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"Stomped" produced by Rockwilder. "Make You Say Yes" features a guest spot by Krumb Snatcha & produced by Da Beatminerz.

"Stomped" produced by Rockwilder. "Make You Say Yes" features a guest spot by Krumb Snatcha & produced by Da Beatminerz.

We'll be honest, we like Barbara Mason more as an adult artist than we do as a younger one – especially the way she sounds on sets like this! The album's got a great gentle groove at times – Butch Ingram production that brings in modern, mature elements – but also somehow unlocks a more deeply soulful vocal approach than on some of Mason's earlier albums. A few cuts have a great stepping groove – and titles include her classic mellow cut "She Got The Papers (I Got The Man)" – part of the Barbara/Shirley/Richard Dimples Fields song cycle – as well as a remake of her first hit "Yes, I'm Ready", plus lots of others like "On & Off", "I Love Having You Around", "I Can Want You", "Let Me Give You Love", and "You Did Not Stay Last Night". 13 cuts in all, with much more than the original LP!

Al's an obscure singer – but one with an excellent voice, very much in the "iceman" tradition of Garland Green or Jerry Butler. It's no surprise that he sings Butler's classic "I Stand Accused" on this one, done in a version that's more updated and a bit nicer than the original. "Yes, My Goodness" is a great one, too – and the credits make it appear to be written by Butler and Bobby Womack!

Sublime vocals from the legendary Phil Perry – still sounding wonderful after all these many years, and getting some great contemporary help from producer Chris "Big Dog" Davis! The album's got a sweet-stepping vibe that really lets Perry shine – a warm sound that reminds us that his mellowest moments are still some of his finest – although Phil's also one to never let things slow down too much to get sleepy! The gentle groove holds strongly throughout – an equal Big Dog contribution that shows he's a great partner for Perry – and titles include "Peel The Veil", "Just A Little Bit", "Can't Hide Love", "Say Yes", "You Belong To Me", "Tonight Just Me & You", "Where Is The Love", and "You Send Me".

The first rumblings of the pop genius in Yello's music – a record that still has all the best quirky electronics of their first two sets, but which also focuses that energy into a sound that's often more direct and oddly hook-oriented on the best numbers! There's a really percussive vibe going on here – a quality that makes the album almost more darkly rhythmic than other efforts, but which also pushes some tunes ahead with quite a sense of drive – mixing early samples, analogue electronics, and Dieter Meier's always-great vocals into a sound that's still better than many of the countless groups who sprung up in Yello's wake. Titles include "I Love You", "Swing", "Heavy Whispers", "Crash Dance", "Lost Again", "Smile On You", "Pumping Velvet", and "Salut Mayoumba".

Stellar live Yes – recorded during their 1972 tour, when the group was at the height of their jamming powers! Sweet Roger Dean cover, too!

A totally great mellow soul track – recorded during the late Curtom years, by a group that may or may not be the same one on Salsoul! "Yes I'm In Love" is a really heavenly little number – a tune that builds and burns with a solidly soulful feel – mature 80s soul at its best, really sent home with the track's incredibly catchy hook! There's a nice stepping rhythm around the middle of the tune – and the flipside's equally nice too! "After All This Time" has much more of a boogie sort of groove – sweeping along in a great post-disco sound, with full arrangements that still keep things soulful enough overall!

An album of surprising brilliance – recorded late in the career of Yes, but one of the group's biggest hits ever! And while we've always been fans of Anderson, Squire, & Co, we're also ready to admit that the real star here is Trevor Horn – who produced the album and put the whole thing together with the kind of choppy feel as his best early productions for ZTT, especially work by Art Of Noise. The album's "Owner Of A Lonely Heart" still has a great resonance to our ears as a street-grooving number from the electro years – even despite its chart and radio fame at the time – and other tracks on the album follow in a nicely similar groove. Other titles include "Hold On", "It Can Happen", "Cinema", "Leave It", "Our Song", "City of Love", and "Hearts".

A strong collection of poignant songs about the hardships, the hopes, and the basic need for a quality life for this leaving Africa – from Somali via Canada rapper K'Naan, to Saba Saba, Zubz, Daara J Family and many more. Steeped in hip hop, the titles include "Money Talk" by Rapturous, "15 Minutes Away" by K'Naan, "Green Card" by Saba Saba, "Time To Heal" by Zubz, "Unite" by Daara J Family, "Green Passport" by Modenine feat Sage Hasson, "Immigration Clandestine" by VA Capsi Revolution and more.

Includes "Close To The Edge", "Siberian Khatru", and "And You & I".

An excellent little collection – one that shows that the Chicago-based United Records label cut vocal work to match the best New York indies in the 50s! The tunes here are mostly jazz, but have some of the harder edges that you'd guess from United's R&B work too – and the singers are all wonderfully top-shelf – a fair bit of names you might not know at all, which makes the package a real revelation to our ears – mixed with rare recordings by a few others, including the first sides ever from Della Reese! Backings are great – tight and jazzy, often with a strong element of bop – and titles include "Never To Cry Again" and "Fallen" by Bixie Crawford, "Until I Fell For You" by Vanita Smythe, "I Can't Forget" and "Somebody Will Understand" by Terry Timmons, "How Deep Is The Ocean" and "A Fool Was I" by Helen Fox with Jimmy Coe, "Mays' Haze" and "Old Mill Stream" by Betty Mays with JJ Johnson & Kai Winding, "Please Wait For Me" by Debbie Andrews, and "Yes Indeed" and "Blue & Orange Birds & Silver Bells" by Della Reese with Jimmy Hamilton.

A stellar nstro from Damu The Fudgemonk – on a cool flexi 45 soundsheet! "Yes We Can" has crackling, heavy beat underneath a killer bassline, some sampled vocal atmosphere, keys and horns. All in all, this is a top notch jazz, funk and soul steeped instrumental – and one with a gritty, crackling vibe that's served well in the flexi- format!

A stellar nstro from Damu The Fudgemonk – on a cool flexi 45 soundsheet! "Yes We Can" has crackling, heavy beat underneath a killer bassline, some sampled vocal atmosphere, keys and horns. All in all, this is a top notch jazz, funk and soul steeped instrumental – and one with a gritty, crackling vibe that's served well in the flexi- format!

Amazing music – a 2LP package that features both of Barbara Mason's early albums, in heavy individual sleeves – pressed on 180 gram vinyl, with heavy tip-on jackets! Yes I'm Ready is a landmark record – not just for Barbara Mason, or for female Philly soul – but for the role of women in soul music too! The title cut is a stunner – an honest, earnest, yearning message from a youngster ready to take the next step – a bit creepy at times when you come to think of it, but also a door-opening number that really helped pave the way for more robust female sensuality in years to come. The tune's got a fragility that's wonderful – and is followed up here with a host of other great numbers that follow in a similar groove. In addition to the hits "Yes I'm Ready" and "Sad Sad Girl", other tracks include "Misty", "You Got What It Takes", "Keep Him", "Trouble Child", and "Girls Have Feelings Too". Ooh How It Hurts is sublime early work by Barbara Mason – featuring a heartbreaking set of ballads and weepies that are perfect for her young voice. The record is even stronger than before – with a number of tracks that have her hitting a much more mature approach to love, one that takes her a lot farther than usual. Barbara's vocals are bit more grown up – with a deeper soul groove than her early little girl style. Most of the tracks are penned by Barbara, too – and titles include "Oh How It Hurts", "Poor Girl In Trouble", "I Need Love", "Game Of Love", "If You Don't", and "I Don't Want To Lose You".

The second live set we've gotten to hear from Mario Biondi, and it's the second terrific and worthy one! Yes You Live is a double set that finds Mario working in both acoustic jazz and electric jazz modes – both with a lot of soul. There's a contemporary freshness to the whole thing, as well as a genuine love of classic soulful jazzy vocal performers – traits we've always loved about Mario's studio work and sounding all the more vibrantly alive in a live setting! CD Yes includes "Nature Boy", "Serenity",, "Black Shop", "Love Dreamer", "Winter In America", "Ecstasy" and more. CD You features a middle section of tracks with Incognito, including "No Mo' Trouble", "Lowdown" and "Can't Get Enough", plus "I Know It's Over", "Bom De Doer", "I Wanna Make It" and more.

