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Way before his recent soundtrack fame, Randy Newman was one heck of a great songwriter – and at the start of his career he penned some of his best songs ever – most of which are featured here in this sweet little set! Back in the 60s, Newman had an ear for unusual themes and topics – and wrote these great little songs that got real personal, really fast – moving past the fluffier themes of mainstream pop, and into more honest, earnest territory that really set the stage for the growth of the singer/songwriter at the end of the decade. Most of the recordings here pre-date Newman's own versions of the tunes during his classic years at Reprise – and they're a great illustration of the way his words already had a big impact on the world of 60s pop. CD features 26 tracks in all, by a surprising array of artists – and titles include "Love Story" by Rick Nelson, "Simon Smith & The Amazing Dancing Bear" by Alan Price, "Have You Seen My Baby" by Fats Domino, "Old Kentucky Home" by The Beau Brummels, "So Long Dad" by Nilsson, "I Think It's Going To Rain Today" by Dusty Springfield, "Big Brother" by Calvin Grayson, "Friday Night" by The O'Jays, "Happy New Year" by Beverley, "I Can't Remember Ever Loving You" by Tammy Grimes, "Looking For Me" by Vic Dana, "They Tell Me It's Summer" by The Fleetwoods, "Love Is Blind" by Erma Franklin, "Somebody's Waiting" by Gene McDaniels, and "Just One Smile" by The Tokens.

A charming little set from the great Dave Frishberg – easily one of the hippest singers and songwriters in jazz during the past few decades! The set's got Dave working solo – just singing along with his own piano accompaniment – in a whimsical way that matches the same sort of energy you'd get from Blossom Dearie or Bob Dorough in a similar setting – both good comparisons, given how much each have sung some of Frishberg's tunes! And as a way of tipping his hat back, the set features a great version of Dearie's "Long Daddy Green" – plus an extended "Johnny Hodges Medley", and loads of great tunes that include "The Dear Departed Past", "Eloise", "One Horse Town", "Zanzibar", and "Blizzard Of Lies".

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.

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 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".

A lost chapter in the career of the Art Ensemble Of Chicago – an obscure early 70s album, issued by the mostly-blues Paula Records label in Louisiana, and one of the hardest to find albums in their catalog! The album features 3 long tracks – "Chi-Congo", "Enlorfe", and "Hippparippp" – played in an open and inventive style that recalls the best of the group's work in Paris at the end of the 60s. The core group of Lester Bowie, Malachi Favors, Roscoe Mitchell, Joseph Jarman, and Don Moye manage to get their hands on more instruments than you'd hear from the entire percussion section of an orchestra – and with amazing results!

Very righteous work from Fontella Bass – an album done after her time at Chess Records, and after her work in Paris with the Art Ensemble Of Chicago – in a heartfelt, southern soul mode that's totally great! Fontella's back working with producer Oliver Sain, who first brought her fame back in the 60s – but the sound is a bit more sophisticated than before, drenched with roots from gospel and country soul, but also inflected with some of the more righteous modes of the early 70s, too. Fontella's vocals are incredible – with a range that should have made her one of the leading ladies of soul in the 70s – and titles include "To Be Free", "I Need Love", "Wiping Tears", "Hold On this Time", "Talking About Freedom", and "My God My Freedom My Home". 4 bonus tracks on this CD edition: "It Sure Is Good", "I'm Leaving The Choice To You", "Home Wrecker" and "It's Hard To Get Back In".

Rare late 70s Afro soul from Cameroonese bassist and singer Brigth Engelberts – insistent, hypnotic and danceable grooves that points the way to myriad trends in soul in the decade to come, well beyond easily categorizable Afro funk & soul! Some numbers have a punchier, hypnotic rhythmic dynamic, others steer a bit closer to a psych soul vibe! The groove is fairly tight, with Engelberts backed by keys, drums, congas & other percussion, and some horns, and it's plenty funky! Titles and singing are in English, and include "Civilisation In The World", "Free Me Now", "Get Together", "Let Me Near Them Say", and "Shifty Hand Woman".

Fantastic funk from a group who definitely earn their name – a sweet jelly bean jar of 70s groovers – played in this great compressed bass-heavy style! The group hail from southeast Asia, but sing in English throughout – and play tunes that clearly echo their love of American funk by groups like War or Sly & The Family Stone – both covered here, but in ways that really tune the tunes inside out nicely! There's never too much jamming on the instrumentation, but the production has a way of folding the edges into the middle – creating this cool cross-filtered sound that works especially well on the vocals, and gives them this offbeat quality that really furthers the charm of the set. Titles include "Stand II", "Assassination", "Spill The Wine", "Get It Together", "You Got Me", and "Thank You". CD features the bonus track "Jerry Beans Xtract".

Raw funk from 70s Singapore – but a bunch of cats who really get their sound right! The album's got a surprisingly sharp edge – thanks to raspy guitars that work perfectly with the group's English language vocals – themselves sung with a nice sort of sharpness that makes the whole thing feel a bit more sinister and urgent than most of the US funk that clearly inspires these guys! Some of the guitar interplay is especially nice on more jamming tracks – never overdone, but more than you'd expect on an album with such strong rhythmic impulses. Titles include "Man With A Gun", "Once Upon A Time", "Memphis Soul Stew", "Everyday People", "I'll Take You There", and "Spill The Wine".

Some of the most hard-edged work cut by Stan Getz in the early years – a great reminder that he could really open up with the best of the bop world – and not just lay back and get mellow with an electric guitar! The setting has Stan working with some key west coast talents – including Wardell Gray on tenor, Sonny Criss and Willie Smith on alto, Charlie Shavers and Howard McGhee on trumpets, and Red Norvo on vibes – all players who stretch out with Stan on some longer open-ended tracks that really echo the west coast jam session mode of the time! Titles include "Hot House", "How High The Moon", "I Got Rhythm", and "Groovin High".

Fierce funky grooves from the legendary Nico Gomez – a set cooked up in Europe, but heavy with influences from the other side of the Atlantic – from Havana all the way up to New York! There's definitely a Latin groove to the record – one that's similar to other Gomez productions – but there's also lots of heavy funk at the bottom – with basslines that drive most numbers along boldly, really raw percussion played with a nice sense of spontaneity, and these super-tight keyboards and guitars that you might find in American funk! The mix of modes is very much in the best spirit of contemporary groups like Chakachas or Lafayette Afro Rock Band – and titles include "Caballo Negro", "Lupita", "Baila Chibiquiban", "Pa! Pa! Pa! Pa!", "One Note Samba", "Cuba Libre", and "El Condor Pasa".

Way way more than just bossa nova – a mighty groover from the great Nico Gomez! Nico's known for his harder pounding tracks that have become favorites with the funky crowd, but this stellar album shows that Nico could also work in jazzier territory when he wanted to – as the album's a wonderful batch of tunes that mix together Latin, groovy, and bossa styles! There's some very nice wordless female vocals on a few cuts, scatting along with a warm breezy feel – and other tracks feature vibes, or guitar, sax, and other strong instrumental elements – with more than enough punch to be funky at a few points. The whole thing's as groovy as groovy can be – with a sound that's past bossa, and way more than any fake easy instrumental attempt at the genre – a real peep into the mad mind of Nico Gomez, and proof that his albums are always worth tracking down! Titles include "Din Din Din", "Aquarela", "Samba De Rio", "Saudade Do Rio", "Agua", "Rio", and "O Barquinho".

Unusual material from Chico Hamilton – recorded around the same time as his groundbreaking work for Pacific Jazz – but for the smaller Crown/Modern label in LA! The format's a bit unusual, and changes a bit throughout the record – showing Chico's already-strong ear for creative formats that go way beyond conventional jazz. There are 2 numbers at the end of side 2 featuring Chico in the familiar chamber jazz lineup, with Fred Katz on cello and Paul Horn on reeds – "Crazy Cats" and "Lord Randall". The rest of the tracks feature the stringed instruments handling most of the melody, in a free floating style that's got the same "modern yet swinging" approach of some of Jimmy Giuffre's best late 50s recordings, which ultimately places it in a similar context to the chamber jazz numbers. Titles include "Porch Light", "Autumn Landscape", "Uyawda", "Lolly Pop", "Pluck It", "Katz Up", "Crazy Cats", and "Lord Randall".

