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One of the headiest books we've ever seen on The Walker Brothers – and certainly much deeper than any of the pop press that used to come out on the group! Author Anthony Reynolds relates a wealth of details here – the rise of The Walker Brothers, the dissolution of the group, the key solo years of Scott and John, and their revival in the 70s – plus information on later developments as well – all with a lot more text than fluffy photos. The book's really heavy on detail at some points – and as proof of that, not only includes an appendix with stage and TV appearances by the group, but also a discography, and a full listing of songs/dates for the Scott Walker TV Show! 352 pages, softcover.

Mindblowing music from the legendary Scott Walker – a set that's even darker and more powerful than Drift – but which also shows a new sort of sensitivity as well! Walker's musical journey has been amazing – from teen idol to crooning poet to country singer, new wave experimentalist, and the incredibly artistic and reclusive talent of recent decades. Yet Bish Bosch is something completely new entirely – a record that bursts out with noise one minute, then shifts to sparely expressive passages the next – all in ways that kind of recapture the poetic charm of the initial Walker solo records, while wrapping it up with all the fiercely artistic energy of the later ones. There's a very abstract vibe to the record at points – not rock, never pop, and not even anything close to the vocalizations you'd hear from anyone except the most experimental or avant artists – yet somehow still in that amazingly deep tone that Walker could craft when singing for a mainstream audience. These contradictions, and many others, are what really make the record sparkle – and tracks include "See You Don't Bump His Head", "Corps De Blah", "Phrasing", "The Day The Conducator Died", "Tar", "Dimple", and "Epizootics".

A stunner from the Scott Walker – and possibly the most archly-dramatic, unique and alluring work he'd done up to this point! Since Scott Walker albums have become once per decade events, a lot more is at stake with each one, and it's nothing short of amazing that he manages to get more and more exciting with each effort. The Drift finds Scott tackling obscure historical drama, his pop-operatic vibrato as chilling as ever – backed up by his long-relied upon backdrop of string arrangements, guitars, drums and keys – along with (way) off-kilter percussion. But the sounds made with those tried-and-true materials are often unprecedented, either from Scott or anyone else on the planet. The voice wails with authority, the backing is often quiet and subtle until the ever-approaching gail swoops in and carries you away. We could probably write a book about this album (and someone undoubtably will) – so we'll leave you to pick it up and experience it for yourself! Tracks include "Cossacks Are", "Clara", "Jesse", "Jolson And Jones", "Cue","Buzzers", "Psoriatic", "The Escape" and "A Lover Loves".

A massive box set of Scott Walker at his most essential – Scott 1, Scott 2, Scott 3, Scott 4 and 'Til The Band Comes In – and it includes a lavish, full-sized and full color 40+ page booklet! This is the place to start with Scott Walker – his initial years as a solo artist – and light years ahead of The Walker Brothers pleasing, but much more straightforward pop style. This is where his work becomes more grandly-orchestrated, sophisticed and and fully realized, The first four numbered albums are each more ambitious than the last – and the compararably overlooked 'Til The Band Comes In is a gem, too. All 5 albums from 1967-1970 – on a 180 gram vinyl!

Amazing! Although Scott Walker had issued one solo album before this one, Scott 2 is the record that really has his true genius beginning to shine through! The record still features Scott singing dark moody takes on 60s pop tunes – like "Best Of Both Worlds" and "Black Sheep Boy" – plus the usual round of Brel tunes – including "Jackie" and "The Girls & The Dogs", but it's also got some of his best songwriting ever, etched out in incredible original compositions like "The Amorous Humphrey Plugg", "The Girls From The Streets", and "Plastic Palace People". Those three songs alone might have been enough if Scott had stopped there in his career – as they're perfectly realized visions that match the world of Brecht, Bergman, and Sartre he'd been steeping himself in. Orchestrations are sublime on all tracks, and the record's one we'll treasure forever!

Quite possibly the greatest moment ever from the legendary Scott Walker – a set that strongly steps beyond even the genius of his first two solo albums, thanks to an amazing assortment of original tunes! Scott's dark vision of masculinity is emerging full-blown here – in an array of imagistic songs that piece together a very different picture of the male voice in music at the end of the 60s. Arrangements are quite large – echoing Scott's love of Jacques Brel and Jack Jones – but they've got a very subdued quality too, one that always takes second seat to Walker's incredibly haunting voice – rich, yet unquestionably fragile at the same time. Titles include "Copenhagen", "Winter Night", "30 Century Man", "It's Raining Today", "Two Ragged Soldiers" and "Big Louise".

