Dave Frishberg's always getting some fun out of life – given the way he pens these witty little tunes, and sings them with a hell of a lot of charm! And this album's one to feature Frishberg at all his charming best – still with the jaunty, edgey qualities we love so much in Oaklahoma Toad, but turned back more towards more traditional jazz elements too – all set nicely into a small combo jazz mode, with help from Bob Findley on trumpet and Marshall Royal on alto – both horn players who give the album a fleshed-out feel that's a nice change from some of Dave's more piano/vocal-based records. A number of the tunes are instrumental – with Frishberg on piano – and titles include "Lotus Blossom", "Dear Bix", "Violet Blue", "Old Man Harlem", "Save It Pretty Mama", "Alligator Crawl", and "In A Mist". CD

A dozen previously-unreleased tracks from the great James Govan – presented here with work from some of his rare singles from Fame Records! All the music was recorded at Muscle Shoals when the scene was at its height – headed up by production whiz Rick Hall, and backed by the great Fame studio musicians – but it's Govan himself who really makes these tunes sparkle – singing with this rich voice that's clearly rooted in the 60s modes of Otis Redding, but which also stretch forth in a new style of his own! James has this earnest appeal on record that really echoes his image on the cover of the set – and there's a charm to these tunes that really goes beyond the usual southern soul of the period –far past any overdone cliches or commercial modes. The discovery of these dozen sides is a great thing for fans of southern soul – and they make a great counterpart to the few Fame singles that Govan ever issued. Titles include "I've Gone Too Far", "Something", "Stuck On Her", "Way Over Yonder", "I Shall Be Released", "You Get A Lot To Like", "Just Like A Woman", "Take Me Just As I Am", "Jambalaya", and "Wanted Lover No Experience Necessary". CD

The title's an apt one – as the record features one side of Duke Ellington compositions, and one side of Charlie Parker tunes – all played by bop legend Al Haig in an intimate solo setting! The obscure date is one of Haig's most personal sessions ever – a record that has even more sensitivity than some of his earlier classics, and which shows a surprisingly deep side of his talents in these later years. There's a subtle sort of charm that marks the Japanese origins of the set – and titles include "Yardbird Suite", "Lover Man", "I Remember You", "Sophisticated Lady", and "Prelude To A Kiss". CD

A work of understated brilliance from guitarist Jim Hall – and one of our favorite records by him! The setting is simple – Hall plays live with a trio, on a set of familiar standards – but the results are remarkable, as both Hall and the rhythm section manage to bring a hell of a lot of swing and imagination into such a tiny space! Hall's always had a rhythmic approach to his work, but here, playing with drummer Terry Clarke and bassist Don Thompson, he really opens into a great groove – stretching things past his usual standard, and bringing a lot more soul into the set than you might expect. The tunes are ones you'll recognize – "Angel Eyes", "Round Midnight", and "The Way You Look Tonight" – but the real charm is what Hall and the trio do with them! CD

A work of understated brilliance from guitarist Jim Hall – and one of our favorite records by him! The setting is simple – Hall plays live with a trio, on a set of familiar standards – but the results are remarkable, as both Hall and the rhythm section manage to bring a hell of a lot of swing and imagination into such a tiny space! Hall's always had a rhythmic approach to his work, but here, playing with drummer Terry Clarke and bassist Don Thompson, he really opens into a great groove – stretching things past his usual standard, and bringing a lot more soul into the set than you might expect. The tunes are ones you'll recognize – "Angel Eyes", "Round Midnight", and "The Way You Look Tonight" – but the real charm is what Hall and the trio do with them! CD

A legendary album – and for good reason too – a set that's as mysterious as it is funky, and a record that's stayed at the top of our crates for years! The album features a really unusual collective of musicians, pulled together under the guidance of producer Paul Winley – a group that features George Benson on guitar, Dave Baby Cortez on organ, Willis Jackson on tenor sax, and Earl Williams on some massively funky drums! The music's a mix of funky jazz and gritty soul – put together with some really weird studio touches – including an uncredited male voice that comes in and out of the tracks, bad-rapping along with some very hip commentary. Ann Winley sings the female vocals on the set – often egged on by the dude – but the real charm of the record lies at the bottom – the wicked drums, funky basslines, and choppy instrumental bits that have gotten the set sampled plenty over the years. Titles include the classic "Smokin Cheeba Cheeba" alone, the groovy "Finger In It", a great breakbeat version of "Ain't No Sunshine" with a tenor solo by Willis Jackson, and the slow bluesy talking cut "Fed Up", a baaaad rap about a couple splitting up – done here in both vocal and instrumental versions. CD

A really great live set from alto genius Johnny Hodges – a set that's right up there with some of his best studio albums on Verve at the time! As with those records, Johnny's taking a slight sidestep from the world of Duke Ellington here – working with similar material and familiar players, but also really stretching out on these beautiful solos that focus on his warm, raspy charm on the alto – that quality that made Hodges as important to the sound of mid 50s jazz as Ben Webster or Lester Young on the tenor! The group's a septet, and other players include Lawrence Brown on trombone, Harry Carney on baritone, Al Williams on piano, and Ray Nance on cornet – on titles that include "All Of Me", "Blues For Madeline", "Solitude", "Mood Indigo", "Do Nothing Till You Hear From Me", "Jeep's Blues", "Rockin In Rhythm, and a nice long take on "Perdido". CD

Wonderfully groovy work from the team of Jackie Cain & Roy Kral – a set that has the pair moving into much hipper modes for the 60s, and really taking off from the greatness of earlier records! Backing is still by Roy's core trio, with acoustic piano at the lead – but the addition of electric bass to the lineup really helps the tunes step along nicely – hitting a groove not heard before from Jackie & Roy, with results that are completely sublime! There's a definite bossa influence that comes into some of the best tracks – a skipping, lilting approach to rhythm that's made even better by the unique dual vocals of the team, especially when they're singing wordlessly. But even when lyrical vocals are part of the mix, the sound is still great too – and Jackie & Roy have a way of bringing charm to a tune that few other singers can touch! Titles include "Lovesick", "A Big Beautiful Ball", "You Really Started Something", "Let's Begin", "Mimosa & Me", "Corcovado", "Samba Triste", and "The World Is Your Balloon". CD

Wonderfully groovy work from the team of Jackie Cain & Roy Kral – a set that has the pair moving into much hipper modes for the 60s, and really taking off from the greatness of earlier records! Backing is still by Roy's core trio, with acoustic piano at the lead – but the addition of electric bass to the lineup really helps the tunes step along nicely – hitting a groove not heard before from Jackie & Roy, with results that are completely sublime! There's a definite bossa influence that comes into some of the best tracks – a skipping, lilting approach to rhythm that's made even better by the unique dual vocals of the team, especially when they're singing wordlessly. But even when lyrical vocals are part of the mix, the sound is still great too – and Jackie & Roy have a way of bringing charm to a tune that few other singers can touch! Titles include "Lovesick", "A Big Beautiful Ball", "You Really Started Something", "Let's Begin", "Mimosa & Me", "Corcovado", "Samba Triste", and "The World Is Your Balloon". CD

One of the key genre-starting records from Perry Farrell and Jane's Addiction – work that sprung out of the tail end of the 80s with many of its musical changes intact, but which also isn't really like any of them at all! The record's not really punk, metal, or even some of the hard rock that was morphing into grunge – although it borrows the best of all those styles, and serves things up with that really unique charm that made Farrell such a compelling frontman. The album was the group's last in their initial burst of genius – and fits nicely alongside the other two – with tracks that incude "Been Caught Stealing", "Stop", "No One's Leaving", "Classic Girl", "Then She Did", and "Ain't No Right". CD

An album that begins with a hip hop vibe at the start, but which soon moves into really warmly wonderful territory – at a level that marks the set as a hell of a debut for Joe! The singer has this raspy charm to his vocals that's really wonderful – the kind of individual voice that really sets a record like this apart from the rest of the time, even when some of the song structures are familiar. Joe helped produce the set, and he does a great job of letting the personal qualities of his voice trickle through some of the beats and gentle grooves of mainstream R&B from the period – setting out a unique vibe throughout, on titles that include "What's On Your Mind", "The One For Me", "All Or Nothing", "I Can Do It Right", "Get A Little Closer", "Baby Don't Stop", "Everything", and "If Loving You Is Wrong". Includes bonus tracks – "The One For Me (club mix)", and "All Or Nothing (poor Georgie Posey rmx)". CD

Hard to imagine Etta Jones being lonely and blue – especially when she sounds as great as this! The album's one of Jones' early classics from Prestige – a date that really has her classing things up a lot, and drawing on bits of Billie Holiday and Dinah Washington's styles, to mix in with the bluesier tones of her roots – put together with a great deal of charm, and a new sophistication that made Etta one of the hippest jazz singers of the 60s! Backing is by a cool small combo – with Patti Brown on piano, Wally Richardson on guitar, and a bit of tenor from Budd Johnson – and titles include "I'll Be There", "In the Dark", "Gentlemen Friend", "I Wonder", and "Miss You So". CD includes 3 more bonus tracks from a date recorded with Gene Ammons on tenor – "But Not For Me", "If You're But A Dream", and "Cool Cool Daddy". CD