An obscure release by Chico Hamilton – but with some really great moments that more than rival his famous sides for Pacific Jazz in the 50s! The set was issued on the obscure Crown label, and is a bit short on notes – but side one features work by Chico's early trio – a cool group with either Howard Roberts or Jim Hall on guitar, and George Duvivier on bass – really sounding open and airy, yet swinging too – on titles that include "Nutty", "Skinned Strings", "Street Of Drums", and "Blues On The Rocks" – played by a group that seems to feature bass, drums, and guitar. Even better, though, is side two, which features the more complicated "Suite For Horn" – a long piece built around the flute work of Paul Horn – presented here with a shorter track called "Montuna", which is mostly just heavy percussion, bass, and very noisy cello from Fred Katz!

An overlooked gem from the equally-overlooked Clay Hammond – a sweet 70s groover that offers up a great mix of modern and deep soul modes! Clay's vocals are still every bit as great as on some of his earlier soul singles, but the arrangements push things into tighter territory that's mighty nice – a lot like some of the later Hi Records work from Al Green – or even better, like that great sound that Otis Clay hit at the end of the 70s! Like Otis Clay's best records from the time, Clay's vocals stay nice and real – wrapped up in a sweet mix of blues and soul – and although the backings often hit a warmer midtempo groove, they're never overdone or commercial at all – just a maturation of southern soul modes – in ways that kind of point towards the later Malaco scene, while avoiding any of its cliches. Titles include "Tuning Up", "Rap On Wood", "Don't Stop Your Love", "Come Into These Arms Of Love", "Part Time Love", "Love Won't Let Me Stay Away From You", and "Women Are Human".

An obscure session that was nearly lost, because it was issued on a cheapo label – but which features some really great work from Coleman Hawkins! The format is small combo, with long tracks that really open up – and Hawk is blowing in that fantastic mode that he began to use a lot around the end of the 50s. His tone is incredible – at once deep and soulful, but also touched with some raspiness and a bit of a biting reed approach – almost a bit of Sonny Rollins at times, with a sound that really makes us want to listen to more work from this fruitful (and overlooked) time in Hawk's career! Players include Thad Jones on trumpet, Eddie Costa on piano and vibes, George Duvivier on bass, and Osie Johnson on drums – and titles include "Bean In Orbit", "Stalking", "Moodsville", and "Hassle".

Massive later music from Coleman Hawkins – a date that might be easy to overlook, given the unassuming package – but one that really features that newfound mix of modernism and soul that graced the later years of Hawk! The setting is a bit unusual, but that's part of the charm – as Hawkins' tenor comes into play with the trumpet of Thad Jones, piano and vibes of Eddie Costa, bass of George Duvivier, and drums of Osie Johnson – a group who are mostly easygoing, and really let Coleman take the lead – although Jones gets in a few great moments too! Titles include "Cloudy", "Almost Dawn", "Stake Out", "Cross Town", and "Shadows".

Funky funky Groove Holmes – one of his tightest albums ever! The set's a monumental batch of organ jazz groovers – recorded with some larger backings from Manny Albam, and a super-dope, super-funk sort of 70s feel that's really outta site! The tracks are lean and very rhythmically oriented – all instruments grooving very strictly on the beat, except for Groove's wailing Hammond – which takes off over the top in some fierce musical flights! Bernard Purdie chops up some wicked drums on the set, and titles include "Red Onion", "Meditation", "Good Vibrations", "Chu Chu", and the solid groover "You've Got it Bad".

An incredible album – quite possibly our favorite record by the JBs, ever! The set starts with a wonderful conversational bit – rapping and musing on the idea of "Damn Right, I Am Somebody" – showing the group in a political and righteous mode for the first time ever. The grooves then kick in – with the same heavy funk as on earlier records, but also a nice nod towards experimental production – from strange fade ups and fade downs, to stark time and rhythm changes, and even bits of electronics used to create some very cool moments in the grooves! The whole thing's as dead funky as can be, and is stuffed with insane classics like "Blow Your Head", "Same Beat", "Damn Right I am Somebody", "I'm Payin' Taxes, What am I Buyin'", and a great cover of Marvin Gaye's "You Sure Love to Ball"!

An incredible album – a landmark piece of funk that nobody should be without, funk fan or not! The album is the second to feature James Brown's famous backing combo of the early 70s – and unlike their first one, which was really more of a collection of singles, this album has the group playing hard, long, and loud, in the free funk improvisational mode that was James' real contribution to the music at the time. The tracks are all incredibly long, with James at the forefront, egging the band on with shouts and comments – but also letting them open up large instrumentally, playing in a mode that's as much jazz as it is funky soul. The whole thing's peppered with some nice shorter segues between tracks – but the long cuts are the winners, and are some of the best funk ever recorded! Titles include "Mo Peas", "Doing It To Death", "La Di Da La Di Day", "You Can Have Watergate, Just Gimme Some Bucks & I'll Be Straight", and "Sucker".

One of the most fantastic albums by the JBs – a masterpiece of funky jamming, tight instrumentation, and that free yet tight style of the James Brown 70s years! The tracks are longer than on some of the earlier singles – especially the 8 minute jammer "(It's Not The Express) It's the JBs Monourail", an answer to BT Express' theme song, and a fantastic cut that's held up through so many years and so many scenes! Another great jammer is the group's version of "Thank You For Letting Me Be Myself", which runs for nearly 10 minutes – plus spacey funk tracks "Transmogrification" and "Taurus, Aires, & Leo", and the tighter jammer "Soul Funky Train", which returns to the group's funky 45 mode. Fantastic all around – and the kind of record you'll be playing for your grand kids! CD adds 5 extra bonus cuts, all from hard-to-find People singles, and not on other LPs – including "J.B. Shout", their version of "Alone Again", "Sportin Life", "Dirty Harri", and the two part classic "Everybody Wanna Get Funky One More Time". Nice stuff, and a good reason to pay the extra price for the Japanese reissue!

A Japanese-only release – and a much-needed LP collection of work from Syl's own Shama Records label – really great stuff that's compiled here from some excellent singles!

Killer piano from Ronnie Kole – a set with loads of cool soul jazz touches throughout! The core of the album's based around Ronnie's trio – with some excellent hard-handed work from Kole that's right up there with Ray Bryant in the 60s – but it also features great arrangements from John Bergeron and Charlie Brent, both of whom bring in horns and inventive rhythms to really push things over the top! The set crackles like some hip Argo/Cadet set from the Chicago scene – hardly the New Orleans jazz you'd guess from the title – and the set's got groovy takes on "Aquarius" and "Spinning Wheel" – plus nice originals "God Bless Bu-Butz", "Just A Feelin", "Happy Is Love", and "Lonely Waltz".

An amazing collection of work from Toussaint McCall – a set that finally gives this classic soul singer his due! McCall stands as one of the best southern soul singers of his time – and one who's often painfully overshadowed by the better known singers on Atlantic and the larger labels. His hit "Nothing Takes The Place Of You" is well known as a soul classic – but Toussaint recorded a number of other tracks during the 60s, nearly all of them as sublime as that hit! This 24 track package is oddly one of the first times that this work has been properly collected together – and the compilation is a much-needed look at Toussaint's incredible soul talents. Trust us, you'll be playing this one again and again – right next to your Dave Godin Deep Soul volumes, or your James Carr reissues! Titles include "Nothing Takes The Place of You", "One Table Away", "What Part Do I Play", "That's Life", "Shimmy", "The Toussaint Shuffle", "I'm Gonna Make Me A Woman", "I'll Do It For You", "The Title Escapes Me", "Step By Step", and "All For A Love Like You".

The heaviest album so far from Mountain Mocha Kilimanjaro – and proof that this Japanese funk combo is really headed in the right direction! These guys have always been great, but this time around everything is razor sharp, and right on the money – played with a deftness the group didn't display on their first album – and which few other funk combos could hope to match! Guitars riff away very strongly – a key part of the rhythms – and horn passages are hard-blasting, in a mighty nice way. Titles include "Atmos 2000", "Watchin", "Mud City", "Stompin Joe", "Lie On The Side", "Perfect Time", "Sunshine Of The Spotless Mind", and "Yesterday's Delight".

