An overlooked gem from a player who never fails to surprise us – recorded later in the years of drummer Art Taylor's life, but bristling with the same kind of energy we first came to love in his 50s recordings! The set's got a really unified feel – with Taylor masterfully leading the group on drums, working through an assortment of like-minded tunes with a Blakey-like sense of equal power for strongly soulful numbers, and gentle guidance for mellower and more introspective tunes. The group's got a tremendous two-horn frontline in the tenor of Willie Williams and alto of Abraham Burton, and the rest of the lineup includes Marc Cary on piano and Tyler Mitchell on bass. The album's got one very short "out" track entitled "It Doesn't Matter", alongside a number of longer soulful explorations that include "Mr AT", "Soul Eyes", "Bullet Train", "Ahmad's Blues", and "Gingerbread Boy". CD

The rare second album from Twilight – recorded five years after the first, and with a sound that's every bit as great! Twilight morphed a bit in the time since their debut – moving from a solo act into more of a duo, yet still very strongly under the guidance of mainman Lawrence Ross – a singer, musician, and self-produced artist with a great ear for pushing contemporary soul modes into some hip new directions! The overall feel of the set is more early 80s than you'd expect from the date – no too-tinny keyboards, and lots of warmth in the production – killer indie soul that really brings out the best aspects of Ross' original tunes, with lots of great keyboard work that falls more in a jazzy style than the usual soul modes of the time. There's plenty of groovers, but more in a funky soul style for the 80s than the more familiar boogie or dancefloor modes – and as before, there's some great ballads that show a good degree of depth in Twilight's sound. Titles include "Pains Of Love", "Love From You", "You're In Love", "I Wonder Who", "Dance With Me", "Find Someone Else", and "You Look So Good". CD

A record that could have been the biggest breakthrough in the career of the legendary Joyce – yet the set was never issued at the time! The late 70s session has Joyce recording in New York, under the guidance of studio maestro Claus Ogerman – who has a wonderful way of elevating the overall quality of the proceedings, while never getting in the way of that special magic that made Joyce so wonderful – especially on her albums for EMI! As with those records, Joyce plays acoustic guitar alongside her amazing vocal approach – a style that's unlike anything else we can describe – informed by jazz and Brazilian music, yet soaring and gliding in a completely sublime style – awash in color and light as it flies to the sky. Mauricio Maestro helped out heavily on the record too – and the other players include Mike Manieri on vibes, Michael Brecker on tenor, Joe Farrell on flute, and Nana Vasconcelos on percussion – on titles that include a fantastic early reading of "Feminina" – plus "Miserios", "Descompassadamente", "Pega Leve", "Ciclo Da Vida", "Coracao Sonhador", and "Moreno". CD

A pair of very obscure Lee Perry recordings – back to back in a single CD set! Black Ark In Dub features a host of recordings done by Lee Perry right before his Pipecock Jackson implosion in the late 70s – but presented by former partner Pauline Morrison, who deserves a lot of credit for putting together a host of great dub tracks that might have been lost otherwise! The record first surfaced in the UK around 1980, with the usual very spare set of packaging that seems to mark some of the best dub records from the time – so there's little in the way of actual details about the recordings, but the quality of the bassy, echoey tracks definitely resonates with the strengths of the Black Ark studios at their height Titles include "Cool Rockers", "Jah", "Rasta Man", "Camp", "Dreadlock", "Guidance", "In The Valley", and "Money". Black Ark Vol 2 is a bit different – more of a various artists collection, put together by Pauline Morrison, with material rescued from the Black Ark studios before their implosion – all mixed by Lee Perry with his amazing mid 70s ear for sound – which makes for timeless magic on cuts that include "Ethiopia" by Carol Cole, "Give Praises" by The Silvertones, "How Deep Is Your Love" by The Inamans, "Got To Be Irie" by The Originals, "I Am I Said" by Bunny Rugs, "Jah Love Is Sweeter" by Lacksley Castell, and "Mumbling & Grumbling" by Junior Byles. CD

