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Amalia's future soul full length debut for Tokyo Dawn! On Art Slave, Amalia does a pretty amazing job of showing off a broad range of inspiration, but delivering a record that's fresh and uniquely her own. She's one of more expressive contemporary soul vocalists on the international scene – with a voice that can deliver catchy soul hooks and spacey funk wierdness with equal brilliance – and her range is incredible, too! The production on this set is pretty heavy with spacey electro funk – and titles include "Art Slave", "Welcome To Me", "4 U", "All The Funk I Need", "Bonafide", "Psychoanalyze", "Stop Please", "Zebra Butt-A-Fly", "Luxurious (Ad Bourke Remix)", "Freeze That!", "I'm The Woman" and more.

An amazing album – and one of the underground soul jazz classics of the 70s! The album's also one of the few ever cut as a leader by drummer Roy Brooks – one of the hippest players on the Detroit scene back in the day, working here with a great lineup that includes Woody Shaw, George Coleman, and Cecil McBee. The album has a very different feel than most other work on Muse at the time – much more like an album on Strata East – majestically spiraling out with a spiritual soul jazz groove, on four extended tracks that include "The Free Slave", "Understanding", and "Will Pan's Walk".

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

A key early classic from Slave – as the set features the group's first work with drummer Steve Arrington, who not only opened up their rhythmic concept, but also gave them a great new sound on lead vocals! Arrington's approach here is very much in the spirit of Slave's first 2 records – a lean, mean approach to funk that never goes too far over the top, but which also has a wide-open sound that's instantly appealing – and which makes Slave as much of a top-shelf soul act as they are a funky combo. Great all the way through – with a tightness and on-the-money sound few others can match – and featuring the cuts "We've Got Your Party", "The Way You Love Is Heaven", "Just Freak", "Coming Soon", "Drac Is Back", and "Stellar Fungk".

A bit later than classic vintage for Slave – although most of the group's best elements are still in place! The combo's down to a quartet by this point – one that relies a bit more than before on electric percussion for their rhythms – but the overall focused Slave sound is still hitting hard, with an updated approach to funk that's lean, mean, and heavy! The overall vibe is more party funk than anything else – but we can also appreciate that fact too, as it keeps the album moving straight ahead – and makes for a fair bit of catchy numbers on the set. Titles include "Holiday", "I Like Your Style", "Lonely Girls", "Juicy-O", "Chillin", and "You Take My Breath Away".

Non-stop grooving from Slave – a record that has them losing the lead talents of Steve Arrington, but not missing a beat! As with Showtime, the sound here is a nicely smoothed-out approach to the bassy funk the group helped forge at the end of the 70s – a more soul-based sound that still keeps things funky, yet which also stays away from the tricks, gimmicks, and too over the top sort of styles that were hurting some groups at the time. There's plenty of great bass parts and snapping drums, all next to filtered harmonies on the vocals that sweeten the album in just the right way. Titles include "Do You Like It Girl", "I'll Be Gone", "Friday Nites", "Sweet Thang", and "Be My Babe".

The still-imitated classic first LP from the last of the days when major labels were still putting out dope underground MC's, and while underground MC's aim was still to move the crowd (and before P-LaMox put Payday's cheddar behind WC). With "Soul Clap", "Bounce Ta This", "Represent", "Catchin Wreck", "Fat Pockets" and 8 more. And this one time you should definitely go for the reissue instead of the original.

Far and away the band's best record! The album's got a fresh funk sound that takes an earlier 70s ensemble style and slicks it down a bit – but thanks to some great drum work by Tim Dozier (Steve Arrington had yet to join the band), and a subtle riffing bass style by Mark Adams, the band had a groove that was quite revolutionary, and which set them apart from the legions of funk imitators that were springing up at the end of the 70s. The high points of the album is the band's seminal "Slide", which is followed up with "Son Of Slide" – and both tracks have these amazing dark repetitive grooves that have really stood the test of time (thanks in part to a famous sample by Tribe Called Quest!) Other tracks include "You & Me", "Party Hardy", "Screw Your Wig On Tite", and "Separated".

