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A mid 70s meeting of two seminal blues talents from the Memphis scene – singer Bobby Blue Bland, and legendary guitarist BB King! The pair were both working for ABC at the time – major label fame after years woodshedding in the indies – and hitting well-deserved fame for their huge talents – still as fresh here as they were a decade before, and unmarred by any studio sanitization in this great live set! The record does an especially good job of bringing together the artists verbally – letting Bobby and BB open up and rap a bit during the songs – yet still having plenty of space to go into their own thing musically, too. Titles include "It's My Own Fault", "I'll Take Care Of You", "I'm Sorry", "3 O'Clock Blues", "Goin Down Slow", and a great long Medley track. CD

Rare 70s work by Bobby Byrd – sides done for the Brownstone and International label, most of which feature work by members of the James Brown universe, and some production by James Brown himself! The best tracks on the set are from the early 70s – and feature Bobby working in that incredibly tight, incredibly fast-grooving mode he first forged with James – heard to best effect on some key live recordings, and served up here in some equally great studio sides that feature help from Fred Wesley and Brown. A few other cuts keep the funky fire burning with some surprisingly nice Miami touches – with Clarence Reid on production, but Bobby more than strongly in the mix on some great vocals. There also appears to be a few tracks from later years – featuring Byrd with singers Vicki Anderson and Martha High, plus a group that also includes Bootsy Collins and Fred Wesley – and 2 more that are later live numbers. The set features 11 tracks in all, and is a great counterpart to Bobby's one and only album for the King label – with tracks that include "Never Get Enough", "Hang It Up", "Back From The Dead", "The Way To Get Down", "Feel Good Friday", "Sayin It & Doin It Are Two Different Things", "Let Me Know", and "Tell Me What's On Your Mind". CD

Incredible work from Bobby Byrd – the man who was literally standing in the shadow of James Brown during the 60s – given how many times Bobby appeared with James on stage, and worked with him in the studio! Yet despite that near-lifetime association with The Godfather, Bobby's a hell of a singer on his own – definitely in the JB mold, but with a voice that can sometimes sweetly crackle in a very personal style – and also open up into different themes that sometimes move his music more towards Stax or Atlantic than some of James' King Records material from the time! All that range and plenty more is presented here – in an overlooked side of Bobby's career – all the wonderfully strong solo tracks he recorded with James Brown as a producer – issued in the mid 60s by the Smash and King Records labels, and a hell of a discography on its own. In fact, had Byrd not worked with James, we'd maybe guess that he would have hit even bigger fame on his own with these singles – such is the quality in both the vocals and overall presentation. This is the first time this material has ever been pulled together like this – and most of it has never been reissued at all – and the 24 track CD is overflowing with great notes that also give Bobby his due. Titles include "Write Me A Letter", "I Found Out", "Ain't No Use", "I'm Just A Nobody (parts 1 & 2)", "Lost In The Mood Of Changes", "You're Gonna Need My Lovin", "Let Me Know", "Time Will Make A Change", "No One Like My Baby", "Funky Soul (parts 1 & 2)", "You Gave Me Heart A Song To Sing", "My Concerto", and "I'm Lonely". CD

An excellent collection of rare work from the legendary BB King – a selection of 25 tracks from the vaults of RPM and Kent Records, 23 of which appear here for the first time ever! Some cuts are alternates, some are different versions of other recordings – and all are pretty darn wonderful – that sharp-edged BB King sound right at the start, before the famous Memphis powerhouse was recording for bigger labels in a more commercial setting! Lots of these cuts have a jazzy backing alongside BB's sweet guitar and raspy vocals – a mode that's similar to the mix of bigger band and bluesy elements you'd get on early work from Bobby Blue Bland – that great Memphis mix of modes that always makes us love this stretch in King's career so much. Titles include unusual versions of "Sweet Little Angel", "Catfish Blues", "Early In The Morning", "I Wonder Why", "Goin Down Slow", "Whole Lotta Meat", "Loving You In Vain", "Long Nights", "The Woman I Love", "Soul Beat", "Don't You Want A Man Like Me", "Be Careful With A Fool", and "Whole Lot Of Lovin". CD

BB King at his late 60s best – working here in the company of producers Johnny Pate and Quincy Jones, and serving up a great blend of blues and soul in the process! The set's less a "best of", than a collection of ABC work that doesn't seem to be on the other full albums of the time – mostly produced by Johnny Pate, with those great Chicago soul touches that helped his work with King really cross new boundaries – and finally give BB the kind of full, forceful approach that Bobby Blue Bland had been getting for years. The Quincy Jones cuts are two from the soundtrack to For Love Of Ivy – both pretty groovy, with a socking soul punch – and titles on the full album include "Tired Of Your Jive", "Don't Answer The Door", "The BB Jones", "Paying The Cost To Be The Boss", "All Over Again", "I Don't Want You Cutting Off Your Hair", "Sweet Sixteen", "Meet My Happiness", and "You Put It On Me". CD

