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Great work by one of the grooviest groups on the LA 60s scene! The Afro Blues Quintet have a blend of soul jazz and Latin styles that's similar to the best 60s work by Cal Tjader, or to records by small combos like the Quartette Tres Bien or The Latin Jazz Quintet. Lots of grooves have a nice modal swing to them – nice and jazzy, with slight touches of soulful instrumentation, all fused into a tight Latin-styled groove. Loads of great original tunes – including "Mystic Mambo", "Freaks", "Incantations", "Victims Of Chance", "Let My People Go", and "Afro Rock".

Hard-ripping genius from Agent Orange – one of the group's first moments on wax, and arguably one of their greatest, too! The set's everything you'd ever want from an LA hardcore record from the glory days – tight, fast, simple, and completely effective – the kind of music that America did best, right at a time when the punk rock flag was failing in other parts of the globe – just guitar, bass, and drums – but played with an energy that set fire to a whole new generation! Includes the classic "Everything Turns Grey", a great remake of "Miserlou", and the cuts "Living In Darkness", "A Cry For Help In A World Gone Mad", "No Such Thing", and "Too Young To Die".

A great mid 70s record by Antorcha – whose late 60s records as Las Antorchas were a great mix of styles – from beat, to garage, mod and psych – and by this point in the mid 70s, shortened their name and honed their groove into heavier, moodier style that's even better! Heavy rhythms and moody textures – with some really haunting organ grooves – and an overall vibe that's up there with some of greater underground rock around the world at the time. By this point, the band was producing and promoting themselves – and put up a number of EPs that are compiled here for this great 11 song set: with "En El Jardin Del Eden", the English-sung "Grass" and "Going Down", "La Tierra", "Crisalida", "Bracero", "Mira", Quiero Vivir" and more.

Tripped out electronics meet progressive rock jamming – all in a weird and wonderful film score from the early 70s! The record's one of the best by French experimentalist Philippe Besombes from the time – and it's got a style that sort of starts in the territory of Francois De Roubaix similar electronic work for film – but gets a lot darker and noisier right away! There's a textural depth here that's really great – almost a pre-industrial music exploration of sounds – but the work's also not that over-indulgent, either – and Besombes always has a great way of getting back to a tune, especially on the shorter tracks. Titles include "La Plage", "Rugby", "Ceremonie", "Hache 06", "La Ville", "Les Cosmonautes", "Tis A Song", "Boogimmick", and "PJF 261".

One of the best debuts in the history of hip hop – and one of the most important albums the genre ever produced! Criminal Minded is landmark for a number of reasons. Among the biggest is, of course, that it was recorded with the late great DJ Scott La Rock – and he was soon to fall prey to the very street violence that BDP documented with such raw brilliance, courtesy the lyricism and delivery of KRS-One. Importance aside, though, Criminal Minded is simply a great, timeless record that no true fan of gritty classic hip hop should be without. The track list alone is a full chapter in the hip hop book of legends – with tunes like "Poetry", "Elementary", "South Bronx", "Super-Hoe", "Bridge is Over", and the "P is Free" remix. Also includes "Criminal Minded", "Dope Beat", and "9mm Goes Bang".

A surprisingly great album by Booker T – recorded after his Memphis years with The MGs, and his duets with Priscilla – and done in a sweetly mellow style that has Booker emerging as a whole new style of songwriter! As with all the post-MG albums, Booker sings lead vocals on all tracks – in a gently, almost folksy mode that fits beautifully with the compressed production of the set. There's almost a Terry Callier-ish quality to a few of the cuts, and on others, Booker's hitting a cool LA style that's kind of a west coast take on the Memphis vibe – but with a few more rock-based touches. Book plays a bit of organ and some keyboards on the set, and titles include "Jamaica Song", "Mama Stewart", "Flamingo", "Tennessee Voodoo", "Lie To Me", and "Evergreen".

A sharp Statement Of Intent from DJ Format – whose format is timeless boombap and deft live instrumention on this solid set – which includes collaborations with Sureshot La Lock, Phill Most Chill, Nostalgia 77 and others! Classic craft, though timelessly inventive. The spacey sci fi funk of the Nostalgia 77 collabos is as hot as you'd expect, as are the other diverse sounds at play here. Includes "Staetement Of Intent", "A Quick Ego Trip", "Dope Pusher" and more with Sureshot La Rock, "Spaceship Earth" feat Edan, "Notes In Quotation" and "The Long Goodbye" feat Nostalgia 77 Quintet, "Terror" feat Mr Lif, "Beyond Disco" with The Simonsound, "Live At The Place To Be" with Phill Most Chill & Sureshot La Rock and more.

Sure, it was silly stuff when we were kids – but once De La Soul sampled "Three Is The Magic Number", this record became one of the most prized in our possession! And thanks to that hip hop reintroduction, we've really fallen in love with the music again over the years – partly because the tunes are all so groovy, and partly because we've really come to know the jazz-based work of composer Bob Dorough! At the time of this set, Dorough was coming off some great work in the 60s – his own rare recordings, music for Spanky & Our Gang, and others – all of which seems to inform these math-based tunes written for Saturday morning TV. The tunes are all pretty darn catchy, and often quite jazzy – and instrumentation often features some great electric piano nestled in alongside the vocals. Dorough sings the lion's share of the work for this album – although Grady Tate sings on two numbers, and Blossom Dearie on one more. Titles include the amazing "Three Is A Magic Number" – plus "Lucky Seven Sampson", "Little Twelve Toes", "Ready Or Not Here I Come", "I Got Six", "Naughty Number Nine", "Figure Eight", and "The Four Legged Zoo".

Ah for the days when Holland seemed to be filled with hard-jamming fusion combos! Ekseption were one of the country's best – and crossed over big to the rock crowd during the prog years. Here, on their 5th album, the group's actually pretty jazzy overall – taking a few tips from classical influences, but also doing many tunes on their own, and really working out some nice heavy riffing solos. Loads of great organ solos – and titles include "My Son", "Pie", "Midbar Session", "A La Turka", "Siciliano", "For Example/For Sure", and "Virginal".

The one and only album Kansas City singer songwriter Jeff Eubank – his rare, should be classic A Street Called Straight from 1983! The album was recorded in KC after Eubank spent some months puttering around the LA scene, and it's a low key, brilliant effort with a lot of love for the best folk rock and soft rock of the previous decade – plus some occasional oddball flourishes – filtered through Eubank's own considerable talents. Easy melodies and solid lead and harmony vocals lead the way, and Eubank somehow either had the foresight to avoid early 80s production trappings that could have dated the recording. The timeless is very impressive and this is worthy discovery! Titles include "Feels Like Me", "For Your Return", "Inside", "Earthian Children", "A Street Called Straight", "Summersong", "Adolescent Daydream" and more.

Echoey pop from the Italian scene of the early 60s – a record that already sparkles with dynamic vocals from the legendary Mina – but which also has some great studio touches too! There's a lively, optimistic mix of modes going on here – electric guitar that rings out boldly next to the vocals, rhythms borrowed from rock and Latin, and all-out vocals from Mina – sung with the kind of power and charm that no American singer could touch! The whole thing's great – the kind of music you'd hear a pretty girl playing on her transistor radio in a Fellini film – and titles include "Ho Paura", "Personalita", "La Nonna Magdalena", "Il Cielo In Una Stanza", "Invoco Te", "Coriandoli", "Una Zebra A Pois", and "Pesci Rossi".

Playful pop from Mina – a great Italian singer who made some really wonderful records from the late 50s onward! This early set is a real gem – a sprightly mix of larger arrangements with rock and pop inflections – all served up in this optimistic blend that really fits the mood of Rome after the initial postwar period! You can really feel Italian pop culture coming into its own here – and the tunes have a charm that's undeniable – and a compelling quality that comes through right away. Titles include "La Verita", "E Vero", "Whisky", "My Crazy Baby", "Nessuno", "Folle Banderuola", "Piangere Un Po", and "La Luna Ed Il Cowboy".