We couldn't think of a better way to describe the sound of Slave than "stone jam"! The band's got a bass-heavy groove, mixed with a lot of soul, in a style that was often copied by many groups in the 80s, but never equalled. The real strength in the band was their songwriting – always fresh, and never too overindulgent in the funky elements. The vocals are tight and soulful, and the restriction of the of the funky bits makes from some nicely compressed grooves. Steve Arrington's on lead vocals – and tracks include "Watching You", "Never Get Away", "Stone Jam", "Feel My Love", and "Let's Spend Some Time".

A great 80s groove track, with a sound reminiscent of Arrington's best work with Slave, with a pumping midtempo groove.

Great grooves from Aurra – a group with a sound that's rooted in the late 70s funk of Slave, but which is given a whole new life at Salsoul by fearless leader Stephen Washington! The album's tight and right on the money at the very first note – heavy on bass, but not in a way that's ever overdone – and sparkling much more strongly from the vocal contributions of Curt Jones and Starleana Young – two singers who really know how to open up while holding a groove! The whole thing's great – polished and tight, but never slick or commercial – and a perfect summation of the 80s groove at its best. Titles include "Baby Love", "Such A Feeling", "Undercover Lover", "You Can't Keep On Walking", and "One More Time". CD features bonus tracks "Such A Feeling (orig Shep Pettibone 12" mix)", "Such A Feeling (orig Shep Pettibone 12" mix part 2)", "Such A Feeling (orig Shep Pettibone 12" mix part 3)", "Such A Feeling (orig single)", and "Baby Love (orig Shep Pettibone 12" inst)".

A great self produced album from Jimmy Cliff – very soulful, but with a rootsy political edge you might not expect from a pop reggae star like Cliff. Recorded in Jamaica at Dynamic Sounds, with a great lineup that includes the Heptones on backing vocals, and issued in the US by Warner as part of a big push on Jimmy's work when the film The Harder They Come was released. Titles include "Black Queen", "Be True", "Oh Jamaica", "Commercialization", "The Price Of Peace", "Poor Slave", and "Rip Off".

A strong little set of post bop tracks from saxophonist Lenny Hambro – one of two rare albums he cut for Columbia during the 50s, and a tight session with Wade Legge on piano, Dick Garcia on guitar, and Clyde Lombardi and Mel Zelnick on rhythm. The tracks are short, and Hambro's sax work is angular and a bit boppish – almost in the mode of Herb Geller's work from the time, but not as fluid. Titles include the Legge originals "Slave Girl", "Message In Minor", "Moon Slippers", and "Hoof Beats" – plus Hambro's "Thanatopsis" and "The Lonely One".

Seun Anikulapo Kuti returns with another strorming set of neo classic Afro Funk in the great tradition of his father – once again fronting the incredible Egypt 80 group! It's remarkable stuff that finds Seun – the youngest son of Fela – standing up as a visionary talent. He's not only living up to an immense legacy, but moving forward with it in ways that will absolutely stand the test of time. The insistent rhythms and intense energy of the Egypt 80 group – led by Lekan Animashaun – are Afrobeat perfection, with Seun's forthright vocals out front of it. But their approach here is anything but a retread of family glories. The songs are urgent and fierce, and there are subtle modern florishes in the production – thanks in part, no doubt, to co-producer Brian Eno. Titles include "African Soldier", "You Can R Un", "Rise", "Slave Masters", "For Dem E Ye", "The Good Leaf" and "Giant Of Africa".

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".

This is definitely not your father's calypso – no living room limbo or Harry Belafonte cliches – and instead, a smoking batch of Caribbean grooves from The Mighty Sparrow! Sparrow was very much on the edge of the best styles in the 60s and early 70s – and although his basic groove might be termed calypso, he also brought in plenty of Cuban, Haitian, and Jamaican rhythms to his music too – as well as an occasional does of American soul! Like some of the best early sounds from Kingston, the grooves here often echo a deeper R&B sensibility, turned towards island rhythms – and really hit home strongly by Sparrow's wonderful vocals – as catchy, compelling, and charming as some of the best US singers of the time – with touches of the wit of Oscar Brown Jr, the warmth of Lou Rawls, the swing of a young Marvin Gaye, and the spookiness of Screamin Jay Hawkins! This massive collection is the first to really dig through his older records to pull out the best tunes – just the kind of special focus we'd expect from the Strut label, with a wicked track selection and great notes too! Titles include "Bongo", "Calypso Boogaloo", "Zinah", "Fool Fool Fool", "Ah Diggin Horrors", "Jook For Jook", "Sparrow Come Back Home", "Slave", "She's Been Gone Too Long", "Congo Man", "Ten To One Is Murder", and "Kennedy & Kruschev".

