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New Train Same Rider is a set that has Tom T Hall maybe bringing a bit more sentiment to the mix than before – hitting some of those tunes that are still as reflective as his other work, but maybe a bit less pointedly critical – maybe showing a warmer side of Hall as his songwriting career continued to flourish. Yet the album's also got a few key cuts that are really great, too – including his great commentary on all the outlaw singers who were recording outside Nashville – and his great ode to whiskey. Titles include "Burning Bridges", "Dark Hollow", "I'd Rather Die Young", "May The Force Be With You Always", "Come On Back To Nashville", "Mabel You Have Been A Friend To Me", and "I Wish I Loved Somebody Else". LP, Vinyl record album

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A fantastic return to form for the great Tom T Hall – and a record that hints a bit at the bluegrass direction his later small label records would take! Earl Scruggs and his sons provide great musical backing, while Tom sings lead in that fantastic style of his – sometimes telling his own stories, sometimes singing the words of others – all in a lean, respectful, acoustic-driven setting that's maybe even better than most of Hall's own records at the time! Titles include "Shackles & Chains", "The Engineers Don't Wave From The Trains Anymore", "Song Of The South", "Don't Give Your Heart To A Rambler", "Dim Lights Thick Smoke", "No Expectations", "There Ain't Country Music On The Jukebox", and "Don't This Road Look Rough & Rocky". LP, Vinyl record album

Music from Johnny Cash, Kelly Willis, Richard Buckner, R. B. Morris, Freedy Johnston, Jonny Polonsky, Ron Sexsmith, Iris DeMent, Calexico, Syd Straw & The Skeletons, Joel R. L. Phelps, Joe Henry, and more. CD

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

Jim Hall is working with a core trio of Scott Colley and Terry Clarke – augmented by Tom Harrell on flugelhorn, Joe Lovano on clarinet and soprano sax, Pat Metheny on acoustic guitar, and Greg Osby on alto. CD

Jim Hall on electric and acoustic guitar – accompanied by the David Matthews Orchestra featuring Tom Harrell on trumpet, Gerry Neiwood on tenor and flute, and Ronnie Cuber on baritone! Tracks include "Ara Cruz", "Red Dragon Fly", and "Concierto De Aranjuez". LP, Vinyl record album

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

Hard heavy soul from The Wicked Pickett – and virtually a blueprint for the heavier sound of Muscle Shoals to come – as Wilson Pickett was to that soul scene what Otis Redding had been to the Memphis world of Stax Records! These aren't Wilson's first recordings – but as with Aretha Franklin at Atlantic, the singer really found a way to focus his talents and come on strong – with a hard-biting sound that made him one of the leading lights of the label during the second half of the 60s! Rick Hall and Tom Dowd produced the material, and tracks include classics like "Mustang Sally", "Land Of 1000 Dances", "Funky Broadway", "Soul Dance Number Three", "It's Too Late", "I Found A Love", "634-5789", "If You Need Me", "Don't Fight It", "Everybody Needs Somebody To Love", "Ninety-Nine & A Half Won't Do" and "In The Midnight Hour". LP, Vinyl record album

Hard heavy soul from The Wicked Pickett – and virtually a blueprint for the heavier sound of Muscle Shoals to come! Rick Hall and Tom Dowd produced the material, and tracks include classics like "Mustang Sally", "Land Of 1000 Dances", "Funky Broadway", "Soul Dance Number Three", "It's Too Late", "I Found A Love", "634-5789", "If You Need Me", "Don't Fight It", "Everybody Needs Somebody To Love", "Ninety-Nine & A Half Won't Do" and "In The Midnight Hour". LP, Vinyl record album

A breakout record that forever put Wilson Pickett at the top of the heap for mainstream 60s soul – thanks to the oft-covered, endlessly played "Mustang Sally" single that leads off the set! And although the groove established by that track helped Pickett establish an audience on both sides of the fence, the full album itself is much deeper stuff – a searing album of southern-styled soul recorded with some great Muscle Shoals production – Rick Hall and Tom Dowd at the helm – and key session players who include Charlie Chalmers, Chips Moman, Tommy Cogbill, Spooner Oldham, and Roger Hawkins – all of whom help give the record the intimate, earthy feeling that helped Pickett step out with a stronger sound than earlier recordings. (And in fact, this album's perhaps a key pre-Aretha Franklin example of the way that Atlantic's vision could majestically change the sound of an already-known soul artist – bringing them far deeper than ever before.) Titles include "Mustang Sally", "Everybody Needs Somebody To Love", "Nothing You Can Do", "Three Time Loser", "Sunny", "She Ain't Gonna Do Right", "Knock On Wood", "Time Is On My Side", and "You Left The Water Running". LP, Vinyl record album

