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Yeah Yeah Yeah Yeah, Y- Y- Y- Y- Y- Y- Y-eah, this is one of best art rock albums of all time – the Eno produced full length debut of Devo – the caustic, sarcastic and fun soundtrack to society's devolution! There's nothing we don't love about Devo at this point, from their unprecedented use of multimedia, to the hard to pull off fusion of sneering social and pop culture satire with good humored fun, and that's just the conceptual stuff. The songs are original and inimitably great, too, with those squeeling synth punk dynamics. Tracks include (I Can't Get No) Satisfaction" (best rock cover ever?) "Jocko Homo", "Mongoloid", "Uncontrollable Urge", "Space Junk", "Come Back Jonee", "Sloppy (I Saw My Baby Gettin')" and more.

Get 'em started early – an infant onesie, perfect for the budding young crate digger! We're not normally ones to enlist babies in the service of helping us advertise the store – but at the suggestion of a few customers, we decided to give these a try – especially since our regular shirts aren't that well suited to lounging around the crib (and when we say "crib", we mean that in the old-fashioned way.) The onesie is 100% cotton, from Precious Cargo – and at the very least, this it should ensure you've got the hippest gift at your sister-in-law's baby shower this spring!

About as classic as you can get for 70s Fela – 2 albums that are overflowing with righteous politics, heavy rhythms, and super-extended grooves! The CD features the complete tracks from the albums Yellow Fever and Na Poi – both recorded in 1976, but compiled here with a bonus alternate take of "Na Poi" from 1975! The 15 minute tune "Yellow Fever" is a brutal attack on miscegenation, backed by a funky groove that makes the whole thing fall into place with an amazing riffing sound – and the cuts "Na Poi" and "You No Go Die Unless" both have a freer feel than usual, with heavy percussion added into the usual mix of keyboards and sax solos.

Timeless jazzy sounds from Danish groovers Povo – who have a way of making classic club jazz & soul influences as fresh as can be and all their own – made all the more wonderful on this set, with a revolving trio of lead vocalists that includes the legendary Andy Bey! Like their earlier efforts, Yellow Of The Sun In You is rooted in a diverse blend of acoustic jazz instrumentation from the 60s & 70s, played with a modern sensibility and sweet soul to spare. Styles range from a latenight smoky jazz vibe to more soul based style, and it's also Povo's most vocals focused album to date! Singers include Copenhagen-based soul singer Temu Bacot, chanteuse Saidah Baba Talibah and the great Andy Bey – singing and scatting as beautifully as he has in years. Titles include Andy Bey's "Celestial Blues", "Try To Use This Argument On Your Bank Manager", "Instead Of Being Bold About It" and "Pretentious" all sung by Bey, "The Yellow Of The Sun In You" and "In The Morning" sung by Saidah Baba Talibah (Bey's niece and a lovely, soulful singer), a really cool and totally unique pair of jazzy soul covers – Dylan's "It's All Over Now, Baby Blue" and Can's "She Brings The Rain – plus "What Not To Do" and "Modern Man", all sung with charismatic soul by Temu Bacot. One lone instrumental on this set – the neo classic jazz groover "Freedive".

One of the stranger moments in the Salsoul catalog – an album of tunes from films, interpreted by the Salsoul Orchestra in a soaring disco mode! The style was one that was certainly aimed at the more mainstream club-goers at the time – a way to reach out to the older crowds out on Long Island, and find the kind of tunes that would bring them back into the discos. But thanks to Vince Montana, the overall style is still pretty nice – soaring and complicated in true Salsoul fashion, and featuring vocals on most numbers from a trio that includes Barbara Ingram. Titles include "Evergreen", "Ease On Down The Road", "West Side Story Medley", and "Fiddler On The Roof Medley".

Wonderfully tripped out funk from one of the coolest groups ever! The Stark Reality were a one-off group who mixed together vibes, fuzzy guitar, funky bass, and some nicely choppy drums – originally in service of an album of children's songs, written by Hoagy Carmichael. These 2 tracks are some of the rarest work ever by the group – non-Carmichael tracks, written by group leader Monty Stark, and done in the same tripped-out funky style of work on the group's only album. "Too Much" is sweet mellow funk – with great skittish drums, sweet guitar, and some nice lyrics that kind of trip around the beats. "Red Yellow" is much wilder – lots and lots of fuzz, and a really tripped out noisy funk sound!

3 ECM treats from bassist Eberhard Weber – packaged in a single set! First up is Yellow Fields – a record with great soprano sax from Charlie Mariano, who also plays shenai and nagaswaram too – plus keyboards from Rainer Brunighaus and drums from Jon Christensen – on titles that include "Touch", "Left Lane", "Yellow Fields", and "Sand Glass". Next is Silent Feet – a set that features soprano and sax from Charlie Mariano, plus piano and keyboards from Rainer Brunighaus, and drums from John Marshall – on titles that include "Eyes That Can See In The Dark", "Seriously Deep", and "Silent Feet". Last up is Little Movements, from 1980 – a set that again has Weber working with great reeds from Charlie Mariano – alongside keyboards from Rainer Brunighaus and drums from John Marshall, who also plays percussion too. Titles include "Bali", "A Dark Spell", "The Last Stage Of A Long Journey", and "No Trees He Said". Mariano really gives the records a nice bite – a bit more than usual for ECM!

An excellent bit of spacey funk – and one of the most obscure Gamble/Huff records ever recorded! Yellow Sunshine are a hip funky jazz group, very tight in the riffing department, with a sound that would be more at home on Fantasy Records than Philly International. Dexter Wansel's in the group playing some excellent keyboards, and the tracks are mostly instrumentals with an excellent funky fusion groove – really ripping away with a massive intensity, and storing up a few very tasty breaks – of the sort that's made this album a legend for years with the beatheads! Titles include "All Along The Seashore", "Happiness", "Yellow Sunshine", "The Greetch", and "Apollo 17".

A great way to sample some excellent underground work – and save yourself a few dollars in the process! The CD brings together some of the best recent work from the related Tru Thoughts and Zebra Traffic label – 2 groundbreaking UK imprints who've been forging a whole new sound through their genre-blending combination of funk, soul, electronics, and hip hop! And while the set may be bargain priced, the music is all top-shelf – and features tracks from a variety of expensive imports that would cost you at least 10 times as much to track down on your own! 13 titles in all – with tracks that include "Mishaps Happening (Quantic beat mix)" by Quantic, "Out To Lunch" by Flevans, "Bubble Drop" by Jumbonics, "Playground Games (Deisler mix)" by TM Juke, "A Day In The Life Of Mr Jones (Natural Self mix)" by The Limp Twins, "For The Haters" by Dirty Diggers, "Turning Point" by Nostalgia 77, and "Just Check It" by Digitek. Also features one exclusive track – "Walking Through Tomorrow (TM Juke mix)" by Quantic Soul Orchestra!