One of the standout classics from BB King's legendary run at Kent – a classic album with a cool little cover to boot! Arrangements on the set are by Maxwell Davis – who has this great way of bringing out some of the jazzier currents in BB's music – almost the same Memphis blend that Bobby Blue Bland was using at the time – really showing a new level of sophistication added to the blues! BB's guitar and vocals are wonderful – with this bold, youthful power that's free from any cliche or easy modes – and titles include "Beautician Blues", "The Jungle", "5 Long Years", "Eyesight To The Blind", "Blue Shadows", "The Worst Thing In My Life", "Blues Stay Away", "Got Em Bad", and "It's A Mean World". CD

Incredible deep soul – and a wealth of tracks you've probably never heard before! Sure, the King label's best known for it's work in 50s R&B and 60s James Brown soul – but this 24 tracks set shows that King (and related labels) were still working hard in the late 60s and early 70s to come up with the best of the southern soul underground – a massive batch of lesser-known artists who were burning the soul light bright. The quality of the work here is fantastic – as great as the best on Stax at the time, and then some – as the tunes really glisten with a newness and freshness that keeps us going through the set list again and again. Titles include "Precious Minutes" by Elaine Armstrong, "Beggin Just Ain't My Bag" by Dan Brantley, "Money Can't Buy True Love" by James Duncan, "One Woman" by Pat Lundy, "Darling Darling I Love You" by Johnny Soul, "Everywhere I Go" by Bobby & The Expressions, "Never Let A Love Grow Cold" by Allison, "Lost My Faith In You" by Charles Vickers, "I'm A Fool In Love" by LH & The Memphis Sounds, "All Woman" by Dottie Clark, "She Wrote It I Read It" by Junior McCants, and "Counting Teardrops" by James K-Nine. CD

Soulful blues and bluesy soul – a sweet split CD of work from Al King and Arthur Adams – both singers originally from the south, but relocated to the California scene for the best recordings of their career! Al King's got a great vocal approach – not really blues, and more in the soulful style that certain 60s singers were taking as a new approach to the genre – somewhere in the territory of Bobby Blue Bland, but without Bobby's trademark rasp. The cuts here all feature laidback backings and a mellow groove that really lets King inflect the notes wonderfully – and titles include "Without A Warning", "Get Lost", "Maybe My Last Song", "My Name Is Misery", and "Better To Be Yourself". Arthur Adams is a name you're bound to recognize from countless 70s sessions – with singers, on soundtracks, and even with jazz artists like The Crusaders – but the cuts here represent Art at the earliest point in his career – fresh on the LA scene from Texas, singing and playing guitar with plenty of soulful southern modes! Tracks here feature both Adams on his own, and dueting with either Edna Wright or Mary Love – on titles that include "She Drives Me Out Of My Mind", "I'm Lonely For You", "I Need You", "Is That You", "Let's Get Together", and "Gimme Some Of Your Lovin". CD

A 60s set from Memphis bluesman BB King – but one put together with a very distinct Chicago touch as well! The set's produced by Johnny Pate, and recorded live with a vibe that's similar to King's classic recording at The Regal – but it's almost got even more of a soulful punch, thanks to backing from a cool small combo that includes Bobby Forte on tenor, Kenneth Sands on trumpet, Duke Jethro on Hammond, and Louis Satterfield on bass! BB's vocals are great – in his best early form – and the tunes are bluesy, but also smoke with a nice degree of soul – and almost some jazzy touches at times from the tenor and organ. Titles include "Don't Answer The Door", "Blind Love", "Tired Of Your Jive", "Night Life", "Buzz Me", and "Waitin On You". CD

BB King at his late 60s best – working here in the company of producers Johnny Pate and Quincy Jones, and serving up a great blend of blues and soul in the process! The set's less a "best of", than a collection of ABC work that doesn't seem to be on the other full albums of the time – mostly produced by Johnny Pate, with those great Chicago soul touches that helped his work with King really cross new boundaries – and finally give BB the kind of full, forceful approach that Bobby Blue Bland had been getting for years. The Quincy Jones cuts are two from the soundtrack to For Love Of Ivy – both pretty groovy, with a socking soul punch – and titles on the full album include "Tired Of Your Jive", "Don't Answer The Door", "The BB Jones", "Paying The Cost To Be The Boss", "All Over Again", "I Don't Want You Cutting Off Your Hair", "Sweet Sixteen", "Meet My Happiness", and "You Put It On Me". CD

Killer cuts from the glory days of King Records – material from that second generation of the label, when their earlier blend of hillbilly and R&B made King a perfect platform for the new sounds of rockabilly and rock and roll! The package does a great job of digging in deep to the King catalog – and includes material from sub-labels that include Federal, Audio Lab, and DeLuxe – with lots of rare 45s that never get the sort of proper reissue that you'll find in this great Bear Family series! As with other volumes, the choice of cuts is wonderful, and the detailed notes really illuminate the music – a stunning set list of 31 titles that include "Nothing Like This" by Cecil McNabb, "All Star Boy" by Al Henderson, "Jug Band Jump" by Delbert Barker, "Whistle Of The Gravy Train" by Bobby Grove, "Pony Tail Partner" by Bing Day, "Oh Baby Dance With Me" by Gene Stewart, "Shake Shake" by The Blue Tones, "What Is Your Technique" by Ronnie Speeks & His Elrods, "Guitar Pickin Fool" by Teddy Humphries, "Gotta Make Her Mine" by Ronny Wade, "Peg Pants" by Bill Beach, "Grandaddy's Rockin" by Mac Curtis, and "Everybody's Lovin My Baby" by Charlie Feathers. CD

