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An important early record from Yello! The standout cut here is "Bostich" – a great little track that's spare, electronic, and has snapping beats, catchy vocals, and this dark sound that fit perfectly with the crossover Danceteria scene! Other tracks are equally nice, though – and the album sounds pretty darn great after all these years!

A seminal early album from Ian Dury – recorded before his funky dancefloor crossover work, and a key link between those sides and his earlier pub rock years. Dury's wonderfully deadpan vocal approach is already very firmly in place – and in fact perhaps sounds even more disaffected next to the heady guitars and stiffly strutting instrumentation of the set. Chaz Jankel's just developing his bassy style at this point – soon to explode more strongly on later work – but the core sound is very firmly in place on the set! Titles include "Sex & Drugs & Rock & Roll", "My Old Man", "Wake Up & Make Love With Me", "Clever Trevor", "If I Was A Woman", "Sweet Gene Vincent", "Billericay Dickie" and more.

Recorded live at the Brooklyn Academy of Music, New York City, February 7-10, 1983. A HUGE amount of material! Includes the tracks "Say Hello", "Walk The Dog", "Violin Solo", "Closed Circuits", "For A Large And Changing Room", "Pictures Of It", "Language Of The Future", "Reverb", "If You Can't Talk About It, Point To It", "City Song", "Finnish Farmers", "Democratic Way", "Private Property", "Neon Duet", "Difficult Listening Hour", "So Happy Birthday", "Dance Of Electricity", "Sax Duet", "Born, Never Asked", "From The Air", "Beginning French", "Talkshow", "Cello Solo", "Blue Lagoon", "Stiff Neck", "Hothead", "Telephone Song", "Sweaters", "We've Got Four Big Clocks", "I Dreamed I Had To Take A Test", "Big Top", "It Was Up In The Mountains", "Big Science", "Red Map", "Strike", "False Documents", and many, many more!

The first Salsoul album from Aurra – and the start of a great run that would make the group one of the label's strongest acts in the early 80s! Things are nicely funky throughout – more 80s groove than the disco that first brought Salsoul success – and right from the start, Aurra have a well-conceived approach that uses both male and female vocals to flesh out the rhythms with plenty of soul! Instrumentation is as tight as older funk, but served up more at an 80s club clip – yet all still with a very live feel, and none of the too-stiff modes that were hurting other groups at the time. The album has 6 long tracks – and titles include "In The Mood To Groove", "Too Much", "Who Are You", "When I Come Home", and "You're the Only One". CD features the bonus tracks "When I Come Home (Larry Levan 12" mix)", "In The Mood To Groove (orig 12" mix)", "When I Come Home (ext album mix)", and "In The Mood To Groove (orig single)".

A mixed bag record, but with some really wonderful moments – and essential listening as a lead-up to the Pet Sounds album to follow! There's a mix of styles here – some rough rocking numbers that are a bit stiff, mixed with some really amazing tunes that get at Brian Wilson's new sensitivities – tunes like "Girl Don't Tell Me", "You're So Good To Me", "Summer Means New Love", and "Let Him Run Wild" – all complicated in subtle ways, with a great sense of tension underneath. Other tracks include "Help Me Rhonda", "California Girls", "I'm Bugged At My Old Man", and "Amusement Parks USA". Includes the complete album in both the mono and stereo mixes.

Brand New Heavies back in action – and sounding every bit as great as always! The group still has that sublime mix of soul, jazz, and funk that's made them so great right from the start – a mode that's steeped in classic influences from the 60s and 70s, yet finds a way to come out sounding really fresh and unique on every track! Instrumentation is razor-sharp, and mostly live – and vocals are by N'Dea Davenport, Jan Kincaid, Dawn Joseph, and Simon Bartholomew – creating a nice mix of personalities that make the record feel even more joyously collaborative than ever – almost as if the group's borrowed a page from the Incognito book – and the great way that combo has of coming together. The sound is warm and flowing throughout – never stiff or commercial – and titles include "Heaven", "Turn The Music Up", "Do You Remember", "On The One", "Sunlight", "Forward", "Addicted", and "A Little Funk In Your Pocket".