One of the slinkiest shirts we've ever offered – featuring a wistful-looking lass with her hair in the breeze and a sultry twinkle in her eye! The image is rendered with a few simple lines – falling together, almost accidentally, to reveal this lovely lady caught in a moment of private contemplation. Thinking about her latest purchase from Dusty Groove? Perhaps. Or perhaps a lost love from days done, never to be returned. Capture the moment in heavy 100% cotton – more lasting than bronze.

One of the slinkiest shirts we've ever offered – featuring a wistful-looking lass with her hair in the breeze and a sultry twinkle in her eye! The image is rendered with a few simple lines – falling together, almost accidentally, to reveal this lovely lady caught in a moment of private contemplation. Thinking about her latest purchase from Dusty Groove? Perhaps. Or perhaps a lost love from days done, never to be returned. Capture the moment in heavy 100% cotton – more lasting than bronze.

One of the slinkiest shirts we've ever offered – featuring a wistful-looking lass with her hair in the breeze and a sultry twinkle in her eye! The image is rendered with a few simple lines – falling together, almost accidentally, to reveal this lovely lady caught in a moment of private contemplation. Thinking about her latest purchase from Dusty Groove? Perhaps. Or perhaps a lost love from days done, never to be returned. Capture the moment in heavy 100% cotton – more lasting than bronze.

An excellent bit of spacey funk – and one of the most obscure Gamble/Huff records ever recorded! Yellow Sunshine are a hip funky jazz group, very tight in the riffing department, with a sound that would be more at home on Fantasy Records than Philly International. Dexter Wansel's in the group playing some excellent keyboards, and the tracks are mostly instrumentals with an excellent funky fusion groove – really ripping away with a massive intensity, and storing up a few very tasty breaks – of the sort that's made this album a legend for years with the beatheads! Titles include "All Along The Seashore", "Happiness", "Yellow Sunshine", "The Greetch", and "Apollo 17".

Killer grooves, in a killer package too – a white vinyl 10" single – maybe the only one we've ever seen! "Yellow Soul Force" is a hard-burning funk track from Mountain Mocha Kilimanjaro – one that starts with super-fast, super-tight guitar and drums – then rolls quickly into some wicked horn passages underscored by Hammond – a massive cooker that's likely to melt the white vinyl pressing if you're not careful! "Don't Touch" begins with fast-breaking drums – almost at "Amen Brother" speed, with a wangly bassline dipping along in the background – as horns let fly and do their own thing too!

One of the slinkiest shirts we've ever offered – featuring a wistful-looking lass with her hair in the breeze and a sultry twinkle in her eye! The image is rendered with a few simple lines – falling together, almost accidentally, to reveal this lovely lady caught in a moment of private contemplation. Thinking about her latest purchase from Dusty Groove? Perhaps. Or perhaps a lost love from days done, never to be returned. Capture the moment in heavy 100% cotton – more lasting than bronze.

Seminal work from the South American scene at the end of the 60s – by a key group who managed to forge a host of styles into their own unique sound! Traffic Sound were contemporaries of groups like Black Sugar, We All Together, Telegraph Ave, and some of the other leading lights of the Peruvian scene – and like those acts, they had a really fresh style that took influences from up north and transformed them with a really unusual sense of interpretation. The work on the set is certainly psychedelic and progressive at its core – but the group are also clearly bringing in styles from Latin, soul, and the growing jazz rock movement – resulting in some surprisingly complicated numbers that groove nicely at the best moments, and which never fail to delight throughout! The CD features a total of 18 tracks in all – with titles that include "You Got To Be Sure", "La Camita", "Survival", "Solos", "Chicama Way", "Suavecito", "Lux", "El Gusano", "Tibet's Suzettes", "Inca Snow", and "Sky Pilot".

An album as lovely as its title, and John Fahey's 8th record – mostly solo guitar, but with guest drums and bass on 2 cuts – "March For Martin Luther King" and "Dance of The Inhabitants Of The Invisible City Of Bladensburg". The sound is extremely magical – introspective, yet far-seeing – with that fragile sense of being in the world that's made Fahey's work endure far longer than that of most of his contemporaries. Other titles include "Irish Setter", "Commemorative Transfiguration & Communion At Magruder Park", and "Lion". CD also features 3 previously unissued tracks – "The John Fahey Sampler – Themes & Variations", "Fare Forward Voyagers 1965", and "Steel Guitar Medley".

Forget everything you know about rock music in the late 70s – all the punk rock and new wave that's been immortalized over the years – and get ready to discover a whole new world of power pop! At the time, the power pop underground was as important to some ears as the artier and angrier work coming out of the east coast and UK – and the power pop world was one that could co-exist a bit more peacefully with mainstream rock, while still offering a great opportunity for bands on various local scenes. The work here has echoes of more famous acts of the time – like The Cars, The Kings, or The Knack – but it's also got a bit more of a home-grown, punk rock edge – one that comes through beautifully in the guitar parts, vocals, and unabashed hooks of the tunes. The set's a follow-up to the original Yellow Pills set by zine publisher Jordan Oakes – and it delves deeper than even that one, with a real focus on work from the end of the 70s, and acts that never had great chart success overall. The 2CD package features a total of 33 tracks, plus a great set of notes – all packaged in the usual high Numero standards! Titles include "Green Hearts" by Luxury, "Hey Little Girl" by Kids, "Mr Peculiar" by Bats, "Dream Rocker" by Tommy Rock, "Forever Through The Sun" by LMNOP, "House Of Horrors" by Toms, "I Feel Like A Dictionary" by Trend, "Long Time Away" by Brat, "Like I Told You" by Shoes, "She's The Girl Who Said No" by Tweeds, and "Somebody's Else's Girl" by Randy Winburn.

Classic first by the enigmatic Dimitri – one of the first modern artists to take the bachelor pad sound of the 50s, and transform it into funky grooves for the 90s. The whole thing's got a wonderfully loungey sound – with nice bits of Frenchiness and downtempo beats, plus other jazzy moments. Titles include "Un World Mysteriouse", "Par Un Chemin Different", "Sacre Francais", "Nothing To Lose", "Un Termede", "Attente Musicale", and "Dirty Larry". The CD includes two tracks on the vinyl.

The Silent Poets liked their last album so much, they decided to release it all over again – in a whole new version! This one's kind of a party effort – as a wide range of producers add into the grooves forged by the Poets, expanding the already expansive global sound, taking it all over the map with a variety of beats and breaks. Titles include "Someday" remixed by Mighty Bop, "Come Raising" remixed by Tom & Joyce, "I Will Miss This Holy Garden" remixed by Taxi, "Get Ready" remixed by Freeform Arkestra, "Prisons" remixed by Spacek, "Where The Sidewalk Ends" remixed by King Britt, "Sugar Man" remixed by Chari Chari, "Save The Day" remixed by Wechsel Garland, "Save The Day" remixed by Restless Soul, and "To Come" remixed by Julien Jabre.

