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Beautiful! This is a cool little frame that lets you put a favorite record cover on the wall, without damaging the cover or the record! The frame is much much better than some of the others on the market – and has a black matte aluminum body, with a clear plexiglass front to display the cover. The whole thing's very easy to use, and you can change covers as often as you like – so that you can rotate the images on your wall, and create an ever-changing gallery of record art! We like these a lot more than expected – and the frame's a perfect way to show off some of those great covers you've been buying from Dusty Groove!

James Brown, proud and loud – a smoking 60s album that provides a great link between his earlier styles and his freer roots – with a brilliant blend of funk, soul, and a touch of raw R&B! Given the power of The Godfather at this point, there's no denying that even the older cuts have a punch that few others could match – making for a record that feels mighty darn unified, despite the stretch of time between a few of the recordings. Titles include the funky gems "Ain't That a Groove (pts 1 & 2)", "The Scratch", "Is It Yes or Is It No", and James' great version of "The Bells" that's always been one of our favorites – plus Just You & Me", "I Love You Yes I Do", "Come Over Here", and "I Don't Mind". The cover also comes with an "autographed" photo of James on the back with the text "James Brown Fans – Frame This 8 x 10 Picture" – and an image that says "Soul Brother #1 Is Peeking At You Thru The Key Hole"!

James Brown, proud and loud – a smoking 60s album that provides a great link between his earlier styles and his freer roots – with a brilliant blend of funk, soul, and a touch of raw R&B! Given the power of The Godfather at this point, there's no denying that even the older cuts have a punch that few others could match – making for a record that feels mighty darn unified, despite the stretch of time between a few of the recordings. Titles include the funky gems "Ain't That a Groove (pts 1 & 2)", "The Scratch", "Is It Yes or Is It No", and James' great version of "The Bells" that's always been one of our favorites – plus Just You & Me", "I Love You Yes I Do", "Come Over Here", and "I Don't Mind". The cover also comes with an "autographed" photo of James on the back with the text "James Brown Fans – Frame This 8 x 10 Picture" – and an image that says "Soul Brother #1 Is Peeking At You Thru The Key Hole"!

A trio of classics from the Thad Jones/Mel Lewis Orchestra! First up is the initial Presenting album – great music by one of the hippest large American ensembles of the late 60s – almost a US equivalent to the groovy sound of the Clark Boland Big Band over in Europe! Trumpeter Thad Jones and drummer Mel Lewis had already made some great music together on their own – but once they came together in a record like this, they really found a great new direction for their energy – a bold musical force that's strong enough to also encompass the rich talents of players who include Pepper Adams on baritone sax, Joe Farrell on tenor, Jerome Richardson on soprano sax, Richard Williams on trumpet, Bob Brookmeyer and Tom McIntosh on trombones, Hank Jones on piano, and Richard Davis on bass! The sound is full, but never overwhelming – and like the Clark Boland group, this one has a great way of breaking open to allow key soloists to have some great space on their own – a modern approach, and one that still never has the band losing its groove. Titles include "ABC Blues", "Mean What You Say", "Three & One", and "Once Around". The next album was recorded live in the Thad Jones/Mel Lewis home turf at the Village Vanguard! The group at this point was a freshly-created outfit filled with some of the best large group jazz soloists of the time – players that included Jerome Richardson, Joe Farrell, Eddie Daniels, Pepper Adams, Richard Williams, and Bob Brookmeyer – not to mention Jones and Lewis themselves! The style here is very much in the mode that the Clarke Boland Band was crafting in Europe during the same period – a redefinition of the larger jazz group, in a way that allowed it to swing with the dynamic energy and soul of some of the smaller combos of the 60s. And while the Jones/Lewis group had many years over which to hone their craft, they've never sounded better than on these initial recordings – as you'll hear on tracks that include "Samba Con Getchu", "A That's Freedom", "Bachafillen", and "Little Pixie". On the last album in the set, Ruth Brown joins the big band of Thad Jones and Mel Lewis – in a set that's a real standout in the career of all three artists! Thad and Mel already have a pretty great groove going at this point – a large ensemble approach to jazz, yet one that's swingingly soulful – very much on a par with some of Gerald Wilson's hip work of the same time at time. And adding in Ruth Brown's vocals is a great choice – as she not only needs a great showcase like this for her amazing voice, but also because she really helps unlock a soulful sort of energy that the group always had in their instrumental music. The approach is a bit like some of Etta Jones' best 60s recordings – a nice shift for Brown – and titles include "Black Coffee", "Fine Brown Frame", "You Won't Let Go", "Trouble In Mind", and "Be Anything (But Be Mine)".

