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This series keeps on getting better and better – and this fourth installment may well be the best illustration to date of the birth of soul music! As hinted by the title, the collection features tracks from the late 50s and early 60s that marked a key transition from earlier R&B and blues into soul music – work that pulled a bit more strongly from the church than some of its predecessors, and which also put over a groove that was a bit more sophisticated, sometimes a bit more polished – all to set the stage for the huge soul music explosion to come later in the 60s! A number of the artists here are familiar from R&B years, but they're represented by tracks that show a real change in their styles – and others are known from later successes, but stand out here with early work that's a lot more formative – making them a perfect choice for the collection. CD features 24 tracks in all – including "Come On & Stomp" by Marv Johnson, "Lil Valley" by The MMs & The Peanuts, "Bossa Nova Baby" by Tippie & The Clovers, "Irresistible You" by Bobby Peterson, "Take Your Heart" by Betty Willis, "Puff" by Kenny Lynch, "Jack Be Nimble" by The Intruders, "A Clock That's Got No Hands" by Della Reese, "I Came Running" by Wade Flemons, "You'd Be Crying Too" by The Matadors, "The Gypsy Said" by The Fiestas, "Please Don't Cry Anymore" by Ketty Lester, "Pretty Little Girl Next Door" by Bobby Day, and "Trouble I've Had" by Clarence Ashe. CD

Probably the most successful album the Mizell Brothers ever produced, and a fine set of uptempo groovers from this female soul duet! There's some nice jazzy moments underneath the catchy lyrics, and in a way, the album's style is sort of a blueprint for the sound that would emerge over the next few at Capitol Records, where some incredible albums of modern soul would be recorded. And sure, at one level the group's hit "Boogie Oogie Oogie" is a bit of oversaturated pop disco – but there's plenty of other great moments that show the group as a more sophisticated soul outfit, including "This Love Of Ours", "Sky High", "Distant", "You're In Good Hands", "Sky High" and "If We Loved". This remastered version from Big Break UK includes bonus mixes: "Boogie Oogie Oogie (Single Mix)", "Boogie Oogie Oogie (12" New Boogie Mix)" and "Disco Dancin' (12" Disco Mix)". CD

Way more than just the usual collection of famous British TV themes from the 60s – as this set offers up some great rare nuggets, unusual versions, and some obscure tracks that are all pretty darn fresh to our American years! As you well know if you're a fan of anything pop culture from this generation, British TV was way hipper than most of the American small screen in the 60s – from the stories, to the settings, to the wonderfully cool themes and backing music that supported the show – often a cool hybrid of postwar Soho jazz modes and lots of the best soundtrack/sound library styles that were evolving in the hands of an elite few on the London scene. Some of the best and grooviest of that generation are presented here – in an overstuffed collection that includes "Gurney Slade" by Max Harris, "Danger Man" by Red Price Combo, "The Avenger" by Johnny Dankworth, "Tuesday Rendezvous" by Bert Weedon, "Face To Face" by Frank Chacksfield, "Comedy Playhouse" by Ron Grainer, "What The Papers Say" by London Philharmonic, "Monty Python's Flying Circus" by Eastman Wind Ensemble, "The Saint" by Les Reed, "Fireball" by Don Spencer, "Z Cars" by Johnny Keating, and a number of tracks from The Prisoner too! CD

These guys hardly need to get a grip, and they're also not graced with idle hands either – as the record flows with magical energy right from the start – served up by an array of all-star players you're likely to know from other great releases on the Posi-tone label! The record has all the best aspects of solo work by members from the group – including key use of their own original compositions – work from a lineup that includes Will Bernard on guitar, Behn Gillece on vibes, Donny McKaslin on tenor, Art Hirahara on piano, Boris Kozlov on bass, and EJ Strickland on drums! The combination of vibes and guitar is especially nice – much sharper than you'd expect, in part because the tenor of McCaslin keeps urging them onward – and titles include "Memphis Redux", "Presence", "Tomorrow Blues", "Show Of Hands", "Soho Down", and "Dream Of Life". CD

A long-overdue look at a little-heard side of the career of 60s pop giant Lou Christie – his great but ill-fated recordings for Columbia Records – most of which appear here for the first time ever! Lou hit the label right after a massive hit for MGM – and Columbia gave him plenty of time in the studio, and continued his work with producer Charles Calello – the genius who crafted so many wonderful settings for Christie, as well as the Four Seasons at the time. Calello's genius is in full effect here – creating these incredible backdrops for Christie's stunning vocals – really pushing him past simple pop into a whole host of different modes that make the whole thing a great "what if" – had the label not given up on Lou so quickly. The CD features great sound, detailed notes, and 24 tracks in all – 15 of which appear here for the first time ever – a blindingly great mix of tracks that includes "I Remember Gina", "The Greatest Show On Earth", "Blue Champagne", "Tender Loving Care", "Gypsy Bells, "Escape", "Standing On My Promises", "Shake Hands & Walk Away Cryin", "Self Expression", "Yellow Lights Say", "Meditation", and "How Many Days Of Sadness". CD