Incredibly lovely work from the team of Thomas Naim and Joyce Hoze – their first full length album, and a beautiful set of tracks! The album shows a depth that we'd hardly have guessed at from the duo's earlier singles – a strong Brazilian groove that's much more than just a bossa-remix style. Joyce's vocals are wonderful and breezy – and they're set over some complex, jazzy, and hard-grooving arrangements from Tom, filled with warm instrumentation that includes acoustic guitar, percussion, and flute – all dancing in a clean, clear groove that's both classic and freshly modern. Titles include "Partir", "Queixume", "Sem Voce", "Domingo", "Para Bailar", "Un Regard Un Sourire", "Uma Lagrima", and "Relaxin".

A killer collection of Brazilian grooves – put together by the folks at Yellow Productions, and very much in the tradition of some of their other projects, like the Reminiscence Quartet. This one's a more abstract effort, though – and it fits in nicely with early work by Takemura/Spiritual Vibes, the remixes on Glucklich III, and some of the recent work on the Far Out label. Billed as a "Tokyo meets Europe" project, the record spans the 90s Japanese production of bossa-inflected grooves, touched by the modern European talent for cool production techniques. The set's got 2 CDs in all, with titles that include "Gilberto", "Searchin", "Interlude", "Ms Loneliness", "Candomble", and "Black Shrine" – plus some CD Rom bonus information and digitized paintings!

A pretty cool train-themed album from Roy Nathanson – an artist you might know for his initial work with the Jazz Passengers, working here with his Sottovoce group! Most numbers have group vocals – sung in these cool harmonized ways that are almost acapella, except for the fact that they usually break into some jazzy instrumentation – little vocal poems, almost, which then set the scene for more stretched out instrumental moments. Roy plays alto and soprano sax – and other instrumentation includes vibes, organ, keyboards, trombone, violin, and trumpet – the last of which is played on a very cool version of "Love Train". Other titles include "Subway Noah", "Safer End Of Subway Moon", "Orange Alert", "Two Horn Rain", "Dear Brother", and "Alto Rain".

If the 60's ever had a "hit" jazz record, it was probably this one! The album's a sparkling live session featuring the trademark soul jazz sounds of the Cannonball Adderley group with Joe Zawinul on acoustic and electric piano, and brother Nat Adderley on cornet. The tracks have a long soulful groove, with gutbucket solos from the 3 above-mentioned players, and tight live production by a young David Axelrod. Titles include "Sticks", "Hippodelphia", "Sack O Woe", and the classic "Mercy, Mercy, Mercy" – a jazz theme that you'll recognize instantly!

A landmark album – even if it was the only session that Cannonball Adderley ever cut for Blue Note! The album was recorded at a time when Adderley was working with Miles Davis – and as such, the session features a group that includes Miles, blowing in a cool tone that's a perfect offset to Cannonball's more soulful style. The rest of the group includes Hank Jones, Sam Jones, and Art Blakey – and like John Coltrane's Blue Train, the record's more of an "special session" than the usual Blue Note album, but the strength of the players make it one of the more memorable records of its day! Titles include "Somethin' Else", "One For Daddy-O", and a nice moody take on "Dancing In The Dark".

Like the other Art Ensemble record on Nessa, Les Stances A Sophie, this one was recorded in France on the beautiful July 7, 1969 during one of the most fruitful periods for the group. Unlike that one, though, this one is a very different recording musically. The LP features one long track, the title cut, and the music is very spare, with lots of nice isolated bass work, horn solos, and percussion. The group here is a quartet that features Roscoe Mitchell, Joseph Jarman, Lester Bowie, and Malachi Favors.

The indefatigable Atmosphere returns with its sixth proper album (and 198th if you include their always worthwhile vinyl only, web only, and otherwise underground releases – what's in that lemonade, anyway?) – and the dynamic duo is as hard hitting and cathartic as ever! Beatmaker Ant gets more and more diverse with his killer wall of sound – whether it's a busy tapestry or minimalist funk – and Slug's words and delivery are vivid as always. Tracks include "Like The Rest Of Us", "Puppets", "The Skinny", "Dreamer", "You", "Painting", "Your Glasshouse", "Wild Wild Horses", "Me", "In Her Music Box" and more.

A mix of big, bouncing 80s style electro funk beats, classic hip hop, a little bit of Miami bass, and some sly synth soul touches from Baron Zen – featuring vocals by Dave Dub and remixes by James Pants and Peanut Butter Wolf! The main version "Strange Woman's Room" is a straighter, block rocking hip hop electro style tune, but the James Pants remix trips it with stranger soul – kind in a Cameo inspired realm! "Talk To Me" on the flip has even more of an 80s uptempo groove, while the Peanut Butter Wolf remix brings in more bass and less of a synthy sheen. A couple of the cooler Baron Zen tracks we've heard to date, and comes in a great, individually spraypainted sleeve, too!

An excellent live set by the Jazz Messengers – recorded in Paris in 1958, but with a hard heavy groove that's right up there with their best Blue Note work. The group at this time – Blakey, Bobby Timmons, Lee Morgan, Benny Golson, and Jymie Merritt – plays hard, heavy, and straight ahead, with no other interference from outside players – and the track list is a batch of classic Jazz Messenger standards, stretched out a bit longer than usual, with plenty of solo space! Titles include "Moanin", "Justice", "Are You Real", and "I Remember Clifford".

Produced by the Egyptian Lover.

The classic Scott La Rock tribute double LP, with "D Nice Rocks The House", "Red Alert (Criminal Minded)", "Doc Mix (Criminal Minded)", "Super Hoe #4", "Advance", "BDP Medley #5", and lots of "Poetry" tracks, numbered 1, 2, 3 etc.

Bobby was one of the more unlikely soul acts of the late 70s – but thanks to some skillful keyboard playing and smooth vocals, he scored huge with the track "What You Won't Do For Love", a nicely compressed mellow soul cut that almost feels like ballad-style Earth, Wind & Fire circa 1975, and which has remained a perennial favorite. The cut's included here on Bobby's first album, along with the tracks "My Flame", "Love Won't Wait", "Down For The Third Time", and "Kalimba Song", another nod to Maurice White and crew, to be sure!

The album that started it all for Captain Beefheart and the Magic Band – the monumental Safe As Milk – a more focused effort the epic strangeness to come, but still a freak rock masterpiece! Don Van Vliet and the first Magic Band get loose on some messed up, raw white boy blues, filterede through a fish eye lens with an unbridled energy and the good Captain's unique approach that just begins to hint at the sublime weirdness he'd unleash later on. Includes "Abba Zabba", "Dropout Boogie", "Zig Zag Wanderer", "Electricity", "Yellow Brick Road", "Grown So Ugly", "Autumn's Child" and more.

A beautiful album of material by Tadd Dameron – and one that still stands as one of his greatest moments! The record features 5 long readings of classic Dameron compositions – like "Clean On The Scene", "Fontainebleau", and "Delerium" – all played by a great little group that includes Dameron on piano, plus Joe Alexander on tenor, Sahib Shihab on alto, Kenny Dorham on trumpet, and Henry Coker on trombone. This issue of the material has a white cover, with a blue-toned inset image of Dameron.

