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A long-overdue collection of smooth 80s soul from the lovely Perri – a female vocal quartet who cut a few albums for MCA years back, and who have reemerged in recent years as Anita Baker's backup group! On their own, though, the Perri sisters are a heck of a great outfit – one of the few really strong standout female soul groups to emerge in the 80s – with a sound that's certainly got some traces of the production standards of the time, but a sense of depth that takes them way past any 80s soul cliches! The CD brings together tracks from the Perri albums Celebrate, Tradewinds, and The Flight – and also features a bonus Lori Perri track from Do The Right Thing, and another number cut with The Yellowjackets. 12 titles in all – including "Someone Like You", "Fall In Love", "The Flight", "It's Been You", "He Never Sleeps", "I'm The One", "Maybe Tomorrow", "Revelation", and "Feel So Good".

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.

Rare soul galore, but great soul too – a smoking selection of rare nuggets from the late 60s, including a fair bit of cuts that have never been on CD before! The package seems to be nicely heavy on talents from the Chicago scene – which is A-Ok with our Windy City ears – but also features great bits from down south and out west too – and the tunes step and soar along with grooves that break way past obvious 60s modes, and show that there's a continued great run of music to be discovered from this really amazing time! The whole thing's great – not a bit of filler at all – and titles include "I'm Stuck On You" by The Poets, "Just What Do You Plan To Do About IT" by Little Jerry Williams, "You Never Do Right" by The Fi-Dels, "Soon As Darkness Falls" by Roscoe Shelton, "Wonderful Nite" by Ruby Andrews, "All I Need" by June Conquest, "I Can't Hear You" by Betty Everett, "New Guy" by The Dynettes, "My Love Is Gone" by The Shadows, "Good Lovin Man" by Delores Hall, "The Night The Angels Cried" by Johnny Dynamite, "If There's Anything Else You Want" by Roddie Joy, "That I Love You" by Paul Johnson, and "I'm Walking Away" by Denise Chandler.

DJ tools from DJ Rectangle. Tracks include "Battle The Bridge Break", "Southpark Shaolin Samples", "Scratch-A-Tonic Zone", "Funky Freaknik Beats", "Apache Attacks", "Dirty Rotten Skills", "Tight-Tacular Beats", "I'm Still Better Scratches", "Yeah Tone", "Instant Death Samples", "Everlasting Freshness" and more!

Classic 70s work by First Choice – remixed for the modern dancefloor! Titles include "Gotta Get Away (Gambafreaks club mix)", "The Player (Olav Basoski club mix)", "Armed & Extremely Dangerous (full intention club mix)", "Love Freeze (Harlem Hustlers classic mix)", "The Player (Olav Basoski dub)", "Newsy Neighbors (Danny Krivit re-edit)", "Smarty Pants (Stonebridge nice nice club mix)", and "Love & Happiness (Klubbheads mix)". 12 tracks in all.

Fantastic double CD set that includes 44 tracks of the Moonglows amazing doo wop sides recorded for Chess in the 50's. This is some of the best doo wop ever recorded on the planet, and the track list includes such great cuts as "Secret Love", "Most of All", "In My Diary", "Penny Arcade", "Twelve Months Of The Year", "She's Alright With Me", "See Saw", "Over And Over Again", "Mr. Engineer", "Blue Velvet", "Lover, Love Me", "Sincerely", and lots of other cuts that you may be less familiar with. Super stuff, with a nice set of notes!

A Guido Crepax cover, and a batch of amazing soundtrack grooves – all wrapped up wonderfully as the 9th installment in the all-great Easy Tempo series! The sound here is superb – a blend of jazzy, bossa, and slightly funky numbers – all played with plenty of soul, and served up with a sound that easily shows why Italy was one of the hippest music scenes in the world at the end of the 60s. Instrumentation includes snakey sax, slinky keyboards, rumbling percussion, and more – all arranged with plenty of amazing twists and turns that go far beyond any expectations you might have from American cinema of the time! Highlights include a live version of Piero Piccioni's "Colpo Rovente"; work by the swinging vocal group I Cantori Moderni on both "La Ragazza Dalla Dalla Pelle Di Luna" by Piero Umiliani and "L'Uomo Dagli Occhi Di Ghiaccio" by Pepo De Luca & I Marc 4; a Gak Sato edit of "Death Dies" by Goblin; an extended take on "Dancing For You" by Armando Trovajoli; and the sweet cut "Hard Times" by Piero Umiliani. 20 tracks in all – and wonderful throughout!

A treasure trove of twelve inch singles from Solar Records – the west coast powerhouse for uptempo soul! Most of the numbers here date from the early 80s years when Solar were totally on top of their game – really dominating mainstream soul of the time in the same way Philly International did a decade before. The 2CD set features 12" mixes for all tracks – which mean that most are longer than the LP versions – and most grooves here are in a bumping, stepping, or boogie-oriented mode – post-disco with plenty of great west coast R&B touches. Titles include "Midas Touch" and "Scientific Love" by Midnight Star, "Show Me Where You're Coming From" and "Dance With You" by Carrie Lucas, "Call Me" by Bill Wolfer, "There It Is" and "Night To Remember (US ext mix)" by Shalamar, "No Pain No Gain" and "Rock Steady" by The Whispers, "I Don't Wanna Be A Freak" and "Love In The Fast Lane" by Dynasty, "It's All The Way Live" and "One Minute After Midnight" by Lakeside, "Classy Lady" by Leroy Hutson, "Romeo Where's Juliet" and "Winners & Loser" by Collage, "Street Beat" by The Deele, and "Come Back Lover" by The Sylvers.

A pair of late disco classics from Ultimate – back to back in a single set! First up is the group's self-titled debut from 1979 – Euro disco, but recorded in Philly – which makes for a wonderful criss-crossing of modes throughout! As with other disco sets of the style from the time – especially work on Casablanca Records – the set's got a number of really long, stretched-out tunes – almost mini musical symphonies built for the dancefloor, which unfold with sharp rhythms changes, sweet chorus vocals, and razor sharp studio instrumentation! The best of these is the leadoff number which takes up all of side one – the massive "Love Is The Ultimate/Touch Me Baby/Dancing In The Night" medley – which is then followed by slightly shorter groovers with equally great flavors – "Ritmo De Brazil", "Take Me To Chinatown", and "Music In My Heart". CD also features two bonus tracks – different mixes of the "Love Is The Ultimate" medley. Next is the Ultimate album from 1980 – a set that's got a stronger vocal approach than their previous effort – thanks to work by a trio of lovelies from the Philly scene, recorded here with a sound that's a bit different than some of their Casablanca contemporaries! The record's not nearly as polished as some of the rest – arranged by Michael Forte with a style that's certainly clubby, but with some hook-heavy modes that are a bit song-based too – almost crossover soul at the best moments, which is quite unexpected. Vocals are by Riti Saunders, Barbara Hernandez, and Deborah McGriff – and titles include "This Time I'm In Love", "Get To The Top", "Feel So Fine", "Now & Forever", and "Secret Agent Man".

Uncut covers The Beatles: The Complete Story for this essential issue in their Ultimate Music Guide Series – focusing solely on their years as a band – with both classic interviews and new content from the expert team at Uncut! We saw the cover and wondered how they could pull this off – but they do it quite well, actually, by focusing square on John, Paul, George and Ringo as a band – and saving the solo output for another day. It features reviews of each Beatles era LP, from the raw debut of Please, Please Me to the Phil Spector polished swan song Let It Be – and also the best of later compilations like Past Masters, Anthology and others. Even better are the reprints of classic features from Uncut, Melody Maker and NME and the dozens of classic and rare photos of the group!

