All Categories — All Formats  

These guys just get better and better with each release – finding a tightness they never had before, yet still keeping all of their sharp edges intact! The sound here is nicely focused, and very heavy on both saxes and brass – bursting forth in kind of an old school mode, yet set to rhythms and energy that have a very youthful feel! At some level, we might actually call these guys a precursor of the Japanese club jazz scene of recent years – especially the work of Soil & Pimp – but they've also got a sound that, while rhythmic, is also more jazz overall – although some moments here definitely groove! Titles include the long "First Dawn", plus "Dancer's Image" and "So Blessed". 2CD set features 6 more bonus tracks too!

A beautiful tribute to the genius of trombonist/arranger Melba Liston – and a set that doesn't just copy her music, but really opens up a whole new spirit from its inspiration! Reedman Geof Bradfield composed all the tracks in the set, and puts things together with a spirit that's not unlike some of Melba's best arrangements for middle-sized groups – that way she had of making things tight, and rhythmically soulful – yet still allowing plenty of room for improvisation and individuality amidst the fuller picture of the tunes. Bradfield gets in plenty of great moments on tenor, soprano sax, and bass clarinet – and the rest of the group features Victor Garcia on trumpet and flugelhorn, Joel Adams on trombone, Jeff Parker on guitar, Ryan Cohan on piano, Clark Sommers on bass, and George Fludas on drums. Titles include "Central Avenue", "Dizzy Gillespie", "Detroit/Kingston", "Randy Weston", and "Homecoming" – and the set ends with vocals by Maggie Burrell on the tune "Let Me Not Lose My Dream".

A smoker from this hip Chicago trumpeter – quite possibly his best album to date, and a record that sparkles with original compositions from Whitted! All tracks are by Pharez, and they're warmly presented by a great group that also included Eddie Bayard on tenor and soprano sax, Bobby Broom on guitar, Ron Perrillo on piano and Fender Rhodes, Dennis Carroll on bass, and the kicking Greg Artry on drums – a player whose energy here really snaps into a great groove. The set's a great example of the soulful straighter jazz going on in Chicago – a whole world of music that's often not as exposed to the world as the city's avant scene, but which is equally impressive. Titles include "Sad Eyes", "Freedom Song", "Another Kinda Blues", "Watusi Boogaloo", "If They Could Only See", and "Venture".

Includes tracks by Pearl Dickson, Mae Glover, Lucille Bogan, Lillian Miller, Memphis Minnie, Lottie Kimbrough, Lulu Jackson, Rosie Mae Moore, Elvie Thomas, and Geeshie Wiley.

Includes tracks by the Memphis Jug Band, Mississippi Sarah, Jack Kelly, Tommy Bradley, Gus Cannon, Jed Davenport, the Cincinnati Jug Band, and others.

A beautiful tribute to the genius of trombonist/arranger Melba Liston – and a set that doesn't just copy her music, but really opens up a whole new spirit from its inspiration! Reedman Geof Bradfield composed all the tracks in the set, and puts things together with a spirit that's not unlike some of Melba's best arrangements for middle-sized groups – that way she had of making things tight, and rhythmically soulful – yet still allowing plenty of room for improvisation and individuality amidst the fuller picture of the tunes. Bradfield gets in plenty of great moments on tenor, soprano sax, and bass clarinet – and the rest of the group features Victor Garcia on trumpet and flugelhorn, Joel Adams on trombone, Jeff Parker on guitar, Ryan Cohan on piano, Clark Sommers on bass, and George Fludas on drums. Titles include "Central Avenue", "Dizzy Gillespie", "Detroit/Kingston", "Randy Weston", and "Homecoming" – and the set ends with vocals by Maggie Burrell on the tune "Let Me Not Lose My Dream".

A smoker from this hip Chicago trumpeter – quite possibly his best album to date, and a record that sparkles with original compositions from Whitted! All tracks are by Pharez, and they're warmly presented by a great group that also included Eddie Bayard on tenor and soprano sax, Bobby Broom on guitar, Ron Perrillo on piano and Fender Rhodes, Dennis Carroll on bass, and the kicking Greg Artry on drums – a player whose energy here really snaps into a great groove. The set's a great example of the soulful straighter jazz going on in Chicago – a whole world of music that's often not as exposed to the world as the city's avant scene, but which is equally impressive. Titles include "Sad Eyes", "Freedom Song", "Another Kinda Blues", "Watusi Boogaloo", "If They Could Only See", and "Venture".

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".

Fresh dubs of rare tracks by Dennis Bovell – all redone recently, but with a vibe that's right up there with the best of classic Kingston! The package has a fascinating origin – in that Bovell had a recent medical ban on playing the bass, so decided to turn the clock back, dig up some vintage tapes, and go to work in the studio of Mad Professor – to turn each number into a dub-heavy masterpiece! The sound is wonderful – still very much indebted to the original basslines, but stretched out much more fully too – with spacey sounds all over the place, really abstracted instrumentation, and the kind of groove that reminds us that they still do make dubs this great – as long as you know where to look. Titles include "Princess Dub", "In The Mix", "Afreecan", "Binghi Man", "Dub Code", "Burden", "After The Storm", "Wallpaper Eraser", "Mek It Run (Run Rasta Run)", and "Floods Of Tears".

One of the most haunting albums we've ever heard from Perry Como – a session recorded in Italy during the mid 60s – featuring arrangements by Nick Perito, and backing vocals by the Alessandro Alessandroni Singers! The tunes include a fair bit of older Italian numbers – some sung in the language of their origin, some in English translations that we've come to know on this side of the Atlantic – and Como takes them all with a sad-tinged style that makes the album one of his moodiest ever – a record that oozes melancholy with every song, and which has a late nite, heartbreaking appeal that goes beyond even the understanding of language. The set's a great one to convey the popularity of Italian work on the American market in the 60s – and Como carries off the session even better than some of the more likely singers on the scene during the period. Titles include "Souvenir D'Italie", "Forget Domani", "Anema E Core", "One Day Is Like Another", "Arrivederci Roma", "Oh Marie", and "E Lei".

Reputedly, this is an African funk band recorded recently by the folks at Desco Records – but as with a lot of their projects, we're not entirely sure whether or not to believe them, since they're always a bit too mysterious about the origins of their material, and this may just be some new grooves, cut by a funk band of non-African origin. Whatever the case, though, the record kicks butt, and is a very tight batch of funky instrumentals that have a classic sound that hints at Fela, Manu Dibango, and other Afro Funk artists of the 70's. There's lots of choppy guitar grooves, heavy percussion, and raw blaring sax solos. Very nice stuff, and every bit as great as the other stuff on Desco! Cuts include a cover of Fela's "Upside Down", James Brown's "Give It Up Or Turn It Loose", and the originals "Super Afro-Beat", "Daktari Walk", "Voodoo Soul Stew", and "Quiet Man Is A Dead Man".

Tremendous work from Bill Evans – one of his rare non-trio sides of the 60s – and a stunning batch of tunes with backings from the mighty Claus Ogerman! Most of the tunes here are of classical origin, but they're recast by Evans and Ogerman with almost a soundtrack sensitivity – Bill's piano up front, moving spaciously at very much its own pace – none of the too-virtuoso styles of other 60s jazz-meets-classical players. And Ogerman's backings are also great too – hardly ever strong, and more just light shading amidst the notes of Bill's piano – beautifully sliding in to bring a nice level of warm to the tunes. Titles include a sublime reading of "Pavane", plus the tracks "Granadas", "Time Remembered", "Blue Interlude", "Elegy", and "My Bells".

