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A super huge hit for George – the record that took him from being a funky jazz guitarist into an R&B superstar! The album features George playing and singing over arrangements by Claus Ogerman – some of Ogerman's best of the 70s, ones that mix together his trademark pillow of sound with a slightly funky bounce. The result is incredible – and the album is filled with loads of great songs – including George's excellent version of Bobby Womack's "Breezin", the hit version of "This Masquerade", and the cuts "So This Is Love", "Six To Four", and "Affirmation".

Great stuff! From Motown songwriters to world-class superstars, the trip was a well-deserved one for Valerie Simpson and Nick Ashford – and this album's perhaps their crowning achievement in sophisticated club soul! The record's got a great groove that offers a more soulful version of disco than most of the competing albums on major labels at the time – a perfect summation of the care and craft that Ashford & Simpson had always put into their music right from the start! The pair handle all production on the record, and also contributed all the songs too – and the whole thing's so wonderfully tight, right, and on the money, the album soars to the top even before the vocals come into the mix. Titles include more than a few club classics, like "Found A Cure", "Stay Free", and "Nobody Knows" – plus the cuts "Dance Forever", "Crazy", "Follow Your Heart", and "Finally Got To Me".

George Benson more than earns the title on this one – given that most of the tracks feature backings from the Count Basie Orchestra under the direction of Frank Foster – a great ensemble who really help keep things soulful throughout! Despite the date of the set, the feel here is a bit more classic than most of Benson's work from the time – as the group bring a full acoustic soul to the record – a swelling, swaying brace of horns that seems to push George's vocals a bit more than usual – past that simply sweet style that was the usual Benson bag. There's a range and depth here that's really surprising – a quality that goes past the hokey title, which might make you expect less from the record – and although there's a few brief moments that get slightly contemporary, these pass quickly in favor of a classic groove. Titles include "On Green Dolphin Street", "Without A Song", "Ready Now That You Are", "Basie's Bag", "Skylark", and "How Do You Keep The Music Playing".

Rich, proud work from Randy Crawford – sung with the mature mix of jazz and soul that made her one of the more sophisticated mainstream singers of her generation! The album's heavy on mellower cuts, but it's never too sleepy – thanks to a slow-burning sensibility that Randy uses to keep things cooking on the low burners – a style that brings out some good vocal force even when the backings are somewhat gentle. Production's by Tommy LiPuma, and somewhat slick, and tracks include "You Might Need Somebody", "That's How Heartaches Are Made", "Two Lives", "You Bring The Sun Out", "Rio De Janeiro Blue", "Time For Love", "Trade Winds", and "When I Lose My Way".

A bit more mature than Joelma's debut album – mostly still catchy pop tunes, but sung with a deeper sense of spirit overall. Some of the tracks are Brazilian originals, and others tunes given Portuguese lyrics for the set – and as before, arrangements are by Willy Join, a man with a strange name but a good ear for shifting the moods of the set as each new track comes in. Titles include "Silencio", "O Mar Nao Falara", "Tem Que Ser Ele", "Pranto Teu", "O Teu Passado", and "Setembro".

A surprisingly great album from Joshua Redman – and a follow-up to the Yaya set issued with the same group. Like the excellent Yaya album, the group on this one is a trio of Redman, keyboardist Sam Yahel, and drummer Brian Blade – grooving together in a slightly groovy, slightly angular style that recalls the exploratory organ trio sound of the late 60s. The difference here from the Yaya album is that Redman's perhaps a bit more in the lead, with a stronger sax sound overall – and that Yahel plays some other keyboards in addition to organ, which was the dominant instrument on the last set. Titles include "Jazz Crimes", "Unknowing", "Letting Go", "Boogielastic", "Molten Soul", "The Long Way Home", and "Still Pushin That Rock".

Lots of Penderecki compositions – including his great "Cannon For Orchestra & Tape" – plus George Crumb's "Night Of The Electric Instruments", the great "Beginnings" from the Wind Harp record, and Mike Oldfield's "Tubular Bells" – the haunting theme of the film!

