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Featuring Dr Dre and Mack 10.

Second single off Ras Kass's second LP. No one's better than Ras Kass in giving up-to-the-minute, hilarious, intelligent commentary on the current state of hip hop or America in general – with puchlines that still hold up on the third or fourth listening. And the production is as nice as the rhymes.

"Ghetto Fabulous" features Dre and Mack 10. "H20Proof" features Saafir.

Two very different sides of the same spacey coin – an original 1971 track by Sun Ra, plus a contemporary remake! "Nidhamu" is a very weird electronic number recorded by Ra at the house of Harmut Geerken in Cairo in the early 70s – done with loads of cool moogy keyboards and weird electronics, and almost more an analogue electronic concept piece, than the usual jazz of the Arkestra – but with some melancholy keyboard moments that are surprisingly soulful too! Ras G & The Alkebulan Space Program offer up their take of the tune on the other side of the record – even more abstract, and even noisier too!

From Training Day.

Incredible soundtrack work from one of the coolest composers of the 70s – the groovy Francois De Roubaix, equally at home with electronics and funky orchestrations! We've loved the music of Francois De Roubaix for years – and treasure it for its unique blend of electric and acoustic elements – often coming together in mad juxtaposition, but doing so in a way that always makes for a nice little groove, and often a strong undercurrent of funk! This set brings together a nice collection of rare electronic soundtrack work by De Roubaix – tracks from the films La Scoumoune, L'Antarctique, and RAS, as well as music from the TV series La Mer Est Grande, plus a few bonus tracks from other sources. Together, the tracks paint a rich picture of the electric side of Roubaix work – a side that's shown up a bit on other reissues over the years, but which has never been shown so strongly until now! The whole thing's incredible, and packaged with some great notes and especially cool vintage photos of Francois in action – showing him to be the consummate hipster of the French soundtrack scene in the early 70s! 20 tracks in all – all brilliant!

The essence of Duke Ellington – but in the hands of William Parker, it's a very different thing than you might expect! The group here is larger than usual for Parker – a great ensemble used in ways that definitely echo some of Ellington's more inventive scoring, especially his mature use of tone and color – yet both the solos and ensemble moments go way way farther than anything the Duke might have imagined – all the bold, righteous brilliance that we've come to love in Parker's own recordings – focused back on one of his greatest inspirations. The lineup is quite impressive – as musicians include Roy Campbell on trumpet, Ras Moshe on tenor and soprano, Rob Brown and Darius Jones on alto, Sabir Mateen on clarinet and tenor, Steve Swell on trombone, Dave Burrell on piano, Hamid Drake on drums, and Parker himself on bass – and titles include "Take The Coltrane", "Essence Of Sophisticated Lady/Sophisticated Lady", "Caravan", "Essence Of Ellington", "Take The A Train/Ebony Interlude", and "Portrait Of Louisiana".

A pretty sweet, reggae-steeped full length from Sydney 10-piece The Strides – who bring a real love Jamaican music into the pot, but it's a quite a diverse brew! The Strides glide along here with some jazzy funk, Afrobeat rhythms, some subtle modern flourishes and other boundless bits of inspiration – and they blend it all really well. Guests include Ras Roni, Ltl Gzeus and the tracks include "Storm Clouds" feat Ras Roni, Some O'Dem" feat Ltl Gzeus, "FKD (Farewell King Deuce-A-Mo)", "Umbi Gumbi", "Escape", "Reclamation" feat Ltl Gzeus, "Well Hung Parliament" and more. CD version also includes "Fresh Lady Dub" and "Storm Clouds Dub".

Krondon, Phil the Agony, and Mitchy Slick are back as Strong Arm Steady, with close cohort Xzibit rhyming on a track – with loads of allstar support from Planet Asia, Chamillionaire, Madlib, Dilated Peoples, Talib Kweli, Juvenile and more! Tracks include "The Movement" feat Planet Asia, "U Ain't Me" with Chamillionaire, Ras Kass & Xzibit, "Co-Operation" feat Dilated Peoples, "Clean Up" with Saukrates & Black Thought, plus production by Madlib, "Streetlights" with Talib Kweli, "Dirty Dirty" feat Juvenile and more. 15 tracks in all.

The dopest six songs off the Streetfighter soundtrack. As far as we know, the only unedited version of LL Cool J's banger "Life As...", plus an early track from Golden Staters Ahmad/Ras Kas/Saafir "Come Widdit". Also includes Nas "One On One", Pharcyde "Pandemonium" and BUMS "It's A Street Fight".

A beautiful illustration of the sound of Studio One Records – that unique quality that makes the legendary label one of the most soulful sources of Jamaican music ever! The package is a surprisingly great treat – one that's still amazingly essential, even if you've got other Studio One collections – as it really has an unusual approach – one that seems to get past all the sub-genres of Jamaican music, and focus on the core genius of Studio One! In that respect, there's a very deep soul vibe to most of these tracks – almost a Kingston echo of Memphis or Muscle Shoals, not in the style of music – which is usually early reggae or rocksteady – but in the way all the core elements of the tunes come together perfectly, even before the singer's great vocals come into the mix! Once again, Soul Jazz prove that they've got a magical set of ears – as you'll hear on this collection of tracks that includes "Happy Feelings" by Dub Specialist, "Live Up To Your Name" by Prince Lincoln, "Happy Valley" by Reuben Alexander, "There's A Fire" by Larry Marshall, "Rolando Special" by Roland Alphonso, "Homeward Bound" by Freddie McGregor, "Hip Hug" by Slim Smith, "Good People" by Ras Michael & The Sons Of Negus, "Keep On Moving" by Lord Tanamo, "Trouble Maker" by Wailing Souls, "Call To Me" by Rita Marley, and "Double Minded Man" by Anthony Ellis.

Produced by Dennis Brown. 10 tracks in all, including: "The Creator" by Jah Thomas, "The Fisherman" by Ras Bug, "Fifty One Storm" by Big Joe, "Saturday Night" by Trinity, "Sugar & Spice" by Buckers, "Dreadlock Disciple" by Ras Bug, "Rent Man" by Jah Thomas, "Lightning Ball" by Ras Bug, "Murder" by DEB Music Players, and "Zo Tarry Yah" by Ras Bug.

A contemporary group, but one with a very vintage reggae vibe – one that's put together here by producer Eric Hilton, who's got a well-trained ear for the classic, thanks to his work in Thievery Corporation! There's a warm, soulful feel to the record – a vibe that's somewhere between mid 70s Kingston, and London reggae from a decade later – all handled with a stripped-down, no-nonsense approach that features soulful horns, stepping basslines, and just the right sort of dubbish production to make the whole thing gel together – yet survive on its own without any studio tricks or gimmicks. Vocals are by Ras Puma, Lenny Kurlou, Sleepy Wonder, and Ichelle Cole – and titles include "Who's Correct", "Nuff A Dem", "Crime", "Blasting Through The City", "Sensibility", "Music Is My Prayer", and "Boof Baff".