Way more than some of the star-type bios on Scott Walker that have littered the market over the years – and instead, a well-chosen collection of writings on Walker that really get at the full depth of his genius! The book's a co-production with The Wire – and definitely lives up to the thoughtfulness you'd expect from that association – as editor Rob Young pulls together work on Scott from a number of different fronts – served up first in chapters on specific records, each written by a different artist and commissioned for the book – then moving onto other interview material too. Includes writings by Nina Power, Ian Penman, Biba Kopf, Amanda Petrusich, Richard Cook, Anthony Reynolds, David Toop, and others – and the book is 297 pages, hardcover.

A key slice of Scott Walker genius – and his only recording from the 80s, cut on the heels of a re-discovery of his older music, but a far step ahead than anything Walker had done before! Climate Of Hunter is far darker than the famous Philips albums – and carries with it echoes of his last few tunes with the re-formed Walker Brothers in the late 70s – a bleaker look at life than ever before, but one that's still touched with the sense of poetry that Scott always brought to his work, and sung in that godlike voice we love so much! Instrumentation carries a definite feel of the time – with some echoes of British post-punk production, especially in the way the drums and guitar are recorded. Yet there's also a timeless quality to the album here too – and each year past its release settles it more warmly into the classic and better-known Scott Walker catalog. Surprising guest appearances on the set include Evan Parker, Ray Russell, Mark Isham, and even Billy Ocean – and titles include "Rawhide", "Dealer", "Track 3", "Sleepwalkers Woman", "Track 5", and "Track 7".

Mindblowing music from the legendary Scott Walker – a set that's even darker and more powerful than Drift – but which also shows a new sort of sensitivity as well! Walker's musical journey has been amazing – from teen idol to crooning poet to country singer, new wave experimentalist, and the incredibly artistic and reclusive talent of recent decades. Yet Bish Bosch is something completely new entirely – a record that bursts out with noise one minute, then shifts to sparely expressive passages the next – all in ways that kind of recapture the poetic charm of the initial Walker solo records, while wrapping it up with all the fiercely artistic energy of the later ones. There's a very abstract vibe to the record at points – not rock, never pop, and not even anything close to the vocalizations you'd hear from anyone except the most experimental or avant artists – yet somehow still in that amazingly deep tone that Walker could craft when singing for a mainstream audience. These contradictions, and many others, are what really make the record sparkle – and tracks include "See You Don't Bump His Head", "Corps De Blah", "Phrasing", "The Day The Conducator Died", "Tar", "Dimple", and "Epizootics".

Wonderful early work from Madeline Bell – a great singer with a sound that's equal parts American soul and British 60s female pop! The recordings on the set are from Madeline's earliest years in the UK – long before she achieved greater fame on crossover rock recordings, at a time when she was just stepping off an early career in gospel, where she'd crafted some great recordings on Vee Jay with Alex Bradford. The sound of the album is wonderful – arranged to production by Arthur Greenslade, and produced by Johnny Franz with the same pop genius he brought to Philips work by Scott Walker and Dusty Springfield. The CD features the full tracks from the Poppin album, plus a number of contemporary singles – for a total of 20 tracks that include "Picture Me Gone", "Beat The Clock", "Can't Get Used To Losing You", "Didn't Want To Have To Do It", "Soul Time", "I'm Gonna Make You Love Me", and "You Won't See Me".

Obscure late 60's pop stuff by this intellectual young man of song. Not exactly Scott Walker, but not too bad. With a nice version of John Barry's "The Knack", plus "Taste of Honey", "I've Just Seen a Face", and the original "When That I Was (A Tiny Little Boy)".

2 early 70s sessions from Billy Eckstine – both recorded for Stax Records! First up is Senior Soul – a well-titled set not only given Billy's age, but also because of the surprisingly soulful undercurrent to the record – an extension into the genre even greater than Eckstine's previous recordings for Motown – and proof that he was really trying to stretch out towards new audiences at the time! Artie Butler handled the backings, and he uses a groove that's pretty full, but never overwhelming – more ebullient soul than some of Eckstine's more familiar jazz – with backing vocals and bright horns, yet still plenty of space for Billy to do his thing. The best numbers have Eckstine coming across with the 70s cool of Grady Tate on his vocal sides – and titles include "Thank You For The Moment", "A Song For You", "A Man Who Sings", "Today Was Tomorrow Yesterday", "I Believe In Music", and "Living Like A Gypsy". If She Walked Into My Life is extremely compelling stuff – and you've really got to give Billy credit for reinventing himself like this! The album features Billy's deep deep voice amidst arrangements by Artie Butler, Jimmy Jones, Mike Melvoin, and Billy Byers – sort of a blend of Grady Tate sophisti-jazz, and Scott Walker baroque, with a moody mellow sound that would make either of them proud. Titles include "The Taste Of My Tears", "I Am Yours", "Maybe This Time", "The Very Thought Of You", and "All In Love Is Fair".

