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A one-off studio group, but a really great one -- the team of Moses Dillard and Jesse Boyce, teamed to serve up this sublime blend of keyboards, vocals, and strings! The album's one of the biggest crossover club hits from the Prelude catalog of the 70s -- but it's also a set that's got a lot more depth than most other pop disco records of the time. The tunes are all originals, and all nice and long -- in that Prelude focus on live instrumental interplay -- especially nice between the keyboards of Boyce and riffing guitar of Dillard! Strings slide in and buoy the whole thing up, and vocals are by the trio of Vicki Hampton, Donna McElroy, and Clyde Tucker -- mostly in a chorus mode. Titles include "Funk Encounter", "Dancing Angel", "Perfect Love Affair", and "Cosmic Melody".

Rob McConnell was one of the few leaders still flying the big band flag high at the end of the 70s -- and his work for the MPS label takes off where most of the imprint's bigger groups of the late 60s and early 70s left off. The group's got some strong players who had fame in their own groups -- like Moe Koffman, Sam Noto, Guido Basso, and others -- and the group's got acoustic horns in the lead, plus electric guitar, bass, and keyboards in the rhythm section, giving the album that nice juxtaposition used by some of the hipper big bands of the 70s. There's no real funky numbers here, but the sound is strong enough -- and titles include "The Waltz I Blew For You", "Start With Mrs Beanhart", "Twist Of The Wrist", and "Everything Happens To Me".

Minnie's first album for Epic -- and the record that broke her from a hip Chicago underground artist into one of the seventies' biggest soul divas! The record moves past the baroque soul of Minnie's early years with Rotary Connection and Charles Stepney -- and hits a mix of mellow compressed LA styles and slicker funkier numbers that do the same thing for her Chicago-trained vocals that Rufus' backing did for that of Chaka Khan. Of course, it helps that she's got some superbly sensitive writing and arranging help by husband Richard Rudolph -- and Stevie Wonder's definitely lurking in the background, too. Includes Minnie's huge crossover hit "Loving You", a perfect showcase for her beautiful 5 octave voice, plus the tracks "Our Lives", "Every Time He Comes Around", "Perfect Angel", and "Reasons".

A dream come true -- Minnie's first two solo albums for Epic, back to back on one CD! Perfect Angel was one of THE albums that helped define the sound of female soul in the 70s -- a record that moves past the baroque soul of Minnie's early years with Rotary Connection and Charles Stepney -- and hits a mix of mellow compressed LA styles and slicker funkier numbers that do the same thing for her Chicago-trained vocals that Rufus' backing did for that of Chaka Khan. Of course, it helps that she's got some superbly sensitive writing and arranging help by husband Richard Rudolph -- and Stevie Wonder's definitely lurking in the background, too. Includes Minnie's huge crossover hit "Loving You", a perfect showcase for her beautiful 5 octave voice, plus the tracks "Our Lives", "Every Time He Comes Around", "Perfect Angel", and "Reasons". Adventures In Paradise is even better -- and may well be Minnie's greatest album ever! The album's a sparkling work of jazzy soul, with touches of the heavenly production that Minnie got in years past, and lots of smooth mellow songs that are perfectly suited to her other-worldly voice. Includes the massive track "Baby, This Love I Have" -- a slow funk number that's be sampled many times over the years -- plus the spacey tunes "Minnie's Lament", "Inside My Love", and "Alone In Brewster Bay", remade from Minnie's first LP! 19 tracks in all -- and an essential CD for any fan of 70s soul!

Triumphant indie from the heart of the 80s -- the well titled Perfect Prescription from Spaceman 3 -- balancing feedback guitar squals and hazy melodies, heady bursts of noise with delicate, sweeter songs! The group again pays homage to the sonic psyche experimentalists of yore on a few numbers, and carve their own niche even better here, and the differing sensibilities of Jason and Sonic Boom providing tonal counterbalances that never better suited each other than on this album. Includes "Take Me To The Other Side", "Walkin With Jesus", "Ode To Street Hassle", "Ecstasy Symphony", "Transparent Radiation (Flashback)", "Feels So Good", "Things'll Never Be The Same", "Come Down Easy" and "Call The Doctor".

Magnificent stuff -- an a treasure trove of lost harmony soul! This is the kind of compilation that really gets us going -- 24 super-mellow soul tracks from the late 60s and early 70s, all of them done by male harmony groups with a stellar vocal approach. Some of the groups are ones you'll know, singing in a style that you may not recognize from their earlier years -- and others are obscure ensembles, the kind we treasure even more on a set like this! Vocals are wonderful throughout -- smooth, yet deeply soulful -- and often with the kind of sad and honest quality that we look for in harmony soul. Titles include "What Did I Do Wrong" by The Mayberry Movement, "I've Been Trying" by Reggie Saddler Revue, "Friends Or Lovers" by Act One, "Hearts Were Made To Love" by The Pretenders, "Please Don't Leave" by Tuxedo, "Baby It's You" by The Masqueraders, "You Send Me" by Ponderosa Twins Plus One, "I Am So Glad I Took My Time" by the Floaters, "Let Your Heart Be The Judge" by Gods Gift To Women, "What Am I Guilty Of" by The New Cymbals, and "Maybe So Maybe No" by The New Holidays.

Harmony soul -- our favorite kind of soul -- served up in a sublime batch of 24 rare tunes from the late 60s and early 70s, presented in an all-legit package with great sound and well-done notes! As with the first volume, there's a strong influence here from mid 60s Impressions -- a crackling vocal approach that's honest, personal, and heartfelt -- and never too smooth, even when the sound is sweet and warm. There's also a few well-chosen female group soul tunes on the set -- nicely offsetting the mostly-male approach to harmony with some key cuts that remind us that the girls could often go a deep in the genre as the guys. The whole thing floats along on a heavenly cloud of vocals and lightly-done backings -- perfect late nite listening, and a must-have set for any fan of the genre! Titles include "Keep On Trying" by The Invincibles, "Chapel Bells Are Calling" by The Insiders, "You're Gonna Make It" by The Festivals, "Daydreamer" by CC & Company, "I Like The Way You Love Me" by Foxy, "So Glad You're Home" by The Superbs, "Things Will Be Better" by The Just Brothers, "I'm Still Here" by The Notations, "Never Will I" by The Magnificent Seven, and "Someone Else's Arms" by Channel 3.

Minnie's first album for Epic -- and the record that broke her from a hip Chicago underground artist into one of the seventies' biggest soul divas! The record moves past the baroque soul of Minnie's early years with Rotary Connection and Charles Stepney -- and hits a mix of mellow compressed LA styles and slicker funkier numbers that do the same thing for her Chicago-trained vocals that Rufus' backing did for that of Chaka Khan. Of course, it helps that she's got some superbly sensitive writing and arranging help by husband Richard Rudolph -- and Stevie Wonder's definitely lurking in the background, too. Includes Minnie's huge crossover hit "Loving You", a perfect showcase for her beautiful 5 octave voice, plus the tracks "Our Lives", "Every Time He Comes Around", "Perfect Angel", and "Reasons".

A funky fusion of post-millenium Brazilian club groove and contemporary hip hop from Marcelo D2! MD2 does a great job of demonstrating the all inclusive groove at the core of disparate musical elements. Almost every tune has a sound rooted in percussive samba, but the vibe stretches through programmed and organic beats, bass, keys and scratches -- courtesy of Mixmaster Mike! The album was produced by "fourth Beastie" Mario Caldato -- who really brings his hip hop pedigree to the sound in ways that he did not when he produced Seu Jorge's album! Seu Jorge makes a behind-the-scenes appearance on the album, as does Shabazz The Disciple. The raps are in Portuguese, the groove has nu samba feel, with traces of electro, house, and hip hop love that stretches from Sugarhill to Shaolin. Tracks include "Pra Posteridade", "Vai Vendo", "A Maldicao Do Samba", "Loadeando", "Qual E?", "Batucada", "Eu Tiro E Onda" and more!

Triumphant indie from the heart of the 80s -- the well titled Perfect Prescription from Spaceman 3 -- balancing feedback guitar squals and hazy melodies, heady bursts of noise with delicate, sweeter songs! The group again pays homage to the sonic psyche experimentalists of yore on a few numbers, and carve their own niche even better here, and the differing sensibilities of Jason and Sonic Boom providing tonal counterbalances that never better suited each other than on this album. Includes "Take Me To The Other Side", "Walkin With Jesus", "Ode To Street Hassle", "Ecstasy Symphony", "Transparent Radiation (Flashback)", "Feels So Good", "Things'll Never Be The Same", "Come Down Easy" and "Call The Doctor".

An album that's every bit as hip as you'd expect from its Sam Rivers-inspired cover image -- a beautiful tribute to the modal jazz scene of the 60s, particularly the work of John Coltrane and some of his followers on Impulse Records! Apart from a cover of "Naima", though, the set's hardly a simple rehash of Coltrane modes -- as all other tunes are originals, and the band delivers them with a core piano trio groove, then adds in flute, tenor, and soprano sax on different tracks! Rhythm is at the heart of the record, and bassist/leader Jerker Kluge really moves the group with a pulsating sound on his instrument -- a deep, soulful tone that's matched beautifully by the brightly soaring piano lines of Jo Junghanss. A few cuts feature vocals by Julia Fehenberger, who further deepens the soul of the record -- and the whole thing's a massive killer -- like finding some lost Saba/MPS gem from the late 60s, with all the European jazz genius you'd expect from such a reference. Titles include "Heaven & Earth", "Naima", "Orange Flower", "Red Smoke", "Starlings Talk", and "Black Tiger".

