A wonderful collection of obscure singers and musicians from the earliest years of Atlantic Records – recorded here as a surprisingly great document of the scene at the time! The package brings together recordings that might not have otherwise come back out of the vaults of Atlantic – and presents most artists in discrete packages of selections. Includes recordings by Mae Barnes, Greta Keller, Sylvia Syms, Goldie Hawkins, Cy Walter, Ted Straeter, Joe Mooney, Billy Taylor, Joe Bushkin, Jimmy Lyon, Hugh Shannon, and Chris Connor. CD

Includes selections by Fiona, Chrissy Faith, Twisted Sister, Zebra, Paul Delph, and Malcolm McLaren and The McLarenettes. LP, Vinyl record album

Includes selections by Smokey Robinson, Merle Haggard, The Doors, Jefferson Airplane, Aretha Franklin, Otis Redding, Percy Sledge, and The Rascals, plus pieces by Samuel Barber and George Delerue. LP, Vinyl record album

Music from Cannonball Adderley, Gene Ammons, Miles Davis, Billy Eckstine, Stan Getz, Dizzy Gillespie, Dexter Gordon, Coleman Hawkins, Charlie Parker, Little Jimmy Scott, Ben Webster, Lester Young, and morre – 58 tracks total! CD

Rare killers from Atlantic Records – served up here on a hip Japanese collection! Includes lots of obscure singles – including "Hold On" by James Carr, "Faithful & True" by Percy Sledge, "Sister Pitiful" by Judy Clay, "Lovebones" by Mighty Sam, "Only Be True To Me" by JP Robinson, "Is It Over" by Otis Clay, "Holding The Losing Hand" by Rozetta Johnson, "We Will Always Be Together" by Peggy Scott & Jojo Benson, "I Found All These Things" by CP Love, "Suppertime" by ZZ Hill, and "Cover Me" by Jackie Moore. LP, Vinyl record album

A selection of late 50s and 60s hits featured in the iconic movie, including the name-sake tune by Ben E King, "Everyday" by Buddy Holly, "Come Go With Me" by The Del Vikings, "Lollipop" by The Chordettes, and more. LP, Vinyl record album

A legendary live set from the 60s all-stars of Stax Records – a performance in London in the late 60s, as the label follows Motown's lead on taking its big names overseas! The lineup is legendary, and most of the tunes are familiar by the artists, but get nice fresh versions here – sometimes a bit quicker, and sometimes a bit rougher – both of which makes a nice change from the iconic classics. Titles include "Green Onions" by Booker T & The MGs, "Philly Dog" by The Mark-Keys, "Knock On Wood" and "If I Had A Hammer" by Eddie Floyd, "Hold On I'm Comin" and "I Take What I Want" by Sam & Dave, "Shake" by Otis Redding, and "Yesterday" by Carla Thomas. CD

Features "Good Lovin" by The Young Rascals, "Hold On I'm Comin" by Sam & Dave, "Knock On Wood" by Eddie Floyd, "Philly dog" by The Mar Keys, "Baby, I'm Yours" by Barbara Lewis and more. LP, Vinyl record album

In-store play sampler with selections by Emerson Lake & Palmer, Peter Gabriel, Foreigner, Steve Hunter, Hall & Oates, Bad Company, Mama's Pride, Led Zepellin, Spinners, England Dan & John Ford Coley, Kenny Rankin, and Bryan Ferry. LP, Vinyl record album

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Action Bronson's first proper full length in a while, and his most high profile to date, released by Atlantic and Vice! Mr Wonderful sports allstar production credits for Mark Ronson, Alchemist and others – plys some strong guest appearances by Chance The Rapper and more – but make no mistake, it's AB's show! Action Bronson spits venom when duty calls, but he's also got a playful style that keeps it easygoing and entertaining. Good stuff. Includes "Brand New Car", The Rising" feat Big Body Bes, "Actin Crazy", "Baby The Blue" feat Chance The Rapper, "Galactic Love", "Easy Rider", "Only In America" feat Party Supplies and more. LP, Vinyl record album

"Fire Up" is a great bit of party funk from ADC – a tune that's got a romping bassline that really sets the pace of the track – then follows up with a snapping rhythm that's got plenty of rollerskating touches, and which sounds great next to the stoner "fire it up" chorus! "More & More Disco" is more of a standard clubby number – but handled with nice horns and congas! 12-inch, Vinyl record

Gerald Albright on alto and tenor saxophone, flute, and synthesizers – with Paul Jackson on guitar, Bobby Lyle on piano and synths, and Harvey Mason on drums. CD

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

A collection 60s recordings on Atlantic under several line-ups that include Jimmy Reider on tenor, Jimmy Knepper on trombone, and Red Mitchell on bass. LP, Vinyl record album