One of the best soul records to come out on the Paula label in the early 70s – one with a number of beautifully soulful moments – and a few surprisingly funky ones, too! Although Bobby did a lot of work for other singers, this is one of the few albums he actually cut under his own name – and it's a lasting testament to his talents as both a singer and writer. It's got a nice mix of southern soul ballads and more uptempo tracks, and loads of original compositions by Bobby! Includes "This Whole Funky World is a Ghetto", "If You Took A Survey", How Do You Spell Love", "Make Sure You Can Handle It", "I Just Loved You Because I Wanted To", "Right On Jody", "Quiet! Do Not Disturb", and "I Get My Groove From You". 7 bonus tracks on the CD edition: "She Don't Have To See You (To See Through You)", "It Takes Two To Do Wrong", "Take Time To Know The Truth", "I Get My Groove From You", "I'm In The Wrong" and more.

The second amazing album from Placebo – a wicked mix of funky fusion styles, and a real standout on the European scene of the early 70s! The group's the brainchild of Marc Moulin – who wrote all tracks, and plays a wealth of great keyboards, in ways that almost make him the European equivalent of Herbie Hancock – especially in the way he can spaciously explore a groove! But there's other great elements to the music too – some tight funky rhythms, great horn parts, and some wicked guitar from fusion legend Philip Catherine – whose snakey lines bring a quality to the record that was in place on Placebo's first outing. Titles include "NW", "Plotseling", "Hop Hop", "Tanga", "Stomp", and "Dag Madam Merci".

Sublime early work from Bud Shank – one of our favorite west coast players ever – captured here away from some of his better-known work on Pacific Jazz! There's a nicely rough edge to some of the material – with Bud really blowing alto strongly on some of the leadoff tracks – which feature a trio of trombones from Bob Enevoldsen, Maynard Ferguson, and Stu Williamson! These players get in a few solo licks – and rhythm is by Claude Williamson on piano, Joe Mondragon on bass, and Shelly Manne on drums – all working with Bob Cooper arrangements, on titles that include "Valve In Head", "Cool Fool", and "Mobile". A few more tracks feature the more playful side of Shank's horns – both alto and flute – in a cool quartet with Williamson on both piano and celeste, Don Prell on bass, and Chuck Flores on drums – on the titles "Tertia", "Theme", and "Have Blues Will Travel". One last track is especially great – "Blues In The Surf", which features a group with Billy Bean on guitar and Gary Peacock on bass – really opening up into some of the most creative modes Shank would showcase in the early 60s, before hiding out in larger arrangements.

A beautiful, beautiful little record – as righteous and soulful as some of the best spiritual jazz classics of the 70s – and arguably even rarer, as it was only issued on a tiny label from Atlanta! Solar have a sound that uses 3 female lead vocalists in chorus formation – one that comes across with the righteousness of Roy Ayers' best use of such a style, but which is taken even further in a wave of soul jazz expression – in a mode that reminds us a lot of the work of Dee Dee Bridgewater or Jean Carn singing together on key early records by Norman Connors, Carlos Garnett, or Mtume! The vocals share equally with the instrumentation on the set – delivering a message that's rich and positive, but never cliched or hokey. Instrumentation includes flute, soprano sax, piano, and some great percussion – and playing is inside, but exploratory – definitely in a post-Coltrane vein. Titles include "Rejoice", "Vanity", "Living For The Most High", "Faith For My Mind", and "It's A New Day". Really great stuff – and right up there with the classics of spiritual soul jazz!

An oft-overlooked, but very nice record from Sonny Stitt – recorded in Chicago in the early 70s, and with two different types of groups that show off both sides of the city's jazz scene at the time! On the first 4 numbers, the group is a bit on the larger side – giving the material a nice Cadet Studios touch to it – with Richard Evans on bass, Morris Jennings on drums, Tennyson Stephens on piano, a bit of strings, and vocalizing by Kitty Hayward. The remaining tracks are done in a smaller setting – and they feature a rare appearance by Muhal Richard Abrams on piano, who plays straight stuff here – in a quartet with Wilbur Campell and Cleveland Eaton. A rare record from Sonny – but it's an entirely worthy one! Includes "Got To Get Over", "Soul Girl", "Jeep Blues" and "I Know That You Know" with the larger group, plus the quartet pieces "I Should Care", "Eight Track Blues" and "Gone With The Wind".

A classic indie cooker from Sugar Billy – a bit funky, a bit clubby – and a really great batch of grooves done in a pre-disco mode! The tracks are all pretty darn upbeat – somewhat warmer than the funk of Fatback or Kool & The Gang, but still with a nicely rough-edged feel overall – one that mixes snapping rhythms with Billy's slightly raspy vocals – all in a groove that's somewhat unique, and which is almost a hybrid of southern soul modes and some of the indie styles bubbling out of the New York scene in the early 70s. Arrangements are by Jimmy Roach, who definitely helps the group groove – and a young Marcus Belgrave is actually in the group on Trumpet! Titles include the classic "Super Duper Love (parts 1 & 2)", plus "Treat Me Like You Don't Know Me", "Love Bug", "Sugar Pie", "Too Much Too Soon", and "Believe In Me". CD also features a great bonus track – the single-only "Freak & You Shall Find", presented in the long version!

One of the strangest covers we've seen in years – and a perfect fit for this obscure session of unusual grooves! Drummer Bubbha Thomas is working here in a mode that's kind of an electrified 70s take on the Texas showband style of earlier years – a mode that has the core funky combo augmented by electric keys and moog in just the right places! The tunes on the set are all instrumentals – jamming along in a sweet little style that mixes funky jazz with some of the rougher touches of the indie 45 scene – letting the band stretch out on extended solos on most cuts, but still keeping the rhythms very tight and in the pocket! In a way, the approach almost feels like some of the funkier work on Tribe Records from Detroit, especially on tracks that have more ambitious solo work. Players include Doug Harris on flute and tenor, Ronnie Laws on tenor, John Henderson on electric piano, and a young Hugh Ragin on trombone – and titles include "Herbs Of Life", "Sweet Ray", "Famous Last Words", "Country Fried Chicken", and "Survival Song".

A strange name for a group that hardly stood the test of time – but a great record that's well worth discovering! Timeless Legend were a young soul group from Columbus Ohio in the mid 70s – and on this rare LP, they've got a sweet little style that's every bit as great as that of bigger acts of the time – sometimes as fragile as New Jersey male groups, other times as tight as the best from Philly! The group's really got their harmonies down well – shifting easily from sweet ballads to more upbeat numbers, working in a mellow 70s style that's made the album a lost treasure for soul collectors for years. Every cut's a winner – all original material handled with a professionalism and soulful care that makes for a very solid record overall! Titles include "Checking You Out", "Baby Don't Do This To Me", "You're The Best Thing", "Lonely Man", and "Ghost Of Love". CD features lots of bonus tracks too – including "Everybody Disco (parts 1 & 2)", "Do You Love Me", "You're The One", and "I Was Born To Love You (part 2)".

One of our favorite funk combos take on a host of gems from the past – all classic soul and funk numbers that really expand the sound of Osaka Monaurail! The group first got their start doing a great riff on the sound of James Brown – but here, they move into Memphis soul, Chicago funk, and more – working their well-honed instrumental talents over a host of killer cuts that explode in fresh new versions! Unlike other records, where Ryo Nakata sings, this time around he's just leading the group and playing keyboards – but that shift is OK with us, as it gives the horns and guitar lots more space to do their thing. Titles include "Cafe Regio's", "Supershine #9", "Chocolate Buttermilk", "Amen Brother", "Get Down", "Get Ready", "Little Old Money Maker", "Message To Love", "Divertissement", and "Hey Jude". CD also features 3 bonus live tracks – "Tighten Up", "Truck Turner", and "Soulful Strut". Note: This is a different package for the album Amen Brother – which was issued under the Osaka Monaurail name.

A beautiful little solo session from the late Mal Waldron – recorded in Paris in 1972, and featuring (as you'd guess from the title) Mal stretching out wonderfully on a well-tuned Steinway! The mood of the set is softer and more introspective than some of Waldron's other work from the time – no less inventive, but with a quality that's warmly lyrical and extremely tuneful throughout – a great demonstration of Waldron's growing confidence as a solo artist at the time – yet expressed with a thoughtfulness that makes the album one of his real standouts in this mode. Tracks are all originals – and titles include "Paris Reunited", "For Eric Satie", "One For Bud", and "Portrait Of A Bullfighter".