An album that's every bit as hip as you'd expect from its Sam Rivers-inspired cover image -- a beautiful tribute to the modal jazz scene of the 60s, particularly the work of John Coltrane and some of his followers on Impulse Records! Apart from a cover of "Naima", though, the set's hardly a simple rehash of Coltrane modes -- as all other tunes are originals, and the band delivers them with a core piano trio groove, then adds in flute, tenor, and soprano sax on different tracks! Rhythm is at the heart of the record, and bassist/leader Jerker Kluge really moves the group with a pulsating sound on his instrument -- a deep, soulful tone that's matched beautifully by the brightly soaring piano lines of Jo Junghanss. A few cuts feature vocals by Julia Fehenberger, who further deepens the soul of the record -- and the whole thing's a massive killer -- like finding some lost Saba/MPS gem from the late 60s, with all the European jazz genius you'd expect from such a reference. Titles include "Heaven & Earth", "Naima", "Orange Flower", "Red Smoke", "Starlings Talk", and "Black Tiger".

Stunning work from Hipnosis -- an album that's far greater even than their debut -- and we loved that one a lot! The sound here is all jazz all the way through -- done in a lively, dancing, soaring groove that makes the album feel like a lost modal jazz classic on MPS or Saba -- and which easily puts Hipnosis at the top of a very elite group of club jazz artists that include Sleepwalker and Nicola Conte! 2 of the album's tracks have female vocals -- in a cool, breezy, Karin Krog-styled mode -- but the bulk of the set is instrumental, and takes its energy from rhythmic piano and Fender Rhodes lines, rolling acoustic bass passages, and some especially great angular work on sax and trombone! There's an energy here that we totally love -- and the album crackles with life from the very first note -- and never ceases to delight as it rolls through a brilliant set of tracks that includes "Soul Search", "Mad Angel", "Opposite Of Hamburg", "Dewendiana", "Nova Express", "Carrousel", and "Nimm Mich Mit".

A brilliant album of cosmic jazz from this up and coming German group! Hipnosis work in a territory that's half 70s fusion, and half underground club jazz -- in a style that kind of feels like what would have happened if Herbie Hancock recorded for Compost Records! The group boasts some excellent work on Fender Rhodes and reeds -- and most of the rhythms of the set have a loping, romping, modal feel -- giving the record that warmth and grooveness of a classic album on MPS -- showing that the European scene is still quite alive and well, and that all the years of sampled jazz records have finally lead to a great real jazz outing! File this one next to recent work by Sleepwalker and Koop -- and prepare to be quite impressed. Titles include "My Words", "Black Forest Stomp", "Faery Song", "Helio Kop", "Moonflower", and "Half & Half".

A brilliant album of cosmic jazz from this up and coming German group! Hipnosis work in a territory that's half 70s fusion, and half underground club jazz -- in a style that kind of feels like what would have happened if Herbie Hancock recorded for Compost Records! The group boasts some excellent work on Fender Rhodes and reeds -- and most of the rhythms of the set have a loping, romping, modal feel -- giving the record that warmth and grooveness of a classic album on MPS -- showing that the European scene is still quite alive and well, and that all the years of sampled jazz records have finally lead to a great real jazz outing! File this one next to recent work by Sleepwalker and Koop -- and prepare to be quite impressed. Titles include "My Words", "Black Forest Stomp", "Faery Song", "Helio Kop", "Moonflower", and "Half & Half".

Don't pass these guys up -- because they're a really great little group -- especially if you enjoy the jazzy soul of some of the recent releases on Sonar Kollektiv! Like the best SK groups, these guys work in a mode that combines soulful vocals, jazzy riffing, and a bit of electronics into a cosmic 21st Century groove -- one that's surprisingly organic, and which features a fair bit of live instrumentation on the set -- blending together electric keys and reeds, in a mode that gives the record plenty of nice 70s touches! There's a depth here that we really appreciate -- and we'd rank this one right up there with work by Georg Levin, Benny Sings, and maybe even Deyampert! Titles include "Sky Bird", "Loading", "Nu Words", "Beautiful Giants", "Crazy Baby", "Reset", "Mrs McCoy", and "Silverstar".

A nice amalgam of club beats, funky fusion and jazz groove from Mokadi -- another fine record from the ever-reliable Perfect Toy label! The group is centered around the lovely vocals of Dita von Aster, and wonderful work on keys by Ralph Kiefer, who worked similar magic with Hipnosis. There's a genuine group vibe to the proceedings, too -- which lends the groove an appeal that stretches well beyond the club jazz/dancefloor circuit! This record will sit well with similarly strong albums on labels like Compost and Schema! Tracks include "Voodoo Chant", "Human Natures", "My Favorite Things", "A 1000 Times", "Always Now", "Butterflies", "Rock The House" and more!

Laidback beats with an unusual feel -- a bit dubby at times, but with rootsy elements too -- almost in the modes we used to hear from Boozo Bajou a few years back! Gritty guitar, harmonica, and violin slide in and out of the beats and keyboards -- and most tracks feature English language vocals, some of which are sung by Earl Zinger -- others by Hugo Race, Bev Lee Harling, and Farda P. The whole thing's pretty moody and atmospheric -- almost a late nite trip through the sideshow promised in the title -- and cuts include "Crime Baby", "Telephone Call", "Rising Star", "No Deposit", "Foreign Woman", and "Underground".

The first full length set from Zero Crossing -- an album of stark electronics and jagged rhythms that follows nicely in the spirit of their earlier singles! The sound here is definitely steeped in some of the colder waves coming from the German scene of late -- that style that's explored more heavily by Compost and Sonar Kollektiv in the 21st Century, a real move away from warmer jazz influences into a groove that mixes 80s experimentalism with influences from a wide range of hip hop production. Guests include Kool Keith, Jaymz Nylon, and Ann & Marva Hershey -- and titles include "Mindhunter", "Da Game Is On", "Rhythm Of Life", "Darkness", "Interlude B", "Touching You", "Dancin With Brock", "Choose The Moose", and "Nu Funk".

Don't let the title or the bunny on the cover put you off, because there's nothing toy-like about these tunes -- and the package is an excellent batch of rare German grooves put together with the same high level as other collections on the Perfect Toy label! Ex-Spinning Wheel mainman Marcus Hacker put together this one -- and the grooves remind us a lot of some of the older SW sound library compilations -- all awash in flavors borrowed from Brazilian bossa, American funk, Brit easy, and other genres -- remodeled into a German economic miracle mode by a variety of jazz and studio players! The sound here is really really fresh -- funky, but with lots of odd little touches and unusual instrumentation -- a bit in the In Kraut mode, but more direct overall, and slightly less kitschy (although the set does have a few charming moments in that respect.) A number of tracks have vocals -- some sung, some scatted -- and titles include "Photographs" by Swegas, "Cameleon" by Kaate Frits Quartet, "Drift" by Orchester Heinz Kiessling, "Soul Samba" by The Earthquakers, "Guarana Guaranar" by Grupo Veneno, "Sara" by The Voices, "I Mimi" by Idili Tsaliki, and "Memories Of Yesterday" by Othella Dallas.

A second turn in the Movements series on the Perfect Toy label -- some of the most blazingly funky 45s you'll hear -- put together by the Tobias Kirmayer of Tramp Records! Once again we're floored by how great all of this stuff sounds -- some of the deepest, tightest funk material we've ever heard -- with snapping drums, perfectly timed horn blasts -- and some hard psychedelic soul touches of organ and wailing vocals -- while never falling short of unfailingly funky! 15 great tracks: "If It Feels Good" by Phil Flowers, "There's A Wrinkle In Our Time" by 1984, "Don't Chain My Soul" by Carlton Basco, "My Mind Set Me Free Pt 1" by House Guests, "Now Is The Time" by Sisters Love, "Southern Fried Chicken Pts 1 & 2" by Bill Thomas & The Fendells, "Warm Daddy's Choice" by River Front Band, "Bring Out Yourself" by Emperors Soul 69, "Bahama Soul Stew" by Funky Nassau, "Motherless Child" by Harmonica Paul, "Arabian Funk" by Ray Anthony and more!