A very strange and unusual chapter in Chet's career – an album that was recorded as a part of a marathon session that Chet did under the guidance of his 60s manager – issued across other records that include Groovin, Smokin, and Comin On – all of which were leased to Prestige, but have kind of disappeared from their catalog over the years. The sound here is much harder than Chet in the 50s – largely because there's a Detroit rhythm section that includes Kirk Lightsey on piano, Roy Brooks on drums, and Herman Wright on bass – as well as some searing tenor work from George Coleman. Titles include "Etude In Three", "Sleeping Susan", "Hurry", and "The 490". CD

A very strange and unusual chapter in Chet's career – an album that was recorded as a part of a marathon session that Chet did under the guidance of his 60s manager – issued across other records that include Groovin, Smokin, and Comin On – all of which were leased to Prestige, but have kind of disappeared from their catalog over the years. The sound here is much harder than Chet in the 50s – largely because there's a Detroit rhythm section that includes Kirk Lightsey on piano, Roy Brooks on drums, and Herman Wright on bass – as well as some searing tenor work from George Coleman. Titles include "Etude In Three", "Sleeping Susan", "Hurry", and "The 490". CD

Some obscure but great 60s work by Chet Baker – and one of 5 albums recorded under the guidance of Richard Carpenter, best known as the author of "Walkin", but also Chet's manager at the time. The record's got a lot more soulful feel than some of Chet's other work – thanks to a hip group that includes George Coleman on tenor next to Chet, plus rhythm backing by Kirk Lightsey, Herman Wright, and the great Roy Brooks. Tracks include "Madison Avenue", "Lonely Star", "Wee, Too", and "Tan Gaugin". And as proof of how obscure Baker's career had gotten at one point, the liner notes are by a jazz critic who says that he thought that Baker had died a few years before! CD

A legendary bit of Latin from the New York scene of the 60s – recorded by a host of youthful players working under the direction of percussionist Montego Joe! The group's name is a contraction of "Harlem Youth" – a program in which all players participated, as part of an effort to get kids involved in music uptown – spearheaded by Montego Joe, whose guidance in the set is greatly appreciated! There's a strong Latin Soul vibe running through the set – but one that's different than Joe's other work, a bit more rootsy at times, given all the percussion in the lineup – but warmed up nicely with bits of guitar, trumpet, and alto sax. The album's filled with great groovers – including the classic "Welcome To The Party", and the amazing "Oua-Train" jazz cut, which has a slightly spiritual feel. Other tracks include "Feed Me Good", "Barrets Bag", "Tico", "Ngoma", and "Santa Cruz". CD

A legendary album – and for good reason too – a set that's as mysterious as it is funky, and a record that's stayed at the top of our crates for years! The album features a really unusual collective of musicians, pulled together under the guidance of producer Paul Winley – a group that features George Benson on guitar, Dave Baby Cortez on organ, Willis Jackson on tenor sax, and Earl Williams on some massively funky drums! The music's a mix of funky jazz and gritty soul – put together with some really weird studio touches – including an uncredited male voice that comes in and out of the tracks, bad-rapping along with some very hip commentary. Ann Winley sings the female vocals on the set – often egged on by the dude – but the real charm of the record lies at the bottom – the wicked drums, funky basslines, and choppy instrumental bits that have gotten the set sampled plenty over the years. Titles include the classic "Smokin Cheeba Cheeba" alone, the groovy "Finger In It", a great breakbeat version of "Ain't No Sunshine" with a tenor solo by Willis Jackson, and the slow bluesy talking cut "Fed Up", a baaaad rap about a couple splitting up – done here in both vocal and instrumental versions. CD

A wonderful album by Blue Mitchell – one that features some larger arrangements by Duke Pearson, and Blue's soulful trumpet soloing over the top! The use of Pearson is a great addition to the set – as it really sets Mitchell free to concentrate on the best shades, colors, and tones in his solos – allowing him to work in a sweeter, lyrical vein that we really like a lot! The format works surprisingly well for Blue, who could always be a great player, but sometimes faltered as a leader – which is why Pearson's guidance really seems to give the session new life. Titles include wonderful versions of Chick Corea's wonderful compositions "Straight Up & Down" and "Tones For Joan's Bones", both with piano by Chick, plus a reading of trumpeter Dave Burns' seminal groover "Rigor Mortez"! CD

