(Note: This item is not for sale online until 7:00am on Sunday, April 21. It is in limited supply – and by nature of the Record Store Day rules it will be offered for sale first to customers who visit the Dusty Groove retail outlet in Chicago the morning of Saturday, April 20. It will not be pre-sold or reserved in any way. However, after 7:00am on April 21 we will offer up whatever we have left for sale online.) CD

Really important early live work from The Doors – a performance at the legendary Matrix club in San Francisco – and one of the first concert recordings ever done of the group! The set wasn't originally part of their legacy with Elektra Records, but has become rehoused as a key part of their catalog at the label – a really burning performance that effortlessly mixes blues inspirations, psych inclinations, and that very special quality that the band was forging right from the start! As with other unearthed Matrix recordings – which seem to show up more and more as the years go on – the whole thing is a key window into not just a moment in the group, but a moment in the scene as well – even though, reportedly, the concerts were very under-attended at the time. This triple-length package brings together the entire five nights of recording, with lots of unissued material – including surprising versions of jazz tunes "Bag's Groove" and "All Blues" – plus never-heard versions of "Summer's Almost Gone", "When The Music's Over", "My Eyes Have Seen You", "Alabama Song", "Break On Through", and "Moonlight Drive". CD

A stellar collection of country soul by many of the greatest voices of any strain of soul music – Solomon Burke, Esther Phillips, Al Green, Bettye Swann, Percy Sledge, Little Milton, Candi Stanton and many more! A healthy portion of the material comes from the late 60s and early 70s – recordings that bring a depth of genuine soul to songs written or popularized by artists more often associated with the country charts. That said, it's soul music all the way – showing both the dexterity of these great soul singers and the adaptability of the such great songs. Includes "Detroit City" by Arthur Alexander, "He'll Have To Go" by Solomon Burke, "Take Time To Know Her" by Percy Sledge, "I Saw Me" by Esther Phillips, "Hangin' On" by Ann Peebles, "I'm So Lonesome I Could Cry" by Al Green, "Behind Closed Doors" by Little Milton, "Set Me Free" by Clarence Carter, "Yours, Love" by Joe Simon, "She Even Woke Me Up To Say Goodbye" by Brook Benton and more. CD

Jon Batiste steps out of his jazzy comfort zone, and opens the door to a whole host of global elements – and also manages to step into the world of soul as well! The record's almost to Batiste what the Black Radio projects were to Robert Glasper – showing a growing cultural presence past that of a jazz musician – as Batiste works with a host of guests who include Native Soul, Lana Del Rey, Leigh Anne, Lil Wayne, JJID, and others – fusing jazzy solo work, soulful vocals, and contemporary grooves into a tapestry that is bound to get the Jon Batiste name out there in ways his previous records never did. The approach isn't one for jazz purists, but then again, Jon's never really been a purist overall – and we gladly embrace the project as the sort that's opening doors to new ears, then leading them back to jazz! Titles include "Uneasy", "Call Now", "Boom For Real", "Movement 18", "Life Lesson", "White Space", "Running Away", "My Heart", "Drink Water", "Raindance", and "Be Who You Are". CD

A set of unreleased improvisations between these two fantastic free jazz musicians – intended as a session in which, according to Paal Nilssen-Love, "we agreed to bring all the metal we could bring"! That means that Peter Brotzmann is blowing a wide variety of reed instruments, and Paal is handling lots of percussion and gongs next to his drums – yet all elements are used in these very spare styles, almost more loft jazz than you'd guess from the legacy of intensity from both of the musicians – which makes for yet another great late life surprise in the final years of Brotzmann – proof that he never stopped reinventing and opening doors to new avenues of creation! Titles include "Dancing Octopus", "Move On Over", "South Of No Return", "Butterfly Mushroom", "Found The Cabin But No People", and "Five Of Them Survived The Dream". CD