One of Mose's mid 60s albums for Atlantic – recorded live, with a bit more of a hip flair than some of his earlier work for Prestige and Columbia, but still with those great vocals that went onto influence a generation of beatnik jazz singers. Mose has more than a bit of New Orleans in his tone – but he's also got some northern distance from his material, bringing a nice bit of wit into the recordings. There's a total of 11 tracks including "Parchman Farm", "Smashed", "Seventh Son", "Fool's Paradise", "Baby Please Don't Go", and "The Chaser". LP, Vinyl record album

Forget about the fact that "Top Billin'" is probably one of the top ten hip hop cuts of all time, this 12" features the hard to get Clark Kent remix! 12-inch, Vinyl record

Ben E King joins the Average White Band for this sweet 70s set – a killer record that not only stands as one of King's best efforts of the decade, but one that also gives the group a great new frontman! Ben's not the only singer on the record, but his presence here can definitely be felt – deepening up the grooves nicely, and giving the already-great AWB sound an even more badass feel! Titles include the classic "Star In The Ghetto", a funky remake of "What Is Soul", an earlier hit for King – plus "Keepin It To Myself", "Imagine", "Someday We'll All Be Free", "Get It Up For Love", and "The Message". LP, Vinyl record album

An "after theater" version of the Richard Rogers musical No Strings – done in a cool way that really changes the feel of the music! The "cast" for the set is an assortment of Atlantic Records artists from the early 60s – Herbie Mann, Chris Connor, Lavern Baker, and Bobby Short – all brought together to perform the tunes, which are recast nicely in arrangements by Mann, Al Cohn, and Bobby Scott. Chris Connor sings "The Sweetest Sounds", "No Strings", "Look No Further", and "Nobody Told Me"; Bobby Short sings "Be My Host", "An Orthodox Fool", and "The Man Who Has Everything"; Lavern Baker sings "Eager Beaver" and "Loads Of Love"; and Herbie Mann plays a cool Latinized version of "La La La". LP, Vinyl record album

2 stone killers from Archie Bell & The Drells – both of them in that tight and outta site groovy mode that graced their best early work for Atlantic! There's not as much hard funk here as on "Tighten Up", but the sound is somehow even richer – a swinging party kind of soul that gets you right away, and which is supported by some great horns, catchy rhythms, and wonderful raspy vocals from Archie and the group! 7-inch, Vinyl record

A classic groover – one that we never tire of, even though it was a hit! "Tighten Up" is a mean, lean slice of Texas funk with killer guitar work – and it sounds even better on the beat-heavy stripped-down "part 2" than it does on the more familiar "part 1"! Essential! 7-inch, Vinyl record

The third album from Black Heat – and quite possibly the funkiest of the bunch – thanks to an even tighter sound than before, and lots of emphasis on the bottom of the groove! The group's got a few more members than before, but their sound is somehow even leaner – a really tight approach to ensemble funk that really sits proudly with the best of the Kool & The Gang/Fatback generation – with some sweet Afro-inspired touches as well! The organ on the set is especially nice – played by Johnell Grey, and bubbling up nicely underneath the horns – and the drums from Esco Cromer have a wicked kick too, even on some of the album's mellower cuts. Titles include the killer break cut "Zimba Ku", plus "Questions & Conclusions", "Love", "Prince Duval", "Feel Like A Child", "Keep On Runnin", and a nice funky version of "Drive My Car". LP, Vinyl record album

Angular Monk meets hard-driving Art Blakey – in a session that's quite unique, and which has gone onto become one of the best-remembered Atlantic jazz sessions of the late 50s! The album features Blakey in that key non-Blue Note year of 1957 – a time when he was working with a variety of players, at a variety of labels, and taking some real chances with his music before settling into his more established hit Jazz Messengers sound. The group here is Art's own – with Johnny Griffin on tenor, Bill Hardman on trumpet, and Spanky DeBrest on bass – augmented by the piano of Thelonious Monk – a match that might seem unlikely at first, but not so much so after you consider the great work that Monk and Griffin did together at Riverside during the late 50s. There's a nice match between Johnny's sharp-edged tenor and Monk's imaginative playing – and if anything, the record has Blakey, Hardman, and DeBrest moving dynamically to keep up with the flurry of modern ideas coming from Griffin and Monk! Tracks are almost all originals by Thelonious too – a fact that definitely helps keep up the "Monk-ish" sound of the record – titles that include "Evidence", "Blue Monk", "I Mean You", and "Rhythm A Ning" – alongside Griffin's "Purple Shades". CD

What can we say? Booker T and crew are always tops in our book – and this album's as strong a batch of their classic singles as you'll ever find! Book's organ is the sound of a generation, and Steve Cropper's sinister vamping on guitar gives even the poppier tracks a hard edge that still sends shivers down our spine! Includes the breakbeat track "Hip Hug Her", plus "Green Onions", "Boot Leg", "Tic Tac Toe", "Red Beans & Rice", and "Jellybread". Smoking! Also includes 4 bonus tracks. CD