The Berlin wall's been down for over a decade, but it's taken years for the western club scene to finally notice the great grooves coming out of the Eastern Block scene! For years now, artists in nations formerly locked off from more familiar European circuits have been dabbling in styles that not only share some of the best styles of work by artists like those on the Compost and Schema labels, but which also bear some unique traces of the strands of jazz and funk that percolated through the once-Soviet nations in the 60s and 70s. This package does a great job of pulling together the best bits from the Eastern scene -- and focuses on tracks that share a warm, jazz glow -- and which bubble out with a soulful finish that will certainly have us looking for more work from these artists in the future! The set features tracks from Warsaw, Lubljana, Zagreb, Budapest, and Prague -- and features a number of titles exclusive to this release! Titles include "Gold" by Innocent Sorcerers, "Tinkle Bells" by Electric Brother, "It's Just A Joke" by Rough & Ready, "Happy Dayz" by Klascik, "Free Climbing" by Painkiller Septet, "Bagdance" by Yannah, "Flyin Down To Rio" by Crate Soul Brothers, "Soul Oriental" by Onbeyond, and "Drop The Bomb (ZKA4T ft DJ Tall rmx)" by The Second Whorl.

The Berlin wall's been down for over a decade, but it's taken years for the western club scene to finally notice the great grooves coming out of the Eastern Block scene! For years now, artists in nations formerly locked off from more familiar European circuits have been dabbling in styles that not only share some of the best styles of work by artists like those on the Compost and Schema labels, but which also bear some unique traces of the strands of jazz and funk that percolated through the once-Soviet nations in the 60s and 70s. This package does a great job of pulling together the best bits from the Eastern scene -- and focuses on tracks that share a warm, jazz glow -- and which bubble out with a soulful finish that will certainly have us looking for more work from these artists in the future! The set features tracks from Warsaw, Lubljana, Zagreb, Budapest, and Prague -- and features a number of titles exclusive to this release! Titles include "Gold" by Innocent Sorcerers, "Tinkle Bells" by Electric Brother, "It's Just A Joke" by Rough & Ready, "Happy Dayz" by Klascik, "Free Climbing" by Painkiller Septet, "Bagdance" by Yannah, "Flyin Down To Rio" by Crate Soul Brothers, "Soul Oriental" by Onbeyond, and "Drop The Bomb (ZKA4T ft DJ Tall rmx)" by The Second Whorl.

Latin funk & jazz from Cesar's Salad -- bringing the Latin Beat and lots of it -- killing it on a percussion heavy set of numbers from the Latin, jazz, and Brazilian canons with their own hard grooving style! The sound is fully steeped in the classic influences, but those influences are quite diverse, and Cesar & co do a fantastic job of blending them into a tight package. It's small combo with a big sound, featuring Cesar Granados on congas, Hajo Von Hadeln on drums, Jerker Kluge on bass and Jo Junghanss on piano. Half the group is percussion & drums, giving it an inherent hip shaking groove, but the tunes with piano out front have a great sound, too -- with titles including "Jamilah", "Afrolypso", "Liberated Brother", "Manteca", "Bolivia", "Nana", "Afrodisia" and "Batucada Surgiu".

A totally great collection of grooves with a real range of material -- nearly all fresh to our ears, and the kind of record that really makes us sit up and take notice! The set's got a loose approach to the selections -- in that it features tracks from American and European sources, and easily blends together tunes from soul, jazz, funk, and easy records -- but that's what makes it so great, and so fresh, as the tracks stand wonderfully back to back, sounding like a hip club night at some far-away place, the kind of all-great set that has you keep getting out of your chair, walking up to the DJ, and saying "Sorry to bother you again, but what's that track you're playing?" Titles include "Creative Musicians" by Lyman Woodard, "Stop" by Lonette, "Shabazz" by Rhoda Scott, "Don't Boom Boom" by Lillian Hale, "The Barracuda" by Leonard King & The Soul Messengers, "Questions (parts 1 & 2)" by Pat Stalworth, "Concentrate" by Willie Tee, "Mabusso" by Orchester Ambros Seelos, "Jumping" by Charlie Antolini, and "Highway 101" by John Barry.

An incredible batch of funky jams -- a seemingly disparate range that burns together beautifully! The set kicks off in appropriately grimy fashion with Jimmy Lynch's "F**king Up" -- a gutterfunk blast that would make the JBs blush -- and the energy carries throughout the rest of the set! Curator Florian Keller's track list features powerhouse soul, percussion & keys instrumentals, psychedelic flourishes, soul grunts, and leftfield numbers from funky funky Europe! 19 tracks in all, including "Candy Man (edit)" by Josephine James, "Momma Momma" by Betty Barney, "You're Blowing My Mind" by "Bobby Wayne", "Give Me Mercy" by Ruff Francis, "Manifesto" by James Lewis, "Somethin' Going Wrong" by Malcouns, "And I Love You" by Darling Dears, "Love Is All You Need" by Madeline Bell, "Galaxy Medley" by Frank Hatchett and more!

Don't pass these guys up -- because they're a really great little group -- especially if you enjoy the jazzy soul of some of the recent releases on Sonar Kollektiv! Like the best SK groups, these guys work in a mode that combines soulful vocals, jazzy riffing, and a bit of electronics into a cosmic 21st Century groove -- one that's surprisingly organic, and which features a fair bit of live instrumentation on the set -- blending together electric keys and reeds, in a mode that gives the record plenty of nice 70s touches! There's a depth here that we really appreciate -- and we'd rank this one right up there with work by Georg Levin, Benny Sings, and maybe even Deyampert! Titles include "Sky Bird", "Loading", "Nu Words", "Beautiful Giants", "Crazy Baby", "Reset", "Mrs McCoy", and "Silverstar".

An obscure soul group, but a great one -- equally at home with a fragile harmony tune as they were with more uptempo groovers for the dancefloor! This one and only album from Act One is a perfect illustration of the best two sides of the east coast indie soul scene of the early 70s -- because some tunes are spare, simple, and heartbreaking -- really building off the best qualities of 60s harmony soul, but with a lot more sophistication -- while others are bolder, more upbeat, and positive -- really using the new studio modes of the time to send a few tunes really over the top! The mix is quite similar to Black Ivory at their best -- although the album's more under-discovered treasure -- and although it's the only record ever by the group, it's got a solidity that should have made them as big as any of the 70s stars on Atlantic or Philly International! Titles include "Goodbye Love", "Friends Or Lovers", "Tom the Peeper", "Party Hardy People", "I Don't Want To Know What You Do To Me", "Still Waters", "It's The Same Old Story", and "Love's Got Your Mind". CD also features the bonus tracks "I Never Had A Love Like Yours", "A Whole Love Of Love Makin", and "It Takes Both Of Us".

A landmark album -- even if it was the only session that Cannonball Adderley ever cut for Blue Note! The album was recorded at a time when Adderley was working with Miles Davis -- and as such, the session features a group that includes Miles, blowing in a cool tone that's a perfect offset to Cannonball's more soulful style. The rest of the group includes Hank Jones, Sam Jones, and Art Blakey -- and like John Coltrane's Blue Train, the record's more of an "special session" than the usual Blue Note album, but the strength of the players make it one of the more memorable records of its day! Titles include "Somethin' Else", "One For Daddy-O", and a nice moody take on "Dancing In The Dark".

A great little jazz album from Antonio Adolfo -- a Brazilian artist that you might know from his baroque pop of the late 60s, but who's working here in a much more stripped-down setting overall! Antonio plays piano -- in a group with guitar, bass, and drums -- and the tunes are all compositions by Chiquinha Gonzaga, all re-arranged by Adolfo as perfect vehicles for jazz expression -- light, lively tunes that bubble along nicely, and take some occasional turns towards a darker side. Titles include "Lua Branca", "Gaucho", "Anga", "Atraente", "Ismenia", "Satan", and "O Abre Alas".

One of the best albums ever by this legendary Chicago trio! Henry Threadgill, Fred Hopkins, and Steve McCall fall into perfect AACM formation on the album's 5 beautiful tracks: "I'll Be Right Here Waiting", "No 2", "G.v.E.", "Subtraction", and "Keep Right On Playing Thru The Mirror Over The Water". Great stuff, and one of their hardest to find!

A long-overdue session of ballads from modern tenor giant Eric Alexander -- a player we've always loved for his soaring, leaping lines on soul jazz sets -- but who also has just the right tone to carry off an album of mellow tunes and ballads! Alexander's tone reminds us a lot of the Sonny Rollins sound of the mid 60s -- that perfect, yet never too-polished style that Sonny was using when re-interpreting standards in a masterful demonstration of space and economy. The tracks on this set are a well-chosen lot -- and include 2 classic Mal Waldron ballads, "Left Alone" and "Soul Eyes", plus 2 takes on Earl Hagen's "Harlem Nocturne", and Alexander's own track "Gently". The group's a quartet, with Mike Le Donne on piano, John Webber on bass, and Joe Farnsworth on drums -- and the session's recorded with impeccable sound, in the Venus Records mode.

A warm groover from Lillian Alexander -- a killer cut from the Reynolds Records scene in the Bay Area -- catchy, compelling, and quite different than New York work of the time! There's some "Daylight" type piano that's really great -- tinkling along with the track on a hard edge -- and the midtempo vamping rhythm is perfect for Lillian's buoyant vocal approach!