A wonderful album by Blue Mitchell – one that features some larger arrangements by Duke Pearson, and Blue's soulful trumpet soloing over the top! The use of Pearson is a great addition to the set – as it really sets Mitchell free to concentrate on the best shades, colors, and tones in his solos – allowing him to work in a sweeter, lyrical vein that we really like a lot! The format works surprisingly well for Blue, who could always be a great player, but sometimes faltered as a leader – which is why Pearson's guidance really seems to give the session new life. Titles include greatl versions of Chick Corea's wonderful compositions "Straight Up & Down" and "Tones For Joan's Bones", both with piano by Chick, plus a reading of trumpeter Dave Burns' seminal groover "Rigor Mortez"! CD

A killer bit of soulful fusion – recorded by the legendary drummer Alponse Mouzon after his harder-jamming 70s years, in a mode that brings in some nice currents of jazz funk and soul! The group's an all-star lineup – Herbie Hancock on Fender Rhodes and piano, Freddie Hubbard on trumpet, Lee Ritenour on guitar, and Paul Jackson on bass – working together strongly under the guidance of Mouzon, who's really finding a new side of his talents here. The tunes groove wonderfully – never too over the top, and always in the smooth soulful mode that was the best part of major label fusion in the late 70s. Mouzon plays a fair bit of keyboards next to Herbie's acoustic and electric piano, and tracks are long, with some really nicely jazzy grooves. Titles include "The Jogger", "Do I Have To", "Space Invaders", and "The Next Time We Love". LP, Vinyl record album

Smooth jazzy soul from Lonnie's mid 80s years, recorded when Lonnie was heavily under the sway of Guru Sri Chinmoy! If you've ever heard Chinmoy as a musician, you know that he's not very good – and fortunately, Lonnie keeps him away from the instruments on the record, and only lets him provide spiritual guidance. The style of the sets is surprisingly nice – a smooth extension of Lonnie's work for Columbia, with vocals by Donald Smith, bass by Marcus Miller, sax by David Hubbard, and work by other musicians who are very much in keeping with Lonnie's style. Titles include "A Garden Of Peace", "Divine Light", "The Love I See In Your Eyes" and "Dreams Of Tomorrow". LP, Vinyl record album

If Paul's Boutique was the Beasties heavily mind-blown Dust Brothers dusted psychedelic hip hop Sgt Peppers, then Check Your Head is their down and dirty back to basics raw funk run at something like Never Mind The Bollocks. Their first outing without the guidance of an outside producer, though the trio did bring in ringers like Money Mark and Mario Caldato Junior, this set's a ride into a whole other mindset, still fueled by sunny So Cal vibes and the Beasties own take on rhyme science. It's hard to imagine an album that would produce so many anthems for true heads and the Lollapalooza crowd alike, but this is it. Includes "Jimmy James", "Pass The Mic", "Gratitude", "Finger Lickin' Good", "So Whatcha Want", "Time For Livin'", "Something's Got To Give", "Groove Holmes" and "Professor Booty". CD

Natalie Cole's stunning debut for Capitol Records in the mid 70s – a real surprise, and a set that should have had the singer blossoming even more than she did at the time! As with some of the other Capitol soul sessions of the time, the album's done very firmly under the guidance of Charles Jackson and Marvin Yancey – a pair who give Natalie just the right sort of backing to launch her career – a sound that's full and rich, deeply sophisticated – but also still plenty soulful, almost in the mode of some of Minnie Riperton's work at the time. Given the pair's Chicago roots – and the arrangement help from Richard Evans – that comparison is no surprise, and Natalie rises to the occasion nicely. Titles are all originals too – and include "Needing You", "Joey", "I Can't Say No", "Something For Nothing", "I Love Him So Much", "You", "Your Face Stays On My Mind", and the huge hit "This Will Be". LP, Vinyl record album

Natalie Cole gets some great Chicago soul help here from Richard Evans and Gene Barge – who did the original arrangements – which are adapted by Don Hannah for performance, then conducted by Linda Williams! That's a mouthful, but under the guidance of Charles Jackson and Marvin Yancey on production, everything comes out mighty nice! LP, Vinyl record album

