Far Out indeed – an early 70s album from Japan's Far Out – the only album we've ever seen by the group, before they went on to work as The Far East Family Band! If you know that more famous group, you'll know the vibe here – a really unique version of psych, touched with a bit of noise – as the group stretch out on two slow-building tripped out jams that each take up a single side of the album! The first cut, "Too Many People", starts quiet and builds into a mighty behemoth of head nodding guitar rock hypnosis – both electric and acoustic – touched with some English language vocals, which are a nice surprise. The title track follows, again starting slow and quiet, and pulling you in slowly before refusing to let go of your senses! CD

Far Out indeed – an early 70s album from Japan's Far Out – the only album we've ever seen by the group, before they went on to work as The Far East Family Band! If you know that more famous group, you'll know the vibe here – a really unique version of psych, touched with a bit of noise – as the group stretch out on two slow-building tripped out jams that each take up a single side of the album! The first cut, "Too Many People", starts quiet and builds into a mighty behemoth of head nodding guitar rock hypnosis – both electric and acoustic – touched with some English language vocals, which are a nice surprise. The title track follows, again starting slow and quiet, and pulling you in slowly before refusing to let go of your senses! LP, Vinyl record album

A very hip set that goes way beyond the stock bass-heavy grooves that have been showing up on other Brazilian compilations in recent years – and a package that really does a great job of reintroducing roots to contemporary urban music in Brazil! The album offers up a Brazilian take on the heavy sound of the bass – served up here in ways that echo famous modes in hip hop, reggae, and Afro Beat – but all with a uniquely Brazilian twist as well Tracks feature a range of contemporary artists who are taking grooves past the heavy, bombastic sound of the favelas – refining things a bit more up top, while still holding onto the powerful presence of the bottom – through a range of instrumentation that includes both acoustic and electric touches, and some key nods to older Brazilian styles as well! There's a sophistication here that goes way past any booty-shaking cliches – and, quite frankly, beyond the cover art too! Titles include "Olhe O Fogo" by Os Nelsons, "Pequi Week Bar" by Sistema Criolina, "Caroco" by Nsista, "Eu Acho E Pouco" by Soraia Drummond, "Travessias" by Anton Dub, "Nao Deixe De Lutar" by Junior Dread, and "Te Amarrado (Mangaio rmx)" by O Quadro. CD

A great set that's way way more than the "chill out" promised in the title – a collection of Brazilian groovers pulled from some of the best labels in the business! As with previous volumes in this series, the focus is on work done for the groundbreaking Far Out label – but this time around, they've also thrown in some choice bits from outside sources, including some killer underground bits from Brazil and a few choice classics! Titles include "Without Words" by 4 Hero Presents Nature's Plan with Ed Motta, "Na Batida Do Agogo (Osunlade rmx)" by Grupo Batuque, "Os Oculos Escuros De Cartola" by Max De Castro, "Papa" by Azymuth featuring Sabrina Malheiros, "Preguiciman" by Mamond, "Falso Amour" by Jirzinho Oliveira, "Escape" by Marcos Valle, "Beleza Nao Vai Embora" by Orlandivo, "E O Meu Amor Vi Passar" by Patricia Marx, and "Vera Cruz" by Vox Populi. CD

One of the sweetest electric records to come from 70s Brazil – the fabulous first effort from the Azymuth trio, and work that's hardly been matched again! Although the group here have plenty of the warm keyboard touches of their more famous later work, they're also moving in territory that's a bit more abstract as well – using some noisier electronics amidst the smoother ones, to create a style that's somewhere between fusion, electric funk, and some of the more soaring Brazilian rhythms of the post-bossa years! The keyboards of Jose Roberto Bertrami are worth the price of admission alone – and include Fender Rhodes, Arp, and clavinet – plus bits of Hammond organ too! There's more than a few great breaks and samples on the set – and titles include "Brazil", "Caca De Conta", "Melo Dos Dois Bicudos", "Manha", "Periscopio", and "Montreal City". LP, Vinyl record album

The legendary Azymuth rises from the ashes – on this, their first record after the passing of keyboardist Jose Roberto Bertrami – with a sound that takes us back to the amazing cosmic funk of their first few albums in the 70s! The new keyboardist, Kiko Continentino, has a sound that's really wonderful – the same sort of spare approach to Fender Rhodes that made Bertrami so great back in the day – but also maybe a bit more edge than Jose had in recent years, which gives the group a really refreshed sound, and a lean groove that's completely sublime! The trio are joined by percussionist Robertinho Silva and keyboardist Daniel Maunick at some points – and Maunick also produced the record. Titles include "Orange Clouds", "Neptunians", "Fenix", "Villa Mariana", "Igarape", "Papa Samba", and "Rio Doce". CD