Great mid 80s set from the legendary Sugar Minott, Studio One mainstay Willie Williams and others – recordings split between Bullwackies in The Bronx and Music Mountain in Stony Hill, Kingston – featuring 8 riffs on King Tubby's "Tempo" rhythm! Dubwise and digital aware material that stands the test of time! Includes "Devil Is At Large" by Sugar Minott, "Don't Worry Yourself" by Chris Wayne, "Solid Rock I Stand" by Willie Williams, "Free South Africa" by Ras Menelik Dacosta, "Tribute To Prince Knight by Jerry Johnson, and a trio of "Tempos" by Black Roots Players.

The first full album recorded by A Certain Ratio – and a mad mix of styles that's immediately compelling! The group are a key link here in so many traditions – British punk, 70s funk, dub, and late prog – all coming together under the godlike production talents of Martin Hannett to make the album one of the gleaming jewels in the crown of the young Factory Records label. There's never been a record of such scattered, skittish darkness – and even though short songs like "The Fox", "Forced Laugh", "Felch", "My Spirit", and "Loss" are arresting, the whole thing's magnificently capped off by the extended percussion jam "Winter Hill" – a tune that sounds like a batucada group trying to drum their way across a post-apocalyptic landscape!

Almost an underground groove supergroup – given that the set features work from Earl Zinger (Rob Gallagher of Galliano) at the helm, production from 2 Banks Of 4, vocals from Valerie Etienne, and funky rhythms from Shawn Lee! The combination of talents come together here in a very new way – with a style that's much grittier and earlier than before, although still pretty darn groovy overall – almost putting a raspy old school touch on a scene that's definitely matured on its own, and may well be old enough to lay claim to the rootsy sound of this set! Rob's songwriting has definitely matured, and at some of the best moments, there's almost a British Tom Waits-y kind of quality to the set. Titles include "Below Sea Level", "Burial Blues", "Whip Of The Wind", "Laxfield Blasphemy", "Velvets Eleven", "Margaret Catchpole", and "Foggy Dew".

Almost an underground groove supergroup – given that the set features work from Earl Zinger (Rob Gallagher of Galliano) at the helm, production from 2 Banks Of 4, vocals from Valerie Etienne, and funky rhythms from Shawn Lee! The combination of talents come together here in a very new way – with a style that's much grittier and earlier than before, although still pretty darn groovy overall – almost putting a raspy old school touch on a scene that's definitely matured on its own, and may well be old enough to lay claim to the rootsy sound of this set! Rob's songwriting has definitely matured, and at some of the best moments, there's almost a British Tom Waits-y kind of quality to the set. Titles include "Below Sea Level", "Burial Blues", "Whip Of The Wind", "Laxfield Blasphemy", "Velvets Eleven", "Margaret Catchpole", and "Foggy Dew".

Hard-ripping genius from Agent Orange – one of the group's first moments on wax, and arguably one of their greatest, too! The set's everything you'd ever want from an LA hardcore record from the glory days – tight, fast, simple, and completely effective – the kind of music that America did best, right at a time when the punk rock flag was failing in other parts of the globe – just guitar, bass, and drums – but played with an energy that set fire to a whole new generation! Includes the classic "Everything Turns Grey", a great remake of "Miserlou", and the cuts "Living In Darkness", "A Cry For Help In A World Gone Mad", "No Such Thing", and "Too Young To Die".

One of the cuts that made the Streetfighter soundtrack worthwhile.

One of the coolest albums we've ever heard from Italian soundtrack genius Alessandro Alessandroni – a set that's heavy on the vocal interplay of his I Cantori Moderni group, but which also features lots of dark musical elements as well! The blend is incredible – soaring harmonies on one hand, served up with plenty of jazz – but some cool instrumental twists and turns underneath, which often create a moody quality that really contrasts the vocals! Alessandroni's always been great – but this album takes his genius to a whole new level – with cuts that include "Verso L'Infinito", "Ciocando Con Le Note", "Valzer Del Baraccone", "Nella Balera", and "Ghen Ghen Ghe".

A 60s bossa classic from Johnny Alf – a set that really showcases the bluer side of bossa at the time! The set's got a rich, sophisticated sort of sound – right up there with the best Elenco or Forma vocal sessions of the 60s, thanks to orchestrations by Jose Briamonte, which move along with this really dark undercurrent. Alf's vocals and piano contrast nicely, with these oddly-turning notes that are really unique – a distinct approach that made Johnny one of the most standout talents of this new generation. This album's easily one of his greatest efforts – and titles include "Gismi", "Kao Xango", "Cancao Pra Disfacar", "Ceu Alegre", "Eu So Sei", and "Bossa So".

A 60s bossa classic from Johnny Alf – a set that really showcases the bluer side of bossa at the time! The set's got a rich, sophisticated sort of sound – right up there with the best Elenco or Forma vocal sessions of the 60s, thanks to orchestrations by Jose Briamonte, which move along with this really dark undercurrent. Alf's vocals and piano contrast nicely, with these oddly-turning notes that are really unique – a distinct approach that made Johnny one of the most standout talents of this new generation. This album's easily one of his greatest efforts – and titles include "Gismi", "Kao Xango", "Cancao Pra Disfacar", "Ceu Alegre", "Eu So Sei", and "Bossa So". CD features the bonus track "Eu E A Brisa".

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

A really wonderful document of of the Takamba style of music in Northern Mali and Niger – passionate, energetic and hypnotically performed by Ali Ag Amoumine! Ali's home is in Timbouctou, a couple hundred kilometers upriver from the Takamba region, and it was here that this excellent recording by Christopher Kirkley took place. It's essentially traditional regional guitar music, electrified and played in droning, wholly entrancing patterns, while the rhythm is played on the calabash. The songs here are described as being informed by Ali's travels and including his own compositions, and it does have inimately personal feel, while also pulling us in strictly on the basis of the soaring, hypnotic sounds. Includes "Adernibah", "Khomeissa", "Fatimatou", "Damara", "Kalitay", "Hali Diallo", "Taliat Nouhirase", "Nouvelle Annee" and "Mali".

Spare set of moody out pieces, played by a trio that includes Andrews on reeds, Nana Vasconcelos on percussion, and Nat Adderley Jr. on piano – adding a surprisingly nice sound to the album. Titles include "Vamos Para Casa", "Danca Das Kashala E Sarhanna", and "Um Girrasol".