One of the few Lockjaw organ jazz albums from this period without Shirley Scott on the keys, and a tight quintet session that has Don Patterson at the Hammond, and Paul Weeden on guitar. There's a nice long cut with a laidback groove called "Beano", and a number of other shorter standards given the tenor/organ treatment – including "What's New", "Day By Day", and "Robbin's Nest".

One of the nicest moments from Milt Jackson in the 50s – an open-ended blowing session cut with Miles Davis, in a mode that's even better than Jackson's work for Savoy at the time! The style is very much in the key Davis mode on Prestige – with Jackie McLean in the group on alto sax, Ray Bryant on piano, Percy Heath on bass, and Art Taylor on drums. But the presence of Jackson's vibes bring out some new tones and chromes from Miles' horn – in a way that's subtle, but magical – unfolding nicely over the course of the album's 4 extended tracks! Titles include "Dr Jackle", "Bitty Ditty", "Changes", and "Minor March".

Excellent set of LA hardbop tracks by the great tenor player Teddy Edwards, with a group that includes Joe Castro, Leroy Vinnegar, and Billy Higgins. Edwards' tone is fantastic, and the tracks give him a chance to show off his soloing talent in a way that he didn't always reach on other recordings. Tracks include "Blues In G", "You Name it", "Higgins' Hideaway", and "The Sermon".

One of Duke's most popular albums of the 50s – but we won't hold that against him! The session's one of a number of 50s outings that revisit older classics with the new level of quality offered in the studio – and it's got a similar feel to some of Duke's work for Bethlehem around the same time, which was also done by producer Gus Wildi. The group includes key players Ray Nance, Cat Anderson, Clark Terry, Juan Tizol, Harry Carney, Paul Gonsalves, and Jimmy Hamilton – and titles include "Black & Tan Fantasy", "Rockin In Rhythm", "Flying Home", "Happy Go Lucky Local", and "In The Mood".

Although Pee Wee Ellis was one of James Brown's main instrumentalists in the 60s, this is one of the few records ever cut under his own name. The track's a massive funky one – with an incredible popping guitar groove, and some awesome work by Pee Wee. This was issued under James Brown's name on another single – but this version includes the harder to find part 2!

"I Ain't No Joke" is a classic from the first Eric B & Rakim LP that still holds up today – and "Extended Beat" is the instrumental version. "Eric B is on the Cut" is nearly four minutes of Eric B cutting up parts of "My Melody".

One of the few fantastic records that Percy Faith cut in the 70s, and one with a groove that's very different than his earlier sleepier albums! There's a distinct Latin theme here, and the tracks have a deep rumbling electric bass sound, and lots of cool organ, underpinned by soaring banks of strings, for a nice sweeping groovy feel on nearly all the tracks. Forget any biases you have about Percy, because this album's a groover, and it's filled with nice cuts like "Wave", "Viva Tirado", "Black Magic Woman", "Reza", "Big Yellow Taxi", and a great version of "Oye Como Va".

One of the rarest albums on the Pacific Jazz label from the 50s – featuring a side apiece of trio material by pianists Russ Freeman and Richard (aka Dick) Twardzik. Both players were known as accompanists of Chet Baker during his sublime mid 50s run at Pacific Jazz – and although Freeman is well-remembered today as the strong player he always was, Twardzik has quickly fallen into obscurity, due to a young death in the mid 50s – and this album features some of the few tracks he recorded as a leader on his own. Freeman plays with Joe Mondragon on bass and Shelly Manne on drums, and Twardzik plays with Carson Smith and Peter Littman – and titles include "Yellow Tango", "Round Midnight", "Abuquerque Social Swim", "Backfield In Motion", "Bock's Tops", and "Yesterday's Gardenias".

The first we've heard from Hiroshima-raised, Austin-based Fumi-Hito – one of the coolest, genre-blending releases we've picked up in a while! Fumi-Hito brings together spacey jazz, bits of Latin & bossa, mood altering samples and soundtracky funk atmospherics – but all tracks have live instrumentation at the heart of the sound – giving the set a really unique mix of abstract moodcraft and a tight groove underneath. The tunes are largely instrumental – and largely played by Fumi-Hito – guitars, bass, keys, and other elements. This is a hugely talented guy, and an artist to keep an eye on in the years to come! Titles include "Yellow Exploitation", "Mr Mee Said", "The Truth In Deep Blues", "Make Up Your Mind", "You & Me", "Tomorrow Brings Another Wind", "This Goes", "The Vibe", "Todo Es Arte" and a bonus track, "Tomorrow's Old Funk".

Brother Serge shocked the world when he released this album of Nazi Rock in the mid 70s – but as might be expected, the whole thing's an ironic take on fascism – and not really the overt celebration you might think! That aspect of the record becomes a bit clearer when you consider Gainsbourg's (nee Ginsburg) Jewish background – and in a way, the campy presentation of the material here almost makes the Nazis come off like the portrayal of Hitler in The Producers! Backings are by a small combo that includes the great Alan Hawkshaw on keyboards and Alan Parker on guitar – and titles include "S.S. In Uruguay", "Yellow Star", "Rock Around The Bunker", "Nazi Rock", and a great version of "Smoke Gets In Your Eyes".

Excellent work from pianist Hal Galper – and proof that he was one of the most electric keyboardists of his generation, even when working acoustically – as on this record! The only real electric element here is the presence of guitarist John Scofield in the quartet – but Galper seems to match his spirit in the way he approaches the keys of his acoustic piano – using them spaciously and flowingly, almost as if he were working working in a CTI-type setting! The rest of the group features Wayne Dockery on bass and Adam Nussbaum on drums – and titles include "Yellow Days", "Ivory Forest", "Continuity", "My Dog Spot", and "Rapunzel's Luncheonette".

An album with as much power as you'd expect from the title – and a set that's billed as featuring "Music To The Limits Of Audibility"! The limits explored are the farther ones in sound – not the lower tones at the end of hearing – and Marty Gold does a very good job of hitting the heights with his bold orchestrations, captured here in dramatic RCA sound of the time! Orchestrations are often a bit more complicated than the usual bachelor pad record – with lots of complex horn patterns especially, instead of driving rhythms – and titles include "Stella By Starlight", "The Moon Was Yellow", "I'll Remember April", "A String Of Pearls", "Without A Song", and "Misty". Very dramatic – and bound to make your speakers pop!

An excellent album recorded during the height of Benny Golson's powers as an arranger and tenor soloist! Benny leads two groups – a quintet and a nontet – both of which feature players that include Art Farmer, Wynton Kelly, Sahib Shihab, Gigi Gryce, and Paul Chambers – working with arrangements by Golson and Gryce that are very much in the spirit of Benny's classic The Modern Touch album – with a similar blend of tight conception and soulfully confident solo work! Titles include sharp arrangements of many Golson originals – like "Step Lightly", "Whisper Not", "Blues It", and "Just By Myself" – plus a good reading of Gryce's "Capri".

