! Benny Golson and Tom McIntosh did the arrangements, so the material's pretty hip – and Illinois does a great job of opening these tracks up in the same way that someone like Ike Quebec would – lustily blowing with a sense of tone and phrasing that makes even simple moments sparkle with understated brilliance! The album's an under-acknowledged Argo session, and one with a beautiful late night feel – tracks that include "I Love You", "Do I Love You", "Begin The Beguine", "Get Out Of Town", and "Everytime We Say Goodbye".

Bumping, bouncing soul from Krystol – one of the strongest female groups of the 80s, and one of the few who really helped push the sound further at the time! The groove here is equal parts funk and soul – and has a brashness that a girl act wouldn't have had a decade before – lots of echoes of new rhythms learned from the streets, fused with top-shelf production that helps send the whole thing home strongly! The style is tight, yet never clunky commercial – and Leon Sylvers' production really helps keep a lean quality to most of the tracks. And sure, the costumes on the cover look a bit silly, but the vocals have a lot more depth than you might expect! Titles include "Love Is Like An Itchin In My Heart", "C'Est La Vie", "I Want A Man Who Can Dance", "Hard To Believe", "The Things That Men Do", "Talk Of The Town", and "Shattered Glass". CD features lots of bonus tracks – "Love Is Like An Itchin (long vocal)", "Love Is Like An Itchin (edited)", "Love Is Like An Itchin (ext dub)", "The Things That Men Do (radio)", and "The Things That Men Do (club)".

Tenor, bass, and drums – a wicked combination here that really holds together beautifully over the course of the album's long live tracks! Tenorist Ralph LaLama's hardly sounded better – definitely blowing with the bop influences you might guess from the group's name, but also spinning out with a freewheeling energy in the company of bassist Joel Forbes and drummer Clifford Barbaro – with a mix of modern tones that almost takes us back to Sonny Rollins At The Village Vanguard in the late 50s! The album's proof that Smalls Live is one of the most smoking jazz labels around – as you'll hear on tracks that include "Lester Left Town", "Mean What You Say", "Da Lamma's Da Lemma", "Love Letters", and "Nonchalant".

A strange little record – one that features a few tracks by Lawrence from Lord Of The Flies, The Great Chase, and David & Lisa – mixed with others from films that include To Kill A Mockingbird, Rat Race, Mutiny On The Bounty, and other films. Most of the material is pretty orchestral – and titles include "Lord Of The Flies", "Way Down East", and "Theme From David & Lisa" by Elliot Lawrence; "Rat Race", "A Girl Named Tamiko", "Two Weeks In Another Town", and "To Kill A Mockingbird" by Bernstein; "Cleopatra's Barge" by John Neel; and "Love Theme From Period Of Adjustment", "Our Language Of Love", and "Love Song From Mutiny On the Bounty" by Harry Betts.

Classic club from Webster Lewis – and much more of an all-out disco affair than some of his later work! The record introduces Lewis' all-encompassing style – as he writes, arranges, and produces the album at a level that easily matches that of Barry White – who would later emerge as a mentor for Lewis, introducing him as part of the later Love Unlimited Orchestra records. The group here is billed as "Webster Lewis & The Post-Pop Space-Rock Be-Bop Gospel Tabernacle Orchestra & Chorus" – a pretty good way to describe the soaringly full sound of the album – one that's built up from Webster's keyboards with lots of added strings and rhythms, plus occasional backing vocals from a female chorus. Most of the focus here is instrumental, though – filled with great tunes that include "On The Town", "Love Is The Way", "Do It With Style", "Song Of Joy", "Goodnight Baby Girl", "Since I've Been Gone", and "Saturday Night Steppin Out". CD features the bonus track "Let's Do It Again".

Two gems from Johnny Mathis' mid 60s years at Mercury Records – one classic album, and another previously unreleased session! First up is Love Is Everything – an album that's got Johnny working with arranger Glenn Osser – who always seemed to set the right tone to unlock the best side of Mathis' 60s vocals. Orchestrations are lush, but never sleeping – and have that wonderful pillow of sound approach that really lets Johnny open up and soar vocally. Titles include "A Thousand Blue Bubbles", "Never Let Me Go", "This Is All I Ask", "People", "One More Mountain", and "Go Away Little Girl". Next up is Broadway – a record that was recorded for Mercury, yet never issued at the time! The album's got a nicely unusual feel – a range of songs that really moves past the usual ballads and love songs you might normally know from Johnny Mathis – and which, at some times, shows sides that are a bit more upbeat and playful. Titles include "Get Out Of Town", "Manhattan", "Don't Rain On My Parade", "When I'm Not Near The Girl I Love", "Ridin High", "She Loves Me", and "Ain't It De Truth".

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 sweet disco circus from Metropolis – one of the many studio groovers from 70s disco maestro Thor Baldursson – who handles all the arrangements on the set! The great Tom Moulton produced with Thor – and gives the record a rich, clubby, disco feel that's mighty nice – and vocals are by The Sweethearts trio – which features Barbara Ingram in the lineup! There's some surprisingly great tracks on the set – tunes that have a deeper soul than some of Thor's other projects, and which evenly balance out the grooves with a few more laidback moments – making for a really well-rounded album on Salsoul. Titles include "Here's To You", "New York Is My Kind Of Town", "I Love NY", "Was That All", and "Go Get It". CD features bonus tracks – "I Love New York (original Tom Moulton 12" long mix)" and "I Love New York (original Tom Moulton 12" short mix)".

Jackson soul from McKinley Mitchell – more polished than his earlier work, but still with that Chimneyville/Malaco late 70s southern style that was the best heir to 60s work in Memphis and Muscle Shoals. Tracks include "Open House At My House", "You're So Fine", "The Town I Live In", "You Know I've Tried", "Run To Love", "Dream Lover", "End Of The Rainbow", and "Follow The Wind".

A Windy City classic – from Vee Jay Records! The MJT grooves like nobody's business, thanks to a core rhythm group that includes Harold Mabern on piano, Walter Perkins on drums, and Bob Cranshaw on bass! Add to the mix a young Frank Strozier on alto, fresh from Memphis (he made the trip to Chi-town with buddy Harold Mabern), and the smoking trumpet of Willie Thomas, and you've got one of the tightest combos to never make it in the big time – a killer little group that was almost a Chicago secret back in the day, but one that's well worth discovering if you've got any sort of a love for hardbop or soul jazz! This oft-overlooked gem is one of the best hardbop albums to ever come out of Chicago, and it's got some great originals by Mabern – like "Richie's Dilemma" and "Make Everybody Happy" – plus a nice version of Booker Little's "Sweet Silver".

A real lost gem from Motown – and a whole lot more! Greetings! We're The Monitors is the only full album ever cut by The Monitors – a 3-man, 1-woman vocal group who were in a popular Motown mixed harmonies mode. The quartet had a wonderfully strong vocal presence – blasting away at most tracks with a strength that groups like The Miracles or Gladys Knight & The Pips could never match – and like those groups, they bridge that key period between late doo wop-oriented harmonies, and tighter 60s group soul. The LP brings together singles the Monitors cut for Motown during the previous few years, but it also works extremely well as a unified album – and it's a refreshing change from some of the oft-heard Motown material. Titles include "Greetings (This Is Uncle Sam)", "Number One In Your Heart", "Bring Back The Love", "Step By Step (Hand In Hand)", and "Baby Make Your Own Sweet Music". This incredible anthologogy from Kent starts off with that album and includes 12 unissued tracks – a whole album's worth – plus 2 B-Sides. Unissued tracks include "Too Busy Thinking About My Baby" , "The Letter", "Poor Side Of Town", "Anything", "Guilty" and more. 26 tracks in all!

