The funkiest album ever recorded by Lyn Collins – a stone solid set that really lives up to the legacy of her funky 45s! Like those gems, this one has Collins working with James Brown on production and the JBs in the background – creating a razor-sharp groove that's probably the closest any female singer ever came in the 70s to matching The Godfather's groove! The album's got Lyn shifting between heavy funk numbers and mellower soul cuts – really pushing things to the max with an incredibly deep take on a few older favorites, plus some killer new numbers – all produced to funky perfection, with just the right sort of balance between the rough and the tight. Titles include her great version of "Think", a funky sample cut that never gets old – plus the cuts "Things Got To Get Better", "Women's Lib", "Never Gonna Give You Up", "Just Won't Do Right", "Wheels Of Life", and the funkiest version ever of "Fly Me To The Moon". CD

Stomping organ instrumentals from Dave Baby Cortez – early singles done for the Clock label at the end of the 50s and start of the 60s – all of which helped to really find a place for the organ in American pop and soul! Cortez brought a style to the instrument that was as wild as some of the guitarists and saxophonists of his time – a mode that wasn't really jazz, was a bit R&B, and which helped give the organ a much leaner sound than some of its "skating rink" uses in pop during the decade before. Dave's clean style is a great fit for the jaunty, leaping rhythms of these tunes – and other instrumentation includes tenor, guitar, and even a bit of piano, which is featured on a few tracks instead of organ. CD features 25 tracks in all – with titles that include "Piano Shuffle", "The Happy Organ", "Cat Nip", "Hey Hey Hey", "Mari Gras", "Fiesta", "Love Me As I Love you", "The Whistling Organ", "Do The Slop", "You're Just Right", "Riffin", "It's A Sin To Tell A Lie", "Dave's Special", "Red Sails In The Sunset", and "Hurricane". CD

Gal Costa gets some great help here from Celso Fonseca – who produced the album, and gives Costa a fresh sound that makes the album one of her best from the 90s! The music's a bit in Fonseca's own mode on his recordings – currents of bossa that bring a classic feel at times, but also modernized a bit in the arrangements, and creative use of contemporary instrumentation – at levels that keep the whole thing from just being a back-to-bossa session! Gal's voice is wonderful – able to turn a line with such subtle power, she grabs us even when we can't understand the lyrics – and the instrumentation is right in there to underscore all the best elements, with the right touches on piano or guitar. Titles include "A Voz Do Tambor", "Imunizacao Racional", "Qui Nem Gilo", "Sertao", "Calling You", "Habib", and "Aguarte Agora". CD

A slightly traditional set from Brazilian vocalist Gal Costa – but a great one too, and record that demonstrates a new sense of poise and grace in her vocals in recent years! The material here is mostly bossa – work that pre-dates Gal's initial time on record, but which is delivered here with a sensitivity that's wonderful – never too "easy", despite the familiarity of the tunes, and handled with just that right sense of contemplation and expression with which Jobim and others first penned the tunes. Backing is small combo jazz by a quartet with flute, guitar, bass, and drums – and although live, the sound is nicely close up and intimate – really fitting the mood of the songs. Titles include "Fotografia", "Nada Alem", "Corcovado", "Garota De Ipanema", "Wave", "Samba Do Aviao", "A Felicidade", "Triste", and "Ave Maria No Morro". CD

Right On! Quite possibly the heaviest, baddest music ever laid to tape, this set offers up over 6 hours of some of the deepest, darkest free jazz, afro funk, fist in the air post-modern musique concrete to sprout from Miles' horn and crew! This box closes the door on the studio side of what may be the most influential studio jams wrought at the turn of the 70s, issuing the unedited original takes of the material that Miles and Teo Macero would parse down and edit into On The Corner and Big Fun, plus some material that made it out on various compilations later issued on Columbia, and best of all, a dozen never before released tracks! The core group here is Miles, Michael Henderson, Mtume, Al Foster and Reggie Lucas, but Dave Liebman, Carlos Garnett, Herbie Hancock, Chick Corea, Jack Dejohnette, Pete Cosey, Badal Roy, Bennie Maupin and John McLaughlin, as well as a number of other players, are all featured, which isn't surprising when you consider the ground covered here! The groove here is unstoppable funk, as on the nearly 20 minute jam that is the unedited full take of "On The Corner" and drawn out renditions of "Mtume", "Turnaround", "Ife" and "Helen Butte/Mr Freedom X", but the vibe veers in other directions too, as with the breezy "Maiysha", the multilayered "Calypso Frelimo" and the spacious "He Loved Him Madly". There's 31 tracks spread out over the 6 discs, ther unissued gems include "Hip-Skip", "Chieftain", "What They Do", "Peace" and "Mr Foster", and as you'd expect, the box is extra deluxe, with a thick booklet full of notes and some great quotes from the band, and a sweet metallic box to hold it all together! Vote Miles! CD

They don't call Jimmy Dawkins "fast fingers" for nothing – and the first few minutes of the record are definitely testament to his mighty power on the guitar! The instrument is electric, and recorded with this sense of powerful echo that easily has Dawkins blowing away some of the UK blues rockers who were starting to get into the game at the time – as do his vocals, which we'd put head to head with some of the giants who took this mode and ran with it through the arena rock scene of the 70s! Yet throughout, it's the guitar that's especially amazing – completely confident and masterful, even though this was Jimmy's first album – with nice lean support from Eddie Shaw on tenor, Lafayette Leake on piano and organ, and Mighty Joe Young on second guitar. Titles include "Little Angel Child", "Night Rock", "Triple Trebles", "It Serves Me Right To Suffer", "Breaking Down", "I Don't Know What Love Is", and "I Wonder Why". CD features two bonus tracks – "Sad & Blues" and "Back Home Blues". CD

Amazing early work from Blossom Dearie – quite possibly her best album for Verve, recorded in the mid 50s right after her return from work on the Paris scene! The style here is sprightly and whimsical, yet also fragile and human – a blend that few other singers can pull off as well as Dearie – a trademark sound right from the get-go, and this album's probably the best place to start with Blossom's solo career! Backing is by a small combo that features Ray Brown on bass, Herb Ellis on guitar, and Jo Jones on drums – and Blossom herself plays piano. Titles include "Deed I Do", "You For Me", "Tout Doucement", "Everything I've Got", "Wait Till You See Her", and "A Fine Spring Morning". CD

Southern rock meets southern soul – all in this groundbreaking set from the team of Delaney and Bonnie Bramlett! The quality quotient here is quite high – light years beyond so many later folks who tried for this territory, but then slicked it up for radio airplay – and in another world, both singers might have been just cutting gritty 45s for a colorblind local audience – had Elektra Records not given them such a great shot with this classic! The already great Bramlett core sound gets strong support here from studio stalwarts like Bobby Whitlock, Bobby Keys, and Jim Price – and Leon Russell and Rita Coolidge also lend their talents to the proceedings too – on titles that include "Get Ourselves Together", "Ghetto", "Love Me A Little Bit Longer", "Soldiers Of The Cross", "Dirty Old Man", and a great take on "Do Right Woman". CD

Southern rock meets southern soul – all in this groundbreaking set from the team of Delaney and Bonnie Bramlett! The quality quotient here is quite high – light years beyond so many later folks who tried for this territory, but then slicked it up for radio airplay – and in another world, both singers might have been just cutting gritty 45s for a colorblind local audience – had Elektra Records not given them such a great shot with this classic! The already great Bramlett core sound gets strong support here from studio stalwarts like Bobby Whitlock, Bobby Keys, and Jim Price – and Leon Russell and Rita Coolidge also lend their talents to the proceedings too – on titles that include "Get Ourselves Together", "Ghetto", "Love Me A Little Bit Longer", "Soldiers Of The Cross", "Dirty Old Man", and a great take on "Do Right Woman". CD

Two post-CTI gems from Deodato – back to back on a single CD! Whirlwinds is sweet keyboard soul from Deodato – a set that steps off nicely from the strengths of his big hits on CTI, hitting a similarly flowing groove that's really great! The instrumentation here is a bit more expanded than before, but never in a way that buries the keyboards – and Deodato's right out front on a range of electric keys that get some great support from John Tropea's finely-honed work on guitar! Titles include "Havana Strut", "Whirlwinds", "West 42nd Street", and a nice cover of Steely Dan's "Do It Again". And heck, even the album's version of Glen Miller's "Moonlight Serenade" manages to come off like a funk tune! Artistry is a live set from Deodato – but one that's very much in the mode of his best CTI studio sessions – with soaring, over the top keyboard work that's totally great – backed by some tightly compressed guitar, bass, and drums, with just enough funk in the mix to keep things interesting! As with other Deodato records from the time, there's a mix of moods here that comes together nicely – a range that goes past his easy hits, and shows Deodato to be one of the hippest, most soulful keyboard talents of his generation. Titles include a great version of "Super Strut" that grooves for over 8 minutes, and which has some firey guitar that really competes with Deodato's work on the keys – and other tracks include "Farewell To A Friend", "Pavane For A Dead Princess", "Rio Sangre", and "Jivin". CD