Plenty cool sounds from Joyce – a lady who's always been the definition of the world used in the title – thanks to her totally unique, totally wonderful style! The album's one of a number of recent gems that have Joyce really going back to basics – hitting that soaring blend of vocals and acoustic guitar that first made her 70s recordings so great, cut here with small combo instrumentation that includes Tutty Moreno on drums and Helio Alves on piano. But the real charm, as always, comes from Joyce – the way she works her voice, plays her guitar, and ties the two of them together in a manner that's unlike anyone else – a sound inspired by bossa, inflected by jazz, but totally her own throughout. Familiar tunes get completely remade with the approach – as you'll hear on the set – which includes these sublime Joyced-up versions of "Cool", "Let's Do It", "Love For Sale", "Fever", "The Shadow Of Your Smile", "Invitation", and "Moon River" – all sounding very unique, and plenty darn cool! CD

The only album we've ever seen from Khemistry – but a heck of a sweet little set, and one that's always been dear to our hearts! The trio features two gals and one guy, all working with a great sing-song approach on the vocals – and a snapping 80s groove on the rhythms! There's a warmth here that you don't always find in sets of this type – a simple, straightforward feel that keeps the whole album humming along nicely – even through some of the mellower numbers. Production is never too commercial, and the instrumentation's never too electric – and the album's got a simple charm that's kept it a favorite on rare soul lists for decades. Titles include "Can You Feel My Love", "There's No Me Without You", "I Can't Lose With The Stuff I Use", "Sucker For The Boogie", "I Got A Feeling", and "Walking Papers". CD

A beautifully understated album from Morgana King – one that has her working with familiar arranger Torrie Zito, but in a style that's a bit more laidback than before! There's a bit of strings on the album, but they really just shade in the sound from the back – leaving plenty of space not only for Morgana's vocals, but also for some great keyboard lines from Don Rebic and guitar from Joe Puma! King's vocals could almost carry the record alone, even without the other instrumentation – but the warmth of the keyboards and well-pointed lines from Puma really help things open up – and subtle use of percussion from Ray Mantilla and Sue Evans makes for some surprising sounds in the background that further the charm of the set. Titles include "Gentleman Friend", "Time After Time", "Dearly Beloved", "Lilac Wine", "With You I'm Born Again", "Through The Eyes Of Love", and "I Wished On The Moon". CD

Wonderful work from King Floyd – post-Stax, post-Atlantic, but still sounding great here – with that undeniable charm that always makes his records sound so great! Floyd's got a way of singing that's deep, but also a bit effervescent too – this crackling sort of energy in the way he puts over a lyric, even bluer one – which really gets some great support here from a small backing combo at Malaco, who can really hit the right sort of "Groove Me" mode at times! The set's a great example of the way that Malaco easily picked up the torch when those other two labels were starting to lose their coverage of the south – and King's very much at home on a sweet set of tunes that include "I'm Gonna Fall In Love With You", "I Don't Think I Could Face It", "I Feel Like Dynamite", "Movin' On Strong", "So True", "Can't Give It Up", and "Try Me". Nice photo of some ribs on the cover, too! CD

A pretty sweet set from the legendary Ramsey Lewis – possibly his best in years – all original material performed with his impeccable trio! If title Songs From The Heart has you expecting smooth, commercial fluff, you'll be pleasantly surprised. It's exceptional trio jazz all the way. Lovely and tender, but precise and very moving material. It includes songs Ramsey wrote, quite surprisingly, for the Joffrey Ballet Company, and other pieces he wrote to perform with the Turtle Island Quartet. Straight forward, lyrical jazz from Ramsey's piano to your soul, backed masterfully by bassist Larry Gray and drummer Leon Joyce, plus some equally wonderful solo pieces. Titles include "To Know Her Is To Love Her", "Touching, Feeling, Knowing", "Clouds In Reverie", "The Spark", "Conversation", "The Way She Smiles", "The Glow Of Her Charm", "Long Before She Know", "Watercolors" and more. CD

One of the strangest things about Abbey Lincoln's career is the fact that, despite her hip affiliations with the left end of the jazz spectrum, she's actually been slotted into a fair number of straighter projects, not only in music, but in film as well. This album's a perfect example of that – and may well be the reason for Abbey's later leanings towards the left – as here, in her debut LP, she comes off as a dreamy girl singer, recorded by Liberty almost in a mode that's similar to Julie London or some of their other gal stars – with complicated backings from Benny Carter and Marty Paich. The record is lacking the stark captivating quality of Abbey's later records, but it does have a certain kind of charm – especially as the love themes in the set are all-adult, at a mature level that you'd really only hear from a rare few other singers, like Shirley Horn or Lorez Alexandria. Titles include "Two Cigarettes In The Dark", "Take Me In Your Arms", "No More", "Affair", "This Can't Be Love", "I Wake Up Smiling", and "Love Walked In". CD

Tight and soulful blues from Little Milton – just the sort of record that helped him cross over to bigger audiences back in the day, and a set that still sounds plenty great all these many years later! The set was done in Chicago – arranged by James Mack, with backing vocals from Kitty & The Haywoods – and the sound is a sweet west side mix of rootsy and soulful elements – a blend that shows the same growing sophistication of the Malaco scene at the time, at a level that moves nicely away from college circuit blues cliches of the 70s. Milton's vocals are wonderful – raspy and appealing with a Tyrone Davis-like charm – and titles include "Friend Of Mine", "Don't Turn Away", "You're Gonna Make Me Cry", "It's All Bad News", "Sundown", "Bring It On Back", and "Baby It Ain't No Way". CD

Mature, mellow, and totally wonderful – clear proof that Julie London was still making great music well into the 60s! The album's got a simple, unassuming charm – very much in the late nite mode you'd guess from the title, with spare backings from Don Bagley that often have a key guitar line in the mix – working along with London's vocals in the same style as the mid 50s – but with a different feel overall – a bit more mature and world-wise, which makes for a perfect fit for tunes that include "I Got It Bad", "Here's That Rainy Day", "Am I Blue", "I'll Never Smile Again", "Can't Get Out Of This Mood", and "When The Sun Comes Out". CD

A legendary album of spoken word and spiritual jazz – put together by The Institute of Positive Education in Chicago, and featuring wisdom and knowledge from the legendary Haki R Madhubuti! The album alternates shorter vocal/musical tracks with longer ones that are pure post-Coltrane jazz – played by a group that includes Wallace Roney on trumpet, Byron Harrison on guitar, and Rufus Wright on piano – all working with saxophonist Agyei Akoto, who's also the music director of the set. There's an incredibly positive feel to the set – one that tackles the issues of the time, but which does so with a sense of optimism that's extremely rare today – and which is part of the real charm of the album. Titles include "Talking Stick", "Rise Vision Coming", "Black Man", and "Walk The Way Of The New World". CD

A great relic from the cold wave scene of the early 80s – material that was originally issued on a small-run cassette, mostly as a demo for the group – but more than strong enough to finally be released as a full-length album! Mystery Plane work here in a spare, electric style that has that special warmth we love in a rare few UK acts from the same time – maybe some of the charm of Young Marble Giants, mixed with a few more tuneful tracks that almost seem to be going for the dark club territory of the early Sheffield scene. A few more tweaks, and these guys might have been huge – but we like them best this way, and love the honest approach of their music! Titles include "Telephone", "This Is Your Life", "Something To Prove", "Silence After Midnight", "Still Life", "Crying Again", and "Death Sentence". CD features bonus tracks "Heart Of Darkness" and "Graveyard In The Sky". CD

Pianist Caili O'Doherty has a great sort of shimmer to her tone – a sense of swing that's familiar, but nicely personal as well – a bit hard to describe in words, but a charm that grabs you instantly from the very first note! Her look on the cover, and the somewhat dated title reference might get in the way of the contents of the record – which are rock-solid, and a great statement from this young artist who's really found a way to leave her mark on the piano trio format – proof that with the right player, the trio still has a long way to go! Tamir Shmerling plays bass, Cory Cox handles drums, and Nicole Glover blows a bit of tenor and soprano sax on a few tracks – titles that include a great remake of the well-chosen Duke Pearson number "You Know I Care", plus the originals "Salt & Vinegar", "Runaway", "Mr O", "Al", "Quarantine Dream", and "Reach Within". CD

Groovy groovy work from the Japanese scene of the late 60s – performed by a cool quartet who harmonize vocally along with their instruments! The group's got a jazzy style – using piano, guitar, bass, and drums to lay down a groove – but their real charm comes from their harmonies, which are often recorded with a bit of echo, and which sound quite different than American or Brazilian work of this type, due to the Japanese lyrics! Many tunes appear to be original – which is great, as these cats aren't just harmonizing 60s hits, like so many other groups did at the time – and the record has a fresh feel that we really like, kind of a cross between American and Euro easy vocal group modes of the 60s. Song titles are all in Japanese, as are the notes – but there's a definite appeal here to Western ears! CD