An overlooked set from the Bay Area scene -- one of the only albums cut by Lillian Alexander, a vocalist who'd previously worked with both the Grateful Dead and Marvin Holmes & The Uptights! Don't let her work with the Dead put you off, because this set's all-soul, all the way through -- a surprisingly well-produced record for a small indie label -- with a great sort of polish on the ballads, and some nice tight instrumentation on the groovers! Overall, the sound's almost more late 70s than the early 80s date of the set -- not so much boogie, and a bit more funky soul overall -- including some bass-heavy groovers that are perfect for the dancefloor. Titles include "Can You Feel It", "It's Not Love", "Relays", "Sweet On You", "A Dream Without You", "Let Love Take A Holiday", "Love For Sale", and "You're Gone". CD features 5 bonus tracks too -- the previously unreleased "Lillian's Boogie", a TM Juke mix of "Love For Sale", and instrumentals of "A Dream Without You", "Love For Sale", and "Sweet On You".

A beautiful mix of gospelly soul and heavy Memphis production -- and the kind of heavy soul album that made Rance Allen one of Stax's best new artists during the 70s! David Porter produced and arranged, and the album has some great electric keyboard work by Rance that provides a perfect counterfoil for his rich baritone voice. The album's a lot more stripped down than later efforts -- with a rootsy sound that should have made Rance even bigger with the crossover crowd. Titles include "Talk That Talk", "The Painter", "Ring My Bell", and "Harlem Heaven".

A fantastic album from Gerald Alston -- a tribute to the mighty Sam Cooke, but one that's sung with lots of Alston's own charm as well! We're normally not big fans of tribute sets like this, but the setting turns out to be a perfect one for Gerald -- a batch of classic tunes, recorded with a classic style of production -- just the right fit for Alston's always-great vocals, and a new grounding in vintage soul territory! There's plenty of warmth in the set -- that soulful glow that Cooke first brought to his music -- and Gerald Albright adds in some great sax solos on most tracks, creating a bit of a jazzy vibe at points. Titles include "You Send Me", "For Sentimental Reasons", "Twistin The Night Away", "Cupid", "A Change Is Gonna Come", "Good Times", "That's Where It's At", "Bring It On To Me", and "Having A Party".

Cosmic jazz recast as cosmic electro groves by DJ Altz -- remixing the underground classic Isophonic Boogie Woogie LP by Roland Young! The original LP, an unusual blend of organic sounds and slight electronics, provides an excellent foil for Altz to playfully mutate into more of an electronic groover! Roland's original instrumentation -- electric bass clarinet with kalimba, bells, chimes, soprano sax, and a bit of "electronic drone" -- tripped out, jazzy sounds -- perfect to be recast as ambient dance music and also more of an eccentric chill out mode. Titles include "Crystalized Sky", "Magenta Loops", "Velvet Dreamin", "Fly Times", "Stillness" feat DJ Kensei (D 'n' B version) and "Funks".

One of the greatest albums to come from the New York underground of the early 80s -- even if it was a relatively big "hit" on a major label! Laurie Anderson is in perfect form here -- drawing on a strong tradition of avant garde performance, but without any of the indulgences that would mire down performance art in years to come. Instead, she's got a clean, clear style that's simply amazing -- spoken passages that are poetic and pointed, but which also have a slight undercurrent of wit -- a charming quality that never takes itself too seriously, even when the sounds and styles are somewhat dark. Instrumentation includes some great rhythm passages from David Van Tieghem, plus surprising performances from Rufus Harley on bagpipes and George Lewis on trombone. Titles include "From The Air", "Big Science", "O Superman", "Born Never Asked", "Walking & Falling", "Example #22", "Let X = X", and "It Tango".

A rare Leny Andrade album -- one that's pulled from her early bossa years, but recorded in Mexico with a slightly different feel! The group's a small one, and features some really great vibes from Breno Sauer -- played over lively bossa rhythms, that are always spare and jazzy -- a perfect setting that really brings out the best in Leny's voice! Group members sometimes harmonize behind Andrade's lead, making for an even groovier sound -- but Leny herself is usually more than enough, as she takes off here with a lot of youthful energy to keep things grooving. Titles include "Sarava", "Canto De Chegar", "Estamos Ai", "Noite Do Meu Bem", "Capoeira De Oxala", and "Samba Sarava".

Chapter two, and an even deeper set than India Arie's first Testimony album -- a record that shows a lot of growth in India's music, and a style that's even more mature and righteous than before! Arie's acoustic guitar is a key part of the instrumentation, and the album features a fair bit of mellower tracks too -- so that there's a sense of intimacy in the music that's really great -- the perfect setting for India's positive thinking and spiritual growth, which is documented somewhat in her copious notes inside the album's booklet! Most tunes have a warm glow, but one that's never smooth or commercial -- and guests on the album include Musiq Soulchild, Gramps Morgan, Dobet Gnahore, and Terrell Carter. Titles include "Long Goodbye", "Chocolate High", "Ghetto", "Therapy", "River Rise", "Pearls", "Better Way", "Yellow", and "He Heals Me".

Chapter two, and an even deeper set than India Arie's first Testimony album -- a record that shows a lot of growth in India's music, and a style that's even more mature and righteous than before! Arie's acoustic guitar is a key part of the instrumentation, and the album features a fair bit of mellower tracks too -- so that there's a sense of intimacy in the music that's really great -- the perfect setting for India's positive thinking and spiritual growth, which is documented somewhat in her copious notes inside the album's booklet! Most tunes have a warm glow, but one that's never smooth or commercial -- and guests on the album include Musiq Soulchild, Gramps Morgan, Dobet Gnahore, and Terrell Carter. Titles include "Long Goodbye", "Chocolate High", "Ghetto", "Therapy", "River Rise", "Pearls", "Better Way", "Yellow", and "He Heals Me". Includes 2 bonus tracks ; "A Beautiful Day" & "Beautiful Flower".

One of their all-time classics! If you've ever bought an Art Ensemble album and said "Hmm, what's all the fuss about?", get this one. It'll change your mind. The band is in perfect form -- and hits an incredible blend of free thinking modernism and soulful soloing, peppered with a healthy dose of humor. The tracks are shortish, and very tight -- and titles include "Jackson In Your House", "Song For Charles", "The Waltz", and "Get In Line".

Radiant grooves indeed from Atlantic Starr -- a group who really make things sparkle throughout this magnificent set! The group are at the height of their powers here -- skirting a perfect line between mainstream soul and upbeat club -- never falling too much into one style or the other, and never sounding as commercial as some of their contemporaries! There's a relaxed, easygoing feel to most of the grooves on the set -- never too much fake bass, nor too many electric touches -- and the vocals shift a bit from track to track, taking good advantage of singers Wayne Lewis, David Lewis, and Sharon Bryant. Titles include "When Love Calls", "Think About That", "Mystery Girl", "Under Pressure", "My Turn Now", "Does It Matter", and "Send For Me".

Smooth jazzy soul from one of the best in the business -- a wonderful solo LP by Patti Austin, as sweet and warm as her best work with Quincy Jones, but with a stronger spirit that's all her own! Arrangements are by Larry Rosen and Dave Grusin -- moody, mellow in a style that's perfect for Patti's voice -- and players on the set include Grusin, Eric Gale, Ralph MacDonald, and Richard Tee. Tracks include "I Need Somebody", "We're In Love", "Lost In The Stars", "Havana Candy", and "I Just Want To Know".

A great little album by Roy Ayers -- one that features none of his hits, but which has great examples of both sides of Roy's talents at the time. The dancefloor side of Roy kicks in with "Love Will Bring Us Back Together", an extremely catchy groover that's very much in the mode of "Running Away", with plenty of choppy funky riffs, and a good soul base at the core. Even better, though, is the mellow spacey side of Roy -- which shows up wonderfully in the cuts "Is It Too Late To Try" and "If You Love Me" -- two overlooked gems that float along in a perfect blend of jazz and modern soul, with great breathy vocals and vibes, very much in the spirit of stuff on the You Send Me album.

Seminal early funk work from Roy Ayers! The record catches him at that perfect point when he was turning from a straight jazz player into a sinister force in 70s funk -- and the group on the session includes super-hip soul jazz giants like Charles Tolliver, Sonny Fortune, and Harry Whitaker, running through short hip soul tracks that were very different than the style of music they were laying out on albums of their own. Roy's on organ, piano, vibes, and vocals -- and he also handles the arrangements, with extra help on strings by William S Fischer, whose usual dark touches come across very well here. The album features some great soul covers -- like "Ain't No Sunshine" and "Day Dreaming" -- plus the original tracks "Cocoa Butter", "Rhythms of Your Mind", and "Red Black & Green".

One of the best early soul albums by Roy Ayers! Roy's working here with Dee Dee Bridgewater, Edwin Birdsong, William Allen, Harry Whitaker, and other hip players -- a perfect crew to forge Roy's unique blend of jazz and soul. This is perhaps the first record to really have Roy stretching out in this mode -- moving more fully away from funky jazz, into a ream of vocal tracks that would make him one of the most unique artists of the 70s. This mid 70s period of Roy's career was remarkably fertile, creatively as well as for sheer productivity -- and Tears To A Smile is one of them that shows some the most artistic growth, and also a deeper sense of soul! Features righteous cuts like "2000 Black", "Ebony Blaze", "Time & Space", and "A Tear To A Smile" -- plus the mellow "Magic Lady", and a great remake of Earth Wind & Fire's "That's The Way Of The World".