With Tom Ranier on keyboards, synthesizers, soprano and tenor saxophone, and flutes; Peter Woodford on guitar; David Parlato on bass; Bart Hall drums; Frank Rosolino on trombone; Laudir DeOliveira on congas and percussion; and Pattie Brooks and Petsye Powell on vocals. Titles include "Good For You", "She's Lonely", "What You Need", "I Love You Dawn", and "Lost In The Shuffle". LP, Vinyl record album

The seminal first album from Jeannie C Riley – a record that may have been launched with a novelty hit in the lead, but which also marks Riley as a surprisingly strong singer overall! Part of the record's charm is the groovier than mainstream Nashville presentation of Shelby Singleton's Plantation label – not afraid to add in some cool 60s mod effects, chunky rhythms, and other hip elements to really send the tunes home – instrumentation that makes a great counterpart to Jeannie's biting way of delivering a lyric – heard famously on the Tom T Hall-penned title track "Harper Valley PTA", but pretty great overall on other cuts that include "Satan Place", "Sippin Shirley Thompson", "The Cotton Patch", "Mr Harper", "Widow Jones", "The Little Town Square", "Ballad Of Louise", and "Yesterday All Day Long Today". LP, Vinyl record album

Includes music from Loretta Lynn, Mel Tillis, George Jones, Merle Haggard, Ray Price, Dottie West, Tom T Hall, Billy Swan, Sonny James, Charlie Rich, Tanya Tucker and more. 30 tracks in all. CD

A hip little set that's as groovy as its cover – a whole batch of cat-themed tunes from the 50s and 60s, most of them in a hip jazzy sort of style! Things are never too kitty-creepy – as they are with that lady down the street who owns way too many cats – and instead, most of the numbers here have a clean, lean sort of sound that's more in the mode of a 50s jazz "cat" than that of the four-legged, furry type. About half the numbers here are instrumentals with a really mod feel, and the rest are vocal numbers, of a variety of different genres – all put together in a way that's surprisingly fresh, and plenty darn groovy throughout. Titles include "The Cat" by Eddie & Ernie, "Three Cool Cats" by The Coasters, "Cleo" by Rene Hall, "Kitty Kat" by Paul Ott, "El Pussy Cat" by Mongo Santamaria, "Sneakin Up On You" by Peggy Lee, "Cat Nip" by Dave Baby Cortez, "Cat Hop" by The Dodgers, "Walkin My Cat Named Dog" by Norma Tanega, "The Cat" by Jimmy Smith, "The Cat Came Back" by Sonny James, "That Darned Cat" by Buddy Greco, "The Kitty Kat Song" by Lee Dorsey, "If You Play With Cats" by Charles Brown, "Tom Cat" by The Rooftop Singers, and "Top Cat Theme Song" by Top Cat Orchestra. CD

A wonderfully mellow set of ballads recorded by Cannonball, with orchestral backings by Richard Hayman. The album's typical of the kind of "all over the map" approach that Mercury used during Cannon's early years – before he'd settled down into the one-man soul jazz factory he later became – but it's also a great chance to hear Adderley working his horn in a style that doesn't show up much in later years. Hayman's orchestrations are less challenging than some of the Verve "with strings" sessions – but the overall work is solid, and the album's a dreamy mix of tracks like "I Cover The Waterfront", "Street Of Dreams", "You Are Too Beautiful", "Lonely Dreams", and "Two Sleepy People". LP, Vinyl record album

An early self-produced set, issued on a tiny label – with titles that include "Automatic", "I Need Adventure", "Unpredictable", "Bored To Death", "Cheri Love Affair", "One Man Army", and "I Need Adventure". LP, Vinyl record album

Featuring Kid Ory, Bobby Hackett, Jack Teagarden, Barney Bigard, Leonard Feather, Sid Catlett and others. Tracks include "Mahogany Hall Stomp", "Rockin' Chair", "St James Infirmary Blues", "Save It, Pretty Mama", "Before Long", "Blues In The South", and "Ain't Misbehavin". CD

Titles include "Lover", "Body And Soul", "Royal Garden Blues", "Mahogany Hall Stomp", "Tea For Two", "High Society", and "Baby, Won't You Please Come Home". CD

A classic live date, with players who include Jack Teagarden on vocals and trombone, Barney Bigard on clarinet, Dick Cary on piano, Arvell Shaw on bass, and Sid Catlett on drums – plus a bit of vocals from Velma Middleton. LP, Vinyl record album