A great lost album from Eddie! The record was one of his few cut for Columbia – recorded between his early years at Vee Jay and his hit years at Atlantic – and it's an excellent little batch of cuts, with a tight Chicago soulful grooving sound, and a strong approach that mixes hardbop and soul jazz in a very nice way. Some of the material is pop in origin – like "Goldfinger" and "People" – but even those tracks are done very nicely, with a nice groove and Eddie's biting sax firmly in place. Other titles include "East End Blues", "Rice Pudding", "That's Tough", and "Ineffable".

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".

A pair of mid 70s classics from Heawave – Too Hot To Handle & Central Heating – in a 2CD set with bonus tracks! Too Hot To Handle is a killer album of crossover soul – one that dropped like a bomb when it hit, and gave this UK group a number of big hits in America! Keyboardist Rod Temperton wrote all the tracks on the album – and he's got keen talent for both funky numbers and ballads. If soul stations played album side specials the way that classic rock stations do, side one would be in heavy rotation – as it kicks off with the funky title cut, rolls into the hit "Boogie Nights", cuts to the sample classic "Ain't No Half Steppin" (forever made famous by Big Daddy Kane), and steps into the moody ballad "Always & Forever". It's hard to beat that lineup, but side two does a pretty good job – and includes a similar mix of titles like "Super Soul Sister", "All You Do Is Dial", and "Sho'nuff Must Be Love". The CD includes 4 bonus tracks: alternate versions of "Boogie Nights", plus "Special Offer" and "Slip Your Disc To This". Central Heating is another great effort that's almost as perfectly sublime as the first! Despite their UK origin, these guys really give American late 70s soul a run for its money – hitting in a sweetly compressed sound that fuses the vocals, keyboards, and grooves together wonderfully! The album hits equally well on all burners – with some key mellow cuts, and a few funkier upbeat numbers. Titles include loads of classics – like "Mind Blowing Decisions", "Star Of A Story", "Send Out For Sunshine", "Mind Blowing Decisions, "The Groove Line", "Central Heating", "Leavin For A Dream" and more. 2 bonus tracks: remixes of "Mind Blowing Decisions" and "The Groove Line".

Great gritty sides from the mighty John Lee Hooker – material with a slightly obscure origin, but recorded in the late 50s, right in a stretch when he was cutting some of his classics! Hooker's guitar and vocals are center stage – both growling with a hell of a lot of soulful power – and the backing features just a bit of rhythm guitar, bass, and drums. Titles include "I Bought You A Brand New Home", "Teasin Me", "My Cryin Days Are Over", "Sad & Lonesome", "How Long", and "Mean Mistreatin".

A cool collection of singles from this Kenyan group of the 70s – one that focuses on the group's long singles of the time – and features tracks that not only never appeared on full length albums, but which also haven't ever been reissued on CD! Most numbers are well past the five minute mark – despite their origin as singles – and the tunes often have these snakey grooves with beautiful guitar parts ringing out – quite melodic, almost more so than the vocals at points – which themselves engage the rhythmic component of the tunes strongly. Titles include "South View", "Okova", "Amina", "Izabela", "Kingo Mwambe", and "Naleki Na Ba Zone".

An excellent idea for a bossa nova compilation – one that pulls tunes from groovy soundtracks of the 60s! The work on the set is of both American and European origin – and focuses on the kinds of tunes that often showed up in some of the best soundtrack work by our favorite 60s composers – light, jazzy numbers that were clearly inspired by the bossa, but which also felt free to expand a lot on the style – using interesting instrumentation, rhythm changes, and even a bit of vocals to highlight the tune in really great ways. Some tracks are straight off of soundtrack albums, and others are soundtrack tunes, lifted from jazz albums – but altogether, they make for a wonderful collection of work – with titles that include "Silvia" by Lalo Schifrin, "Mutiny On The Bounty" by Bob Brookmeyer, "The Bobo" by Francis Lai, "Bossa Nova In The Restaurant" by Ken Thorne, "Bossa Des Teurs" by Vladimir Cosma, "I Like The Look" by Henry Mancini, "Mr Lucky" by Jack Wilson, "Deiter's First Mistake" by Quincy Jones, "Naked City" by Laurindo Almeida, and Dax Rides" by Antonio Carlos Jobim.

Grooviness galore – and a wonderful selection of obscure psychedelic numbers from the deep deep vaults of EMI Records! The cuts here are mostly of British late 60s origin, and they feature a really fuzzed-up approach to pop – complete with odd production techniques, off-kilter arrangements, and a pretty heady brew of guitar, bass, drums, and tripped-out vocals – all served up with top-shelf sound, as proof that even on the bigger labels of the 60s, lots of younger artists were still taking plenty of chances! The package has complete track-by-track notes in a full color book with photos, labels, and album sleeve images too – and the CD features 25 tracks that include "Dandelion Seeds" by July, "Real Life Permanent Dream" by Tomorrow, "Hold On" by Ipsissimus, "Dog Presides" by Paul Jones, "Model Village" by Pennyh Peeps, "Towards The Skies" by The Gods, "Strange Walking Man" by Mandrake Paddle Steamer, "Mr Commuter" by Mike Proctor, "William Chalker's Time Machine" by The Lemon Tree, "Barricades" by The Koobas, "Please Leave My Mind" by Herbal Mixture, "World Of You" by The Aerovons, and "Monday Morning" by Tales Of Justine.

One of the wildest jazz albums ever recorded for Atlantic! Rufus plays amazingly soulful jazz lines on bagpipes (no kidding, he's really great, and as he points out, the instrument's of African origin originally, and not just Scottish), plus he also proves that he's a monster talent on other instruments like flute, soprano, and tenor sax. His playing is sort of a mix between mid 60's Coltrane and the best stuff by Yusef Lateef. And like Lateef, Harley comes from the Detroit jazz underground, and his group on this LP features the great talents of pianist Oliver Collins, another member of the Detroit scene. Includes the tracks "Passing The Cup Around", "Taurus The 20th", "Sufur", and "Scotch & Soul".

Although Belgian in origin, tenorist Bobby Jaspar was a key part of the French jazz scene of the postwar years – and his playing on records like this also made him one of the standout jazz talents in Europe in the 50s! The set features extremely rare material by Jaspar – cut for Barclay Records in 1955, and featuring a quintet with Rene Utreger on piano and Sacha Distel on guitar. Distel is especially wonderful, and even though he later went on to become a teen heartthrob pop singer in France, he's an excellent guitarist with an edgey string-heavy tone that really makes the recording stand out from some of Jaspar's other sides. That, and the fact that Jaspar's playing tenor on all tracks but one (he often plays mostly flute on some albums), makes the record one of his best from the time – and titles include "Minor Drops", "Bag's Groove", "Memory Of Dick", "Night In Tunisia", and "I'll Remember April".

One of the hippest groups going in the deep funk underground – a combo who play way more than just conventional funk – and who manage to embrace a whole host of classic influences at once! Echoes of older Latin, African, and soundtrack-styled grooves sift together beautifully in this second album from The Budos Band – all in an approach that's totally unified, and which borrows the best elements from other modes to create a whole new Budos-styled sound! The album's all instrumental, but it's far more evocative than most vocal funk sessions we can think of – and the group's horns are tighter than ever, with a slightly exotic feel that creates some real otherworldly moments. Titles include "Ride Or Die", "Budos Rising", "Chicago Falcon", "King Cobra", "Origin Of Man", "Deep In The Sand", "My Girl", and "Mas O Menos".

