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Titles include "Quarter To Three", "Dear Lady Twist", "School Is Out", and "New Orleans" by Gary US Bonds, "If You Wanna Be Happy" and "Twisting Matilda" by Jimmy Soul, "High School USA" by Tommy Facenda, "Working For My Baby" by Lenis Guess, and "Nite With Daddy G" by Church Street Five.

Well, we should hate this one as another "cash in on the late Hendrix" kind of album – but it's a pretty nice bunch of funk tracks with (supposedly) Jimi's guitar chopping away in heavy hard lines, and Lonnie Youngblood blowing away on hard heavy tenor. A number of tracks have vocals – we're not sure who by, although the record wants you to think that it's Hendrix. Good funky soul cuts include "Wipe The Sweat" – in three parts – and "All I Want". Other tracks include "Psycho", "Under The Table", and "Two In One Goes". Wild production values, too!

The first new music in years from Nigerian singer Bongos Ikwue – backed by musicians from Nigeria, the UK and US working together as Double X – and the record has the diverse and accessible vibe to show for it! Highlife, American soul, reggae and global folk inform the material – with warm vocals by Bongos and guests. He sings in English and Idoma from track-to-track and it's the kind of record that blends a lot of different styles into a wonderfully cohesive whole! Includes "Kongo Soldier", "Agbambo", "Wulu Wulu", "Obide", "How Long", "City Woman", "Tell My Girl", "Ouno", "Inale", "Igbankpa", "Cock Crow At Dawn (Sax Version)" and more.

Classic mid 70s dub – purportedly with King Tubby handling the controls on one side, and Lee Perry on the other – and Winston Edwards and the Natty Locks laying down the unstoppable backing tracks! The King Tubby side is particularly heavy – with the bass and percussion rumbling so strong underneath some sweetly soulful bits of horn and guitar – straight-up excellent mid 70s dubs! The purported Upsetter side isn't as heavy in mood or tricked out – but it's still pretty great – and in a way that really allows the Natty Dread backdrops to stand up strongly in their own light. With "Blood Of Africa", "Wood Roots", "Luke Lane Rock", "People From The Grass Roots", "Crime Wave" and "No Justice For The Poor".

Sweet jazz funk from 70s Finland! "Boots & Roots" is a wonderful groover from the group of saxophonist Eero Koivistoinen – a snapping groover with guitar on the rhythms, and freewheeling solos on soprano sax from Eero, plus some great solo work on piano! "Roots & Boots" features spare electric piano – and the cut "Five Blue Tones" gets a bit more out, choppily grooving in a hard jamming way, but still quite nicely! All cuts lifted from the For Children LP – originally issued in 1970!

A really wonderful record from Yusef Lateef – one that almost sounds like a lost indie spiritual jazz set from the 70s – of the sort that Lateef hardly would have cut at the time! The session is solo, with some overdubs – a really beautiful mix of Lateef's work on tenor, piano, and flute with some spoken/sung passages based around stories he wrote back in the 70s – delivered with a really warm, intimate sort of style – one that reminds that, after all these years, Lateef is still one of the most righteous cats in jazz music! The whole thing's a real revelation – of the sort that's got us going back to track down other indie sides by Lateef in recent years – although we'll bet that none are as great as this one. Title sinclude "Roots Run Deep", "Cream Puff", "Where Is Lester", "Goodbye", "Motherless Child", and "Interior Monologue".

That's London, Ontario – not London, England – which means that the group have an even more far-flung sound than you might expect! The album's a brilliant and overlooked gem from the Canadian scene of the 70s – really mindblowing music by a group who are equally great at grooving, and at taking things very far outside – mixing together modes that are sometimes highly rhythmic, other times very loose and freewheeling! We're really not familiar with any of the players from later projects at all – but they're clearly a very hip batch of younger musicians who come together and sparkle brilliantly for this rare set – with a mix of soprano and alto sax, wood flute, cello, piano, bass, funky drums, vibes, and even some other cool effects that really make the record a treat throughout! Titles include the funky gem "Destroy The Nihilist Picnic", plus much more outside material that includes "Time Is Of The Essence", "Edible Wallpaper", "Ron Martin Special With Mustard", "Spain Is For Old Ladies", and "Jazz Widow Waltz". CD also features the bonus track "The Potential Of Something Exquisite".

A well-titled album – given that Taj Mahal's music is always pretty darn rootsy – and this time around, he's also adding in a bit of Jamaican roots too, thanks to production help from Bob Marley and Aston Barrett of The Wailers! The pair help Taj out on a few numbers, mixing in some reggae rhythms with his bluesy lead – another compelling combination of modes that marks the creative apex of Taj Mahal's years on Columbia. Titles include "Johnny Too Bad", "Big Mama", "Cajun Waltz", "Slave Driver", "Blackjack Davey", and "Desperate Lover".

Seminal solo sounds from the great Curtis Mayfield – a perfect package that sums of everything that's great about his early years at Curtom Records! The music here is as revolutionary today as it was back in the early 70s – proud, righteous songs that are filled with power and politics, yet also have a deeply personal feel too – that unique Mayfield way of mixing social change with individual expressions – never summed up more beautifully than on the work in this set! The package features the classic solo debut Curtis, the legendary Superfly soundtrack, the completely great Roots album, the razor-sharp Back To The World, and the double-length gem Curtis/Live, filled with long tracks and unique acoustic instrumentation!

The first, independent, Roots LP with so many classics that never made it to their later import and major label releases. What more can we say... Tracks include "The Roots Is Comin", "Pass The Popcorn", "The Anti-Circle", "Writers Block", "Good Music", "Grits", "Leonard I-V", "I'm Out Deah", "Essawhamah? (Live At The Soulshack)", "Popcorn Revisited", "Common Dust", "The Session (Longest Posse Cut In History)", "Carryin' On", "Peace", and more.

The first, independent, Roots LP with so many classics that never made it to their later import and major label releases. What more can we say... Tracks include "The Roots Is Comin", "Pass The Popcorn", "The Anti-Circle", "Writers Block", "Good Music", "Grits", "Leonard I-V", "I'm Out Deah", "Essawhamah? (Live At The Soulshack)", "Popcorn Revisited", "Common Dust", "The Session (Longest Posse Cut In History)", "Carryin' On", "Peace", and more.

What can we say? Another nice one from Philly's finest, including guest appearances from Mos Def, Common, Erykah Badu and JazzyFatNastees. Includes "The Next Movement", "Step Into The Realm", "The Spark", "Dynamite", "Without A Doubt" "Ain't Sayin' Nothin' New", "Double Trouble", "Adrenaline!" and "Don't See Us".