A brilliant pairing of free jazz forces – the Chicago-based School Days group of Ken Vandermark, and the groundbreaking Atomic combo from the Nordic jazz underground! The players here are all very like-minded, and fold together beautifully – in an octet lineup that features reeds from Ken Vandermark and Frekerik Ljungkvist, trumpet from Magnus Broo, trombone from Jeb Bishop, piano from Havard Wiik, vibes from Kjell Nordeson, bass from Ingebrigt Haker Flaten, and drums from Paal-Nilssen Love! Both Flaten and Love would become frequent collaborators in Chicago over the years – but this set captures the meeting of the groups in a very fresh way – a double-length set that's all original material – with titles that include "W Meets A", "Transparent Taylor", "Ink Worm", "Kerosene", "Conjugations" and "Dog Days". CD

Count Basie on guitar, Charlie Fowlkes, Frank Foster, Frank Wess, and Marshall Royal on saxophone, Al Grey, Benny Powell, and Henry Coker on trombone, Joe Newman, Snooky Young, Thad Jones, and Wendell Culley on trumpet, Freddie Green on guitar, Eddie Jones on bass, and Sonny Payne on drums. CD

A beautiful early Verve recording by Basie – one that's packaged here in a great David Stone Martin cover, with a red and blue watercolor of Basie himself. Players include Frank Foster, Frank Wess, Ernie Wilkins, Marshall Royal, Joe Newman, Thad Jones, Bennie Powell, and Freddie Green – plus Basie, of course. Titles include "Two Franks", "Ska Di Didle Dee Bee Doo", "Rails", "Blues Backstage", and "Perdido" – and there's a very strong focus on the best soloists in the group! (Note: this material was also issued under the title The Band Of Distinction – but this is the first version.) LP, Vinyl record album

A very different album than usual from the great tenorist Nat Birchall – a set that's no less soulful than his other records, but in a completely different way! The album's a collaboration with producer Al Breadwinner – and has this approach that feels like a lost Jamaican instrumental session from the start of the 70s – as if Nat's playing the role of saxophonist Tommy McCook over some nicely laidback Kingston-styled rhythms! Birchall solos on tenor on most tracks, but also blows a bit of melodica too – and even handles a bit of organ and percussion too – all swept up in a dubby mix handled by Breadwinner, who contributes drums, guitars, and keyboards. There's a bit of trumpet and trombone on the set too, plus baritone sax from Stally – and the quality of the record is excellent, every bit up to the range of the Jamaican legends listed as inspiration on the cover – a lineup that includes McCook, Lee Perry, Augustus Pablo, and Cedric Brooks. Titles include "In The Hills", "Ancient Wisdom", "Youth Iron Rock", "Freedom Style", "Amlak Dub", "Hail Don D Jr", and "Igziabeher". LP, Vinyl record album

A very different album than usual from the great tenorist Nat Birchall – a set that's no less soulful than his other records, but in a completely different way! The album's a collaboration with producer Al Breadwinner – and has this approach that feels like a lost Jamaican instrumental session from the start of the 70s – as if Nat's playing the role of saxophonist Tommy McCook over some nicely laidback Kingston-styled rhythms! Birchall solos on tenor on most tracks, but also blows a bit of melodica too – and even handles a bit of organ and percussion too – all swept up in a dubby mix handled by Breadwinner, who contributes drums, guitars, and keyboards. There's a bit of trumpet and trombone on the set too, plus baritone sax from Stally – and the quality of the record is excellent, every bit up to the range of the Jamaican legends listed as inspiration on the cover – a lineup that includes McCook, Lee Perry, Augustus Pablo, and Cedric Brooks. Titles include "In The Hills", "Ancient Wisdom", "Youth Iron Rock", "Freedom Style", "Amlak Dub", "Hail Don D Jr", and "Igziabeher". Includes bonus tracks "Iron Rock Dub" and "Igziabeher Dub". CD

A sweet sweet set of electric 70s funk – recorded by Booker T during a brief, but well-needed reunion with the MGs! The sound here is quite different than Stax-era MGs – as Booker plays a range of keyboards, not just organ – and the grooves have these great jazz funk touches at the bottom – almost a CTI vibe at times, but packed with the tighter energy you'd expect from the group! Steve Cropper's guitar is great – super-fine, and razor-sharp – really helping cut a nice edge on the cuts – over bass from Donald Duck Dunn and drums from Willie Hall, who's the only new member of the group. In a way, the album feels like mid 70s efforts from Johnny Hammond or Jimmy Smith – sweetly soaring on a let-loose 70s vibe. Titles include the funky break track "Grab Bag", plus "Sticky Stuff", "Moto Cross", "Tie Stick", and "Space Nuts". LP, Vinyl record album