Basslines, keyboards, and plenty of beats – all stepping out strongly in a sweet selection of clubby numbers from the early 80s! The set's not really disco, but is definitely funk – of the lean, clean style that groups were serving up in the post-disco years – kind of a refinement of the earlier ensemble sound of the 70s, taken to a tighter rhythmic focus for the next decade! Titles include "Can't Judge A Book By Its Cover" by Cookie, "Turn Me Down" by Nick Straker, "Love Is What I'm After" by Richard Jon Smith, "Please Come Back" by Dean Edwards, "Time For Some Fun" by Central Line, "Cash Play (rmx)" by Yvette Cason, "This Time" by Funk Deluxe, "I Can't Forget You" by California Executives, and "How Do You Feel Tonight" by Bobby M with Jean Carn.

Includes the tracks "Mudskipper" (original mix, Portishead So So mix, and Henry & Louis Steppers mix) and "Substrata" (Eat Static mix and original mix).

We can't think of a better title for this excellent compilation from Peanut Butter Wolf. The Badmeaningood series is a personal hip hop chronicle from the compiler, and as you'd expect from PBW, the definition here is taking somewhat less than literally, though there's no shortage of back in the day old school classics, mixed side by side with some unlikely candidates, but in a way that makes more than perfect sense. Mixed continuously front to back like your favorite mix tape this set takes you from Grandmaster Flash's "New Adventures Of Grandmaster Flash" to Keni Burke's "Risin' To The top (Snowboy's acoustic mix)" and stopping at all points in between, whether it's Iron Butterfly's "Soul Experience", Johnny Hammond's "Fantasy", The Cold Crush Brothers "Punk Rock Rap", Prince Far I's "Black Man Land", the Jungle Brother's "I'm Gonna Do You", the 45 King's "Funk Box (We Want To Hear The Beat box)", Roy Ayer's "Can't You See Me", The Human League's "Hard Times" and Alicia Myers "Don't Stop What You're Doin" and many more!

10 hip hop instrumentals from one of the originators, DJ Mark the 45 King. Includes a bonus double copy with the same tracks, so you can get busy on the 1's and 2's. Includes "Killer Strings", "Overture", "Mad Fat Beat", "Sexy Lady", "Greedy Beats", "Magic Dust", "Pop Up", "TV Tune", "Coyote" and "Pyramids".

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".

One of Eric Dolphy's lasting classics – and possibly the ultimate album of "new thing" jazz from the mid 60s! The record's got an even sharper edge than previous Dolphy recordings for Prestige – a really unique combination of instrumentation that includes Freddie Hubbard on trumpet, Bobby Hutcherson on vibes, Richard Davis on bass, and Tony Williams on drums – plus Dolphy on alto sax, flute, and bass clarinet. Although Dolphy's reed playing is as amazing as you'd expect, the real surprise here is Hutcherson, whose vibes ring out with this cold harsh tone that give a perfect edge to the set – bold and metallic, quite different than any work on vibes from previous players. Despite a large number of later recordings, Hutcherson almost never hit this sound again – except perhaps on a few Jackie McLean recordings – and it's his playing that gives the set such a unique sound. Titles include "Straight Up & Down", "Gazzelloni", "Hat & Bread", "Out To Lunch" and "Something Sweet Something Tender".

Amazing! Earth Wind & Fire's ultimate moment of the 70s – and a perfect blending of all their influences that stands as a lasting tribute to their super-huge effect on soul music! The record features all aspects of the band coming into perfect cohesion – bassy funk, mellow soul, and afrocentric jazz – all expertly handled by the great Charles Stepney, who still has the same rich talent for blending styles that he had while working at Chess/Cadet during the glory days of the late 60s. Some of these songs have been played to death (and covered so much) over the years that it's often easy to forget what a crowning moment this was for former underground soul heroes Earth Wind & Fire – but we'll never cease to be amazed at the power of their mid 70s work, and this album's the best of the best. Titles include "Shining Star", "That's The Way Of The World", "Reasons", "Africano", "See The Light", and "Happy Feelin". CD also features 5 bonus tracks – "Shining Star (future star)", "All About Love (first impressions)", "Happy Feelin (anatomy of a groove)", "Caribou Chaser (jazzy jam)", and "That's The Way Of The World (Latin expedition)".

We have to admit we find these records to be a lot of fun, but no one could possibly buy the spiel in the liner notes about their "effect on the imagination and subconscious of the listener". Two extended soundscapes here: side one is "The Psychologically Ultimate Seashore", side two is the "Optimum Aviary". As the notes say, play at any speed, for different psychological effects.

The album that catapulted Jurassic 5 from the underground! Quality Control is one of the great hip hop albums, a record that's filled with great tracks, yet flows along as the ultimate headphones experience. The rhymes by Zaakir, Chali 2na, Akil, and Marc 7even are top notch in group dynamics and the solo shots, and the record has some of the best production Cut Chemist & Nu-Mark ever put down. Tracks include "How We Get Along", "Contact", "Quality Control", "World Of Entertainment (Woe Is Me)", "The Influence", "Monkey Bars", "Quality Control", "Twelve", "Contribution", "The Game", "Improvise", "Swing Set", "Jurass Finish First", and more.

A beautiful swirling instrumental album that features the classic "Love's Theme", the cut that made Barry a multi-millionaire, and which firmly established his sophisticated orchestral soul style as one of the trademarks of the 70s! This is the ultimate in 70s soul class – from the cover that features Barry standing with ladies by the pool, to the complicated rhythms and sweet patterns of sound that made the record an instant classic. Includes some nicely funky cuts, like "What a Groove", "Baby Blues", and the sweet "Midnight and You".

Bassist Linda Oh's really finding her voice here – a fresh, inventive approach to small combo work that bristles with energy right from the start! Oh's got a bold style of handling her instrument – especially the acoustic variant – in a way that means that even the gentler moments have a nice sort of punch – a quality that might, by some, be dubbed as a touch of funk in the bass – even though the use of the instrument here is far more jazz, and in a way that makes for so many rich colors from just a small amount of sound! The group is nicely compact – with Danya Stephens on tenor, and Fabian Almazan on piano and Fender Rhodes – and in addition to her own bass, Oh plays some bassoon – and gets some on the money drum help from Rudy Royston. Titles include "Little House", "Thicker Than Water", "Something's Coming/Les Cinq Doigts", "Ultimate Persona", "Mr M", and "No 1 Hit".

A nicely-done biography of Louis Armstrong's late life and career – one that takes deep look at the last 25 years of this giant in American musical culture! It's a fascinating period for Satchmo – in which he actually made his highest charting recordings in "Mack The Knife" and "Hello Dolly", arguably reaching a pop icon/living legend status that a lot of his peers didn't get to enjoy in life. It's also a period in which he managed to cement his legacy and ultimate creative importance, while still baiting larger audiences – which is never an easy trick for any artist. A good read and much needed bio of late career Louie Armstrong!

Album of clubby, uptempo stuff, recorded in Rio, and with a bit of a Brazilian feel to it. The tracks are long and fast, and include medleys of "Girl From Ipanema/Manha De Carnaval" and "Chove Chuva/Mas Que Nada", as well as a few other Brazilian tracks. There's also a version of "Mambo No. 5", which is the same one from the Ultimate Breaks compilation.

An excellent album of funky electric jazz – and possibly the best one that Phil Woods cut with his European group! The quartet's a very hip group that's way hipper than its clunky name – with Gordon Beck on electric piano and organ, Daniel Humair on percussion and drums, and Henri Texier on bass, flute, and African percussion – all instrumentalists who dip heavily into the deep bag of their mighty talents for the date, helping to push Phil's music into some very cool new territory! The album cooks a lot harder than Woods' previous MGM date with the Rhythm Machine group in Europe – and has a really freewheeling vibe, and a sound that's almost outside at points. All tracks are long, with a modal electric approach that's very nice – and funky in the best parts – and titles include "Chromatic Banana", "Ultimate Choice", "The Last Page", and "The Day When The World".