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".

A bit of soul, a bit of jazz, and some nice funky touches at the bottom – a killer little set from the great Spanky Wilson! Wilson's got a really unique place in music – at one level a soul singer with enough sophistication to rival the sound of Marlena Shaw or Nancy Wilson – but at another level, an artist capable of really letting loose – hitting heavier, funkier modes that neither of those singers could ever touch! This set may well be Wilson's masterpiece – put together with excellent production and arrangements from the great HB Barnum – here coming off a great run of work for other artists in the 60s, and focusing all that experience on making Spanky sound great. Titles include "If I Could", "You", "Don't Mess With Bill", "Light My Fire", "Sunshine Of Your Love", "Hurtin", and "The Love That A Woman Should Give To A Man".

Spanky Wilson really takes off here – hitting some of her boldest soul modes to date – and serving up a few funk-heavy classics in the process! Production and arrangements are by HB Barnum – who draws on his own rich legacy of soul projects for the set, and finds a way to let Spanky really knock things out of the park – while still also holding tight to a mighty sweet groove! The style's almost an indie soul take on the Capitol Records groove that Barnum forged with David Axelrod for other singers – with all the strong sense of space between the grooves that would imply. The set features Spanky doing nice hard grooving versions of tracks that you've heard before – like "Loveland", "Let It Be", "Gloomy Sunday", and "Perhaps" – but there's also some nice ones like "Foolish" or "Love or Let Me Be Lonely", that are less familiar, and mighty nice too!

Heavy soul from the great Spanky Wilson – an album that explodes with energy right from the start – in a groove that definitely lives up to the title! Spanky's got a great mix of funk and class on this set – a punch in the rhythms at points, yet also a poise in the way she delivers the lyrics – a blend that's a bit like Marlena Shaw in her earlier years – and set to some killer arrangements from the great HB Barnum! Barnum gives the record all the cool punch of his great 60s work with Lou Rawls – and nearly all the material was written by the obscure Howlett Smith – an excellent lost writer who had a real talent for coming up with cool little soul songs that rise above the usual bag of his generation. This material works great for Spanky, and together, the pair, along with Barnum, cook up a unique lost soul treat! Titles include "Apartment 101", "On The Morning After", "The Other Girl", "You're Gonna Miss Me", "Love Has Me By The Hand", and "Mighty Great Feeling".

A killer set of funky jazz from veteran vibes man Billy Wooten – backed by mod funk masters Speedometer – live at the London's Jazz Café! The hour + set was captured back in 2003, and the players are in fantastic form, sounding like they've worked together for years. They totally roll with a funky vibe, too, not so much on the gritty side of the sound, but with a deft, controlled energy that's phenomenal. Wooten's vibes out from of guitar, sax trumpet, flute, keys, drums and percussion of the mighty Speedometer. We wish we were there! Titles include groovy takes "Open Up JB (Paarty)", plus "Sookie Sookie", "In The Rain", "In The Middle", "Steve's Song", plus Wooten's "Chicango (Chicago Land)", "Monkey Hips & Rice" and more.

Excellent work from this oft-overlooked southern soul singer – the beautiful Tommie Young! Tommie's a lady (in case you didn't know it), and she's got deep deep style that'll knock you flat out – with a soaring female southern soul sound on many of the tracks here – including a few that presage some of the soul sounds to come later in the 70s! Bobby Patterson wrote most of the tracks on this debut, and the set was recorded in Shreveport with a deep burning Louisiana sound that was the best of that city's scene at the time. The whole thing's great, and titles include "Do We Have a Future", "Everybody's Got a Little Devil In Their Soul", "Hit & Run Lover", "Do You Still Feel The Same Way", "You Came Just In Time", "You Brought It All On Yourself", and "That's How Strong My Love Is". CD features 5 bonus tracks: "Take Time To Know Him", "Get Out Of My Life", "I'm Not Going To Cry Anymore", "One Sided Affair", and "Midsummer Dream".

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.

An excellent album of funky drumbreaks – cut by a drummer who's a legend among funk fans, but who hardly ever gets mentioned in history books of jazz. Les was a little known LA player, but he had a monster approach to the kit – and most of the few albums he cut are very in demand for fans of a good funky drum break. This one's a stellar session that mixes together straight funk with some strong choppy fusion numbers – and it was issued on the tiny Dobre label, which came out with some excellent obscure sides during the 70s. Raul De Souza's on trombone, Milcho Leview plays piano, and Robby Robinson plays plenty of nice electric keyboards. Includes the break-heavy tracks "Moondial" and "Funk It!", the jazz dance cut "Canned Heat Suite", the choppy funky "Bacchanal", and the great groover "Kaballa".

A sublime little set – quite possibly the greatest album ever from Brazilian keyboardist Manfredo Fest! Manfredo first cut his teeth on the bossa scene of the 60s – but by the time of this rare indie session, he'd moved up to the US – and was working with sweet keyboards to really electrify his groove! The record's a wonderful blend of 70s Brazilian fusion modes and just a dash of American soul – and in addition to Manfredo's wonderful work on Fender Rhodes, the set also has these brilliant vocals from Roberta Davis – a singer who works wordlessly, using her voice as an instrument in this really cool way – sliding along with the grooves, and making the album sound unlike anything else we can think of. The overall feel is a bit like Joao Donato's excellent Quem E Quem album – and titles include "Jungle Cat", "Facing East", "Who Needs It", and "Brazilian Dorian Dream".

An incredible batch of Brazilian fusion – cut by keyboardist Manfredo Fest, and one of the few records he ever waxed in the US during the 70s! The record mixes Fest's soaring Brazilian groove with a tight soulful set of arrangements by Jerry Peters – a bit club-oriented, with a similar sound to some of the other records on the Tabu label at the time, but always sensitive to Fest's playing and writing – especially his Brazilian roots! The record features wonderful vocals by Roberta Davis – a very soulful singer who had a hip wordless style that was similar to Tania Maria's at the time – breezy, scatting, and very nice. Her work really makes the record sparkle, working perfectly with Fest's jazzy electric keyboards in a perfect way! Titles include "Jungle Kitten", "Koko & Leeroe", "Arigo", and "Who Needs It".

A smoking little set from Flaming Ember – a rock group at the core, but one who has plenty of blue-eyed soul in the mix – thanks to great production from Greg Perry, and strong arrangements from HB Barnum and McKinley Jackson – all of whom give the record a vibe that's right up there with the best Hot Wax/Invictus soul sets of the time! There's a nice amount of fuzz in the grooves – that post-Motown style that uses lots of great bass and guitar alongside core Detroit soul modes – and although the vocals have more of a rockish approach, the instrumental undercurrent is a great mix of funk, rock, and soul! Titles include the sweet soul ballad "Sunshine", plus the cuts "Ember Blues", "1200 Miles From Heaven", "Livin High Money Low", "Gotta Get Away", "Heart On Lovin You", "Stop The World & Let Me Off", and "Ding Need Dong".

Fierce funky grooves from the legendary Nico Gomez – a set cooked up in Europe, but heavy with influences from the other side of the Atlantic – from Havana all the way up to New York! There's definitely a Latin groove to the record – one that's similar to other Gomez productions – but there's also lots of heavy funk at the bottom – with basslines that drive most numbers along boldly, really raw percussion played with a nice sense of spontaneity, and these super-tight keyboards and guitars that you might find in American funk! The mix of modes is very much in the best spirit of contemporary groups like Chakachas or Lafayette Afro Rock Band – and titles include "Caballo Negro", "Lupita", "Baila Chibiquiban", "Pa! Pa! Pa! Pa!", "One Note Samba", "Cuba Libre", and "El Condor Pasa".

Way more than the cheapo fad record you might guess from the title – thanks to some wonderfully soulful tenor from Joe Houston! The setting's almost more Latin than limbo – a mode that really works perfectly with Houston's horn – driving the big-toned sound strongly right up from the bottom – and letting Joe have some nice freedom to stretch out with solos over the top! Given that Houston was already mixing Chicano elements with his R&B groove in the 50s, the approach is a natural – as you'll hear on "Limbo Organ", "Limbo Lou", "Out On A Limbo", "La La Limbo", "Limbo Stick", and "Rockin The Limbo".

