That's Band X, not Brand X – and they're a damn funky jazz combo from the 70s – one whose work is filled with plenty of sharp changes and wonderfully chromatic moments! Rhythms are at the core of the set – lots of choppy drum parts that are mighty nice, bumped along by sweet compressed basslines too – and other instrumentation includes lots of vibes, reeds, and a bit of keyboards from time to time – used in really creative ways! If we had to come up with a comparison, we might say these guys sound a bit like some of the best work by Steve Grossman and the PM Records crew in the 70s – but they've definitely got their own vibe too. Titles include "Home", "Black Hole", "Rip Van Winkle", "Red Cloud", "Trullion Alastor", "Afterthought", and "Picking Mushrooms With Rabbit". (Jazz, Rock) LP, Vinyl record album

Four incredible albums from the young Georgie Fame – plus a bonus CD of rare material, bonus tracks on all CDs, and 18 previously unreleased tracks – all in a box set with a 48 page book, 5 postcards, and a poster too! First up is Rhythm & Blues At The Flamingo – blistering early work from a young Georgie Fame – a set that definitely lives up to the Rhythm & Blues in the title! The set was recorded live at London's hip Flamingo club – and Georgie and The Blue Flames are very much in command of the crowd – burning with the intensity of a American small organ combo, especially the early 60s variety that often played equal parts soul jazz and R&B! Georgie's on the Hammond, and also sings with a rough-edged style that's plenty soulful, and incredibly appealing – a mode that oozes charisma, but never sounds fake or forced. Titles include "Do The Dog", "Eso Beso", "Work Song", "Baby Please Don't Go", "Shop Around", "Humpty Dumpty", and "You Can't Sit Down". Fame At Last is a brilliant mix of jazz, soul, and R&B – all filtered through a mod sort of London freshness, as early proof that the city could always take some great things from our own musical roots, and feed it back to us with a whole new flavor! Georgie's no copycat here, though – and the sound is instantly Fame-like – a style that's really not the sort that any Americans were doing at the time, and certainly never this well. Hard-burning Hammond colors most of the tunes here – played with a tightly vamping quality – but it's Georgie's charmingly crackling vocals that really win us over! Titles include "Gimme That Wine", "Pink Champagne", "Monkeying Around", "Green Onions", "Let The Sunshine In", "Get On The Right Track Baby", "I'm In The Mood For Love", and "I Love The Life I Live". Sweet Things is a definite sweet thing from Georgie Fame – a record that has him filling in his sound even more than before, with tremendously soulful results! The backings here are bigger than before – a bit tooled in an American soul mode, but still with that beautifully raspy Georgie Fame touch – lots of jazzy inflections on the vocals, and a way of handling a tune, even a familiar one, and really working it on his own level. Hammond still fills in most of the tunes, but other instrumentation includes some nice African percussion from Speedy Acquaye, saxes from Pete Coe, and some nice bold drums from John Mitchell. These come out to the forefront on the classic funky tune "Music Talk" – and still sound great on other numbers that include "The World Is Round", "Last Night", "Dr Kitch", "My Girl", "Ride Your Pony", and "Sweet Thing". Sound Venture is one of the jazziest early albums from Georgie Fame – a set that has him singing with the big band of Harry South, at a level that's a lot more complicated than some of his other work with The Blue Flames! The style here still has that mod 60s London feel, but it also has some deeper inflections as well – modes borrowed a bit from Jon Hendricks or Mose Allison, yet served up with even greater complexity – at a level that really points towards the tremendous growth Fame would unleash over the next few years. Members of the group include Tubby Hayes, Ronnie Scott, Tony Coe, Dick Morrisey, Kenny Wheeler, and many other key Brit jazz figures of the time – and titles include "Three Blind Mice", "Dawn Yawn", "Feed Me", "Lovey Dovey", "Lil Darlin", "Lil Pony", "I Am Missing You", and "Many Happy Returns". CD5 is Bend A Little – a package with 20 unusual titles – demos, rare tracks, and outtakes – including unreleased tracks, IBC recordings, and even two German tracks too! Plus, each individual CD comes with bonus tracks – 40 bonus tracks, in addition to the 20 more titles on the Bend A Little set – a huge amount of material! (Vocalists, Rock) CD