A gem of a record from Nat Adderley – filled with short soulful groovers, and done with an upbeat vibe that rivals some of Cannonball's best of the 60s! Joe Zawinul handled the arrangements, so there's definitely a strong influence here from the Cannon group – and although the players shift a bit throughout the course of the set, there's a really unified feel – thanks to a top-shelf lineup that includes Seldon Powell on tenor and flute, Ernie Royal on trumpet, Benny Powell on bass trombone, and Willie Bobo on percussion! The set features all original material by Nat – with older gems and new favorites that include "Little Boy With The Sad Eyes", "Never Say Yes, "Jive Samba", "Stony Island", "Junkanoo", and "Work Song".

Bruce Barth is a pianist who always knows how to open up and run – making him an excellent choice for the Smalls Live series – easily some of the best-recorded live jazz CDs in recent years! Barth's touch on the keys is amazing – very fluid, and a mixture of sharp tones and gentler elements – always incredibly well-conceived, and really holding up in the space of the album's extended tunes – which also are almost all original compositions as well! The trio features Vincente Archer on bass and Rudy Royston on drums – and titles include "Yama", "Almost Blues", "Oh Yes I Will", "Afternoon In Lledia", and "Wilsonian Alto".

Titles include "Eight Days A Week", "Words Of Love", "I Don't Want To Spoil The Party", "Every Little Thing", and "Yes It Is".

A massive collection of work from Beggars Opera – Vertigo Records giants who work here with a heck of a lot of great work on organ! The set features a fair bit of music from each of the group's four albums – Act One, Waters Of Change, Pathfinder, and Get Your Dog Off Me – plus some single tracks too – all wrapped together as a 2CD set that really shows a great progression in the group's style – from tripped-out and jamming, to tighter and more song-based – yet always with a soaring sort of energy in the end. The keyboards alone have a strength to rival Rick Wakeman's best work for Yes – and titles include "Passacaglia", "Memory", "Raymond's Road", "Festival", "Impromptu", "Fox", "The Witch", "Pathfinder", "Sarabande", "Think", "Time Machine", "Lament", and "Working Man".

A Native Tongues (more or less) hip hop classic from 1991! We hardly need tell you about this one, but in case you can't remember, this is the LP with "Flavor Of The Month", "Similak Child", "Pass The 40", "To Whom It May Concern", "Butt In The Meantime", "Strobelite Honey", and more! CD includes the bonus tracks "The Choice Is Yours (Revisited)" and "Yes".

Ah, yes, it's a sunshine day, alright – and this batch of groovy, polyester 70s TV pop fits just right! God help us for admitting this, but these goofy, well arranged, dumb fun numbers from the Brady Kids 70s LPs are a heck of a good time, and a pretty true distillation of 70s vanilla pop sounds. It ain't nearly as glorious as the best stuff from the Monkees or the Partridge Family as real pop art, nor does it need to be. Like Jonny Bravo, they they fit the suit just fine! Includes "It's A Sunshine Day", "We Can Make The World A Whole Lot Brighter", the very Brady cover of cheese classic "American Pie", "Keep On", "Merry Go Round", "Candy (Sugar Shoppe)", "Truckin' Back To You", "We'll Always Be Friends"

James Brown, proud and loud – a smoking 60s album that provides a great link between his earlier styles and his freer roots – with a brilliant blend of funk, soul, and a touch of raw R&B! Given the power of The Godfather at this point, there's no denying that even the older cuts have a punch that few others could match – making for a record that feels mighty darn unified, despite the stretch of time between a few of the recordings. Titles include the funky gems "Ain't That a Groove (pts 1 & 2)", "The Scratch", "Is It Yes or Is It No", and James' great version of "The Bells" that's always been one of our favorites – plus Just You & Me", "I Love You Yes I Do", "Come Over Here", and "I Don't Mind". The cover also comes with an "autographed" photo of James on the back with the text "James Brown Fans – Frame This 8 x 10 Picture" – and an image that says "Soul Brother #1 Is Peeking At You Thru The Key Hole"!

A brilliant extension of the Love set from Build An Ark – focusing on some of the more improvisational spirit that's integral to their cosmic groove! Love Part 2 is mix of intimate moments and soaring atmospherics from Carlos Nino, Miguel-Atwood Ferguson and the rest of the stellar ensemble, plus guests and fellow travelers such as vocalists Dwight Trible, Carmen Lundy, Leisei Chen and Mia Doi Todd, violinist Michael White and others. The overall vibe and instrumentation are unpredictable from one movement to the next, but there's always a hypnotic mood at play, be it spun by sparely furnished strings and percussion, earthy global jazz influences or far spacier dynamics! Titles include a lively (and live sounding) string jazz improvisational take on "What The World Needs Now Is Is Love" with passionate vocals and pared down lyrics by Leisei Chen flavored with violin, viola, cello and sitar – plus "Cosmic Tuning", "Nature", "Ginger", "Say Yes!", "Improvisation Day 1", "Improvisation Day 2", ""Improvisation Day 8", "Cadence Of The Love Messengers" and wonderfully unique take on Donny Hathaway's "Tryin Times" with vocals by Carmen Lundy and Dwight Trible.

Seminal Atlantic Records work from The Clovers – one of those groups who were already great on their own, but then really took off once they hit the label! There's a rawness to these sides that rivals the early Drifters at their best – the Clyde McPhatter years of that group – with vocal interplay that virtually invents the group harmony sound for years to come, mixed with raw rhythms that often feature lots of The Clovers' trademark guitar from Bill Harris! Easily one of the top 10 group soul albums of the 50s – with tracks that include "Love Love Love", "I Played The Fool", "Devil Or Angel", "Little Mama", "Crawlin", "Here Goes A Fool", "Lovey Dovey, "Yes It's You", "Ting A Ling", and "Hey Miss Fanny".

Rare stuff from John Coltrane! The album features Trane playing tenor on only 4 of the album's 8 tracks – making it kind of surprising that they used his name in the title – but the album is a lesser-known batch of large group recordings that offer an interesting early chapter in his career! The main force behind the album is arranger Harry Tubbs – possibly not a name that's as sexy as John Coltrane, hence the billing – but a worthy leader for the date, given the quality of the music. Many of the other players here are small combo heroes who can also shine brightly in bigger groups – such as Donald Byrd and Art Farmer on trumpets, Kenny Burrell on guitar, Al Cohn on baritone sax, Eddie Costa on piano and vibes, and Oscar Pettiford on bass – plus Rolf Kuhn, making an early American appearance on clarinet. Coltrane gets in some nice, but short moments on the date – but the bigger charm is the full ensemble work – on titles that include "She Didn't Say Yes", "Turtle Walk", "At Home With The Blues", "Seabreeze", and "Love & The Weather".

A bit silly at times, but still pretty great! Bill Cosby teams up with old LA cronie Stu Gardner to do a set of tracks that are parodies of other big soul artists of the early 70s – and thanks to Stu's good work with the music, most of the tracks work a lot better than you'd expect! The record leads off with some sly slinky Barry White parodies – including "Yes, Yes, Yes" and "Shift Down"; then goes into a great James Brown funk number, "I Luv Myself Better Than I Luv Myself". It's hard to figure out where some of the other tracks are going – but the album also features a great spacey jazz number with lots of keyboards, "You're Driving Me Crazy".

Includes vocal and instruemental mixes of "ENY Groove", "In A Minute (I'm A Loose It)", "Next Stop", "Take A Journey", and "Yes Yes Y'all".

