2 early Capitol classics by Lou Rawls – back to back on one CD, and perfectly paired throughout! Black and Blues is quite possibly the first truly great Lou Rawls album for Capitol – an all-out swinging jazz session done with arrangements by Onzy Matthews, in a mode that firmly helped put the Lou Rawls sound on the map! The tracks are mostly older numbers from a long lineage of blues and R&B – but with hipper 60s touches by Matthews in the backings, Lou really swings the work into a whole new territory – moving older, clunky compositions into more adult, more mature modes that aren't nearly as sad or downtrodden as their roots! Titles include "I'd Rather Drink Muddy Water", "Roll Em Pete", "Kansas City", "World Of Trouble", "Trouble In Mind", "Strange Fruit", and "Six Cold Feet Of Ground". Tobacco Road was a real breakthrough for Lou – a set that again paired him with arranger Onzy Matthews, and which even more deeply explored the unique space between jazz, soul, and the blues that became Rawls' prime territory back in the 60s! Matthews' backings are hip and jazzy throughout – filled with bold horn touches from players that include Lou Blackburn, Curtis Amy, Sonny Criss, and even Horace Tapscott – who's playing trombone here instead of his more familiar piano. Ray Crawford's guitar underscores a good number of the tracks here with that clean, lean, single-note style of his – but Lou is the clear star throughout with his deeply-voiced lyrics of older familiar tunes. Titles include his landmark reworking of "Tobacco Road", plus "Summertime", "Stormy Weather", "Rocking Chair", "Ol Man River", "St Louis Blues", and "Sentimental Journey". CD also features 2 bonus tracks – "When It's Sleepy Time Down South" and the previously unissued "Gloomy Sunday". (Soul, Vocalists) CD

One of the best albums that Lou Rawls cut with the team of HB Barnum and David Axelrod – that incredible duo who made some of his 60s Capitol albums so great! The style here is wonderful – upbeat grooves from Barnum – who brings more soul into Lou's music than before – recorded by Axelrod with the right sort of sharpness and punch – that special quality he brought to Cannonball Adderley's 60s soul classics too! Rawls is really at home in the setting – stepping out in some points with these hip monologue passages that are as great as his singing – maybe even better, too – as they show a whole new side of Lou's personality – that badass, totally hip quality that people might never have expected from the early days. One of the best of these is the excellent "Old Man's Memories", about a guy sitting on a bench in Washington Park on the south side of Chicago, which then rolls into an amazing version of "It Was A Very Good Year". Other tunes have a great mix of soul and jazz – and titles include "Love Is A Hurtin Thing", "A Whole Lotta Woman", "Don't Explain", "Old Folks", and "Breaking My Back (Instead Of Using My Mind)". (Soul, Vocalists) CD

One of Lou's most jazz-oriented albums – featuring backing by Les McCann's famous trio with Leroy Vinnegar and Ron Jefferson, perfectly suited to Lou's soulful renditions of the tunes on the album. Most of the numbers are bluesy ones, but as usual, Lou manages to give them his own hip twist – always a pleasure for us! Titles include "In The Evening", "Sweet Lover", "Willow Weep For Me", "Stormy Monday", and "'Tain't Nobody's Biz-ness If I Do". CD features 3 bonus cuts – "A Little Les Of Lou's Blues", "Blues Is A Woman", and an alternate take of "Stormy Monday". (Soul, Vocalists) CD

Almost everything soulful at Capitol Records in the mid 60s – packed together in one sweet little place! The set's a winner in a great line of Cannonball Adderley live dates from the time – produced by David Axelrod, and done with that great mix of angular, slightly electric groove the combo was virtually pioneering – thanks to help from Joe Zawinul on electric piano, and Nat Adderley on cornet! Cannon also plays some great soprano sax – an instrument that he was taking off beautifully with at the time – and sets fire to a few great tunes with the instrument. But as if that's not enough, Lou Rawls joins in on vocals on a few cuts, and Nancy Wilson comes in on a few more – and the album alternates singing with instrumentals in a really great way. Titles include two very nice extended tracks by Joe Zawinul – "Rumplestiltskin" and "The Scavenger", both of which are over 10 minutes long, and which have the group stretching out in a nice live vein – and other cuts include "The Scene", "Somewhere", "Sweet Emma", and "Zorba". (Jazz, Vocalists) CD

