A very groovy record from the legendary Francoise Hardy – a set that's not only got the lovely lady out front on vocals and acoustic guitar, but one that also features totally great arrangements from Brit maestro Johnny Harris – who gives most of the record a slightly different vibe than some of Hardy's previous sets! Harris has a great ear for the spacious – opening up the sound at the sides, in ways that only seem to enforce Francoise's majesty in the center – with these subtle, but powerful touches that are also carried on by Charles Blackwell on a few cuts too. The whole thing's wonderful – jingle-jangle pop grooves, sweet guitar lines, and really great French vocals over the top – on titles that include "Si C'est Ca", "Je Changerais D'Avis", "Comme", "Tu Es Un Peu A Moi", "Qu'Ils Sont Heureux", and "Il Est Des Choses". CD

Really lovely sounds from the young Francoise Hardy – easily one of the coolest, most confident female singers in France at the time! Hardy is neither the emotive style of postwar passionate singers, nor the too-cool style of the left bank – and instead, she's got this way of mixing her own acoustic guitar with lightly lyrical arrangements that never overshadow her role in the lead – far less of the "yeh yeh" style that other singers were using, and which Hardy is too-often considered with. There's a beautifully gentle feel to the record – even though the set features some larger arrangements from Marcel Hendrix – and titles include "J'Aurais Voulu", "Nous Tous", "On Dit De Lui", "Comme Tant D'Autres", "Saurai Je", "Va Pas Prendre Un Tambour", and "Le Premier Bonheur Du Jour". CD

A real step forward for the amazing Francoise Hardy – a singer who was already great at the start, but who reaches out a bit more globally here – as she works with Brit arranger Charles Blackwell, in a mode that's got a bit of groovy 60s London in the mix! The tracks include many originals by Hardy, and a few by Blackwell as well – and the music has less of the acoustic guitar you'd hear on some of Francoise's other albums, and some fuller, bouncier backings that mix French chanson with some groovier 60s pop elements – all in a blend that's completely sublime for the lovely vocals of the lady. Titles include "Je Veux Qu'll Revienne", "Tu N'As Qu'Un Mot A Dire", "Et Meme", "Pars", "Pourtant Tu M'Aimes", "La Nuit Est Sur A Ville", "Pas Gentille", and "Mon Amie La Rose". CD

A seminal debut from the young Francoise Hardy, and a record that set the tone for a whole generation of French music to come! The album's a remarkable achievement – especially considering that Francoise was 18 at the time – filled with original tunes that have a really fresh presentation – not just in the lyrics, but in the overall presentation – which was a huge change from the overly emotive modes of the generation before. Hardy plays a fair bit of acoustic guitar along with her vocals – furthering the groovy feel of the set – and backings are by the orchestra of Roger Samyn, who adds in some slight rockish touches. Titles include "On Se Plait", "Oh Oh Cheri", "Ca A Rate", "Tous Les Garcons Et Les Filles", "La Fille Avec Toi", and "J'Suis D'Accord". CD

Lee Hazlewood is looking a bit nervous on the cover – very different than the swaggering bravado of his mustachioed fame of the late 60s – which is quite fitting, given that these tracks were all recorded very early in his career! The collection presents the debut of a set of early demo recordings by Lee – recorded in Phoenix, at a time when his flame was just starting to flicker – but with a clear songwriting genius that already points the way towards the tremendous work he'd do on his own, and for other singers! Most numbers just feature Hazlewood on vocals and guitar, with occasional extra guitar from Al Casey – but Lee's also already starting to use echo to bring out the best quality of his songs, creating all these cool and moody little corners that make the music sound very different than regular demo recordings. Titles include "Five Thousand & One", "Cross Country Blues", "Peculiar Guy", "Buying On Time", "The Country Bus Tune", "The Old Man & His Guitar", and "Fort Worth". Also includes a full early draft of the album Trouble Is A Lonely Town – ten more songs that include "Run Boy Run", "Big Joe Slade", "Georgia Chain Gang", "Six Feet Of Chain", and "Long Black Train". LP, Vinyl record album

