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Essential early work by Stan – a 3 CD collection of his early 50s recordings for the Roost label, either under his own name and group, or with guitarist Johnny Smith. The Smith sides only make up a very small portion of the package – as most of the work are by Getz's quartet or quintet, the groundbreaking assemblage that featured Jimmy Raney on guitar, whose icy clear tone was a perfect counterpart for Getz's sweet breathy work on the tenor. The quality of the material is really great – and the package does a great job of presenting the work freshly, without an overload of alternate takes or tunes you don't want to hear. There's a total of 59 tracks in all – and titles include "Potter's Luck", "Tenderly", "Budo", "Signal", "Fools Rush In", "Lullaby Of Birdland", "It Might As Well Be Spring", "Yvette", "Melody Express", "Split Kick", "Hershey Bar", and "Penny".

An excellent sextet session by the great Seldon Powell – one of the late 20th century's best reed talents, but a player who's so often lost in larger bands – which is why it's especially nice to hear him grooving in a small combo set like this! The sound is incredibly soulful, at a level that makes the album one of Powell's best of the time – with a depth and clarity that's missing from a few of the others, and a tremendous focus that lets his brilliant work on tenor come out full strength! The group is a sextet, and players include Freddie Green, Jimmy Cleveland, and Osie Johnson. Tracks are short, but the material gives Seldon plenty of room to solo openly, and with a simply sublime tone on titles that include "11th Hour Blues", "Biscuit For Duncan", "Button Nose", and "Lolly Gag".

Sonny Stitt goes Latin – and the results are tremendous! The set's still got all the soulful feel of the best Stitt sessions for Roost, but it brings in some nice Latin rhythms too – inflecting things with that blend of soul jazz and congas you might find over at Prestige or Blue Note, yet also taking things further, too – given the Roost/Roulette connection to the New York Latin scene! Sonny plays both alto and tenor, and gets jazzy accompaniment from Thad Jones on trumpet – but the rhythm section is the real charmer here – and features a young Chick Corea on piano, Larry Gales on bass, and the trio of Willie Bobo, Patato Valdes, and Chihuaua Martinez on percussion! Most tunes are originals – a great change from the usual Latinized standards you might find on a set like this – and Stitt's got this nicely exotic tone in his reeds which is a further highlight of the record – almost a Yusef Lateef inflection at points. Titles include "Are You Listening", "I Told You So", "Chic", "Senor Jones", "Amigos", and "Ritmo Bobo".

Magical Stitt work on Roost – an album of marked understatement, from the simple title, standard cover, and lack of session details on the back – all of which might make you think "oh yeah, heard this one before." But one drop of the needle opens the album up immediately – grabbing your ears, and saying "man, this is what Stitt's all about – and if you think you've heard it before, you haven't!" There's nothing fancy here, but that doesn't mean that there's nothing, either – as Sonny on sax is more than enough to make the whole thing take off from the very first note – blowing in that majestically confident style used during his years at Roost, an extremely inventive solo mode that takes on almost Rollins-like proportions at times. Tunes include "Wind Up", "Them There Eyes", "Foot Tapper", "Happy Faces", "In A Little Spanish Town", and "Back In Your Own Back Yard".

Sonny Stitt plus the early genius of Quincy Jones – a really great combination that makes for a standout session on Roost! As you might guess with Quincy handling the arrangements, the gorup here is bigger than usual for Stitt – especially given that the bulk of his Roost sessions were small group ones – but that aspect makes for a really strong record here, one that has Sonny's alto soaring out over the top of some hiply swinging Jones' charts, already infused with the kind of soul that would burst forth more famously in the 60s. Titles include a few nice originals, like "Quince" and "Sonny's Bunny", but even on the standards – like "Stardust", "Lover", and "Love Walked In" – Stitt's in top form, and solos with creativity and imagination that show him at the top of his talents!

US issue of a rare French session – with Roger Guerin on trumpet and Raymond Fol on piano!

Classic bop session work, featuring Bird, Miles, JJ Johnson, Max Roach, Duke Jordan, and Tommy Potter. There's no surprises here, but the playing's tight as a tick, and the short tracks are a fierce declaration of the bop idiom. Titles include "Bongo Bop", "Bird Feathers", "Klactoveedsedtene", "Crazeology", "Don't Blame Me", "Dewey Square", "Air Conditioning", "Scrapple From the Apple" and "Quasimodo".

