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While in the post fusion years when lite jazz was beginning to take off a lot of jazz and fusion artists got a bit lost, Azymuth continued to make a number of fine recordings, some of the best of their career. Bertrami and crew continue to groove along in their tight Brazilian fusion mode, with a spacious airiness and a wonderful modern groove. We especially dig the mellow grooves of "Tropical Horizon" and "Diza", while the acoustic and vocal number "Tempo A Bessa" is also quite nice. Also includes "Bossa Nova USA", "O Pescador" and "Hobalala".

Wow! The one-and-only album by Trinidadian combo Black Truth Rhythm Band – a completely incredible one at that – hypnotic Caribbean funky soul, jazz and wildly impressive musicianship all around by this group led by singer and multi-instrumentalist Oluko Imo. The record was made in the mid 70s era in which the Afro Funk sound was hitting it's peak – when African rhythms and James Brown style funk were being fused so furiously – but Black Truth Rhythm Band take a different approach, working more with sounds from African spectrum and the West Indies. It's really amazing stuff that takes unpredictable twists from stripped down rhythms, to jazzy guitars and cosmic synths – always with straight up brilliant playing by the group. A fusion of African rhythms, strains of Calypso and boundary free jazzy grooves that balance and exploratory sensibility with tight, irresistible rhythms. Soundway raises the bar once again! Titles include "Ifetayo", "You People", "Saved Musician", "Kilimanjaro", "Aspire", and "Umbala" – plus a bonus 7" single with the track "Imo".

Wow! The one-and-only album by Trinidadian combo Black Truth Rhythm Band – a completely incredible one at that – hypnotic Caribbean funky soul, jazz and wildly impressive musicianship all around by this group led by singer and multi-instrumentalist Oluko Imo. The record was made in the mid 70s era in which the Afro Funk sound was hitting it's peak – when African rhythms and James Brown style funk were being fused so furiously – but Black Truth Rhythm Band take a different approach, working more with sounds from African spectrum and the West Indies. It's really amazing stuff that takes unpredictable twists from stripped down rhythms, to jazzy guitars and cosmic synths – always with straight up brilliant playing by the group. A fusion of African rhythms, strains of Calypso and boundary free jazzy grooves that balance and exploratory sensibility with tight, irresistible rhythms. Soundway raises the bar once again! Titles include "Ifetayo", "You People", "Saved Musician", "Kilimanjaro", "Aspire", "Umbala" and the bonus track "Imo".

One of coolest live documents of folk music adventuror Sandy Bull you could ask for – recorded at the Berkeley Community Theater in 1976 – with Bull playing the oud, on stage with early version of the TASCAM 4-track recorder, utilized here as his backing "band"! He dubs his tape machine The Rhythm Ace – with Bull playing the oud to pre-taped drum machine and bass, and talking to the audience about just what heck they're seeing and hearing. We don't know of the audience was in awe, dumbstruck or what – folk fellows didn't do this kind of thing on stage in '76 – which makes it all the more rewarding to hear 35+ years later! Sandy's musicianship is brilliant, and it's great fun to listen to him talk about his pal The Rhythm Ace, too. Includes "Oud", "Love Is Forever", "Driftin", "Alligator Wrestler" (with an intro) and "New York City" – plus a demo of his Rhythm Ace.

One of the best Sonny Criss albums ever – one of our favorites from his late 60s run at Prestige – and that's really saying a lot! The set's a warmly lyrical session that really has Criss opening up, changing up his groove to display the deep growth he'd experienced as a musician in the 60s. The rhythm section is wonderful – pianist Eddie Green, over the rock-solid team of Bob Cranshaw on bass and Alan Dawson on drums – who really help Sonny Criss transform the tunes on the record. Even 60s pop tunes like "Misty Roses" and "Eleanor Rigby" come off sounding fresh and wonderful – as do older jazz nuggets "The Masquerade Is Over" and "Rockin In Rhythm" – both tunes that are recorded so often you might expect hoke, but which sparkle anew in the hands of Sonny's soulful vision!

Classic early work from Kenny Dorham as a leader – a brilliant set that sparkles with modern touches! The group's a quartet that pairs Kenny's trumpet with the alto sax of the late Ernie Henry – a perfect accompanist that brings out both the brightness in Kenny's horn, and the edgier touches that made him one of the most exciting trumpeters to appear in the 50s scene. The rest of the group features GT Hogan on drums and Wilbur Ware or Eddie Mathias on bass – and the session's got a great reading of Kenny's classic "Lotus Blossom", plus the tracks "Jazz Classic", "Noose Bloos", "The End Of A Love Affair", and "Soon".

Classic early work from Kenny Dorham as a leader – a brilliant set that sparkles with modern touches! The group's a quartet that pairs Kenny's trumpet with the alto sax of the late Ernie Henry – a perfect accompanist that brings out both the brightness in Kenny's horn, and the edgier touches that made him one of the most exciting trumpeters to appear in the 50s scene. The rest of the group features GT Hogan on drums and Wilbur Ware or Eddie Mathias on bass – and the session's got a great reading of Kenny's classic "Lotus Blossom", plus the tracks "Jazz Classic", "Noose Bloos", "The End Of A Love Affair", and "Soon". CD also features a bonus track – an alternate take of "Sposin".

Dutch Uncles cover Grace Jones with a Field Music remix on the flip!

Heavy funk from the Indy scene of the late 60s – the lost album by one of the funkiest combos in the Midwest! Ebony Rhythm Band have an incredible sound that seems to take the heavy bottom of New Orleans Funk and merge it with the trippier elements of Detroit psychedelic soul – no surprise, considering they hailed from Indianapolis, a point about halfway between the two cities! The tracks on the set have a really great tripped-out groove – using lots of guitar and organ over heavy rhythms, in a style that's a bit like the Meters at times – but a lot freer flowing. The album features 2 tracks that formed the basis of one of the group's singles – plus a lot more that were never issued at the time, including a few by other incarnations of the combo! Titles include "Soul Heart Transplant", "Ode To Billie Joe", "Light My Fire", "Vanilla Fudge", "Get Yourself Together (Smiling Faces/Sunshine Of Your Love medley)", "Drugs Ain't Cool", "Fool Am I", and "It's Too Late For Love".

