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Pre-Philly magic from The Spinners – a wonderful early album recorded for Motown – done with a heady Detroit sound that's quite different than their later work in the 70s! The album already has the group sounding amazing on the harmonic tip – definitely a cut above the groups that came before them – with that brilliant Spinners ability to harmonize heavily while still hitting a groove! Arrangements are by Paul Riser, Wade Marcus, and David Van DePitte – all of whom keep things full, but never overblown – presenting music with a perfect polish for the group, but in quite different ways than the later Philly groove. Titles include the classic original version of "It's a Shame", plus "My Lady Love", "Souly Ghost", "Ooh Child", "In My Diary", "My Whole World Ended", "I've Got To Find Myself A Brand New Baby", "Bad Bad Weather", and "Pay them No Mind".

An album in the kind of "between the hits" years for The Spinners featuring lead vocalist Phillipe Wynne. The sound here isn't as right-on or soaringly confident as in earlier years – but there are some nice moments. Titles include "You're All I Need In Life", "Toni My Love", "The Clown", "The Rubberband Man", "If You Can't Be In Love", and "Four Hands In The Fire".

A sweetly grooving set from The Spinners – one that moves along nicely at the midtempo clip the "trippin" in the title might imply – thanks to production and arrangements from Michael Zager! Zager nicely puts aside some of his more disco-oriented modes here – keeping plenty of respect for the group's excellent vocals, and allowing them some really great space on a number of warmly-crafted tunes. John Edwards gets in some great lead vocals on the album – most famously on the record's medley of "Cupid/I've Loved You For A Long Time" – which went onto become a fairly big radio hit. Other tracks include "Streetwise", "I Just Want To Fall In Love", "Now That You're Mine Again", "Split Decision", "I'm Takin You Back", "Heavy On The Sunshine", and "Love Trippin".

About as classic as you can get for The Spinners – and one of the group's marvelous 70s collaborations with the mighty Thom Bell! Before hooking up with Philly, The Spinners were already a wonderful vocal group – but here, in the hands of Bell, they hit a sound that's completely sublime – a mix of well-crafted harmonies and well-directed backings – soaring one minute, gently fragile the next – all delivered with the same sort of charm that you might expect from Blue Magic or The Stylistics at their best. Like those groups, The Spinners here manage a depth that goes way beyond simple hitmaking soul – as you'll hear on the album's wonderful assortment of tracks that include "Mighty Love", "He'll Never Love You Like I Do", "Love Don't Love Nobody", "Ain't No Price On Happiness", "Since I Been Gone", and "I'm Glad You Walked Into My Life". CD also features 4 bonus tracks – "I Wish I Could Sleep", "I Just Gotta Make It Happen", "Mr Big Man", and "You Sure Are Nasty".

A sweet sweet set from The Spinners – and a record that's more "today" than "yesterday", given the tight 70s arrangements from Thom Bell! Bell's Philly approach is still perfect for the group – unlocking their harmonies in very different ways than back in their Motown roots – and the set's got a wicked balance between these sublime slow ballads and some uptempo numbers that bubble like the best of the group's clubby contemporaries. And in the best Philly style, the set even features a few longer tracks that push the 8 minute mark – kind of soul symphonies, of the sort you'd be much more likely to hear from Gamble & Huff – and which really work well with the group's maturing vocal approach. Titles include "I'm Riding Your Shadow (Down To Love)", "You're Throwing A Good Love Away", "Honey I'm In Love With You", "I Must Be Living For A Broken Heart", "Just To Be With You", "Me & My Music", "You're The Love Of My Life", and "I Found Love (When I Found You)".

2 albums in the kind of "between the hits" years for The Spinners – one featuring lead vocalist Phillipe Wynne, the other featuring new arrival John Edwards. The sound here isn't as right-on or soaringly confident as in earlier years – but there are some nice moments that make the 2-in-1 CD a good way to sample these albums. There's a total of 17 tracks in all, many written by producer Thom Bell – and titles include "You're All I Need In Life", "Tony My Love", "The Clown", "The Rubberband Man", "If You Can't Be In Love", "Easy Come Easy Go", "Heaven On Earth", "Painted Magic", and "I'm Gonna Getcha".