A stone classic from New Orleans reedman Pony Poindexter – a set that's steeped in tradition, but also has a groovy feel too – and a date that features Pony on both alto and soprano sax! The latter instrument is especially nice, played with echoes of earlier Crescent City modes, but updated strongly with more of a modal 60s energy – almost a Coltrane-like inspiration, but in very different ways than Trane might offer up. Other players on the date are great too – and include Booker Ervin's tenor at is soulful 60s best, plus Gildo Mahones on piano, George Tucker on bass, and Jimmy Smith on drums – all working with some very unusual rhythms that really make the set stand out from other Prestige dates of the time! Titles include "Happy Strut", "Gumbo Filet", "Front O Town", "Back O Town", "French Market", and "Creole Girl". But almost even better, the set also features 8 more bonus tracks – all previously unissued! Three are from the sessions for Gumbo – but the rest are from an unusual 1963 date that features the tenor of Booker Ervin with the organ of Larry Young and drums of Jerry Thomas – a really cool small combo group in the vein of Young's early Prestige work. Additional titles include "Wade In The Water", "Autumn Leaves", "Old Folks", "You Don't Know What Love Is", "Absotively Posalutely", and "Blue & Sentimental".

One of the coolest, grooviest cats who ever cut a record – an an artist with a really unique conception at the time of these recordings! Roy Porter got his start as a drummer during the bebop years, and worked hard on the LA scene of the R&B and soul scenes of the 50s and 60s – but to us, his crowning achievement is these amazing funk sides of the early 70s – amazingly complex, but right on the money too – and a whole new kind of music that's impossible to describe in words! Roy mixes funky drums with lots of cool jazzy changes – keyboard lines, horn parts, and bass bits that have the frenzy you might find in fusion, yet come across with the down-to-earth vibe of a funky 45 – a killer blend that goes way past jazz, and even most straight funk too – as you'll hear in this sweet little set. The package brings together all the best tracks from these key Porter years – and titles include "Jessica" and "Panama" in both vocal and instrumental versions, plus "Wow", "Funny Feelin", "Funky Twitch", "Love You", "Hense Forth", "Out On The Town Tonight", "Givin Me The Blues", "Waver-ing", "Party Time", and "Hip City".

Though one of her groovy Hazlewood produced albums, she only does two Hazlewood-penned tunes on this one: "Coastin", and "Sugar Town". The rest of the songs are the old-timey standards like "Sweet Georgia Brown", "Vagabond Shoes", "Let's Fall In Love", "Oh! You Beautiful Doll" and "Hard Hearted Hannah", though you might not guess that from the hot front cover featuring Nancy posing in a mod pink bikini.

Includes "Squeeze Me", "I Got It Bad & That Ain't Good", "It's The Talk Of The Town", and "My Silent Love".

The complete series of singles singer BJ Thomas cut for Scepter from the 1966 to 1972 – a pretty great overview that not only serves as a terrific anthology – it also shows the depth of styles managed to cover with resounding creative success, whether the singles charted or not! BJ is best remembered by the mainstream for the electric sitar-flavored pop treasure "Hooked On A Feeling" and inescapable "Raindrops Keep Falling On My Head" – but overall, his approach is a great combination of 60s pop, soul and cosmopolitan country – with down home charm anchoring his soaring voice. 46 tracks on 2CDs! "I'm So Lonesome I Could Cry", "Your Tears Leave Me Cold", "Hooked On A Feeling", "Human", "The Eyes Of A New York Woman", "I'ts Only Love", "Pass The Apple Eve", "Everybody's Out Of Town", "Never Had It So Good", "I Get Enthused", "The Mask", "Mighty Clouds Of Joy", "Long Ago Tomorrow", "I Get Enthused", "We Have Got To Get Our Ship Together" and many more.

A sweet little package – with three classic albums from Bill Withers, each in a tiny LP-styled cover! Still Bill is Bill Withers' second album – even more wonderful than the first! The record's a perfect summation of all that made Bill so great – warm raspy vocals, sweet soulful production, mature songwriting, and just the right use of acoustic guitar to accent all the best elements in the music! Withers was already great before this record, but Still Bill really pushed him over the top – and made sure that generations to come would never tire of his genius. The arrangements are wonderful – with just the right sort of punch to hammer things home – yet still very far from commercial, and able to let all the acoustic elements of Bill's roots shine through. The record includes the massive "Lean On Me" – but we love it even more for the funky "Use Me", the slinky "Kissing My Love", the righteous "Who Is He (And What Is He To You)", and the always-great "Lonely Town Lonely Street". Menagerie is one of Bill Withers' greatest albums of the 70s – a set that has hip stepping off the acoustic sound of his Sussex records, into a warm and jazzy style that we like every bit as much as his earlier work! The album's got a wonderfully sophisticated jazzy vibe, and includes the excellent cut "Lovely Day" – a perfect midtempo track with some great electric keyboards behind Bill's raspy soulful voice, and a great hook on the chorus! Paul Riser handled a lot of the arrangements – and other titles include "Wintertime", "It Ain't Because Of Me Baby", "I Want To Spend The Night", and "Then You Smile At Me". Watching You is a sweet little 80s session from Bill Withers – a lot less acoustic than his soul of the 70s, but in a way that works surprisingly well! As always with Bill, the vocals are the main thing, and the passage of time has done nothing to take off his edge – that warmly raspy quality that's instantly recognizable, and which comes through with all of its original charm – even amidst the smoother, more electric approach of the album's backings. There's a number of tracks on here that hit a mellow, midtempo groove that works quite well – and Bill did most of the production himself, with help from collaborators who include Ralph MacDonald, Michel Colombier, and Denny Diante. Titles include "Watching You Watching Me", "Oh Yeah", "Something That Turns You On", "You Try To Find A Love", "We Could Be Sweet Lovers", and "Heart In Your Life".

Bill Withers' second album – even more wonderful than the first! The record's a perfect summation of all that made Bill so great – warm raspy vocals, sweet soulful production, mature songwriting, and just the right use of acoustic guitar to accent all the best elements in the music! Withers was already great before this record, but Still Bill really pushed him over the top – and made sure that generations to come would never tire of his genius. The arrangements are wonderful – with just the right sort of punch to hammer things home – yet still very far from commercial, and able to let all the acoustic elements of Bill's roots shine through. The record includes the massive "Lean On Me" – but we love it even more for the funky "Use Me", the slinky "Kissing My Love", the righteous "Who Is He (And What Is He To You)", and the always-great "Lonely Town Lonely Street".

Bill Withers' second album – even more wonderful than the first! The record's a perfect summation of all that made Bill so great – warm raspy vocals, sweet soulful production, mature songwriting, and just the right use of acoustic guitar to accent all the best elements in the music! Withers was already great before this record, but Still Bill really pushed him over the top – and made sure that generations to come would never tire of his genius. The arrangements are wonderful – with just the right sort of punch to hammer things home – yet still very far from commercial, and able to let all the acoustic elements of Bill's roots shine through. The record includes the massive "Lean On Me" – but we love it even more for the funky "Use Me", the slinky "Kissing My Love", the righteous "Who Is He (And What Is He To You)", and the always-great "Lonely Town Lonely Street".

Bill Withers' second album – even more wonderful than the first! The record's a perfect summation of all that made Bill so great – warm raspy vocals, sweet soulful production, mature songwriting, and just the right use of acoustic guitar to accent all the best elements in the music! Withers was already great before this record, but Still Bill really pushed him over the top – and made sure that generations to come would never tire of his genius. The arrangements are wonderful – with just the right sort of punch to hammer things home – yet still very far from commercial, and able to let all the acoustic elements of Bill's roots shine through. The record includes the massive "Lean On Me" – but we love it even more for the funky "Use Me", the slinky "Kissing My Love", the righteous "Who Is He (And What Is He To You)", and the always-great "Lonely Town Lonely Street". Great reissue pressing – super-heavy vinyl, and the original die-cut cover design too!

Cool cuts compiled for the Carducci 76 club in Italy – put together from Cinedelic label offerings, and a few Schema Records bits as well! There's a great vibe running through the material – contemporary recordings, but with echoes of 60s jazz and Latin, all wrapped up in a handsome Carducci-styled package! Titles include "So What" by Jojo Effect, "Love Is In Town" by Brenda Boykin, "Cioccalatino" by Mossuto, "Love Me Till Sunday" by Nicola Conte, "Cats N Girl" by Club Des Belugas, "Sophisticated Samba" by Gerardo Frisina, "Rosegota" by Fabio Orsini, and "Cancun" by Tape Five.