One of the few albums ever recorded as a leader by alto saxophonist Gene Quill – and a "with trombones" session, as you might guess from the title! Quill's tone is really wonderful overall – crisp, yet soulful – and with an amazingly fluid feel that reminds us of the best Phil Woods work of the 50s (no surprise, considering that the pair often played together!) The three "bones" in the group are handled by Jimmy Cleveland, Frank Rehak, and Jim Dahl – and the rest of the group features Hank Jones on piano, Whitey Mitchell on bass, and Charlie Persip on drums. Tunes have a nice mix of bop and swing – in the best Roost mode of the time – and titles include "Wahoo", "What's My Name", "Three & One", "Look Ma No Hands", and "Little Beaver".

One of the few albums as a leader from Mighty Mike Cuozzo – a tight tenor player with a great sort of 50s swing! The set's the kind of no-nonsense, well-blown effort you might expect from Sonny Stitt or Seldon Powell at the time – tunes that pack in plenty over a relatively short space – really transformed by Mike's deft talents on the tenor, with a surprising degree of soul in the mix as well! Rhythm is by Eddie Costa on piano, Vinnie Burke on bass, and Nick Stabulas on drums – and the whole thing's got the solid feel of a lost Roost session. Titles include "Blue Jeans", "Bounce For Mike", "Ten AM", "Lover Man", and "That Old Feeling".

A partial tribute to the music of Max Roach – particularly that crucial moment of righteous Civil Rights energy during his Freedom Now period – handled here with great sensitivity by the trio of Joe McPhee on tenor, soprano sax, and clarinet, Lisle Ellis on bass, and Paul Plimley on drums! Some of the tunes are Roach numbers from the late 50s and early 60s – those haunting, soul-searching tunes that formed the blueprint for progressive jazz expression for years to come – and other numbers are originals by members of the group, but in a very similar spirit. All work is handled in a spacious, contemplative mode that's much more the voice of the trio members than that of Roach – which is quite fitting, as these meditations on freedom are offered more as a reflection of changes since the Civil Rights era – and demonstrate that greatly with their execution. Titles include "Mendacity", "Driva Man", "Lift Every Voice & Sing", "Singing With A Sword In My Hand", "Garvey's Ghost", and "Roost".

Plenty of style here – a great later date from Sonny Stitt – one of those near-perfect gems from the years when he had fallen far from the mainstream of jazz, but could still blow with some of the best! There's a simple, almost understated quality to the date that's really wonderful – especially for 1981 – a lineage that flows right back to Stitt's marvelous work for the Roost label, alongside which this record could stand proudly, with only a slight difference in production technique. Other players include Barry Harris on piano, George Duvivier on bass, and Jimmy Cobb on drums – and titles include "Western Style", "Yesterdays", "Eastern Style", "Is You Is Or Is You Ain't My Baby", "The Good Life", and "Killing Me Softly".

A record with a simple, elegant title – and a similar cover image too – but if you know Sonny Stitt, you know there's often plenty beneath the surface, and this classic Chess Records has plenty to offer, once you start listening! The album's right up there with Sonny's work for Roost – in terms of straight, strong, confident blowing – remarkably subtle, but also remarkably well-conceived, and proof that by the end of the 50s, Stitt had really matured greatly as a player – bringing so much to bear in very short space, and really coming up with imaginative solos in the process! The group's a quartet with Barry Harris on piano – but Stitt's the main focus on this set, and for good reason – on titles that include "Jack Spratt", "Propapagoon", "This Is Always", "Everyone Does", and "Mr Sun".

Wonderful early work by Stan – originally recorded for the Roost label, then compiled here for the Jazztone LP series. The sides are by Getz's quartet or quintet, the groundbreaking assemblage that featured Jimmy Raney on guitar, whose icy clear tone was a perfect counterpart for Getz's sweet breathy work on the tenor. The quality of the material is really great – and other sidemen are also first rate, including Horace Silver, Al Haig, Tommy Potter, Roy Haynes and Walt Bolden. 12 tracks in all, including "Yvette", "Wildwood", "Melody Express", "Penny", "Potter's Luck", "Split Kick", "Rubberneck", "Mosuito Knees", "Sweetie Pie", "Hershey Bar", "Tootsie Roll", and "For Stompers Only"

A tight swinger from Sonny Stitt – one of the standout 60s dates he recorded for the Impulse label, a place where he seemed to get even more care and focus in the studio! The record's got all the soulful swing of Stitt's classics for Roost, but also hits a slightly more lyrical groove at times too – and backing is by a trio that features Hank Jones on piano, Al Lucas on bass, and Osie Johnson on drums. Stitt himself plays a bit of alto alongside his tenor – and titles include "Lester Leaps In", "Please Don't Talk About Me When I'm Gone", "Estralita", "My Mother's Eyes", "Never Sh!", "Touchy", and "Surfin".