There's a really great pairing going on here – the always-amazing sound of Pierre Dorge's New Jungle Orchestra, and the tenor of Stephen Riley – a guest who's brought into the fold after a successful European tour with the group, and a perfect match for their ever-inventive sound! Dorge's guitar sets the scene and colors the music right from the start – with plenty of the blue elements you might expect in the title – and Riley seems as if he's challenging all the other group members to do their best with the strength of his own tenor – a lineup that includes Tobias Wiklund on trumpet, Kennet Agerlhom on trombone, Jakob Mygind on tenor and soprano, Anders Banke on tenor and bass clarinet, and Irene Becker on piano and keyboards. The tracks are mostly originals by Dorge, plus a few by Becker – and they've got that angular, shape-heavy vibe that marks the work of the NJO – on titles that include "Dancing In The Jungle", "Aburu Kuwa", "Mingus' Birthday Party", "Witchdoctor In The Burial Mound", "Fulani", and "Blue Afriki". CD

A beautiful pairing of the vocals of Billy Eckstine and the arranging talents of Pete Rugolo – a real standout set that's easily one of Eckstine's greatest albums ever! By the time of this set, Rugolo had made a great name for himself arranging other vocal sides for June Christy, The Four Freshmen, and others – and he's bringing a sense of poise and space to the album that's often missing from much of Billy's later work. The warm Eckstine voice is allowed plenty of space to do its thing here – floating out effortlessly over the larger orchestrations and gliding with the gentle darkness that first made him stand out from the pack so many years ago. There's nothing too fancy or fussy going on here, and Billy's performance is a key example of his strong talent for understatement at its best. Titles include "It Was So Beautiful", "I Got A Right To Sing The Blues", "Imagination", "Lullaby Of The Leaves", "That's All", "I Cover The Waterfront", and "A Faded Summer Love". CD

Four incredible albums from the young Georgie Fame – plus a bonus CD of rare material, bonus tracks on all CDs, and 18 previously unreleased tracks – all in a box set with a 48 page book, 5 postcards, and a poster too! First up is Rhythm & Blues At The Flamingo – blistering early work from a young Georgie Fame – a set that definitely lives up to the Rhythm & Blues in the title! The set was recorded live at London's hip Flamingo club – and Georgie and The Blue Flames are very much in command of the crowd – burning with the intensity of a American small organ combo, especially the early 60s variety that often played equal parts soul jazz and R&B! Georgie's on the Hammond, and also sings with a rough-edged style that's plenty soulful, and incredibly appealing – a mode that oozes charisma, but never sounds fake or forced. Titles include "Do The Dog", "Eso Beso", "Work Song", "Baby Please Don't Go", "Shop Around", "Humpty Dumpty", and "You Can't Sit Down". Fame At Last is a brilliant mix of jazz, soul, and R&B – all filtered through a mod sort of London freshness, as early proof that the city could always take some great things from our own musical roots, and feed it back to us with a whole new flavor! Georgie's no copycat here, though – and the sound is instantly Fame-like – a style that's really not the sort that any Americans were doing at the time, and certainly never this well. Hard-burning Hammond colors most of the tunes here – played with a tightly vamping quality – but it's Georgie's charmingly crackling vocals that really win us over! Titles include "Gimme That Wine", "Pink Champagne", "Monkeying Around", "Green Onions", "Let The Sunshine In", "Get On The Right Track Baby", "I'm In The Mood For Love", and "I Love The Life I Live". Sweet Things is a definite sweet thing from Georgie Fame – a record that has him filling in his sound even more than before, with tremendously soulful results! The backings here are bigger than before – a bit tooled in an American soul mode, but still with that beautifully raspy Georgie Fame touch – lots of jazzy inflections on the vocals, and a way of handling a tune, even a familiar one, and really working it on his own level. Hammond still fills in most of the tunes, but other instrumentation includes some nice African percussion from Speedy Acquaye, saxes from Pete Coe, and some nice bold drums from John Mitchell. These come out to the forefront on the classic funky tune "Music Talk" – and still sound great on other numbers that include "The World Is Round", "Last Night", "Dr Kitch", "My Girl", "Ride Your Pony", and "Sweet Thing". Sound Venture is one of the jazziest early albums from Georgie Fame – a set that has him singing with the big band of Harry South, at a level that's a lot more complicated than some of his other work with The Blue Flames! The style here still has that mod 60s London feel, but it also has some deeper inflections as well – modes borrowed a bit from Jon Hendricks or Mose Allison, yet served up with even greater complexity – at a level that really points towards the tremendous growth Fame would unleash over the next few years. Members of the group include Tubby Hayes, Ronnie Scott, Tony Coe, Dick Morrisey, Kenny Wheeler, and many other key Brit jazz figures of the time – and titles include "Three Blind Mice", "Dawn Yawn", "Feed Me", "Lovey Dovey", "Lil Darlin", "Lil Pony", "I Am Missing You", and "Many Happy Returns". CD5 is Bend A Little – a package with 20 unusual titles – demos, rare tracks, and outtakes – including unreleased tracks, IBC recordings, and even two German tracks too! Plus, each individual CD comes with bonus tracks – 40 bonus tracks, in addition to the 20 more titles on the Bend A Little set – a huge amount of material! CD

Two of the biggest singers who ever worked for Verve Records – captured perfectly at the Newport Jazz Festival in 1957! Ella Fitzgerald steps out with a strong, lively groove on the first half of the set – swinging things with a looser, more upbeat quality than on some of her mellower Verve studio sets of the late 50s – really grooving it up with small combo backing from the trio of pianist Don Abney! Billie Holiday also gets some small combo backing too – a hip trio with Mal Waldron on piano, Joe Benjamin on bass, and Jo Jones on drums – often a bit more laidback than the group on Ella's sides, but in a great way that helps Holiday hit a very intimate sound, even before this large audience. Ella sings "This Can't Be Love", "Body & Soul", "April In Paris", "I Got A Crush On You", and "Airmail Special" – and Billie sings "Nice Work If You Can Get It", "What A Little Moonlight Can Do", "My Man", "Willow Weep For Me", and "Lady Sings The Blues". CD also features 3 more unissued bonus tracks by Ella – "Too Close For Comfort", "Lullaby Of Birdland", and "I'm Gonna Sit Right Down & Write Myself A Letter". And, added to all of this are 7 more tracks recorded by Carmen McRae at Newport, not issued by Verve in the 50s because Carmen was working for Decca! These sides feature trio backing too – from groups featuring Ray Bryant and Junior Mance on piano – on titles that include "Body & Soul", "Skyliner", "I'll Remember April", "Perdido", and "Love Is Here To Stay". CD

Twin pianos from Tommy Flanagan and Hank Jones – with no other instrumentation – played in some great ways that provide an equal balance of rhythmic pulse and lyrical melody! The set's got a sweet stereo split – so that Tommy's in the right channel, and Hank is in the left – and the pair do a great job of bringing new life to a host of bop classics, yet in an all-piano style that has the music billowing out in these great waves of sound! Titles include "Robbins Nest", "Confirmation", "Jordu", "Our Delight", and "Lady Bird". CD