One of the more unusual albums we've ever heard from Japanese vocalist Chiemi Eri – a set done in collaboration with the famous Delta Rhythm Boys quintet from the US – pictured here on the cover in unusual Japanese outfits! Backings are by the large group of Nobuo Hara, who really knows how to make the proceedings swing – and the set begins with Chiemi alone, first in a medley of tunes that includes "A Guy Is A Guy" and "C'Est Si Bon", then on a haunting version of "Sanosa" – a Japanese geisha song with a really soulful quality. Then, the Delta Rhythm Boys come in – and do this really cool job of harmonizing along with Chiemi's vocals – on titles that include "Marina", "Soran Bushi", and "It's Only A Paper Moon" – before Eri then cuts them loose, to sing on their own on tracks that include "Mack The Knife", "Historia De Un Amor", and "Alright OK You Win" – all surprisingly swinging, thanks to Hara!

Plenty of crazy rhythms here – as singers Chiemi Eri and Carl Jones are joined by Japanese jazzmen who include Nobuo Hara & His Sharps & Flats, saxophonists Sadao Watanabe and Sleepy Matsumoto, guitarist Shungo Sawada, and the Hideo Shiraki Quintet! The backings on all tracks are superb – and elevate the already-great team of Eri and Jones to a wonderful new level – one that easily matches some of the hippest vocal jazz sessions cut in the US during the same period, especially some of the more inventive albums on the soul jazz side of the spectrum. Titles include "The Big Twister", "My Funny Valentine", "Just Squeeze Me", "Love Is Here To Stay", "I Get A Kick Out Of You", and "Midnight Sun Will Never Set".

One of the proudest moments of the New York Latin underground – a time when some of its best players wound up playing for Columbia, through a brief affiliation between Fania and the larger label! And although you might think that the album would totally sell out the group's best points, it's actually a great batch of cuts that mixes the All-Stars' strong salsa and jazz grooves with some nice club-oriented rhythms – a blend that was perfect to show the growing sophistication of the Nuyorican scene in the late 70s! All the right touches are still strongly in place – and the record features work from Pacheco, Roberto Roena, Mongo Santamaria, and Louie Ramirez, as well as guests Bob James and Eric Gale. Titles include "En Orbita", "Awake", "Juan Pachanga", "Steady", "Jubileo", and "Ella Fue".

A soaring stormer from Darrow Fletcher – a tune that grooves hard at the bottom, and makes great use of his amazing vocals over the top! "Misery" is easily one of Fletcher's best-remembered cuts from back in the day – and it's backed here by the totally anthemic "That Beatin Rhythm" – a dancefloor classic by Richard Temple with great vibes alongside the vocals – and a number that's seen plenty of talcum over the years!

Includes the tracks "Old Man River", "Rhythm Crazy", "Happy Feet", and "Ain't Cha Glad".

A great little album of southern funk from the 70s – cut by the team that provided musical backing on many of the classic Hi Records sessions from the time! The groove is a bit different than usual for Hi – not compressed, burning deep soul – but tight, funky, and flanged-out – a bit like what classic P-Funk might have been like, had it been recorded in Memphis! The group's super sharp in their playing – with great bass and electric keyboards – but they've also got kind of a trippy feel that's very surprising, given the more restrained soul quality of much of the stuff on Hi. The album's all original material, and most cuts have cool vocals slinking in and out of the funk – and titles include "On The Loose", "Skinny Dippin'", "Superstar", "Purple Raindrops", and "You Got Me Comin".

A great little album of southern funk from the 70s – cut by the team that provided musical backing on many of the classic Hi Records sessions from the time! The groove is a bit different than usual for Hi – not compressed, burning deep soul – but tight, funky, and flanged-out – a bit like what classic P-Funk might have been like, had it been recorded in Memphis! The group's super sharp in their playing – with great bass and electric keyboards – but they've also got kind of a trippy feel that's very surprising, given the more restrained soul quality of much of the stuff on Hi. The album's all original material, and most cuts have cool vocals slinking in and out of the funk – and titles include "On The Loose", "Skinny Dippin'", "Superstar", "Purple Raindrops", and "You Got Me Comin".

Classic electro production from the Willesden Dodgers on these instrumentals released here as part of Jive's Rhythm Tracks series. Eight 4-5 minute tracks, all named after some of our favorite BPM's – "130", "114", "122", "108", "102", "122", "152", "114".

A tasty batch of funky jazz cuts from Ivan Boogaloo Joe Jones – working here in a tight guitar groove that's actually better than that heard on his early albums for Prestige! The group's a good one – with Rusty Bryant on tenor, Butch Cornell on organ, and Grady Tate on drums – but it's Ivan's funky guitar style that really makes the whole thing work, as his fingerwork on the strings is enough to make any jazz-funk hopeful give up their guitar for life! Titles include "Hoochie Coo Chicken", "Snake Rhythm Rock", "The First Time Ever I Saw Your Face", "He's So Fine", and "Big Bad Midnight Roller".

Philly has got to be the center of the Nu Classic Soul universe. This is the latest group to come from the city of Brotherly Love with a rich, soulful approach to contemporary sounds. King Britt steps it up a bit on the flip, for a nice club take on the midtempo album version.

A second great comeback set from Latimore – working beautifully with producer George Chocolate Perry, who helps him hit a groove that's just like his classic 70s work for TK! As with those records, the vibe here is a laidback blend of blues and soul – lots of great electric piano work stepping along on most numbers underneath Latimore's slinky vocals – which themselves show a slight touch of age, but are still as sensual as ever! There's more smooth soul than the blues and rhythm in the title – a good thing to us – and titles include "Mr Right Now", "Singing & Playing The Blues", "Don't Give Up On Our Love", "City Life", "Around The World", and "Every Day Is A Beautiful Day".

2 killers from the legendary Galt MacDermot – composer, jazz musician, and hero to beatheads and samplers everywhere! First up is Shapes Of Rhythm – a weird off-kilter batch of jazzy instrumentals, with Galt playing acoustic and electric piano – and with backing by a tight little combo that includes Pretty Purdie on drums, Snag Napoleon Allan on guitar, and Jimmy Lewis on bass. Lewis' bass is especially nice, and he lays out some very phat lines next to Galt's groovy piano solos. The record's not an all-out funk classic, but it's got some wonderfully warm rolling riffs in the typical Galt MacDermot style. Titles include "Coffee Cold", which was sampled by Prince Paul, "The Mouse Roared", "Mbabam", "Marsh Gas", "Alive In Dar Es Salaam", and "Spanish Night". Woman Is Sweeter is an excellent funky soundtrack – and features the totally cool sample for Buster Rhymes' big single last year, laid out in the track "Space". Lots of other cool spare funky tunes abound, and the set is a great record all the way through, with loads of weird flatly funky tunes and offbeat rhythms. Titles include "Tango", "Woman Is Sweeter", "Perfume Bottles", "Merry Go Round", "Princess Gika", and "Bathtub". CD also includes a bonus version of "Coffee Cold"!