The legendary Azymuth rises from the ashes – on this, their first record after the passing of keyboardist Jose Roberto Bertrami – with a sound that takes us back to the amazing cosmic funk of their first few albums in the 70s! The new keyboardist, Kiko Continentino, has a sound that's really wonderful – the same sort of spare approach to Fender Rhodes that made Bertrami so great back in the day – but also maybe a bit more edge than Jose had in recent years, which gives the group a really refreshed sound, and a lean groove that's completely sublime! The trio are joined by percussionist Robertinho Silva and keyboardist Daniel Maunick at some points – and Maunick also produced the record. Titles include "Orange Clouds", "Neptunians", "Fenix", "Villa Mariana", "Papa Samba", and "Rio Doce". LP, Vinyl record album

One of Azymuth's best-remembered albums from their American years on Milestone – a really killer classic that beautifully blends Brazilian and American styles of fusion! There's a simple, elegant feel to these tunes that takes off nicely from the group's previous album for Atlantic in Brazil – a pushing forward of the soulful sides of their style, but with just the right blend of quirkier elements as well – one that still keeps the edge of the early years, yet helps the group reach out with a wonderfully warm sound! Most tracks are quite spare, and without any too-smooth polishing in production – and titles include the classic "Jazz Carnival", a funky fusion classic if there ever was one – plus "Light As A Feather", "Avenida Das Manguerias", "This Exists", "Partido Alto", "Dona Olimpia", "Amazonia", and "Young Embrace". LP, Vinyl record album

One of Azymuth's best-remembered albums from their American years on Milestone – a really killer classic that beautifully blends Brazilian and American styles of fusion! There's a simple, elegant feel to these tunes that takes off nicely from the group's previous album for Atlantic in Brazil – a pushing forward of the soulful sides of their style, but with just the right blend of quirkier elements as well – one that still keeps the edge of the early years, yet helps the group reach out with a wonderfully warm sound! Most tracks are quite spare, and without any too-smooth polishing in production – and titles include the classic "Jazz Carnival", a funky fusion classic if there ever was one – plus "Light As A Feather", "Avenida Das Manguerias", "This Exists", "Partido Alto", "Dona Olimpia", "Amazonia", and "Young Embrace". CD also features four bonus tracks – "Jazz Carnival (full original mix)", "Avenida Das Manguerias (SS translation by Theo Parrish)", "Jazz Carnival (Yambee rework by Ashley Beedle & Yam Who)", and "Codsall Juniors" by Mark E. CD

The rare Latino Fantastico from Rubens Bassini – featuring a range of percussion and overall vibe that blends the feverishly rhythmic vibes his native Brazil with African, Cuban and South American styled numbers with ultra groovy exotica! Bassini is a master percussionist and he's backed by a stellar roster of Rio players from the time – bringing both a creative spirit and skilled instrumentation that keeps it well out of cocktail kitsch territory, but that said, it's well infused with a playful sense of fun – and we're glad to see and hear it after all these years! 19 mostly short numbers, including "Afro Cubano (Canto Karabali)", "Mambo", "Maracas (Surda)", "Merengue", "Guiro", "Bongo", "Tumbadoras", "Timbales", Bembe", "Samba (Samba No Congo)", "Tumbadoras", "Guaguanco", "Quinto" and more. CD

Very early work from Jose Roberto Bertrami – the keyboardist who rose to fame with Azymuth in the 70s, but who's working here in an all-acoustic bossa mode! In keeping with Bertrami's later talent for an unusual groove, the album's got a feel that's slightly different than the other bossa records of the time – styles that are sometimes less percussive, but still quite flowing – and which are graced by a depth of tone and color that's really wonderful! At some points, Bertrami almost hits modes that are straighter jazz – with traces of Horace Silver or other American players in the mix – even though the tracks are nearly all numbers by Brazilian composers. Titles include "Balansamba", "Taluhama", "Lilos Walts", "Dorme Profundo", "Impulso", and "Da Me". CD

Very early work from Jose Roberto Bertrami – the keyboardist who rose to fame with Azymuth in the 70s, but who's working here in an all-acoustic bossa mode! In keeping with Bertrami's later talent for an unusual groove, the album's got a feel that's slightly different than the other bossa records of the time – styles that are sometimes less percussive, but still quite flowing – and which are graced by a depth of tone and color that's really wonderful! At some points, Bertrami almost hits modes that are straighter jazz – with traces of Horace Silver or other American players in the mix – even though the tracks are nearly all numbers by Brazilian composers. Titles include "Balansamba", "Taluhama", "Lilos Walts", "Dorme Profundo", "Impulso", and "Da Me". LP, Vinyl record album

A hell of a record from Brazilian pianist Amaro Freitas – an artist we already loved before, but who's really stepping forth boldly with this release! Freitas has a way with the piano that's unlike anyone else we can think of – that freshness we maybe first felt when hearing a player like Robert Glasper many years back – and he works in a trio setting at a level that completely transforms the format – thanks in part to the very inventive assistance he gets from Jean Elton on bass and Hugo Medeiros on drums and percussion! If you think Freitas looks righteous on the cover, just wait until you hear his music – as he's definitely the real deal, and bound to be a big force in the jazz generation to come. Titles include "Malakoff", "Nascimento", "Sankofa", "Ayeye", "Vila Bela", "Baquaqua", and "Cazumba". LP, Vinyl record album