Pow is right – as Stitt grooves with a tight combo that features Benny Green on trombone, Kirk Lightsey on piano, Herman Wright on bass, and Roy Brooks on drums. The album's one of a few sides produced in the mid 60s by Richard Carpenter, a jazz manager/impresario who cut Chet Baker on some sides with the same group, licensed them to Prestige briefly, then pulled the material. Carpenter had also licensed this Stitt session to Roulette, but it's much more fitting of Prestige – as the tracks are longer and more open-ended, with a tighter hardbop approach than some of Stitt's Roulette/Roost work. Titles include "Love On The Rocks", "Nuff Guff", "Scramble", "Up & Over", and "Pride & Passion".

A great later date from the legendary Sonny Stitt – and one recorded with the same soulful depth and laidback feel as his best 50s sessions for Roost or Verve! Sonny blows both alto and tenor sax here – and works in the warm company of Sadik Hakim, whose sharp tones on piano bring in a slight modern inflection to the record, but in subtle ways that still lets Stitt's vision strongly take the lead. Buster Williams handles the bass – with those deep tones of his we love so much, and which add a slight contemporary sense of expression to the album – and JR Mitchell rounds out the quartet on drums. Titles include "South Georgie Blues", "Fine & Dandy", "Round Midnight", "Christopher Street Jump", and "Little Girl Blue". CD features 4 bonus alternate takes too!

A strange one for Sonny Stitt – but also a real gem! The album has Sonny, who'd been working for the Roost/Roulette label, coming together with other jazz players in the same boat, plus Latin musicians who were recording for the related Tico label. Moishe Levy never made such a good talent judgement as he did with this session – which features an all-star Latin jazz jam that includes the likes of Ray Barretto, Joe Cuba, Junior Mance, Les Spann, Billy Taylor, Wild Bill Davis, Barry Galbraith, Walter Perkins, and Tito Puente. The organ of Davis is a particularly great touch – odd for a Latin session, but creating a cool groove on the best tracks, and a nice way to touch back with a soul jazz sound. Stitt's tone is right out front, and never sounded better – making us wish he'd recorded a few more albums in this manner! Titles include "Duketation", "Twana", "Icey Stone", "Let My People Split", "Samba De Orfeo", "Liberian Love Song", and "Handkerchief Head". Very hip stuff – and organized by Henry Glover, which might be part of the explanation for that!

Otis Clay recorded live in Japan – working before a very appreciative audience, and hitting grooves that are right up there with his best 70s work on Hi Records! The sound is a bit looser than Hi – which is a nice change – and Clay's really in command on the set, leading the group with a strong sense of personality, and serving up great vocals with a strong deep soul feel. The grooves are filled with classic Memphis soul moments – and titles titles include "Hard Working Woman", "Ellie", "Trying To Live My Life Without You", "His Precious Love", "Love & Happiness", "Here I Am Baby", and "Love Don't Love Nobody".

A 2LP set that brings together earlier Sam Cooke titles for RCA – some remastered and made into stereo titles, others just cleaned up a bit. There's a total of 20 tracks in all – with hits like "Twistin The Night Away", "You Send Me", "Chain Gang", "Having A Party", "Another Saturday Night", and "Cupid" – plus lesser-known numbers like "Feel It", "Little Red Rooster", and "Everybody Loves To Cha Cha Cha".

A long-overdue recognition of the blues contributions of Willie Dixon – a set that pulls him out of the indie ghetto and pushes him firmly into the mainstream with this key release on Columbia Records! Yet despite that placement, the style is nicely down home – a strong recreation of older Chicago blues modes by producer Abner Spector – one that has Willie singing versions of his classic tunes like "Back Door Man", "The Seventh Son", "Little Red Rooster", "I'm Your Hoochie Coochie Man", and "The Same Thing".