Some of the fiercest work we've ever heard from this legendary Czech fusion outfit – a previously-unreleased live performance from 1980, and one that may well blow away some of their classic studio records from the 70s! The tunes are long, and have a sense of darkness that we're not sure we've heard this strongly before – as keyboardist Martin Kratochvil plays Fender Rhodes and moog to really set the stage for most tunes at the start – then opening the door to bolder work on guitar from Frantisek Francl. There's as much prog going on here as jazz – and the lean quartet setting allows for plenty of longspun work from keys and guitar – on titles that include "Pecet", "Pralesni Pisen", "Trhanec", "Az Se Ucho Utrhne", and "Madona". (Jazz, Rock) CD

Some of the fiercest work we've ever heard from this legendary Czech fusion outfit – a previously-unreleased live performance from 1980, and one that may well blow away some of their classic studio records from the 70s! The tunes are long, and have a sense of darkness that we're not sure we've heard this strongly before – as keyboardist Martin Kratochvil plays Fender Rhodes and moog to really set the stage for most tunes at the start – then opening the door to bolder work on guitar from Frantisek Francl. There's as much prog going on here as jazz – and the lean quartet setting allows for plenty of longspun work from keys and guitar – on titles that include "Pecet", "Pralesni Pisen", "Trhanec", "Az Se Ucho Utrhne", and "Madona". (Jazz, Rock) LP, Vinyl record album

A beautiful early 70s debut LP from a then 20 year old, Halifax-reared Catherine Howe – produced and arranged by US jazz pianist Bobby Scott in a mode that manages to feel lush and opulent while never belying Catherine's warmth, intimacy and maturity! The sound is warmly baroque, and Catherine's lovely vocals and evocative songwriting style is sheerly natural – recorded in a fairly stripped down setting and fleshed out with strings by the London Symphony Orchestra. The mix of intimacy and grandeur makes the record a bit of stylistic cousin to Nick Drake's Bryter Layter – we take our Drake seriously and we don't throw that comparison out lightly! Released by a doomed Reflection Records, which closed up shop the same year – the album was almost instantly relegated to obscurity, but has become the stuff of legend over the years – thanks to reissues, and interest in Howe's music from younger generations. Titles include "Up North", "On A Misty Morning", "Nothing More Than Strangers", "My Child", "The Innocence Of A Child", "It Comes With The Breezes" and more – plus the bonus demo "In The Hot Summer" – which led to the next phase of Catherine's career at RCA. (Folk/Country, Rock) CD

Seminal sounds from trumpeter Ian Carr and his Nucleus group of the early 70s – maybe one of the few jazz rock groups that was ever able to work with a fair bit of jazz in their sound! Unlike his contemporaries, who often started in rock first, then added some horns – Carr was already coming off an important 60s legacy, co-leading a group with tenorist Don Rendell – so the vibe here is like an extension of that very rhythmic, very tonal modern work – but with the addition of electrified instrumentation – thanks to the guitar work of Chris Spedding and keyboards of Karl Jenkins – who plays some fantastic electric lines throughout! The vibe is maybe a bit in the territory of early 70s electric work by Miles Davis and Donald Byrd (pre-Mizell for the latter) – but there's maybe a farther-reaching concept at play on many of the records, at a level that always helped the group cross over to the prog crowd, and move beyond just a straight jazz audience. Other key players include Brian Smith on tenor and soprano saxes – a really fantastic part of the lineup – plus Jeff Clyne on bass and John Marshall on drums – and as the albums move along a bit, the lineup shifts slightly, and also opens up to guests who include Kenny Wheeler and Harry Beckett on trumpets, Tony Levin on drums, and Norma Winstone on voice. And although some of the albums have been reissued before, this is the first set to really dive in completely – and bring together material from the Vertigo Records releases that include Elastic Rock, We'll Talk About It Later, Solar Plexus, Belladonna, Labyrinth, Roots, Under The Sun, Snakehips Etcetera, and Alley Cat. (Jazz, Rock) CD