Glen Brown's often the producer here – helming the decks on a host of classic cuts from the early 70s – but he also emerges as the main character too, at times when he steps to the mic and adds in a bit of encouragement to the proceedings! Brown's not really working in deejay mode – he's more in the background on most cuts, but then gets to shine as the lead artist on some of the later tracks in the package – especially the numbers that feature Glen on melodica, blowing the sweet keyboard with a spacious style that's a bit like Augustus Pablo! Titles include "Get Up" by Ron Wilson, "Scatter Light Rock" by Ron Wilson & Lennox Brown, "Dirty Harry" by Tommy McCook & Richard Hall, "Determination Skank" by Tommy McCook & Glen Brown, "Mr Ball Head Aitken" by Bobby Aitken, and the Glen Brown cuts "No More Slavery", "Crisp As A Ball", "Pantomine Rock", "The Winner", "Mitchville Rock", and "School Call". LP, Vinyl record album

Great later work from The Animals – a set that's not as tripped-out as some of their other late 60s work, and which almost starts to show Eric Burdon's rising love of soul and funk! The sound is still pretty rockish overall – but there's some great use of bass rumbling at the bottom – bringing up a rumbling quality that fits nicely with Burdon's somewhat bleak presentation of the lyrics at various points. Production by Tom Wilson almost has a raspy, lo-fi sort of feel – different than the bluesier roots of the group, and almost a precursor of indie work in decades to come! Titles include the classic "Sky Pilot", plus "Monterey", "Just The Thought", "Closer To The Truth", "No Self Pity", "Orange & Red Beams", and "We Love You Lil". LP, Vinyl record album

Great later work from The Animals – a set that's not as tripped-out as some of their other late 60s work, and which almost starts to show Eric Burdon's rising love of soul and funk! The sound is still pretty rockish overall – but there's some great use of bass rumbling at the bottom – bringing up a rumbling quality that fits nicely with Burdon's somewhat bleak presentation of the lyrics at various points. Production by Tom Wilson almost has a raspy, lo-fi sort of feel – different than the bluesier roots of the group, and almost a precursor of indie work in decades to come! Titles include the classic "Sky Pilot", plus "Monterey", "Just The Thought", "Closer To The Truth", "No Self Pity", "Orange & Red Beams", and "We Love You Lil". CD

Incredible work from the team of Donald Byrd and Gigi Gryce – crisp modern jazz, filled with soul, and never failing to swing! During the time of these recordings, Gryce was one hell of an arranger – with a tight ensemble approach that worked magic in a small combo setting. He was also a tremendous alto player – with a tone that was unlike any other musician at the time, magically sharp, with a sound that always seemed to inspire a great deal of energy from his bandmates. He gets plenty of that here from trumpeter Donald Byrd – sounding better on these sides than on most of his other 50s recordings – thanks also to some great accompanists, who include Tommy Flanagan, Wendell Marshall, and Art Taylor. Some tunes feature additional horn work from players that include Benny Powell, Julius Watkins, and Sahib Shihab. Volume 1 in this Lonehill's Complete Jazz Lab Studio Sessions mixes 13 tracks originally released on the LPs Jazz Lab, Modern Jazz Perspective, plus mutual tracks with the rare compilation Jazz Omnibus. Titles include "Nica's Tempo", "Smoke Signal", "Over The Rainbow", "Sans Souci", "Speculation", "Stablemates", "Steppin Out", "Social Call", "Satellite", "An Evening In Casablanca" and more! CD

Incredible work from the team of Donald Byrd and Gigi Gryce – crisp modern jazz, filled with soul, and never failing to swing! During the time of these recordings, Gryce was one hell of an arranger – with a tight ensemble approach that worked magic in a small combo setting. He was also a tremendous alto player – with a tone that was unlike any other musician at the time, magically sharp, with a sound that always seemed to inspire a great deal of energy from his bandmates. He gets plenty of that here from trumpeter Donald Byrd – sounding better on these sides than on most of his other 50s recordings – thanks also to some great accompanists, who include Tommy Flanagan, Wendell Marshall, and Art Taylor. Jackie Paris also joins the group on vocals for a few tunes – "Early Morning Blues" and "Elgy" – and some tunes feature additional horn work from players that include Benny Powell, Julius Watkins, and Sahib Shihab. Other tracks include "Sans Souci", "Speculation", "Stablemates", "Steppin Out", "Social Call", and "Satellite". CD

