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Early work from The Beach Boys, but Brian Wilson's genius is already starting to show – tucked in between some more obviously poppy numbers that first put the group on the map! The album obviously features the big title hit, but there's some other great gems here that are much lesser known – our favorite of which is "The Lonely Sea", an incredible number filled with sadness and longing, and a real precursor to the Pet Sounds years! Other titles include "Finders Keepers", "Lana", "Farmer's Daughter", "Noble Surfer", "Stoked", "Surfin USA", "Miserlou", "Shut Down", and "Let's Go Trippin".

Smoking hot rod grooves – put together by studio maestro Bruce Johnston in the years before he became a bigger Beach Boy! The set's one of many groovy surf/car sets that Johnston cut during this mid 60s stretch – although it's more obscure than most, given its release on Smash Records – instead of the usual Capitol or Columbia outlets for his work. But the lineup features some key familiar faces from those other projects – guitar from Glenn Campbell and Tommy Tedesco, and some mighty drums from the great Hal Blaine! Hot Rod enthusiast George Barris adds his name to the project – and also gives up some nice car knowledge on the back cover – and titles include "Stick Six", "Fireball", "Jive Driver", "Super Fine", "Firecracker 400", "Hotty 32", and "Speed Shifters".

Two full albums, and a heck of a lot of bonus tracks too! First up is the first album in Boris Midney's USA-European Connection – and virtually a one man disco symphony in itself! The whole album comes off as one long extended track – even though the variations are given title differences, yet still have the full feel that comes from Midney's creative approach to the grooves in the studio! Core rhythms pulsate strongly, while piano, keyboards, strings and other instrumental bits each make their appearance – including some conga rhythms that really help warm up the bottom – and occasional chorus vocals to drive the hooks home. Titles include "Come Into My Heart", "Good Loving", "Love's Coming", and "Baby Love" – but as we say, it's really a lot more like one long track! The self-titled second set, USA-European Connection, is filled with soaring disco grooves from the legendary Boris Midney – a set that was virtually built by Midney from the ground up – layering instruments over a funky club beat, then forming the grooves into songs in the process! The result is superb studio work from the height of the disco generation – a great illustration of the way that Boris used the studio as musicians might use an instrument – both to create and compose, always with an eye on the end result that would be pressed up on record! Tracks are long, and virtually work together as one extended number – and titles include "I'd Like To Get Closer", "Do Me Good", "Join The Dance", and "There's A Way Into My Heart". CD features 8 bonus tracks – including "Come Into My Heart/Good Loving (orig 12" mix)", "Love's Coming/Baby Love (orig 12" mix)", "I'd Like To Get Closer/Do Me Good (orig 12" mix)", and "There's A Way Into My Heart (orig 12" mix)".

Some of the hippest Detroit soul of the 60s – a wealth of wonderful recordings done by legendary producer Don Davis! In the 70s, Don would make some huge marks in the mainstream with groups like The Dramatics, Dells, and others – but these sides represent the initial flowering of the Davis' genius in the Motor City – a magnificent melding of that scene's tightness with some rootsier, harder-edged vocals that really send the tunes home! We'd be hard-pressed to think of a better start to dig into the Detroit scene past Motown – and in addition to rare singles, the set also features some unissued tracks too. Titles include "Somebody Needs You" by Darrell Banks, "Love On A Lease Plan" by Johnnie Taylor, "Girl Crazy" by Sharon Soul, "A Love That Never Grows Cold" by Jackey Beavers, "I'm The One Who Loves You" by Melvin Davis, "Headache In My Heart" by Debonaires, "I Need You Like A Baby" by Andrea Henry, "Who's Kissing You Tonite" by Herman Lewis, "Has It Happened To You Yet" by Edwin Starr, "That's Why I Love You" by The Professionals, "Deeper In Love" by Robert Ward, "Friday Night" by Steve Mancha, and "When You Lose The One You Love" by Buddy Smith.

The American take on the sound of bossa nova – a mode that started almost as soon as the first sounds headed north from Rio, and which grew to become a very important contribution to the music in the 60s! We love the originals by Antonio Carlos Jobim, Luis Bonfa, Joao Gilberto, and others – but we also totally dig these American reinterpretations by musicians on Verve, Fantasy, and other hip labels of the 60s – players who really got into the sound of Brazilian rhythms, and used the new groove to unlock some great power in their own solo playing as well! The package mostly features 60s recordings, with a few gems from later years – and titles include "Temanco No Samba" by Cal Tjader, "Samba De Orfeu" by Bob Brookmeyer, "O Morro" by Wes Montgemery, "Samba With Some Barbecue" by Paul Desmond, "Desafinado" by Charlie Byrd, "Um Abraco No Bonfa" by Coleman Hawkins, "Jazz Bossa Nova" by Milt Jackson, "Nana" by Kenny Burrell, "O Grande Amor" by Stan Getz, and "Mas Que Nada" by Hank Jones & Oliver Nelson.

A great little set of smooth soul tunes – put together from the Chicago Stepper's scene, and featuring some great obscure gems from the late 70s, 80s, and 90s! Titles include "Long Distance Love" by Faze, "Got The Right Attitude" by Tashan, "The Affair" by Lonnie Jordan, "So I Like You" by Degree Of Motion, "Hail The Word (deep state dub)" by Isis, "Day Dream" by Mark Johnson, "True Love" by Billy Porter, "Little Red Boat (Gizmo's Groove)" by Angel Grant, and "Close" by Mark Winkler.

Modern soul, R&B, and smooth grooves – the sound of the Stepper's scene that's been big in Chicago for years, and which seems to be having a bit of pull outside the Windy City these days! Tracks include "Rising Cost of Love" by Loose Change, "Sing A Simple Song" by Identiy Crisis, "The Joneses (12" Mix)" by The Temptations, "Sweet On U" by Lo Key, "Never Say Goodbye To Love" by Rene Moore, "Special Kind Of Fool" by Basic Black, "Mr Fix It" by Jeffree, "Love's Gonna Last" by Jeffree, "Don't Look Any Further" by Dennis Edwards, and "Don't Know Why" by David Ruffin & Eddie Kendricks.

The 5th volume in this well-chosen set of tracks – brought to you straight from the Chicago steppers underground! The set features a dozen tracks – running from smooth late 70s numbers to more recent titles, all reflecting the penchant for a sweet mellow groove that's kept the Chi-town stepping scene hot for all these years! Titles include "Sensually" by Raw To The Core, "I Was Wrong" by The Moonglows, "I'm Not In Love" by Dee Dee Sharp, "Easy To Love" by Body, "As You Are" by Pharoah Sanders & Phyllis Hyman, "Your Heart Belongs To Me" by The Supremes, "Nika" by Vicious, "Super Bad, Super Slick (part 1)" by James Brown, "House Party" by Fred Wesley, "Nyce & Slo" by Little Louis, and "Alone Without You" by Narada Michael Walden.

One of the best titles in this great series from the Chicago underground – a dozen tracks from as many generations, all linked together by a sweet mellow groove, of the sort that's dug by those on the stepping scene! Titles include "It's You" by Locksmith, "Chasing The Wind" by Gregg Karukas, "Excusions Beyond" by Excursions Beyond, "Love Temptation" by Liz Torres, "Baltimore Oriole" by Pat Thomas, "Walking Away" by Flora Purim, "Angeline" by Tom Browne, "Felix Leo" by Rodney Franklin, "Chillin Out" by Fatback, "Phone Home (inst)" by Johnny Chingas, "Embrace" by Society Of Soul, and "Movin On" by Paul Taylor.