More than just a great overview of Lou Rawls' jazz work for Capitol Records – because the set also features 3 previously unissued numbers that Rawls recorded with the Curtis Amy Sextet! Those 3 tracks are almost worth the price of the album alone – as Amy's combo was one of the hippest on the LA scene of the time, and offers Lou a rare opportunity to sing in a more relaxed setting than some of his more tightly arranged big band numbers. But honestly, all the work here is pretty darn great – and even the already-issued tracks are tremendous – a great illustration of how Lou linked together jazz and blues during the 60s soul era – and came up with a classy, sophisticated groove that inspired many others in years to come! Arrangements are by Benny Carter, Onzy Matthews, and HB Barnum – and titles include "Nobody But Me", "How Long How Long Blues", "Blues For Weepers", "Something Stirring In My Soul", "I Wonder", "Let's Burn Down The Cornfield", "Old Folks", "Somebody Have Mercy", and "Why Do I Love You So" – as well as the 3 unissued numbers, "Fine & Mellow", "Mean Old World", and "Long Gone Blues". (Soul, Vocalists) CD

Almost everything soulful at Capitol Records in the mid 60s – packed together in one sweet little place! The set's a winner in a great line of Cannonball Adderley live dates from the time – produced by David Axelrod, and done with that great mix of angular, slightly electric groove the combo was virtually pioneering – thanks to help from Joe Zawinul on electric piano, and Nat Adderley on cornet! Cannon also plays some great soprano sax – an instrument that he was taking off beautifully with at the time – and sets fire to a few great tunes with the instrument. But as if that's not enough, Lou Rawls joins in on vocals on a few cuts, and Nancy Wilson comes in on a few more – and the album alternates singing with instrumentals in a really great way. Titles include two very nice extended tracks by Joe Zawinul – "Rumplestiltskin" and "The Scavenger", both of which are over 10 minutes long, and which have the group stretching out in a nice live vein – and other cuts include "The Scene", "Somewhere", "Sweet Emma", and "Zorba". (Jazz, Vocalists) CD

Heavy soul from the great Spanky Wilson – an album that explodes with energy right from the start – in a groove that definitely lives up to the title! Spanky's got a great mix of funk and class on this set – a punch in the rhythms at points, yet also a poise in the way she delivers the lyrics – a blend that's a bit like Marlena Shaw in her earlier years – and set to some killer arrangements from the great HB Barnum! Barnum gives the record all the cool punch of his great 60s work with Lou Rawls – and nearly all the material was written by the obscure Howlett Smith – an excellent lost writer who had a real talent for coming up with cool little soul songs that rise above the usual bag of his generation. This material works great for Spanky, and together, the pair, along with Barnum, cook up a unique lost soul treat! Titles include "Apartment 101", "On The Morning After", "The Other Girl", "You're Gonna Miss Me", "Love Has Me By The Hand", and "Mighty Great Feeling". (Soul, Vocalists) CD

Music from Matt Dennis, Peggy Lee, Chet Baker, Mark Murphy, Kay Starr, Lou Rawls, June Christy, Dick Haymes, Irene Kral, Sheila Jordan, Jeri Southern, Dinah Shore, Nat King Cole, Hoagy Carmichael, and Cassandra Wilson. CD

A vocal-heavy entry in the Ultra Lounge catalog – and one that follows the spirit of the single-artist titles in the Wild Cool & Swinging series from Capitol! The set's pretty darn upbeat – never too wild, nor too cool, and almost always swinging – and the tracks are mostly great bits from that late 50s/early 60s point when jazz vocals were grooving things up a bit more – shaking off some of the more romantic modes of previous years, and really packing a punch for the growing Vegas generation! Titles include "Fever" by Peggy Lee, "More" by Bobby Darin, "Dig That Crazy Chick" by Sam Butera, "Ain't That A Kick In The Head" by Dean Martin, "Closer To The Bone" by Louis Prima, "Nobody But Me" by Lou Rawls, "Little Girl" by Vic Damone, "LOVE" by Nat King Cole, "Hello Dolly" by Bobby Darin, "You'd Be So Nice To Come Home To" by Julie London, and "Danke Shoen" by Wayne Newton. (Now Sound, Vocalists) CD

A key moment in the career of vocalist Ernestine Anderson – a record that not only returned her to the public eye after a flurry of initial sides in the late 50s and early 60s, but which also finally helped Anderson find a sound that worked! The album's done with backing by the Monty Alexander trio – in a style that's bluesy and soul jazz inflected, but with a sweeter west coast sound – almost an early 80s equivalent of the groove explored by Lou Rawls or Ernie Andrews in LA during the mid 60s, but done with an even more relaxed, jazz-based approach here. The title track – "Never Make Your Move Too Soon" – was an instant standout that got Anderson play in many corners of the US – and other tracks are more familiar numbers, but done in a similar mode – with titles that include "Old Folks", "As Long As I Live", "Just One More Chance", "Poor Butterfly", and "My Shining Hour". CD