A pair of classics from Earth Wind & Fire – back to back on a single CD! First up is Spirit – a big hit for the group – and a great album of smooth funky soul! Spirit is a perfect example of the way that Earth Wind & Fire could tighten things up, yet still keep them real – holding onto the deeply spiritual side that first made them great – but also focusing their energy towards a wider audience that showed their influence for years! Of course, with Charles Stepney helping out on production, it's hard to miss – and he's one of the few cats who could handle a blend like this so well. The compression in the band's playing is impeccable – with just the right mix of spacey spiritualism, sophisticated jazzy playing, and a straight ahead love of the soulful hook. Includes the instrumentals "Biyo" and "Departure", plus the vocal tracks "Earth Wind & Fire","Burnin Bush", "Spirit", "Imagination", and "Getaway", all produced to perfection by Maurice White and Charles Stepney! That's The Way Of The World may be 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

A pair of 70s gems from Harold Melvin & The Blue Notes! Black & Blue is classic Philly soul from Harold Melvin & The Blue Notes – a killer batch of studio tracks, despite the live image of the group on the cover! The album's got a slightly more expansive feel than some of the other Teddy Pendergrass-era albums by The Blue Notes – almost a mini-symphony of soul, and one that takes arrangements from Bobby Martin, Norman Harris, and Vince Montana – and wraps the vocals up in a soaring, righteous sort of feel! The rougher, more personal Teddy Pendergrass style of I Miss You is folded a bit more into the harmonies of the rest of the group here – and the result is a powerful wave of soul that pushes The Blue Notes right to the top of the pack. The album features classics like "The Love I Lost" and "Is There A Place For Me" – plus other nice material like "Concentrate On Me", "It All Depends On You", and "I'm Weak For You". On Wake Up Everybody, Teddy Pendergrass and crew get a bit more political than on earlier releases, and adopt the righteous bubbling soul groove that had put the O'Jays over the top a few years earlier – with incredible results! The title cut – "Wake Up Everybody" – would prove to be a great example of the political Philly International hit formula applied to socially conscious themes, but the record probably scored even bigger with the club crossover hit "Don't Leave Me This Way". Other tracks include "Keep On Lovin You", "Tell The World How I Feel About Cha Baby", "I'm Searching For A Love", and "You Know How To Make Me Feel So Good" – the latter two of which also feature female vocals by Sharon Paige. Bobby Martin, Norman Harris, and Ronnie Baker did the arrangements – and this was Teddy's last LP with the group. CD

A beautifully done look at the music of Harvey Scales – a damn funky cat from the Milwaukee scene, finally getting his due! The package is overflowing with groovers – hard funky 45 cuts that Scales recorded for the Magic Touch label – mostly in the late 60s and start of the 70s – wrapped up here in a lavish booklet that's filled with well-researched notes, and vintage photos – a set that really sets a whole new standard for the Tuff City label! Scales' groove is one that we've always loved on 45 – a dancefloor-directed version of soul that falls somewhere in a space between Archie Bell & The Drells and Dyke & The Blazers – but with a heavier sound overall. Yet having all these cuts together in one place seems to give them even more intensity than before – a powerhouse package of 20 rare tracks that run the gamut from upbeat soul to heavy funk to a few early disco numbers as well. Titles include "Love-It is", "Broadway Freeze", "Get Down", "The Yolk", "The Funky Yolk", "Get Down 1970", "Funky Football", "Trying To Survive", "Bump Your Thang", "Groove On Sexy Lady", "Rock The World", "Welcome Home", "The Sound Of Soul", "Too Good To Be True", and "Love Is A Gas". Beautifully done package – with an almost Numero-like feel inside the booklet! CD

An essential bit of 70s jazz funk – one of the key Blue Note collaborations between trumpeter Donald Byrd and producer/arranger Larry Mizell – the man who helped set a whole new standard for soulful sounds at the time! The approach here is quite similar to the pair's work on Places & Spaces – tight, but loose at the same time – with Donald delivering solos that are very different than his work from the 60s, while Mizell finds this way to mix together all sorts of instruments, at so many different levels – but with a clarity that's mindblowing. Most tracks have a nice groove, a few points feature a touch of vocals – and titles include the classic, and oft-sampled "Think Twice" – plus "We're Together", "Makin It", "Rock & Roll Again", "I Love The Girl", and "You Are The World". CD

A truly amazing album – unlike anything Eddie Kendricks ever did before, or since – and one of those records that really helped shape the sound of soul in the 70s! The music is as rich and powerful as the image on the cover – with some righteous undercurrents that really mark the time and place of the record, yet also help it transcend so many other standard soul modes of the period too! Arrangements are wonderfully complex – as you'll hear on the classic groovers "Girl You Need A Change Of Mind" and "Date With The Rain" – each very different numbers, but both a showcase for Kendricks' wonderful vocal approach. Other titles include the progressive "People Hold On" – plus "I'm On The Sideline", "Day By Day", "If You Let Me", "Let Me Run Into Your Lonely Heart", and "Someday We'll Have A Better World". CD

