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A great trad revival set from trombonist Vic Dickenson – working here with trumpeter Joe Thomas, in a style that really shows the respect that Atlantic Records had for older jazz modes – even during the height of their R&B and modern jazz years! The group's a great one – with trumpet from Buck Clayton, and tenor from Hal Singer and Buddy Tate – and the session features one great long jam session that's almost Verve-like in nature – a cut called "Blues For Baby", that's obviously a great setting for these players. Other shorter numbers include "Undecided", "Lamp Is Low", and "Crazy Rhythm".

Gerry Mulligan's still far from the mainstream of jazz on this sweet little set – a great date that expands nicely from the mellower styles of the Pacific Jazz years – expanding the group a bit, with some really great results! In addition to Mulligan's usual baritone sax, Gerry also plays a bit of piano on one track – reconciling himself with the instrument, and using it in surprisingly soulful ways. Other players include Zoot Sims on tenor, Bob Brookmeyer on trombone, either Don Ferrara or Jon Eardley on trumpet, and Dave Bailey on drums. Tracks are long and nicely open – a bit less tightly arranged than some of Mulligan's work on Pacific Jazz – and titles include "Lollypop", "Igloo", "Blue At The Roots", "Elevation", and "Mainstream".

Whoa! Here's a motherlode of pop psych grooves from Mainstream – the jazz-centric label who were famously making a play for the freaky rock scene in the latter half of the 60s – releasing astounding material by The Amboy Dukes, Stone Circus, Fever Tree, Ellie Pop, Bohemian Vendetta and many more! Mainstream didn't hit paydirt with the mainstream rock consumers, for the most part, and many of the rock releases of the late 60s are pretty obscure these days – but it's wild, groovy stuff – with fuzzy guitars, primal rhythms, trippy lyrics and catchy melodies. This massive 2CD collection puts togther standout album tracks and singles – 52 tracks on 2CDs with a nice booklet of notes! Includes "Journey To The Center Of The Mind" by Amboy Dukes, "For A Moment" by Orient Express, "Can't You See" by The Tangerine Zoo, "200 Years" by Maxx, "I Can Beat Your Drum" by Fever Tree, "You'll Walk Away" by The Art Of Lovin, "An Older Man" by The Tiffany Shade, "Can't Be Love" by Ellie Pop, "Tinkle Talk" by The Sixpentz, "Sara Wells" by The Stone Circus, "Mary Maiden" by The Scarlet Letter and many more.

A reverent snapshot of the spiritual & soul jazz emanating from the Mainstream label in the early 70s – a well curated set featuring great numbers by Frank Foster, Blue Mitchell, Hadley Caliman, Roy Haynes and other giants of the scene! The material comes from a time in Mainstream label history when it was essentially relaunched as a jazz label, following some the psyche era rock albums of the previous few years. Soulful jazz sounds from a spiritual realm as well as some in a jazz funk mode, and excellent material all the way! 12 great tracks in all: The sprawling opener "The Loud Minority" by Frank Foster, "Mi Hermano" by Blue Mitchell, "Up And Down" by Harold Land, "Watercress" by Hadley Caliman, "Kamili" by Buddy Terry, "Senyah" by Roy Haynes, "EW Beautiful People" by Frank Foster, "Little One" by Hadley Caliman and "Petits Machins" by Johnny Coles/

A profoundly funky Message – a smoking set of early 70s funky jazz & heavy soul from the Mainstream Records vaults – a diverse set of incredible recordings from the label that may be fairly sprawling in style, yet holds together thanks to shared funky urgency! It's filled with Bob Shad productions for his stellar Mainstream roster, which at the time included a host of far reaching jazz veterans, soulful chanteuses, and killer funky combos – including Afrique, Blue Mitchell, Sarah Vaughn, Alice Clark, Charles Kynard and many more! The session players reads like a heavyweight jazz title card itself, with Don Pullen, Stanley Clarke, George Cables, Joe Sample, Victor Feldman and more. The set features a very well chosen 18 tracks, with solid notes on each by Dean Rudand. Titles include "House Of Rising Funk" by Chubukos, "Soul Makossa" by Afrique, "The Message" by Blue Mitchell, "Funky Butt" by The Delegates", "Never Did I Stop Loving You" by Alice Clark, "I Want You Back" by Bobby Shad & The Bad Men, "Grits Ain't Groceries" by Maxine Weldon, "The Spirit" by Curtis Fuller", "Bacon Butt Fat" by Charles Williams and more.

Massively funky work from the Mainstream Records catalog of the early 70s – some of the grittiest, most hard-hitting tracks recorded by the label at the time! Most of the tracks here are short, but pack plenty of punch – that rock-solid approach to jazz funk that Mainstream was putting down heavier than most other labels at the time – thanks to a top-shelf array of leaders, studio players, and arrangers in the mix! There's a number of tracks here that haven't been reissued as part of P-Vine's single album program on the label – making the compilation even more essential – and the 19 track album features over 75 minutes of music, more than enough to warrant the higher Japanese price. Titles include "Sweet Emma" by Don Burrows, "Mustang" by Sonny Red, "Red Clay" by Jack Wilkins, "Witch Doctor Bump" and "Boogie The Devil In" by The Chubukos, "Spinning Wheel" by Phoenix Authority, "Fire & Water" by Charles Kynard, "Family Affair" by Dave Hubbard, "Signifyin Gemini" by Lamont Johnson, "Freedom Jazz Dance" by Night Blooming Jazzmen, "Mother McCree" by Reggie Moore, "Let's Take The Long Way Home" by Arbee Stidham, and "Never Can Say Goodbye" by Johnny Coles.

Harmony soul heaven – a wealth of rare soul singles issued by the Mainstream Records family of labels in the 70s – most of which have never been on CD before! Mainstream's best remembered as a jazz imprint from the period, but they also turned out plenty of great soul too – and this collection focuses on their strong talents with male harmony groups, on a wealth of great numbers to rival the more famous names coming out on bigger labels at the time! Most tunes move at a mellow or midtempo pace, but there's a few fuller, funkier numbers too – and tracks include "Talk To The Rain" and "You're So Hard To Forget" by Spring, "Let's Fall In Love" by Spectrum, "That's When He Remembers" by The Preparations, "Has Love Been Here Before" by The Fabulous Determinations, "Come Back With Love (parts 1 & 2)" by Special Delivery, "Someday Somewhere" by The Dramatic Experience, "I Feel It" by Dramatics, "Stop & Think A Minute" by Charles Beverly, and "Love Looks So Good On You" by Larry Rice.

A killer album of Afro Funk – with a very unusual origin! In the wake of Manu Dibango's big hit (and some kind of failure to register the copyright), many many versions of "Soul Makossa" were recorded and released, some good, some bad. This album is a good example of that situation – kind of a quickie project issued by Mainstream Records to cash in on the hit – but it's also an amazing bit of lost funk, and a record that's lasted for years in the hearts of beatheads! The group's a studio combo headed by Richard Fritz – and includes funky drummer Paul Humphrey, organist Charles Kynard, and guitarist David T Walker – all players we can trust to keep things groovy. The record does include a version of "Soul Makossa" that's pretty great – but even better is the breakbeat classic "House Of The Rising Funk", apparently the same version of the track that was issued on a 45 under the name The Chubukos. Other nice ones include "Kissing My Love", "Hot Mud", "Get It", "Hot Doggin", and "Let Me Do My Thing".