Smooth modern grooves – and a great collection of tunes that break big on the Chicago steppers scene! There's a really specific vibe running through the set – modern soul with a mellow feel, but plenty of emphasis on the groove, no matter how slow the tunes may be – all making for a perfect batch of tracks to glide onto the dancefloor, and stay until the late hours! Tracks span a few decades of vintage, but tie together nicely – and titles include "Cool Out" by Leroy Hutson, "All We Need Is A Place" by Freddie Cole, "If It Isn't Love (inst)" by New Edition, "All True Man (inst)" by Alexander O'Neal, "Everytime I See A Pretty Lady" by Gemini, "Love Ain't No Holiday" by Native, "Jus Reach" by Galliano, "Ms" by David Oliver, and "Suger Mama Baby" by Steve Arrington.

Mellow soul galore – and a killer set of overlooked tracks, plucked from their recent revival on the always-great Chicago steppers scene! The package has a great late night soul feel that goes back to the late 60s and early 70s – very laidback and chilled out, with lots of ballad tracks and sweet, gentle groovers of the sort that really take us back! There's a few more modern tunes on the set, mostly from the early 80s – but overall, there's a really solid early 70s style to the compilation – with tracks that include "If" by The Lovehorn, "I've Got To See You Right Away" by Jeff Perry, "Tell Me What Cha Gonna Do" by General Crook, "Ain't That Love" by Infernal Blues Machine, "I Bet He Don't Love You" by The Intruders, "There's Another On Your Mind" by The Imaginations, "I Want You" by Wilson Pickett, "Pop" by The Limit, "What More Can I Ask For" by The Star-tels, and "You Know You Want To Be Loved" by Keith Barrow.

Plenty of 80s grooves here – plus a few great 70s numbers – one of the more contemporary volumes of the Steppin Across The USA series! As with previous volumes, the focus here is on tracks that play well on underground dancefloors – especially here in the Windy City, where the Steppers sound still reigns supreme! Most tracks are mellow or midtempo – sliding along on percolating beats, warm keyboards, and just the right touch of soulful vocals – often a shade just away from commercial, but with enough of the best elements to keep things real. Titles include "Yours (12" mix)" by Shai, "Ooh Wee Baby" by Ian Foster, "Missing You" by Chris Walker, "Groovin" by Collage, "Red Lights" by Curiosity Killed The Cat, "Make It Funkier" by Information Society, "Take You Down To Love" by Patrice Rushen, "This Feeling Must Be Real" by Skool Boyz, and "U Send Me Swingin (silky smooth 12" mix)" by Mint Condition. Also features the 70s tracks "I'm Your Lover" by Ronnie McNeir, "Wish You Were Here" by Free Life, and "Can We Pretend" by Bill Withers – a great bit of acoustic soul!

A great mix of 70s grooves and later numbers – and a set that perfectly illustrates the move towards more contemporary work as the Chicago steppers scene moved on! The package has the usual great ear for under-discovered cuts that we love in the Steppin Muzak series – tracks that have strong appeal to Chicago steppers, but which are also plenty worth discovering for any fan of rare soul – particularly soul of the smooth, modern variety. Titles include "Be Happy" by Kellee Patterson, "Playing On You" by Jerry Butler, "Please Say You Want Me" by Johnny P, "TSOB" by Master Jay & Michael Dee, "Always Find A Way (Jay Dee mix)" by Nine Yards, "Key To The World" by Truce, "That's The Way I Feel" by Main Attraction, "What's Going On" by Bobby Jones, "Long Stroke" by ADC Band, "Sing A Love Song" by Norman Connors, "Heavenly" by Merge, "Change The World" by Alfonzo, "If I Was Your Man (rmx)" by Stephen Simmonds, and "I Destroyed Your Love" by Special Delivery.

Those Chicago steppers are at it again – working their way across the USA, and picking up a fresh range of grooves in the process! As on previous volumes, the tunes are a mix of older soul and a few contemporary numbers – with a heavy sprinkling of 80s cuts, showing a bit of a shift on the steppers scene as it moves away from the 60s! Titles include "Not Ready" by Con Funk Shun, "Love's A Merry Go Round" by Juicy, "Ride Your Pony Girl" by The Moments, "Still Got The Magic" by Michael Wycoff, "Love U 2 The Limit" by Mac Band, "The Show Is Over" by Evelyn Champagne King, "Walking With You" by East Coast Offering, "Can't Let Go (inst)" by Tony Terry, "Is This For Real" by O'Bryan, and "You & Me" by Jamm.

The vibe gets wider and wider with each new entry in this classic series – no surprise, given the depth of sounds the Chicago steppers have been getting into! Some of the cuts here are almost of vintage that hits the starting time of the collection, while others reflect the growing love of 80s and 90s grooves among steppers – the careful selection of tracks from those decades, with a definite ear for a sweet mellow sound! Titles include "Golden Girl" by Jakarta, "Love On The Line" by Janice, "Please Be True" by Sof Touch, "Lost In Loving You" by The McCrarys, "42nd & 6th" by Till Bronner, "Now You Know" by Billy Butler, "Forever Yours (rmx)" by 101 North, "Thief" by Lil Louis, "Something Real" by Mikki Blue, "Love High" by Jeff Redd, "Commitment" by Scott Scheer, and "Girl's Gonna Get'Cha (rmx)" by Steady B.

A wicked groover from Klein & MBO – bubbling over with the sweet electro touches we love in their work! The track's a percolated drum machine riffer – with whispered breathy vocals over the beats, and electric keys that come in nicely and take the tune over.

Features three nearly complete live performances from the 2012 tour.

Way more than just a gimmicky bossa nova session – and a surprisingly great showcase for the inventive rhythms of the Brubeck group, and the sensitive alto work of Paul Desmond! The record's got a really different feel than some of Dave's other work for Columbia – in that the modernism is put slightly on the back burner – letting drummer Joe Morello snap out with some lightly gliding percussion that's a bit more straight ahead than usual, and which offers a unique take on the bossa groove. Paul Desmond's the real star of the set, though – and his alto steps out here with the best gentle presence of his later work for RCA and A&M – beautifully blown throughout, and with a tone that most other players would die for! Titles include "Bossa Nova USA", "Coracao Sensivel", "Theme For June", "Lamento", and "Cantiga Nova Swing".

A pretty dark little record from the waning mid 70s version of King Crimson – recorded on tour in the US by a quartet of David Cross, Bill Bruford, John Wetton, and Robert Fripp. The tracks are mostly live takes of tunes from earlier albums – "Easy Money", "21st Century Schizoid Man", "Lament", and "Larks Tongue In Aspic" – done in versions that are considerably more turgid than the originals, with lots of heavy guitar work.

A dozen smooth soul groovers and modern R&B numbers – all selected with the groove of the Chicago Stepper's scene firmly in mind! Titles include "Star Steppin" by Peaches & Herb, "Vanessa" by Michal Urbaniak, "After Midnite" by Ray Parker Jr, "Family" by Hubert Laws, "Genie" by BBQ Band, "Good To Go (Scotty mix)" by Hammer, "Super Cautious Girl" by Hinton Battle, "Late Night" by Doug Cameron, and "I'll Be Here For You" by Bohannon.

The Steppin Muzak series goes strongly back to the 70s with this volume – throwing in a few cuts from later years, but mostly sticking with the great 70s mellow moments that first got us interested in the Chicago steppers scene many years back! There's some warm, wonderful moments here – including a number of cuts not easy to find on CD – and titles include "If It Takes All Night" by Soul Train Gang, "Countryside" by Fat Larry's Band, "Candy" by The Four Tops, "You're The One" by Ray Simpson, "I Found My Rainbow" by Touch Of Class, "Never Knew Love Like This Before" by Charles Earland, "Mutha's Love" by Bobby Franklin, "You Only Live Once" by Changing Tymes, "I Love The Way You Love" by Individuals, "Crazy About Your Love" by Robert Thomas, "Baby Take It Off" by Lenny Williams, and "Her Seedy Life" by Blue Zone UK.