One of our favorite albums ever – and every track is a masterpiece! The album was originally cut for the tiny Chiaroscuro label in 1977 – and it's got a sound that's unlike anything else we can think of – soaring, soulful, jazzy, and righteous – wrapped up in a blend that's never been done this perfectly again! James Mason's a player who's know for a bit of keyboard work with other artists – but here, he's really working as a collective power – bringing together a brilliant ensemble that work as one to hit some sublime sounds – much in the way that Roy Ayers could work some key magic with his groups at the same time, but with a vibe that's very different too. Players include Ayers associates Justo Almario on saxes and Philip Woo on piano – and a young Narada Michael Walden adds some excellent drums to the record – a lot more powerful and funky than on most of his own albums! Lead vocals are by Clarice Taylor – who's got this unique voice that really makes the record – proud, but sensitive at the same time too – and Mason plays lots of Fender Rhodes, polymoog, Arp, and a bit of guitar. Titles include the breakbeat classic "Funny Girl", the monster groover "Sweet Power Your Embrace", the funky "Slick City", and the massive "Free" – but every cut's a winner, and others include "Mbewe", "Rhythm Of Life", and "Dreams". This is the kind of album that makes us proud to be in business!

One of our favorite albums ever – and every track is a masterpiece! The album was originally cut for the tiny Chiaroscuro label in 1977 – and it's got a sound that's unlike anything else we can think of – soaring, soulful, jazzy, and righteous – wrapped up in a blend that's never been done this perfectly again! James Mason's a player who's know for a bit of keyboard work with other artists – but here, he's really working as a collective power – bringing together a brilliant ensemble that work as one to hit some sublime sounds – much in the way that Roy Ayers could work some key magic with his groups at the same time, but with a vibe that's very different too. Players include Ayers associates Justo Almario on saxes and Philip Woo on piano – and a young Narada Michael Walden adds some excellent drums to the record – a lot more powerful and funky than on most of his own albums! Lead vocals are by Clarice Taylor – who's got this unique voice that really makes the record – proud, but sensitive at the same time too – and Mason plays lots of Fender Rhodes, polymoog, Arp, and a bit of guitar. Titles include the breakbeat classic "Funny Girl", the monster groover "Sweet Power Your Embrace", the funky "Slick City", and the massive "Free" – but every cut's a winner, and others include "Mbewe", "Rhythm Of Life", and "Dreams". This is the kind of album that makes us proud to be in business! CD features great bonus tracks too – an unreleased 1977 mix of "Sweet Power Your Embrace", the single mix of that track too – and the later grooves "I Want Your Love" and "Nightgruv".

Includes the tracks, "Break It Down", "Harlem After Midnight", "Growl", and "Stuff Is Here".

A smoking selection of work from Memphis giant Willie Mitchell – some of the funkiest tracks he ever recorded, stuffed together in one mighty set! Willie's probably best know for his famous studio work for Ann Peebles and Al Green – but on his own, Mitchell can carve out a cooker like nobody's business – in this case with a great ear for the kind of harder instrumental soul sounds you might hear from Stax or Atlantic Records at the start of the 70s! These tunes have a way harder edge than the compressed, smooth sound of Willie's work with singers – and often feature a sharp solo instrument in the lead – such as tenor sax, riffing guitar, or soulful trumpet. Titles include "Breaking Point", "Six To Go", "Poppin", "Pearl Time", "20-75", "Leo's Mood", "The Champion", "Mercy", "That Driving Beat", "30 60 90", "Everything's Gonna Be Alright", and "Big Power House".

A wonderful album of southern soul – and the only full-length LP cut by Bobby Moore and his long-lived Rhythm Aces combo! The group's the sort that slaved away endlessly in live shows all over the south – playing on their own, or providing extra backup for countless big stars touring through the area. Bobby's on tenor, and the group has some incredibly rich vocal talents – unnamed, but with a group harmony style that's equally at home with sweet ballads or hard stompin party numbers. The latter style is the band's strongest suit, though – with an approach that's somewhere between the hard soul of Sam & Dave and the party grooves of Doug Clark & The Hot Nuts – and like that group, Moore's style was probably forged out of years of playing at beach dances, frat parties, and bar gigs, the real proving ground for a tight combo like this! A great little LP, with a fresh sound throughout – and tracks include "The Hamburger Song", "Follow Me", "Searching For My Love", "Hey, Mr. DJ", "Searching For My Love", "Jenny, Jenny", "Come Back Baby", and "We've Got That". Recorded at Fame in 1966 with Rick Hall, too!

Great stuff – and one of the purest examples we can find of the Latin piano style of the great Noro Morales! Noro plays here without any of the trappings of some of his other records – just working with a small rhythm combo on an all-instrumental set – with tremendous solo work on the piano – filled with flourishes, but never in a way that's too overly-complicated, nor too dramatic to ever lose its swing! That balance is what made Noro so great back in the day – as you'll hear on cuts that include "Oye Men", "Pica Mosquito", "Mi Guajira", "Vitamina", "Que Linda Eres", and "Oye Negra".

Two classics from the legendary Idris Muhammad! Black Rhythm Revolution is one of the first records ever as a leader from funky drummer Idris Muhammad – a set that was cut right at the same time Idris was burning up the kit on his classic jazz funk sessions with other Prestige label players! The groove here is tight, funky, and very much in the mode that Muhammad laid down for other bigger soloists – a solid, socking sound that was the early 70s inheritance of the "Popcorn" funk groove of the late 60s. Players here are all great – and include Melvin Sparks on guitar, Harold Mabern on electric piano, and Virgil Jones on trumpet – and tracks include great covers of "Express Yourself" and "Super Bad", plus "Wander" and "Soulful Drums". Peace & Rhythms is a wonderful departure from Muhammad – and proof that he could do a lot more than just provide heavy breaks for Lou Donaldson and Melvin Sparks! This set is surprisingly spiritual and righteous at points – with a groove that's almost more like Strata East than some of Muhammad's previous work as a sideman on Blue Note and Prestige. Side one features the extended "Peace and Rhythm Suite" – a beautiful cut that's filled with searching, soaring energy – and side two includes two vocal cuts "Brother You Know You're Doing Wrong" and "I'm a Believer", both sung by Sakinah Muhammad – plus "Don't Knock My Love". Players are all great – and a nicely different lineup than the usual Prestige jazz funk gang.

