A nice bit of funky organ work from Jimmy McGriff – a set that's got his famous talents on the Hammond out front of a larger ensemble – but in a way that's very different than some of his albums of that type from the 70s! There's lots of electricity in the mix – electric piano from Horace Ott, bass from Richard Evans, and guitar from Wayne Bennett – mixed with sharp work on horns from Cliff Davis on tenor and flute, Murray Watson on trumpet, and Johnny Beard on baritone – three players who really flesh out the sound! The album's got some excellent stone funky classics – like "The Bird", "Groove Grease", and "Plain Brown Bag" – plus some surprisingly funky readings of standards like "Canadian Sunset" and "Mr Lucky", both made to sound super-nice, thanks to excellent work on bass and drums! CD

A nice bit of funky organ work from Jimmy McGriff – a set that's got his famous talents on the Hammond out front of a larger ensemble – but in a way that's very different than some of his albums of that type from the 70s! There's lots of electricity in the mix – electric piano from Horace Ott, bass from Richard Evans, and guitar from Wayne Bennett – mixed with sharp work on horns from Cliff Davis on tenor and flute, Murray Watson on trumpet, and Johnny Beard on baritone – three players who really flesh out the sound! The album's got some excellent stone funky classics – like "The Bird", "Groove Grease", and "Plain Brown Bag" – plus some surprisingly funky readings of standards like "Canadian Sunset" and "Mr Lucky", both made to sound super-nice, thanks to excellent work on bass and drums! LP, Vinyl record album

Twin organs back to back – and a heck of a hard-wailing set from Groove Holmes and Jimmy McGriff! The album cooks from the very first note – and features long tunes that open up with the same sort of solo-heavy approach that you'd get on Holmes' Prestige albums of the 60s – very stretched out, in a way that offers the keyboardists no cover at all, and forces them to keep thinking on their feet to come up with great notes! Bernard Purdie plays some nicely tight drums on the set, and guitar is by George Freeman and O'Donel Levy – both of whom add some nice superdope touches to the set! A winner all the way through, with great solos – and titles that include "Licks A Plenty", "The Squirrel", and "Finger Lickin' Good". CD

Sweet 70s funk from the legendary Groove Holmes – an album that has his funky organ riffing nicely over some tight larger arrangements! The style is really great, and a nice departure from the smaller combo Groove Holmes sound of the 60s – more in keeping with his later Blue Note work, in that the organ's in the lead, grooving soulfully, and the rest of the band vamps and comps behind him with a tight style that's almost in the soundtrack mode! Players include Pretty Purdie on drums, Horace Ott on electric piano, and Seldon Powell on tenor – and Horace Ott wrote two nice originals – "Night Glider" and "Flyjack" – and Groove contributed "Pure Cane Sugar". Other tracks include "Go Away Little Girl", "Young & Foolish", and "One Mint Julep". CD

Tasty small group work from Groove – with Mr Holmes himself on organ, and the great Larry Willis on electric piano – coming up with a twin electric organ/piano sound that's similar to the one that Groove used on his Comin On Home LP for Blue Note. The difference here is that things aren't as funky as on the Blue Note record – more in the style of the mellow soul of some of the other Groove Merchant albums, with a sweet use of percussion and guitar next to the keys – in a nice laidback kind of groove! Titles are mostly covers – like "St Thomas", "American Pie", and "Who Can I Turn To" – but the lineup also includes two Holmes originals, "Catherine" and the jazzy "Fingers", which is a nice little cut! CD

Twin organs back to back – and a heck of a hard-wailing set from Groove Holmes and Jimmy McGriff! The album cooks from the very first note – and features long tunes that open up with the same sort of solo-heavy approach that you'd get on Holmes' Prestige albums of the 60s – very stretched out, in a way that offers the keyboardists no cover at all, and forces them to keep thinking on their feet to come up with great notes! Bernard Purdie plays some nicely tight drums on the set, and guitar is by George Freeman and O'Donel Levy – both of whom add some nice superdope touches to the set! A winner all the way through, with great solos – and titles that include "Licks A Plenty", "The Squirrel", and "Finger Lickin' Good". LP, Vinyl record album