Lee Hazlewood turns 40 – and we all get to celebrate! The album's another fantastic lost chapter of Lee's career – recorded in London, with production by Shel Talmy, and a spacious overall sound that's really tremendous! The sunburned western sound is still at the core of the session, but it's also set amidst sweeping strings that bring some nice Scott Walker-ish elements to the record – making for a sound that's as deeply resonant as Lee's great vocals, and a whole new side of his maturity too. Plus, the album has Hazlewood singing a number of tunes by other folks – the kind of material he never really does, but manages to completely transform on the record. Titles include "Wait Till Next Year", "It Was A Very Good Year", "Paris Bells", "The Bed", "The Night Before", and "September Song". LP features bonus tracks – "Send Out Love" and "For Once In My Life". LP, Vinyl record album

One of the rarest Lee Hazlewood albums, and one of the coolest, too – the set falls a bit later than some of his other work on the Swedish scene – and, like Cowboy In Sweden, it's also a soundtrack too – but the vibe is different than that one, and almost shows this maturation of Lee's style – as if he's absorbing even more unusual elements during his time overseas, and finding a way to keep growing his sound away from his American years in LA! All the Hazlewood craft for songs and nicely wry vocals is still very much in place – but there's also some nice shifts in the arrangements, too – deepening things some fuller elements at times, yet stepping back into tighter elements at others. Titles include "Soul's Island", "A House Safe For Tigers", "Our Little Boy Blue", "Sand Hill Anna & The Russian", "Absent Friends", and a nice remake of "The Nights"! CD

Pure genius from Lee Hazlewood – one of his gems cut for MGM in the 60s, and a session that features some great small combo backings! The feel here is almost a jazz-inflected take on the slight country tinge of Lee's other work – a style that's as sophisticated and unique as Hazlewood's well-penned lyrics and amazing vocals. Lee's completely at home here – working with the great engineer Eddie Brackett, who's sound for his vocals is just about as great as could be hoped – the matchless blend of ice and embers that perfectly defines the Hazlewood sound. All tunes are originals by Lee – and tracks include "Shades", "This Town", "Stone Cold Blues", "Child", "Little War", "Hands", "Fort Worth", "Them Girls", and "Mannford Oklahoma". Features two bonus tracks – "Moochie Ladeux" and "The Lone Ranger". CD

A really interesting album from the great Lee Hazlewood – at one level, a set that's maybe the closest Lee ever came to recording a country album – and at another, a great reworking of the modes he first explored with Nancy Sinatra! It's 1968, and Lee's brought his outlaw cowboy image full-circle – into a late 60s western-revival mode, cast in the same style that was showing up in films at the time – a bit schmaltz, a bit camp, but still with an earnest take on the genre that remains compelling in the face of all the silliness you might expect! And even here, working with Ann Margaret, who really could ruin the record, Hazelwood stands firm – singing beautifully on covers like "No Regrets", "Dark End Of The Street", "Break My Mind", "Victims Of The Night", and "Greyhound Bus Depot", all excellent examples of the hipper side of 60s country writing. Ann's maybe more understated than on some of her own records – and the Nashville production of the record is handled with understated qualities that never fall into cliche or copycat modes! LP features some great bonus tracks from concurrent singles – including "Sleep In The Grass", "Chico", "You Turned My Head Around", and "It's A Nice World To Visit" LP, Vinyl record album