Pretty great pop-psych from Daughters Of Albion – a set that mixes the sing-song nature of the tunes with some deeper LA production from Leon Russell – all in a great blend fo styles that's really made the album a standout over the years! The group's a duo – Greg Dempsey and Kathy Yesse, both of whom have such long hair, it's hard to tell who's who – both singers who come from a folksy background, yet bring in that mix of Sunshine Pop modes that so many post-folkies on the west coast were using at the time – a great ear for sweet harmonies and catchy tunes, but with an undercurrent of darkness too! Titles include "I Love Her And She Loves Me", "Still Care About You", "Yes Our Love Is Growing", "Candle Song", "Lady Fingers", "Sweet Susan Constantine", "Well Wired", and "John Flip Lockup". CD features two bonus tracks too – "Well Wired (mono 45)" and "Story Of Sad (mono 45)".

The third and perhaps best album yet for Swiss beatcrafter and all around soundscape adventurer Dimlite! To date, Dimlite has colored from as broad of a sonic palette as just about anyone in the contemporary electronic scene – taking cues from classic art rock and experimental pop, psych and jazz, the sound that's not easy to pin down or predict where it will go next. It's also insistently engaging at all times, and feels purposefully hypnotic from for first second of each track. The beats are pretty heavy for the most part, too, often surround by bubbling synth and thick bass for a something of a future funk vibe. Includes "You Very Rich Believer", "Pour Some Blood, We Got This", "Blur, Blur, Blur, Blur, Blur", "Healing A Random Tyrant", "New, Better Pain", "Yes, Welcome", "Than Them", "Fridge Note", "One Of Uh Infinity's Countless Uh Tiny Cycles", "Heroine Roof" and more.

A hip little look at Lee Dorsey's best music of the late 60s and 1970s – and a set that features some really great surprises! The core of the collection is some of Lee's funky work recorded with Allen Toussaint on production, and the Meters helping out in the backing – the kind of gritty New Orleans grooves that forever made Lee one of the leading lights of the Crescent City scene. Later tracks are a bit more polished, but pretty great too – numbers that show an evolution of the original Dorsey groove, often still in the hands of Toussaint. CD features 16 tracks in all – including the great "Radio Commercials", which features 2 numbers recorded for Coke – plus "My Babe", "What Am I Living For", "Sneakin Sally Through The Alley", "Night People", "Behind The 8 Ball", "Great Googa Mooga", "Ya Ya", "You Better Tell Her", "Lonleyology", "Yes We Can", and live versions of "Ride Your Pony", "Lottie Mo", and "Working In The Coal Mine".

A pair of weird soundtracks from Italian soundtrack heavy Fabio Fizzi – the stylistically sprawling music for Zombi 2 (released in America as Zombie) and some later compositions for Un Gatto Nel Cervello! The Zombi grooves are wildly unpredictable – from neo Carribbean inflections, to electronics reminiscent of John Carpenter, to African percussion. Wild stuff for a movie about Zombie carnage – and yes, that's the movie with the zombie-shark faceoff! Un Gatto Nel Cervello finds Frizzi working in a more classically soundtracky style – but it's done on synthesizers, which gives it seedy undercurrent! Both soundtracks on a single CD – with each consisting of multiple title theme sequences – and featuring 23 tracks in all.

THE lasting classic from Gloria Gaynor – the record that contains her tremendous hit "I Will Survive", and a great batch of disco grooves overall! The album's got a simple, honest sort of approach, despite its release in an era of overblown dancefloor sets – and arranger Freddie Perren does a great job of balancing all the elements here – hitting strong on the rhythms, but mixing in bits of strings from Gene Page and others – all in a sound that's round, warm, and surprisingly soulful, despite the big crossover fame of the hit on the record. In addition to a nice long take of "I Will Survive", other tracks include "Anybody Wanna Party?", "Please, Be There", "I Said Yes", and "You Can Exit".

Great work from Robert Glasper – one of our favorite new artists on Blue Note in years – a hell of a great piano player, with a fluid groove that just gets better and better with each new record! Glasper has a way of warming us up right away – sliding into a compelling piano line that holds us rapt, and really takes us on a journey – a bit like the best work of Bheki Mseleku back in the 90s, but with an undercurrent of funkier New York modes too! Half the record features Robert in trio format – playing both acoustic piano and Fender Rhodes – and the rest of the set moves into "experiment" tracks that bring in Casey Benjamin on saxes, plus some electric bass, and very funky drums from Chris Dave, who also plays on the trio numbers. Mos Def makes a vocal appearance on one track, and Bilal appears on two more – but our favorite grooves are always from Glasper's keyboards, especially his acoustic piano. Titles include "Downtime", "59 South", "Butterfly", "4Eva", "No Worries", "Yes I'm Country", and "Open Mind".

Fantastic work from one of the most unique talents in jazz! Rufus Harley plays bagpipes – yes, that's right, bagpipes – in a modal Coltrane-esque way that's simply got to be heard to be believed. He uses the drone capability of the instrument to explore reed patterns in the same way that Coltrane did, inspired a bit by Eastern sounds, especially Indian music, but also working in an Afro-centric mode that reclaims the bagpipes as an instrument rooted in the middle east (where it was first picked up by soldiers during the crusades, and brought north to Scotland.) The whole thing might sound incredibly silly, but when you hear the music, you'll be convinced – and this CD is set up to do just that. The collection takes 9 tracks from Rufus glory days at Atlantic Records during the late 60s – and features Harley not only on bagpipes, but on tenor, soprano, and flute – playing in groups that feature players like Roy Ayers, Herbie Mann, Sonny Stitt, James Glenn, and Don Patterson. Titles include "Feelin Good", "Flute Bag", "Taurus The 20th", "More", "Sufur", and "Pipin The Blues".

The first ever retrospective of the late 60s & early 70s work of singer Willie Hobbs – a great mix of uptempo southern soul, slow cooking groovers, tender ballads and more – and Hobbs nails it on all fronts! Most of the singles were cut for Nashville labels– including Silver Fox, Seventy Seven, Sound Plus and others – with top notch production and song selections, when added to Willie's exceptional vocals, adds up to excellence that rivals the best soul of the period made anywhere. It includes some great stuff recorded at Fame in Muscle Shoals, with that sound well represented, plus a bunch of stellar Nashille recordings that range from gospel-tinged soul to funky beaters! 22 tracks: "Yes, My Goodness Yes", "The Game Of Love", "Where The Sweetness Lies", "Where Did I Go Wrong", "Do Your Own Thing", "Big Legged Woman", "Mr. Lovemaker", "Why Me", "Judge Of Hearts", "At The Dark End Of The Street", "(Please) Don't Let Me Done", "Why Does It Hurt So Bad", "Somebody Love Me" and more..

Two excellent early albums from Shirley Horn – back to back on a single CD! Travelin Light is one of the greatest jazz vocal albums of the 60s, and probably the greatest album ever by Shirley Horn! The session's got a beautiful lively sound, with extremely interesting arrangements by Johnny Pate, and a flute/piano/guitar sound that works perfectly with Shirley's lovely voice. The material is a great mix of lesser-known songs, sung with a maturity and honesty that will make your heart break. We love this one way better than any of Shirley's recent albums, and we can't recommend it highly enough! Titles include "Sunday In New York", "Yes, I Know When I've Had It", "Someone You've Loved", "I Could Have Told You", "Travelin Light", and "Don't Be On The Outside". Horn Of Plenty is hip stuff from Shirley Horn – very mature and swinging jazz! The set features the sharp early vocals of Shirley Horn nicely set up with some larger backings – hip arrangements handled by Quincy Jones, Thad Jones, and Billy Byers – with all the groovy 60s punch you can imagine from a lineup like that! And although Horn later became well known for some gentler, mellower cuts, we're huge fans of her singing like this – which has a righteous power that really tops some of the vocalists from the previous generation. Titles include "Wee Small Hours", "That Old Black Magic", "The Great City", "On The Street Where You Live", and "Let Me Love You".