A set that's way more than just a "best of" sort of anthology – as the package features three full albums by the group, plus other material too! The set begins with the classic debut, Gilded Palace Of Sin – a true late 60s rock masterpiece – and like albums by Love and The Velvet Underground, a set that barely made a mainstream impact at the time – but which has gone on to be the stuff of influence and legend over the decades! The album's the first from Gram Parsons and the group – one of only two they would cut together – and the whole thing is a perfect blend of rough-edged rock and country influences rising up from the LA scene – all those glimmers of brilliance that Parsons had brought to the Byrds and other projects, maybe given their full flowering here in a mode that's unabashed about its country music influences – maybe even more so than some of Gram's later solo work. Sneeky Pete Kleinow's steel guitar really adds a lot – but so does the presence of Chris Hillman on guitar and mandolin, and Chris Ethridge on bass and piano. Titles include the brilliant "Sin City" – a track we'll love until we die – plus "Christine's Tune", "Do Right Woman", "Dark End Of The Street", "My Uncle", "Wheels", "Juanita", "Hot Burrito No 1", "Hot Burrito No 2", "Do You Know How It Feels", and "Hippy Boy". Burrito Deluxe is the second of only two albums recorded by Gram Parsons with the Flying Burrito Brothers – and a masterpiece that pushes the group's sound even farther than their debut! The set is filled with special moments – songs that show just why these guys were such a special bridge between late 60s country and rock music – and why all of the other groups they inspired just never came close to serving things up this well! Gram Parsons is fantastic on vocals, of course – but the whole group is great, especially Sneaky Pete on steel guitar. Titles include the fantastic romper "Man In The Fog", the very groovy "Lazy Days", the haunting "God's Own Singer", and the group's Jagger/Richards' approved take on "Wild Horses – plus other cuts that include "High Fashion Queen", "Image Of Me", "Older Guys", and "If You Gotta Go". Flying Burrito Brothers is The Burritos first LP, post-Parsons – and a pretty strong statement for the merits of the now unquestioned leader, Rick Roberts, and multi-instrumentalist new guy Bernie Leadon, who would later turn to the dark side and join the Eagles! Roberts penned or co-penned seven of the album's ten tunes, including "Colorado", "Hand To Mouth", "Just Can't Be", and "Four Days Of Rain". His contributions are for the most part nicely fragile, with just the right doses of sweetness and sadness. The group also covers Merle Haggard's "White Line Fever", Gene Clark's "Tried So Hard", and Dylan's "To Ramona". This is one of the band's rarer LPs, probably because of the absence of hipster hero Gram Parsons – truly a worthy piece of work! CD also features some other tracks recorded by Parsons with the group – including "Six Days On The Road", "Break My Mind", "Sing Me Back Home", and "Close Up The Honky Tonks" – and live tracks "Ain't That A Lot Of Love" and "Losing Game" – plus Gene Clark singing on "Here Tonight". CD

A huge amount of gems from the key Atlantic Records years of Aretha Franklin – titles that include "Call Me", "I Never Loved A Man", "Respect", "Chain Of Fools", "Do Right Woman", "Dr Feel Good", "Save Me", "Think", "Ain't No Way", "Share Your Love With Me", "The House That Jack Built", "Rock Steady", "Spanish Harlem", "Angel", "Until You Come Back To Me", "Day Dreaming", "Oh Me Oh My", and "Wholly Holy". CD

A big one from Aretha Franklin's 80s comeback years on Arista Records – a set that features a surprising guest appearance from Keith Richards, but mostly concentrates on Franklin's successful run with producer/arranger Narada Michael Walden – who continues to do a great job of updating her sound! There's less deep soul numbers here than in the early days, and instead Aretha goes for a gentler expression of her range – but one that still soars in all the right places. The album features duets with Larry Graham and George Michael – and titles include "An Angel Cries", "Rock A Lott", "He'll Come Along", "Jimmy Lee", "I Knew You Were Waiting For Me", "Jumpin Jack Flash", and "Look To The Rainbow". CD

A real standout from Aretha Franklin's years on Arista – a set produced by Luther Vandross, with a soaring groove that really opens Aretha up nicely! Luther's more in the mode here of his 70s club productions than his 80s hits – that warm, midtempo vibe that's full of lush moments, but never in ways that are cloyingly commercial. Franklin's vocals light up the tunes in the way that Luther's own might do – really soaring out beautifully in this setting. Titles include "I Got Your Love", "Giving In", "Get It Right", "Pretender", "Every Girl", "I Wish It Would Rain", and "Better Friends Than Lovers". CD

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

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

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

Aretha's grooving sweetly here in the early 80s for Arista – on a record that's produced by none other than Luther Vandross – and it's a damn strong one, too! Aretha wasn't the first, or the last classic soul singer to embrace the 80s, but relatively few outshined their younger peers as brilliantly as Aretha does here! She's great on this one! There's plenty of space in the arrangements for Aretha to do here thing – emoting naturally, improvising some of vocals, and really just knocking it out of the park. Luther's production shows ample love and respect for the previous generation of soul, while still sounding right at home in '82 – with some timeless ballads along with contemporary chart-ready grooves. Titles include "Jump To It", "Love Me Right", "If She Son't Want Your Lovin'", "This Is For Real", "It's Just Your Love", "I Want To Make It Up To You" and "It's Just Your Thing". CD

Aretha's grooving sweetly here in the early 80s for Arista – on a record that's produced by none other than Luther Vandross – and it's a damn strong one, too! Aretha wasn't the first, or the last classic soul singer to embrace the 80s, but relatively few outshined their younger peers as brilliantly as Aretha does here! She's great on this one! There's plenty of space in the arrangements for Aretha to do here thing – emoting naturally, improvising some of vocals, and really just knocking it out of the park. Luther's production shows ample love and respect for the previous generation of soul, while still sounding right at home in '82 – with some timeless ballads along with contemporary chart-ready grooves. Titles include "Jump To It", "Love Me Right", "If She Don't Want Your Lovin'", "This Is For Real", "It's Just Your Love", "I Want To Make It Up To You" and "It's Your Thing". CD

A classic "discovery" of tenor saxophonist Von Freeman – one that was already relatively late in his career, but a key appearance on Atlantic under the auspices of Roland Kirk! The setting here is as loose and laidback as Von needs to really do his thing – backing by a trio that features fellow Chicagoan John Young on piano, plus Sam Jones on bass and Jimmy Cobb on drums – all hanging back nicely to let Freeman dominate the set on tenor. The album's noteworthy for its inclusion of a few original tunes by Von – "White Sand", "Portrait Of John Young", "Doin It Right Now", "Brother George", and "Catnap" – all of which mark a nice contrast from some of the more traditional standards that show up on other Freeman albums of the 70s. CD

Great early work from Lowell Fulson – tracks recorded in the 50s for Chess Records – all in Chicago, and a fair bit more obscure than some of Lowell's better-known sides from the 60s! There's still a nicely gritty groove going on here – a style that's rooted in blues, but which often comes across with some of those more sly, more wicked moments that have always made Fulson one of our favorites – almost a slightly jazz or funk undercurrent at points, and a bit different than the regular Chess groove. Titles include "Do Me Right", "Trouble Trouble", "Hung Down Head", "Tollin Bells", "Low Society", "Check Yourself", "That's All Right", and "I Want To Know". CD

A double slice of Stan Getz – material issued previously on two separate CDs by Steeplechase, brought together here in the price of a single set! The work here is wonderful – moody late 70s Getz, with some especially soulful moments on the mellow tracks too – that kind of spun-out blowing that we first started finding in Stan's career right around the Sweet Rain album, and which continued to show up beautifully on 70s albums like this! Joanne Brackeen plays some great piano in the quartet – including some electric keys too – and other players include Niels Henning Orsted Pedersen on bass and Billy Hart on drums. Tracks include "Infant Eyes", "Lush Life", "Stan's Blues", "Cancao Do Sol", "Lady Sings The Blues", "Blues For Dorte", and "Con Alma". CD

The kings of seedy 80s LA rock do their damnedest to top the their appropriately-titled, mainstream rock conquering Appetite For Destruction with the sprawling pair of Use Your Illusion albums! Use Your Illusion I kicks off with a few fast-charging, swaggery Guns songs that would have fit pretty well on Appetite, but abruptly change courses with a bombastic cover of "Live And Let Die" – and it gets even more grandiose from there – with slow-building ballads, boozy and bluesy hard rockers and more. It's pretty fascinating, in hindsight, just how far the band would go on the two Use Your Illusions albums without completely losing the plot! Includes "Right Next Door To Hell", "Dust N' Bones", "Don't Cry (Original)", "Perfect Crime", "You Ain't The First", "Bad Obsession", "Back Off Bitch", "Double Talkin' Jive", "Bad Obsession", "Garden Of Eden", "Dead Horse", "Coma" and more. CD

One of the first collections we've ever seen to really do justice to the genius of Roy Hamilton in the 1950s – a package of tracks that not only features his better-known crossover ballads of the time, but which also includes some great tracks in a harder R&B mode! Roy was one of the first singers of his generation to strongly break down the color barrier in popular music – and his amazing vocals were wonderfully suited to a range of material that reached out to many listeners – mellow love songs, rocking upbeat numbers, and even a bit of early country soul – all presented here in great sound with a batch of notes that further illustrates the importance of this material. 26 tracks in all – including "Unchained Melody", "You Can Have Her", "Don't Let Go", "Hurt", "Earthbound", "Crazy Feelin", "Mr Rock & Soul", "I Need Your Lovin", "Dreams Oh Dreams", "I'll Never Be Free", "Blowtop Blues", "On My Way Back Home", "Jungle Fever", "Forgive This Fool", "I'm Gonna Sit Right Down & Cry", "You'll Never Walk Alone", "I'm Gonna Move To The Outskirts Of Town", and "That's All Right". CD