This volume of the Chicago-based Steppin Across The USA series goes farther back than previous volumes – to the 60s "dusty steppers" sound that first got the city grooving decades ago! The package includes a number of great singles from the Chess, Atlantic, and Motown catalogs – including many that aren't in print elsewhere! Titles include "Oh My Angle" by Bertha Tillman, "Dedicated To You" by Willie Tee, "Oh Cindy" by The Vibrations, "I'm Over You" by Jan Bradley, "Say You" by The Monitors, "Standing On The Dancefloor" by The Isley Brothers, "Let Love Be True" by The Naturals, "Write To Me" by The Isley Brothers, "I Want You I Need You I Love You" by Hector Rivera & The Latin Renaissance, and "I'll Do The Best I Can" by Jame's Phelps.

One of the most old school volumes of this always-great series – a set that features mostly obscure soul singles from the late 60s and early 70s – many of which we've never had on reissues before! The groove here is more in the style that Chicago Steppers used back in the day – the mellow soul that first burned brightly in the mid 60s, then continued to supply the scene with some great music as years went on. And because of that mode, many of the tracks here have a great late nite feel – not exactly sweet soul, but not too far away either – thanks to some great vocals. Titles include "I Made Up My Mind" and "I'm Not Ready To Settle Down" by The Cheers, "I Love You More" by Lee Williams & The Cymbals, "Feel Kind Of Bad" by The Radiants, "You've Said It All" by Steve Karmen Orchestra, "Pull Together" by Nite Liters, "Here I Am Baby" by Barbara McNair, "Stay A While With Me" by Sharon Ridley, "Here I Am & Here I Stay" by Sonji Clay, "Stealing Watermelons" by Chambers Brothers, and "Got No One" by Delcardos.

Amazing work from one of Chicago's best indie labels of the 60s – a wealth of wonderful soul that easily ranks with some of the best work at Chess or Vee Jay at the time! USA's a label that's also known for work in the rock and blues field, but the company had a marvelous ear for soul back in the day – and was often able to grab key Windy City talents before they broke big – or others who were already great, but finally found the right sort of treatment they needed at USA – a care with production and presentation that often rivals some of the beautiful presentation that Curtis Mayfield was bringing to his Impressions recordings or work with other artists – lots of deep soul roots, but also the tightness and sophistication that made Chicago so great at the time. The package features 36 rock-solid tracks – and titles include "Hot Spring Water" by Billy The Kid Emerson, "Come On In" by Detroit Jr, "A Lonely Boy" by Lee Wilson, "Step It Up" by Al Perkins, "I'll Wait For You" by LC Cooke, "No Appreciation" by Tut Sutton, "Taunting Love" by Frankie Newsom, "Just Being Careful" by Baby Huey & The Baby Sitters, "What You Don't Know" by Oscar & Anita, "Sweet Little Woman" by McKinley Sandifer, and "You Gotta Pay Dues" by Chris Campbell.

A funky soul band with a bit of a clubby groove – and one that features some great male harmony vocals behind lead singer Jann Harrison! Harrison's got a very light style of singing – almost soprano at points, which makes the male voices especially welcome – as they help ground the grooves much more deeply down towards the basslines that are such a strong part of the album. The set's got a really classic De-Lite Records feel from the 70s – a groove that's right up there with the Kay-Gees at their best – with riffing guitar, bumping bass, smooth keyboards, and tight horns over the top. Titles include "Gotta Get A High", "Shake Your Body", "Try To Find A Way", "Never Gonna Let You Go", "Sexy Lady", and both vocal and instrumental versions of "Melodies". CD also features bonus 12" mixes of "Melodies" and "Shake Your Body".

A great lost session from tenorist Joe Henderson – recorded in 1980 for MPS Records, in a mellower, more easy-going style than some of his electric sides of the 70s! Joe's blowing in a really fluid style – almost like Stan Getz at times, but with a darker, edgier approach – and he's working here with a Getz-like group that includes Chick Corea on piano, Ron Carter on bass, and Billy Higgins on drums. The set features some great originals by Corea and Carter, and in a way, we're tempted to make a comparison to Getz's Sweet Rain album – which shares a similar mellifluous modern quality to this one. Titles include "Joe's Bolero", "Candlelight", "Mirror Mirror", and "Keystone".

A great 70s session by Randy, and one that's really gotten lost in the shifting sands of time! The session is solo piano, played in a beautifully soulful manner, filled with lots of changing lines and rhythms in a cool jazz style that shows a lot of Randy's fascination with African styles of music. Titles include "Sister Gladys", "Three Pyramids & The Sphynx", "Ode To Om Kel Thoumt", and "Monk Steps".

A killer bit of soulful fusion – recorded by Mouzon after his harder-jamming 70s years, with an all star group that includes Herbie Hancock, Lee Ritenour, Freddie Hubbard, and Paul Jackson. The tunes groove wonderfully – never too over the top, and always in the smooth soulful mode that was the best part of major label fusion in the late 70s. Mouzon plays a fair bit of keyboards next to Herbie's acoustic and electric piano, and tracks are long, with some really nicely jazzy grooves. Titles include "The Jogger", "Do I Have To", "Space Invadors", and "The Next Time We Love".

One of the greatest and most historically important compilations ever put together by our friends at Light In The Attic – the first ever (!!!) anthology devoted to Stax sax great Charles "Packy" Axton! Packy was a founding member of the Mar-Keys and a cat who played with the best of them – Steve Cropper, Booker T, Teenie Hodges, Donald "Duck" Dunn and many more – all of whom can be heard on this mindblowing set of benchmark vocal and instrumental singles from the mid 60s – truly the blueprint material for the great Stax and all around Memphis soul to come! It features singles cut for labels such as USA, Bar, Hollywood and Pure Soul – soul/R&B vocal numbers and proto-funky instrumentals. Amazing, amazing stuff recorded at Royal and Ardent Studios with some of the greatest soul music players to ever come together – so highly recommended! Includes "Holiday Cheer", "Bullseye", "Hung Over", "I'll Always Love" and "Late Late Party" by The Martinis, "No Ending" and "No Love Have I" by Stacy Lane, "House Full Of Rooms", "Out Of Control" and "I'm A Fool (In Love)" by LH & The Memphis Sounds, "Stone Fox", "Hip Pocket" and "Greasy Pumpkin" by The Pac-Keys, and "Hole In The Wall" by The Packers. 17 tracks in all – treated beautifully by team LITA – with a thick booklet of notes (by Andria Lisle) and full of vintage photos of the players, shots of the inner labels of the original singles, details for each track and more.

While in the post fusion years when lite jazz was beginning to take off a lot of jazz and fusion artists got a bit lost, Azymuth continued to make a number of fine recordings, some of the best of their career. Bertrami and crew continue to groove along in their tight Brazilian fusion mode, with a spacious airiness and a wonderful modern groove. We especially dig the mellow grooves of "Tropical Horizon" and "Diza", while the acoustic and vocal number "Tempo A Bessa" is also quite nice. Also includes "Bossa Nova USA", "O Pescador" and "Hobalala".

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.

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.