This is definitely not your father's calypso – no living room limbo or Harry Belafonte cliches – and instead, a smoking batch of Caribbean grooves from The Mighty Sparrow! Sparrow was very much on the edge of the best styles in the 60s and early 70s – and although his basic groove might be termed calypso, he also brought in plenty of Cuban, Haitian, and Jamaican rhythms to his music too – as well as an occasional does of American soul! Like some of the best early sounds from Kingston, the grooves here often echo a deeper R&B sensibility, turned towards island rhythms – and really hit home strongly by Sparrow's wonderful vocals – as catchy, compelling, and charming as some of the best US singers of the time – with touches of the wit of Oscar Brown Jr, the warmth of Lou Rawls, the swing of a young Marvin Gaye, and the spookiness of Screamin Jay Hawkins! This massive collection is the first to really dig through his older records to pull out the best tunes – just the kind of special focus we'd expect from the Strut label, with a wicked track selection and great notes too! Titles include "Bongo", "Calypso Boogaloo", "Zinah", "Fool Fool Fool", "Ah Diggin Horrors", "Jook For Jook", "Sparrow Come Back Home", "Slave", "She's Been Gone Too Long", "Congo Man", "Ten To One Is Murder", and "Kennedy & Kruschev".

A pivotal album from The O'Jays – and an undeniable Philly classic! The record was the third the group cut for the Philadelphia International label – but it was really the first one that pushed their strong righteous soul agenda, sort of a mix of message-oriented lyrics and heavy soul (ala The Temptations), fused with the warmer more sophisticated styles of the Philly sound! The blend is perfect – and has a way of getting the message from the underground right into the living room – and a bit onto the charts as well! From the image on the cover – which features the group in a slave ship setting – to politics of tracks like "Don't Call Me Brother", "For The Love Of Money", "Put Your Hands Together", and "This Air That I Breathe", the record's an extremely unified effort – kind of to the O'Jays what What's Going On was to Marvin Gaye. Other titles include "You Got Your Hooks In Me", "Now That We Found Love", and "People Keep Tellin Me". Also includes bonus tracks – "Put Your Hands Together (live in London 1973)", "For The Love Of Money (single version)", and "Now That We Found Love (single version)".

A standout classic from Platypus – one of the tightest funk acts to work for Casablanca Records in the 70s! The quintet have a razor-sharp sound right from the start – leaner than some of the bigger funk ensembles of the time, but equally powerful in the end – thanks to a great ear for crafting grooves that are filled with complicated changes – yet come off with a solid funky punch! The balance is unique, and although the record's plenty funky, it's also got some fresh qualities that really set it apart – and which definitely put Platypus at the level of some of the best second-generation funk groups hitting the scene at the time. Titles include the excellent "Street Babies", which has a good Slave-ish kind of groove – plus "Love The Way You Funk", "Don't Go Away", "Dance If You Can", and "Running From Love". CD features six bonus tracks – including "Dancing In The Moonlight (12" disco)", "Love The Way You Funk (12" disco)", "Street Babies (12" disco)", "Dance If You Can (single)", "Dancing In The Moonlight (single)", and "Love The Way You Funk (single)".

A stone classic from Skyy – one of those groups who virtually helped invent 80s groove! Like the best of the genre – such as Slave, BB&Q Band, and others – Skyy have a soulful approach that goes way past the simple cliches that other groups were so content to only muddle around it. The sound here goes very deep – based around the bass-heavy funk sound of the time, but setting up the instrumentation with lots of jazzy touches, and coming up with a strong ensemble approach that offers up plenty of freshness, even while the boogie groove goes on and on! Titles include "Call Me", "Get Into The Beat", "Jam The Box", "When You Touch Me", and "Gonna Get It On".