One of the best early soul albums by Roy Ayers! Roy's working here with Dee Dee Bridgewater, Edwin Birdsong, William Allen, Harry Whitaker, and other hip players -- a perfect crew to forge Roy's unique blend of jazz and soul. This is perhaps the first record to really have Roy stretching out in this mode -- moving more fully away from funky jazz, into a ream of vocal tracks that would make him one of the most unique artists of the 70s. This mid 70s period of Roy's career was remarkably fertile, creatively as well as for sheer productivity -- and Tears To A Smile is one of them that shows some the most artistic growth, and also a deeper sense of soul! Features righteous cuts like "2000 Black", "Ebony Blaze", "Time & Space", and "A Tear To A Smile" -- plus the mellow "Magic Lady", and a great remake of Earth Wind & Fire's "That's The Way Of The World".

Warm, wonderful, and incredibly far-reaching in scope -- possibly the most ambitious record cut by Azymuth in recent years -- a perfect blend of jazzy fusion, Brazilian rhythms, and some of the London broken beat culture that the group have come into contact with through their label, Far Out. The sound is clean and spare -- a dance between percussion and keyboards that reminds us how great Azymuth can sound when they keep things simple. A few cuts have vocals, but the overall approach is instrumental -- and the record features production and programming by Roc Hunter, and was recorded by Kirk Degiorgio. Titles include "Tempo Classico", "Em Marica", "Partido Novo", "Sudade Do Doutor", "Nome Dele E Joan", "Algoado Doce", and "Rede De Espera". CD has 12 tracks in all.

An excellent early 70s set from Benny Bailey -- originally issued on Freedom, but recorded by Gigi Campi, with arrangements by Francy Boland -- and very much in the mode of work at the time on MPS. The session features Bailey as the lead soloist amidst bandmates from the Clarke-Boland Big Band -- including Francy Boland, Sahib Shihab, Tony Coe, and Tony Inzalaco. The smaller group's augmented by a string section that provides dark, but lush washes of sound -- dramatic texture that's perfect for Benny to blow blue solos over the top in a complicated way, but makes it sound easy. Francy Boland also conducted, and wrote a few of the tunes -- and titles include "Mirrors", "Flunkeyania", "At Ronnie's", "Effluves", "Everything Happens To Me" and "Sum Umbra". A beautiful set of somber, mellow work that gets in our soul -- and straight up wonderful!

An excellent early 70s set from Benny Bailey -- originally issued on Freedom, but recorded by Gigi Campi, with arrangements by Francy Boland -- and very much in the mode of work at the time on MPS. The session features Bailey as the lead soloist amidst bandmates from the Clarke-Boland Big Band -- including Francy Boland, Sahib Shihab, Tony Coe, and Tony Inzalaco. The smaller group's augmented by a string section that provides dark, but lush washes of sound -- dramatic texture that's perfect for Benny to blow blue solos over the top in a complicated way, but makes it sound easy. Francy Boland also conducted, and wrote a few of the tunes -- and titles include "Mirrors", "Flunkeyania", "At Ronnie's", "Effluves", "Everything Happens To Me" and "Sum Umbra". A beautiful set of somber, mellow work that gets in our soul -- and straight up wonderful!

An excellent album that's a perfect document of the strong impact that Quincy Jones had in the transatlantic jazz scene of the late 50s and early 60s. The set was recorded in 1960, and features two players that Quincy would leave behind in Europe to have a huge influence on the scene. Trumpeter Benny Bailey is the greatest of these -- and his impact on jazz in Germany and Sweden during the 60s and 70s cannot be discounted. The other is drummer Joe Harris, who does excellent work here in a group that includes Arne Domnerus on sax, Ake Persson on trombone, and Gunnar Svensson on piano -- all Swedes that Quincy picked up after touring the country heavily during the late 50s. The set grooves with the best of Jones' work on Mercury from the time -- and although Quincy's not listed in the credits, it's probably only because of contractual reasons. Titles are all Jones originals -- including "Meet Benny Bailey", "Plenty, Plenty Soul", "Fallen Feathers", and "The Midnight Sun Never Sets".

A treasure trove of work from this overlooked southern soul singer -- recordings that Sam Baker cut down in Nashville for the Sound Stage Seven label -- all brought together here in one very comprehensive package! Sam's got a voice that's pitched slightly higher than some of his contemporaries, but with soul that goes equally deep -- and the setting here is perfect for his phrasing, with nicely punctuated rhythms that give even the mellower cuts a nice kick up from the bottom! Baker's got a nicely sensitive approach at times -- which really makes the set great -- a nice mix of sophisticated styles that gets way past overdone southern soul modes. 22 tracks in all -- including "What Did Sister Do", "You Can't See The Blood", "Just A Glance Away", "Safe In The Arms Of Love", "I Believe In You", "I'm Number One", "Sunny", "I Can't Stand It", "Coming To Bring You Some Soul", and "Strange Sensation".

One of Gato Barbieri's better albums from the early 70s -- and like his other Latin-themed sessions, a swirling mix of soulful soloing, modal grooves, and unbridled emotion! Lonnie Liston Smith is playing piano on most cuts, and he's a perfect blend for Barbieri's horn -- giving it the same sort of soulful base as in his classic recordings with Pharoah Sanders -- and pushing the tracks with a pulsating modal undercurrent that keeps things moving throughout! Titles include "Merceditas", "Eclypse", "Bolivia", and "Vidala Triste".

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

Fantastic early work from Gary Bartz -- and probably his rarest record ever! The album was cut at a time when the young Bartz was first coming to prominence in the hip late 60s soul jazz group of Max Roach -- and Bartz's playing at the time is a perfect model of mid-Coltrane searching with some of the tighter sides of soul jazz that were being forged at labels like Blue Note by players like Hank Mobley or Lee Morgan. The record's a masterpiece of youthful soulful energy -- and the group includes Jimmy Owens on trumpet, Richard Davis on bass, Albert Dailey on piano, and Billy Higgins on drums, all players who are perfectly matched to fit Bartz's stridently creative vision. His solos on alto are impeccable -- some of the most meaningful we've ever heard on the instrument from the time -- and the album's a great one all the way through! Titles include "Air & Fire", "Eastern Blues", "Libra", "Freedom Of The Day", and "Disjunction".

Incredible material from a pair of underappreciated queens of Mississippi soul -- 70s Malaco material from Jewel Bass and Dorothy Moore -- together on this excellent compilation from Soulscape! Jewel Bass started as a session singer in her teen years, and recorded precious little material as a solo star, making these Malaco singles all the more precious! She pulls off a number of styles on a dozen tracks here equally well, from soaringly soulful ballads to funkier numbers, raw groovers to more polished gems. In contrast, Dorothy Moore made a bigger impact sales wise in the mid 70s, but still overlooked by history -- and she's another versatile singer who could pull of perfect female southern soul with big choruses and achingly soulful melodies, tearful ballads, and more uptempo numbers. Jewel Bass songs include "All Good Things Must Come To An End", "Sugar Britches", "Let Your Love Rain Down On Me", "It's Been A Long Time Coming", "Seeing You Again", "I'm Worried" and more. Dorothy Moore tracks include "See How They've Done My Love", "Same Old Feeling", "Cry Like A Baby", "Two Of A Kind", "I Know", "Diamonds" and more. 21 tracks in all, plus a cool unlisted track with Dorothy Moore plugging the US Navy, with her hit "Misty Blue" in the background!

Boogaloo -- and nothing but! This is the kind of groovy Latin soul record you always hope to find when digging for Latin sides -- and it's got that perfect mix of soul vocals and sock-boogaloo grooves that some of the best young combos were turning out in the late 60s. Bennito and crew have a tight firey lineup -- one that features vibes and piano over percussion, with good English vocals, and a nice penchant for catchy grooves. Titles include "Psychedelic Meditation", "Rhythm & Soul", "My Sherry", "Dignora's Guaguanco", and "Jumping With Me".

A great little 70s album by George Benson -- and kind of a sleeper amidst the bigger hits of his CTI work! The record's a nicely stripped-down affair, with arrangements by Don Sebesky that don't ever really get in the way of Benson's guitar, and instead provid a perfect platform for him to lay down some wonderfully dark and chromatic chord changes. The set kicks off with a Phil Upchurch-conceived funky version of "Take Five", and Phil also contributed the funky number "Full Compass" to the record. The real standout, though, is George's own "My Latin Brother", a great Chicano funk number that's a perfect outing for Benson's dope guitar!

Damn great stuff from Big Robb -- an artist who really knows how to get the right sound for a record like this! Robb was a member of Zapp back in the day, and he definitely brings a lot of Ohio funk into play on the set -- an unabashedly 80s style of the genre, put together with just the right sort of lean production and non-nonsense rhythms to win over anyone who's got an ear for a Troutman-inspired groove! There's also a surprising undercurrent of deep soul, too -- some really great mellower tracks that have Robb laying down vocals that have a really solid, soulful approach -- perfect proof that he's got way more to offer than just some wicked basslines, killer keyboards, and sweet vocoder bits. A record that really won us over right away -- with guests who include Kurtis Blow, Shirley Murdock, and The Bar-Kays! Titles include "Party 2 Nite", "If I Get Drunk", "Money", "Sexy Lady", "I Wouldn't Beg", "Chocolate Puddin", "Jerri Curl Muzic", "Any Man Can Make A Baby", "Who Is Bigg Robb", and "Grown N Sexy".