One of Art Pepper's classic recordings, in which he plays with a spare quartet backing by Miles Davis' rhythm section at the time – Paul Chambers, Red Garland, and Philly Joe Jones. An essential East meets West jazz recording, with Art at the top of his game, playing in a unique setting for the first and only time (it's said that Art didn't even know of the date until the morning of the session). Pepper is one of the few alto players to really establish his own voice on the horn, without aping Bird, and his emotive playing really shines here. A definitive version of "Straight Life" is on this album, along with "Waltz Me Blues", "You'd Be So Nice To Come Home To", and "Star Eyes".

One of Art Pepper's classic recordings, in which he plays with a spare quartet backing by Miles Davis' rhythm section at the time – Paul Chambers, Red Garland, and Philly Joe Jones. An essential "east meets west" jazz recording, with Art at the top of his game, playing in a unique setting for the first and only time (it's said that Art didn't even know of the date until the morning of the session). Pepper is one of the few alto players to really establish his own voice on the horn, without aping Bird, and his emotive playing really shines here. A definitive version of "Straight Life" is on this album, along with "Waltz Me Blues", "You'd Be So Nice To Come Home To". and "Star Eyes".

Deep deep funk from The Poets Of Rhythm – and a record cut at a time when all the world thought classic funk was dead! Apart from a few revivalist albums by older artists at the time, deep funk was plenty hard to come by at the start of the 90s – and often mis-recorded or badly mixed when it was tracked down. Enter The Poets, one of the first newer groups with a strong ear for the sound of the funky 45 generation – heard here in a rare full length set that presents the group in all their glory! The combo's got an approach to funk that mixes guitar, horns, and heavy drums with some slightly more psychedelic production – sometimes abstracting things slightly, in a mode that would be used much more heavily by the Quantic/Tru Thoughts camp in years to come. Most of the tracks on this set could easily pass for lost 45s from the early 70s – no surprise, given that the group was often putting out "fake" old cuts at the time – but the record proudly presents The Poets at their early best, with a smoking endorsement from Bobby Byrd to boot! Titles include "More Mess On My Thing", "Funky Runthrough (parts 1 & 2)", "Choking On A Piece Of Meat", "Saltin The Soup", "It Came Over Me", "Strokin The Grits", and "North Carolina".

A lost bit of 70s soul jazz and global funk percussion from conguero & trombonist Melvyn Price – an incredible set of heavily rhythmic grooves recorded in Stockholm in 1974 – originally a private press effort, and the most impressive rediscovery yet from Wax Poetics Records! Melvyn grew up outside of Detroit, and he cut his teeth with the freeform Afrikan Folk Ensemble before relocating to Sweden in the 60s, where he thrived in the country's healthy and creative jazz scene. He's joined by a great group of international players who bring diverse flavors to the overall sound, with Latin and African styles of percussion from Price, Jon Dill and Luis Agudo, drums by Gunnar Nyberg and Fredrik Noren, piano by Bjorn Wolff, fluidly jazzy tenor sax from Ed Epstein, and bass by Guy Roellinger, who's work here often sounds like the stuff of funky 70s soundtracks. If we can't quite peg the bluesy bits promised by the title, the rhythms are absolutely impeccable – with the conga and percussion as the driving force of the sound! Titles include "Voodoo Love Dance", "Toward Brazil", "Behind Kungstradgarden", "Happiness Is. . .", "Five O'Clock Traffic" and "Last Train".

A lost bit of 70s soul jazz and global funk percussion from conguero & trombonist Melvyn Price – an incredible set of heavily rhythmic grooves recorded in Stockholm in 1974 – originally a private press effort, and the most impressive rediscovery yet from Wax Poetics Records! Melvyn grew up outside of Detroit, and he cut his teeth with the freeform Afrikan Folk Ensemble before relocating to Sweden in the 60s, where he thrived in the country's healthy and creative jazz scene. He's joined by a great group of international players who bring diverse flavors to the overall sound, with Latin and African styles of percussion from Price, Jon Dill and Luis Agudo, drums by Gunnar Nyberg and Fredrik Noren, piano by Bjorn Wolff, fluidly jazzy tenor sax from Ed Epstein, and bass by Guy Roellinger, who's work here often sounds like the stuff of funky 70s soundtracks. If we can't quite peg the bluesy bits promised by the title, the rhythms are absolutely impeccable – with the conga and percussion as the driving force of the sound! Titles include "Voodoo Love Dance", "Toward Brazil", "Behind Kungstradgarden", "Happiness Is. . .", "Five O'Clock Traffic" and "Last Train".

The third in a really great run from Rhythm Heritage – a group who continued to hold up a strong level of instrumental quality, despite the fact that they'd topped the charts, and were smack right in the middle of the LA studio scene at the time! Part of the credit goes to producer/arranger Michael Omartin – who also plays keyboards on the album, giving it one of its best characteristics – but the whole assortment of talents is pretty darn great too, and includes work by Victor Feldman, Ray Parker, and The Waters – who bring in some nice soulful vocals on a few cuts. Keeping their success with TV themes, the group do a great job with "Theme From Starsky & Hutch" on this one – taking the tune in a nice moogy sort of way – and other cuts include "Float On By", "Hedge Hog", "Skippin", "Language Of Love", "Holdin Out", and "Sail Away With Me".

One of the heaviest funk records ever to come out of Indy in the 70s – a super-dope batch of ensemble grooving with plenty of odd twists and turns! At one level, the group work in a familiar Earth Wind & Fire-styled vibe – mixing heavy bass, funky rhythms, and lots of great horns – but at another level, the sound is a bit freer, and often hipper – coming across with jazzier influences on many tracks, and an overall style that's got some really righteous undercurrents! A number of tracks here are laidback and spacey – almost cosmic in approach, but a bit more love-oriented in subject matter – served up with some cool watery production that makes the guitar and keyboards really sound great, and some nice use of soprano sax to give the best tunes a nicely sharp edge! Titles include "You Got Action You Got Me", "Lil's Place", "Put A Smile On Time", "Thought My Love Was Free", "Can't Do Without You", and "Everybody's Chippin". 2LP version features bonus tracks "Laying & Playing", "Be Yourself", and "You Pay For What You Get".

One of the heaviest funk records ever to come out of Indy in the 70s – a super-dope batch of ensemble grooving with plenty of odd twists and turns! At one level, the group work in a familiar Earth Wind & Fire-styled vibe – mixing heavy bass, funky rhythms, and lots of great horns – but at another level, the sound is a bit freer, and often hipper – coming across with jazzier influences on many tracks, and an overall style that's got some really righteous undercurrents! A number of tracks here are laidback and spacey – almost cosmic in approach, but a bit more love-oriented in subject matter – served up with some cool watery production that makes the guitar and keyboards really sound great, and some nice use of soprano sax to give the best tunes a nicely sharp edge! Titles include "You Got Action You Got Me", "Lil's Place", "Put A Smile On Time", "Thought My Love Was Free", "Can't Do Without You", and "Everybody's Chippin". Great new CD version – with 20 page book, and the bonus tracks "Laying & Playing", "Be Yourself", and "You Pay For What You Get".