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One of the best Dave Brubeck albums from later years – and one of the hippest! The record is noteworthy for its pairing of Anthony Braxton and Lee Konitz – the former a rising star at the time, influenced strongly by the latter in his roots – showcased here in some rare moments of Braxton straight-aheadness! Brubeck's contribution is heard most strongly on the album's extended trio "Jimmy Van Huesen Medley" – played by Dave with Jack Six on bass and Alan Dawson on drums. But we're most partial to the saxophone tunes – Konitz playing a spare duet with Brubeck on "Don't Get Around Much Anymore", soloing with the group on "Like Someone In Love", duetting with Braxton on "All The Things You Are" – and stepping back to let Anthony play with Dave on a version of "In Your Own Sweet Way". Really great stuff throughout – and a unique Brubeck moment! LP, Vinyl record album

Quite a surprising pairing of talents – and a set that shows that at in the right settings, Stephane Grappelli's still got plenty of modern moments! The core group is really that of vibist Gary Burton – with Steve Swallow on electric bass and Bill Goodwin on drums – both players with an open, spacious feel that's quite different than the usual rhythm group for a Grappelli record – which really opens up the legendary violinist, and has him stretching out wonderfully – especially on some of the more contemporary numbers. Burton's vibes are great at this point – sharp toned, yet incredibly warm too – and titles include "Daphne", "Blue In Green", "Sweet Rain", "Coquette", and "Arpege". CD

The first album from this legendary group – an important American hard rock powerhouse, driven by the famous rhythm duo of Tim Bogert on bass and Carmine Appice on drums – both of whom roll out of the gate here with amazingly frenetic energy! They're maybe only topped by the guitar work of Jim McCarty, whose searing lines are clearly learned from blues inspirations, then turned up in both speed and power – to match the vocals and harmonica of Rusty Day! There's nothing going on here that sounds like blues rock at all – even though the set begins with a cover of "Parchman Farm" – next to other titles that include "My Lady From South Of Detroit", "No Need To Worry", "You Can't Judge A Book By The Cover", and "Let Me Swim". CD

Excellent early work from Clarence Carter – recording here with production and arrangements by Rick Hall – in that sweet Muscle Shoals style that never sounded better than it did with Clarence! Carter had a way of working with Hall that was really beyond some of the cliches that crept into the scene at the time – a blend of bluesier roots and leaner soul that was totally great – and which was always touched by Clarence's keen sense of wit and personality! The record's got a slightly funky sound in parts – especially on the great cut "Snatching It Back" – and the rest of the titles are all killer southern soul material, with classics that include "Making Love (At The Dark End Of The Street)", "Soul Deep", "Doin' Our Thing", "I Smell a Rat", and "I Can't Do Without You". LP, Vinyl record album

Sweet modern soul from this great group – one of the brightest points in major label soul during the early 80s! Change, ironically, is a group that went through a number of line-up changes, even in their prime – with the tight, clubby, yet genuinely soulful production a constant. This record is made all the better for the beautifully soulful dual lead vocals of James Robinson and Deborah Cooper. The tracks have deeply layered live instrumentation – keyboards, guitar, percussion, horns and strings – blended seamlessly with early 80s production touches. Includes the hits "The Very Best In You" and "Hard Times (It's Gonna Be Alright)", and others that are just as sweet: "Take You To Heaven", "Oh What A Night", "Promise Your Love","Keep On It", "You're My Number One" and more. LP, Vinyl record album

Cyrus Chestnut on piano, Steve Kirby on bass, and Clarence Penn on drums. CD

One of the more obscure John Coltrane albums for Atlantic – but a beautiful batch of spiritual numbers that really show him pushing towards the sound of A Love Supreme! The date on the album's 1966, but the material was recorded earlier – in that key turning point year of 1960, when Coltrane really started to let loose with his new ideas – ideas so fresh, in fact, that they might have kept this record from getting released at the time! The group here features piano from McCoy Tyner, drums from Elvin Jones, and bass from Steve Davis – an oft-overlooked talent who did some amazing work with Coltrane during this brief time. The tracks are open, flowing, and filled with imagination – and Coltrane works both on tenor and soprano sax, on titles that include "Liberia", "Equinox", "Satellite", "Central Park West", and a classic reading of "The Night Has A Thousand Eyes". LP, Vinyl record album

After Hours is the time when Crawford really hits his stride – playing lean and mellow in that easy soulful way that always seemed to work better than any of his other approaches to jazz. This album's got him blowing alto and even playing a bit of piano, in middle-sized groups that include players like Wendell Harrison, Joe Dukes, Sonny Forriest, and Willie Jones. These lesser-known soul jazz players do a pretty darn nice job of setting the mood, and Hank's comfortable approach puts everyone at ease. Tracks include "Soul Shoutin", "After Hours", "Junction", and "Next Time You See Me". CD

Includes the entire album plus bonus track in DVD-audio stereo and surround mixes. CD