The first new album from Iggy & The Stooges since Raw Power – that's 40 g****amn years if you're counting – and it's a pretty damn good! Yeah, we're gonna say it again, as it's probably necessary to repeat it: the first new album from Iggy & The Stooges (aka, the version of the band with James Williamson on guitar) in 4 decades is worth picking up. Yes, really! Frankly, it shouldn't be such a surprise, given that their live show is still essential, but after the Stooges proper reunion album The Weirdness (with the now deceased Ron Asheton on guitar. . .but like this new version of the band, it featured latter day Stooge Mike Watt on bass to replace the earlier departed Dave Alexander) bombed bigtime, expectations were low. Rather than try to replace the frenzied Raw Power vibe, they're really just out to make a fun, snarky, profane, no BS rock 'n' roll record here and that's what they do. Iggy has been more of a weird crooner in the studio in recent years than the wild-eyed howler that he becomes on stage, and that's what he does here, too. On top of the balls out rockers, there's a couple of surprisingly strong acoustic numbers – and occasional Stooge sax honker Steve Mackay makes a welcome appearance. The best Iggy album in years, with or without the Stooges! Titles include "Burn", "Sex & Money", "Job", "Gun", "Unfriendly World", "Ready To Die", "DD's", "Dirty Deal", "Beat That Guy" and "The Departed".

Arguably the last true moment of genius in Michael Jackson's career – a record that sold a bazillion copies around the world – and for plenty good reason! Michael's still working here with Quincy Jones – in territory that steps nicely from the Off The Wall groove, into territory that's somewhat more poppy, but still quite soulful overall. And yes, the success of the album meant that cuts like "Billie Jean", "Thriller", and "Beat It" got plenty of play – thanks to both heavy radio and video rotation – but a few decades later, there's still a tremendous amount of depth here – on great cuts like "Human Nature", "Wanna Be Startin' Somethin", and "PYT" – which all hold up nicely!

Dark genius from Waylon Jennings' late 60s/early 70s years at RCA – a surprisingly wonderful batch of tunes that have the deep-voiced singer working through an array of contemporary themes! True, a number of the cuts here are country covers of mainstream hits – but Waylon's deeply personal readings really transform the songs magically – almost pointing the way towards years-later country variants from folks like Johnny Cash or Willie Nelson, delivered here with a subtlety that's kept them hidden for all these many years. And as with other great sets on the Omni label, there's a rich batch of unusual tunes in the mix, too – the kind of offbeat country gems that we've come to love Omni for, and really praise them highly for brilliant collections like this! 28 tracks in all – including "Rock Salt & Nails", a duet with Lee Hazlewood – plus "Just To Satisfy You", "For The Kids", "Yes Virginia", "Singer Of Sad Songs", "Beautiful Annabel Lee", "Delia's Gone", "Don't Play The Game", "Where Love Has Died", "Sunday Morning Coming Down", "The Road", "The Days Of Sand & Shovels", and "Destiny's Child".

Sweet late 70s grooves from Latimore – a bit less bluesy than at the start of the decade, but in a mighty nice way! The set's got loads of warm undercurrents – and shows Latimore pushing his southern soul roots into a modern soul mode – with surprisingly great results – a style that really lifts him up from before, and avoids any of the bluesy cliches he might hit in later years! In fact, the record's a really unique moment from Latimore – and one we wish he would have stayed in longer – a nicely mature set that really helps focus all the sensual energy of the previous albums – and give it a whole new place to go. Titles include "Life Of The Party", "Ain't No Comin Back", "Take It All", "Yes We Can", "You", "Do It Now", and "Discoed To Death".

An 80s pop soul classic from Lisa Lisa & Cult Jam With Full Force – with a sound that's insistent and irresistible to this day! This is a solid album full of tunes that stand up strongly with their unstoppable hit singles of the period. Yes, the sound would get a bit too cutesy and played out by the end of the 80s, if you lived through those years, but it's amazing how nice it sounds all these years later! There's a heavy dose of electro and early hip hop creeping in, throughout the album – and the breakout "I Wonder If I Take You Home" is one of our favorite mid 80s mainstream R&B jams – straight up! Also includes "Can You Feel The Beat", "You'll Never Change", "All Cried Out", "This Is Cult Jam", "Behind My Eyes", "Private Property" and "Take Me Home (Rap)". 5 bonus versions on this Big Break CD edition: the 12" Full Force Remixes of "I Wonder If I Take You Home", "Can You Feel The Beat", plus "I Wonder If I Take You Home (Shep Pettibone Remix)", "Beat The Feel You Can (12" Dub Mix)" and "If I Take You Home (Cult Jam Dub Edit)".

Great stuff from the girls who first put Barry White on the map! The record is the group's second – and by this point, Barry had developed that tight snapping drum sound that made his orchestral albums work so well. You'll hear it to good effect on most songs on the LP, which have a great groove that's in the best Barry White mode of the 70s – but which kind of dominates the girls' vocals a bit. Not that anyone should complain that much, as it's the overall package that's always made Barry's albums sound so great – but we do wonder how the group felt when they had to sit out the first track, which was the instrumental "Love's Theme", a song that went onto become Barry's biggest song ever, and which probably sold the album a lot more than the vocal tracks. Still, you can hardly detect a note of disharmony – and the album soars from track to track, through titles like "Under The Influence Of Love", "Say It Again", "Yes, We Finally Made It", and "It May Be Winter Outside".

Titles include "The Whisperers", "It May Sound Silly", "I Understand", "After All I've Been To You", "I Love You Yes I Do", and "It Seems To Me I'm Just A Woman In Love". Arrangements by Hal Mooney.

Maybe the greatest album that Teena Marie ever cut – and that's saying a lot, given the strength of the lady's work for Motown! The set's got this bright, positive bounce that grabs you right from the start – but also moves into a depth that's way different than other funk albums of the time – a way with a ballad and a thoughtful track that almost makes Marie the 80s heir to the Minnie Riperton legacy, especially given the strength of her voice on the set – and the fact that Teena wrote and produced the whole album herself! At a time when so many other female soul singers were at the mercy of other folks' talents and ideas, Lady T steps forth boldly with this classic set – brimming over with greatness on cuts that include the stellar "Portuguese Love", plus "Yes Indeed", "Where's California", "Opus III", "Square Biz", "365", "Revolution", and "Ballad Of Cradle Rob & Me".

Maybe the greatest album that Teena Marie ever cut – and that's saying a lot, given the strength of the lady's work for Motown! The set's got this bright, positive bounce that grabs you right from the start – but also moves into a depth that's way different than other funk albums of the time – a way with a ballad and a thoughtful track that almost makes Marie the 80s heir to the Minnie Riperton legacy, especially given the strength of her voice on the set – and the fact that Teena wrote and produced the whole album herself! At a time when so many other female soul singers were at the mercy of other folks' talents and ideas, Lady T steps forth boldly with this classic set – brimming over with greatness on cuts that include the stellar "Portuguese Love", plus "Yes Indeed", "Where's California", "Opus III", "Square Biz", "365", "Revolution", and "Ballad Of Cradle Rob & Me". This expanded CD also includes 2 live tracks recorded in Long Beach – versions of "Deja Vu" and "Someday We'll All Be Free" – plus the bonus track "Square Biz", done in an instrumental version. All written & produced by Teena, too!

A real dancefloor set from Curtis – recorded with some sweet Philly production from the likes of Norman Harris and Bunny Sigler – in the sweeping, soaring, strings-heavy mode of the Philly disco records of the time! And yes, this isn't classic Curtis from the righteous years – but the surprising thing is how well his voice really holds up in the tracks – coming through with a strength that's fresh and surprising, given some of his disco contemporaries, and sounding pretty darn nice overall, thanks to some tight arrangements by the likes of Fred Wesley, Norman Harris, and Gil Askey. Linda Clifford does a duet with Curtis on "Between You Baby & Me", and the other cuts include "Victory", "Tell Me Tell Me", "You're So Good To Me", "You Better Stop", and "Over The Hump".