One of those great 60s tunes – with more power than you'd guess from the surface! "Impossible Dream" was a familiar hit from a show, but in the hands of the group, it's transformed into a magical anthem of power and pride – stepping out with a righteous style that's almost like a secret message. "Nobody Knows" is another familiar number, but done in a really great snapping mode – with a cool intro that has some nice jazz stepping, and an almost conversational spoken part! 7-inch, Vinyl record

Fantastic mid-50's work by Mingus, and a pivotal pair of recordings that clearly show his transition from bop bassist to groundbreaking modernist. The CD brings together two rare 10" albums that originally came out on the Period label in 1954. The albums are also noteworthy for the incredible talents of reed player John LaPorta, a mid-50's Mingus collaborator, and one of the most overlooked geniuses of that decade's jazz scene. Other players include John LaPorta, Thad Jones, and Clem DeRosa – and the titles are a good mix of originals and strangely-arranged standards (which were sort of Mingus' trademark at the time). Includes "The Spur Of The Moment/Echonitus", "Stormy Weather", "Minor Intrusion", "Four Hands", and "Thrice Upon A Theme". CD

Yipes, this must have been a clear indication of just how popular the show really was! The album's little more than bits lifted off the TV soundtrack – with bits that include "Why God Made Hands", "Sweety Pie Roger", "VD Day", "God is Black", and "Jury Duty". We're guessing that this one probably secretly sold more to the middle-American right wingers who were buying Barry Goldwater records a few years before – than it did to the New York liberals who could get the irony of the material. LP, Vinyl record album

Man, it must have been something to hear this record blasting out of a boombox back in the old days – especially if it was the magenta-hued one on the cover! The groove here is strong and loud – plenty of bass and beats at the bottom, and even a few surprising early electro touches that really stand out and make the album something special. And as with other records from this time, Fatback also show their ballad skills on one number – "Come & Get the Love" – but it's the more jamming tracks we really love, and they include "Street Band", "Hot Box", "Love Spell", "Gotta Get My Hands On Some Money", and the fat 80s jam "Backstrokin". LP, Vinyl record album

A stunner from Charlotte Gainsbourg – in keeping with her style of crafting a diverse body of avant pop sounds by working with stellar collaborators – this time with producer/composer Beck, and it's her best to date! A few tunes are sung in French and have a kind of dramatic French pop noir vibe that would made Serge proud, a mix of sweet and sultry, lightness and drama. Others have more of a raw and messed up vibe with heavier percussion and more of a leftfield sound, and still others have kind of a freaky folk funk sound with horns, drums and more. She covers a lot of stylistic terrain with equally successful wins all around. It's the mark of a true talent that Charlotte can invite such hugely impacting collaborators onto her albums – Beck and his stable of amazing studio musicians on this album, and previous collaborators from Jarvis Cocker to Air – yet it's her show all the way. Titles include "Master's Hands", "IRM", "Le Chat Du Cafe Des Artistes", "In The End", "Heaven Can Wait", "Vanities", "Time Of The Assassins", "Trick Pony", "Greenwich Mean Time", "La Collectionneuse" and more. CD

A great meeting of these two classic talents – recorded live at Chicago's Opera House in the late 50s, with sound that's surprisingly great for the time! Hawkins and Eldridge are very well-matched in the frontline – blowing in a style that's easygoing yet still quite fresh and imaginative – backed here by a rhythm section that features most of the MJQ: John Lewis on piano, Connie Kay on drums, and Percy Heath on bass. Tracks include "Bean Stalkin", "The Walker", "Time On My Hands", "Tea For Two", and "Kerry". Features all material recorded at the show – 2LPs worth of music! CD

Great late work from Hawk – recorded near the end of his life, with a soulful quartet that included Barry Harris on piano and Bob Cranshaw on bass. The tracks are all fairly standard – like "Sugar", "The Man I Love", "Time On My Hands", and "The One I Love" – but Hawkins' tone is incredible, with a raspy edge, and some surprisingly modern moments that show that he was always continuing to grow as an artist. The material is issued here for the first time by Pablo Records – in a set put together in 1975. LP, Vinyl record album