Solid work from Roots Manuva – a diverse range of styles, most of it fairly immediately engaging and not as all out experimental as some of the past couple records – with some moody, string-backed atmosphere and more straight forward thumpers. Roots Manuva's been one great, most diverse UK hip hop figures since the late 90s and continues to impress! Includes "First Growth", "Here We Go Again", "Skid Valley", "Who Goes There", "Revelation", "Wha Mek", "Takes Time To", "Beyond This World", "In The Throes Of It", "Much Too Plush", "Banana Skank" and more.

DJ Wrongtom takes on the canon of Roots Manuva – giving some dubby Caribbean flavor to Roots Manuva's modern UK hip hop classics! There's not much in the way of consessions to trendy dubstep here, and that approach works very well! Includes the new track "Jah Warriors" feat Ricky Ranking, plus Roots revisits with fresh riddims, including "Butterfly Crab Walk", "Chin Up", "Worl' A Mine", "Son Of Bodda", "Motion 82", "Rebuff", "Lick Up Ya Foot" and more.

Rarities from the mighty Yabby You – with some remarkably strong, though little heard rootsy dub from Yabby and his extended brethren – including some recently discovered bits! The title Deeper Roots works on dual fronts. It's got pretty rare material, discovered by the always deep diggers at Pressure Sounds – but the material has deeper spiritual resonance, too – with a nice Rasta vibe running throughout! Yabby is joined by King Tubby, Barrington Spence, the rarely recorded Prince Pampidoo, King Manuel, The Prophets and others. Includes "Valley Of Joeasaphat" and "Joeasaphat Rock" with Smith & The Prophets, "Don't Touch I Dread" with Barington Spence", "Tutch Dub" with Prophet All Stars, "Dip Them Bedward" with Prince Pampidoo, "Dub Them Bedward" with Prophet All Stars, "Forward On The Track" with King Miguel, "Caymamas Rock" with King Miguel & The Prophets, "Cleo's Dub" with Hot City Allstars and more. Also includes some exclusive dub plate mixes with King Tubby – featuring Tommy McCook, The Prophets and others! 19 tracks in all!

Despite the "primitivist" sort of leanings you might expect from the "roots" in the title, this is actually a nice batch of tracks from the catalogs of Blue Note and World Pacific during the 60's – and they're all jazz tracks that have a slight Africanist influence, but which are certainly not African tracks themselves. The 13 tracks include loads of nice hard to find ones, including "Blue Dashiki" by Blue Mitchell, "Appointment in Ghana" by the Jazz Crusaders, "Marabi" by Cannonball Adderley, "Ghana Spice" Candido, "Zulu" by Randy Weston, "Zambia" by Lee Morgan, and "Follow Me To Africa" by Solomon Ilori & His Afro Drum Ensemble.

A set of roots reggae from the immediate post rocksteady years – great late 60s and early 70s reggae with more earnestly soulful vocals and sweet Caribbean rhythm! Includes numbers by Johnny Clarke, Cornell Campbell, Linval Thompson, Horace Andy, Barry Brown, Leroy Smart and more. 16 tracks on the CD: "Roots Natty Congo" by Johnny Clarke, "Bad Minded People" by Leroy Smart, "Skylarking" by Horace Andy, "Declaration Of Rights" by Johnny Clarke, "Trying Youthman" by Barry Brown, "Politricks" by Cornell Campbell and more.

A set of roots reggae from the immediate post rocksteady years – great late 60s and early 70s reggae with more earnestly soulful vocals and sweet Caribbean rhythm! Includes numbers by Johnny Clarke, Cornell Campbell, Linval Thompson, Horace Andy, Barry Brown, Leroy Smart and more. 14 tracks on the LP: "Roots Natty Congo" by Johnny Clarke, "Bad Minded People" by Leroy Smart, "Skylarking" by Horace Andy, "Declaration Of Rights" by Johnny Clarke, "Trying Youthman" by Barry Brown, "Politricks" by Cornell Campbell and more.

A cool little compilation that's as groovy as you might guess from the title – and one that finally brings to light the lesser-known genre of chica – an odd fusion of cumbia rhythms with more psychedelic-styled instrumentation on farfisa, organ, and guitar! The core grooves remind us a bit of familiar cumbia, but the overall presentation is often a bit more rough-edged and almost garagey at times – a youthful interpretation of the genre that's pretty free with its approach to the music – and which often uses cool electronic touches and weird production techniques to create some really great sounds! Many tracks feature vocals, but the emphasis here seems mostly on the instrumentation – and titles include "Sonido Amazonico" by Los Mirlos, "Carinito" by Los Hijos Del Sol, "A Patricia" by Los Destellos, "Ya Se Ha Muerto Mi Abuelo" by Juaneco Y Su Combo, "La Danza De Los Mirlos" by Los Mirlos, ", "Linda Munequita" by Los Hijos Del Sol, and "Linda Nena" by Juaneco Y Su Combo.

A beautiful box set of vintage roots 7-inch singles from Randy's – Clive Chin productions cut at the fabled Kingston studios from 1971-1975 – all killer 45s repressed and reproduced with the benchmark originals and flipside dubs! It's a beautiful format – with respect for the original singles. Includes classic and rare cuts by Augustus Pablo & Bongo Herman, Hortense Ellis, Black Uhuru, African Brothers, Roots & Wailers Band, Ansel Collins with Skin, Flesh & Bones and more. Each single comes in the Randy's sleeve with the original inner labels. Beautifully done! Includes "Java Passion" by Augustus Pablo & Bongo Herman, "Woodpecker' by Winston Wright & Impact All Stars, "Woman Of The Ghetto" by Hortense Ellis, "Guns In The Ghetto" by Broadway, "Evil That You Do" by Roots & Wailers Band, "Don Won Dub' by Wailers Band, "Spanish Town Road" by Ansel Collins/Skin, Flesh & Bones, "S-Corner Dub" by Impact All Stars, "The Race" by Gladiators, "Race Version" by Impact All-Stars, "Hod Tight" by African Brothers and more,

A very different record than Oliphant's other one for Atlantic, which was a funky organ/guitar album with a famous breakbeat – but equally fantastic! This one (which we actually like a lot more) is a moody set of tracks played by a small group that includes Harold Ousley on tenor and Bobby Hutcherson on vibes. Ousley's sound is amazing, and he hits these wonderful moments on some of the solos that will just blow you away. He almost never gets his due on wax, and this record is certainly one of his finest moments. Hutcherson's pretty darn great, too, and lays out some haunting lines on the vibes that match his best Blue Note playing. Titles include lots of originals by Ousley, including "Haitian Lady", "Mrs. O", "The Descendant", and "One For The Masses". Nice stuff, and one that hardly ever turns up!