Soul Jazz takes an open-eyed and open-minded look at swampy, funky, freewheeling southern rock – southern-by-nature or southern-by-inspiration grooves from the end of the 60s and well into the 70s! What we love most about the set, besides that it features one great song after another, is the Soul Jazz perspective. They don't simply put together Delta Swamp Rock from a purist's standpoint regionally, or as a sound – it's loosely-defined, which you could complain about if you want, but we love all of this stuff so it works for us! There's early phase southern rock, blue-eyed soul, soulful country and homey, swaggering pop. Tracks include "The Seasons" by Lynryd Skynryd, "Smokies" by Barefoot Jerry", "Papa, Won't You Let Me Go To Town With You" by Bobbie Gentrie, "Stone Fox Chase" by Area Code 615, "Be What You Want To" by Link Wray", "I'll Be Long Gone" by Boz Scaggs, "God Rest His Soul" by Duane And Gregg Allman"Out In The Woods" by Leon Russell, "Polk Salad Annie" by Tony Joe White, "Come To Me Tonight" by Barefoot Jerry, "I Won't Be Hangin' Round" by Linda Rondstadt, "Big D" by Waylon Jennings, "Mississippi Delta" by Bobbie Gentry", "If I Were A Carpenter" by Johnny Cash" and more. 25 tracks on 2CDs.

Soul Jazz takes an open-eyed and open-minded look at swampy, funky, freewheeling southern rock – southern-by-nature or southern-by-inspiration grooves from the end of the 60s and well into the 70s! What we love most about the set, besides that it features one great song after another, is the Soul Jazz perspective. They don't simply put together Delta Swamp Rock from a purist's standpoint regionally, or as a sound – it's loosely-defined, which you could complain about if you want, but we love all of this stuff so it works for us! There's early phase southern rock, blue-eyed soul, soulful country and homey, swaggering pop. Volume 1 of the vinyl has 13 tracks on 2LPs: "The Seasons" by Lynryd Skynryd, "Smokies" by Barefoot Jerry", "Papa, Won't You Let Me Go To Town With You" by Bobbie Gentrie, "Stone Fox Chase" by Area Code 615, "Be What You Want To" by Link Wray", "I'll Be Long Gone" by Boz Scaggs, "God Rest His Soul" by Duane And Gregg Allman and more.

A killer collection of east coast soul from the 70s – work that originally appeared on a handful of different labels, but which was all put together by Robert Hosea Williams – an unsung producer working out of a small studio in Silver Springs – with an incredible ear for up-and-coming talent! The music here is totally deep and righteous throughout – the hippest of the indie label scene on the east coast – and work that really lives up to the progressive, righteous reference you'd get from the Red, Black, & Green in the title! There's plenty of group soul here – of a type that mixes older harmony modes with hipper 70s references – creating a really badass approach to soul music that's simply mindblowing – and way different than the mainstream variants that were hitting the charts at the time. The whole thing's great – one of the best Numero comps in years – and titles include "Phoney People" and "I Really Really Love You" by Father's Children, "Sleepwalking" and "Let's Do It Over" by The Summits, "Don't Worry About The Joneses" and "We're Two Fools In Love" by Dysons Faces, "Day By Day" and "It Must Be Love" by The Exceptions Featuring Mark Greene, "Town Called Nowhere" and "I Need Your Love" by Skip Mahoney & The Casuals, and "Summer In The Parks" and "Generation" by East Coast Connection.

A killer collection of east coast soul from the 70s – work that originally appeared on a handful of different labels, but which was all put together by Robert Hosea Williams – an unsung producer working out of a small studio in Silver Springs – with an incredible ear for up-and-coming talent! The music here is totally deep and righteous throughout – the hippest of the indie label scene on the east coast – and work that really lives up to the progressive, righteous reference you'd get from the Red, Black, & Green in the title! There's plenty of group soul here – of a type that mixes older harmony modes with hipper 70s references – creating a really badass approach to soul music that's simply mindblowing – and way different than the mainstream variants that were hitting the charts at the time. The whole thing's great – one of the best Numero comps in years – and titles include "Phoney People" and "I Really Really Love You" by Father's Children, "Sleepwalking" and "Let's Do It Over" by The Summits, "Don't Worry About The Joneses" and "We're Two Fools In Love" by Dysons Faces, "Day By Day" and "It Must Be Love" by The Exceptions Featuring Mark Greene, "Town Called Nowhere" and "I Need Your Love" by Skip Mahoney & The Casuals, and "Summer In The Parks" and "Generation" by East Coast Connection.

Badass sounds brewed up in the border town of El Paso – amazing guitar-driven gems recorded for a handful of indie labels in the late 50s and early 60s – served up here with wonderfully great sound, and a full set of notes as well! The set's a stunning volume in Norton's deep-digging project on the El Paso scene – and it's really rich with discoveries throughout – loads of rough-edged rockers that lie somewhere in a space between rockabilly and 60s garage – every one a treasure. Titles include "Across The Bay" by Joe Richie, "Lonely Before Dawn" by Night People, "I Love You Baby" by The Ravons, "Cradle Rock" by Rhythm Heirs, "Long Grey Highway" by Frank Thayer & The Lyonals, "Sarah Jane" by Don Orr & The Original Rockets, "Lonely Teardrops" by The Fortunes, "Jungle Bunny" and "Bacardi" by Jerry Bell & The Original Rockets.

Badass sounds brewed up in the border town of El Paso – amazing guitar-driven gems recorded for a handful of indie labels in the late 50s and early 60s – served up here with wonderfully great sound, and a full set of notes as well! The set's a stunning volume in Norton's deep-digging project on the El Paso scene – and it's really rich with discoveries throughout – loads of rough-edged rockers that lie somewhere in a space between rockabilly and 60s garage – every one a treasure. Titles include "Across The Bay" by Joe Richie, "Lonely Before Dawn" by Night People, "I Love You Baby" by The Ravons, "Cradle Rock" by Rhythm Heirs, "Long Grey Highway" by Frank Thayer & The Lyonals, "Sarah Jane" by Don Orr & The Original Rockets, "Lonely Teardrops" by The Fortunes, "Jungle Bunny" and "Bacardi" by Jerry Bell & The Original Rockets.

An amazing look at the psychedelic scene in late 60s Memphis – music that's really mindblowing for the time, yet which often never got its due – given the stronger mainstream focus on Memphis as a hub for blues and soul! (In other words, had any of these cats hit the Sunset Strip in the late 60s, they would have been huge!) Given that Memphis already had a strong studio scene in place – where some of these musicians worked on other sessions – the recordings here are incredibly advanced – often full of cool production techniques and other little twists and turns – all elements that take already-great fuzzy, freaky, hairy rock and roll – and turn it into something even more incredible by the time it's caught on tape! Most of these names are new to our ears, and the package is definitely a historical treasure trove – as pleasing to our record collectors' sensibilities as the music is to our ears. Sound quality is excellent, and many numbers have not been issued before – titles that include "Eat Me Alive" and "We're In Town" by The Goatdancers, "Crazy Man's Woman" and "Shoo Shoo Shoo Fly" by Greg McCarley, "Blue Music Box" by Changin Tymes, "For Your Love" by the Honey Jug, "Rockin In The Same Old Boat" by Triple X, "Deja Vu" by Judy Bramlett, "Come On Along & Dream" by The Poor Little Rich Kids, "Flying Horse Of Louisiana" by Knowbody Else, "Dancing Girl" by The 1st Century, and "Ticket To Ride" by Mother Roses – plus an advertisement for The Goatdancers too!

A landmark collection of southern soul from the 60s and 70s – all of it pulled from the vaults of Excello Records, a label that didn't always circulate strongly at the time! The work here is buried in the depths below Stax and Atlantic, but echoes many similar themes – influences from blues, R&B, and country – and a presentation of the themes that's always in a newly proud, newly sophisticated mode for the era. There's some grittier funk in the mix too, and the set features a whopping 24 tracks in all – including "Letter From My Darling" by Kip Anderson, "My Love Grows Stronger" by The Kelly Brothers, "Look What I've Done" by Percy Wiggins, "Funky Little Train" by Stacy Lane, "Let's Try To Build A Love Affair" by The Exotics, "Seventh Son" by Lee Webber, "I Will" by Latimore Brown, "Don't Let Me Be A Cryin Man" by Johnny Truitt, "Way Cross Town" by Tiny Watkins, "No Brags Just Facts" by Stacy Lane, and "No Pity In The City" by Eugene Kemp.