Great pre-Columbia album by The Manhattans, originally recorded in the early 70s for the King-related DeLuxe label! The set features a stellar set of harmony soul tracks that show the transition from the group's early Carnival sides to their modern Columbia ones – and the Manhattans are in a dope east coast Super Fly mode – like contemporaneous indie groups like The Modulations, The Montclairs, or Soul Generation. There's sort of a mix of material, with some sweet soul tunes, and some heavier tracks, but there's plenty of good cuts to make this one worth searching out. Tracks include "I Can't Stand for You To Leave Me", "Do You Ever?", "Back Up", "Million to One", "Fever", "The Picture Became Quite Clear", "With These Hands", "If My Heart Could Speak", "It's The Only Way", "Rainbow Week", and "Cry If You Wanna Cry". 22 cuts in all! CD

No opera here – but a really unique early live show by The Pointer Sisters, one that shows the Bay Area quartet to be one of the most diverse soul acts of their generation! The double-length set features the girls singing a mix of older jazz tunes and a few newer tracks – scatting in vocalese one minute, and singing straighter soul the next – all with larger group backing from an orchestra directed by Tom Salisbury. There's a real "show" feeling to the album – as it was recorded even with the group's introduction on stage, as well as plenty of crowd response and an overall format that gets at the highly-entertaining mode of the Pointers in their early years. Titles include "Yes We Can Can", "Jada", "Black Coffee", "Cloudburst", "Let It Be Me", "Hands Up/Wang Dang Doodle", "Steam Heat", "Fairytale", "Shaky Flat Blues", "Love In Them There Hills", and "Salt Peanuts". LP, Vinyl record album

Really great material from Andy Williams – some of the grooviest sounds we've ever heard from the singer, thanks to backings from Quincy Jones! The set features live sides cut for the Let's Go To Town show issued for radio by the National Guard – and the album's got a similar feel to the great Williams/Jones album on Cadence from the same time, but with a vibe that's even more jazz-based overall! Andy's a hell of a singer in the right setting – and this album's even more sublime than his studio album with Quincy – as it offers up a fair bit of instrumental tracks from Jones' great ensemble of the time, which means even more great work on some of the solo passages. Dave Grusin plays piano on a few tracks, too – and titles include "Pleasingly Plump", "Gwan Train", "Boum", "The Midnight Sun Will Never Set", "Domino", "Air Mail Special", "Lester Leaps In", "Mademoiselle De Paris", and "Clap Yo Hands/I Won't Dance". CD

A great little set, even if it's not what you might expect – not the kind of cuts that heralded the early years of country soul – and instead an even cooler batch of tracks from those years when R&B and hillbilly records often crossed paths on the postwar scene! Many of the small indie labels of the 50s recorded both country and blues, sometimes even having different artists take on the same songs, but in different ways – which meant that there was often a lot of cross-pollination going on in the farther reaches of the music business! The cuts here definitely show that approach – as a good many of them were originally country hits for other singers, but sound great and very different in the hands of R&B artists – and are mixed with a few others that follow similar themes, and really fit into the set in a great way. As always with Bear Family, the whole thing is presented with great notes and details on the music – in a set list of 29 tracks that include "Steel Guitar Rag" by Earl Hooker, "Sixteen Tons" by BB King, "Lovesick Blues" by Sonny Knight, "Big Mamou" by Smiley Lewis, "Ghost Riders In The Sky" by Scatman Crothers, "It'd Surprise You" by The Griffin Brothers with Margie Day, "Indian Love Call" by Hal Singer, "No Help Wanted" by Bob Gaddy & His Alley cats, "Cherokee Boogie" by Moose Jackson, "It Makes No Difference Now" by Piano Red, and "You Can't Stay Here" by Pearl Reaves & The Concords. CD

Man, it must have been something to hear this record blasting out of a boombox back in the old days – especially if it was the magenta-hued one on the cover! The groove here is strong and loud – plenty of bass and beats at the bottom, and even a few surprising early electro touches that really stand out and make the album something special. And as with other records from this time, Fatback also show their ballad skills on one number – "Come & Get the Love" – but it's the more jamming tracks we really love, and they include "Street Band", "Hot Box", "Love Spell", "Gotta Get My Hands On Some Money", and the fat 80s jam "Backstrokin". CD

Great late work from Hawk – recorded near the end of his life, with a soulful quartet that included Barry Harris on piano and Bob Cranshaw on bass. The tracks are all fairly standard – like "Sugar", "The Man I Love", "Time On My Hands", and "The One I Love" – but Hawkins' tone is incredible, with a raspy edge, and some surprisingly modern moments that show that he was always continuing to grow as an artist. The material is issued here for the first time by Pablo Records – in a set put together in 1975. CD

Candi Staton returns to a great secular soul sound for Who's Hurting Now – her second album of new material for the Honest Jons label in the late 00s – and a solid, assured and irresistible one than we love even more than the previously winning His Hands LP! Candi's voice has a rawness to it and a grit that's paired masterfully with kind of loose, country soul tinged arrangements – timeless sounds that are relevant to Candi's earlier triumphs for Fame Records without attempting to replicate them, and very much of the here and now. Producer Mark Nevers continues to be a key figure behind the boards on excellent modern sets by pivotal figures in classic and cult classic country and soul, but this is Candi's show all the way! Titles include "Breaking Down Slow", "Who's Hurting Now?", "I Feel The Same", "Cry Baby Cry", "Dust On My Pillow", "Mercy Now", "Get Your Hands Dirty", "Lonely Don't", "I Don't Know" and "I Don't Want For Anything". CD