Two excellent albums of funky organ work from the great Reuben Wilson! Both sides were recorded for Groove Merchant after Reuben left Blue Note – and they're actually a lot better than his work for Blue Note, as they have him opening up his groove a lot more, funking it up in a mode that's a lot like Johnny Hammond's work for Kudu. The set features 13 tracks in all – including Reuben's great cover of "Inner City Blues" that was sampled by Tribe Called Quest, plus other funky numbers like "Cream Puff", "The Cisco Kid", "Sweet Life", "I'll Take You There", "Groove Grease", "Snaps", and "Superfly". CD

Three 70s killers from Jimmy McGriff! Groove Grease is a nice bit of funky organ work from Jimmy McGriff – a set that's got his famous talents on the Hammond out front of a larger ensemble – but in a way that's very different than some of his albums of that type from the 70s! There's lots of electricity in the mix – electric piano from Horace Ott, bass from Richard Evans, and guitar from Wayne Bennett – mixed with sharp work on horns from Cliff Davis on tenor and flute, Murray Watson on trumpet, and Johnny Beard on baritone – three players who really flesh out the sound! The album's got some excellent stone funky classics – like "The Bird", "Groove Grease", and "Plain Brown Bag" – plus some surprisingly funky readings of standards like "Canadian Sunset" and "Mr Lucky", both made to sound super-nice, thanks to excellent work on bass and drums! Main Squeeze is one of the grooviest albums ever from Jimmy McGriff – a hard-wailing session that's filled with plenty of cooking lines on the organ, and a few especially funky tracks! The groove here is tight, short, and very sharp – strongly in the mode of other post-Sue sessions by McGriff – like The Worm or other Groove Merchant sides – with a style that's often much more focused than Jimmy's earlier years, and strongly turned towards the rhythms of the tunes! A few numbers are more familiar soul jazz, but these are nicely offset by the harder funk numbers of the record – like the romping, stomping break classic "The Main Squeeze", the totally groovy "The Worm Turns", and the fast-vamping "GMI". The group features Jimmy Ponder on guitar and Connie Lester on alto sax – and other titles include "The Sermon", "Stella By Starlight", and "The Blues Train To Georgia". Tailgunner has Jimmy McGriff in a very cool 70s mode – hitting some of the fuller, more soul-based styles that Johnny Hammond and Jimmy Smith were exploring in the middle of the decade – while still also displaying a hell of a talent on the organ as well! The album has extra keyboards from Pat Rebillot and Paul Griffin – which makes for a nice mix of organ and electric piano sounds, plus some occasional moog that's very nicely placed – all backed by a largeish group that has tight horns, and some occasional soul vocals from Al Downing and Denise Wooten. The vocals are often an augmentation of the tunes, and there's still plenty of room for solos by Jimmy in the middle – on titles that include "Tailgunner", "Flexible Flyer", "Sky Hawk", "Grandma's Toe Jam", and "Bullfrog". CD

One of the more laidback albums from George Freeman's early 70s run – but still a great little set that shows the mellower side of his talents! Despite the sexy style of the cover, the sound here is relatively straight soul jazz – small combo work with Harold Mabern on acoustic piano, Kenny Barron on electric piano, Bob Cranshaw on bass, and Buddy Williams on drums – all in support of Freeman's snakey guitar lines over the gentle rhythms and slinky grooves. George's sound is slightly less tripped-out than on other records, but still has that undeniable Freeman tone – a raspy edge that's quite different than most of his contemporaries! Titles include "I Ain't Got Nobody", "You've Changed", "Groovy Lady", "Squeeze Me", and "Till There Was You". LP, Vinyl record album

The title certainly gets it right – as the album's one of the funkiest ever from guitarist George Freeman, and one of the few to really hit that messed-up groove he was working in the clubs before his mid 70s retreat to Chicago! The style here is often all over the map – a mix of soul jazz and funkier numbers, but often served up with less of the direction than you'd get on Prestige, and even less of that on Groove Merchant – more in a raw small combo mode, with Freeman's guitar hitting plenty of raspy notes and weird solo excursions that keep even the mellower tunes exciting! The record features 2 different groups – one with John Young on piano, the other with Bobby Blevins on organ – and brother Von Freeman plays tenor sax on the whole set, although not nearly in the spotlight as George! (Definitely in keeping with something that Von told George many years back – quoted to us by George – "When you've got your own album, make sure that people know that you're the star!") Titles include "New Improved Funk", "Daffy", "Happy Fingers", "Confirmed Truth", "Guitar Lover Man", and "Big Finish". CD