A bit blues, a bit soul, and a great document of some under-recorded talents in the Memphis scene at the start of the 70s! The album's got a grittier sound than usual for Hi Records – and shows that at some levels in Memphis, there were still artists carrying the heavier sounds of a decade before – music that's a lot rougher and more unbridled than the sorts of more popular Memphis soul that was fast becoming the stuff of chart hits. The whole thing's a much-needed look at this side of the southern scene – and titles include "Please Don't Leave", "You Better Mind", and "Miss Betty Green" by Big Lucky; "Dog Man", "I'm Gone", and "Going To Vietnam" by Big Amos; and "Please Accept My Love" and "Stormy Monday Blues" by Donald Hines. CD version features nearly twice the music as the original album – with more cuts by each of the above artists – plus addition of cuts by Joe Lee Carter that include "Please Mr Forman", "As The Years Go Passing By", "I Can't Stand It", and "Let Me Know".

The 5th volume in this well-chosen set of tracks – brought to you straight from the Chicago steppers underground! The set features a dozen tracks – running from smooth late 70s numbers to more recent titles, all reflecting the penchant for a sweet mellow groove that's kept the Chi-town stepping scene hot for all these years! Titles include "Sensually" by Raw To The Core, "I Was Wrong" by The Moonglows, "I'm Not In Love" by Dee Dee Sharp, "Easy To Love" by Body, "As You Are" by Pharoah Sanders & Phyllis Hyman, "Your Heart Belongs To Me" by The Supremes, "Nika" by Vicious, "Super Bad, Super Slick (part 1)" by James Brown, "House Party" by Fred Wesley, "Nyce & Slo" by Little Louis, and "Alone Without You" by Narada Michael Walden.

A massive treat from the Chicago scene – a dozen jazzy classics, put together with a feel for the kind of cut that's always played big on the Chi-town steppers scene! Lots of other stepping jazz CDs feature mostly newer tracks, but this one's great in that it includes a bunch of late 60s soul jazz tunes – some killer tracks from the Chess/Cadet scene, mixed with other smoother grooves from the 70s. Titles include "The Look Of Love" and "Who Dun It" by Monk Higgins, "Soul Vibration" by Dorothy Ashby, "The Stepper" by Soulful Strings, "Count Down" by Dave Baby Cortez, "Midnight Plane" and "Windy City" by Rodney Franklin, "The Love You Give To Me" by Webster Lewis, "I Feel Like Loving You Today" by Donald Byrd & 125th Street NYC, "Think About It" by Odell Brown, "Love's Victory" by Ronnie Laws, and "Hole In The Wall" by The Packers.

A massive collection of ska instrumentals – all the real deal from the initial 60s start of the genre – and all pulled from the legendary Top Deck catalog! There's a crisp, raw edge to these tracks that nobody else was able to ever match again – a sinister vibe that comes from the bold production style, cool compressed rhythms, and soulful sax and trumpet solos that really make these numbers cook! Given that the set's all instrumental, the vibe here is a lot different than most ska revival work too – almost more in a 60s soul instrumental mode – with great traces to the inspiration of the genre. Titles include "Shot In The Dark" and "Determination" by Roland Alphonso, "China Town" and "China Clipper" by The Skatalites, "Scattered Lights" and "Red Is Danger" by Tommy McCook, "Warlock" by Jackie Mittoo, "Love In The Afternoon" by Don Drummond, "Live Wire" by Lyn Taitt & Jackie Mittoo, "Yogi Man" and "Red Is Danger" by Johnny Moore, "Shock Resistance" by Baba Brooks, "Lawless Street" by King Sporty & The Skatalites, and "Ti Pi Tin" by Raymond Harper.

A treasure trove of deep soul – featuring rare and unissued tracks by some of our favorite artists of the genre! The set goes way way past the usual collections of southern soul – to bring together obscure singles, album tracks, and rare vault material – going past the obvious mainstream of Memphis and Muscle Shoals, to include some totally incredible material! There's a very sophisticated vibe here overall – almost heading towards the mellow soul of the 70s north, but still recorded with an earthier quality that's steeped in traditions borrowed from gospel, and infused with the best that the secular south had to offer. An impeccable set throughout – as pleasing to any collector of rare soul as it is to a newcomer – with tracks that include "Warm Loving Man" by Carolyn Faye, "Two Wrongs Don't Make It Right" by Patterson Twins, "Troubled Waters" by Sam Dees, "If You See That Girl Of Mine" by Hank Sample, "The Town I Live In" by McKinley Mitchell, "When A Man Cries" by Joe Wilson, "A Quitter Never Wins" by Jimmy Dobbins, "Why Oh Why" by J Count Hughes, "I Won't Be The Last To Cry" by Eddie Houston, "Bluer Than Blue" by Ruby Wilson, and "I Believe In Love" by Billy Cee. 23 tracks in all – with great production and excellent notes!

Sublime stuff! When Teddy left Harold Melvin & The Blue Notes, he was making one of the best moves of his career – as you'll hear on these amazing tracks, totally perfect bits of modern soul that moved the career of Teddy up about a zillion notches, and which also had a profound effect on the overall development of male soul vocals. 10 tracks in all – including "Turn Off The Lights", "Close the Door", "I Don't Love You Anymore", "The Whole Town's Laughing At Me", "You Can't Hide From Yourself", and the amazing "Come Go With Me".

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 full scope of the mighty songwriting talents of Carole King and Gerry Goffin – a much-chronicled 60s team who had plenty of troubles of their own, but who brought some really amazing music to the world at the time! The package features songs in a variety of genres – soul, pop, rock, country, and more – including some appearing here on CD for the first time ever, and plenty more that aren't just the obvious Goffin/King hits! The CD features a huge booklet – nearly 25 pages in all – with track-by-track notes on the tunes, as well as on the songwriting team – and as with some of Ace's other explorations into 60s pop powerhouses, the single disc package is almost more informative and thorough than some bigger box sets. Titles include "He's In Town" by The Tokens, "Don't Ever Change" by The Crickets, "The First & The Last" by The Chiffons, "Brand New Man" by Richard Popcorn Wylie, "Let Me Get Close To You" by Skeeter Davis, "The Idol" by Bobby Vee, "I Can't Make It Alone" by PJ Proby, "Just A Little Girl" by Donna Loren, "I Can't Hear You" by Betty Everett, "I Just Can't Say Goodbye" by Bobby Rydell, "I Didn't Have Any Summer Romance" by The Satisfactions, "Yours Until Tomorrow" by Dee Dee Warwick, "So Much Love" by Ben E King, and "A Natural Woman" by Aretha Franklin.

A wonderful collection that brings together two vintage compilations on the legendary Minit label – more than enough work to make a really heavy-hitting CD! The first 12 tracks on the set are from the excellent We Sing The Blues collection, issued by Minit in the early 60s – and a package that features a lot more soul than you'd guess from the "blues" in the title! The collection features some of the best up and coming talents working in the Crescent City at the time – artists who helped shift the R&B sound of the 50s into the New Orleans soul groove that would grow tremendously in the 60s – and who sound great here in a batch of tracks that includes some great lesser-known numbers. New Orleans Our Home Town is a similar package, but one that features a bit more R&B too – older 50s tracks issued on Imperial, mixed with some of the more modern New Orleans soul that was showing up on Minit. CD features a whopping 25 tracks in all – including "The Power Of Love" by Willie Harper, "Te Ta Te Ta Ta" by Ernie K Doe, "Moanin & Screamin (parts 1 & 2)" by Diamond Joe, "Oogsey Moo" by Jessie Hill, "Green Door" by Eskew Reeder, "It Will Stand" by The Showmen, "Let's Live" by Aaron Neville, "You're The One" by The Spiders, "I Didn't Want To Do It" by The Spiders, "Two Winters Long" by Irma Thomas, "Walking To New Orleans" by Fats Domino, "I'm Gone" by Shirley & Lee, and "A Certain Girl" by Ernie K Doe.

