Four lost albums from David Blue – a really compelling singer/songwriter, ripe for rediscovery! First up is These 23 Days In September, recorded for Reprise – a really moody little record from David Blue – a folksy singer who's got a style that definitely lives up to the melancholy promise of his name! Blue's definitely an artist with a difference – working in the familiar mode of vocals and acoustic guitar, but with an edge and distinctness that really sets him apart from the folkies of a few year before – that sense of different that really set apart a new wave of contemporaries, like Leonard Cohen, Fred Neill, or Tom Rapp. Titles include "These 23 Days In September", "The Sailor's Lament", "Scales For A Window Thief", "You Will Come Back Again", "Slow & Easy", and "The Grand Hotel". Stories is an overlooked early set on Asylum – the kind of really special singer/songwriter material that really set the label apart at the start of the 70s! David Blue has this compelling vocal style that's moody, but down to earth – inflected here and there with guitar contributions from Ry Cooder, who's understated, but really brings out some special qualities in the tunes. Jack Nitzsche adds in some light strings at points – but overall, things are pretty spare and personal – and titles include "Looking For A Friend", "Another One Like Me", "Sister Rose", "The Blues", "Come On John", "Marianne", and "Fire In The Morning". Nice Baby & The Angel shows David Blue really starting to get some star power in his mix – a fuller set, produced by Graham Nash – with work from Nash on guitar, plus more guitar from Dave Mason and David Lindley – in a nice mix of roots elements, but which never overwhelm that unique sense of songwriting and vocals that set David Blue apart from the rest. Titles include "Darlin Jenny", "Troubadour Song", "Train To Anaheim", "True To You", "On Sunday Any Sunday", and "Outlaw Man". On the cover of Cupid's Arrow, David Blue might look a bit cheesy, what with his open shirt and all – but he's definitely the real deal, and very down to earth in his singer/songwriter approach – with a quality that's only underscored by the lineup on the set – a group that features Levon Helm on drums, Jesse Ed Davis on guitar, David Lindley on mandolin and slide, and Barry Goldberg on piano and organ, and also handling production of the album too. The shift from David's roots is a bit like that taken by other contemporaries who once started in more folksy territory, then found a new way to grow in the west coast singer/songwriter scene – and that means that things are more electrified, but still quite far from mainstream music – with original tunes from Blue throughout, and titles that include "I Feel Bad", "Maria Maria", "Primeval Tune", She's Got You", "Tom's Song", and "Run Run Run". CD

Haunting work from Jimmy Campbell – an overlooked British songwriter at the end of the 60s, and one with a really unusual approach to his music! At some level, Jimmy's got some of the folksy touches of the Nick Drake generation – a sound that might have been right at home on Island Records – but at another level, his style here is very much his own too – a bit more sensitive, and delivered with this odd vocal quality that's unlike anything we can think of – as unique to Jimmy as Tom Rapp's voice was to Pearls Before Swine, or Biff Rose's was to his own great late 60s sides! Instrumentation is relatively spare on most numbers – just acoustic guitar and a bit of rhythm, yet hardly in typical folksy modes – and titles include "When I Sit Down To Reason", "Adrian Henri's Party Night", "On A Monday", "Lyanna", "Dear Marge", "Penny In My Pocket", "Another Vincent Van Gough", and "Michelangelo". CD

