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A fairly straight orchestral score by John Barry – written for this early 60s film that starred George Segal, Tom Courneay, and Denholm Elliott. The film's a war one, and the themes are pretty typical for that sort of thing – but they do have some nice instrumental touches that push them past the usual bag, and which show that Barry's younger writing was always a treat, no matter what the setting. Titles include "There Is A Radio In This Hut", "Just As You Were", "Grey's Day", "The Recovery Of Marlowe", "Touch & Go", and "King Rat March". CD

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Fantastic music from one of the greatest periods in the career of film legend John Barry – the mid 60s stretch when he was suddenly exploding with all sorts of new ideas and fresh sounds in his music – moving forward strongly from his already-great work in the early part of the decade! The Barry here is buoyed by the strength of his early James Bond creations, and ready to expand into new sonic territory – using familiar instruments, but in different ways – and often having a larger ear for the overall sound, in a way that makes John Barry recordings like these rival some of the gigantic leaps forward by other 60s pop producers – sounds that put him in a line with greats like Joe Meek, Brian Wilson, and Phil Spector in the way all the elements come together! There's some great lesser-known Barry moments in the collection, which also includes notes on all the gems within – a set list that includes "Chicken Delhi Cold", "Barbra's Theme", "The Chase", "The Knack", "Four In The Morning", "Danny Scipio Theme", "Seance On A Wet Afternoon", "Space March", "Vendetta", "Troubadour", "The Syndicate", and "Oublie Ca". CD

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One of the lesser-known John Barry scores of the 60s – penned for an equally lesser-known comedy that starred Michael Caine, Peter Sellers, Peter Cook, Tony Hancock, and Dudley Moore! The tunes have kind of a period feel with slight whimsical touches – not as mod and groovy as you might expect for the time, or for Barry – but with a strong orchestral approach overall, showing John's ability to work well in a more mainstream setting. There's a nice undercurrent of darkness at times, as on some of Barry's other orchestral work – and titles include "Morris Visits Dr Pratt", "Bournemouth Strangler", "Morris Hides As He Sees Handcart", "Montage Of Deaths", and "Yes Who Is That". LP, Vinyl record album

Music composed by John Barry, performed by a group that features Chris Botti on trumpet – plus three mid-50s tracks featuring Chet Baker. CD

The soundtrack that put John Barry over the top – and to many, THE James Bond soundtrack! The album chills from the first notes of the haunting title theme – the majestic "Goldfinger", sung by Shirley Bassey with a tone that's as dangerous as a razor-sharp hat spinning through the air! Barry then takes over with some wonderful instrumentals – a blend of crime jazz, mood pieces, chase themes, and more – all peppered with that dark dark Bond theme that we love so much! Titles include "Into Miami", "Teasing The Korean", "Alpine Drive", "Bond Back In Action", "Gassing The Gangsters", and "Death Of Goldfinger". CD

The great John Barry as a young man – stepping out here on songs that are a lot more rocking than his later fame as a soundtrack composer – served up in a massive 3CD box that collects together singles for Parlophone and Columbia, plus some early rock songs from films! The style here is quite different than the Barry of the James Bond years – as the Parlophone tracks include a number of vocal singles that are clearly trying to challenge the US rock hits of the time, mixed with more instrumentals by the John Barry Seven – and the Columbia years follow with more of the instrumental vibe, often using cool production to bring the most out of the twangy guitars or bright trumpet lines. The set concludes with a CD that features the Beat Girl soundtrack and the Stringbeat instrumental album – both a strong extension of the Columbia years – and the package features 92 tracks in all – with a big booklet of notes – titles that include "Get Lost Jack frost", "Big Fella", "Beat For Beatniks", "Hit & Miss", "Zip Zip", "Little John", "Hideaway", "Farrago", "Big Guitar", "Tit Willow Twist", "Watch Your Step", "The Menace", "Blondie's Strip", "The Challenge", "Moody River", "A Handful Of Songs", "Zapata", and lots lots more. CD

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A beautiful and exotic score from the great John Barry – performed by Nic Raine and the City Of Prague Philharmonic Orchestra. CD also includes selections from Seance On A Wet Afternoon, The Chase, They Might Be Giants, Moviola, and Alice's Adventures In Wonderland. CD

A great little James Bond soundtrack – written for one of the lesser-remembered Bond films, but filled with nice moments! There's a darker, moodier feel here than on some of Barry's other Bond scores – lots of stretched out tracks that have a bit more space than usual, and odd instruments punctuating the themes with an eerie, other-worldly edge that almost reminds us of some of the best Italian thriller work from the time. Nancy Sinatra sings a very moody title track – and other tunes include "Takana's World", "The Wedding", "Mountains & Sunsets", "A Drop In The Ocean", "Bond Averts World War Three", and "The Death Of Aki". LP, Vinyl record album