Sample funk spun from records rescued by The Numero Group – edited by white label production crew Shoes without Numero's consent – which was then seized by Numero at the pressing plant, they bootlegged the bootleg, and release it here legitimately as Eccentric Breaks & Beats! The breakbeat funk aware will recognize the packaging for its parody of the Ultimate Breaks & Beats series – and however you feel about the politics of grey market music – creatively, this thing is a total win! Numero takes such impeccable care with their reissues, from the masters to the notes and packaging, we actually never really thought of the music as sample material – funky as the funkiest of their ouvre is! That's a testament to the curators of Numero, as the singers, players and producers of the original material are of paramount importance and we think of them individually when we listen to those compilations. Shoes, on the other hand (. . .or foot), heard potential for hypnotic, swirling psych funk blends and spins an undeniably creative set to suit. Titles include "Give Me Another Day", "Not Ready For School", "John Goodman Is Too Cool To Cry", "Peopleibrium", "Feel What Lies Behind You", "Saving Mr Billy's Soul", "Cosmic Clock", "Which Jesus Am I", "Everything" and more.

More funky breaks than Evel Knevel after the Snake River Canyon jump! The groove hounds at BGP records were set loose on the Ace catalog – which includes holdings from Atlantic, Stax, Volt, Westbound, and other funky classic labels – and they managed to come up with a killer batch of funky cuts, even though this is their 3rd dip into the crates! If anything, perhaps they dipped even deeper this time – especially as some of the once-trusted sources for breaks, like the famous Ultimate Breaks & Beats series, are now disappearing from the market. Titles include "Soul Pad" by The Coasters, "I Walk On Gilded Splinters" by Johnny Jenkins, "T Plays It Cool" by Marvin Gaye, "Nappy Dugout" by Funkadelic, "While My Guitar Gently Weeps" by Jimmy Ponder, "Get Out Of My Life Woman" by The Mad Lads, "The Rose" by 50 Foot Hose, "Holy Ghost" by The Bar Kays, "No Strings Attached" by The Mad Lads, "After Laughter Comes Tears" by Wendy Rene, "River's Invitation" by Freddie Robinson, "This House Is Smokin" by BT Express, "Music Man (parts 1 & 2)" by Pleasure Web, and "I'm Afraid The Masquerade Is Over" by David Porter.

More funky breaks than Evel Knevel after the Snake River Canyon jump! The groove hounds at BGP records were set loose on the Ace catalog – which includes holdings from Atlantic, Stax, Volt, Westbound, and other funky classic labels – and they managed to come up with a killer batch of funky cuts, even though this is their 3rd dip into the crates! If anything, perhaps they dipped even deeper this time – especially as some of the once-trusted sources for breaks, like the famous Ultimate Breaks & Beats series, are now disappearing from the market. Titles include "Soul Pad" by The Coasters, "I Walk On Gilded Splinters" by Johnny Jenkins, "T Plays It Cool" by Marvin Gaye, "Nappy Dugout" by Funkadelic, "While My Guitar Gently Weeps" by Jimmy Ponder, "Get Out Of My Life Woman" by The Mad Lads, "The Rose" by 50 Foot Hose, "Holy Ghost" by The Bar Kays, "No Strings Attached" by The Mad Lads, "After Laughter Comes Tears" by Wendy Rene, "River's Invitation" by Freddie Robinson, "This House Is Smokin" by BT Express, "Music Man (parts 1 & 2)" by Pleasure Web, and "I'm Afraid The Masquerade Is Over" by David Porter.

The group's second album – and one that really shows them hitting their stride, harmonically. The album's got some impeccable vocals that really come together well – not as slick as on later albums, but with a polished perfection that shows Tavares as one of the 70s ultimate pop soul combos. Production's by the team of Dennis Lambert and Brian Potter – who also contributed the tracks "To Love You", "Hard Core Poetry", "Too Late", "What You Don't Know", "My Ship", "Someone To Go Home To", and "Leave It Up To The Lady" to the album. Also includes a great rendition of the Hall & Oates tune "She's Gone".

No Mirage here – as the album's got a presence that's impossible to deny – a solid, soulful uttering from this key Chicago combo of the 70s! The group's led by reedman Ari Brown – better known for his later avant work – and they've got a wicked blend of keyboards and horns with lots of complicated touches, played out over funky rhythms that are completely mindblowing! The great Ken Chaney plays keyboards, and in addition to Brown's reeds, the set also features trumpet from Frank Gordon, trombone from Steve Galloway, and bass from Rufus Reid – plus cool percussion from Arlington Davis and Drasheer Khalid. Most cuts are instrumental, and recorded beautifully – but one number, "The Ultimate Frontier", also features vocals from Anita Jefferies. Other cuts include "Slinky", "Mirage", "Just a Little Peace", and "March On".

What can we say? This is the ultimate Miles Davis album – the one that includes so many songs that we've heard way too much in Starbucks, in retail stores, or at a friend's house who claims to be a "jazz expert", but is really a yuppie dilettante. Yet somehow, over all the years, and all those playings, the record manages to still sound fantastic – a truly inspirational piece of music that's long deserved all the attention it gets! The legendary group on the album includes John Coltrane on tenor, Cannonball Adderley on alto, Bill Evans on piano, and Paul Chambers on bass – working with Miles in a relatively modal style, with brilliant rhythm changes and a wonderful sense of space. The whole thing's sublime – and titles include "Blue In Green", "All Blues", "So What", and "Freddie Freeloader".

One of Eric Dolphy's lasting classics – and possibly the ultimate album of "new thing" jazz from the mid 60s! The record's got an even sharper edge than previous Dolphy recordings for Prestige – a really unique combination of instrumentation that includes Freddie Hubbard on trumpet, Bobby Hutcherson on vibes, Richard Davis on bass, and Tony Williams on drums – plus Dolphy on alto sax, flute, and bass clarinet. Although Dolphy's reed playing is as amazing as you'd expect, the real surprise here is Hutcherson, whose vibes ring out with this cold harsh tone that give a perfect edge to the set – bold and metallic, quite different than any work on vibes from previous players. Despite a large number of later recordings, Hutcherson almost never hit this sound again – except perhaps on a few Jackie McLean recordings – and it's his playing that gives the set such a unique sound. Titles include "Straight Up & Down", "Gazzelloni", "Hat & Bread", "Out To Lunch" and "Something Sweet Something Tender".

Perhaps the ultimate album for The Gap Band – and sure, it was a hit, but the record still sounds great today, and the constant sampling of some of the record has kept it fresh in the crates for years at years. The band have lost the heavier funk sound of earlier years, and working in a slick 80s groove mode that they both helped to define and put on the charts with the tracks "Oustanding" and "Early In The Morning", both two killer grooves with a complicated instrumental feel, and some wicked harmony vocals over the top. Lonnie Simmons is still producing the band – and other tracks include "Lonely Like Me", "Stay With Me", "Talkin Back", and "You Dropped A Bomb On Me".