Some of the most soulful jazz recorded in Europe during the 1960s – and the complete Philips recordings of German saxophonist Klaus Doldinger! Doldinger's probably best remembered for the more dynamic fusion he cut with the Passport group in the 70s, but back in his early years he was full on soul jazz player, steeped in the tradition of Gene Ammons, Lou Donaldson, Sonny Stitt, and others before him – all players that we'd easily rank Doldinger with during these years, given the ultra-high level of his work for Philips! But given his German orientation, Doldinger also picked up on some of the freer influences that were running around the European scene of the 60s – and the tracks here don't just sparkle with American soul jazz sounds, but also show a bit of Brazilian and more progressive jazz influences as well. And alongside Doldinger's tremendous tenor and soprano sax, the recordings here are equally noteworthy for the organ lines of Ingrfried Hoffmann – an ultra-cool player on the Hammond, with the mixture of rhythmic energy and playfulness you might find in the work of Jack McDuff for Prestige at the same time! Doldinger and Hoffmann cook tremendously throughout – so much so, you can easily forget their country of origin, and just put these sides on equally next to your favorites from Prestige or Cadet. 4CD package features material from 4 full albums, plus rare singles – and also includes a full CD of other rare Doldinger recordings from the same time! Tremendous stuff throughout, and easily one of the greatest discoveries in jazz you may make this year. 51 tracks in all – with titles that include "Delilah", "Signal", "Blues For George", "Solar", "Viva Brasilia", "Waltz Of The Jive Cats", "Blue Note Samba", "Negra Sin Sandalia", "Shakin The Blues", "Just A Little Bit Of Soul", "Run Baby Run", "Quartenwalzer", "Praeludium No 3", "That Bluesy Sound", "Watch It", "Pavana The Earl Of Salisbury", "Midnight Session", and "Joe's Blues".

One of the hippest groups going in the deep funk underground – a combo who play way more than just conventional funk – and who manage to embrace a whole host of classic influences at once! Echoes of older Latin, African, and soundtrack-styled grooves sift together beautifully in this second album from The Budos Band – all in an approach that's totally unified, and which borrows the best elements from other modes to create a whole new Budos-styled sound! The album's all instrumental, but it's far more evocative than most vocal funk sessions we can think of – and the group's horns are tighter than ever, with a slightly exotic feel that creates some real otherworldly moments. Titles include "Ride Or Die", "Budos Rising", "Chicago Falcon", "King Cobra", "Origin Of Man", "Deep In The Sand", "My Girl", and "Mas O Menos".

Proof that the US Army had plenty going on during the 70s – as you'll hear from this killer set of military-produced grooves from East Of Underground! The set goes way past the previous East Of Underground reissue – to feature work by the groups Soap, Black Seeds, and Sound Trek – all wrapped up in a beautiful package that's as visually pleasing as the music is funky! The cuts here were all recorded by US Army servicemen during the height of the Vietnam war – as Army-issued albums designed to encourage recruitment (as if a few funky grooves could help offset the bad press the war was getting on TV!) But despite that odd origin, the music here is all pretty great – mostly covers of familiar tunes from the time, but recorded with a nicely gritty quality that's mighty nice – and which makes the overall feel of the records like digging into some lost small studio tapes – ala Numero! Now Again have done a great job of putting together the whole package, too – contributing a wealth of notes and photos, and really digging deep into the scene in which these unique records were created. Not only that, but the packaging also replicates the style of the original odd releases too! The set features an LP each of music by East Of Underground and Soap – plus another LP that features a side each by the groups Black Seeds and Sound Trek. Titles include "I Just Want To Celebrate", "Kool & The Gang", "Walking In The Rain", "Backstabbers", "I Love Everything About You", "Ain't No Sunshine", "Go Outside In The Rain", "Black Magic Woman", "Hell Below", "Higher", "Popcorn/Santana", "Walk On By", "Java Girl", and "Get Together".

A Brazilian fantasy in music – as Michel Legrand turns his early orchestral approach towards the sound of Rio in the 50s! Given that the work here is from the pre-bossa years, the sounds invoked are a bit of samba, and a bit of the more dramatic instrumentation used in Brazilian music of the time – served up in Latin-styled hits of Brazilian and other South American origin – all given some rich colors and flourishes by Legrand's orchestrations! There's some bolder percussion amidst the swirling strings – and as usual with Legrand, specific instruments step out of the broader mix nicely – giving a rich sense of personality to the music that you might not expect. The record's got a lot more to offer than sleepier American sessions of this nature – and is actually even better than Michel's albums from the time based on European themes. Tracks include "Adios", "Maria Dolores", "Maria My Own", "Siboney", "Caravan", "Brazil", "Frenesi", "La Ultima Noche", "Perfida", and "Besame Mucho".

A treasure! The set features rare live work from three key members of The Blue Notes, working here alongside tenorist Frank Wright in a late 70s performance from the Netherlands – issued here for the first time, and with really brilliant sound overall! The lineup features Dudu Pukwana on alto and piano, Johnny Dyani on bass and piano, Louis Moholo on drums, and the legendary Frank Wright on tenor and a bit of double bass – all working together freely with a tremendous sense of collaboration – Wright's tenor blown with beautifully soulful, raspy tones that seem to push Dudu even farther than on some of his other albums from the time. There's almost an Art Ensemble Of Chicago feel to the record, although the whole thing comes off with a bit more of a South African soul – as befits the origin of the players – on titles that include "Ancient Spirit" and "Contemporary Fire".

An essential book for detail-oriented beatheads – a "Sampling Dictionary", and one that spells out original samples used for thousands of hip hop tracks! The book's of Japanese origin, and it's done with a thoroughness that blows away previous efforts like this – completely alphabetical by the name of the artist doing the sampling, then song by song for the artist, with listings for both the artist and title of the original sample used! There's over 16,000 entries in the book – which is a well-produced paperback that's over 240 pages – essential for carrying around on crate-digging trips. Plus, the book also features "The Commandments Of Diggers" on the back – and the first one is "Always bring this book with you."

DJ Muro takes on the sound of P-Vine Records – serving up a sweet extended mix of music that's heavy on rare soul and funky jazz! Muro's got a really great way with the tracks here – not just choosing the best from the deep series of P-Vine reissues, but also finding ways to push things together in unexpected ways – really letting the music burst forth strongly, sometimes with a few manual touches of his own! Most tracks here are of American 70s origin, but there's a few global bits from other years too – and every cut on the collection is a winner – with titles that include "Humpty Dumpty" by Placebo, "Put Everything Together" by Plus, "Keep It Up" by Milton Wright, "What's Going On" by Penny Goodwin, "Loveland" by Spanky Wilson, "In The Rain" by The Wooden Glass, "Gift To The Sun" by The Sidewinders, "On The Hill" by Oliver Sain, "Ritual" by Nico Gomez, "Lady Day & John Coltrane" by Penny Goodwin, "Money's Funny" by Cecil Lyde, "Heaven" by Matthew Larkin Cassell, "Algo" by Ricardo Marrero, "Black Water Gold" by African Music Machine, and "LA Will Make You Pay" by Burton Inc.

