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Hard to be lonely with a groove this great – a sweet 60s stepper with a great midtempo punch – one that really works great for the deep-toned vocal approach of Jewel Akens! The cut's one of the best we've ever heard from the singer – and has an offbeat quality that's mighty nice. "Slice Of The Pie" is more upbeat overall, with great arrangements that wrap some vibe up in the strings – and sing-song vocals from Jewel that are a bit more in his usual bag!

DJ Format is joined by a pair of the more innovative figures in leftfield hip hop – the ever-adventurous Edan and underground mic hero Mr Lif! "Spaceship Earth" is killer – with raw and funky backdrop, psych funk guitar in the mix and other cosmic atmospherics. Edan is is all business on the rhymes, too! "Terror" is just as great – centered around funky drums and Lif's excellent rhymes with some sampled vocal madness swirling in and out. A great single!

Volume 1 in the K-Def Signature Sevens series from Splice Of Life – with vintage beats from the classic early 90s House Of Hits period – on the previously unreleased "What Goes Up" from Rated R. Includes the vocal & instrumental versions of this timeless cut.

A nice 10-inch single from Long Island mic master Oxygen – with tight production from Gensu Dean! Includes the original vocal & instrumental – with scratches by DJ Ragz and Kid Dyno – plus a fresh remix and remix instrumental with scratchwork by Chief One.

A groovy bossa gem from the glory days of A&M Records – an ultra-hip group recorded with production by Sergio Mendes! The feel here is a lot like that of Brasil 66 – bossa rhythms, sunny CA instrumentation, and lovely female vocals – in this case sung singularly, by the lovely Gracinha Leporace – aka Mrs Mendes! Instrumentation is arguably even better than on Brasil 66 records – with wonderfully groovy organ lines from Manfredo Fest, who plays Lowrey organ instead of the usual Hammond. A really essential slice of bossa nova – and a record we'd never part with! Filled with wonderful tunes that include "Gentle Rain", "Up Up & Away", "Wave", "Do You Know The Way To San Jose", "Cacao do Sal", "Veleiro", "Saiupa", and "Nana".

A heck of a rare slice of Donald Byrd's career – a rare "with strings" session, recorded in 1957, but never issued until this brief 1982 LP on Discovery! The set also marks a rare early large set of arrangements by Clare Fischer – who backs up Byrd's shimmering trumpet lines with some great strings on the album – making for a moody session that's also got some nice modernist touches underneath. Given Byrd's Parisian recordings, and his work for a variety of labels at the time (this one was supposedly done for Warner Brothers), it's interesting to hear his more open style before it was clamped into the tighter Blue Note groove of the 60s. Titles include "Varmeland", "Lazy Afternoon", "Moon Mist", "I'm A Fool To Want You", "Dearly Beloved", and "September Afternoon".

A rare slice of work from trumpeter Don Cherry – music that's every bit as forward-thinking as his three classic 60s albums on Blue Note! The session is a live one, but the sound is quite strong – recorded up-close, and with great focus on Cherry's incredible horn work – as well as the efforts of the rest of the group, which includes Gato Barbieri on tenor, Karl Berger on vibes, Bo Stief on bass, and Aldo Romano on drums. There's a definite "new thing" vibe going on here – a style that's similar to some of Archie Shepp's work of the period, or that of some of Cherry's Blue Note contemporaries. Tracks are all long, and titles include "Complete Communion", "Neopolitan Suite", "Cocktail Piece", and "Free Improvisation Music Now".

A great slice of work from trumpeter Bill Coleman – an American player by birth, but one who became a key part of the French jazz scene in the postwar years – thanks to a big move overseas! Yet the sides here show Bill in an even fresher setting – not just a UK venue, but also working in more of a bop-oriented mode – which is a change from the trad and swing of some of his better-known albums from France! Coleman's trumpet has plenty of charm – a raspy, soulful approach that really makes his swing sessions sparkle – but which turns out to work equally well on some of the more hard-driving tracks here – which, mixed with the gentler lines, almost feel like some great lost 50s Verve album. The set features a lineup of players who include Lou Hooper on tenor, Alan Littlejohn on additional trumpet, Tony Millener on trombone, Ron Matherson on piano, Ron Rubin on bass, and Johnny Richardson on drums – and titles on this first volume include "Spain", "Telegraph", "Sweets", "Three Little Words", and "I'm Growing Fonder Of You/Dream Man".

A great slice of work from trumpeter Bill Coleman – an American player by birth, but one who became a key part of the French jazz scene in the postwar years – thanks to a big move overseas! Yet the sides here show Bill in an even fresher setting – not just a UK venue, but also working in more of a bop-oriented mode – which is a change from the trad and swing of some of his better-known albums from France! Coleman's trumpet has plenty of charm – a raspy, soulful approach that really makes his swing sessions sparkle – but which turns out to work equally well on some of the more hard-driving tracks here – which, mixed with the gentler lines, almost feel like some great lost 50s Verve album. The set features a lineup of players who include Lou Hooper on tenor, Alan Littlejohn on additional trumpet, Tony Millener on trombone, Ron Matherson on piano, Ron Rubin on bass, and Johnny Richardson on drums – and titles on this second volume include "Impulsive You", "Jam", "Theme Song", "Take The A Train", and "Blue Turning Grey".

Funky genius from Con Funk Shun – a pair of late 70s albums – together in a single set! Loveshine finds the group working under the production helm of Skip Scarborough, who seems to give them an even sharper edge than usual! The album's filled with those tightly compressed rhythms that Skip was so great in producing back in the 70s – grooves that seem to make more out of doing less – and which have a sense of space and timing that's totally impeccable. There's a few light jazzy touches at times too – bits of flute, sax, and organ that bring in a nice sense of depth, and which takes it far past easily classified funk! Titles include "So Easy", "Shake & Dance With Me", "When The Feelings Right", "I Think I Found The Answer", "Wanna Be There", "Can't Go Away", "So Easy", and "Magic Woman". Con Funk Shun really hit a tight groove Candy – late 70s dancefloor funk at its finest – and a turning point for the group that set the scene for 80s grooves to come! The killer group vocals, thumping funk bass and punctuating horn blasts are in full effect, and the group is also starting to work more with synthesizers and electronic sound washes – the spacey touches blending perfectly with their tried-and-true funk. A great batch of tunes, well-produced by the group and Skip Scarborough, and ear-pleasing tunes all the way – sparkling with a great blend of bassy funk and smooth ballads! Tracks include "Fire When Ready", "Chase Me", "Not Ready", "Da Lady", "Candy" and "(Let Me Put) Love On Your Mind", "Main Slice" and "Images".

An incredibly rare slice of righteous soul – pulled from obscurity! "Third Eye" has this really cool little groove – jazzy, but kind of light too – with these horns that are way in the background as the core skipping rhythms set most of the scene – all to some very human, honest lead vocals that fit nicely into the whole mix! "Back Home" is a mellow ballad, but has this light stepping groove that's pretty catchy!

Fat Joe's first LP – a very strong slice of east coast early 90s gangsta that's way stronger than the 14-year-olds who listened to Joe in the 00s will probably ever know. With quality production all the way through by The Beatnuts, Diamond D, Showbiz and Lord Finesse and scratches by Rob Swift and Rock Raider (Roc Raida). Features guest appearances by Grand Puba (that to our ears anyway, sound better than his solo stuff from that time), Diamond D, Kool G Rap, Apache, and King Sun. With the hits "The S**t Is Real", "Watch The Sound", "I'm A Hit That", "Flow Joe", "You Must Be Out of Your F***in' Mind" and eight more.

A totally amazing little package – every single album recorded by Fela Kuti, served up in tiny LP-style sleeves, and brought together in one excellent box set – with a bonus movie as well! The collection features a total of 46 albums, most of which are paired up with crucial counterparts, as on some of the previous CD releases of the material. But this time around, there's way more than you might imagine in one place – classic records that include Afrodisiac, Confusion, Shakara, Fela's London Scene, He Miss Road, Kalakuta Show, Music Of Many Colors, Beasts Of No Nation, Army Arrangement, Coffin For Head Of State, Original Sufferhead, ITT, The Fela Singles, Roforofo Fight, Excuse O, Moise For Vendor Mouth, Why Black Man Dey Suffer, Na Poi, Authority Stealing, VIP, Fela With Ginger Baker Live, Underground System, Zombie, and lots lots more – a truly amazing run of music! Also features the bonus DVD – A Slice Of Fela.

The rare second set from First Class – and a set that's every bit as heavenly as the first! The album's a great slice of later New Jersey soul – still very much in the mode started by groups like The Moments or Whatnauts, but showing a stronger Philly influence on the groovers – which are mixed in here with gentler, mellower cuts that really show the group's great harmony talents! Although never as big as contemporaries like Blue Magic, First Class have a great approach that really holds on strong throughout the set – working here with production from George Kerr, Donnie Elbert, and Tommy Keith – all of whom know how to get the sound right for the feel of the tunes. Titles include "Give Me Lend Me", "Let's Make Love", "Coming Back To You", "Lucky Me", "Hypnotized", and "Going Out Of My Head". CD features four bonus tracks too – "It's Never Too Late", "Beginning Of The End", and "Don't Know What You're Doing" in both stereo and mono versions.

A limited edition slice of goodness from Mayer Hawthorne – a live performance recorded for the Morning Becomes Eclectic program on KCRW in LA! The material's a nice addition to the studio Hawthorne we already love – and shows a new sort of warmth that comes through not just in the performance, but in some of the interview bits too. The band is a small combo, and titles include "No Strings", "Love In Motion", "Dreaming", "The Walk", "Shiny & New", and "I Wish It Would Rain".