One of John Barry's first true moments of genius – recorded back when he was the leader of a fab little instrumental combo called the John Barry 7, and was tagged to do some soundtrack work that would forever change the rest of his career! The album's got some incredible instrumental tunes that mix electric guitar and beatnik jazz in a mode that's keeping with the juvenile delinquent theme of the film – with some strings sneaking in to cheese things up a bit, but in a great way that only makes the tunes sound even better! Adam Faith sings vocals on "The Beat Girl Song", "Made You", and "I Did What You Told Me" – and other tunes include "Blues For Beatnicks", "Blondie's Strip", "Beat Girl", "Time Out", "The Sharks", and "The City 2000 AD". CD also includes the 1961 album Stringbeat. CD

An incredibly groovy soundtrack that's also one of the best-ever scores written by John Barry – a masterpiece of jazzy scoring that never gets old! There's some wicked use of Hammond in the main theme – played by Brit jazzer Alan Haven – a catchy little groove that dances nicely as the record unfolds – over rhythms that feature a snapping snare that's equally great! Barry brings in just a touch of the James Bond boldness, then mixes it with these warmer jazz leanings – all in a blend that's quite unique, and which easily makes the score one of our favorites of the 60s. A young Michael Crawford sings a great vocal version of the theme – "The Knack" – and other tracks include "Photo Strip", "Doors & Bikes & Things", "Ecstasy", "Three On A Bed", and "Blues & Out". LP, Vinyl record album

A sublime soundtrack from John Barry – common, to be sure, but also a wonderfully-crafted set that goes way beyond the stereotypes of his work for the James Bond films! The record is probably best known for Nilsson's famous version of the Fred Neil tune "Everybody's Talkin" – which is great in itself – but it's Barry's own work on the title theme that we totally love. "Midnight Cowboy" is a darkly turning slowly pondering tune that will haunt us until the day we die – performed here on the original number with a sad-tinged harmonica that unites both the country of Joe Buck's roots and the sleaze of the love generation. The tune's great – and is matched here by the whimsy of "Florida Fantasy", and the Barry tracks "Fun City" and "Science Fiction". But also, Barry acted as the overall music director for the film – and used some tracks from the hip group Elephant's Memory, plus others by The Groop – but offbeat acts who really fit the spirit of the film. The record's almost worth it just for the cut "Old Man Willow", a really tripped-out longer track from Elephant's Memory – swirling around in organ and hippie vocals, and oddly echoing the main Barry theme of the set at times! LP, Vinyl record album

A wicked little James Bond soundtrack – one of the lesser-known ones, which is why it's all that more great! The title theme is a totally catchy number, sung by Shirley Bassey with all the dark energy of her best pop work – and Barry's score has some really surprising moments, including some nicely restrained tracks that are a good blend of spareness and moody instrumentation. Titles include "Bond Smells A Rat", "Bond Meets Bambi & Thumper", "Diamonds Are Forever", "Circus Circus", "007 & Counting", and "Q's Trick". LP, Vinyl record album

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". LP, Vinyl record album

One of the strongest sessions recorded by pianist John Lewis in the 50s – a date that shows depths of his talents that run even greater than his work with the Modern Jazz Quartet, quite possibly because is work on piano is at the forefront of the record throughout! There's a sense of darkness here that really fits the image on the cover – a style that's stated clearly on piano lines that are often as spacious as they are gentle, but which also have a moodier undercurrent below, thanks to Lewis' careful choice of keys and notes. The backing is often quite spare – Lewis sometimes plays just with Connie Kay's drums, or the guitar of either Jim Hall or Barry Galbraith – and at its fullest, the record features 2 trio numbers with the bass of Percy Heath and drums of Connie Kay. Tracks are lyrically and thoughtfully composed – and titles include "Two Lyric Pieces", "Harlequin", "D&E", "Little Girl Blue", and "Warmeland". LP, Vinyl record album

A brilliant little record, and one that really lives up to the heady claim of its title! The lineup here is spare, but the sound is really full – swelling with complicated colors, images, and tones that delight us with each new track – a masterpiece in understatement, and one of the most perfectly realized blends of acoustic and electric jazz instrumentation from the late 70s! The sound is really a perfect "fusion" of modes – with guitar from Vic Juris and keyboards from Barry Miles dancing alongside the bass of John Burr and drums of Terry Silverlight – never too jamming or too rock-influenced, but always filled with energy and a sense of imagination. Titles include the beautiful "Tandoori" – a stone jazz dance groover with some great scatted vocals alongside the guitar – and other tracks include "Sunrise", "Streams", "Routes", "Follow Me", and "Country Miles". CD

Alton Purnell on piano & vocals, John Defferary on clarinet, Brian Turnock on bass, Barry Martyn drums. CD

One of the few albums as a lead act by John Simon – the genius studio talent who was behind so many great records of the late 60s! The set's overflowing with help from famous compatriots – including Rick Danko on bass, Bob Keys on tenor, Barry Beckett on organ, and both Eddie Hinton and Leon Russell on guitars! LP, Vinyl record album