A Brazilian tribute to football – but one that's given a distinctly London twist – as core rhythms by Wilson Das Neves, Dom Um Romao, and others are mixed up and augmented by Da Lata, Zero dB, Roc Hunter, Fauna Flash, and Osunlade! The album's got a depth and compelling quality that goes far beyond other records by Grupo Batuque – as tightly-played percussion riffs are mixed with sound effects, crowd noise, and commentary from football games – all in a rich sonic tapestry that goes past simple samba or batucada! The whole thing's almost like an audio document to the greatness of the sport and its importance in Brazilian culture – but thanks to the globe-spanning efforts of Far Out, the added production help should help settle more than a few disputes at the World Cup! Titles include "Torcida Do Flamengo", "E Ruim (Zero dB rmx)", "Ole Ola", "Isto E Samb", "Na Cancao Do Samba", "Ole Ola (Fauna Flash rmx)", "Na Batida Do Agogo (Osunlade rmx)", and "Berimbal Capoeira (Da Lata rmx)". CD

A record that could have been the biggest breakthrough in the career of the legendary Joyce – yet the set was never issued at the time! The late 70s session has Joyce recording in New York, under the guidance of studio maestro Claus Ogerman – who has a wonderful way of elevating the overall quality of the proceedings, while never getting in the way of that special magic that made Joyce so wonderful – especially on her albums for EMI! As with those records, Joyce plays acoustic guitar alongside her amazing vocal approach – a style that's unlike anything else we can describe – informed by jazz and Brazilian music, yet soaring and gliding in a completely sublime style – awash in color and light as it flies to the sky. Mauricio Maestro helped out heavily on the record too – and the other players include Mike Manieri on vibes, Michael Brecker on tenor, Joe Farrell on flute, and Nana Vasconcelos on percussion – on titles that include a fantastic early reading of "Feminina" – plus "Miserios", "Descompassadamente", "Pega Leve", "Ciclo Da Vida", "Coracao Sonhador", and "Moreno". CD

A record that could have been the biggest breakthrough in the career of the legendary Joyce – yet the set was never issued at the time! The late 70s session has Joyce recording in New York, under the guidance of studio maestro Claus Ogerman – who has a wonderful way of elevating the overall quality of the proceedings, while never getting in the way of that special magic that made Joyce so wonderful – especially on her albums for EMI! As with those records, Joyce plays acoustic guitar alongside her amazing vocal approach – a style that's unlike anything else we can describe – informed by jazz and Brazilian music, yet soaring and gliding in a completely sublime style – awash in color and light as it flies to the sky. Mauricio Maestro helped out heavily on the record too – and the other players include Mike Manieri on vibes, Michael Brecker on tenor, Joe Farrell on flute, and Nana Vasconcelos on percussion – on titles that include a fantastic early reading of "Feminina" – plus "Miserios", "Descompassadamente", "Pega Leve", "Ciclo Da Vida", "Coracao Sonhador", and "Moreno". LP, Vinyl record album

A really great remake of the Brazilian classic "O Ronco Da Cuica" – presented here with vocals from original writer/singer Joao Bosco – and done in a stretched-out, very jazzy take that runs for over nine minutes! Dudu Lima brings in plenty of bass, next to piano, percussion, and drums from Ivan Mamao Conti of Azymuth – and then the flipside features a great track that just has Dudu on bass and Joao Bosco on vocals and acoustic guitar! 12-inch, Vinyl record

A landmark bit of Brazilian from Europe – and a sweet groover from guitarist Agustin Pereyra Lucena! The set was recorded in Oslo, but it's got the warm sound of a Brazilian jazz set from the time – with Agustin on acoustic guitar and percussion – backed by a quartet that features bass, sax, flute, and piano. The sound's kind of an extension of the Baden Powell groove of the early 70s – but with a deeper, more contemplative approach at times – and Lucena sounds equally great on the mellower tracks as he does on the album's standout groovers! Includes the killer cut "La Rana", a remake of Joao Donato's "The Frog" – plus the tracks "Tema Barroco", "Pra Que Chorar", "3 Horas Da Manha", and "Encuentro De Sombras". CD

Daniel Maunick's been giving us music in many forms for years – working as Venom on remixes, handling work with Incognito, and a range of other projects – but stepping out in the spotlight on his own is a relatively new thing to Maunick – and a great showcase for all sorts of musical ideas he's never been able to express this well! Given his ties to both Incognito and the Far Out label, there's some great currents of both London soul and global grooves in Daniel's work – but the blend comes across at a level that's very free from any of his roots – kind of a step forward for the cosmic generation of the early 21st Century, with elements that are as planted on the ground as they are soaring to the skies. Titles include "Bitter Regret", "Illusions", "The Love Has Gone", "A Second Chance", "Promessa", "Shadow Boxer", "Just Deserts", and "Remnants Of Joy". CD