A beautiful early record from singer Bill Fay – recorded in a baroque brilliance that rivals the late 60s work of Scott Walker! Like Walker, Fay's as much a poet as he is a singer – and he's also got the great fortune here to be working with some excellent arrangements – handled by British jazzman Michael Gibbs, and featuring some excellent guitar work from Ray Russell. That said, Bill Fay has a distinctly artful presence with a style that's all his own! He's slightly folksy at times, with echoes of some of more mysterious aspects of late 60s and early 70s psych folk scenesters – but his overall vision is far more elaborate, and carried off here to perfection in a rare kind of "once in a career" record that still holds up beautifully today! Titles include "Garden Song", "The Sun Is Bored", "Narrow Way", "We Have Laid Here", "Methane River", "Goodnight Stan", "Be Not So Fearful", and "Down To The Bridge".

A great look at the lesser-known side of the career of UK vocalist Matt Monro – one that features rare EMI singles, obscure album tracks, and other usual bits all pulled together in one overstuffed 2CD set! The package is a great antidote to all of the overdone hits collections of Monro's work on the market – and it really gets at the subtle brilliance of his work – that dark-voiced style that was a true precursor to the sound of Scott Walker and others to come in UK pop at the end of the 60s. And even though we're big fans of Matt, there's plenty here we'd never heard before – but that's to be expected with a total of 51 tracks that include "When I Look Into Your Eyes", "The Lady Smiles", "Love Song", "Other People", "Mirage", "All Of A Sudden", "When Love Comes Along", "It's That Time Again", "Only Friends", "So Little Time", "Nothing To Lose", "Lover's Caravan", "All That Remains", "Sitting On Top Of The World", "Till", "I've So Much To Be Thankful For", and even a medley of Matt's famous commercial work!

One of the greatest records of the 60s – and a sublime debut from Nico, sounding fresher and less dreary here than on many of her later sides – although still pretty chilling overall! The record features larger orchestral backings on most tracks – never too heavy, but with light strings that really help Nico depart from the sound of her work with The Velvet Underground. This style adds a new level of sophistication to her vocals, and really helps in her interpretation of the unusual material culled for the set – tunes that include a few key numbers by old partners in The Velvets, as well as some especially great tracks by a young Jackson Browne – a romantic interest of Nico at the time! The whole thing's incredible – on a par with the best from Scott Walker during the same stretch, although very different overall – and a key entry in the darker side of the non-hippie end of the 60s spectrum. Titles include "These Days", "It Was A Pleasure Then", "Eulogy To Lenny Bruce", and the incredible title cut, "Chelsea Girls". Fantastic!

Elis Regina hits the London scene of the late 60s – with amazing results that make the album one of her best from the early years! The style here is still quite bossa-oriented, but backings are done by Peter Knight – who'd worked with Scott Walker and some of the other hip British singers at the time – so the sound's a bit different than Elis' Brazilian records, too. Knight's quite sensitive to Regina's way of interpreting a tune – and he nicely follows the soaring, jazzy vibe that Roberto Menescal had given her at home. But the groove's also a bit more open and fluid too – with some slight Brit Easy touches that really send the whole album home! Titles include a great version of "Upa Neguinho", plus "O Barquinho", "Zazueira", "Giro", "A Volta", "Corrida De Jangada", "Watch What Happens", and "Wave".

