The third and fourth albums from Atomic Rooster – back to back in a single set! First up is Made In England – a really striking album in the career of Atomic Rooster – one that's a little bit groovier than most, and maybe a bit funky as well! The drums are great, and have plenty of soulful currents – and the Hammond, piano, and electric piano work of Vincent Crane almost seem to echo earlier UK beat group currents, but turned towards a much hipper 70s vibe – one that's followed by an equally extended range from vocalist Chris Farlowe, who seems to fold together both his mod and prog experience in the vocals! Steve Bolton brings in some tight, riffing guitar – and titles include "Time Take My Life", "Never To Lose", "Breathless", "People You Can't Trust", "All In Satan's Name", "Close Your Eyes", "Little Bit Of Inner Air", and "Stand By Me". On Nice N Greasy, Atomic Rooster definitely get a bit greasy – using some funkier elements at times, and bluesier currents at others – all at a level that really lets singer Chris Farlowe hit some of his most expressive modes! The group's got a fresh guitarist this time around, Johnny Mandala on lead – and his presence gives some of the cuts a harder rock edge than before, often taking the lead more than the keyboards of longtime member Vincent Crane, which helps shape the sound of the set. Titles include "Voodoo In You", "Save Me", "Satan's Wheel", "Can't Find A Reason", "Take One Toke", and "All Across The Country". CD set features the bonus tracks "Moods" and "What You Gonna Do". CD

Two very unusual albums from the great Graham Bond – back to back in a single set! Holy Magick is quite spiritual, almost supernatural at times – very much what you'd expect from the cover and title! The record's light years away from Bond's British beat group work of a few years before – and has a quality that almost mixes headier rock influences with the spiritualism of the post-Coltrane generation – as the record almost goes farther in a direction that was somewhat initiated by Albert Ayler's more rock-like leanings at the end of his life. Many numbers have chorus vocals rising up behind Bond's lead – and while his own work on alto sax is somewhat displaced by strong use of guitar on many tracks, there's still a fair bit of jazzy elements going on in the mix – particularly on side two, which features Graham laying down some strong lines on the Hammond. Titles include "Aquarius Mantra", "Praise City Of Light", "12 Gates To The City", "Invocation To The Light", "The Qabalistic Cross", "The Pentagram Ritual", "The Holy Words", "The Judgement", and "The Magician". Holy Magick is an equally unusual record from a very unusual player! Altoist Graham Bond had a long and varied career before he made this groovy rock/jazz album in the early 70s. He started as a committed Brit modernist, playing in Don Rendell's early group, then moved into the Beat Group era, with his Graham Bond Organization that featured him on organ and alto. This session recorded with his group Magick shows a similar extension from the Beat Group sound that was taken by Brian Auger – lots of longer jamming cuts, still with the R&B tinged jazzy playing at its base, but with spiritual jazz on the vocals at times, and almost a bit of prog as well. The heart of the whole thing's still nice and jazzy, though – and titles include "Druid", "Ajama", "Forbidden Fruit", and "Moving Towards The Light". CD

One of the best-ever releases in this amazing series – and a smoking batch of great little cuts that mix dope guitar, funky hammond, and odd off-beat grooves in a very nice way! The whole thing's nicely packaged, with a fresh approach to funk tunes that's quite different from a lot of recent compilations we've stocked – and we're still grooving to this one, even though we've played it three times in a row! Tracks include "Petite Soul" by Little Ed, "Contagious" by Kenneth Wells, "Gasoline Alley" by Dave Grusin, "Pick & Shovel" by The Touch, "Mind Blow" by Roger Hamilton Spotts, "Un Homme De Mort" by Michel Legrand, "Chicano Chaser" by Ian Langley, "Studio 69" by The Mohawks, "Soul Thing" by Tony Newman, "It's Your Thing" by The Invaders, and "Move Your Hand" by La Clave. 20 cuts in all! CD

A wild mix of free jazz and fuzzy rock – played by a groundbreaking Japanese group who mix flute and saxes with heavy Hammond and plenty of guitar! The album begins with the side-long "Question Mark" – a tune that breaches a really metaphysical question at the start, then really trips out with some free-jamming instrumentation. Other numbers are a bit more straight – and almost show a soul jazz influence at times – and the accented English language vocals almost make the set come off like some of those European post-beat sides that were a jamming mix of funk, soul, and rock. Titles include "Shadows Of The Mind", "Runnin Free", "Love Will Make A Better You", and "Facts About It All". CD