A rare chapter of James Brown's career – material recorded for producer Henry Stone in the early 90s – at a time when James himself was without a major record contract! Most of these tracks were recorded by Stone, but unissued for years – which is a bit of a surprise, as the overall quality is quite good – very much in the modern funk mode that Brown was forging back in the 80s! And sure, the work here isn't in the same mode as Brown's classics on King or Polydor, but the sound is still pretty great – with beats and instrumentation that are relatively modern, but an overall groove that's quite tight and right, and plenty of room for James' incredible vocals in the lead! Most tracks feature Brown as the lead singer, but there's also a few with vocals by Venisha Brown or Yamma Brown – and one track has James singing a duet with Bobby Byrd! Titles include "Becha Bottom Dollar", "Funk On Ahh Roll", "Respect Me", "God Is Good", "Peace In The World", "I Wanna Be Loved On The 1", "Motivation (rmx)", "Say It Again", and "I Got To Feel It". CD

One of our favorite soul singers on the LA scene of the 60s – served up here in a complete run of his legendary singles for the Minit label! Jimmy Holiday never fully got his due back in the day – partly because he was a successful songwriter who was often working behind the scenes – but he's a hell of a singer with a style that's rooted in the south, but given some hipper, more sophisticated touches on the west coast – with almost the same mix of the rough and the smooth you'd find in the best Minit label recordings by the young Bobby Womack! Jimmy's very much his own man, though – a standout talent that really gets his due here in a mindblowing batch of music. The b-sides are every bit as wonderful as the a-sides – and given Holiday's knowledge of a tune from the ground up, he really has a great way of putting over the lyrics. The package features two duets with female singer Clydie King – "Ready Willing & Able" and "We Got A Good Thing Goin" – plus 24 more tracks that include "I'm In Love With You", "Baby I Love You", "Turning Point", "The Beauty Of A Girl In Love", "Spread Your Love", "Everything Is Love", "Yesterday Died", "A Man Ain't Nothin Without A Woman", "I'm Gonna Move To The City", "In The Eyes Of My Girl", "Everybody Needs Help", "Baby Boy's In Love",a nd "I Wanna Help Hurry My Brothers Home". CD

A wild little record – one that was issued under the name of Flying Dutchman label headman Bob Thiele – but which actually features work from some of the grooviest artists on the label at the time – including Tom Scott, Ornette Coleman, Jon Appleton, John Carter, Horace Tapscott, and Bobby Bradford! The package has a very different feel on each of the album's four sides – and side one is a tremendous showcase for the young reedman Tom Scott – working here in a cool mix of electric and acoustic instrumentation that's similar to his other records of the time – including organ, vibes, and some nice funky touches as well. Side two features an exploration of the history of jazz – but one that progresses quickly from early modes to hipper ones – showcasing the talents of John Carter on tenor, Bobby Bradford on trumpet, and Horace Tapscott on piano! Side three is a mighty dedication to the late John Coltrane – played at first by a trio with Joe Farrell on flute, Wilbur Ware on bass, and Elvin Jones on drums – then moving into a mix of Farrell's flute and narration by Rosko – then a performance by the Ornette Coleman quartet. And side four is especially mindblowing, as it's comprised of lone long piece by Jon Appleton's Syntonic Menagerie – a mix of sound samples, tape tricks, and jazz – as a commentary on The American Indian, JFK, and Martin Luther King. The whole thing's a great illustration of the Flying Dutchman label at its most revolutionary – and titles include "Head Start", "Freaky Zeke", "Lanoola Goes Limp", "Swing Era", "In The Vineyard/Avant Garde", "Love Supreme", "Lament For John Coltrane", and "A Few Thoughts For The Day". CD also features a rare bonus track – "The Flying Dutchman". CD

Think you know the sound of Atlantic Records in the 60s? Think again – because this stunning series opens the vault to a huge amount of rare treasures from the legendary label! The package is amazing – and offers up rare tracks that were mostly only issued by Atlantic on singles – including some on the other imprints associated with the company – some by names we never even knew recorded for the label, others by bigger names, but represented here by obscure material that goes way past their hits – and which is ultra cool because of that. There's also a fair bit more deep soul than you might expect from the usual Atlantic mix – tremendous vocals, and often in less hit-heavy modes – which makes the whole thing a great revelation – and just one more reason to bow down and give even more expect to one of the key companies who helped soul music find a home in the 60s. Plus – as if that's not enough – the whole thing comes in a very cool 7" gatefold package – which emphasizes the from-singles nature of the collection. Volume 3 is overflowing with amazing sounds from the heart of the 60s – rare 45rpm tracks by Atlantic stars, Stax artists, and a few lesser-knowns too. Titles include "Hello Stranger" by The Capitols, "Help Me (parts 1 & 2)" by Ray Sharpe, "Long Distance Love" by Ted Taylor, "Lonely Soldier" by Mike Williams, "How Can You Babysit A Man" by Ned Towns, "Keep Looking" by Solomon Bourke, "I'm Sorry" by Fred Lowrey, "Please Uncle Sam" by The Charmels, "Share What You Got" by William Bell, "Reputation" by The Four Shells, "Me & My Baby" by Mary Wells, "Got No One" by The Delcardos, "Weak Spot" by Ruby Johnson, "Good Love Bad Love" by Eddie Floyd, "Bingo" by Ned Towns, "I Had A Dream" by Johnny Taylor, "I Can't Take It" by Ray Sharpe, "You Can't Love Them All" by The Drifters, "Believe It Or Not" by Rex Garvin & The Mighty Cravers, "Patch My Heart" by The Mad Lads, "She's The One I Love" by The Delcardos, "Find Me Somebody" by Bobby Womack, "Hello Stranger" by The Capitols, "So Much Love" by Ben E King, "Help The Bear" by Ted Taylor, and "I Feel A Sin Coming On" by Solomon Burke. CD