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

A great mid 70s record by Antorcha – whose late 60s records as Las Antorchas were a great mix of styles – from beat, to garage, mod and psych – and by this point in the mid 70s, shortened their name and honed their groove into heavier, moodier style that's even better! Heavy rhythms and moody textures – with some really haunting organ grooves – and an overall vibe that's up there with some of greater underground rock around the world at the time. By this point, the band was producing and promoting themselves – and put up a number of EPs that are compiled here for this great 11 song set: with "En El Jardin Del Eden", the English-sung "Grass" and "Going Down", "La Tierra", "Crisalida", "Bracero", "Mira", Quiero Vivir" and more.

A rare treasure from the Art Ensemble Of Chicago – recorded as a supposed third album for Atlantic records in 1974, but unissued for years until the group released it on their own! The session is a live one, recorded at the Montreux Jazz Festival – and features the unique addition of Muhal Richard Abrams on piano, making for the group's first session ever with the instrument! Muhal's work nicely colors in the spare spaces on the set – giving a soaring, lyrical quality to a few of the numbers – and really standing in stark contrast to the freer solo work of the other players. At times, Abrams is playing these longer lines that almost have a McCoy Tyner sort of energy – directing the set with a tremendous searching vibe – and at other times, he joins the group in their sparer exploration of sound and space – in a mode that's similar to some of their Parisian recordings. Titles include "Sun Precondition One", "Kabalaba", "Kaba Song", "Mal's Delight", and "Improvization A2".

The start of a beautiful relationship between the Art Ensemble Of Chicago and the DIW label – a Japanese imprint who brought the group back to full prominence in the years after they stopped recording for ECM! DIW also let the group really do their own thing, too – almost moving back to some of their best 70s modes in a recording like this – nicely mixing up many different strands of musical influences, all in a very open space that leaves plenty of room for more sensitive moments. The only change might be the increasing presence of some of Lester Bowie's brassier modes – which bring a straighter groove at a few points – but the offbeat reed work of Joseph Jarman and Roscoe Mitchell more than offset those moments. Titles include "Charm #10", "Dancer", "We Bop", "Galactic Landscape", "RMR", and "Way Way Down Yonder".

No Mirage here – as the album's got a presence that's impossible to deny – a solid, soulful uttering from this key Chicago combo of the 70s! The group's led by reedman Ari Brown – better known for his later avant work – and they've got a wicked blend of keyboards and horns with lots of complicated touches, played out over funky rhythms that are completely mindblowing! The great Ken Chaney plays keyboards, and in addition to Brown's reeds, the set also features trumpet from Frank Gordon, trombone from Steve Galloway, and bass from Rufus Reid – plus cool percussion from Arlington Davis and Drasheer Khalid. Most cuts are instrumental, and recorded beautifully – but one number, "The Ultimate Frontier", also features vocals from Anita Jefferies. Other cuts include "Slinky", "Mirage", "Just a Little Peace", and "March On".

Hypnotic Fuji music from Alhaji (Chief) Sikiru Ayinde Barrister and his Supreme Fuji Commanders! The rawly and heavily percussive sound is makes a strong sensory impact – with nicely recorded, echoey vocals out front of that thundering, though impressively rhythmic backdrop. The album features 2 longer songs on one side and a handful of shorter pieces on side two. 10 in all. Titles include "Iwa", "Alhaji Rasaq Okoya", "Late Alhaja Sidikat Abeni (Haruna Ishola Bello)", "Olabisi Ilori", "Owolabi Ilori", "Fuji Americano" and "Singing Roundabout".

Quite possibly the greatest moment ever for Burt Bacharach – and that's saying a heck of a lot, considering the greatness of all of his work! The record's a slightly-overlooked gem from Burt's 70s years – a record that steps off the compressed sophistication of his best 60s work for A&M, but pushes things slightly into even more adult territory – a space that's beyond simple instrumental pop, and which features complicated rhythms, amazing songwriting, and a batch of tunes so great, you'll be coming back to this one for years to come! The record leads off with the sublime "Something Big", a building vocal number that always sends chills down our spine – then follows with the skittish rhythm of "Monterey Peninsula", almost drum and bass at times! Even the mellower tracks are great – somewhat soulful, and always touched with unusual phrasings, timings, or jazzy changes that are simply mindblowing. Other tracks include "The Balance of Nature", "Lost Horizon", "Walk The Way You Talk", "Reflections", "Long Ago Tomorrow", and "I Might Frighten Her Away".

Great stuff from Eryka Badu – sweet, mellow, soulful, and with a very righteous vibe! The record's got some impeccable production – and the best cuts have a stripped-down groove that mixes keyboards and vocals in a way that's similar to recent work by D'Angelo and Jill Scott. Eryka's all her own woman, though – and she keeps things very real with her own unique vocal style and phrasing on the lyrics. Loads of great tracks – and titles include "Kiss Me On My Neck", "Didn't Cha Know", "My Life", "AD 2000", "Bag Lady", "In Love With You", and "Booty".

One of the few early albums as a leader cut by trumpeter Benny Bailey – a tremendous talent, finally getting his due! Bailey is one of the great unsung talents of jazz, and he's always made top-shelf work – from his early days with Quincy Jones, to his later years as an American expatriot, recording for European labels like Ego and MPS. This rare early session is one of the few recorded for the super-hip Candid label – and it features Bailey's trumpet at the head of a tight combo that includes Phil Woods on alto sax and bass clarinet, Julius Watkins on French Horn, Les Spann on flute and guitar, Tommy Flanagan on piano, and rhythm from Buddy Catlett on bass and Art Taylor on drums. Despite the "big brass" title, there's no horn section here – and instead, most of the numbers have that sharp-edged modern sound we associate with Candid – with Watkins horn being the only other brass instrument, alongside the lighter lines of Woods and Spann. Titles include "Hard Sock Dance", "Tipsy", "Please Say Yes", and "Maud's Mood".

A well-titled album from the legendary Derek Bailey – definitely a set that lives up to his tremendous reputation over the years! Bailey plays solo guitar here – working through a set of short improvised pieces, and coming up with sounds that are simply incredible – especially for an era when highly experimental records like this weren't often issued. Bailey's work on the strings of the guitar is far different than just about anyone before – and most players since – more sounds than notes, and often very abstract – but with a quality that all somehow makes sense – which is a great contrast to so many of the folks who tried to imitate this music in later years. The album's one of the best illustrations both of Bailey's mighty talents, and of the influence he had in following years – and it features 14 tracks, titled simply "M1", "M2", etc – all of them great!

A great little record that really lives up to the Wonderland in the title – as it's a really rich place for vocalist Bajka to open up and do her thing – stretching out wonderfully here, after some key previous work on singles and remix projects! Bajka's got a voice that's instantly recognizable – almost a 21st Century Billie Holiday approach – with nice raspy edges, and a mix of sadness and warmth that really goes past other contemporary singers on records like this! Backings are great too – handled with plenty of righteous jazz touches at times, thanks to work from Jerker Kluge, who you'll know as the leader and bassist in Deep Jazz. Every bit as hip as we could have hoped for – and titles include "The Hunting", "The Barrister's Dream", "The Baker's Tale", "The Vanishing", and "The Landing".