... 12-inch, Vinyl record

Richly soulful work from Milton Nascimento – music created at the same time as his classic albums in the 70s – but as the soundtrack to a ballet, which makes for a nice change from the usual! The approach is similar to Milton's studio work, but maybe even a bit more heavenly too – a sophisticated, yet soulful blend of instrumentation and vocals – baroque yet touched with the straightforwardness of rock, and never overly complicated, despite the nature of the setting. The work is essential if you like any of Milton's mid 70s studio albums – and performers on the project include both Joao Donato and Wagner Tiso on keyboards, Nelson Angelo and Beto Guedes on guitar, Paulo Moura on saxes, and Helcio Milito on percussion – true Brazilian instrumental heavyweights, who more than keep up with the complexity and charm of the music. Nascimento is also in the lineup, and adds some of his vocals too – on titles that include "Maria Maria", "Lilia", "A Chamada", "Pai Grande", "Seducao", "Francisco", "Boca A Boca", "De Repente Maria Sumiu", and "Francisco". LP, Vinyl record album

That's Antonio Neves wielding a trombone on the cover – but the set's got elements that move way past his great work on that horn – drawn from very collaborative contributions from different members of the contemporary scene in Rio! The record's got a jazz basis at the core, but quickly explodes into a real style-shifting approach – that legacy of easily mixing modes that has been the hallmark of some of the most creative work from Brazil in recent decades – guided perfectly here by Neves on drums as well as trombone! Antonio sings on one track, and the record also features vocals at points from Leda, Alice Caymmi, Ana Frango Eletrico, and Marcos Esgulera – amidst a whole host of guest musicians too, including Edu Neves on flute, Leo Gandelman on alto, and Hamilton De Holanda on mandolin. Titles include "Lamento De Um Perplexo", "Forte Apache", "Simba", "A Pegada Agora E Essa", "Noite De Temporal", and "Jongo No Feudo". LP, Vinyl record album

Wonderful work from Os Ipanemas – the legendary Brazilian jazz combo who've been revived in recent years, thanks to the efforts of Far Out Records! This album may well be our favorite so far from the combo – as it seems to take their core rhythmic groove, and flesh it out even more – really pushing the jazzier aspect of their work with help from some key added players! Wilson Das Neves' percussion is as great as always – and the set also features guitar from Jose Carlos, trombone from Vitor Santos, keyboards from Jose Roberto Bertrami, and vocals on a few tracks by the lovely Aurea Martins. Arrangements are by Das Neves, Ivan Conti, and Jorge Heider, who also play on the record – and titles include "Lembrancas", "Eparrei", "Traz Um Presente Pra Mim", "Passa O Ponto", "Olhando Tres", "Festa Indigesta", and "Eu O". CD

Four incredible albums from Hammond legend Brian Auger – a key link between jazz and the headier sounds of the UK scene at the end of the 60s! First up is Open – one of the amazing early albums from the team of Julie Driscoll and Brian Auger – kind of a next-generation to the Brit beat group sound of the mid 60s – one that moves beyond simple R&B modes, to bring in more sophisticated soul and jazz touches! Driscoll's vocals are amazing – some of the boldest belted out in the British scene at the time – and Auger's Hammond work really cooks throughout – at a level that easily makes him one of the best UK organists to hit the scene, amidst some very heady company in the 60s. There's a few bluesy moments, but our favorites are the funky ones – especially the group's reading of "Season Of The Witch", which is tremendous. Other cuts include "In & Out", "Black Cat", "Goodbye Jungle Telegraph", and "Break It Up". Definitely What is a landmark batch of funky organ work that made big waves in both the rock and jazz worlds at the time! Auger's really stretching out here – getting past the simple R&B of his roots, and going into a bubbling funky style that's clearly touched by chromatic inspirations from Wes Montgomery and Jimmy Smith – both of whom are referenced by some of the song structures on the set. The album's filled with killer organ-based instrumentals – some lean and stripped down, others full and rich – and all of them coming across with a richly soulful sound that you'd hardly expect from a member of the British rock scene! Titles include "Day In The Life", "Red Beans", "Definitely What!", and his classic "Bumpin' On Sunset". Streetwise is filled great funky grooves by the legendary Trinity group – featuring excellent keyboard work by Brian Auger, recorded during the period when he was really beginning to stretch out a bit, and hit a much more open-ended kind of sound. Julie Driscoll is still on vocals, singing in her raw sound, but Brian's Trinity group gets a fair number of nice instrumental moments on the set – which are greatly appreciated! Titles include the classic and sample laden "Light My Fire", "Czechoslovakia", "Finally Found You Out", "In Search Of The Sun", "Ellis Island", "I've Got Life", and "Save The Country". Befour is the third album from Brian Auger & The Trinity – and the first to feature the group recording without vocals from Julie Driscoll! The sound here is just as soulful as before – a tight take on American soul jazz and funky soul of the 60s – pushed along by Auger's mighty work on the Hammond organ, and featuring (this time around) some male lead vocals, which seem to give the album an even deeper feel than earlier work! Auger's included some great covers of American tunes like "I Want To Take You Higher", "Listen Here", and "Maiden Voyage" – all redone with some great Brit beat group touches – and the album also features a great take on Faure's "Pavane", and Auger's own "Just You Just Me". CD