Great stuff – and the only truly funky album that Ike Turner ever recorded! This set's a batch of obscure funky instrumentals – and sounds like a strong compilation of rare 45s, filled with hard funky drums, nice breaks, and plenty of super-tight grooves. Nearly every cut's a winner – and titles include "Black Angel", "Black Beauty", "Freedom Sound", "Ghetto Funk", "Funky Mule", "Nuttin' Up", "Scotty Souling", and "Thinking Black". With titles like that, you know the cuts have got to be good – and for one of the few times in his career, Ike actually delivers the funky goods!

Key proof that the German MPS label could take an American player, and make them even better! By the time of the 60s, the small combo accordion grooving style of Art Van Damme had waned considerably – sounding a bit dated compared to the changes in American music at the time. However, it took the genius ears at Saba/MPS to bring Art over to Germany – and let him work in a setting that updated his style nicely – with changes in rhythms, different production, and instrumentation that included vibes, flute, guitar, and even some added sax! The 2 albums on the set are two of Art's best for the label – and they go miles beyond his American work of earlier years, taking the accordion into some incredibly sweet grooving territory that sparkles with the best Snowflakes sound! Titles include "Sunny", "Easy To Love", "My Little Boat", "Watch What Happens", "The Way You Look Tonight", and "Yellow Days".

While the rest of the Jamaican music industry was transitioning to the digital sound, Bullwackie Barnes soldiered on, based in NYC, cutting fat slabs of wax with a heavy vintage sound. This side of dubs cut by his studio team that often included Leroy Sibbles, Jackie Mittoo and Junior Delahaye and based on rhythms used by Horace Andy and Max Romeo features a deep, dark sound and crisp, tight production, with a deft and subtle touch on the console. Cut years after the golden age of dub, but easily ranking up their with our favorite dub LPs. 10 cuts in all: "African Roots Act II Dub", "Revelation In Dub", "Goinna Fight Dub", "Journey Rock", "Lam's International Dub", "Mama Land Dub", "Lonely Dub", "Mystic Dub", "Sea Of Dub" and "African Man Dub".

Killer funky stoner soul from LA! This album is one of the best by Charles Wright and his legendary funky group – and it features some straighter soul material, like the big hit "Loveland", or their mellow take on "Light My Fire" – plus some great heavy funk numbers, like "Till You Get Enough", "Everyday People", and "Must Be Your Thing". The record's a huge testament to the strength of the group – as they handle the soul material just as well as they do the funky stuff that they're more famous for – and we really dig this one for its tightness and straight ahead positive soul!

Mad mad funk, and the fantastic second LP by the Watts 103rd Street Rhythm Band – the group that proved to everyone that LA could be just as funky as any other city in the 60s! The record draws strongly from the group's indie roots in the funky 45 scene – and the album's filled with short tracks that bump along in jagged rhythms, offbeat arrangements, and some slight touches of sweeter soul. Charles Wright is leading the group on vocals, and taking a stronger presence on these soul-based cuts – but as before, it's the strength of the overall group that really makes the album great – especially the bass work of Melvin Dunlap and the funky drums of James Gadson! Titles include some killer original tracks by the band – like "Do Your Thing", "Giggin' Down 103rd", "Phuncky Bill", "65 Bars & A Taste Of Soul", and "A Dance, A Kiss, & A Song" – plus great covers of "Something You Got", "Papa's Got A Brand New Bag", and "Knock On Wood".

Fantastic funk from the 60s LA scene – and the first-ever album by a group who would dominate the west coast groove of the time! This first outing by the Watts 103rd Street Rhythm Band takes off nicely from the group's funky 45 years – using larger arrangements to expand upon their hard and heavy groove, in a style that almost has some funky soundtrack touches at times! Fred Smith produced and is directing the group – and tracks are short, sweet, and filled with groovy touches! Titles include "Spreadin Honey", "Fried Okra", "Soul Concerto", "Watts Happening", "103rd Street Theme", "Whole Hog Or Nothing At All", "Brown Sugar", and "A Little Class & A Little Trash". Great trippy cover too!

An early 60s Columbia classic from Johnny Williams – a rare album of stereo-heavy instrumentals done in a style that's quite similar to the RCA Stereo Action series of the time – with lots of unusual instrumentation, and a wide-ranging sound that leaps back and forth from speaker to speaker! There's plenty of jazzy interplay in the music – similar to Williams' 60s soundtrack work – and the large array of woodwind, brass, and rhythm players includes west coast jazzmen like Pete Candoli, Shelly Manne, Jimmy Rowles, Larry Bunker, and others. Titles include "The Varsity Drag", "Fascinatin Rhythm", "Johnny One Note", "An Occasional Man", "Sunny Disposish", "Buckle Down Winsocki", and "My Heart Belongs To Daddy".

Electro/funk instrumentals released here as part of Jive's Rhythm Tracks series. Larry Linn wrote all cuts, and production was handled by the Willesden Dodgers. A lot nicer than some of the other volumes – especially if you dig breakdance grooves! 8 tracks in all, most just entitled with the bpms, ranging from 101 to 129, and one tracks entitled "SMURF".

An excellent album of funky electric jazz – and possibly the best one that Phil Woods cut with his European group! The quartet's a very hip group that's way hipper than its clunky name – with Gordon Beck on electric piano and organ, Daniel Humair on percussion and drums, and Henri Texier on bass, flute, and African percussion – all instrumentalists who dip heavily into the deep bag of their mighty talents for the date, helping to push Phil's music into some very cool new territory! The album cooks a lot harder than Woods' previous MGM date with the Rhythm Machine group in Europe – and has a really freewheeling vibe, and a sound that's almost outside at points. All tracks are long, with a modal electric approach that's very nice – and funky in the best parts – and titles include "Chromatic Banana", "Ultimate Choice", "The Last Page", and "The Day When The World".