Mad sounds from the late 60s world of Japanese pop – a mindblowing, ear-opening batch of singles we never would have gotten our hands on otherwise! The music here feels like sounds coming out of some backroom jukebox in a Nikkatsu "new action" film – or maybe the kind of offbeat pop that Quentin Tarantino might throw into a soundtrack – but there's also a much deeper range of sounds going on than you might expect, with wonderfully clever instrumentation, and lots of surprisingly heartfelt passages in the vocals! And sure, the language might be a barrier – but there's a really universal sense of appeal to this music – a variant of 60s soul and pop, focused through a different sort of lense – and the instrumentation alone is great – with wicked guitars, Hammond, and other garagey touches! As usual with Ace, the whole thing's supported with nicely detailed notes that tell the whole story behind these wonderful lost gems (we like this one even better than the fab first volume) – and titles include "Namida No Go Go" by Emy Jackson & Blue Comets, "Koi Gurui" by Chiyo Okumura, "Tokyo No Hito" by The Peanuts, "Warui Kuse" by Kazumi Yasui, "Boy & Girl" by Akiko Wada, "Namida No Mori No Monogatari" by Akiko Nakamura, "Saike Na Machi" by Reiko Mari, "Bazazz No 1" by Kayoko Ishuu, and "Furi Furi 5" by Linda Yamamoto. CD

An amazing second chapter for The Music Machine – working here with the last name of leader Sean Bonniwell in their name – in a groove that's even weirder and wilder than before! The group take on an odd new sound here – still the heady brew of fuzz and Hammond on their original garagey recordings from LA – but with a mode that also really lets Bonniwell's offbeat character come to the forefront – both in the odd lyrics, and his stark presentation in the lead – a Sunset Strip sense of personality that's almost up there with Kim Fowley at times! The record's definitely one of the weirder, more edgey sides cut for Warner Brothers in the mid 60s – and titles include "Astrologically Incompatible", "Double Yellow Line", "The Trap", "Soul Love", "Bottom Of The Soul", "Me Myself & I", and "The Eagle Never Hunts The Fly". CD features an insane 49 tracks in all – the full 14 track album, other Warner singles, and demos and rare material that includes solo tracks by Sean Bonniwell too! CD

A definite killer from the great Gianni Ferrio – one of his grooviest soundtracks ever, and a set that's filled with lots of mod 60s touches! There's a bit of electric sitar, cool bubbling Hammond, and even some jazzy horn parts that make for nice flourishes over the top – all changing up in cool and different ways from track to track – creating the kind of instrumental variety that we love in soundtracks like these! The album features vocals on two tracks – and titles include "Strana Gente", "Mr Ice Cream Again", "Week-End On Ice", "Billy's Ice Cream", "Pedigree", "Semifreddo", "Nuovi Ricchi", and "Fino All'Ultimo Gelato". CD also features 16 more bonus tracks – practically a whole extra album of music! CD

Totally wonderful spy soundtrack work from Piero Umiliani – done in his best groovy style of the 60s, with a brilliant mix of jazz and mod elements throughout! Umiliani's extrapolating from the more famous spy sounds of Bond and Barry, and takes things very strongly into his own territory with a blend of light woodwinds, moody Hammond, snapping snare, and a bit of strings as well – interwoven with a really fresh feel that includes a bit of the bossa styles you'd hear in other Italian work of the time! Given the obscurity of the film, the soundtrack's a great discovery – and steps out boldly here on this set of 21 tracks from the movie. CD

Great grooves from Piero Umiliani – a sweet 70s session of sound library material, served up in a warm blend of funky rhythms and mighty nice keyboards! Hammond is in the lead on most numbers – echoing those cool odd phrasing styles that Umiliani used in the late 60s, but given more of a straightforward groove thanks to the backings – which move between cop show funk and some slightly clubbier styles at point. The whole thing's got all the wit and whimsy we've come to love from Piero – and which you might expect from the cover image too – and titles include "Slogan", "Trip", "Bon Voyage", "Union Pacific", "Business Is Business", and "Wild Cat". CD