Great work by one of the most unusual girl groups of the 60s! The Dixie Cups hailed from New Orleans – and as such, had a sound that was rougher and choppier than some of the other female trios from the north, especially the sweeter ones in LA. The group were discovered and produced by Joe Jones, a Crescent City soul star in his own right – and under Joe's guidance, they created a style that was steeped in the bubbling soul of the New Orleans scene, yet also had the kind of girl group sensibilities that would help them reach wider audiences across the US. This 18 track set is the best reissue we've ever seen of their material from the time – and features all of their recordings for the Red Bird label, produced by Lieber & Stoller, with arrangements by Joe Jones, Wardell Quezerque, and Mike Stoller. Titles include "Iko Iko", "People Say", "Little Bell", "Gee Baby Gee", "Another Boy Like Mine", "Chapel Of Love", "Girls Can Tell", "All Grown Up", and "Thank You Mama Thank You Papa". CD

A legendary album – and for good reason too – a set that's as mysterious as it is funky, and a record that's stayed at the top of our crates for years! The album features a really unusual collective of musicians, pulled together under the guidance of producer Paul Winley – a group that features George Benson on guitar, Dave Baby Cortez on organ, Willis Jackson on tenor sax, and Earl Williams on some massively funky drums! The music's a mix of funky jazz and gritty soul – put together with some really weird studio touches – including an uncredited male voice that comes in and out of the tracks, bad-rapping along with some very hip commentary. Ann Winley sings the female vocals on the set – often egged on by the dude – but the real charm of the record lies at the bottom – the wicked drums, funky basslines, and choppy instrumental bits that have gotten the set sampled plenty over the years. Titles include the classic "Smokin Cheeba Cheeba" alone, the groovy "Finger In It", a great breakbeat version of "Ain't No Sunshine" with a tenor solo by Willis Jackson, and the slow bluesy talking cut "Fed Up", a baaaad rap about a couple splitting up – done here in both vocal and instrumental versions. LP, Vinyl record album

A really dark-tinged large ensemble – one that's led by guitarist Johan Lindstrom, whose instrument is only a very small part of their overall sound! The group is overflowing with key musicians from the Scandinavian scene – including Mattias Stahl on vibes, Mats Aleklint on trombone, Robert Nordmark on tenor, and Bo Strandberg on trumpet – just a few of the players who work under the guidance of conductor Joakim Milder, as he brings all sorts of color and life to the album's original compositions by Lindstrom – music that's very different than just a guitar with larger group backings, and which instead seems to rely on just about every instrument in the group to continually shape the overall sound of the proceedings! Titles include "Parade", "Blues For Somliga", "End Of The Dark Hours", "Ritmo Bolsillo", "Artcic Mambo", and "Pasacaglia". LP, Vinyl record album

A classic album of bluesy funk – one that features the guitar of Johnny Otis' young son Shuggie, in a slightly tighter setting than he'd been getting on some of Johnny's own LPs! Shuggie here is still very much under the guidance of his dad – working in a mode that really emphasizes the fuzzier side of his guitar, in a style that was clearly an attempt to hook Shuggie up with the Hendrix audience. Not that that's a problem, though – as the record also features some stone funky playing too, as well as organ work by Leon Haywood, sax by Preston Love, and some other great studio work by members of The Crusaders! Tracks include "Hurricane", "Shuggie's Boogie", "Bootie Cooler", "Funky Thithee" and "The Hawks". LP, Vinyl record album

A righteous roots reggae set from the great Augustus Pablo – a record that's definitely filled with the sense of spiritual guidance he brought to some of his best albums at the time! The man himself plays all sorts of cool melodica solos, and also handles piano and organ too – with backings from an all-star lineup who are perfect for the laidback, dubby groove of the sessions – which are mostly arranged by Harry Swaby. Hugh Mundell provides a guest vocal on "Rastafari Tradition" – and other cuts include "Zion Hill", "City Of David", "Musical Changes", "Jah Love Endureth", "Earth's Rightful Ruler", and "King Alpha & Queen Omega". LP, Vinyl record album

The lyrical genius at his best – an early record from pianist Horace Silver, but one that already has him really defining that special sort of sound that made him really stand out from his contemporaries! The difference here is hard to put in words – but there's a careful ear for an unusual phrasing in a tune that Silver delivers throughout – not just on his own compositions and piano solos, but also in the way that he puts the whole group together – with stellar work from Donald Byrd on trumpet, Hank Mobley on tenor, Doug Watkins on bass, and Louis Hayes on drums – all players who were about to become leaders and legends on their own, working here under fantastic guidance from Horace. Hayes is particularly great, and his warm drumming brings Silver's playing into a new range that still keeps a lot of his bop roots, but which also allows more room for the kind of flourishes that makes his recordings from this time so great. Titles include the classic "Senor Blues" – plus "Cool Eyes", "Shirl", "Camouflage", "For Heaven's Sake", "Virgo", and "Enchantment". Includes 3 bonus tracks. CD