A killer album of funky blues – recorded by Howlin Wolf during the period when Chess/Cadet was backing its older artists up with some of the newer funk musicians it had working in its studios! The overall sound works quite well – and although purists at the time moaned at the way artists like Wolf, Etta James, and Bo Diddley were being handled (especially with a "we know better than them" message on the cover like this!), the funky blues records from this time actually seem to be some of the most enduring from Chess – especially with younger listeners in the 21st Century! A big part of the success here goes to producers Charles Stepney and Gene Barge – who helped bring together a younger batch of players for Wolf's backing – including Pete Cosey and Phil Upchurch on guitars, Louis Satterfield on bass, and Morris Jennings on drums. Titles include "Spoonful", "Tail Dragger", "Smokestack Lightning", "Red Rooster", "Evil", and "Down In The Bottom".

2 blues classics from the great Howlin Wolf – back to back on a single CD! First up is the self-titled Howlin Wolf – a record that has Wolf tightening it up a bit from his earliest years at Chess, and moving into a groove that would forever make him one of the key artists to record for the label! The raspy, rootsy feel of earlier years is still in place – but the recording quality's a bit better, and the tunes have a more unified feel – thanks partly to some classic compositions from Willie Dixon, whose work makes up a very big part of the album! Tunes were recorded between the years 1959 to 1962, and brought together for the record – and titles include "Shake For Me", "Spoonful", "Going Down Slow", "Down In The Bottom", "Wang Dang Doodle", "Red Rooster", and "Tell Me". On Moanin In The Moonlight, a set filled with raspy vocals, Wolf sings in a way that definitely lives up to his nickname! The sound here is spare and stripped down, with very little accompaniment – usually just a bit of guitar, piano, bass, and drums – and sometimes not even all that much! Wolf's vocals are wonderful throughout – archetypal, but not nearly as cliched as some of his contemporaries came to sound – with a timeless feel that really holds up throughout. Titles include "Smokestack Lightnin", "No Place To Go", "All Night Boogie", "Evil", "I Asked For Water", "Forty Four", and "Somebody In My Home".

Gritty blues from the great Lightnin Slim – a set of tracks that has a romping, almost rocking groove right from the start – the kind of back/forth energy we might expect to hear more from Jimmy Reed at the time! The overall proceedings are definitely in a more rootsy mode, though – with stripped-down instrumentation that really gets at the core of the vocals and rhythms – not to mention some great harmonica parts too! Titles include "Lightnin's Troubles", "GI Slim", "My Starter Won't Work", "Rooster Blues", "Tom Cat Blues", "It's Mighty Crazy", and "I'm Leavin You Baby".

Rare mid 80s recordings from singer Bunny Marrett – a largely unrheralded hero of the Bristol reggae scene of that decade – and strong work that's gone unreleased until now! Recorded in '86, Marrett plays rhythm guitar and sings, with a band that includes Glen Crooks, Bob Locke, Tim Norfolk, Tony Orrell and UK Scientist. Stellar roosty sounds from the Bristol scene. Includes "I'm Free", "Natural Princess", "Farm Diggin'", "Farm Dubbin'" "Jazzy Reggae" and "Jazzy Reggae Dub" – plus the bonus "Times Are Getting Harder (Shoc Wave 12", 1981)" and "Hard Times Dub (Shoc Wave 12", 1981)".

Rare mid 80s recordings from singer Bunny Marrett – a largely unrheralded hero of the Bristol reggae scene of that decade – and a 6 track set of strong work that's gone unreleased until now! Recorded in '86, Marrett plays rhythm guitar and sings, with a band that includes Glen Crooks, Bob Locke, Tim Norfolk, Tony Orrell and UK Scientist. Stellar roosty sounds from the Bristol scene. Includes "I'm Free", "Natural Princess", "Farm Diggin", "Jazzy Reggae" and "Jazzy Reggae Dub".

Take it from us, a record with "chicken" in the title is always worth checking out – because it usually means a nicely strutting groove! That's definitely the case with "Chicken Grabber" – a cool cut with mambo percussion, vamping sax, and some great chicken calls in the middle! And "Chicken Rock" is mighty nice too – with a really nasty bassline and snapping drums, called on a member of the group to set the scene for a sweet tenor solo in the middle!