Mod mod 60s jazz – and 20 tight-as-can-be instrumentals from London's Dave Davani combo! Dave's a Hammond player with a great mix of soul jazz and R&B in his grooves – very much the best sort of instrumental work you might expect from London in the swinging 60s – a great blend of American influences and UK mod styles. The rest of the group includes guitar, bass, and drums – plus a bit of vocals and Latin percussion from Beryl Wayne. The groove here is clearly a precursor to the James Taylor Quartet, and the overall sound is better than some of the more famous groups from the time – such as the combos of Brian Auger or Graham Bond. The set features tracks from Dave's Parlophone album, a few other singles, and even 4 previously unissued tracks from the same time – with titles that inlcude "Big Bossa Man", "Working Out", "Funky Mama", "Sack O Woe", "Boot Leg", "Harlem Waltz", and "Pig Foots". CD

The great Piero Piccioni at the height of his powers – working here on a sublime spy soundtrack from the 60s! The record's got a really wonderful sound right from the start – lots of cool Hammond organ lines that bubble and shimmer in ways that are quite different than the use of the instrument by any American jazz players of the time – really weird and wild from a sonic perspective, but still set to lots of cool and groovy rhythms as well! The soundtrack's got the same sublime appeal as Piccioni's legendary music for La Deccima Vittima/The Tenth Victim – just the sort of essential lost gem that got us collecting rare soundtracks in the first place! 30 tracks in all – with great sound throughout. CD

One of our favorite albums of all time – and a record that just gets better and better the more we listen to it – and we've listened to it for years! Johnny "Hammond" Smith began his career as a simple soul jazz organist – but by the time of this album, he'd teamed up with the mighty Larry Mizell, the genius arranger/producer who'd breathed new life into the careers of Donald Byrd and Bobbi Humphrey. Mizell works with Hammond in the same way he does with other jazz artists – by taking a groove that works best with their solo style, and slowly layering other instrumentation and effects on top of it, so that when the solo kicks in, it's supported on waves and waves of funky sounds and soulful grooves. Mizell and his brother Fonce both play keyboards on the record, and the rest of the group includes monster fusion players like Harvey Mason, Roger Glenn, Hadley Caliman, and Jerry Peters. The real treat is Johnny, though – as his solos are heavenly, the best of his 70s work, stripped mean and lean, laid in at just the right points. Includes the breakbeat classic "Shifting Gears", the house classic "Los Conquistadores Chocolates", and funky numbers "Fantasy" and "Tell Me What To Do". This stunning version adds in some killer bonus tracks – 6 never-heard cuts from the Milestone vaults, including "Song For My Family", "Funky Native", "Detroit Rainbow", "Can't We Smile (alt)", and slow and fast versions of "A Child's Love". CD

An incredible lost moment in the career of Screamin Jay Hawkins – material that was recorded in London in the mid 60s, and with a very different flavor than most of Hawkins' other material! There's a mod jazz approach to this set that's totally great – as Jay's raw vocals come into play with a sweet-grooving Hammond, in a combo that also features some sharp work on guitar, and some strong sax solos too! The upbeat, jazzy vibe is totally great – and gives Screamin Jay a whole new focus for his vocals – and for his songwriting, too – as most of the material here is original. And while Hawkins is always best remembered for his spooky, gimmicky cuts, this material is equally great in a totally different way – and, if it were pursued further, might have given the man a whole new direction in his career. Make no mistake, there's still plenty here to love if you're a longtime fan of Screamin Jay Hawkins – but you'll also really appreciate the mod grooves in the set as well! Titles include "I Wanna Know", "In My Dream", "Change Your Ways", "Serving Time", "Please Forgive Me", "Move Me", "My Marion", and "All Night". Plus, CD features a whopping 12 bonus tracks – a few alternate takes, and other versions of album songs – plus the titles "I'm Lonely" and "Stone Crazy". CD

A really stunning album from Hammond legend Caesar Frazier – maybe his heaviest album in recent decades, thanks in part to a surprise appearance from the great Jonas Kullhammar on tenor! You might know Jonas for his work on his own Moserobie label – but here, he demonstrates his very wide-ranging skills on tenor, and fits in alongside Caesar's work on the organ with a really great style – soulful, but also offbeat – maybe in the way that Harold Vick could throw in surprises next to the Hammond of Jack McDuff back in the day – and Frazier's pretty wonderful too, really romping with a strong sense of groove and sense of tone that really lives up to his legacy. The rest of the group features Kresten Osgood on drums and Johannes Wamberg on guitar – and titles include "Night In Tunisia", "Jive Samba", "King Of Leonne", "Thieves In The Temple", "I Wanna Make It With You", and "123". CD