The complete albums of this really unique group – all wrapped up in a single set, with bonus tracks too! First up is the self-titled debut – described on the cover as "Eight high-octane musicians who met and jammed in the great peanut butter octopus that is Los Angeles!" The record's got a really trippy approach that's partially folk rock, partially psychedelic soul, and which also has some great touches of groovy harmony pop and Latinized LA rhythms – all wrapped up in some totally great production overall! The whole thing skims and sings around like some of our favorite sunshiney pop from the time – almost a meeting of Triste Janeiro and Mamas & The Papas – with some great instrumental touches that include cello and electric harpsichord! Female lead vocals on most tracks, but the album also spins out nicely, so that you get plenty of instrumental passages too! Titles include "Why Oh Why", "Motherless Child", "Here We Go Again", "For Pete's Sake", "What's Wrong", "Come Take A Walk", and "In A Rainbow". Next is Just For You – the group's second album – and a really sweet batch of tracks that mix together rock and soul influences with touches of west coast hippy jazz, in a style that's almost an LA answer to Rotary Connection, but without all the baroque arrangements. The set's got a great version of "Compared To What", and the extended jazzy jammer "Just For You" – plus the cuts "Day Song", "Just For You", "Look Out", "Without Me", and "Windlace". Last up is Melon – a great little set from Sweetwater – a rock combo at heart, but one who also bring in a nice sense of soul too! The album follows strongly from other of their Reprise releases – almost funky in parts, with drums that kick in nicely, and a flowing sense of groove that features keyboards, flute, and added percussion that helps to spice things up. Most tracks have vocals, but there's some very strong standout instrumental moments – and titles include "Take It From Splice Boys", "Naturally", "Don't Give A Hoot", "Get It While You Can", "I'm Happy Today", "Rejoice The Smile Of Man", and "Join The Band". 2CD set features 8 bonus tracks – including one recorded at Woodstock! CD

An underground classic from Karen Dalton – a record that's almost out of time, given its early 70s release – as Karen sings with spare backings that are almost in a Folkway Records mode at points, but with all these headier currents that are also indicative of the Bay Area generation too! Dalton's voice is completely unique too – unlike anything you'll ever hear – phrasing that almost hearkens back both to vintage jazz and Appalachian folk, but a style that's more long hair – as are some of the backings too. The set was recorded upstate in Bearsville – and really has all the hallmarks of the freedoms of that scene at the time – summed up beautifully on material that includes "Something On Your Mind", "In A Station", "Take Me", "Same Old Man", Are You Leaving For The Country", "Katie Cruel", and "How Sweet It Is". LP, Vinyl record album

Really great vocal work from legendary underground figure Brion Gysin – best known as a poet, but also a key European connection for the American beats – and a frequent partner in the language experiments by William S Burroughs! Here, Gysin mixes his words in both singing and spoken styles – a bit more of the former than some of his recordings with avant jazz musicians – and hits a groove that bubbles over with all sorts of cool funky touches that often recall the vibe of the Ze Records material from the French scene of the early 80s. Ramuntcho Matta handles production and the main creative direction of the music – and opens the door to work from Don Cherry on pocket trumpet, Lizzy Mercier Descloux and Caroline Loeb on vocals, and Yann Le Ker on bass and guitar,. Titles include "Sham Pain", "Junk", "Kick (discomix)", "Stop Smoking", and "Baboon". LP also features the unreleased tracks "Kick (alt 7" mix)" and "Kick (alt 7" inst)" – plus "All Those Years", "VVV", and "Stop Smoking (alt mix)". (Spoken Word, Rock) LP, Vinyl record album

Maybe the most striking set in this ever-shifting series of releases from Matana Roberts – and one that shows his more advanced sonic sensibilities, in a mix of improvised jazz and more compositional settings! There's a vibe here that's almost like the more "serious" work of Roscoe Mitchell – at least in the way that reeds and strings interweave – yet Roberts, as always, brings a deeply personal approach to the music, with lots of shorter songs that weave more soulful elements amidst the avant expressions – which are served up by a lineup that includes Mike Pride on drums, Cory Smythe on piano, Darius Jones on alto, Mazz Swift on violin, and Mat Lavelle on alto clarinet and pocket trumpet. Kyp Malone brings in a bit of electronics, and there are vocalizations at points – on titles that include "A Caged Dance", "No Way Chastened", "Away Is Not An Option", "Shake My Bones", "Enthralled Not By Her Curious Blend", "Different Rings", "Predestined Confessions", and "We Said". (Jazz, Rock) LP, Vinyl record album