A rare slice of ECM Records from the 70s – a previously-unreleased live performance – featuring some of the label's most influential talents of the time! The core energy here comes from the piano of Keith Jarrett and reeds of Jan Garbarek – both musicians whose instruments shaped the sound of the label, and of jazz in general, during this crucial decade in modern music – aided here by Palle Danielsson on bass and Jon Christensen on drums – players with a keen ear for the sorts of rhythms needed to really make the music flow! Tracks are quite long, and in some of the best spirit of Jarrett's work with reeds – yet also warmer than his music with Dewey Redman at the time. Really beautiful throughout – with tracks that include "Personal Mountains", "Innocence", "Chant Of The Soil", "New Dance", "Oasis", "So Tender", and "Prism".

A very unusual slice of the Chicago jazz scene – and maybe the only album ever recorded by Grady Johnson – an altoist who's worked in the city for decades – an early disciple of Walter Dyett, and a student of his many years before Johnny Griffin and John Gilmore! The set's from 1999, and features a very unusual group led by Johnson – with George Freeman on guitar, Dickie Harris on trombone, and Roland Faulkner on "banjo guitar" – a very unusual instrument that's somewhere in between the two. The group played for over a decade at a regular jazz brunch – where they were supposed to deliver trad, but often gave more of a Chicago hardbop performance – and the CD's a really unusual blend of these genres, especially in Faulkner's unusual string work. The set's worth it alone for Grady's under-recorded work on alto – and for some very nice solos from George Freeman – and titles include "RBQ", "Just A Closer Walk", "The Preacher", "Miles Theme", "Lady Be Good", and a nice "Ballad Medley".

A strange lost relic from Beach Boy Bruce Johnston – recorded in the mid 70s with some sweet AOR production work by Gary Usher. The album's actually a fantastic slice of late 60s sunny LA pop – and features work by Curt Boettcher, Chad Stuart, and a few other lost pop luminaries – working with Johnston in a compressed style of pop that's got some nice similarities to the better 70s work of the Beach Boys. The album includes great remakes of "Deirdre" and "Disney Girls", a strangely nice version of "I Write The Songs" (actually written by Johnston himself!) – and the tracks "Rendezvous", "Won't Somebody Dance With Me", "Pipeline", and "Thank You Baby". A great bit of overlooked soft rock from the 70s! 2 bonus tracks on this Japanese CD edition: single and 12" disco versions of "Pipeline".

A mostly instrumental Exhibit from the mighty K Def – and a top shelf slice of timelessly inventive, head nodding hip hop production! Great stuff with prominent beats that pull you right in, but there's a lot more going on in the mix – sinister bass lines, moody keys, bits of guitar and more. It kicks off a pair of strong tracks with guest MCs – "Exhibit 2A" featuring Seven Shawn of World Renown and "The Fundamentals" with Blu & Quartermaine – and the instrumentals include "Improvs From The Brain", "Mind Boggled", "Get Your Mustard", "Relay The Piece", "Lost My Thought Part 1", "Stay Thinking About Music", "Chord Tester", "Rock It", "Lost My Thought Part 2" and more. 17 tracks in all.

A rare slice of work by Roland Kirk from his early years – a great live set recorded in Europe in the mid 60's – done in a looser mode than his studio sessions from the time! Kirk's playing his usual array of incredible horns – tenor, stritch, flute, nose flute, and manzello – with an international group that features Tete Montoliu on piano, Niels Henning Orsted Pederson on bass, and J.C. Moses on drums. In the setting, there's more of a hardbop feel to the material than on some of Kirk's studio sets – but given Roland's penchant for unusual phrasing, twin-reed blowing, and general free-thinking overall, the sound is pretty unique overall! Titles include "Mingus-Griff Song", "The Monkey Thing", and "On the Corner of King and Scott Streets".

A rare document of a short-lived slice of the King Kong myth – a Saturday morning cartoon in which Kong was the friend of some little kids in the jungle, and a much less threatening force than when climbing the Empire State Building! The soundtrack offers capsulized episodes of the show – with music by Jules Bass & Maury Laws, plus narrated adventures by Bob McFadden, voices from the show, and even a bit of sound effects! Adventures include "Under The Volcano", "Dr Who", "The Treasure Trap", and "The African Bees" – as well as nice versions of the cool theme song!

An amazing version of this one – the core soundtrack really expanded with a lot of extra from the film, not just the record – and presented here as a 2CD set with loads of extra source music, alternate takes, and cues as well! The core version of Happy Ending is a real slice of genius from Michel Legrand – one of his brilliant late 60s soundtracks, not as well remembered as, but cut during the same period as The Thomas Crown Affair. The soundtrack is probably best remembered for the incredible theme "What Are You Doing The Rest Of Your Life" – sung here in 2 versions by Michael Dees, and also served up in a nice instrumental take as well. But overall, the whole record is pretty darn great – not as out and out groovy as some of Legrand's other work, but with a great mix of moody, jazzy, and atmospheric – handled with some really great instrumental touches that are all Legrand, all the way! Titles include "Smooth Sailing", "Collage", "Diamonds Are Forever", "Floating Time", "Hurry Up N Hurry Down", and "Whistle While You Swing". 2CD version features all the material unearthed for that very limited MGM box set a few years ago, a total of 48 tracks in all – with other gems that include "Soft Sell", "Till Death Do Us Part/That Trapped Feeling", "Bahama Blues", "The Stripper", "Reconciliation", and "It Ought To Be Forever".

What can we say? This is one of the greatest albums of all time – and it's made even better through the addition of a bunch of previously unissued tracks! The record's got a sound that's completely unique – as crack LA garage punk rock meets Hollywood baroque production, and the result is an amazing bit of loud guitar noise backed by strings and horns, all graced by the godlike vocals of the great Arthur Lee. Forever Changes is a milestone in rock – an incredibly bleak document about insanity, escape, and the coming revolution that never happened. Think of all the best moments of Wild In The Streets, Zabriske Point, and Invocation of My Demon Brother rolled into one – and you'll only have a tiny slice of the picture! A record that will haunt us until the day we die – filled with incredible songs like "Alone Again Or", "Old Man", "Red Telephone", and "Maybe The People Would Be The Times Or Between Clark & Hilldale".

A sweet slice of work from Frank McComb – and a wonderful example of the warmth and soulful energy he brings to his live performances! The album captures Frank in front of a very appreciative hometown audience in Atlanta – mixing his amazing vocals and sweet keyboard lines beautifully – and with a spontaneous quality that's light years ahead of some of the stiffer studio projects of his contemporaries – often handled with a slight jazzy undercurrent that really makes the music sparkle! McComb's got a way with words and keys that really takes us back to Stevie Wonder in the 70s – but, since Frank's almost stayed stronger for longer than Stevie, we almost find his music more inspirational in the long run! Titles include "I'd Be A Fool", "Time & Time Again", "Cupid's Arrow", "Contact", and "Never Letting Go".

A great slice from Jackie McLean's rare unissued 60s sessions for Blue Note – a rollingly soulful session that stands in stark contrast to some of his more modern sides of the time! The set's got Jackie working with a group that includes Lee Morgan on trumpet and Harold Mabern on piano – in a vamping, soaring vibe that's similar to the feel of contemporaneous Morgan sessions like The Gigolo or Tom Cat – but which has a slight bit of McLean's more modernist edge from time to time. Mabern's piano work is tremendous – filled with life and joy that soar the album effortlessly along – and the lyrical drum work of Billy Higgins and basslines from Herbie Lewis are also very much a key part of this groove. The set was originally recorded in 1965, but only made a first appearance on record in 1979 – and even then, only briefly! Titles include "Vernestune", "Slumber", "Bluesanova", "Consequence", and "Tolypso".

A bold slice of work from the Daptone musical universe – a hip project that features work from members of The Dap Kings, El Michels Affair, Budos Band, and Antibalas – all put together with a range of sounds that really show the full spectrum of their styles! The groove's quite unique – even for the ultra-cool Daptone scene – as Menahan Street Band bring in bits of dub, funk, Latin, and Afro-styled sounds to their music – often working with a sense of spareness that seems influenced by 70s Ethiopia, but which comes off with a heavier Wu-inspired sound! There's no vocals at all – just really raw, stark instrumental bits – played on vibes, organ, tenor, flute, piano, trumpet, and some kickass percussion – produced with just the right sort of grit to make all tunes sound great. Titles include "Tired Of Fighting", "Home Again", "Montego Sunset", "The Traitor", "The Contendor", "Birds", "Esma", and "Going The Distance".

A nice slice of the Brooklyn underground, produced by Kenny Dope.

A rare early slice of work from the legendary Hank Mobley – a live performance from 1953, and one that predates most of his better-known Blue Note material! The recording quality's aged a bit with time, but the genius of Mobley shines through right away – that bold, soulful approach to tenor sax that's unlike anyone else – and which went onto raise the standard for generations of players to come! Hank really gets to stretch out here, as most of the tracks are nice and long, and help show a side of Mobley's world that didn't always appear in the more polished setting of the studio. The group's great too – with Bennie Green on trombone, Walter Davis on piano, Jimmy Schenck on bass, and Charlie Persip on drums – all jamming with Mobley on tracks that include "Blues Is Green", "Keen & Peachy", "Lullaby Of Birdland", "Ow", "There's A Small Hotel", "Jumpin With Symphony Sid", and "All The Things You Are".

A trio of video performances from tenorist David Murray – all packaged nicely together on a single DVD! First up is David Murray I'm A Jazzman – a slice in the life of Murray, captured by the camera – and running for almost an hour. Next is David Murray & The Gwo Ka Masters Live In Sante Lucie – three quarters of an hour's worth of performance from 2008 – with lots of percussion next to Murray's horn! Last up is David Murray & The Black Saint Quartet Live At Banlieues Blues Festival in 2010 – a half-hour's performance, shot in a very stylistic way!

