A brilliant meeting of the minds – one that features the coming together of some of the greatest talents on the current cosmic groove scene! Legends Of The Underground is a project spearheaded by Mark De Clive-Lowe, and featuring work from Domu, Seiji, and Bembe Segue – all of whom work with Mark in a set of blistering tunes that take the London sound of the past few years to the next level! There's an intensity and focus here that remind us of 4Hero at their Two Pages best – a sense of spacey jazz mixed with modern groove – all swirling to the skies on waves of power, life, joy, and energy. Vocals often have a floating, spiritual sort of quality – and the tunes dip and bubble nicely throughout. Titles include "The Divine Room", "The Gathering (parts 1 & 2)", "The Dark Room", "Anarchite City", and "Paradise Garden". CD

Solo titles include "Lonely Woman", "Never Too Late But Always Too Early", "Frames Of Motion", "Shunkeln To Dark Blues", and trio tracks are "Turning Glory", and "Music Marries Room To Room" – both with Massimo Pupillo and Paal Nilssen Love. CD

A killer set of tracks by one of the best piano players that Blue Note ever recorded – and a great trio outing that sparkles with soulful intensity! Even in this more traditional format, Horace Parlan's still one of the most inventive players of his generation – working with a sense of bottom groove that makes even familiar tunes move nicely, and hitting an approach to his solo work that trades flowery touches for earthier tones that often dance around each other with a focused sound that's really unique! Dark and blue tones echo out wonderfully throughout the set, and Horace's piano is backed by the extremely thoughtful bass work of Sam Jones and drums of Al Harewood – on tunes that include "Up In Cynthia's Room", "C Jam Blues", "Bag's Groove", "On Green Dolphin Street", and "Lady Bird". CD

A killer set of tracks by one of the best piano players that Blue Note ever recorded – and a great trio outing that sparkles with soulful intensity! Even in this more traditional format, Horace Parlan's still one of the most inventive players of his generation – working with a sense of bottom groove that makes even familiar tunes move nicely, and hitting an approach to his solo work that trades flowery touches for earthier tones that often dance around each other with a focused sound that's really unique! Dark and blue tones echo out wonderfully throughout the set, and Horace's piano is backed by the extremely thoughtful bass work of Sam Jones and drums of Al Harewood – on tunes that include "Up In Cynthia's Room", "C Jam Blues", "Bag's Groove", "On Green Dolphin Street", and "Lady Bird". CD

2 rare sides of work by trumpeter Clark Terry – both with a fair bit more edge than many of his later recordings! The first half of the CD is from the amazing 1955 album Clark Terry for Emarcy – a real stunner, and one of Terry's finest moments ever! The record has a rawness and groove that you'd hardly expect from his later albums – no surprise, though, considering that it was cut during that really hip time at Emarcy, when the label was working in a mode that was darker and more challenging than many of the smaller labels at the time. Credit is also due to arranger Quincy Jones – who pulls together a group that includes Horace Silver, Jimmy Cleveland, Cecil Payne, and Art Blakey, all into a fiercely grooving sound that recalls some of his most adventurous work of the 50s. The album kicks off with the stunning "Swahili", a tune that will instantly make you happy you bought the record – and other tracks include "Coop", "Chuckles", "Tuma", "Kitten", and "The Countess". These tracks are followed by 8 more from an obscure 1954 session done under the leadership of clarinetist Jimmy Hamilton – and featuring Terry on trumpet, Barry Galbraith and Sidney Gross on guitars, Oscar Pettiford on bass, and Osie Johnson on drums – all in a really unusual group formation that's totally great! One guitar's used for solos and the other for rhythm – and the lack of piano gives the record a decidedly different swing than you might expect from a Jimmy Hamilton session – one that's less traditional, and more airy and open – really inventive in the rhythmic construction of the tunes, in a mode that's followed up very nicely by the soloists in their own energy. Titles include "Chuckles", "Bohemia After Dark", "Blues In My Room", "Blues For Clarinet", and "What Am I Here For". CD

