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One of the most influential musical moments of the 60s – Hair! Hair not only forever changed the concept of musical theater on Broadway, but it also gave the world an incredible array of groovy tunes with odd rhythms – and made a place for composer Galt MacDermot to continue his musical experiments for years to come – eventually influencing a generation of beatheads and hip hoppers as a result! This package features the official Broadway recording of the score – with singers who include Ronnie Dyson, Diane Keaton, and Melba Moore! Titles include "Aquarius", "Where Do I Go", "My Conviction", "Frank Mills", "Be In", "Abie Baby", "Colored Spade", and "Air".

A pretty great follow-up to the original Hair soundtrack – featuring tracks that were outtakes from the musical, presented here with notes, a cool gatefold package, and backings conducted by Galt MacDermot himself! The tracks are all pretty great – lots of them short and really messed up, a lot more down and dirty than the tracks that did make the musical, with subject matter that's a lot raunchier too. Not really that funky, but with plenty of nice moments – and vocalists that include Melba Moore and George Tipton. Titles include "Hello There", "I'm Hung", "Climax", "Washing The World", "Manhattan Beggar", "Exanaplanatooch", "One Thousand Year Old Man", "Dead End", "Mess O'Dirt", and "The Bed".

Incredibly great work from Machine – an album of disco tunes, but with a hipper, message-oriented feel than most of its contemporaries! The group will forever be known for their classic hit "There But For The Grace Of God Go I" – an infectious groover with a wild lyric about urban flight in the 70s – and they more than match the quality of that one with a host of other great tunes on the set that have a similar feel. Part of the credit should go to August Darnell, working here in a pre-Kid Creole way that throws in lots of jagged touches and some really wicked guitar to most of the tunes! Tracks include "There But For The Grace Of God Go I", plus "Mr. Destiny", "You've Come A Long Way Baby", "It's The Last Time Again", and "Marisa".

An under-discovered vocalist from the 50s – the great Nancy Malcomb, a singer we'd rank right up there with Chris Connor's best at the time! Nancy's got a very jazzy approach to her work – no surprise, as she plays piano as well as she sings – with support here from a great small combo that includes Al Viola on guitar, Jim Anton on bass, and Mel Lewis on drums! The style is nicely laidback – considerably more so than other vocal albums on RCA for the time – with a relaxed, intimate approach that recalls some of the advances that Connor made for female singers in jazz right around the same time, delivered by Nancy with similarly great inflections on the vocals. Titles include "Make The Man Love Me", "Old Devil Moon", "Nobody's Heart", "Can't We Be Friends", "You Took Advantage Of Me", "Anything Goes", and "Mountain Greenery".

A surprisingly nice little record by Henry Mancini – one that's quite different than other albums of Hawaiian tunes! The record is much more a soundtrack than anything else – slightly exotic soundscapes arranged by Hank, and featuring the Baldwin harpsichord on many tunes. That instrument's not really one we'd associate with Hawaii, which is why we dig the record so much – and it gives the whole thing a really spooky feel, especially as odd instruments and voices drift into the mix. Titles include "Quiet Village", "The Moon Of Manakoora", "Pearly Shells", "Driftwood & Dreams", "Tiny Bubbles", and "Beyond The Reef".

A great Mancini score for one of the goofiest films of the 60s! Peter Sellers stars as the sitar-playing Indian actor Hrundi Bakshi – next to the lovely Claudine Longet, who makes one of her few film appearances – and the whole thing's set to one of the greatest scores ever by Henry Mancini! The tunes are very groovy – with a few chorus vocal numbers, and some other wonderful tracks that mix together bits of sitar, guitar, and horn blasts – creating a very lively instrumental groove. Plus, the music is played by a tight group of LA jazzmen, including Shelly Manne, Plas Johnson, Jimmy Rowles, and Jack Sheldon. Titles include instrumental and chorus versions of "Nothing To Lose", plus "Chicken Little Was Right", "Birdie Num Num", "Party Poop", "Wiggy", and "Brunette In Yellow". Swingin!

Sure, you've heard it a million times – but it's still a fantastic soundtrack! Mancini's whimsical scoring was a perfect touch for this classic Peter Sellers film – and it's made even better by the LA group of musicians who play the music, including Plas Johnson, Pete Jolly, Shelly Manne, Jack Sheldon, and Larry Bunker. The "Pink Panther Theme" should be familiar enough to you, but there's loads of other nice numbers – like "Something For Sellers", "Piano & Strings", "The Village Inn", "The Tiber Tiwst", and "Cortina". Lots of jaunty jazz numbers – with clever breakaway solos in the Mancini mode!