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". LP, Vinyl record album

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

Killer keyboards from the amazing Barry Miles – one of the lesser-known talents of the 70s jazz funk generation, but a heck of a great little player – especially on this album! The set has Barry playing both acoustic and electric keys – sometimes in a soaring, full-on mode that reminds us of bigger fusion stars from the time – sometimes in a warmer, more spacious approach – one that has a fair bit of spiritual soul in the mix! The rest of the group's a quartet – with John Abercrombie on guitar, Frank Tusa on bass, and Terry Silverlight on drums – and some of the best tracks on the record echo the "scatbird" title – and feature Miles vocalizing wordlessly along with his keys! This approach is heard on the cuts "Scatbird" and "Latina" – and other tracks include "Skeleton Dance", "Arrows & Eagles", "Life-Cycle", "Suburban Shuffle", and "First Love". CD

An overlooked gem from keyboardist Barry Miles – and one of the most compelling early 70s sides on the Mainstream Records label! Barry's got a way of really making his keys sing out nicely – playing both acoustic and electric piano with plenty of warm tones and gently flowing modes – but never in a way that's too far out from jazz, or too smooth to be sleepy. The set features twin guitars from Pat Martino and John Abercrombie, both of whom underscore the chromatic nature of Miles' playing – and other players include Lew Tabackin on tenor and flute, Victor Gaskin on bass, Terry Silverlight on drums, and Warren Smith on congas. Titles are mostly Miles originals – and include "Descent", "Tangent", "White Heat", and "Little Heart Of Pieces". CD

A trio of amazing records from the UK jazz scene at the start of the 70s – all seminal sides from the legendary avant Turtle Records label! First up is Outback,early genius from British saxophonist Mike Osborne – his first session as a leader, recorded in the company of some of the greatest players on his scene! Osborne's got a strong vision here that's apparent from the first note of the set – a mixture of freedom and cohesive energy that resonates with the best modes of the ESP albums cut a few years before this one – stretching out with the new imagination that was setting the London jazz scene on fire at the start of the 70s. Osborne's alto is at the lead of a quintet that also includes Harry Beckett on trumpet, Chris McGregor on piano, Harry Miller on bass, and Louis Moholo on drums – and the sound is a mixture of some of the post-Blue Notes work of McGregor with bolder-blown trumpet/sax lines from Beckett and Osborne. The album features 2 long tracks – the stark, angular "So It Is", and the slower-building "Outback", which features some especially nice solos from Beckett. Next up is Flight – a complete classic from British pianist Howard Riley – exactly the sort of record that made him as important a new voice on the piano as Cecil Taylor in the US or Alexander Schlippenbach and Martial Solal on the European scene! The set's got the free, fiery vibe of some of Taylor's best work – but with even more inventive sounds from the whole trio – which also includes Barry Guy on bass and Tony Oxley on drums and amplified percussion – a tremendous lineup that's equally matched, and brilliant throughout! Riley is as wonderful as on his solo sessions – but he's almost even more incredible here for the way he balances things between all the players, and gives both Oxley and Guy some key space to make themselves known. Titles include "Cirrus", "Motion", "Flight", "For Lesley/For Sue", and "Forgotten Game". Last is Pause & Think Again – marvelous work from pianist Mike Taylor – maybe the greatest album we've ever heard from this under-recognized British genius, and a set that's got some of Taylor's most inventive writing and arrangements! The group's larger than some of Taylor's usual settings – and features John Surman on soprano sax, Stan Sulzmann on alto, Chris Pyne on trombone, and Kenny Wheeler on trumpet – all players who are arranged in this style that lets them break free in strongly voiced solos, while still also hewing to Mike's wonderful sense of color and tone – a mix of structure and individual creativity that's a bit like some of the early Surman work on Deram, or that label's music with some of his contemporaries. The group also features Chris Laurence on bass and Tony Levin on drums – and Norma Winstone adds in some heavenly vocalizations at points. Titles include "And Think Again", "White Magic", "Pause", "Interlude/Soft Winds", and "Awakening/Eye To Eye". Great package – a box with all three records in album-style covers, and a huge booklet of notes! CD

John Prine takes a trip down to Muscle Shoals for this classic album on Asylum – a set that mixes the best of his singer/songwriter spirit with just the right touch of Alabama soul! The blend is a nice one – as producer Barry Beckett still lets Prine do all the things he does so well – while maybe finding a new sort of vibe for the coming decade, yet without ever sounding commercial or like he's trying for a hit. Most of the tunes are still Prine's own – as sharply-penned as ever – and tracks include "Storm Windows", "One Red Rose", "I Had A Dream", "Living In The Future", "It's Happening To You", "Shop Talk", and "Sleepy Eyed Boy". LP, Vinyl record album