R&B, gritty blues, and some killer tenor talents – a wicked collection of vintage masters from legendary indie United Records! Musically, the package is very much on a par with Ace/Kent collections of this type – the sort that might feature material from King or Modern/RPM Records from the same vintage – and our hat's off to Delmark for doing such a great job of bringing back these crucially overlooked sounds from Chicago! Titles include "Cool Leo" by Leo Parker", "Cut That Out (alt)" by Junior Wells, "Organ Grinder" by Jimmy Coe, "Walking Home" by JT Brown, "Let's Get High" by Morris Pejoe, "Crazy Walk" by Tab Smith, "In The Dark" by Grant Jones, "Nona" by Paul Bascomb, "Goodbye" by The Pastels, "Tiny's Boogie" by Tiny Grimes, "Sophisticated Lady (alt)" by Jimmy Forrest, and "Come In The Room" by Robert Anderson. CD

A killer set of tracks by one of the best piano players that Blue Note ever recorded – and a great trio outing that sparkles with soulful intensity! Even in this more traditional format, Horace Parlan's still one of the most inventive players of his generation – working with a sense of bottom groove that makes even familiar tunes move nicely, and hitting an approach to his solo work that trades flowery touches for earthier tones that often dance around each other with a focused sound that's really unique! Dark and blue tones echo out wonderfully throughout the set, and Horace's piano is backed by the extremely thoughtful bass work of Sam Jones and drums of Al Harewood – on tunes that include "Up In Cynthia's Room", "C Jam Blues", "Bag's Groove", "On Green Dolphin Street", and "Lady Bird". CD

A fantastic album – one of our favorite-ever records from Charles Mingus! The album was recorded in the same breath as his legendary works Tijuana Moods, The Clown, and Pithecanthropus Erectus – and it features the same sort of fire and emotion that made those classics so great. The group alone is amazing – with Horace Parlan on piano, Shafi Hadi on alto and tenor, Jimmy Knepper on trombone, and the amazing Clarence (aka Gene) Shaw on trumpet – all getting plenty of room to open up on the album's longer tracks! The work bristles with a sense of imagination and dark energy that Mingus hardly had in his music in later years – and each new tune brings a fresh sense of vision that never fails to astound us! In keeping with the "poetry" title, the album begins with an incredible 12 minute track "Scenes in the City" – which features a long spoken bit written by Langston Hughes about one man's love of jazz and the way that it affects his life in the city – all supported with excellent instrumentation from the group. Other titles are instrumental, and include "Nouroog", "New York Sketchbook", "Slippers", and "Duke's Choice". CD also features 3 bonus tracks – "Woody N You", "Billie's Bounce", and an alternate take of "Slippers". CD

A fantastic album – one of our favorite-ever records from Charles Mingus! The album was recorded in the same breath as his legendary works Tijuana Moods, The Clown, and Pithecanthropus Erectus – and it features the same sort of fire and emotion that made those classics so great. The group alone is amazing – with Horace Parlan on piano, Shafi Hadi on alto and tenor, Jimmy Knepper on trombone, and the amazing Clarence (aka Gene) Shaw on trumpet – all getting plenty of room to open up on the album's longer tracks! The work bristles with a sense of imagination and dark energy that Mingus hardly had in his music in later years – and each new tune brings a fresh sense of vision that never fails to astound us! In keeping with the "poetry" title, the album begins with an incredible 12 minute track "Scenes in the City" – which features a long spoken bit written by Langston Hughes about one man's love of jazz and the way that it affects his life in the city – all supported with excellent instrumentation from the group. Other titles are instrumental, and include "Nouroog", "New York Sketchbook", "Slippers", and "Duke's Choice". CD also features 3 bonus tracks – "Woody N You", "Billie's Bounce", and an alternate take of "Slippers". CD

Blues 45s – but material that's also pretty close to the funky 45 spirit of the 60s too – given that most of these cuts have a pretty raw groove! The blues element usually comes from a guitar or harmonica element, or a way of vocal phrasing – but much of the background instrumentation hits a gritty soul groove that's pretty darn funky overall – a great fusion of modes that must have sounded pretty darn great coming from a jukebox in the back room of some south side nightclub! This second volume is every bit as great as the first – and titles include "Love Is A Serious Thing" by Otis Reed, "Stretchin Out" by Little Sonny, "Lonesome" by Memphis Slim, "Don't Change Your Mind" by TB Fisher, "You Won't Treat Me Right" by TV Slim & His Bluesmen, "Fatten Pin" by Clyde Hopkins, "Dark River" by Freddy Young, "I'm Leaving You" by Bob Reed & His Band, "I Tried" by Larry Davis, "Pickin Heavy" by Joe Scott, "Roll On Train" by Elton Anderson, and "I'm So Tired" by Eddie Bo. CD