A stone laidback set from O'Donel Levy – one of the greatest soul jazz guitarists of the 70s, and a player who sounds fresher and fresher to us over the years! This album's a bit more laidback than some of Levy's other sets for Groove Merchant – with larger arrangements that feature Charles Covington on electric piano and organ, Fats Theus on tenor and flute, and Billy Skinner on trumpet – but the approach actually works well, as the slow-moving tracks trip out over a lot of space, giving O'Donel plenty of room to craft his uniquely spacious and chromatic solos. Titles include versions of "Watch What Happens", "Love Story", "Call Me", "You've Made Me So Very Happy", and "Didn't I Blow Your Mind This Time", plus the originals "Granny" and "Nature's Child", both of which have a nice little groove! CD

Wonderfully baroque funk from the great O'Donel Levy! The album's got some very cool arrangements by Manny Albam that mix together strings and funk – in a super-dope way that sounds a lot like the work coming out of Cadet during the late 60s – and the rest of the set features Levy playing with a smaller group, one that includes Chester Thompson on drums and Charles Covington on organ. The approach is great on both types of sets – complicatedly funky, in a way that's held up incredibly well over the years – and which warrants greater discovery of Levy's work from the time. The album's got covers of "We've Only Just Begun", "Let's Stay Together" and "It's Too Late" – plus some groovy originals like "Cherries", "The Chocolate Horse", "Ideal", and "Breeding of Mind". CD

Totally wicked guitar work from the mighty O'Donel Levy – easily one of the hippest talents to ever work for the Groove Merchant label! Levy's got a sound here that's a bit like Wes Montgomery on some of his late 60s sides, but also a fair bit funkier overall – a style that's steeped in soul and schooled on advancements in the 70s generation of funk fusion and blacksploitation soundtracks. Backings are relatively large – arranged by Manny Album, with players who include Charles Covington on organ and electric piano and Cecil Bridgewater on trumpet. Tracks include covers like "I Wanna Be Where You Are", "People Make the World Go Round", and "Maiden Voyage" – plus some nice originals, like "Dawn Of A New Day" and "Baa Waa". CD

Fantastic sounds throughout – and maybe the best album ever by this legendary 70s guitar player! O'Donel Levy's got this tremendous sound that comes from playing an electric hollow body – in a tone that takes the best bits of Grant Green and Wes Montgomery, and strips them down for a hipper, badder 70s sort of mode. The album's got some great blackploitation-esque arrangements by Manny Albam, and O'Donel's groove is nice and lean as he snakes over the top of the record in some very soulful solos! Lots of cool grooves, and titles include "Joni", "Nigerian Knights", "Bad, Bad, Simba" and "Sad, Sad, Simba". CD

Fantastic sounds throughout – and maybe the best album ever by this legendary 70s guitar player! O'Donel Levy's got this tremendous sound that comes from playing an electric hollow body – in a tone that takes the best bits of Grant Green and Wes Montgomery, and strips them down for a hipper, badder 70s sort of mode. The album's got some great blackploitation-esque arrangements by Manny Albam, and O'Donel's groove is nice and lean as he snakes over the top of the record in some very soulful solos! Lots of cool grooves, and titles include "Joni", "Nigerian Knights", "Bad, Bad, Simba" and "Sad, Sad, Simba". CD

Fantastic sounds throughout – and maybe the best album ever by this legendary 70s guitar player! O'Donel Levy's got this tremendous sound that comes from playing an electric hollow body – in a tone that takes the best bits of Grant Green and Wes Montgomery, and strips them down for a hipper, badder 70s sort of mode. The album's got some great blackploitation-esque arrangements by Manny Albam, and O'Donel's groove is nice and lean as he snakes over the top of the record in some very soulful solos! Lots of cool grooves, and titles include "Joni", "Nigerian Knights", "Bad, Bad, Simba" and "Sad, Sad, Simba". LP, Vinyl record album

Quite possibly the greatest record ever by Mike Longo – a wicked batch of electric funky piano tunes, recorded with a sublime 70s feel! The set's got a really stripped down group – with Ron Carter on bass, Mickey Roker on drums, and Patato Valdez on percussion – all grooving behind Longo's work on electric and acoustic piano, creating some magical rhythms that snap a groove out of just about every single tune! The whole set's great – not just a "one number" funky jazz set – and titles include versions of Marvin Gaye's "What's Going On", Dizzy Gillespie's "Ole' For the Gypsies", Les McCann's "Samia", and Longo's own "Southern Soul" and "Funkia". CD