The overlooked collaboration between Human League singer Philip Oakey and producer Giorgio Moroder! The duo initially worked together on the outstanding "Together In Electric Dreams" single – a surprise hit from Moroder's soundtrack for a forgettable movie – and given The Human League's move towards a dancefloor sound around the same time, the timing was perfect to team up! Moroder lays down a soulful synth backdrop that rarely lets up – in fact, the first five tunes flow together almost like a continuous suite! Ultimately, this is a sweet slice of quintessentially 80s sounds – in a style that's endured – especially when you consider its influence on groups like Passion Pit a good 25 years later! Other tracks include "Now", "Why Must The Show Go On", "In Transit", "Goodbye Bad Times" "Brand New Lover (Take A Chance)", "Be My Lover Now", "Valerie" and "Shake It Up". Bonus tracks on this CD version from Gold Legion include an extended version of "Together In Electric Dreams", "In Transit/Goodbye Bad Times (12" Remix)" and "Be My Lover Now (12" Remix)".

A legendary album from saxophonist Sahib Shihab – a record that's gone onto become the birth of all things modal and club jazz in the current scene! Shihab always sounded great, no matter what the setting, but there was definitely something magical going on with this session – a one-of-a-kind energy that made his baritone and flute work sound incredibly soulful, searching, and searing – set up with a tight small combo that includes Francy Boland on piano, Fats Sadi on vibes, Jimmy Woode on bass, and Kenny Clarke on drums – a hip slice of the Clarke Boland Big Band that works beautifully together! Every tune here is wonderful, and you're bound to recognized a few covered or sampled classics over the years – on cuts that include "Seeds", "Peter's Waltz", "Who'll Buy My Dream", "Another Samba", "Jay Jay", "Uma Fita De Tres Cores", and "Mauve".

A pivotal moment for Shoes – demo material that pre-dates their classic Present Tense album – pulled from the vaults, and issued here as a wonderful pre-Elektra slice of their career! The tunes were originally cut in the basement of a bridal shop in Northern Illinois – yet already have Shoes sounding a lot sharper than their Black Vinyl album – a tightness that shows a tremendous growth on all fronts in a really short space of time – yet no too-commercial production to smooth out any of the bite of the music! Had these tunes come out in this format, the record may well have reached ears the big label debut had missed – and hat's off to the folks at Numero for finally bringing these gems to light. Titles include "I Don't Wanna Hear It", "Say It", "Three Times", "Tomorrow Night", "I Don't Miss You", "Cruel You", "Somebody Has What I Had", and "Now & Then".

Quite possibly the greatest album ever from Side Effect – a wonderful set that mixes their soulful harmonies with some killer jazz funk from Wayne Henderson! The album may be the most perfect realization of the groove that Henderson was going for during his At Home Productions years – lots of funky fusion in the instrumentation, but all directed towards a tighter, more soul-based style – that perfect contribution that Fantasy Records made to the world in the 70s – after labels like Blue Note and Columbia first started setting things down. Whatever the chronology, though, this set's a standout no matter how you slice it – damn catchy tunes, incredible vocals, and a set of rhythms that are every bit as hip today as they were back when first recorded – really genre-defining grooves that you'll definitely recognize in the album's classics "Always There" and "Keep That Same Old Feeling" – and will go on to love in the cuts "Life Is What You Make It", "Changes", "I Know You Can", "SOS", "Time Has No Ending", "Finally Found Someone", and "Honky Tonk Scat".

Quite possibly the greatest album ever from Side Effect – a wonderful set that mixes their soulful harmonies with some killer jazz funk from Wayne Henderson! The album may be the most perfect realization of the groove that Henderson was going for during his At Home Productions years – lots of funky fusion in the instrumentation, but all directed towards a tighter, more soul-based style – that perfect contribution that Fantasy Records made to the world in the 70s – after labels like Blue Note and Columbia first started setting things down. Whatever the chronology, though, this set's a standout no matter how you slice it – damn catchy tunes, incredible vocals, and a set of rhythms that are every bit as hip today as they were back when first recorded – really genre-defining grooves that you'll definitely recognize in the album's classics "Always There" and "Keep That Same Old Feeling" – and will go on to love in the cuts "Life Is What You Make It", "Changes", "I Know You Can", "SOS", "Time Has No Ending", "Finally Found Someone", and "Honky Tonk Scat".

The third and last album from Special Ed, not as much of a stand out as his first two, but still a great slice of mid 90s hip hop. Guest spots from Bounty Killer and Nine, beats by Special Ed, Akshun, Mark Sparks and Howie Tee. 14 tracks in all, including "Lyrics", "Neva Go Back", "Rough 2 The Endin'", "Walk The Walk", "It's Only Getting' Worse", "Just A Killa", "Rukus", "Freaky Flow", "Won't Be Long", "Crazy", "Here I Go Again", "Just Like Dat", 'Everyday Iz A Gunshot" and "We Rule".

A beautiful lost slice of British jazz, recorded during the crucial period before some of the scene's players went too far off the deep end! John Surman partners here with composer/leader John Warren, for a large group recording that sounds similar to some of the best early Mike Westbrook recordings. The album's comprised of a suite of 5 tracks, all played by a large group in a style that shows the best British modernist tradition of the 60's. The ensemble playing is dark and moody – but always tight at all moments. The group's soloists – like Surman, Mike Osborne, Barre Phillips, Kenny Wheeler, and others – soar out of the arrangements in tightly constructed, brilliantly realized solos that stand as some of their best work. Titles include "With Terry's Help", "We'll Make It", "The Dandelion", "The Picture Tree", and the "Tales Of The Algonquin" suite.

Delicate dissonance, bruised beauty, and hazy noise pop – all in one of the best rock albums ever made – the amazing first album from the Velvet Underground and Nico! The album's the stuff of legend – and for good reason, too – a surprising slab of vinyl that barely set the world on its ear when first issued back in the mid 60s – yet a record that's gone onto have an influence felt for decades to come – arguably one of the most important rock records of all time. There's a really sinister edge to the record, even when things are sweet – and the range of subject matter and handling here is brilliant – from the dream pop slice of heaven "Sunday Morning", the melodic bitterness of "Femme Fatale", the massive White Light-esque freakout "European Son", and the sublime "Heroin" – quite possibly the inspiration for generations of drug use to come. The whole thing's a classic – with wonderful vocals from both Nico and Lou Reed – and titles include "Venus In Furs", "Run Run Run", "Black Angel's Death Song", "I'll Be Your Mirror", and "All Tomorrow's Parties".

Delicate dissonance, bruised beauty, and hazy noise pop – all in one of the best rock albums ever made – the amazing first album from the Velvet Underground and Nico! The album's the stuff of legend – and for good reason, too – a surprising slab of vinyl that barely set the world on its ear when first issued back in the mid 60s – yet a record that's gone onto have an influence felt for decades to come – arguably one of the most important rock records of all time. There's a really sinister edge to the record, even when things are sweet – and the range of subject matter and handling here is brilliant – from the dream pop slice of heaven "Sunday Morning", the melodic bitterness of "Femme Fatale", the massive White Light-esque freakout "European Son", and the sublime "Heroin" – quite possibly the inspiration for generations of drug use to come. The whole thing's a classic – with wonderful vocals from both Nico and Lou Reed – and titles include "Venus In Furs", "Run Run Run", "Black Angel's Death Song", "I'll Be Your Mirror", and "All Tomorrow's Parties". 2CD versions features 9 tracks from Scepter Studios sessions from 1966, 6 tracks from Factory Rehearsals in 1966, the stereo version of the album, and 5 alternate versions that include "All Tomorrow's Parties (alt single voice version)", "Heroin (alt version)", "European Son (alt version)", "I'll Be Your Mirror (alt mix)", and "All Tomorrow's Parties (alt inst mix)".

Delicate dissonance, bruised beauty, and hazy noise pop – all in one of the best rock albums ever made – the amazing first album from the Velvet Underground and Nico! The album's the stuff of legend – and for good reason, too – a surprising slab of vinyl that barely set the world on its ear when first issued back in the mid 60s – yet a record that's gone onto have an influence felt for decades to come – arguably one of the most important rock records of all time. There's a really sinister edge to the record, even when things are sweet – and the range of subject matter and handling here is brilliant – from the dream pop slice of heaven "Sunday Morning", the melodic bitterness of "Femme Fatale", the massive White Light-esque freakout "European Son", and the sublime "Heroin" – quite possibly the inspiration for generations of drug use to come. The whole thing's a classic – with wonderful vocals from both Nico and Lou Reed – and titles include "Venus In Furs", "Run Run Run", "Black Angel's Death Song", "I'll Be Your Mirror", and "All Tomorrow's Parties".

A great early slice of Eddie Vinson – material that features him playing alto and singing, in a mode that's almost more jump and jive than later R&B!

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".

An incredible slice of Chicago blues – and maybe one of the most important contributions Delmark ever made to the Windy City scene! The album captures Junior Wells in all his rough and raw brilliance – working in territory that's quite similar to the Chess Records vibe of the early 60s – in a group that has Buddy Guy on guitar, Otis Spann on piano, and Louis Myers on a bit of extra guitar! Guy sings a bit, but Junior does most of the vocals – and also plays harmonica too – on titles that include "Blues For Mayor Dalye", "Stop Breaking Down", "You Say You Love Me", "Trouble Don't Last Always", and "Baby Please Lend Me Your Love".

A great slice of the modern jazz underground of the late 50s – and a session by a group you've probably never heard of! The Westchester Workshop is an octet that features trumpet by Joe Shepley, trombone by Eddie Bert, tenor by Carmen Leggio, and alto by Vinnie Riccitelli – composer of most of the tunes on the set! The group's feel is very much in the chamber/modern mode of a side of the New York scene of the time – a bit like West Coast jazz, but not as cool overall, and with some nice breakout solo moments. Titles include "The Beak", "No Coast At All", "Carmenooch", "Bert Flight", and "Key Chain".