Big, heavy late 60s British rock from Gun – with the raw, lumbering and bluesy (or better, bloozy) power trio core that's fleshed out in the studio with horns and other more sweeping touches! It's wild stuff, a genuine precursor to heavy metal in the searing guitars, thundering drums and bass, and wild eyed vocals – we have to wonder of the label thought it was too menacing and brought in the strings and horns to make it more approachable – but it actually just makes it weirder, which we love! Titles include their hit "Race With The Devil" plus "The Sad Saga Of The Boy And The Bee", "Rupert's Travels", "Yellow Cab Man", "It Won't Be Long (Heartbeat)", "Sunshine", "Rat Race" and"Take Off". This CD has 4 bonus tracks: "Drives You Mad" plus alternate single versions of "Race With The Devil", "Sunshine" and "Rupert's Travels".

Bobby in pretty familiar territory – playing mostly trad numbers, in a New Orleans jazz mode, but with some slight Verve 60s touches. Arrangements are by Bob Wilber, and titles include "Lazy Mood", "New Orleans", "High Society", "Tin Roof Blues", "Fidgety Feet", "Basin Street Blues", "Royal Garden Blues", and "Muskrat Ramble".

A collection of themes and songs from iconic Hollywood westerns – films starring John Wayne and directed by John Ford – with bits from Stagecoach, Fort Apache, She Wore A Yellow Ribbon, Three Godfathers, Rio Grande, The Searchers and Horse Soldiers. Despite the western theme, anyone and Wayne's iconic figure, Ford is pulled off a number of different styles within the idiom, and this sample of music demonstrates pretty well, from the ominous grandeur of The Searchers, the rousing Stagecoach theme, action packed Rio Grande movements and more. Includes the main themes Stagecoach, Fort Apache, Three Godfathers, She Wore A Yellow Ribbon and Rio Grande, plus bits from each of those and more.

From the perspective of today, it's hard to understand how groundbreaking Roy's style was in American pop. The smooth soulful vocals on tracks like this are just great – and the heavenly orchestrations are a mix of pop vocals, gospel, and emerging sounds of soul. Titles include "Unchained Melody", "Hurt", "Ebb Tide", "I Need Your Lovin", and "You'll Never Walk Alone".

Maybe the title's a bit overly-optimistic – but with a record like this, you can certainly imagine a world in which everybody does like Hampton Hawes! The record's the third in a legendary early run for the Contemporary label – trio material that broke Hawes out of the box and firmly put his rich talents on the keys at the top of the list of the best players in jazz. The sound's an amazing blend of jazz idioms at the time – with some of the flourishes of the Peterson or Jamal crowd, but often a tighter, almost rootsier bottom in the rhythms – a touch of the LA soul jazz sound, showing up here quite early! The trio features Red Mitchell on bass and Chuck Thompson on drums – and tracks are short, but showcase the open sound that Hawes was developing at the time. Titles include "Night In Tunisia", "Body & Soul", "Lover Come Back To Me", and the Hawes originals "The Sermon" and "Coolin The Blues".

A darn nice compilation of Screamin' Jay's classic work for the Okeh label – wild and wooly outrageousness from one of the greatest proto rock & outlandish r&b singers and one of the biggest personalities popular music has ever seen! The set includes the classic "I Put A Spell On You", plus loads of other crazy numbers like "Little Demon", "Alligator Wine", "Yellow Coat", "Orange Colored Sky", and "Frenzy". And sure, this is the stuff that Screamin Jay later says that he regretted recording – but it's still a lot better than anything he did since! 19 tracks in all.

Essential work from one of England's greatest jazz players! Tubby Hayes is one of our favorite-ever tenor players – and although it's hard to describe just why he's so great, let's just say that we could put him up on a stage next to Dexter Gordon and Sonny Rollins, and guess that Tubby might well blow them away. He's got this incredibly deep tenor sound that never runs out of ideas – and even on the more economical numbers on this album, you'll be stunned to hear just how much he can do. The tracks were recorded in the UK, but are issued here as one of the few US LPs that was ever issued under Hayes' name. Players include Terry Shannon, Johnny Scott, Jimmy Deuchar, and other Brit talents – all in smallish groups that usually give Tubbs the lead. Titles include "RTH", "The Late One", "S'Posin", "Tubbsville", and "Wonderful Wonderful".

A great album that Brit tenor giant Tubby Hayes recorded on a trip to the U.S. during the early 60's. The set's a great batch of hard bop tracks recorded during the same time that Epic was doing great stuff like the Dave Bailey LPs, or some of the Charlie Rouse solo records. Dave Bailey's on drums, Horace Parlan's on piano, Clark Terry plays trumpet, and Eddie Costa plays vibes. The LP is magnificent, and perfectly captures Hayes' genius on the tenor in a way that few of his other recordings ever do. Tracks include "Pint Of Bitter", "Opus Ocean", "Soon", and "You For Me".

The fourth album from The Incredible String Band and by far their most sprawling to date – the double album Wee Tam & The Big Huge – which was originally split into separate LPs for the US release, but best served as a whole! Multi-instrumentalists Mike Heron & Robin Williamson began using studio multi-tracking to incredible effect on their previous LP, and continue on that path here, though accompanied by frequent collaborator Licorice (who earlier sang with the group, but contributes Irish harp & percussion here) plus violin and percussion by Rose – and the album as in turns their most ambitious and also quite intimate, particularly on the first half. 18 tracks on 2CDs: "Job's Tears", "Puppies", "The Yellow Snake", "The Half-Remarkable Question", "Air", "Ducks On A Pond", ", "Maya", "Lordly Nightshade", "The Mountain Of God", "The Circle Is Unbroken" and more.

A massive early Prestige set from tenorist Willis Jackson – and just the kind of record that set him firmly in the soul jazz camp for the 60s! By the time of the set, Jackson had already won plenty of fame for his R&B-tinged work – but here, he stretches out a bit more, and really gets creative on his solos – working with a very hip group that includes Jack McDuff on organ and Wild Bill Jennings on guitar – both players making a similar shift in their music at the time. The tracks are lively, recorded with a bold, loud tone, and have lots of those great open-mouthed tones from Jackson – quite possibly a good reason for his "Gator" nickname! Tracks include "Blue Gator", "East Breeze", "The Gator Jumps", and "Try A Little Tenderness".

Raw early stuff by Willis Jackson – and an album that has hard wailin' soul jazz solos by Brother Jack McDuff on organ and Wild Bill Jennings on guitar! Those two, plus Gator, make up the core of the combo that features additional backing by bass and drums, but you won't need to worry about the additional players, because the triple threat of tenor/organ/guitar will hold all your attention. Tracks are long, and as usual, the best ones are the originals, including "Blue Strollin", "A Smooth One", and "Keep On A Blowin".