The second Stax album from Mel & Tim – and even better than the first! Although the pair are probably best known for their soaring soul singles at the end of the 60s, by the time of this 1973 record, they'd matured wonderfully – hitting some deeper, more heartfelt modes that are mighty nice – and a perfect fit for the sophisticated level of production that Stax was putting down at the time! There's still some slight sweet soul undercurrents – but with an overall presentation that's much more Memphis than New York, the sound is nice and deep – lots of Muscle Shoals instrumentation that includes keyboards from Barry Beckett, guitar grooves from Jimmy Johnson, and some perfectly balanced rhythms that keep things on the downlow throughout! Titles include the break-heavy version of "Yes We Can Can", plus "Keep The Faith", "Making Love Is My Thing", "Forever In a Day", "That's The Way I Want To Live My Life", "Same Folk", and "Oh How I Love You".

Ahhh, good ol' Mel & Tim – possibly our favorite soul duo ever, and a really dynamic pair that carve some great new territory away from the path set by Sam & Dave! The album's a bit of a comeback for the duo, as you'd guess from the title – even though it was only recorded a few years after their initial work for the Bamboo label. There's a stylistic shift that marks a second chapter in the Mel & Tim groove – as they move away from the New York uptown sound, and go for more of a gritty southern sound – thanks to help from producer/arrangers Barry Beckett and Roger Hawkins. The set list is filled with loads of great southern soul tunes – penned by composers who include Phillip Mitchell, Isaac Hayes, Dan Penn, and Homer Banks – on the titles "Heaven Knows", "Wrap It Up", "Don't Mess With My Money My Honey Or My Woman", "Carry Me", and a great cover of "I'm Your Puppet". CD reissue includes the bonus tracks "Forever In A Day", "It's Those Little Things That Count", "The Same Folk", and "Yes We Can-Can".

Quite a crazy little record from Charles Mingus! Mingus plays piano and sings (yes, you read that right!) in a tight sextet with Booker Ervin and Roland Kirk on reeds, and Jimmy Knepper on trombone. Mingus is trying out a kind of messed-up, blues-inspired sound here – but for some reason the tracks sort of fall short of their potential, perhaps because they're not infused with the same clarity and anger as his earlier works, or perhaps because Mingus' work on the piano just isn't as fierce as his bass playing. Still, the album's a nice one, and way better than the other Mingus piano album, on Impulse. Titles include "Oh Lord, Don't Let Them Drop That Atomic Bomb On Me", "Wham Bam Thank You Ma'am", "Devil Woman", and "Passions Of A Man".

A magnificent little album – one of James Moody's first collaborations with arranger Tom McIntosh – one of the most sensitive jazz voices of his time. McIntosh works in a world of many tones and colors – and he really pushes Moody past straighter solo approaches, into a mode where he's shaping sound into complex emotion – hitting a level of soulfulness that might never been expected in earlier years! Moody plays both tenor and flute on the session, and rhythm is by a piano-less trio that features John Gray on guitar, Eldee Young on bass, and Clarence Johnston on drums. And if that's not enough, Eddie Jefferson joins in on vocals on 2 tracks – lending his own lyrics to Moody's great original "Last Train From Overbrook", and doing a great reading of "Summertime". Other tracks include "Stella By Starlight", "Indian Summer", "Please Say Yes", and "Blue Jubilee".

One of the more electric projects we've heard from reedman David Murray in recent years – a collaboration with bassist Jamaaladeen Tacuma, who's still got the same righteous sound he had back in the 80s! The bass shades in the songs right from the start – as does the guitar of Mingus Murray too – but Murray's rock-solid and extremely soulful once he opens up, with tenor lines that are especially wonderful, plus a bit of bass clarinet – all heard here in a style that really takes us back to some of Tacuma's better moments of a few decades before. Other group members include Paul Urbanek on "recomposing keyboards" and Ranzell Merrit on drums – and titles include "How Sensitive", "Rendezvous", "Hotel Le Prince", "Theme On A Dream", "Bring It On", and "Yes We Can".

Quite possibly the funkiest album ever from Pleasure – and that's saying a heck of a lot! The album grooves from the very first note – and moves through some of the group's tightest, most rock-solid numbers – all of which use their trademark blend of funky and soul, but which somehow seem to hit even more perfect territory than previous albums! And yes, those records are great, but usually have a few standout cuts – while this one works together perfectly – leading us in right away, then holding us rapt through some wonderful cuts that never let up – massive energy that few other funky combos could match, produced to perfection by the legendary Wayne Henderson. Titles include the wicked sample cut "I'm Mad", the bouncy "Pleasure For Your Pleasure", the spacey "Ghettos Of The Mind", the bumping "Let's Dance", and the tracks "Jammin With Pleasure", "Theme For The Moonchild", "2 For 1", "We Have So Much", and "The Love Of My Life".

Epic DJ Fontana (elvis presley's 50s-70s drummer) interview. The (pre-industrial) Wax Trax Records story – including the saga of the Jonny iii (Wax Trax house band). Czech prog-gods Plastic People Of the Universe interviewed. Little Richard is Jewish! 1950s country star Marvin Rainwater interviewed. The return, and self-destruction, of the Misfits. Flaming Lips interview. Don "Sugarcane" Harris obituary. Screaming Jay Hawkins obituary. David Lee Roth comix. 1960s psychedelic comic books explored. Interview with Gregg Gellar, master compilation producer, focusing on his "Sammy Davis Jr.-Yes I Can" box set, as well as the ins and outs of comp production. Plus Kenny Wayne Shepherd, Chuck Berry, rock & wrestling, comix and Jerry Lewis and Sammy Davis Jr. as you've always imagined them!

Back to back killers from the legendary Billy Stewart – two great albums for Chess in one sweet set! First up is Unbelievable – a truly unbelievable album from Billy – maybe his standout moment of the 60s, and a record that set him apart from every other singer of his time! Stewart's famous vocals break out instantly on the huge hit "Summertime" – a leadoff number that really sets the record on fire – and sets the scene for an amazing batch of tunes that follow a similar format – familiar tracks that are completely recast in a new mode by Billy – pyrotechnic soul vocals that are as filled with feeling as they are shaped by technique! Backings are great, too – full and a bit jazzy at points – and with just the right sort of energy to keep things bouncing along all the way through. Titles include "Summertime", "A Foggy Day", "Canadian Sunset", "Time After Time", "Misty", "Moon River", "My Funny Valentine", and "That Old Black Magic". Cross My Heart is a collection of killer singles from the legendary Billy Stewart – put together by Chess after his too-early passing – but an amazing document of his completely unique talents as a soul singer! The work here is brilliant – vocals that soar and take off on the upbeat numbers, and reach deep deep levels on the mellower ones – and the set's a great one to take you past some of Billy's familiar hits, into territory of the great singles he issued with Chess in the 60s. Titles include the sublime "Cross My Heart", plus "Tell Me the Truth", "I'm In Love", "Fat Boy's Boogaloo", "Crazy 'Bout You Baby", "Why Am I Lonely", "How Nice It Is", "I'm In Love (Oh Yes I Am)", "What Have I Done" and "Why Do I Love You So".

One of the sexiest covers ever from Carla Thomas – and one of her most sultry records, too – a set that really has her growing up, stylistically – and coming across with a new sort of boldness in her vocals! The production is prime 60s Stax, with a slightly classy touch for the lady – and Thomas' vocals are definitely center stage – as she leaves her mark on familiar tunes like "What The World Needs Now", "Will You Love Me Tomorrow", and "Yes I'm Ready" – then really takes off on numbers like "Comfort Me", "No Time To Lose", "Move On Drifter", and "Another Night Without My Man".