A landmark album from The Spinners – one that has the Detroit vocal group making a hip trip to the Philly scene – picking up a whole new sound and rich new energy in the process! A few years later, working in Philly studios would be common for many artists – but this self-titled Spinners set really helped launch the trend – and for good reason, too – given the strength of the production and arrangements from the legendary Thom Bell! Bell's at his best here – helping the group reach whole new territory in their wonderful harmonies – and backing them up with some of the best musicians the Sigma Sound Studios had to offer. The album's overflowing with hits – like "One Of A Kind (Love Affair)" and "Could It Be I'm Falling In Love" – but it's also got some excellent lesser-known material too, like the extended "I Could Never (Repay Your Love)" and "We Belong Together". Other cuts include "Ghetto Child", "Just You & Me Baby", "I'll Be Around", and "Just Can't Get You Out Of My Mind".

The first Motown full length record by the Spinners – Original Spinners from '67 – followed by an impeccably well-chosen collection of bonus material! It's excellent stuff – an overlooked album with some very hard to find Motown work by this early version of the legendary Spinners – with lead vocals by Bobby Smith and Edgar Edwards. The tracks have a mixture of sweet and raw harmonies – crafted with an elegantly soulful sound that would later take the group way over the top during the 70s, and which here sounds sublime next to some of the group's Motown contemporaries! The first 12 tracks on this excellent Kent compilation are the Original Spinners tracklist – including "Sweet Thing", "I Cross My Heart", "I'll Always Love You", "Truly Yours", "Like A Good Man Should", "For All We Know", "How Can I", "It Hurts To Be In Love", "Nobody Else But You", "Where Is That Girl", "Tomorrow May Never Come" and "That's What Girls Are Made For". Most of the 14 bonus tracks are previously unreleased masters – revelatory stuff from earlier in the 60s – formative, yet beautifully realized recordings with productions by Harvey Fuqua and Ivy Joe Hunter! Titles include "Darling", "Words Can't Describe", "12 O'Clock", "Just Another Guy", "We're Gonna Be More More Than Friends" and more.

About as classic as you can get for The Spinners – and one of the group's marvelous 70s collaborations with the mighty Thom Bell! Before hooking up with Philly, The Spinners were already a wonderful vocal group – but here, in the hands of Bell, they hit a sound that's completely sublime – a mix of well-crafted harmonies and well-directed backings – soaring one minute, gently fragile the next – all delivered with the same sort of charm that you might expect from Blue Magic or The Stylistics at their best. Like those groups, The Spinners here manage a depth that goes way beyond simple hitmaking soul – as you'll hear on the album's wonderful assortment of tracks that include "Mighty Love", "He'll Never Love You Like I Do", "Love Don't Love Nobody", "Ain't No Price On Happiness", "Since I Been Gone", and "I'm Glad You Walked Into My Life".

A landmark album from The Spinners – one that has the Detroit vocal group making a hip trip to the Philly scene – picking up a whole new sound and rich new energy in the process! A few years later, working in Philly studios would be common for many artists – but this self-titled Spinners set really helped launch the trend – and for good reason, too – given the strength of the production and arrangements from the legendary Thom Bell! Bell's at his best here – helping the group reach whole new territory in their wonderful harmonies – and backing them up with some of the best musicians the Sigma Sound Studios had to offer. The album's overflowing with hits – like "One Of A Kind (Love Affair)" and "Could It Be I'm Falling In Love" – but it's also got some excellent lesser-known material too, like the extended "I Could Never (Repay Your Love)" and "We Belong Together". Other cuts include "Ghetto Child", "Just You & Me Baby", "I'll Be Around", and "Just Can't Get You Out Of My Mind".