Early brilliance from this ultra-hip Danish combo of the 60s – a quintet that cooks as well as anything that Blue Note had to offer at the time! The lineup is similar to that of the Jazz Messengers, and at times the groove is too – but at other moments, the combo opens up with freer, more lyrical lines that are even more wonderful – awash in great colors and tones, almost a bit modern, but never too academic, and always strongly swinging! Some of the best numbers hit a modal groove that's almost a precursor of the Saba/MPS styles to come – and players include Bent Axen on piano, Allan Botschinsky on trumpet, Niels Husum on tenor, Niels Henning Orsted Pedersen on bass, and Bjarn Rostvold on drums – all working with a razor-sharp intensity that's simply breathtaking. Tracks include a fair bit of original compositions – and titles include "2 4 6", "Buddah", "More Peace", "Cuba Libre", "Around 3/4 Time", "Pokerface", "Ballad No 2", and "Blue & Yellow".

Honky tonk hero Waylon Jennings on a couple RCA gems from the start of the 70s – Waylon and Singer Of Sad Songs – back-to-back on a single CD! Waylon finds Waylon really being Waylon, a lynchpin album for his coming Outlaws revolution, with spare backing and charismatic, no BS honky tonk from one of the greatest practitioners! Includes "Brown Eyed Handsome Man", "Don't Play The Game", "The Thrity Thrid Of August", "Yellow Haired Woman", "This Time Tomorrow (I'll Be Gone)" and more. Singer Of Sad Songs finds Waylon working with producer Lee Hazlewood on a number of excellent numbers that we love nearly as much as the iconic stuff he Jennings recorded later in the decade. Excellent, uber-charismatic recordings that should be hailed a bit more than they are! Titles include "Sick And Tired", "No Regrets", "Honky Tonk Woman", "If I Were A Carpenter", "Rock, Salt And Nails" and more.

Pop psyche from the UK scene of the late 60s – a group who clearly draw lots of inspiration from the American generation that includes The Left Bank, Association, and Yellow Balloon – working here in a fantastic debut album that's as rare as it is groovy! The sound is right on the money – produced with some great squishy bits around the edges, softening the guitars and sliding them right into the vocals in a really wonderful way – hardly the soft rock you might expect from early 70s expressions of the genre, and instead a cool kind of post-folk mode that's almost Sunshine Pop, but with an undercurrent of darkness! Titles include "Windy", "Open Up Your Eyes", "There Ain't No Use In Hangin On", "Seldom", "Groovy Summertime", "Wishing", and "Thoughts On A Rainy Day".

A landmark in the British blues scene of the 60s – and a record that set the tone for countless copies to come! The album's the initial offering from the Blues Incorporated group of Alexis Korner – and it features some early work by Duffy Powers joining in on vocals on a number of tracks – plus surprising contributions from trombonist Chris Pyne and tenorist Alan Skidmore, both of whom add a beat jazzy flavor to the best tunes! The original Spot label album is re-presented here with great notes and full details on the session – plus a whopping 10 more bonus tracks that even include some previously unissued numbers. Titles include "Long Black Train", "Honesty", "Yellow Dog Blues", "Let The Good Times Roll", "Big Road Blues", "Louise", "Floating", "Daph's Dance", "Watermelon Man", "The Organiser", "The Jailbird", "Ramblin", and "Back At The Chicken Shack".

Ada was a sweet voiced singer with a pretty strong jazz style – in a mode that's pretty similar to Ella Fitzgerald, although it's also clear that Atlantic was trying to peg her as a sophisticated R&B singer, in the mode of some of their other bigger female acts from the time. Unfortunately, arrangements by Dick Hyman kind of undercut any sort of R&B groove that Ada might reach – but man, oh man, are those vocals nice, and Ada proves herself to be a strong singer in just about any setting Hyman can cook up. Titles include "Gwan Train", "Night In Tunisia", "Heartaches", "Domino", "If You Go", and "Rain Is Such A Lonesome Sound".

Few players can muster a solo trombone set like Albert Mangelsdorff – and this beautiful set is great proof of that fact! First up is the album Trombirds (1972) – incredible solo work from one of the best trombone players on the planet – a set that's almost more FMP jazz than MPS – and a beautiful demonstration of the mighty talents of Albert Mangelsdorff! The set's quite unique, especially for the time – and Albert really sounds beautifully in this solo space – never blowing too free, or losing his sense of swing at all – but also really opening up his horn to new styles and new sounds – some of which are hard to believe they came from a trombone! There's a sonic sensibility to the record that's really amazing – never just blown, but always done with a sense of tone – and titles include "Sing A Simple Song For Change", "Blues Of A Cellar Lark", "Trombirds", "Yellow Hammer", and "Espontaneo". Tromboneliness (1976) has Albert blowing solo, and beautifully, in a set of highly imaginative numbers! Solo trombone may not sound like the most earth-shattering thing in the world – but in the hands of Mangelsdorff, it can definitely move mountains – creating complicated patterns of shape and sound with a very familiar instrument – used here in ways you'd never expect, even from some of Albert's other group recordings. There's a strong sense of tone here – one that's perhaps only matched by George Lewis for sheer inventiveness and creativity – and Mangelsdorff never misses an opportunity to surprise, and the whole set is refreshing throughout. Titles include "Do Your Own Thing", "Fur Peter", "Marc Suetterlyn's Boogie", "Creole Love Call", "Questions To Come", and "Bonn". The last album in the set is Solo (1982) – a simply-titled album, but one that's full of complicated sounds – trombone modes that few other players could match, and a mighty testament to the improvising powers of the legendary Albert Mangelsdorff! The set seems to draw on a range of jazz tradition – but delivers the music in a stark, fresh sort of way – tones and sounds that are almost right at home with the early 80s generation that also gave us industrial music and a huge wave of free European jazz – but always delivered here by Mangelsdorff with a sense of poise, timing, and class – proof that his inventive work on trombone was never a matter of tricks or gimmicks. Titles include "Rooty Toot", "Lost & Found", "Nexus", "Bone Blues", "JC Was Here", "Give Me Some Skin", and "Der Alte Dreiviertel".

A pivotal album for Brother Jack McDuff – and one that has him cleaning the sound of his Hammond a bit – moving into the lean, clear tone that would dominate his work for most of the 60s! There's a great sense of focus here – one that moves past simple R&B-influenced organ lines, and into a more confident jazz-based mode – one that's starting to unlock the unique rhythm and solo inflections that made McDuff so great. The group here is excellent too – with a very young Grant Green on guitar, Harold Vick on tenor, and Joe Thomas on drums. The tracks are long, with some nice flourishes that make the record shine nicely – and titles include "I'll Be Seeing You", "McDuff Speaking", "A Smooth One", and "Sanctified Waltz".

This is actually just a repackaging of McFarland's "Soft Samba" LP from 1964 – a dream of a record from Gary McFarland – lightly jazzy instrumentals with a warm bossa nova undercurrent! The style is incredible – a sweet blend of vibes, guitar, and even some light whistling – often also featuring wordless jazz vocals – scatting along with the groove in a melodic and lovely kind of way! The whole thing's incredibly charming, and even familiar tunes come across sounding quite different in McFarlands hands. Titles include "From Russia With Love", "More", "Emily", "La Vie En Rose", "The Love Goddess", and even a groovy take on "I Want To Hold Your Hand".