Incredible work from the legendary Lee Hazlewood – music and images that blow away his previous generation of creation for MGM, Mercury, and Warner Brothers – served up here in a package that really captures all the genius of Hazlewood during these amazing years! The package features 4CDs, 107 tracks of music – 2CDs that include every single album, 45, and unreleased masters that Lee Hazlewood recorded for his own LHI imprint (including the full albums Cowboy In Sweden, Cowboy & The Lady, and Requiem For An Almost Lady) – 2 more CDs that feature all the key tracks from LHI artists like International Submarine Band, Sanford Clark, Honey LTD, Lynn Castle, Hamilton Streetcar, and many others – including 14 unreleased tracks. Then, you also get this incredible 172 page hardcover book – as bit as a giant LP box, with rare photos, liner notes, history, Lee Hazelwood timeline, and lots lots more. Then, you get the totally great film Cowboy In Sweden on a DVD – a rare 1970, hour-long film done by Lee in Sweden. And this special box also features a flexi-disc of rare studio chatter from Lee – and even a reproduction of his business card as well! CD

One of the rarest Lee Hazlewood projects of the 60s, and one of the most unique as well – a set of surf-themed instrumentals, but served up with a nice current of exotica too! Given that Lee first rose to fame in the late 50s, for his excellent production of Duane Eddy's guitar – the mix of modes here is a perfect advancement of his roots – taken into even cooler, even hipper territory – with that really wonderful sense of sound that always made some of Hazlewood's productions so amazing! Most songs have a guitar in the lead, but are performed with less of the super-tight modes of surf groups – as many of the numbers are leaner, and more spacious – and go for a great sense of the overall sound. Titles include "Movin", "Bangkok Cock Fight", "Crickets Of Karachi", "Torn Sarong", "Batman", "Baja (parts 1 & 2)", and "Angry Generation". LP, Vinyl record album

An amazing, career-spanning compilation of pioneering psych and earlier material, mixed with more traditional elements of Korean music by Shin Joong Hyun – including his own numbers, great songs with his combos over the years and tunes he wrote for others to sing – from the late 50s to the early 70s! The stylistic breadth is pretty wide, but what's so impressive is that he's not merely traipsing through genres to stay current – he's a real master, and the consistently great quality throughout is a real thing to behold. It's passionate and soulful as all get out, whether it's a spare bit of rock or folk, raw and rumbling psych folk or garage-y stormers. One of the best global psych comps we've seen in a while! Includes "Moon Watching", "J Blues '72" and "I've Got Nothing To Say" (credited to Shin Joong Hyun), "Please Don't Bother Me Anymore" by Golden Grapes, "The Sun" by Kim Jung Mi, "Tomorrow" by lee Jung Hwa, "Spring Rain" by Park In Soo, "Sunset" by Jang Hyun, "Why That Person" by Bunny Girls, "Beautiful Rivers And Mountains" by Shin Joong Hyun & The Men and more. LP, Vinyl record album

A really lost chapter in the career of Brian Wilson – an album produced by the famous Beach Boy for poet Stephen John Kalinich, done with a bit of music and vocals by Wilson himself! The record's quite odd – spare, thoughtful poetry – often recorded with slight production touches that make the vocals sound nicely weird – and occasional bits of music or other Wilson-like touches, but all in ways that are quite different from any Beach Boys work. Kalinich's words had an impact on the Friends album by the Beach Boys, but the feel here is a lot darker – and at the few points when Brian's background vocals come into play, it creates a great sense of contrast that hints at the darker corners of the late 60s world of pop in SoCal. Titles include "The Deer The Elk The Raven", "Candy Face Lane", "Lonely Man", "A World Of Peace Must Come", "If You Knew", and "America I Know You". Also features a bonus demo of "Leaves Of Grass". CD