A fantastic album – one of our favorite-ever records from Charles Mingus! The album was recorded in the same breath as his legendary works Tijuana Moods, The Clown, and Pithecanthropus Erectus – and it features the same sort of fire and emotion that made those classics so great. The group alone is amazing – with Horace Parlan on piano, Shafi Hadi on alto and tenor, Jimmy Knepper on trombone, and the amazing Clarence (aka Gene) Shaw on trumpet – all getting plenty of room to open up on the album's longer tracks! The work bristles with a sense of imagination and dark energy that Mingus hardly had in his music in later years – and each new tune brings a fresh sense of vision that never fails to astound us! In keeping with the "poetry" title, the album begins with an incredible 12 minute track "Scenes in the City" – which features a long spoken bit written by Langston Hughes about one man's love of jazz and the way that it affects his life in the city – all supported with excellent instrumentation from the group. Other titles are instrumental, and include "Nouroog", "New York Sketchbook", "Slippers", and "Duke's Choice". CD also features 3 bonus tracks – "Woody N You", "Billie's Bounce", and an alternate take of "Slippers". CD

Long tracks and plenty of room to groove – a really great little session from Japanese pianist Tsuyoshi Yamamoto, and one with some added conga to boot! Don't confuse this one with Yamamoto's other 70s date with Misty in the name, because this album's a live one – and it comes across with a good deal of energy, even when things are a bit mellow – a sense of freedom on the keys that rolls out from the very first note of the record, yet never takes things too far into the hinterland of sound. There's a nice pulse on most numbers, thanks in part to the congas – and titles include "Moanin", "Dark Eyes", "The Loving Touch", and "Sweet Georgia Brown". CD

Freddie Gibbs had been riding a creative peak for a few years in the run up to his high stakes move to Warner – and he comes out with a winning hand! His smart, charismatic, densely packed lyrics are as smart and slyly soul searching as ever on an album that almost serves as a concept album on the hollowness of fame – but with so many standout tracks with varied guests and producers, there's a little something for everyone here. Guests vocalists and producers include Madlib, Pusha T, Kelly Price, DJ Paul and others. Includes "Couldn't Be Done" with Kelly Price, "Blackest In The Room", "Pain & Strife" feat Offset, "Zipper Bags", "Rabbit Vision", "Dark Hearted", "Gold Rings", "Grandma's Stove" with Musiq Soulchild, "CIA" and more. CD

Darkly expressive work from Wallace Roney – one of those key albums that seems to push his original Muse Records sound even further with a range of more expansive elements! Roney's still got that brooding post-Miles sound in his horn – but here, it's used in some more complicated soundscapes at points – still mostly jazz, but almost with a soundtrack element too – especially in the way the keyboards drift in and out of the mix. Other players include Antoine Roney and Steve Hall on saxes, Geri Allen on Fender Rhodes and piano, Adam Holzman on organ, Buster Williams on bass, and Lenny White on drums – plus a fair bit of samples dropped into the mix by Val Gelder Jeanty. Titles include "NeuBeings", "Cygroove", "Metropolis", "Straight To Nothing", "No Room For Argument", and "Midnight Blue". CD

Hard to go wrong with the sublime "Candy's Room" – and the rest of the album is pretty darn amazing too! Titles include "Badlands", "Adam Raised A Cain", "Racing In The Street", "Factory", "Streets Of Fire", and "Darkness On The Edge Of Town". CD