A tremendous document of work by Jake Thackray – one of the most unique talents on the British music scene of the 60s, but an artist who's sadly been un-remembered over the years! At first glance, Jake's definitely a folkie, but he's also one with a strong influence from French singer/songwriters like Jacques Brel or George Brassens – and takes key inspiration from them in the depth and darkness of his work. Like both Brel and Brassens, Thackray's got a style that's almost out of time – one that's ageless at some points, but with a very contemporary way of viewing the world – personal, pointed, and penned with an incredible sense of wit. In an era when most folkies were attacking the political or pushing into the fantastic, Jake spent careful time looking at human foibles and the complexities of interpersonal relationships – always from a distance, but close enough to note the odd humor in even the most banal situations. This wonderful set brings together 4 of Thackray's albums for EMI – Bantam Cock, Last Will & Testament, Jake's Progress, and On Again On Again – all of which feature Jake's slightly jazz-inflected vocals alongside acoustic guitar and very spare, but well-chosen additional instrumentation. Package also features a full disc of unreleased material – including different versions of other tunes on the albums. 97 tracks in all, and a wonderful musical discovery throughout! Titles include "The Cactus", "Country Bus", "Brother Gorilla", "The Girl In The Window", "Ulysses", "Scallywag", "Salvation Army Girl", "On The Shelf", "Go Little Swale", "Isabel Makes Love On National Monuments", "Joseph", "Famous People", "The Gravedigger", and "Leopold Alcocks". CD

An underground classic from Karen Dalton – a record that's almost out of time, given its early 70s release – as Karen sings with spare backings that are almost in a Folkway Records mode at points, but with all these headier currents that are also indicative of the Bay Area generation too! Dalton's voice is completely unique too – unlike anything you'll ever hear – phrasing that almost hearkens back both to vintage jazz and Appalachian folk, but a style that's more long hair – as are some of the backings too. The set was recorded upstate in Bearsville – and really has all the hallmarks of the freedoms of that scene at the time – summed up beautifully on material that includes "Something On Your Mind", "In A Station", "Take Me", "Same Old Man", Are You Leaving For The Country", "Katie Cruel", and "How Sweet It Is". Features a huge amount of bonus material – three alternate takes from the album sessions, and six more live tracks from 1971! LP, Vinyl record album

One of the most searing, soaring albums ever from Santana – a set that takes all the power of the previous two records, and packs it into one tight little set! There's plenty of Latin influences going on – mixed with heavy fuzz from Carlos, and lots of jazz and funky touches too – way more happening on the rhythm tip than most of Santana's contemporaries – which is why the record continues to find such a wonderfully wide audience over the years. Drop cuts like "Batuka","Toussaint L'Overture", "Jungle Strut", or "Para Los Rumberos" next to tracks by War, Mandrill or Tower Of Power and you'll see what we mean – and titles also include "No One To Depend On","Taboo", "Guajira" and "Everything's Coming Our Way". Expanded edition includes new interviews, liner notes, photos and unreleased live bonus tracks. CD

A lost jazz gem from guitarist Chris Spedding – a musician whose work was such a key component of many other important albums from the time, but who hardly ever made a record like this! The album's much more jazz than the rock you might normally expect from Spedding – strongly linked to his sessions with players like Mike Westbrook, Ian Carr, or Frank Ricotti – with an all-instrumental approach that's spun out on some beautiful extended tracks! Chris plays both acoustic and electric guitar, but the album's really a full group effort – and features material by Roger Potter on bass, John Mitchell on acoustic piano and Fender Rhodes, Paul Rutherford on trombone, and John Marshall on drums. There's a moody, understated vibe to the record – never jamming at all, and this very introspective side of Spedding that we really love. For some reason, although the set was recorded for the Harvest label in 1970, Spedding didn't want it issued at the time – and it initially was only released in Japan. Titles include "Plain Song", "Station Song", "Song Of The Deep", "The Forest Of Fables", and "New Song Of Experience". CD