Rhythmic early 60s global grooves from John Berberian – a master of the oud with a great group of players on these oft intense takes traditional Turkish, Armenian and Arabic songs! The melodies and rhythms are pretty impressive – the percussion is particularly heavy and groovy! The oud is out front and supported by lots of clarinet and bongo, hand percussion, guitar, bass and some vocals, too! There's a passion here that easily trumps any initial thoughts that this would be a dry reading of middle-eastern folk material – it's appealing in many of the ways that Salah Ragab's Egyptian jazz material is, without the cosmic funkiness. Players include Souren Baronian on clarinet and bongos, Jack Chalikian on canun, John Valentine on guitar and dudoog, among others. Tracks include "Siseler", "Laz", "Basha Bella", "Whyek", "Taksim", and "Nubar Nubar".

This was one of the biggest-selling jazz albums of all-time in Australia – so it's no surprise that it was issued in the US, although in a slightly shorter form than the original double LP. The session features Australia's biggest (and best) reed player, Don Burrows, and his classic 70's quartet that featured the great guitarist George Golla. The music here is very nice, and the set includes a few groovy and funky tracks that perfectly sum up the Aussie 70's jazz sound. Titles include "Sweet Emma", "The Gentle Rain", "Velhos Tempos", and "Maybe Today".

One of the most amazing albums ever from Frank Foster – a totally righteous set that's light years ahead of his earlier work with the Basie Band! The format here is right up there with the best on Strata East at the time – a large-group session that's filled with some of the hippest players of the early 70s – all coming together with a joyous, spiritual sense of power! Foster's in the lead on tenor and soprano sax, but other players include Cecil Bridgewater and Hannibal Marvin Peterson on trumpets, Harold Mabern on keyboards, Elvin Jones on drums, Dick Griffin on trombone, Stanley Clarke on bass, Airto on percussion, and even Dee Dee Bridgewater on vocals! Tracks are all quite long and flowing – spiritual expressions of jazz that rival the greatness of anything recorded for Impules – and titles include "The Loud Minority", "Requiem For Dusty", "JP's Thing", and "EW – Beautiful People".

One of the most amazing albums ever from Frank Foster – a totally righteous set that's light years ahead of his earlier work with the Basie Band! The format here is right up there with the best on Strata East at the time – a large-group session that's filled with some of the hippest players of the early 70s – all coming together with a joyous, spiritual sense of power! Foster's in the lead on tenor and soprano sax, but other players include Cecil Bridgewater and Hannibal Marvin Peterson on trumpets, Harold Mabern on keyboards, Elvin Jones on drums, Dick Griffin on trombone, Stanley Clarke on bass, Airto on percussion, and even Dee Dee Bridgewater on vocals! Tracks are all quite long and flowing – spiritual expressions of jazz that rival the greatness of anything recorded for Impules – and titles include "The Loud Minority", "Requiem For Dusty", "JP's Thing", and "EW – Beautiful People".

A lost chapter in the legendary Harold Land/Bobby Hutcherson relationship – and a record that often gets overlooked. The set is a great moody mellow bit of jazz funk, recorded with Buster Williams on bass, Bill Henderson on electric piano, and Billy Hart on drums. Mtume sits in on congas, and the tracks have a very soulful groove that's different than the duo's work on Blue Note, but which also has the same sense of funkiness. Titles include "Mtume", "Ode To Angela", and "De-Liberation".

Although Charles McPherson's work for Mainstream isn't always among the best on the label (or in his career), this album has a nice easy slightly-electric groove, and features some nice guitar/piano lines backing up McPherson's soulful alto. Includes a nice slightly funky cover of "What's Going On", the spiritual "Serenity", and more boppish tracks like "Bird Feathers" and "Another Kind Of Blues".

A gorgeously and lush batch of material cut with the Peter Matz Orchestra – with a surprisingly intimate feel! The strings soar, but the percussion is fairly spare and often a little bit off kilter – while Carmen emphasizes her phrasing and more earthy tendencies with any empty histrionics! Titles include "In The Love Vain", "The Music Makes Me Dance", "Too Good", "Once Upon A Summertime", "The Night Has A Thousand Eyes", "Cloudy Morning" and more.

Wonderful work from guitarist Jimmy Raney – easily one of his standout sets of the 60s, and a record that features some great second guitar from Jim Hall! The pairing of guitars makes for a really unique sort of sound – one that's more languidly flowing than some of Raney's previous work, in ways that opens up with some tremendous tones and colors throughout – almost a guitar-based version of the sort of groove that Clark Terry and Bob Brookmeyer got with their horns while recording for Mainstream at the time. The presence of Zoot Sims on tenor is also a great factor of the record – and there's almost a gentle bossa nova influence going on here, but one that's touched with more modern elements too – in ways that really transform the sound of Sims' horn. Other players in the group include Steve Swallow on bass and Osie Johnson on drums – and titles include"A Primera Vez", "Presente De Natal", "Este Seu Olhar", "Betaminus", "Move It", "All Across The City", and "Coisa Mais Linda".

Better than you might think – thanks to piano and organ from Jack Wilson!

A surprisingly great little record from Clark Terry – filled with warmth, humor, and some really great grooves! The core of the album is the track "Mumbles", one that's based around Terry kind of slurring a scat vocal to a jazzy 60s groove. The track was a minor hit at the time, and Mainstream recorded a whole album around it – using the arranging talents of Joe Cain, who runs through a lot of elements that really make the set cook – from Latin percussion, to Hammond organ grooving, electric guitar, and an overall sound that's got a hip Verve Records feel. Players include Vinnie Bell, Willie Bobo, Grady Tate, and Jerome Richardson – and Cain really makes the record groove in ways that we've never heard on another Terry session. Titles include "Mumbles", "Rum & Mumbles", "Big Spender", "The Mumbler Strikes Again", "El Blues Latino", and "The Cat From Cadiz".

The team of Clark Terry & Bob Brookmeyer shouldn't work so well together – but although Terry's always been an optimist, and Brookmeyer's had a history as a modernist, the pair cut some great records together! This set's one of the best of a short run the Terry/Brookmeyer group cut for Mainstream in the mid 60s – a quintet session with Hank Jones on piano, Bob Cranshaw on bass, and Dave Bailey on drums – all players creative enough to match the playful spirit of the leaders, muting their rhythms one minute, and grooving them up the next! The mix of Terry's flugelhorn and Brookmeyer's trombone is especially great – a breathy approach to the horn parts that still swings hard, but with a fluid grace that's more pulsating than punctuating. Titles include a great version of Gary McFarland's "Milo's Other Samba", Jimmy Heath's "Gingerbread Boy", and the titles "Haig & Haig", "My Gal", "Naptown", and "Morning Mist".

Fully righteous work from singer Maxine Weldon – working here with bigger backings from Ernie Wilkins that mix in a bit of blues, soul, and funk! The style's never too polished, and almost has a similar feel to some of Esther Phillips' work on the Kudu label during the early 70s – soulful vocals at the lead, backed by some hip jazz and electric instrumentation from players who include Blue Mitchell and Bobby Bryant on trumpet, Hadley Caliman and Ernie Watts on tenor and flute, George Bohannon on trombone, and Freddy Robinson on guitar. Titles include "Don't Make Promises", "Hey, That's No Way To Say Goodbye", "Country Son", "I'll Remember Today", "Fire & Rain", "I Who Have Nothing", and "Ain't Got Nobody".