Here's where things really started getting interesting for James Brown! The album was issued right around the same time as James' single "Out Of Sight" on Smash – and like that track, "Papa's Got A Brand New Bag" was one of the first to use that "instruments on the beat" style of funk that would dominate all of James' work in years to come – that amazing groove that completely turned soul music on its ear – and paved the way for generations to come! The result is a startling sound that forever changed the face of groove – and you'll hear it nicely placed on this album, along with great cuts like "Cross Firing", "Mashed Potatoes USA", "Doin The Limbo", and "Love Don't Love Nobody".

A trio of funky electric albums from Stanley Clarke's mid 80s R&B years – 1984's Time Exposure, ''85's Find Out and '86's Hideaway – in a 2CD set! Time Exposure has a lot of 80s electro funk in the mix, particularly Clarke's impeccable bass lines, which are heavy throughout. Titles include "Play The Bass '10", "Heaven Sent You", "Speedball", "Future Shock" and the great title track. Find Out follows somewhat similar territory, an 80s synth funky set with a few surprising twists – including an electro/funk/old school rap cover of "Born In The USA"! Other tracks include "Find Out", "The Sky's The Limit", "Stereotypica" and "Psychedelic". Hideaway makes a move towards more delicate synth soul for Clarke – who assembles an impressive guest list that includes Stanley Jordan, Herbie Hancock and Stewart Copeland. Titles include a cover of Stevie Wonder's "Overjoyed", plus "My Love, Her Inspiration", "Where Do We Go", "Old Friends" and "When It's Cold Outside".

Fantastic work from one of the most overlooked alto talents of all-time! This beautiful CD features tracks from Sonny's 3 rare albums on Imperial – Jazz USA, Go Man, and Plays Cole Porter. The records were all recorded in 1956 – and they feature some of the strongest bop playing to ever come out of LA, total proof that that city wasn't always noodling around with cool jazz during the 50s! Sonny plays alto so well you want to cry – and every note is perfectly placed, with just the right mix of technical skill and warm soulful humanity. Most of this material has only ever been reissued in Japan – and the CD includes wealth of excellent cuts like "If I Had You", "I Love You", "Wailin With Joe", "West Coast Blues", "Criss Cross", "Ham's Blues", and "Blue Friday" – but the whole thing's great!

Classic Quincy Jones from the 60s – a pair of records that really show why his jazz skills were unlike anyone else! Quincy Jones Plays Hip Hits is a very groovy record that was done with a feel that's somewhere in between his Big Band Bossa album and his best 60s soundtrack work! The format is simple – Quincy picks a sweet batch of jazz semi-hits from the early 60s, plays them with a nice mix of soul jazz arrangements, and works with a great ensemble filled with wonderful players – including Roland Kirk, Budd Johnson, Seldon Powell, James Moody, and Jerome Richardson on reeds; Lalo Schifrin and Patti Brown on piano, Jim Hall on guitar, Clark Terry on trumpet, and Melba Liston on trombone – plus lots of great percussion at the bottom, helping bring some Latin energy to the grooves at points. Tunes are familiar, but all given a great Quincy Jones twist – and titles include "Gravy Waltz", "Jive Samba", "Walk On The Wild Side", "Bossa Nova USA", and "Watermelon Man". Golden Boy is a sweet bridge between Quincy's big band recordings and his groovier soundtrack work of the mid 60s – as the record combines straight jazzy grooving with some of the cooler elements of Quincy's soundtrack scores, like stepping strings, wordless voices, and a breathy mellow groove that floats across the disc in a wonderful way! Aiding Quincy in the album are a host of top-line jazz players – including Eddie Lockjaw Davis, Jerome Richardson, and Phil Woods on saxes – plus Freddie Hubbard on trumpet, Al Grey on trombone, and Jim Hall on guitar! Although titled after the show Golden Boy, only a few cuts here are from that musical – and the rest include Quincy Jones originals and some cool covers, given the Q twist. Titles include "Seaweed", "The Witching Hour", "Hard Day's Night", "The Sidewinder", and "Theme From Golden Boy", done in 2 versions, both great!

High school and hot rods – groovy Capitol work, courtesy of producer Gary Usher – and of course, it features an incredible roster of west coast studio geniuses behind the curtain! A fun mix of instrumentals and vocal tunes, with beach and surf harmonies, R&B-indebted rumblers and other thematic touches – honking sax, gritty percussion, nicely grooving organs and chugging guitars – what more could you ask for? The niceness of the vocal tunes is a surprise, but the instrumentals are unsurprisingly great! Titles include "Hot Rod High", "Midnight Auto", "School Days", "Be True To Your School", "Hot Rod, USA", "I Get Around", "Rock Around The Clock", "Skippin' School", "Theme For Teen Love" and more.

Snack rock superheroes the Go Nuts interviewed. R&B eccentrics celebrated. KISS worldwide convention coverage. Brother Wayne Kramer tells it like it is. Includes flexi disc with original songs by Girl Trouble, Mcrackins, Pedro Bell, Goblins, Butterglory, Scissor Girls, Geezers, Blanche, Jak Shit, John Huss, Ligon brothers, Royal Crowns, Combustible Edison, USA, Asstroland, Iggy and the Stooges, Buck & Betty, the Singing Cockroaches.

A killer live set from Suicide – and a very important addition to their catalog – given that the group hardly issued any records in their short-but-crucial career! The album captures a live performance from 1981 – a bilstering barrage of electronics from Martin Rev, topped by these wonderfully moody vocals from Alan Vega – all very much in the best spirit of the group's famous debut album, but given a slightly more spontaneous twist in this live setting too! There's never been another group like Suicide again – despite countless attempts to copy their genius – and the album's one that's right up their with their landmark self-titled set – originally issued on cassette, but sounding even better on vinyl. Titles include "Dream Baby Dream", "Ghost Rider", "Harlem", "Sweet White Lady", "Rocket USA", "Rock & Roll Is Killing My Life", and a weird cover of "96 Tears".

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".

A reimagined version of the legendary Yellow Pills compilation on Numero – 20 songs from the original compilation, plus two bonus tracks, new liner notes, and lots of cool sleeve scans, photos, and more! Forget everything you know about rock music in the late 70s – all the punk rock and new wave that's been immortalized over the years – and get ready to discover a whole new world of power pop! At the time, the power pop underground was as important to some ears as the artier and angrier work coming out of the east coast and UK – and the power pop world was one that could co-exist a bit more peacefully with mainstream rock, while still offering a great opportunity for bands on various local scenes. The work here has echoes of more famous acts of the time – like The Cars, The Kings, or The Knack – but it's also got a bit more of a home-grown, punk rock edge – one that comes through beautifully in the guitar parts, vocals, and unabashed hooks of the tunes. The set's a follow-up to the original Yellow Pills set by zine publisher Jordan Oakes – and it delves deeper than even that one, with a real focus on work from the end of the 70s, and acts that never had great chart success overall. Titles include "High School" by Tommy Rock, "She's Hi Fi" by The Trend, "There Goes My Heart Again" by The Kids, "Not My Girl Anymore" by The Bats, "All I Want" by The Colors, "Domestic/Imported" by The Toms, "Sunshine USA" by Randy Winburn, "One In A Million" by Luxury, "She's The Girl" by The Tweeds, "Rave It Up" by Colors, and "Hey Little Girl" by The Kids.

One of the best records that Chico Hamilton cut during the 50s – and one that features Eric Dolphy, who was with Chico's group for a short while! The record's got the quintet (which also includes the excellent Dennis Budimir on guitar) fronting larger string arrangements by Fred Katz (no longer their cellist, but still a key force here) – and the approach is a great expansion on the earlier styles that Chico forged for Pacific Jazz. The strings here are never sleepy, and instead have a dark and modern feel overall – similar to Ralph Burns' best work of the time, but a bit more restrained – and Eric Dolphy's reed work really keeps things interesting, with sharp-edged notes give most of the tracks a fair bit of depth. Titles include "Modes", "Strange", "Don's Delight", "Andante", "Fair Weather", "Something To Live For", and "Pottsville USA".