2 amazing albums from Elis Regina – back to back on a single CD! First up is Elis Como Et Porque – one of our favorite albums ever from the incredible Elis Regina – a record that really has her hitting new levels in her style – moving past simple bossa into a realm of music that's all her own! The backings are arranged by Roberto Menescal, who also moves into some great new territory here – a soaring, spacious mode that's way different than his gentler bossa – and which really has some of the growing complications that were showing up in Brazilian music at the end of the 60s. There's a fair bit of jazz in the mix, but also a fair bit of majesty too – and the tunes soar out with a much livelier feel than some of Regina's later albums. Titles include amazing renditions of "Canto De Osssanha", "O Barquinho", "Giro", "O Sonho", "Casa Forte", and "Vera Cruz" – plus a tasty version of Michel Legrand's "Recit De Cassard", from Umbrellas Of Cherbourg. On Elis Regina In London, Elis hits the London scene of the late 60s – with amazing results that make the album one of her best from the early years! The style here is still quite bossa-oriented, but backings are done by Peter Knight – who'd worked with Scott Walker and some of the other hip British singers at the time – so the sound's a bit different than Elis' Brazilian records, too. Knight's quite sensitive to Regina's way of interpreting a tune – and he nicely follows the soaring, jazzy vibe that Roberto Menescal had given her at home. But the groove's also a bit more open and fluid too – with some slight Brit Easy touches that Really send the whole album home! Titles include a great version of "Upa Neguinho", plus "O Barquinho", "Zazueira", "Giro", "A Volta", "Corrida De Jangada", "Watch What Happens", and "Wave".

Mindblowing work from Minnie Riperton – her first solo album, cut at the end of the 60s, after a number of years of work with the group Rotary Connection. The album builds off the now famous sound of Rotary Connection – but takes it to the next level, with arch-baroque production by the great Charles Stepney – who couches Minnie's fantastic vocals in a suite of shimmering soulful tracks that mix strings, horns, jazzy piano, and slight touches of bouncing rhythms. The overall sound is impossible to describe – sort of a cross between Burt Bacharach on A&M, Scott Walker's 3rd album, and the sound of Marvin Gaye's What's Goin' On. The album's pure genius all the way through – one of the highlights of the Chicago scene of the 60s – and proof that Riperton, Stepney, and crew were shooting for the outer limits of soul music! Titles include "Les Fleur", "Only When I'm Dreaming", "Rainy Day In Centerville", "Memory Band", "Expecting", "Whenever Wherever", and "Oh, By The Way".

Some of the most godlike soul music to be recorded on this planet, and two of the best-ever albums by this amazing Chicago collective that included the late Minnie Riperton, and who were arranged and produced by the great Charles Stepney! Both albums feature swirling complex arrangements, filled with strange time changes, chord passages, and nice jazzy bits. Inside it all, the group's cool male/female vocal sound rings out – with Minnie singing on some cuts along, and in duet on others. Includes the band's classic "I Am The Blackgold Of The Sun" (covered recently by NuYorican Soul), plus "The Sea & She", "Hey Love", "Song For Everyman", "The Weight", "Respect", "Salt Of The Earth", and "Vine Of Happiness". Imagine if Scott Walker met The Dramatics, and you've only got part of the picture!

One of the greatest songwriting partnerships of the 60s – featured here in a great mix of soul, rock, and vocal numbers from the time – including a fair number of unusual versions of hits from the team of Barry Mann & Cynthia Weil! Weil's got a style that's sometimes a bit deeper than her contemporaries – and when mixed with Barry's strong sense of punch in a tune, has a way of bringing some surprising sophistication to pop music – little emotive moments that peek out from more hook-heavy numbers – but all without ever sounding lachrymose or overblown. As part of that quality, lots of these tunes have some great New York-styled production – that uptown balance of emotion and class – and as with other titles in Ace's excellent songwriter series, the notes alone are almost worth the price of admission – given all the historical detail, cultural commentary, and cool images. Titles include "New World Coming" by Mama Cass, "Love Is Only Sleeping" by The Monkees, "Angelica" by Scott Walker, "Looking Through The Eyes Of Love" by Gene Pitney, "Love Him" by Doris Day, "Good Good Lovin" by Bobby Hebb, "You Baby" by Len Barry, "Born To Be Together" by The Ronettes, "This Is A Love Song" by Bill Medley, "Make Your Own Kind Of Music" by The Happenings, "Shape Of Things To Come" by Slade, and "Proud" by Johnny Crawford.

Birds, brass, and plenty of grooves – two sublime UK sound library sets, back to back on a single CD! "Birds" here is used in the UK slang for women – and the combo sports wordless female vocals sliding along with the grooves – sneaking in and out of the brassier bits on the top with a "yeh yeh" sort of chorus approach, but one that's pretty musical overall! The best part of the music, though, is below the birds and the brass – the bottom, which is often quite funky, and has a soundtrack-styled sort of groove – rolling bass, snapping drums, bits of keyboards – all used in the best gently funky ways of the glory days of the Brit Easy scene. Most of the work here is the brainchild of arranger Keith Roberts – a lesser-known UK sound library figure, one who did a bit of work on Scott Walker's fourth album, but who really shines brightly here on his own. Titles include "Sort Of Soul", "Return To Montana", "Sunspot", "All Souled Out", "Time Key", "Pop Off The Tops", "New Dawn", "Melanie", "Sugar Sugar", "Funky Splanky", "The Kung Fu Kid", "Mexico Fiesta", "Fritzy Baby", and "Swamp Water".