One of the best entries in the Commodore Series on Mainstream – a collection of obscure mid 50s recordings by flute and tenor player Frank Wess, done in small group settings with a variety of players that include some of his bandmates in the Basie group! There's a more tightly arranged feel here than on some of Frank's other 50s work – but the style suits Wess well, and seems to allow him to stretch out in more lyrical and easy-going modes on the album's best tracks. Other players include Oscar Pettiford, Henry Coker, Jimmy Jones, Joe Wilder, and Urbie Green – and titles include "Danny's Delight", "Mishawaka", "Frankosis", "I'll Be Around", and "Basie Ain't Here".

Two tasty bits of Afro Funk! "Soul Makossa" is a cover of the original – with a groove that's very nice and heavy. Even better, though, is "Hot Mud" – a weird little jazz funk number with a punchy rolling bass, and some tweaked-up moog solos over the top! It's a great cut – with a very unique sound!

Beautifully moody work from Art Farmer! The record's got some large group backing that appears to have been recorded in Austria – and the overall feel is similar to some of the "soloist with orchestra" sides on MPS. Most of the arrangements are by Hans Salomon, but Peter Herbholzheimer gets in a track or two. Most of the record has a nice electric Snowflakes-ish feel – but it also includes the nice funky track "Soulsides", a good electric groover! Other tracks include "Gentle Eyes", "So Are You", "Time For Love", and "Gloomy Morning".

One of Art Farmer's hippest albums of the 70s – thanks to some incredible work from the rhythm section! The tracks here are all quite skittish and grooving – not really funky, but flowing with a wonderful sort of energy – and bouncing along on the bottom with more drive than you might expect from Farmer! Art's working here with a group that features Jimmy Heath in the lead on tenor, soprano sax, and flute – but the real stars of the set are almost the core trio of Cedar Walton on piano, Sam Jones on bass, and Billy Higgins on drums – who are augmented by Mtume and Warren Smith on percussion, both of whom give the record it's amazing sound. Even familiar numbers sound nicely fresh, and Heath himself is at one of his hippest points here – really opening up with lines that we would have never expected a decade before. Titles include include "Cascavelo", "Blue Bossa", "Some Other Time", and "Homecoming".

A killer album of hard instrumental Latin soul tracks – one of the few albums ever done by funky reed player Mauricio Smith! On the set, Smith plays flute, alto, and soprano sax – and the record's filled with short little groovers that have a nice choppy sound, and lots of heavy conga work by Marcelino Valdes and Victor Pantoja! Other instrumentation includes organ, trumpet, and guitar – blasting out with some really mad rhythms, and very much in keeping with the crazy 60s work of Joe Cain, who arranged the whole thing. The album's got a sound that's very much in keeping with it's funky ghetto cover – and titles include "Hot Peppers", "Viva Guajira", "More Bread", "Mambo For Mauricio", "Puttin You Down", and "El Green Hornet". Excellent!

Features arrangements by Michel Legrand and Gene Page – both of whom bring in a groovy 70s sound to Sarah's vocals!

Right on, right on – as Maxine Weldon gets a hip kind of edge from arranger Artie Butler – always a welcome addition on any session! The album's Maxine's first, and may well be her best – thanks to Artie's tight use of soulful backings – often supported by rolling basslines, socking rhythms, and just the right amount of horns to push the album into outta site territory! There's a pretty large group behind Maxine on most numbers – including some LA studio jazz and funk talents like Carol Kaye on bass, Victor Feldman on vibes, Joe Sample on piano, and Plas Johnson on tenor and flute. Titles include the great tune "Right On", plus "Johnny One Time", "Grits Ain't Groceries", "It Ain't Me Babe", "Lodi", "Tomorrow On My Mind", and "Make It With You".

There weren't many vocal albums on the Mainstream label during the early 70s, and this rare soul side is a real overlooked gem! Alice Clark has a rich soulful voice, with a style that sounds a bit like Esther Marrow, mixed with some of the lead vocalists in Voices Of East Harlem – a really right-on sort of sound that's totally great, and way hipper than most 70s chart soul! Arrangements are by Ernie Wilkins, who brings in a touch of jazz – but again, with a much hipper feel than most of his other backings – and most of the tracks are quite obscure, well-written tunes – of the sort of material you might expect to hear sung by Gil Scott-Heron or Donny Hathaway. Titles include "Never Did I Stop Loving You", "Looking At Life", "Charms Of The Arms Of Love", "Don't You Care", and "Hey Girl".

Killer electric piano work from the mighty Mike Longo – recorded at a time when he was definitely at the height of his powers! The album sports a rare Mainstream Records appearance from James Moody – who was a frequent partner of Longos on sessions at the time – particularly on some of Dizzy Gillespie's funky records – which bear a lot of similarity to the sharp-edged grooves on this one! The rhythm section is wonderfully tight, and a big part of the success of the set – as they keep things grooving with a slightly sharper edge than some of Longo's other records – thanks to bass from Ron Carter, drums from Mickey Roker, and even a bit of extra congas from Dizzy Gillespie, of all people! Other players include Moody on alto, tenor, and flute – plus Virgil Jones on trumpet and Curtis Fuller on trombone. Titles include "Just To Let You Know", "A Piece Of Resistance", "The Awakening", "Pass It", and "Bitchin".

Mid 80s soul from Detroit's Colonel Abrams – One of the first artists to take the then burgeoning house sound into the mainstream – paired up with nicely grooving modern soul vibe! Includes the his "Trapped" and "I'm Not Gonna Let", with those bright and bumping synth melodies and relentless house influenced beats underneath vocals and songwriting that helped get it over with the chart ready contemporary soul scene – plus the solid ballad "Never Change", "Over & Over", "Speculation", "The Truth", "Table For Two" and more. This CD version includes 4 bonus tracks: 12" mixes of "Trapped", "I'm Not Gonna Let You", "The Truth" and "Over And Over" – plus the non album track "Music Is The Answer".

Great rootsy Cajun accordion – a version of the genre that's much grittier than any of the later versions that were spread more strongly through the mainstream – and definitely light years from the touristy sounds heard in more recent years! This set offers up a host of rare small label recordings from Nathan Abshire – a player who really handles his instrument with a personal touch – almost as raw and soulful as a harmonica in the hands of a blues musician, and often supported by rhythms that are pretty darn blue as well – although also with a definite Louisiana sound! The package features material with the Pine Grove Boys and Balfa Brothers group, plus others by Nathan on his own – and the set features 25 titles that include "Pine Grove Blues", "Offshore Blues", "Shamrock", "J'Etais Au Bal", "Choupique Two Step", "Partie A Grand Basile", and "Dying In Misery".

Heavy dancefloor funk from ADC Band – grooving in a bass-heavy mode that almost seems like a mainstream take on P-Funk – but which also has some really great mellow soul elements on the mellower tunes! There's a great ensemble Detroit groove going on overall – and as an added bonus, soul jazz legend Marcus Belgrave plays trumpet on most of the tracks! Titles include "I Just Want To Hold You", "Stank Machine", "Midnite Creeper", "Talk That Stuff", "ADC Is Back", and "At The Party".

The All Music Guide Required Listening collection of essential classic rock – featuring 1000 album reviews from the excellent All Music Guide reviewers – from the uber-legendary likes of Dylan, Springsteen, The Beatles, Hendrix and the like – to just as important and less mainstream celebrated greats like The Move, The Pretty Things, Grin, Tommy Bolin and so many more! Paperback, 271 pages.