Smooth jazzy soul from Lonnie's mid 80s years – recorded when Lonnie was heavily under the sway of Guru Sri Chinmoy! If you've ever heard Chinmoy as a musician, you know that he's not very good – and fortunately, Lonnie keeps him away from the instruments on the record, and only lets him provide spiritual guidance. The style of the sets is surprisingly nice – a smooth extension of Lonnie's work for Columbia, with vocals by Donald Smith, and a nice soulful sound overall. Titles include "Summer Afternoon", "Warm", "City Of Lights", "Once Again Love", and "Just Us Two". LP, Vinyl record album

An early stunner from keyboardist Keith Tippett – served up with a punch and power that's missing from a lot of his later work! The music's a perfect blend of free-thinking jazz and some of the more progressive rock ideas of the time – not exactly jazz rock, not exactly avant jazz – but a really unique blend that flourished briefly in the UK for a handful years, under the guidance of Tippett and some of his key contemporaries! Deeper ideas are given a great sense of shape on the set – as Keith plays both acoustic and electric piano – in a cool combo that also includes Elton Dean on alto, Nick Evans on trombone, Mark Charig on cornet, and Alan Jackson on drums. The tracks have a nice little groove at the best moments – not really funky, but not that far off too – almost an echo of some of the MPS or other European styles. Titles include "This Evening Was Like Last Year", "I Wish There Was A Nowhere", "Violence", "Three Minutes From An Afternoon In July", and "Stately Dance For Miss Primm". CD

A surprisingly sweet solo effort from Beach Boy Dennis Wilson – a record of surprising depth and darkness, and arguably stronger than most of the albums at the time from the larger group! Dennis produced the album himself, with some executive help from James William Guerico – whose guidance here seems key, given the overall quality of the set. There's some echoes of Beach Boys' styles in the music, but the sound is much more personal as well – Wilson's ragged vocals in the lead on all numbers, sometimes upfront and fragile, sometimes given a bit more umph through the use of processing – at that level that the whole group would often experience in the studio during the 70s. The album's as much of a showcase for Dennis' writing skills as it is for his vocals – and songs are co-written with co-producer Gregg Jakobson, as well as Carl Wilson, Mike Love, and Karen Lamm-Wilson. Titles include "River Song", "Friday Night", "Thoughts Of You", "Dreamer", "Time", "You And I", and "What's Wrong". This limited version of the expanded Legacy edition is really amazing – with a huge booklet of notes and photos, as well as essays on Dennis' music – plus session bonus tracks that include "Mexico", "Holy Man", "Only With You", and "Tug Of Love". Also features a full bonus CD with the sessions for the unreleased Bambu album – with tracks that include "School Girl", "It's Not Too Late", "Under The Moonlight", "Are You Real", "He's A Bum", "Cocktails", "I Love You", "Constant Companion", and "Time For Bed". CD

A surprisingly sweet solo effort from Beach Boy Dennis Wilson – a record of surprising depth and darkness, and arguably stronger than most of the albums at the time from the larger group! Dennis produced the album himself, with some executive help from James William Guerico – whose guidance here seems key, given the overall quality of the set. There's some echoes of Beach Boys' styles in the music, but the sound is much more personal as well – Wilson's ragged vocals in the lead on all numbers, sometimes upfront and fragile, sometimes given a bit more umph through the use of processing – at that level that the whole group would often experience in the studio during the 70s. The album's as much of a showcase for Dennis' writing skills as it is for his vocals – and songs are co-written with co-producer Gregg Jakobson, as well as Carl Wilson, Mike Love, and Karen Lamm-Wilson. Titles include "River Song", "Friday Night", "Thoughts Of You", "Dreamer", "Time", "You And I", and "What's Wrong". This expanded Legacy edition is really amazing – with a 24-page booklet with notes and photos – plus session bonus tracks that include "Mexico", "Holy Man", "Only With You", and "Tug Of Love". Also features a full bonus CD with the sessions for the unreleased Bambu album – with tracks that include "School Girl", "It's Not Too Late", "Under The Moonlight", "Are You Real", "He's A Bum", "Cocktails", "I Love You", "Constant Companion", and "Time For Bed". CD