A crucially important slice of work – and maybe one of the most striking sets in this all-great Spiritual Jazz series! The focus here is on some of the great American players working in Europe during the late 60s and early 70s – often in collaboration with equally forward-thinking Europeans, and with results that are still musically amazing all these many years later! The collection has American flautist Sahib Shihab working with Swiss guitarist Pierre Cavalli, sound library maestro Johnny Hawksworth with west coast giant Hampton Hawes, Don Cherry working with Krzysztof Penderecki, a rare version of "Enlightenment" by Sun Ra in France and other legendary European recordings by Albert Ayler, Billy Gault, and Lee Konitz – a wonderfully rich blend of players. The tracks are pulled from records we almost never see – especially on vinyl – titles include "Studie Nr 1 Fur 12 Saitige Gitarre" by Pierre Cavalli & Sahib Shihab, "Jazz Rule" by Johnny Hawksworth & Hampton Hawes, "Born & Shake" by Clarence Peters, "Enlightenment by Sun Ra, "Summertime" by Albert Ayler, "T & W" by Frank Wright Sextet, "Humus The Life Exploring Force" by Don Cherry & The New Eternal Rhythm Orchestra, "Five, Four, & Three" by Lee Konitz, "The Creators" by Bobby Hutcherson with Harold Land, and the masterful, nearly 20-minute "Springtime" by Eric Dolphy. Includes a great essay on the scene by Francis Gooding, plus extensive info for each track!

A crucially important slice of work – and maybe one of the most striking sets in this all-great Spiritual Jazz series! The focus here is on some of the great American players working in Europe during the late 60s and early 70s – often in collaboration with equally forward-thinking Europeans, and with results that are still musically amazing all these many years later! The collection has American flautist Sahib Shihab working with Swiss guitarist Pierre Cavalli, sound library maestro Johnny Hawksworth with west coast giant Hampton Hawes, Don Cherry working with Krzysztof Penderecki, a rare version of "Enlightenment" by Sun Ra in France and other legendary European recordings by Albert Ayler, Billy Gault, and Lee Konitz – a wonderfully rich blend of players. The tracks are pulled from records we almost never see – especially on vinyl – titles include "Studie Nr 1 Fur 12 Saitige Gitarre" by Pierre Cavalli & Sahib Shihab, "Jazz Rule" by Johnny Hawksworth & Hampton Hawes, "Born & Shake" by Clarence Peters, "Enlightenment by Sun Ra, "Summertime" by Albert Ayler, "T & W" by Frank Wright Sextet, "Humus The Life Exploring Force" by Don Cherry & The New Eternal Rhythm Orchestra, "Five, Four, & Three" by Lee Konitz, "The Creators" by Bobby Hutcherson with Harold Land, and the masterful, nearly 20-minute "Springtime" by Eric Dolphy. Includes a great essay on the scene by Francis Gooding, plus extensive info for each track!

A beautiful slice of Japanese jazz from the 70s – grooves that mix together older bamboo flute sounds with modern styles – bits of funk, modal, and fusion that work perfectly with the warm tones of the flute! The blend is completely seductive – very Japanese, but with a really universal appeal – and as you'd guess, most of these cuts never made it out to the rest of the world at the time – so we've got the cats at Wax Poetics Japan to thank for bringing them all together in a killer set like this! There's plenty of funky numbers on here that really make the set worth getting – a real musical discovery, as you'll hear on cuts that include "Eli's Coming" by Singers Three, "Left Right" by Richard Pine & Company, "See See Rider" by Singers Three, "Blue" by Takeshi Inomata & The Sound Limited, "Loving You" by George Ohtsuka, "Negative & Positive" by Minoru Muraoka, and "Judy's Samba" by Seiichi Namakura Quintet.

The oddball early 80s debut of The Big Boys – a slice of weirdness from the Austin, TX underground that paved the way for stylistically sprawling 80s punk and hardcore to come! One thing that sets The Big Boys apart is the bass sound, which is way up there in the mix. As paired with shredded-chord vocals and the brute force of the guitar and drums, the group had a really unique, nearly unprecedented sound. Oddball songs mixed with irascible punk attitude! This great reissue from Light In The Attic's Modern Classic imprint gives it the proper respect – with heavy vinyl, packaging and insert. Includes "Security", "TV", "I Don't Wanna Dance", "Identity Crisis", "Thin Line", "Advice", "Complete Control", "Work Without Pay", "Spit", "Act/Reaction", "Self-Contortion" and "Wise Up".

An amazing album – and a really unique slice of the underground of jazz in the 60s! The session was put together in 1963 by Walt Dickerson, and was conceived as an attempt to draw attention to the incredible amount of great jazz players who were then currently serving time in prison for trumped-up drug charges. The players were culled from New York's Riker's Island, and the mix is a strange and wonderfully surprising blend of musicians that includes Hope, John Gilmore, Ronnie Boykins, Philly Joe Jones, and Earl Coleman. The quality of the work and writing is superb, and not only is the record a high point in Hope's all-too-short career, but it also features some excellent non-Sun Ra work by Gilmore! Titles include "One For Joe", "Three Silver Quarters", "Kevin", "Trippin", and "It Shouldn't Happen To A Dream".

A wonderful album from the young Irish singer/songwriter who went onto become one of the brightest lights in 70s pop! The record isn't his most famous, but it's got loads of great early songs that show O'Sullivan's brilliant talent for putting together lyrics that were simple and witty, yet never cloying – and which also had a wonderful picture postcard quality that made each song a great little slice of life. Titles include "Permissive Twit", "Matrimony", "Nothing Rhymed", and the sublime "Houdini Said".

The overlooked collaboration between Human League singer Philip Oakey and producer Giorgio Moroder! The duo initially worked together on the outstanding "Together In Electric Dreams" single – a surprise hit from Moroder's soundtrack for a forgettable movie – and given The Human League's move towards a dancefloor sound around the same time, the timing was perfect! Moroder lays down a soulful synth backdrop that rarely lets up – in fact, the first five tunes flow together almost like a continuous suite! Ultimately, this is a sweet, largely forgotten slice of quintessentially 80s sounds – in a style that's endured – especially when you consider its influence on groups like Passion Pit a good 25 years later! Other tracks include "Now", "Why Must The Show Go On", "In Transit", "Goodbye Bad Times" "Brand New Lover (Take A Chance)", "Be My Lover Now", "Valerie" and "Shake It Up".

An amazing collection of music from legendary bassist William Parker – 6 CDs' worth of performances, all of them unreleased, packaged together in a limited edition box set with a detailed booklet as well! The scope of the sounds is amazing – almost like finding the full career of a jazz musician in one space – even though it's only a slice of the rich contributions that Parker has made to music over his decades in jazz! A number of the tracks features important large ensembles that push forward ideas from the loft jazz generation – with players who include Daniel Carter on saxes, David S Ware on tenor, Jemeel Moondoc on alto, Charles Tyler on baritone, Roy Campbell and Raphe Malik on trumpets, Billy Bang on violin, and Rashid Bakr and Dennis Charles on drums. Other tracks feature sparer pairings that are especially haunting – duets between Parker's bass and the alto and trumpet of Daniel Carter, a trio with David S Ware on tenor and Dennis Charles on drums, and two long duo tracks with tenorist Charles Gayle! The whole thing's amazing – worth far more in music than its hefty price tag – and a huge discovery throughout!

A damn legendary record from the last years of Chess Records – and for good reason, too! Archie Whitewater were a group that was years ahead of its time – a rock combo, but one with real genre-crossing sensibilities that made them perfect for the experimental styles at the Cadet/Concept side of Chess – the same slice of the musical universe that gave us Rotary Connection and important productions from Charles Stepney! The sound here has some surprisingly soulful elements at times – especially the instrumentation, which features some great break moments that get nice and funky, and strands of soulful jazz and blues that really make the music way different than most other groups we can think of – or maybe a bit like a rare elite who shared such visionary territory with Archie Whitewater, such as Shades Of Joy on their first Fontana record. The keyboards and sax lines are as great as the drums – and the vocals have a melancholy undercurrent that's a really refreshing change from some of the overly-postured modes you'd get from other groups in 1970. Titles include the sublime sample cut "Cross Country" – but there's loads of other nice ones with the same stripped-down "Dusty Fingers" sort of groove – and other titles include "Life Is A River", "Home Again", "Lament For The Walking Dead", "Seacoast", "Country To the City", "Friends & Neighbors", and "Mist Of The Early Morning".

AWB's first for Atlantic – and a nice slice of funk that proves that they can mix it up with the best groups of the 70s! The record's got plenty of sweet electric keyboards over smooth funky basslines – and as the years go by, the band's white boy vocals don't sound nearly as bad as we remember them. And besides, when they play their instruments so nicely – how can you hold the singing against them? Includes the killer classic "Pick Up The Pieces", sampled more times than we can remember – plus "You Got It", "Just Wanna Love You Tonight", "Person To Person", and a nice remake of the Isley Brothers' "Work To Do".

A key slice of Clifford Brown from the 50s – two long tracks both recorded in an open-ended jam session format, showing a side of Brown's powers that's even bolder and more inventive than some of his previous studio work! The album soars along beautifully – with Brownie in the lead amongst an unusual, but well-chosen batch of players that includes Herb Geller and Joe Maini on alto saxes, Walter Benton on tenor, Kenny Drew on piano, Curtis Counce on bass, and Max Roach on drums – all grooving alongside Clifford on the album's nicely extended tracks. The album was released after Brown's death in 1956, features the side-long tracks "Caravan" and "Autumn In New York".