A standout session from Jack Montrose – one of the most overlooked players on the west coast scene of the 50s! Montrose's tenor work is always a treat, but here, he's playing in an unusual setting that includes Red Norvo on vibes, Joe Maini on alto sax, and Jim Hall on guitar – all working with Jack on a set of tunes that have the tight arrangements of his work on Atlantic and Pacific Jazz – yet which also open up with some interesting instrumental twists that break the mold a bit! Side one of the set features the 18 minute tune "Concertino Do Camera" – a nicely extended track that offers plenty of room for solo work – and the other shorter tracks still offer up strong solos too – on titles that include "Bernie's Tune", "A Dandy Line", "Bockhanal", and "For The Fairest".

Of course it's about time for Joe – because as Dave Brubeck's drummer, he was constantly caught in recording sessions that were all about unusual rhythms and timings in jazz! This set's actually a bit looser and freer than some of the Brubeck ones – more straight jazz, recorded with a larger group arranged by Phil Woods and Manny Albam – with standout solo work by Phil on alto sax and Gary Burton on vibes. The sound is a nice extension of the larger group RCA sessions of the 50s – and titles include "Time After Time", "Summertime", "Every Time", "It's About Time", and "Fatha Time".

A very nice soundtrack for this obscure film loosely based on the novel by Joyce – clearly a tough task, given the scope of the original book! Myers' score is suitably crazy – with a strange array of orchestral pieces, moving in and out in a "suite" format, and sounding a lot like a Nino Rota soundtrack overall – with plenty of playfully instrumental moments. Titles include "Proteus", "Nestor", "Circe", and "Ithaca".

A lively band of young British players, packed into a large group with a tight swinging sound that evokes some of the better continental bands of the sort at the time – like the Clarke-Boland Ensemble, the Johnny Dankworth group, and even bits of Mike Westbrook's early work. The set list is a nice group of lesser-known titles – like "Who-Wray?", "Full House", "Spaghetti Junction", "Marianne", "Eleven Plus", and "Legs Eleven". Orchestra directed by Bill Ashton, and the set was recorded at London Weekend Television in 1975. And if it sounds drippy, give it a chance – as there's more than a few nice cuts here that feel like they're lifted off a compliation like Jazz Biznezz, or some of those other hip European sets!

A rare "with orchestra" outing from pianist Phineas Newborn – one that has his gentle keys out front of larger backings by Dennis Farnon – all cast in the kind of dreamy mode you might expect from the title! Yet while the whole thing's certainly got a late night feel, Newborn's piano work is still quite strongly up in the mix – never smothered in strings, and instead often stepping along with the same force as some of his trio outings – but often set free from more rhythmic modes, in a way that makes for some of Phineas' most sophisticated stylings on RCA. Titles include "Lazy Mood", "Bali Hai", "If I Should Lose You", "Black Is The Color Of My True Love's Hair", and "While My Lady Sleeps".

Harder to find album by The Wicked Pickett, recorded in Muscle Shoals, and released with a cover that has him shooting pool with a bunch of ladies. Not really the gangster stuff the cover might imply, but still some nice modern southern soul. Cuts include "What Good Is a Lie", "I Was Too Nice", "Iron It Out", and "Take Your Pleasure Where You Find It".

A great step into the 80s for The Pointer Sisters – a record that has them bringing in themes that are a bit more soulful than some of their previous efforts! The album's still got all the big crossover potential of their other hits – but the groove's got a solidly soulful vibe overall – plenty catchy, and with some great 80s elements bubbling underneath – more than enough to freshen up their sound, and give the trio great new territory to work through! Titles include the mega-hit "Slow Hand" – plus "Sweet Lover Masn", "We're Gonna Make It", "What A Surprise", "Got To Find Love", "Fall In Love Again", "Should I Do It", and "Someday We'll Be Together". CD features 2 bonus tracks – "Holding Out For Love" and "What A Surprise (original edit)".

One of Bud's more obscure sides from the 50s – a one-off date for RCA that features a trio that included Art Taylor on drums and George Duvivier on bass! There's a nice tension to the material – played with a strength that matches most of Bud's other work from the time – and which makes the session stand nicely alongside his more famous work on Verve and Blue Note! The set features 11 tracks in all – and titles include "Time Was", "Jump City", "Elegy", "Coscrane", and "Topsy Turvy".

The title says "ugh!" and there's lots of that in this record! Perez plays in that tight hard way that he used on his best 50s recordings, making his trademark grunt of "ugh!" as the songs change rhythms – in a style that the notes describe as "the only vocal baton in music." Titles include "Patricia", "Why Wait", "Cuban Rock", "Lonely", "Bandido", and "Cose Cose Cose".

A classic late 60s performance – with titles that include "One Night", "Guitar Man", and some great medley cuts too!