A heavenly set of funky tracks from the indie scene of the 70s – titles that were all recorded as singles for the gospel market, but which have a fair bit of funk in the rhythms! These tunes all have massive appeal well beyond their spiritual message – heavy drums, amazing basslines, and nicely gritty instrumentation that sets these cuts up right next to funky 45 treasures from the mid 70s – but which also gives them a slightly different feel, too – thanks to some uplifting messages in the lyrics, which also means that the vocal styles are nicely changed up from more standard funk-based lyrics! The blend is wonderful, and completely captivating – and we'd not heard most of these cuts before digging into the collection – which goes every bit as deep as the Good God gospel/funk collections on Numero. Titles include "If You See Me Doing Wrong" by Wearyland Singers, "I Don't Want To Be Alone" by Allen Gauff Jr, "Troubles Of The World" by The Christian Harmonizers, "Save A Seat For Me" by Vocal Aires, "Blackman Keep On Doing Your Thing" by The Original Christian Harmonizers, "Days Are Just Like People" by Zella Jackson, "I've Got Power In My Mind" by Preacherman Isidore Womack, and "Who's Your Boss" by Pearl Farano & The High Lites Of Joy. CD

Killer Four Tops material from the early 70s – and a record that proved that they didn't need to be on Motown to still keep churnin' out the hits! The sound is sophisticated, and pushes past the standard format of the group's good-selling records for Motown – hitting a classic AM Radio soul groove that's best summed up by the album's monster hit "Ain't No Woman (Like The One I've Got)", one of those tracks that will probably be played around the world for years and years and years. The rest of the record's just as great, and includes loads of tasty numbers – like the excellent title cut "Keeper Of The Castle", plus "Love Music", "Turn On The Light Of Your Love", and "Remember What I Told You To Forget". Soulful and sophisticated, and a nice break from the Motown years! CD

60s Chicago soul doesn't get any better than this – a sublime debut from the legendary Walter Jackson – done in a smoothly sophisticated style that set a whole new standard for the genre! The record steps off nicely from some of the earliest work by Jerry Butler and The Impressions – blending Chicago soul with more adult-styled orchestrations from Riley Hampton – at a level that has Jackson sitting beautifully across a number of different modes at once – still appealing to the kids with the uptown groovers on the set, but also reaching to an older crowd with the beautiful ballads and heartbreaking love songs. The sound is incredible – easily one of the most fully realized full-length soul records on the Okeh label – and titles include "What Would You Do", "There Goes That Song Again", "I Don't Want To Suffer", "That's What Mama Say", and "It's All Over". CD adds in 10 more bonus tracks – most of which are previously unissued – making for an amazing collection that's one of the first time that Jackson's work at Okeh is finally getting its due! Bonus titles include "The Heartbreak Road", "Anything Can Happen", "Blue Rose", "Starting Tomorrow", "Don't Play With Love", "It's Hard To Believe", "You Gotta Give", and "Tell The World". CD

Three great albums in one package! Steam is a later set from Archie Shepp and a real lost gem – quite different from his earlier works, especially the better known late 60s sessions – and a surprisingly nice album that runs through some truly excellent longer takes – filled with warmth and tenderness you wouldn't expect! Steam was recorded in early 1976, in a stripped down setting, with Cameron Brown on bass and Beaver Harris on drums. The group wonderfully rolls through Ellington's "Solitude", Shepp's "Steam", and the epic "A Message From Trane", a tremendous number written by the great Cal Massey – and Shepp plays both tenor and piano on the record. CD reissue includes bonus tracks not on the original album – "Ah Leu Cha" and "52nd Street Theme". Lover Man is an overlooked treasure from his years as a straight jazz musician – a time we come to appreciate more and more as the years go by! The Shepp heard here is one who's still got all the raw tone and bite of the old days, but also finds a way to swing things on a set of familiar standards – so that he's cutting these great raspy lines out of tunes you might already know – but which are taking on a whole new life in the process. The small combo also features Dave Burrell on piano – another player who could go out, but instead here hangs inside, yet uses all the knowledge of his reach to keep things interesting. A few of the tracks feature vocals from Anne Lowman – with Shepp alongside on tenor – and the rest of the group features Herman Wright on bass and Steve McCraven on drums. Titles include "Brand New World/Breaking A New Day", "My Funny Valentine", "Stars Are In Your Eyes", "Lush Life", and "Yesterdays". Something To Live For is a set of standards from Archie Shepp – but one that's done in a much less traditional way than you might expect – that new standard of returning to roots, but doing them differently that Shepp first began in the 70 – and which really colored the rest of his recording career in a really strong way! Shepp plays tenor, but also vocalizes on many tracks – almost more talking than singing at times, with a raspy, almost bluesy style – but not blues at all – an element that's warmed up by the sparkling trumpet and flugelhorn of Eddie Henderson, whose role in the lead is equally as important as Archie! The rest of the group features John Hicks on piano, George Mraz on bass, and Idris Muhammad on drums – all players who make great contributions in more subtle ways – on tunes that include "You're Blase", "California Blues", "My Foolish Heart", "A Flower Is A Lovesome Thing", and "Something To Live For". CD