Nick Waterhouse keeps winning us over again and again with his music – which seems to get better and better with each new release! This album might be Nick's most compelling so far – a nicely gritty set that almost takes us back to that hip London stretch in the 60s, when British singers were effortlessly blending together American styles from soul, jazz, and blues – into a hip-stepping mode that was completely outta sight! Not that Nick's a retro artist trying for an old-styled sound – just that he's one of the few in decades who can get such a clear, focused groove out of all the right elements – and all without making it sound forced at all. A record you can easily file next to classics by Bobby Scott, George Fame, and Zoot Money – with titles that include "Stanyan Street", "The Old Place", "Katchi", "Tracy", "LA Turnaround", "It's Time", and "I Had Some Money". (Deep Funk, Rock) LP, Vinyl record album

A nice little package, one that brings together three American releases of music by London's legendary Georgie Fame! First up is the classic Yeh Yeh – a brilliant mix of jazz, soul, and R&B – all filtered through a mod sort of London freshness, as early proof that the city could always take some great things from our own musical roots, and feed it back to us with a whole new flavor! Georgie Fame's no copycat here, though – and the sound is instantly Fame-like – a style that's really not the sort that any Americans were doing at the time, and certainly never this well. Hard-burning Hammond colors most of the tunes here – played with a tightly vamping quality – but it's Georgie's charmingly crackling vocals that really win us over! Titles include "Gimme That Wine", "Pink Champagne", "Monkeying Around", "I Love The Life I Live", "Point Of No Return", "Preach & Teach", "Get On The Right Track Baby", and the hit "Yeh Yeh". Next is Get Away – a great little album from Georgie Fame – with a hard raw soul sound that shows what a big crossover potential he had with the UK soul market – so much so that this batch of material was issued in the US as well! The album's got some wonderful arrangements – quite raw, with some nice organ, and plenty of heavy vocals from Georgie in a strong blue eyed soul mode. Titles include "Sitting In The Park", "Get Away", "Sweet Thing", "Ride Your Pony", "The In Crowd", "Last Night", and "Music Talk". Hall Of Fame is a bit of a best-of – a record that features some singles, and some album tracks – the latter of which aren't included here, as they'd be duplicated. The remaining material is Fame at his raw early best – working in a great soulful style, with plenty of jazzy charms – on cuts that include "Outrage", "Lil Darlin", "Sunny", "In The Meantime", "Something", "Do Re Mi", and Fame's own "Like We Used To Be". CD also features 9 more bonus tracks, some live recordings – titles that include "Bend A Little", "Telegram", "It Ain't Right", "Don't Make Promises", "Many Happy Returns", "I'm In Love With You", "Shop Around", "Green Onions", and "Do The Dog". (Vocalists, Rock) CD

Maybe the most striking set in this ever-shifting series of releases from Matana Roberts – and one that shows his more advanced sonic sensibilities, in a mix of improvised jazz and more compositional settings! There's a vibe here that's almost like the more "serious" work of Roscoe Mitchell – at least in the way that reeds and strings interweave – yet Roberts, as always, brings a deeply personal approach to the music, with lots of shorter songs that weave more soulful elements amidst the avant expressions – which are served up by a lineup that includes Mike Pride on drums, Cory Smythe on piano, Darius Jones on alto, Mazz Swift on violin, and Mat Lavelle on alto clarinet and pocket trumpet. Kyp Malone brings in a bit of electronics, and there are vocalizations at points – on titles that include "A Caged Dance", "No Way Chastened", "Away Is Not An Option", "Shake My Bones", "Enthralled Not By Her Curious Blend", "Different Rings", "Predestined Confessions", and "We Said". (Jazz, Rock) CD