A wonderful package – four full albums by one of the most unique groups of their time! First up is These Things Too – the first Reprise album from Pearls Before Swine – a bit more straight ahead and folksy than their work for ESP – but in a really great way, one that lets you hear the best of Tom Rapp's amazing songs and vocals! The album follows in a tradition that includes Tim Buckley, Tim Hardin, Leonard Cohen, and Fred Neil – but it's also got a really unique style that's the unique province of Tom Rapp – the main force behind the group, and the voice on all of the tunes. Rapp's vision was quite unique for the time – not nearly as revolutionary or personally preoccupied – more sad at the fading world, and granted with a unique ability to paint any subject in shades of blue. Titles include "Wizard Of Is", "Frog In The Window", "Footnote", "Look Into Her Eyes", "These Things Too", and "Mon Amour". Use Of Ashes is an incredibly beautiful album from Pearls Before Swine – one that uses light orchestrations to create a baroquely folksy sort of feel – easily elevating the album past previous efforts, into classic territory we'd rank with the best from Nick Drake or Leonard Cohen! The whole album's great – with fragile and haunting songs from Tom Rapp, all supported by sparsely arranged instrumentation that includes harpsichord, flute, oboe, cello, and dobro. Genius throughout – and a clear inspiration for music still being made 30 years later – with classic tracks that include "The Jeweler", "Rocket Man", "Song About A Rose", "The Old Man", "When The War Began", and "From The Movie Of The Same Name". Next is Beautiful Lies You Could Live In – one of the most perfectly formed albums ever recorded by Tom Rapp's enigmatic group Pearls Before Swine – a record that does an incredible job of skirting between Rapp's earthy sense of the planet's passing, and his ambitions for larger forums of expression. The core group is lightly folksy – with strong use of acoustic guitar that goes far beyond any folk rock cliches – plus some additional arrangements that feature contributions from the team of Bob Dorough and Stu Scharf, who seem to have a habit of appearing on under-discovered gems like this one, and making them sound all that more hip! The whole thing's great – filled with beautiful songs that should have been as over-recorded as the best by Tim Hardin or Leonard Cohen – with titles that are even better, too! Tracks include "Snow Queen", "A Life", "Butterflies", "Simple Things", "Freedom", "She's Gone", and "Island Lady". Last up is City Of Gold – a return to folksier forms for Tom Rapp and Pearls Before Swine – working here in territory that's very different than some of the baroque light arrangements used on previous records. Rapp's emerging as a more confident singer/songwriter – recording in an almost Dylan-like setting, but with more of the irony of Leonard Cohen, and as always, working in a timeless idiom that's still beginning to be understood more than 30 years after its inception. Beautiful work throughout – as earthy as it is majestic – and with titles that include "My Father", "The Man", "Once Upon A Time", "City Of Gold", "Nancy", and "Wedding". CD

Fantastic stuff – and one of the greatest records ever by Brazilian keyboardist Antonio Adolfo! The album was recorded at the end of the 70s, and has a sound that's a lot like the best fusion work by Azymuth – a great mix of jazz and funk, plus more dynamic Brazilian elements – all wrapped together in a way that a rare few hybrids do this well! There's great keyboards right up front in the mix – and the backing has some tight percussion that crackles along and gives the album a heavy bottom and a great groove. The album was originally only issued on the tiny Artezanal label – but it feels like a lost gem from the classic funk years at Fantasy Records – internationally funky, far past just a Brazilian music gem. Titles include the massive break cut "Cascavel", plus other nice tracks like "Viralata", "A Marcha", "Assanhada", "Vermelhinho", and "Brincadeira Em Mi Bemol". LP, Vinyl record album

A wonderful little set of post-folk rock – with lots of lovely baroque touches! Ars Nova were really short-lived group – known for only two rare records – but they've got a sound that perfectly sums up a generation! There's a wonderful LA late 60s sound here – somewhere between Love and The Byrds, with the baroque touches of the former and the best country influences of the latter – all wrapped up in earnest, honest songwriting that makes even the ambitious moments come across with surprising charm. A true lost relic, and the kind of record that should be in any late 60s cannon! Titles include "Album In Your Mind", "Pavan For My Lady", "General Clover Ends A War", "And How Am I To Know", "Fields Of People", "Automatic Love", and "Song To The City". LP, Vinyl record album