A late 60s masterpiece from The Pretty Things – beautifully baroque west coast psych pop, done in a style that links together the headier LA sound of Love with some of the more concept-driven work of the UK scene at the time! There's an undeniable power in the record – an energy that was years ahead of its time, and which has led to the album's rediscovery by a host of new generations. At some points, the instrumentation is simple guitar-based rock – but at others, it's topped off by just the right use of strings, larger orchestrations, and bits borrowed from Indian music! Vocals are bitingly delivered, but never cliched – and titles include "Old Man Going", "Loneliest Person", "SF Sorrow Is Born", "She Says Good Morning", "Death", and "Baron Saturday".

A massive bit of blue-eyed soul – recorded on the London scene of the late 90s, but put together with a vibe that takes us back to early 70s LA! The sticker on the front promises links to Steely Dan and Jamiroquai – and the sound of the record definitely lives up to that sound – all the best warm production you'd hear from the best mainstream acts of the 70s, but fitted with a 90s style that's a bit leaner overall – smart enough to appreciate all the best aspects of the older music, yet distanced enough not to get trapped in its cliches! The whole thing's the grooviest set of soft rock we've heard in years – a killer little record that's filled with great hooks, soulful instrumentation, and loads of warm harmonies from the lead duo – on titles that include "Late For The Day", "Lucky Radio", "Valerie", "Whatever I Do", "I Can't Move No Mountains", "Only When I'm With You", and "Soon Comes Another".

One of the grooviest albums to come from the godlike hands of Emil Richards – a hip LA vibist who touched equally the worlds of jazz, soul, rock, and easy! This album's got a bit more punch than some of Richard's more jazz-based sessions – with Emil playing a wide range of percussion instruments, plus vibes and marimba – all backed by some incredibly groovy work on organ and piano by Dave McKay! Arrangements are by Tom Scott and Paul Beaver – and the record's got the jaunty, swinging quality of some of Scott's best early work of the time – particularly his early gems for Impulse! Titles include a great version of Tom Scott's oft-recorded "Blues for Hari", a very groovy number with a great 60s eastern feel – plus originals "Hot Fudge Sundae" and "Here", and versions of the tracks "Girl Talk", "Sunny", "Take Five", and "Call Me".

Haunting work from the duo of Sandhy & Mandhy – a pair from the Buenos Aires scene at the end of the 60s, working in a weird mix of beat group styles and hipper rock rhythms! There's a slightly ethereal quality to the work – partly because of the way the pair trade back vocals, partly because of the light organ lines used to support the groove – which brings a haunting Zombies-like quality to the record at times – although produced with a bit simpler sound than Odyssey & Oracle! Most tunes are original, and showcase a surprising depth in songwriting – and some numbers feature some really cool percussion that complicates the sound nicely – pushing the duo past simple pop lines, into some of the headier territory of the late 60s South American scene. Titles include "Yo Te Buscare", "Hasta El Manana", "Lluvia", "La Chica Sola Y Triste", "Quisiera Olvidarte", "Esta Noche No Debes Llorar", and "Recuardo Hoy". Amazing vinyl reissue – very heavy cover and vinyl, and beautifully done overall!

Frankie, Frankie – OW! Take a broken down synth, some crazy vocals, and a rich sense of imagination – and you've got one of the seminal groups of the New York scene of the early punk years. Suicide were a seminal bridge between earlier prog underground sounds and the art-rock punk styles that were coming out of New York in the late 70s. With this one landmark album, the band completely dismantled the cold German prog synth of groups like Kraftwerk, La Dusseldorf, and Tangerine Dream – and created a wild sound of spare anguish that brought a whole new dimension to punk rock. Ok, maybe we're going out on a limb – but this record has got to be one of the top 50 "must have" rock albums of all time. Includes the cuts "Ghost Rider", "Rocket USA", "Johnny", "Frankie Teardrop", "Che", and "Cheree" – plus the unreleased remix of "Cheree".

The great lost folk rock album from Jim Sullivan – who himself, literally went lost several years later – a set that's beautiful, yet just loose and ragged enough! It's a bit of a hybrid of folk and country rock, particularly in the acoustic guitars and laidback, warm vocals by Sullivan – but it's also got some Cali warmth – sweet strings and some horns and flute, pairing up with the looser, back porch style at the core quite wonderfully. Some great players from the LA studio scene played on the sessions – including members of the iconic Wrecking Crew – and it sounds like it! UFO came out on the small Monnie label, made hardly a dent, and after another record for the Playboy label, Sullivan disappeared, never to be heard from again in 1975 – lending a bit of a spooky air to the album, but the backstory truly not relevant to the quality – it's excellent, with or without the lore! Includes "Jerome", "Plain As Your Eyes Can See", "Roll Back The Time", "Whistle Stop", "Highways", "UFO", "So Natural", "Johnny" and "Sandman".

Another nice breaks record from Stones Throw. Ten tracks, all heavy on the drums. Most of the tracks are straight beat tracks, some original, and some from Gang Starr, MC Lyte, T La Rock, etc. A couple tracks have added vocal samples.

Classics from the mid 80s east coast hip hop master class – BDP, Just-Ice, T La Rock, Skinny Boys, Tricky Tee and Mantronix – benchmark singles, circa '86! This compilation was put together by Five Day Weekend as a soundtrack inspired by Big Fun In The Big Town – the little seen documentary by Dutch filmmaker Bram Van Splunter. Includes "South Bronx" and "9MM Goes Bang" by Boogie Down Productions, "Cold Getting Dumb" by Just-Ice, "Breaking Bells" and "Back To Burn" by T La Rock, "Jockbox" by Skinny Boys, "Leave It To The Drums" by Tricky Tee and "Bassline" and "Ladies" by Mantronix.

A much-needed look at the incredible German music scene of the 70s – a sprawling landscape of prog, fusion, electronics, and more – all put together beautifully here with the usual completeness we've come to expect from Soul Jazz! Many of the names are familiar – the sorts you've either passed by in the record racks, or seen priced up high in the collectible imports up on display – and if you've never dipped into these grooves, this set is a perfect way to start – as the folks at Soul Jazz have really tuned their ears well, to pick out key tracks that really resonate strongly with music of the 21st Century – a good deal of which was influenced by these groundbreaking acts. Some cuts are long, but never too overindulgent – and the instrumentation and production techniques are really mindblowing – extremely creative, and often presented here in their most open, honest form. As usual with Soul Jazz, the notes are wonderful – and titles on this first volume of the vinyl include "Devotion" by Between, "Dino" by Harmonia, "This Morning" by Gila, "Rambo Zambo" by Kollektiv, "La Chasse Aux Microbes" by Michael Bundt, "It's A Rainy Day Sunshine Girl" by Faust, "Hallo Gallo" by Neu, "Rheinita" by La Dusseldorf, and "Morgengruss" by Popul Vuh.

One of the deepest digs we've ever seen into the rich array of grooves from Colombia – a double-length page that covers a much wider range of sounds than you might expect! Colombia's unusual amongst Latin American nations, in that it's got kind of a "crossroads" sort of role – a place where other South American sounds come into contact with music from North America, the Caribbean, and even Africa as well – resulting in some mighty heavy styles that are perfectly summed up on this LP! The package is way more than just an armchair look at Colombia – and is heavy on the sorts of funk and offbeat grooves we've come to expect from the Analog Africa label – a key imprint in bringing the sounds of the globe to Anglo groove diggers like us. Rhythm is definitely at the core – as promised in the title – but the package also has plenty of great notes to help us understand the rich cultural history as well. Titles on this first volume of the vinyl include "Calambre" by Conjunto Barbacoa, "Lumbalu" by Calixto Ochoa & Los Papaupas, "Schallcarri" by Grupo Abharca, "El Caterete" by Wganda Kenya, "Enyere Kumbara" by Julian Y Su Combo, "Wasamaye" by Wasamaye Rock Group, "Bajo El Troupillo Guajiro" by Sexteto Manaure, "Pegale A La Nalga" by Fuentes All Stars, "Juipiti" by Grupo Folclorico, and "Shakalode" by Wganda Kenya.