The only album ever from Allspice – but a hell of an incredible soul record – and one that's kept the group's name strong with collectors and rare groove fanatics for years! The album's on of the best Fantasy Records productions by Wayne Henderson and his At Home team – and like some of the others, is handled with a groove that's tight, yet plenty sophisticated too – light years from mainstream disco or common club of the late 70s, and instead informed by plenty of jazz and deeper ideas as well! The vibe is perfect – as heavenly and righteous as some of the best Roy Ayers club tracks of the time – which proves to be a perfect foil for the Allspice style of mixing male and female vocals – which again is often done in an Ayers-like mode. The sound is sublime throughout – one of those real treasures that should have been a huge record in the 70s, but was barely pressed up at all – and quickly forgotten about by the record company. Yet even after all these years, the whole thing sounds amazing – one of those albums we'd never part with at all! Titles include the groovy "Slipped Away", the funky stepper "Hungry For Your Love" – and loads of other great tunes that include "Love Fire", "Destiny", "She's A Lady", "I Don't Know", and "Give It Time".

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

The title's certainly right on this one – because Atlantic Starr serve up a really brilliant blend of electro funk and mainstream soul – balanced with that near-perfect sound that made them one of the best groups of their generation! Despite the size of the combo, the sound is relatively lean – a very focused balance of basslines, keyboards, and some tightly snapping 80s groove rhythms – served up with vocals that warmly cascade over the tops of the tunes, but usually take a second seat to the extremely compelling instrumentation. The sound is polished, but never too slick – and the group are a great example of how well soul from this time could sound when done just the right way! Titles include "Love Me Down", "Sexy Dancer", "Circles", "Love Moves", "Your Love Finally Ran Out", and "You're The One".

Unreleased soul from Vince Broomfield – a singer and saxophone player with a warm and smooth style! The work here is all from private recordings of the late 80s and early 90s, and has a sound that echoes mainstream R&B of the period, but which is served up in a much more stripped-down approach overall – one that offers up some nice indie elements that help keep things fresh, especially on the album's mellow steppers! All tracks are original – and titles include "My Girl", "I've Been Watching You", "She's Gone", "I've Got You Back", "Just What The Doctor Ordered", and "Rain Rain Go Away".

Sure, it's not classic funky Average White Band, but the album's a great one that showcases the group's best second suit – their smooth compressed late 70s soul sound – a great evolution of their earlier groove, and one that showed them as a great mainstream soul act! The tunes are a bit mellower overall, but still have a lot of crackle and warmth – and Hamish Stuart's lost none of his vocal charm, and in fact may even sound better in a more laidback, less funky heavy setting! With the great break track "Stop The Rain" – and the cuts "When Will You Be Mine", "Please Don't Fall In Love", "Walk On By", "Feel No Fret", "Atlantic Avenue", "Ace Of Hearts", "Too Late To Cry" and "Fire Burning".

A pair of mid 70s album by Bobby Bare – the ambitious, concept-driven Hard Time Hungrys – and the easygoing The Winners & Other Losers – two worthy efforts from one the most unique voices and personalities of his era! Both albums are heavy with songs written by Bare family friend and frequent songwriting partner Shel Silverstein. Johnny Cash gets all the mainstream attention for collaborating with Shel on "A Boy Named Sue", but Shel and Bare have a far richer collaborative history together. Home For The Hungrys tells the story of the impoverished, with the title track, "Back Home In Huntsville Again", "Bottles And Boxes", "Truck Driver, Truck Driver", "The Unemployment Line" and more. The Winners And Other Losers is simply a great batch of tunes, sans concept, with the enduring "Drop Kick Me Jesus", "My Better Half", "Keeping Rosie Proud Of Me" and more. 24 tracks in all.

A great little album from Ray – even if it is a bit different than some of his other work from earlier years. The feel is kind of 70s R&B, with a jazzy touch, and if you're not looking for straight Latin stuff, this is actually a pretty great album – as Ray gets the group to work smoothly together, absorbing influences from Latin funk of the 70s, into a sound that owes a lot to more mainstream jazz funk of the time. The record includes the excellent cut "Here We Go Again" – a great midtempo number with a perfect steppers groove – plus the cuts "Tumbao Africano", "Leti", and "Expresso".

A hip little set from The Beat Boys – an Argetine group working in late 60s Brazil, supposedly with a bit of an influence on the sound of Tropicalia! The sound here is a bit straighter than the work of Caetano Veloso or Os Mutantes – a bit in the Jovem Guarda sound of more mainstream Brazilian rock, but with some hipper influences too – including a strong Beatles influence that makes for some great harmonies on the vocals, and instrumentation that really pushes beyond the standard straight Anglo rock modes of the time. Instrumentation features some fuzzy guitars, which are occasionally a bit tripped-out – plus organ, bass, and drums – all topped by echoey vocals from the group. Titles include "O Meu Tamborim", "A Time For Remembrance", "A Felicidade", "Wake Me Shake Me", "Sempre Esperando", "Aria Para A Corda Sol", and "Era Uma Menina". CD reissue features some great notes on the band, plus some vintage photos – and also includes the bonus track "Canudinho".

The Beatles for sale, but never in a commercial way at all – early proof of the group's great balance between mainstream appeal and sounds that still stick to the frontiers of rock and roll! The tunes are short, and heavy on influences from American R&B – yet the Fab Four are already crafting their new sound strongly, and have a melodic brilliance that's hard to deny! Titles include "Eight Days A Week", "Words Of Love", "Honey Don't", "Every Little Thing", "I Don't Want To Spoil The Party", "Everybody's Trying To Be My Baby", "I'm A Loser", "Rock & Roll Music", "I'll Follow The Sun", "Mr Moonlight", and "No Reply".

The Beatles for sale, but never in a commercial way at all – early proof of the group's great balance between mainstream appeal and sounds that still stick to the frontiers of rock and roll! The tunes are short, and heavy on influences from American R&B – yet the Fab Four are already crafting their new sound strongly, and have a melodic brilliance that's hard to deny! Titles include "Eight Days A Week", "Words Of Love", "Honey Don't", "Every Little Thing", "I Don't Want To Spoil The Party", "Everybody's Trying To Be My Baby", "I'm A Loser", "Rock & Roll Music", "I'll Follow The Sun", "Mr Moonlight", and "No Reply".

A wonderfully trippy record from The Beatles – filled with songs that have become classics, even though the initial package was designed for a movie that was one heck of a mess! The set's incredibly strong throughout – filled with some of the new post-Peppers ideas explored by the group, yet also with some catchier numbers too – great sing-songy tracks that undoubtedly were a big mainstream influence to the world of late 60s psych! Titles include "Blue Jay Way", "The Fool On The Hill", "Flying", "Strawberry Fields Forever", "Penny Lane", and "Baby You're A Rich Man".

A wonderfully trippy record from The Beatles – filled with songs that have become classics, even though the initial package was designed for a movie that was one heck of a mess! The set's incredibly strong throughout – filled with some of the new post-Peppers ideas explored by the group, yet also with some catchier numbers too – great sing-songy tracks that undoubtedly were a big mainstream influence to the world of late 60s psych! Titles include "Blue Jay Way", "The Fool On The Hill", "Flying", "Strawberry Fields Forever", "Penny Lane", and "Baby You're A Rich Man".

