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After one or two misses, Mr. Complex is back up to the standards of his first amazing single, "Why Don't Cha" back in 1997. This one uses a little harder production than that single, sort of along the lines of the recent Pharoahe Monch, who does a few verses on "Gitcha Gitcha Gitcha."

Not necessarily the true story of house music – but a set that's mighty darn nice – and filled with a range of grooves that will definitely make you a fan of Elbee Bad right from the start! The music here is often way more complex than both standard dance and house – and certainly much more striking than the space where the two would often collide in too-commercial work from the start of the 90s. Instead, Elbee seems to echo some of the more experimental electronics of the German scene while also having an ear for Chicago and Detroit – completely confident in putting together his own version of modern music – yet also in ways that are not nearly as indulgent as the generation to come! The balance is key to the strength of this set – and titles include "Mr Terry Meets Mr Fingers", "I'm So Alone", "This Dream Is Real", "The Music Is Kicking", "S Shuffle", "Just Let Your Body Ride", "Just Don't Stop The Dance", "New Age House", and "I Like To Move (solid mixx)".

An amazing score to an overlooked Mr Tibbs film – Gil Melle's mighty music for The Organization, a soundtrack that we might like even better than some of Quincy Jones' funk for Sidney Poitier! Melle got his start in modern jazz during the 50s, but by the time of this 1971 movie, he was a hell of a talent for scoring a crime/cop narrative – often willing to take a lot of weird chances with sounds and styles that nobody else might use – eerie elements that are still mixed in with just the right touches of funk and jazz to keep a mainstream ear on the course – a beautiful balance that takes this soundtrack way past any easy cliches of the time! Reedwork is especially wonderful, but there's a great way of recording the keyboards that's totally sweet too – almost a Schifrin-like quality, but a bit more complex. Titles include "Mr Tibbs", "Night Danger", "Annie Lost", "The Whole World", "Virgil's Theme", "Subway Chase", and "The Organization".

Banquet of Sarcasm has that noisy distorted underground sound, but with a little more energy and a little less abstract/off-beat vocals. Mr. Complex and D-Story of the Arsonists are featured on Three Men In A Bar.

Not necessarily the true story of house music – but a set that's mighty darn nice – and filled with a range of grooves that will definitely make you a fan of Elbee Bad right from the start! The music here is often way more complex than both standard dance and house – and certainly much more striking than the space where the two would often collide in too-commercial work from the start of the 90s. Instead, Elbee seems to echo some of the more experimental electronics of the German scene while also having an ear for Chicago and Detroit – completely confident in putting together his own version of modern music – yet also in ways that are not nearly as indulgent as the generation to come! The balance is key to the strength of this set – and titles include "Mr Terry Meets Mr Fingers", "I'm So Alone", "This Dream Is Real", "The Music Is Kicking", "S Shuffle", "Just Let Your Body Ride", "Just Don't Stop The Dance", "New Age House", and "I Like To Move (solid mixx)".

One of those records that should be an insane dark mess, given the look of the cover – but which turns out to be a surprisingly well put-together effort all the way through! Zappa does a great job of hiding behind his hair here – never acting with the pomp that a pop genius like him could easily have enacted – and instead passing off the record as if it's just another freakout – despite the fact that the arrangements are some of his tightest, most focused, and downright groovy so far! There's plenty of key musical help to make the whole thing come out right – including bass from Shuggie Otis, guitar from Captain Beefheart, violin from Jean-Luc Ponty, drums from Paul Humphrey, and bass from Max Bennett – all players who really live up to the musical complexity of Zappa's compositions – often with a pre-fusion vibe that's almost unexpected. Titles include "Willie The Pimp", "Son Of Mr Green Grass", "The Gumbo Variations", "It Must Be A Camel", "Peaches In Regalia", and "Little Umbrellas".