The most left-of-center collection of cuts from rhinestone studded honky tonk purist Porter Wagoner – some of the darkest and strangest tunes pulled from his most adventurous RCA LPs! Porter is eternally true to a genuine honky tonk aesthetic – but his arrangements are never predictable – bringing in some chilling strings and a backing vocal wail, walloping drums and wacka wacka electric guitars chugging underneath the steel. This is his most lyrically troubled batch of tunes from the era, but they're often done with a wink and a nod that lets you know he's just telling a story (or is he?) – not unlike Lee Hazlewood. Oddball country groove from a character that should be as fondly regarded as his more scenester friendly peers! 29 tracks in all: "Out Of The Silence (Came A Song)", "The Rubber Room", "Cassie", "Bones", "Lonelyville", "First Mrs Jones", "The Cold Hard Facts Of Life", "Shopworn", "Julie", "Carroll County Accident", "Wino", "He's Alone Again Tonight", "My Last Two Tens", "The Party" featuring Dolly Parton, "Moments Of Meditation" and more. CD

A bit of hard rock, a bit of freakbeat, and a plenty darn great album from Bulldog Breed – one that's got a lot more edge than you might expect from the slightly corny cover! The album's an obscure Decca release from the tail end of the 60s – and like some of the other more revolutionary Decca sides of the time, it's got a really free approach to the structure of the music – unexpected twists and turns that keep things interesting, as the album unravels through a tapestry of shorter tunes that mix sweet moments with much harder ones! Some tracks are heavy in fuzz, both on guitars and vocals – while others are far gentler, but with a really dark undercurrent. Titles include "Paper Man", "Broomstick Ride", "When The Sun Stands Still", "Friday Hill", "Reborn", "Dougal", "Austin Osmanspare", and "Top O The Pops Cock". CD features 2 bonus tracks – "Halo In My Hair" and "Porticullis Gate". CD

The boldest set so far from up-and-coming vibist Chien Chien Lu – a set that's got a deeper feel and darker energy than some of her previous records – thanks in part to key use of the great Jeremy Pelt on trumpet! The album features a piano-less quartet – with Richie Goods on bass and Allan Mednard on drums – and both Lu and Pelt haver plenty of room to open up and soar on the long tracks on the set – pushing things strongly on original material that really shows Chien Chien starting to grow a lot as a writer, too! The whole thing is great – a new chapter in the career of a musician we're sure to be hearing from for years to come – on titles that include "Just Listen", "Full Moonlight", "Boulangers Variation", "Hsiu Chin", "Chun Yi", and "Special Things" CD

A really moody session of vocal jazz from the 50s – a near-lost date from singer Terry Morel, who we only know from this one album on Bethlehem! The album's got a feel that's a bit like some of Chris Connor's work for the label at the time – backing by a trio led by pianist Ralph Sharon, augmented by flute from Herbie Mann, who shades in the tones with some darker hues that really give the record a unique feel. And Terry herself has a slightly different voice too – one that's a bit dusky and breathy, without the sweetness of other female 50s singers – almost bedroom-like in its sensuality. Titles include "How About You", "You're Not The Kind", "Too Late Now", "More Than You Know", "Who Cares", "A Hundred Years From Today", and "The Night We Called It A Day". CD

A weird little record from underground romantic singer Lewis – an artist who's partially in a European tradition that runs from French singers up through the New Romantics generation – but one who's also a definitely individual, with an approach that's all his own! The album's got a slinky, classy sort of feel – one that befits Lewis' white suit on the cover, standing in front of a private jet and Mercedes – but the backings are also oddly dark, almost some ironic commentary on romance, with these moody undercurrents that almost make the whole thing feel like it comes from the Genesis P Orridge side of the universe! Let's put it this way: If you tried to use the record in an act of seduction, you might find yourself driving your partner out of the bedroom in a hurry – but if you're looking for a wonderfully weird, wonderfully oddball record, you've definitely found it. Titles include "We Danced All Night", "Bon Voyage", "As The Boats Go By", "So Be In Love With Me", "It's A New Day", and "Don't Stop It Now". CD

