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A bomb! The title of this one says it all – a burning anthem of pride and power, issued in 1969, at the end of one of the most troubling decades in America. James answers all the Uncle Tom cries from his critics – and comes up with "Say It Loud", an instant chant that was taken up around the world, and which still packs a pretty hard punch today! The album's filled with other excellent cuts – like the tasty funk number "Lickin' Stick", with some rocket-driven guitar, and the great instrumental "Shades of Brown". Other titles include "Goodbye My Love (parts 1&2)", "Let Them Talk", "I Love You", and "I Guess I'll Have To Cry Cry Cry".

A mighty helping of music from the overlooked Mitty Collier – a 60s soul singer on Chess Records, and one who was every bit as great as bigger label stars like Etta James or Fontella Bass! Like both of those singers, Mitty's got a voice that grabs you right from the get-go – a deeply soulful approach to her music that's really fresh and without cliche – especially considering she got her start belting out tunes years before some of the bigger names in 60s female soul, and managed to keep things mighty real all the years she was working at Chess. Production and arrangements here are all top shelf – handled by Phil Wright, Riley Hampton, and others – and the CD offers up 24 gems from Mitty's years at Chess – the a-sides of all 15 singles cut for the label, plus 9 more great tunes from the flips! Titles include "Everybody Makes A Mistake Sometimes", "Gotta Get Away From It All", "I've Got Love", "I Had A Talk With My Man", "Walk Away", "My Party", "Sharing You", "That'll Be Good Enough For Me", "Git Out", "Watching & Waiting", "Like Only Yesterday", "No Faith No Love", "I'm Your Part Time Love", and "Miss Loneliness".

Two albums that really show why we love Benny Golson so much! Turning Point is an incredible, and oft-overlooked album from the great Benny Golson – and one of the few early albums that really point the way to his huge run of work for decades to come! The style here is a bit looser, and more open than some of Golson's previous albums – less of a focus on arrangements, and more on the spontaneous interplay between his tenor and the crack rhythm section – which features Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – a dream lineup who really make the record sparkle. But the real star of the show is Golson – who's hitting this raspy, soulful tone he never had before – much freer of soul jazz formalities, and with a modern edge that's wonderful – as you'll hear on titles that include "Alone Together", "Turning Point", "Stella By Starlight", and "Dear Kathy". On Free, things aren't as tightly structured as on some of Benny's more arranged albums of the period – and he opens up wonderfully in a small group setting – playing in a beautifully confident tone, but with a slightly raspy edge – cutting, changing, and swinging perfectly in lines that are masterfully crafted, yet full of raw emotion. The group's a thoughtful quartet, and includes Tommy Flanagan on piano, Ron Carter on bass, and Art Taylor on drums – and tracks that inlcude "Sock Cha", "Shades Of Stein", "Just By Myself", and "Just In Time".

A beautifully tuneful record from Narada Burton Greene – maybe more so than any of his other albums – at least that we can remember! The set's a solo outing, and it's definitely got some of the modern elements that have always made Greene's music so wonderful – but it's also got this brilliant ear for little turns of a tune – one that's handled especially well on the right end of the keyboard, where Burton's got these tones ringing out beautifully, in haunting melodies we really love. And if you're fans of his older music, you've still got plenty to dig here – because the complexity of the keyboard work is rock solid throughout – as you'll hear on tunes that include "Acrturus", "Skumpy", "Bubba Meisa Drama", "Longing", "Moldavian Blues", and "Time Remembered".

Bumping, bass-heavy jazz from Lonnie Plaxico – a set that certainly has some of the traces of the Arsenio Hall-ish image on the front cover, but also some slightly hipper elements as well! Plaxico's basswork has a nice sense of darkness on some of the best numbers – almost a version of the New York angularity from the more adventurous years of the downtown scene, turned a bit towards more common jazz modes – then smoothing out on some of the softer numbers. Players here include Greg Osby on alto and soprano, Robin Eubanks on trombone, James Weidman on piano and keyboards, and Graham Haynes on cornet – and titles include "Monotheism", "Chin Lang", "For You", "If You Only Knew", "Your Love Is Like A Dream Come True", "Love's Holiday", and "Shades".

Tight funky soul from Quazar! This relatively overlooked group is one of the lesser-remembered P-Funk-linked acts of the late 70s – which is a shame, as it's a great little side project from the team of Glenn Goins and Jerome Brailey. It's got a with a bass and drums-heavy party groove all the way! The style here is almost even tighter than that of Parliament or Funkadelic at the time – with tunes that are shorter and more focused, pointing the way towards the changes that mainstream funk would take later into the 80s. Most of the tunes are stormers – with killer group chanted backing vocals! Titles include "Funk With A Big Foot", "Funk With A Capital G", "Funk N Roll", "Your Lovin Is Easy", "Shades of Quaze", "Workin' On The Buildin'" and "Love Me Baby". 9 tracks on the original album – and this Big Break CD edition has 3 bonus tracks: "Funk N Roll (Single Version)", "Savin My Love For A Rainy Day (Single Version)" and Funk With A Big Foot (Single Version)".

