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A monster! Foxy Brown is Willie Hutch's magnificent soundtrack for Foxy Brown – a Pam Grier blacksploitation film from the early 70s – and it's pure genius all the way through, a record filled with some of the best funky soundtrack cuts of the era! Willie's got a real Curtis Mayfield sound here – with a dope mixture of full orchestrations and heavy funk, guitar riffing away as drums snap tightly across the album's best rhythms! Includes the classic funky numbers "Ain't That Mellow Mellow" and "Give Me Some of that Good Old Love" – plus "Whatever You Do", "Foxy Lady", "You Sure Know How To Love Your Man", "Theme Of Foxy Brown", "Out There", and "Chase".

Super-dope work from Willie – a great selection of laidback and electric grooves, done here with plenty of great work on hollow-body electric guitar, which adds a nice raspiness to the instrumentation, and creates the same sort of vibe you'd hear on Willie's best soundtrack work. The record's got a great cover of "I Wanna Be Where You Are", plus Willie's originals "If You Ain't Got No Money, You Can't Get No Honey", "California My Way", the sample classic "Tell Me Why Has Our Love Tuned Cold", "Ain't Nothing Like Togetherness", "Sunshine Lady" and more.

One of the nicer Willie Hutch albums on Motown – a killer batch of heavy and funky tracks that evoke some of his soundtrack work from the same time – as well as a more hard grooving album-oriented approach! Willie arranged and produced, and there's lots of nice moogy and guitary bits – plus sweet backup chorus vocals and a few more soaring elements – making this one a cool mix of grittier grooves, stranger textures and a few softer touches. Titles include "Get Ready For The Get Down", "Don't You Let Nobody Tell You How To Do Your Thing", "I'm Gonna Stay", "Mark Of The Beast", "Woman You Touched Me" and "Life's No Fun Living In the Ghetto".

An excellent soul album from the great Willie Hutch! The record's got more of a vocal focus than some of Willie's other albums – and his rich voice is perfectly set up in some sweet and soulful arrangements that have a full sound and a classy finish, but still a raw edge that keeps things exciting. Willie arranged and produced the whole thing, again proving that he was one of the freshest talents at Motown during the 70s. Includes the Little Beaver-esque dope guitar cut "Ode To My Lady", plus "Party Down", "Love Power", "Talk To Me", "(I'm Gonna) Hold On", "You Gotta Give Love Up", and "Love Me Back".

Pre-Foxy Brown, pre-Mack, this is an album of mellow souful vocals, with a bit of a pop soul twist. The arrangements are by Rene Hall and Perry Botkin Jr., and the sound is very sweet and orchestrated. Cuts include originals like "Season for Love", "The Shortest Distance", and "Trying to Understand a Woman", plus covers like "Hurt So Bad" and "Twelfth of Never".

Sweet funky soul from the great Willie Hutch – best known to most as the composer of the fantastic soundtracks for Foxy Brown and The Mack, but a heck of a great soul artist in his own right, with a wealth of great albums from the 70s! Willie's got a sweet raspy vocal style that's really great, and on many tracks, he plays some dope guitar, in the manner of Little Beaver on his slicker albums. Titles on this set include "Brothers Gonna Work It Out", "Get Ready For The Get Down", "If You Ain't Got No Money", "Sunshine Lady", "Theme Of Foxy Brown", "Party Down", "I'll Be There", "Slick", and "Love Power". 14 tracks in all!

No blues here – just some great dope 70s material from Willie! The record's got a great stone-heavy soul sound – with some funky numbers, and some great mellow soul material, all arranged & produced by Willie. Includes the single "Party Down", plus "Baby Come Home", "I Finally Made The Headlines", and "Don't Let A Little Money Keep You acting Funny".

Willie Hutch's classic score about pimpin' & mackin'! The album (and film) is virtually a handbook for junior grade hoods, and we can remember back around 1990, when the first wave of candy-ass hardcore hip hoppers were coming up, this was sort of a holy grail. And it still holds up nicely, despite the legions of Compton wanna-bes who've overplayed it to death – with classic cuts like "Brothers Gonna Work It Out", "Vampin", "Theme Of The Mack", "Mack's Stroll/The Getaway", and "Slick".