One of the most compelling albums ever recorded by guitarist Eugene Chadbourne – a set billed as "free improvised country and western bebop" – and which features Chadbourne serving up these wild variations on tunes by Carl Perkins, Roger Miller, David Allen Coe, Bobby Bare, Merle Haggard, and other country music legends! The album's much more Eugene than Nashville – although Chadbourne does sing lyrics on all of the tunes, but in a way that's very offbeat and hardly unlike the originals at all – as is his guitar work, which is acoustic and all twisted and turned up in all the offbeat phrasings you might expect! Much of the record is Chadbourne on vocals and electric dobro – but the set also features some drums by David Licht, saxes from John Zorn, and cello from Tom Cora. Titles include "The Last Word In Lonesome Is Me", "I'm The Only Hell My Mama Ever Raised", "Georgia In A Jug", "Motel Time Again", "Dang Me", "Window Shopping", "Jealous Loving Heart", "Mr Record Man", and "Swingin Doors". CD

One of the deepest digs into the legacy of UK wonderproducer Joe Meek – a set that opens up a whole host of unissued tapes from the vaults, to present a hugely expanded set of work from a group who hardly issued any records back in the 60s! The Cryin Shames are not to be confused with the American Cryan Shames – as the Liverpool group had a great sound, but only released two singles – before spinning off into other groups with a short run too – including Friendly Persuasion, and Paul & Ritchie & The Crying Shames – all of whom recorded with Meek, and are presented here, in a massive 51 track package that features loads of unreleased takes, live material, and other rare tunes too! Core elements include the singles "September In The Rain", "Come On Back", "Nobody Waved Goodbye", "Please Stay", "What's News Pussycat", "The End Of The World", and "Come On" – and there's also 18 very early tracks from the group's audition, when they were initially billed as The Bumblies. Along with the notes, the whole thing is a great example of the way the wheels were really turning and the studio doors were opening during these key years of British rock – another new window into the production genius of the great Joe Meek! CD

The final album from Betty Davis – and a killer cap to her stunning run of female funk classics in the 70s! The album was recorded at the end of the decade, but has a sharpness that's every bit as great as her earlier work for the Island and Just Sunshine labels – grooves that are more than sharp enough to match that raspy edge in Betty's vocals – given support with instrumentation that's a lot more mid 70s funk than some of the more disco-oriented productions in mainstream soul at the time! There's a fullness to the record that sometimes recalls Labelle at their best, or maybe even solo work from Nona Hendryx – but as always, Betty is very much her own woman, and opens up some new doors on a few mellow cuts or jazzier moments that come as a nice surprise, and which balance out the album in a great way. The set features work from Herbie Hancock on keyboards and Alphonse Mouzon on drums – and titles include "Quintessence Of Hip", "She's A Woman", "I've Danced Before", "I Need A Whole Lot Of Love", "Hangin Out In Hollywood", "Crashin From Passion", "You Take Me For Granted", and "No Good At Falling In Love". CD

One of the greatest Kool & The Gang albums ever – a monster live session that almost blows away their studio classics! The groove here is far more freewheeling and complex than some of their singles from the 70s – longer, tripped-out tunes with a definite undercurrent of jazz amidst the funk – loads of wicked horn bits from Ronnie Bell and Dennis Thomas that complicate things up nicely, while still staying soulfully in the groove. There's no vocals at all on the record – which further enforces the Kool Jazz sound of the set – and the album's even harder-hitting than their previous Sex Machine live album, so much so, the PJ's club had to close its doors shortly after the Gang's performance! Titles include the all-time killer sample cut "Duji" – plus "NT", "Ronnie's Groove", "Ricksonata", "Lucky For Me", "Sombrero Sam", and a medley of "Ike's Groove/You've Lost That Lovin Feeling". CD also features a rare bonus cut – "The Penguin" – recorded at the time, but not issued on the original album! Plus, this reissue is even better than the previous one – packaged with a full-color booklet of notes and rare images. CD

Tenorist James Brandon Lewis has really been on fire in recent years – always opening up new doors in his music, and surprising us with each new record, which seems to have a slightly different flavor that further expands his palette of sound! Here, Lewis presents some beautiful original compositions with a group that has amazingly fluid drum work from the great Chad Taylor, lovely colors on piano from Aruan Ortiz, and these rollingly soulful basslines from Brad Jones – all players who are seamlessly tied to Lewis tenor, as the four paint these really wonderful pictures in sound. The approach is more structured than some of Lewis' other recordings, but at a level that's still filled with bursts of personal expression throughout – on titles that include "Every Atom Glows", "Archimedean", "Resonance", "Per 5", "Tessera", and "Code Of Being". CD

