All Categories — All Formats  

An amazing portrait of America between the wars – served up over dozens of vintage 78rpm recordings – all based around themes of daily life mentioned in the title! The collection is an incredible historical document – pulled mostly from the collection of Louisville 78 collector Don Wahle, and remastered and re-presented beautifully by the folks at Tompkins Square – who not only sort the songs into key categories, but also provide a wealth of notes and images to further illuminate the tunes! There's a number of tracks on here that have never been reissued before, mixed with others that are still plenty darn rare – and the 3LP vinyl version comes in a beautiful box that reminds us a bit of classic Folkways – the size of which allows for a bigger, nicer booklet! It features 42 tracks that include "Climbing The Golden Stairs" by Happy Four, "Oh Declare His Glory" by McDonald Quartette, "Fourth Of July At The County Fair" by Bill Chitwood, "Tennessee Coon Hunt" by Whit Gaydon, "Hide Away" by Oscar Ford, "Poor Man Rich Man" by David McCarn, "Driving Saw Logs On The Plover" by Pierre La Dieu, and "Flat Wheel Train Blues (parts 1 & 2)" by Red Gay & Jack Wellman.

An amazing portrait of America between the wars – served up over dozens of vintage 78rpm recordings – all based around themes of daily life mentioned in the title! The collection is an incredible historical document – pulled mostly from the collection of Louisville 78 collector Don Wahle, and remastered and re-presented beautifully by the folks at Tompkins Square – who not only sort the songs into key categories, but also provide a wealth of notes and images to further illuminate the tunes! There's a number of tracks on here that have never been reissued before, mixed with others that are still plenty darn rare – and the package features 42 tracks that include "Climbing The Golden Stairs" by Happy Four, "Oh Declare His Glory" by McDonald Quartette, "Fourth Of July At The County Fair" by Bill Chitwood, "Tennessee Coon Hunt" by Whit Gaydon, "Hide Away" by Oscar Ford, "Poor Man Rich Man" by David McCarn, "Driving Saw Logs On The Plover" by Pierre La Dieu, and "Flat Wheel Train Blues (parts 1 & 2)" by Red Gay & Jack Wellman.

He's got shaggy long hair on the cover, but we still love him anyway – and honestly, Francis Lai may well be one of our favorite soundtrack composers ever! Sure, the guy hit early fame for his soundtrack to A Man & A Woman, but as this big box set will attest, he had a genius career that lasted years – scoring films famously for French director Claude Lelouch, as well as a host of other screen efforts that are showcased here! The box includes many great recordings never issued on CD before – and is a great companion to other Lelouch-heavy collections of Lai's work showing his ability to go beyond famous themes, and hit a rich array of great sounds through the 70s and early 80s. In addition to two CDs of instrumental music, mostly from the three decades of Lai's career, the package also features one more CD of vocal numbers by Nicole Croisille – the singer who really made some of his best themes shine. Includes work from the films The Games, Hannibal Brooks, L'Odeur Des Fauves, Le Petit Matin, Un Amour De Pluie, Le Cinema De Minuit, Le Petit Poucet, Le Bon Et Les Mechants, Child Under A Leaf, Bilitis, Bonjour La Trois, Madame Claude 2, Les Yeux Noirs, Bernadette, Le Passager De La Pluie, and many more. Croisille sings versions of "Le Passager De La Pluie", "Images", "Un Deuxieme Amour", "Vivre Pour Vivre", "Il Y Avait", and "Avant Toi".

A swingin' Japanese concert by one of Cannonball's best groups from the 60's. Joe Zawinul's on piano, brother Nat's on cornet, Sam Jones is on bass, and Louis Hayes is on drums. But the real treat here is Yusef Lateef, who does some excellent reed work on tenor, flute, and oboe – and who's playing at this point with that great mix of soul jazz and out-sounds that he was cooking up at the time. There's some great long cuts, including an excellent 12 minute reading of Lateef's "Brother John", plus the title track, "Come Sunday", "Tengo Tango", "Easy To Love" and "The Weaver".

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

A folk funk classic from the early 70s – and a weird little record that has a sound that's unlike anything else we can think of! The arrangements are quite soulful, almost funky at times – with a righteous undercurrent that reminds us of Richard Evans or Charles Stepney at Cadet Records. But the vocals – by singer Barbara Massey – have a flanged-out quality that's clearly overdubbed, creating a double-voiced sound that's almost a bit like Brasil 66! This mix of modes is really great – completely unique, and sublime throughout – with a vibe that was years ahead of its time, and which is finally beginning to get some recognition these many years later. Arrangements are by the pair, but Deodato also had a hand in the record too – and the core combo of musicians includes Grady Tate on drums, Ralph McDonald on percussion, and Sam Brown on guitar – alongside more guitars from Ernie and keyboards and piano from Barbara. Tracks include "Searching the Circle", "Do You Know", "For You", "Play With Fire", "My Love & I", "Satisfied", and "Prelude" – plus a wild remake of "Somebody to Love"!

A far reaching late 70s set from Gato Barbieri – a record that blends fusiony jazz funk, lush stings, and Latin rhythms and fluid solos on a varied batch of tunes! One of the more interesting things about the production is that those varied approaches often come into play within the same tunes – with clean, lean fusiony bass and percussion underneath swelling string accents, showing Barbieri was unafraid to intermingle myriad influences at the time. Titles include a take on Caetano Veloso's "Odara", plus "Poinciana (Song Of The Tree)", "Latin Lady" (which guest Carlos Santana trading solos with Gato over tropical jazz funk backing), "She Is Michelle", "Where Is The Love", "Evil Eyes" and "Bolero".

Way before Sinatra first grabbed the "Chairman Of The Board" title for his own musical persona, Basie laid great claim to the tag with this tight little album for Roulette! The album's got the 50s Basie band working at the height of their powers – with original compositions written and arranged by Frank Foster, Ernie Wilkins, Thad Jones, and Frank Wess – all of whom play in the bad, along with other all-stars like Freddie Green, Billy Mitchell, and Al Grey. The sound is tight, soulful, and searing Basie all the way through – with tunes that include "Segue In C", "Blues In Hoss' Flat", "Who Me?", "The Deacon", "Half Moon Street", "Mutt & Jeff", "TV Time", "Speaking Of Sounds", and "HRH".

Hip hop lifers and genre-defiant pop art blenders The Beastie Boys deliver the Hot Sauce – either their 8th or 9th album in 25 years, depending on how you count the Mix Up instrumentals set – and it sounds to us like a return to the good times hip hop funk style-hopping that the Boys flaunted so brilliantly in the period from Check Your Head to Hello Nasty! Hot Sauce was initially solicited as Part 1 to be followed by a Part 2, but the album was put on hold while Yauch battled cancer, which gave the Beasties plenty of time to finess the material and release it as the definitive project we have here. It's solid stuff and a Beastie Boys album through-and-through – and they're as immune to trends as ever. Guests include Nas, Santigold and Switch. Tracks include "Make Some Noise", "Nonstop Disco Powerpack", "Too Many Rappers (New Reactionaries Version)" with Nas, "Lee Majors Comes Again", "Don't Play No Game That I Can't Win" feat Santigold, "Tadlock's Glasses", "The Lisa Lisa/Full Force Routine", "Here's A Little Something For Ya" and more.

A wonderful soundtrack from Booker T & The MGs – a record that's probably much better remembered than the film for which it was written! The tunes show a whole new depth for the group – a style that still has some of the charm of their previous hits, but which also takes off in whole new directions too. Some tunes are pretty darn catchy, and others have a nicely bubbling sound – almost jazzy in parts, with a great scene-setting feel for the movie. Booker actually sings on 2 tracks – "Johnny I Love You" and "Blues In The Gutter" – and Judy Clay sings on "Children Don't Get Weary". Other than that, though, the whole thing's instrumental – with titles that include the megahit "Time Is Tight", plus "Cleveland Now", "Down At Ralph's Joint", and "Tank's Lament".

Great reissue of James' second set of tracks recorded live at the famous Apollo Theatre! We like this one way better than volume one, and find it to be a much heftier set of tracks – with a stunning array of sheer raw showmanship. This one's in a 2 LP format, with lots more room for The Godfather and his band to stretch out and groove in the great way that they do when they play live. Tracks include "Bring It Up", "Let Yourself Go", "Think" (in duet form), a great version of "There Was a Time", "It May Be The Last Time", "I Feel Good (I Got You)", "Prisoner Of Love", "Out Of Sight", "Try Me", "It's A Man's, Man's, Man's World", "Lost Someone","Thanks", "Let Yourself Go", "Cold Sweat", "I Feel Alright", and "Please, Please, Please". Very nice stuff!

A tremendous solo act from GC Cameron – a singer who first rose to fame in The Spinners, but who really sounds wonderful on his own! GC's moved away from The Spinners here – into a wide range of styles that show him ready to take on most of the rest of the competition! He's working here with the best of the best of Motown – production from Stevie Wonder and Willie Hutch – and arrangements by both, plus Paul Riser, Gene Page, James Carmichael, and Frank Wilson – all of whom really give their best to the record, and show that Motown was putting plenty of effort into making GC one of the next big stars of the 70s. We're not sure why things never took off as strongly for Cameron, but whatever the case, the album's a great step for the solo artist – on cuts that include "If You Don't Love Me", "Tippin", "All In Love Is Fair", "If You're Ever Gonna Love Me", "Come Get This Thang", "I'm Gonna Give You Respect", and "Let Me Down Easy". CD features an insane amount of bonus tracks – 13 more tracks that include "Act Like A Shotgun", "Girl I Really Love You", "I'm Gonna Get You (parts 1 & 2)", "Don't Wanna Play Pajama Games", "You Are That Special One", "Have I Lost You", "Time", "Topics", and "No Matter Where".

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

Time Exposure has a lot of 80s electro funk in the mix, particularly Clarke's impeccable bass lines, which are heavy throughout. Titles include "Play The Bass '10", "Heaven Sent You", "Speedball", "Future Shock" and the great title track.