One of the darkest albums ever recorded by Astrud Gilberto – her 60s last session for Verve Records, and a batch of beautifully moody tunes throughout! Arrangements are by Albert Gorgoni, who'd handled Gilberto's previous September 69 album – but the style here is a bit mellower, a bit sadder – touched with more adult themes of love, life, and loss – and very much in keeping with Astrud's tear-stained image on the cover! There's a sound here that almost mixes Gilberto's earlier bossa with the more baroque modes of Scott Walker at the end of the 60s – and as with Scott Walker's classic solo sets, the album shows a side of Astrud's talents that we never would have expected a few years earlier! Titles include "Wailing Of The Willow", "Where's The Love", "Wee Small Hours", "If", "Without Him", "Trains & Boats & Planes", "The Sea Is My Soil", and "Didn't We?".

Unbelievably beautiful work – and possibly the greatest album ever from the mighty Walter Jackson! Jackson was one of the best singers to come out of the Chicago soul scene of the 60s, and his Okeh recordings are a perfect example of the city's sophisticated approach to Iceman soul – as perfected by Walter, Jerry Butler, and (later) Garland Green. The arrangements are by Riley Hampton, and they have a cold fragile beauty that lingers somewhere between a Scott Walker album and Riley's earlier work with Lorez Alexandria – and the no-filler selection of songs is one of Jackson's best ever– a range of work that really show his deep talents, and his maturing approach to a tune – proud, powerful, and a new level of adult sophistication in soul. Titles include the amazing title cut "Speak Her Name" – plus "Corner In The Sun", "My One Chance To Make It", "It's An Uphill Climb To The Bottom", and "Not You". This expanded CD makes the original album ever better – and adds in a full batch of 10 bonus tracks – some of which are unissued, others of which are rare singles from Jackson's later Okeh years, plus rare Epic sides. Bonus titles include "No Butterflies", "Ad Lib", "The Look Of Love", "The Bed", "Forget The Girl", "My Ship Is Coming In", "Road To Ruin", and "Just One Smile".

Killer work from the last years of Stanley Turrentine on Blue Note – tracks that appeared here for the first time ever, as a long-overdue LP release at the end of the 70s! The bulk of the set features some compelling quartet work – with Stan's tenor in the company of McCoy Tyner on piano, Gene Taylor on bass, and Billy Cobham on drums – almost in Easy Walker sort of territory, with a great stepping soulful groove – but a bit more fluid, given the Tyner touch! That quartet plays "Stan's Shuffle", "Watch What Happens", "Intermission Walk", and "Wave". The set ends with the killer title track "Ain't No Way" – a tenor/Hammond cooker based on the Carolyn Franklin soul tune – really given a workout by Stan and a group that features Shirley Scott on organ and Jimmy Ponder on guitar!

Steven Wilson scores the cover of Prog – for a features that a deep look at his The Raven record – and this issue also has features on prog legends Caravan on their 40 years milestone, Scott Walker, John McLaughlin, Neal Morse, Pendragon, Katatonia, Touchstone, Heather Findlay, Voivod, Riverside, The Beach Boys, Anderson Bruford Wakeman Howe, Menomena, Kosmoratik, Moon Duo and more! Also includes a free CD featuring some artist covered in this issue, and more! It includes Steven Wilson, Heather Findlay, Super Best Friends Club, KingBathmat, Lifesigns, Godsticks, Splashgirl and more.

One of the greatest records of the 60s – and a sublime debut from Nico, sounding fresher and less dreary here than on many of her later sides – although still pretty chilling overall! The record features larger orchestral backings on most tracks – never too heavy, but with light strings that really help Nico depart from the sound of her work with The Velvet Underground. This style adds a new level of sophistication to her vocals, and really helps in her interpretation of the unusual material culled for the set – tunes that include a few key numbers by old partners in The Velvets, as well as some especially great tracks by a young Jackson Browne – a romantic interest of Nico at the time! The whole thing's incredible – on a par with the best from Scott Walker during the same stretch, although very different overall – and a key entry in the darker side of the non-hippie end of the 60s spectrum. Titles include "These Days", "It Was A Pleasure Then", "Eulogy To Lenny Bruce", and the incredible title cut, "Chelsea Girls". Fantastic!