A wonderful album by Odell Brown – recorded years after he broke up with his Organizers group, with a sweet electric groove that's very different than his Chess LPs – and also quite a bit different from other records on Paula in the mid 70s! Odell's playing electric piano on the set – grooving in a mellow funky way that reminds us of some of the early 70s Young-Holt albums, no surprise, since Odell and the Young-Holt team came out of the same scene. The tracks are nice and long, and nearly all originals. It kicks off a killer cover, though: an 11 minute jazzy soul take on Stevie Wonder's "I Love Every Little Thing About You" – and it also includes "South of 63rd", "Simizzoke", "Song Theme" and "Tasha".

A really cool bit of bossa jazz from reedman Buddy Collette – an artist who's not as well associated with the genre as Stan Getz or Paul Desmond – but who really cooks nicely here! The setting is relatively lean and groovy – with guitar from Howard Roberts, bass from Mel Pollan, and percussion from Leo Acosta and Darias – both of whom bring a nice sort of west coast vibe to the set, one that's different from some of the Verve bossa modes of the time. Jim Helms handled the arrangements, with a nice airy sort of mode – and Buddy plays both tenor and flute, on titles that include "Nao Pode Ser", "Porque De Moras", "A Pele Do Marfin", "A Meie Noite", "Samba Da Tartaruga", and "Amor Levado".

Sublime spiritual jazz from Strata East – one of the label's rarest recordings, and one of its hippest too! The set has an incredibly righteous feel – a blend of keyboards, saxes, guitar, percussion, and vocals that steps off with a very deep feel – one that's heavy on the best post-Coltrane modes of expression in jazz, and which really takes advantage of the freedoms of the Strata setting to open up the sound in really beautiful ways! Beatrice Parker handles the vocals, with a very warm and spiritual style that's not unlike some of the early, righteous recordings by Dee Dee Bridgewater – and other group members include Khaliq Abdul Al Rouf on saxes, Bevin Turnbull on keyboards, Mashujaa Aliye Salamu on guitar, Leroy Seals on bass, and Fred Kwaku Crawley on a host of hip percussion instruments. There's a slight undercurrent of funk on a few tunes, but most tracks are focused more in a soaring, spiritual groove – with titles that include "Circles", "The Sojourner", "Peace (Salaam)", "Traces Of Trane", "Ecstasy", "Music Is Nothing But A Prayer", and "Malika".

A fantastic bit of late 60's funk, and a surprisingly slammin' record from Dizzy! The album's got tight, hard, choppy funk arrangements from Ed Bland – who went onto to do some great work at the Perception label – and the group features James Moody blowing hard lean funky solos right next to Diz, in the way that he'd do on some of his own funk work from the same time. The record is wonderful all the way through – killer heavy drums, heavy electric bass, searing sax solos from Diz and Moody – all produced with a mad mad full-on funk sound that will make your jaw drop! Titles include "Blue Chuchifrito", "Chicken Giblets", "Rutabega Pie", "The Fly Fox", "Pot Licka" "Stomped & Wasted" and "Casbah Melon".

A bit of soul, a bit of blues, and a rock-solid sound that's outta sight all the way through! Clay Hammond is a hell of a southern soul singer – one with a range that's sometimes as great as Bobby Blue Bland, and a sweetness that almost echoes an earlier generation of Sam Cooke – while still taking things into some nice deeper soul territory too! The backings here are often nice and tight – never overly polished, but with a focus that really suits Clay's great vocals – and really sets him apart from some of the other singers of this nature at the time. CD features a whopping 25 tracks in all – and titles include "The Good Side Of My Girl", "Take Your Time", "My Jealous Girl", "I'll Make Up To You", "You Messed Up My Mind", "I Got A Letter This Morning", "Ain't That The Way", "Suzy Do It Better Than You", and "You Threw Out Your Lifeline".

One of the rare early albums on the Detroit based Tribe label, now made legendary by the compilations on Soul Jazz and P-Vine. Tenor player Wendell Harrison leads a group that includes Marcus Belgrave, Charles Eubanks, and Phil Ranelin, and which features occasional poetry by the "Black Messengers". The groove is laidback and spacey, with some nice electric piano, and good mellow solos that have a nice soulful vibe to them. Other parts of the album are a little bit more out, and have a sharp edge to them. Tracks include "Mary Had An Abortion", "Vol II Angry Young Man" (Parts 1 & 2), "Consciousness", and "Rebirth". Wild cover, too!

Very very very cool compilation of rare James Brown-produced singles from the People Records years, with loads of stuff that's never shown up on the other James Brown comps. Cuts include 3 tracks by Sweet Charles ("Hang Out and Hustle", "Together", "I Wont' Last a Day"), 2 by The Flames – a little known soul group that James produced ("My Lonely Hour", "Stand Up And Be Counted"), and some hard to find singles by the JBs, including their covers of "Watermelon Man" and "Backstabbers", plus a 2 part reading of "Giving Up Food for Funk", and the cuts "Everybody Got Soul" and "All Aboard the Funky Soul Train". The comp finishes off with 2 great Maceo cuts, and is an excellent package from PVine, and a must for the JB fan!

One of the most ambitious albums ever recorded from Clifford Jordan – a totally righteous little effort that was the first installment in the legendary Dolphy Series on the Strata East label! The set has Jordan working with a larger group than usual – an all-star array of players that includes Kenny Dorham and Don Cherry on trumpets, Julian Priester on trombone, Wynton Kelly on piano, Wilbur Ware and Richard Davis on bass, and drums from Roy Haynes, Ed Blackwell, and Albert Heath. The titles are originals by Jordan – long numbers that flow out slowly as they build up new musical ideas – all in a style that's somewhat laidback and spacious, very organic, and a bit like some of the best early 70s Impulse material by Archie Shepp. Album features 4 long tracks – "872", "Vienna", "Doug's Prelude", and "Ouagoudougou".

A sweet bit of funk from Hawaii – and a legendary bit of free soul that's been winning global fame for decades! Lemuria is the brainchild of Kirk Thompson – who plays piano, bass, keyboards, and vibes on this very spiritual set of tracks. Master Henry Gibson was one of the executive producers, and he also plays conga on the set – which recalls some of the more spiritual collective funky projects from the early 70s Chicago scene, given a bit of a tropical twist. Many tracks feature vocals by "The Ladies Of Lemuria" – a lovely trio that's got a bit of an Emotions sort of sound – but the jazziness of the tracks is a lot freer than the backings the Emotions ever got, with more of a west coast Fantasy Records kind of approach, touched with some Stevie Wonder-like warmth. Really great all the way through – and impeccably put together, despite the indie origins of the record. Titles include "Get That Happy Feeling", "Hunk Of Heaven", "Dreams", "Mister U", "The Making Of You", and "Mystery Love".

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".

A killer-diller bit of essential funk – the only full album cut by Maceo with James Brown production! The set's got Maceo coming back strongly into the JB fold, with a fierce array of funky cuts that kick it every bit as hard as the best JBs work of the time. No surprise, the JBs are working with Maceo on the arrangements and backing – letting his funky horn take the lead, but coming up on their own with the impeccably tight rhythms that have forever made them the blueprint for funk forever! Features the great tracks "Soul Power 74" and "Parrty", which you may have on compilations, but also the great album tracks "I Can Play For (Just You and Me)" and "Soul of a Black Man", a 10 minute long, slow soul groove, with vocals by James Brown!

One of the most righteous albums ever issued by the always-righteous Tribe Records label of Detroit – a really collective effort, one that features ensemble vocals and spiritual jazz – all pulled together by pianist Harold McKinney! The album showcases a group named Voices Of The Creative Profile – formed by McKinney to accompany his Creative Profile instrumental group – and the overall style is a great blend of spiritual soul jazz that gives equal time to the voices and instruments in the set. Gwen McKinney heads up the vocal ensemble, and other players on the set include Wendell Harrison on flute, Marcus Belgrave on trumpet, Billy Turner on percussion, and Ed Pickins on bass. Also features some cool moog from Darryl Dybka – and titles that include "In The Moog", "Freedom Jazz Dance", "Dolphin Dance", "Heavenese", "Ode To Africa", "Out Of The Blues", and "Cornerstone". CD also features 2 bonus tracks pulled from a single – "Ode To Africa" and "Jelly Loa".