A highly percussive little album – and the first-ever appearance of the M'Boom ensemble on record! You might know the group from their later fame under the guidance of Max Roach, but here the combo is a much more equally-assembled cast of players – featuring not just Roach, but percussionists Roy Brooks, Joe Chambers, Omar Clay, Freddie Waits, Richard Pablo Landrum, and Warren Smith! Given that lineup, you've got a group that represents the forefront of jazz and creative percussion work at the start of the 70s – and added to the mix is the ultimate freedom allowed by the Strata East label – which has the group really stretching out in these amazing ways! Things are never too free or outside, and there's always a nicely spiritual core to the record – but there is an incredible shift between percussive rhythms and melody – on instrumentation that includes vibes, tympani, xylophone, marimba, drums, and plenty of percussion – plus even and Indian flute too. And maybe coolest of all, there's even some saw, played by Omar Clay and Roy Brooks – used n a weird way that almost sounds electronic! Titles include "Heaven Sent", "Inner Passion", "Elements Of A Storm/Thunder & Wind", "Jihad Est Mort", and "Morning Noon Midday".

A sweet set of sophisticated soul from the always-great Marlena Shaw! After cutting some jazzier sides at Cadet in the late 60s, and some super mellow fusion ones at Blue Note in the early 70s, Marlena moved to big fame at Columbia during the mid 70s – working in a righteous smooth soul approach that skated the line between warm romantic ballads and righteous statements of female pride and power. The ultimate example of this is her fantastic remake of "Go Away Little Boy", merged here with the tune "Yu Ma", into a 7 minute track that has a sublime monologue in the middle – one in which Marlena accuses her man of hiding behind his heritage to not get down to business at a day to day level! Other tracks show Marlena as one of the most expressive, most together women in soul during the 70s – and this 14 track package is a perfect introduction to her work at Columbia! Titles include "Sweet Beginnings", "Walk Softly", "No One Yet", "Love Dancin", "Pictures & Memories", "Touch Me In The Morning", "I Wonder", "Moonrise", "I Think I'll Tell Him", and "Rhythm Of Love".

The group's second album – and one that really shows them hitting their stride, harmonically. The album's got some impeccable vocals that really come together well – not as slick as on later albums, but with a polished perfection that shows Tavares as one of the 70s ultimate pop soul combos. Production's by the team of Dennis Lambert and Brian Potter – who also contributed the tracks "To Love You", "Hard Core Poetry", "Too Late", "What You Don't Know", "My Ship", "Someone To Go Home To", and "Leave It Up To The Lady" to the album. Also includes a great rendition of the Hall & Oates tune "She's Gone".

What can we say? This is the ultimate Miles Davis album – the one that includes so many songs that we've heard way too much in Starbucks, in retail stores, or at a friend's house who claims to be a "jazz expert", but is really a yuppie dilettante. Yet somehow, over all the years, and all those playings, the record manages to still sound fantastic – a truly inspirational piece of music that's long deserved all the attention it gets! The legendary group on the album includes John Coltrane on tenor, Cannonball Adderley on alto, Bill Evans on piano, and Paul Chambers on bass – working with Miles in a relatively modal style, with brilliant rhythm changes and a wonderful sense of space. The whole thing's sublime – and titles include "Blue In Green", "All Blues", "So What", and "Freddie Freeloader".

Amazing! Earth Wind & Fire's ultimate moment of the 70s – and a perfect blending of all their influences that stands as a lasting tribute to their super-huge effect on soul music! The record features all aspects of the band coming into perfect cohesion – bassy funk, mellow soul, and afrocentric jazz – all expertly handled by the great Charles Stepney, who still has the same rich talent for blending styles that he had while working at Chess/Cadet during the glory days of the late 60s. Some of these songs have been played to death (and covered so much) over the years that it's often easy to forget what a crowning moment this was for former underground soul heroes Earth Wind & Fire – but we'll never cease to be amazed at the power of their mid 70s work, and this album's the best of the best. Titles include "Shining Star", "That's The Way Of The World", "Reasons", "Africano", "See The Light", and "Happy Feelin". CD also features 5 bonus tracks – "Shining Star (future star)", "All About Love (first impressions)", "Happy Feelin (anatomy of a groove)", "Caribou Chaser (jazzy jam)", and "That's The Way Of The World (Latin expedition)".

One of those records you see so much it's easy to forget how great it is! Grover's a real genius with the sax on this record – taking a "less is more" cue from Stanley Turrentine's 70s work, and toning down his playing to an even tighter style than on the Kudu albums of earlier years, to a level of ultimate economy that really leaves us breathless. Sure, the record's not a raw bit of funkety funk – but we're just as enthralled at pure commercial genius as we are at unbridled underground talent, and this album's a masterpiece of pacing, playing, and presentation that shows Washington still steeped in the soul jazz roots from whence he came, brilliantly focused on reaching a larger audience through economical use of his genius. He hits a rarified level here that we'd only reserve for a small few – like Steely Dan or The Crusaders, both groups who teeter on the same brink, and make it work perfectly. Titles include "Asia's Theme", "Tell Me About It Now", "Feel It Comin", "Icey", and "The Answer In Your Eyes".

Plenty of snapping drums on this break-heavy track – a killer bit of heavy funk from Gizelle Smith and the Mocambo Allstars! Drums lead off the cut in a really wonderful way – snapping hard and heavy like some Ultimate Breaks & Beats gem from years back – and Kenny Dope's mix really brings them up with a crispy sort of edge – cooking the whole tune up wonderfully, and doing some great stuff on the all-instrumental version on the flipside!

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".

A couple of lost proggy and surprisingly funky early 80s albums by keyboardist Tony Carey – his Explorer and Yellow Power LPs – together in cool 2LP gatefold set from Medical Records! Just a few years earlier, Carey was playing with Ritchie Blackmore in Rainbow – but the sound of this solo material is a world away! It carries a bit of a late era Euro disco vibe – mixed with some starker, more walloping sounds that are more indebted to new wave. It's got hypnotic keyboard grooves, compelling beats and cosmic atmosphere to spare – the kind that'll be welcome to connoisseurs of artists as varied as Giorgio Morodor, Alexander Robotnick, John Carpenter and Devo! Explorer is the slightly sparer record and Yellow Power is the more polished one -which features alternate versions of the majority of the Explorer songs and some completely different titles, too– and it ultimately serves as a more fleshed out version of the preceding LP. Both were recorded in 1982 at Hotline Studios in Frankfurt. Really cool, mostly instrumental grooves! Explorer includes "Enjaw J", "Transit To Nowhere", "Megawar", "Blue Fusion", "No. 8", "No. 14", "Rabbits" and more. The Yellow Power LP includes "Hai Samurai", "Tojo", "Queen Of Scots", "Blue Fusion", "Peking Duck", "Radio Tokyo", "Dynamite" and more.

Ten years since his underground Headphone Masterpiece and Cody Chesnutt is finally back with a proper follow up – one that has a more fully-fleshed out production – and it’s pretty damn great! There's some striking differences in approach, but thankfully, the idiosyncratic creative bent remains! Where Headphones Masterpiece was a mind-bogglingly ambitious low fi bedroom production, this one was at least partially recorded at Willie Mitchell's legendary Royal Studios in Memphis, with a great group of studio musicians. This one is also more focused – and features a tight batch of 12 songs – as opposed to the sprawling double album debut. Cody's ear for classic southern soul craft informs this one – but his raw lyricism and great voice are still the focus, and that ultimately makes it another near-classic! We hope it won't take 10 years to make another record, but we're sure glad we finally got this one! Includes "'Til I Met Thee", "I've Been Life", "That's Still Mama", "Don't Follow Me", "Everybody's Brother", "Love Is More Than A Wedding Day", "Under The Spell Of The Handout", "Don't Wanna Go The Other Way", "Where Is All The Money Going", "Scroll Call" and more.