A treasure trove of 60s soul from New York – rare singles from the Old Town and Barry labels, most of which are making their debut here on CD! Both companies were owned by producer Hy Weiss – and together, the tunes on the set really trace an evolution in soul styles at the time. Old Town was probably best known for its mellow work by singer Arthur Prysock, and its vocal group hits at the beginning of the 60s – but the label was also a key force in the uptown soul style of the time, and really brought a great degree of class to the genre without losing the punch of the sound. Barry was a bit more of an indie singles outfit – and worked in modes that included a bit more socking soul and northern numbers – often done with the same sort of care as Old Town, but a bit more freewheeling overall. The package features full histories on both labels and their artists – and a 26 track set list that includes "If I Had Known" by Freddie Houston, "Could This Be Love" by Rosco & Barbara, "Souvenirs Of A Heartbreak" by Thelma Jones, "You Can't Trust Your Best Friend" by Donald Height, "Let Your Love Shine" by Lester Young, "Think Smart" by The Fiestas, "Hold It Baby" by King Ernest, "Lonely Man" by John Standberry Jr, "Things Have More Meaning Now" by Peggy Scott, "Stop & Take Another Look" by The Divine Men, "Slowly I Turn" by Billy Profit, "I Gotta Have Love Too" by Bobby Long & The Dealers, "Left Out" by Jesse Johnson, and "Say It With Feeling" by Beverly McKay. CD

The harder of the two Gil Evans albums on Impulse to find, and the best – really far-reaching material that has Evans coming into contact with some of the hippest jazz players of his generation! The record's got three incredible tracks written by Cecil Taylor – a very bold move for Evans, given Taylor's strongly out reputation even at this point in his career – and possibly even more bold, given that Taylor's on the tracks playing piano, alongside players who include Archie Shepp, Jimmy Lyons, Sonny Murray, and Henry Grimes. The material's fantastic, and is a key part of Taylor's work at the time, and shows a very different setting for his piano – a bit of tension with the larger Evans group, in a way that's almost more compelling than his own early dates as a leader! Taylor titles include "Pots", "Bulbs", and "Mixed". The other tracks on the album were written by John Carisi, who wrote the classic "Israel" for Miles Davis' nine piece group in the late 40s – but who here contributes "Moon Taj", "Angkor Wat", and "Barry's Tune". Carisi's tracks are a bit more subdued, but no less wonderful – and arrangements are by Taylor and Carisi, of their own music, presented with the Evans modern touch. If you ever needed a record to convince you that Gil Evans was a genius, this is it! LP, Vinyl record album

A fantastic assemblage of Brit folk/rock giants – with a strong Fairport Convention vibe, but maybe a bit more electricity too! Richard Thompson plays electric guitar, Barry Dransfield plays acoustic and fiddle, John Kirkpatrick plays various accordions and harmonium, Dave Mattacks drums, and Ashley Hutchings plays bass – and most members sing, too! CD

Fantastic early work from Mother Earth – one of those special late 60s groups who emerged out of the rock, folk, and blues scenes – but who somehow managed to make a very special sound of their own! Part of the group's strength is the lovely Tracey Nelson – a singer who could have been a soul artist if she wanted – but who works here with a looser approach to generic conventions as she moves through a number of different modes – sometimes stepping aside for the group's lead singer, R Powell St John Jr, who also plays a bit of harmonica. Instrumentation is given some stronger currents from a combo that features Mike Bloomfield on guitar, Barry Goldberg on organ, and Luis Gasca on trumpet – and titles include "Marvel Group", "Mother Earth", "It Won't Be Long", "Down So Low", "The Kingdom Of Heaven", and "My Love Will Never Die". LP, Vinyl record album

A very cool little set, and one that's a lot different than you might expect from the "new romantics" reference in the title! Sure, there's some cuts here that are from the moment when the British scene was cracking the charts with nice haircuts, catchy electro rhythms, and smart lyrics – but the bulk of the set is actually music from the generation before – the kind of work that inspired the new romantics of the early 80s, mixed with cuts from that era, but which are not nearly as well known! The box begins very early in the 70s, and traces bits of prog, glam, and other pre-punk styles – then ends up in more familiar territory at the end, but with a less familiar vibe. Make sense? Probably not – but that's the great thing about a really well-done collection like this – 59 tracks with really great notes – and work from Tubeway Army, The Cure, Zager & Evans, Lounge Lizards, Grace Jones, Fox, Magazine, Spandau Ballet, Heaven 17, Japan, Yellow, Nightmares In Wax, Visage, Landscape, Flying Lizards, Don Armando's Second Avenue Rhumba Band, Sister Sledge, Lipps Inc, Barry Gray, Glaxo Babies, New Order, Blue Rondo A La Turk, Tom Tom Club, ABC, M, Heat Exchange, John Foxx, The Normal, and many others! CD