Funky disco sound is right – as P&P were one of the greatest club labels of the late 70s! The label was run by Peter Brown and Patrick Adams – both inventive producers who'd made their mark at other labels over the years, and who had an insane talent for cooking up unusual ways to put over a groove. They mixed together soul, funk, disco, and occasional touches of electronics to create a wild groove that was always fresh, and which pushed way past the simple club grooves of some of the contemporaries. Their work at P&P (and related imprints) was perhaps too groundbreaking to hit as big on the charts as other larger disco acts – but from the get-go, they'd always had a strong underground following, and are claimed as an enormous influence on both house music and modern dance alike. Work on the label's been cropping up on reissue singles for a number of years, but this is the first time anyone's done a proper job of putting together work from P&P – and given that the set's of British origin, you can bet that the quality and packaging are super-high, not to mention the selection! There's a total of 13 cuts in all – including "Flying High" and "Patty Duke" by Cloud One, "Johnson Jumpin" by Johnson Products, "Dance Freak" by Chain Reaction, "African Rock" by Licky, "Feel The Spirit" by Foster Jackson, "NY Applejack" by Scott Davis, "Got To Have Your Love" by Clyde Alexander, and "Get Down Boy" by Paper Doll.

There's not much of a cover on this one – but the music is plenty plenty funky – and the set features a great selection of rare work recorded as funky 45s for the TK family of labels in the 60s and 70s! The groove here is much harder and deeper than you'd expect if you only know TK from its bigger hits of the time – a fiercely wailing approach that shows that the label could record some excellent funk that easily matched the best work coming out of the northern cities at the time. And in fact, there's very few "Miami" touches here overall – because the groove these guys lay down is often much more in keeping with styles we know from Ohio, Chicago, and New York groups of the time. But whatever the origin or label, we can say that the set's an excellent one for any fan of deep deep deep funk – and it features a total of 14 tracks that include "Cutting Room (Hot Pants)" and "It's Allright" byOcean Liners, "Lay It On Me Baby" by Willie Johnson, "Hey Sexy" by King Tutt, "I'm Afraid Of The Dark" by Jonny K, "Funky Cat" by James Knight, "Look What You Can Get" by Funky Nassau, "Nasty Dog" by The Mighty Dogcatchers, "Soul Food" by Franky Seay, and "I Got A Thing For You Baby" by Mr Percolator.

Tremendous work from the Spanish scene of the 60s and early 70s – way more than just a batch of obscure jazz cuts, and instead a true testament to this very vibrant musical community! The package brings together some really special tracks from Spanish labels like Edigsa, Ensayo, Hispavox, and others – and really shows that in Spain at the time, there was musical growth that was every bit as strong as in better-known scenes in Germany, France, and Italy – a really rich step forward from American inspiration of the postwar years – into a world of freshly inventive rhythms, really imaginative solos, and some key local touches that really made the music sparkle! Not all players here are of Spanish origin, as the set also shows the key crossroads the scene was offering at the time – a wealth of wonderful hardbop, soul jazz, and modal numbers that include "El Cant Dels Ocells" by Catalonia Jazz Quartet, "Movimiento" by Lou Bennett, "Psique" by Juan Carlos Calderon, "Tema Per Alicia" by Jazz Group, "Asteriscs" by Nits De Jazz Al Jamboree, "Bosnia Calling" by Dusko Goykovich, "Israel" by Modern Jazz Sextet, "Rememberance To Madrid" by Elia Fleta, "Marcha De Los Dioses" by Tino Contreras, and "Laberinto (2nd part)" by Vlady Bas.

Tremendous work from the Spanish scene of the 60s and early 70s – way more than just a batch of obscure jazz cuts, and instead a true testament to this very vibrant musical community! The package brings together some really special tracks from Spanish labels like Edigsa, Ensayo, Hispavox, and others – and really shows that in Spain at the time, there was musical growth that was every bit as strong as in better-known scenes in Germany, France, and Italy – a really rich step forward from American inspiration of the postwar years – into a world of freshly inventive rhythms, really imaginative solos, and some key local touches that really made the music sparkle! Not all players here are of Spanish origin, as the set also shows the key crossroads the scene was offering at the time – a wealth of wonderful hardbop, soul jazz, and modal numbers that include "El Cant Dels Ocells" by Catalonia Jazz Quartet, "Movimiento" by Lou Bennett, "Psique" by Juan Carlos Calderon, "Tema Per Alicia" by Jazz Group, "Asteriscs" by Nits De Jazz Al Jamboree, "Bosnia Calling" by Dusko Goykovich, "Israel" by Modern Jazz Sextet, "Rememberance To Madrid" by Elia Fleta, "Marcha De Los Dioses" by Tino Contreras, and "Laberinto (2nd part)" by Vlady Bas.

Some of the funkiest grooves we've ever heard from the European scene – all tracks from the late 60s and early 70s, recorded as part of the legendary Club 7 in Oslo! Although of Norwegian origin, most of these numbers lean heavily towards American funky styles of soul and jazz at the end of the 60s – grooves that are loose and free, and which often feature some surprisingly great English language vocals – some sung by American soulster Earl Wilson, who was part of the scene at the time, and a key influence on most of the grooves here. The package is a real discovery for our ears – and given that most of these numbers were recorded by the Norwegian broadcasting system for radio play, they weren't really issued publicly at the time – making this collection almost a "sound library soul" set! Titles include "Whole Lotta Love", "Hot Pants", "Come On Children", "Them Changes", and "Moment Of Truth" by The Band No Name; "Groovin" by Karin Krog & Fred Noddelund, "Lite Lite" and "Tamma Song" by Tamma, "Night IN Barcelona" and "Oslo Late July" by Kjellerrock Jazzbandet, "California Soul" and "Don't Let Me Lose This Dream" by Geir Wentzel's Orkester, and "Otinku" by Modern Sound Quintet.

Proof that the US Army had plenty going on during the 70s – as you'll hear from this killer set of military-produced grooves from East Of Underground! The set goes way past the previous East Of Underground reissue – to feature work by the groups Soap, Black Seeds, and Sound Trek – all wrapped up in a beautiful package that's as visually pleasing as the music is funky! The cuts here were all recorded by US Army servicemen during the height of the Vietnam war – as Army-issued albums designed to encourage recruitment (as if a few funky grooves could help offset the bad press the war was getting on TV!) But despite that odd origin, the music here is all pretty great – mostly covers of familiar tunes from the time, but recorded with a nicely gritty quality that's mighty nice – and which makes the overall feel of the records like digging into some lost small studio tapes – ala Numero! Now Again have done a great job of putting together the whole package, too – contributing a wealth of notes and photos, and really digging deep into the scene in which these unique records were created. Not only that, but the packaging also replicates the style of the original odd releases too! The set features a CD each of music by East Of Underground and Soap – plus another CD that brings together an unusual double LP by the groups Black Seeds and Sound Trek. Titles include "I Just Want To Celebrate", "Kool & The Gang", "Walking In The Rain", "Backstabbers", "I Love Everything About You", "Ain't No Sunshine", "Go Outside In The Rain", "Black Magic Woman", "Hell Below", "Higher", "Popcorn/Santana", "Walk On By", "Java Girl", and "Get Together".

The second album by Heatwave – and a great effort that's almost as perfectly sublime as the first! Despite their UK origin, these guys really give American late 70s soul a run for its money – hitting in a sweetly compressed sound that fuses the vocals, keyboards, and grooves together wonderfully! The album hits equally well on all burners – with some key mellow cuts, and a few funkier upbeat numbers. Titles include loads of classics – like "Mind Blowing Decisions", "Star Of A Story", "Groove Line", "Send Out For Sunshine", and "Leavin For A Dream".

The third volume in this very groovy series takes a distinct Brazilian turn – and opens up into a sparkling set of bossa jammers and hard jazzy numbers that are extremely well-selected for the set! Not all the tracks are Brazilian in origin, but they are all hard to find – and the groove's extremely solid throughout! Tracks include "Quo Vadis Samba" by Goykovic-Novacek, "Carcara" by Tempo Trio, "Tim Dom Dom" by Joao Donato, "Jangal" by Dom Um Romao, "Batucada Sergiu" by Luis Carlos Vinhas, "Grand Nite For Swinging" by Mary Lou Williams, "Consolacao" by Larry Willis, "Influencia Do Jazz" by Bossa Tres, "Mudei De Idea" by Osmar Milito, "Un Sabor Latino" by Ricardo Marrero, "Cobranca" by Carlos Penha, and "Tema Pro Lins" by Rosinha De Valencia. Lots more, too!