Very hip work from one of the coolest cats of the 50s – the amazing Bobby Troup, heard here at the height of his powers in a very sweet setting! The group's actually a quartet – given that Bobby's on piano, alongside Howard Roberts on guitar, Bob Enevoldsen on bass, and Don Heath on drums – and all players have a sweet, spare groove that leaves plenty of room for Troup's wonderfully charming vocals – sung in that uniquely personal way that always seems to transform a tune with its playfulness. Titles include "That's All", "I Get A Kick Out Of You", "Dream Of You", "The Hucklebuck", "Yes Sir That's My Baby", "Thou Swell", and "They Didn't Believe Me".

Includes "Yellow Dog Blues" takes 2 and 3, "I Would Do Anything For You", "Mean Old Bed Bug Blues" takes 1 and 2, and "Yes Suh!".

Quite an unusual little album for Gerald Wiggins – a set that features him on the Hammond organ instead of the piano, recorded as a rare soul jazz outing by a young David Axelrod! The session's got a vamping intensity that's quite different from most of the other LA jazz on the Hi Fi label, and overall the record sounds a lot more like work on Prestige at the same point – with Wiggins using a real stops-out approach to the Hammond, and Harold Land blowing some loose and relaxed lines on the tenor sax that are mighty soulful! The trio's completed by drummer Jackie Mills, and the overall spirit is very much in the mode of work by Shirley Scott or Don Patterson. Titles include "Yes Dove", "Don't Get Around Anymore", "Wiggin Out", and "Teach Me Tonight".

Yes, that's right – THE Paul Williams: the short blonde guy who was a bit of a celebrity in the early 70s, showing up on countless variety and talk shows, and even making an appearance in the later Planet Of The Apes movies. Despite Williams' short stature and strange looks, he was actually a heck of a songwriter – and this brilliant album is a soft rock masterpiece that more than proves that fact, put together with some simple smooth LA arrangements, mostly done in small group format, and occasionally handled by jazz musicians Tom Scott and David Spinozza. A number of songs were co-written with the great Roger Nichols – and the album includes Williams' fantastic versions of the hits "We've Only Just Begun" and "An Old Fashioned Love Song" – plus the tracks "Waking Up Alone", "I Never Had It So Good", "That's Enough For Me", and "When I Was All Alone".

Wicked electric funk from Young Holt Unlimited – and a real departure from the sound of their 60s albums, and a step into a groove that's very 70s-styled overall! The album's heavy on Fender Rhodes – played not just by group member Ken Chaney, but also by a young Bobby Lyle – making an excellent appearance here, and already blowing our mind with his talents! Of course, the hip rhythms from Eldee Young and Redd Holt make the album crackle – but it's the keyboards here that we really love – played with a slightly offbeat vibe that's unlike most mainstream use of the instrument. The groove gets nice and slow and the album's got a very dope lineup that features more than a few nice sample tracks! Titles include "Yes We Can Can", "Rubber Lips", "Oh Girl", "Food Stamps", and the massive "Bumpin On Young Street".

Goldmine's second great volume of rare Detroit soul, featuring extremely hard to find tracks like "Yes I Love You Baby" by The Dynamics, "We Still Have Time" by The Metros, "Candle" by Doni Burdick, "Looking For A Woman" by Brooks Bros, "Go Down" by Highlights, "Arabia" by Royal Playboys (vocal version), "Soul Food" by Johnny Rogers, and "We Go To Pieces" by Forest Hairston. Lots lots more, with 22 cuts in all!

A killer killer compilation – the sort we've been dying to own for years! It's a well known fact that there's plenty of funky nuggets hidden amidst 70s gospel recordings – massive grooves and break-heavy tracks that rank right up there with the best indie funk from the same time. Yet tracking down these tunes has always been plenty tough – given that most gospel records sold in different circles, had different distribution, and often are less easy to decipher for the crate digger than more conventional funk and soul. Enter the folks at Numero – who have really gone all out this time around, and dug through piles and piles of rare gospel records to come up with a whopping batch of great tracks! This set is definitely ground zero for getting into funky gospel – and it's filled with far more obscure work than the Soul Gospel set on Soul Jazz – all indie numbers from small labels that only got minor distribution at the time. As usual with Numero, the notes and package match the soulful depth and righteousness of the music – and the set is one of the most perfectly wrapped-up genre compilations we've ever seen! 18 tracks in all – with titles that include "I Thank The Lord" by Mighty Voices Of Wonder, "This Old World Is Going Down" by The Modulations, "Look Where He Brought Us" by The Apostles Of Music, "Thoughs (sic) Were The Days" by LaVice & Company, "Bad Situation" by 5 Spiritual Tones, "God Been Good To Me" by Mighty Walker Brothers, "O Yes My Lord" by Voices Of Conquest, "We Don't Love Enough" by Triumphs, "Heaven On Their Minds" by Sam Taylor, "God Will Dry My Weeping Eyes" by Horace Family, and "I Call Him" by Masonic Wonders.

A pretty incredible compilation of Cambodia Rock – the best one we've come across – classic original Khmer Rock from scene pioneer Sinn Sisamouth and many more! The set as an effort to present this fun, groovy and yes, spectacular Cambodian Rock as it was originally heard by the people in its pre-Pol Pot heyday – before the original vinyl releases were hidden away and eventually circulated via low quality cassette bootlegs – and it sounds great! Awesome stuff all around, much of it with a raw garage psych vibe with fuzzed out guitars, heavy drums, woozy organ and male & female lead vocals – always with a groovy rhythm. Includes "Do You No Wrong Again" by Thra Kha Band, "Khnyom Jah Karake" by Tet Somnang & Meas Samon, "Pros Chang Reiy" and "Pail Loung Rom (Go To Dance)" by Pan Ron, "Jet Snaeh Theang Nov" and "Yuvachon Yuvatey Samai Tmai (New Generation Youth" by Sinn Sisamouth & Ros Dereysothea, "Duang Netra" and "Satt Thee Thuy" by Sinn Sisamouth, "Bong Rau Roub Khnyom" by Ros Sereysothea, "Youm Os Tirk Pnake" by Pov Vannary and more. 19 tracks on 2LPs in a nice gatefold sleeve with fairly extensive notes on the back cover and inside the gatefold.

Great tracks from the second generation of Philadelphia International – that time when the label moved past the clubby Philly sounds that had won them big hits in the 70s – into an even deeper range of styles overall! Most of the tracks here have a wonderfully mature sort of feel – a move past easy dancefloor modes, into more complicated mellow steppers and midtempo rhythms that are perfect for the emotive, sensual lyrics of the tunes – most of which are performed by artists who were still the greatest working for the Pilly International label at the start of the 80s! Gems throughout – with great cuts that include "I'm In Love Again" by Patti Labelle, "Easy Easy Got To Take It Easy" by Teddy Pendergrass, "When I'm Gone" by The Jones Girls, "Mine All Mine" by The Stylistics, "Start The Fire" by Jean Carn, "I Can't Stop Turning You On" by Silk, "Set A Little Trap" by Phyllis Hyman, "So Glad I'm The One" by Instant Funk, "Yes You Need Love" by Anthony White, "Your Love Is Good" by Bunny Sigler, and "I've Been Pushed Aside" by McFadden & Whitehead.

A cheesy cover, but a really wonderful little compilation – a set that's filled with obscure righteous soul tunes from the 70s, including some lesser-known cuts by bigger name acts of the time! The vibe here is really wonderful – definitely the kind of kicked-back soul you might listen to on a Sunday afternoon – not as uptight as tracks for the clubs the night before, and rolling out with a sound that's warm and mellow, but still with a bit of groove at the bottom. Most numbers are of mid 70s vintage – sparkling with a good deal of class and sophistication – and titles include "Sunshine" by Pulse, "Ain't No Need" by Ralph Graham, "You Put A Hurting On Me" by Mary Mundy, "No Rebate On Love" by The Dramatics, "I Just Want To Love You" by Toby Kang, "Don't Trick Me Treat Me" by The Dells, "Sorry" by Grace Jones, "Yes You Need Love" by Anthony White, "Don't You Know I Love You" by Major Lance, "It's All Over" by The Presidents, "A Nice Feeling" by Caroline Crawford, and "Pour Your Little Heart Out" by The Drifters.