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One of those records that was a classic from the moment it was first released – the legendary second effort from the trio of David Crosby, Stephen Stills, and Graham Nash – with added bonus of Neil Young in the mix, which gives the whole thing a current of darkness that's completely mindblowing – especially in comparison to the harmonies of the quartet! These aren't the vocal patterns of the Sunshine Pop generation of a few years before – and CSNY find a way to capture all the darkness of the fading light of the 60s, while finding a special space for more thoughtful, sensitive sounds that never would have gotten a chance a few years before. Every track's a classic – and titles include "Carry On", "Our House", "Almost Cut My Hair", "Deja Vu", "Country Girl", "Everybody I Love You", "Woodstock", and "Teach Your Children". CD

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The only full album ever recorded by the legendary Sam Dees – an artist who's probably best known for his songwriting skills on other records, but who really shines here as a lead star on his own! Dees' approach is wonderful – a bit rootsy, with some slight southern soul elements – but also righteous and progressive, with a bit of a Curtom vibe in the mix – a perfect blend for Dees' upfront presentation of the lyrics, and the powerful message in his music! And the lyrics are sublime – really thoughtful words that go way past any standard cliches – mixing the personal and politics in ways that few other records did this well – a quality that's made this one a lasting treasure for years. Titles include "Child of the Streets", "Claim Jumpin", "Troubled Child", "So Tied Up", and "Good Guys". CD features 6 bonus singles too – including "I'm So Very Glad", "Signed Miss Heroin", "Fragile Handle With Care", "Save The Love At Any Cost", "Child Of The Streets (single)", and "So Tied Up (single)". CD

Titles that include "Baltimore", "Sometimes I Wonder", "Oh My Love", "This Magic Moment", "Some Kind Of Wonderful", "Up On The Roof", "Stranger On The Shore", "On Broadway", "Under The Boardwalk", and more – 40 tracks total! CD

A definite good thang from Faze-O – easily the masters of snakey funk at the end of the 70s! The set's got loads of great elements that echo the group's Riding High debut – a groove that never goes too far over the top, and which kicks back at a pace that so many others would copy a few years later – a vibe that's a bit Ohio, a bit Cali, yet crafted here with a vision that's totally unique to the band! Horns are a bit heavier than before, but there's still plenty of great keyboards too – and the vocals definitely recognize that they're the second star of the record, and usually defer to the rhythms on most numbers. Tracks include "Good Thang", "Party Time", "Space People", "Who Loves You", and "Funky Lady". LP, Vinyl record album

Mindblowing work from Roberta Flack – an album that should be in the collection of any fan of righteous soul music! Forget all the wimpier modes of Flack's later years – because here, the young Roberta is a vision of positive power and spiritual soul – a singer with roots in jazz, which helps to transform some of the album's very surprising song choices – and a depth and sensitivity that goes way past the usual female soul modes of the time. Donny Hathaway handled half the arrangements for the record – a perfect choice for Flack – and Deodato handles the other, with some large arrangements that still have just the right sort of gentleness to go with her voice. Titles include a version of "Reverend Lee", penned by Eugene Daniels – and the great "Gone Away", written by Curtis Mayfield, Leroy Hutson, and Hathaway – plus the tracks "Just Like A Woman", "Do What You Gotta Do", "Business Goes On As Usual", and "Until It's Time For You To Go". LP, Vinyl record album

Maybe one of the most amazing debut records of all time – not only the record that first exposed the world to Roberta Flack, but a set that heralded so many changes to come in the following decade! Flack's genius here is almost impossible to put into words – part jazz, part soul, and completely righteous from the very first note – possessed of a sense of pride and power that belie both her understated image on the front cover, and her relatively young age – and delivered with a timelessness that still makes the record as vital today as it was so many years back. The set features Flack playing piano and singing with her trio – sometimes augmented by larger arrangements by the very hip William S Fischer, but often in a setting that's very spare yet incredibly moving – instantly putting Roberta at the same level as Nina Simone, and maybe even past the territory of Aretha Franklin at the time. Titles include her seminal reading of "Compared To What" – an instant anthem for the time – plus the tracks "Angelitos Negros", "Our Ages Or Our Hearts", and "Tryin Times". LP, Vinyl record album

Maybe one of the most amazing debut records of all time – not only the record that first exposed the world to Roberta Flack, but a set that heralded so many changes to come in the following decade! Flack's genius here is almost impossible to put into words – part jazz, part soul, and completely righteous from the very first note – possessed of a sense of pride and power that belie both her understated image on the front cover, and her relatively young age – and delivered with a timelessness that still makes the record as vital today as it was so many years back. The set features Flack playing piano and singing with her trio – sometimes augmented by larger arrangements by the very hip William S Fischer, but often in a setting that's very spare yet incredibly moving – instantly putting Roberta at the same level as Nina Simone, and maybe even past the territory of Aretha Franklin at the time. Titles include her seminal reading of "Compared To What" – an instant anthem for the time – plus the tracks "Angelitos Negros", "Our Ages Or Our Hearts", and "Tryin Times". LP, Vinyl record album