A trio of solo albums from Phillip Bailey – presented here with bonus material too! First up is Continuation – an 80s soul classic from Philip Bailey – stepping out here from Earth Wind & Fire in a set that has him sparkling strongly as a solo act! The vocals still have that trademark Bailey sound – a wonderful range that's never overdone, and which seems to shine especially well on the mellow and midtempo tunes in the set! Production is by George Duke, who does a lot to preserve the jazzier warmth of Bailey's previous settings – and although there's a bit more crossover potential here, the sound is still never too commercial or aimed at the charts. Titles include "It's Our Time", "Trapped", "I Know", "I'm Waitin For Your Love", "Desire", "The Good Guy's Supposed To Get The Girls", and "Your Boyfriend's Back". Next is Chinese Wall – a big breakthrough for Philip Bailey – and a record that was kind of a second-level explosion for the Earth Wind & Fire sound in the 80s! There's a definite crossover feel to the record – a style that takes Bailey's soulful vocals, and mixes them with lots of catchy hooks – in ways that push the Kalimba aesthetic even more into mainstream modes. Yet the album's still got some solid soul grounding, too – thanks to arrangements by Tom Tom and Arif Mardin – which is a nice contrast to the production by Phil Collins, who also guests on the hit "Easy Lover". Other cuts include "Time Is A Woman", "Go", "Walking On The Chinese Wall", "Photogenic Memory", "I Go Crazy", and "Children Of The Ghetto". Last is Inside Out – a set that has Philip Bailey working with Nile Rodgers, who gives him a lean, clean sound that works perfectly with his vocals! The sound is a nice change from the direction Bailey was heading in previously – a return to the focused soul of the later Earth Wind & Fire years, with his amazing lead opening up in ways that few other singers can match. Tunes are pretty well-penned too – catchy, but never cloyingly commercial – and titles include "State Of The Heart", "Welcome To The Club", "Special Effect", "Because Of You", "Take This With You", "The Day Will Come", "Back It Up", and "Echo My Heart". 3CD set features nice bonus material – "I Know (ext dance mix)", "Love Is Alive", "Easy Lover (with Phil Collins)", "Walking On The Chinese Wall (single)", "State Of The Heart (dub mix)", "Twins (with Little Richard)", "Twins (club mix)", and "Easy Lover (ext dance mix)". CD

Way more than just another look at the music of this legendary group – as the huge package brings together a wealth of rare material, including 36 tracks that appear here for the first time ever – all wrapped up in a beautiful package with a huge set of notes, photographs, and other information too! Erin Osmon serves up a massive oral history of the group, worth the price of the box alone – and there's also interviews and discographical information too – far more than you usually get with a box set of this nature. But honestly, the real charm is all the great unreleased material, added to the too-small catalog of the group's work from these classic years – Titles that include "I'll Never Break Away From This Heart Of Mine", "I Love You Honey Give Me A Bear", "Live It Up (Giorgio Moroder demo)", "Will Anything Happen (inst)", "Spaghetti Song (Atomic part 2)", "Once I Had A Love (Mike Chapman demo)", "Denis (Terry Ellis mix)", "Underground Girl", "Call Me (Chris Stein mix)", "Hardest Part (home tape)", "Theme From Topkapi (home tape)", "Mr Sightseer", "Ring Of Fire (home tape)", "Tide Is High (demo)", and "Susie & Jeffrey". 3CD set features 52 tracks in all – including some great material from are singles and early work too! CD

A lost album from 70s funk diva Betty Davis – and one that's every bit as essential as her music released back in the day! The set was recorded hot on the heels of Betty's classic Nasty Gal album – but it's got a groove that's almost more in the territory of her first two records on the Just Sunshine label – very hard, heavy, freaky, and fuzzy – with lots of sharp-edged guitar licks wrapped up around Davis' badass vocals – which have just as much attitude as ever! It's not clear why the album never saw the light of day back in the 70s, but it's an essential follow-up to Davis key classics – undeniably funky music by one of the most unique figures ever in soul – the kind of set that would have been a bomb, had it dropped in the 70s – and which will have an even greater impact when let loose in the 21st Century. Titles include "Stars Starve You Know", "Bottom Of The Barrel", "Crashin From Passion", "Whorey Angel", "It's So Good", "Is It Love Or Desire", "Bar Hoppin", and "Let's Get Personal". CD