One of the greatest sides of The Blackbyrds' music – their mellower, more chilled-out tunes – all tracks that we like almost as much as their funkier classics! Although the combo first earned their name for upbeat, sharp-edged funky fusion, they also had a wonderful way with a laidback groove – sweetly stepping instrumentals that were often a bit overlooked next to some of their bigger 70s hits, but which are equally great – and perhaps even more so, as they represented a really unique approach to the music at the time! There's a vibe here that we'd rank right up there with Kool & The Gang on "Summer Madness" – an approach that's often spare, and focused around a key instrumental bit – and which is a great antidote to some of the heavier-handed funk of the time! Keyboards are often heavy on these numbers, and although there's some vocals, the instrumentation is almost always center stage – served up over some sweetly stepping rhythms that are really great. Titles include "Lady", "Wilford's Gone", "A Heavy Town", "All I Ask", "At The Carnival", "April Showers", "Love Is Love", "Soft & Easy", "Lady", "Flying High", "The Baby", "Summer Love", "Dreaming Of You", and "Time Is Movin".

A great mix of R&B and reggae – a hip early album from The Cool Notes – a UK group who never broke that big on our shores, but who have a sound that's held up well over the years! The rhythms here are often in a midtempo mode, with some Jamaican echoes – and the lead vocals are often backed up with lots of harmonies that more than live up to the group's name. Production is never too polished – which helps keep the album away from any too-commercial reggae-flavored crossover work of the period – and titles include "Travelling", "I Forgot How To Love You", "Rich Man Poor Man", "The Second Time Around", "Save A Little Love", "No More Wars", and "Brixton Town". Bonus tracks include "Blown It", "Morning Child (12" version)", "I Forgot How To Love You (orig 1980 disco version)", and "Jah Lovely Jah Wonderful Jah Marvelous".

A set of some of the finest 70s recordings of mighty Ethiopians – many pulled directly from the excellent Slave Call album – plus a couple of early treasures and otherwise classic material! There's a tenderly soulful qualtity to the group's vocals that's always made them a favorite and this set filled with gems! Includes "Train To Skaville (Original Version)", "Guilty Conscience", "Hurry On", "Reggae Hit The Town", "The Selah", "Ethiopean National Anthem", "Need Someone", "Slave Call", "Everything Crash", "Love Jah", "Obeah Book" and more.

A lost bossa jazz classic from Dizzy Gillespie – recorded at a time when Lalo Schifrin was working in his combo! The record's got a cool, laidback kind of groove – one that's miles away from Gillespie's earlier bop work, and which shows him opening up his rhythmic conception strongly in the 60s. Rhythms are percolated by the piano of Schifrin, guitar of Bola Sete, bass of Chris White, and some well-chosen added percussion work – and the overall groove is one of the best American takes on the bossa jazz sound of the time, delivered with wonderful horn work from Dizzy on trumpet, Leo Wright on flute and alto, and Charlie Ventura on tenor! Even familiar tunes are transformed by the sound – and titles include "In A Shanty In Old Shanty Town", "Careless Love", "Taboo", "One Note Samba", "Pergunte Ao Joao", and "Chega de Saudade".

Searing work from guitarist Jesse Hector – an unusual link between punks and rockers on the British scene of the 70s! Jesse's got a career that spans 40 decades in rock – starting with early garagey recordings that were influenced heavily by American acts of the late 50s, but done in a stripped-down way that shared plenty of energy with the early punks – even if Hector's own leanings weren't as punk-like. His work with Crushed Butler at the end of the 60s has already been brilliantly re-discovered by another CD on RPM – and this collection presents tracks from around and well after those years – recordings done mostly in the 70s, plus a few surprisingly great tracks from the early 90s that actually seem to have even sharper guitar work and more propulsive energy. There's a sense of power and personality here that makes us wonder why Jesse's not more of a household name in accounts of these years – but part of the charm of this set is also that mystery – why a talents so strong didn't burn more brightly in the public eye! CD has great notes on all the tracks – and features 20 titles that include "Carolina", "Leavin Town", "Runnin Wild", "Foxy Lady", "New York Groover", "I'm A Liar", "Gatecrasher", "She's My Gal", "Leavin Home", "Factory Grime", and "Love Is All Around Me".

A stone killer from funky flute player Bobbi Humphrey – one of her early albums for Blue Note Records, and a set that's a perfect summation of the best sides of her talents! The album's got a slightly different feel than Bobbi's work with Larry Mizell – yet still sports a similar approach that blends her amazingly spiritual flute lines with rich larger backings – in this case arranged by Horace Ott, Alphonse Mouzon, and Wade Marcus, in a sublime blend of electric jazz and soaring strings – all with a feel that's almost like some lost blacksploitation soundtrack! Given the lady's strength on her instrument, and her sharp sound on her solos, the record's got a focus and righteousness that takes it way past most contemporary efforts of this nature – a bold testament to the qualities that have made Bobbi one of our favorite players on flute for many many years. The set also features some wonderful Fender Rhodes – played both by Harry Whitaker and Paul Griffin – plus bass from Wilbur Bascomb, and heavy drums from Alphonse Mouzon. Titles include "Love Theme From Fuzz", "Nubian Lady", "Lonely Town Lonely Street", "Smiling Faces Sometimes", Is This All", "I Love Every Little Thing About You", "El Mundo De Maravilas", and a great version of Mouzon's "Virtue".

A stone killer from funky flute player Bobbi Humphrey – one of her early albums for Blue Note Records, and a set that's a perfect summation of the best sides of her talents! The album's got a slightly different feel than Bobbi's work with Larry Mizell – yet still sports a similar approach that blends her amazingly spiritual flute lines with rich larger backings – in this case arranged by Horace Ott, Alphonse Mouzon, and Wade Marcus, in a sublime blend of electric jazz and soaring strings – all with a feel that's almost like some lost blacksploitation soundtrack! Given the lady's strength on her instrument, and her sharp sound on her solos, the record's got a focus and righteousness that takes it way past most contemporary efforts of this nature – a bold testament to the qualities that have made Bobbi one of our favorite players on flute for many many years. The set also features some wonderful Fender Rhodes – played both by Harry Whitaker and Paul Griffin – plus bass from Wilbur Bascomb, and heavy drums from Alphonse Mouzon. Titles include "Love Theme From Fuzz", "Nubian Lady", "Lonely Town Lonely Street", "Smiling Faces Sometimes", Is This All", "I Love Every Little Thing About You", "El Mundo De Maravilas", and a great version of Mouzon's "Virtue".

One of Hugo Montenegro's best moog albums – and a killer batch of tracks written by Stevie Wonder! Hugo and crew go to town with a host of electric keyboards – including moogs and Arps, backed up by some straight electric piano – and they lay down 10 smooth funky renditions of Stevie Wonder hits from the late 60s and early 70s. The approach is a great one, and it really gives substance to Montenegro's moogy musings – which sometimes can lack direction. Includes great versions of "Living For The City", "Too High", "Superstition", "Higher Ground", "You've Got It Bad, Girl", and "All In Love Is Fair".

Teddy Pendergrass – we love you! This is one of Mr. P's greatest albums of smooth mellow soul – recorded after he left Harold Melvin & The Blue Notes, and began working in a wonderfully warm solo style that had a huge influence on male vocal soul for years to come! The sound here is tremendous – nearly perfect all the way through, with a great balance between class, sophistication, and soul – clearly an indication that Teddy made the right move by going on his own. The record features the classic "The Whole Town's Laughing At Me", plus lots of other nice material like "Be Sure", "Somebody Told Me", "You Can't Hide From Yourself", "Easy Easy Got To Take It Easy", and "The More I Get The More I Want".