A stone classic from Skyy – one of those groups who virtually helped invent 80s groove! Like the best of the genre – such as Slave, BB&Q Band, and others – Skyy have a soulful approach that goes way past the simple cliches that other groups were so content to only muddle around it. The sound here goes very deep – based around the bass-heavy funk sound of the time, but setting up the instrumentation with lots of jazzy touches, and coming up with a strong ensemble approach that offers up plenty of freshness, even while the boogie groove goes on and on! Titles include "Call Me", "Get Into The Beat", "Jam The Box", "When You Touch Me", and "Gonna Get It On". CD features four bonus tracks – "Call Me (12" disconet rmx)", "Call Me (single version)", "Let's Celebrate (single)", and "Let's Celebrate (12" rmx)".

An amazing album – and a space soul classic for the 21st Century! Steve Spacek really caught us by surprise with this set – because he's working here in a much deeper groove than ever before – one that's slower, spacier, and which has him coming off like some outer space version of Marvin Gaye! There's a vibe here that's like some of the best recent work coming from Detroit – but a sound that also goes farther, and which is much more soul-based than groove-oriented – beautifully hitting on all burners with a chunky set of rhythms that sounds perfect next to the airier keyboards of the set, and which help Steve's vocals to really hit home on the lyrics. Titles include "Dollar", "Slave", "Thursdays", "Rapid Rate", "The Hills", "3 Hours Of Fun", "Love Yu Be", "I'm Glad", "Smoke", "Days Of My Life", and "Look Into My Eyes".

Heavy fusion from southern Wisconsin – a pretty tasty little set by a group we know nothing about! The lineup includes bass, drums, guitar, keyboards, and saxes – played in a style that's somewhere between some of the jamming, frenetic European groups of the time, and some of the tighter American groups. A few tracks on here really go over the top in a free-for-all fusion kind of style – but there's some better ones that kick back a bit more and are a bit more open to flowing with the rhythms. Titles include "Her", "Slave Trader", "Veena Deva", "Angels Of The Deep", and "Amazon Ritual".

Beautiful work from Hedy West – a folk singer with a voice that cuts through to the quick – none of the sweetness of some of the poppier acts of the 60s, and none of the softness that you might get from commercial efforts – and instead a sound that's straight from the hills, and a bit like some of the best Elektra recordings by Jean Ritchie! West plays banjo along with her vocals, but uses the instrument in a way that's almost more like acoustic guitar – very complicated note patterns, and less of the rhythmic strumming that you'd get in a hokier effort – with qualities that are often very dark and brooding. CD features Hedy's first two albums for Vanguard – Hedy West, with tracks that include "Single Girl", "Shady Grove", "Drowsy Sleeper", "Fare Thee Well", "Fragments", and "Sweet Jane" – and Hedy West Volume 2, with tracks that include "Pans Of Biscuits", "Lady Beauty Bright", "Boston Burglar", "Farther Along", "Hubbard", "Run Slave Run", and "Poor Little Lost Baby". CD also features 2 bonus tracks – unissued tracks "Cotton Mill Girls" and "Who's Going To Shoe Them Pretty Little Feet".

A mad selection of soulful reggae from Jazzie B! Trojan taps the man behind some of the finest 80s soul to select a set that's guaranteed to ram the dance in the same way that Soul II Soul ruled dancefloors and radio with their bumping modern grooves. Jazzie B hits hits some familiar chords with some of his selections, but there's quite a few tracks even we didn't have on disc and the set plays wonderfully from start to finish, aptly living up to all the title promises! 18 number in all, including "Screw Face" and "Point Blank" by I Roy, "Slave Master" by Gregory Isaacs, "Jump Up" by Admiral Bailey, "Ready Done" by Nitty Gritty, "Natty Dread A Wah She Want" by Tapper Zukie & Horace Andy, "Shine Eye Girl" by Barrington Levy & Jah Thomas, "Getting Cozy (ext mix)" by the In Crowd, "Warrior" by Junior Delgado, "Ain't That Loving You" by ALton Ellis and "Point Of View" by Matumbi.

Amazing sounds from San Basilio De Palenque – a unique cultural crossroads on the coast of Colombia! The town was the first free slave community in the Americas – a distinction it's held for centuries – and continues to have strong ties to Africa, partly because of its roots, partly because of its longtime isolation from the rest of Colombia. As a result, the music is a very unique hybrid – very heavy on traditional modes, but evolved into very different directions too – and only marginally influenced by some of the more familiar Colombian styles. The sounds here are especially rootsy – given that they were recorded as part of a documentary project, which is also included in the package – and are easily some of the deepest ethnographic recordings that Soul Jazz has ever released! The music is heavy on percussion instruments and chanting – and the collection features music by Estrellas Del Caribe, Son Malagana, Santiago Ospino, Manuela Torres, Sikito, Curramberos De Gamero, and To Ane E Lo Memo Sexteto. 5 LPs in a very heavy box – with a DVD of the film as well!