One of the most soulful albums we've heard from Schema in many years – a brilliant batch of jazzy tracks from singer Andrea Balducci – served up with backing by a great lineup of players from both the Ricky Tick and Schema worlds! The core approach is jazz, but many of the songs are done with a very soulful approach – a style that's a bit like Mario Biondi, especially given Balducci's use of English throughout, and his raspy vocals – yet more 60s soul in the end, with a unified aesthetic that really holds strong over the course of the album. Players include Jukka Eskola on trumpet, Timo Lassy on tenor, Gaetano Partipilo on alto, and Luca Mannuzta on Fender Rhodes and piano – and titles include "Hurt So Bad", "Spooky", "Within Myself", "Big City", "I Just Dropped In", "Time Will Come", and "The Meaning Of Love".

One of the best instrumental records to come out of Memphis, and a real kicker by the funky band that went down with Otis Redding in the tragic plane crash in 1968! The leadoff track is the group's amazing hit "Soul Finger", a stormin' instrumental with a wailing brassy sound that influenced a generation with its "charge" kind of groove. Lots of other nice ones, too – like "Bar-Kays Boogaloo", "Knucklehead", "Theme From Hell's Angels", and "Pearl High". The best of the best of Stax helped out, too!

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 stunner from Bill Barron! The set's one of the few rare sides that Barron cut as a leader during the early 60s – and it ranks right up there with work by Ornette Coleman or Joe Harriott for sheer raw modern power! The group's a quintet – with Barron and Booker Ervin on tenor, Larry Ridley on bass, Kenny Barron on piano, and Andrew Cyrille on drums – and the warm interplay between Ridley's bass and Barron's piano provides a striking contrast to the sharp-edged horn of Barron and the adventurous drumming of Cyrille. Tracks chop around in a modal groove, but still also retain a bit of soul jazz flair – and like all of Barron's best work, they never forget how to swing, and swing they do! Titles include "Bill's Boogie", "Groovin", "A Cool One", "Playhouse March", and "Work Song". 80's pressing, with previously unissued track "Billie's Bounce".

A perfect illustration of the genius of guitarist Robbie Basho – a set recorded early in his career, but with music that's light years ahead of most of his contemporaries! Although a set of solo acoustic guitar tracks, the music isn't really folk – nor is it the sort of acoustic underground music that would emerge more strongly in the 70s – and instead, it's got a real edge throughout – lots of odd tones and weird phrasings that almost preface a whole generation of guitar experimentalists like Derek Bailey or Eugene Chadbourne – yet still within a setting that's relatively tuneful overall! Basho's music has this subtle mysticism that we really love – and the solo sounds here are as evocative as the titles – which include "Mountain Man's Farewell", "Seal Of The Blue Lotus", "Sansara In Sweetness After Sandstorm", "Dravidian Sunday", and "Bardo Blues".

A really wonderful back to basics session for Basie – featuring arrangements by longtime band members Frank Foster, Erick Dixon, Bobby Plater, and Thad Jones! The set also features vocals on 2 tracks by bluesy vocalist Richard Boone – a singer with a really great scatting approach – but overall, the real strength is the horn section, particularly Al Aarons, Dixon, and Eddie Lockjaw Davis – who all get in some very nice solo work. Tracks are mostly older numbers, Basie-ized – and played with a laidback tone that's a real contrast from the higher energy early 60s recordings. Titles include "Squeeze Me", "Frankie & Johnny", "Boone's Blues", "I Got Rhythm", and "Hey Jim".

Crucial work from Moreno Batamba – a set that brings together his Sister Pili album with a few bonus tracks as well! The core record is a cracker from 1983 – a set that shows the farther-reaching style in East African music at the time, yet without any too-commercial styles at all – just a really strong focus on the uniquely raspy vocal approach of Moreno, set to these long-spun grooves that beautifully intertwine rhythms and guitar lines! All tracks are more than nine minutes in length – really allowing for some spontaneous interplay as things spin out – and titles include "Adidja", "Kaka Punguza Wivu", "Aoko", and "Sister Pili". CD also features two tracks from 1977, even rootsier than the Sister Pili material – "Rehema Piri" and "Teresia (edit)", both recorded with L'Orchestra Banza Nzadi.

Quite an unusual soundtrack from Les Baxter – not just because it's a rare one done for an early 60s horror film, but also because this presentation of the music features a handful of very long songs – rather than the usual shorter film score numbers! In a way, the music works like one long suite, divided up into a few passages – heavy on the kind of exotic scoring that Baxter was using in his key Capitol Records sides a few years before – but also turned towards darkness a bit more, as you'd guess from the setting! Instrumentation isn't far off from Baxter's exotic records – light strings, percussion, vibes, offbeat woodwinds, and more – but the phrasing is a lot more eerie – and at points, a lot more dramatic too. Titles include the short "Main Title" – plus the longer "Drop Of Water", "The Telephone", and "The Wurdalak".

Very groovy LP of bongo-oriented tracks conducted by Les Baxter for "young America" (or so says the label!) The overall feel is nice and jazzy, and the tracks have a nice snapping bongo sound. Tracks include "Reverberasia", "Bustin the Bongos", "Brazilian Bash", and "Afro-Deesia" – and they all sound as great as the titles might imply.

A fantastically soulful album from Jorge Ben – one of his greatest records ever, and a key part of Brazilian music in the 70s! The album marks an earthier shift for Jorge – a sound that's still rooted in the samba influences of the 60s, but which also takes on a bit more soul at the bottom – thanks to rhythmic contributions from Trio Mocoto, who work here famously to help Ben shape the overall feel of the set! There's still a bit of larger orchestrations at moments, but these are used sparingly just to sweeten the sound – leaving the main force of the music to come from Jorge's guitar, and the cuica, percussion, and tamborim of the trio. The vocals are wonderful too – slightly raspy, and with a bit more feeling than we ever remember Jorge having on record – sometimes a bit intimate, yet always with an undeniable presence throughout. One of those records that still sends chills up our spines, year after year – with tracks that include "Oba La Vem Ela", "Ze Canjica", "Pulo Pulo", "Apareceu Aparecida", "Terezinha", "Mulher Brasileira", "Forca Bruta", "O Telefone Tocou Novamente", and "Charles Junior".