Long-overdue reissue to Willie Hutch's classic score about pimpin' & mackin'! The album (and film) is virtually a handbook for junior grade hoods, and we can remember back around '90 when the first wave of candy-ass hardcore hip hoppers were coming up, and this was sort of a holy grail. Still hold up nicely, despite the legions of Compton wanna-bes who've overplayed it to death – and with classic cuts like "Brothers Gonna Work It Out", "Vampin", "Theme Of The Mack", "Mack's Stroll/The Getaway", and "Slick".

A tremendous solo act from GC Cameron – a singer who first rose to fame in The Spinners, but who really sounds wonderful on his own! GC's moved away from The Spinners here – into a wide range of styles that show him ready to take on most of the rest of the competition! He's working here with the best of the best of Motown – production from Stevie Wonder and Willie Hutch – and arrangements by both, plus Paul Riser, Gene Page, James Carmichael, and Frank Wilson – all of whom really give their best to the record, and show that Motown was putting plenty of effort into making GC one of the next big stars of the 70s. We're not sure why things never took off as strongly for Cameron, but whatever the case, the album's a great step for the solo artist – on cuts that include "If You Don't Love Me", "Tippin", "All In Love Is Fair", "If You're Ever Gonna Love Me", "Come Get This Thang", "I'm Gonna Give You Respect", and "Let Me Down Easy". CD features an insane amount of bonus tracks – 13 more tracks that include "Act Like A Shotgun", "Girl I Really Love You", "I'm Gonna Get You (parts 1 & 2)", "Don't Wanna Play Pajama Games", "You Are That Special One", "Have I Lost You", "Time", "Topics", and "No Matter Where".

A never-heard soundtrack for a never-seen film – and a record that's every bit as funky as better-known sets from the blacksploitation era! Final Solution were a small time group from Chicago's west side in the 70s, but on this wicked little soundtrack they sparkle just as brightly as Isaac Hayes, Willie Hutch, Curtis Mayfield, or any of our favorite soundtrack soul artists from the time – working in a really righteous approach to soul with lots of heavy rhythms on the bottom and rumbling bass in the mix – so that even when the tunes are mellow, there's still a bold, brash sort of power to the set! The vocals are mostly delivered in harmony style, again with a nice edge – a bit like The Impressions work on Three The Hard Way, but with more of an indie soul feel overall, given the production circumstances. Once again, our hats are off to Numero for unearthing this gem – and as usual, the full tale of the group, the movie, and the music is told at length in the accompanying 16 page booklet! Titles include "Brotherman", "Never Coming Back Again", "I Don't Care", "Girl In My Life", "Gotta Get Through To You", "One Day", "I'm Ready For Love", "Theme From Brotherman", "No Place To Run", and "We Can Work It Out".

A never-heard soundtrack for a never-seen film – and a record that's every bit as funky as better-known sets from the blacksploitation era! Final Solution were a small time group from Chicago's west side in the 70s, but on this wicked little soundtrack they sparkle just as brightly as Isaac Hayes, Willie Hutch, Curtis Mayfield, or any of our favorite soundtrack soul artists from the time – working in a really righteous approach to soul with lots of heavy rhythms on the bottom and rumbling bass in the mix – so that even when the tunes are mellow, there's still a bold, brash sort of power to the set! The vocals are mostly delivered in harmony style, again with a nice edge – a bit like The Impressions work on Three The Hard Way, but with more of an indie soul feel overall, given the production circumstances. Once again, our hats are off to Numero for unearthing this gem. Titles include "Brotherman", "Never Coming Back Again", "I Don't Care", "Girl In My Life", "Gotta Get Through To You", "One Day", "I'm Ready For Love", and "We Can Work It Out".

Pure genius – like just about every other early Motown album by the Jackson 5! The vocals are sublime – almost even more perfect than on the first few records – and the group have some great help in the studio from arrangers like The Corporation, Willie Hutch, Johnny Bristol, and and James Carmichael – all of whom really help the quintet find their groove! Titles include "I Can Only Give You Love", "E Ne Me Ne Mi Ne Moe", "Ain't Nothing Like The Real Thing", "Lookin Through The Windows", and "To Know".