A pair of wondeful albums – back to back in a single set, with bonus material too! First up is Answer – fantastic solo work from Peter Bardens – an artist who'd later gain fame as the lead singer of Camel, but who's even more fantastic here on his own – working in a trippy blend of modes that's equally balanced between prog and psych! Bardens plays organ on most of the tracks, but he uses the instrument in ways that are very different from the more R&B-inspired Hammond lines of the mod generation – often tightly fused with the sublime guitar of Andy Gee, a player who's got this sharp sound that's full of chromatic hues that really resonate with the keys of the organ – as the pair take off in this soaring groove that's occasionally a bit funky, always a bit trippy, and which gets a great kick from bass, drums, and percussion – plus support vocals from Linda Lewis and Steve Ellis. The album's really something special – great all the way through – and titles include "The Answer", "Homage To The God Of Light", "I Don't Want To Go Home", "I Can't Remember", "Let's Get It On", and "Don't Goof With A Spook". Next is Peter Bardens – a second solo set from Peter Bardens – recorded in the years before he rose to fame as the singer in Camel – and a set that does a nice job of uniting the two different strands of his career! There's moments here that show Bardens' abilities on the keyboard nicely – piano passages or organ lines that go back to the work he did on the more soulful side of the UK scene in the late 60s. And other cuts stretch out a bit more, and open to progressive ideas – but in ways that are very different than Camel too. Titles include "Sweet Home Wine", "Down So Long", "Write My Name In The Dust", "Blueser", and "Feeling High". 2CD set features great notes – and bonus tracks that include the rare single recorded with Village, with "Man In The Moon" and "Long Time Coming", a 1970 version of "Long Ago & Far Away", and the French-only single "Homage To The God Of Light (parts 1 & 2)". CD

Like Dave Brubeck's legendary Time Out set? Try this one – a great record that takes off from the concept of the first, but which goes in some very fresh new directions – using the same great group with Paul Desmond on alto, Eugene Wright on bass, and Joe Morello on drums! Dave's still working out some nutty time signatures here – but apart from the science, the thing that really makes the record cook is Desmond's alto – icy, edgey, floating, and always a treat – almost even more amazing in the space of some of these offbeat numbers. Titles include "Maori Blues", "Far More Drums", "Bluetee", "Far More Blue", and "It's A Raggy Waltz". LP, Vinyl record album

Like Dave Brubeck's legendary Time Out set? Try this one – a great record that takes off from the concept of the first, but which goes in some very fresh new directions – using the same great group with Paul Desmond on alto, Eugene Wright on bass, and Joe Morello on drums! Dave's still working out some nutty time signatures here – but apart from the science, the thing that really makes the record cook is Desmond's alto – icy, edgey, floating, and always a treat – almost even more amazing in the space of some of these offbeat numbers. Titles include "Maori Blues", "Far More Drums", "Bluetee", "Far More Blue", and "It's A Raggy Waltz". CD features 2 bonus tracks "Slow & Easy" and "It's A Raggy Waltz (live at Carnegie Hall)". CD

Fantastic early work by John Coltrane – an album that shows that he was already reaching far, even in the 50s! The tracks on the set are quite long – quite speculative work that predates some of the searching experiments that Trane began in the 60s, with a nice undercurrent of spiritualism that's missing from some of his other work of the period. The work's played by a hip sextet co-led with trumpeter Wilbur Harden, and featuring Curtis Fuller on trombone, Tommy Flanagan on piano, Art Taylor on drums, and Ali Jackson on bass. Titles include the classic original reading of "Dial Africa", plus the super-extended "Gold Coast", and the nice "Oomba". CD

One of Ellington's greatest albums of the 60s – and a record tinged with Eastern themes and darkly angular modern arrangements. The group here features Ellington stalwarts Johnny Hodges, Paul Gonsalves, Harry Carney, Cootie Williams, Mercer Ellington, and Rufus Jones – and the players work together tightly to craft the suite of tracks based on Ellington's impressions of recent travels through the Mid and Far East during the 60s. Titles include "Tourist Point Of View", "Isfahan", "Depk", "Mount Harissa", "Amad", "Agra", and "Blue Pepper". Plus, the CD reissue features 4 alternate takes not on the LP! CD

With Pony Poindexter on alto saxophone, Harold Land on tenor saxophone, Buddy Montgomery on piano, Monk Montgomery on bass, and Louis Hayes and Tony Bazley on drums, . CD

An obscure album from offbeat songwriter Anthony Moore – originally recorded by Virgin Records during its most creative period! Moore was a key part of British art rockers Slapp Happy, and a member of Henry Cow too – but the music here is much different than those better-known groups – songs that are maybe a bit more down to earth, although certainly with all these wonderful twists and turns – maybe to Moore's earlier work what the song-based 70s work of Robert Wyatt was to Soft Machine – or maybe a bit like some of the late decade work of Kevin Ayers or John Cale. By that, we mean that there's plenty of tunefulness, but the work is far from commercial – and surprisingly strong from a songwriting perspective – something we might never have said about Moore's work in Slapp Happy. Titles include "You Tickle", "The River", "Driving Blind", "The Pilgrim", "Johnny's Dead", "Dreams Of Laughter", "Stitch In Time", and "A Thousand Ships". LP, Vinyl record album