Another top-shelf session from Monday Michiru – one of the few current artists who's been able to hold our attention for so many years, thanks to an ever-deepening quality in her work! Back at the end of the 90s, we were first amazed when Monday moved simpler dance-based work into more complicated singer-songwriter soul – and we've listened in wonder as she's picked up stronger jazz, Latin, Brazilian, and soul influences as the years have gone on – really growing into her own, and maturing wonderfully with age! This album's way way past the early efforts that were so strongly shaped by her co-collaborators – and features production and all original songs by Monday – recorded live in the studio with a warmly glowing quality that matches the righteous vibe of the tunes and the free-soaring spirit of her vocals. If you were ready to get tired of Monday's sound and style, this isn't the album to do it – because each new track is a surprising delight, and makes us fall in love with her work all over again! Titles include "I'm Still Here", "Yellow Light", "Dig Deep", "The Right Time", "Hung Up", "Be Who You Are", "Touch The Sky", "A New Way", and "Philosophy Road".

Straddling the line between contemporary composition and improvised musics, this exploratory ensemble features modern great Roscoe Mitchell alongside the extended voice of Tom Buckner and forward thinking Japanese reedman Gerald Oshita. 7 fully improvised pieces, including "Shapes", "Phonics", "Svsa, scene 1" and the title track.

Sure, Monchito's name makes you think that he might be Machito – but the groove here is quite different, a snapping hard take on the cha cha that made Fiesta one of the greatest labels at the genre! Percussion is nice and hard, horns are plenty tight, and there's lots of interesting instrumental twists that keep things interesting. Titles include "Pao Pao", "La Ultima Noche", "Tapate", "Pancho", "No Tequila", "Santa Marta", and "Una A La Vez".

An amazing deep funk combo from Japan – one that almost rivals Osaka Monaurail for classic-styled grooves! These guys have a sharpness that reminds us of the late 60s James Brown Band at their best, touched with a bit of JBs instrumental riffing – all produced with just the right gritty edge to make the music sound even better! There's no vocals at all, and the album rolls along madly like a stack of funky 45s – way rougher and harder than you'd guess from the landscape image on the cover, and proof that the Japanese scene has plenty of deep funk to offer these days. Titles include "Time Has Come", "Yellow Soul Force", "The Bunch", "Baggy Pants", "Black Dog Black Cat Black Bird", and "Eastwood Magic City".

An amazing deep funk combo from Japan – one that almost rivals Osaka Monaurail for classic-styled grooves! These guys have a sharpness that reminds us of the late 60s James Brown Band at their best, touched with a bit of JBs instrumental riffing – all produced with just the right gritty edge to make the music sound even better! There's no vocals at all, and the album rolls along madly like a stack of funky 45s – way rougher and harder than you'd guess from the landscape image on the cover, and proof that the Japanese scene has plenty of deep funk to offer these days. Titles include "Time Has Come", "Yellow Soul Force", "The Changes", "The Bunch", "Baggy Pants", "Big Pig Affair", "Black Dog Black Cat Black Bird", and "Eastwood Magic City". UK version features two special bonus tracks – "Immigrant Song" and "Theme From Blackbyrds".

Compelling work from Johnny Nash – a much wider blend of influences than you might guess from his standout single of the 70s! This set's almost equally balanced between Caribbean influences and American soul – but it also has some deeper, more personal touches too – almost a singer/songwriter quality at points, especially on those songs penned by Nash himself. There's a clear impulse to break past any simple conventions of popular genres, and we honestly didn't know that Johnny could carry himself this well through so many different settings. Titles include "Loving You", "Love Is Not A Game", "Ooh What A Feeling", "Gonna Open Up My Heart Again", "My Merry Go Round", "Nice Time", "You Better Stop", and "Yellow House".

A relaxed small group session from saxophonist Oliver Nelson – a record that's quite different than some of his more tightly arranged dates, and a good reminder of this side of his talents! Oliver plays both alto and tenor sax on the album, and he's joined by a perfect group for the easy rolling groove of the tracks – Joe Newman on trumpet, Hank Jones on piano, George Duvivier on bass, and Charlie Persip on drums – plus a young Ray Barretto on congas, who brings in the loping, stepping groove you find on other early 60s soul jazz sets of this nature. Nelson's sax is always a treat – blown with a sharper edge than you might hear with a big group – and the tracks are all quite fress too, and include "Tipsy", "Mainstem", "Ho!", "J&B", and "Latino".

Includes "Have You Seen My Baby", "Mama Told Me Not To Come", "Suzanne", "Yellow Man", "Old Kentucky Home", and "If You Need Oil".

Cheo Belen Puig directs the group – and titles include "El Limpiabota", "Alma Guajira", "Quiereme Mucho", "Viva El Rey", "Lupina", "Errante Y Bohemio", and "La Juma De Ayer".

A very cool little 45 bag – kind of a combination of canvas record bags and old-school handhelds! The bag is made out of heavy cotton, gusseted to form a box shape, so that the bag can hold about 50 45s when fully expanded – with a zipper on the edge, and a handle on the top – just right for compactly carting around your funky 45s! And not only that, but the handsome diamond PPU logo's on the front – in glorious yellow on the bag's brown canvas.

A great little live set – recorded overseas, but with a really classic 60s southern soul sound overall! Stax always did a pretty good job of shopping its big artists overseas – where they met with extremely enthusiastic response, as you'll hear in this classic live album recorded by Otis Redding! The basic structure of the songs is very similar in time and presentation to the studio versions – but the band is very lively, many numbers are taken at faster tempos, and Otis is working himself to death to please the screaming crowd. Titles include "Day Tripper", "Try A Little Tenderness", "Respect", "Can't Turn You Loose", "My Girl", and "Shake".

Vivian Reed was an obscure soul singer who cut a few equally obscure albums for Epic, of which this is the first. Given that she was a new discovery by the label, it's not surprising that the record was handled in the way that it was – she was produced in 2 different styles, one with arrangements by Jimmy Wisner that have a rootsier soul quality, the other with nice Philly touches by Thom Bell and Bobby Martin. The Philly stuff's the best, and the Bell/Martin team really knows how to get the best out of Vivian – especially on tracks like "Let's Fall In Love All Over Again", "Look The Other Way", "Down Here On The Ground", and "Walk On My Side".

An overlooked gem from Rollins – and a record that has him playing with a bit of an electric feel, in a style that's similar to some of Joe Henderson's early 70s Milestone sessions! Similar to Henderson's albums, George Cables plays a bit of electric piano on the set – grooving nicely in a chunky style that brings a lot more rhyhtm than usual into Rollins' playing. The result might not be totally great if you're a fan of hardbop Sonny, but to our funky ears, it's a real treat – and has made the album a treasure that we've loved for years! Tracks are long, and tunes include "The Everywhere Calypso", "Poinciana", "Playin In The Yard", and "Keep Hold Of Yourself".