A wonderful bit of spiritual jazz from this richly collective ensemble! The album's got a groove that's as promising as its title – and features a large assemblage of percussionists, singers, and instrumentalists – all coming together in longer tracks penned by Wainwright, with a feel that's like the best Strata East sides from the mid 70s! Wainwright himself plays percussion on the session, and the tunes shift mood from number to number – sometimes coming on full on and soaring with a full vocal chorus – other times stepping out with a mostly-instrumental array of sounds that includes some nice work on vibes by Ricky Kelly! The whole thing's great, and extremely solid and visionary all the way through – with tracks that include "The Healer/Don't Break", "Imani", "Ayoka", "Our Song", and "The Mfecane".

One of the greatest records ever recorded by vocalist Lorez Alexandria – and a perfect summation of her rich talents as a singer! Backing is by a small Chicago trio that includes John Young on piano, Vernel Fournier on drums, and George Eskridge on bass – but the arrangements of the tracks, and Lorez's unique interpretations drive the tunes into territory that's surprisingly advanced for the 1962 date of the session. You'll recognize most of the tunes – but as the old adage goes, it's not the song, but the singer – and you'll hear Lorez crafting a rich tapestry of sound and emotion from titles like "No Moon At All", "I Was A Fool", "Detour Ahead", "Travlin Light", and "I Want To Talk About You". The album's a gem – right up there with her best work ever!

A real stroke of genius from pianist Andrew Hill – and a surprising one too! After an initial legacy of groundbreaking experimental sides for Blue Note, Hill returns to his "grass roots" on this excellent session of straight ahead, fairly funky, soul jazz piano tunes! In the notes, Hill claims a desire to get back to the people – and in a really unusual turn, he shakes off his previous modernist trappings and goes for territory that's much more in the mode of Lee Morgan, Horace Silver, or Hank Mobley on Blue Note! Yet despite this turn, and amidst some more conventional arrangements, Andrew's work on piano is still quite dark and moody – filled with beautiful clashing lines and haunting off-beat changes that open up the session way more than you'd expect! Booker Ervin joins in on tenor – on what would become one of his last recordings – and the rest of the group includes Lee Morgan, Ron Carter, and Freddie Waits – all plenty darn hip players who really get the unusual balance of soul jazz and modernism that Hill's going for here! Tracks include "Mira", "Bayou Red", "Venture Inward", "Grass Roots", and "Soul Special".

One of Ramsey's excellent late 60s funky piano records for Cadet – featuring his second trio with Cleveland Eaton on bass and Morris Jennings on drums, and a sound that's nicely expanded from the mid 60s hit years. Charles Stepney plays a bit of organ on the album, and Henry Gibson gives the group a nice kick on on congas and percussion – and there's a couple of excellent cuts with a good hard funk sound. Titles include "Back To The Roots", "Crescent Noon", "Up In Yonder", and "Love Now On".

One of Mingus' classic sessions from the middle period – a legendary blending of jazz with bluesy gospel touches, in a mode that seemed to move away from the politics of some of the late 50s years, and open up his work to a whole new audience! The band is an all-star ensemble all the way through – tentet that features Jackie McLean, Booker Ervin, John Handy, Pepper Adams, Jimmy Knepper, Willie Dennis, and Horace Parlan – cutting a line perfectly with Mingus on the album's 6 original tunes. Includes the oft-copied "Wednesday Night Prayer Meeting", plus "My Jelly Roll Soul", "E's Flat Ah's Flat Too", "Moanin", and "Tensions".

We never know whether we should call this their second album or not. We know it's their second, but their first was so poorly distributed for years, and besides, this one's light years ahead of that in both the approach to production and rhyme style. A modern hip hop essential, that blew our minds and changed the way we looked at hip hop, and certainly the first fully successful attempt at bridging live playing and sample based beats. 12 tracks in all: "Proceed", "Distortion To Static", "Lazy Afternoon", "Mellow My Man", "I Remain Calm", "Datskat", "What Goes On Pt. 7", "Silent treatment", "You Ain't Fly", "Do You Want More?!!!??!", "The Lesson Part 2" and "Silent Treatment".

The rawest of the raw, island style boom bap! Early Bullwackie Barnes tracks, many of them recorded in Jamaica before he, his studio and label relocated to New York, stripped to their bare essentials, pretty much just bass, drums and guitar, with a little spicy sauce added here and there. Nice raw dubs and rhythms with the trademark spacious Wackie's tone science, 10 of them in all, including "High Times", "Dread Feeling", "Shotgun Skank", "Disco Reggae Rocker", "Black Brigade" and "Open The Gates".

One of Bunny Wailer's last totally roots oriented sets, before he began dabbling a bit in dancehall, and a mighty one at that. Livingston gets help from a cast of heavyweights, like Horsemouth Wallace, Robbie Shakespeare, Chinna Smith, Erest Ranglin, Tommy McCook, Bobby Ellis, Deadly Headly Bennet and Sticky Thompson. This US pressing, issued 3 years after the original Jamaican release, features all 6 cuts from the original LP: "Let Him Go", "Love Fire", "Roots Radics Rockers Reggae", "Rockin Time", "Rockers" and "Wirly Girly", plus an additional track, "Cease Fire".

A wonderful bit of spiritual soul jazz! This sweet little record was recorded out of the same energy that produced Larry Young's Lawrence of Newark LP for Perception Records, and it's a strange session by Tyrone Washington – a young player from the Newark scene who'd previously cut a straighter album for Blue Note, but who was working here in kind of a messed-up grab bag of styles that fit well with the stoned-out approach of the Perception label. Hubert Eaves plays piano, Stafford James plays bass, Clifford Barconadhi is on drums, and the album's a mix of funk, modal jazz grooving, and a bit of outside activity. In a way, the album's earnestness reminds us of some of Roland Kirk's work from the same time – except that Tyrone's backing group is incredible, with a tight rhythmic sound that gets funky at just the right moments. Titles include "War Is Not For Men", "1980", "Submission", and "Spiritual Light Of The Universe".

A blinding session by Blakey! Truly one of his all-time great ones, and a record we've been putting on the turntable for 20 years, still always with new delight! The session was recorded in 1961 – when Blakey was working with Bobby Timmons, Lee Morgan, and Wayne Shorter (who's especially fantastic here!) For some incredibly odd reason, the session was not issued at the time – and only came out briefly at the end of the 60s. It's amazing, though – and features a set of stunning tracks that will forever restore your faith in jazz, even at your darkest moments. Includes "Ping Pong", "Roots & Herbs", "Master Mind", "Look At the Birdie", and "United". Plus, this CD reissue features 3 bonus cuts – all alternate takes of titles on the album!

A sweet pairing of Brubeck and Mulligan – on titles that include "Broke Blues", "Journey", "Cross Ties", "Blues Roots", and "Moving Out".