An amazing collection – every single Jorge Ben album recorded for Philips – one hell of a massive legacy in music, packaged here with a bonus CD of rare material too! The albums in the collection are the stuff of legend – amazing discs that forever changed the face of Brazilian music with Jorge's unique blend of samba and soul, plus a touch of funk as the 70s came on – and together, the music is a mindblowingly heavy batch of work that few other artists could ever match! Titles include Samba Esquema Novo, Sacudin Ben Samba, Ben E Samba Bon, Big Ben, Jorge Ben (1969), Forca Bruta, Negro E Lindo, Ben, 10 Anos Depois, A Tabua De Esmeralda, Solta O Pavao, Gil E Jorge, and Africa Brasil. Rarities disc is unique to this set, from what we can tell – and is filled with goodies too!

Peter Bernstein really makes things kick here – thanks to a hip quartet that features Richard Wyands on piano, John Webber on bass, and Jimmy Cobb on drums! With a rhythm section like that, the session better cook – and it does so nicely, in the open freedom of the Smalls Live setting – with some long tracks that are awash in extended, exploratory solos from Bernstein – really showing off his skills on the guitar in a way you don't always get on some of his solo sessions, often with a nice raspy edge that reminds us of Kenny Burrell at his best from years back. Titles include the originals "Vida Blue" and "Sideburns" – plus "Say Little Mama Say", "Love Walked In", and "Stairway To The Stars".

Funky Latin grooves from Bio Ritmo! "Diana's Mambo" has timeless mambo flavor bubbling underneath – sweet percussion, brass up front in the mix and taking to another level via some otherlwordly electric organ. The flip shares the slightly tripped out organ vibe, otherwise a nicely stripped down percussion & rhythm number.

Far reaching modern salsa and Latin grooves from Bio Ritmo – perhaps their best stuff yet! The group has been impressive all along, but they've progressively gotten better and better, really developing into one of the most exciting and least pigeonhole-able modern groups out there. The diverse elements flow naturally, which is really not an easy thing to pull off for a group that clearly cherishes Latin and Latin-American musical forbears very deeply. They brilliantly blend 70s salsa and Latin funk with a heavy, raw rhythmic and percussive underbelly, impassioned lead and group vocals, terse brass blasts, weird bits of keyboards and other unpredictable touches that firmly root them in the here and now. Titles include "La Verdad", "Dina's Mambo", "La Muralla", "Carnaval", "Majadero", "Verguenza", "Caravana Del Vejigante" and "Lola's Dilemma".

An excellent upbeat club number – sung in Japanese by the lovely Bird, and produced by Shinichi Osawa of Mondo Grosso. The track's probably one of our favorites from Bird's latest LP – and it's got these kick-start beats at the beginning that are mixed with burst of strings that sound totally great. The vocals are extremely soulful, and mix in with these keyboard lines that percolate the track – swirling together in a way that makes the cut instantly compelling!

Birds, brass, and plenty of grooves – two sublime UK sound library sets, back to back on a single CD! "Birds" here is used in the UK slang for women – and the combo sports wordless female vocals sliding along with the grooves – sneaking in and out of the brassier bits on the top with a "yeh yeh" sort of chorus approach, but one that's pretty musical overall! The best part of the music, though, is below the birds and the brass – the bottom, which is often quite funky, and has a soundtrack-styled sort of groove – rolling bass, snapping drums, bits of keyboards – all used in the best gently funky ways of the glory days of the Brit Easy scene. Most of the work here is the brainchild of arranger Keith Roberts – a lesser-known UK sound library figure, one who did a bit of work on Scott Walker's fourth album, but who really shines brightly here on his own. Titles include "Sort Of Soul", "Return To Montana", "Sunspot", "All Souled Out", "Time Key", "Pop Off The Tops", "New Dawn", "Melanie", "Sugar Sugar", "Funky Splanky", "The Kung Fu Kid", "Mexico Fiesta", "Fritzy Baby", and "Swamp Water".

A great little follow-up to the first Black Devil album – a dubbier take on some of the same tunes, served up in a way that's almost more compelling than the original! As before, there's a real early 80s groove going on here – a style that's somewhere between UK post punk electronica, and some of the electro disco work coming out of other European scenes – all delivered without gimmick or cliche, and less of the "trash" elements that you might associate with other recent retro work of this nature. The core album presents dub takes on 6 tunes – "The Devil In Us", "On Just Foot", "Coach Me", "An Other Skin", "Constantly No Respect", and "I Regret The Flower Power". CD also features 6 more collaboration/remix tracks – done with Unit 4, Elitetechnique, Black Mustang, and In Flagrenti!

An ambition Black Opera – Libretto from Black Opera and producer Astronote – featuring guests Melody Betts, Mayer Hawthorne, Boog Brown,Lalibella, Rasheeda Ali and 14KT. Includes "End Of The Beginning", "Grand Endtrance", "Rich Blood", "Kings Ramsom", "Queen Of Hearts" with Mayer Hawthorne, "Peace And War" with flute by Rasheeda Ali and trumpet by 14KT, "Thorns", "Red Bills", "Shadows" with Boog Brown, "Black Lair" with Melody Betts and more.

Ruben Blades's first album – recorded shortly after his arrival in New York from Panama, with top-notch backing by the band of Pete Rodriguez! The album's an interesting one, in that it catches Ruben shortly before the salsa era, singing in a mix of styles that reminds us of some of Jimmy Sabater's work with Joe Cuba's group – doing mid and uptempo numbers in Spanish, and laying down a few mellower moments with the occasional English vocal! The style's not entirely Latin Soul, but not far off either – and the work is a nice contrast to the later work of Ruben. Titles include the lively groover "Descarga Caliente", the soulful "When", and the cuts "El Bravo", "De Panama A New York", "Donde", and "Hey Man".

Excellent work from this fab French vocal group – their second LP, and infinitely harder to find than the first! The group was led by Blossom Dearie – the American singer, living in Paris at the time, and in the vein of groups they inspired (Les Double Six, The Swingle Singers) The Blue Stars sing vocalese versions of jazz standards, done in a romping groovy style that's a bit like Lambert, Hendricks, and Ross, but perhaps less solo-oriented. Titles include "Move", 'I'll Remember April", "Please Be Kind", "Promises & Lies", "Don't Be That Way", and "Bernie's Tune". CD also features a huge amount of bonus tracks – 8 more cuts that include "Lola", "Lettre A Virgine", "Embrasse Moi Bien", "C'Est La Vie", and "Grapevine".

No need for a leap of faith where Bluey's concerned – as we've been loving his music with Incognito for many many years, and we're more than happy to hear the man on his own! The vibe here is every bit as soulful and righteous as the best Incognito work – but there's also a more personal sound, too – especially since Bluey's on lead vocals on every track – quite a change from before, as he often lets other singers take the lead! Turns out, Bluey's a hell of a lead singer on his own – with this warm and slightly raspy style that really fits in wonderfully with the grooves – which are heavy on Bluey's own guitar, plus keyboards and other instrumentation from Ski Oakenfull and Richard Bull. If you like Incognito as much as us, there's plenty to love here – and titles include "Stronger", "Leap Of Faith", "Sky", "Keep Myself Together", "Ain't Nobody's Business", "Got To Let My Feelings Show", and "Live Like A Millionaire".