Mindblowing work from Minnie Riperton – her first solo album, cut at the end of the 60s, after a number of years of work with the group Rotary Connection. The album builds off the now famous sound of Rotary Connection – but takes it to the next level, with arch-baroque production by the great Charles Stepney – who couches Minnie's fantastic vocals in a suite of shimmering soulful tracks that mix strings, horns, jazzy piano, and slight touches of bouncing rhythms. The overall sound is impossible to describe – sort of a cross between Burt Bacharach on A&M, Scott Walker's 3rd album, and the sound of Marvin Gaye's What's Goin' On. The album's pure genius all the way through – one of the highlights of the Chicago scene of the 60s – and proof that Riperton, Stepney, and crew were shooting for the outer limits of soul music! Titles include "Les Fleur", "Only When I'm Dreaming", "Rainy Day In Centerville", "Memory Band", "Expecting", "Whenever Wherever", and "Oh, By The Way".

Creepy, strange and oddly beautiful late 60s eccentricity from Mort Shuman – a song writer and pivotal behind-the-scenes cat who's been credited for translating the Jacques Brel stuff that Scott Walker sung, as well as for bringing Brel to Broadway! This album is a very trippy kind of coldly social and personal commentary piece – with Shuman hissing and huskily cooing his way through songs and poetry in a style that's almost more like a sound collage at points – really tying him to the hipper sides of the American and French scenes of the time. Titles include the hypnotic and disturbing "Born 1969/Hallelujah Chorus", "Mon Enfance", "To Katie", "She Ain't Nothing", "Caramels", "Sonatina", "Wait A Minute", "Free At Last", "Song For Old Lovers", and "My Death".

A beautiful album of baroque soul from Verdelle Smith – a singer who was destined to score big in the mid 60s, but somehow only managed to cut a handful of records before dropping out of secular music forever! Verdelle's got an unusual style that's halfway between Dionne Warwick and Nancy Wilson – sharing the sophistication of both, but also coming across with a fragile quality at times – one that's almost a maturation of the girl group ethos, turned onto a more adult world of pop. The approach is a bit similar to the changes going on in the Walker Brothers near the end of the trio's time together – and it's no surprise that Scott Walker did a tremendous version of the tune "Alone In My Room" himself. But we love Verdelle's original take on the track – a sad and dreamy little tune that makes wonderful use of organ and creates one of the saddest moments in 60s pop that we can think of! This beautiful CD features that great cut, plus 21 more numbers that represent everything that Verdelle recorded apart from gospel – mostly titles done for Capitol, plus a few Columbia singles as well. Titles include "Walk Tall", "Sexy", "A Piece Of The Sky", "Catch A Falling Star", "In My Room", "Autumn Leaves", "Carnaby's Gone Away", "Baby Baby", "There Is So Much Love Around Me", "Juanito", and "You Only See Her".

A treasure trove of Tennessee soul – a package that brings together two classic compilations on Charly Records, along with a host of rare bonus tracks too! The original release of Music City Soul and SSS Soul Survey were not only the kind of sets that first got Charly recognition as a key label for reissuing soul – but they also drew much-needed focus to the efforts of the Nashville labels working at the end of the 60s – surprising powerhouses for soul music, even though much of their efforts failed to chart at the time! As you'll hear in this set, labels like SSS International, Silver Fox, and Minaret were filled with deep soul gems – the kind of music you'd normally expect to hear from Memphis or Muscle Shoals – but which was coming out in droves from Music City during a brief musical moment at the end of the 60s. The 2CD set features a whopping 50 tracks in all – with titles that include "Baby You Got It" by Clarence Murray, "The Game Of Love" by Willie Hobbs, "I Have No One" by Big John Hamilton, "Action Speaks Louder Than Words" by Reuben Bell, "Soul Ranger" by Clifford Curry, "The Night The Angels Cried" by Johnny Dynamite, "Natural Soul Brother" by Danny White, "Shell Of A Woman" by Doris Allen, "Sundy Morning Coming Down" by Hank Ballard, "I Almost Called Your Name" by Johnny Soul, "Soulshake" by Peggy Scott & Jo Jo Benson, "Medley Of Soul" by Big Al Downing, "My Train's Coming In" by Betty Lavette, "All Night Long" by T Bone Walker, "My Ancestors" by Willie Charles Gray, and "The Pleasure Of My Woman" by Georgie Boy.