The fourth nearly flawless album of heavy genius from Black Sabbath -- featuring some of the mightiest rock riffs ever! Vol 4 is just the tiniest of notches below Master Of Reality and Paranoid in overall greatness -- which is the tiniest of possible complaints given that those previous two albums are among the few truly perfect rock and roll albums ever recorded! But this one has "Supernaut". Enough said. Other titles include "Wheels Of Confusion", "Tomorrows Dreams", "Changes", "FX", "Snowblind", "Cornucopia", "Under The Sun" and more.

Philly soul magic -- recorded in New Jersey! This unique little set offers a wonderfully different look at the hit Philly sound that was bubbling strongly on Atlantic Records during the 70s -- as it features 3 of the label's best acts in the genre, caught live in a special performance at New Jersey's Latin Casino -- often singing together on the same songs, in really special combinations that make the album way more than just a typical live set! Although backings were handled by Vince Montana, and production is by Norman Harris, the overall sound of the record is much earthier, more open, and spontaneous than any of the artists' work coming from Sigma Sound studios -- and the album's a great illustration of the "real" world in which these singers lived and performed, which is somewhat different than the near-perfect Sigma studio albums. Blue Magic, Major Harris, and Margie Joseph join together on a version of "I Love Music" at the start -- then Margie steps off for solo versions of "Ridin High", "My Love", and "Feelings" -- followed by a duet with Major Harris on "You're A Special Part Of Me". Harris then sings solo on "Loving You Is Mellow", "Love Won't Let Me Wait", and "I Got Over Love" -- and Blue Magic take over with a great run of tunes that includes a few medley numbers of other 70s soul hits, plus versions of "Haunted", "Bad Luck", "Sideshow", and "Chasing Rainbows". Margie Joseph then comes back to duet with the group on the numbers "What's Come Over Me", "I'm Gonna Make You Love Me", and "Funny Guy Funny Girl Funny Love". Phew! That's a heck of a lot of music -- and all of it great!

Sweet jazzy soul from Angie Bofil -- recorded in 1979 with Dave Grusin, who gives the album a smooth edge that really works perfectly with her vocals! The set's a perfect blend of the more soulful elements in the fusion scene of the late 70s, combined with Angie's warm vocal style and some excellent songwriting. Titles include "I Try", "Angel Of The Night", "What I Wouldn't Do", "Rainbow Child", "The Voyage", and a great cover of "People Make The World Go Round".

Wicked uptempo funky instrumentals from the great Hamilton Bohannon! The record captures him at a perfect point -- when he was taking advantage of the changing dancefloor scene to open up his groove a bit, but before he got lost in some of the triple-time tempos that ruined later albums. Titles include "The Funky Reggae", "The Bohannon Walk", "Bohannon's Beat Part 1", and "Gentle Breeze".

Taka Boom really sounds great in this set of 80s grooves -- tunes recorded in the middle part of the decade, but with some of the leaner styles of a few years before -- that near-perfect blend of beats and keyboards that sums up early 80s soul at its best! Taka's vocals have a strong sense of force here, but are never too over the top -- just right in line with the punch in the rhythms, and a bit of a change from her disco years. Titles include "Rock Yo World", "Middle Of The Night", "Butter Me Up", "Climate For Love", "Love On The Side", "Wait & See", "Love Bank", and "Pleasure Unit". CD features 3 bonus tracks -- "Love Party (ext mix)", and dub and extended mixes of "Middle Of The Night".

Incredible southern soul work from Bill Brandon -- a wealth of rare singles from the years before his better-known album on Prelude -- all handled by landmark producers Sam Dees, Spooner Oldham, and Quin Ivy! With help like that in the studio, you can imagine that these singles are just about as perfect as can be -- classic southern deep soul, completely without gimmicks or cliche, at a level that few of Bill's contemporaries were ever able to match! Brandon's got an especially wonderful way with a mellow tune -- and most of the best numbers here step around gently on the bottom, letting Bill's vocals dominate strongly, often with the kind of heartbreaking quality you might expect from east coast harmony soul -- but definitely tinged with enough styles to showcase their Alabama roots. CD features a whopping 24 tracks in all -- originally issued on the Quinvy, South Camp, Moonsong, and Piedmont labels -- with titles that include "Rainbow Road", "Self Preservation", "I'm A Believer Now", "I Am Free Of Your Love", "Whatever I Am I'm Yours", "Stop This Merry-Go-Round", "I'll Be Your Puppet", "Good Guys Don't Always Win", "Doing Right Don't Wrong Nobody", "Let Me Be Your Full Time Groover", and "Piece Of My Heart".

No splashdown here -- as Breakwater are every bit as soaringly soulful as they were on their debut set! The groove here is that perfect blend of jazz and soul that only a few groups in the 70s really got right -- maybe Pleasure, or The Blackbyrds -- and most certainly Breakwater, who were one of the reigning champions of the scene! Rhythms are often upbeat, but not in a disco or club-oriented way -- and the instrumentation is tight, but never slick or smooth -- always nicely funky with a nice little crackle, even on the mellow cuts -- in a way that's opened up this album to new audiences for many years. This set's got a nice bit of moog that wasn't on the group's first -- used almost in Mizell-like to further enhance the sound -- and titles include the classics "Say You Love Me Girl", "Let Love In", "Time", and "The One In My Dreams". Great stuff, and with a really beautiful vibe!

No splashdown here -- as Breakwater are every bit as soaringly soulful as they were on their debut set! The groove here is that perfect blend of jazz and soul that only a few groups in the 70s really got right -- maybe Pleasure, or The Blackbyrds -- and most certainly Breakwater, who were one of the reigning champions of the scene! Rhythms are often upbeat, but not in a disco or club-oriented way -- and the instrumentation is tight, but never slick or smooth -- always nicely funky with a nice little crackle, even on the mellow cuts -- in a way that's opened up this album to new audiences for many years. This set's got a nice bit of moog that wasn't on the group's first -- used almost in Mizell-like to further enhance the sound -- and titles include the classics "Say You Love Me Girl", "Let Love In", "Time", and "The One In My Dreams". Great stuff, and with a really beautiful vibe!

A disco double-header! First up is Love Shook -- classic disco from Pattie Brooks, and a soaring 70s set that's right up there with the best Casablanca Records grooves of the time! The rhythms here are upbeat and lively -- strings mixed in with quick-stepping rhythms, all set to the vocals of Pattie, which have just the right sort of flow to take off nicely in the setting! Titles include "Love Shook", "Let's Make Love To The Music", "Girl Don't Make Me Wait", and a totally cool "Pop Collage Medley", which features bits of "Popcorn" and "Na Na Hey Hey Kiss Him Goodbye". Next is Our Ms Brooks -- a record that has Pattie reunited with the Soul Galore production team -- working with backdrops that are full, but never too overblown -- right in that perfect Casablanca mode! Titles include "Heartbreak In Disguise", "After Dark", "This Is The House Where Love Died", and "The Back-up Singer".

One of the two beautifully sweet albums of soul that the lovely Sheree Brown cut for Capitol in the early 80s. This one has less of a smooth jazzy sound than her first one, but it compensates by adding some tracks in a nice 80s groove mode -- pushing the sound a bit further than before. Sheree still sings lead with her fragile Minnie Riperton-esque voice, and she also plays a fair bit of acoustic guitar on the LP -- and the LP features guest work by Syreeta, Stevie Wonder, and Patrice Rushen, all a perfect fit for Sheree's lightly jazzy style. Tracks include "On My Way Home", "Feels So Good", "Love Only Knows", "Got To Get Away", and "Happy Music".

An excellent album of smooth jazz funk -- and despite the fact that it was a monster hit for Tom, it's still pretty hard to find on wax! The record is a perfect example of how great R&B jazz fusion could be -- before labels like GRP went off the smooth jazz deep end, and ruined the whole thing! Tom's funky trumpet's set in a group with players like Lesette Wilson, Jorge Dalto, Bobby Broom, and Marcus Miller -- and the arrangements are by Tom, Weldon Irvine, Lesette Wilson, and Dave Grusin. Includes the funky classic "Funkin For Jamaica", plus "Her Silent Smile", "Moon Rise", "Nocturne", "Forever More", and "Weak In The Knees".

Sweet, smooth, and soulful work from Peabo Bryson -- a perfect little record that captures him at a point when he was definitely tightening up his act, but not falling into the soppier traps of later years! Production here is shared by Peabo with the great Johnny Pate -- who seems to have a great ear for Bryson's maturing style -- managing to couch the vocals in some of the more sophisticated modes formulated on the Chicago scene in previous years, but also with a bit of the west coast modern twist that Capitol was really bringing to the table in the soul business at the time! All tunes are originals by Peabo, and titles include "Crosswinds", "I'm So Into You", "Smile", "She's A Woman", "Love Is Watching You", and "Don't Touch Me".