An odd little album from tenorist Clifford Jordan – but a great one too, given the unique format! As the title implies, Cliff pays tribute to Leadbelly – handling a host of Huddie Ledbetter originals, but in a style that's kind of 60s soul jazz, with a bit of blues as well – one of those unusual criss-crossings of styles that you'd get on some of the Atlantic jazz sessions of the 60s. Jordan's tenor is firmly in the lead on all numbers – and other players include Roy Burrowes on trumpet, Cedar Walton on piano, Julian Priester on trombone, and Chuck Wayne on banjo instead of his usual guitar! Two tracks feature vocals by Sandra Douglass – and titles include "Dick's Holler", "Silver City Bound", "Black Girl", "De Gray Goose", "Yellow Gal", and "Black Betty".

Classic mid 70s dub – purportedly with King Tubby handling the controls on one side, and Lee Perry on the other – and Winston Edwards and the Natty Locks laying down the unstoppable backing tracks! The King Tubby side is particularly heavy – with the bass and percussion rumbling so strong underneath some sweetly soulful bits of horn and guitar – straight-up excellent mid 70s dubs! The purported Upsetter side isn't as heavy in mood or tricked out – but it's still pretty great – and in a way that really allows the Natty Dread backdrops to stand up strongly in their own light. With "Blood Of Africa", "Wood Roots", "Luke Lane Rock", "People From The Grass Roots", "Crime Wave" and "No Justice For The Poor".

The Roots Of Dub from The Dub Master – the one-and-only King Tubby. That's pretty much all you need to hear to know that this album rumbles with floor shaking bass, thunderous reverb drops and chattering echo, nicing up the heavy duty rhythms laid down by the Aggrovators. Hail to the King! Includes "Natty Dub", "Dub Magnificent", "A First Class Dub", "the Stepping Dub", "Rude Boy Dub", "Dub You Can Feel" and "Dread Locks Dub".

John Mayall's definitely getting back to his roots here – and he's also getting help from an all-star cast as well! Mayall's vocals and piano are in fine form – almost with a rough-edged Blues Breakers sort of vibe, but sometimes a bit funkier too – in ways that strongly show the evolution of the older Brit blues groove into some hipper, more soul-drenched territory. Players on the record are a range of familiar names – including Eric Clapton on guitar, Johnny Amond on sax and flute, Harvey Mandel on guitar, Sugarcane Harris on violin, and Keef Hartley on some especially nice drums. Titles include "Prisons On The Road", "Groupie Girl", "My Children", "Home Again", "Blue Fox", "Boogie Albert", "Unanswered Questions", "Goodbye December", "Force Of Nature", and "Dream With Me". CD also features bonus tracks too – including "Accidental Suicide (1988 rmx)", "Force Of Nature (1988 rmx)", "Boogie Albert (1988 rmx)", "Television Eye (1988 rmx)", "Looking At Tomorrow (1988 rmx)", "Mr Censor Man (1988 rmx)", and "Home Again (1988 rmx)".

One of Mingus' classic sessions from the middle period – a legendary blending of jazz with bluesy gospel touches, in a mode that seemed to move away from the politics of some of the late 50s years, and open up his work to a whole new audience! The band is an all-star ensemble all the way through – tentet that features Jackie McLean, Booker Ervin, John Handy, Pepper Adams, Jimmy Knepper, Willie Dennis, and Horace Parlan – cutting a line perfectly with Mingus on the album's 6 original tunes. Includes the oft-copied "Wednesday Night Prayer Meeting", plus "My Jelly Roll Soul", "E's Flat Ah's Flat Too", "Moanin", and "Tensions".

A less tense and caustic Roots than the crew that hit us on the majority of Rising Down a couple years earlier – and this one's as strong of an album as they've delivered since moving over to Def Jam. In truth, we were a little scared when we saw some of the guests credited – Monsters Of Folk, John Legend, Joanna Newsom and other headscratchers on top of more likely collaborators such as Phonte, Blu, Peedi Peedi and Dice Raw – it gets over very, very well here! How I Got Over is a Roots effort through and through, with contemplative and soulful tracks that simmer and stew in tried and true fashion. The tracks with those indie rock guests turn out to be among the Roots-iest tracks on the record. Believe that! So you can rest easy, the Roots are The Roots here, just what we wanted and just what we get! Includes "A Peace Of Light" feat Amber Coffman, Angel Deradoorian & Haley Dekle, "Walk Alone" feat Truck North, PORN & Dice Raw, "Now Or Never" with Phonte & Dice Raw, "Dear God 2.0" with Monsters Of Folk, "The Day" feat Blu, Phonte & Patty Crash, "Doin It Again", "Tunnel Vision" and more.

Two of the better cuts from Tipping Point.

What can we say? Another nice one from Philly's finest, including guest appearances from Mos Def, Common, Erykah Badu and JazzyFatNastees.

Rarities from the mighty Yabby You – with some remarkably strong, though little heard rootsy dub from Yabby and his extended brethren – including some recently discovered bits! The title Deeper Roots works on dual fronts. It's got pretty rare material, discovered by the always deep diggers at Pressure Sounds – but the material has deeper spiritual resonance, too – with a nice Rasta vibe running throughout! Yabby is joined by King Tubby, Barrington Spence, the rarely recorded Prince Pampidoo, King Manuel, The Prophets and others. Includes "Valley Of Joeasaphat" and "Joeasaphat Rock" with Smith & The Prophets, "Don't Touch I Dread" with Barington Spence", "Tutch Dub" with Prophet All Stars, "Dip Them Bedward" with Prince Pampidoo, "Dub Them Bedward" with Prophet All Stars, "Forward On The Track" with King Miguel, "Caymamas Rock" with King Miguel & The Prophets, "Cleo's Dub" with Hot City Allstars and more. Also includes some exclusive dub plate mixes with King Tubby – featuring Tommy McCook, The Prophets and others! 19 tracks in all!

A killer collection of champeta work from the Caribbean coast of Colombia – music that still has plenty of local touches, but also shares a lot with African imports of the time – a really unique little hybrid that makes for plenty of heavy rhythms! The sound is quite unique – a slight echo of more familiar Colombian music at points, but often a more full-on approach to rhythm – with plenty of heavy percussion at the bottom, driving Afro rhythms, and some occasional Caribbean touches in terms of the production – which can make things nicely trippy at just the right points! Soundway have done a great job of introducing us to this unique genre – thanks not only to a wicked selection of tunes, but also a full complement of notes and photos, which really open up our understanding of the music. Titles include "Yoro" by Wganda Kenya, "El Scususu" by La Nelda Pina, "Tetero" by Cumbia Moderna De Soledad, "Esclavo Moderno" by Manuel Alvarez Y Sus Sangers, "Bumburumbumbum" by Cassimbas Negras, "Naga Pedale" by Cumbia Siglo XX, "Pim Pom" by Wganda Kenya, "Tetero" by Cumbia Moderna De Soledad, "Palenque Palenque" by Son Palenque, and "Shacalao" by Lisandro Meza & Su Conjunto.