Pure genius – like just about every other early Motown album by the Jackson 5! The vocals are sublime – almost even more perfect than on the first few records – and the group have some great help in the studio from arrangers like The Corporation, Willie Hutch, Johnny Bristol, and and James Carmichael – all of whom really help the quintet find their groove! Titles include "I Can Only Give You Love", "E Ne Me Ne Mi Ne Moe", "Ain't Nothing Like The Real Thing", "Lookin Through The Windows", and "To Know". CD also features the bonus track "Love Song".

Sharon's got her political agenda straight on this one – working with heavy heavy backings from the Dap-Kings on a hip message-oriented cut that ranks with the best of the early 70s! The groove's overflowing with tight wah wah guitar, topped off by some nice chromatic Willie Hutch-like work – all in service of Sharon's fierce vocals in the lead! "This Land" is a remake of the classic – taken to soul territory with a slow funk groove that's outta site – and in a style that we're sure Woody Guthrie would have approved himself!

Two of our favorite albums by The Main Ingredient – back to back on a single CD! Euphrates River is a wonderfully complex batch of tunes that shows that the group were taking a cue from some of their hipper contemporaries, and pushing past a stock hit formula. Bert DeCoteaux was still arranging, but the group produced themselves, giving the record a sexy funky feeling in the best parts, not that dissimilar from some of Marvin Gaye's work, or records by groups like The Isley Brothers or The O'Jays. Includes great versions of two Seals & Crofts songs – "Summer Breeze" and "Euphrates" – both a perfect example of this style, as is "Happiness Is Just Around The Bend" – plus a great reading of Willie Hutch's "California My Way", which has a super-dope sample at the beginning. Of course, the album still includes material like their hit " "Just Don't Want To Be Lonely", a sweetly style AM radio pop hit in the band's best style of earlier years. Afrodisiac is one of the most righteous albums ever from the Main Ingredient – as you might guess from its title and stylish cover! The group are really opening up here – and show a distinct Stevie Wonder influence throughout – not just because they perform their own hip takes on a number of tunes by Stevie, but also because Wonder himself plays a bit on the record! Rhythms are inventive, and grooves nice and complex – way past standard chart soul, into a heady mix that holds up beautifully over the years. Keyboards slide in great with the harmonies – and titles include great versions of Stevie Wonder tunes "Superwoman", "Where Were You When I Needed You", "Something Lovely", "Girl Blue", and "I Am Yours" – plus the great breakbeat track "You Can Call Me Rover", which has a very tight drum sound at the beginning, and tight soul harmonies all the way through. Also features a hip take on the Isleys' "Work To Do" too!

An obscure second soundtrack for The Mack – one that's not nearly as well known as the classic Motown score by Willie Hutch, but which features some great work from Eugene McDaniels – and funky backings from Alan Silvestri! Eugene sings sweetly on the title theme "In The Beginning" – and funkily on the track "Party Time" – but our favorite tunes are actually the instrumental ones by Silvestri, done in a really wicked sort of groove – one that mixes traditional blacksploitation scoring with some jazzier touches – in a mode that's tight one minute, laidback the next, and filled with a great blend of jazz, soul, and electricity! Titles include "Play Ball", "We Can Beat This", "Slim", "Here Today", "Planetarium", and "Kill Fats".

Incredible early-to-mid 70s albums from The Miracles – Renaissance and Do It Baby – plus a bonus Tom Moulton remix! First up, Renaissance truly is one, and proof that the the group could do amazing things away from Smokey Robinson! Of course, they've got a heck of a lot of great help on this set – from some of Motown's best, like Willie Hutch, Fonce Mizell, Freddie Perren, and even Marvin Gaye, who wrote and produced the album's standout track "I Love You Secretly", a stone treasure that's as good as any of Marvin's recordings from the time! The whole set is great, though, filled with wonderful songs that never got their due – and which will make this one stand for years as a treasure to fans of harmony soul! Titles include "I Didn't Realize The Show Was Over", "I Love You Secretly", "I Don't Need No Reason", "Don't Let It End", and "What Is A Heart Good For". The follow-up Do It Baby is another overlooked post-Smokey gem – a beautifully display of Miracles' unmatched soul harmony mastery – on a record that's just about as good as anything they did with Smokey. This one actually reminds us a lot of some of our favorite Philly albums coming out at the same time! Arrangements are handled by James Carmichael, Freddie Perren, and Willie Hutch – and it's heavy with slinky smooth soul groovers like "Do It Baby", "You Are Love", "What Is A Heart Good For", and "Give Me Just Another Day", one of a few great cuts on the record written by Leon Ware! This much needed Hip-O Select package includes a bonus track, too: Tom Moulton's mix of "Do It Baby" – which extends that classic cut to more than 7 minutes of dancefloor soul greatness!