The stonking keeps on going – and the Northern Soul rarities never stop! In this great sixth volume to the long-running Talcum Soul series, the tunes are even more obscure than before – really rare nuggets from the mighty EMI catalog – placed alongside a few more familiar tunes, but tracks that are still a long way from 60s chart hits! The grooves are uptempo throughout – very much in the classic Northern mode, but also showing some of the evolution of the scene's tastes in recent years – its ability to allow some deeper soul modes, and rhythms that change things out a bit more than before. Titles include "Lonely Man" by The Outsiders, "They'll Be Coming" by Sam Ambrose, "Spread Your Love" by Jimmy Holiday, "Yes You Did" by Herman Hitson, "Love Man From Carolina" by Bird Rollins, "Take Your Time & Love Me" by Grover Mitchell, "Who's It Gonna Be" by D & Joe, "Love Slipped Thru My Fingers" by Sam Williams, "Isn't It Just A Shame" by Kenny Wells, "Stop Hurting Me Baby" by Purple Mundi, "Lonely Girl" by Annabelle Fox, "Teardrops Are Falling" by Little Natalie & Henry, "Two Sides To Every Story" by Jimmy Love, and "Perfect Love" by The Diplomats. 26 tracks in all!

Really great work by The Association – recorded a few years after their "Cherish" and "Along Came Mary" singles, and with a sound that's a lot more sophisticated and far-reaching! The band still has their sweet harmony sound in place, but the arrangements and songwriting show a lot more signs of their association with the hip LA scene of the 60s – fitting them in nicely with the underground mainstream that was then rewriting the sound of rock at Warner Brothers. Titles include "Broccoli", "The Nest", "Love Affair", "Boy On the Mountain", and "Yes, I Will".

The first new album from Iggy & The Stooges since Raw Power – that's 40 g****amn years if you're counting – and it's a pretty damn good! Yeah, we're gonna say it again, as it's probably necessary to repeat it: the first new album from Iggy & The Stooges (aka, the version of the band with James Williamson on guitar) in 4 decades is worth picking up. Yes, really! Frankly, it shouldn't be such a surprise, given that their live show is still essential, but after the Stooges proper reunion album The Weirdness (with the now deceased Ron Asheton on guitar. . .but like this new version of the band, it featured latter day Stooge Mike Watt on bass to replace the earlier departed Dave Alexander) bombed bigtime, expectations were low. Rather than try to replace the frenzied Raw Power vibe, they're really just out to make a fun, snarky, profane, no BS rock 'n' roll record here and that's what they do. Iggy has been more of a weird crooner in the studio in recent years than the wild-eyed howler that he becomes on stage, and that's what he does here, too. On top of the balls out rockers, there's a couple of surprisingly strong acoustic numbers – and occasional Stooge sax honker Steve Mackay makes a welcome appearance. The best Iggy album in years, with or without the Stooges! Titles include "Burn", "Sex & Money", "Job", "Gun", "Unfriendly World", "Ready To Die", "DD's", "Dirty Deal", "Beat That Guy" and "The Departed".

The heavy early 70s Swedish psych of Life! There were 2 versions of the record issued by EMI/Harvest back in the day, and this is the rare version with English lyrics – and it's really great stuff. It starts out sort of delicately – almost quietly – with a lighter touch to the vocals, acoustic melodies and keys. From there, though, it gets heavier and more lumbering – but in a groovy way. It's astonishing how much some the better 70s schooled rock to this day sounds like a direct spawn of this record, even if most latter day stoner rockers probably never heard it! It's never too late to catch up, though! Includes "Nobody Was There To Love Me", "Experience Of Love", "Living Is Loving", "Every Man", "Yes I Am", "Quo Vadis" (I-III) and more.

An excellent early Nat Adderley record that has the funky trumpet player groovin' in the company of a number of bright young players from New Orleans, including Nat Perrilliat on tenor, Ellis Marsalis (yes, that one) on piano, and James Black on drums. Sam Jones plays funky bass, and brother Cannonball joins on on alto for a nice set of groovers that includes "In The Bag", "Sister Wilson", "Low Brown", and "New Arrival". Nice stuff, and we don't really see this one that much these days.

An excellent bit of Latin groove – one of our favorite crossover boogaloo sets from the 60s, and easily some of the greatest work ever by Jimmy Castor! And yes, this is the same Jimmy Castor who's known for his funk albums of the 70s – but back in the day, he was open-minded enough to work in genres that included doo wop, harmony soul, and Latin – the last of which he does surprisingly well! The album's got a wonderfully earthy Spanish Harlem groove throughout – heard most famously on the title hit – "Hey Leroy", a fierce romp with a heavy piano groove that's clearly inspired by the work of Joe Cuba – but burning hard throughout on a variety of groovy covers and hard-hitting originals! Lots of piano, searing sax, snapping percussion, and humorous lyrics – and tracks include "Ham Hocks Espagnole", "Our Day Will Come", "Hey Willie", and "Southern Fried Frijoles".

What can we say? Bootsy's on top of the world here – not only The Player Of The Year, but also the most soulful artist in the P-Funk stable, and a master of the smooth, sly, slinky groove that would forever be taken up by bands from LA – both in the immediate soul years and in later sampling hip hop ones. The record's got a sophisticated soul approach that moves the music way past slapped basslines and funny glasses – and thanks to top-line musicianship, including some help from Fred Wesley, Bootsy avoids any cliches that might have buried this one under the mountain of P-Funk albums hitting the market at the same time. Includes the monster track "Hollywood Squares" – plus "May The Force Be With You", "Very Yes", "Bootsy?", and "Bootzilla".

One of the best of Johnny Hammond's albums for Kudu! The arrangements are by Pee Wee Ellis – yes, THAT Pee Wee Ellis, the guy who played alto for James Brown! Ellis gives the record a slightly different feel than other Kudu arrangers (like Bob James) might have, and the usual slow building jazz funk sound is peppered with a bit more horns than usual, giving Johnny's funky organ riffs a good brassy finish. Tracks are long and funky, with some nicely subdued keyboard lines – and titles include "The Prophet", "Thunder & Lighting", and "Witchy Woman".

A cool little set from reedman Benjamin Herrman – even cooler than his work with The New Cool Collective! The album's packaged in a DVD-style case, and has a very cinematic feel – core sounds from a combo led by Herrman, and featuring lots of Hammond and guitar – but then backed by richer strings from the City Of Prague Orchestra, who shade things in with a sweet soundtrack sort of vibe –a great blend of jazz and grooves that likes somewhere in a space between Lalo Schifrin and Johnny Mandel – with rich sounds that perfectly skirt the late 60s/early 70s era! Totally great stuff – the deepest work we've heard from Herrman so far – and titles include "He'll Never Get Her", "Sara Sunbathing", "Room 1618", "Barcelona Daybreak", "She Wants Out", and "Sara Said Yes".

Early early early work by The Isley Brothers – an album built around their huge rock and roll hit "Shout" – one of those numbers you've heard a million times, in a million versions, and which you've probably forgotten came from the first trio of Isleys way back before they turned into one of the biggest funky soul acts of the 70s! "Shout" is offered here in 2 parts, and other tracks include "Ring A Ling A Ling", "Without A Song", "That Lucky Old Sun", and "Yes Indeed".

Arguably the last true moment of genius in Michael Jackson's career – a record that sold a bazillion copies around the world – and for plenty good reason! Michael's still working here with Quincy Jones – in territory that steps nicely from the Off The Wall groove, into territory that's somewhat more poppy, but still quite soulful overall. And yes, the success of the album meant that cuts like "Billie Jean", "Thriller", and "Beat It" got plenty of play – thanks to both heavy radio and video rotation – but a few decades later, there's still a tremendous amount of depth here – on great cuts like "Human Nature", "Wanna Be Startin' Somethin", and "PYT" – which all hold up nicely!