This series is really getting its groove on – expanding past its usual range of fuzzy rockers, and showing a really full spectrum of underground female rock from the 60s! The vibe ranges from offbeat pop to weirdly-tuned folk to surf-styled numbers – and the tracks feature a number of non-US records too, showing a big boom in the girl group scene at the time! The overall package is nicer looking than previous volumes, with the usual notes on the obscure artists included – and titles include "Baby What Am I Doing" by Lynda Van Dyck, "I Want Your Love" by The Pussycats, "Et La La La La" by Adele, "Baby You Know It Ain't Right" by Jenny & The Rascals, "Dans Le Ventre D'Une Enorme Baleine" by Karo, "Gonna Have A Good Time" by The Clingers, "Perro Que Ladra" by Tammy, "He's Not The Same" by The Villagers, and "Crying In A Storm" by Emy Jackson.

Double LP collection from 1987-88. Public Enemy "Don't Believe The Hype", EPMD "Strictly Business" (club mix), De La Soul "Plug Tunin", Rob Base & DJ E-Z Rock "It Takes Two", Kool Moe Dee "Wild Wild West" (extended remix), Salt-N-Pepa "Push It" (remix), Run DMC "Run's House", and five more.

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.

The classic Scott La Rock tribute album – with BDP classics and remixes – originally issued as a 2LP set that was put together following the South Bronx-repping hip hop pioneer's shooting death. Alternate versions, remixes and BDP medley's from their most classic late 80s period. 15 tracks in all: "Advance", "D Nice Rocks The House", "Red Alert (Criminal Minded)", 'Doc Mix (Criminal Minded)", "Super Hoe #4", "Word From Our Sponsor #8", "BDP Medley #5", "Poetry" (#s 1, 2 & 3)" and lots more!

We love Kim Fowley, and can never get enough of his genius – and no matter what the setting, Fowley always seems to move around the maddest corners of rock and pop music! This raw batch of gems is all pulled from the Fowley vaults – and features a host of indie singles recorded in LA between his bigger bursts of fame – some with Kim in the lead, lots more with lesser-known talents all given Fowley's forceful treatment in the studio – a push forward that makes just about every track here sparkle like some long-lost garage rocker or weird novelty number. Norton provides very detailed notes that are as much a musical journey as the cuts themselves – and titles include "The Knight In Shining Armor" by Knights Of The Round Table, "Kalani Honey" by John Paul Jones, "Young & Wild" by Renegade Five, "Big Bad Wolf" by Kim Garry & The Rhythm Kings, "Watch Your Step" by Larry Green & The Rhythmaires, "Goin Away Baby" and "Golden Apples Of The Sun" by Grains Of Sand, "Wanted Dead Or Alive" by The Rogues, "Moses" by Navarros, and "The Trip", "Astrology", and a rare radio spot all by Kim Fowley.

Hip hop, street soul, and lots lots more – a really revolutionary selection of music from the legendary Celluloid Records – a label that was virtually a genre unto itself! Celluloid was a key force tying together the New York downtown scene at the start of the 80s, and the postcolonial music world of Paris – and as a result, they always operated with a culture-crossing style that few other companies of the time managed to hit – merging together sounds in really unlikely ways, and often coming up with fresh new styles in the process! The label's known for crate-diggers for its hip hop releases – and to world music fans for its electric Africa work – but they also were on the forefront of New York No Wave, avant jazz, and post-punk – and somehow found a way to integrate both young new talents, and older experimentalists who still had plenty to offer. This package finally does Celluloid justice – and goes way past the few simplistic comps of the label's work over the years – training the skilled Strut ear to the whole thing, and also serving up the full story of the label in the process. Titles include "I'm The One" by Material, "Day Tripper" by Shockabilly, "Tele Apres La Meteo" by Fredinand, "Disco Rough (long version)" by Mathematiques Modernes, "Electrique Sylvie (full length version)" by Modern Guy, "Mean Machine Chant/Mean Machine" by Last Poets, "Abele Dance ('85 rmx)" by Manu Dibango, "Change The Beat (French & English)" by Fab 5 Freddy, "The Escapades Of Futura 2000" by Futura 2000 with The Clash, and "Downing Street Rock" by Winston Edwards & Blackbeard.

An insanely wonderful bit of Latin funk! The groove is super heavy, and falls somewhere in between NuYorican soul and Chicano Power rock – with a sound that's pretty close to Black Sugar, but a little bit more psychedelic, due to the heavy guitars and keyboards in the grooves. Hard congas take the lead on most of the tracks – especially the cut "Chapumbambe", which starts with a nice breakbeat. Other tracks include "Tema De Bwana", "Motemba", "La Patada", and the massive Latin soul cut "Lolita".

Righteous and rocking soul from Merry Clayton! The set was done in LA with arrangements by insiders that include Jerry Peters, Carole King, and Billy Preston – and features some tight and sometimes funky backing from players that include David T Walker, Wilton Felder, Paul Humphrey, and Curtis Amy. Some of the tunes are a bit too rock-soul for our taste, but there are a few tasty bits on here that we really like – including a hip Leon Ware tune called "Whatever", a nice cover of Bill Withers' "Grandma's Hands", and Jerry Peters "Love Me Or Let Me Be Lonely". Other tracks include "Southern Man", "Same Old Story", "Walk On In", and "A Song For You".

The great first album from French pop psyce combo Le Systeme Crapoutchik – released in '69 – wonderful stuff from that great era in which the creative boundlessness of the psych era was fusing so well with catchier, more accessible pop around the world! While they employed styles that were well in use internationally in the late 60s, Le Systeme Crapoutchik still have a pretty unique vibe of their own. From spare, fairly spooky passages to hard-charging rock, always with great vocal harmonies. Includes the title track plus "La Chanson Des Amis", "L'Amour Avec Un Grande A", "Une Vie", "Premier Amour", "Chagrin D'Amour", ""C'est I'Hiver" and more.

No, not the New Wave of French cinema and not the new wave of post punk pop errata in the late 70s and early 80s – this New Wave is a pretty great, yet poorly remembered LA soft rock group 'circa '67 – with laidback vocals and warmly soaring arrangements by the great Gene Page! The vocals are soft and harmony laden, with groovy 60s west coast songs lushed up with vibes, harpsichords, oboes, strings and lightly layered psych flourishes!

Rare and unreleased instrumentals from the great French orchestral pop composer Jean Claude Vannier – amazing stuff from his personal archive that ranges from loosely haunting passes to more grandly orchestrated bits – funky psych rock backdrops to heavy, tribal percussion numbers! Vannier is as much of a master of setting a mood as he as an expert composer-arranger, and this great set is brilliant showcase of his talent and we'd even say a fine entry point if you're just now being introduced. He's greatly reknowned for the incredible work he did with Serge Gainbourg, as well he should be – but a standout artist on his own, as you're hear here! It's got previously unreleased numbers from his Vannier's own vaults, many from a fertile period in the early 70s, plus rare sound library recordings and more! Includes "Bombard Lamentation" (centered around the reed instrument used most often in Breton music), "L'Ours Peresseux – 1969", "La Girafe Au Ballon", "Claquez Klaxons", "Theme 504", "Road To Cuba", "La Douleur De L'Orchestre", "L'Elephant Equilbriste", "Je M'Appelle Geraldine", "Saturnin Vaca Vaca" and more.

A strange, eerie psychedelia and prog steeped soundtrack to the Jean Rollins French vampire film Le Frisson Des Vampires – played by the group Acanthus – a great little set of evocative, stripped down macabre instrumentals and trippy bits of dialogue! Finders Keepers describes the sound by comparing it to lynchpin combos of early prog as affected by "a 1000 year old acid infused blood transfusion", and guess what – that's perfect! Guitar melodies spun very loosely and eerily rolling along with improved bits and creepy sound sound effects – but it never veers into shlocky horror movie music, it's psych-steeped instrumental rock, played in a spooky style. The music is great, and the bits of dialogue (in English) is totally priceless! Includes Funerailles Des Vampires", "Le Frisson Des Vampires", "La Chateau", "Wedding Party (Angoisse Temporelle)", "Occupied Clock", "Who Are You?", "Blood-Cups", "Isabelles Demise", "Night Excursion", "Isa's Ceremony", "Flightless Bird", "The Shiver Of The Vampires", "Envol Vers La Folie" and more. 27 tracks in all – the entire, previously unreleased soundtrack!