Titles include "Mystery Train", "That's All Right", "My Baby Left Me", "Playing For Keeps", "Shake Rattle & Roll", and "I'm Left You're Right She's Gone".

Mucho cha cha here – the reigning rhythm on the New York Latin scene at the end of the 50s – played by Tito Puente and group with some nicely jazzy styles! The combo features some excellent horn work alongside the percussion – both sax and trumpet sections, plus some leaner flute from Johnny Pacheco – and Tito himself plays vibes, marimbas, and xylophone – further enhancing the blend of rhythm and melody on the date. Piano is by Gilberto Lopez, and gets quite dynamic at times – and these tunes are definitely more than the usual cha cha grooves from the time! Titles include "Doing The Cha Cha", "Un Cha Cha", "Suave Asi", "El Bajo", "Cha Cha Son", "Delisse", "El Palo", "Suave Asi", and "Cha Con Cha".

A very groovy little record! Quire is a harmony group led by Christine Legrand – sister of Michel Legrand, and ex-member of similar groups The Swingle Singers and Les Double Six. The music on the set is very much like that of the latter – in that it's harmony vocal versions of famous jazz tunes, done in an instrument-less style that recalls the work of the Swingles. The sound is quite odd, but wonderful – handled with the dreamy delightful style we've always come to love in Christine's work. Titles include "Lullaby Of Birdland", "Blue Rondo A La Turk", "Django", "Misty", "Body & Soul", and "Waltz For Debby".

Della swings it hard this live set from the 60s – with backing from John Cotter, in a style that's jazzy, bouncy, and swinging! Even the mellower tracks are done in a tightly snapping style that's every bit the best approach that Della brought to vocals – a bit of soul in the undercurrent, and a catchy upbeat mode that makes even the odder tunes come across well. Titles include "Misty", "Comes Once In A Lifetime", "His Eye Is On The Sparrow", "Bye Bye Blackbird", "Someday", and "If Ever I Would Leave You".

One of the tightest 70s albums from Buddy Rich – a record that's got some smooth and soulful touches, and a groove that's quite different than most of his other work! Chicago soul maestro Richard Evans handled the arrangements for the record – and he's got a great way of making things groove, even with a larger groove – leaving plenty of space for key solos from players who include Jon Faddis on trumpet, Joe Farrell on tenor sax, Ross Trout on guitar, and Kenny Barron on electric piano! Most numbers are somewhat upbeat and clubby – like some of the funky fusion on the Kudu label from the time – and a few numbers feature chorus vocals from a trio of female soul singers that includes Rhetta Hughes, Vivian Cherry, and Lain Grooves. Titles include "Yearnin Learnin", "Speak No Evil", "Fight The Power", "Sneakin Up Behind You", and the great "How Long" – which features the famous "Betcha Got A Chick On The Side" sampled by Salt N Pepa!

Full on disco from Vicki Sue Robinson – a bit crossover at times, but handled with a top-shelf approach all the way through! Maestro Warren Schatz produced and arranged the set – and the tunes have a smoothly grooving approach that really lets Vicki flow out nicely in advance of the hook – then bring things back home strongly on the chorus. Titles include some great ones by Gordon Grody – "Something Like A Dream", "Let Me Down Easy", and "How About Me" – plus a version of "Daylight" by Bobby Womack. Other tracks include "I Won't Let You Go", "Can't Find No Love", and "After All This Time".

One of Sonny Rollins' best albums ever, and a totally inspired, totally non-stop freewheeling live set, recorded with Don Cherry, Bob Cranshaw, and Billy Higgins! Working on long tracks in an unfettered setting, Rollins' hits one of those rare moments of genius where he can turn his solo over and over again – never losing interest, and always opening up new territory – at a level that easily matches the oft-made claim that he's one of the greatest tenor talents ever on the tenor sax! The album features only 3 long tracks, all dominated by masterful work by Rollins – and titles include "Oleo", "Dearly Beloved", and "Doxy".

A late 80s duo set from former Temptations David Ruffin & Eddie Kendricks! The Ruffin & Kendrick album for RCA (we didn't leave the -s off Eddie's last name, that's how he was billed at the time) finds both in excellent form vocally, and rather than making a neo-classic Motown vibe for the record, the production is very much in the 80s modern soul mode of bigger hits of the day. It's got bright synth soul, a bit of boogie, and other other mid-to-late 80s modes that should have made this one a real win commercially – especially given the soulful weight and importance of the singers and genuine emotion in their performances. Titles include "I Couldn't Believe It", "Ordinary Girl", "One More For The Lonely Hearts Club", a cover of "Family Affair", "Goodnight Pillow".