A massive package of work from the mighty Kool & The Gang – 6 full albums from the 80s, served up here in a 3CD set! First up is Ladies Night – a shameless dancefloor cash-in move – but a record that's still pretty darn great as well! You all know the big title cut "Ladies Night", so we won't bother to describe it – but we can say that the group wisely hooked up with Deodato, who produced, mixed, and even played keyboards on the album. Deodato keeps a nice jazzy punch in the tracks, while still moving towards the slickly produced funk sound that was the group's main approach at the time of the record. JT Taylor's on vocals, and the album's even got a few mellow cuts – like the crossover easy number "Too Hot" – amidst the midtempo 80s grooves that really step out and make the whole thing move. Other tracks include "Ladies Night", "Hangin Out", "Tonight's The Night", "If You Feel Like Dancin", and "Got You Into My Life". The next album is Something Special indeed – as the album was one of the biggest hits for Kool & The Gang, and showed that the group still had plenty of energy left to groove into the 80s! The record features production work by Brazilian music maestro Eumir Deodato – who by this point had become a sweet and smooth talent with a real flair for putting over a modern soul groove! Deodato's approach is really great – smooth, yet soulful, without any tricks or gimmicks – and a real appreciation for lead vocals and a catchy little hook! The album features the group's party classic "Get Down On It", plus "Steppin Out", "No Show", "Pass It On", "Be My Lady", "Take My Heart", and "Good Time Tonight". As One is solid 80s grooving from Kool & The Gang – a group who inspired so many others in the early 80s soul generation, but who could still do it better than most of the rest! The style here is tight and smooth, but never too slick – and Deodato's giving the group some really great production for the album – helping them to focus their energy and soar soulfully, but without resorting to any stiff gimmicks or cliches! There's a great groove running through most of the numbers here – a confident quality that's never too commercial, and which bubbles along nicely throughout. Titles include "Street Kids", "Big Fun", "As One", "Hi De Hi Hi De Ho", "Let's Go Dancin", and "Pretty Baby". In The Heart is a sweet set that's part of a big early 80s run from Kool & The Gang – a time that saw the funk legends really hitting the mainstream, and winning over a huge new audience in the process! Given that the Gang virtually invented ensemble funk at the start of the 70s, they're perfectly poised here to move into modes that so many of their younger competition were trying – but never did so well – that blend of 80s elements and more sharply-fused funk instrumentation, all honed down into a tightly snapping groove. The real surprise, though, is the group's growing ability for ballads – which put records like this into hands of folks who never would have dug their funk a few years before. And while we might have had a few problems with that shift at the time, the passage of years has got the whole thing sounding pretty darn great to our ears – especially in comparison to so much weaker work from the time. Titles include "In The Heart", "Joanna", "Tonight", "Straight Ahead", "September Love", "You Can Do It", and "Home Is Where The Heart Is". Last up is Emergency – one of the key classics from the second chapter of the group – when their lineup and sound were a lot leaner than before, and they managed to cross over big to a much wider audience than before! The upbeat cuts show that the group were still kings of the funky dancefloor – and the mellower ones are equally great too – showing a rising ballad style that proved to be the group's big crossover card at the time – a way of putting over a laidback track, but with plenty of soul. This approach is heard to great effect on the album's great single "Cherish" – and other tracks include "Bad Woman", "Surrender", "Emergency", "Misled", "Fresh", and "You Are The One". CD

One of the most comprehensive sets we've ever seen to look at the legacy of the legendary Lee Hazlewood – and one of the few to focus on the impact he's had on the 21st Century! Lee's songs have become the stuff of legend over the years – not just his own recordings, but classic tracks sung by the Sinatra family members, Dean Martin, and countless others – who are usually features on similar sets under the Hazlewood banner. But this package goes those one better – and looks mostly at material from the past 20 years – plus a few older songs – showing that, if anything, the present century has given Lee's music even more power than ever in the hands of diverse talents like these. As with more "vintage" sets from Ace Records, the presentation is great – a lot of tracks, and very detailed notes that really like the Hazelwood heritage to all this recent music. Titles include "A Cheat" by Jarvis Cocker & Richard Hawley, "Some Velvet Morning" by Primal Scream & Kate Moss, "First Street Blues" by Mick Harvey, "I'm Glad I Never" by Jesus & Mary Chain, "Sand" by Holly Golightly, "Look At That Woman" by Gallon Drunk, "You Turned My Head Around" by Dean & Britta, "I'd Rather Be Your Enemy" by Boyd Rice, "Summer Wine" by Ville Valo & Natalia Avelon, "Paris Summer" by Frances Ruffelle, "My Autumn's Done Come" by Mark Morriss, "No Train To Stockholm" by Dan Michaelson & The Coastguards, and "Long Black Train" by Thriftstore Masterpiece with Frank Black. Also includes vintage songs – "She Comes Running" by Waylon Jennings, "The Man Who Made An Angel Cry" by Loy Clingman, "Lady Bird" by Virgil Warner & Suzi Jane Hokom, and "Friday's Child" by Billie Dearborn. CD