Ten years since his underground Headphone Masterpiece and Cody Chesnutt is finally back with a proper follow up – one that has a more fully-fleshed out production – and it's pretty damn great! There's some striking differences in approach, but thankfully, the idiosyncratic creative bent remains! Where Headphones Masterpiece was a mind-bogglingly ambitious low fi bedroom production, this one was at least partially recorded at Willie Mitchell's legendary Royal Studios in Memphis, with a great group of studio musicians. This one is also more focused – and features a tight batch of 12 songs – as opposed to the sprawling double album debut. Cody's ear for classic southern soul craft informs this one – but his raw lyricism and great voice are still the focus, and that ultimately makes it another near-classic! We hope it won't take 10 years to make another record, but we're sure glad we finally got this one! Includes "'Til I Met Thee", "I've Been Life", "That's Still Mama", "Don't Follow Me", "Everybody's Brother", "Love Is More Than A Wedding Day", "Under The Spell Of The Handout", "Don't Wanna Go The Other Way", "Where Is All The Money Going", "Scroll Call" and more.

Moody beats and surprisingly soulful vocals from Child Of Lov – with solid songs, too – which is ultimately what takes this self-titled record a substantial step deeper than some of his fellow atmospheric producer/beatmaker peers! Hazy, gritty hip hop-learned beats with spacey dynamics to spare! Damon Albarn makes a low key appearance on one song and co-produces a few others – and the album also includes an appearance by the allmighty MF Doom. Includes "Call Me Up", "Heal", "One Day" with Damon Albarn, "Living The Circle", "Give Me", "Go With The Wind", "Owl" feat Doom, "Fly", "Warrior" and Give It To The People".

Moody beats and surprisingly soulful vocals from Child Of Lov – with solid songs, too – which is ultimately what takes this self-titled record a substantial step deeper than some of his fellow atmospheric producer/beatmaker peers! Hazy, gritty hip hop-learned beats with spacey dynamics to spare! Damon Albarn makes a low key appearance on one song and co-produces a few others – and the album also includes an appearance by the allmighty MF Doom. Includes "Call Me Up", "Heal", "One Day" with Damon Albarn, "Living The Circle", "Give Me", "Go With The Wind", "Owl" feat Doom, "Fly", "Warrior" and Give It To The People".

Cyclist rides in with Bones In Motion – a joint release by Stones Throw and Leaving Records – an icy cool mix of early electro and housey influences with grittier, more experimental touches! The hypnotic approach and 80s era synth atmosphere bring Tour De France era Kraftwerk to mind – which sure makes the name Cyclist an apt one – and whether the name is a Kraftwerk nod or not, there's a lot more going on here! It's ultimately quite unique and all Cyclist's own. There's a hazy digital fog hanging over these instrumentals that give it a far fuzzier vibe than most 80s electronics-inspired sounds of the post millenium years – plus a thoroughly modern take on avant sampler dynamics. Distorted as they might be, there's usually a compelling, danceable beat underneath, too! Titles include "Feel Beauty", "Mangel", "Bones In Motion", "Sheen", "Makeshift", "Stove", "The March", "Visions", "Fleet Meeting", Black Train", "Another Exploitation", "

Cyclist rides in with Bones In Motion – a joint release by Stones Throw and Leaving Records – an icy cool mix of early electro and housey influences with grittier, more experimental touches! The hypnotic approach and 80s era synth atmosphere bring Tour De France era Kraftwerk to mind – which sure makes the name Cyclist an apt one – and whether the name is a Kraftwerk nod or not, there's a lot more going on here! It's ultimately quite unique and all Cyclist's own. There's a hazy digital fog hanging over these instrumentals that give it a far fuzzier vibe than most 80s electronics-inspired sounds of the post millenium years – plus a thoroughly modern take on avant sampler dynamics. Distorted as they might be, there's usually a compelling, danceable beat underneath, too! Titles include "Feel Beauty", "Mangel", "Bones In Motion", "Sheen", "Makeshift", "Stove", "The March", "Visions", "Fleet Meeting", Black Train", "Another Exploitation", "

A pair of soundtracks from legendary composer Georges Delerue – beautiful work for Bernardo Bertolucci's Le Conformiste (Il Conformista) from 1970 – and the lesser-remembered, but again quite beautiful La Petite Fille En Velours Bleu from 1978! Le Conformiste has a few modes, ranging from sparely stirring winds and strings, to eerie bits of keyboards to old school waltzy backdrops and back. The mix of gentle sounds and tenser moments is very compelling! Titles include "Generique Debut", "Hotel Palais D'Orsay", "OK Bull", "Fiacre", "Il Conformista", "Anna, Ester Et Marcello","Valzer Del Conformista", "Gravita' Estrema", "Tango Di Rabbia" and many more. La Petite Fille En Velours Bleu has a smaller scale vibe, but it's ultimately nearly as great – with some lovely strings and breezy goodness to spare. Titles include "Theme De Laura", "La Deposition", "Danse Des Nostalgiques", "Mike", "L'Accident", "Le Bar Des Allies", "La Petite Fille En Velours Bleu" and more. 29 tracks in all.

Freewheeling, tripped out Catalonian rock from Fusioon! The album groove has bits of spacey rock, prog and freaked out bits of funk – you can pick it apart for trace influences, but ultimately, the vibe is all their own – Absolute Fusioon, indeed! Cosmic keyboards, dexterous drum work, otherworldy vocals and and and jazz rock flourishes find room in Fusioon – some classifiable fusion, but much, much weirder than the crossover sounds that word can bring to mind. Fantastic, unclassiable 70s stuff from the Spanish scene brought to our attention by our friends at Finders Keepers! Includes "Dialogos", "Cyclos", "Ya Se Van Los Pastores", "Contraste", "Rondo Y Final", "Fusioon Rapsodia" and more.

Unusual material from Chico Hamilton – recorded around the same time as his groundbreaking work for Pacific Jazz – but for the smaller Crown/Modern label in LA! The format's a bit unusual, and changes a bit throughout the record – showing Chico's already-strong ear for creative formats that go way beyond conventional jazz. There are 2 numbers at the end of side 2 featuring Chico in the familiar chamber jazz lineup, with Fred Katz on cello and Paul Horn on reeds – "Crazy Cats" and "Lord Randall". The rest of the tracks feature the stringed instruments handling most of the melody, in a free floating style that's got the same "modern yet swinging" approach of some of Jimmy Giuffre's best late 50s recordings, which ultimately places it in a similar context to the chamber jazz numbers. Titles include "Porch Light", "Autumn Landscape", "Uyawda", "Lolly Pop", "Pluck It", "Katz Up", "Crazy Cats", and "Lord Randall".

An excellent record from Hiss Golden Messenger – who blend rootsy, but freewheeling instrumentation with artful, ambitious songwriting – and they're one of the most creative groups around making brilliantly original music that still hold true to southern folk and roots history The anchors are singer/guitarist/mandolin player MC Taylor and guitar and bass player Scott Hirsch – but the music is fleshed out by a large group of great musicians on a diverse list of instruments – piano, Rhodes and Hammond on the keyboards spectrum, banjo, fiddle, pedal steel and and array of acoustic and electric strings, sax and more. In a way, it's the mix of traditional reverence and straight up newness is reminiscent of The Band in the late 60s and early 70s – but they ultimately have a vibe all their own. Includes "Red Rose Nantahala", "Sufferer (Love My Conqueror)", "I've Got A Name For The Newborn Child", "Devotion", "Hat Of Rain", "The Serpent Is Kind (Compared To Man)", "Cheerwine Easter", "Busted Note", "What Shall Be (Shall Be Enough)".