Lezlie Harrison's a great singer, and she sounds especially wonderful here next to the Hammond B3 of Ben Paterson – a player who really seems to click with Lezlie's great approach! There's a slight current of soul in Harrison's music, but the music is definitely jazz – as she's got a richness of expression, and way of using her voice that we'd rank right up there with vocalists like Carmen Lundy or Dee Alexander – given plenty of space to open up and soar here in a small combo setting, with work also from Matt Chertkoff on guitar and Pete Zimmer on drums. The approach is great – very different than some straight old school Hammond/vocal session – as Harrison's take on the tunes is very fresh, with more contemporary approach to arrangements – on titles that include "Love Won't Let Me Wait", "Let Them Talk", "A Lover Is Forever", "What A Little Moonlight Can Do", "Fly Like An Eagle", and "Close Your Eyes". CD

There's no suffering here – as the record's a real delight, and one of the more unique sessions in the career of the great John Lee Hooker! The record was done for Impulse Records, mostly known for its jazz recordings at the time – and the session has the vocals and guitar of John Lee next to a trio of more jazz-based players, one that features Barry Galbraith on guitar, Milt Hinton on bass, and Panama Francis on drums – who somehow do a fantastic job of backing Hooker up! The set has a beautiful recording quality – very crisp and clear, yet never polished – and the work of the other players is incredible, as they really move into John Lee's mode, and somehow have him shining even more strongly than on some of his other albums from the time. This isn't a folk blues set done by a jazz label – and instead, the best of Impulse is used to give Hooker a fantastic showcase – on titles that include "Bottle Up & Go", "Sugar Mama", "Decoration Day", "You're Wrong", and a good cover of "Money". CD

Wonderful work from Incognito – perhaps their greatest album ever! By the time of this 1993 release, this Brit funky soul combo was in perfect form – blending together classic modes of jazz funk into a tight modern blend that's lasted a lot longer than anyone might have thought at the time. From the perspective of nearly a decade later, this album glistens like a lost soul jewel – perfectly fitting in between some of our favorite 70s albums, and a few of the better sides from recent years. The vocals are great, the riffing is tight, and the production is smooth and soulful all the way through. Tracks include "Still A Friend Of Mine", "Positivity", "Smiling Faces", "Do Right", "Talkin Loud", and "Thinkin About Tomorrow". CD

Heavy sounds from Iron Butterfly – a record that's not nearly as well known as their classic In-A-Gadda-Da-Vida – but which has a very similar vibe all the way through! The songs are a bit shorter, but these guys really manage to do a lot with a little – using lots of brooding bass right up from the bottom, to create a blueprint for hard rock imitators in years to come – none of whom were able to match these guys' simple, direct approach – and their optimistic sense of power in their music. Many numbers often have this vocal interplay that really works wonderful with the fuzzy guitar lines – and titles include "Possession", "Unconscious Power", "So Lo", "Look For The Sun", "Stamped Ideas", "Fields Of The Sun", and a nice fuzzy funk version of "Get Out Of My Life Woman". CD

A really unique album from the great Etta Jones – a session recorded down in Muscle Shoals, and not in Chicago – a setting that gives James an extra sort of deep soul power! The backing is nicely different than some of the other Chess material – killer work from the legendary Fame Studios lineup that included Barry Beckett on organ, Charles Chalmers on tenor, and Roger Hawkins on drums – all coming together with the great Rick Hall at the production helm! Etta's back in hard-belting R&B-tinged territory here – a bit more sophisticated than the 50s, with a good mix of hard soul numbers and ballads, opening up in some southern territory that really suits her well. Titles include "The Same Rope", "Watch Dog", "Tell Mama", "I'd Rather Go Blind", "Just A Little Bit", and "Don't Lose Your Good Thing". CD adds a whopping 10 bonus tracks to include other material recorded by Etta for the album – issued only on singles during the 60s, or never issued until this CD. Additional tracks include "Do Right Woman, Do Right Man", "Misty", "I've Gone Too Far", "You Took It", "I Worship The Ground You Walk On", and "You Got It". CD

Really wonderful work from Jazzhole – a record that goes far beyond some of the simpler modes bubbling around the Neo Soul underground these days! Lead vocalist Marlon Saunders will be familiar to Dusty Groove customers for his other great solo work – but here his sound is somewhat different – a bit more introspective and sophisticated, with a warm rasp in his voice that sounds beautiful alongside the flowing keyboards and jazzy phrasing of the backings. The style is one that's really all its own – certainly inspired a bit by the classics, but hardly a simple copy of them – and Jazzhole prove once again that they're a great little combo who don't need to hit you over the head to hook you into their soul! Titles include "Poet's Walk", "All The Ways", "Jonesing", "One More Time", "Do It Right", "Timeless", and "It Would Have Been Enough" – plus a surprisingly great cover of Boz Scaggs' "Lowdown". CD

Brilliant 70s material by Antonio Carlos Jobim – one of his key sets from the middle part of the decade that had the composer really deepening his approach to both singing and songwriting – moving past some of the more instrumental modes that he was using at the start of the decade! There's a richness to the songs that goes way past simple bossa styles – and the lyrical brilliance shows that Jobim hardly ever needed a poet or co-writer to help him hit the heights – as he really wins us over with his words as much as his music. Claus Ogerman produced, and gives things the right balance between fullness and space in the charts – which allows both a great focus on Antonio's vocal style – expressive, but very down to earth – and a few nice solos on Fender Rhodes too! Titles include "Saudade Do Brasil", "Correnteza", "Boto", "Ligia", "Valse", "Arquitetura De Morar", and "O Homem". CD

Easily one of the best deep soul albums we've heard in years – new work by a singer who hails from Indiana, but who's able to give the best from Memphis and Muscle Shoals a real run for their money! Durand Jones isn't one of these cats who's trying to fake it with a few retro touches – and instead, he gets right to the heart of the matter, right from the very first note – with a deep vocal approach that's rivaled by a rare few in the contemporary scene – maybe Lee Fields (and maybe that's it!) The vocals are perfect – never forced or cliched, and really right on the money – and the Indications do a great job, too – with these lean backings that never overwhelm, yet really help keep things funky. Hats off to drummer Aaron Frazier and guitarist Blake Rhein, who wrote most of the songs on the record with Jones – and titles include "Make A Change", "Can't Keep My Cool", "Groovy Babe", "Giving Up", "Now I'm Gone", and "Is It Any Wonder". CD

A great little album from this overlooked singer – an east coast vocalist from the 50s, working here on one of the few sessions she ever recorded! Teal's got an exotic look on the cover, but the presentation of the music is right up there in the best mainstream jazz modes of the time – and unlike some of the other small combo vocal work on Bethlehem in the 50s, this album has the fuller feel of the sorts of records you might hear on a label like Capitol or Verve at the time. Ted Steele handles the arrangements – and is also credited with discovering Teal in Atlantic City – and the backings are a mix of jazzy flourishes and larger strings – never poppy or overdone. Titles include "Autumn Leaves", "El Cumbanchero", "Deed I Do", "For You My Love", "Who's Sorry Now", "Let's Fall In Love", and "Easy To Remember". CD also features three bonus alternate takes! CD

One of the earliest albums as a leader from reedman Robin Kenyatta – and a set that's also one of his most compelling too! There's a definitely freer sound here than on some of Robin's smoother sets from the 70s – a vibe that's somewhere near the space of Impulse Records in the post-Coltrane years, and which is right at home on Atlantic's Vortex label subsidiary. A few tracks get surprisingly out, but always with a nice sense of focus, especially in the rhythms – and in addition to Kenyatta's own bold work on alto sax, the album features performances by Roswell Rudd on trombone, Mike Lawrence on trumpet, Walter Booker on bass, Fred Simmons on piano, and Horace Arnold on drums. The tunes have lots of sharp edges – almost Ayler-like at times, but more inside – and titles include "You Know How We Do", "Little Blue Devil", "This Year", and "Until". CD

A tremendous second set of work from the mighty Mike James Kirkland – a west coast soul talent who never fully got his due, but who will forever be legendary for a few key records like this! Mike can give us all the right funky currents when he wants – but this album also displays an almost deeper approach to soul – one that often has the sensuous qualities of mid 70s Marvin Gaye at his best, but delivered with some slightly rougher edges that really keep things interesting – and which keeps the record from sounding anything else like the bigger 70s soul on the charts! Titles include "You Put It On My Mind", "It's Too Late", "Love Insurance", "Oh Me Oh My (I'm A Fool For You)", "Got To Do It Right", "The Only Change", and "Love Is All We Need". CD