A very groovy little set – bongos, with lots of great spare moments – presented under the auspices of a percussion instruction record! Jack "Bongo" Burger was similar to Jack "Mr. Bongo" Costanza – that is, he was a west coast studio player who also made a number of albums under his own name, and who could groove pretty hard if he wanted to. This LP is a bongo instructional record with him playing along with a narrator, illustrating different sort of techniques and styles with the narration. The bongo tracks are totally stripped down, with some good spare percussive moments that are just right for lifting and sampling. The narration is nice and goofy, too, and has a very stiff feel to it that contrasts humorously with Jack's lively bongos. Titles include "Clave & Afro", "Modern Jazz Accompaniment", "Basic Bongo Pattern", and "Rim Shots".

A trio of early 80s efforts from Con Funk Shun in a 2CD set – with bonus tracks! Touch is a killer from the group – one of the few mainstream funk groups who actually managed to sound better and better with each new record – and on this set, they really seem to come into their own! Titles include "Too Tight", "Lady's Wild", "Give Your Love To Me", "Kidnapped", "Welcome Back To Love", "Touch", and "Play Widit". Includes 2 bonus tracks: "Lady's Wild (12" Version)" and "Body Lovers (12" Version)". 7 is not the group's 7th album, but a bold statement of the unity they feel as a 7 piece ensemble – perfectly lived up to in the record's well-crafted grooves! The album's one of Con Funk Shun's best overall – really solid, but never too slick, very tight in the bass department, but still soulful on the vocal tip, and never afraid to slip into a sweeter, more mellow tune. Titles include "Straight From The Heart", "Bad Lady", "Promise You Love", "I'll Get You Back", "A Song For You", and "California 1". To The Mix has snapping grooves and a sweet clubby sound. The bass is tight, the keyboards are electric, and the rhythms are great – never forced or stiff, and always flowing with a sense of soul that's head and shoulders above most of the group's contemporaries. Vocals are strong too – especially on the numbers that step things down a few notches – and titles include "Ms Got The Body", "Let's Ride & Slide", "Everlove", "Hide & Freak", "You Are The One", "Take It To The Max", "The Freak", and "Love's Train". Includes the bonus "Ms Got The Body (12" Version)" and an instrumental version.

A late date for Brit bandleader Vic Lewis – but a great one too, thanks to a strong focus on the bossa nova sounds of the 60s! The mode's a real change for Lewis, who could sometimes be a bit stiff – and the new groove definitely opens things up nicely – as does the album's work from a top-shelf of jazz soloists, both British and American! Side one has Lewis leading a combo that features a stellar lineup – tenor and flute from Tubby Hayes, more tenor from Ronnie Scott, trumpet from Jimmy Deuchar, flugelhorn from Shake Keane, and piano from Terry Shannon – all players who get plenty of chance to solo, and really make the music magical with just a few subtle touches. The flipside features Lewis leading a group of West Coast luminaries – Bud Shank on tenor and flute, Bob Cooper on tenor, Jack Sheldon on trumpet, Shorty Rogers on flugelhorn, and Victor Feldman both on piano and vibes. The groove is just as great as on the first side – and the whole thing's a real standout for Brit jazz at the time. Titles include "Bossa Nova Scotia", "Bossa Nova Blues", "Two Note Samba", "Last Minute Bossa Nova", "Danielle", and "Vic's Tune".

A rare non-Blue Note outing from Lee Morgan – and a record that's sometimes mistaken as a large group effort because of the "twelve" in the title, but which is a tight small group set that's equally cooking as some of Lee's better known records! As with the best mid 60s Blue Note work from lee, the players here are both soulful and modern – able to shift easily into some of Lee's most complicated ideas of jazz expression, yet always doing so in ways that are never stiff or academic – but filled with life and spirit in every note! Clifford Jordan's tenor is a fantastic accompaniment to Morgan's trumpet in the frontline – and Barry Harris' piano has the warmth and flowing quality of a young Cedar Walton on most tracks. Bass is by Bob Cranshaw and drums are by Louis Hayes – and titles include "Lee-sure Time", "Second's Best", "Little Spain", and "Waltz For Fran".