An unusual double-length album for Jimmy McGriff – released during his funkier years at the Groove Merchant label, but with a gritty sort of sound that takes us back to his first few records on Sue in the 60s! The "blues" in the title is definitely well-chosen – as the tracks here are long, lean, and drawn out – blues-drenched soul jazz played by a small combo that includes Larry Frazier on guitar, Rudy Johnson on tenor, and Saint Jenkins on drums – plus Gerry Jemmott on electric bass, adding a bit more vamp to the background than usual. There's a very earthy feel to most numbers – almost improvised jams at times, at least on the tracks that are credited to McGriff as the writer. Titles include "Blue Groove (parts 1 & 2)", "Blues For A Broken Down Funky Old Bus", "Bahama", "Mack The Knife", "Harp-er", "Mocha", "Hey Mrs Jones", "Amen", and "Penthouse Serenade". CD

Sweet 70s electric work from Jimmy McGriff – material that's different than his grittier grooves of the 60s, but still plenty darn great! The style's clearly influenced by CTI – as Jimmy's using electric piano as much as organ – and is getting some fuller support in the backings from Brad Baker and a host of great studio players. The sound is still plenty darn funky though – a soundtrack-styled approach that has Jimmy's keyboards soaring over the lush backdrops – still with plenty of rhythm, and elements that include choppy guitar and some nice work from a horn section. Joe Thomas solos a fair bit on tenor and flute – and the whole thing sounds like some nice lost cop show soundtrack! Titles include "It Feels So Nice (Do It Again)", "Please Don't Take Me Out", "Mean Machine", "Pogo's Stick", and "Overweight Shark Bait". LP, Vinyl record album

Jimmy McGriff picks up a few more keyboards than straight Hammond organ – but that's ok with us, given the great results of the set! The album's got McGriff working on electric piano and clavinet alongside the organ – plus supporting arrangements from Brad Baker, in that fuller, Kudu-styled approach to jazz funk that Groove Merchant used strongly in the mid 70s – a slightly smoother sound than before, but still plenty darn great, and definitely filled with more than enough jazz to keep things real! Pat Rebillot plays some additional keyboards on the album – in that funky style he used well at the time – and there's almost a spacey Fantasy Records quality to some of the best numbers here! Titles include the incredible tripped out break cut "Space Cadet", plus "Love Is My Life", "Sweet Love", "Big Booty Bounce", "Red Beans", and "Cakes Alive". CD

Chris Hazelton cooks it up on the Hammond – playing here in a sweet small combo mode that's mighty nice – and with baritone from Brett Jackson in the group instead of the usual tenor! The deep sound of Jackson's horn is a nice balance with Chris' tight work on the keys, and the chromatic sounds of Jamie Anderson's guitar – as the group swings nicely on tracks that also feature drums from John Kizilarmut and occasional conga from Pat Conway! The whole thing's got a nicely different vibe from standard jazz organ sets – and titles include "The Groove Merchant", "Night Lights", "So Tired", "Amsterdam After Dark", "Easy Talk", and "Watch What Happens". CD

A great later set from 70s guitar genius O'Donel Levy – slightly different than his earlier work for the Groove Merchant label, but equally great in its own sort of way! Levy's still working here with producer Sonny Lester on the LC label – and the tone is great, with this clear, clean, soulful line that should have made O'Donel one of the giants of his generation – tripping along with these well-crafted solos that are a perfect fit for the laidback rhythms of the tunes! And if you're worried that the later date and different cover style is too much of a shift for Levy, don't – because there's plenty of greatness within – and the record really knocks it out of the park compared to some of his more mainstream contemporaries. Titles include the great "Butta" – plus "Love Will Never Die", "Have You Heard", "Dancing Girl", and "Time Has Changed". CD

A compilation of tracks from his early 70s Groove Merchant albums, including "Let's Stay Together", "Every Day I Have The blues", "Jumping The Blues", "That Healin' Feelin", "Yardbird Suite", "There Will Never Be Another You", and "It's You I Adore". LP, Vinyl record album