A pretty great session – if only for the work of the sax players! The "stablemates" on the session are a host of older spiritual and soul jazz players – including Nathan Davis, Sam Rivers, Chico Freeman, and Arthur Blythe – alternating solos and coming together in some angular ensemble parts that really sound wonderful. The "Stablemates" reference is well chosen, as there's a lot of Benny Golson influences on the album – especially in the rhythm section of Don Pullen, Santi Debriano, and Idris Muhammad, who groove together with the crackling tightness that Golson would have used on a classic early 60s album, keeping the pace with a soulful swing, so that the horn players can cut loose in some modernist inflections. Titles include "Walkin", "I Remember Eric Dolphy", "Stolen Moments", "Linden Boulevard", and "Stablemates".

9 tracks, including "Bust The Tech", "King A New York", "Duck Da Boyz" and "South Bronx (Uptown)".

Eight soulful brothers of the Luckett family – all coming together here in a wonderful gospel set from the 70s! The harmonies are tremendous, and often balanced with great leads from Rev LC Luckett – creating the kind of interplay you might get in the front of a church, yet given a lot more soulful focus for the album – often with a vibe that takes us back to soulful interplay from rootsier records of the 60s! The album's a tremendous one – the sort of obscure gospel set that definitely gets you digging for more spiritual sides – and a key illustration that many male groups of this nature were almost more soul than some of their secular contemporaries. Titles include "Just Moving On", "Around This Altar", "Joy When I Think About", "Help Me To Carry On", and "Where He Leads Me".

A bossa nova take on The Beatles – served up with plenty of great keyboard work from the legendary Manfredo Fest! Fest is well know to bossa fans for his killer combo sides of the 60s – and although this album's a much more obscure effort, it follows in a very similar vein – instrumental and strongly jazz-based, with piano or organ as the main solo instrument, soaring over the top of some tightly crackling rhythms! The tunes are all Lennon/McCartney compositions – played with lots of inventive touches that really take them from their roots, and open them up as new groovers filled with keyboard improvisation. Titles include "All My Loving", "Help", "Can't Buy Me Love", "Michelle", "Hard Day's Night", and "Ticket To Ride".

A massive blend of funk, soul, and gospel – from a small side label in the TK Records universe of the 70s! The sound is like some of the best soul LPs on TK from the time, and the arrangements have a nice warm feel – plenty of sweet Miami elements in the music, especially in the rhythms, which really know how to groove! The King James Version is comprised of five female singers, working with the warmth and depth you might get with Voices Of East Harlem – and they're arranged by keyboardist Gloster Williams, who also wrote some of the material, and delivers these solid lines that really hold the whole thing together. Most of the tracks have a distinct vocal lead, with harmony backing in the style of The Sweet Inspirations – and the album's honestly the sort of set you'd expect to hear on Atlantic Records in the early 70s – given the depth and feeling in the music. Titles include "What Good Is A Song", "There's Not A Friend", "Touch My Life", "No, Not One", and "Get Ready For This".

A stone classic from this famous Chicago spiritual leader of the 70s – and an album that's got a nice balance between intimate soul numbers and larger tracks that have the whole Mount Zion Baptist Church along for support! The set's definitely got the strongly soulful vibe of Barrett's Like A Ship album – a strong ear for the best secular elements of the time, which are used liberally in the instrumental backing – to really send home the message in the music! Most tunes really soft-pedal the religion, and instead go for an overall feel that really crosses over to regular soul music – a fact we can attest to, given how many times we turn this up in older collections of 70s soul records. Titles include "Do Not Pass Me By", "So Many Years", "Oh What A Day", "I Want To Be In Love With You", "These Are The Words", and "After The Rain".

Neither country, nor disco – despite what the cover might make you think – and instead a wonderful batch of southern soul that's even rootsier than most of the work from the 70s on the TK label! The album was actually recorded in Chicago with arrangements by Gene Barge – who used to do some pretty great work for Chess – and has a sound that's laidback and mellow, but often in ways that are very different than other Windy City soul of the 70s. In a way, the shift follows that great migratory pattern from the south up to Chi-town at the time – where Lee's groove was always popular in the clubs – and by that, we mean the smaller neighborhood joints, and hardly ever a disco at all! Titles include "We're Gonna Make It", "Me & My Woman", "I'm Willing", "The Love You Saved", and "I Think It's You".

One of the most beautiful albums ever recorded by this legendary AACM pianist! The album was a rare Japanese-only session from 1975, but recorded in Chicago – and it features Muhal playing solo – in beautifully warm spiritual tones that are very different from his playing on many other albums from the time. The work is wonderfully introspective, showing a whole new side to Abrams' genius – the sensitive, contemplative keyboardist who occasionally emerges during some of Abrams' larger group sessions, but who usually gets pushed back in the fray of larger instrumental interplay. The whole album's extremely beautiful, and it's darn near impossible to find in the original! Tracks include "Afrisong", "The Infinitive Flow", "Hymn To The East", "Roots", and "The New People".

A tremendous step forward for the young Muhal Richard Abrams – a set that still shows his early roots in the AACM, but which also blossoms with some of his more serious compositional efforts to come! There's a sensitivity here that really stands out – even among Abrams' contemporaries – a striving for a wider range of expression – some as bold as before, some much more deeply personal and intimate. The tracks feature a shifting array of players – working alongside Abrams piano, and building up the sound in a number of different ways. Players include Wallace McMillan on flute and sax, Edwin Daugherty on sax, Richard Brown on sax, Emanuel Cranshaw on vibes, Rufus Reid on bass, and Steve McCall and Wilbur Campbell on drums. Ella Jackson provides vocals on "How Are You?" – and other titles include "Ballad For New Souls", "Things To Come From Those Now Gone", "In Retrospect", "Ballad For Old Souls", "1 & 4 Plus 2 & 7", and "March Of The Transients".

Strong dancefloor funk from ADC Band – one of the tightest combos of their generation, and a group who manage to skirt the worlds between 80s club and more jamming funk. There's a much smoother sound here than the group had in their roots, and the focus here is on plenty of bass and keyboards, but a few tracks also feature a bit more guitar. Vocals are by the group in a shifting lineup – including leads from Kaiya Matthews and James Maddock, plus chorus vocals from all the rest. Titles include "Hot Box", "Nuclear Funk Out", "Our Thought", "Super Freak", "Brother Luck", "Celebrate", and "Nothing You Can Do".

One of their early classics, and still one of the greatest groups with roots in the Chicago AACM scene. Henry Threadgill, Fred Hopkins, and Steve McCall play modern experimental versions of compositions by Jelly Roll Morton and Scot Joplin – plus Threadgill's own "Paille Street".