The title definitely gets it right on this one – as the set's about as perfect a collection of Eartha Kitt's work as you could ever hope to find – a surprisingly huge batch of music that not only includes familiar hits and holiday classics, but also some unusual rare bits as well! At 22 tracks, the package is hardly an accidental collection of Kitt's music for RCA – and instead, it's really well-chosen, and thoughtfully put together – with remastering from the first generation session masters, and some liner notes that offer great insight to Eartha's music. Titles include "Je Cherche Un Homme", "I Want To Be Evil", "Mink Schmink", "Let's Do It", "C'Est Si Bon", "Just An Old Fashioned Girl", "Somebody Bad Stole De Wedding Bell", "Thursday's Child", "Angelitos Negros", "Lovin Spree", "The Blues", "The Heel", "Santa Baby", "Proceed With Caution", "Uska Dara", "Under The Bridges Of Paris", "My Heart Belongs To Daddy", "Monotonous", "I Wantcha Around", "Lilac Wine", and "Annie Doesn't Live Here Any More". CD

Amazing work from Kool & The Gang – from a period when they were pushing past their tight early funky sound, into a super-dope mix of electronics and spacey jamming that is still pretty darn revolutionary today! Although you might think the album would be a bit disco by the date, it's not – and instead has the group moving more towards a style of cosmic righteousness that was undoubtedly influenced by the early work (and success) of Earth, Wind, & Fire. The album has a few live cuts - including an amazing 8 minute long live version of "Summer Madness", with an extended keyboard solo that's just great! Other titles include "Cosmic Energy", "Do It Right Now", "Universal Sound", and a remake of "Hollywood Swinging". CD

Fantastic female soul – and an incredible collection of work from the young Betty Lavette – easily one of our favorite female soul singers of the time! The set brings together late 60s tracks recorded for the Calla and Silver Fox label – and as great as her later work might be, this is the stuff that will really blow you away – the real deal, right-on-the-money sort of tracks that made Betty a legend right from the get-go! Backings are often nicely funky, and production has that great gritty way of unlocking the full depth of Lavette's vocals without going for any easy soul cliches – a kind of purity that's really kept these tracks at the top of our stack over the years. The set features a great book-style cover, with notes on the music – and the CD also features a few duets with Hank Ballard, too! Titles include "He Made a Woman Out of Me", "Do Your Duty", "We Got to Slip Around", "Love's Made a Fool of Me", "Let's Go Let's Go Let's Go", "Hello Sunshine", "My Train's Coming In", "Nearer To You", and "I'm In Love". CD

One of the key records from the Cadet/Concept scene in late 60s Chicago – a tremendous collaboration between pianist Ramsey Lewis and arranger Charles Stepney – and the kind of record that took soul and jazz to a whole new level! Ramsey on his own is great enough at this point – but add in Stepney's touch, and the record becomes something really brilliant – a blend of soaring strings, groovy rhythms, and spaciously stepping piano lines – all held together with a tremendous amount of creative imagination! The group here features a young Maurice White on drums and Cleveland Eaton on bass – both hitting a groove that's quite different than the Ramsey Lewis Trio sound of years back, with a lot more space, a lot hipper rhythms, and just the right sort of groove to match Stepney's sophisticated touches. The piano gets a bit electric at times, but is mostly acoustic overall – and titles include a great version of Minnie Riperton's "Les Fleur", a funky version of "Mighty Quinn", and the cuts "Afro Boogaloo Twist", "Maiden Voyage", "Ode", "Do You Know The Way To San Jose", "Only When I'm Dreaming", and "Eternal Journey". CD

Amazing sounds from one of the all-time greats – the legendary Little Willie John – not only a key inspiration to James Brown, but one of the formative forces in soul music at the start of the 60s! The material here was cut by King Records at the height of its R&B years, but it also stretches forth towards something new, too – a deeper, more expressive sound that really blows us out of the water, even all these decades later – vocals that are incredible, and virtually a blueprint for the style that would come to be known as deep soul in later years. The package brings together all of Little Willie John's hit singles for King, but also features the much more obscure b-sides too – making it an essential document of these legendary years – with a whopping 32 tracks that include "Now You Know", "Flamingo", "Spring Fever", "I'm Sorry", "My Nerves", "Do Something For Me", "Leave My Kitten Alone", "Let Nobody Love You", "Fever", "Tell It Like It Is", "Letter From My Darling", "Don't Leave Me Dear", "Right There", and "All Around The World". CD

The final chapter in the triplet of trios albums recorded by reedman Charles Lloyd in 2022 – and one that really holds onto the special spirit of the others! As before, there's a lean setting that's perfect for the maturing talents of Lloyd – this open sonic space delivered with the guitar of Julian Lage and percussion of Zakir Hussain – both players sensitive enough to understand what Lloyd's trying to do, and give him just the right support throughout the record. The whole thing is a further demonstration that over the past 20 years, Lloyd has maybe grown as much as an artist as he did during his first 20 years in music – as you'll hear on titles that include "Desolation Sound", "Tales Of Rumi", "The Blessing", "Saraswati", and "Nachekita's Lament". CD

A killer set that really lives up to the Samba Soul promised in the title – recorded recently by Marcio Local, but done with a solid 70s groove that takes us back to the Jorge Ben generation! The production here is perfect – never too polished, and always with a bit of grit in the grooves – so that the record feels more old-school funky than a current album trying to be retro – lots of great drums underneath keyboards, riffing guitar, and Local's raspily soulful vocals! The whole thing's pretty darn great – easily the best Luaka Bop album we've heard in ages – and it's a modern bit of samba soul we'd rank right up there with Seu Jorge's Carolina album. Titles include "Samba Sem Nenhum Problema", "Preta Luxo", "Minha Rosa", "Resgate", "Quem Pode Pode", "Sentimento Rei", "Happy Endings" by Soul Do Samba, and "Represento". CD

A classic set of spacey club from Mandre – aka Andre Lewis – an artist we'd place right up there with some of the best cosmic sounds from Dexter Wansel at the time, and maybe even some of the more space-bound club artists of the European scene as well! The album's got some wonderful keyboards throughout – heard in a mostly instrumental mode on side one, save for a great track that includes vocals from Maxayn – and as the set rolls along, things get more confident, more groove-oriented, and pick up some bassier rhythms that fit in wonderfully with Mandre's overall conception! The album's got a fuzzy, trippy sound you'd hardly expect from late 70s Motown – and the whole thing's been an underground club classic for years – with cuts that include the sublime "Solar Flight (Opus I)" and "Third World Calling (Opus II)", plus "Keep Tryin", "Masked Music Man", "Wonder What I'd Do", "Money", "Dirty Love", and "Masked Marauder". CD

An incredible step forward for 60s soul singer Gene McDaniels – so much so, that most folks hearing this album can't believe he's the same guy who recorded for Liberty Records a few years before! The album's incredibly righteous right from the start – and has a genre-busting quality that isn't quite soul, but isn't rock or anything else either – and instead, the kind of progressive, "years ahead of its time" sort of set that guys like David Axelrod were cutting in the same stretch. Apart from the title, the whole record's got a strong political message that's probably best embodied in the statement on the back – "Under conditions of national emergency, like now, there are only two kinds of people – those who work for freedom, and those who do not – the good guys vs the bad guys". With words like that, you can definitely bet that Eugene is on the side of the good guys – really pushing a social agenda with some wonderfully-penned tunes on the album – set to cool musical backdrops from the equally-righteous William S Fischer. Titles include "Love Letter To America", "Black Boy", "Outlaw", and "Sagittarius Red". CD

A strange and obscure session that has the cool jazz vocals of American singer Helen Merrill backed by a small Italian combo led by soundtrack composer Piero Umiliani – a wonderful mix that really makes the album an unusual one for Helen! The music was originally recorded for a TV program in Italy, and each track is preceded by an Italian voice, reciting Italian versions of the lyrics over spare musical backing – then Merrill's voice comes in with a bigger jazz group, singing each track in English – a very nice level of presentation! And although the whole thing sounds crazy, it actually works well – and gives the album a compelling edge and kind of a sexy late-night quality – with great instrumentation that includes flute from Gino Marinacci and guitar from Enzo Grillini. Tracks include "Solitude", "Everything Happens To Me", "Night & Day", "Why Don't You Do Right", and "Willow Weep For Me". CD

Bold and brilliant duets from altoist Jemeel Moondoc and drummer Dennis Charles – the latter of whom is in tremendous form in this very free setting! There's a sense of soul and spirit that grabs us right from the start – these surprisingly deep notes from Moondoc, making us keep checking the notes to see if he's handling another horn besides alto sax – given a rumbling, brooding sensibility through Charles' work on drums – which never bombastically dominates, but always ruminates with a power that drives Jemeel on. Titles include "We Don't", "We Do", "Judy's Bounce", and "Home". CD