Landmark material from the farther reaches of jazz in the mid 60s – one of two albums that trombonist Grachan Moncur recorded for Blue Note – and a session that ranks as one of the best examples of the "new thing" moment in 60s jazz! Grachan's leading a sextet here that includes a number of players that he cut his teeth with in Jackie McLean's great mid 60's group, including McLean himself on alto, Bobby Hutcherson on vibes, and Tony Williams on drums – all players who were opening up their own doors in the avant jazz world of the time – joined by trumpeter Lee Morgan, who really rises to the occasion, and opens up with a modern tone that's different than some of his own albums! The set features four stunning Moncur compositions – "Air Raid", "Evolution", "The Coaster", and "Monk In Wonderland". It's hard to describe the power of these recordings – but thankfully, we don't have to, as one listen to the album will blow you away! CD

Two ultra-hip albums from Billy Paul – back to back in a single set! First up is 360 Degrees Of Billy Paul – a record that features Billy Paul at the height of his powers – able to capture the ears of the crossover audience, yet still stay very strongly on message – all with this righteous power that maybe makes Billy one of the hippest mainstream soul stars of the 70s! Gamble & Huff are at the helm, and arrangements at Sigma Sound are by Lenny Pakula, Norman Harris, and Bobby Martin – but throughout the whole thing, it's Billy's delivery that really sends the record over the top – the new sense of maturity he brings to the huge hit "Me & Mrs Jones", the funky vibe of "Am I Black Enough For You", and the wealth of great work on tracks that include "I'm Gonna Make It This Time", "I'm Just A Prisoner", "Brown Baby", and "Let's Stay Together". A masterpiece of sophisticated soul that not only had Billy crossing over big, but which opened whole new doors in the market for black male singers! War Of The Gods is a stone treasure from one of the greatest soul singers of the 70s – and a set you'll regularly find in the coolest of record collections from back in the day! Billy Paul was always one of the hippest talents on Philly International – mixing together soul and jazz influences with a deeper sense of spirituality, and long experience as a sophisticated vocalist. This album's one of his most sublime efforts – kind of a quasi-spiritual record with a similar high-concept approach to some of Marvin Gaye's work from the same time – really righteous, in ways that the Philly label didn't always hit – and which really goes past even most of Billy's already hip previous efforts. Gamble and Huff produced and wrote most of the record – including the two long tracks that make up side one, "I See The Light" and "War Of The Gods", the latter of which starts out slow and moody, then breaks out into a club groove. Other titles include the more standard soul tune "The Whole Town's Talking", plus "Thanks For Saving My Life" and "Peace Holy Peace". CD

A pair of records from this important early 70s group! First up is the fantastic debut from Sugarloaf – a group who managed to use the Hammond organ in ways that were just as strong as the guitar in most other groups! The approach here seems to draw a lot from all the best changes taking place in soulful jazz – as Jerry Corbetta manages his keyboards with this lean quality that's wonderful, and balanced with the bass, drums, and guitar in this perfect way – almost funky at many moments, and still pretty damn sharp even if not! You'll probably know that quality from the group's classic hit "Green Eyed Lady" – but it really shines through on the whole album, on titles that include "Bach Doors Man", "Chest Fever", "Things Gonna Change Soon", and "Train Kept A Rollin". Spaceship Earth is the searing second album from Sugarloaf – a set that has Jerry Corbetta wailing even more heavily on the organ than before, and the group working with the kind of razor-sharp intensity that made them such a big act at the time! Corbetta also handles most of the lead vocals, but the group draws plenty of strength from an ability to harmonize warmly too – not in the softer modes of some of their contemporaries, but with a soaring vibe that really works well with the edges on the guitar, and the full-on bass and drums that propel the whole album along! A gem of a record that was big at the time, and never gets the due it deserves all these many years later – with cuts that include "Rusty Cloud", "Hot Water", "Spaceship Earth", "Woman", "Music Box", "Tongue In Cheek", and "Mother Nature's Wine". CD