Quite possibly the funkiest record ever made by guitarist Joe Pass – a real surprise from an artist we mostly know for his mellower and straight ahead work! The style here is tight electric funk, almost in a Groove Merchant sort of way – and given Joe's heavy use of hollow-body guitar on the record, and the warm chromatic hues in his tone, the style's a fair bit like O'Donel Levy on his 70s classics from the same era. Bassist Carol Kaye had a hand in putting together the record, and there's a similar feel here to her own best grooves – tight, studio-oriented work – but never slick or too commercial! Other players include Joe Sample on keyboards, Paul Humphrey on drums, Tom Scott on sax and flute, and JJ Johnson on trombone – and despite the presence of these heavyweights, the record has a nicely soulful sound that's more indie grit than major label funk! CD adds some bonus tracks to the original record – and features 18 titles that include "Free Sample", "Better Days", "Head Start", "It's Too Late", "Gotcha", "Alison", "The Preacher", "Bass Blues", "Burning Spear", "Slick Cat", "Flying Down To Baja", and "Love Is". LP, Vinyl record album

A stunning live recording from Sarah Vaughan – recorded in the late 70s, when she was at a whole new height in her talents – and at a level that's far more dynamic and striking than some of her other records from the time! The double-length set presents the first-ever commercial release of a beautifully recorded performance originally done for NPR – with Vaughan in a very open, expressive mode alongside a trio with Carl Schroeder on piano, Walter Booker on bass, and Jimmy Cobb on drums – working at a small club in New Orleans with a wonderfully soulful vibe! Vaughan shines beautifully on the ballads, but really blows us away with the swingers – hitting some edges we don't always hear on her 70s sides for Pablo, Groove Merchant, or Mainstream – managing vocal complexity with inherent rhythm, all with effortless ease. The sound quality is wonderful – and titles include "I'll Remember April", "A Lot Of Livin To Do", "The Man I Love", "Watch What Happens", "If You Went Away", "I Could Write A Book", "Time After Time", "Somebody Loves Me", "My Funny Valentine", "Everything Must Change", "Send In The Clowns", "Sarah's Blues", and "East Of The Sun". (Vocalists, Jazz) CD

Monster funk from Hammond hero Reuben Wilson – an album of hard-burning, bad-walking tunes that are a fair bit different than most of his other work! Although Wilson recorded some pretty traditional organ jazz for the Blue Note and Groove Merchant labels, this album has him working with his "Cost Of Living" group – a combo who only recorded this one album, and which includes Richard Tee on keyboards, Bad Bascomb on bass, Bernard Purdie on drums, and both Houston Person and Pee Wee Ellis on tenor sax! Most cuts have some sort of vocals – sung by either Sammy Turner or Kenny Williams, both of whom really fit the badass spirit of the record, and bring in a nice range of deeper themes from the 70s. There's almost a blacksploitation funk feel to the record at times, although the set's also got more of a soul album focus too – a rare move for Reuben, but one that's made the album a favorite for years! Tracks include the rare groove classics "Got To Get Your Own" and "Tight Money" – plus "Together", "Stoned Out Of My Mind", "What The People Gon Say", "Back Rub", and "In The Booth In The Back In The Corner In The Dark". CD

Tracks include "Groove Merchant", "Idyll", "Pathways", "Child At Play", "Boom Boom", and "Reflections". CD

Sweet and lowdown funky grooves from legendary organist Lonnie Smith (that's DOCTOR Lonnie Smith, thank you!) – played in a style that's surprisingly fresh, and without the cliches of some of Smith's other albums of the past decade. The group on the set is wonderfully laidback – never trying to be overly funky, or to play to the current generation with easy tricks or gimmicks. And Lonnie's perfectly in the cut on most of the tracks – hitting the organ in a mode that recalls classic Prestige Records sessions of the 70s, but occasionally breaking out with styles from some of his freer Groove Merchant years. The group is spare – with just drums, lead guitar, and added rhythm guitar behind Smith's keys – making for plenty of space to jam on cuts that include "The Whip", "Back Track", "Evil Turn", "One Cylinder", "Silver Serenade", and "Your Mama's Got A Complex". CD