A lost album from 70s funk diva Betty Davis – and one that's every bit as essential as her music released back in the day! The set was recorded hot on the heels of Betty's classic Nasty Gal album – but it's got a groove that's almost more in the territory of her first two records on the Just Sunshine label – very hard, heavy, freaky, and fuzzy – with lots of sharp-edged guitar licks wrapped up around Davis' badass vocals – which have just as much attitude as ever! It's not clear why the album never saw the light of day back in the 70s, but it's an essential follow-up to Davis key classics – undeniably funky music by one of the most unique figures ever in soul – the kind of set that would have been a bomb, had it dropped in the 70s – and which will have an even greater impact when let loose in the 21st Century. Titles include "Stars Starve You Know", "Bottom Of The Barrel", "Crashin From Passion", "Whorey Angel", "It's So Good", "Is It Love Or Desire", "Bar Hoppin", and "Let's Get Personal". LP, Vinyl record album

A lost album from 70s funk diva Betty Davis – and one that's every bit as essential as her music released back in the day! The set was recorded hot on the heels of Betty's classic Nasty Gal album – but it's got a groove that's almost more in the territory of her first two records on the Just Sunshine label – very hard, heavy, freaky, and fuzzy – with lots of sharp-edged guitar licks wrapped up around Davis' badass vocals – which have just as much attitude as ever! It's not clear why the album never saw the light of day back in the 70s, but it's an essential follow-up to Davis key classics – undeniably funky music by one of the most unique figures ever in soul – the kind of set that would have been a bomb, had it dropped in the 70s – and which will have an even greater impact when let loose in the 21st Century. Titles include "Stars Starve You Know", "Bottom Of The Barrel", "Crashin From Passion", "Whorey Angel", "It's So Good", "Is It Love Or Desire", "Bar Hoppin", and "Let's Get Personal". LP, Vinyl record album

A lost album from 70s funk diva Betty Davis – and one that's every bit as essential as her music released back in the day! The set was recorded hot on the heels of Betty's classic Nasty Gal album – but it's got a groove that's almost more in the territory of her first two records on the Just Sunshine label – very hard, heavy, freaky, and fuzzy – with lots of sharp-edged guitar licks wrapped up around Davis' badass vocals – which have just as much attitude as ever! It's not clear why the album never saw the light of day back in the 70s, but it's an essential follow-up to Davis key classics – undeniably funky music by one of the most unique figures ever in soul – the kind of set that would have been a bomb, had it dropped in the 70s – and which will have an even greater impact when let loose in the 21st Century. Titles include "Stars Starve You Know", "Bottom Of The Barrel", "Crashin From Passion", "Whorey Angel", "It's So Good", "Is It Love Or Desire", "Bar Hoppin", and "Let's Get Personal". LP, Vinyl record album

Killer work from Betty Davis – one of the most impressive female funk talents ever! If you ever needed a definition of funk, this record may well be it – snapping drums, sharp-edged guitars, and sex-filled basslines that slink and slide all over the bottom of the grooves – a perfect setting for Betty's incredible vocals – which themselves have a smokey, raspy quality that's completely unique! At times, Davis is almost speaking, but at others she's practically screaming – belting out the lyrics in a way that makes you feel like you're sharing some space with her at the end of the bar as she gets more and more wound up about issues and people who are on her mind. And as if the vocals weren't enough, the backings are incredible too – filled with drum breaks and basslines that few other albums can match – all wrapped around badass tunes that include "Shoo-B-Doop & Cop Him", "He Was A Big Freak", "70's Blues", "Git In There", "Special People", "Don't Call Her No Tramp", and "Your Mama Wants Ya Back". LP, Vinyl record album

Killer work from Betty Davis – one of the most impressive female funk talents ever! If you ever needed a definition of funk, this record may well be it – snapping drums, sharp-edged guitars, and sex-filled basslines that slink and slide all over the bottom of the grooves – a perfect setting for Betty's incredible vocals – which themselves have a smokey, raspy quality that's completely unique! At times, Davis is almost speaking, but at others she's practically screaming – belting out the lyrics in a way that makes you feel like you're sharing some space with her at the end of the bar as she gets more and more wound up about issues and people who are on her mind. And as if the vocals weren't enough, the backings are incredible too – filled with drum breaks and basslines that few other albums can match – all wrapped around badass tunes that include "Shoo-B-Doop & Cop Him", "He Was A Big Freak", "70's Blues", "Git In There", "Special People", "Don't Call Her No Tramp", and "Your Mama Wants Ya Back". Expanded CD features new remastering, a deluxe booklet, and 4 previously unreleased bonus tracks that include Record Plant rough mixes of "70s Blues", "Git In There", "He Was A Big Freak", and "Don't Call Her No Tramp". CD