The first-ever full length collection of work by The Sisters Love – an ultra-hip female soul group who cut some incredibly funky singles, but never issued a full album – finally given their due in this amazing batch of singles from the late 60s and early 70s! The Sisters Love sound is a great blend of funky rhythms, hard soul vocals, and soaring harmonies on the chorus – in a way that's almost a cross between the work of Lyn Collins at People Records with the best sounds of Sweet Inspirations over at Atlantic – but even more righteous overall, thanks to production work by the likes of Willie Hutch, Gloria Jones, Gene Chandler, and Monk Higgins! The set brings together singles recorded for Motown and A&M – all recorded over a period of 6 years, but tremendously unified overall – with a badass soul sound that rivals the legendary album by The Jackson Sisters. Titles include "Give Me Your Love", "My Love Is Yours", "The Bigger You Love", "Blackbird", "Ring Once", "Mr Fix It", "You've Got To Make Your Choice", "You've Got My Mind", "Now Is The Time", "Forget It I Got It", "Ha Ha Ha", "I Know You Love Me", and "Try It You'll Like It".

An excellent blacksploitation soundtrack – and every bit as funky as any of Willie Hutch's work for other Motown soundtracks at the time! Larry Mizell and Dennis Coffey help out on the instrumentation – giving the album an extra funky instrumental edge, one that takes it way past Edwin Starr's other work – and the tracks are a nice mix of vocals and instrumentals. Titles include "Ain't It Hell Up In Harlem", "Airport Chase", and the massive "Easin' In", a stone sample classic!

At some level, we have to admit, we've always been a shade disappointed in this record, no matter how many times we go back to it. It must be that the music doesn't quite live up to what the Efram Wolff cover image implies is within, and perhaps it's that Walker hasn't fully brought himself up to speed with the times to get with the hip righteousness that was going on in the Detroit scene of the early 70s. But there's a few ringers here, with some numbers arranged by Willie Hutch, Gene Page and James Carmichael, and Walker was hip enough to include a Leon Ware penned number, so though this album falls somewhere between Walker's signature gutbucket R&B sound that put himonthe charts and the heavy soul you'd hope for, it's got a few nice moments. Includes "It's Alright, Do What You Gotta Do", "Soul Clappin'", "Gimme that Beat (parts 1 & 2)" and "Peace & Understanding Is Hard To Find".

Possibly the best-ever collection of blacksploitation grooves we've ever seen – a really comprehensive package that not only manages to cover the classics, but which also digs deep enough to come up with lots of fresh bits too! The set really sets a new level for the Soul Jazz label – and is carried off with enough authority towards Black Action films as the label's legendary efforts towards a host of less mainstream genres – truly an achievement for the label's crew, not to mention a heavier bonus for our funky listening pleasure! There's way more here than just a slapped-together batch of tunes from the early 70s – as the set's very carefully put together to showcase a wide range of sounds, along with notes that really get at the social and political power of both the music and the films. 2CD package features a massive color booklet inside the slipcase – and features 34 tracks that include "Shaft In Africa" by Johnny Pate, "Down & Out In New York City" by James Brown, "Wilford's Gone" by The Blackbyrds, "Run Fay Run" by Isaac Hayes, "Theme From Black Belt Jones" by Dennis Coffey, "Willie Chase" by JJ Johnson, "T Plays It Cool" by Marvin Gaye, "Charley" by Don Costa, "Brother's Gonna Work It Out" by Willie Hutch, "Blacula" by Gene Page, "Theme From Cleopatra Jones" by Joe Simon, "Pursuit Of The Pimpmobile" by Isaac Hayes, "Sweetback's Theme" by Earth Wind & Fire, "Aragon" by Roy Ayers, "Strung Out" by Gordon Staples, "Easin In" by Edwin Starr, "The Bus" by Solomon Burke & Gene Page, "Make A Resolution" by The Impressions, "Ed & Digger" by Cotton Comes To Harlem, "Las Vegas Strut" by Jack Ashford, "Lay It On Your Head" by Don Julian, and "Zombie March" by Nat Dove & The Devils.