An unusual package of Quincy Jones albums – featuring variations on two American records, presented here in offbeat German versions of the 60s! First up is Songs For Pussycats, kind of a mix of Quincy Jones' Pussycat album for Mercury with some tracks from other records too – all done in that wicked mix of jazz, soundtrack, and popular themes that Quincy virtually helped invent back in the 60s! The album's got plenty of great groovers that take a popular tune and kind of turn it on its ear – takes on tracks like "What's New Pussycat", "Take Five", "Mack The Knife", "Sermonette", "Mr Lucky", and "Cast Your Fate To The Wind" – all of which are souped-up by Quincy, and done in a rhythmic style that takes them past familiar versions you might know. Quincy In Rio is a set that seems to be the famous Big Band Bossa Nova album at the start, but which also features tracks from other 60s albums too – showing a whole new fresh side to Quincy's genius in a jazz bossa mode! Arrangements are very lively, with lots of great percussion underneath the soaring big band charts – and titles include "Bossa Nova USA", "Desafinado", "Jive Samba", "Baia", "The Gentle Rain", "Non-Stop To Brazil", "Samba De Una Nota So", and "I Love You & Don't Forget It".

Smoking 60s soul from the Memphis scene – and quite possibly the best collection so far in this Goldwax series! The cuts here come from a point when the Memphis sound had really come together – grown in earlier years by labels like Goldwax and Stax on the local scene, now spilling out strongly to influence generations around the world. And although most of the Goldwax recordings on this collection never got the circulation enjoyed by other Memphis imprints, they definitely follow in spirit to some of the bigger hits of the time. The mix here is about 2/3 soul, with touches of country and funk on some of the other singles – although still a pretty hip variant on those genres too – and like the other volumes, this one presents both a and b-sides of all Goldwax singles, in numerical order. Titles include "Love Me Tonight" by Carmol Taylor, "Lonely Man" by Spencer Wiggins, "He Called Me Baby" by Jeannie Newman, "You Name It I've Had It" by Willie Walker, "She's About A Mover" by Percy Milem, "A Message To Young Lovers" by James Carr, "It's My Life" by Timmy Thomas, "You Had Your Choice" by The Ovations, "Soul City USA" by Spencer Wiggins, "Ticket To Ride" by Wee Willie Walker, "That's The Way Love Turned Out For Me" by James Carr, "Love Me Tonight" by Carmol Taylor, and "He's Too Old" by Spencer Wiggins. 56 tracks on 2CDs!

A killer collection of singles from the legendary Cotillion arm of Atlantic Records – all presented as individual 7" records with original labels, served up in a hip limited edition package! The work here would already be great as a CD compilation – but it's extra special when served up in this stunning format – like finding a pile of rare soul singles in the back of a rack in an overlooked record store – still in great shape, and ready to explode anew on your turntable! The music is very well-chosen – and includes cuts by some key artists who only worked briefly for Cotillion, and never cut a full album for the label – such as Baby Washington, Otis Clay, or Walter Jackson. Other artists are ones who really hit their height at Cotillion, but still remain relatively obscure – and the singles here easily represent some of their best work ever. All cuts are right from the hippest tail end of the 60s – and titles include "Do Right Woman" and "That Kind Of Lovin" by Otis Clay, "Keep On Striving" and "Come On Let Me Love You" by Moses Smith, "Night After Night" and "The Love That I Needed" by The Blendells, "The Love Of My Woman" and "I Wanna Go Home" by Darrell Banks, "I've Fallen In Love" and "You Are The Circus" by C & The Shells, "Any Way That You Want Me" and "Life Has Its Ups & Downs" by Walter Jackson, "I Gotta Get Back To Lovin You" and "LA/USA" by Hollywood Spectrum, "I Don't Know" and "I Can't Afford To Lose Him" by Baby Washington, "Don't Play That Song" and "People In Love" by Lou Johnson, and "Ain't No Sun" and "Murder IN The First Degree" by The Dynamics.

A low-priced introduction to one of the most essential world music labels of the past few decades – the mighty Luaka Bop, a key force in opening American ears to a wider world of sounds! The package is heavy on Brazilian bits from the past and present – but also features some other great sounds from around the globe – the sorts of music that Luaka Bop's great at tracking down, pulling together, and presenting in a form that's easy to grasp for the uninitiated. CD features 11 tracks in all – including "Ya Ya Ya" and "Seu Lugar" by Kassin+2, "De Usa Do Amor" and "Possibilidade" by Domenico+2, "Dance With Me" by Nouvelle Vague, "Brother Father Mother Sister" by Tim Maia, "Crash Into The Sun" by Jim White, "Pode Me Chamar" by Eddie, "A Mimha Menina" by Os Mutantes, "Cobrinha" by Tine, and "Diamonds To Coal" by Jim White.

A great little 70s session from Mingus – the second part of the Changes set, some of his best work from the time, and recorded with a small group that includes George Adams, Don Pullen, and Jack Walrath. Tracks are long, with that late love of Ellington that Mingus was developing – and titles include "Free Cell Block F, Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love", which features a guest appearance by Marcus Belgrave.

One of the coolest jazz vocal albums you'll ever find! Frank Minion sings this suite of tracks billed as an "Introduction To Black Opium Street", and he puts the music together with little recitations in between the tracks, so that the whole thing sounds like one of the great Langston Hughes jazz albums from the same period. Minion's singing voice is in the same rich-toned tradition as singers like Johnny Hartman, but his speaking voice is raw and very soulful – and he gets more than able backing by a great set of players that includes Tommy Flanagan on piano, Roland Alexander on tenor and flute, Dannie Richmond on drums, and Paul Chambers on bass. The whole album sounds more like a rare session on Candid than it does the usual stuff on Bethlehem – and it's a surprisingly hip album that still holds up well over the years! Titles include "Oddsville USA", "Bongo Blues", "Autobiography Of A Musician", "Watermelon", "Flamenco Sketches", "Laughing Boy", and "Later".

One of the funkiest blacksploitation soundtracks of the 70s – a rare indie gem from Nat Dove & The Devils! Dove's got a style that's a lot rougher and rootsier than other soundtrack artists of the 70s – an approach that's more based in the modes of the indie funk underground of the time, and less in the more polished studio funk you'd find on bigger film releases. The grit in the grooves is wonderfully welcome here – and it's a quality that really sets this one apart from the pack, and keeps it in heavy rotation over the years! Most of the tracks on here are instrumentals, and a few of the cuts have vocals by Mary Love – and titles include "Joy", "Petey Wheatstraw", "Steve's Den", Junkie Chase", "Zombie March", "Ghetto Street USA", and "Loving You".

A really cool collection that's got way more to offer than you might guess from the Italo in the title – as the set's filled with obscure funk, jazz, and sound library gems from the 70s! Usually, we associate Italo with Italo Disco – that 80s version of club music that broke big around the world in many scenes. But the tracks here are sort of the "roots" of that version of Italo – the funky experiments of a generation before – which were often inspired by American jazz and soul of the time, but took things into a whole new dimension – thanks to the wide range of creative instrumentalists and unusual studios in Italy during the 70s! A few names are familiar here, and others are composers you might know from soundtracks – but together, the vibe is something else entirely – and something entirely great, thanks to wicked work from Big Bang/Arision Records, who put together the whole thing. Titles include "Aflogelia" by Narassa, "Open Space" by Piero Umiliani, "L'Eroe Di Plastica" by Tony Esposito, "Ore 24" by Alberto Baldan Bembo, "Pearls" by Piero Piccioni, "Five, Four, & Three" by Lee Konitz, "Lavoro Veloce" by Farlocco, "Louisville" by Made In USA, "Depressione" by Jazz Video, "Tip Cat" by Santucci Scoppa, and "Greenleaf Street" by Max Rocci & His Friends.