One of the most unique country collections we've ever heard – in part because the artists aren't from Nashville, nor Bakersfield, and instead hail from the British scene of the 60s! The tunes here are all country-styled numbers – and some are country music classics – but they get very unique delivery here by UK groups who've soaked up all the best Brit Invasion modes of the period – all to make for a presentation that's very different than you might expect! We normally associate beat groups of the time with a strong influence from R&B, but these cuts uncover a surprising country influence too – as you'll hear on a whopping 30 tracks from artists who include Sonny Webb & The Cascades, Nashville Teens, Jerry Williams & The Violents, Lee Curtis & The All-stars, The In-Crowd, Bobby Patrick Big Six, The Hollies, Billy Thorpe & The Aztecs, King Size Taylor & The Dominoes, Tommy Quickly & The Remo Four, Tony Sheridan, and many others. CD

A very cool little set – maybe not the deepest dive into the decade of the 70s, in that the package isn't full of unissued tracks or super-rare singles – but it does represent a great look at the decade that goes way past the hits, and much farther than the charts – including the sort of material that was slightly ignored at the time, but has gone on to be really appreciated in more recent years! The book-style set is filled with great choices and unusual tunes – work from both the US and UK scenes, some of it by bigger names represented here by more unusual cuts – some by others who barely cracked the mainstream, but did some great work at the time. There's one full CD of female artists, and a pretty unusual mix of titles – 71 titles in all, by artists who include Murray Head, The Records, Ronnie Lane, Terry Reid, Sandy Denny, Wendy Waldman, Freddie King, Montrose, Tim Buckley, Don Nix, Jerry Williams, Big Star, Tony Joe White, Delaney & Bonnie, John Prine, Michael Franks, Bobby Charles, Andy Pratt, Hirth Martinez, Robert Palmer, Jess Roden, Roy Harper, Patto, Sharks, The Roches, Linda Lewis Valerie Carter, and many others! CD

One of the most important indie labels of the postwar years – heard here in a flurry of great tracks that really show them at their finest! This excellent double-length set brings together magical moments from a time when the Flair imprint was really hitting on all burners – recording key vocal, instrumental, blues, and doo wop tracks that would go onto have a huge impact on generations to come – mixed here with a host of titles that haven't been on CD before! The package digs deeper than any look at Flair we've ever seen – and that's saying a lot, given that Ace Records was already giving the label their due a few decades before – and all the new material sits strongly next to classics that make the 50 track collection one of the best R&B collections from the 78rpm era that we've heard in a long long time. Titles include "She Wants To Rock" and "Getting High" by The Flairs, "Loosely" and "Cuban Get Away" by Ike Turner, "Chop House" by Blinky Allen, "Quit Hangin Around Me" by Saunders King, "Early In The Morning" and "Can't Stop Lovin" by Elmore James, "Hello Baby" and "Baby Beat It" by Big Duke, "Midnight Hours Journey" by Johnny Ace, "Night Howler" by Billy Gale, "You Better Hold Me" by James Reed, "I've Got The Feeling" by Baby Parham, "This Time It's Real" by Ricky & Jennell, "Send Him Back" by Shirley Gunter, "An Angel Cried" by Anna Marie, "Blue Mambo" by Bobby Rey, and "Love Me Love Me Love Me" by The Chimes. CD

A mighty nice little package – one that's overflowing with the special sort of Latin and soul music hybrids that rose up from the Spanish Harlem scene in the late 60s – the kind of cuts that helped establish Fania Records as one of the most important Latin labels around – and one of the grooviest too! These aren't the 70s salsa tracks that Fania spread across the globe – but the more New York-styled numbers that often had English language lyrics in the lead, sung by a soulful vocalist – and set to small combo rhythms that were overflowing with energy, and plenty of touches of jazz, soul, and funk! These are all the mixes from the rare 45rpm singles issued by Fania back in the day – and although the songs are wonderful, the collection together is even cooler as a whole – dozens of tracks, including some really rare ones – all bound up in a 7" book-styled cover, with 60 pages of notes, and a bonus funky 45! Titles include "Silent Heart" by 125th Street Candy Store, "Micro Mini" and "Make Out" by Harvey Averne, "Too Much Lovin" and "So Fine" by Joe Bataan, "Willie Baby" by Willie Colon, "Soul Drummers" and "Mercy Mercy Baby" by Ray Barretto, "Geronimo" and "Funky Big Feet" by Bobby Valentin, "Mercie" by Ralph Robles, "Camel Walk" by The Latinaires, "Batola Boogaloo" by Bobby Quesada, "Grazin In The Grass" by Orchestra Harlow, "Spinning Wheel" by El Apollo Sound, "Hey Sister" by Monguito Santamaria, "Who Is The Girl For Me" and "Look At Her" by Ralfi Pagan, "New York Soul" by Ray Barretto, "Some Lonely Heart" by ronnie Marks, "Let's Get It Together This Christmas" by Harvey Averne, "Shaft" and "If I Were A King" by Joe Bataan, "Johnny's No Good" and "Blonde Latin Blues" by WRLC, and "Today" and "Try Just a Little Harder" by Butter Scotch. Lots more too – and the bonus 7" single features two promo tracks recorded for DJ Symphony Sid – one by Joe Bataan, the other by Bobby Valentin! CD