A great collection of earlier compositions by Cage – most of which we prefer to later work, because of their striking and bracing approach to the music. Titles include "She Is Asleep", a duet for voice & prepared piano, "A Room", for prepared piano, "Two Pastorales", for prepared piano, "Seven Haiku", for prepared piano, "And The Earth Shall Bear Again", for prepared piano. Joshua Pierce plays piano – and the prepared piano sides sound great! LP, Vinyl record album

A late 60s classic from Canned Heat – a record that captures the group during that moment when their unique blend of styles was really on fire! There's a grittier, almost noisier vibe going on here at times – fuzz turned up a bit more than before, and maybe a bit more attitude – as if the group were getting spurred on by some of the societal changes at the end of the 60s, and shaken out of any reveries of the past! The set's filled with very heady tunes – titles that include "I'm Her Man", "Sic Em Pigs", "Do Not Enter", "Big Fat", "Huautla", "Get Off My Back", and "Down In The Gutter But Free". LP, Vinyl record album

A trio of albums from Jimmy Castor – complete with bonus tracks too! First up is Butt Of Course – a funky funky classic from Jimmy Castor – a set that kicked off a tight run of records for Atlantic – and which firmly established his rep as a master of 70s funk! The sound of the set follows nicely from Jimmy's work on RCA – some of the fuzzy "Troglodyte" guitar work of those years, lots of earthy rhythms on the bottom, and Castor's trademark sense of wit – which was firmly in place even during his Latin Soul years! There's a few smoother, sweeter moments too – but these all come off nicely – and as always, Castor's a one-man soul music machine – able to handle plenty of sounds and styles with effortless ease! Titles include "Bertha Butt Boogie", "E Man Boogie", "Hallucinations", "Let's Party Now", "Potential", and "One Precious World". On Supersound, Jimmy Castor bursts forward with a groove that's different than his fuzzier work for RCA Records, but still equally funky throughout! Castor's still quite the multi-instrumentalist on the record – as in addition to singing lead, he plays plenty of soprano sax and timbales – the latter of which have this great skittish energy that really pushes the grooves forward strongly! And although the timbales are quite different than in Jimmy's earlier Latin work from the late 60s, there's a definite Latin-izing element in the way they're used – kind of an "it's not heavy enough – let's add more percussion" approach to the core 70s funk styles of the combo! Tunes are nicely quirky, and have a sense of humor in keeping with the cover – and titles include "Magic In The Music", "Supersound", "Bom Bom", "King Kong", and "A Groove Will Make You Move". E Man Groovin is a great extension of the funky style that Castor first started forging at RCA – touches with plenty of Jimmy's multi-instrumental touches on tenor, alto, and timbales – and given that great monster-inspired approach to lyrics – which ensures that the whole thing stays plenty vivid throughout! Vocals are nice and rough, and the instrumentation is heavy on basslines and clavinet – on titles that include the two part "Dracula", plus "Super Love", "I Love A Mellow Groove", "E Man Groovin", "I Don't Want To Lose You", and "Space Age". 2CD set features bonus tracks – "Space Age (12" disco version)", "King Kong (part 1)", "Supersound (7" version)", "The Christmas Song", "Merry Christmas", and "Bertha Butt Boogie (7" version)". CD

Cee-Lo Green gits up and gets out on his own – without the heavy burden of too many guest appearances – and the result may be the best album to come out of the Dirty South in quite a while! Cee-Lo's raspy, cotton-mouthed speak & sing style has always been one of the strongest attributes of the Goodie crew, and it's great to hear it stretched out over a fully-realized LP that is worthy of his unique talents. Sweaty, deeply funky, and a bit similar to the kind of material we used to expect from the Native Tongues at their strongest, but with Cee-Lo's unmistakable Cameo inspired croon out front. Includes "Bad Mutha", "Big Ole Words (Damn), "Closet Freak", "Live (Right Now)", "El Dorado Sunrise", "A Thug's Concern", "One For The Road", "Let Him Sing If He Wants To (Break)", "Suga Baby" featuring Big Gipp and Backbone, "Gettin' Grown", "Bass Head Jazz", "Microhard" featuring Jahalla and Kirland Underwater, "Under The Influence", "(Follow Me)", "Medieval Times (Great Pretender)", "Country Love", "Awful Thing", "Maintenance Man (Break)" "Young Man (Sierra's Song)", and "Well Damn, Lo (Break)". LP, Vinyl record album