A masterpiece of messed-up LA funk – and one of the crowning moments in the career of Charles Wright & The Watts 103rd Street Rhythm Band! Charles and crew do an excellent job with all the tracks – most of which are more open ended than some of their earlier ones, and run on for longer than usual with some good trippy instrumental moments that really stretch out the groove from their funky 45 days. The album includes the stoner funk classic "High As Apple Pie", done here in two "slices", plus the classic "Express Yourself", a monster number that still sounds great every time we hear it – even though it's been used on commercials and sampled plenty of times over the years! Other tracks include "I'm Aware", "Love Land", and "I Got Love"

The blueprint of a generation – a set that brings together a huge amount of rare singles from the start of the 60s – most of which helped form the groove for years to come! The set's got a great early soul feel – tracks that show a genre still in formation – as bits of R&B, vocal jazz, blues, and other styles are pulled together in the new groove of the time – not yet as upbeat as the Northern Soul you'd know from a few years later – but definitely cooking with a similar sort of energy. There's plenty of numbers here to appeal to a mambo soul crowd – and titles include "You Ain't So Such A Much" by Blanche Thomas, "Feelin Kind A Lonesome" by Willie J Charles, "She Knocks Me Out" by Harold Burrage, "My Heart's On Fire" by Billy Bland, "Good Enough" by Bobby Guy, "He's The One That Rings My Bell" by Sherri Taylor, "I Think I Love You" by Helen Troy, "Little Annie" by Anna Bell Caesar, and "You Don't Have To Go" by Sam Myers.

Another great import compilation of rare Chess stuff, this time put together to give the feel of a southside "club". The groove's a bit rawer than the Radio or Uptown compilations, and the lineup includes such fantastic talents as Bobby Moore & The Rhythm Aces, The Kolettes, Don & Bob, Jamo Thomas, Fred Hughes, Kip Anderson, and some of the bigger Chess names. There's even a few funky jazz cuts, and the whole thing grooves deep deep deep. Great notes too! Tracks include "Mellow Fellow" by Etta James, "Git Out" by Mitty Collier, "Hey Mr. DJ" by Bobby Moore & the Rhythm Aces, "My Babe" by Little Walter, "Who's That Guy" by the Kolettes, and "Musty Rusty" by Lou Donaldson.

Rockin soul from the start of the 60s – a great batch of upbeat numbers that definitely show the rougher side of the Northern groove! Lots of these tracks sit perfectly in a space between early soul music and R&B – and strut along with the heavier grooves of the latter, yet soar with the bold vocals of the former – making for a mix of modes that's mighty nice! There's loads of rare singles here we might not have heard otherwise – and titles include "Somebody Else's Sweetheart" by The Wanderers, "Puddentane" by Lula Reed, "I'm Hurting" by Billy Gales, "You Crack Me Up" by Charlie Baker, "This Little Love Of Mine" by Buddy Ace, "The Snake" by Maximillian, "Boys Will Be Boys" by Joe Tex, "Wait" by Sidney Barnes, "You're A Little Too Late" by Danny Owens, "That's A Good Idea" by Grover Mitchell, and "That's Why I Cry" by Varetta Dillard.

Revolutionary jazz from the era of the Civil Rights Movement and beyond – soulful and spiritual jazz as important as any of the era – an impeccably well chosen compilation of Freedom, Rhythm & Sound from Soul Jazz Records! The set is a tie-in with Soul Jazz's essential Freedom, Rhythm & Sound book – documenting the sounds and providing an aural portrait of a fertile creative period in African American music and cultural history – when the societal struggles were a counterpart to the heretofore unseen depth of creativity and empowerment in jazz music. Includes a nice booklet of notes, and songs from both the independent underground, and some that made it onto established labels like Verve and others, and material by Joe Henderson, Archie Shepp, Errol Parker, Mary Lou Williams, Art Ensemble Of Chicago, Horace Tapscott, Sun Ra and many more. 23 pivotal tracks on 2CDs, many running on the longer side, for a straight up incredible set of spiritual soul jazz: includes "Africa" by Oliver Lake/NTU, "Space A Nova" by Stanton Davis' Ghetto/Mysticism, "Miss DD" by Mary Lou Williams, "Old Time Religion" by Art Ensemble Of Chicago, "Drinking Song" by Gary Bartz NTU Troop, "Attica Blues" by Archie Shepp, "Peyote Song No III" by Horace Tapscott & Pan Afrikan Peoples Arkestra, "Freedom Time" by Pharoahs, "Black Survival" by Roy Brooks & Artistic Truth and more.

Revolutionary jazz from the era of the Civil Rights Movement and beyond – soulful and spiritual jazz as important as any of the era – an impeccably well chosen compilation of Freedom, Rhythm & Sound from Soul Jazz Records! The set is a tie-in with Soul Jazz's essential Freedom, Rhythm & Sound book – documenting the sounds and providing an aural portrait of a fertile creative period in African American music and cultural history – when the societal struggles were a counterpart to the heretofore unseen depth of creativity and empowerment in jazz music. Includes a nice booklet of notes, and songs from both the independent underground, and some that made it onto established labels like Verve and others, and material by Joe Henderson, Archie Shepp, Errol Parker, Mary Lou Williams, Art Ensemble Of Chicago, Horace Tapscott, Sun Ra and many more. Volume 1 of the vinyl version has 10 tracks on 2LPs, many running on the longer side, for a straight up incredible set of spiritual soul jazz: includes "Africa" by Oliver Lake/NTU, "Space A Nova" by Stanton Davis' Ghetto/Mysticism, "Miss DD" by Mary Lou Williams, "Old Time Religion" by Art Ensemble Of Chicago, "Drinking Song" by Gary Bartz NTU Troop and more.

Soul & blues performances from Hoss Allen's 1966 Rhythm & Blues Revue program which ran on US television and is purported to be the first syndicated series ever revolving around black singers in the US! The history is incredible, but the compilation is all around the music and it's great stuff – featuring Gatemouth Brown, Rodge Martin, The Beat Boys, Earl Gaines, The Might Hannibal, Robert parker, Cleo Randle and many more. 24 tracks in all: "Have You Ever Been Mistreated" by Gatemouth Brown, "Hitch Hike" by The Beat Boys, "Empty Arms & Bitter Tears" by Gerri Taylor, "Respect" by Rodge Martin, "I Don't Know Why I Love You" by Clarence "Frogman" Henry, "24 Hours A Day" by Earl Gaines and much more.

A treasure trove of raw soul and rough-edged R&B – a killer collection of material that originally appeared on the ultra-limited series of Juke Box Jam singles from Jazzman – sweetly collected into one nicely-priced package! The grooves here are totally great – and represent a step backwards in the funk scene – a move back to the 50s and early 60s from the previous focus on later years' soulful sounds – a much-needed dig back into the R&B that first inspired all the soul and funk of the 60s and 70s – but with a very fresh ear, so that the collection's way different than any set of music like this you would have heard a decade ago! The sounds are plenty gritty, and a great illustration that there's still loads to be discovered in these crucial years of music – as you'll hear on tracks that include "Lula" by Mike Robinson, "Country Boy" by Big Tiny Kennedy, "Mr Hound Dog's In Town" by Roy Brown, "I Can't Takit No Longer" by Ben Harper, "Shorty" by Vernon Dilworth, "Geechie Goomie" by Marga Benitez, "Crazy Do" by Jack Tucker, "I Say No No More" by Frances Burr, "Baby You Were Meant For Me" by Ervin Rucker, and "Hot Weather Blues" by Mr Sad Head.