Jazzanova did such a great job on Blue Note Trip Vol 4, the label decided to have them back for one more journey – and this time around, they've expanded the range of their groove even more than before! In addition to the classic jazz from Blue Note that Jazzanova spun the last time, this collection also features a fair bit of soul, funk, and more – including some unusual bits from left field, all woven into a wonderful tapestry of music! A few of the tracks are even of recent origin, but they sit very nicely next to the older numbers – all stepping around in a spacious approach to the groove that shows that even when they're not making their own music, Jazzanova have ears to help expand other folks' tunes as well! Titles include "Warning (part 1)" by David Axelrod, "Three Is The Magic Number" by Bob Dorough, "Trying Hard To Look Inside" by The Waters, "Dedicated" by Digable Planets, "It's Just The Way I Feel" by Gene Dunlap, "Dindi" by Janet Lawson, "State Of Mind" by Raul Midon, "Chant" by Robert Glasper, "Sanfona" by Egberto Gismonti, "Hey Hey" by Andrew Hill, "Save The Children" by Marlena Shaw, "Open The Door" by Betty Carter, "Hurt So Bad" by Grant Green, "Montara (Madlib rmx)" by Bobby Hutcherson, "This Is Not America (interlude)" by David Bowie & Pat Metheny, "Secret Rendezvous" by Rene & Angela, "Mt Airy Groove" by Pieces Of A Dream, "Light Of The Universe" by Sun, and "I Love You" by Taste Of Honey.

A beautiful date from bassist Josh Abrams – a player who's lent his soulful talents to so many great Chicago sessions over the past decade or two – really coming into his own as a leader! Josh has this deeply spiritual approach to his instrument – a style that, back when he first started making waves in Chicago in the 90s, nobody else was really handling that well – a mode that goes back to older players like Malachi Favors, Larry Ridley, or even Bill Lee – all of whose 70s work would be a good comparison for Abrams' energy. Here, he really shows his rich vision, and unfolds some excellent original compositions – tunes that have an airy spirituality, and which are played beautifully with like-minded Chicagoans – a quartet with David Boykin on tenor, Jason Adasiewicz on vibes, and Frank Rosaly on drums. The vibes and bass are especially wonderful together – and titles include "Bottom Goes The Moon", "Unknown Known", "Settle Down", "Look Through It", and "Leavening".

One of the most beautiful albums ever recorded by this legendary AACM pianist! The album was a rare Japanese-only session from 1975, but recorded in Chicago – and it features Muhal playing solo – in beautifully warm spiritual tones that are very different from his playing on many other albums from the time. The work is wonderfully introspective, showing a whole new side to Abrams' genius – the sensitive, contemplative keyboardist who occasionally emerges during some of Abrams' larger group sessions, but who usually gets pushed back in the fray of larger instrumental interplay. The whole album's extremely beautiful, and it's darn near impossible to find in the original! Tracks include "Afrisong", "The Infinitive Flow", "Hymn To The East", "Roots", and "The New People".

Beautiful, beautiful Chicago soul from one of the women who did it best! The record's a mix of some sweet originals, plus covers that Barbara handles with her usual poise and class – and it includes the hit title single, "Someone Else's Arms", and a bunch of other originals, including our favorite, "He's Just a Little Guy", plus "After You", "Is It Me", and "More Ways Than One". The record has a totally sweet Chicago production by Eugene Record (Barbara's romantic interest, and frequent collaborator), and arrangements by Willie Henderson and Tom Tom Washington. Another classic bit of Chicago soul on Brunswick, and a key chapter in Barbara Acklin's career!

Brilliant stuff – and one of the greatest P&P singles ever! Marta Acuna's "Dance Dance Dance" is one of those tracks that we never tire of – a sublime blend of Latin rhythms, warm disco vocals, and that great spacey P&P approach to production! Sweet female vocals glide in and out of the tune while a pumping bassy rhythm rolls along – gently grooving the track with a jazzy sort of flair, as moogy keyboards bring in a wonderful cosmic vibe!

One of the all-time great ones by Cannonball! This record captures him in the prime of his early soul jazz fame – working with an unbelievably heavy quintet that featured Bobby Timmons on piano (with Barry Harris sitting in on a few tracks), Sam Jones on bass, Louis Hayes on drums, and brother Nat Adderley on cornet. The quintet forged a sound that made them an immediate hit – and which had their tight, jagged, soul-drenched sound getting copied by everyone. The record features some amazing soul jazz standards – like Nat's original version of "Work Song", the first-ever record of Timmons' amazing "Dat Dere", Cannon's slinky "Them Dirty Blues", and the jaunty groover "Jeannine", a wonderful cut by Duke Pearson that never sounded better! The CD features alternates of "Work Song" and "Dat Dere" – for a total of 9 tracks in all!

A great overview of exotic music in all its forms – not just the familiar American variant of the postwar years, but also a strong look at Italian exotica too! The book was originally penned in Italian, and has a good ear for the kind of unusual soundtrack and sound library material that always get us going – but also brings those recordings into context with larger strands of exotica, both vocal and instrumental. There's plenty here to please soundtrack, jazz, and vocal fans too – and the book even features some listening suggestions at the end. 361 pages, softcover.

Incredible work from the obscure African Music Machine – a southern funk combo led by bassist Louis Villery – a legendary batch of funky singles, finally brought together as a full album! The band has a very unique sound that involves a lot of rolling bubbling basslines, spacey organ grooves, tight choppy guitar riffs, and punchy horn blasts – almost with the African elements promised in the title, but served up with a deeper funk sound all the way through! In a way, the group's a bit like Cymande or some of the other 70s hybrid ensembles – yet they've got a lot less dub, a much more direct funky groove, and plety of raw southern elements in the mix as well! This is the funky 45 material we first cut our teeth on back in the day – and the original singles are legendary! Includes massive cuts like "Black Water Gold (Pearl)", "A Girl In France", "Never Name A Baby (Before It's Born), "Making Nassau Fruit Drink", "Camel Time", "The Dapp", "Tropical", and "Mr. Brown".

Incredible work from the obscure African Music Machine – a southern funk combo led by bassist Louis Villery – a legendary batch of funky singles, finally brought together as a full album! The band has a very unique sound that involves a lot of rolling bubbling basslines, spacey organ grooves, tight choppy guitar riffs, and punchy horn blasts – almost with the African elements promised in the title, but served up with a deeper funk sound all the way through! In a way, the group's a bit like Cymande or some of the other 70s hybrid ensembles – yet they've got a lot less dub, a much more direct funky groove, and plety of raw southern elements in the mix as well! This is the funky 45 material we first cut our teeth on back in the day – and the original singles are legendary! Includes massive cuts like "Black Water Gold (Pearl)", "A Girl In France", "Never Name A Baby (Before It's Born), "Making Nassau Fruit Drink", "Camel Time", "The Dapp", "Tropical", and "Mr. Brown".

A track that doesn't need to get remixed, is revisited ina number of different forms. AS you'd expect the "classic", "bonus beats", "Zulu funk" and "instrumental" mixes don't differ much form the original, and it gets a little down south flavor for th e"whoomp" mix and a ragga vocal for the "ragga easy" version.

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!