The amazing return of the Shaolin Temple Defenders – a group who've really deepened their sound since we last heard from them! On previous albums, the Defenders were a razor-sharp funk combo – a French ensemble who'd really studied the funky 45 underground of the late 60s and early 70s – and definitely knew how to get that sound right! This time around, they've also picked up a deep soul vibe as well – bringing vocals into the mix even more strongly than before – sung by Brother Lion with this raspy style that feels like some of the best southern soul at the start of the 70s. The funky currents of the group are still firmly in place – sometimes with a heavy 70s twist, sometimes with a more laidback vibe that lets the vocals take center stage – and titles include "Blue Shades", "Do You Remember", "Spirit Of The South", "Temple Of Soul", "Super Nacho Funk", "Let Your Love Shine On Me", "It's So Easy", "Our Love Will Live Forever", and a cover of "Kung Fu Fighting". CD also features two bonus tracks – "Night & Day" and "At The Drive-In".

The amazing return of the Shaolin Temple Defenders – a group who've really deepened their sound since we last heard from them! On previous albums, the Defenders were a razor-sharp funk combo – a French ensemble who'd really studied the funky 45 underground of the late 60s and early 70s – and definitely knew how to get that sound right! This time around, they've also picked up a deep soul vibe as well – bringing vocals into the mix even more strongly than before – sung by Brother Lion with this raspy style that feels like some of the best southern soul at the start of the 70s. The funky currents of the group are still firmly in place – sometimes with a heavy 70s twist, sometimes with a more laidback vibe that lets the vocals take center stage – and titles include "Blue Shades", "Do You Remember", "Spirit Of The South", "Temple Of Soul", "Super Nacho Funk", "Let Your Love Shine On Me", "It's So Easy", "Our Love Will Live Forever", and a cover of "Kung Fu Fighting".

Spiralling, soaring work from the Alan Skidmore Quintet – a group led by one of the greatest British tenor talents at the end of the 60s! Skidmore's name turns up often in some of the larger ensemble sessions from the period, but this album's one of his few smaller group outings – and it's a real treasure that we'd rank with the most free-thinking jazz on Deram as the time. Skidmore's joined in the group by an all-star lineup that includes Kenny Wheeler on flugelhorn, John Taylor on piano, Harry Miller on bass, and Tony Oxley on drums – and all players are working here in a cohesive, vibrant style that's quite different than some of the freer, more "out" work of later years. There's a real love of color and tone on the session – and the tunes unfold with a soaring quality that's really tremendous – one that's rarely too free, and which explores the shades and hues that were showing up in some of the best British jazz of the time. For one point of reference, we might compare the record to the depth of the best Michael Garrick sessions of the late 60s – but there's also a bit more straightforward quality here that we really love. Titles include "Old San Juan", "Once Upon A Time", "The Yolk", "Free For Al", and "Image".

A killer package – two full albums, plus bonus tracks too! First up is Maybe – amazing early work from the Three Degrees – tracks cut before their more famous disco years in the 70s – but already showing a whole new approach to girl group soul! At some level, the trio take off strongly from the best late 60s styles of The Supremes – taking the most righteous elements, and working them into a hip new take on female soul – often using slight undercurrents of funk, in ways that are a bit like Honeycone, but even groovier! Arrangements are by Sammy Lowe and Steve Swanson – who bring in a nice east coast bite – and titles include "Sugar On Sunday", "Rosegarden", "You're The One", "The Magic Door", "Collage", "Maybe", and "You're The Fool". Next is So Much Love – a great illustration of the way the female trio could really take off – even without the disco grooves that would later bring them fame! There's a bouncy sound to most numbers here – a bit of Northern Soul here, some 60s mod there – and the girls' vocals are even more amazing than we remember them in later years – really at the top of the girl group pack for the time. Arrangements are by Hutch Davie, Tony Camillo, and Bert DeCoteaux – and titles include "Maybe", "Trade Winds", "I Do Take You", "Who Is She (And What Is She To You)", and "Magic Mirror". 2CD set features a whopping 23 bonus tracks – including "Handle With Care", "Shades Of Green", "Requiem", "Isn't It A Pity", "Yours (long single version)", "There's So Much Love All Around Me (mono)", "Through Misty Eyes (mono)", and mono takes of many album tracks!