Heady instrumental work from Tetragon – a German group who can really play their instruments with great virtuoso tendencies, but who work here in a more home-grown setting that's quite different from overblown classic rock of the time! The record features loads of great keyboards – including organ and clavinet – clearly trained in jazz and classical music, but turned towards a much more rock-based style of jamming – layered in with guitar, bass, and drums – and all delivered with an edge that's much rougher than you might expect – kind of the small label production you'd find for a psych record, which really keeps this one away from the ELP side of the spectrum. Titles include "Irgendwas", "A Short Story", "Nature", "Fugue", and "Jokus". CD features full notes, and the bonus track "Doors In Between". CD

Reedman Joe Thomas is wrapped up here in some very warm grooves – a mix of electric jazz and clubby modes – all of which takes Thomas' usual sound right to the discos! Most cuts have a backup vocal group – with contributions from Gwen Guthrie and Jocelyn Brown – but these vocals soon step aside to make room for Joe's solos on both tenor and flute – every bit as soulful as before, maybe a bit like Stanley Turrentine or John Handy in such a setting! The album's also got some great keyboards from Pat Rebillot – and titles include "Plato's Retreat", "Mr Mumbles", "Get In The Wind", "Two Doors Down", and "Low Down". CD

Mid 60s magic from a record label that only lasted a few short years – yet one that's gone on to have as much prominence for real soul collectors as the music of Atlantic and Motown! Loma Records was a small offshoot of Warner Brothers on the west coast – yet one that worked far from the hit territory of its parent company, and instead captured all these wonderful groups and singers who might never have gotten exposure otherwise – a few of whom would go on to record later for bigger labels, but most of whom lost the chance for fame once Loma closed its doors! The quality of the music here is incredible – really top-shelf productions, at a level that rivals some of the best Detroit studios of the time, mixed with some of the cool class of Chicago soul as well – served up in a style that works equally well for vocal groups and solo singers. And while Loma recorded some deep soul cuts during this period, this set focuses on the more upbeat numbers – as you'd guess from the "Northern" in the title – served up in a collection that not only features rare singles, but also a few unissued tracks too! CD set features 25 tracks in all – and include "Mean It Baby" by Carl Hall, "You Can't Outsmart A Woman" by Kell Osborne, "I'm Getting Weaker" by The Soul Shakers, "My Heart Needs A Break" by Linda Jones, "Bright Lights" by Delilah Kennebreuw, "Runnin Around" by Tony Amaro & The Chariots, "Baby Don't Look Down" by Billy Storm, "The Big Jerk (part 1)" by Clyde & Teh Blue Jays, "Better Think Of What You're Losing" by Tommy Starr, "The Man With The Golden Touch" by Charles Thomas, "Got A Thing Goin" by The Invincibles, "It's Your Love That I Need" by The Marvellos, "Just A Little Longer" by The Enchanters, "I'll Find A Way" by Bobby Reed, "Go For Yourself" by Larry Lester, "See The Silver Moon" by The Apollas, "Lies" by Bobby Freeman, and "If You Should See Her" by Ben Aiken. CD

A hell of a tribute to the songwriting genius of Dolly Parton – a side of her talents that's sometimes obscured by her incredible voice and overwhelming personality! Yet right from the start, long before she was a superstar, Dolly was as much a writer in country music as she was a singer of songs – and her early records are filled with gems that opened up a whole new space for the female voice not just in country music, but in other styles too – as testified by the mix of soul, rock, and other modes that appear on this set! Dolly kicks off the collection with one of her hits – but the package then spans decades to bring together a range of really wonderful readings of songs from the pen of Parton – all accompanied by detailed notes on every selection in the set. Titles include "I Will Always Love You" by Linda Ronstadt, "Two Doors Down" by Zella Lahr, "In The Good Old Days" by The Everly Brothers, "Here I Am" by Percy Sledge, "Nickels & Dimes" by Buck Owens, "I Loved So Fast & Hard" by Porter Wagoner, "There'll Always Be Music" by Tina Turner, "My Tennessee Mountain Home" by Maria Muldaur, "Little Sparrow" by Bettye Lavette, "Put It Off Until Tomorrow" by Bill Phillips, "Most Of All Why" by Holly Dunn, "I'm In No Condition" by Hank Williams Jr, "Touch Your Woman" by Margie Joseph, "Kentucky Gambler" by Merle Haggard, "Coat Of Many Colors" by Emmylou Harris, "Don't Let It Trouble Your Mind" by Rhiannon Giddens, and "Love Is Like A Butterfly" by Nana Mouskouri. CD