Sly Stone's definitely back on the right track here – returning to the heights of his earlier powers in this late 70s comeback album for Warner Brothers! The record's got a lot of touches of the old Sly funky sound, but it's done in a slightly tighter style too – a bit more polish than before, yet still never slick – just nicely focused, and proof that Stone still had his groove together at the time! There's some really great songwriting on the record – and a nice undercurrent of gentler soul, too – and titles include the sublime "The Same Thing (Makes You Laugh Makes You Cry)" – plus "Remember Who You Are", "Shine It On", "If It's Not Addin Up", "Who's To Say", "Sheer Energy", and "It Takes All Kinds".

A great mix of jazz and soul from Randy Crawford – and a 90s set that almost takes us back to the best sounds of her early career in the 70s! The work here is nicely relaxed – not trying for a hit, even when things are smooth or a bit uptempo – especially given the mis-steps that Randy might have made with some of the mainstream genres of the time. A few cuts feature nicely restrained instrumentation – especially Crawford's leadoff duet with pianist Lou Levy on a version of "I'm Glad There Is You". Other tracks include "In My Life", "Why Can't We Take A Chance", "Year After Year", "Mad Over You", "Don't Say It's Over", and "Can We Bring It Back".

A bold score for a famous 70s astronaut film – penned by Jerry Goldsmith with almost the same sort of drama he might bring to a war thriller! The story itself is pretty dark – as the astronauts don't make it to space, but are forced into a Air Force base – and Goldsmith's music really follows suit – a really dominating set of orchestrations, with turgid rhythms at the bottom, blaring horn parts on the top, and offbeat instrumental phrases that sort of cascade down, almost in a claustrophobic way. There's less of the funkier or groovier moments you might know from earlier Goldsmith scores, but the soundtrack's still a great one, with a surprising amount of power, even away from the film. Titles include "Break Out", "The Message", "No Water", "Bedtime Story", "The Snake", "Kay's Theme", "The Letter", and "The Celebration".

Near-perfect work from Ashford & Simpson – really grooving in full powerhouse mode here, and never missing a beat! By all rights, the team should have run out of steam by this point, but the album's another winner from their sublime Warner years – caught in a unique space between chart soul, ensemble funk, and disco – taking all the best elements of each, and really sending the whole thing home with some incredible vocals and impeccable production and arrangements! Titles include "Rushing To", "Love Don't Make It Right", "We'll Meet Again", "Get Out Your Handkerchief", and "I Ain't Asking For Your Love".

Titles include "Romeo & Juliet", "Skateaway", "Les Boys", "Hand In Hand", "Solid Rock", and "Tunnel Of Love".

Flaming Lips at their most gonzo – the 4 disc set Zaireeka – with each intended to be played simultaneously! Call your friends with portable turntables and make it happen!

One of our favorite Funkadelic albums ever – a tightly grooving classic that never lets up at all! There's a sense of perfection to everything here – one that really gets the group past their tripped-out early years, and firmly into the sublime territory George Clinton hit with Parliament – an amazing sound that's wrapped up perfectly on every single track – grooves that definitely raised the bar for a huge amount of mainstream funk acts who were popping up at the time. Production is never too slick, and there's still lots of tasty guitar licks wrapped up in the mix – and titles include the classics "Freak Of The Week" and "Not Just Knee Deep" – plus "Field Maneuvers", "Holly Wants To Go To California", and "Foot Soldiers".

The last good Jungle Brothers LP? Depending on our mood, we might go as far as to say that. In any case, a solid early 90s hip hop album, from the waning years of the Native Tongues. They're peddling a little less knowledge this go 'round, and their sound doesn't come across as quite as inventive as their first 2 albums, but this one still takes us back with cuts like the singles "40 Below Trooper" and "My Jimmy Weighs A Ton". Also includes "Spark A New Flame", "All I Think About Is You", "Simple As That", "JB's Comin Through", and "For The Headz At Company Z".