The funky third volume of the Living In The Streets series – and easily the best in this great series – a really hard and heavy batch of rare funk tunes that pushes past the cliches of the title to come up with an all-solid batch of tracks that's sure to please any fan of deep funk. Loads of great little groovers from a range of different labels – organ jazz meets heavy soul vocals meets dancing bassline funk, hard drums, heavy riffing, and beyond – all wrapped up together with a sound that never lets up. Tracks include "Mary Jane" by Bobby Rush, "Bustin Outta The Ghetto" by Carlos Malcolm, "I'm A Good Woman" by The Generation, "Dance Girl" by The Mighty Tom Cats, "Peace Love Not War" by Johnny King with The Fatback Band, "The Truth Shall Make You Free" by King Hannibal, "I'm Wishin" by Lorez Alexandria, "I've Known Rivers" by Gary Bartz, "Viva" by Jade, "Seeds Of Life" by East LA Car Pool, "Starvin" by Winfield Parker, and "He Called Me Baby" by Spanky Wilson. CD

Featuring music from Freddy King, Jimmy Reed, Bobby Bland, Muddy Waters, BB King, Slim Harpo, Etta James, Little Johnny Taylor, Howlin' Wolf, Albert King, Bobby Parker, Johnny Guitar Watson, Earl King, Buddy Guy, Elmore James, Little Junior Parker, and Earl Hooker – 20 tracks in all. CD

Really fantastic later work from Bobby Darin – material that's quite different than the simple pop of his early Atco years, and even the jazzier style he used earlier on in the 60s! The set is one of two issued by the Direction label – and features Bobby taking off from some of the Tim Hardin-inspired modes he was using later on at Atlantic – picking up some of the deeper themes of the earlier singer-songwriter years – and singing in a very moody, contemplative style! According to some, Darin was aware that his health only gave him a few more years to live – which was part of the introspection of the music – and although the style owes a lot to Tim Hardin and some of his contemporaries, the songs are all originals by Darin – with some elements that are very different than before. Tracks include "Hey Magic Man", "Light Blue", "Distractions", and "Song For a Dollar". Features four bonus tracks too – "Sweet Reasons", "Maybe We Can Get It Together", "Baby Man", and "RX Pyro (Prescription Fire)". CD

Bobby Watson's always keeping it real in our book – as the alto saxophonist maybe hasn't made a bad record ever, and has continued to turn out the sort of fantastic music we loved right when he was an up-and-comer in an 80s version of Art Blakey's Jazz Messengers! Here, Bobby's working with some key talents from his solo years – a re-formed New Horizon group that features excellent work on bass from Curtis Lundy, drums from Victor Jones, and piano from Victor Gould – plus trumpet work on some tracks by Josh Evans and on others by Giveton Gellin! The use of trumpet is somewhat striking, as it's an instrument that's not always in place on some of Bobby's small combo sessions – and both Evans and Gellin are clearly inspired by the warmth of the leader – as both soar out with a wonderfully full, rich sound that only adds to the classic soulful touch of Watson on the alto. Titles include Watson and Lundy originals "Keepin It Real", "One For John", "My Song", "The Mystery of Ebop", and "Elementary My Dear Watson 2020" – plus a nice take on the Donny Hathaway tune "Someday We'll All Be Free". CD

An obscure live set from pianist Bobby Timmons – recorded most likely in the early 60s, at a house party in Connecticut – but not issued until after his early death! The album's got an open quality that's quite different than some of Timmons studio work – almost a bit more introspective and pianistic, if we can use that word in mixed company. Bobby's working with a core trio of Sam Jones on bass and Mickey Roker on drums – in a mode that's a lot looser than his soul jazz sets, and which seems to free him from the stock modes of some of his hits – and let him explore a lot wider range on the keyboards. Another treat is the added bonus of Sonny Red – who joins the group on the album's 3 longer tracks, playing in that wonderfully flattened tone of his – an odd one, but a sound that comes off with an incredible edge that we really love. Titles include "Here's That Rainy Day", "Now's The Time", "Moanin", and "Prelude To A Kiss". CD

Martino plays in a 2-guitar quartet – with Bobby Rose backing him up on guitar, plus rhythm accompaniment by Richard Davis and Billy Higgins. The sound's definitely in the trippier, post-hippie style of Martino's work, with a sort of looseness and fluidity that you either love or hate, but a nicely swinging rhythm underneath. Titles include "Footprints", "Road Song", "The Visit", and "Alone Together". CD