A trio of funky electric albums from Stanley Clarke's mid 80s R&B years – 1984's Time Exposure, ''85's Find Out and '86's Hideaway – in a 2CD set! Time Exposure has a lot of 80s electro funk in the mix, particularly Clarke's impeccable bass lines, which are heavy throughout. Titles include "Play The Bass '10", "Heaven Sent You", "Speedball", "Future Shock" and the great title track. Find Out follows somewhat similar territory, an 80s synth funky set with a few surprising twists – including an electro/funk/old school rap cover of "Born In The USA"! Other tracks include "Find Out", "The Sky's The Limit", "Stereotypica" and "Psychedelic". Hideaway makes a move towards more delicate synth soul for Clarke – who assembles an impressive guest list that includes Stanley Jordan, Herbie Hancock and Stewart Copeland. Titles include a cover of Stevie Wonder's "Overjoyed", plus "My Love, Her Inspiration", "Where Do We Go", "Old Friends" and "When It's Cold Outside".

John Coltrane's classic – and only – recording as a leader for Blue Note! The album's no throwaway date, though – as it stands strongly with both Coltrane's other label work of the time, and with the best of the late 50s Blue Note scene – a time when the label was really cooking at full strength! The groove here is a bit harder, heavier, and hardbop-inflected than some of Trane's late 50s sides with Red Garland – thanks to a lineup that features Lee Morgan on trumpet, Curtis Fuller on trombone, Kenny Drew on piano, Paul Chambers on bass, and Philly Joe Jones on drums. There's a crisp modern edge to the record that really holds up beautifully – even after years of play – and titles include "Blue Train, "Locomotion", "Moment's Notice", and "Lazy Bird".

John Coltrane's classic – and only – recording as a leader for Blue Note! The album's no throwaway date, though – as it stands strongly with both Coltrane's other label work of the time, and with the best of the late 50s Blue Note scene – a time when the label was really cooking at full strength! The groove here is a bit harder, heavier, and hardbop-inflected than some of Trane's late 50s sides with Red Garland – thanks to a lineup that features Lee Morgan on trumpet, Curtis Fuller on trombone, Kenny Drew on piano, Paul Chambers on bass, and Philly Joe Jones on drums. There's a crisp modern edge to the record that really holds up beautifully – even after years of play – and titles include "Blue Train, "Locomotion", "Moment's Notice", and "Lazy Bird".

An overlooked gem from The Controllers – one issued a bit late to be part of the classic wave of group soul, but a set that's still overflowing with really old school harmonies! The Controllers really have a wonderful way of putting over a ballad – letting things build slow and mellow, trading lead parts and harmonies together in a way that really moves the message forward, while never overdoing things too much in search of a hook. And even when the instrumentation is contemporary, it never gets in the way of the vocals – and almost always lays back once the lyrics come in, even on the album's few groovers. Titles include "For The Love Of My Woman", "My Secret Fantasy", "Love Is On Our Side", "Play Time", "Sleeping Alone", "Knocking At Your Door", and "No One's Ever Loved Me More".

Forget blues, because Geater Davis is a soul singer through and through – a really incredible southern talent with a deep soul sound that few others can match! Although Davis didn't record nearly as much as his contemporaries, he's got a sound that matches or beats them – a raw, raspy quality that's a bit like Bobby Blue Bland, touched with the depth of feeling we love in James Carr, peppered with elements of other Memphis singers – all produced to perfection with a sound that's as classic as anything on Stax or Goldwax. This excellent collection features all tracks from Geater's rare album Sweet Woman's Love, plus additional singles from the time – all produced by Allen Orange, an overlooked genius in the southern studio scene of the 70s. Titles include "Don't Marry A Fool", "Cry Cry Cry", "I Love You", "I Know My Baby Loves Me", "I Can Hold My Own", "Cold Love (long version)", "I'll Get By", "I'll Play The Blues For You", "Breath Taking Girl", and a killer long take on "For Your Precious Love".

An incredible collection of work from the vastly-overlooked Geater Davis – and a set that definitely lives up to its title! Geater Davis is a tremendous singer from the south – but one who barely ever got his due back in the 70s – even though these recordings for the tiny House Of Orange label are every bit as amazing as work coming out for bigger labels like Stax or Hi Records! Although Davis didn't record nearly as much as his contemporaries, he's got a sound that matches or beats them – a raw, raspy quality that's a bit like Bobby Blue Bland, touched with the depth of feeling we love in James Carr, peppered with elements of other Memphis singers – all produced to perfection with a sound that's got a deep-burning soul that never lets up. This excellent collection features all tracks from Geater's rare album Sweet Woman's Love, plus additional singles from the time – all produced by Allen Orange, an overlooked genius in the southern studio scene of the 70s. Titles include "Don't Marry A Fool", "Cry Cry Cry", "I Love You", "I Know My Baby Loves Me", "I Can Hold My Own", "Cold Love (long version)", "I'll Get By", "I'll Play The Blues For You", "Breath Taking Girl", and a killer long take on "For Your Precious Love".

The title's no lie – because the album is one of the shining jewels of Lou Donaldson's legendary funk years for Blue Note – that second period when he returned to the label at the end of the 60s, and really helped redefine the sound of soul jazz at the time! The format here is very much the same as other Donaldson classics from the time – like Hot Dog or Possum Head – in that the tracks are long, open, and plenty darn grooving – locked in some funky rhythms that feature Idris Muhammad on some very heavy drums! Other players are great too – and include Blue Mitchell on trumpet, Melvin Sparks on guitar, and Lonnie Smith on Hammond – all cooking things up nicely on tracks that include "West Indian Daddy", "Donkey Walk", "Everything I Do Gonh Be Funky", and "Hamp's Hump".

Hard to believe it took a few decades in the careers of both players for them to record together – but that's exactly what you've got here – a landmark meeting of Count Basie and Duke Ellington from the early 60s, near the tail end of Duke's classic stretch on Columbia! Teo Macero produced the session with just the right amount of care and class to keep the whole thing from being an exercise in cliche – and there's a surprising amount of depth here that you might not expect – the best modern elements of Duke's orchestra on Columbia, coming into play with a bit more of the fire and vamp of the Basie group at the time! Titles include "Battle Royal", "Wild Man", "Segue In C", "Jumpin At The Woodside", "To You", and "Take The A Train".

Hard to believe it took a few decades in the careers of both players for them to record together – but that's exactly what you've got here – a landmark meeting of Count Basie and Duke Ellington from the early 60s, near the tail end of Duke's classic stretch on Columbia! Teo Macero produced the session with just the right amount of care and class to keep the whole thing from being an exercise in cliche – and there's a surprising amount of depth here that you might not expect – the best modern elements of Duke's orchestra on Columbia, coming into play with a bit more of the fire and vamp of the Basie group at the time! Titles include "Battle Royal", "Wild Man", "Segue In C", "Jumpin At The Woodside", "To You", and "Take The A Train".

A key 70s moment of pride for the New York Latin scene – and one of a number of crucial live sets cut by the legendary Fania All Stars! The group were invited to play a three day music festival in Zaire in 1974 – timed to coincide with the Rumble In The Jungle Ali/Foreman fight – and after blowing the crowd away on the first night of the festival, they took the stage again for a massive encore on the last night – recorded here in all its glory! The energy of the set is amazing – as some of New York's greatest Latin artists of the time rock the house in front of a crowd of 80,000 Africans – creating a cultural exchange that should have made the State Department blush. Numbers include "En Orbita", "Guantanamera", "Quimbara", "El Raton", "Mi Gente", and "Ponte Duro". Package includes the full original film, plus lots of bonus footage that's extra-cool – including some great location shots in Zaire! Also features the full album on CD - but with more cuts than the film!

These guys are great – a sublime harmony combo with a sound that's always a treat, and which makes digging up their singles always worth while! Both sides on here are wonderful – sung perfectly, and arranged by Johnny Pate with a slight lilt that really hits a sweet Chicago groove, keeping things nice and fresh, and allowing the vocals some great play!

A completely cooking little live set from Aretha Franklin – and a crowning moment not just in her career, but for Atlantic Records soul in general! Aretha's working here before a very enthusiastic crossover crowd at the Fillmore West in San Francisco – getting tight backing from the combo of King Curtis (Memphis Horns, Billy Preston, and Pretty Purdie in tow!) – and hitting a groove that's often rawer, grittier, and more deep-soul tuned than some of her studio sides from the time! The recording quality is totally great – and goes out of its way to preserve the presence of the audience, and showcase Aretha's own interaction and strong sense of personality. Ray Charles makes a surprising guest appearance on one track, but the whole show is really Franklin's own – a majestic little live date that features the tunes "Spirit In The Dark", "Respect", "Make It With You", "Don't Play That Song", "Dr Feelgood", and "Love The One You're With".

Surprisingly great work from Full Force – a set that seems to only get better with the passage of time, set apart nicely from most of its 80s soul contemporaries with a good deal of homegrown charm! Sure, there's some pretty heavy beats here – and sure, the sound is a few notches towards commercial/crossover territory – but there's also a really honest appeal to the record, a kind of intimate group feel that's an update of 70s funky groups – taken more strongly into an electric 80s style! Vocals come through nicely on some of the best tracks, and relax into the groove on some of the others – and titles include "Unfaithful", "Never Had Another Love", "Temporary Love Thing", "Old Flames Never Die", "Child's Play (parts 1 & 2)", and "Chain Me To The Night". CD also features lots of bonus tracks – including "Only Temporary", "Temporary Bow Legged Theatre", "Unfaithful (faithful rmx)", "Old Flames (My Desire My Burning Fire)", "Love Scene (12" mix)", and "Unfaithful (doctor no na na no no no)".

Killer work by Astrud Gilberto – very different than her Verve sides of the 60s! The album was produced by Astrud, arranged by Deodato – and has that wonderful warm full jazz feel of her classic album on CTI, but also a bit more like some of the funky work of Jorge Ben at the time – choppy at the bottom, with a sound that's a bit samba, and a bit funky at times. Mike Longo and Deodato play keyboards on the session, giving it an electric groove that works perfectly with Astrud's soaring vocals – and the whole album really holds together wonderfully! There's a nice bit of funk on the cut "Take it Easy My Brother Charlie" – and other tracks include "Zigy Zigy Za", "Baiao", "Gingele", "Bridges", and "Where Have You Been?".

Nikki G in total righteousness, surrounded by a big choir, and dropping knowledge on cuts like "Great Pax Whitey", "Poem For Aretha", and "Ego Tripping". Very spiritual stuff, with backing vocals by the New York Community Choir, who also recorded a great soul album on RCA around the same time – and an overall approach that elevates Nikki's poetry into a very spiritual realm!