A real lost slice of work from the career of Chico Hamilton – recorded for the short-lived Dig label, owned by R&B artist Johnny Otis in the mid 50s! The group here is slightly different than Hamilton's quintet that recorded for Pacific Jazz – in that it's got a sound that's a bit less arranged, and which often opens up into some more freewheeling jazz styles at times. Buddy Collette and Jim Hall are on the session from Chico's regular group – and Buddy's really the co-leader of the set, and contributed some fantastic original tunes that are perfect for his colorful work on reeds. And the group's also got Curtis Counce on bass and Gerald Wiggins on piano – bringing a decidedly heavier groove to the record than on most 50s Hamilton work – one that's topped off by the trumpet of John Anderson, often muted but still powerful enough to make its presence known on the set. Titles include the Collette originals "It's You", "Green Dream", "Jungle Pogo Stick", "Tanganyika", and "A Walk On The Veldt" – plus other session originals "And So Is Love", "Wagnervous", and "The Blindfold Test".

Con Funk Shun really hit a tight groove on this one – late 70s dancefloor funk at its finest – and a turning point for the group that set the scene for 80s grooves to come! The killer group vocals, thumping funk bass and punctuating horn blasts are in full effect, and the group is also starting to work more with synthesizers and electronic sound washes – the spacey touches blending perfectly with their tried-and-true funk. A great batch of tunes, well-produced by the group and Skip Scarborough, and ear-pleasing tunes all the way – sparkling with a great blend of bassy funk and smooth ballads! Tracks include "Fire When Ready", "Chase Me", "Not Ready", "Da Lady", "Candy" and "(Let Me Put) Love On Your Mind", "Main Slice" and "Images".

An amazing album – and a really unique slice of the underground of jazz in the 60s! The session was put together in 1963 by Walt Dickerson, and was conceived as an attempt to draw attention to the incredible amount of great jazz players who were then currently serving time in prison for trumped-up drug charges. The players were culled from New York's Riker's Island, and the mix is a strange and wonderfully surprising blend of musicians that includes Hope, John Gilmore, Ronnie Boykins, Philly Joe Jones, and Earl Coleman. The quality of the work and writing is superb, and not only is the record a high point in Hope's all-too-short career, but it also features some excellent non-Sun Ra work by Gilmore! Titles include "One For Joe", "Three Silver Quarters", "Kevin", "Trippin", and "It Shouldn't Happen To A Dream".

A mostly instrumental Exhibit from the mighty K Def – and a top shelf slice of timelessly inventive, head nodding hip hop production! Great stuff with prominent beats that pull you right in, but there's a lot more going on in the mix – sinister bass lines, moody keys, bits of guitar and more. It kicks off a pair of strong tracks with guest MCs – "Exhibit 2A" featuring Seven Shawn of World Renown and "The Fundamentals" with Blu & Quartermaine – and the instrumentals include "Improvs From The Brain", "Mind Boggled", "Get Your Mustard", "Relay The Piece", "Lost My Thought Part 1", "Stay Thinking About Music", "Chord Tester", "Rock It", "Lost My Thought Part 2" and more. 17 tracks in all.

A soulful late 60s outing for Brother Yusef – one of his first, and one of his best, albums for Atlantic! Despite the misleading title, this isn't really the "complete" Yusef Lateef (it would have to be a 50 LP set for that!) – but the record is a nice slice of Yusef's playing from the late 60's, a record that shows him tightening things up a bit, and adding a bit of a soul jazz touch – but still keeping some of the jazz exotic roots of earlier recordings. The group includes Roy Brooks on drums, Cecil McBee on bass, and Hugh Lawson on piano – all Detroiters who have a keen sense of Lateef's style and poise on material like this! Titles include "Kongsberg", "See Line Woman", "Brother", and "You're Somewhere Thinking Of Me".

Quite possibly the greatest album ever from Side Effect – a wonderful set that mixes their soulful harmonies with some killer jazz funk from Wayne Henderson! The album may be the most perfect realization of the groove that Henderson was going for during his At Home Productions years – lots of funky fusion in the instrumentation, but all directed towards a tighter, more soul-based style – that perfect contribution that Fantasy Records made to the world in the 70s – after labels like Blue Note and Columbia first started setting things down. Whatever the chronology, though, this set's a standout no matter how you slice it – damn catchy tunes, incredible vocals, and a set of rhythms that are every bit as hip today as they were back when first recorded – really genre-defining grooves that you'll definitely recognize in the album's classics "Always There" and "Keep That Same Old Feeling" – and will go on to love in the cuts "Life Is What You Make It", "Changes", "I Know You Can", "SOS", "Time Has No Ending", "Finally Found Someone", and "Honky Tonk Scat".

A rare slice of power pop from the end of the 70s – just the kind of indie label gem that makes the genre so great! In a world where so many other groups were getting punky or quirky, The Toms keep things tight and right – really focusing on catchy melodies and well-penned rhythms – delivered with a simple, straightforward approach that's free from gimmicks, but plenty darn compelling. Lyrics are pretty fresh, but also have a sort of "instant classic" feel – making you wonder if you'd heard the songs before, given the way they grab you right away. Titles include "Let's Be Friends Again", "You Must Have Crossed My Mind", "Other Boys Do", "The Door", "It's Needless", "The Flame", "Think About Me", and "Better Than Anyone Else".

Digital music in a physical realm – a great little project that collects together a range of groundbreaking sounds from the online music scene – then puts them together in a well-presented compilation! The music here is all pretty darn fresh – a wicked batch of 21st Century soul, hip hop, nujazz, and more – all the sort that might have been issued on labels like Compost or Sonar Kollektiv a decade ago, but which hardly makes it on record these days! Yet thanks to the great efforts of Heavenly Sweetness, these grooves are getting some great exposure – almost like catching a great slice of Gilles Peterson's radio show. 2CD package features both volumes 1 & 2 – 29 titles that include "Drum Talking" by Mo Kolours, "Grandma" by Bobby Blunt, "Fall In Love" by Badbadnotgood, "Hold On" by KRTS, "Una Peripecia" by Buddy Sativa, "Journey Through My Mind" by Bug, "Conflict Of A Man" by Erimaj, "Kalimba Song" by Abjo, "Controlled Feelings" by Opolopo Voltage, "Where You Gone" by INT, "Journey To The Shore" by Dopegems, "Muscles" by Bonnie Banane, "Freak Out" by Natronix, "YBMJ" by Monkeyrobot, "Dealing" by Up High Collective, "Paintball" by Monster Sneaker, and "All Matter" by Modlee & Vlooper.

Not the full story of Bossa Nova (for that, we might suggest the Trip To Brazil CD) – but a good compilation of rare tracks from the EMI/Odeon catalog, home to some of the best work ever recorded in Brazil! The set's got more than a few hits, but it also features a number of tunes that we've not had easy luck finding on CD – and at this price, the 20-track set's a great little set of bossa tunes whatever way you slice it! Titles include "Voce" by Milton Banana, "Samba De Verao" by Marcos Valle, "Corcovado" by Joyce with Gilson Peranzzetta, "Fotografia" by Sylvia Telles, "Copacabana" by Nana Caymmi, "Se Todas Fossem Iguais A Voce" by Lucio Alves, "O Barquinho" by Pery Riberio, "A Ra" by Joao Donato, "Vivo Sonhando" by Marcos Valle, "Ao Amigo Tom" by Doris Monteiro, "Meditacao" by Luiz Eca & Astor, "Amor Em Paz" by Dick Farney & Claudette Soares, "Samba De Uma Nota So" by Walter Wanderley, "Chega De Saudade" by Lelia Pinheiro, and "A Felicidade" by Agostinho Dos Santos.

Another great Studio One collection from the folks at Soul Jazz, this time highlighting the DeeJays! While heavyweights like Big Youth & U Roy never voiced tracks for the groundbreaking label, there's no shortage of first class toasting on this selection, and it's Studio One, so you know the rhythms are hot! Dennis Alcapone, Dillinger and Prince Jazzbo all come hard with tracks like "Power Version" and "Natty Kung Fu", and there's a few sweet numbers by less well known names like Prince Francis & Jah Jesco, plus a nice slice of history with Count Machuki's "More Scorcha". 16 burning tracks in all.

The debut album from the second lineup of Black Uhuru, with Duckie Simpson, Michael Rose and Errol Nelson. Produced by Prince Jammy, this is a tremendous slice of rootsy rockers, even if it doesn't quite top the later version of the group with Puma Jones and Sly & Robbie's production. This later Greensleeves edition was remixed by Jammy at Tubby's in 1981, and includes "Time To Unite", "Love Crisis", "Willow Tree", "African Love", "Eden Out Deh", "I Love King Selassie", "Hard Ground" and a great version of Marley's "Natural Mystic".

VP reissue of this classic slice of Jamaican roots music. No collection of Lee Perry's work is complete without this chapter, which was hard to get for many years, but reissued here in it's original format, with the origial cover art. Recorded at the Black Ark in 1976, Cedric Mytton teams up with Roy Johnson on harmony vocals and Lee Perry steering the Ark with a heavyweight supporting crew, for a true milestone in Jamaican music, and a classic of universal proportions. 10 tracks, just like the original version: "Fisherman", "Congoman", "Open Up The Gate", "Children Crying", "La La Bam-Bam", "Can't Come In", "Sodom & Gomorrow", "The Wrong Thing", "ArkOf Covenant" and 'Solid Foundation".

A classic slice of Jamaican roots! No collection of Lee Perry's work is complete without this chapter, which has been hard to get in spite of being reissued in a number of different formats. This version features a slight twist on the original cover art, but is an expanded double LP set with a bonus disc of later self-produced material. On the original album, recorded at the Black Ark in 1976, Cedric Mytton teams up with Roy Johnson on harmony vocals, with Lee Perry steering the Ark with a heavyweight supporting crew, for a true milestone in Jamaican music, and a classic of universal proportions. The second LP features material from 4 different sessions, all great, with tracks from the 1979 LPs Cvongo Ashanti and Image of Africa, the 1981 LP Face The Music and a couple of tracks from 1999. 22 tracks in all, including "Fisherman", "Congoman", "Open Up The Gate", "Children Crying", "La La Bam-Bam", "Can't Come In", "Sodom & Gomorrow", "The Wrong Thing", "ArkOf Covenant", "Don't Blame On I", "Solid Foundation", "Days Chasing Days", "Youth Man", "Only Jah Know", "Music Maker", "Stay Alive (ext)", "Problems", "Face The Music", "Enemy & Spy (ext)" and "Aaron & Moses (ext)".