The incredible second album from Silver Apples – even more mad, more trippy, and more space rock than the first! The tunes are all awash in fuzziness – mad guitars, distorted vocals, and rough electronics coming into play with a bit of banjo and some stark, stiff percussion that makes the whole thing have a bit of a groove at times! The sound is otherworldly and incredible – hugely influential upon a generation of 90s popsters, but even better than any of the imitations they've spawned over the years! Titles include "You & I", "Water", "Ruby", "I Have Known Love", and "Confusion".

A beautiful little record – and one that definitely earns the "suite" distinction in the title – given the thoughtful longform approach of the set! The album's got a more composed feel than other spiritual jazz sessions of the time – not in a stiff way, but in a style that shows that leader Donald Alexander Strachan really has a strong vision in his music – not just in the compositions he spins forth on the record, but also in the way he directs the rich energy of the ensemble! The lineup features Strachan on guitar and piano – but also features Jay Hoggard on vibes, Carl Viggianni on flute, Lee Rozie on tenor, John Thompson on cornet, M Malik Jackson on piano, and Ray Newton and Archie Delerme on percussion. Tracks have this rhythmic pulse and subtle soul that's not unlike some of the more ambitious Horace Silver projects of the time – such as his "with percussion" or "with brass" records – but the feel here is also a bit looser and more intimate too – with a vibe that's very much in the Strata East mode. Titles include "Song Of Searching", "Spiritual Travelers", "Masters Of The Bourchakoun", "Silent Jubilation", "Tenth Door", "Aquarian Voices", and "Soul Release".

Lew Tabackin looks a bit stiff on the cover of this one (who wouldn't, in a tan polyester suit?) – but the record's a surprisingly hip date, and a great chance to hear Lew away from his 70s big band with Toshiko Akioshi! As the title and cover imply, the album features Tabackin's "dual nature" on reeds – with one side of flute performances, and another of tenor – both of which are surprisingly soulful. The flute work is somewhat sensitive, and beautifully done – almost poetic at points, and played with a style that's quite different than Lew's big band work. Group members include Don Friedman on piano, Bob Daughtery on bass, and Shelly Manne on drums and waterphone – a rhythm section that really matches the sensitivity of Tabackin's groove on the titles "Euteurpe", "Yellow Is Mellow", and "Out Of This World". The tenor work is a bit more hard-edged, almost boppish, but with a slightly more laidback feel – and titles include "No Dues Blues", "My Ideal", and a great take on "Russian Lullaby".

Wild work from The Ventures – a set that really has them trying to change with the times – and coming up with some excellent sounds in the process! The inside cover features a cool "photo story" of the group – very unusual, as it shows the aging quartet trying to act real groovy and camp it up for the camera – like some surf act on Capitol – yet they only come off looking stiff and flat. Fortunately, the music more than makes up for the visuals – as the group's well-crafted guitar lines are a perfect fit for the album's pop psych tunes! And instead of the easy covers you might expect, there's a wealth of original material here – proof that the group could still write some great ones when they wanted – as you'll hear on "Psychedelic Venture", "Guitar Psychedelics", "Reflections", "Endless Dream", "Psyched Out", "1999 AD", and "Vibrations". Also features versions of "Happy Together", "Strawberry Fields Forever", and "A Little Bit Me A Little Bit You".

Wild work from The Ventures – a set that really has them trying to change with the times – and coming up with some excellent sounds in the process! The inside cover features a cool "photo story" of the group – very unusual, as it shows the aging quartet trying to act real groovy and camp it up for the camera – like some surf act on Capitol – yet they only come off looking stiff and flat. Fortunately, the music more than makes up for the visuals – as the group's well-crafted guitar lines are a perfect fit for the album's pop psych tunes! And instead of the easy covers you might expect, there's a wealth of original material here – proof that the group could still write some great ones when they wanted – as you'll hear on "Psychedelic Venture", "Guitar Psychedelics", "Reflections", "Endless Dream", "Psyched Out", "1999 AD", and "Vibrations".