Unreleased work by one of the greatest soul music songwriters of the 60s – the mighty Dan Penn, a key force in the Fame Records studio scene – heard here on a batch of mostly unreleased cuts from his best years! The package has Dan singing in the lead on all cuts – performing his own lyrics with backings from the same Fame Studios lineup that worked with soul greats like Clarence Carter, Candi Staton, and dozens of others who came to Muscle Shoals to record in the 60s and 70s – and Penn's vocals have this raspy, soulful charm that's years ahead of its time – a huge inspiration on male singers of the 70s, even though Dan never full got his due. His songs are the stuff of legend, but the man's equally great as a singer – and this collection really shows a light on his genius that should have gotten much more exposure back in the 60s. CD features 24 tracks in all – only 2 of which were ever issued before – and titles include "Trash Man", "Without A Woman", "Reaching Out For Someone", "I Need You", "Little Girl", "Destroyed", "Diamonds", "I Dig A Big Town", "I Love Everything About You", "So Many Reasons", "We're Swinging", "It Hurts", "She Ain't Gonna Do Right", "Do You Need It", and "You Really Know How To Hurt A Guy". CD

Contemporary work from Brazil, but a set that recalls some of our favorite soulful sounds from that scene in the 80s – particularly that moment when influences from American R&B and Cali styles were brought back to Brazil, and served up with all sorts of sweet homegrown touches! Quinhones has a nice rasp in his vocals – a quality that furthers the charm of the vocals, and helps them transcend the boundaries of language – as do the well-crafted keyboards on the set, which always seem to find the right sort of vibe to support the lyrics. Titles include "Sweet Narciso", "Seus Olhos Vidrados", "Cidade Narciso", "O Rio Continua Rindo", "Agua Salgada", and "Mentira Anestesia". Japanese CD features four bonus tracks – "Gota", "Garota Manga", "Parafuso", and "Toda Manha". CD

Maybe the warmest record by the Sea & Cake – drawing a lot more from their earlier The Biz and Sam Prekop's solo album than their previous The Fawn, adding strings to a lot of the melodies instead of the electronic sounds. Sunny avant pop that manages to pull off a little bit of soulfulness with their trademark laidback charm. Tracks include "Afternoon Speaker", "All The Photos", "You Beautiful Bastard", "The Colony Room", "The Leaf", "Everyday", "Two Dolphins", "Midtown", "Seemingly", and "I Missed The Glance". CD

An obscure group from the Michigan scene of the 70s – but one who work with a breezy vibe that feels a lot more like some of the Bay Area material we know from the time! These guys bring together a bit of jazz, touches of folk, and even some Brazilian currents – all in a mode that's nicely groovy on most numbers, and served up with a great degree of indie charm! Vocals shift between male and female leads – the latter of which are sometimes paired up on some of the best tracks, ala Sergio Mendes – creating a fullness that really lets those tunes flow! We're still not sure what was going on in the water in Michigan to create the group's special sound – but it's definitely been something that's keep the album going with collectors over the years. Titles include the funky fusion "People Suite" – plus"Surround Me", "Gotta Find Out", "Papa Taco", "Good Day", and "The Earth Has Music". CD features the bonus tracks "Angisa Alusa" and "Povo" – both mighty nice live cuts! CD

We love Wayne Talbert – and think he's one of the great under-discovered talents of his time! Wayne worked in the Sir Douglas Quintet, which is probably how he ended up recorded for Mercury – but he's got a sound that's very distinct, and has this really amazing mix of jazz, soul, and Texas elements – but all with a vibe that's unlike anything else we can think of! Wayne wrote most of the tunes on this set himself, and they often have these jazzy arrangements that includes bits of vibes, modal piano, soaring horns, and other elements that are all jumbled together – with a unique blend that's maybe in the territory of that great Shades Of Joy album on Fontana, with a similar disregard for easy labels or tags! Yet Talbert's soulful vocals also have a charm that really sets this one apart, too – almost Mose Allison meeting Joe Cocker somewhere down near the border – a quality that should have made Wayne huge – on titles that include "Dues to Pay", "What More Can I Say", "Schizophrenic Susan Minnick", "Funky Ellis Farm", and "Hell of a World". CD

A crossover classic from the new Jack generation – and a record that maybe comes across with even more charm in the 21st Century than it did back in the day! Sure, the three Ts were never going to deliver the deepest soul or the hardest lyrics – but they've got a great way of blending together hip hop influences and damn catchy hooks, all at a level that really helped push soul music forward strongly at the time! The group produced the set themselves, and titles include their great remake of "It Never Rains In Southern California", the Vanessa Williams guest on "Oakland Stroke", and the titles "Sky's The Limit", "Those Were The Days", "The Blues", "let's Have A Good Time", "I Care", "Feels Good", and "All The Way". Bonus tracks include "Feels Good (12" party mix)", and "House Party II (ext club)". CD

A lost bit of Cali soul from the 80s – the first album from Twilight, not really a group, but more of a solo studio project from Lawrence Ross! Ross was a shift worker at General Mills, but had some free time to conceive his dream soul album during the twilight hours of the day – hence the name of the "group" –and after slaving away on his off hours to put the whole thing together, he recorded most of this set within the space of a week playing most of the instruments himself! A few other guest artists came in to round out the sound, but there's definitely a personal quality to the record that belies Ross' close association with the whole thing – carefully written tunes that could have challenged the mainstream, had they gotten bigger production, but which have a great deal of charm since they're done here in a more stripped-down, indie-styled way. Twilight has all the best aspects of soul acts of the time – some tight groovers that mix up boogie rhythms with some warmer Cali soul – and a few mellower cuts that benefit from some cool spacey keyboards. Titles include "Play My Game", "Scorpittiarus", "We'll Be Special", "Love's High", "You Know It's Me", "Love's The Way", "Straight To My Heart", and "Just A Kiss Away". CD

McCoy plays Duke, with surprisingly great results – thanks to an expanded trio format that features lots of additional percussion! McCoy's on piano, working alongside Coltrane bandmates Jimmy Garrison on bass and Elvin Jones on drums – but the real charm of the record comes from Willie Rodriguez and Johnny Pacheco, who add in extra percussion to most numbers, and really complicate the rhythms nicely! The tracks are way more than simple Ellington tribute numbers, and the fresher rhythms really liven things up tremendously – giving the record a soulful swing that we wouldn't expect from either Tyner or Duke! Titles include "Mr Gentle & Mr Cool", "Gypsy Without A Song", "Duke's Place", "Caravan", and "Searchin". CD

Mc Coy plays Duke, with surprisingly great results – thanks to an expanded trio format that features lots of additional percussion! McCoy's on piano, working alongside Coltrane bandmates Jimmy Garrison on bass and Elvin Jones on drums – but the real charm of the record comes from Willie Rodriguez and Johnny Pacheco, who add in extra percussion to most numbers, and really complicate the rhythms nicely! The tracks are way more than simple Ellington tribute numbers, and the fresher rhythms really liven things up tremendously – giving the record a soulful swing that we wouldn't expect from either Tyner or Duke! Titles include "Mr Gentle & Mr Cool", "Gypsy Without A Song", "Duke's Place", "Caravan", and "Searchin". Includes 3 bonus tracks "It Don't Mean A Thing", "I Got It Bad", "Gypsy Without A Song (alternate)". CD

The first album by Marcos Valle after years and years away from the studio – a set that really reintroduced his talents to a whole new generation! The set was recorded for the Far Out label in London – a then-new imprint who were doing a great job to bring back a Brazilian groove that had been lost since the 70s – and Valle was one of a few key artists they had a big hand in reviving! The record's got a great modern bossa nova feel, with a good electric sound, and lots of nice moody grooves on piano and guitar, plus nice vocals by Marcos himself – sounding a bit older than on his 80s soul records, but in a way that really makes the album crackle with charm! Titles include "Novo Visual", "Nordeste", "Bar Ingles", "Bahia Blue", "Cidade Aberto", and a remake of "Vontage De Rever Voce". CD

A really overlooked album from Caetano Veloso – one that's quite different than the more experimental modes of records like his Tropicalia sets, or his Araca Azul record – but with a unique charm that makes it every bit as special as those! The set's quite stripped-down and personal – and really has Veloso getting back to basics – in ways that are a bit like his UK album from 1971, but more upbeat and positive too. The tunes are really thoughtfully presented, with spare backing that puts Veloso's amazing vocals right out front – heard to especially wonderful effect on the album's English-language readings of three late Beatles tracks – "Eleanor Rigby", "For No One", and "Lady Madonna". All titles are great, though – and tunes include "Nicinha", "La Flor De La Canela", "Drume Negrinha", and "Samba E Amor". CD