A great 70s move for Arthur Prysock – and an overlooked disco treasure that sits somewhere between the work of Barry White with Love Unlimited Orchestra, and the best Lou Rawls grooves for Philly International! Prysock's voice has lost none of its depth over the years – and here, instead of jazzy ballads, Arthur's working with some great midtempo grooves put together by John Davis – who produced and arranged, and gives the album all the full clubby depth of his own records with the Monster Orchestra! The mix of groove and grace, baritone and bump, soul and sophistication is all mighty great territory for Prysock – and titles include "When Love Is New", "One Broken Heart", "All My Life", "Love Makin Love To You", "I Wantcha Baby", and "All I Need Is You Tonight". Features a bonus single mix of "When Love Is New".

Classic post-Prince commercial 80s soul! Even though Prince, Jimmy Jam and Terry Lewis and even Andre Cymone are nowhere in sight, this classic 80s LP could just as well have come out of Minneapolis as Flint, Michigan, and we mean that in the best possible way. "Oh Sheila" has deservedly reached classic status, and the rest of the set's just as great, jheri curls and all! Also includes "Tonight", "Digital Display", "Ceramic Girl", "Deep Inside Your Love", "Human Toy", "Slide Over", "Out Of Town Lover" and "I'm The One Who Loves You".

A pretty groovy little album from Dinah Washington – at first glance a set of older standards, but at second glance a date that features some wonderfully swinging arrangements from Quincy Jones! The Q really helps Dinah break from the usual mode here – providing here with an upbeat, tightly snapping sort of groove – that sweetly syncopated Quincy Jones sound that really helped some singers hit new heights in the 60s. And as an added delight, The Dells make a key appearance on a few tracks – singing in a harmony group style that's similar to their one album on Vee Jay – almost more in Four Freshmen modes, but in a really great way! Titles include "Am I Blue", "Tears & Laughter", "If I Should Lose You", "I Just Found Out About Love", "Wake The Town & Tell The People", and "Wee Small Hours".

A pretty groovy little album from Dinah Washington – at first glance a set of older standards, but at second glance a date that features some wonderfully swinging arrangements from Quincy Jones! The Q really helps Dinah break from the usual mode here – providing here with an upbeat, tightly snapping sort of groove – that sweetly syncopated Quincy Jones sound that really helped some singers hit new heights in the 60s. And as an added delight, The Dells make a key appearance on a few tracks – singing in a harmony group style that's similar to their one album on Vee Jay – almost more in Four Freshmen modes, but in a really great way! Titles include "Am I Blue", "Tears & Laughter", "If I Should Lose You", "I Just Found Out About Love", "Wake The Town & Tell The People", and "Wee Small Hours".

A massive tribute to the genius of soul in the Windy City – a wonderful compilation that really gets at the special sound Chicago brought into play during the early years of soul! The set is filled with key cuts from the Chi-town scene of the time – some of them lesser-known that the famous hits always associated with our hometown – and beautifully selected to really capture a moment when soul music was first starting to come together as a style! You can definitely hear roots from Chicago blues, gospel, and R&B in the cuts – but they're definitely all soul, all the way through – a killer batch of nuggets that manages to offer up fresh bits from some big names, and uncover some great cuts by some less familiar folks. The package features full track-by-track notes on the tunes by Bill Dahl – and titles include "Tragic" by The Sheppards, "At The Party "by Wade Flemons, "Hi Diddley Dee Dum Dum" By The Dells, "Tell Him" by The Drew-Vels, "I've Got A Girl" by Major Lance, "Senorita I Love You" by The Impressions, "Good Morning Little Schoolgirl" by Don & Bob, "My Heart Cries" by Etta & Harvey, "Isle Of Sirens" by Jerry Butler, "Enchanted Garden" by The Accents, "You've Got A Great Love" by The Chanteurs, "Father Knows Best" by The Radiants, "Let Em Try" by Rosco Gordon, "Behind The Curtains" by Jan Bradley, and "Puppy Love" by Barbara Lewis.

Later material cut by this great singer from the Soul Children. The tracks are produced by Homer Banks, and still have a very strong sound, even though the style's a bit more modern than Blackfoot's classic work. Writing is by Betty Crutcher, Homer Banks, and Chuck Brooks – and in a way, the album's sort of an early 80s updating of the early 70s Stax sound. Titles include "Taxi", "The Way Of The City", "Street Girl", "All Because of What You Did To Me", and "Where Is Love".

A great testament to the continued relationship between German reedman Peter Brotzmann and the Chicago underground jazz scene – summed up perfectly in this surprisingly long-running Chicago Tentet – a group that not only features Brotzmann and key Windy City musicians, but also some folks from other scenes who frequently interact in our fair town! Brotzmann's got this majestic lead on the record – blowing boldly on tenor, alto, b flat clarinet, and tarogato – and getting great reed accompaniment from Ken Vandermark, Mats Gustafsson, and Joe McPhee – alongside trombones from Jeb Bishop and Johannes Bauer, tuba from Per Ake Holmlander, cello and electronics from Fred Lonberg Holm, bass from Kent Kessler, and double drums from Michael Zerang and Paal Nilssen-Love. All of these players are very familiar with each other, and really work wonderfully here – moving through three long improvised passages, all performed live, but with a cohesion that's amazing – even more so when you consider how global the unit actually is. Titles include "To Walk In", "To Love In", and "To Sleep In".

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

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

Classic smooth soul from Teddy P – recorded in the years after he'd left Harold Melvin & The Blue Notes, when he was recording some of the finest sensual soul ever! The set's got a total of 12 tracks in all, most of them some of Teddy's best numbers – like "Close The Door", "Come Go With Me", "Turn Off The Lights", "It's Time For Love", "Love TKO", "It Don't Hurt Now", "Somebody Told Me", "And If I Had", "The Whole Town's Laughing At Me", and "Can't We Try".

One of the coolest, grooviest cats who ever cut a record – an an artist with a really unique conception at the time of these recordings! Roy Porter got his start as a drummer during the bebop years, and worked hard on the LA scene of the R&B and soul scenes of the 50s and 60s – but to us, his crowning achievement is these amazing funk sides of the early 70s – amazingly complex, but right on the money too – and a whole new kind of music that's impossible to describe in words! Roy mixes funky drums with lots of cool jazzy changes – keyboard lines, horn parts, and bass bits that have the frenzy you might find in fusion, yet come across with the down-to-earth vibe of a funky 45 – a killer blend that goes way past jazz, and even most straight funk too – as you'll hear in this sweet little set. The package brings together all the best tracks from these key Porter years – and titles include "Jessica" and "Panama" in both vocal and instrumental versions, plus "Wow", "Funny Feelin", "Funky Twitch", "Love You", "Hense Forth", "Out On The Town Tonight", "Givin Me The Blues", "Waver-ing", "Party Time", and "Hip City". CD features the bonus track "Drums For Daryl".

One of Motown's leading hopes in the early 80s soul scene, and for good reason too! These guys have a wonderfully well-rounded approach – great on ballads and even more compelling on groovers – a balance here that puts them proudly in the company of contemporaries like Maze or Slave, with a sound that's sometimes right in the middle of both. Titles include "Don't Take My Love Away", "There'll Never Be", "I Wanna Be Closer", "Best Beat In Town", "I Call Your Name", "You & I", and "My Friend In the Sky".

Great solo work from soul child J Blackfoot – music that's often done in a modern soul mode, but with plenty of Memphis touches too! Blackfoot's lost none of the vocal power since his earlier group recordings on Stax – and if anything, standing out as a lead act has given him even more confidence and charm – especially on some of the more pointed love tunes, which are really the standouts in the set! Homer Banks write and produced most tracks – and brings a good modern/southern feel to the record – really helping Blackfoot steer clear of some of the too-bluesy sounds some of his contemporaries were hitting at this time. Titles include "The Girl Next Door", "Just To Be With You", "One Of Those Parties", "Taxi", "I Don't Remember Loving You", "If I Don't Love You", "Sunshine Lady", "Respect Yourself", and "Tear Jerker".