Martino plays in a 2-guitar quartet – with Bobby Rose backing him up on guitar, plus rhythm accompaniment by Richard Davis and Billy Higgins. The sound's definitely in the trippier, post-hippie style of Martino's work, with a sort of looseness and fluidity that you either love or hate, but a nicely swinging rhythm underneath. Titles include "Footprints", "Road Song", "The Visit", and "Alone Together". CD

Bobby Wiens on drums, Austin Cebulske on tenor saxophone, Jack Roben on guitar, Spencer Zweifel on piano, and David Baker on bass. CD

An amazing debut from the John Carter/Bobby Bradford New Art Jazz Ensemble – one of the most powerful voices in jazz on the west coast at the end of the 60s! In a way, the quartet's sound is a culmination of the underground changes that had been bubbling under during most of the 60s on the LA scene – new ways of conceiving jazz after Ornette and Dolphy had first set the scene on fire at the start of the decade, but styles that weren't receiving nearly the exposure as some of the better-known avant work on the Chicago, New York, or European scenes. The style here definitely owes something of a legacy to Ornette in the way it reconceives rhythm and melody – and a bit to Dolphy in its freewheeling, free-thinking work on clarinet, flute, and alto by John Carter. Bobby Bradford's bracing trumpet lines really give the album a tremendous punch – and the rest of the group features Tom Williamson on bass and Bruz Freeman (brother of George and Von!) on drums. Titles include "Seeking", "The Village Dancers", "Sticks & Stones", "In The Vineyard", "Karen On Monday", and "Song For The Unsung". CD

Four of the more obscure RCA albums from the great Bobby Bare – all brought together here in a single set! First up is the very unusual English Countryside album – a special set that has the vocals of Bobby Bare paired with a group from the UK – Liverpool's Hillsiders, who sing with a style that's a bit folk, and a bit rock – but which takes on a very distinct country vibe amidst the RCA production of Chet Atkins! Both Bare and The Hillsiders sing solo on the record – but most of the set has them paired together, and the presence of all those voices on the tracks create a nice sense of spontaneity – maybe a hint at the more relaxed recording approach that Bobby would use on his big albums of the mid 70s! Titles include "Sweet Dreams", "Six Days On The Road", "Find Out What's Happening", "Love's Gonna Live Here", "Goin Home", "Blue Is My Lonely Room", and "I Washed My Face In The Mountain Dew". Margie's At The Lincoln Park Inn is a seminal album in the career of Bobby Bare – and the record that really has him turning from a young smiling country singer to the kind of more adult, mature talent that would really send him over the top! The album's promise of "controversial country songs" is certainly apt – as in addition to the great Tom T Hall title cut, the album also features Bare taking on great material from Kris Kristoffersen, Mel Tillis, and even the team of Spooner Oldham and Dan Penn – all set to arrangements that are nicely more sophisticated than those used on the more pop productions of some of Bobby's earlier albums. Titles include "Margie's At The Lincoln Park Inn,", "The Law Is For The Protection Of The People", "Watching The Trains Go By", "Skip A Rope", "Rainy Day In Richmond", "Cincinnati Jail", "Wild As The Wind", and "Drink Up & Go Home". I Hate Goodbyes is the record that marked the return of Bobby Bare to RCA Records in the early 70s – and one that also marks the start of a very different phase in Bare's career! This time around, Bobby's handling the production himself – working with the kind of thoughtful, mature material that would really let him open up – songs from Billy Joe Shaver, Mickey Newbury, the team of Bill Rice and Jerry Foster, and even an early tune from Shel Silverstein – who would soon become one of the biggest contributors to Bobby's records. The vibe is very different than his RCA material of the mid 60s, and in a great way – on titles that include "I Hate Goodbyes", "Restless Wind", "Ride Me Down Easy", "Send Tomorrow To The Moon", "You Know Who", "An Offer She Couldn't Refuse", "What's Your Mama's Name Child", and "Poison Red Berries". Last up is Cowboys & Daddys – an overlooked gem in the mid 70s RCA years of the great Bobby Bare – and a set that really shows the dedication that Bare had during these years to finding the most sophisticated material of the new country generation! The list of songwriters alone is great – as the set features tracks from Terry Allen, Shel Silverstein, David Hickey, and Tom T Hall – plus an early contribution from Bob McDill, with whom Bare would soon record a lot more material on albums to come. There's a mature, laidback vibe to the whole set – different than some of the more playful Bobby Bare albums of the time – and titles include "Chester", "The Cowboy & The Poet", "Amarillo Highway", "Speckled Pony", "Calgary Snow", "Last Dance At The Old Texas Moon", "Pretty Painted Ladies", and "The Stranger". CD