A rare early album by the legend Brazilian guitar genius – still bossa, but also recorded in the US – which gives the album a stronger jazz feel at times! The core focus here is still on Bonfa's lively guitar solos – but the presence of added jazz musicians make for a set that's a bit fuller and richer than some of the more solo-styled album from Luiz – not exactly Verve bossa, but somewhere close – and a wonderful record that manages to capture the best side of Bonfa's lyrical genius – thanks to a mix of original sambas and bossa tunes, plus Bonfa-ized versions of some American standards. Titles include "Brasilia", "Island Of Trinidade", "Blue Madrid", "Old Times", "Indian Dance", "Marajo", and "Arabesque".

One of the better early bossa albums by Bonfa, and one that doesn't have the sleepy quality that you find on some of his other records. Luiz' guitar is backed by a nice little combo, and the tracks have a lively rhythm, with occasional vocals, and some nice flute solos from time to time. The whole thing sounds a bit like an early Baden Powell session – and includes the tracks "Amor Em Brasilia", "Amor De Solidao", "Murmurio", "Inquietacao", "Voce Chegou Sorrindo", and "Saudade De Bahia". Also issued in Brazil under the title O Violao E O Samba.

Mad music from the Bonzo Dog Doo Dah Band – a brilliant mix of dada energy and psychedelic production – served up in these five classic Liberty albums from the cusp of the 70s! Frontman Neil Innes later went on to a lot of projects with Eric Idle in later years – including the famous Rutles project – and the work here definitely has a Monty Python sense of humor, especially in the way it mixes the modern and the vintage with effortless ease – but in ways that seem to create a really unsettling blend of two different eras! There's a definite psych influence going on too – possibly the contribution of Vivian Stanshall – and the set features the full albums Gorilla, The Doughnut In Granny's Greenhouse, Tadpoles, Kenysham, and Let's Make Up & Be Friendly – plus a huge amount of "extra treats" – 8 more bonus tracks from later years and singles.

A groovy bossa gem from the glory days of A&M Records – an ultra-hip group recorded with production by Sergio Mendes! The feel here is a lot like that of Brasil 66 – bossa rhythms, sunny CA instrumentation, and lovely female vocals – in this case sung singularly, by the lovely Gracinha Leporace – aka Mrs Mendes! Instrumentation is arguably even better than on Brasil 66 records – with wonderfully groovy organ lines from Manfredo Fest, who plays Lowrey organ instead of the usual Hammond. A really essential slice of bossa nova – and a record we'd never part with! Filled with wonderful tunes that include "Gentle Rain", "Up Up & Away", "Wave", "Do You Know The Way To San Jose", "Cacao do Sal", "Veleiro", "Saiupa", and "Nana".

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

David Bowie's grabbing the cover of Heroes for this surprisingly great album – using the old cover art, then marking it over – in ways that definitely give a hint at the sound underneath! The style's darker and edgier than we've heard Bowie in years – kind of in "Joe The Lion" territory at times – given the fuzzy use of guitar, and raspy touches on the vocals and other instrumentation – almost as if the whole thing's got the same sort of back to basics approach that David found during his years in Berlin. Yet overall, there's more sweet moments too – some surprisingly warm tunes that, while not like contemporary pop hits, may well help remind the world that the Bowie star can still shine brightly in the right setting. Titles include "Dirty Boys", "The Next Day", "If You Can See Me", "Boss Of Me", "Dancing Out In Space", "Love Is Lost", and "Valentines Day". Deluxe CD version features three bonus tracks – "So She", "Plan", and "I'll Take You There".

David Bowie's grabbing the cover of Heroes for this surprisingly great album – using the old cover art, then marking it over – in ways that definitely give a hint at the sound underneath! The style's darker and edgier than we've heard Bowie in years – kind of in "Joe The Lion" territory at times – given the fuzzy use of guitar, and raspy touches on the vocals and other instrumentation – almost as if the whole thing's got the same sort of back to basics approach that David found during his years in Berlin. Yet overall, there's more sweet moments too – some surprisingly warm tunes that, while not like contemporary pop hits, may well help remind the world that the Bowie star can still shine brightly in the right setting. Titles include "Dirty Boys", "The Next Day", "If You Can See Me", "Boss Of Me", "Dancing Out In Space", "Love Is Lost", and "Valentines Day".

A cooker of a record from Lester Bowie – one that takes the earlier sound of the Brass Fantasy ensemble, and focuses it into a mode that shows his growing love of soul and funk! The set was issued on the the short-lived Venture imprint of Virgin – a surprisingly strong outlook for creative projects like this – and the vibe's quite different than the Brass Fantasy records cut for ECM – with almost a bit more soul at the bottom, and a compact sort of energy that really sends the ideas home. Players include Bowie, Stanton Davis, Malachi Thompson, and Sasul Siddik on trumpets – plus Steve Turre and Frank Lacy on trombones, Vincent Chancey on French horn, Bob Stewart on tuba, and Phil Wilson on drums. Titles include a surprisingly great remake of "Thriller" – plus "Vibe Waltz", "I Am With You", "Duke's Fantasy", "Personality", and "Twilight Dreams".

The rare self-titled set from the Bobby Boyd Congress – a killer combo with roots in early 70s Long Island, but relocated to France to make this killer set! The group is lead by tenor sax player and lead vocalist Boyd – although this set is heavy with instrumental passages. We're loving the way they mix brass heavy funk with lumbering psych steeped organ and fuzzed out guitar grooves. They even sneak in a laidback or jam, too – bringing a pretty versatile approach to this album! Titles include "Straight Ahead", "In A Toy Garden", "I'm Undecided", "Train", "It's Good To See Your Face Again", "Dig Deep In Your Soul" and "Bright Flowers".

15 classic tracks from Brass Construction – featuring mid 70s tunes lifted from the group's well-selling albums on United Artists! The tracks are a blend of disco, soul, and funk – with more than a bit of the horn-heavy groove that earns the group their "brass construction" name. Titles include "Movin", "Good News", "Changin", "What's On Your Mind", "Walkin The Line", "Ha Cha Cha (Funktion)", "Give & Take", "Help Yourself", "LOVEU", and "The Message".