Killer work from Betty Davis – one of the most impressive female funk talents ever! If you ever needed a definition of funk, this record may well be it – snapping drums, sharp-edged guitars, and sex-filled basslines that slink and slide all over the bottom of the grooves – a perfect setting for Betty's incredible vocals – which themselves have a smokey, raspy quality that's completely unique! At times, Davis is almost speaking, but at others she's practically screaming – belting out the lyrics in a way that makes you feel like you're sharing some space with her at the end of the bar as she gets more and more wound up about issues and people who are on her mind. And as if the vocals weren't enough, the backings are incredible too – filled with drum breaks and basslines that few other albums can match – all wrapped around badass tunes that include "Shoo-B-Doop & Cop Him", "He Was A Big Freak", "70's Blues", "Git In There", "Special People", "Don't Call Her No Tramp", and "Your Mama Wants Ya Back". LP, Vinyl record album

A great lost chapter in the Larry Mizell story – a record that's not nearly as well known as Mizell-produced jams for Bobbi Humphrey or Johnny Hammond, but which is every bit as great! Roger Glenn's a funky flute player with a really great groove – California groovy, with just a touch of Latin – served up here with some great Mizell-infused touches – that rolling rhythm on the bottom, soaring instrumentation on the top, and some great Latin elements that are wrapped up warmly in the fusion! There's plenty of great keyboards, too – played both by Larry Mizell, and also by Mark Soskin – a range of Fender Rhodes, Arp, mini-moog, and more – all adding in the right sort of warmth to Roger's flute, and the album's rich array of percussion. Titles include "Kick", "Reachin", "Rio", "Gloria", "Overtime", and "Don't Leave". CD

Just when you thought Prince Paul and Cat Power would never make a record together PRESTO – it's the new Handsome Boy album! HBMS takes a bit more of a chillout tack with this long overdue second opus – with lots of laidback beats and samples, and a surprising amount of live instrumentation! The gleeful, sarcastic comedy of the stellar first album remains intact, with some genuinely amusing skits (including one with Jay Z appearing under the pseudonym Hines Buchanan), and the deep range of guest vocalists isn't as surprising as how strong their work is in the best tunes. It would have been pretty easy for Prince Paul and Automator to find a bunch of interesting names to flesh out their big pop culture frappe, but something else altogether to make trippy hip hop tracks featuring Cat Power and the Hieroglyphics make sense on the same record. A pretty solid set from the most adventurous pseudo duo in the game! Guests include Del The Funky Homosapien, De La Soul, RZA, Lord Finesse, AG, Rahzel, Jazzy Jay, Qbert, Mike Patton, Casual, Hieroglyphics, Grand Wizard Theodore, El-P, John Oates, Pharrell, Kid Koala, and George W. Bush (just kidding). Tracks include "If It Wasn't For You" with De La, "Are You Down With It" with Mike Patton, "The World's Gone Mad" with Del and others, "It's Like That" with Casual, "I've Been Thinking" with Cat Power, "Rock And Roll (Could Never Hip Hop Like This) Pt 2" featuring Lord Finesse, Qbert and others,"First. . .And Then" featuring Dres from Black Sheep, "A Day In The Life" featuring RZA, AZ and others and more, plus intro/outro by Father Guido Sarducci. LP, Vinyl record album

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 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

An even tighter album than Debbie Jacobs' first for MCA – really wrapped around the strutting club guitar sound of producer Paul Sabu, and filled with tracks that bounce along with a tight little bottom! Debbie's vocals really push the range of the tracks a lot – belting out with the force of Loleatta Holloway one minute, but also coming across with a sound that's a lot colder than the Salsoul groove – almost a darkness that points the way towards more post-disco work to come. Titles include "Lovin Spree", "High On Your Love", "What Goes Up", "Make It Love", and "I Can Never Forget A Friend". CD also features a bonus mix of "Hot Hot". CD