A sublime album through and through – and another essential slice of work from the legendary Nicola Conte! Conte's only given us a few full length sets under his own name, but they've all been amazing, and this album's no exception – a record that mostly features live jazz instrumentation, turned towards some of the groove-heavy modes that Conte forged from his earliest sides on Schema Records – a style that was clubjazz before anyone was using that tag, but which also has done plenty to revive a huge range of classic modes from decades past! The record's got echoes of bossa, modal jazz, and more – served up by combos with players that include Timo Lassy on sax and flute, Fabrizio Bosso and Till Bronner on trumpets, Pietro Lussu on piano, and Conte himself on guitar. Vocals are by Alice Ricciardi, Jose James, Chiara Civello, and Kim Sanders – and the album's got an even deeper feel than Conte's previous album on Blue Note. Tracks include "Karma Flower", "I See All Shades Of You", "Black Is The Graceful Veil", "Caravan", "Rituals", "Macedonia", "The Nubian Queens", and "Like Leaves In The Wind".

Rare funk from the KPM vaults – the pulpy "Light Stakeout" credited to New York Trouble – a perfect slice of 70s crime soundtrack-styles grooves on killer funky 45! Part 1 starts off with a sinister bass line and drums, with some spare, kind of sneaky-sounding horn and flute and a slow-building dynamic! Some guitar, electric keys and other elements come in as it grows. The pace is mirrored on Part 2, which is has similar feel, but done with some alternate elements – in particular, some haunting, echoey effects!

A legendary album from saxophonist Sahib Shihab – a record that's gone onto become the birth of all things modal and club jazz in the current scene! Shihab always sounded great, no matter what the setting, but there was definitely something magical going on with this session – a one-of-a-kind energy that made his baritone and flute work sound incredibly soulful, searching, and searing – set up with a tight small combo that includes Francy Boland on piano, Fats Sadi on vibes, Jimmy Woode on bass, and Kenny Clarke on drums – a hip slice of the Clarke Boland Big Band that works beautifully together! Every tune here is wonderful, and you're bound to recognized a few covered or sampled classics over the years – on cuts that include "Seeds", "Peter's Waltz", "Who'll Buy My Dream", "Another Samba", "Jay Jay", "Uma Fita De Tres Cores", and "Mauve".

A groovy bossa gem from the glory days of A&M Records – an ultra-hip group recorded with production by Sergio Mendes! The feel here is a lot like that of Brasil 66 – bossa rhythms, sunny CA instrumentation, and lovely female vocals – in this case sung singularly, by the lovely Gracinha Leporace – aka Mrs Mendes! Instrumentation is arguably even better than on Brasil 66 records – with wonderfully groovy organ lines from Manfredo Fest, who plays Lowrey organ instead of the usual Hammond. A really essential slice of bossa nova – and a record we'd never part with! Filled with wonderful tunes that include "Gentle Rain", "Up Up & Away", "Wave", "Do You Know The Way To San Jose", "Cacao do Sal", "Veleiro", "Saiupa", and "Nana".

A budget-looking CD – but an essential slice in the career of the great Slide Hampton! Hampton was one of the great American players who departed for Europe during the 60s – and his work on the continent was some of his most fruitful ever, breaking him out of his harbop origins, and turning him into a much more sophisticated modal jazz player. This CD brings together 2 sessions from the late 60s – one a quartet session with Martial Solal on piano, and the rhythm team of Henri Texier on bass and Daniel Humair on drums. The other set's even better – and features the great Nathan Davis on tenor sax, plus vibes work by Dave Pike and piano by Hampton Hawes. Six cuts in all, with many great originals by Hampton, one of the 60s most under-rated jazz writers! Titles include "The Thing", "Chop Suey", "Impossible Waltz", and "Us Six".

An amazing document of the California underground scene of the 70s – four volumes worth of material from the Los Angeles Free Music Society – recorded by a range of different artists who were all invited to contribute cheaply to a series of Blorp Esette albums! The range of work here is really massive – and in a way, the whole thing comes together more as a sound collage than anything else – some highly arty music mixed with trippier rock sounds, bits of roots, avant sound experimentation, and more – all coming across with a style that's incredibly fierce, kind of post-hippie, pre-CA hardcore – a slice of the west coast that's really been lost to time. There's definitely strains here of some of the SF scene that you'll find in the Ralph Records world – but much of it is a lot more obscure too, and there's almost a west coast version of the East Village/ESP sound going down too. 4CDs worth of work, and way too much to list here – but we can say that contributors include The Doo Dooettes, Ju Suk Reet Meate, Anne Harney, Reverend Marty Nation, Smegma, Nopar King, South Pasedena Free Music Ensemble, Ace & Duce, Bix Flent, Christian Death, Dennis Duck, Henry Kaiser, Mr Foon, Electric Willy Trio, The Patients, Ed Barger, and many others.

What can we say? This is one of the greatest albums of all time! The record's got a sound that's completely unique – as crack LA garage punk rock meets Hollywood baroque production, and the result is an amazing bit of loud guitar noise backed by strings and horns, all graced by the godlike vocals of the great Arthur Lee. Forever Changes is a milestone in rock – an incredibly bleak document about insanity, escape, and the coming revolution that never happened. Think of all the best moments of Wild In The Streets, Zabriske Point, and Invocation of My Demon Brother rolled into one – and you'll only have a tiny slice of the picture! A record that will haunt us until the day we die – filled with incredible songs like "Alone Again Or", "Old Man", "Daily Planet", "Red Telephone", and "Maybe The People Would Be The Times Or Between Clark & Hilldale".

A great slice from Jackie McLean's rare unissued 60s sessions for Blue Note – a rollingly soulful session that stands in stark contrast to some of his more modern sides of the time! The set's got Jackie working with a group that includes Lee Morgan on trumpet and Harold Mabern on piano – in a vamping, soaring vibe that's similar to the feel of contemporaneous Morgan sessions like The Gigolo or Tom Cat – but which has a slight bit of McLean's more modernist edge from time to time. Mabern's piano work is tremendous – filled with life and joy that soar the album effortlessly along – and the lyrical drum work of Billy Higgins and basslines from Herbie Lewis are also very much a key part of this groove. The set was originally recorded in 1965, but only made a first appearance on record in 1979 – and even then, only briefly! Titles include "Vernestune", "Slumber", "Bluesanova", "Consequence", and "Tolypso".

A tiny label, but one with some really great sounds – a great slice of the late 60s Philly scene, and a pretty darn soulful one at that! The label started as Kayden in Philly, then moved across the river to New Jersey and switched to Merben – but had a really unified sound throughout their short run, so much so that even the few pop recordings here come across with a pretty soulful feel! Most numbers are upbeat, and move in a Northern-ish soul mode – and the male singers here are especially great, almost a bit more deep soul than usual for the Philly scene, especially some of the groups. CD features 24 cuts from both labels, including some unreleased material – and titles include "You're Gonna Miss A Good Thing Baby", "Help Me Pretty Baby", and "At The End Of The Day" by John Bowie, who's pictured on the front cover – plus "Stop Think It Over" and "A Place For Me" by Leverett Sisters, "I Wanna Know" by Bill Horton, "Seven Days Fifty Two Weeks" by Cody Michaels, "Ask Any Girl" and "What Am I Gonna Do" by Matt Sound, "Where Did You Leave Your Heart" by Sharon Marshall, "Shake Me Wake Me" by Natural Facts, "I Can Only Give You Everything" by Bram Rigg Set, "Why Did God Make Girls" by JD Rogues, "Tell Me" by Shags, "How Could You Have Known" by Bats, and "Paint It Black" by Jimmy Roma.

A wonderful compilation – with a really unique sound! The compilers have gone for the sort of tracks that have provided an inspiration for some of London's more spacious soul artists of the past few years – and they've carved out a special slice of tunes from the cusp of the 70s, right at the point when hippie freedoms were sneaking into soul, folk, rock, and funk – in rare instances creating a fantastic blend of moods and modes, tunes that deliver that rare sound known in the underground as the "folk funk experience". The package is different than most funk compilations you'll buy this year – with a laidback groove that features lots of acoustic guitar, hand-played percussion, and even some nice touches of strings in just the right parts. The familiar mixes with the obscure – and the result is one of the tastiest listens our ears have heard in a long time! Titles include "You" by Bill Withers, "Play With Fire" by Barbara & Ernie, "And That's Saying A Lot" by Christine Perfect, "Les Fleur" by Minnie Riperton, "Milk & Honey" by Bonnie Dobson, "For What It's Worth" by Sergio Mendes & Brasil 66, "Reach For The Truth" by Linda Lewis, "Make Music" by Rena Sinakin, "I Have Seen" by The Pedllers, "The Dolphins" by Al Wilson, "Our Lives Are Shaped By What We Love" by Odyssey, and "Aht Uh Mi Hed" by Shuggie Otis.