A stunning little record from Wappasou – a French group who might be dubbed prog, but who work in much more organic territory overall! The tracks are long and stretched out, but never in a jamming way – and instead seem to flow magically from these core organ lines and acoustic elements on guitar, flute, and violin – used in long layers that build nicely, a bit like the work of Popol Vuh at their more acoustic, folksy side. There's vocals on a few numbers – often used more like an instrument than with a lyrical focus – but with a subtle French flavor that really gives the music its own unique sort of charm. Titles include "Chatiment", "Melopee", "Trip", and "Rien". CD features two bonus tracks – "Borgia" and "Femmes Fleeurs". CD

One of the last full recordings from Johnny Guitar Watson – and a surprisingly great little set that still stands strongly with some of his last funky records from the early 80s! The vibe is slightly contemporary – with some touches of 90s R&B in the production – but Watson's vocals still have that wonderful sense of charm that glides along with his sweet guitar lines – in ways that are plenty great, even amidst the changed-up rhythms. Titles include "Bob Wow", "Johnny G Is Back", "My Funk", "Time Change", "Hook Me Up", and "I Don't Think So". CD

Some of the first truly sublime work from Johnny Guitar Watson – mid 50s R&B sides cut for the Modern label in LA, served up in a wonderful blend of blues roots, jazzy inflections, and that undeniable Johnny Guitar sense of power and personality! Even at this early age, Johnny had a style that was unlike anyone else – electric guitar-based blues at its roots, but served up with a hipper, smoother, more jazz-inspired style – one that was a perfect match for the wit and charm of Watson's vocals. The 16 track collection is still one of the best documents of Johnny's talents from the time – and it's filled with classics that include "She Moves Me", "Hot Little Mama", "Motor Head Baby", "Hot Little Mama", "Ruben", "Ain't Gonna Hush", "The Bear", "Those Lonely Lonely Nights", and "Three Hours Past Midnight". CD

Strong later work from the great Ben Webster – three albums in a single set! On the first record, Ben Webster plays live in Harlem – not the uptown scene in New York, but the Dutch city that became a surprisingly strong showcase for American players overseas! The date's got that easygoing style of some of Webster's best late live performances – a laidback rhythm trio, and Ben himself blowing these raspy, blue-tinged notes that are full of feeling – even when in a familiar setting – that quality that can make even subtle handling of a standard pop out with such Webster-like charm! The group features Tete Montoliu on piano, Rob Langereis on bass, and Tony Inzalaco on drums – and titles include "Stardust", "How Long Has This Been Going On", "Sunday", "For All We Know", and "Perdido". Live In Stockholm is a posthumous release of live material recorded in Sweden, during a time when tenor genius Ben Webster was doing some of his best work overseas! The tracks here feature Ben in a few different settings – with piano from Teddy Wilson or Lasse Sjosten, bass from Red Mitchell or Sture Nordin, and drums from Ed Thigpen and Frederik Noren. But maybe best of all is the trumpet work on most tracks – played by either Arne Ryskog or Rolf Ericson, both players whose presence really brings a lot – and makes the record a bit different than some of those other "older American soloists with a European rhythm section" dates of the time. Titles include "Indiana", "C Jam Blues", "The Theme", "Satin Doll", "I Got Rhythm", and "Don't Get Around Much Anymore". The last album is a late live set from Ben Webster – recorded in Norway with an unusual rhythm section that really lets Ben open up and do his thing, always with that fantastic twist on his tone he developed later in life! The group features Tore Sandnaes on piano, Bjorn Alterhaug on bass, and Kjell Johansen on drums – and titles include "In A Mllotone", "Sunday", "Satin Doll", "Perdido", "I Got Rhythm", and "Stardust". CD

A funky gem from Hammond hero Reuben Wilson – one of the last great organ players to emerge from the 60s soul jazz scene – and a musician who seemed to have a great ear for funky currents right from the start! Part of the album's charm is the drums of Idris Muhammad (aka Leo Morris) – who brings a sound here that's similar to his famous late 60s work with Lou Donaldson – and the group also features a few nice Donaldson-styled touches from Grant Green on guitar, helping merge the groove here with some of his own great Blue Note dates from the time. The rest of the lineup features Lee Morgan on trumpet and George Coleman on tenor – a rare funky date for a player like Coleman – and titles include the funky cuts "Hot Rod" and "Love Bug", plus other groovers like "Back Out", "Stormy", and "I'm Gonna Make You Love Me". CD

Thank John Hughes & Ferris Beuller for the fame of this one – the album that pushed Yello over the top with the perennial favorite "Oh Yeah" – a tune that's been used countless times over the years since that famous soundtrack, and which still resonates on TV commercials and local news promos to this day! Yet despite the overplayed quality of that track, there's still a brilliance here that shows that Yello were capable of remaining creative even at the height of their fame – a talent for uncomplicated electronics that step out with quirky, playful modes that ooze charm and a sense of personal vision within pop music. Titles include "Oh Yeah", "Vicious Games", "Desire", "Domingo", "Let Me Cry", "Sometimes", "Angel No", "Ciel Ouvert", and "Desert Inn". CD

An incredible collection of Stevie Wonder cover versions – different versions of familiar tunes, but ones that really manage to sparkle with all the righteous soul of the Stevie himself! It's been over a decade since DJ Spinna brought us the last version of his Wonder Of Stevie series – and during that time, he's managed to come up with a huge amount of great tracks that make the whole thing go way way deeper than before – not just cuts that copy the Wonder mode, but which seem to draw strong inspiration from its genius, and really soar to the skies! Much of the music here resonates with a charm that's located around the years of albums like Music Of My Mind and Innervisions, with all the jazzy currents that might imply – and some cuts are 70s vintage, others are more contemporary. Titles include "Bird Of Beauty" by US Atlantic First Navy Show Band, "It's My Pleasure" by Billy Preston, "Love's In Need Of Love Today" by John Minnis Big Bone Band, "As" by Tony Sherman, "Buttercup" by Jackson 5, "Have A Talk With God" by East St Louis Gospelettes, "Betcha Wouldn't Hurt Me" by Quincy Jones, "Golden Lady" by Reel People with Tony Momrelle, "If You Don't Love Me" by GC Cameron, "If She Breaks Your Heart Again" by Foreign Exchange, "Don't You Worry Bout A Thing" by Black Sugar, "Go Home" by Jrod Indigo, and "Make My Water Boil" by David Ruffin. 2CDs – one of the cuts unmixed, one with the tracks in a continuous mix by Spinna! CD

Two early calypso albums on Capitol Records – both pretty unique! First up are some of the first-ever recordings by Harry Belafonte – material recorded in 1949, with Pete Rugolo backings that are really amazing – as jazzy and modern as anything Rugolo did for other singers of the time, with only a hint of calypso in the rhythms. Belafonte sounds quite different on the sides than in later years – still with those tremendous vocals, but almost more of a jazz singer at points – which is a really surprising discovery! This aspect's supported strongly by the choice of tunes – which includes "Deep As The River", "Farewell To Arms", "Close Your Eyes", "The Didn't Believe Me", and "I Still Get A Thrill". Next up is a full album of straighter calypso material by Lord Flea & His Calypsonians – but one that also has a bit of a Capitol Records groove! Flea plays acoustic guitar and sings, and percussion is nice and tight – but there's also a fuller sense of space on the record, one that really sets it apart from other 50s efforts of this type – kind of a Capitol clarity that really adds a lot of charm. Titles include "Out De Fire", "Mister Give Me De Rent", "It All Began With Adam & Eve", "Jump In The Line", "Run Run Run", "Love", and "Monkey". CD

Two classic Lloyd Charmers albums – both new to CD, and presented here with lots of first-time CD bonus tracks too! First up is the great Gold Connection album – an obscure little record, but a soulful one too – a rare 70s Federal Records session that mixes together reggae and soul – with vocals by a trio of female singers that includes a young Marcia Griffiths and Cynthia Schloss! Lots of tracks take a disco inspiration, but slow the pace down a lot more for the Kingston scene – so that the grooves are dubby steppers with a lot more going on at the bottom than their American counterparts up north – laidback, and given some nice instrumentation from Willie Lindo on bass, Harold Butler on keyboards, and Cedric Brooks on tenor! Titles include "That's The Way I Like It", "Fly Robin Reggae", "Love's Theme", "Soul Charm", "Do It Anyway Reggae", "Latin Hustle Reggae", and "Darling I Like It". Next up is Sweet Dreams, a very unique album from Jamaican sweet soul singer Dobby Dobson – an artist who seems to owe a bit to Sam Cooke, and who references music from Sam's era too – remaking some older cuts with a warmer, sweeter 70s vibe overall! The Lloyd Charmers production makes for an unusual blend of reggae and classic soul – and titles include "Little Stars", "Sweet Dreams", "Oh Gee", "You're Mine All Mine", "Muriel", "My Special Prayer", and "It's A Miracle". 2CD set features 20 more bonus tracks – including the great Supernatural Thing project from Richard Ace with Lloyd Charmers – and more tracks from Sister Stern, The Africans, Richard Ace, Delroy Wilson, and CHARM! CD