Classic stuff – Rudy's first album, and a fitting launch to his famous career of party records and live club performances! The cover's got Rudy in front of a nude black model, laying back on the couch, and encouraging him to do the thing that's implied by the title – but the record itself is far more creative than just a bit of nasty words and sexy references. Rudy's at the top of his game here, bad rapping over a bit of music in a landmark effort that set the stage for countless other party records to come – but which is still presented here in one of its strongest examples. The set kicks off with an extended take on "Dolemite", with other tracks that include the funky groover "You Could Be Ugly Too", plus "Pimpin Sam", "So Glad I Could Come", and "Ballad Of A Boy & Girl". LP, Vinyl record album

The Preachers may be wearing priest-style collars on the cover, but the group have a sinister sound that's quite far from anything you'll hear in church – a sinister South Cali blend of guitar, organ, and just a bit of fuzz – very much like some of the best styles coming out of the Sunset Strip scene at the time! In truth, these guys hail from a bit farther north, up in the San Fernando Valley – but they've got a rock-solid quality here to match some of the best indie legends of the LA scene of the time – territory that the group almost hit with a handful of releases on the Moonglow and Pep Records labels. Those rare singles are combined here with five unissued tracks – all to make a much-needed full length look at a group who fell apart just as they were coming together – on titles that include "The Zeke", "Stay Out Of My World", "Just Don't Complain", "Chicken Papa", "Pain & Sorrow", "Hey Joe", "Who Do You Love", "Moanin", and "Quit Talkin Bout Him". CD features two bonus tracks – an early version of "Moanin" and "Quit Talkin Bout Him (publishing demo)". CD

Third in the 4 chapter set of dub LPs produced by the great Prince Far I along with a young Adrian Sherwood, but we suppose that was obvious by the title. This set finds the British upstart dub producer taking over a bit more from Far I, and includes a cast of many of the characters who would later go on to form the axis of the On-U rhytm section, as well as some appearances from the Slits' Ari Up, plus Stever Beresford & David Toop. Top notch rhythms get the deep space modern dub treatment, like "Back Weh", "Shake the Nation", "Homeward Bound", "The Conquest" & "Low Gravity". CD

Four fantastic albums from the legendary Prince Far I! The set begins with the classic Free From Sin – Great early work from Prince Far I – a stunning mix of reggae and dub, with a righteous quality that really gives the prince his title amongst 70s Jamaican royalty! Backing is by a version of the Roots Radics – with the excellent Style Scott on drums, Errol Holt on Bass, Bingy Bunny, Sowell and Chinna Smith on guitar, Bobby Kalphat and Snappin on keys, Bobby Ellis and Deadly Headly on horns, and Bongo Herman and Ras Millinek on percussion – but the real key to the sound is the way that Prince Far I produces the whole thing, and mixes his own sinister vocals with the heady, bottom-heavy rhythms – all with a quality that matches Lee Scratch Perry at his best! Titles include "Free From Sin", "Light Of Fire", "Reggae Music", "I & I Are the Chosen One", "Don't Deal With Folly", "Call On I In Trouble", "When Jah Ready You Got To Move", and "Siren". Jamaican Heroes is a totally great album by Prince Far I – and a set that already shows him building that crucial London/Kingston bridge that would be such a big part of his sound! The album features work from Sly & Robbie, and the killer drums of Style Scott on rhythm – but also includes contributions by London hipsters Viv Albertine & Ari Up (of the Slits), and David Toop (noted music writer and historian) – quite a mix, and all brought together wonderfully by the Prince's production, and really unique vocal approach. Titles include "Jamaican Heroes", "Prison Discipline", "Musical History", "Natty Champion", and "Golden Throne". Next up is a classic from Prince Far I – Voice Of Thunder couldn't be a more appropriate album title or moniker! Recorded at Channel One in 1981 with incredible analog dub production, it fully carries the grit, murk, heavy and heady soul of the 70s into the new decade –even if the sound is ultimately a bit different then the what he delivered in the 70s. That thunderous voice toasting over the rhythms is as incredible as ever – over the commanding bass of Professor Larry Silvera, tripped out drums & percussion by Jah Lloyd & Scully, occasional swirling keys by Steely, Tarzan and Tony Asher and the other great Channel One players. Titles include "Ten Commandments", "Every Time I Hear The Word", "Head Of The Buccaneer", "Shall Not Dwell In Wickedness", "Skinhead", and "Hold The Fort". Musical History is one of the last albums ever issued by Prince Far I – and a set that marks a fantastic cap to a too-short career! The Prince's vocal contributions are as impeccable as his dubby production work – and titles include "At The Cross", "More We Are Together", "Take Heed Frontline", "What You Gonna Do On Judgement Day", and "Tell Them About Jah Love". CD