2 rare slices of exotica by Les Baxter – back to back on one CD! The first half of the set features material from the album Ports Of Pleasure – a dreamy exploration of south sea ideals that's got a more lightly drifting quality than some of Baxter's more percussive exotica albums, and which is awash in dreamy soundscapes penned by Les himself! The orchestrations are large and bold throughout – mixing strings and woodwinds almost in a soundtrack-y mode – but always with the light sense of interplay that makes Baxter's work so great. Titles include "Monkey Dance Of Bali", "Pearls Of Ceylon", "Tahiti A Summer Night At Sea", "Hong Kong Cable Car", "Tramp Steamer To Singapore", "Harem Silks From Bombay", and "Sidewalk Cafes Of Saigon". The Sacred Idol is a real standout set from the end of Les Baxter's run at Capitol Records – originally scored for a film that was never released, but a great set of tracks that more than stands strongly on its own! The theme here is a Mexican/Latin American one – explored by Baxter with his trademark blend of larger orchestrations and lighter exotica touches – often swirling around in an extremely evocative mode that makes us wish the film had been issued to the public, and at a few key moments even hinting at the funkier modes that would follow on some of Les' later work for other labels. Titles include "Aqueducts", "Gardens Of The Moon", "Pyramid Of The Sun", "Temple Of Gold", and "Procession Of The Princes".

Three slices of rare work by Duke Ellington – all recorded previously as semi-private recordings, and issued here in a short-lived 70s set! As you'd guess by the title, the tracks are all in "suite" form – that broader compositional style that dominated Ellington's later work, one in which he brought together complicated ideas with a very unified feel – often based around a single theme, but fleshed out beautifully with modes that were even more sophisticated than in his earlier work. Side one features "The Queen's Suite", recorded in 1959 with mostly full orchestra, but also a spare passage of just piano and bass – and side two features "The Goutelas Suite" from 1971, and "The Uwis Suite" from 1972.

2 different slices of work from Tal Farlow! First is the 1955 album Red Norvo With Strings – originally issued under Norvo's name – a "with strings" session with a difference! This one's not the sleepy orchestral jazz set that you'd expect. Instead, it's a cool modernist batch of trio recordings – featuring the vibes of Norvo in front of the guitar of Tal Farlow and the bass of Red Mitchell. We'll be the first to admit that Norvo's made some snoozy recordings, but the stuff on here is pretty darn cool – and has that icy modern sound that we'd compare to the work of the Jimmy Giuffre trio or the Blue Note work of Gil Melle. Titles include "How Am I To Know?", "Who Cares", "I Brung You Finjans For Your Zarf", and "Lullaby Of Birdland". Next is The Return Of Tal Farlow, from 1969 – a great little return to form for Tal Farlow – his first recording in a decade, and a rare Prestige side that features a groovy quartet with John Scully on piano, Jack Six on bass and Alan Dawson on drums. There's a different vibe here than Tal's work for Verve – a bit more open, but still with that great Farlow tone that was always one of the greatest jazz guitar sounds of the 50s. The tracks include "Straight No Chaser", "Darn That Dream", "Summertime", "Sometime Ago", "I'll Remember April", "My Romance", and "Crazy, She Calls Me". Farlow did not record again until 1976.

Hard to go wrong with a set like this – because in our opinion, just about every track recorded by Fela is a "best" – which makes the collection a massive batch of goodness all the way through! Every track here is presented in its original extended version – a dozen massive slices of Afro Funk, which packaged together equal the equivalent of at least 5 or 6 separate albums by Fela – another factor that makes the collection a great one! The 2CD set is filled with gems that helped redefine the sound of funk, soul, and world music back in the 70s – titles that include "Monkey Banana", "Everything Scatter", "Expensive Sh*t", "Trouble Sleep Yanga Wake Am", "Underground System (part 2)", "Sorry Tears & Blood", "Colonial Mentality", "Yellow Fever", "He Miss Road", "Black Man's Cry", "Mr Follow Follow", and "Na Poi".

Hard to go wrong with a set like this – because in our opinion, just about every track recorded by Fela is a "best" – which makes the collection a massive batch of goodness all the way through! Every track here is presented in its original extended version – a dozen massive slices of Afro Funk, which packaged together equal the equivalent of at least 5 or 6 separate albums by Fela – another factor that makes the collection a great one! The 2CD set is filled with gems that helped redefine the sound of funk, soul, and world music back in the 70s – titles that include "Monkey Banana", "Everything Scatter", "Expensive Sh*t", "Trouble Sleep Yanga Wake Am", "Underground System (part 2)", "Sorry Tears & Blood", "Colonial Mentality", "Yellow Fever", "He Miss Road", "Black Man's Cry", "Mr Follow Follow", and "Na Poi". Also features a bonus DVD – with Fela's 1984 performance at the Glastonbury Festival, and an interview too!

Three different slices of work from Julius Hemphill all served up over the course of five albums for the Black Saint/Soul Note label! The first two records in the package – Raw Materials & Residuals and Flat-Out Jump Suite – both have Hemphill coming off the New York loft jazz years – working on the first record in open improvisatory format with cellist Abdul Wadud and percussionist Don Moye – and on the second set with Olu Dara on trumpet, Wadud on cello, and Warren Smith on percussion. Both records have a very loose, open feel that's mighty nice – and darn soulful at times! Next are two early 90s albums – Fat Man & The Hard Blues and Five Chord Stud – both done with a sextet of reed players, with no other instrumentation at all – in a style that's a lot like the World Sax Quartet, but even more complicated. Reedmen include James Carter and Andrew White on tenor, Marty Ehrlich and Carl Grubbs on soprano and alto sax, Tim Berne on alto, and Fred Ho on baritone. Chile New York is the last album, and quite possibly the most intimate – beautiful duets that feature Warren Smith on percussion, plus Julius Hemphill on alto, tenor, flute, and even a bit of voice! The music is wonderfully evocative – and although released in the late 90s, was actually recorded in 1980 – with a loose, loft jazz sort of feel throughout.

Over looked genius in American comics from the 40s to the 80s – a wonderful volume that features material we never would have seen otherwise! Some of the names here are legends, represented by obscure slices of their work – and others are talents that never got the respect they deserve – laid out lovingly by Dan Nadel, in a way that's similar to his previous collection, Art Out Of Time. Original comic pages are reproduced in full color, but with a nice yellowing effect to the pages – and black and white underground art comes through very vividly – in this huge volume that features work by Bill Everett, Matt Fox, Jesse Marsh, Mort Meskin, HG Peter, John Stanley, Pat Boyette, and others – plus great text and introductions from Nadel. 301 pages, hardcover, in color and black and white.

An undiscovered chapter in the career of Norwegian saxophonist Carl Magnus Neumann – the player best known for his funky contributions to the work of Webster Lewis and the Band No Name of the Club 7 scene – but who's presented here as a much richer jazz musician overall! The set features three rare slices of work by Neumann – two 70s studios sessions, and one early 80s live date – the former with small group instrumentation that includes guitar, bass, and percussion – the latter with a slightly bigger lineup that adds four cellos into the mix! Neumann composed most of the material himself, and it's all pretty darn expressive work – bold and meaningful, yet without being too outside or avant – more in the kind of extended, open way of approaching jazz that so many 70s pianists were attempting. Carl plays alto sax throughout, and titles include "Kludder", "Kalimera", "Blues", "Nr 1", "No Surt Og No Sott", "Wind", and "Ballade".

Two different slices of this powerful group from reedman Dave Rempis – one live performance from Milwaukee, the other from Antwerp – each taking up a CD each! The group gets their percussive name from the dual drums of Tim Daisy and Frank Rosaly – players who bring a real intensity to the music at some moments, yet lie back and have very individual, subtle spirits at other points – often to let Rempis express some amazing tones and textures on alto, tenor, or baritone sax – given great shape and inspiration by Ingebrigt Haker Flaten on bass. All the tracks are long, and very improvised – and titles include "Algonquins", "Cream City Stomp", "Anti Goons", and "Croatalus Adamantooths".

Whomp! It's a stormer! Killer killer killer! No kidding, this album's a monster – and it's one of the heaviest slices of funk we've heard in ages! Pardon the exclamations, but we're telling the truth – and this classic by the Sugarman Three is a must-have for any fan of funky jazz and jazzy funk. The group's usual lineup has been expanded to a hard, heavy sextet – with organ, tenor, guitar, flute, and percussion all going to town like a house on fire, or (more appropriately) like the best of the lost little combos that we usually sell on funky 45s! The drummer's totally sock-solid, and the organ and guitar riffs wail so hard your windows will break (Dusty Groove not to be held responsible for damage!) Every cut's a winner – and this will be the best present your ears have had all year! Titles include "Soul Donkey", "Chicken Half", "Double Back", "Pull My Cart", "Out A Sight", "So Long Donkey", "Turtle Walk", and "Mullin Around". Great stuff!

Perfect Bob James electric arrangements make this LP by Stan one of his best for CTI! The record's got a laidback dope 70s approach to funky jazz – with loads of nice modal chords, sliced through by some deep soul solos from Stan. Players include Idris Muhammad, Bob James, Harold Mabern, and Eric Gale – and the record features a great remake of Marvin Gaye's "Don't Mess With Mister T", plus "Too Blue", "Two For T", and "I Could Never Repay Your Love". CD features 3 bonus tracks – "Harlem Dawn", "Mississippi City Strut", and "Don't Mess With Mister T" in an alternate take.

A masterpiece of messed-up LA funk – and one of the crowning moments in the career of Charles Wright & The Watts 103rd Street Rhythm Band! Charles and crew do an excellent job with all the tracks – most of which are more open ended than some of their earlier ones, and run on for longer than usual with some good trippy instrumental moments that really stretch out the groove from their funky 45 days. The album includes the stoner funk classic "High As Apple Pie", done here in two "slices", plus the classic "Express Yourself", a monster number that still sounds great every time we hear it – even though it's been used on commercials and sampled plenty of times over the years! Other tracks include "I'm Aware", "Love Land", and "I Got Love"

Nice one! 14 tight independent hip hop joints all with the crisp, soulful vibe that's Spinna's hallmark, even if he didn't produce all of them, though he was responsible for many. As with some other popular compilation/mix series you get one disc of the tracks in their full versions, unmixed, and another with Spinna getting to work on the 1's and 2's for a continuous set that flows like hot butter over popcorn. Spinna's deep hip hop roots show through nicely with tracks by the Jigmastas and 7L & Esoteric saddling up next to nice instrumentals by Spinna himself as well as 88 Keys and Kingsize. With "Lyrical Fluctuation 2000 (Spinna mix)" by the Jigmastas, "3ree6ix5ive" by Old World Disorder, "Take A Look" by the Domecrackers, "Across The Globe" by the Jay I Geez, "Precision" by Kingsize and 9 more slices of underground niceness to keep your head boppin', packaged beautifully in a really nice foldout cardboard sleeve in a slipcase!