An amazing record by Jimmy Giuffre – one that he uses to replicate the "4 Brothers Sound" of the years when he played with Woody Herman as one of a group of four saxophonists blowing together – but done here by Jimmy himself on all 4 horns, using early overdubbing techniques that let him play four tenor sax parts at once! The sound is wonderful – filled with complex colors, tones, and changes you won't find on Giuffre's other albums of the time – and Jimmy's backed by usual trio-mates Brookmeyer and Jim Hall – with Brookmeyer on piano, swinging things a bit more than usual next to Hall's guitar. The 4-tenor frontline is wonderful, and titles include "Four Brothers", "Ode To Switzerland", "Space", "Blues In The Barn", and "Memphis In June".

A smoking second set from The Gods – and a record that captures the British scene at a perfect point when new ideas were definitely coming into play, but could still be served up in a style that was pretty lean and mean overall! All the cuts on the set have the potential of being much longer overblown numbers – yet The Gods really keep their focus wonderfully, and hone the tunes down to their best elements – with tight guitar work here, some compelling lyrical twists there, and bigger ideas that seem to inform the whole thing, yet never push anything towards pretension. Titles include "Lady Lady", "Penny Dear", "Long Time Sad Time Bad Time", "Five To Three", "Autumn", "To Samuel A Son", and "Sticking Wings On Flies". CD also features two bonus tracks – "Maria" and "Long Time Sad Time Bad Time (mono version)".

One of the grooviest albums on the legendary International Artists label – a set that's as psychedelic and experimental as most of the others in the imprint, but also pretty darn tuneful as well! Golden Dawn have a nicely stretched-out approach to their music – one that lets the songs build up slowly, then really pack a punch as their catchier hooks come into play. There's a bit of a late 60s SF rock quality to the record – especially when the vocals get a bit wild – and the guitars ring out nicely with a great rough-edged sound. Titles include "Starvation", "This Way Please", "Evolution", "My Time", "A Nice Surprise", "Tell Me Why", "Reaching Out To You", and "Seeing Is Believing".

Sweetly grooving early 80s UK soul from David Grant – his first solo album after the breakup of Linx – and it's a nice one! There's a leaner pop soul sound at play here, one that would have sounded right at home on the US charts of the time – but it's never too poppy – and always with David's genuinely soulful voice out front. The songs are of pretty solid, with some uptempo numbers and some more ballad-y tunes – the latter of which are really nice! Includes "Rock The Midnight", "Love Will Find A Way", "Stop And Go", "Organize", "Watching You, Watching Me", Holding On", "In The Flow Of Love", "Wrap Yourself Around Me" and more. This Big Break CD edition has a healthy batch of bonus tracks and alternate versions – 9 in all: "Stop And Go (12" Master Mix)", "Love Will Find A Way (Single Version)", "Kiss Away The Blues", "Klik Trax", :Rick The Midnight (Single Version)" and more.

A great little solo set from Gene Harris – and a perfect example of that magical time after he'd left the Three Sounds, but hadn't yet hit the more standard styles of later years – a period when Harris was really experimenting with a wide range of keyboards and sounds! The set has arranger Jerry Peters weighing in – bringing some of his own quirky touches into play with Gene's wonderful work on keyboards – which includes plenty of Fender Rhodes and moog, as well as other keys of the time too. Funky titles include "Koko & Lee Rose", "Funky Business", "Rushin Roulette", "HRD (Boogie)", and "Gettin Down Country" – and the set's got a great mellow moody soul track called "Prayer 76", with a bit of a Roy Ayers feel.

Two early 70s gems from The Impressions – back to back on a single CD! Preacher Man is heavy soul from the early 70s version of the group – put together with all the same depth as Curtis Mayfield's work of the time! This time around, Rich Tufo is at the helm on production and arrangements – but he continues to wave the Curtom flag high with some wonderfully put-together backings that mix swirling strings and heavy funk, all in support of some very message-oriented lyrics! Tufo also penned most of the tracks on the set, and has a great ear for bringing the new politics of the 70s into play with the sweeter soul harmonies of the group's earlier years – still carried strong by original group members Sam Gooden and Fred Cash. Titles include "Find The Way", "Preacher Man", "What It Is", "Simple Message", "Thin Line", and "Color Us All Gray (I'm Lost)". Finally Got Myself Together is a great little album by The Impressions – possibly their best of the 70s! The record's got a very solid harmony soul approach, and Lowrell Simon wrote and produced a number of tracks with Rich Tufo – giving the album the same sweet sexy sound that he brought to his best solo records, and his late work with The Lost Generation! The best example of this is the fantastic soul cut "We Go Back A Ways", a sweet mellow groover in the Leroy Hutson vein, and one of their standout cuts in the post-Curtis days. Ed Townsend worked on a number of other cuts, too, and he brings a real tightness to the songwriting – especially on the cuts "Guess What I Got", "Try Me (One More Time)", and "I'm A Changed Man".

A very goofy image on the cover – and some wonderfully goofy music to match! The group's way more than just a rock combo – as they play in styles that draw on jazz, 60s groovy instrumental modes, and even other Euro soundtrack elements of the time – all wrapped up in a sound that's as witty as you might guess from the image on the front. Some tunes have vocals, some are all instrumentals – and although the combo has a core structure of a rock group, they often inflect their instrumentation with lots of weird twists and turns – plus some cool production touches too! One of the best of these is the backward tape used to start off the funky "Leave This Lesbian World" – and other titles include "Don't Know Baby If You Are Safe", "Brooklyn 1146", "Hoppe Hoppe Reiter", "Vienna 69", "Don't You Feel Any Pain", "Sao Paulo Most Exclusive", and "Get Your Kicks On the Hill". Also features a bonus 7" EP – with four more songs from other soundtracks from TV and film!

A treasure trove of overlooked Memphis soul – the earliest work of the legendary Luther Ingram – brought together here properly for the first time ever! Although Ingram's probably best known for his mega-huge hits in the early 70s, he really sounds amazing here in the early days – a vocalist with a bit more grit than we remember, working with backings that have an underground, deep soul take on the Memphis sound of the time. There's a somewhat more down home quality to some of these tunes than on other Memphis work from the late 60s – a style that probably didn't play as big up north as some of the hitmakers from the scene, but which is really worth of rediscovery all these many years later. Unlike other over-cliched work on Stax and Hi Records, most of these tunes have a really fresh, new sort of feel – less-iconic, and all the more appealing because of that fact. CD features 19 tracks in all, pulled from Ingram's first 10 singles – including "You've Got To Give Love To Get Love", "Ghetto Train", "I Can't Stop", "My Honey & Me", "Missing You", "Looking For A New Love", "Pity For The Lonely", "Home Don't Seem Like Home", "To The Other Man", "I'll Love You Until The End", and a rare radio promo of "My Honey & Me".

Maybe the third great Philly studio group of the 70s – after MFSB and Salsoul Orchestra – a killer combo who provided backing grooves to plenty of great club tracks over the years – and who step out strongly here on their own debut album! Bunny Sigler helps give the album a sharp focus – with his own production and songwriting in play – in modes that are very much like his own best club tracks of the time – but the group is more than great enough on their own – with a funky edge that definitely lives up to their name, and a groove that's even sharper than the two aforementioned contemporary combos. Lead vocals are by James Carmichael, who's totally great – and titles include "Don't You Wanna Party", "Never Let It Go Away", "I Got My Mind Made Up", "Dark Vader", "Wide World Of Sports", and "You Say You Want Me To Stay". CD features bonus tracks that include "I Got My Mind Made Up (12" rmx)", "I Got My Mind Made Up (single)", "Crying (12" rmx)", "Crying (single)", and "Dark Vader (Pat Stapley rmx)".

A huge musical treasure – a full unreleased album by Weldon Irvine, plus a bonus video as well! The music is from the stage play Young Gifted & Broke – a short-lived production by Weldon, and one that's done with some of the same hip modes he was bringing to his own music of the 70s – as well as to other artists as well, especially Nina Simone! The style's more jazz than funk, but is still mighty nice – as the instrumentation features loads of electric piano lines from Weldon, and a sparklingly soulful style that's way hipper than most of what you'd find on the stage at the time. Most tunes have lyrics, but are still heavy on Fender Rhodes lines from Weldon – and titles include "Karate Dancer", "Pity for The Man", "Black Lightning's Song", "Musical Interlude", "Comin Home", "We Got A Deal", "No Now Never None", and "Ghetto Lament". DVD features a documentary titled The Edification Of Weldon Irvine – filmed in 1979 by Collis Davis – partly on the play, but also on Irvine and his music too – a beautiful document with footage in both color and black and white. DVD also has subtitles in Japanese – but is in English throughout.

60s Chicago soul doesn't get any better than this – a sublime debut from the legendary Walter Jackson – done in a smoothly sophisticated style that set a whole new standard for the genre! The record steps off nicely from some of the earliest work by Jerry Butler and The Impressions – blending Chicago soul with more adult-styled orchestrations from Riley Hampton – at a level that has Jackson sitting beautifully across a number of different modes at once – still appealing to the kids with the uptown groovers on the set, but also reaching to an older crowd with the beautiful ballads and heartbreaking love songs. The sound is incredible – easily one of the most fully realized full-length soul records on the Okeh label – and titles include "What Would You Do", "There Goes That Song Again", "I Don't Want To Suffer", "That's What Mama Say", and "It's All Over". CD adds in 10 more bonus tracks – most of which are previously unissued – making for an amazing collection that's one of the first time that Jackson's work at Okeh is finally getting its due! Bonus titles include "The Heartbreak Road", "Anything Can Happen", "Blue Rose", "Starting Tomorrow", "Don't Play With Love", "It's Hard To Believe", "You Gotta Give", and "Tell The World".

Pivotal singles from the amazing Wanda Jackson – one of the greatest female rock and country voices from the 50s onward – who mixes a cutesy coo and a feral growl for a sound that was pretty much unprecedented at the time! The material bridges proto rock and country music in a way that confused the heck outta radio programmers and the label's hope to break her into superstardom back in the day – and Wanda had a voice that could've (and should've) made her a star on par with the Sun Studios boys club. She's tough and tender at the same time – and Capitol producer Ken Nelson is near the top of his game here, too. This really is the best of her Capitol singles – 29 in all – including "I Gotta Know", "Fujiyama Mama", "Honey Bop", "Did You Miss Me?", "Right Or Wrong", "Sinful Heart", "In The Middle Of A Heartbreak", "Mean Mean Man', "Sympathy", You Bug Me Bad", "Silver Threads And Golden Needles", "Rock Your Baby", "(Every Time They Play) Our Song", "Little Charm Bracelet", "No Wedding Bells For Joe", "Honey Bop" and more.