Great soundtrack to one of the best B-Ball films of the 70s, and certainly one of Stockard Channing's finest moments! Thom Bell wrote most of the stuff, and put it together with a sound that rivals some of his best 70s work. The album has vocal performances by Phyllis Hyman, The Spinners, and The Four Tops, but the real star is the arrangements, and the cool smooth studio sound that the music has. Tracks include "No One Does It Better", "Magic Mona", "Theme For LA's Team", "Moses Theme", "Chance Of A Lifetime", and the title cut.

A tremendous solo act from GC Cameron – a singer who first rose to fame in The Spinners, but who really sounds wonderful on his own! GC's moved away from The Spinners here – into a wide range of styles that show him ready to take on most of the rest of the competition! He's working here with the best of the best of Motown – production from Stevie Wonder and Willie Hutch – and arrangements by both, plus Paul Riser, Gene Page, James Carmichael, and Frank Wilson – all of whom really give their best to the record, and show that Motown was putting plenty of effort into making GC one of the next big stars of the 70s. We're not sure why things never took off as strongly for Cameron, but whatever the case, the album's a great step for the solo artist – on cuts that include "If You Don't Love Me", "Tippin", "All In Love Is Fair", "If You're Ever Gonna Love Me", "Come Get This Thang", "I'm Gonna Give You Respect", and "Let Me Down Easy". CD features an insane amount of bonus tracks – 13 more tracks that include "Act Like A Shotgun", "Girl I Really Love You", "I'm Gonna Get You (parts 1 & 2)", "Don't Wanna Play Pajama Games", "You Are That Special One", "Have I Lost You", "Time", "Topics", and "No Matter Where".

A stellar solo set from John Edwards – one of the tightest talents of the southern scene in the mid 70s, and a singer who would later break big with The Spinners! This album's got a really unique vibe – with some slight tropical touches hinted at by the cover image – and some deeper production from David Porter down at the Malaco and Ardent Studios – which ensures that the deep soul component of the music still stays strong! The whole thing's unlike anything else we can think of – and is a definite bridge between 70s soul scenes at the time – echoes of folks like Al Green or Sam Dees, but a tighter approach at points too. Titles include "You, Trouble, & Me", "That's That", "The Key To My Life", and "Baby, Hold On To Me".

Smooth and jazzy soul from the team of James Mtume and Reggie Lucas – two of the finest producers and arrangers in their field! The set brings together tracks recorded by the pair with a host of different artists across a host of different labels – offering for the first time a true picture of the genius of Mtume, and featuring a load of excellent cuts that are appearing on CD for the first time ever! Mtume himself cut a few famous albums on Columbia, some with Lucas, and together the pair worked across a variety of labels in the late 70s and early 80s – taking modern soul to the next level with a really top-shelf sound! The package is a 15-track monster, filled with loads of great tracks we're happy to have together – and titles include "Love Lock", "Closer I Get To You", and "Juicy Fruit" by Mtume; "Under Your Spell" and "You Know How To Love Me" by Phyllis Hyman, "Never Too Late For Your Lovin" and "Step In The Light" by Sunfire, "What Cha Gonna Do With My Lovin" by Stephanie Mills, "Got To Be Love" by The Spinners, "If I Had A Chance" by Rena Scott, "Back To You" and "Now Is The Time For Love" by Lou Rawls, "Keep Going On" by Gary Bartz, and "Two Hearts" by Stephanie Mills & Teddy Pendergrass.

An excellent group from the 70s East Coast scene – one with a heavy harmony sound that should have made them huge! The record was cut during the prime early days of the Sigma Sound Studios – and the record features arrangements by Philly greats like Norman Harris, Ronnie Baker, and Vince Montana – all working here in a mode that's similar to that applied to The Spinners after they made their move to Atlantic, but with a bit more edge. Yet it's the vocal harmonies that really take the cake – as they mix together deep-rooted Temptations-esque righteous vocals with sweeter harmonies in the New Jersey falsetto mode – a perfect blend that's carried off with a great deal of power here! The style is very compelling, and great on just about every cut – and titles include "Society", "That Was Yesterday", "It Really Hurts", "Look At All The Lonely People", and the great cut "Whispers".