An incredible record from Sun Ra! The session was recorded in New York in the late 60s – and it features Ra playing the "solar sound instrument", which is actually a modified Hohner Clavinet, used here with some really spooky sounds! The setting of the album is spare and moody – with Ra striking out first on the "solar sound instrument" – laying down a groove that's filled in by John Gilmore on tenor, plus additional percussion by Robert Barry (who plays a bit of the "lightning drum"), Clifford Jarvis, Marshall Allen, and Pat Patrick. Titles include "Mu", "Lemuria", "Atlantis", "Bimini", and "Yucatan". LP, Vinyl record album

This is the second of 2 albums that the Electric Moog Orchestra cut during the 70s designed to cash in on the fame of the big sci-fi soundtracks of the time. This one's got some nice cuts from John Williams' score to Close Encounters – including a lot of less-familiar themes that work well with moogy playing, like "The Abduction Of Barry", "Galactic Force", "Space Symphony", and "The Conversation". LP, Vinyl record album

Evan Parker on soprano sax, Paul Rutherford on trombone and euphonium, Barry Guy on bass and electronics, and John Stevens on percussion and voice – plus a long bonus track, "Surfaces", featuring Stevens, Roger Smith on accoustic guitar, and Nigel Coombes on violin. CD

Sun Ra's first album as a leader – originally issued on the Transition label, but presented here in its better-known incarnation by Delmark Records! Even at this early point, Ra had a sound unlike any of his contemporaries – large group and modern, but not in a way that showed any similarities to work going on in New York or LA – a voice that was all his own, and already quite boldly stated, even in these early years! The format might be somewhat familiar – an ensemble with horns and rhythm – but the overall execution really starts to open up as the album moves on – with odd phrasings, timings, and unusual moments that live up to all the promise you might expect from Ra. Even Mingus and some of his better-known contemporaries weren't heading in these directions in the mid 50s – and the record is a proud showcase of the freedoms that players were often accorded in the less-trafficked Chicago scene of the time. Horns include Art Hoyle & Dave Young on trumpets, John Gilmore on tenor sax, Pat Patrick on baritone, Julian Priester on trombone, and James Scales on alto sax – and rhythm includes Jim Herndon on tympani, Robert Barry on drums, Wilbur Green on electric bass, and a young Richard Evans on acoustic bass! Titles include "Brainville", "Call For All Demons", "Transition", "Lullaby For Realville", "Street Named Hell", "New Horizons", "Fall Off The Long", "Possession", and "Future". CD

Early work from this great pre-Motown Barry Gordy protege – a surprisingly nice album of spiritual songs! CD

One of the best of the blacksploitation scores of the early 70s – a masterpiece of music that we rate every bit as high as Shaft or Superfly – maybe even higher! The music here is incredible – a surprising funky turn for JJ Johnson, who most folks know for his straighter jazz work – and like Marvin Gaye, Barry White, and others who were surprising the world with their ability to score music for a full film during the early 70s, JJ really knocks it out of the park with this one – coming up with a batch of tunes that are a wonderful mix of sophisticated scoring, creative instrumentation, and some damn funky grooves! The title cut features Joe Simon on vocals, and Millie Jackson sings on the cuts "Love Doctor" and "It Hurts So Good". The rest of the set is instrumental, and other cuts include an instrumental take on "Cleopatra Jones", plus "Go Chase Cleo", "Goin To The Chase", "Wrap Up", and "Airport Fight". LP, Vinyl record album

A great lost slice of Verve from the early 60s – with Hodges on alto, and Lalo Schifrin on piano and Barry Galbraith on guitar – a pretty groovy group! LP, Vinyl record album

Early work from this great pre-Motown Barry Gordy protege – a surprisingly nice album of spiritual songs! LP, Vinyl record album

A key album in the reintroduction of Coleman Hawkins in the late 50s – recorded in a style that still bears a lot of traces of earlier years, but at a time when Hawk was being claimed as a key influence by a variety of younger modernists! The set's got a sense of freedom that's really surprising – especially on the longer numbers, which unfold with some playful instrumental twists that seem to come especially from trumpeter Idrees Sulieman and trombonist JJ Johnson – both of whom are great on the record. Other players include Hank Jones on piano, Barry Galbraith on guitar, and Oscar Pettiford on bass – and titles include "Juicy Fruit", "Think Deep", "Blue Lights", "Sanctity", and "Chant". CD

A key album in the reintroduction of Coleman Hawkins in the late 50s – recorded in a style that still bears a lot of traces of earlier years, but at a time when Hawk was being claimed as a key influence by a variety of younger modernists! The set's got a sense of freedom that's really surprising – especially on the longer numbers, which unfold with some playful instrumental twists that seem to come especially from trumpeter Idrees Sulieman and trombonist JJ Johnson – both of whom are great on the record. Other players include Hank Jones on piano, Barry Galbraith on guitar, and Oscar Pettiford on bass – and titles include "Juicy Fruit", "Think Deep", "Blue Lights", "Sanctity", and "Chant". LP, Vinyl record album