The funkiest album that Syl Johnson ever recorded – filled with short, tight cuts that play more like a stack of funky 45s than the standard soul album of the time! The record draws from the great run of singles that Syl cut for Twinight Records at the end of the 60s – some of the hardest soul coming out of Chicago at the time, with a gritty feel that's right up there with some of James Brown's best late 60s work – or even better, some of the other obscure acts working in the American underground at the time. A few tunes are familiar from their popularity as classic 45s – but the album's got lots more wonderful numbers that are lesser-known – and all of them are great! Titles include the classic Syl Johnson sample cut "Different Strokes" – plus "Dresses Too Short", "I Can Take Care of Business", "Soul Drippin", "Sorry Bout Dat", "Same Kind Of Thing", and "Come On Sock It To Me".

Easily the most hard-hitting of Blue Note's 2LP Lighthouse Live series from the early 70s – and a record that really lets Elvin Jones and his group stretch out and play! The setting is a perfect one for Jones – given the boundless energy already present on his studio sessions for Blue Note at the time – really fierce work that goes beyond even his classic Coltrane performances – pushing the limits in a sweet blend of rhythm and reeds! The group here is Elvin's razor-edge combo from the early 70s – the one that features Gene Perla on fat funky bass, and both Steve Grossman and Dave Liebman playing choppy reeds along with the grooves – really amazing hornmen at this point in their career, blowing here with interplay that's simply fantastic! Jones' leadership both draws from his years with Coltrane, yet also takes the music to key new levels – increasing the energy without blowing the top off, and creating a vivid new groove that so many others would try to cop later in the 70s – but never do this well. Titles on this first volume include "Fancy Free", "Sambra", and "The Children Save The Children".

Easily the most hard-hitting of Blue Note's 2LP Lighthouse Live series from the early 70s – and a record that really lets Elvin Jones and his group stretch out and play! The setting is a perfect one for Jones – given the boundless energy already present on his studio sessions for Blue Note at the time – really fierce work that goes beyond even his classic Coltrane performances – pushing the limits in a sweet blend of rhythm and reeds! The group here is Elvin's razor-edge combo from the early 70s – the one that features Gene Perla on fat funky bass, and both Steve Grossman and Dave Liebman playing choppy reeds along with the grooves – really amazing hornmen at this point in their career, blowing here with interplay that's simply fantastic! Jones' leadership both draws from his years with Coltrane, yet also takes the music to key new levels – increasing the energy without blowing the top off, and creating a vivid new groove that so many others would try to cop later in the 70s – but never do this well. Titles on this second volume include "New Breed", "My Ship", and "Sweet Mama".

The first-ever release of a great live date from pianist Oliver Jones – working here with a hip trio that features Reggie Johnson on bass and Ed Thigpen on drums! Jones gets plenty of room to open up in the relaxed format of the performance – often using a strong left hand to set the rhythms going, even before the bass and drums come into play – in ways that do a great job of mixing bluesy undercurrents with some lighter, more lyrical touches as well! Titles include "Up Jumped Spring", "Blues For Helen", "Emily", "Round Midnight", "Snuggles", "Hymn To Freedom", and "Something For Chuck".

Breezy, yet innovative work from Kassin – who is still best known (in our parts, anyway) for the run of teriffic trio sets he made with Moreno Veloso and Domenico in the 00s – and it's really high time for him to gain a broader audience of his own all around the world. This could be the album that does it, as it's truly excellent. Help us spread the word, please! The tunefulness at play is purely infectious – timeless sunshine pop hooks and overall catchiness, with buzzing, avant touches on the edges that push it into weirder, but no less accessible realms. Percussion, guitar, vibes, Rhodes, horns and flute are often in the mix, with easygoing vocals by Kassin and backup singers. Includes "Mundo Natural", "Potassio", "For a De Area", "O Que Voce Quiser", "Calca De Ginastica", "Sorver-Te" and "Quando Voce Esta Sambando" and more.

Sweet electric blues from Albert King – recorded with some great full production, in a burning Memphis style that's got plenty of soul in the mix as well! The set's got a quality level that takes it past some of the cliche-ridden blues of the time – really soulful overall, with a sound that comes straight from the heart, and avoids any of the easy tricks that could mar such a session – proof that music like this could really sparkle in the hands of Stax Records – especially when the backing instrumentation features The Bar-Kays and Memphis Horns! Titles include "High Cost Of Loving", "Little Brother", "I'll Play The Blues For You (parts 1 & 2)", "Breaking Up Somebody's Home", "Angel Of Mercy", and "I'll Be Doggone". CD features four previously unissued bonus tracks – "Albert's Stomp", "I Need A Love", "Don't Burn Down The Bridge (alt)", and "I'll Play The Blues For You (alt)".

A standout classic from Fern Kinney – and a set that not only marked a big moment of evolution for southern soul, but also for the Mississippi scene as well! The set was recorded at the Malaco studios in Jackson, but has a vibe that's much closer to some of the TK Records material from Miami – that maturation of southern soul during the disco era – as warmer, more modern touches came into play with rootsier styles of vocals! Mike Lewis handled the string arrangements – giving the record the same disco vibe as some of his other work of the time, including Anita Ward's big debut – and Fern's vocals have this higher range than usual for a southern singer – almost more innately tuned towards clubby rhythms. Titles include a big hit remake of King Floyd's "Groove Me" – really marking the change from the original version – plus "Baby Let Me Kiss You", "Pillow Talk", "Sun Moon Rain", "Angel On The Ground", and "Under Fire". CD features bonus tracks "Let's Keep It Right There", "I Want You Back", "Movie Show", "Baby Let Me Kiss You (single)", "Sweet Life", "Tonight's The Night", and "Groove Me (single)".

A very unusual little record, cut at the height of fame for the team of Jerry Lieber and Mike Stoller! The session's a rare jazz one from the duo – put together to feature different versions of tunes they'd been penning for acts on Atlantic and some of the other big labels of the late 50s. Work here is all done in a mode that's a bit like the Ray Charles jazz style of the time – big band, but with plenty of R&B influences – and searing horn work from a batch of players who include Al Grey, Frank Foster, Ernie Royal, Thad Jones, Frank Rehak, and Benny Powell. Lieber & Stoller don't play on the record, but direct the tunes with the mentioned flair – although in a way that's a bit looser than their usual work. There's a Basie-esque flair to most numbers, and titles include "Smokey Joe's Cafe", "Hound Dog", "Loving You", "Poison Ivy", "Bazoom", "Black Denim Trousers & Motorcycle Boots", and "Jailhouse Rock".

A wonderful album from Linda Lewis – certainly one of her best from the early days, and a completely captivating mixture of soul, jazz, and rock that sparkles like Minnie Riperton's best work from the time! The album's got a sweet LA sound – with Linda's great vocals up front in the mix, and lots of nice touches on acoustic guitar, almost foreshadowing the later work Sheree Brown with some nicely jazzy undercurrents! Lewis' sound here is great – very unique, warm and sweet, with a quality that really makes her stand out from other artists of her generation. Tracks include "Lullabye", "Fathoms Deep", "I'm In Love Again", "Play Around", "Wise Eyes", "On The Stage", and "Goodbye Joanna". Includes some nice bonus tracks too – the classic groover "Sideway Shuffle", the track "Safe & Sound", and an acoustic demo of "Red Light Ladies".

A later album from Little Feat – and one that adds some new dimensions to their ever-searching vibe! On Time Loves A Hero, Little Feat takes some surprising steps – even for them – into a bit of a fusiony rock vibe some of the time. Still, the soulful boogie rock and stripped down folky elements they always worked with are still in play. As always, they make these far-flung styles work together into a cohesive whole! Includes "Time Loves A Hero", "Hi Roller", "Old Folks Boogie", "Red Streamliner", "Rocket In My Pocket", "Missin' You", "Day At The Dog Races" and more.

A later album from Little Feat – and one that adds some new dimensions to their ever-searching vibe! On Time Loves A Hero, Little Feat takes some surprising steps – even for them – into a bit of a fusiony rock vibe some of the time. Still, the soulful boogie rock and stripped down folky elements they always worked with are still in play. As always, they make these far-flung styles work together into a cohesive whole! Includes "Time Loves A Hero", "Hi Roller", "Old Folks Boogie", "Red Streamliner", "Rocket In My Pocket", "Missin' You", "Day At The Dog Races" and more.

Arthur Lyman in 1966 – heard here on two albums from that year, packaged together on a single CD! Lyman 66 has Arthur still working strongly in the vibes/percussion blend of his start – moving into tunes that are familiar 60s pop numbers, but still done here in a smaller combo instrumental mode – and not the "added orchestrations" style of other exotica players of the time. Vibes are often the dominant instrument, played with a nice sense of tone and color – and titles include "Kon Tiki", "Jungle Cat", "Waimea Cowboy", "Fiddler On The Roof", "Only Yesterday", "Mary Poppins Medley", and "Taste Of Honey". The Shadow Of Your Smile is almost jazzy at times – exotically so, but still with a jazz-based sense of sound, tone, and timing – one that shows that Arthur Lyman's really grown since his days in the Martin Denny combo, and certainly earns all the recording time in the studio given to him during the 60s! Percussion, piano, guitar, and even a bit of electric bass come into play nicely here – and the tunes change up rhythms a bit more than usual, with even a dose of Latin in the mix. Titles include "I'll Remember You", "Moon Over Naples", "Marobi", "Yesterday", "Shadow Of Your Smile", and "Hang On Sloopy".

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.

A raw, frantically-paced live set by boxer turned soul singer Freddy Mack – captured live at Toft's Club in the UK! It's rawly recorded, which is great, given the gritty soul style at play It's a batch of rollicking covers done with infectious energy, Freddy clearly doing his thing out front of a tight rhythm section, heavy horns and backing singers. The audience reaction is intense to say the least – kids screaming there heads off, and that's a vital part of the sound! Includes "Bare Footin'", "Funky Broadway", "Sock It To 'Em JB", "Long Tall Sally", "Three Time Loser", "Stand By Me", and 12+ minute finale medley.