A solid effort from the team of DJ Krush, DJ Hide and DJ Sak – plus a host of guests – performing as Ryu! Like much of Krush's work, the crew whips up a pretty seamless blend of downtempo atmospherics, pounding hip hop-learned beats and organic live instrumental flourishes – on a track list that combines moody instrumentals and guest vocals that range from club soul to raps. The vocals are mostly in Japanese – but the beats speak should speak for everybody! Tracks include "Reminisce" featuring Tunde Ayanyemi, "Yellow Bamboo 4898" feat Shuzan Morita, "Never Too Soon" feat Anita Jarrett, "Song From The Far East", "Lost To See" feat AH, "Ill Beatnik" feat Boss The MC, "Beataholic Reformatory" feat Beat Knuckles and more.

A great little trio set from Japanese pianist Masahiko Satoh – working here on both acoustic and electric piano, with incredible rhythm support from Eddie Gomez on bass and Steve Gadd on drums! All players are really given a lot of room to do their thing here – Gomez with those round, flowing tones we love so much – and Gadd with a sound that's sometimes forceful and driving, sometimes quite spare and pointed. Satoh's keyboard lines really match the spirit of these rhythms – and although the date of the session is somewhat late, the album's got a free, open style that's right up there with his best 70s work. Titles include "Nouvell Cuisine", "Go No Sen", "Yellow Dolphin", "Fumon", "Evening Snow", "Bamboo Shoots II", "Duke's Calypso", and "All Blues".

A lightly grooving set from organist Shirley Scott – never that earth-shattering, but a pretty great album nonetheless! Shirley's keys dance nicely around rhythms from Earl May on bass and Roy Brooks on drums – never too complicated, but a bit more progressive than usual – and set up in a way that really lets the Hammond dominate the tracks, and stretch out in a bit more improvisation than some of Scott's other Prestige sessions. Tracks are slightly long, and titles include "Happy Talk", "Jitterbug Waltz", "My Romance", "Where Or When", and "Sweet Slumber".

Almost a "greatest hits" of greatest hits albums – one of those collections that almost sold more copies than all the full albums by the artist – forever earning Sly & The Family Stone a place in record collections around the globe! All the hits are here, laid out back to back in all their righteous goodness – never a single spot of filler, and all-classics, all the way through! Titles include "Thank You Falettinme Be Mice Elf Agin", "Life", "Everyday People", "I Want To Take You Higher", "Everybody Is A Star", "Dance To The Music", "Hot Fun In The Summertime", and "Sing A Simple Song". All funky – all classic!

A wonderful album from Sly and crew – moving way past the straight funk approach of earlier records, into a complicated crossover soul style that's filled with warmth and righteousness! Despite the political tone implied by the "riot" in the title and the co-option of the American flag on the cover, the album's strongest suit is its warmth and personal soul message – sometimes filled with politics, sure, but always sounding like a sexy love song, no matter how hard it tries to get righteous! The flow is wonderful throughout – a very well-thought out album that shows that Sly was singing way past the singles scene – and the record's filled with great cuts like "Family Affair", "Luv N Haight", "Brave & Strong", "You Caught Me Smilin", and "Thank You For Talkin To Me Africa". Also features "There's A Riot Going On" – which runs for "0:00" minutes!

Raw and rumbling Brit mod rock and r&b fueled grooves from The Sorrows – who recorded quite a number of exciting sides in the mid-to-late 60s – this comp focusing on the cream of their crop of excellent English recordings! Our favorite stuff might be the more fiery rave ups – they could work their way around a more measured approach just as well, but when the build into a frenzy it's a thrill! Titles include "I Don't Wanna Be Free", "Come With Me", "Baby", "Teenage Letter", "No, No, No, No", "Let Me In", "Baby All The Time", "Gonna Find A Cave", "She's Got The Action", "Cara-Lin", "We Should Get Along Fine", "My Gal", "Pink Purple Yellow And Red", "Don't Sing No Sad Songs For Me" and more. 30 tracks in all!

A great one! This album represents Verve at the height of their late 60s nutty stage – and the record is a wild mix of jazzy arrangements with lots of other cool orchestrations. The band is led by trumpeter Marvin Stamm, and the arrangements are by Johnny Carisi. The arrangements are very off-kilter – and even thouugh there's no strange instruments on here, you might think so from the sound of some of the tracks. The album features some nice originals like "Machinations", "Flute Thing", and "Jes Plain Bread" – plus very nice covers of "Sunny" and "March Of The Siamese Children".

Lew Tabackin looks a bit stiff on the cover of this one (who wouldn't, in a tan polyester suit?) – but the record's a surprisingly hip date, and a great chance to hear Lew away from his 70s big band with Toshiko Akioshi! As the title and cover imply, the album features Tabackin's "dual nature" on reeds – with one side of flute performances, and another of tenor – both of which are surprisingly soulful. The flute work is somewhat sensitive, and beautifully done – almost poetic at points, and played with a style that's quite different than Lew's big band work. Group members include Don Friedman on piano, Bob Daughtery on bass, and Shelly Manne on drums and waterphone – a rhythm section that really matches the sensitivity of Tabackin's groove on the titles "Euteurpe", "Yellow Is Mellow", and "Out Of This World". The tenor work is a bit more hard-edged, almost boppish, but with a slightly more laidback feel – and titles include "No Dues Blues", "My Ideal", and a great take on "Russian Lullaby".

Unlike the mellower Breeze from the East LP (another Tjader "eastern" session), this one's got some very lively Latiny stuff – despite the orientalist theme of the LP. There's a monster version of Horace Silver's "Tokyo Blues", plus takes of Lalo Schifrin's "The Fakir", "Borneo", "Song of the Yellow River", and "Almond Tree". Schifrin conducts and plays piano, and the group also runs through a very tight version of Quincy Jones' "Hot Sake". In a cool Verve gatefold, with Japanese-y jade statues on the front.

Heavy guitar from James Blood Ulmer – still steeped in those deep, rich tones he seemed to pick up from the Hendrix generation many years past – presented here in an array of jazzy modes! Ulmer's got some of the freeness you'd know from his harmelodic years – that stretched-out way of soaring that really made him a key guitar inventor at the start of the 80s – and a few other cuts here are a bit more straightforward, although still with plenty of offbeat touches. Other players include Mark Peterson on bass and Aubrey Dayle on drums – and titles include "A Thing For Joe", "High Yellow", "Baby Talk", "Maya", "Eviction", "Fat Mama", "No Man's Land", and "Backbiter".

Great early work from this genius! Bobby blows alto with a group that also features Charles Bowen on tenor, Curtis Fuller on trombone, Ray Drummond on bass, James Williams on piano, and Victor Lewis on drums. Titles include Watson originals "Fuller Love", "All Because Of You", "In Maya's Apartment", "Pamela", and "A Second Party" – and Pamela Watson sings on one cut.