A true pleasure indeed – easily one of the greatest records ever by the Ohio Players, and a perfect summation of all things great in their groove! The album's a landmark effort – even for the heady days of the early 70s – as the Players manage to bring together a fair bit of jazz with their famous guitar-driven funk – all in a blend that's a lot more sophisticated than most other funk combos of the time, from the rhythms at the bottom to the instrumentation on the top! There's a darkness here that's undeniable – but the album's also not just a head trip into the fuzziest reaches of the studio – as the jazzier inflections help illuminate the farthest corners, and really bring the whole album back to focus with a wonderfully redemptive groove! Psychedelic elements are still all over the place, but also used sparingly enough to be most effective – a brilliant balance that few groups of this type were ever able to muster. Titles include the classic "Funky Worm", with the wild moogy bit that's been sampled loads of times over the years by a gazillion hip hoppers – plus loads of other nice ones, like the slow bonking funker "Pride & Vanity", the wild "Walt's First Trip", and the groovy "Laid It" – as well as "Pleasure", "Paint Me", "Our Love Has Died", and "Walked Away From You". CD features amazing sound and a whopping 7 bonus tracks – including "Ruffell Foot", "What It Is", "Rooster Poot", "Gone Forever", "Dimensions In Time", and "Introducing The Players".

These guys were so great vocally that they could always shine – even without the perfect studio placement that they and their contemporaries received from Motown, as you'll hear in this live setting. Like other live soul sets of the time, this one shows the group working through a wider range of material than you might hear on their studio sets – singing before a crowd at the Roostertail Lounge in Detroit, on tracks that include hits like "It's The Same Old Song", "Reach Out I'll Be There", and "Baby I Need Your Loving" – as well as covers like "The Girl From Ipanema" and "It's Not Unusual".

A famous date that showcases the Chess Records influence on the sound of the Brit rock scene – one that has a number of key players "giving back" to the label, and working on a special date with Howlin Wolf! Wolf's rough vocals are in the lead on all tracks, and he also plays a bit of harmonica and guitar as well – and other artists include Steve Winwood on piano and organ, Eric Clapton on guitar, Bill Wyman on bass, and Charlie Watts on drums – all players who are respectful of the original bluesy sound of Chess, and who clearly dig the opportunity to show off their chops in the setting. Titles include "I Ain't Superstitious", "Poor Boy", "Do The Do", "Red Rooster", "Built For Comfort", "What A Woman", "Highway 49", "Who's Been Talking", and "Rocking Daddy".

One of the most roosty albums on Blue Note – and a fairly straight session of African percussion tracks by Solomon Ilori and his Afro Drum Ensemble! Unlike similar albums by Art Blakey, this one lacks any strong sort of jazz component – and really just features fairly straight African tracks, with heavy percussion, and touches of highlife grooves. The record features guitar by Jay Berliner, bass by Ahmed Abdul-Malik, and flute by Hosea Taylor – plus work by Montego Joe, Garvin Masseux, Chief Bey, and Robert Crowder, who often show up on other 60s sessions of this nature. Titles include "Follow Me To Africa", "Tolani", and "Ise Oluwa". Plus, the CD also features 3 very long bonus tracks – much more stretched out and open-ended, but also with more of a jazz component as well – thanks to trumpet from Donald Byrd, tenor and flute from Hubert Laws, and piano from Coleridge Perkinson – who was the musical director of both sessions! These tracks are all previously unreleased – and all are numbers that run on for more than 11 minutes, with titles that include "Gbogbo Omo Ibile", "Agbamurrero", and "Igbsei Aiye".

A great little early album from Miriam Makeba – featuring trumpet and arrangements by Hugh Masekela, with backings by a small combo that give her a nice South African groove. Most of the tracks retain Miriam's early folksy style – with roosty vocals grooving around some nice jaunty rhythms. Titles include "Nomthini", "Langa More", "Tuson", "Qhude", "Mayibuye", and "Le Fleuve".