The last album ever issued by the enigmatic studio collective Mandigo – a batch of British musicians, but recording here in the best Afro Rock mode of the 70s sound library scene! As with some of the best British projects of this nature, there's a lot of different elements at play in the mix – African percussion, American funk, and some fuller arrangements that really push the whole thing over the top – in ways that make the whole record come across like a batch of all the best chase and crime soundtrack cuts from hip action films of the time! And like the other Mandingo records, there's also some cool use of electronics too – a bit less than before, but still with some great elements that really help create a unique sound. The whole thing grooves nicely, and standout cuts include "Man From Takoradi", "Rebellion", "Jungle Juice", "Arachnid", and "Manhunter".

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".

A pretty great set from Les McCann – and quite a bit different than some of his other work of the time! This one's sub-billed as "the ballad style of Les McCann" – but it features Les playing these laidback, mellow numbers that are way different than most jazz ballads of the time – almost darkly modern moments that draw a lot from rich tones and gentle chromes – of the sort we've hardly ever heard McCann play this way, and which almost hint at some of the gentler touch he'd use on the keys during the Fender Rhodes generation – even though this one's recorded a decade before. Backing is equally thoughtful and sensitive – with Herbie Lewis on bass and Ron Jefferson on drums – and titles include two originals – "Pretty Lady" and "Dorene Don't Cry I" – plus "Django", "Stella By Starlight", "On Green Dolphin Street", "Ill Take Romance", and "Little Girl Blue".

An obscure second soundtrack for The Mack – one that's not nearly as well known as the classic Motown score by Willie Hutch, but which features some great work from Eugene McDaniels – and funky backings from Alan Silvestri! Eugene sings sweetly on the title theme "In The Beginning" – and funkily on the track "Party Time" – but our favorite tunes are actually the instrumental ones by Silvestri, done in a really wicked sort of groove – one that mixes traditional blacksploitation scoring with some jazzier touches – in a mode that's tight one minute, laidback the next, and filled with a great blend of jazz, soul, and electricity! Titles include "Play Ball", "We Can Beat This", "Slim", "Here Today", "Planetarium", and "Kill Fats".

Stunning! This is one of Jackie McLean's best-ever albums, and it's a haunting mix of hard bop and some of the more modernist tendencies that would inform his "new thing" period. Butch Warren plays bass, and he drives the set with an intensity that reminds us of Mingus – and which fits perfectly with Jackie's writing, which is influenced here clearly by the time he spent with Mingus. The title cut is one of the best tracks you'll ever hear on Blue Note, and both Jackie's alto and Tommy Turrentine's trumpet play fantastic solos all the way through. Sonny Clark's on piano, compin' hard and loud, and the whole LP rolls along with a fantastic sense of urgency that you don't always hear on Blue Note. Bass is by Butch Warren, drums by Billy Higgins, and titles include "Enitnerrut", "Lost", "Five Will Get You Ten", "A Fickle Sonance", and "Sundu".

One of the most obscure records from trumpeter Blue Mitchell – a great session recorded in the 60s, during Blue's classic stretch with Blue Note – but not issued until 1980, and even then, only briefly! The record's a great example of Mitchell's strong capacity to play well in a larger group – this time a sextet, featuring Joe Henderson's tenor and Leo Wright's alto – playing imaginative lyrical lines next to Blue's sweet trumpet, and dancing around with a sound that's as lyrical as it is soulful! Other players include Herbie Hancock on piano, Gene Taylor on bass, and Roy Brooks on drums – and titles include "Mamacita", "Andrea", "Step Lightly", "Sweet & Lovely", and "Bluesville".

A stunner! Moolah's Woe Ye Demons Possessed is a spacious, sometimes spooky experimental rock record from the mid 70s –with a loose, post psychedelic blend of drums, keyboards, electronics and all around loosely hypnotic atmoshere that's in some ways reminiscent of what was happening on the German avant rock landscape at the time – but it's actually the private press work of a New York duo! Krautrock-evocative elements aside, there's a strange, cosmic and spiritual vibe at play here that's really unlike anything else we can think of. It's mostly instrumental, with some Eastern mystic-inpired vocals here and there. The vibe gets heavier and dronier as it goes along, making this a really cool, slow-building trip! Includes "Crystal Waters", "Terror Is Real", "Courage", "The Hard Hit", "Mirrors" and "Redemption".

One of our top 5 favorite Blue Note records of all time – a bold and powerful session from trumpeter Lee Morgan, but one that sat in the vaults for 15 years before release! The session was recorded around the same time as Morgan's hit The Sidewinder (which eclipsed its release at the time) – but it's got the soaring, searching energy of later Morgan work on records like Sixth Sense or Charisma – a whole new groove at the time, and one that's explored perfectly by a group that includes Jackie McLean on alto sax, Curtis Fuller on trombone, McCoy Tyner on piano, Bob Cranshaw on bass, and Art Blakey on drums. Modal lines come into play with older hardbop and soul jazz modes – and the result is an explosive batch of tunes that resonate with bold power throughout! Nearly all tunes are incredible originals by Lee Morgan – and titles include "Tom Cat", "Exotique", "Twice Around", and the completely captivating "Rigor Mortis". A treasure, and one not to pass up!

Early 70s ensemble funk from Mugo – a DC group made up of students from McKinley Tech High School – combining tightly energetic, fairly sprawling instrumentation and soulful vocals – a number of unreleased tracks from the sessions that also produced their rare 70s single, newly mixed by Kenny Dope for the Kay Dee label! The school band vibe really kind of comes into play via the uncommon mix of instruments, and that works really, really well – B-3, Rhodes and Korg synthesizer provide for some spacier touches, while flute and piano also find room in the group's sound alongside the funky drums, guitar and bass – with feverish vocals and some killer instrumental passages. The performances are inventively strong, too – it doesn't sound like a bunch a kids, that's for sure! We we flipped over the single Kay Dee put out of the group, and we're all the more ecstatic over the great LP! Includes "Change", "Organized (Kenny Dope Edit)", "Space Traveler", "I Love Music", "How Time Fly's", "All About Love", "Love Has Gone", "Sing A Song" and "Water".

The amazing legacy of Alicia Myers – two classic MCA albums, back to back on a single CD! First up is the self-titled Alicia – a set that's right up there with Myer's recordings with the group One Way, but with some deeper, more personal touches as well! Production is by Kevin McCord and Al Perkins from the One Way camp – and they bring in a nice mix of the funkier numbers that group was known for, and some warmer, mellower cuts that really show Myers maturing as a soul singer – a depth that might not have been expected a few years before, and which should have made her a bigger act for years to come after this wonderful set! The setting really lets Alicia open up on vocals, singing with a power and presence that's really great – and titles include "We Can't Stay In Bed Forever", "Don't Stop What You're Doin", "I Want To Thank You", "If You Play Your Cards Right", "Reggae Funky Dance", "Reservation For One", and "Life Joy & Happiness". Alicia Again is equally great – and has a strong smooth midtempo groove – with the beat toned down a bit from earlier days, in a style that works perfectly for Alicia's voice. A perfect bit of soul for that warm Sunday afternoon in the fall – king of similar to Chaka Khan's great solo work on Warner from the same time. Titles include "When Love Starts To Go", "I'm So Lonely", "Love Me Or Leave Me Alone", and "Do Your Kind Of Dance".

The start of a legendary run for vocalist Alexander O'Neal – and a set that really helped redefine the sound of male soul in the 80s! O'Neal got his start in an early version of The Time, and he's working here with Jimmy Jam & Terry Lewis – but the sound of the record is way deeper than all of those references put together – a careful, classy set that definitely lives up to the vintage look of Alexander on the cover! Jam and Lewis play tightly in the group, handling most of the key instrumentation – often with a restrained style that's quite different than their pumping hits, which lets O'Neal's great vocals flow out with an undeniably soulful power. Rhythms often hit the best sort of groove for Alexander's style – which sounds best in a mellow or midtempo mode – and the set's filled with classics, including "A Broken Heart Can Mend", "If You Were Here Tonight", "Innocent", "What's Missing", "You Were Meant To Be My Lady", and "Look At Us Now". 2CD version features a cool book-like cover, new notes, and lots of bonus tracks – including "Are You The One", "Innocent (dance rmx)", "If You Were Here Tonight (soft version)", "You Were Meant To Be My Lady (ext dance rmx)", and "What's Missing (dance rmx)".

Unreleased genius from British altoist Mike Osborne – and a set that easily matches his classic albums of the 70s! The double-length set was recorded live in the mid 70s, and is issued here for the first time – a wonderfully tight trio outing that features Osborne's alto alongside the bass of Harry Miller and drums of Tony Levin – in a mode that's decidedly Coltrane-influenced, and which has a searching, spiritual quality that's even deeper than most other British work of the time! We've never heard Osborne play with so much feeling, and Miller's basswork is wonderful too – really underscoring the sound with a full, rich quality that grounds the whole proceedings nicely – a soaring, majestic energy that's a far cry from some of the unstructured freedom from other Brit groups of the same stretch. Tremendous throughout – and with cuts that include "One For George", "Alfie", "Almost Home Kathy", "More Mike", "Ossie's Opener", "Awakening Spirit", and "Cousin Mary".

Probably one of the most controversial records to be issued on Elektra at the end of the 60s – a rough-edged batch of hippie dippy tracks that shares a fair bit of energy and humor with The Fugs! The tunes here are perhaps a bit more focused than the work of The Fugs, but the group explore similar territory too – not just the drug references in the title, but also the kind of offbeat word play and double-entendres that were common at the time. The set was recorded "live on the streets of New York" – and Peel sings, and plays harmonica and guitar – with other instrumentation that includes two 12-string guitars, bass, and tambourine. Titles include "Mother Where Is My Father", "Here Comes A Cop", "Up Against The Wall", "I've Got Some Grass", "I Do My Bawling In The Bathroom", and "Show Me The Way To Get Stoned".