One of Chico's strongest albums of the late 70s -- a masterful set of sophisticated tunes, recorded with some great guest help from Milton Nascimento, Zizi Possi, and Elba Ramalho! The album's got a slightly melancholy feel overall -- not completely somber, but a slightly world-weary sound that makes the album a bit different and more mature than some of Chico's earlier work -- and which beautifully unlocks a new chapter in his tremendous talents. The style is great -- perfect for Buarque's growing international fame at the time, but not in a way that's ever too commercial. Titles include "Calice", "Feijoada Completa", "Tanto Mar", "Apesar De Voce", "Pequena Serenata Diurna", and "Ate O Fim".

Previously-unreleased work from the Budos Band -- recorded a few years back in Brooklyn, and finally seeing the light of day on this sweet vinyl-only EP! The grooves here are wonderful -- and show the group really picking up a lot of global elements in their funk -- some key Ethiopian lines in the horn passages and keyboards, mixed with deeper American elements in the rhythms -- all wrapped up with the kind of perfect production that's always made the Daptone label one of the most trusted imprints we know for deep funk! Stunning throughout -- and why the hell they didn't release this stuff years back is beyond us -- but we're more than happy to have it now. The set features 6 tracks that include "Ephra", "Nobody's Bulletproof", "Smoke Gets In", "Hidden Hand", "Mas O Menos", and "The Proposition".

A perfect title for a perfect record -- especially given all the love we've felt from Build An Ark over the years! The album's a masterpiece through and through -- easily the greatest statement ever from this already-amazing band -- a contemporary ensemble, but one that we'd seamlessly rank right next to our righteous favorites on labels like Impulse Records, Tribe, or Strata East -- with all the political power and sense of social mission those references would imply! The song titles alone will give you a great idea of the beautiful vibe behind Build An Ark -- tunes like "Celebrate", "How Do We End All This Madness", "Love Is Everywhere", "World Peace Now", and "This Prayer For The Whole World" -- which re-ignite the Love Supreme candle first lit by John Coltrane in the 1960s -- burning brightly again in the 21st Century, and almost even more inspiring -- given the youthful energy of the group. As always, mainman Carlos Nino deserves a hell of a lot of credit for getting something this great, this right -- but the group is also very clearly a collective, and draws amazing energy from members who include Dwight Trible, Kamau Daaood, Miguel Atwood-Ferguson, Damon Aaron, Jim Lang, and others. In addition to above-mentioned titles, other tunes include "Sweet Thing", "World Music", "More Love", "In The Park", and "Play The Music".

An album of stunning beauty, and one of Solomon's best-ever! He's recording here in a vein that's more in keeping with the smoother Southern soul sound that began to dominate later in the generation -- with weeping guitars, soaring strings, and smooth keyboards -- and the sound is a perfect accompaniment to Solomon's raspy voice, and actually brings out a lot more soul than his rootsier recordings. The title cut is a stunning love song that taps into the natural force of magnetism, and which shows that Solomon hasn't lost an ounce of his talent. Other cuts include "Stand", "No Man Walks Alone", "Bridge Of Life", and his weird medley of Elton John tracks, called "Three Psalms of Elton".

An album and a half from Ann Burton -- two rare gems together on a single CD! First up is He's Funny That Way -- a unique 45 rpm album, recorded in Japan during the 70s -- and a set that features Burton at all her intimate best! Backing is by a trio that features Ken McCarthy on piano, and the sound is relatively clear, and quite subtle at points -- really leaving Ann's vocals right out front, singing with their own inherent sense of swing -- even at some of the more gentle moments. Titles include "Rainy Days & Mondays", "He's Funny That Way", "Exactly Like You", and "You'd Be So Nice To Come Home To". Next up is the full album Some Other Spring -- a date recorded in 1980, with an equally laidback feel! Burton's singing with only bass and piano for accompaniment -- no drums at all, which makes for a very gentle, laidback sound -- a perfect showcase for Ann's unique talents. Given that Burton was easily one of the most sensitive singers of the 70s, the lack of instrumentation is hardly a challenge -- as she makes things swing beautifully all on her own, even when mellow -- and has this way of holding rapt attention without any need for other instrumentation. Titles include "The End Of A Love Affair", "Lover Come Back To Me", "The Days Of Wine & Roses", "It's A Pity To Say Goodnight", "Baubles Bangles & Beads", "Some Other Spring", and "What Is There To Say".

One of those songs that grabs you right from the get-go -- a beautifully heartfelt ballad from the Carolina scene of the 70s, as perfect as it is honest and rough! Paul Burton's vocals have a nice sort of rasp at the top -- a kind of limit that keeps him reaching and stretching as he puts over the tune -- and there's also a guitar in the background that has a similar sense of soul -- almost a Little Beaver quality at points, slinking nicely in between the fuller horns on the top.

Groovy! This is a great A&M/CTI album of easy funky grooves, with all the great backing you'd expect on a record like this! Players include Herbie Hancock, Ron Carter, and Jerome Richardson -- and of course, Artie Butler, who plays piano and ondioline in a very groovy way. The whole thing has that perfect blend of easy scoring and funky jazz that you find on the best early A&M/CTI albums -- and it includes lots of nice cuts like "The Loop", "Max's Brazilian What", "In The Heat Of The Night", and "Music for Night People".

An overlooked sleeper from Jerry Butler -- the kind of record that follows nicely off of his best strengths for Mercury in the early 70s -- and which has him furthering the level of mature soul that was his greatest contribution to music in the decade! As before, the best tunes here are often the mellower ones -- sung in a mode that's warmly soulful, and which often raises the bar for mainstream soul -- to a level that would allow a lot more work to come from other singers a few years later. The title cut -- "Love's On The Menu Tonight" -- is a perfect illustration of this style -- and other cuts include "The Devil In Mrs Jones", "Thank You Early Bird", "I'm Goin Left", "Don't Let This Smile Fool You", "I Don't Want Nobody To Know", and "This Is Your Life".

Full-on frenetic funk from Cameo -- one of the group's tightest albums, yet still without any of the too-slick sounds of later years! The sound here is amazing -- and we always find ourselves wondering how a group of guys can hit such perfect grooves with just a bunch of basses, guitars, and keyboards -- a totally on-the-money style that vamps, leaps, and jumps with energy throughout. The vocals are great too -- bubbling up in the mix almost like another instrument -- and the album's got a depth that so many other copycat funk records from the time just couldn't touch. Wonderful throughout -- with tracks that include "Shake Your Pants", "Cameosis", "On The One", "We're Goin Out Tonight", and "Please You".

The title might tangle your tongue, but GC Cameron's vocals are plenty darn smooth throughout -- surprisingly great work that has this 70s soul legend sounding almost as great as on his classic early work for Motown! Cameron's sense of soul hasn't dimmed a bit over the years -- and the lean, contemporary backings of the album prove to be a perfect fit for his marvelous voice -- almost an illustration of the way that GC influenced countless younger male singers of the past few decades. There's almost a mellow Marvin Gaye quality to the record -- as GC's voice has a wonderful crackle, and a hell of a sensuous feel -- slinking out beautifully over laidback instrumentation, and getting a bit of harmony support at points too. Titles include "Running Back For More", "Please You Baby", "Hearts On Fire", "Fix Me", "So Close To You", "Love Survives", "Love Makes Me High", and "Enticed Ecstasy".

A near-perfect piece of early 80s pop from Captain Sensible -- light years away from his work with The Damned, and we mean that in a good way! The record's got a charm that's undeniable -- a simple, witty brand of pop that's never too overdone, nor too cloying -- put together with a fair bit of electric instrumentation, but never in a way that's too soulless, nor too aimed at the charts. Instead, the Captain's got an easygoing way with a tune that really makes these simple songs work -- kind of a sing-song quality that's very much what you'd expect from his bigger hits -- holding up surprisingly well over the course of a full album. Tony Mansfield produced, Robyn Hitchcock plays guitars, and titles include "It Would Be So Nice", "The Power Of Love", "Royal Rave Up", "Sir Donald's Son", "Thanks For The Night", "It's Hard To Believe I'm Not", and "I Love You". CD features 7 bonus tracks -- including "Come On Down", "One Christmas Catalogue", "Woman Sago", "Back To School", and "There Are More Snakes Than Ladders".

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

Sublime smooth soul from Jean Carn -- who by this point has really honed her act into a polished one, perfect for the rising modern soul groove of late Philly. The record features production by Jerry Butler, Dexter Wansel, and Eddie Levert -- but Jean unites the whole thing with her mature sense of poise, and her warm and loving vocals on classic cuts like "My Love Don't Come Easy", "Was That All It Was", and "When I Find You Love". A real gem -- and another winner for one of soul music's greatest ladies!

A solid thumper that sends off the 10th Anniversary of Especial Records in a big way! "Never Let Me Down" is a stone anthem with a really timeless feel -- just the kind of soul-drenched club that Especial first started putting on wax a decade ago, and a perfect track to celebrate their never-ending commitment to great grooves! Vocals are by Dani Bates -- soaring out over lots of warm keys -- and the instrumental and dub versions extend out the groove in a slightly mellower sort of way.