The only album we've ever heard from singer Martha Hayes – and a beautiful vocal jazz treasure all the way through! Martha's got this raspy style that's quite unique – neither the icy approach of other females of the modern 50s years, nor the bluesy inflections of the Billie Holiday/Dinah Washington camp, either – and instead, this way of sounding very personal right from the start – even on the album's familiar tunes, which shouldn't come across this well! The backings are part of the album's strength – some really moody, mellow, small combo sounds from a group that features pianist Steve Foster, bassist Don Russon, drummer Ray Alexander – and alto saxophonist Lou Fratturo, who doesn't play often, but really brings some light into a few tunes when he gets a chance. But clearly, it's Hayes who's the real star here – a wonderful singer that we'd love to hear more from, although we're happy to have discovered here! Titles include "Yesterdays", "Little Girl Blue", "Black Coffee", "Get Out Of Town", "By Myself", and "Good Morning Heartache".

One of the most obscure 50s vocal sessions on Atlantic Records – a sophisticated set of material set to beautifully shaded arrangements from Thomas Talbert! Patty McGovern's vocals are somewhat fragile and soft – but in a really nice way that mixes beautifully with Talbert's slightly modern backdrops – music that uses light woodwinds and a nice dose of jazz to create a moody, almost sad-tinged sound. The quality's quite different than many other 50s vocal dates – and it really makes us wish we'd heard more from the team of McGovern and Talbert. Titles include originals "Wednesday's Child", "I Like Snow", "Love Isn't Everything", and "Winter Song" – plus "Get Out Of Town", "Alone Together", "All In Fun", and "Hooray For Love". CD also features some rare bonus tracks – including "Summer Rain", "Every Other Dream", "If That Isn't Love", and "I Love You Dear".

Upbeat, jazzy, and swinging – two great albums from Mel Torme's years at Verve! I Dig The Duke I Dig The Count is an album dedicated to the music of Duke Ellington and Count Basie, set to some very upbeat, jazzy backings from Johnny Mandel! The album's quite swinging at points – and given the choice of material, Mel really breaks from the familiar – stretching out nicely to reach the spirit of the famous leaders, but always with that tremendous sense of tone! Titles include "Down For Double", "I'm Gonna Go Fishin", "I Like The Sunrise", "Reminiscing In Tempo", "Oh What A Night For Love", and "In The Evening". On Swings Shubert Alley, Mel Torme takes on the sound of Broadway at the start of the 60s – but he does so in a very groovy way, thanks to hip backings from the amazing Marty Paich! The style here is as swinging and jazzy as the work that Mel and Marty cut together on the Bethlehem label in the late 50s – and the tracks have a nice sort of groove, and an overall lean feel – a sound that takes the music far from its Broadway roots! Players include Art Pepper on alto, Stu Williamson on trumpet, Bill Perkins on tenor, and Frank Rosolino on trombone – all bringing a nice sense of themselves to the set. Titles include "Lonely Town", "Whatever Lola Wants", "Old Devil Moon", "Hello Young Lovers", "Too Close For Comfort", and "Just In Time".

Lots of production and songs by Brownmark. Titles include "Personal Attention", "Let Me Take You Down", "Love Town", "Find Another Lover", "He's Got A Hold On Me", "Call Me", and the "Ain't No Mountain High Enough" duet with Howard Hewett!

Badu is back with some of the deepest, funkiest and best music of her career – a mindblowing treatise for a New Amerykah – and what we'll consider an instant classic whether the world at large catches on or not! Erykah steps up this time with a set that balances the wilder impulses of her criminally underappreciated Worldwide Underground and more of a hip hop based, righteously grooving style – but still bursts with a freshness that's unrivaled to say the least. From free spirited soul, to sparse hip hop funk this record is both blunt and beautiful – with a slow-building emotional resonance that'll reach the most jaded souls. Modern soul music of the first order that gives us goosebumps from the first spin to the last beat! The album kicks off with Erykah riffing on and remixing Ramp's "American Promise" as an intro – and it just gets deeper from there. Producers/collaborators include Madlib, Sa-Ra, Karriem Riggins, James Poyser and ?uestlove. Amazing!!! Titles include "The Healer", "Me", "My People", "Soldier", "The Cell", "Twinkle", "Master Teacher", "The Hump" and "Telephone". The 9th Wonder produced single "Honey" is an unlisted bonus track.

The second chapter of Erykah Badu's New Amerykah – recorded for the most part, quite incredibly, during the same period and with the same collaborators as the mind-altering, murky and righteous hip hop funk experimentalism that was Part One – some months that must be among the most dizzyingly creative in Badu's career! We're reluctant to call Return Of The The Ankh a lighter listen than its predecessor, but, it's a less dense and outwardly experimental batch in the sonic realm – the emotionalism and the head nodding warmth is at the forefront, yet she's as uncompromising and real as ever. The sound is still innovative, unique and her own on all fronts, but the songs chosen for Part Two are ones you want to approach and embrace from the opening seconds – there's not as much of a tripped out overall vibe and you don't need to acclimate from a distance – these songs pull you right in! Includes collaborations with James Poyser, Shafiq Husayn, Ta'Raach, Karriem Riggins, Madlib and Georgia Anne Muldrow. Includes "20 Feet Tall", "Window Seat", "Agitation", "Turn Me Away (Get Munny)", "Gone Baby, Don't Be Long", "Love", "Out My Mind, Just In Time" and more.

Amazing – simply amazing – and one of the best LPs of 60s soul you could ever buy! Darrell Banks was one of the many lost talents laboring in Detroit during the 60s – and he was part of the city's hip underground soul scene that included monster talents like Steve Mancha and JJ Barnes, all of whom fall into the "should have been famous" category, but who have fortunately been honored for years by soul fans worldwide. This album's one of two that Banks ever issued under his own name – and it's a collection of singles that were put together by Revilot, but issued in full LP format by Atlantic. Banks mixes together raw deep soul vocals with some hipper uptown production – and the result is soul that's about as classic as "classic" could be! Every single cut's a winner, written by some of the finest talents in soul music at the time – and tracks include "Here Come The Tears", "Our Love (Is In The Pocket)", "I'm Gonna Hang My Head & Cry", "Baby What'cha Got For Me", and Banks' semi-hit, "Open The Door To Your Heart".

Socking soul from the 60s – a record with American roots and a very groovy British sound! The set was the second full length album from Madeline Bell – an American singer transplanted to the mod UK scene of the 60s, where she really flourished in a rich career of hit singles, endless session work, and later fame with the group Blue Mink. The tunes on this set are a wonderful bridge between Madeline's two worlds – and have a sound that's a lot like the uptown soul coming out of the US at the time – sweet and smooth arrangements, topped by deeper soul vocals that make for a wonderful juxtaposition. Arrangements are by British talents Arthur Greenslade, Ian Green, and Keith Mansfield – and titles include "Step Inside Love", "Hold It", "Help Yourself", "After All Is Said & Done", "For Your Pleasure", and "It's Up To You". CD features bonus singles too – 6 more tracks that include "Thinkin", "Go Ahead On", "How Much I Do Love You", "What'm I Supposed To Do", and "We're So Much In Love".

A record that has a Motown hit for its title, but the album's got a depth that marks Bennett as one of the most complex singers of his generation – way past the broad belter of ballads from the 50s, and an all-adult male vocalist whose sound was essential to the sophistication of the mainstream in the late 60s. Many tunes are standards, given lush arrangements by Torrie Zito and Marion Evans – sung by Tony with that deep voice that nobody else could ever hope to match! Titles include "Out Of This World", "For Once In My Life", "How Do You Say Auf Wiedersehen", "Keep Smiling At Trouble", "Baby Dream Your Dream", "Days Of Love", and "Something In Your Smile".

Classic work by one of our favorite pop singers ever – the full-voiced Cilla Black, a vocalist we'd trade for Petula Clark or Dusty Springfield in a minute! During the 60s, Cilla was working in a strongly Bacharach-influenced mode – a style that picked up a lot of uptown touches from the New York scene, but which infused them with the more belting mode of Brit female singers of the time. The result is an incredibly powerful approach to pop – one that showcases Cilla's incredible voice, but which also has her wrapped up in beautifully full arrangements, and rhythms that often have that slightly syncopated gentle groove that we love from Bacharach's work with pop singers. CD features 25 tracks in all – including 6 making their CD debut – titles that include "Yo Yo", "A Man & A Woman", "Anyone Who Had A Heart", "You're My World", "Love Letters", "One Little Voice", "Alfie", "Baby I'm Yours", "A Lover's Concerto", "Step Inside Love", "Liverpool Lullaby", "Forget Him", "Little Pleasure Acre", and "Rule Britannia".