Of all the Prince Far I dub encounters, this one's the most essential – a modern dub classic! A young Adrian Sherwood mans the desk over Far I's driving rhythms with a helping hand from British reggae great Dennis Bovell. Though this doesn't get as way out as some of the spaciest ON-U dubs that we've loved over the years, Sherwood treats the rhythms with a respect they well deserve, while still bringing a fresh outlook to the knob twirling that recasts these mighty rhythms into ghostly soudscapes. The band is a veritable all star Jamaican rhythm section, including Fish Clarke, Sly, Horsemouth & Santa on drums, Flabba Holt on bass, Bingy Bunny & Chinna Smith on guitar, and Sticky Thompson on percussion. 10 cuts, including our faves "Long Life", "The Encounter" & "Abderrahane". LP, Vinyl record album

Mad music that you might never have heard otherwise – the fantastic fifth installment in this excellent series inspired by The Cramps – and maybe the deepest-digging so far! There's no holds barred here – both in the source of the material, and the style – and the main criteria just seems to be finding tracks that are as way-out and wild as possible – almost all of which are pulled from the 45rpm underground of the late 50s and early 60s! The "jukebox" in the title is well-placed – as most of these cuts are mad rompers that would really liven up a nightclub – but we also can't imagine there ever being any jukebox as hip as this one, to bring all these fantastic singles together. Titles include "Icky Poo" by The Nomads, "Pimples & Braces" by Ric Gary, "Fling" by The Phaetons, "Laffin Beatnik" by Johnny Beeman, "Bop Crazy Baby" by Vern Pullens, "Boom Stix" by Curley & The Jades, "Cannibal Stew" by Jerry & Mel, "Talk About A Party" by Lee Braun, "Mad Gass" by The Royal Teens, "Mama's Place" by Bing Day, "Mo Taters" by The Earthworms, "I'm The Wolfman" by Round Robin, "A Logger's Wife" by Buzz Martin, and "Strollie Bun" by The Blonde Bomber. CD

A great little package, and way more than just the familiar exotica moments on mainstream compilations – as your guides here are Lux Interior and Poison Ivy of The Cramps – two folks who know more than plenty about the music of the farther reaches of the postwar years! And although their other collections for this label have gone way out to pull in some totally obscure material, the blend here is more measured – so that you'll get great cuts by some of the bigger exotica names, mixed with other numbers that are more unusual – and some that we wouldn't have even thought to include in such a package – all awash in sounds from the islands, tropical percussion, and even a few birdcalls and chants along the way! The 2CD set features a great range of material – and titles include "The Twisters" by Mel Henke, "Hampi" by Yma Sumac, "Mystery Of Love" by Olatunji, "Jardin De La Noche" by Robert Drasnin, "Mood For You" by Phil Moore, "Alegres Conga" by Cal Tlader, Envy" by Bill Russo, "Kele Kele" by Johnny Richards, "African Bossa Nova" by Ahmed Abdul Malik, "Tabu" by Augie Colon, "Pua Carnaeon" by Arthur Lyman, "Adventures In Paradise" by Leo Addeo, "Dance Of The Nustas" by Elisabeth Waldo, "Pagan Love Song" by Alex Stordal, "Balikpapan" by Jimmy Namaro Trio, and "Train To Ranchipur" by Markko Polo Adventurers. CD

Four incredible albums from Hammond legend Brian Auger – a key link between jazz and the headier sounds of the UK scene at the end of the 60s! First up is Open – one of the amazing early albums from the team of Julie Driscoll and Brian Auger – kind of a next-generation to the Brit beat group sound of the mid 60s – one that moves beyond simple R&B modes, to bring in more sophisticated soul and jazz touches! Driscoll's vocals are amazing – some of the boldest belted out in the British scene at the time – and Auger's Hammond work really cooks throughout – at a level that easily makes him one of the best UK organists to hit the scene, amidst some very heady company in the 60s. There's a few bluesy moments, but our favorites are the funky ones – especially the group's reading of "Season Of The Witch", which is tremendous. Other cuts include "In & Out", "Black Cat", "Goodbye Jungle Telegraph", and "Break It Up". Definitely What is a landmark batch of funky organ work that made big waves in both the rock and jazz worlds at the time! Auger's really stretching out here – getting past the simple R&B of his roots, and going into a bubbling funky style that's clearly touched by chromatic inspirations from Wes Montgomery and Jimmy Smith – both of whom are referenced by some of the song structures on the set. The album's filled with killer organ-based instrumentals – some lean and stripped down, others full and rich – and all of them coming across with a richly soulful sound that you'd hardly expect from a member of the British rock scene! Titles include "Day In The Life", "Red Beans", "Definitely What!", and his classic "Bumpin' On Sunset". Streetwise is filled great funky grooves by the legendary Trinity group – featuring excellent keyboard work by Brian Auger, recorded during the period when he was really beginning to stretch out a bit, and hit a much more open-ended kind of sound. Julie Driscoll is still on vocals, singing in her raw sound, but Brian's Trinity group gets a fair number of nice instrumental moments on the set – which are greatly appreciated! Titles include the classic and sample laden "Light My Fire", "Czechoslovakia", "Finally Found You Out", "In Search Of The Sun", "Ellis Island", "I've Got Life", and "Save The Country". Befour is the third album from Brian Auger & The Trinity – and the first to feature the group recording without vocals from Julie Driscoll! The sound here is just as soulful as before – a tight take on American soul jazz and funky soul of the 60s – pushed along by Auger's mighty work on the Hammond organ, and featuring (this time around) some male lead vocals, which seem to give the album an even deeper feel than earlier work! Auger's included some great covers of American tunes like "I Want To Take You Higher", "Listen Here", and "Maiden Voyage" – all redone with some great Brit beat group touches – and the album also features a great take on Faure's "Pavane", and Auger's own "Just You Just Me". LP, Vinyl record album