Wild work from The Ventures – a set that really has them trying to change with the times – and coming up with some excellent sounds in the process! The inside cover features a cool "photo story" of the group – very unusual, as it shows the aging quartet trying to act real groovy and camp it up for the camera – like some surf act on Capitol – yet they only come off looking stiff and flat. Fortunately, the music more than makes up for the visuals – as the group's well-crafted guitar lines are a perfect fit for the album's pop psych tunes! And instead of the easy covers you might expect, there's a wealth of original material here – proof that the group could still write some great ones when they wanted – as you'll hear on "Psychedelic Venture", "Guitar Psychedelics", "Reflections", "Endless Dream", "Psyched Out", "1999 AD", and "Vibrations". Also features versions of "Happy Together", "Strawberry Fields Forever", and "A Little Bit Me A Little Bit You".

Funky covers galore – mostly contemporary tracks, but a few classics as well – all pulled together in support of the Craig Charles Show on BBC! Craig's got a long-standing reputation as a soul collector, funk fanatic, and all around groovy guy – and over the past decade, his show has almost become to funk and soul what John Peel's was to rock back in the day – a great place to discover new talents and revisit old ones! This package has all the key Charles hallmarks – and features a range of grooves that includes deep funk, Afrobeat, dub, and a few more contemporary modes – all of them funky. Titles include "Rocket Man" by The Stiff Naked Fools, "Insane In The Membrane" by Prince Fatty, "Hard Work" by Smoove & Turrell, "The Clap Hands Song" by T Bird & The Breaks, "Wait A Minute" by the Excitements, "Amen Brother" by The Bamboos, "Singalong" by Treva Whateva, "Shaft In Africa" by Mighty Showstoppers, "The Snake" by Al Wilson, "Satisfaction" by Incredible Bongo Band, and "The Bump" by The Haggis Horns.

A beautiful little record – and one that definitely earns the "suite" distinction in the title – given the thoughtful longform approach of the set! The album's got a more composed feel than other spiritual jazz sessions of the time – not in a stiff way, but in a style that shows that leader Donald Alexander Strachan really has a strong vision in his music – not just in the compositions he spins forth on the record, but also in the way he directs the rich energy of the ensemble! The lineup features Strachan on guitar and piano – but also features Jay Hoggard on vibes, Carl Viggianni on flute, Lee Rozie on tenor, John Thompson on cornet, M Malik Jackson on piano, and Ray Newton and Archie Delerme on percussion. Tracks have this rhythmic pulse and subtle soul that's not unlike some of the more ambitious Horace Silver projects of the time – such as his "with percussion" or "with brass" records – but the feel here is also a bit looser and more intimate too – with a vibe that's very much in the Strata East mode. Titles include "Song Of Searching", "Spiritual Travelers", "Masters Of The Bourchakoun", "Silent Jubilation", "Tenth Door", "Aquarian Voices", and "Soul Release".

Sublime grooves from Fat Larry's Band – a combo that's heavy on bass, but one that also keeps things cool! The style here is easily one of the best from the group's generation – a laidback groove that's not nearly as tight as other 80s club acts – never too much bass in the face, nor rhythms that get too stiff – just a stepping sort of groove that's rooted in funk, and served up with plenty of soulful touches. In a way, the sound reminds us more of ensemble funk groups from the late 70s than you'd guess from the date – particularly some of the Mercury or Chocolate City artists. Titles include "House Party", "Act Like You Know", "Breakin Out", "Be My Lady", and "Zoom". CD features bonus tracks too – instrumental and radio mixes of "Act Like You Know", and a radio mix of "Zoom".

The title says "recital", but the album's no stiff, starched concert affair – as Tommy Flanagan is right at home on the piano, playing with a fluid grace that makes the record one of his best from the 70s! There's a simple, unadorned quality to the album – one that really lets Tommy sparkle with a quality that was always present in his work, but sometimes slightly dimmed in the studio – especially in large group records. And it's almost as if Pablo records has taken a cue from advances in Japanese piano trio recordings of the decade to bring a new sort of life to Flanagan's career – one that Tommy would later go onto explore heavily in later Japanese-only sides. Rhythm is by Keter Betts on bass and Bobby Durham on drums – and tracks include "The Intimacy Of The Blues", "Ummg", "Something To Live For", "All Day Long", "Mainstem", and "Daydream".