A pivotal album for the group – released at a time when Black Ivory, like so many other east coast vocal groups, was making the transition away from an older sweet soul style to a more sophisticated club vocal sound. The group's producing themselves here – and we're guessing that most of the real work is being done by Leroy Burgess, although Patrick Adams still appears to be working with the group on the string and horn arrangements – giving things just the right sort of underground disco twist to make things groove! The record includes the great club track "Walking Downtown (Saturday Night)", a longtime fave around Chicago – plus "White Wind", "Making Love In My Mind", "Could This Be Magic", "Longer Ride", and "Can't You See".

Nocturnal boombap from Blockhead – a sleepless, samples and electic-beats heavy survey of an after hours metropolis – finding Blockhead as insistently inventive and timeless in approach as ever! We love that Blockhead's work kind of exists in it's own world, yet clearly shows love for NYC life – and the globally diverse soundscapes strongly represent both that great urban landscape and Blockheads inner genius. Includes "Never Forget Your Token", "Creeps Crouchin", "Panic In Funkytown", "Meet You At Tower Records", "Escape The Meadow", "Smoke Signals", "Midnight Blue", "Snapping Point", "Beyond Reach" feat Baby Dayliner and "The Robin Byrd Era".

Smooth, chart R&B and new jack slow jams from one of the iconic groups of mid 90s urban radio in English and Spanish versions from the original album. Jimmy Jam and Terry Lewis, Dallas Austin, Babyface and the Darp Inc crew provide syrupy backing for the Boyz's sweet 90s soul harmonies. Includes "On Bended Knee" (in English and Spanish versions), "I'll Make Love To You" (in English and Spanish versions), "Yesterday" (in English and Spanish versions), "50 Candles", "Trying Times",and "Water Runs Dry (in English and Spanish versions)".

Deep southern soul from vocalists Chuck Brooks, Joe Wilson and George Soule – a both gritty and and some sweeter material cut at Malaco Studios, mostly in the early-to-mid 70s – with some rare 45 numbers, and others that were never issued at all! The Chuck Brooks tracks are wonderful and show a real range, from funky, stripped down numbers to bigger productions that still have plenty soulful grit to them! The Joe Wilson tunes are just as strong – with a heavy bottom end to the rhythms, organ and vamping soul guitar in the mix, and uniquely emotive vocals from Chuck. The set's closed out by a trio of tunes by George Soule, solid, moody, a mix of soul, a bit of southern rock & pop, and Motown ballad influences. Really incredible stuff! Includes "Loneliness (Is A Friend Of Mine)", "Baby Please Don't Set Me Free", "You Can't Be In Two Places At The Same Time", "Once Up A Love Affair" and more by Chuck Brooks, "(Don't Let Them) Blow Your Mind", "Sweetness", "When A Man Cries", "Our Love Is Strong", "Don't Look Back", "Go On And Live", "Walking Away From True Love" and more by Joe Wilson, "Talking About Love", "The Easiest Think I've Ever Done" and "That's Why I'm A Man" by George Soule. 25 tracks in all!

Excellent transitional album by Byrd – transitional in that it marks the difference between his hard soul jazz funky recordings from the 60's and his easier electric recordings from the early 70's. Donald's playing in a sweet mellow style, with beautiful strident reaching solos that float over soul jazz arrangements for a larger group that includes Duke Pearson on electric piano, Frank Foster on tenor, Jimmy Ponder on guitar, and Joe Chambers on drums. 4 long tracks – "Weasil", "I Love the Girl", "Fancy Free", and "The Uptowner".

A tremendous solo act from GC Cameron – a singer who first rose to fame in The Spinners, but who really sounds wonderful on his own! GC's moved away from The Spinners here – into a wide range of styles that show him ready to take on most of the rest of the competition! He's working here with the best of the best of Motown – production from Stevie Wonder and Willie Hutch – and arrangements by both, plus Paul Riser, Gene Page, James Carmichael, and Frank Wilson – all of whom really give their best to the record, and show that Motown was putting plenty of effort into making GC one of the next big stars of the 70s. We're not sure why things never took off as strongly for Cameron, but whatever the case, the album's a great step for the solo artist – on cuts that include "If You Don't Love Me", "Tippin", "All In Love Is Fair", "If You're Ever Gonna Love Me", "Come Get This Thang", "I'm Gonna Give You Respect", and "Let Me Down Easy". CD features an insane amount of bonus tracks – 13 more tracks that include "Act Like A Shotgun", "Girl I Really Love You", "I'm Gonna Get You (parts 1 & 2)", "Don't Wanna Play Pajama Games", "You Are That Special One", "Have I Lost You", "Time", "Topics", and "No Matter Where".

A near-lost chapter in the career of Jean Carn – her one and only album recorded for Motown, cut in the early 80s with production by Norman Connors! Oddly, although Connors was the first producer to give Jean Carn a chance back in the 70s as a smooth soul vocalist – finding her voice a perfect fit for his warm and jazzy arrangements – here, he's going for a style that's a bit more conventionally soul-based, with more guitars and mainstream production than you'd expect. Jean's still pretty great, though, showing why she was one of the best female soul artists of the modern soul era – on tunes that include "My Baby Loves Me", "Don't Let Me Slip Away", "Steady On My Mind", "Completeness", and "Better To Me".

Majestic Motown from the 70s – an almost-overlooked record, but a surprisingly sophisticated gem that's well worth discovering again! The album's definitely soul at the core, but embraces so many other rich styles too – and at points, almost feels like some of the most ambitious material of the Cadet/Concept scene in Chicago – especially given the full orchestrations on the tracks, handled by Jimmy Haskell and Jerry Long! Leonard Caston's the real genius behind the record, though – and works here to provide great support for co-vocalist Carolyn Majors – who trades leads back and forth with him, and is sometimes showcased on tracks that really let her heavenly vocals take off! The whole thing's great – and titles include an early version of the cut "I'll Keep A Light In My Window", which was later recorded by other groups – plus "Child Of Love", "There's Fear", "Satisfied Mind", "Let There Be Love", "No One Will Know", and "Say You Love Me True". CD features loads of bonus tracks too – 9 more numbers that act as a great second chapter to the album – titles that include "Mother's Son", "What About The Price", "If I Can", "We're Together", "I've Got To Fly", "Don't Let", and "I'm Flying Your Sky".

A hard slammer from the Clarke-Boland Big Band – recorded when the band was burning up the road in Europe, taking great players and audiences in one fell swoop, coming up with some of the strongest straight jazz of their generation! The album features stunning solos all around by an all-star mix of American and European players that includes Benny Bailey, Johnny Griffin, Tony Coe, Dave Pike, Sahib Shihab, and Ronnie Scott – all coming together with incredibly fluidity, yet also breaking out for some massive solos on their own! Arrangements are by Boland – tight, right, and outta site – and titles include "Let's Face The Music & Dance", "High School Cadets", "By Strauss", "Gloria", "Sweet & Lovely", "Get Out Of Town", and "I'm All Smiles".

An album that definitely lives up to the title promised by The Commodores – a record that takes all their raw funky energy of the early years, and fuses it into a new groove that would catapult the sextet to superstardom! The sound is commercial, but still has a pretty fresh sort of feel too – that quality the group brought to their work when breaking down so many boundaries in mainstream music – and finding fans in corners that few other funk groups might have touched! There's plenty of upbeat funk tracks in the mix, and even the mellower moments are still balanced nicely enough to avoid any of the cliches that Lionel Richie might have had during his solo years. Titles include "Why You Wanna Try Me", "This Love", "Been Loving You", "Lucy", "Saturday Night", "Lady (You Bring Me Up)", and "Oh No".