Four fantastic albums from Bobby Bland – all brought together in a single package for the first time! First up is Come Fly With Me – great work from Bobby Blue Bland – one of the few artists to rise up at the end of the 50s, and still find a way to chart their own path forward in soul with fresh material like this! Bobby's voice is still incredible here, and he works with production from Al Bell and Monk Higgins, the latter of whom arranged – in this cool style that's a bit like some of the territory that Tyrone Davis was taking on at Columbia Records during the second half of the 70s – fuller arrangements that bring some sophisticated soul touches to the music, but in ways that never lose the core of Bobby's genius! Titles include "Lady Lonely", "Night Games", "You Can Count On Me", "Love To See You Smile", "Come Fly With Me", and "To Be Friends". The next album is I Feel Good I Feel Fine – and Bobby Bland sounds pretty good too – thanks to arrangements from the great Monk Higgins, who does a perfect job of mixing Bland's trademark vocals with some sweet late 70s arrangements! The sound is upbeat, but never in a cliched disco mode – more in the territory that you'd hear Johnnie Taylor using over at Columbia Records – maybe a good comparison, given the Memphis roots that both artists shared – as both also evolved a lot to shift their sound with the changing modes of the time. And as with Johnnie, Bobby never loses the core that makes him great – as you'll hear on titles that include "Tit For Tat", "Soon As The Weather Breaks", "In His Eyes", "Someone To Belong To", "I Feel Good I Feel Fine", and "Little Mama". Sweet Vibrations is a real gem from the start of the 80s – arranged by Monk Higgins, who co-produced the set with Al Bell – a duo who'd already given Bobby some great records before, but who really knock it out of the park with this one. There's an extra-special quality going on here – maybe a slight reintroduction of blues roots, but still with a very contemporary spirit – set up to superb backings throughout. Titles include "Soul With A Flavor", "Hollywood Woman", "You'd Be A Millionaire", "Sweet Vibrator", "Special Kind Of Fool", and "A Real Woman Is What It Takes". Try Me I'm Real is record with a title that certainly fits the bill – as the amazing voice of Bobby Bland is as real here as it ever was, and blended with superbly soulful backings that take the singer's sound forward for a whole new generation! Some of Bobby's contemporaries were content to just stick in a straight blues mode – but Bland really grew and developed a lot as an artist, thanks in part to Monk Higgins and Al Bell – who are both at the production helm of the record, and balance the bluesy roots of Bobby with some richer soul backings that really knock the whole thing out of the park! We love Bobby Blue Bland during his early Duke Records years – but we love him equally as much for music like this, on titles that include "But I Do", "What A Difference A Day Makes", "Givin Up The Streets For Love", "A Song For You My Son", "Just You Just Me", and "Love Is Where It's At". CD

An incredible treasure from a lost vocal jazz genius – the little-known Bobby Cole, every bit as great a singer as he was a songwriter, very unusual for the time! Bobby was probably best remembered as the house pianist at Jillys, but at the time of this 1964 recording, he was poised to emerge as a serious vocalist with a rich talent for penning interesting and witty little tunes. The album's got Bobby singing in a style that's halfway between Matt Dennis and Mark Murphy – with the sophisticated talents of both in place, and perhaps a bit of the wit of Bob Dorough or Roy Kral. The original album features Bobby on piano and vocals, with only bass and drums behind him – and the CD features a bonus 6 tracks recorded in more recent years, with larger backings. The core album is completely brilliant – the kind of off-kilter vocal record we die for – and every track's a fresh original by Bobby! Titles include "You Can't Build A Life On A Look", "Heat", "You Could Hear A Pin Drop", "Change Of Scene", "A Perfect Day", "Elegy For Eve", and "Status Quo". CD

One of the greatest Bobby Hutcherson albums for Blue Note – a classic session recorded in quartet form, with a style that seems to set a whole new standard for the vibes in modern jazz! The group here is sublime – Herbie Hancock on piano, Bob Cranshaw on bass, and Joe Chambers on drums – all working with Bobby in cool, blocky chords, with a sound that lies somewhere on the road to "out", but has more of a swing than Hutcherson's "new thing" recordings! The balance is a perfect one – exciting and fresh, but still always soulfully grooving – and titles include a sublime version of Herbie's "Maiden Voyage" – plus originals by Hutcherson that include "The Omen", "Aquarian Moon", "Rojo", and "Head Start". CD

One of the greatest Bobby Hutcherson albums for Blue Note – a classic session recorded in quartet form, with a style that seems to set a whole new standard for the vibes in modern jazz! The group here is sublime – Herbie Hancock on piano, Bob Cranshaw on bass, and Joe Chambers on drums – all working with Bobby in cool, blocky chords, with a sound that lies somewhere on the road to "out", but has more of a swing than Hutcherson's "new thing" recordings! The balance is a perfect one – exciting and fresh, but still always soulfully grooving – and titles include a sublime version of Herbie's "Maiden Voyage" – plus originals by Hutcherson that include "The Omen", "Aquarian Moon", "Rojo", and "Head Start". CD

A beautiful later Blue Note album from vibist Bobby Hutcherson – a set recorded after his famous association with Harold Land, but with a groove that's wonderfully soulful in a whole different way! Bobby plays marimbas instead of vibes this time around, and he's working with his own arrangements for a slightly larger group – one that has some sweet fusion overtones, and these wonderful mellow funk inflections – so that even the mellow cuts have this warmly glowing, ultra-soulful sound that's mighty nice – a bit like some of the work from Gene Harris around the same time. Other players include Jerry Peters on Fender Rhodes, who also helped out with the arrangements – plus Harvey Mason on drums and Ernie Watts on reeds – and a few tracks feature sweet backing vocals from The Waters. The highlight here is a nice moody extended version of "People Make The World Go Round", but all cuts are great, and titles include "Silver Rondo", "Manzanita", "NTU", and his dark cover of "Theme From MASH". CD