The boldest set so far from up-and-coming vibist Chien Chien Lu – a set that's got a deeper feel and darker energy than some of her previous records – thanks in part to key use of the great Jeremy Pelt on trumpet! The album features a piano-less quartet – with Richie Goods on bass and Allan Mednard on drums – and both Lu and Pelt haver plenty of room to open up and soar on the long tracks on the set – pushing things strongly on original material that really shows Chien Chien starting to grow a lot as a writer, too! The whole thing is great – a new chapter in the career of a musician we're sure to be hearing from for years to come – on titles that include "Just Listen", "Full Moonlight", "Boulangers Variation", "Hsiu Chin", "Chun Yi", and "Special Things" CD

A seminal second set from The Turtles – and a record that really has them sharpening up their sound! The songwriting is smarter than before, and the group's also developing the wit that would really set them apart from the rest of the west coast scene of the 60s – that mode of stepping back, taking a grander look at the music, and coming forward with a great sense of perspective in their sound! There's still a few folksy currents from before – but there's also some deeper, darker modes too – maybe a touch of Brit influence, ala Animals or Kinks – yet slightly lighter west coast too. Titles include "Down In Suburbia", "House Of Pain", "Just A Room", "I Know That You'll Be There", "Flyin High", "Pall Bearing Ball Bearing World", and "Give Love A Trial". CD

The heady second album from Bill Fay – much more introspective and moodier than his first outing for Deram, and a session done in tight collaboration with British guitar legend Ray Russell! Russell's got Fay working here with a much smaller group than on the first album – a collection of jazz-influenced players that includes Nick Evans on trombone, Tony Roberts on reeds, and Alan Rushton on drums – all working with Russell's guitar in an intimate, slightly folksy setting. Fay's songwriting and vocals are darker than before – as can easily be told from the titles of tunes like "Don't Let My Marigolds Die", "Dust Filled Room", "Pictures Of Adolf Again", and "Til The Christ Come Back". But somehow, Fay manages to pull the whole thing off beautifully – with none of the cliches or heavy-handed styles you might expect, really working in a transcendent mode that reminds us of the best of early Leonard Cohen. CD

A massive 3CD look at the key early years of Elmore James – a package that's overflowing with great work by one of the greatest blues guitarists of the 50s! The set starts way back at James' roots in Mississippi, with some sweetly rough-edged recordings that still sparkle with incredible lines on electric guitar – then it moves deeper into Elmore's years in Chicago, recording with slightly greater clarity, and a sound that had an undeniable influence on the scene in that city at the time. The set's completed by recordings from Culver City, New Orleans, and Chicago again – presented in both master takes and alternates that offer up some equally compelling guitar solos. The set features 71 tracks in all, plus 40 full pages of notes – and titles that include "Dust My Broom", "Hand In Hand", "One More Drink", "I Believe", "Make My Dreams Come True", "Dark & Dreary", "Strange Kinda Feeling", "Early In The Morning", "Happy Home", "So Mean To Me", "Long Tall Woman", "Elmo's Shuffle", "Sho Nuff I Do", "Please Come Back To Me", "Wehre Can My Baby Be", "I May Be Wrong", "Kicking The Blues Around", and "Sinful Woman". CD

Long buried live material from Gram Parsons & The Flying Burrito Brothers – captured at the dizzying heights of their cosmic American powers – over a couple shows at San Francisco's Avalon Ballroom in 1969! These were dates opening for the Grateful Dead – and it's from the Dead's massive recorded archives that this material comes – so the sound is really of fine caliber. Gram & the Burritos weren't shy about playing honky tonk standards, and the sets have a number of them, plus classics from the Gilded Palace album and more! The booklet features notes by Pamela Des Barres and Dave Prinz, with loads of photos. Disc 1 features the set from April 4, 1969, Disc 2 with the similar, and maybe a little stronger set from April 6, with bonus home recordings of "Thousand Dollar Wedding" and "When Will I Be Loved" at the end of the first disc. Titles include "Close Up The Honky Tonks", "Dark End Of The Street", medley of "Undo The Right and "Somebody's Back In Town", "She Once Lived Here", "Mental Revenge", "Sin City", "Lucille", "You Win Again", "Hot Burrito #1", "Hot Burrito #2", "Train Song" and more! CD