2 great sessions from pianist Curtis Clark – a crucially overlooked player, and one with a style that bridges the modernist gap between Thelonious Monk and Cecil Taylor! The first 5 tracks on the set are all (coincidentally enough!) tunes by Monk – played with a trio that includes Wayne Dockery on bass and Louis Moholo on drums, in a style that really changes up the mood of the original compositions, yet still keeps all their angular charm. Titles include "Misterioso", "Monk's Mood", "Light Blue", and the great "Worry Later/San Francisco Holiday". The remaining 6 tracks on the CD feature the trio with Dockery and Moholo, expanded to a septet with players that include Tristan Honsiger on cello, Felicity Provan on trumpet, and Tobias Delius on tenor sax. These tunes are nearly all originals by Clark, and some of them are a fair bit straighter than his other work of the time – almost in a soulbop mode on the best numbers. Titles include "Sean", "Two Shadows In The Mist", "Nelson", and "Diaphane". CD

An early moment of genius from post-Beatles Paul McCartney – a solo set that's wonderfully diverse throughout – filled with the kinds of cool little twists and turns we loved in his late Beatles records, and in his 70s killers with Wings! There's a newly-emerging sweetness going on here – that great sound that started to emerge with the McCartney album – where Paul was a proud, put-together family guy – easily one of the most confident of his fab foursome, and able to bring an incredible amount of charm to just about any style he wanted to try! Some of the best cuts here are the mellower, more personal moments – still delivered with an amazing rock-solid sense of musicianship and production, too – and even the rockers, which might sound clunky in the hands of anyone else, manage to come off with a great deal of charm as well. Titles include the wonderfully playful "Uncle Albert/Admiral Halsey" – plus "Too Many People", "Heart Of The Country", "Dear Boy", "Ram On", "The Back Seat Of My Car", and "Smile Away". Deluxe edition comes in a beautiful clothbound box and includes the original album in mono and stereo, the Thrillington instrumental album, bonus tracks, a DVD documentary, 112-page book, and lots of other goodies! CD

Easygoing 60s pop groovers from the inimitable Chris Montez – the best and brightest numbers from his A&M years! Chris in his prime years sang with a naive charm that's pretty much irresistible – crooning in his baby smooth voice over surprisingly rich production – with lots of vibes and light horn arrangements that no doubt helped pave the way for the lounge pop to come! 22 tracks in all: "Call Me", "The More I See You", "Foolin' Around", "The Very Thought Of You", "Time After Time", "There Will Never Be Another You", "Our Day Will Come", "The Face I Love", "Elena", "Keep Talkin", "I Will Wait For You", "Just Friends", "Little White Lies", "I'm Glad There Is You (In This World Of Ordinary People)", "End Of A Love Affair" and more. CD

One of Nilsson's best ever albums – with a more streamlined overall sound than some of his wildly eclectic earlier LPs – really putting a tight focus on both his vocal and songwriting genius! There's an easygoing charm to the album that's pretty much unrivaled in his catalog (and highlighted by the early morning cover photo) – backed by guitars, keys, and in some spots horns – with loads delicate moments and oddball humor. Pure greatness! Titles include "Gotta Get Up", "Driving Along", "Early In The Morning", "The Moonbeam Song", "Down", "Without You", "Coconut", "Let The Good Times Roll", "Jump Into The Fire" and "I'll Never Leave You". CD

Not a bad little side project from actor/musician John Lurie – who's working here under the guise of a mysterious blues musician! That gimmick is maybe the worst part of the record – as the music is clearly new, and hardly classic blues at all – but if you can get past it, the record's actually got a heck of a lot of charm in a Tom Waits sort of way – and makes us wish that Lurie had done even more material like this, maybe even under his own name – which would only push his strong personal even further into the music. The album features work from Evan Lurie, Marc Ribot, and John Medeski – and titles include "Wanna Wanna", "I'm A Doggy", "Small Car", "Runnin Round", and "Arms & Legs". CD

Four classic albums from one of the early masters of exotica! First up is Ritual Of The Savage – one of those must-have albums from the 50s – a super-huge record upon its initial release, and an album that pushed the genre of exotica far further than most others at the time! Before this record, most attempts at exotica were simple instrumental pop, colored with slight worldly instrumentation – or too-dreamy recordings, putting over a sleepy version of life on the islands. Enter Les Baxter, who had an amazing ear for sounds, rhythms, and arrangements – one that was the first to record this sort of music in a way that was sonically evocative, and could stand on its own without other referents. Instrumentation is often conventional, but used oddly here – and Baxter's original compositions are all pretty darn great – playful without being goofy, and nicely mixing Latin and Pacific rhythms at the bottom. Titles include "Busy Port", "The Ritual", "Coronation", "Jungle Jalopy", and Les' original version of "Quiet Village". Next up is The Passions – a really obscure box set recording – done as Les Baxter's classic exploitation of "a woman's passions", using vocalist Bas Sheva in the role of the tormented female! Sheva's got a bold, evocative style that's not unlike Yma Sumac – and she sings here wordlessly, as an added instrument on top of Baxter's orchestrations – playing the role of the inner psyche of woman, on titles that include "Lust", "Terror", "Joy", "Hate", "Ecstasy", and "Despair"! The whole thing's a mini docu-drama in sound – beautifully recorded in a flurry of red, blue, and other chromatic hues – not as exotic as Baxter's other work from the 50s, but equally great as a modern sonic psychoanalytic text! Tamboo was cut with Les Baxter's orchestra and chorus – and it's a swirling mass of tribal drums, singing strings, and moody voices that would forever change the face of easy listening. Les' compositions are astounding – filled with all the sophistication of a great soundtrack, but simple enough to evoke the fake primitive charm of the album's cover. Every cut is great – and tracks include "Simba", "Oasis of Dakhla", "Mozambique", and "Zambezi". The cover's got a gorgeous blue painting of natives dancing in the background, while a drummer drums in front. Caribbean Moonlight is not as all-out exotic as some of Les' earlier Capitol albums, but still pretty darn great! The theme here is Caribbean exotic, and the rhythms have a little bit more of Cuba and Haiti than they do of primitive Borneo. Les handles them nicely, as always, and contributes some wonderful arrangements to the album. Titles include "Deep Night", "Green Eyes", "Sway", "Out Of This World", and "Adios". CD

Art Blakey, without any Jazz Messengers – but still coming through loud and clear, thanks to help from a unique group that features Sonny Stitt on tenor, McCoy Tyner on piano, and Art Davis on bass! The album's still got all the hardbop charm of Blakey's best Blue Note dates, but also feels a bit more spontaneous too – and the basslines of Davis are a wonderful change from the usual – beautiful sounds that drive the record quite strongly up from the bottom! Titles include the killer "Cafe", plus "Blues Back", "Just Knock On My Door", "Summertime", and "The Song Is You" – and the album features fantastic blowing from Stitt! CD

The first solo album from John Cale – and a record that's about as different a statement as he could have made from his previous work in the Velvet Underground! There's an approach here in both the songwriting and instrumentation that's instantly Cale-like – sounds that have a knowledge of all the newer ideas that have been brewing up in the underground throughout the 60s – both in rock and more "serious" forms of art music – yet a way of putting over the tunes with undeniable charm, and which have Cale rising to the forefront as a surprisingly strong lead. A few steps further, and John might well have been a compelling crossover pop singer with a record like this – yet it's also his way of holding back that really makes things interesting – especially given all the different directions his career would take in the next few years – all hinted at here, but hidden in some surprisingly tuneful songs. Titles include "Ghost Story", "Amsterdam", "Charlemagne", "Hello There", "Gideon's Bible", "Adelaide", "Cleo", and "Big White Cloud". CD

The longest album ever from The Clash – a stunning triple LP set that really shows the group bristling with new ideas and energy throughout! There's a hell of a lot going on here – some cuts that are every bit as strong as the previous records, others that offer a few mis-steps but in a wonderfully playful way – and a few more that really hit this sort of unique mix of genres and politics that could only be summed up as Clash-like at its best! Bits of hip hop, reggae, new wave, funk, and more mix together beautifully – and the album's got a hell of a lot of charm and character, even if you're skipping past a few of the cuts you don't like as much as the others. 36 tracks in all – and titles include "The Magnificent Seven", "Hitsville UK", "Junco Partner", "The Leader", "Police On My Back", "Midnight Log", "The Call Up", "Washington Bullets", "Broadway", "Rebel Waltz", "Look Here", "The Crooked Beat", "Somebody Got Murdered", "Lose This Skin", "Charlie Don't Surf", "Kingston Advice", "Corner Soul", "Let's Go Crazy", "The Sound Of Sinners", "Living In Fame", "Silicone On Sapphire", and "Career Opportunities". CD