A set titled after a Beatles hit of the 60s, but one that's got a lot more depth than that – as the record is a landmark moment in the development of organ/guitar jazz at the time – a set that features the key pairing of guitarist Grant Green and Hammond modernist Larry Young! As with other records from the duo, there's a sense of rhythmic progression and tonal inflection here that's quite different than more standard soul jazz of the time – a complexity that also comes from the drum work of Elvin Jones, and which is topped by the soulful expressions of Hank Mobley on tenor – the last member of this all-star quartet! The whole thing's great – based around loose, free rhythms – and featuring searching solos that also still remain nicely swinging and in the pocket! Titles include "Corcovado", "Stella By Starlight", "I Want To Hold Your Hand", and "At Long Last Love". CD

Rare Bacharach galore – an assortment of under-reissued tracks all penned by the mighty Burt – most of which are from the heyday of 60s uptown soul! Despite the 1952 in the date range on the title, almost all the tunes here are from the mid 60s – that time when Bacharach was writing new tunes like a demon, and getting most of them recorded by a range of great talents on the New York scene. Singers are a good mix of soul, pop, rock, and vocal artists – and although the material was done for a variety of different labels, there's a relatively unified feel – thanks to that snapping syncopation that Burt always brought to work like this. CD features 26 titles in all – including "How About" by Della Reese, "Third Window From The Right" by Dean Barlow, "I Wake Up Crying" by Del Shannon, "I Looked For You" by Charlie Gracie, "That's Not The Answer" by Vi Velasco, "More Time To Be With You" by Brook Benton, "Three Friends" by The Turbans, "Move It On The Backbeat" by Burt & The Backbeats, "You're Telling Our Secrets" by Dee Clark, "Thirty Miles Of Railroad Track" by The Hammond Brothers, "The Story Of My Life" by Big Al Downing, "Made In Paris" by Trini Lopez, "Rain From The Skies" by Adam Wade, and "True Love Never Runs Smooth" by Don & Juan. CD

You gotta love a record with song titles like "Marijuana", "Drugstore", and "Hurrycane" – and we can definitely promise that the overall sound definitely matches those trippy references! The record's one of the most obscure Italian sound library sets from the time – and really has a feel that's more like an offbeat jazz album overall – never too outside, but definitely modern – with very strong passages from the saxophone, flute, and trumpet players in the group – who work nicely alongside some sweet organ and guitar, which provide some excellent psychedelic touches! Tony Iglio himself handles the Hammond – and wrote and arranged all the tunes – and in addition to the three mentioned above, other titles include "Jungla", "Yatagan", "Yellow Drops", "Soft Cream", and "Velvet". CD

Great work from Eternity's Children – a really unique soft psych group, one with roots in the south, but a sound that was later polished by LA sunshine! The tracks on the set have a wonderfully dreamy quality to them – a style that takes bits of fuzzy guitar, Hammond organ, and some slight folk and harmony touches – and fuses them together with a tight sense of conception that holds the sound together even through a few personnel shifts over the years. Some of the cuts here were issued as singles – and appeared on the group's Rev-Ola singles set – but a few others appear to be previously unissued as well, and all titles are pretty darn groovy! CD features 17 tracks in all – including "Woman's Blues", "Time & Place", "Cigarette", "Taste Of Honey", "Rumours", "Girl's Song", "Living Is Easy", "Somebody's Watching You", "Didn't We", "Just One Smile", "Laughing Girl", "Hard Hard Year", and "Down The Aisle". CD

A great title for this one – given that the album's got a full, spacious sound – one that definitely lives up to the "suite feeling" you'd expect! The style here is even more sophisticated than on the group's debut – still a mix of jazzy horns and rockish rhythms, but fused together even more perfectly – but with a leanness that's a good contrast to some of the more overblown groups of the same generation! There's just the right balance here to allow some standout solos – on horns, natch, but also some sweet Hammond too – and a young Howard Shore is also in the group on alto sax, and handled some of the arrangments for the record. Titles inlcude a great version of "A Day In The Life" – plus originals "Taking A Walk", "Could You Be Concerned", "Chest Fever", "Feel So Good", "Places On Faces Four Blue Carpet Traces", and "What Sense". CD