The first-ever issue of music from a really weird John Phillips side-project of the 70s – a space-themed musical produced by Andy Warhol and directed by Paul Morrisey – with performances by Phillips, Dennh Doherty, and members of Warhol's Factory! Despite a loopy story, the tunes have a fair bit of homegrown charm – at least on the core material here, which is performed by Phillips himself, using just a bit of acoustic guitar, and coming across with a folksy feel that's mighty nice, especially given the date of the recording – almost a childlike simplicity in the themes, which is a nice change from the other Phillips modes of the time. Some other selections feature numbers recorded live at the play – and the set also features some additional studio tracks sung by Genevieve Waite, plus some other out-takes and rehearsal material. 38 tracks in all – with titles that include "Oh Andy My Assistant", "Mission Control", "My Name Is Can", "Star Stepping Stranger/Convent", "Penthouse Of Your Mind", "Starburst", "Handcuffs", "Close Your Eyes", "Love Is Coming Back", and "The Last Of The Unnatural Acts".

A pair of killers from Dave Pike – early work in a tremendous career in music! First up is Bossa Nova Carnival – a sublime set of bossa nova numbers, all written by the bossa pianist Joao Donato! Joao doesn't actually play on the record, but his compositions here are enough – as they help Pike find a new sense of space and pulse in his music – rhythms that really unlock his vibes towards their grooviest ends for the first time ever on record. Most numbers are heavily modal – a great mix with the bossa setting – and the album also features key work from Clark Terry on flugelhorn, Kenny Burrell on guitar, and Chris White on bass – whose loping lines really help shape the overall sound of the record. Also features lots of nice percussion – and titles include "Ginha", "Samba Lero", "Sono", "Carnival Samba", "Sausalito", and "Melvalita". Limbo Carnival isn't some early 60s gimmick session, designed to cash in on a dance craze – and instead, it's a wonderful early Latin set from the great vibist Dave Pike! In fact, given the strength of the grooves here, it would be plenty darn hard to do any limbo action to this one – because the rhythms are bouncy, modal, and very very groovy – served up by Pike on vibes, in a lineup that includes Ray Barretto on conga, Ahmed Abdul-Malik on bass, and Leo Wright on flute and alto – plus a few other straight jazz players like Jimmy Raney on guitar and Tommy Flanagan on piano. Tracks include "Mambo Bounce", "Matilda", "Cattin Latin", "St. Thomas", and a strange groovy version of "La Bamba".

Fantastic jazz funk by one of the best bands in the genre! This is probably Pleasure's most sought-after album, and it includes the classic breakbeat cut "Bouncy Lady", which begins with a nice hard drumbreak, and ends the same way! The record has a tight, smooth, soulful feel – similar to the best stuff coming out of the west coast Fantasy records scene at the time. There's lots of nice Wayne Henderson production on the record – with his trademark talent for snapping the drums nice and tight, while keeping the grooves nice and mellow. Includes the cuts "What Is Slick", "Reality", "Plastic People", and a great cover of "Midnight At the Oasis"! Reissued on very heavy vinyl, in a beautiful cover – and way better than any other Fantasy/Prestige reissues we've had!

Two great performances from Baden Powell – brought together as a really lovely collection of music! The set features two different live sets – one from 1976 and one from 1981 – both featuring Powell in a relatively stripped-down mode that offers up a perfect showcase for his amazing work on acoustic guitar! The 1976 set has a really dark feel – solo guitar, with that brooding majesty that Baden brought to his music after time on the European scene in the late 60s – amazingly deep tones brought into play with his deft work on the strings. The 1981 set is a bit more bossa – still just guitar for instrumentation, but recorded with vocals that still have a nice melancholy feel, but which sparkle a bit more, as does Baden's guitar. Titles include "Studio Op 10", "Cantico Nordestino", "Garota De Ipanema", "A Primera Vez", "Petite Valse", "Desafinado", "Canto De Ossanha", and "Formosa".

Mindblowing work from Sergio Ricardo – really one of his best albums ever, done with an incredible sound that's unlike anything else we've ever heard from him! There's a hip, folksy, post-Tropicalia vibe running through the record – of the sort you'd hear on some of the more obscure independent Brazilian albums of the period – as Sergio's joined by a hip group of young musicians, who play acoustic guitar, woodwinds, percussion, and other stringed instruments – in a style that's both jaggedly folkloric, and with some of the frenetic jazzy touches of some of Hermeto Pascoal's work of the time! The sound is hard to describe in words, but breathtakingly wonderful from the start – the whole album's as beautiful as it is revolutionary, and titles include "Calabouco", "Deus De Barro", "Sina De Lampiao", "Antonio Das Mortes", and "Beira Do Cais".

Mindblowing music from this ultra-cool musician – nearly three albums packaged on one CD! First up is Stones – a very groovy set of tunes that we'd rank right up there with Hal Blaine's Psychedelic Percussion for sheer nuttiness! Emil Richard plays a range of percussion instruments – as on other albums from the time – vibes and lots of mallet and percussion instrument – but he's also working with a really noisy moog, handled by Paul Beaver, and some weird "22-tone-to-the-octave" instruments that give the album an other-worldly tone that we really love. The whole thing bubbles and bleeps and grooves – with plenty of jazz still in the mix, as befits Richards' roots in the LA scene of the late 50s. 12 tracks in all – all named after birthstones – with titles that include "Garnet", "Moonstone", "Emerald", "Topaz", "Opal", and "Ruby". Next up are 6 tracks from New Time Element – one of the grooviest albums to come from the godlike hands of Emil Richards! This album's got a bit more punch than some of Richard's more jazz-based sessions – with Emil playing a wide range of percussion instruments, plus vibes and marimba – all backed by some incredibly groovy work on organ and piano by Dave McKay! Arrangements are by Tom Scott and Paul Beaver – and the record's got the jaunty, swinging quality of some of Scott's best early work of the time – particularly his early gems for Impulse! Titles include a great version of Tom Scott's oft-recorded "Blues for Hari", a very groovy number with a great 60s eastern feel – plus "Hot Fudge Sundae", "Happy Together", "Jimmy", and "Georgy Girl". And last but not least are 8 tracks that comprise Journey To Bliss – a fantastic bit of "Eastern" tinged jazz – and a real musical Journey To Bliss on its own! Vibist Emil Richards has always been totally groovy in our book – but he really outdoes himself here – working in an exotic mode that features lots of weird percussion over choppy modal grooves from keyboards, guitar, and drums – all in a wild blend of rhythms and grooves played by Richards and his Microtonal Blues Band. Players include Tom Tedesco and Dennis Budimir on guitar, Dave MacKay on keyboards, and Joe Porcaro on drums – but all players handle a variety of instruments, as does Richards, who must play dozens of different percussion elements on the set! Side one of the album features some great short groovers – like "Maharimba", "Bliss", "Mantra", and "Enjoy Enjoy" – all of which are in a tripped-out LA guru hippy mode that's simply wonderful! Side two features the extended "Journey To Bliss" suite, which has some spoken bits and a much wilder sound – but also the same sort of groovy pop-Eastern sound as side one!

A really compelling little set from Satisfaction Unlimited – a group we only know from this one corker of a record on the Hot Wax label! The style's a bit in some of the harmony modes of the east coast scene of the time – yet like most Hot Wax/Invictus work, there's also a bit of an odd twist too – a quality that's hard to peg in words, but which is sometimes slightly trippy, other times warmly soulful – almost a Cali indie sort of vibe – with a bit of sunshine that breaks through amidst some of the darker, heavier themes of the record. There's plenty of great numbers with a catchy vibe that could have almost gotten these guys the radio play of some of the RCA groups of the time – and titles include "Time For Us", "Think of The Children", "Bright City Lights", "Let's Change The Subject", "Come On Back", and "Why".

A perfect illustration of the rich new directions Wayne Shorter was taking at the start of the 70s – an amazing flurry of sounds and styles that's light years ahead of where he began in the 60s! Shorter's one of those players who was already great at the start – an amazing tenorist, both on his own and with the groups of Art Blakey and Miles Davis – yet by the time of this record, he'd absorbed a huge amount of influences from Brazilian music, modal jazz, the spiritual underground, and even the free European scene – all of which come to play on the long, complex tunes on the set! The record has Shorter working with some other key contemporaries of this new moment in jazz – John McLaughlin on 12 string guitar, Chick Corea on marimba and percussion, Dave Holland and Miroslav Vitous on bass, and Ron Carter on cello – all players who have the same open, exploratory vibe as Wayne's own lines on tenor and soprano sax. Titles include an excellent cover of Milton Nascimento's "Vera Cruz", plus the tracks "Antiqua", "Iska", and "Montezuma".

A mad bit of funk and jazz from Ben Sidran – much more tripped-out than his later work! Ben's got a great bunch of musicians on the album – with either Tony Williams or "funky drummer" Clyde Stubblefield on drums, and Phil Upchurch on bass, laying down a nice dark groove on the best cuts – often with an offbeat funky sound that's made the record a favorite for crate-diggers for years. Ben's on piano, grooving in a number of different hipster modes – from LA sleezy to New Orleans soulful – and his vocals, as always, are compelling and catchy. The set includes the nice long groover "Now I Live (And Now My Life Is Done)", a monster track with a great slow groove that's been sampled a number of times over the years – and other cuts include "Full Compass", "Play The Piano", and "Think Twice".

Loose, soulful and swaggering tenor sax from a pair of legends – Hal Singer and David Murray – fellows who busted boundaries for decades! On Challenge, recorded in Paris in Spring, 2010, they play great, mostly original material with passionate conviction and a a boundless sense of intutitive interplay. Singer and Murray communicate masterfully, and their excellent group includes Rasul Siddik on trumpet, Lafayette Gilchrist on piano, Jaribu Shahid and the always great Hamid Drake on drums. Includes Singer's "Challenge", "Hamid's Time" and "Dreams Of Dreams", Murray's "Hong Kong Nights", "Long March To Freedom", "Stressology" and more.

The seminal first album from the SOS Band – a record that really showcases the new sound of soul for the 80s, yet still holds onto all the best elements of the previous decade too! These guys have a great ear for groovers – well-demonstrated by the play they got on the dancefloor – yet they've also got a deeper sense of soul than some of their club contemporaries as well – heard not just on the ensemble vocals for the upbeat tracks, but especially on some of the album's great mellow steppers too! It's these laidback cuts that have always kept the album strong for us – showing that SOS are way more than just another fast funk band, and can really go deep, and stay with it for the long haul. Fred Wesley helped a bit on the arrangements – and titles include "Take Your Time", "Love Won't Wait For Love", "SOS (Dit Dit Dit Dash Dash Dash Dit Dit Dit)", "Take Love Where You Find It", and "Open Letter". Great new version – book-style cover, detailed notes, and bonus tracks that include "SOS (edit)", "SOS (special disco mix)", "Take Your Time (parts 1 & 2)", "Take Your Time (long version)", and "What's Wrong With Our Love Affair (edit)".