A wicked little collection that really lives up to its name – a set that's filled with warmth and good energy throughout – not to mention a great array of overlooked soul tracks too! Most of the numbers here are lesser-known gems from the late 70s and early 80s – upbeat, but not in a disco way – and usually somewhere in a space between modern soul and boogie, which works perfectly for the positive vibes of the tunes! There's a soaring feel that definitely takes off from an Earth Wind & Fire sort of style – and although most of the artists here are familiar, you'll really be surprised at the tracks chosen for the set. Titles include "Love Vibes" by The Emotions, "Something On Your Mind" by Melba Moore, "Razzle Dazzle" by Heatwave, "Better Things" by Sylvia St James, "Riding" by Michael Henderson, "Can You See Where I'm Coming From" by Instant Funk, "All In The Way You Get Down" by Ray Parker Jr & Raydio, "Sweet Fire" by Mighty Fire, "Here I Am" by Dynasty, "No One" by Flakes, "Love Is Such A Crazy Thing" by The Spinners, "Wonderful" by GQ, and "When I'm Dancin" by Lenny Williams.

The first ever compilation of the best music made for MoWest – the eclectic, but still soulful cuts made when Berry Gordy Jr. relocated from Motown to the west coast in the early 70s – releasing cool and sometimes strange music with a soul background, yet toasted by LA sunshine! The MoWest subsidiary lasted just a few years, and gets overlooked in the canonization of Motown at it's most classic and revolutionary – but the legacy is pretty incredible. Funk, sunshine rock and soul fused adventurously by a stunningly diverse roster – late period Frankie Valli & The Four Seasons (who's comp-opening track is a slept on sunshine pop-soul classic), breezy-jazzy-soul from Odyssey, the sister funk of Sisters Love, a stunning solo left turn from Spinners singer GC Cameron and more great stuff from Syreeta, The Commodores, Suzee Ikeda, Thelma Houston and others. We've been dying for a well selected MoWest comp like this for years, and Light In The Attic stepped to the plate and knock it right out of the park. The songs choices are great, the notes are great. . .everything about it is a win. Essential! Includes "You're A Song (That I Can't Sing)" and "The Night" by Frankie Valli & The Four Seasons, "Our Lives Are Shaped By What We Love" and "Broken Road" by Odyssey, "Don't You Be Worried" by The Commodores, "A Heart Is A House" Nu Page, "I Ain't Going Nowhere" by Thelma Houston, "I Can't Give Back The Love I Feel For You" by Suzee Ikeda, "You've Got To Make The Choice" and "Give Me Your Love" by The Sisters Love and more.

A surprise mid 70s hit for Dionne Warwick – a warm and bubbling bit of soul, done with uptown maestro Jerry Ragovoy in a perfect AM pop style! The centerpiece of the album is the super-hit tune "Then Came You" – a duet with The Spinners produced and arranged by Thom Bell at Sigma Sound, and one of those tunes that sounded instantly great, and stayed on the airwaves for years. Ragovoy expands on this style for the rest of the album – moving past the easy hit hook to show Dionne as a maturing singer of her time, working in a variety of moods that stretch way past the early Bacharach hits. Titles include "Move Me No Mountain", "How Can I Tell Him", "Getting In My Way", "Who Knows", "Take It From Me", and "We'll Burn Our Bridges Behind Us".

The second chapter in a mighty 70s trilogy from Ace Spectrum – a killer set recorded for Atlantic Records, and easily some of the best group soul issued by the label in the decade! Ace Spectrum change things up a bit here from the obvious – hitting a variety of modes that move between tightness you might expect from The Spinners to some of the looser styles bubbling up in the indie underground at the time. Some tunes get a bit funky – almost with a blacksploitation undercurrent, which really comes as a nice surprise – and arrangements are by Patrick Adams and Bert DeCoteaux, trading back and forth throughout the album to keep things fresh! Titles include "Low Rent Rendezvous", "I Just Want To Spend The Night With You", "Beautiful Love", "Do You Remember Yesterday", "Without You", "Trust Me", and a surprisingly compelling version of "Laughter In The Rain".