One of Quincy Jones' best for Mercury Records in the 60s – a very groovy record that was done with a feel that's somewhere in between his Big Band Bossa album and his best 60s soundtrack work! The format is simple – Quincy picks a sweet batch of jazz semi-hits from the early 60s, plays them with a nice mix of soul jazz arrangements, and works with a great ensemble filled with wonderful players – including Roland Kirk, Budd Johnson, Seldon Powell, James Moody, and Jerome Richardson on reeds; Lalo Schifrin and Patti Brown on piano, Jim Hall on guitar, Clark Terry on trumpet, and Melba Liston on trombone – plus lots of great percussion at the bottom, helping bring some Latin energy to the grooves at points. Tunes are familiar, but all given a great Quincy Jones twist – and titles include "Gravy Waltz", "Jive Samba", "Walk On The Wild Side", "Bossa Nova USA", and "Watermelon Man".

They're not kidding with the name of this group – because the set's a masterpiece of 70s Afro Funk – totally great all the way through! The combo has African origins, but they're recording here in London – which makes for a really wonderful criss-crossing of cultural modes – the same sort of heavy, dark-tinged groups you'd hear from Cymande or Demon Fuzz – both of whom are a great comparison to the sound of this group! Bass is very heavy in the mix – not dubby, but really rumbling right from the start of each tune – and helping to set up the complicated percussion patterns, fuzzy guitar bits, and nicely trippy vocals – all of which are recorded in just the right way to make the sum of the elements sound like way more than the parts. Titles include "Afro Funk", "Tei Egwu", "Hot Love", "Farewell To Ibusa", and "Try & Try".

Toshiko Akioshi makes a trip back to the Japanese jazz scene in the early 60s – for this great little session that has her meeting up with "old pals" from previous years – including Sadao Watanabe on alto sax, Akira Miyazawa on tenor, and Hideo Shiraki on drums! The reunion is a really great one – just the kind of session that stands out as special in the careers of all artists involved – especially Toshiko, who seems to have hit a new level of maturity in her work! The style here is essentially hardbop, but brought together with some well-penned head arrangements that hint at the more sophisticated directions Akikoshi would take in her later years – yet still preserve all the boppish spontaneity of her youth. The set's on a par with the best on Blue Note or Impulse in the US at the time – and is key proof that at the right moments, the Japanese jazz scene of the early 60s was really something to rave about! Titles include "Quebec", "Old Pals", "Watasu No Biethovin", "So What", and "The Night Has A Thousand Eyes".

The massive All Music Guide To Rock – The Definitive Guide To Rock, Pop And Soul (3rd Edition) – featuring reviews of thousands and thousands albums as rated and reviewed by the exceptional All Music Guide writers! The book is an encyclopedia of pop music from the 50s to the early 00s – and an very, very good one – we find the All Music Guide an indispensable reference around here, and this is a great one to have on the shelf! 14,000 reviews of albums by more than 2000 artists. Amazing! Paperback, 1399 pages.

The second chapter of Erykah Badu's New Amerykah – recorded for the most part, quite incredibly, during the same period and with the same collaborators as the mind-altering, murky and righteous hip hop funk experimentalism that was Part One – some months that must be among the most dizzyingly creative in Badu's career! We're reluctant to call Return Of The The Ankh a lighter listen than its predecessor, but, it's a less dense and outwardly experimental batch in the sonic realm – the emotionalism and the head nodding warmth is at the forefront, yet she's as uncompromising and real as ever. The sound is still innovative, unique and her own on all fronts, but the songs chosen for Part Two are ones you want to approach and embrace from the opening seconds – there's not as much of a tripped out overall vibe and you don't need to acclimate from a distance – these songs pull you right in! Includes collaborations with James Poyser, Shafiq Husayn, Ta'Raach, Karriem Riggins, Madlib and Georgia Anne Muldrow. Includes "20 Feet Tall", "Window Seat", "Agitation", "Turn Me Away (Get Munny)", "Gone Baby, Don't Be Long", "Love", "Out My Mind, Just In Time" and more.

An incredible bit of southern funk – the first landmark LP by Archie Bell & The Drells, and the first big burst of energy from the Texas scene of the 60s! The album's incredible – with Archie up front on rough-hewn vocals, the band grooving in a mad tangle of guitar, bass, and drums, and some super-fierce horn work by the TSU Tornadoes! You've no doubt heard the band's classic "Tighten Up (part 1)", but this album also includes the incredible "part 2" to the track – which takes the groove a million miles higher! And the whole album's equally great – filled with other tight soul gems that include "A Thousand Wonders", "I Don't Want To Be A Playboy", "Give Me Time", and "When You Left Heartache Began".

An incredible bit of southern funk – the first landmark LP by Archie Bell & The Drells, and the first big burst of energy from the Texas scene of the 60s! The album's incredible – with Archie up front on rough-hewn vocals, the band grooving in a mad tangle of guitar, bass, and drums, and some super-fierce horn work by the TSU Tornadoes! You've no doubt heard the band's classic "Tighten Up (part 1)", but this album also includes the incredible "part 2" to the track – which takes the groove a million miles higher! And the whole album's equally great – filled with other tight soul gems that include "A Thousand Wonders", "I Don't Want To Be A Playboy", "Give Me Time", and "When You Left Heartache Began".

Tried-and-true underground hip hop mixed with more experimental beathead touches from Blu – with collaborations and production by Exile, Shafiq Husayn, Flying Lotus, Dibia$e, Daedalus and more – plus appearances by U-God, J*Davey, Co$$, Pac-Div and more. Titles include "Doin Nothing" with U-God, "Everything OK" feat Ms Jack Davey, "Everybody Nose" feat Sa-Ra & Nola Darling, "Hours", "Annie Hall" feat Chop, Cherry Pop & Tiombe Lockhart, "Tags" feat Exile, "Spring Summer Winter Fall" feat Jimetta Rose, "Down To Earth" feat Donel Smokes, Definite & Double Oh, "Keep Pushinn", "Doin Something" feat Pac Div, U-N-I, J*Davey, Tiron & Ayomari and more.

A key chapter in the rich long legacy of Candido on record – a set that pushes the percussion maestro strongly into the disco generation – with wonderful results that are still massively strong all these many years later! Candido had always been one of the funkiest conga players around – especially as his music moved into the 70s – but here, he really takes off with some sublime disco arrangements – full clubby grooves that are some of the best Salsoul sounds of the time, yet which still leave plenty of room for Candi's congas! The congas participate in the rhythms at every level – and often take on a nice solo spotlight too – and all tracks are nice and long, with killers that include a club remake of "Thousand Finger Man", plus "Dancin & Prancin", "Jingo", and "Rock & Shuffle". CD features a massive amount of bonus tracks – more than on the album – with gems from singles that include "Jingo (original 12" version)", "Thousand Finger Man (12" ext version)", "Jingo (Shep Pettibone mix)", "Thousand Finger Man (single)", "Jingo (single)", and "Jingo (inst)".

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".

Beautiful Chisoul harmonies! "Beginning Of My Life" starts with a catchy jangly guitar, courtesy of the Soul Crusaders Orchestra, then rolls into a great little groover with harmonies that soar and keep pace wonderfully with the song's positive message and great hooks! "Coming Changes" is an instrumental version – with the same group, minus the vocals!

