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Mad heavy funk from this excellent Japanese combo – really hitting hard here on a host of covers of famous tunes – all returned to the group's sharp 70s instrumental approach! The groove is incredible – razor-sharp right from the start, and served up with perfect old school instrumentation – and just the right production to match – perfect for the tight horns in the lead, riffing guitar in the rhythms, and the warm organ that sews the whole thing together! And although we love their own songs, this set seems to sound extra-hip, given that it features work by Jimi Hendrix, Bob Marley, Herbie Hancock, Led Zeppelin, and others – a wicked array of re-tooled tunes that includes "Tell Me A Bedtime Story", "Too High", "Mean Street", "Power Of Soul", "Exodus", "Space Dust", "The Immigrant Song", "Blackbyrd's Theme", and "KITT".

A key crossover set from Gil Scott-Heron – still every bit as political as his earlier work, but with a stronger sense of soul as well! The great Brian Jackson is firmly in tow here – bringing warm keyboards and a nice little groove to most of the tracks – and the previous acoustic moments are replaced with more electric instrumentation overall, but never in a way that seeks to dampen Gil's message, nor push him into easy commercial territory. Instead, the tighter rhythms seem to really hammer home some of the lyrics – most famously in "Angel Dust", which almost touched a wider audience than the drug itself – and equally nicely on cuts that include "Cane", "Angola,Louisiana", "Show Bizness", "Better Days Ahead", and "Madison Avenue".

A key crossover set from Gil Scott-Heron – still every bit as political as his earlier work, but with a stronger sense of soul as well! The great Brian Jackson is firmly in tow here – bringing warm keyboards and a nice little groove to most of the tracks – and the previous acoustic moments are replaced with more electric instrumentation overall, but never in a way that seeks to dampen Gil's message, nor push him into easy commercial territory. Instead, the tighter rhythms seem to really hammer home some of the lyrics – most famously in "Angel Dust", which almost touched a wider audience than the drug itself – and equally nicely on cuts that include "Cane", "Angola Louisiana", "Show Bizness", "Better Days Ahead", and "Madison Avenue".

A key crossover set from Gil Scott-Heron – still every bit as political as his earlier work, but with a stronger sense of soul as well! The great Brian Jackson is firmly in tow here – bringing warm keyboards and a nice little groove to most of the tracks – and the previous acoustic moments are replaced with more electric instrumentation overall, but never in a way that seeks to dampen Gil's message, nor push him into easy commercial territory. Instead, the tighter rhythms seem to really hammer home some of the lyrics – most famously in "Angel Dust", which almost touched a wider audience than the drug itself – and equally nicely on cuts that include "Cane", "Angola Louisiana", "Show Bizness", "Better Days Ahead", and "Madison Avenue".

Whether you're a pitmaster or a sous chef, you always need a little coverage in the kitchen – and if you're like us, you're most likely spinning a bit of music while you cook – so why not combine the two, and host your folks with a Dusty Groove Apron? We actually created these for our used record department – so that they could spend a day digging through vinyl, and not get completely covered in dust. But due to customer requests, we're also offering them to the public – perfect for everyday use in the kitchen, hosting a BBQ in warm weather, or even working around the woodshop in your basement! Heavy cotton denim, with the Dusty Groove logo at the top, two pockets below, a pen pocket, and an adjustable neck strap – so that we can confidently say that one size fits all.

Excellent mid 70s duet jazz from pianist Dave Brubeck & alto Paul Desmond! Duets 1975 is a nicely laidback work from the duo – playing here with no other accompaniment, in a spare set of material that's incredibly fragile and intimate – and all the better for that. The move is a real change from the pair's more famous sides of the late 50s and early 60s – and with no drums and bass to get in the way, they drift around warmly, working together and apart as old friends with a great deal of sympathy for each other. Titles include "Koto Song", "Blue Dove", "Stardust", "Alice In Wonderland", and "Summer Song".