One of the funkiest New Orleans collections we've ever heard – thanks to massive work from compilers Andy Smith and Dean Rudland! There's an approach here that gets right past the obvious, and goes right for the jugular – the deepest veins of Crescent City funk, served up with rhythms that are harder and heavier than those you'd hear in some of the bigger hits from the scene! Forget the overdone cliches you might expect, and dig the massively funky tunes throughout – work that's ever bit as great and gritty as the grooves you'd hear in a Jazzman collection of rare funky 45s. And while some of the artist names are familiar, most are represented by more obscure work – titles that include "Sinner Girl" by Benny Spellman, "Mean Man" by Betty Harris, "Boogaloo Mardi Gras" by Bobby Williams, "La La Man" by Oliver Morgan, "What You Gonna Do" by Eddie Bo, "All I Want Is You" by Zila Mays, "Undivided Love" by Eskew Reeder, "The Book" by Eldridge Holmes, "Being Without You" by Maurice Williams, "Son Of A Slave" by Larry Darnell, "Brotherman Sister Ann" by Clemon Smith, "Funky Soul" by Dave Batiste & The Gladiators, and "Miniskirts & Soul" by Chris Kenner.

Bass heavy funk from Arrington – picking up where that Slave groove left off, moving into a mode that's also picked up bits of 80s groove and old school rhythms. Titles include "Nobody Can Beat You", "You Meet My Approval", "Speak With Your Body", "Weak At The Knees", "Beddie Biey", and "Way Out".

One of the best remix projects we've heard in years – most likely because the original work is so great! As the title indicates, the set features older Atlantic soul classics – remixed by a host of modern talents that include King Britt, Sa-Ra, Vikter Duplaix, and Quantic – all producers who really respect the sound of the original tunes! There's a great range of styles in the original work – which runs from soul jazz, to 70s soul, to 80s groove – and in a way, the whole thing's kind of an imagined selection of what some of these tunes might have sounded like, had they been issued during the time of 12" remixes! Titles include "Tonight" by Kleer remixed by Sa-Ra with Meshell Ndegeocello, "Watching You" by Slave remixed by Vikter Duplaix, "We Are Family" by Sister Sledge remixed by Daz-I-Kue, "Warm Summer Night" by Chic remixed by King Britt, "Little Ghetto Boy" by Donny Hathaway remixed by Freddy L, "Pick Up The Pieces" by Average White Band remixed by Charlie Dark, "Getting Uptown" by United 8 remixed by Quantic, "Nubian Lady" by Yusef Lateef remixed by Metisse, and "Riding High" by Faze-O remixed by Waajeed.

DJs Kon & Amir serve up an incredibly wicked batch of 70s grooves – soulful and funky, and featuring some stellar material from the far corners of the crates! The pair are best known for their break-heavy party mixes – but here, they're letting the tunes stretch out a bit more – giving our ears a fuller taste of some incredible gems that push the set way past the usual collection of 70s soul! Titles include "Cut Up Mr Kool" by Standard Of Living, "Trip To Your Mind" by Hudson People, "Feel The Real" by David Benedeth, "I Thought You Wanted To Dance" by Symbol 8, "Home" by Band X, "Make The Most Of It" by Starfire, "Music Slave" by Jade, "Here I Go Again" by Karin Jones, "We Are The Chosen Few" by Chosen Few, "Madame Butterfly" by Leo Sunshipp, "I Need Ya" by Ron Holden, and "Microwave Boogie" by Skip Jackson & The Natural Experience.