Easily the best-ever collection we've seen of the work of Fontella Bass – and one that really goes past her oft-remembered hit, to feature the full scope of her mid 60s work for Chess Records! To most folks, Fontella's remembered for a few reasons – her Aretha Franklin-styled hit "Rescue Me" (often mistaken for Aretha herself), or the fact that she married Art Ensemble member Lester Bowie. But back at the start, Fontella was a heck of a great little soul singer – capable of a wide variety of modes, all of which are included here! The 25 track package really shows an evolution in music – and Bass sings in styles that include deep soul ala Atlantic, sweet soul ala Motown, uptown soul ala Wand, soaring soul ala Brunswick, and tight duet soul, in the mode of some of the more famous duets coming from Detroit or New York. CD really digs deep and brings back a full range of singles, plus some unreleased tracks – and the sound here is totally great. Titles include "Oh No Not My Baby", "Our Day Will Come", "Free At Last", "I Surrender", "I Can't Rest", "Leave It In The Hands Of Love", "You've Lost That Lovin Feelin", "The Soul Of A Man", "Joy Of Love", "Don't Mess Up A Good Thing", "You're Gonna Miss Me", "Come & Get These Memories", "Rescue Me", "Since I Fell For You", "I'm A Woman", "How Glad I Am", "Impossible", and "Lucky In Love". CD

One of the most mind-expanding albums we've ever heard from Jack Bruce – a really strong outing from 1974, one that shows him growing and growing as an artists in his years away from Cream! The tracks have a feel that's a bit more wiry than some of Bruce's other solo work – stripped down so that the jazzy changes emerge a bit more, and Bruce's vocals come to the forefront – singing in a style that's oddly confident, but still possessed of all the quirks that have always made them so striking. In a way, the record's a nice compression of certain progressive ideals – all filtered down into the singer-songwriter mode with surprising intimacy. Titles include "Keep It Down", "Peaces Of Mind", "Golden Days", "Timeslip", "One", and "Running Through Our Hands". CD also features bonus tracks – alternates of tunes on the album! CD

One of the most mind-expanding albums we've ever heard from Jack Bruce – a really strong outing from 1974, one that shows him growing and growing as an artists in his years away from Cream! The tracks have a feel that's a bit more wiry than some of Bruce's other solo work – stripped down so that the jazzy changes emerge a bit more, and Bruce's vocals come to the forefront – singing in a style that's oddly confident, but still possessed of all the quirks that have always made them so striking. In a way, the record's a nice compression of certain progressive ideals – all filtered down into the singer-songwriter mode with surprising intimacy. Titles include "Keep It Down", "Pieces Of Mind", "Golden Days", "Timeslip", "One", and "Running Through Our Hands". LP, Vinyl record album

You know, over the years, you get exposed to so many cliches about Ray Charles that it's easy to forget how great he is – but you won't after hearing this set! This totally essential box pushes way past any other collection to pull together the raw early R&B sides by Ray – much harder stuff than any of his later country soul work, and way more rockin than even his instrumental sides that show up more as "jazz" efforts. No, this stuff kicks ass – and is right up there with the best 50s R&B work by artists like Tiny Bradshaw, Wynonie Harris, or Ray Brown. Plus, a huge amount of the cuts on here never really appeared on full LPs, so it's not like you'll be able to track them down that easily on other reissues. There's a wealth of excellent material here that will open up a whole new side of Ray for you – and which will fill in loads of holes if you've already got some of his work. There's a total of 53 tracks in all, plus a great set of notes and a very handsome box – and titles include "What Kind Of Man Are You", "Get On The Right Track", "Leave My Woman Alone", "Roll With My Baby", "Jumpin In The Morning", "It Should Have Been Me", "Feelin Sad", "Mess Around", "I Wonder Who", "Blackjack", "Greenbacks", "A Fool For You", "Hard Times", "A Bit Of Soul", "I Want To Know", "It's Alright", "Ain't That Love", and "That's Enough". All cuts are vocal – and this is some of the most satisfying Ray Charles you could ever buy! CD