Roberta Flack still sounding great in the early 80s – co-produced with Ralph MacDonald, William Eaton, and William Salter – who all give the record a nice jazzy finish! The group's a small combo with Grover Washington Jr, Richard Tee, Eric Gale, and other 70s fusion talents – and the record's got a smooth jazzy groove that's almost in the mode of Sade's work from a few years later. A nice little step into and 80s modern vibe – without compromising here classic level jazzy soul! Titles include "I'm The One", "Til The Morning Comes", "Love & Let Love", "In The Name Of Love", "Making Love", and "My Love For You". LP, Vinyl record album

Essential work by Aretha Franklin – one of her best albums for Atlantic in the late 60s, with tracks that virtually define the sound of hard soul during the late 60s! The album's filled with excellent material – featuring 2 killer tracks recorded in Muscle Shoals ("Do Right Woman, Do Right Man" and "I Never Loved A Man"), plus lots of other great hard soul groovers done with Aretha's guiding light, Arif Mardin, in Atlantic's New York studios – including the tracks "Respect", "Baby, Baby, Baby", "Save Me", and "Dr. Feelgood". CD

Essential work by Aretha Franklin – one of her best albums for Atlantic in the late 60s, with tracks that virtually define the sound of hard soul during the late 60s! The album's filled with excellent material – featuring 2 killer tracks recorded in Muscle Shoals ("Do Right Woman, Do Right Man" and "I Never Loved A Man"), plus lots of other great hard soul groovers done with Aretha's guiding light, Arif Mardin, in Atlantic's New York studios – including the tracks "Respect", "Baby, Baby, Baby", "Save Me", and "Dr. Feelgood". Includes bonus mono versions of 3 tracks. CD

One of Aretha Franklin's undisputed classics from her late 60s run on Atlantic Records – a seminal session that furthered her deep soul agenda with key backings from Arif Mardin and Tom Dowd – both of whom handle the mix of rawness and polish that made Aretha so great at the time! The Sweet Inspirations provide sublime backing vocals behind Franklin's maturing delivery of the lyrics – and the music is by an all-star group of players that includes Spooner Oldham, Bobby Womack, Jimmy Johnson, King Curtis, Tommy Cogbill, Roger Hawkins, and even Eric Clapton – clearly the cream of the crop, more than willing to be part of such an amazing set! Cuts include "You Make Me Feel Like A Natural Woman", "Chain Of Fools", "Money Won't Change You", "Come Back Baby", and "Ain't No Way". CD includes the bonus tracks "Chain of Fools (unedited version)", "(You Make Me Feel Like) A Natural Woman (mono single version)", "Since You've Never Been Gone (Sweet Sweet Baby) (mono single version)", and "Ain't No Way (mono single version)"! CD

A completely cooking little live set from Aretha Franklin – massively expanded here – and a crowning moment not just in her career, but for Atlantic Records soul in general! Aretha's working here before a very enthusiastic crossover crowd at the Fillmore West in San Francisco – getting tight backing from the combo of King Curtis (Memphis Horns, Billy Preston, and Pretty Purdie in tow!) – and hitting a groove that's often rawer, grittier, and more deep-soul tuned than some of her studio sides from the time! The recording quality is totally great – and goes out of its way to preserve the presence of the audience, and showcase Ac appearance on one track, but the whole show is really Franklin's own – a majestic little live date that features the tunes "Spirit In The Dark", "Respect", "Make It With You", "Don't Play That Song", "Dr Feelgood", and "Love The One You're With". Plus, the CD features full versions of 2 tracks that were originally edited on the album – as well as 13 more bonus tracks on CD2, alternates and unused songs that include "Call Me", "Mixed Up Girl", "Share Your Love With Me", "Don't Play That Song", and "You're All I Need To Get By". Lots of great notes, excellent photos, and a much-improved version of the original album! CD

One of her coolest records from the 70's. Her version of "Moody's Mood" is more than enough proof that she's got great jazz chops, and "Master Of Eyes" is a nice dark soul track. Quincy Jones arranged and produced, and he brings a lot to Aretha's style. 7-inch, Vinyl record

'69 was certainly Aretha's year – as the success of her initial round of Atlantic recordings had pushed her fully into the limelight, making her one of the most exposed, most reported-on artists in soul music! This album was cut during the height of that time, with Arif Mardin handling all of the arrangements, and Aretha singing a mix of soul, blues, and pop tunes, all nicely reworked in her own famous style. Titles include "Tracks Of My Tears", "So Long", "I'll Never Be Free", "Gentle On My Mind", "Bring It On Home To Me", and "Crazy He Calls Me". LP, Vinyl record album

A classic 70s soul soundtrack – and a dream of a combination! Curtis Mayfield wrote the soundtrack and produced the album – and the result is a killer batch of 70s soul tracks that matches Aretha's strong vocals with the hip Curtom sound of Chicago! Aretha was still doing pretty well at this point, but the album really gave her a push – and the super-hip setting let her record some of her best work of the 70s. If you own only one Aretha Franklin album from the 70s, it should probably be this one – as the mixture of soul, funk, and soundtrack grooves is great, and a refreshing change from some of the cliches that could show up on other records. Features the sublime "Something He Can Feel", plus "Loving You Baby", "Look Into Your Heart", "Sparkle", and Jump". LP, Vinyl record album