A real lost treasure from trumpeter Terumasa Hino – a warm and wonderful live set, and one that's neither too free, nor too smooth – just perfectly set up right down the middle to open up on these beautiful long performances! The lineup is all Japanese – a great array of players that includes Shigeharu Mukai on trombone, Hideo Miyata on tenor, Sadao Watanabe on alto sax, Motohiko Hino on drums, and Fumio Itabashi on Fender Rhodes – part of a slightly larger ensemble who can be tight at times, but still allow plenty of room for open freedom on the solos. Hino's only part of the picture, as the other soloists get in some great space too – and the set includes the 23 minute groover "Logical Mystery", the long soulful original "Into The Darkness", and a sweet mellow take on "Round Midnight". CD

Pivotal work from trumpeter Freddie Hubbard – a tight, edgy quintet performance that's done with a modern jazz sound that approaches the Blue Note "new thing" sound, but which stays just this side of the fence to keep in line with Freddie's other soulful work of the 60s – yet still with an edge that you never would expect if you only know his electric and funky work of the 70s! The group features some great work by James Spaulding, who gets a lot of solo room on alto and flute – and Ronnie Matthews is on piano, effortlessly shifting between rhythmic and soulful lines, and passages that get a bit darker and deeper. The tunes are nearly all Freddie Hubbard originals, except for the classic "Mirrors", written by drummer Joe Chambers, who's also a key part of the group – and other tunes include "Breaking Point", "Far Away", "Blue Frenzy", and "D Minor Mint". CD features 2 bonus tracks – 45 rpm takes of "Blue Frenzy" and "Mirrors". CD

A pair of classics from Strawberry Alarm Clock – back to back on a single CD! First up is their classic Incense & Peppermints – dreamy pop psych from Strawberry Alarm Clock – a great late 60s group who skirted the worlds of Sunshine Pop and more jamming garage rock! This album's got a lot more to offer than you might guess from just the title hit – as the instrumentation sometimes gets nicely tripped out – with cool use of organ, harpsichord, and guitar – plus plenty of special effects in production – and even some of the song styles and lengths are unusual too, making the album way more than just a batch of cute little tunes. Titles include the classic "Incense & Peppermints", the eight minute jammer "The World's On Fire", the instrumental "Pass Time With SAC", and the cuts "Paxton's Back Street Carnival", "Rainy Day Mushroom Pillow", "Strawberries Mean Love", and "Unwind the Clock". Next is Wake Up It's Tomorrow – a great little second set from Strawberry Alarm Clock – much headier and tripped-out than their first! For the record, the group's not just working off the success of a previous single – and instead is really taking time in the studio to try out new ideas, musically, lyrically, and (most importantly) in the range of cool production techniques used on the set! There's still a warm harmony vocal approach on some of the album's best tunes, but they're also matched here with some more progressive guitar parts and fuzzier instrumental touches – in a way that brings a bit of darkness into the sunshine, and creates the wonderful sense of counterpoint that was always the group's strongest suit. Most tunes are nicely unfamiliar, and titles include "Curse Of The Witches", "Black Butter – Past, Present, & Future", "Soft Skies No Lies", "They Saw The Fat One Coming", "Nightmare of Percussion", "Tomorrow", "Sit With the Guru", and "Pretty Song From Psych-Out". CD also features single mixes of "Tomorrow" and "Sit With The Guru". CD

CD to benefit the Prison Moratorium Project, dedicated to working against the 'prison-industrial complex'. We're normally suspicious of 'benefit' records but this one works – dope underground production and nice verses, 23 tracks in all, including DJ Shame "Infomercial (Meet The Press)", BKNY "Where Ya At", Sister Asia/Steele/Top Dog "Dedicated", Danny Hoch "Criminal", Vinia Mojica & Last Emperor "Evolution", Apani B-Fly Emcee & LIFE "Outa Site", Hurricane G "No More Prisons", Hedrush/Dead Prez/People's Army "Murda Box", Daddy-O "Voices", Rubberoom "M.O.V.E.", The Coup "Drug Warz", Helixx C Armageddon & Pri The Honey Dark "Lunchbreak", Prof. Cornel West "Inspiration", The Reepz "The Plan", Dead Prez "Behind Enemy Lines", Kool DJ EQ & The Last Poets "More Prisons", Akbar "Battle Cry", El Battalion "Siege", Scientifik El-D/God Wize/L The Head Toucha/K Slaughta "Hold The Key", Chubb Rock/Lil Dap/Edo G/Paw Dukes "The Rich Get Rich", Grandmaster Caz "Too Much", Lyric & Mike Ladd "Let Us Go", Yazeed "Underground Railroad" and Rocker T "The Petition" (bonus track). CD