An amazing document of a short-lived, but really incredible genre – the 50s mix of R&B and Latin-inspired rhythms – particularly the heavy piano of a mambo-styled groove! The sound seems an unlikely mix, but it's one that you've no doubt heard on a few famous Atlantic Records singles from the time – taken up here by a host of much more obscure artists, who really know how to make the rhythms leap along with the grooves! The approach has definite echoes of New Orleans R&B, particularly in its use of the piano in heavy comping lines – but there's also a much wider sound going on too, especially in the way the percussion often drives the tunes in really unusual ways. The album's overflowing with amazing tracks – and titles include "Salty Dog" by Marvin Phillips, "Big Joe Mambo" by Fay Simmons, "Mambo Mexicana" by Gerald Wilson, "Snake Charmer" by Mad Man Jones, "Boppin With The Mambo" by The Sultans, "Honeydripper Mambo" by Alfredito, "A Dream" by Billy Red Love, "Pu Chun Ga" by Elene Madera, "Cozy & Bossa" by Cozy Cole, "Shrinking Up Fast" by Camille Howard, "Take A Chance On Me" by Annisteen Allen, "Eee Ooo Voodoo" by Red Callender, and "Down To The Bottom" by Larry Dale.

A long-awaited follow-up to one of our favorite compilations of King Records soul music – a set that does a perfect job of showing the label's strong roots in R&B, and it's important force in 60s soul! The package offers up tracks with a really great sound – definitely the grittier edge than you'd expect from the R&B in the title, yet lots of "new breed" styles as well – a more mature, more soul-based approach to the grooves that offers up a great way to harness the raw energy at the core! The set's filled with rare gems from old King, Federal, and DeLuxe label singles – including some overlooked work by bigger name singers – and titles include "Two Hearts" by The King Pins, "I'm Tore Down" by Freddie King, "Send Me A Picture Baby" by Mel Williams, "Love Man" by Hal Hardy, "Geneva" by Eugene Church, "Wild Child" by Donnie Elbert, "Your Letter" by Willie Wright & His Sparklers, "Say Hey Pretty Baby" by Lula Reed, "Let Me Walk With You" by Eddie Kirk, "Stop Talking To Your Child" by James Duncan, "It Hurts Inside" by The 5 Royales, "Let's Have A Good Time" by The Hi Tones, and "When You Move You Lose" by Lee Shot Williams.

Raucous R&B, tight psych and mod soul from the late 60s UK – on a stellar Vol 4 in the great Rare Mod series from Acid Jazz – and nearly everything on it is entirely fresh to our ears! Rare Mod really goes deep, uncovering tunes that are honestly as infectious as the major mod standard bearing hits of the day – with raw drums, killer Hammond organ grooves and gritty vocals that give everything a sharp edge – but it’s commited by groups that proudly flaunt classic soul and R&B influences. Great stuff! Includes "Big Bird" by Dog Soul, "Tell Daddy" by All Night Workers, "Together Forever" by Gary Farr and the T-Bones, "Me And My Baby" by Row Boat, "Cover Girl" by Perfumed Garden, "The Thinking Kind" by The Wild Ones, "Arthur" by Virgin Sleep, "LSD" by Tomorrow's Children and more, 16 in all.

Includes benny carter, Coleman Hawkins, Jack Hylton, Meade Lux Lewis, Fletcher Henderson, Duke Ellington, Buck Washinton, and Horase Henderson.

Smoking soul from 60s Texas – a tremendous amount of rare tunes from obscure little singles – pulled together to showcase the Lonestar State as a musical powerhouse to rival Motown, Philly, or the Windy City! The tracks here are all from various labels headed by the legendary Huey P Meux – and unlike other Texas work you may know from the time, lots of these numbers are bubbling over with the kind of soul elements you'd normally hear from east coast indie work of the time – and in that way, are almost like some of the other 60s material cut by southern transplants on the LA scene of the time – familiar, but a little offbeat too – with odd little twists and turns that really keep things interesting, and which make the package a really fresh musical discovery. There's some nice deep soul elements at times, particularly on the mellower cuts – and titles include "Go Go Train" by Jackie Paine, "That Is Why The End Must Begin" by Joe Masters, "Irene" by Rockin Dave Allen, "Time" by Charles Barry, "Get To Gitten" by Big Walter, "Doggin Around" by Jean Knight, "Friends In Show Business" by Joe Melvin, "Neighbor Neighbor" by Alton Valier, "You'll Lose A Good Thing (demo)" by Barbara Lynn, "Let Them Talk" by Johnny Adams, "If You're Looking For A Fool" by David King Thomas, and "Pick Me Up On Your Way Down" by Margo White.

One of the most righteous albums of jazz ever recorded – a brilliant blend of soulful and avant garde styles, backed up by a chorus of voices that have a really soulful sound! The album's the second recorded for Blue Note by the Ghetto Music ensemble of trumpeter Eddie Gale – a lesser-known talent who recorded previously with Cecil Taylor, but who made a turn away from modernism at the end of the 60s, in order to express himself at a level that he felt was more clearly grounded in the people. The result of that effort is sheer brilliance – an album that sounds like nothing else you can imagine. Part of the style shares the energy of similar vocal/jazz projects by Max Roach and Billy Harper, but Gale's conception of the music is much more dynamic, and very carefully rooted in song structures – with a sound that's as powerful today as it was when it was recorded! Titles include "Ghetto Love Night", "Song Of Will", "Ghetto Summertime", "Black Rhythm Happening", and "Look At Teyonda".

A cheesy cover, but a really top-shelf effort from Ray Barretto – one that has him standing strongly in the early 80s, at a time when most other leaders of his nature were beginning to falter! The record's still strongly in the Barretto salsa mode of the 70s, but it's also got a jazzy component that's really upfront in the mix – impeccable horns that come together with a fluid sound that soars each number over the top, and which also allows for a slight bit of solo expression alongside the lead vocals by Ray De La Paz. The tunes are longish, and the better numbers really open up in a joyous blend of rhythm and voice – almost salsa's take on the descarga style. Titles include "Indiferencia", "Granada", "Si No Eres Tu", "Amor Artificial", and "Manos Duras".