A landmark leaping-off point for The Beatles – and a record that really paved the way for countless new ideas to come! The mix of catchy pop and freer ideas here is really wonderful – tunes that introduce a whole new mature world in mainstream music – yet manage to have all the catchy complexity of the earlier years too. Production, songwriting, and delivery is superb – and this version features 14 songs that include "Drive My Car", "Norwegian Wood", "Nowhere Man", "Think For Yourself", "The Word", "What Goes On", "Girl", "I'm Looking Through You", and "Run For Your Life"".

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".

Tremendous work from Bilal – and further proof that his life on the indie side of the soul spectrum has been a very good thing! There's a crispness to the record that crackles right from the start – slight cosmic touches in the beats, but never too over the top – just enough to electrify the vocals and push Bilal past any sort of mainstream soul – and help him deliver the rich promise we first heard in his music so many years ago – but never found this fully formed during his major label stretch! There's some nice electric bits that percolate forth – moogy keys or sparkling samples – yet the vocals still have all the core warmth that's kept us coming back. Titles include "Astray", "Lost For Now", "West Side Girl", "Back To Love", "Longing & Waiting", and "Butterfly", which features a guest appearance from Robert Glasper!

Huge! Dark, heavy – an album of mythical proportions, and that's a lot to say for a mainstream LP! It would be hard to imagine the modern rock landscape without this album or group, who provided the template for so much music to follow, and the soundtrack to many bong-fueled excursions to the dark side! Includes "Black Sabbath", "The Wizard", "Wasp/Behind The Wall Of Sleep/Bassically/NIB", "Wicked World", and "A Bit Of Finger/Sleeping Village/Warning".

Pure genius from the hipper side of the LA scene – 2 rare early sessions from trombonist Lou Blackburn, both cut in collaboration with a young Horace Tapscott! The style here is quite hard to peg – a unique blend of soul jazz and modernism – handled with a key focus on unusual rhythms and timings. Blackburn's work on trombone is nicely matched with trumpet by Freddie Hill in the frontline – and the pair work together perfectly in a recasting of some of the modes explored by both instruments in the more mainstream side of the LA scene of the 50s. Tapscott's piano is not nearly as unbridled as in later years, but his presence here is clearly felt on the record – as there's a similar collaborative feel here to some of his later, larger, more spiritual groups. The albums are filled with great original tunes – and titles include "Harlem Bossa Nova", "New Frontier", "The Clan", "Scorpio", "Two Note Samba", "Grand Prix", "Jean Bleu", "Blues For Eurydice", and "Jazzanova". 19 tracks in all – and incredible throughout!

Arguably one of the greatest rock and roll albums of all time – and the key flowering of the partnership between David Bowie and Mick Ronson! The guitars here are heavy – so much so that the record's always crossed over big with crowds who are always suspicious of Bowie's artier work of the 70s – and represented a crucial moment when his groundbreaking music also found a large mainstream audience as well. And despite the fact that Ziggy's an androgynous space rocker with a spurious pedigree, the manufactured posturing of the album's come to be taken quite literally over the years – a vivid text of alienation, expression, and redemption – served up beautifully over a host of classic tracks that include "Five Years", "Soul Love", "Moonage Daydream", "Suffragette City", and "Ziggy Stardust" – all further proof of Bowie's 70s ability to slide in wherever he wanted with ease!

Arguably one of the greatest rock and roll albums of all time – and the key flowering of the partnership between David Bowie and Mick Ronson! The guitars here are heavy – so much so that the record's always crossed over big with crowds who are always suspicious of Bowie's artier work of the 70s – and represented a crucial moment when his groundbreaking music also found a large mainstream audience as well. And despite the fact that Ziggy's an androgynous space rocker with a spurious pedigree, the manufactured posturing of the album's come to be taken quite literally over the years – a vivid text of alienation, expression, and redemption – served up beautifully over a host of classic tracks that include "Five Years", "Soul Love", "Moonage Daydream", "Suffragette City", and "Ziggy Stardust" – all further proof of Bowie's 70s ability to slide in wherever he wanted with ease!

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

A classic set that goes "slam" from the very first note – and which helped to set the pace for countless ensemble funk acts to come! Brass Construction had a wonderful sound that was the best-realized version of the east coast indie club combos of the mid 70s – funky at the bottom, but polished at the top, in a style that was equally appreciated by fans of disco and more classic funky soul! The "brass" in their title was certainly strongly supported – as the group used a brace of horns on the top of the mix, smoothly gliding over the choppier rhythms at the bottom. And while there's certainly some vocals on the set, they often take second stage to the tight instrumentation of the group! The set includes the classic "Movin" – virtually a blueprint for mainstream funk at the time – plus the tracks "Changin", "Love", "Talkin", "Dance", and "Peekin".

Brass Construction's fifth album, and the group's still grooving harder than most of their contemporaries! The legendary Randy Muller is still fully in charge here – serving up his trademark lean, mean arrangements that compress all elements of the music firmly on the beat – all in a way that creates one of the funkiest grooves you'll ever hear in mainstream late 70s club! There's plenty of great little touches to keep each tune interesting – bits of strings, keyboards, or other elements that burst out of the mix playfully . Titles include "It's Alright", "Watch Out", "I Want Some Action", "Right Place", "Music Makes You Feel Like Dancing", and "Shakit".

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

An overlooked killer from Brick – the group's fourth album, but every bit as tight and funkier as earlier sets! Brick's Atlanta-bred groove is very much in place here – that lean, mean approach to funk that made them a standout right from the get-go – almost setting the scene for the stripped-down modes that so many other groups would follow well into the 80s! That tighter sound lets the group really hit a strongly soulful focus here – serving up some of their best vocals to date, and reminding us that some of the best mainstream funk groups always had a strong ability to harmonize over their grooves. Titles include "Push Push", "Get Started", "All The Way", "Waiting On You", "Free", "Sweet Lips", and "Let Me Make You Happy".

A killer set that's extremely well-titled – as BT Express were one of the hottest ensemble funk acts of their time! The groove here is definitely aimed at a more disco-oriented dancefloor than before – but the overall sound is plenty funky enough for our ears – thanks to some amazing horn passages arranged by Carlos Ward, whose own work on sax and flute really add an edgey quality to the set. Ward's horns are really fantastic – cutting and turning with a sharply-honed tone that keeps things fresh throughout – even when the rhythms are hitting more of a mainstream dancefloor sound. Titles include the group's mellow soul version of "Now That We've Found Love", plus "Herbs", "Time Tunnel", "Energy To Burn", and "Make Your Body Move".

Chico Buarque's fourth album – a mainstream Brazilian success at the time, but a record that's still as great as any of the more experimental sides from the time! Buarque has a sense of timing and charm here that are undeniable – an approach to the music that's aware of all the youthful inventions of the 60s, but which moves it to a much more sophisticated level, one that's especially touched by some of the European greats of the era. Backings range from simple samba to larger strings – and Chico's voice is incredible – with a slight rasp that would go on to influence a generation of popular Brazilian singers in years to come! Titles include "Rosa Dos Ventos", "Samba E Amor", "Pois E", "Cara A Cara", "Nao Fala De Maria", and "Gente Humilde".

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".