One of the harder to find LPs by this fantastic pop harmony group from LA. You already know their hits from other LPs, but this one's got a bit more of a rock sound, and some excellent groovy production by Bones Howe. All of the tracks are originals, and they've got nice groovy themes, as you'll guess from titles like "The Bus Song", "Birthday Morning", "Barefoot Gentleman", "Toymaker", and "Rose Petals, Incense, & A Kitten"!

A very strong second LP by BEP that initially failed to rock our world the way similarly minded artists like the Roots did with Things Fall Apart, Slum Village did on Fantastic, Vol 2 and De La did on Stakes Is High. Listening to this a couple years on without the expectations, though we hear a strong & soulful record indeed, particularly the deep soul sheen that glosses most of the sides. Tracks include the Premier-produced "Bep Empire" (is it just us, or are most of the NuHoppers nearly always at their best when they rely on tried and true hip hop production?), "Weekends", "Get Original", "Cali To New York" featuring De La Soul, "On My Own" featuring Les Nubian & Mos Def, "Release", "Bridging The Gaps", "Go Go", "Rap Song" featuring Wyclef, "Bringing It Back", "Tell Your Mama Come", the great single "Request Line" featuring Macy Gray, and more.

A selection of late 80s South Bronx Teachings – classic Boogie Down Productions circa Criminal Minded! South Bronx Teachings focuses soundly on the class of '87 – so you get fistful of the Criminal Minded cuts and a few other blasts from KRS-One & Scott La Rock, nicely paced over 2 pieces of vinyl. Includes "Poetry", "South Bronx", "9MM Goes Blang", "Word From Our Sponsor", "Elementary", "Advance", "D-Nice Rocks The House", "The Bridge Is Over", "Super-Hoe", "Criminal Minded", and "P Is Free (12" Version)".

Weird and wild sounds from 60s/70s composer Andrzej Korzynski – an artist we mostly know from soundtrack material, but represented here by a rich array of rare material from his personal archives! The scope of styles is really wonderful – as the set steps between funky numbers and very offbeat instrumentals – kind of the full range of sound library elements you might get from the hippest European scenes of the 70s – no surprise, given that this material was recorded in France, Italy, and Poland! Some tunes are heavy on electronics, others use a mix of acoustic and electric instruments together – and almost all the tracks are relatively short, and work together as this shifting palette of musical statements from Korzynski – almost a mini-movie in sound, with all the vivid qualities that reference implies. Titles include "Third Part Of The Night Czolownica", "Diabel", "La Gabuge", "Rosa Rosa", "Bossa Nova", "Saved From Obilvion", "Trying To Catch A Fly", "Agent No 1", "Tajemnica Enigmy", and "W Instyucie".

Prime early electro hip hop genius from Mantronix – and a set that includes tight singles, 12" mixes and some classic production work for T La Rock, Just Ice and more – 2CDs that cover the vital mid 80s period! Here are those classic early hits with the booming 808 and all the trademark elements – heavy bass, handclaps, high hats, vocoder vox and party rap. Vinyl version features 13 tracks on 2LPs: "Bassline", "Needle To The Groove (12" Version)", "Fresh is The Word (12" Version)" and "We Control The Dice" by Mantronix proper, plus "Turbo Charged" and "Cold Getting Dumb" (parts I and II) by Just Ice, "Breaking Bells" (12" and dub versions) by T La Rock and "Johnny The Fox" by Tricky Tee.

Heavy Mexican rock from Nahuatl – a power trio with a really sinister-sounding vocalist! There's echoes of Black Sabbath and Deep Purple in the group's music here – especially on the tunes that are full-on and fuzzy. A few numbers are a bit more introspective – almost that Led Zep sort of contemplation amidst more rocking frenzy – and the production of the record really does a good job of bringing out the right edges in the music. Titles include "Machismo", "Evolucion", "Volvere", "El Hongo", "Dejame", and "Watching The Sun Going Down". Features the bonus track – "La Pobreza".

Rare Mexican psychedelic rock from The Survival – with a sound that ranges from a loose, wigged out psyche blues approach to tighter and faster groove – still informed by electric blues, but tricked out with fuzz and wah wah. A nice mix of raw production and expansive inspiration! They sing in heavily accented English, and it's a worthwhile discovery. Includes "Old People", "The World Is A Bomb", "What The World Need Is Union", "Electric Chair", "Canabis Lady", "Useless Warefare" and more.

A groovy little collection of funk rock tracks from Mexico – one that features a number of surprising grooves we'd never heard before! There's not much to go on from the cover, but most of these numbers appear to be from the late 60s or early 70s – and the overall vibe is heavy rock, but with a touch of soul – so that most of the rhythms end up coming out nice and funky! Titles include "The Funky Chicken", "Pais Tropical", and "Give It Up Or Turn It Loose (edit)" by Rabbits & Carrots; "Buscando La Felicidad" by Las Moskas, "Soul Sintonia" by Jae's Soul, and "Push & Pull" by Los Litos Barrientos.

Timeless, sun-toasted LA psych from The Allah-Las – a chiming, dreamy little guitar rock gem on the Innovative Leisure label! There's some garage-charged numbers, and on the fllipside of that approach, there's some surprisingly delicate numbers – plus some swaggery, late 60s Stones-y styled tunes, too. They wear their influences pretty proudly, but the songs are really strong and memorable – it's no mere stylistic rehash – much like what labelmate Hammi El-Katib is doing with his 60s forbears, The Allah-Las are making a pretty strong new school take on classic fuzzed out rock! Titles include "Catamaran", "Don't You Forget It", "No Voodoo", "Sandy", "Vis-A-Vis", "Seven Point Five", "Ela Navega", "Busmans Holiday" and more.

One of the more far out-sounding records we've heard on Far Out Records – a wild one from Rio's Dos Cafundos! It's a sometimes funky, sometimes noisy, but always dexterously musical batch of brilliant movements – with strains of noise rock and jazz, a la Zorn and Zappa – plus raw Tropical funk. It's never predictable, even if they wear myriad influences pretty proudly on their sleeves! The guitar playing is excellent – with lots of both acoustic and electric – plus heavy drums and percussion, flutes, violin and other elements. It almost sounds more like something we'd hear on Ipecac Records than Far Out – but the Brazilian roots are still very strong! Includes "Coriza", "Disse Me Disse". "Tupraca", "Carnica (O Barao Da Birosca)", "Carranca", "Un -Berum" and the 5-part epic title track.

A group with a great blend of old and new modes – a mix of rootsy sounds from their native Mali, and some more focused guitar lines that really help revolutionize their music! The notes bill Alkibar Gignor as a "garage rock band" – and while we think that's a bit of a stretch, as there's not that much rock in their music, there is a nicely gritty style of production that really helps them keep their edge – a slightly muddy mode that's a great contrast from some of the "too clean" Mali recordings out there in recent years! The vocals get distorted at times, and the guitar workouts almost verge on fuzz – even though they spin out in clear lines that are much more Malian than Anglo – and the drums have a bumping quality under the vocal interplay, bringing an unexpected vibe to the record. Titles include "Adounia", "Lahidou", "Aniya", "Adibara", "Tamala", and "Dakou".

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 sweet little set that definitely aims to stake out its own little territory – with a groove that lives up surprisingly well to the title! The music here is way funkier than you might expect – and comes from a time when many popular singers were working in studios staffed by cats who were pretty darn cool – and had a great ear for picking up some of the best musical undercurrents from other scenes – including some of the best soul and funk that was really breaking out in the US at the start of the 70s! As a result, many of these tracks have unexpectedly funky rhythms at the bottom – way different than the kind of backings that you might have heard in country soul records from a few years before – and different too than the redneck rock that was becoming more popular with some of the bigger acts on the charts. You're bound to recognize a few bigger names here – as the set's not just country artists – and as usual, the Light In The Attic crew have done a stunning job of putting the whole thing together. Titles include "LA Memphis Tyler Texas" by Dale Hawkins, "Georgia Mountain Dew" by Johnny Adams, "Light Blue" by Bobby Darin, "I Wanta Make Her Love Me" by Jim Ford, "Hawg Frog" by Gray Fox, "Fire & Brimstone" by Link Wray, "Street People" by Bobby Charles, "Bayou Country" by Gritz, "I Walk On Gilded Splinters" by Johnny Jenkins, and "Studspider" by Tony Joe White.