The wildly diverse, heavily percussive global jazz, soul, and exotica inspired Afrodesia from the late 60s combo Afro Soultet – a crazy rare one, too! The group purportedly has roots in Texas, but incarnations of it were gigging around LA a bit earlier as Afro Latin Blues Quintet +1 and a bit later as Afro Latin Soultet. Here they play with boundless inspiration from around the globe. Afro Latin percussion and rhythms hold it all together, but they bring in strains of Latin soul, African rhythms, straighter jazz and madly percussive instrumental rock. Producer/composer/arranger/raconteur Jack Millman plays drums in the group as Johnny Kitchen, and other players include Joey Dubreau on vibes, Frank Morris on guitar and harmonica, Eddie Paris on drums, Dean Elliot on percussion, William Quinn on flute & sax, and Bill Collins on keys. Includes "Afrodesia", "Mozamba", "Soul Rockin'", "Afro Revolt", "Torrid Zone", "Oom Gowa", "Slave Traders", "Drumbouie", "Aphro Bugaloo", "Chocolate Drop", "Le Berber" and "Sand, Sun And Sea".

A set of some of the finest 70s recordings of mighty Ethiopians – many pulled directly from the excellent Slave Call album – plus a couple of early treasures and otherwise classic material! There's a tenderly soulful qualtity to the group's vocals that's always made them a favorite and this set filled with gems! Includes "Train To Skaville (Original Version)", "Guilty Conscience", "Hurry On", "Reggae Hit The Town", "The Selah", "Ethiopean National Anthem", "Need Someone", "Slave Call", "Everything Crash", "Love Jah", "Obeah Book" and more.

Jumpin' rhythm & blues from Johnny Jones – excellent, exciting recordings in more of an r&b revue sound than the more definitively blues based numbers later on – big collection of numbers devided between sessions with The Jimmy Beck Orchestra and The Imperial Seven, aka The Beat Boys. Given the largeish backing, the numbers have a jumpin' groove, but the players keeping it tight enough that some bluesy intimacy is still there in the fabric. Some sessions feature alternate lead vocalists, a few with Earl Gaines, a couple with Larry Birdsong, plus Charles Walker, Levert Allison and others. 35 tracks in all! "Every Night In The Week", "Now That We're Together", "Best Of Luck Baby", "Slave To Love", "Fiesta", "Oh Baby", "I'm Going Home", "Slow Down Baby", "Mercy On My Soul". "24 Hours A Day", "Pickin' Berries" and more.

A nice compilation of tracks pulled from Blood & Fire's fantastic reggae reissue series. While this is the sort of collection labels put together to introduce you to their catalog, it plays really well from beginning to end – a wonderful testament to the deep digging the folks at Blood & Fire have done to bring together some sought after roots tracks! 17 cuts: Linval Thompson & U Brown "Train to Zion (discomix)", Vivian Jackson & the Prophets "Fire In A Kingston", Impact All Stars "Easy Come Dub", Junior Byles & Rupert Reid "Chant Down Babylon", Johnny Clarke "Love Up Your Brothers & Sisters (extended)", King Tubby "Bag A Wire Dub", Max Romeo "Valley of Jehosaphat (extended)", the Chantells "Natty Supper", Inner Circle & the Fatman Riddim Section "General Amin", Cornell Campbell "Two Face Rasta (extended)", Trinity "Tradition", Linval Thompson "Jah Jah the Conqueror", Sylford Walker "Babylonians", Big Youth "Mama Look", Gregory Isaacs "Slave Master",the Tamlins "Baltimore" and Leroy Smart & I Roy "Jah is My Light/Wicked Eat Dirt".

Seun Anikulapo Kuti returns with another strorming set of neo classic Afro Funk in the great tradition of his father – once again fronting the incredible Egypt 80 group! It's remarkable stuff that finds Seun – the youngest son of Fela – standing up as a visionary talent. He's not only living up to an immense legacy, but moving forward with it in ways that will absolutely stand the test of time. The insistent rhythms and intense energy of the Egypt 80 group – led by Lekan Animashaun – are Afrobeat perfection, with Seun's forthright vocals out front of it. But their approach here is anything but a retread of family glories. The songs are urgent and fierce, and there are subtle modern florishes in the production – thanks in part, no doubt, to co-producer Brian Eno. Titles include "African Soldier", "You Can R Un", "Rise", "Slave Masters", "For Dem E Ye", "The Good Leaf" and "Giant Of Africa".