An astounding collection that brings together work from a roots reggae legend! Niney's productions stand as some of the strongest benchmarks for golden era roots reggae, with his ability to fuse heavy rhythms with righteous messages and some of the better vocal performances that these singers would turn in for any producer. This great double LP set pulls together some of his biggest numbers as well as great versions, dubs, discomixes and a few hard to get alternate versions for a hefty showcase of one of the elite in Kingston's roster of master producers. Backing is by the Soul Syndicate, the Aggrovators, the Revolutionaries, the Cimarons and Steely & Clevie, with 28 tracks in all, including "Blood & Fire" by Niney, "Whole Lot Of Fire" by Big Youth, "Rascal Man" by Delroy Wilson, "Rasta No Born Yah (ext)" by Sang Hugh & The Lionaires, "Guess Who's Coming To Dinner/Clap The Barber" by Michael Rose, "I Need Your Loving" by Slim Smith, "Rock On" by Gregory Isaacs, "Silver Words" by Ken Boothe, "Warrior" by Johnny Clarke, "Chant It Down" by Freddie McGregor, "No More Will I Roam (ext)" by Dennis Brown, "Materialist" by Horace Andy, "Moses" by Jacob Miller, "Temptation, Botheration & Tribulation" by the Heptones, "Lover's Race" by Sugar Minott and "Thank You Mama" by Barry Brown. LP, Vinyl record album

One of the greatest soul compilation series ever! Kenny Dope put together this 3rd volume, and we might be tempted to say that it's the best one of the 3! Strange Games has a deceptively simple approach – but the compilation features the kind of grooves that will keep you coming back and back again, and which will play well with both fans of older soul and modern beat-heads alike. Nearly every track has been sampled at some point over the past 10 years – so you'll recognize many of the beats and riffs – but the tracks are also totally excellent, and hold up extremely well on their own as smooth modern soul classics. Titles include "Superman Lover" by Johnny Guitar Watson, "Standing Right Here" by Melba Moore, "Free" by Deniece Williams, "Holding You, Loving You" by Don Blackman, "Was It Something I Said" by Sylvester, "I've Been Watching You" by Parliament, "I'm Your Mechanical Man" by Jerry Butler, "I Wanna Do Something Freaky To You" by Leon Haywood, "Stars In Your Eyes" by Herbie Hancock, "Thoughts Of Old Flames" by Pleasure, "What Am I Missing?" by Rufus, and "Freddie's Dead" by MFSB. Also features a few cuts that have been on other compilations – by artists like Ramp, Labbi Siffre, Love Unlimited Orchestra, and Barry White – but they're all great anyway, and are fine to have again! CD version features 3 CDs! Disc 1 is a mixed set of tracks – and discs 2 and 3 are unmixed, and include 21 cuts between them. Packaged in a totally great slipcase, too! CD

A great collection of rare 45s from the powerhouse TK Records label and all it's many smaller imprints – Dade, Glades, Alston, and many others – brought here together with a focus on a really special side of the label! TK was one of the first to really promote the 12" single in the disco generation – but before, during, and after the label maintained a strong commitment to the funky 45 too – and really used the format to showcase some of its stronger soul singers, in a way that made sure that the 7" singles packed plenty of punch! This set features 24 of those rare nuggets from TK, with plenty of obscure numbers in the lineup – and titles include "All Because Of Your Love" by Otis Clay, "Rules Are Made To Be Broken" by The Diamonettes, "Never Had A Love So Good" by Charles Johnson, "I Can't Speak" by Jimmy Bo Horne, "Don't Waste My Time" by Jerry Washington, "Hold On To It" by Barry Smith, "Please Don't Stop" by Wildflower, "Stop Hurting Me Baby" by Purple Mundi, "One Night Affair" by The Rising Sun, "That Is Why" by Sherlyn Wittiker & Touch, "Even Though" by King Tutt, "Do What You Wanna Do (part 1)" by Frank Howard & The Continentals, and "How Can I Do What's Right" by Vanessa Kendrick. CD

A great pair of records – plus a huge amount of bonus tracks too! First up is the debut Reggae Strings album – one of the most unique albums on the Trojan label during the 70s – and a surprising hit for the company too! The approach here is very unusual – as the cuts here all are earlier Trojan vocal singles that had larger backings provided by UK maestro Johnny Archey – then stripped of their vocals and presented as instrumentals! As you'd guess by the names, Archey adds strings to the Kingston rhythms – but the approach is surprisingly nice – almost like early reggae rhythms coming into play with the best of the UK sound library generation – with results that are as groovy as that description might imply. Titles include "World Without Love", "One Woman", "Let The Man Go", "Leaving Rome", "Pantomime", "God Bless The Children", and "Young Gifted & Black". Reggae Strings 2 is a set that follows nicely on the first Reggae Strings effort on Trojan – and, like the first, a package that features older vocal tracks with the lyrics stripped away, all to provide a focus on the fuller orchestrations of Johnny Archey! The approach is cooler than you'd guess – lots of nice charts that bring a bit of 70s smooth to the sound of Trojan – almost like Barry White was recording down in Kingston – on titles that include "How Many Times", "Jump Hallelujah", "Strange World", "It's Too Late", "Tell It Like It Is", "Scientist", "Jamaica Jerkoff", and "Sweet Bitter Love". 2CD set features 25 bonus tracks too – all the original vocal tunes used for the strings versions – with work by Bob Andy, The Dynamites, Greyhound, Bob & Marcia, Nicky Thomas, Danny Ray, Merlene Webber, The Uniques, Pioneers, Winston Groovy, and others! 51 tracks in all – and a nice set of notes. CD