One of those "studio groups play instrumental versions of soul hits" albums that were so popular at the time. Most of the stuff's fairly standard soul instrumental material – like "Soul Man", "Sidewinder", "Pata Pata", and "Cold Sweat" – but there's a very cool original called "Afro-Desia", which has a nice groove to it!

Massive massive work from Starship Orchestra – a trio of talents from the Norman Connors universe, but one who get some heavy help in the studio from arrangers Bobby Lyle, McKinley Jackson, and Jerry Peters! There's a real Aquarian Dream sound at play here – all the best energy of Connors' soulful years of the mid 70s, fused into a jazzier vibe overall – played to perfection, yet without any commercial touches at all – a really amazing thing for a major label album of the time! We've loved this record for years, and easily rank it right up there with the most sophisticated grooves of the time – like the best from Roy Ayers or Leroy Hutson, with some echoes of James Mason's wonderful album too. One cut has lead vocals from Joe Saulter – and other players include Lyle and Peters on keyboards, Wah Wah Watson and Paul Jackson on guitars, Don Myrick on saxes, and Louis Satterfield and George Bohannon on trombones. The whole thing's perfect – and titles include "You're A Star", "The Genie", "All Those Things", "Serious Business", and "New York New York".

A great batch of lost funky club tracks – heavy moog in the mix, making some great wikki-wikki sounds over the album's smoothly grooving tunes! The group's got Gregg Phillinganes and Roger Smith in the frontline on keyboards – they also play Arp and Fender Rhodes next to moog – and Dick Griffey helped with the vocal arrangements, giving the record the smooth sophisticated feel of a classic LA Solar release from the late 70s, mixed with some of the jazzier grooving on Fantasy records from the same time. Titles include "Mood I Love Love", "Don't Overlook The Feelings", "So Long", "Let Love Flow For Peace", and "Fantasy". CD also features the bonus track "Erika (ext mix)".

An amazing run of music – and key sounds from a time when the Chicago avant garde was finally getting its due in the mainstream! The set features all Novus and Columbia recordings from both the Air trio of Henry Threagill, Fred Hopkins, and Steve McCall – a seminal group from the AACM in the Windy City – and the later recordings made by Threadgill as a leader – featuring even more expansive ideas, and an impressive ear for larger compositions in jazz! The set spans nearly 20 years, and features material from 11 different albums, including some unreleased music too – titles that include the Air albums Open Air Suit, Montreux Suisse Air, and Air Lore – and Threadgill sessions X 75 Vol 1, You Know The Number, Easily Slip Into Another World, Rag Bush & All, Carry The Day, Makin A Move, and Where's Your Cup – plus the previously unissued Vol 2 for X 75. The Air sessions are very earthy and spontaneous – that wonderful creative interplay that marked the AACM legacy at the time. And the Threadgill records start the same way, but show lots of new ideas coming into play – with contributions from Joseph Jarman on reeds, Amina Claudine Myers on voice, Frank Lacy on trombone, Ted Daniel on trumpet, Deirdre Murray on cello, Fred Hopkins on bass, Pheeroan AkLaff on drums, Myra Melford on piano, and a host of other important musicians, all coming together under the leadership of Threadgill. Notes are great, and the 8 CD set features 52 tracks in all – most of them quite long in length!

One of the heaviest albums of the legendary Peruvian scene at the start of the 70s – a record that has all the sharpness, sparkle, and edge of some of the heavy rock giants of the UK at the time – but which also has a sound that's somewhat looser and more inventive too! Traffic Sound can serve up a mean guitar riff when they want, but they also manage to bring some sweeter, more harmonic vocals into play too – and mix those up with great instrumental touches that include vibes, flute, sax, and a few more folkoric elements – all brewing nicely in the more conventional rhythms from organ, bass, and drums. This excellent reissue is served up from the original master tapes, and packaged in a well-done box-styled sleeve – a much nicer version than the previous reissue, and worth the extra cost! Titles include "Tibet's Suzettes", "America", "Yesterday's Game", "Those Days Have Gone", "Empty", "Chicama Way", and "What You Need & What You Want".

Raspy guitar from James Blood Ulmer – cut right at the end of the 80s decade when he was clearly one of the most inventive players on his instrument! The set's got a quality that's similar to some of James' other records from the US of the time – as it's trying to branch out to a wider audience through the use of beats and vocals on many numbers – picking up plenty of the funky undercurrents that were going on in the New York downtown black rock scene! That later modifier definitely comes into play here – as Ulmer puts aside some of his freer jazz styles for more tuneful, song-based modes that highlight the vocals as much as the guitar. Titles include "Boss Machine", "Baby Snatcher", "I Don't Know Why", "She Ain't So Cold", "Peace & Happiness", and "Calling Marry".

Marc Mac takes it back, way back – with some great 70s styled sounds mixed in with Marc's 21st Century vibe – a timeless mix of tightly grooving soul jazz with a live hip hop backdrop! In his work with 4 Hero, Marc could proudly pay tribute to his influences while innovating with contemporary beats and rhythms – and that tradition continues with Hipology. Classic hip hop and the 70s soul, funk and fusion that laid the blueprint are revered, with a modern vibe. Marc Mac produces and plays percussion, bass, strings and every kind of keyboard – with guest rhymers and players include the Ariya Astrobeat Arkestra horns, Baron & TRAC, Luke Parkhouse, John Robinson, Notes To Self and others. Titles include "Shaft In Africa (Addis)", "Funky Fanfare", "Apache (Battle Dub)", "Jungle Green Outlines", "Swahililand", "Luanne From Harlem", "Back In Time","Oil & Water" feat Notes To Self, "Come And Play In The Milky Night" and more. 13 tracks on the 2LP version.

Great late 60s work from Ronnie Von – an under-appreciated Brazilian rocker, and one with a sound that sits nicely between the Jovem Guarda generation and some of the headier groups to come in the 70s! There's a nice array of psychedelic influences at play here – strong echoes of British work of the time, but used in much more sophisticated ways than any Jovem Guarda acts – never a simple copycat approach, but also never as arty as some of the Tropicalia recordings of the time either. Ronnie's voice has a depth that allows some nice changes in mood from track to track – lightly lyrical one moment, a bit darker and more tripped-out the next – bringing a sense of variety to the record that almost recalls Caetano Veloso during the time, but a bit more rockish overall. Titles include "Atlantica", "Dindi", "De Como Meu Heroi Flash Gordon", "Foi Bom", "Rose Ann", "Comeci Uma Brincadeira", and "Mares De Areia". CD features 4 bonus tracks – earlier singles that include "Meu Bem", "Paraiso", "O Pequeno Principe", and "Meu Mundo Parou".

Cool quirky post-punk work from The Waitresses – a group who maybe were never as big as Blondie or Romeo Void, but shared a very similar space at the time! This album's best known for the classic "I Know What Boys Want" – a naughty little number that got plenty of dancefloor and radio play back in the day – but the whole album's an equally enjoyable romp, with lots of jagged guitars, sharp-edged rhythms, and cool snot-nosed vocals from Patty Donahue! Mars Williams blows some mighty reeds in the group – and titles include "I Know What Boys Want", "Wise Up", "It's My Car", "No Guilt", "Heat Night", and "Go On".

Barry White at the height of his powers – soaring out here with that amazing groove that never lets us down! The album's a mini-soul symphony throughout – tight beats, soaring strings, and that rock-solid Barry White vocal approach – that warm, fluid sound that's instantly recognizable, and which sparkles forth to really tie the whole album together! There's less standout singles here than some of White's other albums from the time – but that's the great thing about the album, too – as it encourages you to take the whole thing together at once – as such a masterpiece should be enjoyed. Titles include "If You Know Won't You Tell Me", "Baby We Better Try To Get It Together", "I Don't Know Where Love Has Gone", and "Let The Music Play". CD features some bonus variations on the title track – a single version, instrumental b-side, "M+M throwback mix", "Funkstar's club deluxe", and alternate version of "Let The Music Play"!

Betty Wright explodes with soul on this sweet 70s classic – really stretching out past the simpler grooves of her roots, and showing the world she's got more than enough talent to be one of the standout soul divas of her generation! The record's also a great illustration of the way that Miami soul was growing up at the time, too – and sparkles with Willie Clarke production that help balance some of the new smoother modes with Betty's core down-home energy – captured perfectly here with a quality that makes the record southern enough to appeal to longtime fans, yet hip enough to get plenty of play up north too. Vocals get nice and complicated at times, almost jazzy with a Rufus/Chaka touch – and titles include "Do Right Girl", "I Think I'd Better Think About It", "Smother Me With Love", "Open The Door To Your Heart", "Life", "If I Ever Do Wrong", and "Don't Forget To Say I Love You Today". CD features four bonus tracks – "To Love & Be Loved", "Ooola La", "Slip & Do It", and "If I Was A Kid".

A standout set from the duo of Calvin Yarbrough and Alisa Peoples – sounding great on this set of mid 80s grooves! The production of the set has all the hallmarks of Lonnie Simmons' Total Experience style – bouncy rhythms and sweet keyboards, wrapped up in that mix of catchy and funky modes the label was spearheading at the time – and managed to do in ways that were never as flat as some of the more commercial soul on the charts, yet which still had all the same sort of hook-heavy charm! Titles include "I Wouldn't Lie", "Guilty", "Let The Music Play On", "Wrapped Around Your Finger", "Everything", "A Closer Love Affair", and "Who Is She". CD features loads of bonus tracks – including "Don't Stop The Feeling", "Special", "Guilty (single)", "I Wouldn't Lie (12" version)", "Wrapped Around Your Finger (12" version)", and "Don't Stop The Feeling (12" club)".