13 cuts, counting interludes, includes "Attitudes", "I-N-I","Mushroom Talk", 'Theramixx", "Hi Volume", "Mad MF's", "Sweet Therapy", "Hudz" and "Earthquake".

Album of clubby, uptempo stuff, recorded in Rio, and with a bit of a Brazilian feel to it. The tracks are long and fast, and include medleys of "Girl From Ipanema/Manha De Carnaval" and "Chove Chuva/Mas Que Nada", as well as a few other Brazilian tracks. There's also a version of "Mambo No. 5", which is the same one from the Ultimate Breaks compilation.

The quirky Sauter-Finegan ensemble lay down a weird set of tracks with their usual high level of performance and keen sense of wit! Tracks include "Madame X", "Sleepy Village", "Pictures From Sauter-Finegan Land", and "The Land Between". Great stuff from a group that never really ever gets its due.

Dinah Shore's definitely got a bouquet of blues here – thanks to some backings that echo the moody, late nite image on the cover! The set's one of Shore's most blue-hued ever – a surprisingly beautiful little record that features orchestrations from Henri Rene, Frank DeVol, and Harry Zimmerman – all with styles that slightly echo older eras of jazz, but which never get too hokey, or resort to any easy cliches. In a way, there's almost a sharper modern edge going on amidst some of the more traditional modes – and Shore's vocals are a bit part of that, thanks to a wonderful recording style that has them right up front in the mix, coming across with incredible clarity. Titles include "Bouquet Of Blues", "Moanin Low", "Lonesome Gal", "Blues In The Night", "Born To Be Blue", "Memphis Blues", "What Can I Say After I'm Sorry", and "I Got It Bad & That Ain't Good".

Great work from this famous Italian maestro – sweeping, soaring instrumentals – but also a bit funky at times too! Ettore brings a real soundtrack approach to most numbers – fitting, given that most tunes here are film themes – and he uses full strings, plus some nicely isolated instrumentation at points, especially a bit of tinkling piano. Things are mostly straight, but there's a great funky break on his version of "The Godfather (part 2)" – and some sweetly gentle funk on "Once Is Not Enough" – another great warm number. Other titles include "The Big Hunt", "The Saddest Thing Of All", "Sheila Levine", "Incontro", and Stratta's own great "The Beginning Of Our Life".

With backings from Leonard DePaur – and titles that include "Strange Fruit", "Lamento Esclavo", "Partisian Song", "Oh Freedom", and "Cry The Beloved Country".

A modern soul gem produced by Lenny White! Though White lends a touch of jazzy sophistication to the set, it's a straight up dose of mainstream modern soul, with great ensemble vocals and crisp production over tight songs that should have landed Wax at the top of the radio. Somehow though they managed to only find success with some sought after singles years after the fact, but you can grab the whole album here! It's got all the hallmarks of the best of the era – chirping guitars, tasteful keyboards that sit just right in the mix, and rhythms and tempos on most of the tracks that veer between club oriented grooves and tight pop soul. 9 tracks in all, including "Can't Hide From Love", "Crazy In Love", "Playin' The Part", "The Right Time For Us", "Do You Believe In Magic", "Music's On The One", "When And If I Fall In Love" and "April Lady".

One of the best sessions cut by Kai and JJ during the 50's, and a good live session with a lot looser feel than some of their studio sessions – which tend to be a bit restrained. The rhythm section features Dick Katz, Al Harewood, and Peck Morrison – but the main solos are held by Kai and JJ. 6 tracks "Funnybone", "Cornerstone", "Lullaby Of Birdland", "Vista", "Birdland Festival" and "Bone Of Contention".

RCA compilation featuring work by Esquivel, Perez Prado, Tito Puente, Xavier Cugat, and Russ Garcia. We're not sure if this stuff is exclusive to this album, but it's a great compilation anyway. Tracks include "Tampico" and "Sand In MY Shoes" by Tito Puente, "Night Music Must Fall" and "Oye Negra" by Xavier Cugat, "Guaglione" and "You're Driving Me Crazy" by Perez Prado, "Boulevard Of Broken Dreams" and "Adios" by Esquivel, "Carioca" and "Baia" by Russ Garcia, "I've Got The World On A String" and "I Can't Believe That You're In Love With Me" by Luis Arcaraz

Way more than just a disco collection – a great album with some had to get numbers you don't see much on vinyl any more. Includes "You Little Trustmaker" by the Tymes, "To Each His Own" by Faith Hope &Charity, "Am I Cold, Am I Hot" by Bill Harris, "What You Don't Know" by Charles Drain, "Honey Baby Theme" by Blood Hollins and Weldon Irvine, "Half Of Your Heart" by Zulema, "Are You Ready For This" by the Brothers, "So Much Love" by Destiny and "Is It Love" by the Choice Four.