Joe Wilder on trumpet, Oscar Pettiford on bass, Osie Johnson drums on all groups plus on Fats George Wallington on piano, Nick Travis on trumpet, Eddie Bert & Jimmy Cleveland on trombone, Aaron Sachs on tenor sax plus on Bix Joe Soldo on flute, Danny Bank on clarinet, Harold Goltzer on basoon, Jim Buffington on french horn, Barry Galbraith on guitar, plus on Duke/Talbert Herb Geller, Joe Soldo, Aaron Sachs & Danny Bank on reeds, Jim Buffington on french horn, Eddie Bert on trombone, Barry Galbraith on guitar. CD

It came from the garage – and came on with a hell of a lot of power, too – thanks to the raw raw sound of the legendary Downey Records! Downey was one of the coolest indies on the Cali coast in the mid 60s – an imprint that maybe had a bit more of an edge than some of the surf imprints, and a great ear for the kind of raunchy psych that was starting to come from the Texas scene too – a great legacy that's never fully gotten its due until this wonderful collection! The package brings together rare tracks from the Downey vaults – impossible to find singles, and even some unreleased tracks too – in a in a batch of garagey gems that even hits a pre-punk feel at times. The set's got a whopping 24 tracks in all – presented with the usual stunning Ace Records sound and notes – with tracks that include "Edge Of Nowhere" by Sunday Group, "Hang Out To Dry" by Bud & Kathy, "Be Billy" by Pat & The Californians, "What I Want You To Say" by The Barracudas, "Oh My Baby" by Kicks, "Drifty" by Craig & Michael, "Hey Did A Da Da" by The Rumblers, "Bad" by Pat & The Californians, "Penicillin" by Johnny McRae, "Clap Hands" by The Rumblers "Sleepy Hollow" by The Last Word, and "A Fool In Love" by The Bel Cantos with Barry White. CD

A great collection of rare 45s from the powerhouse TK Records label and all it's many smaller imprints – Dade, Glades, Alston, and many others – brought here together with a focus on a really special side of the label! TK was one of the first to really promote the 12" single in the disco generation – but before, during, and after the label maintained a strong commitment to the funky 45 too – and really used the format to showcase some of its stronger soul singers, in a way that made sure that the 7" singles packed plenty of punch! This set features 24 of those rare nuggets from TK, with plenty of obscure numbers in the lineup – and titles include "All Because Of Your Love" by Otis Clay, "Rules Are Made To Be Broken" by The Diamonettes, "Never Had A Love So Good" by Charles Johnson, "I Can't Speak" by Jimmy Bo Horne, "Don't Waste My Time" by Jerry Washington, "Hold On To It" by Barry Smith, "Please Don't Stop" by Wildflower, "Stop Hurting Me Baby" by Purple Mundi, "One Night Affair" by The Rising Sun, "That Is Why" by Sherlyn Wittiker & Touch, "Even Though" by King Tutt, "Do What You Wanna Do (part 1)" by Frank Howard & The Continentals, and "How Can I Do What's Right" by Vanessa Kendrick. CD

Joe Wilder on trumpet, Oscar Pettiford on bass, Osie Johnson drums on all groups plus on Fats George Wallington on piano, Nick Travis on trumpet, Eddie Bert & Jimmy Cleveland on trombone, Aaron Sachs on tenor sax plus on Bix Joe Soldo on flute, Danny Bank on clarinet, Harold Goltzer on basoon, Jim Buffington on french horn, Barry Galbraith on guitar, plus on Duke/Talbert Herb Geller, Joe Soldo, Aaron Sachs & Danny Bank on reeds, Jim Buffington on french horn, Eddie Bert on trombone, Barry Galbraith on guitar. LP, Vinyl record album

Music from Johnnie Clarke, Smiley Culture, Asher Senator, Macka B, Pato, Andrew Paul, Horace Andy, Junior Delgado, Nerious Joseph & Winsome, Joseph Cotton, Professor Nuts, Daddy Freddy, King Kong, Frankie Paul, and Barry Boom. CD