Japanese erotica pop from singer and actress Ike Reiko – recorded around the time of her most popular pink films/sexploitation acting gigs – and a record that really lays the erotica theme on thickly! The sound is late 60s/early 70s seedy soundtrack style – with sultry rhythms, sax, chimes other thematic arrangements – nothing subtle about it, but plenty groovy! Ike's vocals are as explicit as they could get away with – moans, coos and occasional singing! Titles include "I Am A Woman", "Wandering Guitar", "After The Rain Stops", "Not An Angel", "Bond Of Love", "Love Slave", "Experience" and more.

One of Motown's leading hopes in the early 80s soul scene, and for good reason too! These guys have a wonderfully well-rounded approach – great on ballads and even more compelling on groovers – a balance here that puts them proudly in the company of contemporaries like Maze or Slave, with a sound that's sometimes right in the middle of both. Titles include "Don't Take My Love Away", "There'll Never Be", "I Wanna Be Closer", "Best Beat In Town", "I Call Your Name", "You & I", and "My Friend In the Sky".

The deepest jazz funk material Madlib has ever laid down – possibly the best album yet from Yesterday's New Quintet – featuring turns at freewheeling avant funk, electro jazz groove, furious sound library styles, a few chill moments, and a boundless sound overall! Yesterday's Universe features 15 unique tracks – purportedly played by 10 acts (The Last Electro, The Jahari Massamba Unit, The Eddie Prince Fusion Band, Young Jazz Rebels, etc), but in truth it's all from the feverishly talented mind of Madlib – with special guests including drummer Karriem Riggins and Azymuth precussionist Mamao! It's heavily steeped in fusion funk, but we're equally impressed by the cooler, slightly straighter moments – which display just how wide of a grasp Madlib has on the deepest, darkest corners of the spectrum. The wide range of influences flows naturally – amazing work from one of the most talented wizards in the game! Titles include a heady adaptation of "Bitches Brew", "Umoja (Unity)", "Slave Riot", "One For The Monica Lingas Band", "Street Talkin'", "Marcus, Martin & Malcolm", "Two For Strata East", "Cold Nights And Rainy Days", "Mtume's Song", "Vibes From The Tribes Suite (For Phil)", "Upa Neguinho" and more.

Amazing sounds from San Basilio De Palenque – a unique cultural crossroads on the coast of Colombia! The town was the first free slave community in the Americas – a distinction it's held for centuries – and continues to have strong ties to Africa, partly because of its roots, partly because of its longtime isolation from the rest of Colombia. As a result, the music is a very unique hybrid – very heavy on traditional modes, but evolved into very different directions too – and only marginally influenced by some of the more familiar Colombian styles. The sounds here are especially rootsy – given that they were recorded as part of a documentary project, which is also included in the package – and are easily some of the deepest ethnographic recordings that Soul Jazz has ever released! The music is heavy on percussion instruments and chanting – and the collection features music by Estrellas Del Caribe, Son Malagana, Santiago Ospino, Manuela Torres, Sikito, Curramberos De Gamero, and To Ane E Lo Memo Sexteto.

One of the most unique Afro jazzy soundtrack you could ever hope to hear – African drummer, keyboard player and composer Remi Kabaka's soundtrack to Black Goddess! The film is from Nigerian director Ola Balogun, but was actually cast and shot in Brazil – and this soundtrack is really amazing and covers a whole lot of territory! The opening track is heavy with this fuzzed out bit of keyboards that's almost a precursor to 80s computer grooves – mixed with some laid back electric guitar and sax, it's a strange, really cool vibe that's totally unlike most Nigerian recordings we can think of. As the tracks roll on, though, the sax and percussion get more play and the sound as a whole more dexterously Afro jazzy and funky. Recorded in Lagos, it features Dele Okonkwo on tenor and soprano sax and BD Wright on keys and bass – both contribute additional percussion - plus Joni Haastrup on guitar and keyboard. Includes "Brothers And Sisters", "The Quest", "Slave March", "Black Goddess", "The Quest (Piano Solo)" and "The Warrior".

A surprisingly huge soundtrack from the 60s – thanks partly to the main title theme, which is a variation on the same "Amen" theme that Curtis Mayfield would make big with The Impressions! Most of the record is prime Jerry Goldsmith scoring, though – wonderful instrumentals that have this complicated blend of tones and colors, yet still some folksy undercurrents too – almost a Copeland-like point in Goldsmith's pantheon, with the mix of majesty and humanity that reference implies! Titles include "Homer Returns", "The Roof", "Homer Awakes/Breakfast", "The Contractor", "Out Of Bricks", "Amen", "No Hammer/Return Of The Prodigal", and "Feed The Slaves/Drive To Mass".