The best in modern jazz in Japan in the mid 50s – a smoking little record that features two different groups! Side one really cooks – thanks to work from Akira Miyazawa on tenor, Sadao Watanabe on alto, and Masao Yagi on piano – all great players who are really at the top of their game here – crackling with tight rhythms in energy that rivals the best Prestige or Blue Note hardbop of the time! The combo play versions of "Confirmation", "I'll Remember April", "East Of The Sun", and "Memories Of You". Side two features a different, larger group – an ensemble that's almost got a west coast feel at times, or maybe a groove that's like some of the best RCA ensemble sessions of the mid 50s. Players include Konosuke Saijo, Takeyasu Mori, Tadayuki Harada, and Tatsuro Watanabe – and titles include "Don't Be That Way", "Snafu", "Strictly Bass", and "The Things We Did Last Summer".

An under-discovered treasure trove of southern soul – incredible early 70s work from the Sounds Of Memphis label – arguably a hipper imprint than Stax Records at the time! Sounds Of Memphis, and related XL imprint, were a perfect showcase for the growing sophistication in southern soul at the time – the generation of artists who were shaking off the cliches of soul that played big with crossover crowds in the 60s, but which were holding back development of the music in the following decade. The styles here are every bit as rootsy as before, but they offer up new sounds, new styles, new subjects, and new singers – plus some older artists who shine even more brightly in this setting. The package is a great counterpart to the other Sounds Of Memphis set on Kent – that based on Barbara & The Browns – and the production, presentation, and care of this set is every bit as great as that one. Titles include "I Can't Be Satisfied" by Spencer Wiggins, "Last Mile Of The Way" by The Minits, "You're Welcome Back" by Ann Hodge, "Tell Him Tonight" by Rudolph Taylor, "Everything You Always Wanted To Know About Love" by Lou Roberts, "Talking About The Love I Have For You" by George Jackson, "Hook Like & Sinker" by Dan Greer, "You Can Lead Your Woman To The Altar" by William Bollinger, "Take It From Someone Who Knows" by The Ovations, "California Dreamin" by The Jacksonians, "Let the Movement Last" by Vision, and "Play Thing (alt mix)" by Barbara & The Browns.

A very cool little record – almost the musical equivalent of pulp paperbacks and b-movie crime films – served up on a host of rare tracks from the 50s and early 60s! Crime is the dominant theme here – as you might guess from the title – but the great thing about the music is the way it's handled – often with a slight sense of humor that offers up a nice contrast to more serious crime-based pop culture of the time – reflecting the postwar fascination with the genre, but offering up its own vision of things as well! Instrumentation and production usually play a big part in the tunes – pretty crafty, with lots of cool twists and turns that make things as vivid as pre-code comic book or True Confessions magazine! Titles include "Cops & Robbers" by Boogaloo & His Gallant Crew, "Dick Tracy" by The Chants, "The Prisoner's Song" by Hylo Brown, "21 Days In Jail" by Magic Sam, "Mr Dillon" by The Delcardos, "Life To Go" by George Jones, "Bad Detective" by The Coasters, "Birmingham Jail" by Warren Storm, "Jail Bird" by Sonny Knight, "Prisoner's Plea" by Billy Boy, "Dragnet" by Ray Anthony, and "Have You Got The Gumption" by Scatman Crothers.

An essential chapter of Miami soul – even if most of the work is appearing here for the first time ever! The set is a magnificent companion to Numero's Deep City collection of pre-TK Miami soul – but it's put together in such a way that it's almost a beautiful introduction to the south Florida sound on its own – served up in a batch of rare, unreleased tracks! The music is every bit as wonderful as you'd expect – Miami soul recorded at a time before cliches had started to hit that scene – and when the best artists down south were strongly resonating ideas from Memphis and Muscle Shoals with other elements borrowed from northern groups both funky and mellow. Numero have really outdone themselves with this one – and the collection is way more than a part 2 to their previous package – more of a brilliant set of soul tunes on its own, complete with a booklet that's as beautiful as the music. Titles include "One Little Piece" by The Rollers, "Don't Be Surprised" by Lynn Williams, "No Way Out" by Clarence Reid, "What's In The Lovin" by Helene Smith, "Mr Lucky" by Betty Wright, "There Goes My Baby" by James Knight & The Butlers, "Do What You're Doin" by The Rising Sun, "Do Your Stuff" by Perk Badger, "Masterpiece" by Deep City Band, "Nasty Dog (part 2)" by The Nasty Dog Catchers, "Thank You Baby" by Betty Wright, "Your Love Won't Let Me Leave You" by Snoopy Dean, "The Pot Can't Talk About The Kettle" by Helene Smith, "Show Me What You Got" by Frank Williams & The Rocketeers, "Don't Be A Fool" by Clarence Reid, and "Knockin At The Wrong Door" by The Rollers. 2LP version features a great 12 x 12 fold out color insert in the middle – and includes 4 bonus tracks – instrumental versions of "Play With Fire" by The Rollers, "True Love Don't Grow On Trees" by Helene Smith, and "There Goes My Baby" by James Knight & The Butlers – plus the cut "Frenchy The Tickler" by Johnny K Killens & The Dynamites.

A classic compilation of material from the hip later years of Impulse – put together with a title that's a bit misleading, given that some of this stuff was clearly getting some play on underground FM radio! There's some key righteous classics here – like "Attica Blues" and "Money Blues" by Archie Shepp, "Astral Traveling" by Pharoah Sanders, "Galaxy In Turiya" and "Blue Nile" by Alice Coltrane, and "Worry Bout It Later" by Cliff Coulter – alongside other tracks that include "Larry Of Arabia" by Chico Hamilton, "Wave" by Ahmad Jamal, and "Crystalized Tears" by John Klemmer.

Massive mixes from the legendary John Morales – one of the key talents for really opening up the sound of New York dancefloors at the end of the 70s! The mixes here were all cut by John back in the day – all for special play in the clubs, and never commercially issued at the time – which makes the package one hell of a musical discovery – like finding your way back onto an underground dancefloor in the waning years of disco – when a handful of mixers like Morales were still finding some rich new energy in the scene! Most tracks are quite long, and have all their best elements expanded out by John – but in ways that really avoid some of the later "look at me" styles that mixers would use in the next generation. This 2CD set features all instrumental mixes by Morales – a great complement to the vocal version package – with titles that include instrumental versions of "Only You" by Teddy Pendergrass, "Is It All Over My Face" by Loose Joints, "Was That All It Was" by Jean Carn, "I Think I'll Do Some Stepping On My Own" by Sandy Barber, "Ride On The Rhythm" by Mahogany, "First Time Around" by Skyy, "Do it To The Music" by Raw Silk, "Hit & Run" by Loleatta Holloway, "You Gonna Make Me Love Somebody Else" by The Jones Girls, "I Want You" by Marvin Gaye, "You Can't Have My Love" by Hamilton Affair, and "I Want Your Lovin" by Curtis Hairston.

Massive mixes from the legendary John Morales – one of the key talents for really opening up the sound of New York dancefloors at the end of the 70s! The mixes here were all cut by John back in the day – all for special play in the clubs, and never commercially issued at the time – which makes the package one hell of a musical discovery – like finding your way back onto an underground dancefloor in the waning years of disco – when a handful of mixers like Morales were still finding some rich new energy in the scene! Most tracks are quite long, and have all their best elements expanded out by John – but in ways that really avoid some of the later "look at me" styles that mixers would use in the next generation. 3CD set features 24 tracks, some very extended mixes – "Never Never Gonna Give Ya Up (M+M keep on doin it mix)" by Barry White, "Was That All It Was (M+M South Philly groove mix)" by Jean Carn, "If You Know Like I Know (M+M Teddy know best mix)" by Teddy Pendergrass, "I Think I'll Do Some Stepping On My Own (M+M stepping out the door mix)" by Sandy Barber, "Hit & Run (M+M I ain't sharing mix)" by Loleatta Holloway, "Only You (M+M you got what I need mix)" by Teddy Pendergrass, "I Want You (M+M breakdown beat mix)" by Marvin Gaye, and "You Gonna Make Me Love Somebody Else (M+M I don't wanna do it mix)" by The Jones Girls.

A weird sort of title – until you realize it's a play on the name of the city of Manchester, where most of this work originates – and where the testosterone must have been running high during the 70s, when most of these tunes were cut! The music here represents a world hardly heard from before – a British underground in the years after Deep Purple – rich in fuzz, and heavy on drums – making music that easily rivals the badass power of most of the bigger British groups of the time – and which often has an undercurrent of funk at the bottom too! That funky element is definitely at play on the track selection here, too – as you might expect with Finders Keepers at the helm – the folks who've given us fuzzy funky nuggets from around the globe, and have turned back towards home to dig up these mostly unreleased gems! Titles include "Windy Day" by Greasy Bear, "Hunt The Stag" by Stack Waddy, "Ten Days Gone" by Urbane Gorilla, "Crocadilla" by Spider Jive, "Come On In" by Slipped Disc, "Seven Stars" by Plasma, "Johnny" by Socrates, and "Is This Really Me" by JC Heavy.

A wild collection of extraterrestrial country, pulp, pop, r&b and even some doo wop influenced tunes from the outerspace fringes of 60s & 70s Nashville & beyond – largely from the brain bananas of Jack Blanchard & Misty Morgan! We knew that Jack & Misty recorded some fairly far out countryish gems as a duo – but this crazy set really opens our minds to how wild they were as writers, producers & arrangers! It truly rivals Joe Meek's productions when it comes to pulpy themes and unpredictable stylistic range – while carrying a weird, earthier rustic & rural groove. Jack & Misty sing and play often throughout, as themselves and under pseudonyms – and they recruited friends and peers as singers and players for the others. Far more than just an exercise in strangeness – the songs are good enough to stand out as more than novelties, and some of the most respected Nashville session players of the past half century can be found in the notes. You get electrified banjo, sax, and organ in the same wild tunes – any questions? The majority of songs were cut between the fertile period between 1965 and 1974 – with a few going back earlier & later – a whopping 30 tracks in all! "Strange New World" by Jacqueline Hyde & The Moonfolk, Time Machine" by Joel Mathis, "Skellykins" by Rusty Diamond, "I'm Hung Up On You" by Rusty Diamond, "Hit Me One More Time" by Jack Blanchard & Misty Morgan, "Let's Have A Hayride" by Maryanne Mail, "New World" by The Jack Blanchard Group, "Monkey See, Monkey Do" by Brad Wolfe, "Dance Of The Living Dead Chickens" by Jack Blanchard and more!