A rare bit of David Byrne from the best years of the Talking Heads – tunes commissioned by Twyla Tharp for an offbeat piece of dance entitled The Catherine Wheel. A few of the tracks are vocals, and feature some of Byrne's most compelling lyrics from the time – and others are instrumentals, filled with guitar and prophet, and coming up with lots of dark rhythmic sounds that lie somewhere in the territory of experimental work at the time by Brian Eno, Jon Hassell, Adrian Belew, and other mainstream avant rockers. Titles include "His Wife Refused", "Two Soldiers", "Red House", "My Big Hands", "Big Business", and "What A Day That Was".

One of the few albums ever issued as a leader by the great Joe Cain – a wonderful Latin arranger with a really mad ear for a groove! Cain's approach is often quite choppy in the rhythms – short, hard, and very very sharp – then topped with sweeter, jazzier lines – played on this set by Clark Terry on trumpet, Jerome Richardson on tenor and flute, and Frank Anderson on piano and some especially nice organ lines! Percussion is super-heavy throughout – played by Jose Mangual, Chocolate, and Marcelino Valdes with a vibe that's just right for the rhythms – and additional support is from Cachao on bass and Herbie Lovelle on drums. The grooves are incredible – quite different than anything else on Mainstream Records at the time, and even different than most of the New York scene – and titles include the amazing "It's A Mad Mad Mad Mambo (parts 1 & 2) (also known elsewhere as "Mambo Au Go Go") – a cut that sounds like some sort of crazy avant garde percussion banging, all made to keep in time to a mambo beat, with jazzy organ solos over the top. Other titles include "Mongo Mongo Baby", "Papa Bajo", "Que Paso", "Tanga Pa Katanga", and "Chunga A Go Go".

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".

The album that very firmly put Clarence Carter on the mainstream soul map – thanks to his brilliant version of the title tune! By the time of this set, Carter was already one hell of a soul singer – and really brought amazing sounds to play with classic production from Rick Hall and the Fame Studios gang. But when he pointed those talents towards the country soul story "Patches", he really found his groove – mixing southern roots from both sides of the fence into one really unique groove – and following it up with a host of other well-chosen tunes that really helped establish Carter's unique place in music. George Jackson co-wrote a number of the best tunes – a few with Clarence – and titles include "Patches", "I'm Just A Prisoner", "Till I Can't Take It Anymore", "Changes", "Say Man", "Willie & Laura Mae Jones", "CC Blues", and "Getting the Bills (But No Merchandise)".

Wickedly fuzzy funk! Jimmy Castor recorded in a lot of different styles during the 70s – but the one he used on this album is still his best! The record's a non-stop guitar-heavy batch of classic funk tracks – and it features the storming break track "It's Just Begun", the funky goofy "Troglodyte", and plenty other nice moments like "Bad", "LTD", "I Promise To Remember", and "Psychee". Fuzzy guitar meets heavy drums meets some of the most insane lyrics ever on a mainstream funk album! One of our most requested records – and for good reason! If you've ever bought a lousy Jimmy Castor album – throw it away, and buy this one!

Wickedly fuzzy funk! Jimmy Castor recorded in a lot of different styles during the 70s – but the one he used on this album is still his best! The record's a non-stop guitar-heavy batch of classic funk tracks – and it features the storming break track "It's Just Begun", the funky goofy "Troglodyte", and plenty other nice moments like "Bad", "LTD", "I Promise To Remember", and "Psychee". Fuzzy guitar meets heavy drums meets some of the most insane lyrics ever on a mainstream funk album! One of our most requested records – and for good reason! If you've ever bought a lousy Jimmy Castor album – throw it away, and buy this one!

The first album ever from The Chambers Brother – a much rootsier set than the psychedelic soul that later earned them fame in the 60s! The set's heavy on influences from folk, blues, and gospel – and pitches the group more towards the crossover college scene than the mainstream soul crowd – thanks to an appreciatively rootsy style of production that really has the vocals and acoustic instrumentation presented without any other augmentation. Tracks were recorded live at The Unicorn in Boston and the Ash Grove in LA – and most numbers are covers, with versions of "Summertime", "Your Old Land", "It's All Over Now", "Reconsider Baby", "People Get Ready", "Tore Up", and "Money".

A pair of great ones from this overlooked soul group from Illinois! Modern Heart is wonderful work from Champaign – a really self-contained group, and one who really rise above the rest of the early 80s soul scene! The album's got a tightness that's hard to beat – yet a sound that's never too slick or commercial either – kind of that best balance you'd find more in late 70s mainstream soul work, save for the fact that any upbeat numbers here have more of an 80s groove style than a disco one. The mellow tracks balance things out nicely, and show a deeper songwriting sound from the group than we might have expected – further testament to the strength of the album, along with the group's own arrangements and production. Titles include "Cool Running", "Party Line", "Try Again", "Let Your Body Rock", "Get It Again", "Love Games", and "Walkin". Woman In Flames is sweet, tight, and right on the money – a stellar bit of soul from Champaign – one of those great 80s groups who never seemed to get their due, but managed to make some really wonderful music right from the start! The album's got a slightly heavier production tip than before – arrangements from James Newton Howard that link Champaign a bit more to the sound of their mid 80s contemporaries – especially some of the other groups on Columbia. Yet there's also a healthy core to the album that comes from the group's own contributions – their continued strong sense of songwriting and performance, which makes their overall sound a lot less reliant on outside help than other groups of the period. Titles include "This Time", "Off & On Love", "Be Mine Tonight", "Mardi Gras", "Capture The Moon", "Woman In Flames", and "Intimate Strangers".

The first album from Chapter 8 – a set that's probably best remembered for introducing the world to Anita Baker, but one that's also pretty darn great on its own! Chapter 8 have a sharply soulful focus, one that takes them a bit above some of the other mainstream ensembles of the time – a balance of grooving rhythms and deeper feelings that's just about perfect – about at the level you might get from Maze or LTD, two other groups who both sported equally soulful lead singers! Gerald Lyles sings the male parts alongside Anita, and the blend is perfect – one that should have made the record even bigger than it was at the time, but maybe all that much better, since the lack of hit quality really keeps things fresh. Titles include the singles "Ready For Your Love" and "I Just Wanna Be Your Girl", plus "Don't You Like It", "Let's Get Together", "Come & Boogie", "I Go Disco", and "We Need Love".

Soaring vocals from Angela Clemmons – a set that really has an amazing range, and a depth of sound that goes way past the usual from Epic Records at the time! Angela's got a way of stretching out right from the start – inflecting the lyrics with a rich power that easily matches or beats some of her bigger-name contemporaries at the time – and which really help give an extra something special to the record. Production is by Paul Leka, and a number of songs were written by Michael Brown – and the pair really help give the whole thing a personal feel, and keep the set from being just another run of the mill mainstream soul album from the early 80s. Titles include "Giving It Away", "Fill You Up", "Uneasy", "When You're Through I'll Be Waiting", "Mine", and "Sure Thing". CD features two bonus tracks – "Out Here On My Own (7" mix)", and "Give Me Just A Little More Time (12" mix)".

A unique account of the oft-told history of Chess Records by author Rich Cohen – focusing on the business acumen the the Chess Brothers, and the brazen approach that brought the music of juke joints to the mainstream. Cohen doesn't pull any punches when it comes to the exploitational side of the Chess story, telling the story of the Chess Brothers and the artists that changed music forever, with a focus on the facsinating and complicated business behind it. Hardcover, 220 pages.

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".

A great 80s groove single, with a slightly more mainstream soul approach than we'd expect from Began Cekic, but without sacrficing any club appeal!