The second album from Mombasa – and possibly even better than the first! The group have really come into their own by the time of this date – mixing together jazz and African roots with a sound that's unlike anyone else we can think of – quite unique in its approach to rhythms, sounds, and solos! The grooves aren't really the Afro Funk you might expect – and instead, they're based on a headier brew of basslines and percussion, one that's somewhere in a space between Boscoe, The Pharoahs, and Demon Fuzz – but with a sound that's ultimately different than both. The trombone of Lou Blackburn carries the lead on most tracks – snaking out wonderfully over the grooves, with a quality that's amazingly soulful, and which almost has him standing head to head with Fred Wesley as a 70s innovator on his instrument. Other members of the group include Doug Lucas on trumpet, Bob Reed on percussion, Alan Tatham on drums, and Don Ridgeway on electric bass – the last of whom really does a great job shaping the sound of the tunes. Titles include "Yenyeri", "Holz II", "Nomoli", "African Hustle", and "Al Rahman".

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

The first full length from Rene & Angela for Capitol – a tight batch of modern soul that sounds great to this day! There's a mixture of sweet duet soul with the best kind of 80s grooving – clearly inspired by Ashford & Simpson, but also with a strong sound of its own. Skip Drinkwater and Bobby Watson handle the production, smartly carrying over the warmer live instrumentation styles of the late 70s, which ultimately gives the record a timeless vibe! Titles include "I Don't Know", "Turn It Out", "Do You Really Love Me", "Everything We Do", "Love Won't Slip Away", and "Free & Easy".

The first couple Rene & Angela records for Capitol – together for the first time on this great CD from Expansion! First up, is the great self-titled debut from Angela Winbush and Rene Moore as a duo – a tight batch of modern soul that sounds great to this day! There's a mixture of sweet duet soul with the best kind of 80s grooving – clearly inspired by Ashford & Simpson, but also with a strong sound of its own. Skip Drinkwater and Bobby Watson handle the production, smartly carrying over the warmer live instrumentation styles of the late 70s, which ultimately gives the record a timeless vibe! Titles include "I Don't Know", "Turn It Out", "Do You Really Love Me", "Everything We Do", "Love Won't Slip Away", and "Free & Easy". Wall To Wall is easily one of the duo's best records ever, and a masterpiece of jazzy 80s groove! The sound here is clean, lean, and very bouncy on the bottom – that best blend of keyboard riffs and jazzier basslines that Capitol soul served up in the early 80s – and although tight enough to have hit potential, still more than soulful enough to keep on playing in the underground! The set's rock solid all the way through – with a great mix of midtempo steppers and more uptempo tunes – and titles include the nice groover "Secret Rendezvous", plus "Wanna Be Close To You", "I Love You More", "Love's Alright", and "Come My Way".

Laetitia Sadier's second excellent post-Stereolab album – a mix of breezy and moody avant pop with some occasionally strident lyricism – a rewarding record that's reminiscent of the timelessly innovative Stereolab, but it's ultimately much more personal! The vibe is less indebted to vintage keyboard atmosphere, though there's some nice use of Moog and other subtle electronics – and the songs really stand out above the atmospherics. We were Stereolab fans right up to the end, so it's all the more rewarding to have Laetitia in such great form outside of that beloved group. Recorded in Toulouse and in Chicago. Titles include "The Rule Of The Game", "Find Me The Pulse Of The Universe", "Silent Post", "Auscultation To The Nation", "Between Earth And Heaven", "Lightning Thunderbolt", "Fragment Pour Le Future De L'Homme", "Invitation Au Silence" and more.

Patti Smith's first album and one of greatest rock albums of the 70s! Pure, driving passion powers Patti as profoundly as it ever would here on horses. The musicianship is famously top notch, too, making for one of those amazing moments in rock when a great voice – not just a great sounding singer, but uniquely visionary presence ultimately proves to be more forceful than the players. Produced by John Cale, with great guitar from Lenny Kaye – and titles that include "Gloria", "Redondo Beach", "Birdland", "Free Money", "Kimberly", and "Land".

The complete recordings of The Wheels – a mid 60s rockin' R&B combo from Belfast! The Wheels were friends and contemporaries of Van Morrison and Them, and got badly overshadowed as far as history is concerned. This Big Beat compilation is our first and to date only introduction to the group, and it's exciting stuff! Raucous, driving R&B-fueled sounds similar to their more iconic peers, tough The Wheels are gruffer and more ferocious overall. Ultimately, if falls somewhere between Them and the gnarlier sides of the Nuggets generation. Includes "Road Block", "I'm Leaving", "Bad Little Woman", "Don't You Know", "Kicks", "You Got Me Dizzy", "Gloria", "Tell Me (I'm Gonna Love Again)", "Bad Little Woman (US Version)" and more.

The complete recordings of The Wheels – a mid 60s rockin' R&B combo from Belfast! The Wheels were friends and contemporaries of Van Morrison and Them, and got badly overshadowed as far as history is concerned. This Big Beat compilation is our first and to date only introduction to the group, and it's exciting stuff! Raucous, driving R&B-fueled sounds similar to their more iconic peers, tough The Wheels are gruffer and more ferocious overall. Ultimately, if falls somewhere between Them and the gnarlier sides of the Nuggets generation. Includes "Road Block", "I'm Leaving", "Bad Little Woman", "Don't You Know", "Kicks", "You Got Me Dizzy", "Gloria", "Tell Me (I'm Gonna Love Again)", "Bad Little Woman (US Version)" and more.

The previously unreleased last album by The Zombies! RIP – The Lost Album features a batch of tracks were prepared for release pretty much on time with the group's demise – but after a couple of singles, the LP was ultimately shelved. Older Decca sessions still sound remarkably fresh here, the set is totally worth the Zombies legacy. Includes "Imagine The Swan" and "If It Don't Work Out", among the final singles ever issued by The Zombies and "Conversation Off Floral St", which was one of only a couple Zombies instrumentals. Other tracks include "Smokey Day", "Girl Help Me", "She Loves The Way They Love Her", "I'll Keep Trying", "Don't Cry For Me" and more.

Sultry vocals from Sallie Blair – one of the hipper singers of her generation, and an artist with a sound that's unlike anyone else we can think of! Blair's a bit bluesy, a bit soulful, but ultimately a jazz singer at heart – and her already-cool style gets some sweet extra help on this session from Neal Hefti, who brings a great sense of punch to his arrangements – almost a Basie bounce at points, but with some Henry Mancini touches too – especially in the album's great use of electric guitar and Latin percussion. Most numbers have a slinky, sexy sort of groove – and titles include "That Old Black Magic", "Witchcraft", "Whatever Lola Wants", "Doncha Go Way Mad", "Everything I Have Is Yours", "Early Winter", and "I'm Through With Love".

Pure greatness from Brand Nubian at their early best! The Nubes' have made a handful of solid-to-great albums, but none could top this essential debut. Grand Puba, Sadat X and Lord Jamar are on point with the politicized rhymes over classic early 90s jazzed up, funky beats, built from now well known breaks – and truly raising the bar for classic east coast production. With the classics "All For One", "Slow Down", "Drop The Bomb", "Concerto In X Minor", and 2 mixes of "Wake Up" (Stimulated Dummies mix and the penultimate reprise), plus "Who Can Get Busy Like This Man. . .", "Ragtime", "To The Right", "Dance To My Ministry", "Step To The Rear", "Try To Do Me", "Grand Puba, Positive & LG" and "Dedication".

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

Author Mick Brown chronicles the fascinating, tragic world of the Phil Spector – the most fascinating figure in American pop music history – thanks to both his unrivaled genius and artistry, his fabled reclusiveness and ultimately, real life crime noir tragedy. From his epic work with the Ronettes, the Righteous Brothers, The Beatles, The Ramones and the many less iconic artists, to the recluse years and the bizarre shooting in his home, this is richly researched, very well done bio by Brown. Engrossing and briskly readable, even as a fairly hefty girth, Hardcover, more than 500 pages.