A very different album for Lee Morgan – especially in comparison with his other early sessions! The record is a gentle batch of ballads and standards, played by Morgan with a quartet that includes Sonny Clark on piano, Doug Watkins on bass, and Art Taylor on drums – all beautifully poised to help Lee hit just the right notes in the set. The album's a crucial one, in that it gives Lee Morgan a chance to show off a warmer, mellower, and more introspective style – after first coming onto the scene as a stormer on his first few sessions. The whole thing's great, and a really important part of Morgan's catalog – and an album that was sadly "lost" in the Blue Note catalog for years, due to a too-short initial release! Titles include "Candy", "Who Do You Love, I Hope", "All The Way", and "Since I Fell For You". CD

A very different album for Lee Morgan – especially in comparison with his other early sessions! The record is a gentle batch of ballads and standards, played by Morgan with a quartet that includes Sonny Clark on piano, Doug Watkins on bass, and Art Taylor on drums – all beautifully poised to help Lee hit just the right notes in the set. The album's a crucial one, in that it gives Lee Morgan a chance to show off a warmer, mellower, and more introspective style – after first coming onto the scene as a stormer on his first few sessions. The whole thing's great, and a really important part of Morgan's catalog – and an album that was sadly "lost" in the Blue Note catalog for years, due to a too-short initial release! Titles include "Candy", "Who Do You Love, I Hope", "All The Way", and "Since I Fell For You". CD

A pair of soundtracks for two of the creepiest horror movies of the 70s – back to back on a single CD, and given the top-shelf Film Score Monthly treatment! First up is the score for Soylent Green – a mix of very moody, unusually-toned passages that are mixed with some mellower, jazzier numbers that offset things nicely – composed by Fred Myrow, but also given a bit of help from horror maestro Gerald Fried! The music is definitely above the norm – not just in the higher budget, but also in the way that things come together sonically – at a level that makes for a lot of surprises throughout – on titles that include "Tab's Pad/Furniture Party", "Shirl & Thorn", "Home Lobby Source", "Can I Do Something For You", and "Sol's Music". Demon Seed is a great one from Jerry Fielding – definitely at the darker side of his sonic spectrum, which is pretty darn fitting, given that the film involves a computer having sex with Julie Christie! There's a sense of evil that resonates in the music right from the start – a mode that's partially borrowed from the Italian giallo generation, but which is given a more varied approach here, often at a level that's very low in the sonic spectrum. Tracks include "Birth Scene", "Probed Or Put To Bed", "Last Voyage", and "Closing Crawl". CD features almost 80 minutes of music – and detailed notes on both scores! CD

A contemporary record, but one that's got an amazingly timeless feel – like the best early 70s material from Brazilian artists like Airto, Hermeto Pascoal, or Egberto Gismonti! The music of Fabiano Do Nascimento has a similar genre-breaking quality to these giants – not straight jazz, but very jazzy in parts – not traditional Brazilian roots, either – but very schooled in the strongest elements from decades of creativity on that scene – all wrapped up in this fresh, new blend that's completely mesmerizing right from the start! Most instrumentation is acoustic, and relatively simple – guitar, percussion, drums, and vocals – but the arrangements are wonderful, and fold these familiar elements together in ways that are completely unique. The legendary Airto guests on the record – but the vision here is clearly that of Fabiano Do Nascimento – as he mixes together works by Hermeto Pascoal, Baden Powell, and other Brazilian composers with some bold new ideas of his own. Titles include "Forro Brasil", "Minha Ciranda", "Etude", "Primeira Estrella", "Tupi", "Se Ela Preguntar", "Tocatta Em Ritmo De Samba", and "Nana". CD

A really beautiful second album from Fabiano Do Nascimento – and a set that really blows away his debut! This record's got an "instant classic" vibe right from the start – the kind of set that you could easily listen next to 70s gems by artists like Lo Borges, Milton Nascimento, or Edu Lobo – with a sound that hangs between the complexity and soul of all three of those artists – but a presentation that's also very personal and unique! Fabiano plays acoustic guitar throughout, with a cascading vibe that's incredibly compelling – and often offset by light flute and percussion, which skitter alongside his beautiful vocals – in ways that are always upbeat, but never too polished – really preserving this organic core in his music! The sound is sublime – sophisticated, but very organic – and if you know us at all, we're not ones to throw around the term "classic" lightly when it comes to Brazilian music. Titles include "Planalto", "Baiao", "Brasilerinho", "Ja Que Tu", "Oye Nana", "O Tempo", "Canto De Xango", and "Louva A Deus Mantis". CD

The breakthrough second album from Naughty By Nature (who recorded formerly as The New Style) – one of the key groups to emerge from the New Jersey scene at the end of the 80s, and be able to give the world of New York hip hop a run for its money! Queen Latifah championed the group right from the start, and gave them a solid footing on Tommy Boy – a perfect label for the group to balance their commercial appeal and well-penned rhymes – at a level that makes this album at least a rock-solid entry in the key canon of the true school generation! Latifah makes an appearance on the record – as do Lakim Shabazz and Apache – on cuts that include the classic "OPP", plus "Ghetto Bastard", "Guard Your Grill", "123", "Wickedest Man Alive", "Everyday All Day", "Strike A Nerve", "Let The Ho's Go", "Pin The Tail On The Donkey", "Rhyme'll Shine On", and "Thankx For Sleepwalking". CD

Mindblowing work from one of the greatest new groups we've heard in years – Michigan's mighty Nomo, easily one of the greatest Afro Funk combos going! Nomo's got a tightness that surpasses most other heirs to Fela's throne – an intensely focused energy that's really tremendous – and which soars out with some jazzy touches on the horns that move the group into deeply soulful territory! There's way more going on here than just guitar riffing, percussion, and blasting horns – as Nomo's musical vision is really expansive, and often echoes with cosmic touches you never would have heard back in 70s Ethiopia! Electric instruments are used subtly, but really effectively – so that keyboards are matched with weird guitar parts and some especially great electrified gamelan and kalimba lines, the last of which are almost worth the price of the record alone. The whole thing's great – classic in its roots, but creative enough to have a boldly strong voice of its own – and our hats are off to Nomo for blowing us away even more here than with their already-great debut! Titles include "We Do We Go", "Nutones", "Hand & Mouth", "Fourth Ward", "Reasons", "New Song", "Divisions", "Sarvodaya", and "Book Of Right On". CD

Great later work from Anita O'Day – a set that really focuses in on the mature style of vocals she hit during the 70s – a mode that's quite different from some of the sometimes too-bright styles of her early years, and really lets her find some new feeling in her music! The first half of the set here features Anita in a live trio, with Don Abney on piano – working with just a bit of bass for backup, in a relatively spare setting that really puts the vocals center stage – never too fast or too swinging, which O'Day could sometimes do back in the 50s – and always taking the tunes at just the right pace to make them personally emotive. The second half of the set just features piano from Abney – and the CD seems to feature both the Misty and Angel Eyes albums together. Titles include "When Sunny Gets Blue", "Angel Eyes", "Am I Blue", "Afternoon In Paris", "Bluesette", "You'd Be So Nice To Come Home To", and "Black Coffee". CD

Groove-happy soul – a 14 track collection that brings together some of the best dancefloor numbers from Al Hudson's group One Way, plus a few solo tunes by one of its best singers, Alicia Myers! Hudson had a unique style that wasn't really disco, wasn't really funk – but took elements of both to craft a modern soul style that worked very well on the dancefloor, and which still holds up in many scenes today. The package includes One Way hits "Cutie Pie", "Lady You Are", "Pop It (single version)", "Push (single version)", "Mr Groove", "Something In The Past", "You Better Quit", and "You Can Do It" – plus Alicia Myers tunes "You Get The Best From Me", "I Want To Thank You", "Appreciation", and "If You Play Your Cards Right". CD