A sweet set of sounds from disco maestro Boris Midney – an artist who rarely recorded under his own name, but was the guiding force behind a great range of famous studio projects! The first half of the set features music from the Companion album – a set moves along in a way that's really a cut above the usual dancefloor groove – tight, lean grooves that draw a lot from just a little – never too overblown, in the way that mainstream disco might be – and instead this nicely compressed blend of tight drums, sweet keyboards, and other instrumental lines fused together in a way that works well with the spare vocals. Titles include "This Is A Test", "There's A Way", "Step On Out", "Living Up To Love", and "I Feel Delight" – plus bonus tracks "Living Up To Love (12" mix)", "Step On Out (12" mix)", and "Step On Out (rhythm track)". The second half features some great singles from Midney – real one-off projects, but offered in enough mixes to almost make for a full LP apiece! Titles include "Can He Find Another One (west side)", "Can He Find Another One (east side)", and "Can He Find Another One (inst west)" by Double Discovery; "Dddance (voc)", "Dddance (beats)", "Dddance (inst)", and "Dddance (alt mix)" by Boris Midney; and "Thanks For Loving Me" by Boris Midney.

A trio of early 80s efforts from Con Funk Shun in a 2CD set – with bonus tracks! Touch is a killer from the group – one of the few mainstream funk groups who actually managed to sound better and better with each new record – and on this set, they really seem to come into their own! Titles include "Too Tight", "Lady's Wild", "Give Your Love To Me", "Kidnapped", "Welcome Back To Love", "Touch", and "Play Widit". Includes 2 bonus tracks: "Lady's Wild (12" Version)" and "Body Lovers (12" Version)". 7 is not the group's 7th album, but a bold statement of the unity they feel as a 7 piece ensemble – perfectly lived up to in the record's well-crafted grooves! The album's one of Con Funk Shun's best overall – really solid, but never too slick, very tight in the bass department, but still soulful on the vocal tip, and never afraid to slip into a sweeter, more mellow tune. Titles include "Straight From The Heart", "Bad Lady", "Promise You Love", "I'll Get You Back", "A Song For You", and "California 1". To The Mix has snapping grooves and a sweet clubby sound. The bass is tight, the keyboards are electric, and the rhythms are great – never forced or stiff, and always flowing with a sense of soul that's head and shoulders above most of the group's contemporaries. Vocals are strong too – especially on the numbers that step things down a few notches – and titles include "Ms Got The Body", "Let's Ride & Slide", "Everlove", "Hide & Freak", "You Are The One", "Take It To The Max", "The Freak", and "Love's Train". Includes the bonus "Ms Got The Body (12" Version)" and an instrumental version.

A pair of overlooked gems from 70s singer/songwriter Marty Cooper – an artist who definitely leans towards the country side of the spectrum, but also comes across with more of a mellow rock feel too! A Minute Of Your Time is a 1972 set for the Barnaby label – one that beautifully mixes Cooper's raspy vocals with tunes that run from country twang to jazzier lines – especially on the tunes that feature sweet electric piano, and a bit less acoustic guitar. There's a knowing wink to some of these tunes – almost an echo of Lee Hazlewood, although Marty's a lot more sincere – and titles include "The Indiana Girl", "I Wrote A Song", "Mama Was A Cowgirl", "Cowboys & Daddies", and "To Say Goodbye To Anne". If You Were A Singer is a German-only album from the end of the 70s – but one that has Marty Cooper still working in the best mellow modes of his earlier work – kind of a commentary on country music and country ideals, nestled in a style that's real enough to have appeal to the mainstream it's commenting on. Titles include "Wine Wine Wine", "Stephen", "Like A Gypsy", "A Second Hand Song", and "Ten Dollar Room". CD features one bonus track – the previously unissued "The Biplane Evermore".

Lost Philly soul from the end of the 70s – great falsetto vocals from the mighty Matt Covington! Covington was the lead singer in the Philly Devotions, but somehow shines even more brightly on his own – with a gentle, heartfelt style that's almost more east coast early 70s soul than you'd guess from the date of this record – a great reminder that there was still some rootsier energy going on in the Philly scene, even as some of its artists were hitting big mainstream fame. Covington's vocals work especially great on the ballads, but they also hit nicely on the groovers – in the way that some of the All-Platinum/Stang artists made a decent transition to the dancefloor as the 70s moved on. But the mellower cuts are still the killers here – and titles include "If Love Can Be Magic", "Dust Is On Our Shoes", "Baby Blood", "Finally Got Oer On You", "Go Away & Leave Me Girl", "Philadelphia Dreaming", "Country Folks", and "Muhammad Ali".

One of Hank Crawford's first big records of the 70s – a really great set that helps him shake off some of his stock modes of the 60s and find a very different groove! A big part of the album is arranger Don Sebesky, who gives Hank a backdrop that's sophisticated and smooth, yet still pretty soulful in all the right places – a style that's almost a bit like mainstream soundtrack work of the time, but a bit more jazz focused overall. Hank's solos are right out front on most tracks – blown with that nicely pinched tone that made him a standout back in the day – and other players include Richard Tee on both organ and piano, as well as Idris Muhammad and Bernard Purdie on drums. Titles include "Uncle Funky", "Imagine", "The Sun Died", "Brian's Song", and "Ham", which was arranged by Pee Wee Ellis.

Rich, proud work from Randy Crawford – sung with the mature mix of jazz and soul that made her one of the more sophisticated mainstream singers of her generation! The album's heavy on mellower cuts, but it's never too sleepy – thanks to a slow-burning sensibility that Randy uses to keep things cooking on the low burners – a style that brings out some good vocal force even when the backings are somewhat gentle. Production's by Tommy LiPuma, and somewhat slick, and tracks include "You Might Need Somebody", "That's How Heartaches Are Made", "Two Lives", "You Bring The Sun Out", "Rio De Janeiro Blue", "Time For Love", "Trade Winds", and "When I Lose My Way".

Despite the title of the album, the group's a sharp-edged fusion combo – one that hails from late 70s Japan, and who works here in the best mainstream fusion mode of the time! The tunes are mostly jazz funk with a bit of polish – heavy on guitars from Kazuo Takeda, who also takes off on some pretty nice solos – and also featuring keyboards from Hisao Sakurai and tenor from Mitsuru Kanekuni. The record is never too jamming, nor too smooth – but one number does feature some unfortunate blues vocals from Takeda. Titles include "Spinning Toe Hold No 2", "No Problem", "Wild Cat", "Swamp Boy", and "Fou Fou Gun Gun".

A smooth later groover from Crown Heights Affair – a lot more 80s sounding than the group's classic work, but in a way that's actually totally great! CHA were never shy of hitting a mainstream sound – and early in the group's career, they traded harder funk for smoother disco – making a move that suited them well in later years. This set's got a brilliant sheen that really works wonderful for the group – tight production from Bert DeCoteaux in a style that's almost an update of earlier Philly modes – mature and sophisticated on the vocals and use of strings, but also with a funkier undercurrent at the bottom to keep with a New York De-Lite kind of sound. Titles include "You Gave Me Love", "Sure Shot", "I Don't Want To Change You", "You've Been Gone", "Use Your Body & Soul", and "Tell Me You Love Me".