A sweet set of electric funk from James Moody – and a great little record to match the grooves he was laying down at the Perception label in the early 70s – with a very unique sound! Moody's working here alongside some sweet work on electric piano by either Jodie Christian or Tennyson Stephens – and with some sly and soulful arrangements by Chicago soul maestro Richard Evans, who also plays bass on the record and gives it a style that's almost an extension of the later Cadet kind of groove. The album features an excellent funky instrumental version of " First Thing I Do In the Morning", originally a funky vocal 45 by Chicago singer Joyce Williams – and other cuts include "Trilby", "Don't Let Me Be Lonely", "World Is A Ghetto", "Good Sense Humor Man", and "Country City Country".

A very cool little album from Placebo – arguably the group's most soulful session ever, and one that draws heavily from American funky jazz at the start of the 70s! The grooves are nice and tight, and keyboards are focused on the most soulful sort of riffs – not nearly as tripped out as in later years, and really doing a great job of sending home the funky rhythms – almost in a way that's sort of early CTI at the best points! Marc Moulin's genius is already firmly in place – and he handles all arrangements, plus plays Fender Rhodes, electric harpsichord, and even what sounds like a bit of moog! Titles include "Humpty Dumpty", "Aria", "Showbiz Suite", "Ball Of Eyes", "You Got Me Hummin", and "Inner City Blues".

Seminal sounds from Placebo – one of the hippest electric groups going on the European scene of the early 70s, thanks to some great keyboards and electronics from the legendary Marc Moulin! Placebo's sound here is a unique approach to funky jazz – one that certainly draws from the electric modes of the American scene, and without any of the jamming elements of other Euro fusion groups – but there's also a touch of rockish inflection at points too – especially in the way the rhythms have a tightly pulsating groove. There's none of the indulgence of prog, but there's definitely a lineage going on somewhere in the mix too – and in addition to Moulin's keyboards, the group also features great horns from Nick Fissette, Alex Socrier, and Richard Rousselet. Titles include "Bolkwush", "Temse", "Balek", "Phalene", "Re-Union", and "Only Nineteen".

Kind of an offshoot of the Marc Moulin world of the early 70s – the self-titled album from Plus, a group made up of musicians from the funky combo Placebo! The vibe is much more open than with Placebo, but still shares lots of that group's great talent for mixing together jazz, funk, and trippy bits of prog – yet all in a way that's never too overindulgent, and always with a nice punch on most of the cuts! Drums are great, keeping things very interesting – and the horn passages run from Afro-styled lines with a nice exotic quality, to straighter jazz rock – augmented by some gritty vocals from time to time. Titles include "The Search", "Gimme Some More Of That", "What Did You Do", "Open Letter", "Put Everything Together" and "Enjoy Yourself".

A crazy bit of funk from drummer Roy Porter – a player who first rose to fame during the LA bop years of the late 40s, but who sounds even hipper here in the 70s! The album's got a madly skittish approach to funk – one that's highly rhythmic, but often in unconventional ways – somewhat similar to Redd Holt's excellent albums for the Paula label. Roy plays drums, percussion, and sings a bit – and the grooves run from break-heavy instrumentals to even cooler numbers that bring in more of a sense of flow and soul – really opening things up beyond any simple 70s jazz funk cliches, and hitting some really wicked new territory! Instrumentation includes plenty of great horns, electric piano, guitar, and even a bit of Arp – all used in really inventive anc reative ways. Titles include the classic crate-digging favorites "Panama" and "Party Time", plus a vocal version of "Jessica", a cover of Jobim's "Waver-ing", and another nice original called "Funny Feelin'"! Tremendous stuff all the way through!

Mad funky vibes from The Wooden Glass – a group led by vibist Billy Wooten – an obscure player in the history books, but one who has had a huge influence on 21st Century groove! Billy's got a hard style on the vibes that's like Bobby Hutcherson and Roy Ayers at their soulful best – working here with a tight combo that includes guitar and organ, very much in the mode of his classic work with the slightly more famous (although equally obscure) Indianapolis combo The Ninteenth Whole! The set's a live one, but it really cooks with a sweet electric feel – echoey, funky, and soulful – as tunes spin out in a staggering approach to the vibes that's unmatched by any record of its time. Billy was a huge influence on Madlib and the sound of Yesterday's New Quintet – and hearing this set, it's virtually a blueprint for that group's current work! Includes great covers of "In The Rain", "Day Dreaming", and "Love Is Here" – plus Wooten's excellent original tracks "Monkey Hips & Rice" and "Joy Ride".

The funky side of the Jewel & Paula labels – surprisingly jazzy work for a company that's best known for its blues recordings! Most of the tracks here come from a creative early 70s stretch for the label – and there's a number of cuts that show a strong connection with the AACM and Chicago undergrounds of the time – mixed with other tracks that show more of the southern roots that you might normally expect from Jewel/Paula. Electric and acoustic sounds mix together wonderfully in the track selection for the package – and titles include "Just A Feelin" by Ronnie Kole, "Chi Congo" by Art Ensemble Of Chicago, "Tropical" by African Music Machine, "L&T" by Tony Valor Orchestra, "Ode To Billie Joe" by Ronnie Kole, "First Thing In The Morning" by James Moody, "I Love Every Little Thing About You" by Odell Brown, "Toussaint Shuffle" by Toussaint McCall, "Got To Get Over" by Sonny Stitt, "One For Bud" by Mal Waldron, and "Great Stone Bottle" by Ronnie Kole.

Japanese grooves galore – and a great way to dip into these overseas goodies before spending a fortune on full length albums! The collection is wonderful – filled with funky jazz nuggets from the 70s that you'd never hope to find on this side of the Pacific – given that even back in the day, very few Japanese records of this nature ever got exported. Many of the tunes are electric – with at least a bit of guitar, bass, or keyboards – but there's also some brilliant acoustic soloing too, especially the horn parts. Titles include "No More Apple" by Takeo Moriyama, "Movement" by Ryusei Tomoyose, "Great Harvest" by Makoto Terashita, "Jumping Cats" by George Otsuka, "Dawn" by Mabumi Yamaguchi Quartet, "Wolf's Theme" by Seiichi Nakamura, "Soran-Bushi" by Norio Maeda, and "Moki" by Ryojiro Furusawa.

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.

Groovy takes on famous Stevie Wonder Tunes – all of them jazz-based, and played by some of the funkiest artists of the early 70s underground! The set's heavy on Hammond, Fender Rhodes, riffing guitar, and soulful sax – and cuts come from some of the best indie labels of the time – Groove Merchant, Mainstream, and even smaller imprints – all of whom were home to some pretty hip cats back in the day! The package has a sweet edge that really lives up to the high quality of the Return Of Jazz Funk series on P-Vine – kind of a summation of all the greatness the label's done in recent years, wrapped around the compositions of Stevie Wonder for extra impact. Titles include "Music Talk" by Paul Humphrey, "You Are The Sunshine Of My Life" by Pete Yellin, "Superstition" by Charles Kynard, "My Cherie Amour" by Cal Green, "You've Got It Bad Girl" by Richard Groove Holmes, "You Are The Sunshine Of My Life" by Tyrone Washington, "All In Love Is Fair" by Bubbha Thomas & The Lightmen, and "Super Woman" by O'Donel Levy.

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

Rare work from the San Francisco scene of the 50s – issued here on the Crown label, who usually just focused on the sounds of LA! As usual with Crown, the notes are a bit vague – but we can say that the set features some sparkling material that really matches the Fantasy Records 50s best of all players – although with a vibe that's slightly more rough around the edges – but we mean that in a good way! The set begins with a long take on Brubeck's haunting "At A Perfume Counter" – almost more of a showcase for the alto of Paul Desmond, which takes some turns and twists that are simply breathtaking – and which will have you raising your love of his talents another notch – if that's possible at all. Next is Desmond as a leader in the haunting "Purple Moon" – a number with a bottom bassy intensity that's a perfect foil for Paul's raspy alto in the lead. Last up is Cal Tjader on "Jazz Latino" – a number that's got a cool blend of vibes, piano, and guitar!