A classic set that goes "slam" from the very first note – and which helped to set the pace for countless ensemble funk acts to come! Brass Construction had a wonderful sound that was the best-realized version of the east coast indie club combos of the mid 70s – funky at the bottom, but polished at the top, in a style that was equally appreciated by fans of disco and more classic funky soul! The "brass" in their title was certainly strongly supported – as the group used a brace of horns on the top of the mix, smoothly gliding over the choppier rhythms at the bottom. And while there's certainly some vocals on the set, they often take second stage to the tight instrumentation of the group! The set includes the classic "Movin" – virtually a blueprint for mainstream funk at the time – plus the tracks "Changin", "Love", "Talkin", "Dance", and "Peekin".

Brass Construction's fifth album, and the group's still grooving harder than most of their contemporaries! The legendary Randy Muller is still fully in charge here – serving up his trademark lean, mean arrangements that compress all elements of the music firmly on the beat – all in a way that creates one of the funkiest grooves you'll ever hear in mainstream late 70s club! There's plenty of great little touches to keep each tune interesting – bits of strings, keyboards, or other elements that burst out of the mix playfully . Titles include "It's Alright", "Watch Out", "I Want Some Action", "Right Place", "Music Makes You Feel Like Dancing", and "Shakit".

The second album from Brass Construction – heavy horns, basslines, and stellar dancefloor grooves – a stone classic! The first one was totally great, but they cast a wider stylistic claim on II – their trademark funky sound is still very firmly in place, but they bring more to the plate. The rhythms and percussion have a more globally steeped flare at points on the album, and there's a more smoldering, slightly mellower vibe on some tracks, without sacrificing the funk. The whole thing's fused together wonderfully – with the larger group moving with the energy a much smaller combo – and titles include "Sambo", "Screwed", "Get To The Point", "What's On Your Mind", and "Now Is Tomorrow".

An amazing moment in 70s jazz – the real rise of reedman Anthony Braxton, yet on a label that was also known mostly for pop, rock, and soul recordings! Braxton on Arista should have been a disaster – but instead, the label gave Anthony a huge amount of freedom – and, if anything, really allowed him to stretch out and explore all the rich range of ideas that were percolating in his genius – not just important small group recordings, solo sounds, and especially creative pairings – but also some large ensemble material that no tiny jazz label would have ever been able to support. Braxton really breaks out of the box on these sides – moving through an insane amount of new ideas and fresh sounds in the short space of five years – working with players that include Kenny Wheeler on trumpet, George Lewis on trombone, Henry Threadgill and Roscoe Mitchell on reeds, Muhal Richard Abrams on piano, Richard Teitelbaum on moog, Julius Hemphill on alto, Oliver Lake on tenor, and many other key 70s avant figures throughout these recordings. This limited package features a full book of notes – and includes the albums New York Fall 1974, Five Pieces 1975, Creative Orchestra Music 1976, Duets 1976, For Trio, Montreux/Berlin Concerts, Alto Saxophone Improvisations 1979, For Four Orchestras, and For Two Pianos. Most albums on CD for the first time ever!

Some of the earliest work of Jacques Brel – and some of the best as well! The collection is a massive overview of Brel's first recordings in the mid 50s – all original compositions that marked not only a new generation for songwriting in France, but a revision of the role of the male singer as well! Brel is at once sardonic and emotive – carefully balanced between up-close observation and a slight sense of distance that shows in the wit he brings to the topics of his tunes. Arrangements are often simple and stylish – shifting strongly to fit the spirit of the songs, making for a slightly un-definable quality to the overall album – but in a way that also keeps things interesting. The work was recorded between 1953 and 1956, with backings by Andre Grassi, Michel Legrand, and Andre Popp – and the CD features a whopping 34 tracks that include "La Bastille", "La Haine", "Grand Jacques", "Il Pleut", "S'Il Te Faut", "A Deux", "Les Gens", "Saint Pierre", "Quand On N'A Que L'Amour", "La Foire", "Le Troubadour", "C'Est Comme Ca", "L'Accordeon De La Vie", and "L'Ange Dechu".

A tremendous bit of harmony soul from Chicago – one of the few cases where the Windy City really gave the east coast a run for its money – and the landmark album from teen soul quartet Brighter Side Of Darkness! Although young, Brighter Side managed to bring a depth to their work that was way more than kiddie soul – a heartfelt, heartbreaking quality that was all adult, no matter how youthful the themes – and their vocals are a perfect contrast to the fuller arrangements from producers Clarence Johnson and Johnny Cameron. The set contains the group's classic "Love Jones", still one of the best fragile harmony tracks of the early 70s – plus loads of other great numbers like "I Owe You Love", "I'm A Loser", "Just A Little Bit", and a superb remake of "Summer Ride".

A really cool little album – recorded by Detroit vibist Jack Brokensha at the end of the 60s, working with a combo called the Baroqe-Adelics, whose instrumentation includes electric harpsichord and fuzzy guitar! The album's the kind of small label jazz side we treasure – and includes a mix of funky and groovy numbers with some straighter tracks that demonstrate Brokensha's vibes in a more conventional jazz context. Includes the great original groovers "Boogaloo", "Opus Barokus", "Twistrist", and "Priscilla" – plus versions of "My Favorite Things", "On Green Dolphin Street", and "Tast Of Honey".

The cover says it all: a painting of James, kicking back on a couch with a disco Godfather outfit on, while two topless girls dance in front of him – clearly, the old days are past! Still, despite this trashy effort to be a clubtime player, James still manages to funk things up a bit – even if the songs go on a bit too long, with less of the improvised instrumentation of the old days. Titles include "For Goodness Sakes, Take A Looke At Those Cakes", "Someone To Talk To", "A Man Understands", and "As Long As I Love You".

Easily the crowning moment of genius for the legendary Dave Brubeck Quartet – the moment when all things came together magically, and the group somehow elevated themselves to a whole new level in jazz! At the time of the set, Brubeck, Paul Desmond, and the rest had already been making plenty of waves with their creative yet swinging approaches to modern jazz – heard on a number of successful albums for Fantasy and Columbia in the 50s. But with this record, they really knocked one out of the park – blending Desmond's cool alto, Brubeck's unusual piano phrasing, Joe Morello's melodic drum work, and Eugene Wright's pulsating bass into a waltzing, almost modal groove that crossed over to many camps at the time! The classics "Take Five" and "Blue Rondo Ala Turk" were both hits on their own – but all titles are great, and include "Kathy's Waltz", "Strange Medow Lark", "Everybody's Jumpin", and "Pick Up Sticks".

Experimental vocals and offbeat reed sounds – a really great pairing of singer Uschi Bruning and reedman Ernst-Ludwig Petrowsky! We know Ernst-Ludwig and Uschi from a range of other projects, but they really sound different here together – especially because Petrowsky's reeds are often trying to emulate the modes and timing of Bruning's vocals – which themselves are very free and horn-like in their expression – quite far from any sort of usual jazz vocals! The whole record's given us a great deal more respect for Uschi, and opens our ears even further to the genius of Ernst-Ludwig – thanks to tracks that include "Lonely Woman", "Sax Shop", "Kontraste", "Bandblatt", "Das Ding", "Skizzen", and "Duellarando".