A pair of killers from keyboardist Gene Harris – both recorded for Blue Note, and back to back on a single CD! First up is Gene Harris/The 3 Sounds – the last Three Sounds album for Blue Note – and the funkiest too – thanks to lots more electrification than usual, and some killer arrangements from the mighty Monk Higgins! Monk's really at the top of his game here – going past even his great previous work for the group, and working with a tight, sharp edge that recalls his funky 45 brilliance of the 60s – yet tuned a bit more towards the electric Cali jazz of early 70s Blue Note! Gene Harris plays loads of funky piano lines – and in addition to the trio's core electric bass and drums, the set also features some added work on percussion from Paul Humphrey – who really brings in a kick – plus added guitar, congas, and even a bit of Hammond from Higgins too! Some cuts even have a bit of vocals too – sung in this offbeat way that's a wild approach to soul. There's some killer breaks on the set – including the massive "Put On Train" and "What's The Answer" – but the whole set smokes, and other cuts include "I'm Leaving", "You Got To Play The Game", "Your Love Is Just Too Much", "Did You Think", "Hey Girl", and a mad version of "Eleanor Rigby". On the second album – Gene Harris Of The Three Sounds – Gene really steps into the solo spotlight – moving away from his work with the Three Sounds trio, and headed into even more righteous territory – as you might guess from the trippy image on the cover! The set features Harris mostly on acoustic piano, but amidst larger arrangements from Wade Marcus that really round things out with a warm, soulful edge – mixing guitar from Sam Brown and Cornell Dupree with Gene's lines on piano – and giving things an extra kick at the bottom with drums from Freddie Waits, and percussion from Johnny Rodriguez and Omar Clay. The record echoes Harris' older roots at some points, yet comes across with a richer 70s vibe too – a hip 70s style that's strongly due to the contributions of Marcus' arrangements. Tracks include a great remake of "Listen Here", which begins with a great funky break; a sweet steppers version of "Killer Joe"; and the tracks "Lean On Me", "Day In The Life Of A Fool", "Django", "Emily", and "C Jam Blues".

A totally amazing look at Lee Hazlewood's late 60s record label – served up in a host of rare singles by other artists who were working with Lee at the time! The range of styles is wide, but there's a really focused feel to the whole thing – given Hazlewood's key touches in the studio behind the singers, and his undeniable sense of wit and warmth, which makes just about all these artists sound way better with Lee than they would on their own! This limited-edition box is totally beautifully – with eleven individual 7" singles, each with original label and sleeve art – plus the rare "Woodchucks" pic sleeve, a special Hazlewood puzzle, an LHI 45 adapter, and even a download card for all the music – packaged in a heavy-duty magnetic flip-top box! Titles include "Lady Barber" by Lynn Castle, "Invisible People" by Hamilton Streetcar, "Come Down" by Honey LTD, "The Street Song" by The Kitchen Cinq, "Trouble Maker" by Lee Hazlewood, "Valentine Grey" by Danny Michaels, "It's A Nice World To Visit" by Ann Margret, "Bo-Dacious" by The Woodchucks, "Anyone Who Had A Heart" by Eve, and "Nobody Like You" by Lee Hazlewood & Suzi Jane Hokum.

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

Really wonderful work from Jazzhole – a record that goes far beyond some of the simpler modes bubbling around the Neo Soul underground these days! Lead vocalist Marlon Saunders will be familiar to Dusty Groove customers for his other great solo work – but here his sound is somewhat different – a bit more introspective and sophisticated, with a warm rasp in his voice that sounds beautiful alongside the flowing keyboards and jazzy phrasing of the backings. The style is one that's really all its own – certainly inspired a bit by the classics, but hardly a simple copy of them – and Jazzhole prove once again that they're a great little combo who don't need to hit you over the head to hook you into their soul! Titles include "Poet's Walk", "All The Ways", "Jonesing", "One More Time", "Do It Right", "Timeless", and "It Would Have Been Enough" – plus a surprisingly great cover of Boz Scaggs' "Lowdown".

Tremendous work from the legendary Prince Lasha – a rare UK-only date from 1966 – and one that has the reedman working away from more familiar contemporaries like Sonny Simmons and Eric Dolphy! The approach on this session is very unique – as Lasha includes harp with the instrumentation, played by David Snell in a style that's right up there with Dorothy Ashby's best jazz work. Pianist Stan Tracey is also on board – playing beautiful notes that have a sharp modern edge, while still falling on the inside of the spectrum – and Lasha himself is especially great – blowing plastic alto sax and wooden flute, both of which have a slightly offbeat sound – but one that's surprisingly warm, which makes the album one of his most sensitive and soulful sessions ever! The tunes are a mix of standards and originals – and there's a wonderful sense of balance here – sounds that are sometimes more inside than other records from Lasha, but which have a really Dolphy-like sense of expression – right at home amidst a wider history of jazz, yet also reaching for new ideas at the same time. Pure genius throughout, and a record that was never made available to audiences in the US. Titles include "Nuttin Out Jones", "Impressions Of Eric Dolphy", "Out Of Nowhere", "Just Friends", "Body & Soul", and "Everything Happens To Me".