One of the more obscure John Coltrane albums for Atlantic – but a beautiful batch of spiritual numbers that really show him pushing towards the sound of A Love Supreme! The date on the album's 1966, but the material was recorded earlier – in that key turning point year of 1960, when Coltrane really started to let loose with his new ideas – ideas so fresh, in fact, that they might have kept this record from getting released at the time! The group here features piano from McCoy Tyner, drums from Elvin Jones, and bass from Steve Davis – an oft-overlooked talent who did some amazing work with Coltrane during this brief time. The tracks are open, flowing, and filled with imagination – and Coltrane works both on tenor and soprano sax, on titles that include "Liberia", "Equinox", "Satellite", "Central Park West", and a classic reading of "The Night Has A Thousand Eyes".

A really dreamy little set from this hip Brazilian combo – a set that's got a bossa feel overall, but which also seems to draw a bit from folkloric roots too! The instrumentation is nice and warm – a great 60s blend of light percussion, acoustic guitar, and nice bits of jazzy flute and vibes – all really sparkling nicely with the group's blend of male and female vocals – sometimes singing solo, but often coming together in these harmonies that are mighty nice! There's echoes here of some of the other bossa harmony groups – like Tamba Trio or Os Cariocas – but the approach is pretty fresh, too – given all the nice little touches the group uses to make the music here their own. Titles include "Pouca Duracao", "Amor E Ilusao", "Onibus Colegial", "E Assim Foi O Nosso Amor", and "Mandrake".

A sublime trio set from Strata East mainman Stanley Cowell – a set cut later than his run at that famous label, and in a mode that's a bit more straightforward too – but still equally soulful, and handled with a conception that's far above most of his contemporaries! The group is perfectly balanced – Cowell on acoustic piano, Cecil McBee on bass, and Roy Haynes on drums – all players that have strong melodic impulses, which really bring a sense of lyricality to the music. There's a majestic flow to most numbers – different than the modal impulses of Stanley's music a decade before, but still quite powerful, even at mellow moments. The set features a great remake of "Equipoise", plus the tracks "Lady Blue", "Musa & Maimoun", "Dr Jackle", "November Mood", and "Dave's Chant".

The Crusaders are really going strong at this point – in near-hit status, almost acting as the Steely Dan of LA jazz. The sound is certainly slicker than before, but in a way that's actually pretty darn nice – as Joe Sample, Wilton Felder, Stix Hooper, and Larry Carlton come together with effortless ease – dipping, turning, twisting, and still hitting a nice groove on the best tunes. Tracks include "Nite Crawler", "Feel It", "River Rat", "Free As The Wind", and "Sweet N Sour".

Great work from one of the funkiest periods in the career of the Jazz Crusaders – that point when they first dropped the "jazz" from their name, and started moving into groovier territory! The set's a bit electric, but never as much so as their later, bigger hits – just enough so that the basslines bump the tunes along strongly, and the keyboards start to sparkle in the mix too – but still leaving plenty of space for acoustic contributions on piano, trombone, and tenor. Arthur Adams joins the group for a bit of guitar, which is well-placed – and titles include the massive "Pass The Plate" medley, which runs for over 15 minutes – plus "Young Rabbits 71/72", "Goin' Down South", "Listen & You'll See", "Greasy Spoon", and "Treat Me Like Ya Treat Yaself".

What can we say? When this record came out, everybody we knew thought they'd totally lost it, and stopped being funky. From the vantage point of this generation, though, the record's a jazz funk masterpiece, with a smooth R&B sound that's virtually flawless, and a perfect summation of all of the great studio work being done in 70s LA. Includes the massive extended version of "Street Life", with vocals by Randy Crawford, plus other great cuts like "Night Faces", "The Hustler", and "Rodeo Drive".

Pretty great pop-psych from Daughters Of Albion – a set that mixes the sing-song nature of the tunes with some deeper LA production from Leon Russell – all in a great blend fo styles that's really made the album a standout over the years! The group's a duo – Greg Dempsey and Kathy Yesse, both of whom have such long hair, it's hard to tell who's who – both singers who come from a folksy background, yet bring in that mix of Sunshine Pop modes that so many post-folkies on the west coast were using at the time – a great ear for sweet harmonies and catchy tunes, but with an undercurrent of darkness too! Titles include "I Love Her And She Loves Me", "Still Care About You", "Yes Our Love Is Growing", "Candle Song", "Lady Fingers", "Sweet Susan Constantine", "Well Wired", and "John Flip Lockup". CD features two bonus tracks too – "Well Wired (mono 45)" and "Story Of Sad (mono 45)".

A sweet blend of west coast jazz and Brazilian rhythms – and one of our favorite records ever from trombonist Raul De Souza! The session's got a more soulful, jazzy feel than some of Raul's other dates from the 70s – not nearly as tight as his sets for Capitol, with an earthy undercurrent in the music, thanks to the production efforts of Airto, who spearheads the session. Horns are by JJ Johnson, with some slight echoes of his soul soundtrack work of the period – and other players include Ted Lo on keyboards, Richard Davis on bass, and Jack DeJohnette on drums – plus a bit of guest alto sax from Cannonball Adderley on a few tunes. Titles include "Water Buffalo", "Dr Honoris Causa", "Canto De Ossahna", "Nana", "Festival", and "Chants To Burn".

One of their best, and a real masterpiece of 70's group soul. The arrangements are sweet, but the group is as hard as they ever were, but free to soar in their singing with the massive arrangements provided by the Detroit Groovesville crew. Ron Banks and LJ Reynolds are in perfect form, and this album is solid all the way through. Titles include "I Dig Your Music", "How Do You Feel", "Thousand Shades Of Blue", "I Cried All The Way Home", and "Good Things Don't Come Easy".

An extremely righteous bit of soul jazz – originally issued in a very small pressing by Folkway Records, at a time when the label was doing some great underground recordings! The sound is loose and free – spiritually building in a manner that recalls the work of Ahmed Abdul Malik, Phil Cohran, and some of the AACM – and the album has a style that's exploratory, but never goes too far out, or loses its sense of rhythm and swing. Tracks are longish, and the core group features soprano sax and Korean reeds by Bilal Abdurahman and vibes by Ameen Nuraldeen – plus guest work on bass by James Smith, and appearances by a lot of different world percussion players. There's a nice Eastern feel to some of the tracks, and titles include "Mevlana", "Ti Ti", "Sun Flower", and "Bent El Jerusalem".

A well-titled album from one of the funkiest New York groups of the 70s – and proof that Fatback could still hit a heavy groove, even when tightening things up a bit! The style here is still firmly in the live jamming mode of their roots – captured well in the studio, in a style that's never too slick, nor too "easy" in the choices of rhythms or arrangements. Titles like "Double Dutch", "Spank The Baby", "Duke Walk", "Cosmic Woman", and "Love Street" hint at the street funk style that first got the group going – and although the sound's a bit more professional than before, all the best elements are still very much in place! Other titles include "NYCNYUSA", "A Changed Man", and "Soul Finger".

A surprisingly nice album of big band material from Maynard – recorded at a time when he was just getting his start as a big name, and still handling some hip enough players to make the groove swing! One track claims to have a "Dusan Goykovich" as a soloist – who we can only imagine to be our man Dusko Goykovich – and the record has plenty other nice solos by Lanny Morgan. Arrangements are by Don Sebesky, Al Cohn, Willie Maiden, and Oliver Nelson – and tracks include "Groove", "Whisper Not", "Blues For A Four String Guitar", "New Hope", and "Naked City Theme".