Clarence Carter's first few years of Fame Studios singles – simply put, some of very best southern soul of this or any other period – both sides of each single Clarence cut with Rick Hall at Fame from 1966-1973! Recorded at the vaunted Muscle Shoals studio during the peak years of the facility and Clarence's career – what more can we say? The production and arrangements by Hall personify the sound and style of the southern soul era – and Clarence's capability to truly emote, as well as demonstrate a sly wit and unique personality – ultimately transcending all trends at the time! Absolutely essential material and it sounds as great as ever – with mastering direct from the Fame masters tapes too. Includes "Tell Daddy", "I Stayed Away Too Long", "Thread The Needle", "Too Weak To Fight", "Let Me Comfort You", "Back Door Santa", "Doin' Our Thing", "Take It Off Him And Put It On Me", "The Few Troubles I've Had", "I Can't Leave Your Love Alone", "Funky Fever", "Snatching It Back", "Devil Woman" and more.

Peter Gruzien's legendary underground loner psych country record The Unicorn from 1974 – reissued here with a bonus second LP Garden Of Love – which features odds and ends written and recorded from the late 50s through the 70s! The Unicorn is a cool and strange mix of spare honky tonk musical backdrops, oddball keyboards and trippy effects, plaintive, charismatic drawl vocals and lyrics that are in turns staight up and wildly surrealistic. Titles include "Innocents", "The Unicorn", "White Trash Hillbilly Trick", "Satan's Horn", "The Lost World", "Redemtion And Prayer", "Return Of The Unicorn" and more. Garden Of Love features songs that are for the most part less trippy lyrically, but it's ultimately just as otherworldly thanks to the lo fi vibe! Titles include "The Garden Of Love", "Alone Amongst The Crowd", "Kiss Me Another", "The Bills", "Echoing Footsteps", "Stonewall" and more. 2LPs of crucial esoteric Americana!

An excellent record from Hiss Golden Messenger – who blend rootsy, but freewheeling instrumentation with artful, ambitious songwriting – and they're one of the most creative groups around making brilliantly original music that still hold true to southern folk and roots history The anchors are singer/guitarist/mandolin player MC Taylor and guitar and bass player Scott Hirsch – but the music is fleshed out by a large group of great musicians on a diverse list of instruments – piano, Rhodes and Hammond on the keyboards spectrum, banjo, fiddle, pedal steel and and array of acoustic and electric strings, sax and more. In a way, it's the mix of traditional reverence and straight up newness is reminiscent of The Band in the late 60s and early 70s – but they ultimately have a vibe all their own. Includes "Red Rose Nantahala", "Sufferer (Love My Conqueror)", "I've Got A Name For The Newborn Child", "Devotion", "Hat Of Rain", "The Serpent Is Kind (Compared To Man)", "Cheerwine Easter", "Busted Note", "What Shall Be (Shall Be Enough)".

Homeboy Sandman delivers a nicely gritty EP for Stones Throw – paying tribute not only to the legendary DJ Kool Herc in the title – and ultimately honoring blueprint, funky break beats era hip hop in general! Homeboy specifically names it after Kool Herc, but it's not a covers EP or collaboration – it's more to pay tribute to the era Herc personifies, albeit in a fresh contemporary way. Sandman's rhymes are as freewheeling and creative as ever, but he's showing a bit of verbal restraint here, and he's more about solidly matching the ompellingly gritty production by Rthentic – as opposed to taking the word count to a surreal level. Great stuff – and pretty generously packed for an EP. 8 tracks in all: "My Brothers", "Oh, The Horror", "Lonely People", "Dag, Philly Too", "Moon", "Men Are Mortal", "Peace & Love" and "I".

A kind of twisted, but totally groovy collection of oddball pop & rock from Rodd Keith, aka Rod Rogers – the king of the song poem – a collection of mostly small combo singles recorded between 1963 & 1974! On top of being the go to guy for folks to have someone turn their often terrible poetry and lyrics into real life records, Rodd & his groups recorded all kinds of organ steeped, totally catchy tunes with far out hallucinogenic lyrics. The singing ranges from pop combo harmonies to loungey crooning, and the Rodd's work on organ & piano rolls with a little bit of blue eyed funk to more of an austere pop & rock groove – and the songs are just weird enough to still work as glorious pop tunes. Really cool stuff from an ultimately tragic character, who left far too few recordings with his personal brand of strangeness! Includes tunes credited to Rodd Keith, Rodd Keith & The Raindrops, Rod Rogers & The Singing Strings and other combos. 26 tracks including "Lettuce & Lace", "You Only Wnat To Hurt Me", "Saucers In The Sky", "My Living Doll", "Don't Be A Dope", "Magic In Her Eyes", "Merry Go Down", "Ravens", "Next Time", "Ship For Home" and much more.

Groovy 60s spy soundtrack work – with a mod French twist! The CD documents a series of excellent scores by French composer Michel Magne – written for a run of mid 60s films based around the character of OSS 117 – a James Bond-like secret agent known to the French public through a series of 242 successful novels! The scope of OSS 117's adventures was large – as globe-spanning as that of James Bond, a fact that gave Magne plenty of room to throw in cool exotic, groovy, and jazzy elements to the soundtracks – in a style that was ultimately a heck of a lot more lively than that of John Barry, and which easily matches the best 60s soundtrack work of Lalo Schifrin, Jerry Goldsmith, or Hugo Montenegro! We'd honestly never heard any of these tracks before – but our love of Magne led us to the set, and we were certainly rewarded – as the 23 track package is overflowing with incredibly groovy tunes, and has the feel of some of the best Crippled Dick collections from years past! The four films on the set include OSS 117 Se Dechaine, Banco A Bangkok Pour OSS 117, Furia A Bahia Pour OSS 117, and Atout Coeur A Tokyo Pour OSS 117 – and titles include "OSS 117 Hully Gully", "Banco A Bangkok", "Poursuite Thailandaise", "Hubert Rit Jaune", "Samba Furiosa", and "Slow Du Soleil Levant" – as well as a bonus remix track by Roudoudou!

A range of styles from Taj Mahal – from slow rolling, reggae tinged bluesy soul, to much bigger arrangements working in elements of funk, country soul, and more smoothed out jams on a bed of brass and backing vocals – Taj is all over the place here, and it a lot of it works surprisingly well! The kitchen sink approach only goes so far, and a bunch of the tunes indeed find working with reggae rhythms, and an easygoing approach to the vocals that gets it over. Ultimately, it's a modestly charming set that might have had some grander ambition behind it, but we'll take it. Titles include "Satisfied N Tickled Too", "New E-Z Rider Blues", "Black Man, Brown Man", "Baby Love", "Ain't Nobody's Business", "Easy To Love", "We Tune" and more.

The long awaited Jay Love Japan EP from from the dearly departed J Dilla – a 9 track, mostly instrumental set originally slated exclusively for the Japanese market – and one Dilla's last projects! This is Dilla in a mostly uptempo vibe, with soulful strings and vocal samples and blunt, snapping beats. There are a couple vocal appearances from Detroit fellows – Baatin of Slum Village and Ta'Raach – plus additional scratch work in a couple spots by Exile and and Ricci Rucker. Ultimately, this is an all too brief set of trademark Dilla beatcraft – but we'll take what we can get! Includes a short intro, "Yesterday", "Say It" feat Ta'Raach and scratches by Exile, "Oh Oh", "First Time" feat Baatin and scratches by Tha Ruckazoid, "In The Streets", "Feel The Beats", "Believe In God", "Can't You See" and "Say It".