A guide to essential Old School Rap & Hip Hop from team at the indespensible All Music Guide – featuring more than 500 music reviews of important records by Grandmaster Flash, Run-DMC, NWA, Beastie Boys, LL Cool J, Public Enemy and so much more – plus reviews on soul and funk LPs that were instrumental in the creation of hip hop, from ESG, The Emotions, Gil Scott-Heron, Marva Whitney and many more! The book is divided into 2 parts, The Roots Of Rap and Digging In The Crates, and organized alphabetically. Paperback, 166 pages, with several reviews per page.

A well-titled album, given that the overall feel here is maybe a bit more stripped-down and almost rootsy at times – even though the trio's still working with producer George Martin! The set was recorded in just a week at Caribou Ranch – and it's almost a return to the core harmonies and acoustic elements of the group's roots – cast out here with perfect compressed sound, yet also hitting harder with a few more punched-up moments at times too. There's a nice "past the hits" quality to the set – and titles include "She's A Liar", "Letter", "Watership Down", "Amber Cascades", "Lovely Night", and "Who Loves You" – plus "Hideaway (parts 1 & 2)", which has this great mellow groove and piano from Martin that could easily be a hip hop sample!

A real turning point in the career of Gene Ammons – a record that almost returns Ammons to his earthier roots, and in the process helps build up a whole new sound in soul jazz for the 60s! The "Jug" nickname in the title is kind of a joking way to help Ammons stand alongside "Miles", "Trane", "Diz", and other one-name monikered stars in jazz – but even without that gimmick (which somehow lasted for years), the album's got a depth that more than gets Gene back on top, thanks to a gritty soulfulness and good sense of feeling in the grooves! Players here include Richard Wyands on piano on most numbers – plus a rare appearance by Clarence "Sleepy" Anderson on 2 numbers – one on organ, one on piano. Rhythm is by Doug Watkins on bass and JC Heard on drums – and Ray Barretto makes one of his great soul jazz appearances on drums – rolling the groove along with a nice bit of bounce throughout! Titles include "Tangerine", "Ol Man River", "Easy To Love", "Seed Shack", "Miss Lucy", and "Namely You".

Some consider this the worst point in Louis' career – when he was singing odd pop material for Decca, and had really left his jazz roots behind. We don't think it's that bad, though – and the album's got a wonderfully playful style that shows what a great entertainer Louis could be when he was up for the challenge. Gordon Jenkins did the arrangements, and the record features Louis' version of "Blueberry Hill" – plus the tracks "Chlo-e", "Jeannine", "Spooks!", "Trees", and "It's All In The Game".

Talk about a meeting of the minds – a pair of ultra-amazing classics from the team of Roy Ayers & Wayne Henderson – back to back in a single set! At the time of Step Into Our Life, Henderson & Ayers were probably the biggest names in the jazz funk business – both with a smooth soulful style that was pushing the genre onto whole new levels, while still keeping firm roots in jazz – a rare blend that few other artists could handle this well! This initial debut from the pair seems to be much more dominated by the spirit of Roy Ayers' work at the time – particularly the mellow jazzed up work he was laying down on albums like Vibrations and You Send Me – a wicked sound that's rooted in modern soul modes, but filled with plenty of warm jazz elements too. The album's got wonderful vibes and electric piano from Roy – and tracks include "Step Into Our Life", "Lovers Should Always Be Together", "No Deposit No Return", "Ooh Baby", and "For Real". Prime Time is a funky classic from the team of Roy Ayers and Wayne Henderson – both at the top of their game here, and effortlessly mixing together jazz, funk, and soul! The record really seems to embrace the best of both artists' styles – some of the bassy groovers that Wayne did so well himself, and while producing for other artists – and those snakey, soulful numbers that we love so much in the late 70s work from Roy Ayers – ultra-sophisticated, but still plenty darn grooving – and some of the most sensual soul you'll ever hope to hear. The whole thing's great – and titles include "Weekend Lover", "Thank You Thank You", "Can You Dance", "It Ain't Your Sign It's Your Mind", "You Make Me Feel Like Rockin With Ya", "Have Your Way", and "Million Dollar Baby".

An Italian film set in the US – also released under the title Black Is Beautiful, with some sweet funky sounds to match! Half the record's got the usual bag from Luiz Bacalov – numbers that echo his Italian soundtrack roots, especially the comedic side – but these cuts are mixed with sharper, funkier numbers that clearly represent some of the American scenes of action – all scored nicely in a way that's not exactly blacksploitation funk, but which has some of the best Italian sound library grooves in place! The set features 24 tracks from the film – and also features some sweet harmonica lines from Franco De Gemini!

An obscure and wonderful chapter in the career of Burt Bacharach – material penned for a 1967 TV musical starring Rick Nelson and Joanie Sommers – all of it perfect 60s Bacharach pop all the way through! The plot of the musical is a bit silly, but the performance isn't – tightly-crafted vocal numbers that often mix Burt's older Brill Building style with a bit more of a Sunshine Pop kind of approach. Although penned by Bacharach, the music is actually conducted by Peter Matz – who does a great job of retaining the maestro's sense of space and timing, but also unlocks some bolder flourishes in the tunes, and manages to get some really amazing vocal performances out of both Sommers and Nelson! There's a sophistication here that goes beyond the roots of both singers – and the record's filld with lesser-known tracks that still sparkle with plenty of Bacharach brilliance – including "It Doesn't Matter Anymore", "They're Gonna Love It", "Juanita's Place Montage", "Try To See It My Way", "They Don't Give Medals", "Fender Mender", and "Juanita's Place".

Erykah and The Roots, what else do you need to know?

Very righteous work from Fontella Bass – an album done after her time at Chess Records, and after her work in Paris with the Art Ensemble Of Chicago – in a heartfelt, southern soul mode that's totally great! Fontella's back working with producer Oliver Sain, who first brought her fame back in the 60s – but the sound is a bit more sophisticated than before, drenched with roots from gospel and country soul, but also inflected with some of the more righteous modes of the early 70s, too. Fontella's vocals are incredible – with a range that should have made her one of the leading ladies of soul in the 70s – and titles include "To Be Free", "I Need Love", "Wiping Tears", "Hold On this Time", "Talking About Freedom", and "My God My Freedom My Home". 4 bonus tracks on this CD edition: "It Sure Is Good", "I'm Leaving The Choice To You", "Home Wrecker" and "It's Hard To Get Back In".

A really unique little record – and one with a trans-Atlantic heritage too! The sounds here are all from Martinique, but are heavy in African roots as well – and offer up a criss-crossing of rhythmic and tropical modes that's mighty unique! The grooves have some vocals, but are often mostly focused on the instrumental interplay – some great percussion that moves at a very skittish pace – topped with these guitar lines that are both light and jagged, and which have a pulsing rhythmic intensity that's pretty darn hypnotic! Horns are nice, and get some great solos too – and there's a quality the record that's both airy and deep at the same time. Titles include "Chimen Ta La", "Bochet", "Ansinel", "Flabo Pep La", "Omaj Pou Danyel", and "Endepandans".