One of the best Curtom dancefloor projects from the label's later disco years -- an all-out clubby set from vocalist Ava Cherry, recorded both at Curtom and Sigma Sound! Unlike other Curtom disco efforts, which almost seem to carry an apology for taking a straighter singer onto the dancefloor, this set has an unabashedly joyous feel -- one that's perfect for Ava's richly soulful vocals, which hit the backings here with the same force as some of the best disco divas on Salsoul. Arrangements are by Bobby Eli and Gil Askey -- and titles include "You Never Loved Me", "I Just Can't Shake The Feeling", "Where There's Smoke There's Fire", "Gimme Your Lovin", "Single Woman Married Man", and "I'm Always Ready".

Fantastic Chi-Lites is right, because the group's still going strong even after their hit years on Brunswick -- stepping forth with a sweet harmony sound that nicely fits the Philly arrangements they get on this set! There's a maturity here that gets past the fragile soul of earlier sets, and which has the group moving into a warmly adult mode that's a perfect shift from their more familiar hits. Includes the classic club groover "My First Mistake" -- a stunning track that recalls the best work of groups like Blue Magic or Double Exposure -- and other tracks include "I've Got Love On My Mind", "If I Had A Girl", "Who's In Love With Me", "Let's Touch", and "Love At Its Best".

Beautiful hardbop -- and one of Sonny Clark's best albums! The My Conception session was originally recorded in 1959, when Clark was at the height of his powers -- but it was never issued until 1980, and even then, only in Japan, where it soon went out of print. The set's got Clark at his most lyrical -- playing with a lot of hardbop fire, but also some touches of Horace Silver soulfulness, a perfect match for session-mates Donald Byrd and Hank Mobley. Mobley's in particularly fine form at this point, and the whole set's a real winner -- even more so since it's paired here with another lost session, one from 1957 that features Clifford Jordan on tenor and Kenny Burrell on guitar. There's a total of 9 brilliantly remastered tracks on the CD -- and the set's one of the best bunch of tracks we've ever heard from the great lost piano talent of Sonny Clark. Titles include "Little Sonny", "Junka", "Blues Blue", "Minor Meeting", and "Royal Flush".

Two of Stax's best female singers -- together on one CD! Both artists only ever cut singles for the label, and they've been tragically overlooked because of the lack of any full albums in their recorded legacy. Judy Clay has a wonderfully sweet sound, and during the late 60s, she cut some great tracks for Stax on her own, and in duets with William Bell. The greatest of these is the legendary "Private Number", an insanely wonderful track that's like a 3 minute version of Penelope's role in The Odyssey. Other tracks by Clay include "Love Eye Tis", "Give Love To Save Love", "Children, Don't Get Weary", "Remove These Clouds", and "My Baby Specializes". Veda Brown had a deep rich voice that was perfect for the heavy soul style that Stax was using in the early 70s -- and the CD includes 8 nice singles, including "Don't Start Lovin Me", "I Can See Every Woman's Man But Mine", "Short Stopping", "I Know It's Not Right", and "Living A Life Without Love".

One of the best American psyche albums we've heard from the late 60s -- a near-perfect record that's head and shoulders above the rough experimentation of most other groups from the period! Colours spell their name with a definite British twist, and there's clearly a Beatles influence going on here -- a sound that's almost pre-Sgt Peppers, but which has wonderfully complicated time changes, vocal parts, and production techniques that must have cost a pretty penny to such a little-known group! Horns and strings are arranged by Dave Roberts, and handled with a sensitivity that almost matches The Zombies' best at times -- and the tunes themselves are a fresh variety of odd themes, including one number about robbing a liquor store. Titles include "Brother Lou's Love Colony", "Bad Day At Black Rock Baby", "Love Heals", "Rather Be Me", "I'm Leaving", "Cataleptic", "Don't You Realize", and "Lovin".

Seminal 70s work from one of the most righteous jazz musicians ever! On this set, Alice Coltrane moves past the rawer spiritual sound of her Impulse albums -- working with a more focused vision and an approach to jazz that takes her way past the identity of just being "Mrs Coltrane", into territory that's a more perfect expression of her spiritual vision. The approach calls for more ambitious orchestrations, yet never in a way that overwhelms the jazz basis of the music -- and Alice herself is on Fender Rhodes, organ, and harp -- working with players who include Fred Jackson and Hubert Laws on reeds, Oscar Brashear on trumpet, George Bohannon on trombone, Charlie Haden on bass, Ben Riley on drums, and Armando Peraza on congas. Titles include "Spiritual Eternal", "Om Supreme", "Morning Workshop", "Wisdom Eye", and "Los Caballos".

4 long tracks with plenty of room to roam around -- a perfect setting for a young John Coltrane to demonstrate his distinctly different approach to the tenor sax! The album's one of Trane's key classics for Prestige -- a quartet side that features backing by the trio of Red Garland on piano, Paul Chambers on bass, and Art Taylor on drums -- very open, and uniquely creative -- especially in some of the more surprising moments! Titles include a great version of Jackie McLean's "Little Melonae", plus "Rise N Shine", "If There Is Someone Lovelier Than You", and "I See Your Face Before Me".

4 long tracks with plenty of room to roam around -- a perfect setting for a young John Coltrane to demonstrate his distinctly different approach to the tenor sax! The album's one of Trane's key classics for Prestige -- a quartet side that features backing by the trio of Red Garland on piano, Paul Chambers on bass, and Art Taylor on drums -- very open, and uniquely creative -- especially in some of the more surprising moments! Titles include a great version of Jackie McLean's "Little Melonae", plus "Rise N Shine", "If There Is Someone Lovelier Than You", and "I See Your Face Before Me". CD also featuers one bonus track -- a 12 minute version of "By The Numbers".

Soulful genius from the great Norman Connors -- mid 70s and early 80s material that's very much the heart of his soul years at Buddah and Arista -- some of the sweetest and grooviest soul of the era! Every piece is in place, but never precious, with Norman's jazz pedigree and impeccable musicians at play here finding that perfect balance of smoothed out soul and jazzy grooves. It features highlights from Saturday Night Special, You Are My Starship, Invitation and other classic LPs, with Jean Carn, Phyllis Hyman, Michael Henderson and others on vocals, with players like Gary Bartz, Eddie Henderson, Lee Ritenour and others in the mix. 14 tracks in all: "Valentine Love", "We Both Need Each Other", "Romantic Journey", "Captain Connors", "Take It To The Limit", "You Are My Starship" and more.

Wonderful wonderful wonderful -- and one of the best albums we've ever heard of modern bossa and soundtrack grooves! For years, Nicola Conte has been a seminal force in the new Italian scene -- working as a DJ, promoter, producer, and sometimes recording artist under the odd 12" single. This album marks his first full effort -- and after years of bubbling under in the Italian scene, Nicola emerges as one of the most perfect-formed artists we've heard in years. The whole album's a breathtaking mix of 60s bossa, soundtrack, and easy themes -- put together with never a dull moment, and always a focus on the kind of mid and uptempo grooves that have been pushing the Italian and German scenes for the last 5 years. The record features great mixes from a few of Nicola's 12" singles, plus a wealth of excellent new material that really expands his groove wonderfully -- with a totally real, totally honest sound that pushes past the gazillion retro remix throwaway albums that you'll find stuffing the listening stations at the megastores! Tracks include "Fucco Fatuo", "Il Cerchio Rosso", "Dossier Omega", "Trappola Mortale", "Mambo De Los Dandies", "Jazz Pour Dadine", and "The In Samba". We only had this one out of the box for about 3 hours, and we'd already played it twice -- that's how great it is!

Wonderful stuff from one of the best harmony groups of the 70s! "Dream World" is the band's big hit, and it's got that perfect sound that only a rare few groups ever hit (like the Stylistics or Blue Magic) -- with soaring vocals, lush production, and even a bit of sitar in the mix! "Nite Moods" is pretty darn great, too -- and it's got a sophisticated harmony sound that's touched with bits of jazz, in a really wonderful way. Bobby Martin produced and arranged, and the single's a harmony soul classic!

What can we say? When this record came out, everybody we knew thought they'd totally lost it, and stopped being funky. From the vantage point of this generation, though, the record's a jazz funk masterpiece, with a smooth R&B sound that's virtually flawless, and a perfect summation of all of the great studio work being done in 70s LA. Includes the massive extended version of "Street Life", with vocals by Randy Crawford, plus other great cuts like "Night Faces", "The Hustler", and "Rodeo Drive".

A great set -- cut when Curson was at the height of his youthful powers, and inspired by modernist ideas he'd picked up from Mingus and other contemporary jazz outsiders -- including tenorist Bill Barron, who also plays on the LP! The recording is a perfect document of a time when the hard bop was folding into the new thing -- in modes that were experimentally, yet never too far out -- and always remembering to swing when needed, as in the case of some of Jackie McLean's best Blue Note work of the early 60s! The album's quite an obscure one -- given to its original issue on the mostly-pop Old Town label -- but it's a real gem in Curson's catalog, and includes the tracks "Antibes", "Nosruc", "Ahma (See Ya)", and "Flatted Fifth", a composition that went on to become one of Curson's classics!