A crowning achievement from Lakeside – one of the key albums to link Ohio funk roots with a smoother LA groove – all served up in a way that had limitless influence for years to come! Bass is definitely at the head of these arrangements, but there's plenty of great guitar too – riffing and scratching in a way that percolates the tunes wonderfully – keeping plenty of funk in the mix without falling into the too-uptight traps that sometimes mired other groups. But almost even better are the vocals – which are tight and well-placed – never an afterthought, but always a key part of the groove, thanks to plenty of great hooks that really send the tunes home! Titles include "Eveready Man", "Say Yes", "Strung Out", "Fantastic Voyage", "I Need You", and "Your Love Is On The One".

Sweet late 70s grooves from Latimore – a bit less bluesy than at the start of the decade, but in a mighty nice way! The set's got loads of warm undercurrents – and shows Latimore pushing his southern soul roots into a modern soul mode – with surprisingly great results – a style that really lifts him up from before, and avoids any of the bluesy cliches he might hit in later years! In fact, the record's a really unique moment from Latimore – and one we wish he would have stayed in longer – a nicely mature set that really helps focus all the sensual energy of the previous albums – and give it a whole new place to go. Titles include "Life Of The Party", "Ain't No Comin Back", "Take It All", "Yes We Can", "You", "Do It Now", and "Discoed To Death".

From Rick James' girlfriend to one of the biggest soul stars of the early 80s, Teena Marie more than earned her place at Motown – and she gave the label some of its biggest-selling albums in the post-Marvin years. This set of 14 cuts includes some of her best moments from those days – like 'I'm A Sucker For Your Love", "Behind The Groove", "Yes Indeed", "Don't Look Back", "Deja Vu", "Square Biz", and the perennial fave "Portuguese Love".

Maybe the greatest album that Teena Marie ever cut – and that's saying a lot, given the strength of the lady's work for Motown! The set's got this bright, positive bounce that grabs you right from the start – but also moves into a depth that's way different than other funk albums of the time – a way with a ballad and a thoughtful track that almost makes Marie the 80s heir to the Minnie Riperton legacy, especially given the strength of her voice on the set – and the fact that Teena wrote and produced the whole album herself! At a time when so many other female soul singers were at the mercy of other folks' talents and ideas, Lady T steps forth boldly with this classic set – brimming over with greatness on cuts that include the stellar "Portuguese Love", plus "Yes Indeed", "Where's California", "Opus III", "Square Biz", "365", "Revolution", and "Ballad Of Cradle Rob & Me".

Still the Atlanta duo's high water mark – and yes, we did love Stankonia. Relentless hype, Grammys, and the Village Voice be damned! Tracks include "Rosa Parks", "Skew It On The Bar-B" featuring Raekwon, "Aquemini", "Synthesizer" featuring George Clinton, "Mamacita", and "Liberation" featuring Cee-Lo. 16 tracks total.

Yes, yes, yes – we all know the group from later years and their big hit at the end of the 70s, but back in the late 60s, they were an excellent uptown soul duo who forged some slight fame with work like this, sweet soul versions of standards and pop tunes, arranged in a strong New York style by Bert Keyes and Van McCoy. Looking at the evergreen titles, you wouldn't think the album was much – but like Ruby & The Romantics and other New York groups of the time, Peaches & Herb really manage to turn the tracks into something new, opening up old lyrics with new soul styles, creating a sound that's both fresh and familiar at the same time. Peaches sings an amazing solo version of "Time After Time", and other tracks include "Let's Fall In Love", "I'm In The Mood For Love", "Close Your Eyes", "We Belong Together", and "I Will Watch Over You".

A nice one by Tom Scott! He's veering here towards the more tightly produced sound of later years, but the overall feel is still quite nice – and the record has some good funky moments, and players like Howard Roberts, Emil Richards, and Mike Wofford really make the session cook with a groove that reaches back to Tom's first few great albums. With the stormer "Lookin' Out for Number Seven", which has a nice hard groove throughout, and searing solos by Scott (yes, he really could wail in these early days!). Other cuts include "Liberation", "Boss Walk", and "Mantra".

We love Sly & Robbie – really we do. And while they were responsible for many of the toughest rhythms ever laid to wax, they did cut their share of material that hits nice and hard, but may not be as sublime as their finest and fattest. While on paper this Bill Laswell produced session that finds the Rhythm Twins meeting up with an all star cast including Rammellzee, Bernie Worrell, Henry Threadgill and D. St. among others, it somehow manages to result in a sum that's that's less than the combination of all the dope parts. But you could do a lot worse, and we're guessing if you heard any of these 6 tracks in a different context, you might well consider it the heat: "Fire", "Boops (Here to Go)", "Let's Rock", "Yes We Can Can", "Rhythm Killer" and "Bank Job".

Proof that Philly was well represented even in the early days of hip hop. 3XD are still part of the Hilltop Hustler's crew on this first album, and have the same sort of stripped down approach that you might expect from Steady B during the same period. Kind of like Superlover Cee & Casanova Rud both in their rhyme style, and that they were largely forgotten for a number of years, but have managed to finally get their due. 10 tracks in all, including "From Da Giddy Up", "Greatest Man Alive", "Original Stylin", "Funky Dividends", "Once More You Hear The Dope Stuff", "Improvin Da Groovin" and "Believe Dat". And a bonus for the sneaker fiends – some nice shots of OG Jordan III's on the back cover. Fire Reds? Yes, please.

A Cuban funk classic – and one of the legendary sides from the great Sound Triangle label in the 70s! Wild Wind are nicely on the cusp here – sitting between older Latin modes and tight 70s styles – particularly the breed of Latin funk that the LA scene seemed to pick up from the east coast, then forge into their own unique groove – thanks to the strong addition of electric guitars! Wild Wind's sound is really great here – nicely rough around the edges, which gives them a good contrast to some bigger-label bands – and they sing both in English and Spanish, on cuts that include "I've Tried To Love You", "What We Can Do", "A Drink Or Two", "La Bamba", "Yes I'm Ready", "I'll Be True", and "Make Your Move".

A wonderful document focusing on the aboriginal musical traditions of Burundi in Central Africa. A variety of folk forms are showcased, from solo performances to ensemble pieces, many with vocals. The instrumentation is quite varied, unlike some of the other Nonesuch volumes, including flutes, one-stringed fiddle, a variety of drums and thumb piano. Like other traditional African music, the songs are built up on spiraling repetitive patterns, with rich folk melodies and themes overlaid on vocals. Includes "Yes I Love Micombero", "Bernadette", "Shepherd's Flute", "Walking Song", "Take Me Back to Mabayi", "Warriors Of The Drum" and "Walking Troubador", twelve songs in all.

Blood & Fire dips into their excellent catalog of fine, fine reggae and pulls together an outstanding little compilation of some of the best tracks from the catalog! This nicely priced set focuses on vocal numbers, all voiced by top notch artists, showcasing the breadth of great music cut during the golden era of Jamaican music that makes up the body and soul of Blood & Fire's dynamite releases! 18 tracks in all, including "Fire Fe The Vatican" by Max Romeo, "Storm" by Gregory Isaacs, "Children Of Jah" by the Chantells, "Problems" by Horace Andy, "Rent Man" by Black Uhuru, "Chant Down Babylon" by Sylford Walker, 'Go Down In Silence" by Prince Alla, "Man Next Door" byDennis Brown, "Fight It To The Top" by Michael Prophet, "Every Knee Shal Bow" by Johnny Clarke, "At The Feast" by the Congos, "Yes Yes Yes" by Errol Holt, "Jah Jah The Conqueror" by Linval Thompson, "Give Jah Praise" by WIlli Williams, "Deliver Me From My Enemies" by Yabby You, "Judgement Time" by Junior Ross & The Spear, "Bandulu" by Cornell Campbell and "Remember Me" by Junior Byles & Rupert Reid.