Sublime soul all the way through – really tremendous little tracks that are just waiting to be discovered – and none of them the kind of mainstream grooves you might expect from the "crossover" in the title! Instead, these tracks have a power that really helps shift perception of a genre – almost a bridge between upbeat 60s Northern Soul and smoother 70s modern – with a warmth that's undeniable, and a groove that never lets up! The vocals are sublime, and the production is perfect – totally tight, but never slick at all – just perfect for the arrangements that really help these tunes soar! The set features a whopping two dozen tracks in all – and in addition to some real gems by lesser-knowns, there's also some great overlooked tracks by bigger names too – titles that include "I'm Not Ready" by Ujima, "The Common Broken Heart" by Lou Courtney, "Let's Try It Over Again" by Willie Hutch, "Midnight Sunshine" by The Soul Children, "It's Gonna Be Alright" by Maxine Brown, "One Step Ahead" by Aretha Franklin, "Fool's Hall Of Fame" by Ike Lovely, "Wait Till I Give The Signal" by The Shirelles, "Sweeping Your Dirt Under My Rug" by Ann Bailey, "Main Squeeze" by Syl Johnson, "Satisfactorise Your Mind" by Africano, "Trapped In A Love" by Barrino Brothers, and "I Gotta Keep My Bluff In" by Freddie Hughes.

Early Michael Jackson at his best – a brilliant solo album that sparkles with honest warmth and sweet soul energy! There's a gentleness to the tunes that's quite striking, but never childish – a simple and effective approach to the material that's sung in a manner that's years beyond Michael's young age – produced to perfection by The Corporation, with lots of great 70s soul touches. Titles include nice versions of "Ain't No Sunshine", "Got To Be There", and "I Wanna Be Where You Are" – plus the nice Willie Hutch tune "Girl, Don't Take Your Love From Me", and the unfortunate novelty cut "Rockin Robin".

Although the Main Ingredient were best known for their early 70's singles, this album from '74 is a wonderfully complex batch of tunes that shows that the group were taking a cue from some of their hipper contemporaries, and pushing past a stock hit formula. Bert DeCoteaux was still arranging, but the group produced themselves, giving the record a sexy funky feeling in the best parts, not that dissimilar from some of Marvin Gaye's work, or records by groups like The Isley Brothers or The O'Jays. Includes great versions of two Seals & Crofts songs – "Summer Breeze" and "Euphrates" – both a perfect example of this style, as is "Happiness Is Just Around The Bend" – plus a great reading of Willie Hutch's "California My Way", which has a super-dope sample at the beginning. Of course, the album still includes material like their hit " "Just Don't Want To Be Lonely", a sweetly style AM radio pop hit in the band's best style of earlier years.

A very cool update of older vocal group modes – taken into sublime 70s territory with arrangements and production from Willie Hutch! Street Corner Symphony were part of the 70s doo wop revival movement – but unlike some of their acapella contemporaries, they were always happy to let in some other sounds on their records! In this case, Willie Hutch really makes things sound great – by backing the group's older style harmonies with some grooves that are right up there with Hutch's own best records for Motown – at times almost as funky as his famous soundtracks, at other points in a nicely clubby vibe with plenty of soul. Titles include "Street Corner Symphony", "Funk Machien", "We Got A Good Thing Going", "I'll Fly Away", "Come On Baby", and "No Game To Play".