Plenty of Impact from this great Philly group – a soaring quartet who harmonize with some great Bobby Eli arrangements – at a level that shines as strongly as the best 70s work by Blue Magic or The Spinners! Impact never broke the big time as strongly, but they're a great group in the best 70s Philly mode – rooted in an older harmony style, but able to really take off with some sweet Sigma Sound styles – the sort of balance that few other groups managed to handle this well. The quartet features Damon Harris, who sang with the Temptations after Eddie Kendricks left in 1971 – and the group is a re-formation of The Young Vandals, who recorded briefly on T-Neck before Harris left for the Temps. Titles include "Happy Man", "Give A Broken Heart A Break", "Love Attack", "It Only Happens In the Movies", and "Winning Combination".

Plenty of Impact from this great Philly group – a soaring quartet who harmonize with some great Bobby Eli arrangements – at a level that shines as strongly as the best 70s work by Blue Magic or The Spinners! Impact never broke the big time as strongly, but they're a great group in the best 70s Philly mode – rooted in an older harmony style, but able to really take off with some sweet Sigma Sound styles – the sort of balance that few other groups managed to handle this well. The quartet features Damon Harris, who sang with the Temptations after Eddie Kendricks left in 1971 – and the group is a re-formation of The Young Vandals, who recorded briefly on T-Neck before Harris left for the Temps. Titles include "Happy Man", "Give A Broken Heart A Break", "Love Attack", "It Only Happens In the Movies", and "Winning Combination".

The Impressions first album for Cotillion, cut after a great 70s run on Curtom – but one that's done with a sound that still carries on the groove nicely! The more righteous tones of the earlier work are shaken loose a bit, to be replaced by a fuller approach to the music built from arrangements by HB Barnum, Gene Page, and Gil Askey – a bit more LA than Chicago, but with a soaringly soulful quality that almost recalls the sound of The Spinners during their best Philly years. As with that work, the harmonies here are all right on the money, and get plenty of space to sparkle amidst the full strings and tight rhythms – and new group member Nate Evans really brings a deep sense of soul to the group's work. Many tunes were written by the team of Mervin Seals and Melvin Steals – and titles include "I'm A Fool For Love", "Same Old Heartaches", "This Time", "Stardust", "I Need You", and "What Might Have Been".

Harmony heaven – a pair of Little Anthony & The Imperials albums together in a single set, with some sweet bonus tracks too! On A New Street is wonderful work from Little Anthony – and a great update to his smooth 60s harmony sound with The Imperials! Anthony wisely employs the use of two of 70s top harmony arrangers on the album – using Thom Bell on one side, and Teddy Randazzo on the other – both of whom really help take the group to a whole new level! The Thom Bell material fits perfectly with his work with The Stylistics from the same time, and the cuts have a wonderfully mellow east coast harmony style that's quite different than Anthony's earlier work. Teddy Randazzo does a pretty nice job, too – but with a fuller sound too, almost in a Manhattans mode that makes for a nice change from the previous fragility of Anthony's vocals. Titles include "I Don't Have Time To Worry", "That's What Love is All About", "I'm Falling In Love with You", "Heartache Never Entered My Mind", and "The Loneliest House on the Block". Also features an alternate take on "La La La At The End". Hold On has Little Anthony & The Imperials really hitting some great Philly modes – working with help from Tony Bell and Phil Hurtt, and getting lots of sweet backing from the Sigma Studio team – all in a mode that rivals some of the bigger soul group work of the 70s! The vibe's got a bit of Spinners in the mix, but still also holds on to the more fragile style that made The Imperials so great – especially on the mellower cuts, which have Anthony's voice cracking in that completely wonderful, very human way. But like Eddie Holman on Salsoul, he can also really shine on the clubbier cuts too – and the blend makes for a mighty compelling album from the group! Titles include "Hold On", "You Are The World To Me", "Promise Me", "I've Got To Let You Go", and "Back Where You Belong". CD also features some bonus cuts – "Hold On (stereo single mix)", "I've Got To Let You Go (stereo single)", "I've Got To Let You Go (stereo)", and "I've Got To Let You Go (mono short version)".