One of greatest of all British punk era records – released in '77 and one that transcends mid-to-late 70s punk cultural baggage better than just about any other – an absolute benchmark! Wire kept it short and sweet on Pink Flag – with 21 tracks in about 35 minutes – and it's as artful as it is succinct. The band would soon prove to be as creatively ambitious as any of their peers and the incendiary blast of Pink Flag would make way for experimental flourishes on follow up records that are ultimately just as important and influential, but we'd hasten to claim they'd ever make a better album than this one. "Reuters", "Field Day For The Sundays", "Three Girl Rumba", "Ex Lion Tamer", "The Commercial", "Strange", "Different To Me", "12 X U", "Start To Move", "Lowdown", "Surgeon's Girl", "Pink Flag" and more.

Rare pop psych from the late 60s & early 70s French scene – groovy singles from Le Coeur, Les Hamsters, Les Chimeriennes, Dan Le Bouffon, Christopher Laird, Yar & Yana and others – really cool stuff, most of which we've never heard before! Lion's Groove Club series goes on to focus on Cambodian grooves for Vols 2 & 3, but the belated Vol 1 belongs to the Parisian pop psych scene. Chiming little guitar tunes with sweet harmony vocals, even more harmony drenched tunes inspired by west coast US acts like The Mamas & Papas, medieval folk pop styled tunes, mod & funk groovers and more – lots of period influences from the US and Europe, but ultimately it's profoundly, and charmingly French sounding! Includes "Bye, Bye City" by Le Coeur, "Flower Power" and "Georgie Girl" by Les Hamsters, "Dee Duck" by Maraton, "Une Petite Fille" by L'Empreinte, "Bye, Bye Brighton" by Epta, "Nevada" by Les Rotomagus, "Crazy Mister Badge" by Mister Badge, "Monsieur Cyber" by Les Chimeriennes and more.

One of our favorite volumes in the London Is The Place For Me collection – and a brilliant batch of work that criss-crosses West African, West Indian, and postwar jazz styles! Most of the recordings here were done under the leadership of Ambrose Adekoya Campbell – a transplant to London from Lagos in the postwar year, and an artist who had a huge influence on the changing rhythms of his scene. Campbell mixed styles of his roots with those of the larger London community around him – in a way that let in more Latin and Caribbean influences to more traditional African styles – often using guitar in a high-life styled way, but also bringing in some key jazz phrasings as well. As usual with Honest Jons' reissues, the notes are quite detailed, but ultimately a bit unspecific about the actual recordings in the set – although we can say that Campbell's on nearly all of these, and they were all done as 50s 78rpm singles for the Melodisc label. Titles include "We Have It In Africa", "Iku Koni Payin", "I Am A Stranger", "Lagos Mambo", "Ela Da Awa", "and "Calabar-O" by West African Rhythm Brothers; "The Wind In A Frolic" and "Unity" by Nigerian Union Rhythm Group; "Ibikunle Alakija" by Ayinde Bakare & His Meranda Orchestra; and "Late Ojo Davies" and "Geneva Conference" by West African Rhythm Stars.

A tight batch Horace Andy material from the hit years of the 70s! Say Who is heavy with numbers made after he started working Bunny Lee – revisiting some of his earlier style from a fresh 70s reggae perspective, some sweet cover versions – and ultimately some of Andy's most popular songs! Includes "You Are My Angel", "My Guiding Star Money", "Just Say Who", "Money Money", "Skylarking", Something On My Mind", "Better Collie", "Zion Gate", "No Man Is An Island", "Don't Try To Use Me", "Better Collie" and more. 14 tracks on the vinyl version.

A great little album from The Emotions – largely because it sounds a lot like prime mid 70s Earth Wind & Fire, with female vocals added over the top – ultimately, pulling away with a soulful charm all its own! Maurice White produced the whole set, and it's got a soaring spacey sound that provides a perfect spiritual edge to the girls vocals – taking them way past the hits, into much more sophisticated soul territory. There's a beautifully righteous vibe going on throughout – a sound that's almost like Minnie Riperton at her 70s Capitol best – and titles include "Love Vibes", "Walking The Line", "Time Is Passing By", "I Wouldn't Lie", "Smile", and "Spirit Of Summer".

A double set of macabre soundtracks to Paul Morrissey's 70s eroticism laced odes to classic lit and movie monsters – Il Mostro E In Tavola Barone Frankenstein, aka Flesh For Frankenstein, and Dracula Cerca Sangue Di Vergine E Morti De Sete, aka Blood For Dracula and Andy Warhol's Dracula – in a great 2CD set! Both films were shot in Italy with star Udo Kier and many of the same actors, and both are quite beautiful! Il Mostro E In Tavola Barone Frankenstein is surprisingly delicate, with lots of piano and elegant strings, leading up to tenser and more dramatic passages. "Frankenstein's Theme", "Dinner AT The Castle", "Love And Death", "End Of A Myth", "Death Of The Baron" and many more. 20 bonus tracks (!!!) made up of additional, unused music. Dracula Cerca Sangue Di Vergine E Morti De Sete is a similar piece of work, but more richly string-laden, and ultimately just as strong – with some old fashioned European dance-styled songs. Includes "Old Age Of Dracula", "On Journey Again", "The Last Victim", "More Blood", "Nostalgia", "In The Cellars Of The Castle" and more, including 13 bonus tracks.

Orgone's second full length for Ubiquity and it's a monster – taking a rough, rugged, and uber soulful live funk vibe into a deeper and even livelier realm! The group's sound is more finely honed from a couple of years of hard touring – and it's paid off wonderfully. The sound is more sharply focused, but with swagger to spare on both the funky instrumental workouts and showpieces for soulful singer Fanny Franklin. From sun toasted Cali funk & soul to strains of classic Afrobeat, boogaloo and and funk rock (the guitar sound is terrific on this one) – they nail everything their shooting for, and pull it all together in tight package that's ultimately all their own. A total win for Orgone and Ubiquity Records. Titles include "The Last Fool", "Crazy Queen", "Give It Up", "Cali Fever", "Overtime", "Mantana", "The Only One", "Doing Me Wrong", "The Cleaner", "It's Time Tonight" and "Sandstorm".

The legendary album from Mayo Thompson – pared down with more of an outsider folk rock vibe after the freaky psych of the first couple Red Krayola – and ultimately just as trailblazing! Mayo's voice and skewed songcraft are front and center, though there's piano, organ, fiddle, slide guitar, bass and drums coming in and out, too, but whether or not it was forthright goal, Mayo's weird lyricism is the star of the show, and you can hear the influence this record had on myriad underground rock figures in the decades that followed! Includes "The Lesson", "Oyster Thin", "Horses", "Dear Betty Baby", "Venus In The Morning", "To Black Legs", "Good Brisk Blues", "Around The Home" and "Worried Woman".

Thickly atmospheric mood music with a delicate melodicism flowing underneath – a brilliant set from Gonjasufi – following up the Sufi And A Killer collabo with Gaslamp Killer and a solid remix album! Described as a "mini album" (it's got 10 tracks and runs about 25 minutes), MU.ZZ.LE is ultimately just as impressive as his other couple of releases on Warp – whether it's intended to be considered a proper second album or not. Murky, psychedelic beatcraft that's hypnotic as can be – with fuzzed out elements balanced by bits of piano and other lighter particles. It's also song based, if loosely so. Unique work from a hugely talented figure whose no doubt going to be a making great music for years to come! Includes "White Picket Fence", "Feedin' Birds", "Nikels And Dimes", "Rubberband", "Venom", "Timeout", "Skin", "The Blame", "Blacksuit" and "Sniffin'".