A massive collection of Tortoise rarities – including work from non-US releases, tour-only EP material, compilation tracks and more – plus the long out-of-print, heavily sought after Rhythms, Resolutions And Clusters remix album – all at a great price! You really couldn't ask for a better collection of errata from the celebrated group. It features some of the best work the collective and individual members (Jeff Parker ('97-present), John Herndon, John McEntire, Doug McCombs, Dan Bitney, David Pajo ('95-'97) and Bundy Brown ('91-'94)) have ever done! Rhythms, Resolutions And Clusters – featuring adventurous re-imaginings by such a diverse roster as Casey Rice, Steve Albini, Brad Wood, Jim O'Rourke and Mike Watt – is possibly the face value boon of the collection given it's known "legendary lost" status, but pretty much everything here is just as tough to find, if not literally impossible! The set contains 3CDs and a DVD, which features most of Tortoise's music videos and extensive rare live performance footage. Frankly, we'd have paid $20 just for a CD single with "Gamera", and that's just the kick off track on disc 1! Other tracks on disc 1 include "Blackbyrd", "Sex For Elizabeth", "To Day Retrieval", "Whitewater", "Autumn Sweater", "A Grape Dope", "Blue Station" and more. Disc 2 includes "Madison Area", "TNT (Nobukazu Takemura remix)", "Why We Fight", "CTA", "Adverse", Cliff Dweller Society" and more. Disc 3 (Rhythms, Resolutions And Clusters) includes the tracks "Alcohall", "Your New Rod", "Cobwebbed", "The Match Incident", "Tin Cans", "Not Quite East Of The Ryan", "Cornpone Brunch" and more. DVD includes the videos for "Salt The Skies", "Dear Grandma And Grandpa", "Seneca", and more, plus live footage from Toronto in '96, the Deutches Jazz Festival in '99, Chic-A-Go-Go in '05 and the Burn To Shine project in '04. CD

Maybe the greatest moment ever from Caravan – one of the greatest groups to emerge from the jazzy Canterbury scene in the late 60s! The album's a wonderful blend of jazz roots and more focused rock impulses – and has some subtle funky elements that's given it a wider sort of audience over the years – that special sound you'd find in a rare few Deram gems by artists like Mike Westbrook or Colosseum too. The drums are especially great – snapping out in a way that really holds things together, even when the instrumental solos really step out strongly – especially the organ, flute, and tenor – all of which retain a jazzy appeal. The vocals from Richard Sinclair are nice, too – never overdone, with almost a Robert Wyatt sort of reserve – and titles include "Golf Girl", "Love To Love You", "In The Land Of Grey & Pink", and the extended "Nine Feet Underground", which takes up all of side two. CD features bonus tracks – the unreleased "I Don't Know Its Name", "Aristocracy", "Group Girl", and "It's Likely To Have A Name Next Week" – and a new mix of "Disassociation/100% Proof". CD

An underground classic from Karen Dalton – a record that's almost out of time, given its early 70s release – as Karen sings with spare backings that are almost in a Folkway Records mode at points, but with all these headier currents that are also indicative of the Bay Area generation too! Dalton's voice is completely unique too – unlike anything you'll ever hear – phrasing that almost hearkens back both to vintage jazz and Appalachian folk, but a style that's more long hair – as are some of the backings too. The set was recorded upstate in Bearsville – and really has all the hallmarks of the freedoms of that scene at the time – summed up beautifully on material that includes "Something On Your Mind", "In A Station", "Take Me", "Same Old Man", Are You Leaving For The Country", "Katie Cruel", and "How Sweet It Is". CD

An underground classic from Karen Dalton – a record that's almost out of time, given its early 70s release – as Karen sings with spare backings that are almost in a Folkway Records mode at points, but with all these headier currents that are also indicative of the Bay Area generation too! Dalton's voice is completely unique too – unlike anything you'll ever hear – phrasing that almost hearkens back both to vintage jazz and Appalachian folk, but a style that's more long hair – as are some of the backings too. The set was recorded upstate in Bearsville – and really has all the hallmarks of the freedoms of that scene at the time – summed up beautifully on material that includes "Something On Your Mind", "In A Station", "Take Me", "Same Old Man", Are You Leaving For The Country", "Katie Cruel", and "How Sweet It Is". Features a huge amount of bonus material – three alternate takes from the album sessions, and six more live tracks from 1971! CD