Hammond hero Reuben Wilson's on Broadway – and he hits a massively soulful groove that's light years from the cliched sounds of the great white way! The set's one of the tightest cookers from Wilson's early years on Blue Note – and has a vibe that's a bit different than the rest, thanks to some compelling rhythmic elements that push things past a Lou Donaldson groove, and more into that chunky approach to organ jazz that Wilson would explore later on the Groove Merchant label. Most numbers have this back/forth groove that's really wonderful – almost a rocking energy that has Wilson laying in the pocket one minute, then bursting forth the next with some really tremendous work on the keys. Other group members are great too – and the quartet features tenorist Trevor Lawrence, guitarist Malcolm Riddick, and drummer Tommy Derrick – on tracks that include "Poincinana", "On Broadway", "Ronnie's Bonnie", "Ain't That Peculiar", and "Baby I Love You". LP, Vinyl record album

One of the most hard-hitting Jimmy McGriff albums of the 70s – a raw live date recorded in Newark – and a set that's a perfect bridge between the sharp soul of his Sue Records sessions and his later funk to come! The whole thing's got a gritty vibe the really recalls the sound of a Hammond combo in a small club back in the day – a sense of recording that's different than the usual Blue Note record, and we mean that in a good way! Future Groove Merchants Fats Theus and O'Donel Levy are both on the record – the former on tenor, the latter on guitar – and Jimmy gets plenty of room to really open up and soar on the Hammond. The group also features the lesser-known Ronald White on trumpet and Joseph Morris on alto – and titles include "In A Mellow Tone", "Groove Alley" and "Man From Bad" – and a nice cover of "Ode to Billie Joe"! CD

Jazz organ explodes to the next level – on this brilliant and rare session by Larry Young from 1969! The record was Young's last recording for Blue Note, and was never issued at the time – only making a brief appearance in a short series at the end of the 70s – and its obscurity makes it all the more important, as it's the kind of record that would have transformed jazz tremendously if released at the time. On the set, Young delivers on all his 60s experimentation with modal grooves and Coltrane-styled playing – working with a quartet that includes Lee Morgan on trumpet, Herbert Morgan on tenor, and Eddie Gladden on drums – soaring to the skies on long tunes that push the Hammond farther than any organist had ever imagined! And while modern, and freer than before, Young is also playing here without some of the over-indulgent styles of his later jazz-rock work – still sticking to the Blue Note mode, while managing to record in a "new thing" mode long after the label had abandoned the "new thing" sound! Mindblowing – and with titles that include "Visions", "Love Drops", "Trip Merchant" and "Street Scene". CD

Jazz organ explodes to the next level – on this brilliant and rare session by Larry Young from 1969! The record was Young's last recording for Blue Note, and was never issued at the time – only making a brief appearance in a short series at the end of the 70s – and its obscurity makes it all the more important, as it's the kind of record that would have transformed jazz tremendously if released at the time. On the set, Young delivers on all his 60s experimentation with modal grooves and Coltrane-styled playing – working with a quartet that includes Lee Morgan on trumpet, Herbert Morgan on tenor, and Eddie Gladden on drums – soaring to the skies on long tunes that push the Hammond farther than any organist had ever imagined! And while modern, and freer than before, Young is also playing here without some of the over-indulgent styles of his later jazz-rock work – still sticking to the Blue Note mode, while managing to record in a "new thing" mode long after the label had abandoned the "new thing" sound! Mindblowing – and with titles that include "Visions", "Love Drops", "Trip Merchant" and "Street Scene". CD

Jazz organ explodes to the next level – on this brilliant and rare session by Larry Young from 1969! The record was Young's last recording for Blue Note, and was never issued at the time – only making a brief appearance in a short series at the end of the 70s – and its obscurity makes it all the more important, as it's the kind of record that would have transformed jazz tremendously if released at the time. On the set, Young delivers on all his 60s experimentation with modal grooves and Coltrane-styled playing – working with a quartet that includes Lee Morgan on trumpet, Herbert Morgan on tenor, and Eddie Gladden on drums – soaring to the skies on long tunes that push the Hammond farther than any organist had ever imagined! And while modern, and freer than before, Young is also playing here without some of the over-indulgent styles of his later jazz-rock work – still sticking to the Blue Note mode, while managing to record in a "new thing" mode long after the label had abandoned the "new thing" sound! Mindblowing – and with titles that include "Visions", "Love Drops", "Trip Merchant" and "Street Scene". CD