A soaring solo effort from the great Philippe Wynne – a vocalist who's probably best known for his hit 70s work with The Spinners, but one who also turns out to be a hell of talent on his own! Wynne's sweet raspy vocals click into place right from the start – stretching out over a host of Philly-styled arrangements that recall the backdrops he received with The Spinners, but with a much stronger focus on his lead – as often any backing vocals are just a female chorus back farther in the mix. Wynne really sparkles on the ballads – grabbing our hearts all over again – but the album also sports some great groovers too – of the sort that really benefit from the tight arrangements. Titles include the seminal "Think Of Your Thoughts As Children" – a really beautiful number – plus "Starting All Over", "Waiting On A Letter From Home", "Lisa", "Take Me As I Am", and "Like A Loser Needs A Winner".

Overlooked 70s genius from The Impressions – 2 killer albums back to back on a single CD! Loving Power is later Curtom work from the group – but still plenty darn nice, with a super-dope vocal harmony approach on the best tracks! The title cut is worth the price of admission alone – as it's a slow-stepping harmony tune that really burns with a sweet mellow feel – sung to perfection by a quartet lineup that includes younger singers Ralph Johnson and Reggie Torian working with older Impressions Fred Cash and Sam Gooden. Chuck Jackson and Marvin Yancy had a good hand in much of the record – bringing it into the warm, sophisti-soul style they were using at the time – and arrangements include some great work by Richard Evans and Rich Tufo. Titles include "Loving Power", "If You Have To Ask", "Sunshine", and "I Can't Wait To See You". It's About Time is The Impressions first album for Cotillion, cut after a great 70s run on Curtom – but one that's done with a sound that still carries on the groove nicely! The more righteous tones of the earlier work are shaken loose a bit, to be replaced by a fuller approach to the music built from arrangements by HB Barnum, Gene Page, and Gil Askey – a bit more LA than Chicago, but with a soaringly soulful quality that almost recalls the sound of The Spinners during their best Philly years. As with that work, the harmonies here are all right on the money, and get plenty of space to sparkle amidst the full strings and tight rhythms – and new group member Nate Evans really brings a deep sense of soul to the group's work. Many tunes were written by the team of Mervin Seals and Melvin Steals – and titles include "I'm A Fool For Love", "Same Old Heartaches", "This Time", "Stardust", "I Need You", and "What Might Have Been".

No need to be a connoisseur to enjoy this set – because the tunes here are all plenty darn groovy – rare soul numbers with an instant appeal to our ears, thanks to their freshness and the quality of the work! The package features rare singles and a bunch of previously unissued tracks from the vaults of the Kent/Modern labels – most recorded at the end of the 60s, in a range of soulful styles! Some numbers have a sweeter feel, but many echo the headier sounds of the times – bringing in some funkier or psychedelic soul influences, even when the themes might be a bit more conventional, or the grooves a bit more mellow. As always with Kent, the package features loads of notes on the music – enough to help even a novice become a connoisseur after a few listenings – and the CD features 24 titles that include "Cut Me Loose" by Gene Taylor, "Beverly" by Billy Watkins, "If I'd Lose You" by Jackie Day, "That Righteous Feeling" by Marvin Phillips & The Spinners, "My Name Is Misery" by Al King, "I've Gotta Get You Back" by Mary Love, "I'm Guilty" by Vernon Garrett, "Can't Count The Days" by Jeb Stuart, "Baby Baby Baby" by Leon Peterson, "The Ta Ta Song" by Little Henry & The Shamrocks, and "It's OK" by Esther Williams.