A great solo set from Heidi Vogel – a vocalist you may know from previous work with the Cinematic Orchestra – stepping out here in a bossa-heavy set that's a perfect fit for the Far Out label! Heidi's style is deeper and more expressive than before – not a voice as part of larger instrumental backdrops, but a lyrical presence first and foremost – often supported with lighter instrumentation that echoes an older bossa era – with strong use of acoustic guitar, light percussion, piano, bass, and cello – all with very melancholy shades of sound. There's a light glow to the record that's really beautiful – mellow, yet soulful enough to have some subtle power – and the set also features guest vocals on two tracks by Cleveland Watkiss, and guest piano on two other numbers by Austin Peralta. Titles include a nice version of Joao Donato's "The Frog" – plus "Inutil Paisagem", "Chelsea Bridge", "Love Dance", "Bonita", "Juazeiro", "Black Narcissus", "Copacabana", and "Modinha". CD also fatures three remix numbers – "Black Narcissus (Cinematic Orchestra rmx)", "Black Narcissus (Emanative rmx)", and "Turn Up The Quiet (IG Culture rmx)".

A wonderfully expanded version of this classic of funky funky female soul! Marva Whitney was one of the greatest singers in the James Brown stable of stars during the late 60s – and she sang with a hard raw style worth of The Godfather himself! Brother James produced and wrote a good part of this classic album – and the record is one of the greatest JB albums of all time! Nearly every cut's a winner – like the sample classic "Unwind Yourself", which has a crazy corkscrew sax line, or the massive two-part remake of the Isley's "It's Your Thing" (titled "It's My Thing"), or the slowly funky "Get Out Of My Life", or the massive duet with Bobby Byrd "You Got To Have A Job", or the classic instrumental "In The Middle". This reissue is an expanded version, and it features a very excellent batch of tracks that were previously only issued as funky 45s! Tracks include "Sunny", "I Made A Mistake Because It's Only You (parts 1 & 2)", "You Got To Have A Job", "Shades Of (inst)", "I'm Tired I'm Tired I'm Tired", "This Girl's In Love With You", "He's The One", "Unwind Yourself", "What Kind Of Man", "Things Got To Get Better", "It's My Thing (parts 1 & 2)", and "Get Out Of My Life". 18 cuts in all.

A wonderful collection from the soul treasure hunters at Outta Sight – essential grooves from a pivotal period – late 60s and early 70s soul singles that bridge the raw, driving vibe of the previous era to the more sophisticated arrangements of dancefloor soul to come! It's got some legendary names and comparably obscure ones alike – a great, stylistically varied set of soul tunes by Bobby Womack, The Electrifying Cashmeres, The Carlettes, Philharmonics, Three Shades Of Soul, Johnny Adams, Deniece Chandler, The Identities and more. Superb soul singles all the way – a bunch of which we've never heard before now! 24 tracks in all: "What Does It Take (To Win Your Love)" by The Electrifying Cashmeres, "Lost Without Your Love" by The Carlettes, "Tried And Convicted" by Bobby Womack, "Mama, I Wish I Stayed Home" by Deniece Chandler, "I Can't Get Along Without You" by Judy Green, "When Love Slips Away" by The Identities, "Crying Time Is Over" by Tony Love, "You're A Bad Habit, Baby" by Johnny Adams, "Patience" by Rokk and more.

Even better than volume one – and a stellar collection of rare funky grooves! The compilation features a brilliant batch of tracks from the 70s – mostly underground soul, jazz, and funk tunes that have yet to appear on reissues, chosen by UK DJ Dean Rudland, with a feel that's as righteous and progressive as the title might imply. There's lots of gems on here that were only ever issued on 45s, or on the kinds of rare LPs that we'd be selling in the $100 range, if and when we could find them! Titles include "Sleep Talk" by King Errison, "Theme From The Men" by Joe Bataan, "Kissing My Love" by Spanky Wilson, "Fever" by Sharon Cash, "Where Will You Run" by Walter Hawkins & Selah, "Harambee" by Jambo, "Africa" by Preston Epps, "Mucho Macho" by Macho, "I Must Be Doing Something Right" by Irene Reed, "I Can't Stand It" by Brenda George, "Afro Texas" by Letta Mbulu, "Don't Let It Go To Your Head" by Katie Love & The Four Shades Of Black, "Kicking Back" by Joe Houston, "Love Potion Cheeba Cheeba" by The Mighty Tom Cats & Ann Winley, and "Return Of The Prodigal Son" by Byrdie Green.