An incredible document of a key genre in 50s jazz on record – the jam session tradition, recorded beautifully for Verve records by the legendary Norman Granz! The idea of a jam session was nothing new at the time, of course, but it was mostly a live phenomenon – known to players from concerts and club dates, or presented on vinyl by Granz, in his celebrated Jazz At The Philharmonic sessions. These dates mark a move into the studio by Granz – one that captures the same sort of energy and unique pairings of musicians that went down in the live sessions, with the added benefit of studio technology to make the work sound even clearer, and more intimate. The 5CD set brings together all 9 Jam Session albums – packaged beautifully in a slipcase with original album cover art, and a full 72 page booklet on the musicians, sessions, and titles included. Players include nearly everyone who might have worked for Verve in the 50s – Benny Carter, Charlie Parker, Johnny Hodges, Dizzy Gillespie, Stan Getz, Buddy DeFranco, and countless others – and titles include "Jam Blues", "Funky Blues", "Apple Jam", "Blues For The Count", "Jamming For Clef", "Rose Room", "Blue Lou", and "Lullaby In Rhythm" – all in very long versions!

A classic full-length album from The Coasters – one of the few the group ever cut for Atlantic Records – and a perfect illustration of everything that made them so great! Almost every cut here was penned by the team of Jerry Lieber & Mike Stoller – who were also working with the group in the studio, and giving this amazingly pyrotechnic approach to group harmony – one that moved way past the simple street corner modes of a few years before, and which brought all sorts of sinister and sharp changes to their music! The vocals come across with plenty of soul, and also a huge amount of dexterity and wit as well – so much so that just about nobody else could make these tunes shine so well as The Coasters on these vintage recordings. Titles include "Young Blood", "Searchin", "Lola", "I Must Be Dreamin", "One Kiss Led To Another", "Riot In Cell Block # 9", "Framed", "Smokey Joe's Cafe", "Turtle Dovin'", "Framed", and "Down In Mexico".

The sweet, lovely and lush full length debut of Mary Hopkin for Apple Records! Mary's vocals are fragile and sweet, and Paul McCartney's production frames it like a pillow on the softer tunes – with light bits of acoustic guitar – and makes are sound like the queen of all natural on the more grandly orchestrated tracks. 15 tracks on the original album, including "Those Were The Days", "Lord Of thE Reedy River", "Love Is The Sweetest Thing", "The Puppy Song", "Inchworm", "Young Love", "The Game", "Someone To Watch Over Me" and more.

The fourth album from Roxy Music – and quite possibly the best to date! The album has the group moving strongly past the Eno years, into a tighter framework that still contains many of the darker themes of earlier records. Ferry's lead vocals are incredibly majestic – rising to heights to match the European greats of years past who were his inspiration – and the group's tight blend of reeds, guitar, and moody keyboards gives the whole album an off-kilter sense of instrumentation that really sets it apart from the pack. There's an artfulness here that's never overdone, and the whole thing comes together with a magic that's impossible to describe, but which is Roxy at their best. Titles include "Out Of The Blue", "The Thrill Of It All", "Three & Nine", "Triptych", "Casanova", and "Prairie Rose".

A wicked lost album of righteous funk and poetic knowledge from the great Gary Byrd! Gary began his life as a soul DJ in New York, but by the early 70s, he was using his rich voice to create recordings designed to educate as much as entertain. That said, the album is as funky as it is strident, and innovatively soulful – it's got raw and heavy drums and horns the burst in, but there's also roomier, slinkier grooves created to frame Byrd's voice and mood. The arrangements are by Chico O'Farrill and he really delivers. Gary Byrd's storytelling and spoken delivery leads the way, though – righteousness without bitterness, angry yet agreeable – truly brilliant and unique work! Titles include "To You Beautiful Black Sister", "If The People Only Knew (Power To The People)", "Shining Black Prince", "Country Preacher", and "How Long My People" and more. This great 2011 CD edition from Get On Down includes the bonus "Soul Travelin' Pt I (The GBE)" and "Soul Travelin' Pt I (The GBE)".