Two great Bobby Hutcherson albums – both recorded at the end of the 60s, but not released by Blue Note until years later! Both records – Medina and Spiral – give you a glance at the early years of Bobby's famous association with tenorist Harold Land. The Land/Hutcherson combo turned out some of the best modernist soul jazz albums of their age, and their unique interplay, a mixture of free-thinking solos and tight groovy rhythms, set the pattern for so many other 70's jazz groups. Stanley Cowell plays piano on the session, and Bobby's longtime rhythm partner Joe Chambers is on drums. With the tracks "Avis", "Orientale", "Spiral", "Ruth", and "Visions". CD

One of our favorite Bobby Hutcherson albums ever – and a magical session filled with electric Latin vibes! The album's quite a different one for Bobby at the time – as it has him working with some larger arrangements, in a soulful west coast groove that's almost got the feel of a hip 70s soundtrack. Bobby's vibes are nicely set up against Fender Rhodes on most tracks – and the group's got some added Latin percussion that really opens up the rhythms. The whole thing's totally wonderful – brimming over with sun and soul, the kind of magic record that will never be made again! Tracks include "Camel Rise", "Yuyo", "Montara", "La Malanga", "Little Angel", and "Love Song". CD

One of our favorite Bobby Hutcherson albums ever – and a magical session filled with electric Latin vibes! The album's quite a different one for Bobby at the time – as it has him working with some larger arrangements, in a soulful west coast groove that's almost got the feel of a hip 70s soundtrack. Bobby's vibes are nicely set up against Fender Rhodes on most tracks – and the group's got some added Latin percussion that really opens up the rhythms. The whole thing's totally wonderful – brimming over with sun and soul, the kind of magic record that will never be made again! Tracks include "Camel Rise", "Yuyo", "Montara", "La Malanga", "Little Angel", and "Love Song". CD

A really heady set of tracks from vibist Bobby Hutcherson – a record that has him stepping away from the harder sounds of his early modern years – and moving into the sublime mix of soulful and modal styles that would really grow strongly by the end of the 60s! The album's a treasure through and through – warm, subtle interpretations of the music by a group that features Hutcherson on vibes, James Spaulding on alto and flute, Stanley Cowell on piano, Reggie Workman on bass, and Joe Chambers on drums – all working together in modes that are quite like Hutcherson's music with Harold Land – but slightly looser and freer at points too. The album includes a fantastic version of Cowell's "Effi", which was later recorded by Charles Tolliver a few times, plus other beautiful compositions by Joe Chambers – including "Patterns", "Ankana", "Irina", and "Nocturnal". Also features a bonus alternate of the title track! CD

A great collaboration from two fantastic players – alto genius Bobby Watson and percussionist Ray Mantilla – both coming together here in a style that's even more than the sum of their mighty parts! The group has lots of Watson elements at the core – bass from Curtis Lundy, drums from Victor Lewis, and piano from Ronnie Mathews – but the presence of Mantilla's congas really changes up the groove, and the trumpet of Jack Walrath further emphasizes some Latin currents, while also linking up to the soulful energy of Watson's horn! Tracks are penned by all members of the group – and the record's overflowing with the sense of good spirit and boundless energy we always love from Bobby's dates as a leader. Titles include "Karita", "Chili Plaza Suite", "Ella Dunham", "Los Apolypticanos", "Know One Has To Know", and "River Jordan". CD

A key moment in the career of the legendary Freddie McGregor – easily one of the best-known voices in reggae in the post-Marley years! The set captures Freddie at his youthful best – coming off of time doing vocal group work, but really shining strongly as a lead singer on his own – getting this nicely subtle Studio One backing that are heavy on the roots vibe, which makes a nicely deep rhythmic contrast to the sweetly crackling vocals of McGregor! The set came out at the start of the 80s, but it's got an instant classic vibe that resonates almost more strongly with some of the most soulful Jamaican recordings at the end of the 60s. Titles include "Bandulo", "We Need More Love", "What Difference Does It Make", "Go Away Pretty Girl", "Tomorrow Is Like Today", "Bobby Bobylon", "Wine Of Violence", "Gonna Take Over Now", "Rastaman Camp", and "I Am A Revolutionist". CD features 8 bonus tracks – including "Come Now Sister (ext mix)", "Freddie", "Homeward Bound", "Little Girl", "When I'm Ready (ext version)", "Rastaman Camp (ext mix)", and "I Man A Rasta (orig 7" mix)". CD

One of Bobby Timmons' most obscure trio sessions from the early years – recorded at the tail end of the Riverside years, which is probably why the album disappeared so quickly! The set's in a similar format to some of Bobby's other records for Riverside – a trio set with either Sam Jones or Ron Carter on bass, and Connie Kay on drums – but it's different in that Bobby's a bit more introspective – "blue", if you will – working in less of the gutbucket soul jazz mode than before, and really hitting some lyrical magic on the keys! The album includes the original tunes "Know Not One", "Often Annie", and "The Sit In" – plus a great reading of Tom McIntosh's "Malice Towards None". CD