One man rockabilly firebrand and Chicken Walkin' madman Hasil Adkins – done justice once more by his longtime champions at Norton Records! The title is as cheeky nod to the Velvets, but Hasil ain't no NYC art scenester, nope – he might be the true king of rock and roll, stumping out raggedly brilliant rockabilly wierdness all by his lonesome (for the most part...a fella named Sanford Stovers sings some on "Turn My Coat Tails Loose") at his home in West Virginia from the late 50s to mid 60s. Includes "Roll Roll Train", "Woke Up This Morning", "Donnio Boogie", "Donnio Shuffle", "Lonely Graveyard", "Somebody Help Me" and more.

The swaggering, hard grooving and hard rocking debut of Aerosmith! While "Dream On" gets as much or more rock radio play than any song should ever need, it's actually pretty easy to overlook just how good the rest of the record is. They may borrow the bluesy swagger of the Stones and heavy riffing of Led Zeppelin, but it's ultimately a heavy, but accessible rock sound that's distinctively all their own. Includes "Dream On", "Make It", "Somebody", "Walkin The Dog", "Write Me", and "Mama Kin".

Aerosmith's second album – and a prime slab of badass mid 70s rock – coming close to, maybe even equalling Toys In The Attic as ultimate Aerosmith badassery! It's got a tighter, puncier sound their debut – courtesy producer Jack Douglas – who would continue to produce Aerosmith in their pre-blowout 70s best. It opens on with one of their staples, "Same Old Song And Dance" and other tracks include their kickass cover of "Train Kept A Rollin'", plus "Lord Of The Thighs", "Spaced", "Woman Of The World" and "Pandora's Box".

Aerosmith at their most classic! At their peak, Aerosmith brought a hard rock edge to the more groove oriented boogie and blues rock influences. Toys In the Attic is most certainly one of their peaks, if not THE peak. Includes the all time greats "Walk This Way" and "Sweet Emotion", plus "Big Ten Inch Record", "Uncle Salty", "Round And Round", "You See Me Crying", "Adam's Apple" and "No More No More".

Greatest hits compilation from one of the true greats! Tracks include "Zulu Nation Throw Down", "Planet Rock", "Looking For The Perfect Beat", "Frantic Situation", "Unity Part 7", "What Time Is It", and "Funk You".

One of the most creative albums ever from UK composer Neil Ardley – and that's saying a lot, given the complexity of his other work! The set's got a wonderful blend of jazz arrangements and some freer passages – scored by Ardley with some of his most sensitive, most beautiful music ever – almost as if the whole thing's an extended soundtrack for a passage in time – or at least a sonic journey that's filled with some wonderful twists and turns! There's definitely some jazz/rock elements in the music, but the main focus is jazz – and Ardley has that same strong sense of large charts and forward-moving rhythms that you'd find in the best early work of Mike Westbrook, particularly his albums for Deram. Players are a very familiar, and very top-shelf batch of British musicians – including Barbara Thompson, Dick Heckstall-Smith, and Don Rendell on reeds; Harry Beckett and Henry Lowther on trumpets; Derek Wadsworth on trombone, Frank Rocotti on vibes, and Stan Tracey on both piano and celeste. Ardley plays prepared piano, and Ivor Cutler makes a great guest appearance on one track – reciting "The Dong With A Luminous Nose" – and Norma Winstone sings on "Will You Walk A Little Faster". The title track – "A Symphony Of Amaranths" – is dedicated to Duke Ellington and Gil Evans – with a feel that more than lives up to both! LP features a bonus "outro" track too.

One of the last live appearances by Louis Armstrong – presented here in a really charming little album, issued in a small pressing by The National Press Club! The album's a great document of all the Armstrong charms in one package – as Louis talks as much as he plays – telling stories and speaking about the music on the first half of the set. The second half then features material recorded after Armstrong's passing – with Tyree Glenn and Tommy Gwaltney keeping up the vibe, especially on some of the spoken passages where Glenn talks about Louis! The sound quality is a bit "broadcast"-styled at the start – and titles include "Rockin Chair", "Royal Garden Blues", "Love For Sale", "Crazy Rhythm", and "It's Alright With Me".

Early 70s Catalan folk and psyche from Ia Bastiste – plus a bonus EP! The sound is a real kaliedoscope – from orch psyche styled sounds to more of a bottom heavy, fuzzed out rock vibe, to a sound that approach. At its core, the group is the duo of Ia Clua & Jordi Bataste and sing in both of Spanish and English – but the tunes are tripped out with some full scale instrumentation with trippy electric and laid back acoustic guitars, heavy percussion, piano & keys. Titles include "Un Gran Dia", "Max", "Sleeping Rock", "Oliba", "America To You", "Anna", "Morrissong" and more.

The Beatles at their late best – on a self-titled set that's been long immortalized as The White Album! The White Album capped offed a period of intense creativity for the band, with a double set that's as freewheeling as anything they'd ever release. It's got raw rockers with wry lyricism, tender acoustic balladry, psych blues jams and some flat out weird bits. As was always the case, John's and Paul's songs cover the majority of the sides, but The White Album also features what's arguably George's most vital moment as a Beatle with "While My Guitar Gently Weeps". Other tracks include "Back InThe USSR", "Dear Prudence","Ob-La-Di, Ob-La-Da", "Happiness Is A Warm Gun", "Martha My Dear", "Rocky Raccoon", "Why Don't We Do It In The Road", "Julia", "Yer Blues", "Sexy Sadie", "Helter Skelter", "Revolution 1", Good Night" and more.

The Beatles for sale, but never in a commercial way at all – early proof of the group's great balance between mainstream appeal and sounds that still stick to the frontiers of rock and roll! The tunes are short, and heavy on influences from American R&B – yet the Fab Four are already crafting their new sound strongly, and have a melodic brilliance that's hard to deny! Titles include "Eight Days A Week", "Words Of Love", "Honey Don't", "Every Little Thing", "I Don't Want To Spoil The Party", "Everybody's Trying To Be My Baby", "I'm A Loser", "Rock & Roll Music", "I'll Follow The Sun", "Mr Moonlight", and "No Reply".

The Beatles for sale, but never in a commercial way at all – early proof of the group's great balance between mainstream appeal and sounds that still stick to the frontiers of rock and roll! The tunes are short, and heavy on influences from American R&B – yet the Fab Four are already crafting their new sound strongly, and have a melodic brilliance that's hard to deny! Titles include "Eight Days A Week", "Words Of Love", "Honey Don't", "Every Little Thing", "I Don't Want To Spoil The Party", "Everybody's Trying To Be My Baby", "I'm A Loser", "Rock & Roll Music", "I'll Follow The Sun", "Mr Moonlight", and "No Reply".

Brick City vet and Artifacts affiliate Beneficience delivers a sharp set of hip hop in Concrete Soul for Ill Adrenaline – featuring an impressive roster of guests – but to Bene's credit, he's never overshadowed here! Guests include Lord Tariq, Masta Ace, Chubb Rock, Roc Marciano, El Da Sensei, D-Flow, Billy Danze, AG and more. Includes "YWE" with Lord Tariq, "Reality Vs Fiction" feat Masta Ace, "Cold Train" with Grap Luva & Rob-O, "Concrete Soul" feat Troo Kula of Brainwash 2000, "Masterful Method" with Chubb Rock, "Art Of War" with Billy Danze of MOP, "All Real" feat AG, "Metal Cuff Links" feat Nature,, "Somethin' Yall Can Roll Wit", "Under Constructuon, "Hood Cartel" with Roc Marciano and more.