A wicked dip into Colombian music – focused around the work of two true giants of the scene! CD1 features 21 massive tracks from Fruko – one of the hardest-hitting artists working in Colombia in the 70s – often in a sound that starts out in New York salsa, but takes all these weird little twists and turns as it adapts to the local rhythms! Joe Arroyo's tracks start where Fruko's leave off – pushing the groove even more with a bolder, more confident Colombian style – still filled with some great jazzy riffs that you'd hear in salsa, but moving into some especially nice tropical touches too! The production on the material for both artists is great – often filled with some sweet studio tricks – and the booklet features notes on the artists, plus images of lots of vintage album covers too. 38 tracks in all – with tracks billed to each artist separately, or The Latin Brothers, La Verdad, or Afrosound – on titles that include "El Preso", "El Violento", "Tu Sufriras", "La Pintosa", "Ocho Dias", "El Esclavo, "Tifit Hayed", "San Juan De Puerto Rico", "Palenque", Pobre Naci, "El Son Del Caballo", "Baila Simon, "Musa Original", "Matigua", "Vuelve", "Son Apretao", and "En Barranquilla Me Quedo.

One of Jackie Gleason's dreamiest albums – a lush batch of instrumentals, featuring an expanded flute section with a really "wind"-heavy sound! The session's a bit less known than some of Gleason's other albums for Capitol from the 50s, but it's every bit as great – and has a mellow, late nite sound that's lifted right out of the prime early years of the mood music generation. Although romantic, the album's also got a boozy sense of sadness – one that makes for a haunting undercurrent, and which is illustrated beautifully by the album's cover, which depicts a hidden male hand holding a lighted cigarette, enticing a gown-clad beauty into the woods for a lusty encounter! Titles include "Sleepy Time Gal", "When You're Away", "I Apologize", "Memories Of You", "Close As Pages In A Book", and "A Thousand Goodnights".

A rocketing bit of South African funky soul – and of the few great records released on Ahmad Jamal's short-lived Jamal label! The session's a lot hipper than some of the South African work that was issued in the US around the same time – and the feel here is almost more in a London post-colonial mode, with a strong criss-crossing of elements, but also a good sense of roots. There's an undercurrent of funk, too – tightly vamping rhythms, killer percussion, and it's peppered with sharp jazz solos from Gwangwa on trombone and Du Du Pukwana on sax – an overall groove that's almost like some of the Perception/Today label jazz funk of the early 70s! Some cuts feature vocals from Mamsie, and titles include "Dark City", "Switch #2", "Switch #1", "Szaba Szaba", "Kwatula", "Chant", "Who", and "African Sausage".

The sensational early 70s document of the big city pimp culture by writer Susan Hall & photgrapher Bob Adelman! It features fascinating interviews with "professional gentleman of leisure" Silky and his "wives" – and filled with jaw dropping b&w photography. A year in the life! Hardcover, 192 pages.

A wonderful bit of cinematic jazz from the 50s – played by the Chico Hamilton group as part of the soundtrack! The combo was a key part of the LA scene at the time, but are oddly featured as a regular club act in the movie's New York setting – but we'll gladly forgive that geographic error, given that the music on the set is so great. The quality's a bit like some of the Hamilton Quintet work on World Pacific – but there's a slightly freer, more urgent feel here too – work that's sometimes somewhat driving, and beautifully blended from the guitar of John Pisano, clarinet of Paul Horn, cello of Fred Katz, piano of Carson Smith, and drums from Chico. Side one features a lot of short incidental cuts – like "Susan", "Cheek To Chico", "Jam", and "Night Beat" – and side 2 is an extended "Concerto Of Jazz Themes From The Soundtrack Of Sweet Smell Of Success".

A jazz soundtrack double-header – one that features both the small combo and larger band version of the soundtrack to The Sweet Smell Of Success! The first half of the CD features the Chico Hamilton Quintet's album of music – a wonderful bit of cinematic jazz from the 50s. The combo was a key part of the LA scene at the time, but are oddly featured as a regular club act in the movie's New York setting – but we'll gladly forgive that geographic error, given that the music on the set is so great. The quality's a bit like some of the Hamilton Quintet work on World Pacific – but there's a slightly freer, more urgent feel here too – work that's sometimes somewhat driving, and beautifully blended from the guitar of John Pisano, clarinet of Paul Horn, cello of Fred Katz, piano of Carson Smith, and drums from Chico. Side one features a lot of short incidental cuts – like "Susan", "Cheek To Chico", "Jam", and "Night Beat" – and side 2 is an extended "Concerto Of Jazz Themes From The Soundtrack Of Sweet Smell Of Success". The second half of the CD features the full orchestral version of the Sweet Smell Of Success soundtrack – but done in a style that's almost as jazzy and swinging as the small combo one! Elmer Bernstein's at the helm here – and the music's a wonderful pastiche of modes that's right up there with his sublime score for The Man With The Golden Arm – done in a similar blend of driving jazz, somber moments, and some slightly more raucous touches! As with that album, the players are all great – and soloists on the album include Pete Candoli, Ted Nash, and Shelly Manne – west coast players despite the New York setting of the film, and playing here with a fair bit of grit in their groove. Titles include "The Street", "Hot Dogs & Juice", "Toots Shor's Blues", "Nite Spot Rock", "Love Scene", and "Out Of Darkness".

Fantastic work from one of the most unique talents in jazz! Rufus Harley plays bagpipes – yes, that's right, bagpipes – in a modal Coltrane-esque way that's simply got to be heard to be believed. He uses the drone capability of the instrument to explore reed patterns in the same way that Coltrane did, inspired a bit by Eastern sounds, especially Indian music, but also working in an Afro-centric mode that reclaims the bagpipes as an instrument rooted in the middle east (where it was first picked up by soldiers during the crusades, and brought north to Scotland.) The whole thing might sound incredibly silly, but when you hear the music, you'll be convinced – and this CD is set up to do just that. The collection takes 9 tracks from Rufus glory days at Atlantic Records during the late 60s – and features Harley not only on bagpipes, but on tenor, soprano, and flute – playing in groups that feature players like Roy Ayers, Herbie Mann, Sonny Stitt, James Glenn, and Don Patterson. Titles include "Feelin Good", "Flute Bag", "Taurus The 20th", "More", "Sufur", and "Pipin The Blues".

Electro funk, boogie soul and spacey hip hop from Hawthorne Headhunters – completely delivering on the promising earlier EP and rivaling the best of their similarly-traveling peers – particularly Plug Research labelmate Shafiq Husayn, along with leftfield leaders Dam Funk and Georgia Anne Muldrow – and we do not take those comparisons lightly! The Hawthorne Headhunters started as more of a freewheeling collective, though here as more of a partnership between Coultrain and Black Spade. 70s jazz funk, 80s synth soul and otherwise spacey sounds and the insistent underlying bounce of the best hip hop continue to inform the sound. Titles include "Sum People Don't Change", "Collage" feat Rockwell Knuckles & Tef Po, "Luv Galactic" feat I Am, "Teleport", "Yellow Cougar", "Whirlwind", "Ghostfields", "Fairweather" feat Von Pea & Haz Solo, "Hole In The World", "Tribute" and more.

A groovy late 70s outing from the Hi Los – done at the same time that group member Gene Puerling was having a great run for MPS with his group The Singers Unlimited! The style here's a bit like the Hi Los of old, but it's also got some of the smoother, sweeter tones that Puerling developed with the Singers Unlimited – that near-perfect approach to sound, with the vocals wrapped up nicely in pure harmonic bliss! Backings are directed by Rob McConnell, and vocal arrangements are by Puerling – on titles that include "Misty", "Everything Must Change", "I Remember You", "Seems Like Old Times", and "When Sunny Gets Blue".