Amazing music from Mali – quite different than most other albums we've heard from that scene in the 70s – with wonderful reed work that really lives up to the "jazz" in the group's name! The sound is bold and righteous, but with an other-worldly vibe too – a really haunting quality that grabs us like some of the most evocative Ethiopian sounds of the 70s! At some level, there's definitely a Mali touch going on in the music – some very tripped-out elements in the production, and a way of wrapping things together with an undercurrent of melancholy. Yet there's also a really unique feel to the record too – a sense of complication that moves way beyond the obvious, while still managing to groove in the process – albeit with kind of a droning quality. Titles include "Wale", "Apolo", "Leli", "Teiduma", and "Dina Waliji". CD

A really mesmerizing performance from a completely fantastic version of Rob Mazurek's Exploding Star Orchestra – a smaller unit, and one that seems to bring even more focus to Rob's incredible musical vision of the past decade or so! Mazurek has grown tremendously as a player in the 21st Century, and matured into a role as a generous leader who really seems to bring out the best in the musicians he works with – in this case an all-star lineup that features Tomeka Reid on cello and electronics, Angelica Sanchez on Wurlitzer electric piano, Ingebrigt Haker Flaten on bass, Chad Taylor on drums, and Damon Locks on voice, electronics, and text. Locks and Mazurek have an especially strong rapport – especially as Rob vocalizes a bit too – and the performance takes all the spiritual expressions of previous Exploding Star records, refines them down with a new focus, then sends them soaring to the skies! The album features two long tracks – "Equations Of Love In Prismatic Waves Of Color" and "Driftless". CD

Twin alto sax work from the leaders – blowing here together with a really rich sound that almost feels like some of Phil Woods alto-heavy dates from years back, but with a vibe that's more 70s Japanese as well! The pair are both great soloists on their own – and step out in the lead on boppish tracks, but with phrasing that's far beyond just hokey Charlie Parker cliches – given an even more modern sense of expression through the quintet's use of guitarist Kazumi Watanabe, alongside bass and drums. The set features 11 minute takes on both "Lover Man" and "Scrapple From The Apple" – plus the side-long original "Blues For T&O", which runs for 19 minutes! CD

An insane array of Christmas disco classics – all wrapped up in a single package! The set features both the original 1976 mix and 1992 Tom Moulton mix of the legendary Christmas Jollies set by the Salsoul Orchestra – one of the Salsoul label's biggest-selling albums – originally recorded in 1976, and pressed again and again over the years – and eventually remixed even stronger in the early 90s. Vince Montana is at the head of the whole project – pushing the group with that great full sound he had at the time – a blend of strings and soul that could be kitschy, but comes off great! The sound is kind of a disco-Christmas one, with driving uptempo versions of tunes like "Merry Christmas All", "Sleigh Ride", "Christmas Time", and "Silent Night" – plus the original tune "There's Someone Who's Knocking". In addition to this, the album also features 2 extended medleys of holiday tunes – one based around Christmas, the other around New Years! The package also features Christmas Jollies 2 from the legendary Salsoul Orchestra – working here with Patrick Adams this time around, in a groove that occasionally bears echoes of his own music on P&P Records! The vibe's nicely different from the first Jollies set – a different inflection of the Christmas disco mode, yet one that's still more than proud enough to bear the Salsoul name – thanks to sharp instrumentation throughout, and a way of laying down the grooves that's often as funky as it is clubby! The whole thing's great, and titles include "Joyful Spirit", "Deck The Halls", "Joy To The World", "God Rest Ye Merry Gentlemen" plus "You're All I Want For Christmas" and the 8 minute long "Salsoul Christmas Suite". In addition to Christmas Jollies 1 in the 1976 mix and 1992 Tom Moulton mix, and Christmas Jollies 2 – the set also features 11 bonus tracks, including 7" and 12" single mixes, plus "Christmas Medley (parts 1 & 2)', and "Little Drummer Boy (Dank rmx)". CD