The title definitely gets it right (although we wince at using the word "chillin" with such a great artist) – as the set features the great Andy Bey singing with just his own piano for backing – in a mode that easily makes for one of his most relaxed, personal albums ever! Bey's got some very unusual phrasing on the keys of the piano – which shades in his own compelling vocals beautifully – way differently than you'd hear from a more conventional pianist, and laid out in ways that make Andy's special treatment of the tunes resonate strongly. Titles include "More Love Than Your Love", "My Heart Stood Still", "The Other Half Of Me", "With A Song In My Heart", and "I've Got A Crush On You".

One of the few albums ever cut by 50s singer Paula Castle – a really great vocalist with a sound that matches the best Bethlehem records work of her labelmate, Chris Connor! Castle's got a nicely-composed approach to singing – never too flowery or overdone, yet also never too cool, either – a perfect balance that comes through beautifully with the set's stripped-down backings – just a quartet with Ronnie Selbey on piano, and flute by Sam Most. Most's flute really shades in the tunes nicely – underscoring things with some subtle blue tones that are really great – and titles include "I'm Shooting High", "Yesterday's Gardenias", "Here I Am In Love Again", and "Lost Love".

A really moody session of vocal jazz from the 50s – a near-lost date from singer Terry Morel, who we only know from this one album on Bethlehem! The album's got a feel that's a bit like some of Chris Connor's work for the label at the time – backing by a trio led by pianist Ralph Sharon, augmented by flute from Herbie Mann, who shades in the tones with some darker hues that really give the record a unique feel. And Terry herself has a slightly different voice too – one that's a bit dusky and breathy, without the sweetness of other female 50s singers – almost bedroom-like in its sensuality. Titles include "How About You", "You're Not The Kind", "Too Late Now", "More Than You Know", "Who Cares", "A Hundred Years From Today", and "The Night We Called It A Day".

A bomb! The title of this one says it all – a burning anthem of pride and power, issued in 1969, at the end of one of the most troubling decades in America. James answers all the Uncle Tom cries from his critics – and comes up with "Say It Loud", an instant chant that was taken up around the world, and which still packs a pretty hard punch today! The album's filled with other excellent cuts – like the tasty funk number "Lickin' Stick", with some rocket-driven guitar, and the great instrumental "Shades of Brown". Other titles include "Goodbye My Love (parts 1&2)", "Let Them Talk", "I Love You", and "I Guess I'll Have To Cry Cry Cry".

Syl Johnson, back in action and sounding great – and working here with key help from the younger generation too! As the title indicates, Johnson's singing here with up-and-coming vocalist Melody Whittle – a contemporary artist, but one with deep soul touches that work perfectly with Syl's classic approach – all wrapped up here with a style that's partly old school, and partly that modern evolution of the southern soul style you might find on a label like Malaco – further proof that Johnson just keeps on growing after all these years! Daughter Syleena makes an appearance on the set, and shades things in with some of her own flavors too – and titles include a few remakes of old tracks too. Tracks include "Mr Invisible", "I'm With You Too", "Turn Back The Hands Of Time", "Is It Because I'm Black 2006", "Ms Fine Brown Frame", "Loving On The Run", "Baby I'm Scared Of You", "Goodie Goodie Good Times", "Mellow Down Easy", "I'm Just A Freak For You", and "Just Make Love To You".

A stellar album from Grant Green – very different than most of his other work for Blue Note, and a sly electric groover recorded with vibist Billy Wooten! The sound here is a bit more spacious than some of Grant's earlier albums, yet no less funky – thanks to a hip undercurrent of soul in the drums, and arrangements from Wade Marcus that keep things fluid throughout. Wooten's vibes are wonderful, a ringing counterpoint to Green's great lines on guitar – and even the more familiar tunes on the record turn out to be really unique readings here – thanks to the arrangements and overall conception. Mellow moments are dripping with plenty of soul, and the funky ones are pretty great too – and titles include a killer medley of James Brown's "I Don't Want Nobody To Give Me Nothing" and "Cold Sweat", a heavy version of his instrumental groover "In The Middle", and a great original called "California Green" – plus "Never My Love", "Sunrise Sunset", "Got To Be There", and "If You Really Love Me".

Although we've been fans of Andy Bey for years (ever since his early 60s recordings with Andy & The Bey Sisters), we've got to admit that we're stunned at how successful his recent revival has been! This CD is probably the main reason for Andy's success – as it's a compelling batch of jazz vocal tracks that show Andy reinventing himself for a whole new generation of jazz listeners. The backing's by a nice small group that includes Gary Bartz, with whom Andy recorded extensively in the 70s – and the album includes a haunting reworking of Nick Drake's amazing song "River Man", plus a version of Dori Caymmi's "Like A Lover", Monk's "Straight No Chaser", and the moody "Dark Shadows", which was a page from Earl Coleman's songbook.