A strong companion album to the Midnight Rockers gem from Horace Andy – and one that lets producer Adrian Sherwood take the helm even more than before, as the set features a hip mix of dubs, reworks, and alternate versions of tunes on the album! Horace's great vocals are still there in the mix – but there's also some instrumental cuts, and guest appearances from Daddy Freddy and Lone Ranger – plus plenty of top-shelf work from Sherwood too! Titles include "Come After Midnight", "Dirty Money Business", "Sleepy's Night Cap", "More Bassy", "Dub Guidance", "Hell & Back", "Away With The Gun & Knife", and "Ain't No Love In The Heart Of The City". LP, Vinyl record album

If Paul's Boutique was the Beasties' psychedelic hip hop Sgt Peppers, then Check Your Head is their White Album – a raw, stylistically sprawling, yet always connected batch of live instrumentation – backing rhymes that range from stream of consciousness to expertly written. Check Your Head is also their first outing without the guidance of outside producers, though the trio did bring in a host of regular collaborators like Money Mark and Mario Caldato Jr, who work as well with the Boys as ever. It's stunning how far The Beastie Boys grew creatively over their first few albums, and this point is pretty close to perfection! Titles include "Jimmy James", "Pass The Mic", "Gratitude", "Finger Lickin' Good", "So Whatcha Want", "Time For Livin'", "Something's Got To Give", "Groove Holmes" and "Professor Booty". LP, Vinyl record album

A digital set from the second half of the 80s, but one that keeps a very righteous, rootsy vibe at times – thanks to production from Augustus Pablo, and plenty of spiritual guidance from co-producer Haile Selassie! Pablo adds in plenty of melodica and keyboard lines next to the tightly snapping vocals of Blacka T – a vocalist whose whole lyrical approach is right in the groove, and moving at a speed that's headed towards some of the bigger dancehall work to come in the next few years – but which here really retains a nicely down to earth vibe! Titles include "Free The People Of South Africa", "She A Me Lover", "Ethiopia Calling", "Long Time Love", "Big Bad Celebrity", and "Vegetable". LP, Vinyl record album

Kind of a silly name for a group – but the record's pretty nice! Elbow Bones & The Racketeers were one of the many retro-soul groups working under the guidance of producer August Darnell – aka Kid Creole – who gave the group a style that was similar to his own unique blend of 80s club grooves, 40s swing, and 30s gangster cliches! Vocals are by Gichy Dan, Stephanie Fuller, and Dutch Robinson – and the set's unified by Darnell's good ear for a catchy hook – those quirky, groovy little numbers that always made the Kid Creole and Dr Buzzard albums so great! Titles include "A Night In New York", "Other Guys", "Our Love Will Always Stand", "You Got Me High", and "I Call It Like I See It". CD features a huge amount of bonus tracks – 7 more numbers that include "Night In New York (12" ext)", "Happy Birthday Baby (12" ext)", "Happy Times (12" ext)", "I Wanna Remind You", "Night In New York (single)", and "Happy Birthday Baby (single)". CD

The last Liberation Music Orchestra effort from the great Charlie Haden – offered up here in a set that brings together two live performances from a time when he was still on the planet, plus three more songs by the group on their own – working under the guidance of longtime musical partner Carla Bley! The set begins with a beautiful reworking of Miles Davis' "Blue In Green" – redone here by Haden and the group as a masterpiece of color and tone – and the record closes with a version of Haden's "Song For The Whales", both recorded with Charlie and the group in 2011. In between are three more new performances, post-Haden – the beautiful titles "Time Life/Silent Spring", and "Utviklingssang" – all of which really live up to that long legacy of amazing colors and tones that the group did so well. The two different slices of music come together beautifully, and make for a surprisingly unified set in the end. CD

Self-released album from soulful folk singer Donal Leace – whose previous album came out on Atlantic way back in 1972 under the guidance of Roberta Flack – stepping out here on titles that include "The Water Is Wide", "Eres Tu", "Bluejay", "Too Far Gone", "What's Wrong Brother?", and "Come Sunday". CD