An obscure Motown group from the end of the 70s – 21st Creation had a strident uptempo group sound that reminds us of some of the more successful disco hits of Tavares from the same time. The arrangements are mostly club-oriented – handled by Willie Hutch, Gene Page, and Harold Johnson – and you can hear the group's style to best effect on tracks like their remake of Marvin Gaye's "After The Dance", Willie Hutch's "You Gotta Dance To My Music", or the hard grooving "Thanks For Saving Me". Not totally standout material, but with a few nice moments. Other tracks include "Funk Machine", "Tailgate", and "Baby, I'm For Real".

A warm, easygoing and sprawling 2CD set from the Expansion and Jazz FM team – the third and best yet in their Funky Sensation series – with both hits and relatively underappreciated numbers! It's wonderful stuff all the way – and well chosen by Mike Vitti & Ralph Tee – with full-length treasures by Roy Ayers, Rick James, Cameo, Rene & Angela, Willie Hutch, Dazz Band, Charles Earland, Teen Marie and The Gap Band to name but a few. What we love about the Funky Sensation series is the sort of informal, unfussy vibe. It's not so much about shining a lot on particular labels, producers or well-defined scene – and very much about simply putting together some sensationally funky, jazzy and soulful music, nearly all of it from the mid 70s to early 80s, together in a generous double-sized set! 26 tracks on 2CDs – and over 150 minutes of music. Includes "Running Away" by Roy Ayers, "Circles" by Atlantic Starr, "Now That We Found Love" by Third World, "So Fine" by Howard Johnson, "Man Power" by Lalomie Washburn, "I Believe In Miracles" by The Jackson Sisters, "I Need Your Lovin'" by Teena Marie, "I'l Be Good" by Rene & Angela, "Get It Up For Love" by Tata Vega, "Outstanding" by The Gap Band, "Let The Music Play" by Charles Earland and many more.

Possibly the best-ever collection of blacksploitation grooves we've ever seen – a really comprehensive package that not only manages to cover the classics, but which also digs deep enough to come up with lots of fresh bits too! The set really sets a new level for the Soul Jazz label – and is carried off with enough authority towards Black Action films as the label's legendary efforts towards a host of less mainstream genres – truly an achievement for the label's crew, not to mention a heavier bonus for our funky listening pleasure! There's way more here than just a slapped-together batch of tunes from the early 70s – as the set's very carefully put together to showcase a wide range of sounds, along with notes that really get at the social and political power of both the music and the films. Vinyl volume 1 features an insert with notes – and tracks that include "Shaft In Africa" by Johnny Pate, "Down & Out In New York City" by James Brown, "Wilford's Gone" by The Blackbyrds, "Run Fay Run" by Isaac Hayes, "Theme From Black Belt Jones" by Dennis Coffey, "Willie Chase" by JJ Johnson, "T Plays It Cool" by Marvin Gaye, "Charley" by Don Costa, "Brother's Gonna Work It Out" by Willie Hutch, and "Blacula" by Gene Page.

They might well call this a Beginners Guide To Blue Note Jazz Funk – given that most of the tracks here are from the hip 70s run at Blue Note Records! The vibe is wonderful – funky and soulful, but definitely with jazz at the forefront – as older soloists were finding new ways to reach their audiences through electric grooves – and younger players were making a huge name for themselves through a very inventive approach to their work! The 3CD set is a hell of a deal for the money – with 33 tracks that include loads of Blue Note gems, plus some 70s Capitol funk and soul tracks too – titles that include "As" by Gene Harris, "Dominoes" by Donald Byrd, "The Genie" by Bobby Lyle, "Down The Way" by John Lee & Gerry Brown, "Chicago Damn" by Bobbi Humphrey, "Sassy Soul Strut" by Lou Donaldson, "Think Twice" by Donald Byrd, "Tidal Wave" by Ronnie Laws, "London Town" by Light Of The World, "Windy C" by 100% Pure Poison, "Daisy Mae" by Raul De Souza, "Movin" by Brass Construction, "Prance On" by Eddie Henderson, "Music Is My Sanctuary" by Gary Bartz, "Abdullah & Abraham" by Chico Hamilton, "Cheshire Cat" by Ronnie Foster, "Funky Sneakers" by Willie Bobo, "Sunshine" by Nancy Wilson, "People Make The World Go Round" by Bobby Hutcherson, and "Sky Islands" by Caldera.