Seminal Italian horror soundtrack music from Goblin! By this point, the band had completely evolved from a prog-oriented jazz rock band, into a group that was very well suited to handle a diverse array of movie scores and horror themes. The keyboards are still at the core – and there's a nice mixture of electric and acoustic, which makes for a very nice juxtaposition of moods – and the group have come up with some fantastically spooky tracks that really evoke all the pulsating terror and bone-chilling horror of the stiff early slasher films. This CD includes a number of extra tracks in addition to the material issued the already rare vinyl release – and there's a total of 15 titles that include "Buio Omega", "Quiet Drops", "Strive After Dark", "Bikini Island", and "Ghost Vest".

Overlooked genius from Nancy Wilson – a pair of gems, back to back on a single CD! Can't Take My Eyes Off You is a really great album from Nancy Wilson – a set that still has her working with the jazzy undercurrents of her best 60s work for Capitol Records – yet also moving into some hipper, more sophisticated soul styles too! There's a really strong adult vibe to the record – not that Nancy didn't have one before, but this time around there's even more sense of personality and experiential depth that really comes through in the choice of songs – and in Wilson's wonderful treatment of them. Tunes that might be stiff in the hands of someone else are really transformed here – with added thanks to Phil Wright for great arrangements on the record. Titles include a version of Leonard Cohen's "Suzanne", Burt Bacharach's obscure "Waitin For Charlie To Come Home", and the tracks "Trip With Me", "This Girl Is A Woman Now", "Mixed Up Girl", and "Words & Music". Now I'm A Woman is a really unique moment for Nancy – one in which she leaves the LA sound behind, and gets some special treatment from the young Philly crew of the Gamble & Huff studios! Arrangements on the set are by Thom Bell, Lenny Pakula, and Bobby Martin – and the style's an interesting mix of Nancy's pop jazz vocals with some of the lighter, sweeter sounds of the Philly scene at the start of the 70s. The result is a surprisingly wonderful album – quite different for Nancy, and with the kind of backings that really break her out of the sound of the 60s – and pave the way for the sophisticated style of the 70s. Titles include "Now I'm A Woman", "Let's Fall In Love All Over", "Lonely Lonely", "Joe", "How Many Broken Wings", and "The Real Me". CD features three bonus tracks – "Go Away & Find Yourself", "When You're Alone", and "I'm Gonna Make You Love Me".

One of the most striking Morricone soundtracks we've heard from the early 70s – a really dark little score that's filled with harsh tones and cool electronic effects! The film itself deals with the hardship of life in an Italian factory – and Morricone's music is filled with machine-like moments – stark, stiff rhythms that stamp out in repetition – cold electronic sounds that are without any soul – and a few softer, gentler moments that offer just a bit of relief – then quickly bring you back to the realm of the industrial! The soundtrack is proof that the maestro was always working at the height of his creative powers – setting his music apart from the rest of his contemporaries. Bruno Nicolai gets a nod too – as he directed the orchestra – and titles include "Il Sogno", "Metamorfosi", "La Classe Operaia Va In Paradiso", "Alienazione", "Inventario", and "Sinfonia Dell'Ottimista".

Mellow warmth from the great Monty Alexander – one of his best for MPS, and a trio set cut with Senator Eugene Wright on bass and Bobby Durham on drums! The roundness of Wright's bass makes the best cuts on the album even better – as he rolls around with a subtle sense of soul that really helps Alexander step into the 70s nicely – getting past some of the stiffness of 60s albums and even hitting a few funky notes at times! Titles include the jazzy dancer "Monticello", a classic reading of "We've Only Just Begun", and the tracks "Blue Alexander", "Love Story", and "Summer Of 42".