Chico Buarque's fourth album – a mainstream Brazilian success at the time, but a record that's still as great as any of the more experimental sides from the time! Buarque has a sense of timing and charm here that are undeniable – an approach to the music that's aware of all the youthful inventions of the 60s, but which moves it to a much more sophisticated level, one that's especially touched by some of the European greats of the era. Backings range from simple samba to larger strings – and Chico's voice is incredible – with a slight rasp that would go on to influence a generation of popular Brazilian singers in years to come! Titles include "Rosa Dos Ventos", "Samba E Amor", "Pois E", "Cara A Cara", "Nao Fala De Maria", and "Gente Humilde".

The lone album from the Bubble Puppy – a monumental effort of late 60s hard grooving psychedelia – and one of very best albums to come out of the original Texas psych scene! A couple of the Pup's labelmates at United Artists get a lot of revelry all these years later, and rightfully so – who would argue the importance of The Red Krayola and 13th Floor Elevators – but Bubbly Puppy deserve to be on that top shelf, too. The sound is tight and hard hitting, with trippy lyricism and groovy group harmonies, while the guitars range from cathartic fuzz to some surprisingly pretty melodicism. Not as far out as some of their peers, but the groove is absolutely killer. Titles include the benchmark single "Hot Smoke And Sasafrass", plus "Todd's Tune", "I've Got To Reach You", "Lonely", "Hurry Sundown", "Elizabeth", "It's Safe To Say", "Beginning" and much more.

Pretty amazing work from Nigeria! Segun Bucknor was an excellent vocalist with a style that was raspy and spiritual – much more other-worldly than a lot of his Afro Funk contemporaries, especially on the album's longer tracks, which have a spaced out groove that's really incredible. The groove here has bits of Fela-like jamming – but also more of a spacious jazzy groove, mixed with 70s rhythmic influences, and just the right touch of funk from time to time. Most of Segun's work has never been properly reissued before – and, as with all the Strut releases, this package is an over-stuffed batch of gems that will finally give him his due! The set includes notes on the music and Segun's story – and a wealth of great tracks that include "Sorrow Sorrow Sorrow", "Dye Dye", "Adanri Sogbasogba", "Son Of January 15th", "La La La (hard version)", "Smoke", "Who Say I Tire", and "You Killing Me".

A great third album from Staten Island instrumental funk titans The Budos Band – who've brought eclectic inspiration all along and have always colored from a much broader palette of styles than most of their peers – going even further this time out and delivering their best yet! The Daptone House Of Soul blueprint is a big part of the recipe, as it should be. Classic funky soul grit holds it all together and each cut has an unshakable groove, but with that in full effect, the group is free to explore. The Budos horns are as impeccable and communicative as ever, with brass that ranges from classic stateside funk and Afro influences. The percussion (bongos, clave, cowbell and more) is just as broadly thought out and tightly delivered, snakey bass lines, flute and the sometimes secret weapon on Budos Band III, the electric organ – which brings a bit of a garage psych/funk rock vibe. Truly exceptional work from the one of the best bands of their generation! Includes "Rite Of The Ancients", "Black Venom", "River Serpentine", "Unbroken, Unshaven", "Nature's Wrath", "Golden Dune's", "Budo's Dirge", "Raja Haje", "Crimson Skies", "Mark Of The Unnamed" and "Reppirt Yad" (a funked up Lennon/McCartney cover...read it backwards, kids).

A great third album from Staten Island instrumental funk titans The Budos Band – who've brought eclectic inspiration all along and have always colored from a much broader palette of styles than most of their peers – going even further this time out and delivering their best yet! The Daptone House Of Soul blueprint is a big part of the recipe, as it should be. Classic funky soul grit holds it all together and each cut has an unshakable groove, but with that in full effect, the group is free to explore. The Budos horns are as impeccable and communicative as ever, with brass that ranges from classic stateside funk and Afro influences. The percussion (bongos, clave, cowbell and more) is just as broadly thought out and tightly delivered, snakey bass lines, flute and the sometimes secret weapon on Budos Band III, the electric organ – which brings a bit of a garage psych/funk rock vibe. Truly exceptional work from the one of the best bands of their generation! Includes "Rite Of The Ancients", "Black Venom", "River Serpentine", "Unbroken, Unshaven", "Nature's Wrath", "Golden Dune's", "Budo's Dirge", "Raja Haje", "Crimson Skies", "Mark Of The Unnamed" and "Reppirt Yad" (a funked up Lennon/McCartney cover...read it backwards, kids).

A very groovy little set – bongos, with lots of great spare moments – presented under the auspices of a percussion instruction record! Jack "Bongo" Burger was similar to Jack "Mr. Bongo" Costanza – that is, he was a west coast studio player who also made a number of albums under his own name, and who could groove pretty hard if he wanted to. This LP is a bongo instructional record with him playing along with a narrator, illustrating different sort of techniques and styles with the narration. The bongo tracks are totally stripped down, with some good spare percussive moments that are just right for lifting and sampling. The narration is nice and goofy, too, and has a very stiff feel to it that contrasts humorously with Jack's lively bongos. Titles include "Clave & Afro", "Modern Jazz Accompaniment", "Basic Bongo Pattern", and "Rim Shots".

Charlie Byrd gets some top-shelf treatment here – in a wonderful album of tunes by Antonio Carlos Jobim, all recorded with full backing arrangements, and sound quality that's a lot better than some of Byrd's previous albums! The setting has Charlie's acoustic guitar right up front in the mix – mic'ed so close you can really hear his work on the strings – while light brass, woodwind, and string backings dance nicely, and more quietly, behind him. There's a very Verve-like approach to the whole record – obviously a market that Columbia were trying to reach with this one – and the album's easily one of Charlie's strongest for the label from the 60s. Arrangements are both by Byrd and Tom Newsom – and titles include "Dindi", "Jazz N Samba", "The Girl From Ipanema", "Corcovado", "Amor E Paz", "Samba Do Aviao" and "Amor E Paz".

Sweet electric funk – in a very trippy style! Before Donald Byrd hooked up with Larry Mizell and started recording his smooth fusion grooves of the mid 70's, he recorded this gem – kind of a "lost" album that has Donald working in an open-ended electric sound – one that's clearly inspired by the experiments of Miles Davis, but which has a generally funkier feel overall! The tracks are very long – with lots of spiralling keyboard and trumpet solos – and the hip players on the set include Bobby Hutcherson, David T Walker, Wilton Felder, and Harold Land. We love the tracks on this set – especially "The Emperor" and "The Little Rasti", which are both over 15 minutes long, and have a haunting spacey sound that's a departure from Donald's usual work!