One of the most beautiful records to come out of the early 70s – a tremendous indie effort from a young Weldon Irvine! Irvine put this album together as sort of a musical "time capsule" of his generation – an effort to capture the era's thoughts, feelings, and emotions through a mix of music, vocals, and a few spoken bits – all woven together in a way that changes moods nicely, but always keeps the same righteously spiritual vibe! Weldon plays keys that are both electric and acoustic throughout – and he's joined by a very hip batch of players who include Jimmy Owens, Lenny White, Alex Blake, George Cables, and others – all working here in a very rough-edged and soulful mode. Titles include the classic break track "Bananas", the sweet vocal number "Deja Vu",and the soul classic "Feelin' Mellow" – also covered by Fatback Band, but even better here in the original! Other tracks include "Soul Sisters", "Watergate Don't Bug Me", "Spontaneous Interaction", and "I Am".

One of the greatest albums ever from pianist Ronnie Kole – a hip cat who played heavily on the New Orleans scene of the 60s and 70s – but who also had a soulful sound that was much more in keeping with piano work from the Windy City! This set has a nice crackle from the start – and although some of the cuts are ballads, Ronnie still brings in this gentle swing that's mighty nice – a bit in the way that Ramsey Lewis or Ahmad Jamal might have handled the cuts for Chess Records in the mid 60s – with a similarly hip approach to soul jazz. Some cuts feature a bit of added instrumentation from arranger Charlie Brent – and titles include the sweet "Great Stone Bottle", which has a nice break and some organ in the background – plus "Love Story", "Close to You", "Secret of My Soul", "My Sweet Lord", "He Ain't Heavy", and a groovy cover of "Sesame Street"!

The greatest session ever recorded by pianist Ronnie Kole – recorded for the Louisiana label Paula, but with all the feel of a Chess/Cadet session from the late 60s! All of this is no surprise, since Ronnie himself was an ex-Chicagoan, living in New Orleans – and the album's arrangements are handled by Richard Evans, the man responsible for some of the best work at Chess in the 60s. The set's very much in the vein of the Ray Bryant and Ramsey Lewis albums for Cadet that were handled by Evans – with hard left-hand piano in the front, and some bouncing arrangements in the back to give the set a nice syncopated kick! Includes a great version of Evans' "Leija", plus the tracks "RK's Boogie", "Slaughter On 10th Ave", "Sabre Dance", "Dark Eyes", and a great cover of "Ode To Billie Joe".

Hard soulful grooves from an obscure little combo – that of west coast pianist Johnny Louis, working here on a set that's clearly designed to challenge the 60s fame of the Ramsey Louis Trio! The record's got a very similar approach – highly rhythmic, very soulful piano lines that are heavy on the left hand – which fits perfectly with the album's jumping grooves – handled by a bassist and drummer who are definitely not as fluid as Eldee Young and Redd Holt – but who more than make up for that fact with a lot of drive and enthusiasm! Titles include "Cherry Pie", "Big Talk", "The Lunch Bunch", "Blues For Me", "Lonesome Me", "You Know I Love You", and "Rock Me Baby".

An unusual record that's had folks puzzling for decades – but one that's also kept their interest too, thanks to the quality of the music on the set! The record's got an unusual gimmick – in that it promises to feature all-star players encumbered by record contracts with other labels – listed as possibilities on the back that include Howrad McGhee, Wardell Gray, Teddy Edwards, Charlie Parker, and others. Yet it's our guess that this might be a pretty obscure lineup, but a great one too – and most numbers are live recordings, done with a hell of a lot of bop fire – quite possibly pulled from that late 40s stretch when Crown/Modern Records was doing a great job of capturing some of the early bop in LA! There's more than a few trumpets at times – and we're guessing one might be McGhee – and given their penchant for recording Vido Musso and Wardell Gray, it's quite possible both of these players are in the mix too. Yet despite the lack of real data on the players, the whole thing's a musical treasure with plenty of soulful bop on offer. Titles include "Ben's Mood", "Steady Teddy", "Deep Purple", "Big Boy (parts 1 & 2)", "Why Not", and "Stompin".

Mad heavy funk from this excellent Japanese combo – really hitting hard here on a host of covers of famous tunes – all returned to the group's sharp 70s instrumental approach! The groove is incredible – razor-sharp right from the start, and served up with perfect old school instrumentation – and just the right production to match – perfect for the tight horns in the lead, riffing guitar in the rhythms, and the warm organ that sews the whole thing together! And although we love their own songs, this set seems to sound extra-hip, given that it features work by Jimi Hendrix, Bob Marley, Herbie Hancock, Led Zeppelin, and others – a wicked array of re-tooled tunes that includes "Tell Me A Bedtime Story", "Too High", "Mean Street", "Power Of Soul", "Exodus", "Space Dust", "The Immigrant Song", "Blackbyrd's Theme", and "KITT".

Ammnesia? We don't know about you, but we still haven't forgotten these seminal house tracks from Larry Heard – easily some of the most exciting work of the Chicago scene – and music that really marked a bit step forward for the sound of the dancefloor at the time! Larry's working here on some really amazing keyboards – often used in ways that have a direct link back to 70s electronics from Herbie Hancock and others, yet served up in a leaner, stripped-down mode that went onto influence a whole batch of British musicians in the next decade as well. The whole thing's way more interesting than just the usual batch of dance tracks – and although the analogue keys have plenty of "acid" elements – they're also really a cut above that genre too. Titles include "Can You Feel It", "Washing Machine", "Beyond The Clouds", "Stars", "Waterfalls", "For So Long", "Amnesia" and "Mystery Of Love".

Deep deep deep soul from Bobby Powell – featuring tracks from his late 60s years at the Jewel and Whit labels, all cut in a super-tuff backwoods Louisiana style! The material shows Bobby at his best – stepping out in a rough vocal mode that's backed up by some raw arrangements that keep proceedings at a pretty rootsy level. A few cuts hit kind of a 70s funk groove, but overall, the main feel of the set is steeped in southern soul and R&B influences. 30 tracks in all – the best set of this material we've ever seen – with tracks that include "Question 71", "Our Love", "Cry To Me", "Hold My Hand", "Have A Heart", "Funky Broadway 69", "Into My Own Thing", "I Care", "I'm Not Going To Cry Over Spilt Milk", "The Bells", "Stay In Bed", "I'm Gonna Leave You", "Done Got Over", and "That Little Girl Of Mine".

One of the best of John Fahey's Takoma records of the late 60s – and made up of some great Fahey recordings that he made with other musicians – including some great ones with Fahey accompanied by his alter ego Blind Joe Death! Some of the tracks are folk & blues guitar tunes that are as easygoing and charming as they are adventurous – and others go into more of spooky Eastern raga inspired direction – and some tunes do both! Includes "Bottleneck Blues", "Bill Cheatum", "Lewisdale Blues", "Bean Vine Blues", "A Raga Called Pat Part III", "A Raga Called Pat Part IV", "Train", "Je Ne Me Suis Reveillais Matin Pas En May", "The Story Of Dorothy Gooch Part I", "Nine-Pound Hammer" and "Lonesome Valley".

A really really amazing package – the full story of the early years of Syl Johnson – one of the funkiest soul singers to ever come from Chicago! Syl's music has become the stuff of legend over the years – initially collected in rare funky 45s and two even rarer albums – then sampled heavily, compiled frequently, and spun out to a huge global audience that Johnson never had back in the day. Yet throughout the years, things were never done properly – and certainly with any sense of history or continutiy that would unite the music – until now. The folks at Numero have really outdone themselves this time – not just by including both CD (4 of them) and LP (6 of those) versions of the music in the set – but also by coming up with one of the most attractive, uniquely packaged records we've ever seen! The box and booklet alone are completely beautiful – the latter filled with vintage photos, personal recollections by Syl, and some great Numero writing – not to mention much-needed details on the recordings within. And the LPs each come in their own jackets – two of which mimic the original Twinight albums, the other four of which create Shama, Trip, and Federal label albums of Johnson's music – records that didn't exist back in the 60s, but which look as if they've come from a time machine! The CDs come in a very cool LP-styled jacket – and the whole thing slides together as sweetly as the funky music within. None of the Hi Records material is included – just material from labels that include Twilight/Twinight, King/Federal, Shama, TMP/Ting, Zachron, One-Derful, Cha Cha, Special Agent, and P-Vine – including a number of tracks never issued before. We could write for hours about how great this set is – but honestly, one look, or one listen, and you'll be hooked!