A pair of rare dub albums – back to back in a single set, with bonus tracks too! On A1 Dub, Blacka Morwell serves up some massive dub – working at Channel 1, for an obscure album on Trojan Records – but maybe coming across with some of the richness of the Island Records generation! There's a fullness to the sound that's wonderful – top-to-bottom completely solid, and often highly focused on the rhythms, but also always using one key instrumental element on each cut – a bit of organ here, a weeping guitar there, or even an odd sonic element – always given center stage in the spotlight, and set apart from the rest of the mix in a really great way. Titles include "Downtown Rebel", "Well Crucial", "Different Style", "West Side Ranking", "Pressure Rock", "Blackboard Jungle", and "Waterpump Skank". Next is Cry Tuff Dub Encounter 4 – from Prince Far I & The Arabs – an almost seamless set of dub instrumentals, recorded at Channel One in 1981 – the underground Jamaican groove, but maybe given a slightly better sound quality overall – that good mix of indie and professional that was the Trojan Records calling card as the 70s moved on! A crisp upfront production style separates this one from some of its dub predecessors – but the record has a great analog dub sound, with many effects and instruments echoing in and out of the mix. Titles include "Lion Stone", "Foundation Stepper", "Sound Gesture", "Destruction Sound Battle", and "Stone African Ground". And if that's not enough, the whole thing features a whole CD of bonus material – rare tracks taken from the 12" Attack series by Trojan Records – with cuts that include "Jammin For Survival" by Jammy's At The Controls, "Bali Hi Special" by The Sowell Radics, "Fuss & Fight Dub" by Eddie Fitzroy, "Ball Of Fire" by Bim Sherman, "Stand & Look Dub" by Fat Man All Stars, "Caring For My Sister" by Scientist & Roots Radics, "Won't You Come On (dub)" by Witty's All STars, "Babylon Wrong Dub" by Ashanti Waugh, and "Cool Pon Your Corner Version" by Barry Brown. CD

A club crossover classic from The Rolling Stones – a track that surprisingly got the group onto the dancefloor in the late 70s, but which still held onto most of their best elements! Although sometimes panned as a cheap disco cash-in effort by some, the tune is actually pretty darn great – a gritty little tune that relies on heavy vamping, rolled-out guitar parts, and one of the catchiest vocal hooks that Mick Jagger had sung in years. Harmonica completes the sound, and the whole thing's got a bluesy undercurrent that's totally great! 12-inch, Vinyl record

Really fantastic music, with a sound that's as hip as the image on the cover – not jazz as we know it here in the US, but a wonderful hybrid of our own musical roots with elements of Sudanese music – all delivered with a very postmodern mish-mash of styles, and a sound that's unlike anything else we can think of! The blend is a bit like some of the hybrids that were occurring in Ethiopian music at the time – and is maybe as unique as some of those classic recordings – with vocals that have a stretched-out style with lots of inflections, set up next to jagged rhythms that often have as much guitar in the groove as percussion, topped with offbeat reed passages that use lots of very cool tuning! Maybe the best release so far from this wonderful label – with titles that include "El Bambi", "Ya Shagini", "Aziza", "Malak Ya Saly", "Argos Farfish", and "Kamar Dawa". LP, Vinyl record album

Wonderfully fuzzy work from Amanaz – one of the trippiest, headiest groups of the Zamrock scene of the 70s! The guitars here are very full and present – not at a hit you over the head jamming label, but with this rich sonic element that has lots of bassy undercurrents – at a level that makes the album a head-nodding gem all the way through – poised perfectly between some of the more psyche styles of the African scene of the time, and some of the more thoughtful singer-songwriter material. The group have a quality that's surprisingly deep – very soulful, and with a subtle power that comes through strongly – thanks to a mostly-English batch of lyrics (although a few tunes here are in their native Bemba.) No cuts are all-out funky, but all have this great slow-funk sort of charm – and titles include "I Am Very Far", "Sunday Morning", "Khala My Friend", "Green Apple", "Africa", "Making The Scene", "Easy Street", "Big Enough" and "Kale". 2CD package features a full bonus "reverb mix" of the album – even trippier! CD