A dancefloor classic! The album's the second by Gregg Diamond's Bionic Boogie, and head and shoulders above the rest – a sublime blend of soul and club that's hardly been matched again! Diamond manages to make things groove, but never loses sight of the soulful styles that make the record so great – and works here with key contributions from a young Luther Vandross, who gives the album some of the same strong vocal arrangements he brought to his own first two albums on Atlantic! Luther sings lead on the album's legendary track "Hot Butterfly", and works in a group with Cissy Houston on other tracks – sweetly soaring with vocals that go far beyond most disco efforts of the time. Simply sublime, and with classics that include "Hot Butterfly", "Paradise", "Cream (Always Rises To The Top)", "Chains", and "When The Sh*t Hits The Fan (Rocket Pocket)".

A stone classic from Black Heat – the group's second album, and even tighter than their first! The group's size has dropped a bit between albums – but that only helps them cook even more – dropping a bit of the horn section from before, which allows even more emphasis on their razor-sharp rhythms! There's a slight hint of Afro Funk in some of the rhythms – and the keyboards cook with lots of sweet clavinet lines – mixed with a production style that features some bubbling electronic elements that remind us a lot of that crazy "magic bag" that was used by the Lafayette Afro-Rock Band. That group might be a good point of comparison, but the band also shares a lot of Kool & The Gang's ensemble funk style – especially on their cover of "Love The Life You Live" – which they burn here beautifully! Other tracks include "Super Cool", "M&M's", "Rapid Fire", "You Should Have Listened", "Times Have Changed", and "Check It All Out".

Huge! Dark, heavy – an album of mythical proportions, and that's a lot to say for a mainstream LP! It would be hard to imagine the modern rock landscape without this album or group, who provided the template for so much music to follow, and the soundtrack to many bong-fueled excursions to the dark side! Includes "Black Sabbath", "The Wizard", "Wasp/Behind The Wall Of Sleep/Bassically/NIB", "Wicked World", and "A Bit Of Finger/Sleeping Village/Warning".

Brilliant garage psyche from Blues Magoos – a group that's raw and punchy enough to pummel, but pulled off some sweeter numbers and lighter harmonies incredibly well! Walloping drums, excitable vocals and wailing organ grooves – the cracked the charts, but still bring a fully charged proto punk vibe. Totally excellent, the kind of thing we wish were staples of oldies radio, but for whatever reason are left to deeper rock diggers to discover all these years later. Includes "Sometimes I Think About", "Love Seems Doomed", "Worried Life Blues", "Tobacco Road", "One By One" and "I'll Go Crazy".

Titles include "Quarter To Three", "Dear Lady Twist", "School Is Out", and "New Orleans" by Gary US Bonds, "If You Wanna Be Happy" and "Twisting Matilda" by Jimmy Soul, "High School USA" by Tommy Facenda, "Working For My Baby" by Lenis Guess, and "Nite With Daddy G" by Church Street Five.

A mix of pretty heavy garage psych and airier, trippier pop from Sean Bonniwell and his Bonniwell Music Machine for Warner Bros – moving beyond the rawer, headier material from the earlier music the more simply monikered Music Machine! There's a much broader reach here, from rugged rockers with lilting, weird pop – and sometimes a mix of the two. Tripped out strangeness and strangely catchy grooves! Titles include "Astrologically Imcompatible", "Double Yellow Line", "The Trap", "Soul Love", "Bottom Of The Soul", "Me, Myself, And I" and more.

The Beatles had Abbey Road – and Booker T & The MGs had McLemore Ave, the main street running outside the Stax studios, and a fitting title for the album that has them playing tunes from The Beatles' incredible Abbey Road album. If you've ever thought that Abbey Road was a soft-rock lowpoint in the Beatles' career, consider how many soul and jazz artists either covered the whole album, performed songs from it, or referenced it in their album covers. This little gem is proof that the compositions already had a life of their own within a short time of the release of the record – as Book and crew take the Beatles' tunes to whole new heights, working them together into a complicated batch of grooves that really pushes past their earlier work on Stax. Who knows, perhaps The Beatles were just the kick that Book needed – we can't ever tell the whole story, but we can say that the record marks a strong turning point for the group, and is well worth having for a variety of reasons. Titles include "The End", "You Never Give Me Your Money", "Because", "I Want You/She's So Heavy", and "Polythene Pam".

An incredible album from the great Brazilian singer who's best known to the world for his work on Milton Nascimento's legendary Club Da Esquina album, but Lo is truly one of our favorite singers that Brazil has ever produced! This record is easily as the Nascimento classic, and has a more rock-oriented sound that's laid down with help from Beto Guedes, Nelson Angelo, Toninho Horta, and Tenorio Jr. The songwriting is amazing – and we rank this one up there with the best work by Gilberto Gil and Caetano Veloso from the late 60s and early 70s. Wonderful all the way through – and with tracks that include "Cancao Postal", "Voce Fica Melhor Assim", "Nao Foi Nada", "Pensa Voce", "Como O Machando", and "Aos Baroes".

Wild! Greg, Marsha, and the kids do a surprisingly great job on this set of sunshine pop tunes arranged by the great Al Capps. The set list includes their classic "Drumemr Man", plus "It's A Sunshine Day", "In No Hurry", "Playin The Field", "Love Me Do", "Keep On", "Candy", "Saturday In The Park", "Ben", and "You Need That Rock N Roll".

An odd little soundtrack of 50s-sounding tunes! The film, in case you don't know it, was an early low budget JD film – set in Brooklyn at the end of the 50s, with Sylvester Stallone in the lead. The budget appears to have been so low that they couldn't afford to pay for using the big hits of the day, so the director had Joe Brooks come up with a bunch of oldies-sounding tunes with kind of a Sha-Na-Na sound to them. Artists performing the music include Jamie Carr, Bill Dean, George Marge, and Charles Brown – and titles include "The Chase", "The Wedding Song", "Gypsy Woman", "A Very Fine Day", "You & Me", and "Rock & Roll Music".

Ahhh. . . Nice! Wonderful intelligent, spiritual rhymes, full of Islamic prayer references, blunt antagonist rhymes, a battle with the ugliest of inner demons and broken artist poverty all hugged by catchy bouncing hook filled choruses. And all the production is handled by Ant, a true autuer akin to Pete Rock, now becoming more comfortable with his art with each release: tight organ loops, snapping drums, bright horns and nice upright basslines. "Soulful" is the key adjective here. Tracks include "Star Quality", "Pay Them Back", "Shadows On The Sun", "Forest Whitiker", "Room With A View", "Back Stage Pacin", "Missing Teeth", "Dorian", "Soul Whisper", "Champion", "Prince Charming", and more! Side F to this triple vinyl set has 4 added instrumental versions!

A stone classic from Brother James – a wonderful 60s album build around the incredible track "Cold Sweat", served up here in a massive two-part version, and surrounded by a good range of material that really show James in a great variety of styles! The Godfather's vocals burst out nicely with some wonderfully soulful overtones, no matter what the tune – and titles include "Fever", "Good Rockin Tonight", "Back Stabbin", "Mona Lisa", "Come Rain Or Come Shine", "Nature Boy" and "I Want To Be Around" – as well as "Cold Sweat (parts 1 & 2)".

A stone classic from Brother James – a wonderful 60s album built around the incredible track "Cold Sweat", served up here in a massive two-part version, and surrounded by a good range of material that really show James in a great variety of styles! The Godfather's vocals burst out nicely with some wonderfully soulful overtones, no matter what the tune – and titles include "Fever", "Good Rockin Tonight", "Back Stabbin", "Mona Lisa", "Come Rain Or Come Shine", "Nature Boy" and "I Want To Be Around" – as well as "Cold Sweat (parts 1 & 2)".

One of the stranger James Brown albums from the 60s! The record is one of the only vocal albums he cut for the Smash label – and it was issued during a time when James was strangely contracted to two labels – King and Smash. His dual contract situation was that he couldn't record any new original vocal material for Smash – apart from the title track "Out Of Sight", which had already been snuck on the market, and which is a sinister funky track built along the same lines as "Papa's Got A Brand New Bag" (not on this album.) Apart from that track, the rest of the material on the record is more traditional R&B and pop stuff – sung by James in a strong soul style. Titles include "Somethin Else", "Nature Boy", "Maybe The Last Time", "I Wanna Be Around", "I Got You", and "Good Rockin Tonight". The liner notes are great, too – with some pretty interesting information on Brown's career, and African-American politics.