An insanely wonderful album that will always remain one of the all-time favorites of the Dusty Groove staff! This beautiful batch of tracks by Brazilian singer/songwriter Marcos Valle has him pushing waaaay past his bossa work of the 60s – into a cool 70s mix of electronics and sexy scoring, for a sound that's a mix of Brazilian rhythms with other styles that evoke Italian soundtracks and French pop backing. That description hardly does the record justice, though, because the whole thing's wonderful – and it's got a feeling that's unlike anything else we've ever stocked – every bit as warmly watery as the image of Marcos in a swimming pool on the cover. It's no wonder that the album was one of Valle's last great recordings – because with tracks as good as "Mentira", "Mais Do Que Valsa", "Nao Tem Nada Nao", "Samba Fatal", and "Tiu-Ba-La-Quieba", it's hard to top yourself!

An insanely wonderful album that will always remain one of the all-time favorites of the Dusty Groove staff! This beautiful batch of tracks by Brazilian singer/songwriter Marcos Valle has him pushing waaaay past his bossa work of the 60s – into a cool 70s mix of electronics and sexy scoring, for a sound that's a mix of Brazilian rhythms with other styles that evoke Italian soundtracks and French pop backing. That description hardly does the record justice, though, because the whole thing's wonderful – and it's got a feeling that's unlike anything else we've ever stocked – every bit as warmly watery as the image of Marcos in a swimming pool on the cover. It's no wonder that the album was one of Valle's last great recordings – because with tracks as good as "Mentira", "Mais Do Que Valsa", "Nao Tem Nada Nao", "Samba Fatal", and "Tiu-Ba-La-Quieba", it's hard to top yourself!

Country rock and blue-eyed southern soul from Larry Jon Wilson – his New Beginnings and Let Me Sing My Song released by Monument on '75 and '76 – together here in a single package from Omni! New Beginnings is Wilson's first for Monument is a total gem that doesn't fit comfortably in any one genre, which may have limited it's commercial potential, but it's a warm, soulful southern effort that deserves some love. Wilson has a deep, smoky voice, playing over arrangements by Bergen White that balance introspective sweetness with a bit of funky southern country rock. Title include "New Beginnings", "Lay Me Down Below", "Bertrand My Son", "The Truth Ain't In You", "Broomstraw Philosophers And Scuppernong Wine" and more. Let Me Sing My Song To You has even more stylistic range, from country funk to mournful, Waylon Jennings level balladry, to numbers sweetened by strings. Again, the songs are great, and make us wish that Wilson would have stuck around longer in the industry and gave us a bunch more them! Includes "Drowning In The Mainstream", "I Remember It Well", "Kindred Spirits", "Farther Along" and more. 20 tracks in all.

A long-overdue collection – and a rich document of one of our favorite sides of the Chicago soul scene! The package is devoted to the tiny Nickel and Penny labels, but it's also equally a set dedicated to legendary radio DJ Richard Pegue – whose work in both mainstream soul and later dusties formats really helped to shape our understanding of soul music! Pegue produced and wrote nearly every track on the set – which makes the collection one of the most unified the Numero Group has ever produced – a true tribute to Richard's great ear for a groovy soul record, and to all the smaller-name groups he helped support on the Windy City scene. The booklet does a great job of telling Pegue's story – really getting at the unique vision he brought to Chicago soul, and the wit and warmth that made him a favorite of many folks over the space of decades. The music alone is enough – stuff we've been waiting to get reissued for years – but together with the Numero research and booklet, the end result is sublime! Titles include "Just Say The Word" by Jerry Townes, "Fall In Love Again" by The Voices, "Never More" by Little Ben & The Cheers, "Why Do You Want To Make Me Sad" by The Norvells, "Instrumental 1" by Richard Terry & Company, "Shadows" by South Shore Commission, "This Is The Woman" by Sidney Pinchback, "The Ember Song" by Sidney Barnes, "Sign Of The Zodiac" by South Suburban Electric Strings, "This Love Of Mine" by Extensions, "Forever Is A Long Long Time" by The Voices, "Do The Pearl Girl (part 2)" by The Matta Baby, "I've Got To Find A Way" by Hallelujah Chorus, "First Thing I Do In The Morning" by Joyce Williams, and "I'm Gonna Get Even With You" by Little Ben & The Cheers.