Great work by one of the grooviest groups on the LA 60s scene! The Afro Blues Quintet have a blend of soul jazz and Latin styles that's similar to the best 60s work by Cal Tjader, or to records by small combos like the Quartette Tres Bien or The Latin Jazz Quintet. Lots of grooves have a nice modal swing to them – nice and jazzy, with slight touches of soulful instrumentation, all fused into a tight Latin-styled groove. Loads of great original tunes – including "Mystic Mambo", "Freaks", "Incantations", "Victims Of Chance", "Let My People Go", and "Afro Rock".

They're not kidding with the name of this group – because the set's a masterpiece of 70s Afro Funk – totally great all the way through! The combo has African origins, but they're recording here in London – which makes for a really wonderful criss-crossing of cultural modes – the same sort of heavy, dark-tinged groups you'd hear from Cymande or Demon Fuzz – both of whom are a great comparison to the sound of this group! Bass is very heavy in the mix – not dubby, but really rumbling right from the start of each tune – and helping to set up the complicated percussion patterns, fuzzy guitar bits, and nicely trippy vocals – all of which are recorded in just the right way to make the sum of the elements sound like way more than the parts. Titles include "Afro Funk", "Tei Egwu", "Hot Love", "Farewell To Ibusa", and "Try & Try".

Kind of a forgotten piece of the left coast puzzle, and though we didn't get open on every cut here, we never get tired of the mid 90s classic "Back In The Day", which is featured here in the original and remixed versions. Also includes "Touch The Ceiling", "The Jones", "We Want The Funk" and "Homeboys First".

The legendary AACM trio makes a memorable appearance at the 1978 Montreux jazz fest, captured live here by Novus. The trio of Henry Threadgill, Fred Hopkins, and Steve McCall are at their best here – and the set features 3 great original compositins ("Suisse Air", "Let's All Go Down To The Footwash", and "Abra"), all with the band's unique mixture of creativity, soulfulness, and sense of humor.

A sweet funky set from the 70s – originally recorded as a sound library session, but handled by Italian soundtrack maestro Alessandro Alessandroni! You might know Alessandroni's music best from the 60s, and this set is a later updating of the same groove – one that brings in a bit more electric keyboards, some bouncier basslines, and drums that snap nice and hard on the funky numbers – then lay back on the sweet mellow moments. A few cuts have vocals – ala I Cantorni Moderni – and the whole thing has a warm, sexy 70s groove that's right up there with the best Italian work of the scene from the time. Titles include "Femminismo", "Collettivo", "La Metropoli", "Pubblica Informazione", "Prima Eta", and "Ultimo Soggiorno". Very groovy stuff! CD features 5 bonus tracks too – never issued before!

A wonderful tribute to Tony Allen's landmark Black Voices album – re-presented here with the full original record, plus a host of bonus cuts too! The core record is amazing – a set that really re-introduced Allen to the world, after falling into a bit of obscurity in the 80s years after he broke with Fela Kuti – the start of a rich new chapter in his career that's continued to burn strongly for the past decade or so! The album still holds up wonderfully – as Allen's still swinging hard, in a heavy afro funk groove that sounds a lot like his 70s work – with great electric keyboards, tight guitars, and some very nice flanged-out vocals. The drumming is nice and tight – but with a freer edge that mixes elements from the older work with a dubby spacey approach that recalls rhythms of groups like Can or Cymande! Titles include "Asiko", "Get Together", "Black Voices", "The Same Blood", and "Ariya Psyche (Juju mix)". CD also features 5 more tracks – titled Black Voices Revisited – including different versions of "Asiko" and "The Same Blood" – plus "Ariya", "Get Together (with Mudbone Cooper)", and "Black Voices (with Clip Payne)".

Carl Craig meets Tony Allen – in a wonderfully warm remix of Allen's "Kilode"! Craig really helps add a lot to the tune here – taking the strong vocals and forceful rhythms of the original, and inflecting them with a slight bit of spacier soul – not nearly as cold or abstract as some of Carl's other work at first, but then really running away with some heavier bass near the end!

Stunning Afro Funk grooves! Fela's legendary drummer, Tony Allen, leads the set on both of these rare albums – nicely packaged onto 2 individual CDs that are like tiny record sleeves, complete with all the original cover art and everything! The groove on the record is pure Fela – and Mr. Kuti helps out with production and playing on one of the 2 records in the set. The first album – No Accomodation – features Allen leading the Africa 70 group on 2 very long tracks – "African Message" and "No Accomodation For Lagos". The other album – No Discrimination – has shorter tracks (about 9 minutes long), with some very nice guitar work, and an even tighter groove than the other cuts. Titles include "Road Safety", "Love Is A Natural Thing", and "Ariya".

A long-awaited full length set – one that finally brings together all of the amazing Tony Allen reworks done by the Honest Jon's label! These "chop up" tracks were originally issued over a range of limited 12" singles, and they're really amazing stuff – not just remixes of Tony Allen's work, but re-recordings and re-interpretations as well – a batch of music that stands amazingly well on its own, even if you're not a fan of Tony originally – and which takes his music into even more exotic territory than just Afro Funk! The choice of artists here is key to the set – as players from other Afro-influenced genres really take a new spin on Allen's music – and are allowed to strongly bring their own sounds to the set. Titles include "Ole (Cairo version)" by Salah Ragab, "Sankofa" by Hypnotic Brass Ensemble, "Kilode (rmx)" by Carl Craig, "Awa Na Re (rmx)" by Bonde De Role, "Mark's Disco Dub" by Mark Ernestus, "Reggae Land Dub" by Wareika Hill Sounds, "Samba" by Son Palenque De Colombia, "Kilode (rework)" by Wajeed, "Ole (rmx)" by Moritz Von Oswald, "Fuji Ouija" by Diplo, and "One Tree (TP's spirit of unity mix)" by Terrence Parker.

A lesser-remembered album from America, and one with some surprisingly nice moments, too! The group here are still working with producer George Martin – but they're recording in Hawaii, with some tight studio help – and almost hitting that sound they helped inspire in so many others with their earlier records – a perfect warm, mellow, seventies mode that's mighty nice throughout! A few tunes almost bring in an undercurrent of funk – more of a bit of a punch at the bottom, with less of the fragile acoustic modes of before – although a few nice tracks still have those in place as well. Drummer Willie Leacox brings in a nice kick to the set – and titles include "God Of The Sun", "Sergeant Darkness", "Sarah", "These Brown Eyes", "Don't Cry Baby", "Hurricane", and "Now She's Gone".

Warm, mellow, and completely sublime – the mighty America at the height of their powers – working with a quality that nobody else can match! The trio wrap together all the best ideas that were bubbling under in the LA scene of the late 60s – vocal harmonies, studio perfection, and even touches of rootsy instrumentation – yet find a space to work all these elements together in a rich sound that's completely unique – amazingly understated at times, despite a near-perfect level of production! The whole album's great – even their original version of "Muskrat Love" – nestled in here next to "Rainbow Song", "Submarine Ladies", "Molten Love", "Green Monkey", and "Goodbye".

These two tenor giants meet in the period slightly before Ammons death, and they're grouped with some of the younger funky players on Prestige, like Leon Spencer, Idris Muhammad, and George Freeman. The sound is fairly traditional, but there's some nice funky moments. Tracks include "Out Of It", which was written by Harold Vick, "The People's Choice", written by Harold Ousley, and the title cut, which is a Leon Spencer original.