The classic! This beautiful album showed that Chaka could stand very well on her own two feet without the help of Rufus, thank you. Of course, she's got some fantastic help from Arif Mardin, who works as much magic with Chaka here as he'd worked with Aretha Franklin a decade before. Includes the original version of "I'm Every Woman", which still sounds great today, despite the way that Whitney butchered it a few years ago – plus "Love Has Fallen On Me", "We Got The Love", "Life Is A Dance", and "Sleep On It".

A great album of mellow modern soul tracks recorded in Chaka's post-Rufus years! The record was produced by the great Arif Mardin, the man who made so many of the 70s Atlantic soul records work so well – and he handled Chaka's voice with a sweet sweet sound that you don't always get on her other albums. Includes the great "Papillon", her remake of "Hot Butterfly", plus "Move Me No Mountain", "So Naughty", "Too Much Love", and "Clouds".

Wonderful 70s Latin soul from the legendary Bay Area combo that included Jorge Santana, Luis Gasca, and Coke Escovedo! This first album's a masterpiece in the California Latin Soul style – a sweet blend of Latin, jazz, funk, and rock that took up where the New York groups left off at the end of the 60s. The tracks are all pretty long – with some extremely tight instrumental playing, and plenty of room for long jamming solos. But the best part is the vocals – sung by Arcelio Garcia Jr, with a sweet style that's totally excellent. You probably already know that if you've heard the band's big hit "Suavecito", which is included here in a longer version than the original single – but you'll also hear that on the tracks "Café", "Pana", and "Peace".

There's been a big break since Meshell Ndegeocello's last album – but from the sound of the album, it's been worth it! One of the baddest soul singers of the past decade is back in business, and sounding better than ever – serving up a fierce blend of beats and vocals, done in a more laidback format than her previous albums, one that makes for an album that's even more compelling and personal. Titles include "Earth", "Criterion", "Barry Farms", "Legged Griot Trio", "God, Fear, Money", "Hot Night", "Priorities", "Trust", and "Akel Dama".

The second album from O Terco – the guitar-heavy power trio who were one of the hardest things going in Brazil during the early 70s! The album's got a style that's somewhat progressive, but which also still holds onto plenty of late 60s psychedelic elements – qualities both sweet and dark, often compressed into the arrangements with an approach that's a bit like some of the more underground South American rock of the time. Side one of the album features 5 shorter tracks – "Deus", "Voce Al", "Estrada Vazia", "Lagoa Das Lontras", and "Rock Do Elvis" – and the second side features the 19 minute suite"Amanheger Total" – a soaring, building number with lots of changes throughout!

Rosemary's got a sound that's a lot groovier than her look on the cover might imply – a mature female 70s sort of pop – served up in a blend of Brazilian and European influences! The arrangements are by Ze Roberto and Jan Guest – and often have a slightly slinky quality that's really great – a gentle groove with a bit of keyboards, guitar, or flute at the background, all of which offset Rosemary's lightly breathy vocals nicely. There's a slight groove on a few tracks – but a very mellow one – and titles include "Viva Bem", "Quero Ser Sua", "Tema De Adao", "Fechei A Porta", "De Mim P'Ra Voce", and "Uma Nova Vida".

Excellent live work by The Association – quite different than their earlier pop hits, but still with the same great harmony feel! The style here is in the rougher, more guitar-based mode of albums like Birthday and Stop Your Motor – and the band really sounds great in this live setting, which helps us to understand just how much of their magical sound came from the group itself, and not just Warner Brothers studio tricks. The set's got 22 tracks in all – 2LPs worth of music – and titles include "Dream Girl", "Goodbye Columbus", "I'll Be Your Man", "Never My Love", "Seven Man Band", "Cherish", "Requiem For The Masses", "Are You Ready", "Just About The Same", and "Along Comes Mary".