Guru's second foray into the jazz/rap crossover world, with a huge amount of guest stars, and a little bit less of Guru. In parts, it actually seems to work better than the first one. Why? Because there's not as much of a forced effort to bring jazz and rap together in an obvious way, which leaves guests like Ramsey Lewis, Jamiroquai, Ronny Jordan, Donald Byrd, Kool Keith, Reuben Wilson, Bernard Purdie, and The Solsonics more room to do their thing. Includes "Lifesaver", "Looking Through The Darkness", " Respect The Architect", "Choice Of Weapons", "Count The Blessings", "Lost Souls", "Watch What You Say", and more. CD

Paul McCartney has left Wings behind for this record – but in their place he's come up with a wonderful new approach – serving up all the instruments himself, as he did on the first album titled Paul McCartney – but also using more electronics than before, which makes for some wonderfully moody moments! The songwriting is great – every bit as strong as the 70s years, without some of Paul's later 80s fluff – and the change in instrumentation really makes for some beautifully haunting moments. The set includes "Waterfalls" – one of our favorite tracks ever by Paul – and other titles include the hit "Coming Up", the groovy "Temporary Secretary", and the tracks "Darkroom", "Summer Day's Song", "On The Way", "Nobody Knows", "Bogey Music", and "Frozen Jap". Deluxe edition includes two CDs of additional tracks and a DVD enclosed in a numbered hardbound book. CD

Both albums complete on one CD! First up GP – a mindblowing solo debut from Gram Parsons – music that's nicely different than his work with both the Flying Burrito Brothers and The Byrds, and which shows Gram really stepping out into the role of a 70s superstar – to which he would have ascended, were he not taken from us all too soon! There's a fragility to the record that's wonderful, even when things are tight – a quality echoed by vocals from Emmylou Harris, and which comes through especially strongly on Parsons' on tunes. Backing features all sorts of country studio greats – including James Burton on guitar and dobro, and Buddy Emmons on steel guitar – and titles include the completely sublime "She" – a cut that should have been a 70s classic – plus "Still Feeling Blue", "We'll Sweep Out The Ashes In The Morning", "Streets Of Baltimore", "That's All It Took", and "Cry One More Time". Next is Grievous Angel, one of the most beloved country rock albums of all time! This album is likely to have cemented Gram's legacy even if he didn't pass away before it's release – it's really that good – mixing mournful honk tonk laments, bleary-eyed barroom rockers and soul searching lyricism in a way that was pretty damn distinctive in the 70s. It's bookended by the (arguably) 2 greatest songs he ever wrote, "Return Of The Grievous Angel" and "In My Hour Of Darkness", plus "Love Hurts", "Brass Buttons", "$1000 Wedding", a rockin' cover of Tom T Hall's "I Can't Dance" and "Hickory Wind". And for all the praise we just heaped on Gram Parsons in the preceding sentences, there's no discounting the importance of co-singer and ""In My Hour Of Darkness" co-writer Emmylou Harris, who's like the beautifully voiced angel on Gram's shoulder. CD

Pivotal work from trumpeter Freddie Hubbard – a tight, edgy quintet performance that's done with a modern jazz sound that approaches the Blue Note "new thing" sound, but which stays just this side of the fence to keep in line with Freddie's other soulful work of the 60s – yet still with an edge that you never would expect if you only know his electric and funky work of the 70s! The group features some great work by James Spaulding, who gets a lot of solo room on alto and flute – and Ronnie Matthews is on piano, effortlessly shifting between rhythmic and soulful lines, and passages that get a bit darker and deeper. The tunes are nearly all Freddie Hubbard originals, except for the classic "Mirrors", written by drummer Joe Chambers, who's also a key part of the group – and other tunes include "Breaking Point", "Far Away", "Blue Frenzy", and "D Minor Mint". CD