The seminal debut of the great John Fahey – posing here as Blind Joe Death – an acoustic guitarist whose bluesy undercurrents showcase Fahey's love of early recorded music! The style is pure Fahey throughout – those magical tones that cascade effortlessly off the heavily-plucked strings of his guitar – echoing older blues and folk modes, but never in a way that's stereotypical – and which is already woven through with the kind of sonorities that continued to make Fahey such an important artist over the years. Think of the set as a skewed version of American history – filtered through one mind and one set of hands – and you'll be well on the way to understanding the power of this music. The set features songs penned by Fahey, and redone versions of older numbers – and tracks include "West Coast Blues", "St. Louis Blues", "I'm A Poor Boy Far Away From Home", "John Hardy", "Transcendental Waterfall", "Desperate Man Blues", "Sun Gonna Shine In My Back Door", and "On Doing An Evil Deed Blues". Fahey originally recorded some of the material in 1959, then again in 1963 – and this double-length CD features all of the many tracks that appeared on various versions of the record – 21 titles and over 75 minutes of music! CD

A great little jazz record by Gary – very different than his groovy/easy albums on Verve, and with a dark sound that shows his strength as a composer and arranger. The group features McFarland in the lead on vibes, plus reed work by Phil Woods, Zoot Sims, and Richie Kamuca, and lots of rhythm backing by the likes of Richard Davis, Gabor Szabo, Sam Brown, and others. Willis Conover does a bit of narration, and tracks include "Sage Hands", "Milo's Other Samba", "Winter Colors", and "Bygones & Boogie". LP, Vinyl record album

A fantastic tribute to the legendary Disco Spectrum series of compilations – a run of records that first burst forth at the end of the 90s, and showed the world that there was a huge amount of underground music to discover from the mainstream disco years! Disco Spectrum cuts aren't the ones you'll know from Saturday Night Fever – or from K-Tel compilations of the time – and instead, they represent the much deeper current of groove that was still burning bright away from the limelight, even while the more commercial disco crumbled into dust – music that was sometimes cut by artists who disappeared quickly, sometimes by older masters, and sometimes by talents who never fully got the respect they deserved. Both Joey Negro and Sean P have given us some great sets before, but this one is right at the top of their talents – filled with gems that include "Let Me Down Easy" by Rare Pleasure, "Spread Love" by Al Hudson & The Soul Partners, "Can't Shake Your Love (Larry Levan 12" mix)" by Syreeta, "Trinidad (special disco mix)" by John Gibbs & US Steel Orchestra, "Isabelle & The Rain" by Jo Boyer, "Don't Let My Rainbow Pass Me By (club 12" mix)" by Cloud One with Margo Williams, "Could Heaven Ever Be Like This" by Idris Muhammad, "I Don't Want You Back" by Ramona Brooks, "Hot To Trot" by Alfredo De La Fe, "Out Of My Hands" by Omni, "Under The Skin" by The Brothers, "Let Me Love You" by Bunny Mack, "Can You Get Down" by Universe City, and "I Want You For Myself" by George Duke with Lynn Davis. CD

A rare Italian-only album from Chet Baker – wonderfully cooking small group work that's a far bit greater than his more familiar "with strings" session recorded in Italy during the same period! The album's got Chet working with an array of great players from the local scene – including Gianni Basso on tenor sax, Renato Sellani on drums, and Glauco Masetti on alto sax – all in a groove that shows plenty of traces of that opened-up sound that Baker was exploring in the very late 50s – the modes he was crafting in his group with Phil Urso on tenor, as he started to get a bit more bit in his style! Yet there's also a nicely compressed approach going on here too – that west coast sound that was a strong influence on the Italian players of the postwar years, but which was unfolded to new ends in their hands. Titles include "Lady Bird", "Line For Lyons", "Tune Up", "Cheryl Blues", "Indian Summer", and "Pent Up House". LP, Vinyl record album

A huge legacy of work from the Flying Lizards – two full albums, plus lots more bonus tracks too! First up is the well-circulated debut, a new wave crossover classic from The Flying Lizards – one of the quirkiest groups of their era! The group were European, but have a sound that resonates strongly with the most playful post-disco work of the New York scene of the time, particularly the acts on Ze Records – a groove that mixes equal part punky and clubby rhythms, often topped with lyrics that are cold, but clever, done in the same ironic arty style of Cristina, or Devo. This album's the group's standout opus – and features their classic covers of "Summertime Blues" and "Money" – as well as originals "The Flood", "TV", "The Window", and "Russia". Next up is The Fourth Wall, the rare second album from The Flying Lizards – a set that didn't get nearly as much exposure as their debut, and which still shows the group mixing together punk, new wave, and clubby styles in a really great way! There's maybe even more of an edge here than on the group's debut – and titles include "Lovers & Other Strangers", "An Age", "Steam Away", "Hands 2 Take", "In My Lifetime", "Cirrus", and "Lost & Found". 2CD set features 9 more bonus tracks – including "Tube", "Money B", "All Guitars", "Summertime Blues (12" mix)", "Portugal", "Wind", and "Continuity". CD