Pick any 10 words out of any Outkast album description on our pages at random, and you'll see how dearly we've loved these boys throughout the years – but truth be told, deep down we didn't think that they would be able to pull off the double album/solo album project(s). We were seriously wrong – Speakerboxxx/Love Below is HUGE in every way, and both halves are great all the way through! If you were worried Big Boi's Speakerboxxx half would be lazy southern hip hop without Andre's freaky presence throughout, you can put those fears to rest right now. Speakerboxxx is a deeply soulful electro hopping pounder from front to back – every bit as innovative as Andre's half! Tracks include "Ghettomusick" (which features one of just two appearances by A3000 on the whole disc), "Bowtie" with Sleepy Brown, "Bust" with Killer Mike, "Church", "Tomb Of The Boom" with Konkrete, Big Gipp and Ludacris, "Flip Flop" with Jay-Z, "The Way You Move" and more. A lot of press has been given to the assumption that Andre 3000 has largely forsaken hip hop on his half (The Love Below) and has instead dived head first into cosmic future funk. Well, the rumors are true. There's lots of straight up jazz piano and horn bits on the Love Below, with Andre's half serious, half tongue-in-cheek romantic soul cabaret croon way over the top. It's steeped in the classic Outkast party vibe, but with lots of Sign Of The Times-era Prince (complete with androgynous distorted vocals), Parliament and Cameo thrown into the mix. Sick, energetic genius! Tracks include the deliriously great "Hey Ya!" single, "She Lives In My Lap", "Love Hater", "Happy Valentine's Day", "Roses", "Good Day, Good Sir", "Behold A Lady", "Pink And Blue", "Spread", "Dracula's Lady" with Kelis, and more. Who the hell knows what they can possibly do to surprise us after this – but wherever Andre 3000 and Big Boi go from here, they each have yet another classic in the discography! CD

Early work from Prince – really his first full fledged masterpiece! Prince ushered the 80s in with a mix of recognizable influences, but filtered through his unique sensibility – taking a new approach to funky soul – by using his own sinister blend of layered vocals, crisp rhythms, and ultra catchy songs – always capped with that unbridled, fearless sexuality that comes across right here on the cover – and which already shows that the singer is a bold new force to be reckoned with! And despite his claim of having a dirty mind, Prince uses the music to unlock the sensual souls in all of us – with tracks here that would already become calling cards for a generation – such as the unstoppable classics "Dirty Mind" and "When You Were Mine", plus "Head", "Sister", "Do It All Night", and "Party Up". CD

An undisputed funk classic – even back in the days before anyone ever said the phrase "funk classic"! This album must have been deleted the day it came out – because even though it's attained legendary proportions with groovers worldwide, it's always been hard to find – even back in the 70s! But unlike so many other "rare-but-not great" funk albums, this one's a killer – with a hard funky wah wah sound that we'd rank up there with James Brown's best work on Polydor from the early 70s, and which should have made Joe a millionaire, not a lost legend of soul music. The band is sharp as a knife – with hard drums, tight bass, and some simply amazing guitar riffing. But the best part is Joe – as his vocals are hard and emotional, with just the right touches of righteousness to carry off the album's political messages, but not too much as to spoil the party that the band's having in the background! Every single track is a winner, and if we were ever to make a list of the top five funk albums to own, this one would be on it! Titles include "The Way They Do My Life", "I Got So Much Trouble On My Mind", "The Trouble With Trouble", "Give Me Back My Freedom", "Live Like Brothers", and "Find Yourself". This CD reissue also features some bonus tracks that weren't on the original album – including "Thanks Dad", "Get Down Baby", and "I'm A Young Man". 14 tracks in all! CD

An undisputed funk classic – even back in the days before anyone ever said the phrase "funk classic"! This album must have been deleted the day it came out – because even though it's attained legendary proportions with groovers worldwide, it's always been hard to find – even back in the 70s! But unlike so many other "rare-but-not great" funk albums, this one's a killer – with a hard funky wah wah sound that we'd rank up there with James Brown's best work on Polydor from the early 70s, and which should have made Joe a millionaire, not a lost legend of soul music. The band is sharp as a knife – with hard drums, tight bass, and some simply amazing guitar riffing. But the best part is Joe – as his vocals are hard and emotional, with just the right touches of righteousness to carry off the album's political messages, but not too much as to spoil the party that the band's having in the background! Every single track is a winner, and if we were ever to make a list of the top five funk albums to own, this one would be on it! Titles include "The Way They Do My Life", "I Got So Much Trouble On My Mind", "The Trouble With Trouble", "Give Me Back My Freedom", "Live Now Brothers", and "Find Yourself". This version is overflowing with bonus tracks – 9 more than the original album, pulled from singles on GSF and Mercury – with titles that include "How High", "Let Me Be What I Am", "You Know It's True", "I'm A Young Man", "Get Down Baby (parts 1 & 2)", "No", "This Girl Of Mine", "I'm Gonna Get You", and "Thanks Dad (parts 1 & 2)". 18 tracks on the CD. CD

Prime live material from the Ramones – recorded on the final night of 1977, right when the group was at the height of their power! If you ever got a chance to see The Ramones back in the day, the sound was really amazing – every bit as short, sharp, and focused as the studio records – but even more so, as the group would work through their set list with razor-sharp intensity, almost this juggernaut of punk rock sound that never lets up from start to finish! That quality is definitely in place here, as the whole thing tears through an incredible set list that includes "California Sun", "Rockaway Beach", "Teenage Lobotomy", "I Wanna Be A Good Boy", "Sheena Is A Punk Rocker", "Suzy Is A Headbanger", "I Don't Care", "Havana Affair", "We're A Happy Family", "Now I Wanna Sniff Some Glue", "Let's Dance", "Chainsaw", "Do You Wanna Dance", "You're Gonna Kill That Girl", "Gimme Gimme Shock Treatment", "Glad To See You Go", and "Blitzkrieg Bop". CD

A prime Ramones classic from the late 70s – a set that's got Joey, Johnny, and crew really hitting right on the money – with the kind of short sharp tracks that made the group such a key bridge between the 60s and the blank generation! The energy here is phenomenal – the kind of nonstop, always-blistering vibe that few of their imitators could ever hope to match – and certainly never with songs that are this catchy and perfectly formed! Titles include their classic "I Wanna Be Sedated", – plus "I Just Want Something To Do", "Needles & Pins", "Questioningly", "I Wanted Everything", "Go Mental", "Bad Brain", "It's A Long Way Back", and "Don't Come Close". Bonus material includes unreleased Ed Stasium mixes of "I Want You Around" and "Rock 'N' Roll High School" (way better than Spector's), a tight live medley of several of the classics, and demos "Come Back, She Cried" and "Yea, Yea". CD

Alright, let's get this straight right now – the songs don't sound the same, they ARE the same and that's why we love them! If you found a way to concentrate 30 years of the best rock & roll into two and a half minutes of beautiful primal energy that still managed to qualify as ear candy, would you try to change things up? Tracks include "Rockaway Beach", "Sheena Is A Punk Rocker", "Why Is It Always This Way", "Surfin Bird", "Do You Wanna Dance", and "Cretin Hop". Odds, ends, and demos include an early version of "Needles & Pins", a demo of a song called "Slug", single versions of "I Don't Care" and "Sheena Is A Punk Rocker", and the UK version of "It's A Long Way Back To Germany". CD

Alright, let's get this straight right now – the songs don't sound the same, they ARE the same and that's why we love them! If you found a way to concentrate 30 years of the best rock & roll into two and a half minutes of beautiful primal energy that still managed to qualify as ear candy, would you try to change things up? Tracks include "Rockaway Beach", "Sheena Is A Punk Rocker", "Why Is It Always This Way", "Surfin Bird", "Do You Wanna Dance", and "Cretin Hop". Odds, ends, and demos include an early version of "Needles & Pins", a demo of a song called "Slug", single versions of "I Don't Care" and "Sheena Is A Punk Rocker", and the UK version of "It's A Long Way Back To Germany". CD

One of the great records that Rare Earth did in collaboration with producer Norman Whitfield – a set that continues the deeply soulful vibe of their earliest records, but also offers a nice update to the sound! The style's in the kind of well-crafted funk that Norman would soon issue on his Whitfield label – all the bass-heavy bottom of his late 60s Motown righteous recordings, but with some deeper 70s currents too – really pushing even the more rockish moments on the set into surprisingly soulful territory! As usual with Whitfield, all the arrangements are his own – and titles include "Midnight Lady", "Finger Lickin Good", "It's A Natural", "Do It Right", "He Who Picks A Rose", and "Ain't No Sun Since You've Been Gone". CD