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

One of the wilder James Brown instrumental LPs from the late King period. The James Brown Band is fronted by a heavy fuzzy guitar sound, which gives the LP a sort of rock-break feel, with nice fuzzy electric tones. All tracks are by James and Dave Matthews, and the record is sort of a second album by Matthews' Grodeck Whipperjenny group. Titles include "Can Mind", "Don't Mind", "Bob Scoward", and "Just Enough Room for Storage". Wild, and tough to find these days, too!

The Dave Brubeck Quartet goes to college – a pretty good place for the combo, considering how many fans they had on campus in the 50s! The sound here is never too academic for the setting, though – just the same sort of Brubeck groove first forged in the small clubs in San Francisco – played beautifully by an incarnation of the quartet that includes Paul Desmond on alto sax, Bob Bates on bass, and Joe Dodge on drums. The long, bluesy "Balcony Rock" is a real gem, with some standout work by Desmond that reminds us that he could be a great improvisor in an extended format – and other tracks include "Out Of Nowhere, "Le Souk", "The Song Is You", "Don't Worry Bout Me", and "Take The A Train".

An excellent biker soundtrack – very different than the usual bag! For this one, Tony Bruno has come up with some great instrumentals – many of them jazzier than you'd think, and a few with some nice funky Capitol instrumental touches – not so much studio fuzz guitar, as they are groovy numbers that are a lot less hairy than the guys on screen in the movie! The change is a nice one – not as rockish as the regular biker soundtrack – although there are some vocal numbers too, done in the Tower/Sidewalk sort of style. Yet it's the instrumentals that really send us – and which make this album well worth seeking out! Titles include "Chase Of Death", "Goofin", "Bass Lake Run", "Hang On Tight", and "Al and Alice".

The one and only album by this righteous funky combo from Ohio! Although Brute Force were an American group of the late 60s, they've got a sound that brings in traces of the African rhythms that were bubbling under at the time – similar to some of the best London groups of the post-colonial years, like Cymande, Demon Fuzz, or Asiko. There's often a jagged and jazzy style on the bottom of the grooves, topped with brighter horn flourishes, and combined with a vocal approach that has some slight folksy touches – very hip, progressive, and as righteous as you'd expect from the cover! Sonny Sharrock sits in on some tracks, and the titles include "Some Kind Of Approval", "Doubt", "Ye Le Wa", "Do It Right Now", "The Deacon", and "Monster".

An exceptional early release from the tragic Tim Buckley – done with a really unique sound that mixes late 60s folk rock with some subtly jazzy overtones! The record features beautiful string arrangements from the legendary Jack Nitzsche, and some beautiful work on piano, harpsichord, and celeste by Van Dyke Parks! But Buckley's the main star of the set – crooning beautifully with his sad-tinged voice, on wonderful tracks that include "Wings", "Aren't You the Girl", "She Is", and "Understand Your Man".

A great third album from Staten Island instrumental funk titans The Budos Band – who've brought eclectic inspiration all along and have always colored from a much broader palette of styles than most of their peers – going even further this time out and delivering their best yet! The Daptone House Of Soul blueprint is a big part of the recipe, as it should be. Classic funky soul grit holds it all together and each cut has an unshakable groove, but with that in full effect, the group is free to explore. The Budos horns are as impeccable and communicative as ever, with brass that ranges from classic stateside funk and Afro influences. The percussion (bongos, clave, cowbell and more) is just as broadly thought out and tightly delivered, snakey bass lines, flute and the sometimes secret weapon on Budos Band III, the electric organ – which brings a bit of a garage psych/funk rock vibe. Truly exceptional work from the one of the best bands of their generation! Includes "Rite Of The Ancients", "Black Venom", "River Serpentine", "Unbroken, Unshaven", "Nature's Wrath", "Golden Dune's", "Budo's Dirge", "Raja Haje", "Crimson Skies", "Mark Of The Unnamed" and "Reppirt Yad" (a funked up Lennon/McCartney cover...read it backwards, kids).

A spacey Patrick Adams/Greg Carmichael dance classic – and very much in the P&P disco mode! The record's filled with extended club cuts that have a lot of keyboards and electronics, and although the lyrics are a bit silly at times, the groove is rock solid – with that amazing funky disco sound that was sort of a precursor to the house grooves of the 80s. Adams and Carmichael are on keyboards – and vocalists include Donna Green and Leroy Burgess. Nice all the way through – and tracks include "Lady Bug", "I Love You", "Honey Bun", "Space Shuttle Ride", and "I Got A Big Bee".

A rare bit of David Byrne from the best years of the Talking Heads – tunes commissioned by Twyla Tharp for an offbeat piece of dance entitled The Catherine Wheel. A few of the tracks are vocals, and feature some of Byrne's most compelling lyrics from the time – and others are instrumentals, filled with guitar and prophet, and coming up with lots of dark rhythmic sounds that lie somewhere in the territory of experimental work at the time by Brian Eno, Jon Hassell, Adrian Belew, and other mainstream avant rockers. Titles include "His Wife Refused", "Two Soldiers", "Red House", "My Big Hands", "Big Business", and "What A Day That Was".

A fantastic bit of tripped out funk! Cane & Able were one of the many groups that came out of the collective surrounding the Lafayette Afro-Rock Band in the early 70s – and like that group, Cane & Able draw on a wide range of influences to create a heavy funky sound. The album mixes the African influences used by the LARB with more of a hard soul vocal approach, with some cuts sounding a bit like material from Atlantic albums of the late 60s, but handled with more of a fuzzy edge. Includes a great funky reading of Wilson Pickett's "Don't Knock My Love", a cover of "Who's Gonna Take The Weight", and the long tripped-out groover "Girl You Move Me"!

Beautiful work from the legendary Hoagy Carmichael – and one of the few albums to feature him singing his own work! Hoagy's name is one that you're more likely to see in the songwriting credits than in the artist slot for a record – but he's actually got a wonderful voice, one that's filled with honest, personal charms – and which has a sometimes broken-down quality that's perfect for the gentle words of his tunes. This wonderful set features Carmichael working with sublime small combo backing – players who include Harry Edison, Jimmy Rowles, and Art Pepper – working with arrangements penned by Johnny Mandel. Titles include "Rocking Chair", "Georgia On My Mind", "Skylark", "Two Sleepy People", and "Baltimore Oriole".

A mixture of folksy and jazzy vocals from singer Susan Carter – part of the Laurel Canyon scene of the late 60s! Although Susan was one of the "Ladies Of The Canyon", she's got a sound here that's much more wider-ranging than that of Joni Mitchell – a unique mixture of jazz and rock influences that come across with a different sound on nearly every track on the set. The arranger for the album is Dick Halligan, who we've never heard of before – but who should get a lot of credit for the way that he mixes together odd phrasings and timings to match the shifting styles of Susan's vocals. Titles include "I'm So Tired", "I Need A Good Man Bad", "Medley For Billie Holiday", "Bluebird", and "Jam Session".

Sweet Hammond grooves and deep soul vocals from Wayne Carter – an artist rooted in jazz, but who plays here in a solid funky 45 vibe! The album features a half dozen rare tracks recorded by Carter in western Illinois – gritty little numbers that never even made it to the Chicago scene of the time, and which are beautifully brought to light in this limited edition set! Some tunes have a fierce, full, funky backing – a real surprise, given the little studio setting of the sessions – and Carter's got this raspy voice that steps out strongly with his own bold lines on the organ. Titles include "Wahoo Wahoo Wahoo", "Peter In Or Out", "That's Cancer", "Trock Rock", "Let's Run Away From The World", and "Mad Mouth Woman".