Aretha's tour of the south continues – recording here at Atlantic's new home in Miami, with studio work from The Dixie Flyers, Dave Crawford, Roger Hawkins, Duane Allman, and Eddie Hinton – all very much in the tradition of the Muscle Shoals work that supported Aretha on earlier recordings. Aretha's playing piano on all tracks – and titles include her remake of "Don't Play That Song", plus "You & Me", "Pullin", "Spirit In The Dark", "Try Matty's", "Oh No Not My Baby", and "One Way Ticket". LP, Vinyl record album

A fantastic classic from Genesis – a record that really has the early version of the group at their height – able to spin out longform instrumental passages that would go onto shape a generation of proggers who tried to copy their sound – amidst lyrical moments that really have Peter Gabriel hitting his imaginative stride! The set's worth it alone for the amazing side-length "Supper's Ready" – a track so trippy, it's completely different than the Phil Collins-led era of Genesis – and the record features so many other great moments – like the commentary on urban housing that is "Get Em Out By Friday", the soaring keyboard-driven "Watcher Of The Skies", and the majestic "Can Utility & The Coastliners". All that and one of the strangest covers of all time too! CD

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An early masterpiece from Genesis – the kind of visionary record that really set them apart from the rest of their generation – an incredible building-up in sound from their previous two albums, and proof that Peter Gabriel's talents were finally getting focused in the right direction! Keyboards cascade heavily – hitting Yes-like proportions, but with more structure, too – as time changes abound, scene changes match the energy of theme-changes – and the whole album falls into place beautifully, but with plenty of surprises along the way. Every song is a compelling little story – from the leadoff "Musical Box", to the spooky "Return Of The Giant Hogweed", and the playful "Harold The Barrel" – with sweeter moments that include "For Absent Friends" and "Harlequin" – just hinting at the crossover ballad style the group would embrace later, but without any of the cloying commerciality at all. CD

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Groundbreaking trio work from the great Jimmy Giuffre – an album that cut loose both the piano and the drums – in a way that took Gerry Mulligan's earlier rhythm-less experiments with jazz, and pushed them one degree further! The group on the session features Giuffre on clarinet, tenor, and baritone sax – alongside the guitar of Jim Hall and bass of Ralph Pena – all working together with no other accompaniment, but in a way that's as swinging as it is airy – an amazing exercise in tone, color, and control! The sound is out of this world, and the notes just hang lightly in air – beautifully dancing around one another. Titles include "Voodoo", "Train & The River", "My All", "Crawdad Suite", and "Two Kinds Of Blues". Travelin' Light is one of the most sublime Jimmy Giuffre albums of all time – and a perfect realization of his piano-less/bass-less trio style! The approach here is really revolutionary, especially for the time – as the group simply features Bob Brookmeyer on trombone, Jim Hall on guitar, and Giuffre on reeds. The titles are a mix of standards and originals – but all tracks sound completely unique, with a sound unlike anything else we can describe – and titles include "Swamp People", "Lonely Time", "Green Country", and "Travelin Light". CD

Beautiful work from Jimmy Giuffre – and a key album in the development of his spare sound of the late 50s! The record features Jimmy on clarinet – as you'd guess by the title – but this is no hokey set of Benny Goodman or Buddy DeFranco-type tunes. Instead, Giuffre's using the clarinet in a way that predates 70s modernist styles – working in washes of sound and color that explore the instrument like few other players had even imagined at the time. The backing differs from track to track – as "So Low" features only a tapping foot behind Giuffre's clarinet, "Deep Purple" has backing on piano, and others like "The Sheeherder", "Quiet Cook", and "The Side Pipers" feature some lrger group backing, often with no piano. CD

A synthy soul funk project from the team of Danger Mouse and Cee-Lo – a set that's just trippy enough – and it's possibly the best full length from either party, ever! You don't need us to tell you that DM has had a finger in a handful of the best fringe pop/leftfield hip hop projects of the mid 00s, and Cee-Lo has been threatening to deliver a strange soul classic for years – and he brings it with Gnarls Barkley. The sound runs from stuttering synth funk, to bubbling hip hop soul, to funky modern pop in a way that equals any other genre blending cats out there – and probably betters them! Tracks include "Go Go Gadget Gospel", "Crazy", "St. Elsewhere", "Gone Daddy Gone" (Yup, THAT "Gone Daddy Gone"), "Smiley Faces", "The Boogie Monster", "Feng Shui", "Just A Thought", "Transformer", "Who Cares?", "Online", "Necromancer", "Storm Coming" and "The Last Time". CD