Iron Maiden's monumental Live After Death – a standard bearing live album in the metal realm – and a vital snapshot of the British heavy metal heroes at the peak of their powers! Maiden pretty much conquered the live metal world on this tour – and Live After Death features recordings from LA's Long Beach Arena and London's Hammersmith Odeon. Most of their their greatest songs to this point are represented, including "Aces High", "2 Minutes To Midnight", "The Trooper", "Revelations", "Rime Of The Ancient Mariner", "Powerslave", "Number Of The Beast" "Hallowed Be Thy Name", "Iron Maiden", "Children Of The Damned" and more!

Our favorite album ever from Roland Kirk – and a beautiful mix of two different sides of his genius! Side one's got Roland doing these crazy takes on late 60's pop cuts like "My Cherie Amour" and "Say a Little Prayer", plus his own "songs", done with soulful vocals and a straight-on approach that shows him trying to break out of the avant jazz underground, and reach a wider audience with a spiritual message on tracks like "Search For The Reason Why" and "Spirits Up Above". If this description sounds like a mess, it's not – because this side of the album is one of Kirk's most brilliant statements ever about jazz, soul, love and freedom! Side two has Roland in a straighter vein – running through a tight live set from Newport 1968, handled with fire and imagination, the kind of boundless energy he always brought to his public appearances. Tracks on that set include "One Ton", "Three For The Festival", "Afro Blue", and some great remarks by Roland!

An unusual little soundtrack to this obscure pre-Roots film about slavery – handled with some very nice touches from Gary McFarland, Bobby Scott, and Grady Tate! The music is penned by Scott, and is mostly in that hip blend of jazz and soul roots that he was using on some of his own 60s vocal work – but expanded a bit more here with the groovier styles of Skye Records, thanks to arrangements and conducting from Gary McFarland! The work's not as funky as you might expect, but is still plenty darn great – and there's a few instrumental numbers that are especially great here. Grady Tate sings on the vocal ones, often in the deep-voiced style of his own Skye albums – but with an approach that's a bit more down home and soul-based, which is a nice change – almost like Oscar Brown Jr at the best moments. A number of tracks are done in both instrumental and vocal versions – and titles include "Nightwind", "Slaves", "Black Lullabye", "Another Mornin", and "Pickin Cotton".

An incredibly spiritual session from percussionist Louis Moholo and his ensemble Viva La Black – recorded on the occasion of a series of concerts in Moholo's homeland of South Africa – and done in a way that's as much a document of the group's trip as it is a recording of the music in the concerts. Many of the tracks are shorter passages that flow together with longer ones – piecing together the warm spirit and soulful expression allowed to the group during the tour. And the music itself shares in a heritage that runs back through the 60s work of Mingus and Roland Kirk, the 70s experiments of the AACM, and the rich jazz-in-exile work of Moholo himself! Instrumentation includes percussion, trumpet, saxes, piano, and bass – plus vocals from all the members of the group – and titles include "Use Less Sugar & Stir Like Hell", "Volunteered Slavery", "Woza", "Nikosi", "End Of Man", "Dudu P", "I'll Look All Over Afrika For You", "Drum Choir", and "Joyful Noise".

An album that collects a number of groovy tunes by Dionne – some from movies she starred in, some from soundtracks she recorded, and others from films that she never had a hand in at all! Arrangements are by Burt Barcharach, Pat Williams, Garry Sherman, and Bobby Scott – and titles include "Slaves", "The April Fools", "A House Is Not A Home", "The Look Of Love", "Alfie", and "Valley Of the Dolls".

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

Iron Maiden at their mid 80s peak – and along with Number Of Beast and Piece Of Mind, Powerslave completes one of the mightiest trilogies in metal history – pretty much cementing the Maiden legend! Kicking off with the incredible one-two punch of "Aces High" and "2 Minutes To Midnight" and closing up with the title track and the epic "Rime Of The Ancient Mariner", there's really no way to call this anything but a classic – but the remaining album tracks are among Maiden's finest, too! Those include killer instrumental "Losver Words (Big 'Orra)", "Flash OF The Blade", "The Duellists" and "Back In The Village".