Fantastic work from Archie Bell & The Drells – an important record that bridges their earlier and later sounds! It's a key transitional album for the crew – as most of the album's in the harder rawer Texas funk groove of earlier year, but some of it features newer production by Gamble & Huff, in that excellent smooth dancing style that took Archie light years from his roots. The Gamble & Huff tracks are the most obvious – the singles "I Can't Stop Dancing" and "Do The Choo Choo" – and the album's got other great cuts like the original tunes "Do You Feel It?", "You're Such A Beautiful Child", "Jammin In Houston", and "Love Will Rain On You", plus versions of Curtis Mayfield's "I've Been Trying" and "Sometimes I Wonder". CD also features three bonus tracks – "Low Down", "Going Out Of My Head (demo)", and "Who's Loving You (demo)".

Socking soul from the 60s – a record with American roots and a very groovy British sound! The set was the second full length album from Madeline Bell – an American singer transplanted to the mod UK scene of the 60s, where she really flourished in a rich career of hit singles, endless session work, and later fame with the group Blue Mink. The tunes on this set are a wonderful bridge between Madeline's two worlds – and have a sound that's a lot like the uptown soul coming out of the US at the time – sweet and smooth arrangements, topped by deeper soul vocals that make for a wonderful juxtaposition. Arrangements are by British talents Arthur Greenslade, Ian Green, and Keith Mansfield – and titles include "Step Inside Love", "Hold It", "Help Yourself", "After All Is Said & Done", "For Your Pleasure", and "It's Up To You". CD features bonus singles too – 6 more tracks that include "Thinkin", "Go Ahead On", "How Much I Do Love You", "What'm I Supposed To Do", and "We're So Much In Love".

Yipes! This one made everyone a bucket of money – especially Quincy Jones, whose new Qwest imprint the record was one of the first to grace. George has come a long way from his roots with Jack McDuff here – but in a way that kind of has us impressed, as he's grooving away slickly on guitar, laying down some smooth vocals that we never would have imagined from his mid 60s recordings. Includes the massive hit "Give Me The Night", a cover of "Moody's Mood", and the tracks "Star Of A Story (X)", "Midnight Love Affair", "What's On Your Mind", and "Dinorah, Dinorah". The sound of a million supermarkets and elevators during the 80s!

Maria Bethania's one of those artists who just seems to get better and better with time – already mature in her youth, and tremendously powerful in these later years – working with a depth of feeling that few of her contemporaries can match! And yet through it all, Bethania's also very subtle – more subtle than in her early days, when there was always a touch of drama in her music – working here in some gentle instrumental backdrops that almost take her back past her roots, into an imagined territory that really works wonderfully for her evocative vocals – a space that's all her own, as you might guess from the title! Tracks include "Salmo", "Fado", "Barulho", "Casablanca", "Vive", "Calmaria/Nao Sei Quantas Almas Tenho", and "Lagrima".

Compelling work by this Chicago combo – a really unique ensemble led by a trombonist with a wide range of skills! Big James claims James Brown as a big inspiration, but he also came of age in the Chicago blues scene – which is where his horn-heavy combo has mostly found a home, playing their own Windy City variant of rootsy funk! There's definitely a blues bent to the music, but the sound is quite different than most other contemporary groups on the scene, too – not just because James' trombone is firmly in the lead, but also because the group have a great ear for strong funk and deep soul roots too. Titles include a cover of the P-Funk gem "Qualified 2 Satisfy" – plus original tunes "Da Coldest Man I Ever Knew", "Low Down Dirty Blues", "Never Loved Any 1 Like U", "A Happy Fool", and "Da Best Love I Never Had".

The cream of the crop of early 80s reggae. Fusing militant, political lyrics with the excellent harmony vocal arrangements of Puma Jones, Duckie Simpson and Michael Rose and the unrelenting electrified rhythms of Sly & Robbie, Black Uhuru represented the zenith of the modern Roots era. This album is considered by many to be the group's last great one, in spite of a number of concessions that gave it further commercial appeal – and helped it win a grammy. Whatever your opinion, it's hard to argue with classic cuts like "What Is Life?", "Solidarity", "Party Next Door" and "Bull In The Pen", plus "Black Uhuru Anthem", "Try It", "Botanical Roots" and "Elements".

A lost treasure – never-issued material from the legendary Blue Notes combo – and a set that really helps fill some space in their all-too-small recorded catalog! The set captures the group at the end of the 70s, working in their most openly-creative mode – a style that partly shows their strong roots in the South African jazz scene of the 60s, but which also really opens up with some of the freer modes of the following decade – hitting a mix of modes that's not unlike some of the AACM at their best, although often with a lot more intensity, too! The group at this point is a quartet – with Chris McGregor on piano, Johnny Dyani on bass, Louis Moholo on drums, and Dudu Pukwana on some especially amazing alto sax – blown with such righteous force, we might well say that his instrument is center stage on the record – were it not for the wonderfully complex rhythms from the other three group members too! Tracks are long, and filled with righteous soul – and titles inlcude "Ithi Gui", "Mange", "Lonta Uyagula", "Lakutshonga Ilanga", "The Bride", and "Funk Dem Dudu".

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

A set that definitely lives up to its title – a stone stormer from Brainstorm – one of the tightest funky ensembles of their generation, and one of the few who could go deep while still laying down a groove! The set's got a perfect balance of modes – enough of the appeal of bigger mainstream funk acts of the time, but also some righteous undercurrents that really show the group's roots – both in the approach of the lyrics, and in the jazzy instrumentation of the backings – which often show a righteous side of the group that's mighty surprising! The record's one that just grows and grows with each new listening, and is put together with some great sharp-edged production by Jerry Peters – who has a way of showcasing all the most interesting elements, while still keeping things focused too. Titles include the classic "Wake Up & Be Somebody" and "Loving You Is Really My Game" – plus "Waiting For Someone", "We Know A Place", "Hangin' On", "Easy Thangs", and "This Must Be Heaven". Great expanded version – in a cool book-like cover, with new notes, and bonus tracks that include "Lovin Is Really My Game (parts 1 & 2)", "Lovin Is Really My Game (single mix)", "Wake Up & Be Somebody (long)", and "Wake Up & Be Somebody (short)".