A deep, rootsy record for Bluesville by Blind Gary Davis – who sings and plays guitar on 12 spare songs with grit, soul and charm – on a mixture of traditional blues tunes and originals. Gary also recorded and performed as Reverend Gary Davis on stirring gospel blues records over the years, and while Harlem Street Singer has a strong spiritual side, it's got a downhome blues feel, too. Raw, wonderful recordings by a legend. Titles include "Tryin To Get Home", "Samson & Delilah", "Death Don't Have No Mercy", "I Belong To The Band", "Pure Religion", "I Am The Light Of This World", and "Twelve Gates To The City". CD

We can remember when this movie spooked the heck out of us – and now it remains as a charming period piece from the days when New York was overrun by gangsters dressed up in baseball uniforms or overalls – representing a version of the Big Apple during the bankrupt 70s that's turned out to have more longstanding charm than the gang in Clockwork Orange! The music's very well-suited in a period style – a sweet mix of Latin, funk, rock, and soundtrack spookiness – with titles that include "Echoes In My Mind" by Mandrill, "Baseball Furies Chase" by Barry De Vorzon, "In Havana" by Kenny Vance & Ismael Miranda, "Nowhere To Run" by Arnold McCuller, and of course the classic "In The City" by Joe Walsh. CD

A pivotal album in the career of saxophonist Lou Donaldson – a set that really has him finding his own groove – a slow-stepping, soul-drenched mode that's a nice change from the bop of his roots! A key part of the record's charm is conga work by Ray Barretto – a player used often on early soul jazz dates like this – not in the Latin style of Ray's bigger work to come, but more in this extra-percussion mode that's a great blend with the drum work in the group by Dave Bailey – creating this mellow groove that's a great platform for Lou's smoking solos on alto! The rest of the group is great too – the wonderful Herman Foster on piano, plus Peck Morrison on bass – a great match for Bailey – on titles that include "Play Ray", "Callin' All Cats", and "Blues Walk". CD

A pivotal album in the career of saxophonist Lou Donaldson – a set that really has him finding his own groove – a slow-stepping, soul-drenched mode that's a nice change from the bop of his roots! A key part of the record's charm is conga work by Ray Barretto – a player used often on early soul jazz dates like this – not in the Latin style of Ray's bigger work to come, but more in this extra-percussion mode that's a great blend with the drum work in the group by Dave Bailey – creating this mellow groove that's a great platform for Lou's smoking solos on alto! The rest of the group is great too – the wonderful Herman Foster on piano, plus Peck Morrison on bass – a great match for Bailey – on titles that include "Play Ray", "Callin' All Cats", and "Blues Walk". CD

Duke Ellington makes a rare Verve appearance on this classic album – and works strongly in the mode of earlier sides recorded for the label by Johnny Hodges! There's a relaxed, small group feel going on here – one that's a bit different than some of the tighter Ellington work on Columbia during the 50s, and which almost paves the way for some of the more intimate piano sides that Duke would record during the 60s. In a way, Hodges is almost at the lead – given how comfortable he is here in a Verve setting – and other players include Harry Edison on trumpet, Les Spann on guitar, Sam Jones on bass, and Jo Jones on drums. The real charm, as always, is Hodges' solos, lean, mean, raspy, and soulful – and titles include "Weary Blues", "Royal Garden Blues", "Loveless Love", "St Louis Blues", and "Wabash Blues". CD

Nedly Elstak may not be a household name – and he's certainly not going to win any charm contests with his pose on the cover – but he's a hell of a great trumpeter from the Dutch scene of the 60s, and comes across beautifully here on a collection of rare live material from back in the day! The set's a real revelation to us – as we'd never heard Elstak before – and in addition to these sparkling trumpet lines that lie somewhere between Clifford Brown and Ted Curson – with the warmth of the former, and bite of the latter – Nedly also plays some piano too – an instrument that he really handles wonderfully – with a real range on the keyboard, and this thoughtful depth of sound that really blows us away. Tracks are all live, but really well recorded – and players include Theo Loevendie on alto, Dick Vennik on tenor, Rein de Graaff on piano, and Willem Breuker on bass clarinet – on titles that include great Elstak originals like "Some Astronomers Wonder", "Love You So", "The Machine", "No One Around", "Double Eclipse", and "Beautiful Mountain". CD

A surprisingly nice album from the better half of Steely Dan! This one kind of got cut out immediately when it was issued in 1993, but it's got a heck of a lot of charm – and given the success and style of the re-formed Steely Dan's Two Against Nature, this one sounds pretty great when we look back over our shoulder. And oddly, it's got some nice little modern soul arrangements that struck a strong note with the soul underground – and we can testify to the fact that the record was selling big with the stepper's scene in Chicago, even when it was stiffing in the pop racks elsewhere! Nothing fancy, but there's some nice moments, and with Walter Becker doing the production, it's kind of a Steely Dan album anyway. Titles include "Trans Island Skyway", "Countermoon", "Tomorrow's Girls", "On The Dunes", and "Snowbound". CD

A mighty great little record – a mixture of jazz and soul from the heavy talents of Hilton Felton – and a record that not only features some of his own great work on organ and keyboards, but some great contributions from other members of the DC scene of the 70s! In addition to help from The Blackbyrds in the core combo, and guest tenor from Andrew White, the set also features vocals from a young Angela Winbush on one track – singing backup on some others! But the core charm of the record comes from the grooves – the kind of upbeat, righteous sounds that we've always loved in Felton's keyboards – almost an extension of the Prestige Records jazz funk groove from the start of the 70s, with echoes of records by Funk Inc, Melvin Sparks, and Leon Spencer – but given a particularly hip east coast indie sort of spin! Titles include "Family & Friends", "Spreading Fever", "Never Can Say Goodbye", "Family Reunion", "Clay's Way", and "The Power Of Love". CD

A legendary album – and for good reason too – a set that's as mysterious as it is funky, and a record that's stayed at the top of our crates for years! The album features a really unusual collective of musicians, pulled together under the guidance of producer Paul Winley – a group that features George Benson on guitar, Dave Baby Cortez on organ, Willis Jackson on tenor sax, and Earl Williams on some massively funky drums! The music's a mix of funky jazz and gritty soul – put together with some really weird studio touches – including an uncredited male voice that comes in and out of the tracks, bad-rapping along with some very hip commentary. Ann Winley sings the female vocals on the set – often egged on by the dude – but the real charm of the record lies at the bottom – the wicked drums, funky basslines, and choppy instrumental bits that have gotten the set sampled plenty over the years. Titles include the classic "Smokin Cheeba Cheeba" alone, the groovy "Finger In It", a great breakbeat version of "Ain't No Sunshine" with a tenor solo by Willis Jackson, and the slow bluesy talking cut "Fed Up", a baaaad rap about a couple splitting up – done here in both vocal and instrumental versions. CD

Pivotal singles from the amazing Wanda Jackson – one of the greatest female rock and country voices from the 50s onward – who mixes a cutesy coo and a feral growl for a sound that was pretty much unprecedented at the time! The material bridges proto rock and country music in a way that confused the heck outta radio programmers and the label's hope to break her into superstardom back in the day – and Wanda had a voice that could've (and should've) made her a star on par with the Sun Studios boys club. She's tough and tender at the same time – and Capitol producer Ken Nelson is near the top of his game here, too. This really is the best of her Capitol singles – 29 in all – including "I Gotta Know", "Fujiyama Mama", "Honey Bop", "Did You Miss Me?", "Right Or Wrong", "Sinful Heart", "In The Middle Of A Heartbreak", "Mean Mean Man', "Sympathy", You Bug Me Bad", "Silver Threads And Golden Needles", "Rock Your Baby", "(Every Time They Play) Our Song", "Little Charm Bracelet", "No Wedding Bells For Joe", "Honey Bop" and more. CD

Nice Impulse work from Elvin Jones – 2 albums in a single package! Illumination features an amazingly unique little group – one that kind of stepped in the Impulse Records back door from the Coltrane galaxy, but which features some very unique aspects overall! As the cover states, the ensemble's led by bassist Jimmy Garrison and drummer Elvin Jones – and also features McCoy Tyner from Coltrane's quartet – yet the real charm of the record comes from the reed men, who include Prince Lasha on flute and clarinet, Sonny Simmons on alto and English horn, and Charles Davis on baritone sax! All players are free-thinking modernists, with ties to some of the farther reaches of 60s jazz – yet they work here in a beautifully inside mode, similar to Lasha's excellent Insight album on CBS UK – a vibe that takes all the most wonderful aspects of the Coltrane generation, but pushes them even further with some deeply personal expressions. Tracks include the seminal "Half & Half" – plus "Aborigine Dance In Scotland", "Oriental Flower", and "Nuttin Out Jones", and "Gettin On Way". Dear John C is one of the stranger albums on Impulse, but a beautiful session that's filled with surprises you wouldn't expect! Elvin Jones leads a group of odd bandmates in a set of tracks that's sort of a "letter" to Coltrane, and the groupings include either Roland Hanna or Hank Jones on piano, plus Richard Davis bass, and Charlie Mariano on alto sax! Mariano is the real highlight of the album, and his sparkling alto playing on the disc is some of his finest work from the 60s – really standing out in one of his few American sessions from the middle part of the decade. Titles include "Love Bird", "Fantazm", "Ballade", "Dear John C", and "Smoke Rings". CD