The major label debut of Amuzement Park – almost more obscure than the indie set that preceded it, and kind of in a different mode altogether! There's still a boogie groove to most of the set, but the group are also funking things up a bit more – possibly following a Minneapolis influence, and bringing some new wave basslines and sharper-edged keyboards into the tunes. Tracks are catchy, and often a bit poppy – and titles include "Gotta Dance", "Music Makers", "This Love", "APB", "Didn't You Know", and "Squeeze Me".

Nice and rarely seen trio side from under-recorded Chicago pianist Anderson. He plays here with Bill Lee and either Walter Perkins or Philly Joe Jones on drums, in a trio that made the core of the rhythm section on Frank Strozier's excellent Jazzland date, Long Night. The group is in fine form here, running through both standards and originals, and though Anderson's name isn't as well known as many other pianists, it ought to be, and he was no stranger to other Windy City jazz greats such as Johnny Griffin. Imagine a cross between Bill Evans and Elmo Hope, and you might get a picture of where he's coming from, though Anderson's voice is all his own, weaving some nice sinuous lines on a set that leans heavily on ballads here, including "You'd Be Nice To Come Home To", "My Funny Valentine" and the originals "See You Saturday" & the title track.

A pretty darn great record from Brazilian singer and guitarist Nelson Angelo – an artist we haven't heard from since his early 70s album with Joyce! Angelo clearly hasn't missed a beat in the time that's gone by – and he's working here in a compelling mode that blends small combo instrumentation with adventurous songwriting – but which also has lots of jazzy touches in the phrasing of the vocals and instruments. There's a lightly breezy feel to some of the best tracks – reminding us almost of early Ivan Lins at his best – but the album also has a more personal approach that comes through in most of Angelo's original compositions. Titles include "Lingerinho", "Caterete", "Delirios Do Mar", "Radio Universe Pedal", "Vera's Frevo", and "Trombone".

A massive amount of early work by The Animals – brought together in one overstuffed package with some unreleased tracks as well! The group here have a great rough sound – much more bluesy than in later years, which turns out to be a perfect setting for the young Eric Burdon – whose vocals soar out wonderfully over a mix of original tunes and remakes of American classics by folks like Ray Charles, John Lee Hooker, Sam Cooke, Bo Diddley, and others! Producer Mickie Most really knows how to keep the right sort of edge on the tunes – lots of raw power in the instrumentation, especially the Hammond and guitar – and a stark, dark quality to Eric's vocals that went onto become the stuff of legend. Package features 40 tracks in all – with titles that include "I Believe To My Soul", "Don't Let Me Be Misunderstood", "Club A Go Go", "For Miss Caulker", "Feel", "Boom Boom", "Don't Want Much", "It's My Life", "House Of The Rising Sun", "We've Gotta Get Out Of This Place", and "I'm Gonna Change The World".

The one-and-only record by Anonymous – a mid 70s Indianapolis group who only ever pressed up a few hundred copies – and now it's one of best and most desired private press gems of its time! It's got a great sound that bears the influences of some of the great California combos of the period – think The Byrds and Crosby Stills Nash & Young – with great lead and harmony vocals and brilliant acoustic guitar work. What's most remarkable is that their songs and performances live up to those groups – it really seems like the only thing that held them back was the lack of a big production budget, promotion and distribution. Talent-wise, they have the goods! A really solid, timeless set. Includes "Who's Been Foolin'?", "J Rider", "Up To You", "Shadow Lay", "Pick Up And Run", "We Got More", "Sweet Lilac" and "Baby Come Risin'". This first ever licensed re-release feature liner notes by Aaron Milenski of Acid Archives.

Interesting stuff, if not the kind of record you'd put on every day. The album's an interview with Louis Armstrong's wife Lil, and she talks at length about her famous days in the early years of jazz. Segments include "The Young Louis", "Early Life In Chicago", "Return To New Orleans", and "The End Of A Marriage" – and the whole thing's the kind of record that was perfect for the bespectacled jazzbo trad collector of the early 60s.

A classic live date from Satchmo – and expanded to include the complete performances on that legendary night at Boston's Symphony Hall – for the first time ever! Recorded in November of 1947 and originally released in '51, it's never before been issued with both the first and second sets that night. There's also a number of great tunes here that were released before in edited versions, but fully presented here. It's such wonderful stuff – both as a top-shelf document of this period of American jazz – and as a brilliant example of Satcho's charming stage presence. His trumpet and solo vocals are well captured, and you can here up humming along on the instrumentals, too. The players at this point who are All Stars, indeed, include Jack Teagarden on vocals and trombone, Barney Bigard on clarinet, Dick Cary on piano, Arvell Shaw on bass, and Sid Catlett on drums – plus some great vocals by Velma Middleton. 29 songs on 2CDs – in a hardback package with a great booklet – and featuring "When It's Sleepy Time Down South", "Stars Fell On Alabama", "Body And Soul", "Steak Face", "Back O'Town Blues", "St James Infirmary", "Mop Mop", "Jack Armstrong Blues", "That's My Desire", "C Jam Blues", "Baby Won't You Please Come Home", "Mahogany Hall Stomp" and more – many previously unreleased!

This one's got it all – fuzzy instrumentals, sweet harmonies, and some nice trippy parts too – all wrapped up in a set that's easily one of the best Tower Records rock soundtracks of the 60s! Most of the schlocky biker soundtracks from the time are already pretty darn great – but this one's even a cut above – put together with a special quality that's always made us dig this one the most! The album features a great cut called "Hellcats" – a harmony rocker by The Sunrays, and just as great as their own album tracks. The set also features an instrumental "Hellcats" and "The Angry Mob" by The Arrows – plus psych oriented tracks by Davy Jones & The Dolphins, including "The Only Way To Fly", "Mass Confusion", and "Let's Live A Little" – and "I'm Up" and "The Marionettes" by Somebody's Chyldren.

One of the best early albums from Ash Ra Tempel! Here they bring vocals into to the mix for the first time, though it's still a spacious blend of slow-building atmosphere and spare dynamics that evolve into more feverish and intense maelstroms. The vocals of John L are another instrument, really – with gruff screams and moodier howls that echo the instrumentation impressively. The drums and percussion and incredible, with sax, organ, guitar and electronics. Work that bridges earlier psych to later experimental rock pretty fearlessly! Includes the "Light And Darkness" suite of " A) Light: Look At Your Sun" and "B) Darkness: Flowers Must Die" (originally spanning a side), plus the Schwingungen side "A) Suche" and "B) Liebe".

One of the grooviest records ever – a sublime blend of African percussion, soulful orchestrations, and Dorothy Ashby's amazing electric harp! By the time of this landmark album, Dorothy had been knocking around the jazz world for a number of years, but it wasn't until she hooked up with Richard Evans at Cadet Records that her sound really began to cook – breaking down genres and expectations in the trademark style of the best late 60s sides from the Chicago underground. The record's got a bit of funk, a bit of jazz, and a heck of a lot of soul – and the setting works perfectly for Dorothy's harp, giving it a lot more room to work around than some of her smaller jazz combo albums. The album includes two great originals – "Soul Vibrations" and "Afro-Harping" – both of which have a nice funky edge, and a groovy soulful bounce – and other tunes include "Lonely Girl", "Life Has Its Trials", "Look Of Love", "Come Live With Me", and a great version of Freddie Hubbard's "Little Sunflower".