A long-overdue collection – and a rich document of one of our favorite sides of the Chicago soul scene! The package is devoted to the tiny Nickel and Penny labels, but it's also equally a set dedicated to legendary radio DJ Richard Pegue – whose work in both mainstream soul and later dusties formats really helped to shape our understanding of soul music! Pegue produced and wrote nearly every track on the set – which makes the collection one of the most unified the Numero Group has ever produced – a true tribute to Richard's great ear for a groovy soul record, and to all the smaller-name groups he helped support on the Windy City scene. The booklet does a great job of telling Pegue's story – really getting at the unique vision he brought to Chicago soul, and the wit and warmth that made him a favorite of many folks over the space of decades. The music alone is enough – stuff we've been waiting to get reissued for years – but together with the Numero research and booklet, the end result is sublime! Titles include "Just Say The Word" by Jerry Townes, "Fall In Love Again" by The Voices, "Never More" by Little Ben & The Cheers, "Why Do You Want To Make Me Sad" by The Norvells, "Instrumental 1" by Richard Terry & Company, "Shadows" by South Shore Commission, "This Is The Woman" by Sidney Pinchback, "The Ember Song" by Sidney Barnes, "Sign Of The Zodiac" by South Suburban Electric Strings, "This Love Of Mine" by Extensions, "Forever Is A Long Long Time" by The Voices, "Do The Pearl Girl (part 2)" by The Matta Baby, "I've Got To Find A Way" by Hallelujah Chorus, "First Thing I Do In The Morning" by Joyce Williams, and "I'm Gonna Get Even With You" by Little Ben & The Cheers.

A stunner from Georgia Anne Muldrow – a record that makes us love her even more than before – and that's saying a lot, given the love we've shown her over the years! The cover's got the feel of some dusty old record, and many of the tunes do too – some wicked 70s soul elements that are layered in nicely by Madlib, who produced the whole set – and comes up with this great blend of older warmth and that contemporary crispness that usually makes Georgia Anne sound so great! The lyrics slide wonderfully into the grooves – and although the set's often laidback, it's got a mighty punch that's undeniable – as you'll hear on tracks that include "Husfriend", "Kneecap Jelly", "Seeds", "Wind", "Calabash", "Kali Yuga", and "The Birth Of Petey Wheatstraw".

A stunner from Georgia Anne Muldrow – a record that makes us love her even more than before – and that's saying a lot, given the love we've shown her over the years! The cover's got the feel of some dusty old record, and many of the tunes do too – some wicked 70s soul elements that are layered in nicely by Madlib, who produced the whole set – and comes up with this great blend of older warmth and that contemporary crispness that usually makes Georgia Anne sound so great! The lyrics slide wonderfully into the grooves – and although the set's often laidback, it's got a mighty punch that's undeniable – as you'll hear on tracks that include "Husfriend", "Kneecap Jelly", "Seeds", "Wind", "Calabash", "Kali Yuga", and "The Birth Of Petey Wheatstraw".

An insanely wonderful album that will always remain one of the all-time favorites of the Dusty Groove staff! This beautiful batch of tracks by Brazilian singer/songwriter Marcos Valle has him pushing waaaay past his bossa work of the 60s – into a cool 70s mix of electronics and sexy scoring, for a sound that's a mix of Brazilian rhythms with other styles that evoke Italian soundtracks and French pop backing. That description hardly does the record justice, though, because the whole thing's wonderful – and it's got a feeling that's unlike anything else we've ever stocked – every bit as warmly watery as the image of Marcos in a swimming pool on the cover. It's no wonder that the album was one of Valle's last great recordings – because with tracks as good as "Mentira", "Mais Do Que Valsa", "Nao Tem Nada Nao", "Samba Fatal", and "Tiu-Ba-La-Quieba", it's hard to top yourself!

Warmly soulful sounds from Chicago deep house icon Glenn Underground – who continues to masterfully translate dancefloor-tailored soundscapes into the full length album format – and he does it with a compelling vibe that leaves a lot of his contemporaries in the dust! Glenn is great simply on the dancefloor tip, but he goes well beyond the call of duty by bringing in a wealth of jazzy and soulful instrumentation. So, along with the percolating beats and insistent rhythms, you get these sax solos and other brass goodness, some brilliant keyboard grooves and lots more. Dancefloor soul with an uncommon depth! Includes "Calor (Heat)", "For The Love Of Money", "Master Fuze", "Scenic Route", "The Band Played On" "DiscoSucks (Interlude)", "Going Bananas (Gorilla Interlude)", "Service", "AfterHours", "Reckless Art" and more.