Great work from Little Bob – aka Lil Bob, aka Camille Bob – a New Orleans soul singer with a nicely funky edge! The album's almost got more of a mid 60s James Brown inspiration than some of Bob's southern contemporaries – with backing from the super-tight Lollipops, who really know how to make all the instruments come down on the groove – but also still leave room for one of the horn players to step out with a smoking solo from time to time! Bob's got a mellow, heartbreaking vibe on some of the more laidback tracks – but then can really soar on the more upbeat numbers – showing an emotional range that's really wonderful, and which makes the album as much a deep soul treasure as it is incredibly rare. Titles include "I Got Loaded", "The Way It's Got To Be", "Nobody But You", "My Heart's On Fire", "Are You Ever Coming Home", "So In Need", "With These Hands", and "Look Out Mr Heartache". LP, Vinyl record album

One of the greatest 50s showcases for the tenor talents of Warne Marsh – a deceptively understated album that captures Warne at his most fluid and creative point! The setting is a quartet – with Ronnie Ball on piano, Red Mitchell on bass, and Stan Levey on drums – and Marsh is magnificent throughout, really blowing with a tone that is fresh and filled with modern ideas – yet never overdone, nor too willfully complex to lose the train of the tunes. The approach is almost Konitz-soulful – a wonderful distillation of ideas in the hands of one magical talent – and titles include "Ad Libido", "It's All Right With Me", "Playa Del Ray", "Autumn In New York", and "You Are Too Beautiful". CD

Sweet beats and plenty of grooves – an 80s funk classic from Midnight Star, and one that seems to have the group picking up a bit of energy from the hip hop scene as well! The album's still got the electro soul vibe of previous records, but maybe is even beat-heavier overall – almost showcasing a style that would later emerge as new jack in the hands of some younger artists within the next few years – but still perfect for the kind of playful interplay that made the Midnight groove so great! Titles include "Midas Touch", "Stay Here By My Side", "Close To Midnight", "Searching For Love", "Close Encounter", "Dead End", "Get Dressed", "Engine No 9", and "Headlines". CD

An album that's a really great showcase for both musicians – Nate Radley on guitar and Gary Versace on piano – coming together with a sense of chromes and tones that's really wonderful, and a gentle sort of swing that doesn't need any bass or drums to help the pair out! These tunes all have a groove, even if it's a bit gentle at times – and the sharper tones of Radley make for a nice match with Versace's phrasing on piano – very different than, say, a guitar/piano album in the hands of players like Bill Evans and Jim Hall! Radley contributed a number of great original tunes to the record – including "Wrong Ago", "Almost April", "Penumbra", "Big Reach", and "Juniors" – and the pair also do nice takes on "Some Other Blues" and "Who Can I Turn To". CD

Proof that Dannie Richmond had a lot more to offer than just his drumming with Charles Mingus! The album's a stunning post-Mingus set that shows Richmond in command of a hip group of Mingus-ites – but working in a style that has much of its own manners and quirks! The album features 2 Mingus tunes – as you'd expect from a Richmond album – but the delivery is quite different than when the tunes were in Charles' hands, and they come off with an offbeat sense of rhythm and timing that almost has the playful feel of some of Jaki Byard's best work. The rest of the group features Ricky Ford on tenor, Jack Walrath on trumpet, and Cameron Brown on bass – and titles include "Hi Jinks", "Dionysius", "Flying Colors", and "Peggy's Blue Skylight". CD

About as classic as you can get for Ben Webster on Verve Records – a nicely mature, nicely laidback session that really captures the energy promised in the title! The sidemen are all in an easygoing, soulful mode – Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass, and Stan Levey on drums – and Ben blows these beautifully deep, well-crafted lines on tenor over the top – always with that raspy tone that had already influenced a generation, but which hardly ever got a better showcase than this! Titles include "Time On My Hands", "Where Are You", "Soulville", "Late Date", and "Ill Wind". LP, Vinyl record album