Smooth soul from Cliff Dawson – a singer as classy as his look on the cover, and definitely a cut above most of the mainstream soul artists of his time! The album's an overlooked gem that's very nicely put together – well recorded, arranged with a subtle flair, and usually done with a warmer sound than you might guess for the vintage of the set – almost like some late 70s underground modern soul set, which is saying plenty to ears like ours! Thor Baldursson did most of the arrangements, but in ways that are much more restrained than his disco years – and titles include "It's Not Me You Love", "Waiting For Your Love", "Betcha Didn't Know", "I Can Love You Better", "Ocean Green Eyes", and "Never Say I Do".

A soaring, joyous score from Francesco De Masi – not nearly as dark as some of the other spaghetti western soundtracks of the time – and filled with the sort of proud, bold sounds you might expect from a more mainstream American western! There's still plenty creative going on in the orchestrations, though – lots of cool woodwind and brass passages, layered with the strings to create rich textures in sound – and often holding back energy with this sort of inherent drama that really keeps things moving nicely. There's a bit of chorus vocals at points, from I Cantori Moderni – who sound more heavenly than usual – and titles include "Armonica Western", "Arkansas Commento No 1", "Arkansas Suspense", "Yucca Theme", and "Non Sparate Sul Cantate".

Nobody can write a modern soundtrack like Georges Delerue – and even for a so-so movie like this, he really knocks it out of the park! There's a sense of grace and poise to the music right from the start – not the staid sounds you'd normally find in a mainstream movie, but incredibly thoughtful orchestrations that really have a great sense of balance – never going too over the top, nor overstating their presence – yet really pulling us in because of that subtle action too. Most instrumentation is in the best moody Delerue mode – sometimes with a touch of jazz – and titles include "Alan Au Bar", "La Plage", "Alan", "Bonheur Trompe-L'Oeil", "La Mort De Kleber", and "Feu Dans La Nuit". CD features 6 more previously unreleased bonus tracks too!

Classic stuff from the man who brought the Exotica sound to the mainstream! We hardly need to tell you about these albums – as they're virtually the blueprint for countless exotica albums to come, a mixture of 50s easy listening, strange tropical rhythms, and odd little sound effects! Denny's playing with his original combo of Arthur Lyman, Augie Colon, and John Cramer – in a mixture of piano, percussion, vibes, and lots of bird calls! Tracks include "Stone God", "Island Of Dreams", "Escales", "When First I Love", "Bacoa", "Ebb Tide", "Rush Hour In Hong Kong", "Singing Bamboos", "Jungle Flower", "Busy Port", "Lotus Land", and his hit recording of "Quiet Village".

An infectious batch of soul tunes from Raheem DeVaughn – his long overdue debut for Jive Records! Raheem stands apart from many in the mainstream soul and neo soul, not because he wears his influences so proudly on his sleeve, but in the way he wears them. Raheem's soul style is born of love for singers from Marvin Gaye, to Prince, to D'Angelo, to the Isleys and beyond – but his approach to songcraft and recording is born of hip hop and mixtapes – in which he can appropriate a given groove into his own tunes. The album's full of peaks and valleys, and the peaks are worth the the climb! Tracks include "The Love Experience", the Kenny Dope-produced "Guess Who Loves You More", "Who", "Where I Stand", "Breathe", "You", "Sweet Tooth", "Ask Yourself", "Believe", "Is It Possible", "Catch 22", "You", "Cadillac", "Green Leaves" and more!

A long-overdue recognition of the blues contributions of Willie Dixon – a set that pulls him out of the indie ghetto and pushes him firmly into the mainstream with this key release on Columbia Records! Yet despite that placement, the style is nicely down home – a strong recreation of older Chicago blues modes by producer Abner Spector – one that has Willie singing versions of his classic tunes like "Back Door Man", "The Seventh Son", "Little Red Rooster", "I'm Your Hoochie Coochie Man", and "The Same Thing".

Searing live work from Eric Dolphy – part of a series of recordings that set a whole new standard for live jazz recording! The record features Dolphy going even farther out than on his studio sides from the time – as the record features very long tracks performed by a crack group that includes Booker Little on trumpet, Mal Waldron on piano, Richard Davis on bass, and Ed Blackwell on drums. Despite the length of the tracks, Dolphy isn't as far out as on later European live recordings – but the performance is a great example of his inventiveness within a mainstream structure, and the modernist tendencies of both Waldron and Little shine very brightly in the set. The concert was one of Little's last (and greatest) recordings – sometimes billed as a "memorial", even though he was still alive when it was done – and titles on this volume include "Aggression" and "Like Someone In Love".

Searing live work from Eric Dolphy – part of a series of recordings that set a whole new standard for live jazz recording! The record features Dolphy going even farther out than on his studio sides from the time – as the record features very long tracks performed by a crack group that includes Booker Little on trumpet, Mal Waldron on piano, Richard Davis on bass, and Ed Blackwell on drums. Despite the length of the tracks, Dolphy isn't as far out as on later European live recordings – but the performance is a great example of his inventiveness within a mainstream structure, and the modernist tendencies of both Waldron and Little shine very brightly in the set. The concert was one of Little's last (and greatest) recordings – sometimes billed as a "memorial", even though he was still alive when it was done – and titles on this volume include "Aggression" and "Like Someone In Love".

Part 3 to the Five Spot recordings from Eric Dolphy – issued here as a "memorial" to Booker Little, even though Little was still alive for the recording! The album features especially searing work from Dolphy, and was part of a series of recordings that set a whole new standard for live jazz recording. The record features Dolphy going even farther out than on his studio sides from the time – as the record features very long tracks performed by a crack group that includes Booker Little on trumpet, Mal Waldron on piano, Richard Davis on bass, and Ed Blackwell on drums. Despite the length of the tracks, Dolphy isn't as far out as on later European live recordings – but the performance is a great example of his inventiveness within a mainstream structure, and the modernist tendencies of both Waldron and Little shine very brightly in the set. The concert was one of Little's last (and greatest) recordings – and titles include "Number Eight" and "Booker's Waltz".

A smashing second set from Everything But The Girl – a record that has the duo stretching out a bit more from the straight jazz leanings of their Eden debut – yet still sticking strongly in a mode that has their music moving with lots of classic influences! The songwriting is still top-shelf – not afraid to show its emotions, yet never over-mired in them either – a beautiful balance that really comes through in the vocals of Tracey Thorn. Production is a bit more mainstream, yet still light years away from the clunk of most mid 80s pop – and titles include "When All's Well", "Ugly Little Dreams", "Shoot Me Down", "Are You Trying To Be Funny", "Sean", "Anytown", and "Ballad Of The Times". 2CD book-style package is amazing – with tracks from singles that include "Kid", "Heaven Help Me", and "Pigeons In The Attic Room" – demos of "Angel", "Ugly Little Dreams", and "Are You Trying To Be Funny" – and BBC recordings of "This Love", "Ballad Of The Times", and "Are You Trying To Be Funny".

Pure genius from The Ex, whose revolutionary style of noise punk (in the aural sense and in agenda) is firing masterfully on this early 90s set – making aggressive, tuneful, caustic and consistently riveting magic with the accompaniment of cellist Tom Cora! At a time when the so-called alternative rock boom was taking over in the American mainstream, Terrie, Katrin & co were showing those in the now how it's really done, starting in the early-to-mid 80s and as vital as ever in '91 and well beyond. Titles include "State Of Shock", "King Commie", "Crusoe", "A Door", "Propadada", "Total Preparation", "Fire And Ice" and more.