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 really incredible record from Jimi Tenor – spiritual soul jazz at its best, and unlike anything else he's ever recorded before! We always knew that Jimi's had a record like this inside of him, but it's taken years to get past the colder, stiffer styles of his earlier records – but hearing this set, it's been more than worth the wait! The style here is an Impulse Records-like blend of keyboards, vocals, horns, and plenty of percussion – soaring out in ways that are spiritual, funky, and plenty darn righteous – all with impeccable production from the legendary Didier, who really helps get the sound of the record right! Jimi sings a bit, and plays lots of cool keyboards – Fender Rhodes, Farfisa, Photophone, and "symphonic piano" –a nd other players here include Timo Lassey, Jukka Eskola, and a bit of harp from Iro Haarla. Titles include "Sunrise", "Hermetic Man", and "Smoking".

A 7-inch single commemorating Willie Nelson's 80th birthday – and his faith in and use of a particularly herbal remedy! Includes the Heroes album version of "Roll Me Up And Smoke Me When I Die" with fellow aficionado Snoop Dogg, plus longtime friend and collaborator Kris Kristifferson and Willie acolyte Jamey Johnson. It's a fun track, but the real keeper is the flipside – Willie Nelson's previously unreleased solo version. Willie's often at his best when he's recorded in sparer, lonelier settings, and that's true for this track, too.

Giorge may have switched the "e" in his name, but that's not the only thing that makes him stand out – because the album's something of an underground classic from the 80s, even though it's issued on a major label! Pettus is a great singer with a really mature feel – a quiet storm vocalist who really sparkles on the mellow cuts, and manages to sing with a deeply expressive feel that offsets any of the stiffer rhythms in the background. The album features some production by Kashif, who's probably a good comparison to Pettus – and titles include "My Night For Love", "Can You Wait", "I'm Good For You", "One Track Mind", "Trouble In Paradise", and "Make It Right".

A really incredible record from Jimi Tenor – spiritual soul jazz at its best, and unlike anything else he's ever recorded before! We always knew that Jimi's had a record like this inside of him, but it's taken years to get past the colder, stiffer styles of his earlier records – but hearing this set, it's been more than worth the wait! The style here is an Impulse Records-like blend of keyboards, vocals, horns, and plenty of percussion – soaring out in ways that are spiritual, funky, and plenty darn righteous – all with impeccable production from the legendary Didier, who really helps get the sound of the record right! Jimi sings a bit, and plays lots of cool keyboards – Fender Rhodes, Farfisa, Photophone, and "symphonic piano" –a nd other players here include Timo Lassey, Jukka Eskola, and a bit of harp from Iro Haarla. Titles include "Sunrise", "Hermetic Man", and "Smoking". CD features the bonus track "Sunrise (Tatamirage mix)".

Overlooked genius from Henry Threadgill – one of his under-exposed 80s sessions for the About Time label, and work that's every bit as great as his better-known sides for Delmark or Black Saint! The group here has a nice sense of freedom and interplay – almost a quality that hearkens back to Threadgill's roots in the AACM, thanks to strong contributions from Craig Harris on trombone, Olu Dara on trumpet, Fred Hopkins on bass, Deidre Murray on cello, and both Pheeroan Aklaff and John Betsch on percussion. The tracks are nicely arranged, but never too stiffly – and titles include "Cremation", "Black Blues", "Gateway", and "Just The Facts And Pass The Bucket".

Excellent lost funky work from Italy! The Barigozzi Group were one of these obscure little combos that churned out tight funky tracks for bigger outfits – very much in the style of I Gres, Marc 4, or some of the other great Italian groups that are being discovered lately. Their strength was a great keyboard sound, augmented by some wonderfully produced guitars, nicely flanged or wah-wahed, and some excellent drums, played in a nice tight stiffly rhythmic style. This package includes a whopping 21 cuts pulled from 3 lost alubms – all wrapped up in a wonderful looking cover that's one of the nicest Easy Tempo have dropped on us to date! Titles include "Tarzan Dance", "Blue Hairs", "Silver Legs", "Ivory Breast", "Black Heart", "Theme For Aretha", "Hong Kong Wind", and "Message From the Jungle". Great stuff!