Christmas sounds, and a bit more too – an interesting collection of material recorded by Aretha Franklin in the early 60s for Columbia, and in the late 80s for Arista! There's definitely a fair bit of Holiday tunes on the set, but they're also mixed in with a few standards too – but these are done in a warmly jazzy style from the 60s, so that they fit right in with the sentiment of the Christmas songs – and round things out with a nice sense of variety. Titles include "Winter Wonderland", "Over The Rainbow", "Kissin By The Mistletoe", "The Christmas Song", "Accentuate The Positive", "God Bless The Child", "The Lord's Prayer", "Oh Happy Day", and "Joy To The World". CD

Three-dimensional magic from the great Jimmy Castor – an artist who'd already conquered the worlds of sweet soul, heavy funk, and Latin by the time of this release! Jimmy draws on all his rich background in the soul underground, and also seems to move with a new sort of sophistication, too – not in a way that's slick or commercial, but which shows Jimmy only deepening his ideas in the era of Marvin Gaye and Isaac Hayes – going for some bigger arrangements and ambitious production, while still staying true to his groovy self! There's a vibe to the record that almost reminds us of some of the creative productions that Harvey Fuqua was doing for RCA at the same time – with New Birth and The Nite-Liters – and Jimmy's maestro seems to be Gerald Thomas, who knows how to spin just the right mood for each different track. There's even a few instrumentals, which showcase Castor's great skills on tenor – ala Stanley Turrentine in a similar mode – and tracks include "How Beautiful You Are", "Helpless", "I'm Not A Child Anymore", "The Lone Ranger", "Revelation", "Whiter Shade of Pale", and the tasty "The Last Ole", which is sort of a rumbling sinister slow funk track. CD

With a record like this, it's hard to believe that Christian Scott started out in more standard jazz – as Chief Xian Atunde Adjuah is a very different artist altogether, one who wraps together worlds and eras of musical heritage – working here in a set that's very heavy on percussion, vocal refrains, and other elements you never would have heard in his earlier music! The leader works a whole host of percussion along with other members of the group, but also adds in some larger production elements too – always in a way that's nicely subtle, and preserves the acoustic energy at the core – yet which really enriches the proceedings too! The album's overflowing with righteous power – and titles include "On To New Orleans", "Bark Out Thunder Roar Out Lighting", "Xodokan Iko Hu Na Ney", "Trouble That Mornin", "Blood Calls Blood", "Ashe Chief Donald", "Golden Crown", and "Shallow Water". CD

A pair of fusion classics – back to back in a single set! Where Have I Known You Before is a killer classic from the second chapter of Chick Corea's Return To Forever group – standard-setting fusion for the 70s, and a showcase of keyboard skills from Chick that nobody would have imagined years before! There's definitely plenty of soaring energy at the core of the record – the great Lenny White on drums and percussion, and Stanley Clarke on a bit of organ and plenty of bass – the latter of which is used in nicely different ways than his work with George Duke! Al DiMeola plays electric and acoustic guitar, and Chick also uses a bit of acoustic, next to Fender Rhodes, clavinet, and organ – and there's a warmth here that few other fusion combos could ever hope to touch. Titles include "Vulcan Worlds", "Where Have I Loved You Before", "The Shadow Of The Lo", "Where Have I Danced With You Before", "Beyond The Seventh Galaxy", "Earth Juice" and "Song To The Pharoah Kings". No Mystery is one of the key moments from this legendary group of the 70s – a set that really helps redefine the fusion groove of the time – moving away from some of the more rockish modes that others borrowed from prog, using some of the Brazilian influences that Flora Purim brought to an earlier incarnation of the combo, and also touching off on some of the soulful styles that others would soon pick up on the mainstream! Chick Corea handles a host of incredible keyboards – and the rest of the lineup features Al DiMeola on guitar, very much electric at many points – plus Stanley Clarke on bass and Lenny White on drums and plenty of percussion – really helping the group soar to the skies. Titles include "Dayride", "Jungle Waterfall", "Flight Of The Newborn", "Sofistifunk" and "Excerpt From The First Movement Of Heavy Metal". CD