Rough and raw grooves – way more than you might guess from the "twist" reference in the title! The sound here is more R&B than anything else – lots of heavy drums, honking sax, burning organ, and riffing guitar – but there's also some echoes of Latin rhythms, rockabilly raunch, and some 60s soul elements too – all percolating together wonderfully in a way that sounds like somebody blew the dust off a gritty pile of 45s, then filled them up to blast away in a decades-old jukebox in a tavern on the other side of the tracks! The CD version of Twistin Rumble Vol 1 collects many of the tracks from Twistin Rumble Volumes 1 & 2 vinyl – with plenty of rare gems – including "The Bonecracker" by Johnny & The Debonairs, "Sweet Bacon" by Julian Covey, "Swingin Drums" by Ronnie Kae, "King Cobra" by The Wildtones, "Driving Wheel" by Mac Sims, "Funky Onions" by Matthew Childs, "Where's My Pussycat" by Terry & The Topics, "A Little Bit Of Everything" by Jocko, "Classie's Whip" by Classie Ballou, "Do The Robot" by Marvulus Mickey, "Oh Yeah" by The El Cobras, "I Want To Know" by Merle Spears, "Carl's Dance Party" by Carl Lattimore, "Cruise" by The Ambertones, "Big Bo's Iron Horse" by Big Bo & The Arrows, "Sha Ba Dah" by Higgs & Wilson, "Rooster Knees & Rice" by Clarence & Calvin, and "Hornet's Nest" by Curtis Knight. 29 tracks in all.

A landmark of Chicago soul! "Turn Back The Hands Of Time" was a huuuuuuge crossover track for Tyrone – and it mixed his roosty vocal style with the soaring Chisoul arrangements of Tom Tom in a very groovy way!

A famous date that showcases the Chess Records influence on the sound of the Brit rock scene – one that has a number of key players "giving back" to the label, and working on a special date with Howlin Wolf! Wolf's rough vocals are in the lead on all tracks, and he also plays a bit of harmonica and guitar as well – and other artists include Steve Winwood on piano and organ, Eric Clapton on guitar, Bill Wyman on bass, and Charlie Watts on drums – all players who are respectful of the original bluesy sound of Chess, and who clearly dig the opportunity to show off their chops in the setting. Titles include "I Ain't Superstitious", "Poor Boy", "Do The Do", "Little Red Rooster", "Built For Comfort", "What A Woman", "Highway", "Who's Been Talking", and "Rocking Daddy".

A great step forward for trumpeter Christian Scott – a set that really delivers all the promise we've always seen in his music – and really pushes things into rich new territory too! The title and cover look rootsy, but the rhythms are really futuristic – soaring, spiraling bass, drums, and piano – plus Fender Rhodes too – used in these unbridled ways that are almost to Scott's career what Bitches Brew was to Miles Davis! Yet that's also not to say that this double-length set is any sort of Bitches copycat either – as Scott's inspirations are a lot different, and the tunes are sometimes nicely compact – able to deliver a lot with just a little, all while still setting his horn free much more than before. Titles include "New New Orleans", "Who They Wish I Was", "Spy Boy/Flag Boy", "Dred Scott", "Danzinger", "Jihad Joe", "Cara", "Red Rooster", "Liar Liar", and "I Do".

A mighty take on the music of Isaac Hayes – put together by the El Michels Affair! The album's every bit as funky as the combo's own work – and it's an amazing rework of familiar funk favorites from the 70s – redone here with a slightly leaner feel by the group, and without any vocals at all! There's still a relatively full approach to the tunes – given that the group has a great horn section at its heart – but the keyboards, guitar, and bass are much more up in the mix than on the originals – which makes these cuts burn like funky 45s! Drums are great too – completely rock-solid, and essential to the grooves – and the whole thing's produced with the right raw funky edge to make this one come across as way more than just a simple cover of Ike's original greatness. Titles include "Walk On By", "Run Fay Run", "Hung Up On My Baby", "Red Rooster", "Bumpy's Lament", "Shaft", and a shorter edit of "Walk On By". Note that this is apparently the same material as on the Memphis Sounds album Ike's Moods – except that this album features 7 tracks.

A cornucopia of wigged out grooves from the Pye & Dawn vaults – late 60s & early 70s psych, panoramic pop, and trippy prog from Donovan, The Bystanders, Blonde On Blonde, Status Quo, Atomic Rooster, Jonesy and many more on 3CDs! All of the tunes were released from 1967 to 1975, so you get a pretty heady mix of prime psychedelic pop era and later numbers that took that sense of adventure to harder grooving, or more complicated realms. Comes with a cool little booklet of notes, too. Nearly 50 tracks on 4CDs: "Season Of The Witch" and more by Donovan, "Paradise Flat" and "Someone's Learning" by Status Quo, "Ride With Captain Max" by Blonde On Blonde, "It Is As It Must Be" by Man, "I Put A Spell On You" by Demon Fuzz, "Decision" by Fruup, "No Alternative" by Jonesy, "Hard Labour" by Noir and many more.