Frantically funky club from Lagos – an amazing collection of post-Fela work from the Nigerian scene, lots of it with the kind of uptempo grooves you'd expect from the "disco" in the title! Yet the sound here is hardly the type you'd find over at Studio 54 – as most cuts here still veer more strongly towards Afro Funk than glittery disco – lots of heavy percussion, bumping basslines, and rough production – the kind of gritty grooves that makes tracking down records like this so great! There's definitely a bit more tightness in the instrumentation than a few years before – but things are never slick or commercial – and the overall feel is almost like some of the Banda Black Rio or Uniao Black funk coming from Brazil at the same time. Titles include "Hang On" by Nana Love, "Boogie Trip" by Doris Ebong, "Bad City Girl" by Grotto, "Don't Put Me Down" by Pogo Ltd, "Everybody Get Down" by Asiko Rock Group, "Boogie Train" by Paradise Stars, "Take Life Easy" by Christy Essien, "Boredom Pain" by MFB, and "Rover Man" by Emma Dorgu.

A cool little book that's partly an introduction to jazz – but more like a cool collection of sidebars from longer articles – offering up interesting slices that really help you understand the music! The book is roughly chronological, but served up with lots of images and smaller text pieces – sometimes a focus on a specific artist, sometimes a smaller genre – often with additional notes off to the side that help illuminate things! The volume is unusual, but surprisingly helpful too – and even offers up some recommendations for CD listening as well. 276 pages, with color and black and white images.

The most global grooves inflected slices of DJ Nu-Mark's Broken Sunlight project – with a Quantic collaboration that's as great as you would hope it to be – and an equally strong collabor with Laudir De Oliviera on the other side! "Tropicalifornia" is great mix of Quantic's love of Colombian, Latin American and African percussion flavors of the past couple years and DJ Nu-Mark's timeless Cali hip hop aesthetic. Lots of live instrumentation on this one – with steel drums and other percussion,Rhodes and other keys, horns, bass and more – but Nu-Mark's cuts are by no means buried in the mix. The flip is a Brazilian vocals and percussion heavy gem featuring lead vocals and by Laudir De Oliveira and some mighty chorus back up.

Two great slices of work from vocalist Thelma Jones – her late 60s singles for the indie Barry label, and her tighter work for Columbia recorded nearly a full decade later! The first half of the set has Jones hitting hard in a tight Northern Soul mode – a socking 60s approach to the groove that's got echoes of deep soul on the vocals, but which also often bumps along with a tight sense of rhythm on the bottom – sometimes even a bit of funk as well! Titles from these years include Jones' excellent original take on "House That Jack Built" – a tight funky version that's way better than Aretha Franklin's – plus the cuts "Stronger", "Never Leave Me", "Gotta Find A Way", "I Won't Give Up My Man", "Mr Fix It", and "Give It To Me Straight". The second half of the set features material from Jones self-titled 1978 album for Columbia – a sweet blend of southern and modern soul, with some fantastic arrangements by Bert DeCoteaux, who also produced the set in a wonderful way that lets Jones retain the deeper qualities of her vocals, but also glide nicely on some warmer modern touches. There's a really unified feel to the whole record, and tracks are a range of work by 70s songwriting greats that include Sam Dees, Leon Ware, Grey & Hanks, and Gamble & Huff. Features the excellent single "How Long", plus "I Can Dream", "Salty Tears", "Stay Awhile With Me", "I'd Rather Leave While I'm In Love", and "Now That We Found Love". 22 tracks in all – and a long-overdue collection!

Rare work from 50s vocalist Beverly Kenney – a selection of material that stands nicely alongside her commercially-released albums of the time! Kenney first burst on the scene with a flourish, then recorded only briefly before her all-too-soon death in 1960 – so the unreleased gems here really do a lot towards filling in her small catalog of music – and offer up some surprising slices of work pulled from TV and radio performances in 1954 and 1958. Backing is by a group with Roland Hanna on piano and Vinnie Burke on bass on some tracks – and by The Skitch Henderson Orchestra on others – and titles include the Kenney originals "I Hate Rock & Roll" and "I Don't Believe In Love" – the latter of which is sung by Diane Hubka, in a recent performance added to this package. Other vintage songs include "The More I See You", "Swing & Sway", "Charleston Fling", "I'm Ready For The Show", "Tappin Out A Merry Beat", and "What Is There To Say" – plus a short interview with Beverly.

Another fine couple of slices from Speakerboxx/Love Below! "Way You Move" comes from Big Boi's half, and it finds BB pimpin' his smooth, fast rhyme style over some very soulful modern electro soul beats and handclaps. Sleepy Brown provides the sung chorus over some loud and proud synth for a serious Raphael Saadiq kinda vibe! Andre 3000's "Hey Ya!" rocks that catchy-as-hell synthy funk-n-roll style that NERD shoots for in their electro incarnation – and really nails it too. It could almost be mistaken for a lost Cameo single! Nice stuff on both sides, and another hint that the upcoming double album is gonna be another trailblazer!

Two great slices of work from The Tymes – each of them different! First up is the Trustmaker album from 1974 – soaring soul from The Tymes – arguably their biggest album ever, and a key RCA Records soul set from the 70s! Like others at the time, the group get a hip new style here with help from the Sigma Sound Studios – working with Richie Rome arrangements, conducted by group member Billy Jackson – in a level that really brings a new sort of sophistication to their sound! The upbeat tunes were the biggest hits, but we're also fans of the mellower moments here too – which remind us of the more harmony-oriented roots of the group, and show that they still had plenty of their own soul to offer, even amidst the Philly setting. Titles include the huge hit "You Little Trustmaker", plus "Someway Somehow, I'm Keepin You", "The Crutch", "Are You Lookin", "Innerloop", "Ms Grace", and "North Hills". Next up is the People album from 1969 – warm, wonderful harmony work from The Tymes – a set that features lots of familiar tunes, but redone in really great ways by the group! The harmonies are the key here – as the group's vocals are totally sublime – cascading magnificently amidst some fuller arrangements that might have been aimed at a crossover market, but which hardly ever dampen their soul at all. Jimmy Wisner handled production, and brings in a gentle swing to some of the tunes – a groove that's certainly made one track, their title version of "People", a big fave down in the Carolinas over the years. Other tracks include "City", "For Love Of Ivy", "Look Of Love", "God Bless The Child", "Make Someone Happy", "The Love That You're Looking For", and "The Way Of The Crowd".

Heavy funk from the deeper EMI catalog – packaged with a Blue Note label, but featuring gems from a wealth of related labels too! The assortment of styles here is really wonderful – and runs from gritty deep funk, to warmer soul jazz, to some sweet 70s groovers with a really slinky feel – all laid out in a way that really makes sense, and hardly lets you feel like you're jumping around from genre to genre! Titles include "Momma" by Ronnie Foster, "Keep Your Eye On The Sparrow (Baretta's Theme)" by Earl Klugh, "Bring Down The Birds" by Herbie Hancock, "Shack Up (parts 1 & 2)" by Banbara, "Funkier Than A Mosquito's Tweeter" by Ike & Tina Turner, "Daisy Mae" by Raul De Souza, "You Are The World" by Donald Byrd, "Movin" by Brass Construction, "Punch Bowl" by Alan Parker, "Ain't It Funky Now" by Jimmy McGriff, "Color Blind" by Maze, "Communication" by Bobby Womack, "Funky Sneakers" by Willie Bobo, "Funky In Here" by Willard Burton, and "Street Lady" by Donald Byrd. 18 cuts in all!

They're billed as an "orchestra", and have a sound to match – but the group's mostly a quartet on this sweet little outing – with added help from guest players on different tracks! The sound here is every bit as great as the previous Hidden Orchestra outing – an evocative blend of acoustic instruments and sound slices that seem to have a very organic nature – billed in the notes as "field recordings" by leader Joe Acheson, and used here in these really painterly ways, very much in keeping with the cover! Things are never too processed – and really the music seems to originate from the group's strings, piano, percussion, and horns – then get filled in and expanded by these field recordings, and by other cool acoustic instruments that bubble forth in the mix. There's a majesty to the music that's right up there with Nostalgia 77 or Cinematic Orchestra – and titles include "Vorka", "Flight", "Spoken", "Disquiet", "Seven Hunters", and "Reminder".

Both sides of one of the biggest breakout stars of the 80s – an artist who helped bring the sound of Senegal to a huge new audience, and whose music went onto become one of the building blocks for world music at the time! The package is divided up into two completely different slices of work – one CD of international hits, including a few key collaborations – and another CD that features early tapes from Senegal – some wonderful early material that really opens up our understanding of Youssou N'Dour! These tracks mostly feature Youssou working with Etoile De Dakar – getting lively backing, in a sometimes rough-edged way – all a great contrast to some of the more polished projects from later years – in a way that really brings us a new appreciation of his vocals. The package features 11 gems from these early days – titles that include "Aziz", "Yalaye Dogol", "Independence", "Tabaski", "Bandjoly Ndiaye", "Alboury", and "Thioule Anta" – plus 17 more hits that include "Set", "Shakin The Tree", "One Day", "Bamako", "Miyoko", "Kocc Barma", "Old Tuscon", "Diabaram", and "Xale".