The first ever compilation of the best music made for MoWest – the eclectic, but still soulful cuts made when Berry Gordy Jr. relocated from Motown to the west coast in the early 70s – releasing cool and sometimes strange music with a soul background, yet toasted by LA sunshine! The MoWest subsidiary lasted just a few years, and gets overlooked in the canonization of Motown at it's most classic and revolutionary – but the legacy is pretty incredible. Funk, sunshine rock and soul fused adventurously by a stunningly diverse roster – late period Frankie Vallie & The Four Seasons (who's comp-opening track is a slept on sunshine pop-soul classic), breezy-jazzy-soul from Odyssey, the sister funk of Sisters Love, a stunning solo left turn from Spinners singer GC Cameron and more great stuff from Syreeta, The Commodores, Suzee Ikeda, Thelma Houston and others. We've been dying for a well selected MoWest comp like this for years, and Light In The Attic stepped to the plate and knock it right out of the park. The songs choices are great, the notes are great. . .everything about it is a win. Essential! Includes "You're A Song (That I Can't Sing)" and "The Night" by Frankie Valli & The Four Seasons, "Our Lives Are Shaped By What We Love" and "Broken Road" by Odyssey, "Don't You Be Worried" by The Commodores, "A Heart Is A House" Nu Page, "I Ain't Going Nowhere" by Thelma Houston, "I Can't Give Back The Love I Feel For You" by Suzee Ikeda, "You've Got To Make The Choice" and "Give Me Your Love" by The Sisters Love and more.

Tracks by the Delfonics, the Tempress, the Spinners & more.

A soaring solo effort from the great Philippe Wynne – a vocalist who's probably best known for his hit 70s work with The Spinners, but one who also turns out to be a hell of talent on his own! Wynne's sweet raspy vocals click into place right from the start – stretching out over a host of Philly-styled arrangements that recall the backdrops he received with The Spinners, but with a much stronger focus on his lead – as often any backing vocals are just a female chorus back farther in the mix. Wynne really sparkles on the ballads – grabbing our hearts all over again – but the album also sports some great groovers too – of the sort that really benefit from the tight arrangements. Titles include the seminal "Think Of Your Thoughts As Children" – a really beautiful number – plus "Starting All Over", "Waiting On A Letter From Home", "Lisa", "Take Me As I Am", and "Like A Loser Needs A Winner".

A brilliant testament to the righteous power of soul music in the civil rights era – and key proof that even a subtle message could do a lot back in the day! The package presents the work in roughly chronological order – starting from a time when politics had to be peddled softly, and moving towards a time when things could be a bit more explicit – showing a great evolution of themes of pride and power, offered up in tunes both familiar and obscure. The collection is way more than a "hip hits of the 60s" sort of set – and acts almost as a mini-documentary of the contributions of soul music to civil rights – supported by a great set of notes and photos in the booklet. We're especially happy to see the track "Have You Ever Seen The Blues" by Yaphet Kotto – alongside 22 more titles that include "Blues For Mr Charlie" by Lou Gosset & Joe Lee Wilson, "The Ghetto" by Homer Banks, "We're A Winner" by The Impressions, "When Will We Be Paid" by The Staple Singers, "Oh Lord Why Lord" by Parliament, "Message From A Black Man" by The Spinners, "Run Charlie Run" by The Temptations, "Cryin In The Streets (parts 1 & 2)" by George Perkins & The Silver Stars, "Free At Last" by Jackie Day, "Someday We'll All Be Free" by Donny Hathaway, and "The Prayer" by Ray Scott.

A pretty cool set! The record was produced by the Social Security Administration of the US Government – and it features James Earl Jones talking about "genius on the black side". The two LPs feature 13 five minute radio bits – with a message from Jones on social security, then a message about a different jazz or soul artist – like Lou Rawls, Diana Ross, Jackson 5, Sarah Vaughan, The Spinners, and others. The set then plays a bit of a song by the artist – but there's no other interview material, just Jones talking. Still, the rhetoric is pretty cool – and with a voice like that, you can't miss! Pretty unique stuff – if not from a musical perspective.