One of Jeff Lorber's mid 80s amalgams of tight fusiony keyboard grooves and r&b – probably his most r&b oriented albums ever – with soulful vocals on most tracks and a tight focus on a crisp groove! Lorber's synths and programming provide the fusiony foil for the soulful vocals of Karyn White and Michael Jefferies on a number of tracks, but there are some sweet instrumental groovers, too – such as the Caribbean inflected "Jamaica", and "Kristen" with more extroverted soloing from Lorber and a nice turn on fluegelhorn from Freddie Hubbard. Other titles include "Facts Of Love", "True Confessions", "Back In Love", "Private Passion", "Sand Castles", "Keep On Lovin' Her" and "Midnight Snack".

Ahh, the glory days of the Native Tongues. Remember a time when dropping knowledge and keeping rumps bumpin' weren't mutually exclusive? This sophomore LP from the Jay Beez is a smorgasbord of funky breaks, jazzy samples and lyrical niceness from the golden era of hip hop. 16 tracks, including interludes and such, with "Doin Our Own Dang", "J Beez Comin Through", "What U Waitin' 4", "Beyond This World", "Acknowledge Your Own History", "Sunshine", "Beeds On A String", "Done By The Forces Of Nature", "Kool Accordin 2 A Jungle Brother" and "Tribe Vibes".

Paul Simon's mid 80s landmark – a record that brought together Simon's unique voice and pop folk songwriting skill with South African, Chicano, zydeco other global musical styles – held together by some of the best songs Simon ever put together! With lesser material, this would feel like the well-intentioned "world music" album by an aging star, but Simon transcends that in a big way with catchy, intelligent songs and expert production. Includes "The Boy In The Bubble", "Graceland", "Duanonds On The Soles Of Her Shoes", "You Can Call Me Al", "Under African Skyes", "All Around The World Or The Myth Of Fingerprints" and more.

Sublime soul from Change – an Italian combo who got some great American help on their early 80s for Warner Brothers! The Change groove is totally great – a stripped-down blend of beats, bass, and keyboards that was head and shoulders above much of the clunkier 80s soul of the time – a lean groove forged from the best Italian club influences of the time, then brought over to this side of the Atlantic for some warmer touches on production and vocals. Luther Vandross sings lead on a few key cuts here, and other tracks have some equally great vocals – plus a nice undercurrent of jazz in the mix, especially on the guitar and keyboards. CD features 14 tracks that include "Hold Tight", "The Very Best In You", "Paradise", "Searching", "The Glow Of Love", "A Lover's Holiday", "This Is Your Time", "You Are My Melody", "Say You Love Me Again", "Don't Wait Another Night", and "Hard Times".

Nice compilation of the best cuts that First Choice cut for the Philly Groove label before moving onto Warner Brothers and Gold Mind. The tracks are classic Philly girl group soul from the 70's, and the sound that they get is the stuff that laid the foundation for a whole club generation. Norman Harris produced, with his usual flair, and the titles include "Smarty Pants", "Newsy Neighbors", "The Player", "Armed & Extremely Dangerous", "Wake Up To Me", and "Runnin' Out Of Fools".

Bizarre is right – and incredibly hip too! This was the group's second album – and while it has a lot of similarities with the first, it's also a lot deeper of an expression of their strange blend of harmony vocals, sweet 60s pop, and the nostalgia for the early 20th century that was running through the Burbank Warner scene that included a young Van Dyke Parks, Randy Newman, Lenny Waronker, and other LA underground of the mid 60s. The whole record fits together beautifully – beginning with an old-timey radio kind of announcer, then sliding into sublimely crafted harmony tunes that include originals from the LA luminaries and the group, plus a few other surprising covers. Titles include the hit version of "Anything Goes", plus "The Biggest Night Of Her Life", "Milord", "Virginia City", "High Coin", "Jessie", "This Is Only The Beginning", and "You Need A Change". CD includes the bonus tracks "Cotton Candy Sandman" and "Malibu U".