One of the grooviest records ever – a sublime blend of African percussion, soulful orchestrations, and Dorothy Ashby's amazing electric harp! By the time of this landmark album, Dorothy had been knocking around the jazz world for a number of years, but it wasn't until she hooked up with Richard Evans at Cadet Records that her sound really began to cook – breaking down genres and expectations in the trademark style of the best late 60s sides from the Chicago underground. The record's got a bit of funk, a bit of jazz, and a heck of a lot of soul – and the setting works perfectly for Dorothy's harp, giving it a lot more room to work around than some of her smaller jazz combo albums. The album includes two great originals – "Soul Vibrations" and "Afro-Harping" – both of which have a nice funky edge, and a groovy soulful bounce – and other tunes include "Lonely Girl", "Life Has Its Trials", "Look Of Love", "Come Live With Me", and a great version of Freddie Hubbard's "Little Sunflower".

Definitely up there with the best of 1997, this 8 track ep starts off with the amazing "Scapegoat", an interesting look at blaming the world, where Slug runs through a list of things that are causing strife in life. "Primer" has hilarious and insightful verses from the perspective of the dead-end life of a white trash trailer park resident beating up on his wife/baby mother with the chorus "I own the Camaro and the mobile home, so where you gonna go." "Multiples" is another highlight, a dedication to underground MC's, b-boys, graffiti writers, and DJs. Quality mid-west hiphop from the indie heydays.

Creative electronics from Uwe Schmidt – aka Atom (TM) and dozens of other pseudonyms! Atom (TM) And Friends make these great pop music pastiches laced with electronic textures – putting modern electronica, classic funk, pop, rock, bossa nova and more in a blender – and coming out with material that's easy to love, but hard to categorize! Includes his tropical clubby cover of "Smoke On The Water" as Senor Coconut, an icy Euro funk takes on James Brown's "Superbad" and Bowie's "Ashes To Ashes" as LB, straight up original soundscapes as Atom and other strange, yet accessible numbers recorded as Erik Satin, The Stereonerds, Los Sampler's, The Rogertubesound Ensemble and more. 17 in all: "Duck Cha Cha" and "Showgirl" as Lisa Carbon, "Mp3 (MoralPovertyThree)", "Suck My Groove", "Bowman Suite" and "Daddy's Song" as Atom, "Music (For The Library Of God)" as The Roger Tubesound Enemble, "Dropshadow Disease" as Dropshadow Disease, "La Vida Es Llena De Cables" as Los Sampler's and more.

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".

Sweet 80s grooving from one of Salsoul's best acts of the post-disco years – a group with a groove that comes up right from the bottom, thanks to a great ear for a funky bassline! The sound is nice and lean – but all still mighty live, with a lot of spontaneous energy in the instrumentation – and none of the too-programmed rhythms that could hurt a project like this! Steve Washington plays bass, arranges, produces, and heads up the conceptual side of things – and vocals alternate between male and female leads in a really great way – creating this warm, almost family-like approach to the sound. The whole thing's wonderful – tight and soulful, in a mode that should have made these guys climb higher on the charts – and titles include "Are You Single", "Forever", "Send Your Love", "Living Too Fast", and "Keep Doing It". CD features two bonus tracks – original single versions of "Are You Single" and "Living Too Fast".

One of a few records cut by this surprisingly popular Australian group – temporary ex-pats to the US scene, featuring Errol Buddle on tenor and Bryce Rhode on piano, two of the country's greatest jazz players of the 50s and 60s. Given the sympatico between the Aussie and LA mode of the 50s – this Hollywood-recorded session fits right in with other styles of the Bethlehem catalog at the time. Tracks are short and tightly arranged – and tunes include "So Nice", "Few Get It", "That Old Feeling", "Koala", and "Lover Man".

One of the greatest albums ever by studio genius David Axelrod! The album's one of Axelrod's first on his own – cut for Capitol Records at a time when he was working with some of the label's biggest selling soul acts – like Cannonball Adderley and Lou Rawls – turning their already-successful sounds into super-hit material by adding some nice funky touches, and excellent baroque production. This album lets Axelrod fully explore his talents for larger studio arrangements, and complex yet soulful instrumentation. The record is subtitled "an anthology of awareness after birth, based on the 18th century poems of William Blake" – and it features incredible arrangements conducted by Don Randi, played by a host of excellent LA jazz and studio players. The overall sound is spacey and dark, with nice touches of funk, and plenty of cool instrumental passages that have been sampled over the years by hip hoppers and other producers. Titles include "London", "The Fly", "The Human Abstract", "A Divine Image", and "The Sick Rose". Reissued with the original gatefold cover, and everything!

One of the greatest and most historically important compilations ever put together by our friends at Light In The Attic – the first ever (!!!) anthology devoted to Stax sax great Charles "Packy" Axton! Packy was a founding member of the Mar-Keys and a cat who played with the best of them – Steve Cropper, Booker T, Teenie Hodges, Donald "Duck" Dunn and many more – all of whom can be heard on this mindblowing set of benchmark vocal and instrumental singles from the mid 60s – truly the blueprint material for the great Stax and all around Memphis soul to come! It features singles cut for labels such as USA, Bar, Hollywood and Pure Soul – soul/R&B vocal numbers and proto-funky instrumentals. Amazing, amazing stuff recorded at Royal and Ardent Studios with some of the greatest soul music players to ever come together – so highly recommended! Includes "Holiday Cheer", "Bullseye", "Hung Over", "I'll Always Love" and "Late Late Party" by The Martinis, "No Ending" and "No Love Have I" by Stacy Lane, "House Full Of Rooms", "Out Of Control" and "I'm A Fool (In Love)" by LH & The Memphis Sounds, "Stone Fox", "Hip Pocket" and "Greasy Pumpkin" by The Pac-Keys, and "Hole In The Wall" by The Packers. 17 tracks in all – treated beautifully by team LITA – with a thick booklet of notes (by Andria Lisle) and full of vintage photos of the players, shots of the inner labels of the original singles, details for each track and more.

A great little set from salsa legend Sammy Ayala – an original member of the 50s born Cortijo Y Su Combo orchestra of Puerto Rico – singing warmly and wonderfully on this excellent self-titled set on the Candela label! An all star roster of modern producers and players indebted to Sammy and his style contribute – include Quantic, Nicodemus, Truth & Soul combo Bronx River Parkway, Mo'Horizons and others – but this feels like the work of an old school master, as it should. Timeless stuff and a worthy effort by all! Titles include "Otra Vez", "Invitacion Al Salon", "Corazon" feat Bronx River Parkway, "El La San Sebastian" feat Mo'Horizons, "Huellas De La Ilusion" and more.

What can we say? This is one of the greatest soul soundtracks ever! In a market that was dominated by the big-selling Shaft and Superfly albums, Roy slipped in this masterful blend of jazzy vibes and wah wah funk that's easily one of the best-composed records of the blacksploitation genre! The album's much more unified than your average funky soundtrack – and each track moves between styles that you'd hear on any of Roy's great albums from the time. There's heavy funk on the track "Brawling Broads", cool vibes and electric piano on "Aragon", off-beat jazz on "Coffy Sauna", and great soul on cuts like "Coffy Is The Color" and "Coffy Baby". Wonderful all the way through – and another jewel in the already-big crown of the great Roy Ayers!

What can we say? This is one of the greatest soul soundtracks ever! In a market that was dominated by the big-selling Shaft and Superfly albums, Roy slipped in this masterful blend of jazzy vibes and wah wah funk that's easily one of the best-composed records of the blacksploitation genre! The album's much more unified than your average funky soundtrack – and each track moves between styles that you'd hear on any of Roy's great albums from the time. There's heavy funk on the track "Brawling Broads", cool vibes and electric piano on "Aragon", off-beat jazz on "Coffy Sauna", and great soul on cuts like "Coffy Is The Color" and "Coffy Baby". Wonderful all the way through – and another jewel in the already-big crown of the great Roy Ayers!