A treasure trove of greatness from British folk rock legend John Renbourn – all of his late 60s solo work, done before moving on to greater fame in Pentangle! First up is There You Go – a rare one from singer Dorris Henderson and future Pentangle founder John Rensbourn! Florida born, LA raised singer Dorris Henderson moved to London in 1965 and was soon singing London's folk clubs, where she met Rensbourn. A solid mix of traditionals and then contemporary folk songs – stripped down and honest takes on "Saly Free And Easy", "Cotton Eyed Joe", "Mr Tamborine Man", "Going To Memphis", Something Lonesome", "Mist On The Mountain" and more. This edition includes bonus tracks from a rare 45 – "Hangman" and "Leaves That Are Green". Next is the self-titled John Renbourn from 1965 – a set that would not only establish John's legacy for years to come, but also have a very strong impact upon the role of the guitar on the British scene too! The album's definitely in a mode that owes something to an American folk legacy – but it also really breaks from the past with unusual phrasings and colorings in Renbourn's guitar – certainly with an ear towards ancient English modes, but also at once very fresh and contemporary – a strong precursor to the waves of new acoustic talents that would flow from the UK a few years later, but maybe even more revolutionary – given that John's mostly just working here with his guitar and voice. Bert Jansch adds guitar to a few tracks – and titles include "Song", "Down On The Barge", "Plainsong", "Judy", "Beth's Blues", "Blue Bones", "Train Tune", "Winter Is Gone", and "Noah & Rabbit". Bert & John is a hell of a collaboration between British legends Bert Jansch and John Renbourn – both working here together to completely redefine the sound of their music for the generation to come! This one album may well hold all the sense of subtle power and possibility that was about to flower in the Brit movement often known as "acid folk" – that reworking of older aesthetics with modern conceptions, and doing so mostly with their work on acoustic guitar – quite a feat, given the stripped-down instrumentation of the set! Bert sings a bit – in that incredible style of his – but the real attraction here is the guitar interplay, which is always fresh, never hokey, neither familiar American folk nor forced singer-songwriter backup material. Titles include a wonderful reworking of Charles Mingus' "Goodbye Pork Pie Hat" – plus "Red's Favourite", "Orlando", "Soho", "Piano Tune", "East Wind", "After The Dance", and "The Time Has Come". Another Monday is maybe the most obscure album in the collection – a set that is mostly instrumental, with some completely fantastic work by Renbourn on guitar – but which also features a bit of guest vocals from singer Jacqui McShee – whose warmer presence next to John really makes for a nice pairing. The album's as powerful as it is subtle, really beautiful in its sense of variety – with titles that include "Buffalo", "One For William", "Lost Lover Blues", "Another Monday", "Day At The Seaside", "Nobody's Fault But Mine", and "Waltz". Watch The Stars is another great collaboration with Dorris Henderson – an American singer, but one who moved to London in the 60s – where she cut this rare gem with guitarist John Renbourn! The album's got a righteous vibe that's hipper than the usual folk set – with some traditional tunes and some contemporary material – recorded with that amazing phrasing that made Renbourn's guitar so distinct right from the start, with lots of those jazzy currents we love so much – and which really fit the creative vocal approach of Henderson! Dorris also plays some autoharp, and there's a bit of bass in the backings – although overall the main focus here is on Renbourn's guitar and Henderson's vocals. Titles include "Come Up Horsey", "God Bless The Child", "Watch The Stars", "30 Days In Jail", "Mosaic Patterns", "Tomorrow Is A Long Time", and "There's Anger In This Land". Sir John A Lot Of is perhaps one of the best-known albums from British guitar legend John Renbourn – as it was issued widely in the US, and kept in print for a surprisingly long time over the years! The approach here is slightly different than Renbourn's previous records – a bit in the image presented by the cover, although with maybe not as slavish a sound – as John just uses the whole thing to go a bit more ancient than before, in ways that echo the time travel that the whole British folk scene was taking as the 70s approached. The tunes are done in ways that are really beautiful – still lots of the incredible guitar work that made Renbourn such a standout on the scene – plus flute from jazzman Ray Warleigh, who's very different here than usual – and spare use of finger cymbals, African drums, and glockenspiel by Terry Cox. Titles include "Morgana", "Transfusion", "The Trees They Do Grow High", "Sweet Potato", "Seven Up", and "White Fishes". 6CD box features all records in original artwork sleeves, with a booklet of notes – and bonus tracks that include "Message To Pretty", "The Waggoner's Lad", "Lucky Thirteen", "Blues Run The Game", "The Wildest Pig In Captivity (alt)", "Can't Keep From Crying", "Transfusion (alt)", and "The Leaves Are Green". CD

Absolutely brilliant numbers from Charlie Rich – one of the greatest and most versative voices ever to come out of the 50s rock & roll and country scenes – his impeccable work for Smash in the 60s, long before he'd hit mainstream country pay dirt (finally) in the mid 70s! Charlie was both blessed and cursed by his gifted vocal chords, in that he could do anything with them – nascent blue-eyed soul, pop, country, rock & roll – which made it all too easy for his labels, producers and handlers to move him onto a new thing if the singles or LPs didn't stick commercially. They couldn't wedge him comfortably into a niche, but damned if he didn't knock everything they threw at him right outta the park. So very highly recommended! 29 tracks in all: "It Ain't Gonna Be That Way", "Party Girl", "I Can't Go On", "So Long", "Just A Bit Of You", "So Long", "Down And Out", "Moonshine Minnie", "Hawg Jaw", "Lonely Weekends", "Tars A Go-Go", "She's A Yum Yum", "Man About Town", "Mohair Sam", "So Long" and many more. CD

A classic set that brings the east coast tenor of Sonny Rollins into contact with a west coast rhythm section of Ray Brown and Shelly Manne! Despite Rollins' silly look on the cover, and the album's overall "western" theme, the session's a brilliant one – right up there with Sonny's strongest trio sides of the late 50s, and a key link in a string of excellent recordings for Blue Note, Prestige, and Riverside! The lack of a piano really opens up the style of the set – letting Sonny explore freely on his solos, while Brown's bass and Manne's drums do more than enough to keep the rhythms going on their own. Solos aren't as "out" as on the Village Vanguard sessions, but certainly every bit as inspired – and titles include "I'm An Old Cowhand", "Solitude", "Come, Gone", "Way Out West", and "Wagon Wheels". CD features 3 bonus tracks! CD

A classic set that brings the east coast tenor of Sonny Rollins into contact with a west coast rhythm section of Ray Brown and Shelly Manne! Despite Rollins' silly look on the cover, and the album's overall "western" theme, the session's a brilliant one – right up there with Sonny's strongest trio sides of the late 50s, and a key link in a string of excellent recordings for Blue Note, Prestige, and Riverside! The lack of a piano really opens up the style of the set – letting Sonny explore freely on his solos, while Brown's bass and Manne's drums do more than enough to keep the rhythms going on their own. Solos aren't as "out" as on the Village Vanguard sessions, but certainly every bit as inspired – and titles include "I'm An Old Cowhand", "Solitude", "Come, Gone", "Way Out West", and "Wagon Wheels". CD features 3 bonus tracks! CD

A classic set that brings the east coast tenor of Sonny Rollins into contact with a west coast rhythm section of Ray Brown and Shelly Manne! Despite Rollins' silly look on the cover, and the album's overall "western" theme, the session's a brilliant one – right up there with Sonny's strongest trio sides of the late 50s, and a key link in a string of excellent recordings for Blue Note, Prestige, and Riverside! The lack of a piano really opens up the style of the set – letting Sonny explore freely on his solos, while Brown's bass and Manne's drums do more than enough to keep the rhythms going on their own. Solos aren't as "out" as on the Village Vanguard sessions, but certainly every bit as inspired – and titles include "I'm An Old Cowhand", "Solitude", "Come, Gone", "Way Out West", and "Wagon Wheels". CD features 3 bonus tracks! CD

A classic set that brings the east coast tenor of Sonny Rollins into contact with a west coast rhythm section of Ray Brown and Shelly Manne! Despite Rollins' silly look on the cover, and the album's overall "western" theme, the session's a brilliant one – right up there with Sonny's strongest trio sides of the late 50s, and a key link in a string of excellent recordings for Blue Note, Prestige, and Riverside! The lack of a piano really opens up the style of the set – letting Sonny explore freely on his solos, while Brown's bass and Manne's drums do more than enough to keep the rhythms going on their own. Solos aren't as "out" as on the Village Vanguard sessions, but certainly every bit as inspired – and titles include "I'm An Old Cowhand", "Solitude", "Come, Gone", "Way Out West", and "Wagon Wheels". CD features 3 bonus tracks! CD

A classic set that brings the east coast tenor of Sonny Rollins into contact with a west coast rhythm section of Ray Brown and Shelly Manne! Despite Rollins' silly look on the cover, and the album's overall "western" theme, the session's a brilliant one – right up there with Sonny's strongest trio sides of the late 50s, and a key link in a string of excellent recordings for Blue Note, Prestige, and Riverside! The lack of a piano really opens up the style of the set – letting Sonny explore freely on his solos, while Brown's bass and Manne's drums do more than enough to keep the rhythms going on their own. Solos aren't as "out" as on the Village Vanguard sessions, but certainly every bit as inspired – and titles include "I'm An Old Cowhand", "Solitude", "Come, Gone", "Way Out West", and "Wagon Wheels". CD features 3 bonus tracks! CD