A landmark session that gathered together just about every hip British jazz and jazz/rock musician of the time – and brought them together into one super-cool orchestra of sound! Robert Fripp produced the record, and Keith Tippett is the overall music director – but the album's got a feel that's much more in the avant side of the UK jazz spectrum – particularly the trippier side of the Deram/Decca label of the late 60s – like work by Mike Westbrook or Mike Gibbs! The lineup is huge – with Elton Dean and Dudu Pukwana on alto sax, Alan Skidmore and Gary Windo on tenor, Ian Carr and Mongesi Fesa on trumpets, Mark Charig on cornet, Nick Evans and Paul Rutherford on trombone, Keith Tippett on piano, Brian Godding on guitar, Robert Wyatt and John Marshall on drums, and Maggie Nicholls, Julie Tippett, Mike Patto, and Zoot Money on vocals – plus lots of strings as well!

A landmark session that gathered together just about every hip British jazz and jazz/rock musician of the time – and brought them together into one super-cool orchestra of sound! Robert Fripp produced the record, and Keith Tippett is the overall music director – but the album's got a feel that's much more in the avant side of the UK jazz spectrum – particularly the trippier side of the Deram/Decca label of the late 60s – like work by Mike Westbrook or Mike Gibbs! The lineup is huge – with Elton Dean and Dudu Pukwana on alto sax, Alan Skidmore and Gary Windo on tenor, Ian Carr and Mongesi Fesa on trumpets, Mark Charig on cornet, Nick Evans and Paul Rutherford on trombone, Keith Tippett on piano, Brian Godding on guitar, Robert Wyatt and John Marshall on drums, and Maggie Nicholls, Julie Tippett, Mike Patto, and Zoot Money on vocals – plus lots of strings as well!

A spacey album of keyboard duets between Joe Chambers and the great Larry Young! The album was recorded shortly before Larry passed away, and it features him and Chambers on a number of different keyboards – electric, acoustic, and organ – plus additional drums by Chambers on a few tracks. The overall sound is very spare – much more laidback than the hard-jamming fusion of Larry's Arista years, and a wonderful coda to Young's career. Titles include "Message from Mars", "Rock Pile", "The Orge", and "Mind Rain".

This one has the Chambers working in a number of styles, sweating hard in a gritty version of Otis Redding's "I Can't Turn You Loose" and to some funky percussion and call-and-response vocals on "Do Your Thing", and grooving softly on "Guess Who" and others. Other tracks include Pete Seeger's "Where Have All The Flowers Gone", "Love Is All I Have", "You Have The Power - To Turn Me On", "Rock Me Mama", and "Satisfy You".

The legendary 1970 recordings Alex Chilton made at Ardent Studios – recorded in a brief moment after the bust up of the Box Tops and before the debut of Big Star – and a truly powerful precursor to that most iconic of soulful Memphis rock acts! For the longest time, the 1970 sessions were something of a rock & roll holy grail – having been oft-discussed, if rarely heard, by Chilton and Big Star diehards. In the mid 90s, Ardent Records finally released the heart of this collection as 1970 – and here it's done up with even more love and respect by Omnivore, which over the course of just a handful of releases has become one of the very best deep digging reissuers of great, should-be classic soul & rock treasures. The vibe swings from stripped down, soulful rock that sometimes flirts with country rock – those songs featuring gruff, bluesy vocals from Chilton that belie his actual youth, just as greatly as his vox for The Box Tops – to gentler soul pop numbers that truly prefigure the Big Star sound to come. 12 tracks on the vinyl version – plus great liner notes by Bob Mehr, a living encyclopedia of Memphis musical knowledge. Includes "Free Again (Original Mono Mix)", "Come On Honey", "Something Deep Inside", "I Can Dig It", "The EMI Song (Smile For Me)", "Every Day As We Grow Closer/Funky National", "I Wish I Could Meet Elvis", "All We Ever Got From Them Was Pain", "All I Really Want Is Money", "Jumpin' Jack Flash" and more.

One of Doug Clark's bawdy frat rock-soul party LPs on the Gross label – with his trademark "blue" material for adult listeners, backed up by raunchy R&B riffing! The general style's a bit dated, but it's also the kind of album that paved the way for Rudy Ray Moore in the 70s. Titles include "Hot Konomi", "Limericks", "Saga of Rex", and "The Amsterdam Maid".

Stanley Clarke may be on a journey to love – but that doesn't mean that the album's too sweet or romantic! Many tracks here still have the harder edge and sharper lines you'd expect from Clarke's key 70s fusion reputation – the kind of rock-influenced styles that crossed over big at the time to huge new audiences – and which made Stan way more than just another electric jazz musician. Some moments feature a large array of backup players, but others are quite spacious, and almost contemplative – filled with those new notes Clarke was getting out of his instrument at the time! Titles include "Silly Putty", "Journey To Love", "Hello Jeff", "Song To John", and "Concerto For Jazz/Rock Orchestra".

Great early genius from the Clarke Boland Big Band – proof that Kenny and Francy were onto something great, right from the start! The album really has the group hitting the heights of their MPS years – stretching out way past earlier big band modes, into the hip mix of rhythms and soulful solos that made the ensemble unlike any other group in the 60s – a really groundbreaking approach to their music, delivered by a range of top-shelf players! Arrangements are by Boland, who also plays piano – and other group members include Benny Bailey and Jimmy Deuchar on trumpets, Derek Humble on alto sax, Carl Drewo and Zoot Sims on tenor, Sahib Shihab on baritone sax and flute, and Ake Persson on trombone – plus rhythm from the rock-solid duo of Jimmy Woode on bass and Kenny Clarke on drums. Titles include the Latin-tinged "Los Bravos", and more great originals by Boland – including "Volutes", "The Styx", "Charon's Ferry", and "Box 703 Washington DC" – plus versions of "Gloria" and "Last Train From Overbrook".

A classic from the undisputed master of the swing jazz jam session! Jumpin' At The Woodside has Buck Clayton recreating a Count Basie vibe, but in a much more open-ended, and long-grooving way! Most of the tracks on the record are nice and long – really opening up with a solo-heavy, jam session sort of style – and players shift from track to track, and include Woody Herman on clarinet, Coleman Hawkins on tenor, Al Cohn on tenor, Urbie Green on trombone, and Ruby Braff on trumpet. Titles include "Broadway", "Rock A Bye Basie", "Jumpin At The Woodside", and "Blue & Sentimental".

A very full-on hard heavy fusion album! Drummer Billy Cobham lays down some massive hard beats, while Tommy Bolin wails away on guitar, Jan Hammer pounds on electric piano, and Lee Sklar noodles on electric bass. 2 cuts feature a different lineup with Joe Farrell and Jimmy Owens – but the rock-heavy one dominates the album, with a very hard sound. The best cut is the slow mellow funk number "Red Baron", which has great breaks and nice electric piano. Other titles include "Stratus", "Taurian Matador", "To The Women In My Life", and "Quadrant 4".

The mellower of Lyn Collins' two albums for the People label – but still pretty darn fantastic! At some level, it seems like Lyn's taking on the rest of the soul industry – showing them that she can kick some major booty on her interpretations of hits like "Backstabbers", "If You Don't Know Me By Now", "Try A Little Tenderness", and "Mr Big Stuff", which is one of her best funky tracks ever, and better than Jean Knight's original! She also shines extremely well on the original cuts, though – especially the funky classic "Rock Me Again & Again & Again", plus the often-overlooked mellow soul groovers "To Each His Own", "Put It On The Line", and "How Long Can I Keep It Up". Production by James Brown, of course!

Rare Afro Rock from Nigeria – a really cool fusion of African funk and dexterous guitar – served up with plenty of hypnotic touches! Although we've dug their tracks on compilations over the years, we've never been lucky enough to hear a full album by Colomach – and are blown away at the range of sounds the group deliver on this rare gem from the 70s! Tracks range from Sahel rock with electric guitar over rumbling bass and percussion, to grooves centered around some sweet and spare acoustic guitar – often touched with a bit of flute and emotive vocals as well. Production is top shelf too – given that the set was recorded by EMI in Nigeria – and titles include "Enoviyin", "Ottoto Shamoleda", "Cotocun Gba Gounke", "Bernadetta", "Sweet Sounds from Colomachi", "K Assa Kpa Sama Kpa", "Pipan", "Yebo Blues", and "Sonorites Sahelienne".