An incredible collection – and one that fills in a crucially under-documented side of the New York dancefloor generation – the wealth of special mixes and edits that were made for that city's important DJs for their own use in clubs! The package sorts through a mountain of never-issued acetates, and goes way past conventional disco or rare club collections – to showcase the special mixing talents these DJs brought to their re-presentation of the material – which was usually done on tape, then pressed onto acetate discs for their own private use! Those rare treasures are brought forth here – in a beautiful package that's also overflowing with fantastic notes that finally give this lost history its due – all handled by Al Kent – who's a hell of a mixer himself, as well as an underground club historian. Vinyl part 2 features five full records – all with lots of space for the tracks to stretch out – and titles include "My Number's Up (Tee Scott rmx)" by The Salsoul Orchestra, "The Love Bug Done Bit Me Again (David Todd rmx)" by Skyliners, "LA Sunshine (Robert Ouimet rmx)" by Aura, "Love Has Come My Way (Jim Burgess rmx)" by Tony Valor Sound Orchestra, "Handsome Ma (Bobby DJ Guttadoro rmx)" by Sparkle Tuhran & Friends, "Love Thang (Tee Scott rmx)" by First Choice, "Burn Me Up (Jellybean Benitez edit)" by Kay Gees, "Love Is The Message (Tee Scott rmx)" by Brooklyn Express, "Changes (Jellybean Benitez rmx)" by Chain Reaction, "J'Ouvert (Frank Sestito rmx)" by John Gibbs & The Jam Band, "By The Way You Dance (Bobby DJ Guttadaro rmx)" by Bunny Sigler, "It's Good For The Soul (Walter Gibbons disco madness version)" by Salsoul Orchestra, and "It's A Better Than Good Time (Walter Gibbons rmx)" by Gladys Knight & The Pips. LP, Vinyl record album

An amazing tribute to one of the best soul songwriters in the 70s – the mighty Phillip Mitchell, a key force in mixing together deep soul roots with more sophisticated styles for the time! Mitchell's got this mighty positive way of putting over a tune – lyrics that still hold onto the emotion of the past, yet also come through things with a forward-thinking style too – one that really helps get past obvious cliches, and which always seems to make a Mitchell-penned track stand out as the real gem on an album of 70s soul! Many of the artists here are from a southern soul background – no surprise, as Mitchell made most of his magic south of the Mason/Dixon line – and the set really brings together a great number of artists, and really shows the deep reach that Mitchell had at the time. Titles include "Hitch Hiking To Heartbreak Road" by Bobo Mr Soul, "Something New To Do" by Bobby Sheen, "Carry Me" by Ernie Shelby, "I Don't Do This" by Sidney Joe Qualls, "Free For All" by Mel & Tim, "Come Through Me" by Garland Green, "Here I Am Again" by Candi Staton, "You Made Me What I Am" by Erma Coffee, "Gonna Have A Murder On Your Hands" by JJ Williams, "Archie's In Love" by Archie Bell & The Drells, "Leftovers" by Millie Jackson, "How Can I Go On Without You" by Corey Blake, and "That's The Way I Wanna Live My Life" by Tommie Lee. CD

A classic blend of saxophone and dub – one that shows just how much big the shift in Jamaican production styles was during the 70s! In the previous decade, reedman Tommy McCook was right on top of the mix on most of his performances – echoing the tenors of American R&B and soul musicians of the 50s and 60s – whereas here, he's much more layered down in the grooves – often mixed with a fair bit of echo and effects, so that his horn and the work of The Agrovators is beautifully muddled together – as the best elements of a cocktail can be in the hands of a true mixmaster! Titles include "Creator Of Dub", "A Happy Dub", "A Collie Dub", "The Dub Station", "Inspiring Dub", "Sprinkling Dub", "At The Dub Market", "The Meducia", "The Dub Duke", "The Height Of Dub", "Joh Soy Dub", and "King Tubby Dub". LP, Vinyl record album

Heavy, soul-baring lyricism delivered with spiritual resonance and wise authority by Gil Scott-Heron – his first album shot in far too many years, and a direct hit – essential listening for longtime listeners and neophytes alike and a well worthy entry in a legendary career! Scott-Heron is documenting his world as profoundly and poetically as ever here, and the production is built with spare, haunting beats and atmospheric bits of strings, guitar, keys, loose atmospherics and hazy electronics – loosely framing his voice and giving it all the room in needs to carry the mood. Gil sings and speaks with equal authority throughout, and you can hear the years in his voice like never before, giving him the worn edges of the old soul he always evoked. This is a record we're proud to put among his treasured recordings of the 70s and early 80s. Titles include "On Coming From A Broken Home" (Parts 1 & 2), "Your Soul And Mine", "I'll Take Care Of You", "Where Did The Night Go", "Running", "The Crutch" and more, including several interludes that are pretty amazing – captures of conversation that show Gil nearly as charismatic and poetic in "off" moments as he is recording a song. Also includes 2 covers, "Me And The Devil" (the Robert Johnson song) and the title track, Smog/Bill Callahan's "I'm New Here", given a whole new life. Expanded anniversary version also features some great material recorded at the same time – the titles "Handsome Johnny", "My Cloud", "Piano Player", "King Henry IV", "Jazz", and 2010 live studio takes of "Home Is Where The Hatred Is", "Is That Jazz", and "Winter In America". CD