Totally great – and a record you probably know nothing about! The album's one of the greatest ever to come out of the Hotlanta scene of the 70s – a tight batch of funk tracks with a heck of a lot of guitar. The set was produced by Tommy Stewart, of "Bump and Hustle" fame – and it's got an unusual style that's equally appealing to fans of funk, and fans of clubbier music – lots of tight playing, hard riffing, and longer grooves that soar along with impeccable grace. The whole thing's almost like the classic Wood Brass & Steel album – but with some rougher edges that make it even better! Includes the great tracks "Vine City" and "Messin Around", both of which are very long funk tracks, plus shorter cuts that are just as funky, like "Down Underground", "Freddie's Alive and Well", and "Buttermilk Bottom". Don't pass this up, it's a funky monster classic!

Incredible southern soul from Tommy Tate – work recorded in the 70s for the Koko label, a good deal of which was never issued at the time! Koko never released a full album by Tommy back in the 70s – just a smattering of singles – so although his talents are mighty, he's been somewhat more lost to time in comparison to other labelmates at Koko or Stax – which is a goddamn shame, considering the brilliance of this work! Tommy's got a slight rasp in his vocals – just a touch, but the right amount to score a nice edge and a really distinctive quality that really sets him apart – especially in the sweeter moments. There's a style here that really gets to the heart of the matter – pushing past popular cliches in southern soul, and still showing that even as the 70s wore on, there were folks like Tate who could always make a record come out great. CD features 20 tracks in all – singles issued on Koko, other titles that only appeared later on a P-Vine CD, and even a few early numbers done for Stax with The Nightingales. Titles include "School Of Life", "Sanity", "Revelations", "I Ain't Gonna Worry", "Just A Little Overcome", "Identity", "It's A Bad Situation", "Hardtimes SOS", "If You Got To Love Somebody", and "More Power To You".

Amazing blues from the Georgia scene of the 70s – music that hardly feels like other versions of the genre coming out at the time – partly thanks to the raw recording quality of these tracks! Most of the music features just a singer and guitar – sometimes just one or the other – and the only other rhythm on the record comes from spoons or a bit of drums – which should give you an idea of the lean, rootsy sound of the record! The quality of the music is great, though – and the record feels like some older gem on Arhoolie or Yazoo. Titles include "James Boogie" and "Good Morning Little School Girl" by James Davis, "The Howlin Wolf" and "Old Red #2" by Jim Bunkley, "Poor Boy" and "If I Lose Let Me Lose" by John Lee Ziegler, "Love Blues" and "Hoochie Coochie Wagon" by William Robertson, and "Have You Ever Seen Peaches Grow On A Sweet Potato Vine" by Jimmy Lee Williams.

Some of the most godlike soul music to be recorded on this planet, and two of the best-ever albums by this amazing Chicago collective that included the late Minnie Riperton, and who were arranged and produced by the great Charles Stepney! Both albums feature swirling complex arrangements, filled with strange time changes, chord passages, and nice jazzy bits. Inside it all, the group's cool male/female vocal sound rings out – with Minnie singing on some cuts along, and in duet on others. Includes the band's classic "I Am The Blackgold Of The Sun" (covered recently by NuYorican Soul), plus "The Sea & She", "Hey Love", "Song For Everyman", "The Weight", "Respect", "Salt Of The Earth", and "Vine Of Happiness". Imagine if Scott Walker met The Dramatics, and you've only got part of the picture!

Van Dyke Parks' masterpiece – and one of the hippest records to come out of LA in the 60s! The album's a strangely anachronistic one – steeped in the kind of past-days scoring found on early records by Harpers Bizarre and Randy Newman (both of which Parks had a hand in!), wrapped around simply poetic songs about the scene and state of affairs in late 60s LA, all handled with a cinematic approach that's aging Hollywood at its best! Titles include Randy Newman's "Vine Street" – plus "By The People", "Laurel Canyon Blvd", "Donovan's Colours", and "The All Golden".

One of best ever albums by Tom Waits – the beginning of his gutbuckety, Americana Carnivalesque era of dreamlike sinister romance and lovelorn surrealism! The tin pan piano ballads and get pushed a bit to the wayside for Tom's more mysterious and poetic side, and this begins one of the great second acts in pop/rock history. Includes the tracks "Underground", Shore Leave", "Dave The Butcher", "16 Shells From A Thirty-Ought-Six", "Franks Wild Years", "Down, Down, Down", "Rainbirds", "Just Another Sucker On The Vine", "Town With No Cheer, and others.

A masterful set of recordings from Chicago soul chanteuse Ruby Andrews – tunes she cut for Zodiac Records between 1967 and 1973! Ruby could handle any soul style her producers threw her way, be it driving dancefloor stompers or pure torch balladry, but she had a way of infusing everything she did with a great sense of emotion. It's the same kind of emotive, deep soul sweep that was buried so heavily in Curtis Mayfield's recordings – perhaps it's the Chicago factor! Whatever the case, this is wonderful stuff – essential to anyone interested in the best late 60s/early 70s female soul! 28 tracks in all: "Uh! Uh! Boy, That's A No No", "Help Yourself (Lover)", "Whatever It Takes To Please You", "Tit For Tat", "Good N' Plenty", "Can You Get Away", "Let's Get A Groove Going On", "Just Loving You", "The Love I Need", "Come To Me", "Wonderful Night", "Away From The Crowd", "Didn't I Fool You", "You Ole Boo Boo You", "All The Way" and lots more.

Lost Latin funk from the Bay Area scene of the 70s – and an album that may well blow away better-known work by groups like Malo, Azteca, or El Chicano! The album's near-perfect right from the start – and brings in plenty of New York elements to the groove, thanks to the inclusion of a heady amount of jazz alongside the soul, Latin, and funk elements in the grooves! The legendary Teo Macero produced and arranged – and really takes a lot of care in the studio to focus the overall energy of the tremendous talents on the record – players who include Hadley Caliman on flute and tenor, Steve Marcus on soprano sax, Benny Velarde on timbales, and Francisco Aguabella on congas – plus the trio of Cesar, Mark Levine, and Merl Sanders on keyboards. Most numbers have this really full, flowing groove – jazzy, but with a strong emphasis on the rhythms – and often touched with some great work on guitar that echoes the Santana-inspired sound of the generation, yet never in a rock way at all. Linda Tillery sings vocals on a few numbers, but the main focus is definitely instrumental – and the whole album's great – with cuts that include "See Saw Affair", "Azucar", "Descarga", "The Devil & Montezuma", "Gotta Get Away", and "Bridges".

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!

An archetypal album by Roy – and one that really shows him at the turning point! Gone are the trippier jazz funk moments of earlier albums – and in their place are some tight grooves and wonderfully spacey soul. Roy hits the dancefloor with one of his first uptempo funk numbers "Brother Green", a catchy groover with lots of clavinet, and the massive "Life Is Just A Moment", a storming 2-part number that rolls along with a pounding almost house-like groove. "Mystic Voyage" shows the sweet jazzy side of Roy – as it's a vibes-heavy instrumental with a light stepping groove, perfect for the mellow direction he'd take on other records. The album also features some great off-beat funk numbers that recall earlier albums – including the break-heavy "Spirit Of Doo Doo", plus "Funky Motion" and "The Black Five".

An archetypal album by Roy – and one that really shows him at the turning point! Gone are the trippier jazz funk moments of earlier albums – and in their place are some tight grooves and wonderfully spacey soul. Roy hits the dancefloor with one of his first uptempo funk numbers "Brother Green", a catchy groover with lots of clavinet, and the massive "Life Is Just A Moment", a storming 2-part number that rolls along with a pounding almost house-like groove. "Mystic Voyage" shows the sweet jazzy side of Roy – as it's a vibes-heavy instrumental with a light stepping groove, perfect for the mellow direction he'd take on other records. The album also features some great off-beat funk numbers that recall earlier albums – including the break-heavy "Spirit Of Doo Doo", plus "Funky Motion" and "The Black Five".