Includes Fredie Green on guitar, Walter Page on bass, and Joe Jones on drums.

Two wonderfully soulful albums from the Themes International sound library label – back to back on a single CD! The Voice Of Soul is a rare date from singer Madeline Bell – a vocalist who cut some key commercial work in the late 60s and 70s UK scene, but who shines beautifully on this rare set for the sound library! The tunes are all vocal, with Madeline in the lead – and the overall feel is a bit like Bell's This Is The One Girl set from the mid 70s – but with a leaner feel overall, thanks to the relatively small combo backing up the vocals. And although the record was never issued publicly at the time, it's a killer batch of mellow soul from the 70s – great vocals sliding along with the keyboards, and quite possibly Bell's finest moment on wax. Titles include "Your Smile", "You're A Winner", "Love Doctor", "Soul Slap", "Flying High", "Mr Smooth Man", and "Love Is All". The Sound Of Soul is all instrumental – classic set of soulful sound library tracks – lots of sweet keyboards, guitar, basslines, and other nice bits – one of the best of the titles on the Themes library label during the 70s, and with loads of great tracks by Alan Parker! The overall style is especially in the cop show mode – with tight production, but lots of hard riffing funk – and titles include "Move & Shake Your Body", "Love Doctor", "Soul Slap", "Crumpet", "Flying High", "Mr Smooth Man", and "Love Is All".

A true orgy in rhythm from Art Blakey – a set that not only features his drums next to the kit of Art Taylor, but which also adds in a bevy of other percussionists – including Sabu Martinez, Patato Valdez, and Jose Valentine! Joe Jones and Specs Wright also bring in additional jazz drums – making for more drummers than you might even find in a high school band – all working together with amazing qualities in sound, sometimes even melodic amidst all of the rhythms. Lighter lyrical touches are provided by Herbie Mann's flute, and Ray Bryant throws in some great lines on piano – underscoring the grooves in a nice way. Titles on this first volume include "Buhaina Chant", "Split Skins", and "Toffi".

A rarity from the early 90s funky underground by Bus People Express – who were alternately working as Soul Saints during this period – and they would soon trailblaze the contemporary funk scene as Poets Of Rhythm! "Augusta Georgia (Here I Come)" starts out with stripped-down drums and some gritty call and response group vocals, before the guitar and bass come storming in. Reminiscent of James Brown at his rawest and grittiest, ala Motherlode! "South Carolina" has a slower cooking style with some southern funky soul swagger, as you might guess from the title. A prescient blast of modern funk to come!

It's getting later in the 70s so the disco movement has taken hold of the mainstream and everyone's trying to get in on the act. This pop disco set features lead vocals by Peggy Santiglia – and it's got strings and horns arranged by John Davis, who may have been responsible for his share of disco cliché's, though here he does a nice job of keeping things tight and right, and the lengthier numbers have some nice dynamic shifts and breakdowns. Titles include "Fantasia/Carnival", "Sweet Sweet City Rhythm", "Go On And Dance To The Music", and "Alice Street".

Classic old school trip through the NY subway system, moving through Manhattan in a swingin', socially conscious way.

Genius, pure genius! If you've ever wondered why folks think Stan is so great, check out this landmark set of postwar modern swing tunes – some of the most groundbreaking work of its generation, and proof that there was still a lot of room to grow within the big band format. June Christy provides some icy vocals on a few numbers, and other strong players on the set include Vido Musso, Boots Mussulli, Kai Winding, Eddie Safranski, and Shelly Manne. Arrangements are by Pete Rugolo, Gene Roland, and Stan – and titles include "Artistry In Bass", "Artistry In Percussion", "Fantasy", "Come Back To Sorrento", "Soothe Me", "Opus In Pastels", and "Artistry In Bolero".

Amazing work from one of the first hip ladies on Capitol Records – with other work recorded for Okeh, Imperial, Liberty, and Decca too!

A seminal late 80s techno track from Kevin Saunderson, in the days before he adopted the Inner City name. Overall the sound is a bit less dark, and a bit less electro than what would become the genre's mainstay sound, but in a late night-driving vibe with a soulful undercurrent that still sounds fresh!

6 numbers in all "Girls Out On The Floor", "Fire 121", "Do It To The Beat", "We Don't Need No Music", "Laugh The Night Away" and 'Rocko Laugh".

Ike's a mofo – we all know that – especially when he's given the chance to open up with his hard-wailing combo, The Kings Of Rhythm! This set features 22 tasty little groovers from Ike's days at Sue Records, plus a few more from his days at Flair – recorded before he polished up his act a bit for the uptown clubs and pop festival crowds he and Tina were working in the late 60s. The titles alone should give you an idea of the nature of the tracks – with names like "Prancin", "The New Breed (parts 1 & 2)", "Katanga", "The Groove", "The Gully", "Trackdown Twist", "Cubano Jump", "Go To It", and "The Wild One".

Culled from the rich history of the Atlantic records label, and lovingly put together with great notes and everything! Tracks include "Lowe Groovin", "Anytime, Anyplace, Anywhere", & "Applejack" by Joe Morris, "That Old Black Magic", "Annie Laurie", & "Midnight Special" by Tiny Grimes, "Cole Slaw", by Frank Cully, "So Long", "I'll Get Along Somehow", "Daddy Daddy", & "5-10-15 Hours" by Ruth Brown, "One Monkey Don't Stop No Show" & "Drinkin Wine Spo-Dee-O-Dee" by Stick Mcghee, "The Chill Is On", "Chains Of Love", & "Sweet Sixteen" by Joe Turner, "Hey Little Girl" & "Mardi Gras In New Orleans" by Professor Longhair, "Fool Fool Fool" & "One Mint Julep" by the Clovers, and "The Midnight Hour" by Ray Charles.

Culled from the rich history of the Atlantic records label, and lovingly put together with great notes and everything! 28 tracks in all, including "A Beggar For Your Kisses" by the Diamonds, "Mama, He Treats Your Daughter Mean" and "Wild Wild Young Men" by Ruth Brown, "Mess Around","I Got A Woman", "Greenbacks", "A Fool For You" and "This Little Girl Of Mine" by Ray Charles, "Soul On Fire" and "Tomorrow Night" by LaVern Baker, "Lovey Dovey" by the Clovers, "Honey Love","Money Honey" and "Whatcha Gonna Do?" by Clyde McPhatter & The Drifters, "Shake Rattle & Roll" and 'Flip Flop & Fly" by Joe Turner, "Jam Up" by Tommy Ridgely, "Sh Boom" by the Chords, "The Door Is Still Open" by the Cardinals and "Smokey Joe's Cafe" by the Robins.