A set that really gets at the full spectrum of the boogaloo groove – not just the Spanish Harlem sounds of the Latin Soul generation – but also the deeper roots of the style from across the USA! "Boogaloo" is a term that most folks use to refer to that New York uptown fusion of Latin rhythms and soulful vocals – and while the NYC styles were key to its fame, the music also burst forth from lots of points west, too – and came together in a flurry of fast rhythms, jazzy instrumentation, and hard-driving vocals that made for a completely infectious blend! This package is a fantastic testament to that mad musical moment – and is overflowing with a selection of gems that goes way past the obvious – not the Fania Records catalog that usually shows up on other boogaloo releases, but a huge batch of tracks from small labels and indie singles too. Titles include "Skate Boogaloo & Karate Too" by Lee Harris, "Block Party" by Jimmy Castor, "Boogaloo #3" by Roy Lee Johnson, "Do The Boo-Ga-Loo (part 1)" by Tom & Jerroo, "Playing It Cool" by Hector Rivera, "Ready Steady Go" by Prince & Princess, "Bar Kays Boogaloo" by The Bar-Kays, "What I Feel" by Richie & The PS 54 School Yard, "Have Some Boogaloo" by Timmy Thomas, "Bugalu" by Charlie Palmieri, "Boogaloo (part 1)" by The Bob & Earl Band, "Me & You Doing The Boogaloo" by Lou Courtney, "Boogaloo Zoo" by Shirley Butler, "Bugaloo Party" by Harold & Connie, "Boogaloo Investigator" by The Exotics, "Funky Funky Boogalo" by Jimmy Brown, and "Let's Do The Funky Boogaloo (part 1)" by Barry Jones. CD

A set that really gets at the full spectrum of the boogaloo groove – not just the Spanish Harlem sounds of the Latin Soul generation – but also the deeper roots of the style from across the USA! "Boogaloo" is a term that most folks use to refer to that New York uptown fusion of Latin rhythms and soulful vocals – and while the NYC styles were key to its fame, the music also burst forth from lots of points west, too – and came together in a flurry of fast rhythms, jazzy instrumentation, and hard-driving vocals that made for a completely infectious blend! This package is a fantastic testament to that mad musical moment – and is overflowing with a selection of gems that goes way past the obvious – not the Fania Records catalog that usually shows up on other boogaloo releases, but a huge batch of tracks from small labels and indie singles too. Titles include "Skate Boogaloo & Karate Too" by Lee Harris, "Block Party" by Jimmy Castor, "Boogaloo #3" by Roy Lee Johnson, "Do The Boo-Ga-Loo (part 1)" by Tom & Jerroo, "Playing It Cool" by Hector Rivera, "Ready Steady Go" by Prince & Princess, "Bar Kays Boogaloo" by The Bar-Kays, "What I Feel" by Richie & The PS 54 School Yard, "Have Some Boogaloo" by Timmy Thomas, "Bugalu" by Charlie Palmieri, "Boogaloo (part 1)" by The Bob & Earl Band, "Me & You Doing The Boogaloo" by Lou Courtney, "Boogaloo Zoo" by Shirley Butler, "Bugaloo Party" by Harold & Connie, "Boogaloo Investigator" by The Exotics, "Funky Funky Boogalo" by Jimmy Brown, and "Let's Do The Funky Boogaloo (part 1)" by Barry Jones. CD

Some folks might associate Philadelphia soul with the famous Gamble & Huff productions of the 70s disco years – but the city was already overflowing with great music in the years before Philadelphia International – as you'll hear in this totally groovy set! Philly was making as much great soul music in the 60s as Detroit, Chicago, and New York – thanks to an earlier musical framework that was set up by the city's big pop hits of the late 50s – which provided plenty of labels, studios, and other facilities for Philly's ever-growing array of soul talents, too – so much so that by the end of the 60s, the city was turning into a destination for singers outside of town – almost as much of a musical magnet as studios in Memphis or Muscle Shoals! This set does a great job of bringing together both aspects of that scene – wonderful homegrown talent, mixed with outsiders to really took off in the new Philly sound of the 60s – a joyous, positive, upbeat approach that worked wonderfully well for a variety of artists. Titles include "Your Fool Still Loves You" by Oscar Weathers, "It's All Over But The Shouting" by George Tindley, "You've Been Untrue" by The Delfonics, "Ain't Nothing But A House Party" by The Show Stoppers, "Peace To You Brother" by Lou Johnson, "Christine" by Executive Suite, "Help Me" by Honey & The Bees, "You Got What I Need" by Freddie Scott, "Rainmaker" by The Moods, "Keep On Striving" by Moses Smith, "That's The Price You Have To Pay" by Brenda & The Tabulations, "What You Gave Up" by The Continental 4, "Every Day Is A Holiday" by The Intruders, "Standing In The Darkness" by The Ethics, and "Girl You're Too Young" by Len Barry. CD

... 12-inch, Vinyl record

Includes 20 songs written or co-written by Barry Mann – performed by the Earls, Diamonds, Johnny Burnette, Eydie Gorme, Frankie Avalon, Bobby Brown, and Arthur Alexander. CD