A great setting for Stacey Kent – one of the most lovely vocalists to emerge in recent years – heard here in a live performance that's almost got more charm than her previous studio albums for Blue Note! The space is large, but the group is nice and small – an intimate lineup that features guitar from Kent alongside the vocals, tenor and soprano sax from Jim Tomlinson, Fender Rhodes and piano from Graham Harvey, bass from Jeremy Brown, and drums from Matt Skelton – a lineup that provides perfect gentle backings for Stacey's unique way of singing – a light-voiced mode that almost feels like Blossom Dearie at times! Titles include "Waters Of March", "Quiet Nights Of Quiet Stars", "Breakfast On The Morning Tram", "O Comboio", "Dreamer", "Jardin D'Hiver", "Samba Saravah", and "Ces Petits Riens". CD features the bonus track "They Say It's Wonderful". CD

The definitely got the title right here – as BB King is plenty great, and already a powerhouse in these early years of his career! King sprung forth from the Memphis scene almost fully-formed – and in addition to his famous guitar work, he was also a hell of a singer who could bring a new sort of soulful presence to blues music – able to croon with the charm of a jazz singer in the right moments, join with a doo wop group at others, yet come on with the power of a bluesman whenever he stepped in front of the mic! This great album has BB in all these modes – recorded with brilliantly bold sound – and titles include "I Had A Woman", "Sweet Sixteen", "Someday Baby", "I'm Gonna Quit My Baby", and "I Was Blind". CD features 8 bonus tracks – including "Down Now", "Bim Bam", "Young Dreamers", "Shotgun Blues", "Woman Don't Care", and "Broke & Hungry" – some in rare unissued takes. CD

The title here is well-put – as the record marks a second chapter in the career of Danny Kirwan after leaving Fleetwood Mac behind – a set that showcases his vocal work as much as the guitar lines he was known for in that famous group – all with a cool, compressed production style that's up there with the best of the Brit scene in the 70s! There's a bit of the modernization of older modes that you'd fine in the music of Gilbert O'Sullivan – and although Danny's a very different artist, he's got a similar sort of charm here – working with arrangements from Gerry Shury that really fit the vibe of the songwriting. Titles include "Love Can Always Bring You Happiness", "Ram Jam City", "Odds & Ends", "Cascades", "Silver Streams", "Falling In Love With You", and "Mary Jane". CD

The title says it all – as Yusef Lateef works here in that wonderful mixture of hardbop, soul jazz, and Eastern stylings that he brought to all of his best early sessions as a leader! Lateef himself is playing tenor, flute, and oboe – which he uses to craft these eerie snakecharmer lines that work perfectly with the modal grooves of the tracks – very unusual rhythms for the time, and a real precursor to some of the world jazz experiments to come from overseas. The rest of the group features pianist Barry Harris, drummer Lex Humphries, and bassist Ernie Farrow, who also plays a strange instrument called a rabat – which further adds to the charm of the record. Titles include "Plum Blossom", "Purple Flower", "Three Faces Of Balal", and "Chinq Miau". CD

Two great sets from reedman Charles Lloyd! Dream Weaver really pushes forward all the experiments he'd begun in the Chico Hamilton group – and shows a bold move forward for rhythms in 60s jazz! The tracks are long, and spiral out wonderfully – but in ways that are different than those used by other creators of the time – like Eric Dolphy or John Coltrane. Even though leading the group on tenor and flute, Lloyd's got a real sense of rhythm to his playing – echoes of the Hamilton group – but set loose with a stellar quartet of younger players – including Keith Jarrett on piano, Cecil McBee on bass, and Jack DeJohnette on drums – all perfect choices for inventive music like this! The standout cut is the amazing "Sombrero Sam", a tight little groover that we never tire of – and one that has Jarrett sounding much more in the pocket than you'd ever imagine – and other tracks include "Dream Weaver", "Autumn Sequence", and "Bird Flight". Love-In features a classic batch of modal grooves from Charles Lloyd – recorded during the height of his mind-expanding years, with his famous quartet that included Keith Jarrett on piano and Jack DeJohnette on drums! The tracks are long and magical, done with that spiritual spiraling sound that Lloyd was wowing the hippies with at the time – and considering that this set was recorded live at the Fillmore, there were an awful lot of hippies present to be wowed! But the set's also got a charm that lives long past its time – thanks to an expansive vision from Lloyd on flute and tenor, and from Jarrett on piano too. Titles include "Sunday Morning", "Love-in", "Tribal Dance", and "Temple Bells". CD

A pair of classic live albums from Frankie Beverly & Maze – Live In New Orleans from 1981, and Live In Los Angeles from 1986 – originally 2LP sets, perfectly paired here as a 2CD set! First up is Live New Orleans, in which the band grooves wonderfully before a crowd going mad in the Crescent City! The songs retain all the charm of the studio renditions – and are stretched out a bit more in the live setting, with some really nice interplay with the crowd. The set is heavy with early Maze classics – including "Southern Girl", "Look At California", "Before I Let Go". "We Need Love To Love", "The Look In Your Eyes" the big sample track "Joy & Pain" and more. Live In Los Angeles was issued a half decade later cut during the 80s – and is even more proof that the Maze style of soul music was not only thriving, but succeeding strongly outside the studio, regardless of air play and album sales! The general groove is very similar to the band's classic work from the late 70s – with tight modern soul grooves, all graced by the magnificent vocals of Frankie Beverly, one of the generations best singers! Includes the cuts "Happy Feelins", "We Are One", "Back In Stride", "Freedom", "I Wanna Be With You", "When You Love Someone", and "Running Away". CD

Two later soundtracks from Riz Ortolani – both showing the maestro at the top of his game! Il Sole Buio has this wonderful way of gently unfolding the melody – almost Morricone-like, but with warmer tones at times – and mixed with a few electric jazz moments to offset the larger orchestrations – although the latter dominate, and really have this wonderfully rich vibe – almost a slight touch of the sort of sentiment you'd get in a French film score too! L'Angelo Con La Pistola is from the same director, Damiano Damiani, two years later – and again has some great orchestral numbers that billow and glisten with a gentle charm, mixed with a few more electric, keyboard-heavy tracks to showcase the action in the story! 21 tracks in all – and first time on CD for both titles. CD

Some of the earliest work ever recorded by Elis Regina – issued here on a set that brings together her first two albums in one package! The sound here is quite different than the Elis Regina sound of the 70s – a lot brighter and more youthful, without as many of the somber overtones – yet still with an undeniable charm and a sense of joy that's really amazing! Even at this young age, Elis is a tremendous interpreter of tunes – and the titles mix together bossa and pop arrangements, hitting a style that's far lighter than some of the mainstream Brazilian divas of the period. Backings are by the orchestras of Severino Filho, Renato De Oliveira, Severino Araujo, and Guerra Peixe – and the CD features 22 titles that include "Tu Seras", "Da Sorte", "Dor De Cotovelo", "Amor Amor", "Poema", "Pororo-Popo", "Confissao", "Podes Voltar", "Vou Comprar Um Coracao", and "Las Secretarias". CD

Three classic albums from Shoes, plus bonus tracks, and a full CD worth of rare material too! First up is Present Tense – a power-pop classic from Shoes – their first full length for Elektra Records, and a set that stands with all the best end of 70s gems from either coast! The songs are impeccable, and the group do a fantastic job of blending sharper guitars with really great lyricism – a mode that maybe makes the Illinois group a strong precursor for territory that The Replacements wouldn't hit until many years later – and which makes just about every track on the album a precious nugget that just gets better and better with time! Titles include "Now & Then", "Every Girl", "I Don't Wanna Hear It", "Three Times", "In My Arms Again", and "Too Late". On Tongue Twister, Shoes continue the brilliance of their first album for Elektra – serving up the kind of music that was so well-done, so subtle, it was maybe missed by most of the world at the time – even though it's gone onto the status of classic, thanks to legions of fans and critics! Shoes have a way with a tune that's unlike anyone else – maybe that compressed charm of Big Star, but fused into the sharper modes of the power pop years – but without any of the too commercial modes of some of the bigger groups of the time. Instead, the whole thing feels like you've just stumbled upon a brilliant band, playing in a backroom bar – which, unfortunately, is how Shoes spent too much of their career. Titles include "Only In My Sleep", "She Satisfies", "Found A Girl", "Hate To Run", "When It Hits", "Yes Or No", "Your Imagination", and "Girls Of Today". On Boomerang, Shoes maybe look a bit too new wave on the cover, but still sound perfect within – very much in charge of that perfect yet understated approach to a tune that has gone on to make them legends in all the many years since this album was released! The group were never out to change the world, and maybe that held them back at the time – but they were also never trying for big chart success, or too-slick modes – and there's a wonderfully honest, down to earth approach to the songwriting and production that clearly sets the stage for all the bigger late 80s groups that would follow in their wake. Nearly every tune is a completely catchy mofo – and titles include "Curiosity", "In Her Shadow", "Double Talk", "The Summer Rain", "Under The Gun", "The Tube", and "What Love Means". 4CD set features a huge amount of bonus material – 8 track demo versions of all three albums, added to their discs – and a bonus CD of 18 more rare tracks – all in a box, with a big booklet of notes! CD