One of Braxton's great records for BYG, and like the other one, a very cool session that has Braxton playing in a vibe that shows his AACM roots much more clearly than a lot of other sessions. He's playing here with a number of other Chicago expatriates, including Leroy Jenkins, Steve McCall, and Leo Smith – and between them, the four players handle a huge amount of string, reed, percussion, and keyboard instruments, switching off and on in a warmly experimental sound that characterizes the best work of the Chicago avant garde from the time. Tracks include "The Light On the Dalta", "Simple Like", and one of Braxton's weird symbol compositions. Ironically, this French session from the late 60's still stands as one of the best ways to witness the budding Chicago avant garde!

A great blend of Brazilian roots and piano jazz – played here by a trio that's all-solid, all the way through – serving up some really wonderful music that never relies on bossa cliches, or any sort of tricks and gimmicks! Instead, there's a really rich mixing of modes – one that's so deep down, it comes through with its own fresh flavor out on the top – thanks to magically fluid work from the trio of Helio Alves on piano, Nilson Matta on bass, and Duduka Da Fonseca on drums! There's plenty of sets out there that boast titles and concepts like this one – but trust us when we say that this trio's really head and shoulders above most of the rest. Titles include "Embalo", "O Cantador", "Cosntelacao", "O Boto", "Luiza", "Bolivia", "Isabella", and "Quebra Pedra".

Seminal work from The Brecker Brothers – 6 of the group's best albums, plus the two Blue Montreux live albums – packaged together in one very cool set, in tiny LP-like sleeves! The self-titled Brecker Brothers album is the first super effort from the team of Randy & Michael Brecker, whose twin-horn frontline forged a very popular sound in the mid 70s – some really well-crafted numbers, done with a strong smooth approach that still sits well after all these years! Back To Back features the twin horns of Randy & Michael Brecker, along with alto by David Sanborn, keyboards by Don Grolnick, and guitar by Steve Khan – but one of the things that really makes the album great is the vocal arrangements, which were handled by Luther Vandross, who also sung on the album along with Patti Austin. The set's got a great soulful feel – with some wonderful mellow groovers that have a sweet 70s sound! Don't Stop The Music is a stone classic from The Brecker Brothers – working with touches of club and disco grooves to give an even smoother edge to the jazz funk of the pair. And thanks to some solid soloing that's not afraid to go for the easy spots, the album's a lot more solid than an number of sound-a-like copycat LPs to come out at the time! Heavy Metal Be Bop is tight and funky jamming, with a bit more guitar here than on some of their other records – hence, possibly, the title! Keyboards and guitar jam strongly, but Randy and Michael still get in plenty of space for their solos – pushing their jazz licks with the jamming intensity that might normally be relegated to guitar heroes in the rock world. On Detente, the Brecker's are still rooted in jazz, but definitely step out with plenty of soul in the mix too – vocals from DJ Rogers, Carl Carlwell, Luther Vandross, and others – all of whom really add a lot to the set! On Straphangin, the BBs manage to groove with a sharpness and depth that most of their smoother fusion contemporaries just weren't hitting – an edge that reminds us of the deeper roots these guys had before they started hitting the mainstream! Last up are the live fusion classics Blue Montreux Vols 1 & 2 – both recorded as a unique live all-star outing by a group of Arista's best jazz players at the time! The group's an octet, but plays together in differing formations throughout the record – with Warren Bernhardt on keyboards, Michael Brecker on saxes, Randy Brecker on trumpet, Steve Jordan on drums, Steve Khan and Larry Coryell on guitars, Tony Levin on bass, and Mike Maineri on vibes – the last of which really make for some of the best numbers on the album!

Wonderful work from the little recorded Bronx Cheer – which combined uptempo acoustic jug band rock with an uncommonly catchy brand of unique tunefulness – tunes from their wonderful debut LP on Dawn Records, plus some very nice stuff from the unreleased second LP! Bronx Cheer has roots in the jug band groove, with chiming acoustic guitars, tight rhythm and vocals with a little bit of a good natured twang, but their recordings show a willingness to plug in and rock out once in a while. 19 tracks in all: "Barrelhouse Player", "Prison Wall Blues", "Adult Games", "Springdale Blues", "Round & Round", "Fourth Street Mess Around", "Back Door", "Won't Act Right", "Ballad Of Reg Purvis", "Same Again", "Wild Cat", "Long Lovin' Night", "Life Is An Empty Box", "Midnight Mover", "Tell Me" and more!

Very raw, very rootsy stuff from Big Bill Broonzy, issued by Columbia (strangely enough) as part of their Adventures In Sound series. The packaging and the notes have the usual smug Columbia "serving up the best in roots culture for white liberals" tone – but the set's actually a pretty decent batch of material that includes nice numbers like "Texas Tornado", "Key To The Highway", "When I've Been Drinkin", and "Goobye Baby Blues".

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"!

Easily one of our favorite albums by Tim Buckley – and a record that really opens up with some key jazzy touches! Buckley's still got his roots in folk here, and his vocals are yet to hit the extremes of Starsailor or Lorca – but there's also a new sense of inflection to the way he puts over the lyrics, shaded in by use of vibes, kalimba, harmonium, and harpsichord – the latter two of which are played on the session by Don Randi! Tracks are relatively short, but high in concept – and include the protest song "No Man Can Find The War", plus "Hallucinations", "Phantasmagoria In Two", "Carnival Song", "Pleasant Street", "Morning Glory", and "Goodbye & Hello".

The bass is right out front in the picture of the band on the cover – and it's also right out front in the sound of their music as well – helping to drive the rhythms of this Turkish combo with a rolling sound that's almost funky at times! Bunalim hail from the same Turkish scene as Erkin Koray – and the group's founding bassist also played on Koray's classic Elektronik Turkuler – a record that's quite similar to this one with its mix of Turkish roots, psychedelic roots, and trippy production! And although the group is represented here with material recorded over a 3 year period, with a shifting instrumental lineup – there's still a core sound that's really unified, with plenty of great Andalusian elements in the mix! Titles include "Basak Saclim", "Bunalim", "Tas Var Kopek Yok", "Yollar", "Yeter Artik Kadin", "Guzel", "Ayrilik Olmasaydi", and "Bir Dunya Da Bana Ver".

The genius of Leroy Burgess knows no bounds – as you'll hear on this fantastic set of rare club tracks! Leroy first got his start in the group Black Ivory, but by the end of the 70s he'd left the ensemble to become a producer – working on their own work, as well as records by a host of excellent underground club acts on the east coast. Burgess had a wonderful approach to the music – taking enough of a groove from disco to keep things moving, but using his roots in soul to keep things real. Warm and soulful groovers throughout – with titles that include "Let's Do It" and "Sweet Thing" by Convertion, "Over Like A Fat Rat" by Fonda Rae, "Mainline" and "Hustlin" by Black Ivory, "You Dazzle Me" by Dazzle, "Summertime" by High Frequency, "Fly Girl" by Intrique, "Weekend" by Class Action, "You Can Do It" by Dino Terrell, and "100%" by Caprice.