A wonderful step forward for the team of Hall & Oates – and a set that has them moving more into soul than ever before! The album's a tremendous collaboration with the legendary Arif Mardin, who takes the pair's well-crafted vocals into territory that's much more slinkily soulful than some of their previous records – that sound that was always lurking in the background, never quite right, but which emerges here fully in that classic 70s Hall & Oates mode. Daryl and John seem to harmonize more here than before, and the backings are still somewhat rockish, but have a warmth that really suits their singing. We can't argue with the sublime brilliance of "She's Gone", one of those tracks that we've heard a bazillion times, but never cease to respect – and other titles include "Everytime I Look At You", "Had I Known You Better Then", "When The Morning Comes", and "Laughing Boy". CD

It's the late 60s, and Eddie's creating his famous electrified Varitone sound – unique among other soul jazz players in that it actually added a lot to Eddie's work, instead of detracted from it (as with some other boppers who briefly picked up the instrument.) The Varitone's cool flat tone works extremely well with the original tracks on Electrifying Eddie Harris – like the long version of "Listen Here", the groovy "Sham Time", the Latiny "Spanish Bull", or the incredible "Theme In Search Of A Movie", written by the great Chicago soul genius Charles Stepney. The album Plug Me In features Harris along with some fantastic arrangements by Stepney. Stepney's work on the album is amazing, and he contributes incredible touches like prepared piano and funky strings, both of which make the album one of the best that Harris ever did! Titles on the session include "Live Right Now", "It's Crazy", "Winter Meeting", and "Theme In Search Of A TV Commercial". CD

One of Freddie Hubbard's greatest records – a soaring bit of soulful modernism that's almost a precursor to 70s sounds on record labels like Black Jazz or Strata East! Freddie's at his early best here – stepping aside from some of the more serious Blue Note modes, and definitely feeling himself more strongly – reaching out with this righteous vibe that's quite different than later electric work in the 60s – and which, quite honestly, almost comes through best on this record than anywhere else! The group are wonderful too – and James Spaulding turns in some killer flute and alto work for the date – perfect for Freddie's lines on trumpet. Titles include "Backlash", "The Return Of The Prodigal Son", "Little Sunflower", and "On The Que Tee". LP, Vinyl record album

A totally fantastic set from the turn of the 70s, and one of Freddie Hubbard's most soulful, spiritual albums ever – a seminal chapter in the evolution of soul jazz – and a record that was a keen inspiration for changes to come on labels like Strata East and Black Jazz! The group here features Kenny Barron on both electric and acoustic piano – really stretching out with a hip, open sort of sound – possibly his first of this type on record – and other players include James Spaulding on alto and flute, Reggie Workman on bass, Louis Hayes on drums, and Patato Valdes on added percussion – giving a more complicated groove to the best numbers. Tunes are all long and well-penned – three by Freddie himself ("Eclipse", "Spacetrack", "Gittin' Down"), one by Kenny Barron ("Black Angel"), and one by Walter Bishop (the original recording of his classic "Coral Keys"!) CD

A real gem from Freddie Hubbard's 60s years – an all soul jazz outing, cut with a hip array of players that show that young Fred was definitely on the forefront of jazz at the time! Despite the "blues" in the title, the main groove is spiritual soul jazz – in a style that puts Freddie a few years ahead of the Strata East crew, and working here in a mode that he oddly didn't continue into the 70s. The album's got a really righteous sound overall – with long tracks that really stretch out wonderfully with rich feeling and spirit – thanks to work from players who include Weldon Irvine and Kenny Barron on piano, Bennie Maupin and James Spaulding on reeds, and Freddie Waits on drums. The set's filled with great original tunes that include Freddie's "Latina", "True Colors", and "For BP" – as well as a version of Weldon Irvine's "Can't Let Her Go". LP, Vinyl record album

One of Freddie Hubbard's wildest records ever – a really unique experiment with electronics, and a set that sounds way different than his other albums for Atlantic, Blue Note, or CTI! The key factor here is experimentalist Ilhan Mimaroglu – who adds lots of electronics and processed sounds to the set – blended with Freddie's more soulful lines on trumpet – to create a style that's almost a jazz version of musique concrete! In fact, at times, you forget that Hubbard's playing at all, as the wash of noise overtakes the force of some of his solos – and titles include "Threnody For Sharon Tate", "The Crowd", and "What A Good Time For Kent State". LP, Vinyl record album

A wonderful little record – a real standout in both the careers of Milt Jackson and Coleman Hawkins! The album captures Hawk during his great later years – that time when his sound was even more soulful and inventive than ever – with lots of odd modern undercurrents that really work nicely with the album's slight Latin inflections – a bit like those you might hear on some of Hawkins' Impulse Records material from the same generation. Milt Jackson's vibes are great too – chromatic and edgey, and set up with rhythm support from Kenny Burrell on guitar, Tommy Flanagan on piano, Eddie Jones on bass, and Connie Kay on drums. Titles include "Indian Blues", "Don't Take Your Love From Me", "Sandra's Blues", "Stuffy", and "Close Your Eyes". LP, Vinyl record album