A great package of music from singer Joanie Sommers – none of which has ever been on CD before! At the core of the record is the album Come Alive – really groovy work from singer Sommers – an overlooked gem recorded after her initial albums for Warner Brothers, and put together with some mighty cool arrangements from the great Mort Garson! Joanie's lost all her little girl pop modes here – and instead really comes across with the adult charm of a jazz singer – reaching out with some surprisingly deep tones on the mellower cuts, and showing a great sense of swing on the groovers – all at a mode that really takes her past the style of the early years! Mort's backings are great – as rich in jazzy tones as someone like Marty Paich, but also touched with some of the unusual inflections that always make Garson's music so great. Tracks include "I'm All Smiles", "Girl Talk", "You'd Better Love Me", "You Take What Comes Along", "Watch What Happens", "Too Late Now", and "Sunday In New York". Added to the core album are 12 more bonus tracks, some of which were singles, some never issued, and one a rare Pepsi commercial! Bonus cuts include "Love Song", "Never Never", "Alfie", "Never Throw Your Dreams Away", "Come Alive (Pepsi jingle)", and "It Doesn't Matter Anymore". CD

Steely Dan really hitting the heights – moving into hipper, more sophisticated territory than before – pushing the envelope with both their music and lyrics, which are completely sublime! It's hard to put our finger on the magic of this one, but it's the perfect summation of everything that's come before, with a bit of a nod towards the future – yet all with a simple, song-based charm that we really love. The Becker and Fagan team get some key studio help here – showing a move away from previous group-based recordings – and Phil Woods turns in some especially nice work on his sublime solo for "Doctor Wu". Other tracks include "Black Friday", "Bad Sneakers", "Any World That I'm Welcome To", "Your Gold Teeth II", "Daddy Don't Live In That New York City No More", "Throw Back The Little Ones", and "Everyone's Gone To The Movies". CD

A fantastic CD collection – one that brings together all five volumes of Stereolab's Switched On albums in one set – a huge collection of unusual material and rare singles! On the original Switched On record, moog, fuzz, and farfisa have never sounded so great together – and although these guys drank deep of the well of 60s pop magic before making this modern-day classic – they also come off sounding pretty darn original on their own! When this gem of a record first hit the world, it was as if all of us were hearing music from the cosmos for years, but could never find a way to make it part of our everyday lives. Then along come Tim Gane, Laetitia Sadier, and crew – and completely change the world for the better! An album that no home should be without – with titles that include "Contact", "Super-Electric", "Doubt", "Brittle", "Au Grand Jour", "The Way Will Be Opening", and "Changer". Refried Ectoplasm is the second in the holy trinity of "switched on" albums from Stereolab – a set that collects together all the unusual recordings and other side bits the group were doing in the early years of their career – standing strong as a testament to their non-stop efforts to forever push the boundaries of electric fuzzy pop! The vocals Laetitia Sadier are completely sublime – almost a bridge between the darker modes of the previous pop generation and all the new ideas of the world to come – when the rest of rock music would finally catch up to these guys, and realize that the best path to the future is through the past! Titles include "Farfisa", "John Cage Bubblegum", "Tempter", "Exploding Head Movie", "French Disko", "Harmonium", "Revox", "Mountain", and "Sadistic". By the time of Aluminum Tunes (Switched On Vol 3) – it had only been a few years since the previous Switched On set, but Stereolab had already created so much musical magic, they needed a double-length record to keep the whole thing intact! The sound here is somehow getting even more dreamy and wonderful – definitely showing their work with the mighty Sean O'Hagan, and also really opening up into all the many musical ideas that Tim Gane was picking up from his never-ending search for unusual records! The 60s swirl through time and space, and make the future sound even better than we could have imagined it – while the Channel is drained, and England and France become one in a genius marriage of pure pop modes. Titles include "The Extension Trip", "How To Play Your Internal Organs Overnight", "Space Moment", "Iron Man", "The Long Hair Of Death", "One Note Samba/Surfboard", "Percolations", "1000 Miles An Hour", "Klang Tone", and a great take on the theme to "Get Carter". Switched On 4 is full of fantastic sounds from Stereolab – an assortment of rare singles and other unusual recordings that were mostly issued on their own Duophonic label, and which are far more obscure than their bigger label albums during the same period! Even though Stereolab gave the world some undeniable classics in the late 90s and early 00s, they were also working endlessly, and seemed to record more than they could ever fit on a full length set – which resulted in all the cool singles, limited releases, and other material included here – not dusty tapes pulled from the archives, but beautiful work that often returns the group to all the space age charms of their first few records! The package is huge – 25 tracks in all, of varying length – and titles include "Barok Plastik", "Calimero", "Fried Monkey Eggs (voc)", "Solar Throw Away", "Variation One", "Monkey Jelly", "Explosante Fixe", "Jump Drive Shut Out", "The Super-It", "L'Exotisme Interieur", "Pandora's Box Of Worms", "Retrograde Mirror Form", "Nomus E Phusis", "I Feel The Air Of Another Planet", "Outer Bongolia", and "Intervals". Includes tracks from Duophonic 45s, Underground Is Coming EP, Moog, First Of The Microbe Hunters, and work from compilations, unreleased tracks, and even a collaboration with Brigitte Fontaine! Switched On 5 is maybe the coolest entry so far in this really wonderful series – a set that's overflowing with rare and unusual work from Stereolab – most of it done at a time when the group were riding high on a major label, but still managed to issued a huge amount of music on their own, and work in a variety of collaborative settings too! One of our favorite is their work with Nurse With Wound, and tracks from that partnership begin this set – which then moves into rare singles, work with artists, compilation contributions, and plenty more – all with the usual Stereolab charm, but often with a nicely different vibe too! Titles include "Simple Headphone Mind", "Symbolic Logic Of Now", "Magne Music", "Forensic Itch", "Spool Of Collusion", "Robot Riot", "Trippin With The Birds", "Cybele's Reverie (live)", "Nth Degrees, "Refractions In The Plastic Pulse (Autechre Feebate mix)", and "Plastic Mile (original version)". CD

Genius, pure genius – and a record that will completely revise your thinking about Rod Stewart – a set that will blow away all the cliches you might know from later years, and will have you re-examining his early years in all their glorious brilliance! The sound is amazing right from the start – heavy on acoustic instrumentation that offers up a much rootsier side of Stewart than his work with The Faces or Jeff Beck – yet at a level that still packs a hell of a lot of punch, thanks to these incredible drums that get the whole thing going right from the start – urging on the vocals to a crackling charm that's even more powerful here away from any big chart hits. Even familiar tunes are completely remade by the godlike early Rod – as you'll year on tracks that include "Only A Hobo", "Gasoline Alley", "My Way Of Giving", "Cut Across Shorty", "Lady Day", "Jo's Lament", and "Country Comforts". CD

Genius, pure genius – and a record that will completely revise your thinking about Rod Stewart – a set that will blow away all the cliches you might know from later years, and will have you re-examining his early years in all their glorious brilliance! The sound is amazing right from the start – heavy on acoustic instrumentation that offers up a much rootsier side of Stewart than his work with The Faces or Jeff Beck – yet at a level that still packs a hell of a lot of punch, thanks to these incredible drums that get the whole thing going right from the start – urging on the vocals to a crackling charm that's even more powerful here away from any big chart hits. Even familiar tunes are completely remade by the godlike early Rod – as you'll year on tracks that include "Only A Hobo", "Gasoline Alley", "My Way Of Giving", "Cut Across Shorty", "Lady Day", "Jo's Lament", and "Country Comforts". CD

A warm, wonderful set by Sarah Vaughan – and a later one, closing the Monterey Jazz Festival in 1971 – released for the first time ever! Sarah is backed for most of the set by the trio of Billy Mays on piano, Bob Magnusson on bass and Jimmy Cobb on drums – with Sarah managing to both portray heavy emotion and mood and also an easygoing, playful charm – joking with the audience and obviously having a wonderful time. Very nice! Includes the Norman Granz intro, plus "I Remember You", "The Lamp Is Low", "'Round Midnight", "There Will Never Be Another You", "And I Love Him", "Scattin' The Blues", and "Tenderly" – plus a 14 plus minute jam with the Jazz At The Philharmonic All-Stars – Bill Harris, Roy Eldridge, Clark Terry, Eddie Lockjaw Davis, Benny Carter and others! CD