2 albums' worth of incredible work from Ben E King! Spanish Harlem is a classic – and forget that you've heard the title track a million times, because the album's a treasure all the way through – packed with beautiful tunes arranged and produced by the Lieber-Stoller tune, in that mix of baion rhythms that they were crafting in the uptown studios for the Drifters during the early 60s. The leadoff cut is the amazing "Amor", a lightly grooving number that should have been massive – and just about every other cut is a similar Latin-tinged number. Titles include "Come Closer To Me", "Sway", "Love Me, Love Me", "Frenesi", "Souvenir Of Mexico", and "Besame Mucho". Don't Play That Song is equally great – with some darker numbers done in Ben's increasingly uptown soul style. Titles include classics like "Here Comes The Night", "Don't Play That Song", "Young Boy Blues", and "Stand By Me" – plus lesser-known gems like "Brace Yourself", "I Promise Love", "Yes", "First Taste Of Love", and "Show Me The Way". CD

Roland makes a nod towards tradition – as he seemed to be doing often in the later years of his life – and he welcomes the great Al Hibbler into the studio for a true "meeting of the times". Hibbler's one of our favorite vocalists from the early 50s, but mixing him with Kirk is a strange approach. Oddly, though, the set works – thanks mostly to Hibbler's insistence on keeping things straight. Titles include "Something About Believing", "Daybreak", and "Carney & Begarnd Place". Plus, the album also features one track – "Dream" – which has Leon Thomas on vocals instead of Hibbler. CD

One of the hippest albums that Rahsaan Roland Kirk ever recorded – a perfect realization of his "black classical music" ethos, and a pan-generational jazz album that's all held together by one unique musical vision! Side one features the extended suite "The Seeker", which mixes together bop, avant garde, and New Orleans styles – and side two features more of the same in an extended medley of tracks, plus the titles "Baby Let Me Shake Your Tree" and "Sweet Fire". The album's got a few cool passages that feature recitations by Rahsaan – stating his musical philosophy, and tracing the development of the styles of work – and other players include Leroy Jenkins on violin, Dick Griffin on trombone, Ron Burton on piano, and Sonelius Smith on celeste! LP, Vinyl record album

A stone classic from Roland Kirk – and a record that beautifully balances his modern ideas and playful energy – as you might guess from the title! While posing as the "whistleman", Roland's also pushing the boundaries of jazz a few steps forward too – not just in modern terms, but in spiritual ones too – showing that there's a way of letting loose that doesn't always have to be cold or artsy, but personal and soulful too. There's still echoes of the hardbop of the Mercury years, and plenty of inventive reed work from Kirk – on tenor, alto sax, manzello, stritch, and even nose flute too. The album was recorded live with a very hip cast that includes Lonnie Smith and Jaki Byard on piano, Charles Crosby on drums, and Major Holley on bass – and tracks include "Roots", "Here Comes The Whistleman", "Step Right Up", and "Aluminum Baby". CD

A landmark album from Roland Kirk – one of his key 60s sides for Atlantic records, and an amazing blend of soul jazz, hardbop, and freer thinking styles! Roland's playing an insane assortment of horns on the set – often at the same time, if you know his 3-way style of blowing – and instruments used for the recording include Manzello, stritch, flute, whistle, English horn, and flexatone – in addition to standard tenor and clarinet. Other players in the group include Ron Burton on piano, Steve Novosel on bass, and Jimmy Hopps on drums – and the album's got some incredible original compositions that include "Many Blessings", "Handful Of Fives", "Lovellevellioqui", "Laugh for Rory", "Black and Crazy Blues", and "The Inflated Tear". LP, Vinyl record album

A classic session of cool jazz from the 50s – a majestic meeting of the alto of Lee Konitz and the tenor sax of Warne Marsh! The album's a perfect example of icy modernism at its best – swinging nicely, never too uptight, but with a well-composed approach that really shows the magic of the Konitz approach. The group features the great Billy Bauer on guitar, plus either Ronnie Ball or Sal Mosca on piano – and rhythm is by Kenny Clarke and Oscar Pettiford. Tracks are short, and titles include "Topsy", "Lee", "Donna", "Don't Squawk", and "Ronnie's Line". CD

Probably the best early album that Patti Labelle ever recorded – and one that pushes way past the mix of girl group and pop material she'd been handling previously. The record begins with the killer cut "Dreamer", written by Dan Penn & Spooner Oldham – then it moves into a host of great lesser-known tracks and mature compositions, like Curtis Mayfield's "I'm Still Waiting", and the tunes "One Phone Call", "Take Me For A Little While", "Tender Words", "Don't Want To Go On Without You", and Burt Bacharach's great "Always Something There To Remind Me". LP, Vinyl record album

A sweet collection and one the label could have called The Diverse Yusef Lateef if that title wasn't already taken. This anthology goes way past Yusef Lateef's Atlantic years and includes material recorded for Savoy, Prestige, and Impulse – it even has a track recorded with Grant Green for Blue Note! CD