One of the coolest groups to ever recorded for Lee Hazlewood Industries – a Texas-bred quintet with a sound that's every bit as groovy as their name – kind of a sideways-skewed take on 60s modes of the time! At first listen, these guys have lots of Sunshine Pop elements in the mix – but there's plenty more going on, too – including a fair bit of Texas grit and grunge, of the type you'd find more from some of the Dallas psych groups of the period – blended together in this expert way that almost makes the group's approach seem ironic, or witty at the very least – with that strong sort of "wink" that we always love from Lee Hazlewood-related projects. Lee's partner Suzi Jane Hokum produced many cuts – and arrangements include work by Don Randi and Tandyn Almer – on a career-spanning track that features the group's full album for LHI, later singles, and even related material from their other groups, The Illusions and The Y'alls. Features loads of great notes from compiler Alex Palao, who really gets at the full story behind the band, too. Titles include "I Can't Let Go", "Young Boy", "Last Chance To Turn Around", "You'll Be Sorry Someday", "Solitary Man", "For Never We Meet", "Codine", "Ride The Wind", "Need All The Help I Can Get", "Please Come Back", "Figareux Figareux", "Try", "Gloria", "Young Boy", and "Run For Your Life". CD

Wonderful work from one of our favorite singers of all time – an artist with roots in jazz, but one who quickly stepped out into something else entirely – as you'll hear on this beautiful selection of tunes! Karin Krog's been a key figure in the Norwegian jazz scene since the start of the 60s, but she's hardly ever gotten any global exposure (although we've always tried to stock her music whenever we can) – and she's got a sound that's really mindbending, and far-reaching – every bit as powerful and soulful as some of the new generation of jazz singers who worked in the US scene of the 70s – like Dee Dee Bridgewater, Flora Purim, or Ursula Dudziak – but with a sound that's maybe even more revolutionary than all three put together! Karin uses her voice like an instrument, but still pays very careful attention to the words as well – which is crucial, since her lyrics are often her own, or penned by hip collaborators like Steve Kuhn and John Surman. The result is something that's hardly jazz at all – but instead this really cosmic, forward-thinking approach that may well be the 70s equivalent in vocals to Herbie Hancock's work on the keys. No surprise, Karin turns in a wonderful version of "Maiden Voyage" here – and shines on other tunes that include "A Love Supreme", "Just holding On", "Don't Just Sing", "Glissando", "Break Of Day In Molde", "We Could Be Flying", "Raindrops Raindrops", "Lazy Afternoon", and "All I Want". CD also features two never-issued songs – "Images In Glass" and "Tystnaden" – and musicians include John Surman and Dexter Gordon too! CD

The soul saving, Satan deterring classic by The Louvin Brothers – plus the excellent Handpicked Songs compilation of Louvin tracks lovingly selected by an eclectic group of indebted artists – in this great 2CD set from Light In The Attic! Satan Is Real is a fantastic record of country harmony spirituals, cut by the legendary Ira and Charlie Louvin, during the height of their years at Capitol. The record's a treasure all the way through – from great cuts like "Satan is Real", "The Drunkard's Room", and "Dying From Home, And Lost" – to the groovy cover that has the Louvins standing next to a flaming pile of garbage with a statue of Satan! The real deal! Handpicked Songs is amazing music from the greatest chapter of the legendary Louvin Brothers – the kind of work that's made them a legend for generations! The set features Louvin classics chosen by a reverent group of singers and songwriters that really run the gamut – Dolly Parton, Beck, Kris Kristofferson, Chris Hilman, Emmylou Harris, Will Oldham, Zooey Deschanel, The Black Angels, Mark Lanegan, M Ward, and Jim James – but all artists who have been undeniably influenced by Ira and Charlie Louvin, and their way of melding melancholy harmonies into something that goes way beyond everyday country music! The packaging is great – very much up to the Light In The Attic standard – and titles include "Almost Persuaded", "My Baby's Gone", "I See A Bridge", "Knoxville Girl", "Great Atomic Power", and "Alabama". CD

Primitive genius from the mighty Monks – their early demos for tracks that would eventually be ignited and explode on record for the uber-essential Black Monk Time LP and others – including the pre-Monks single by The 5 Torquays – issued properly in full for the first time ever by Light In The Attic! The thing that knocked us out about the Early Years compilation almost immediately is how sharp and clear the sound is – you never know the recording quality you'll get with the word "demo" in the title, but this stuff sounds great – secondly, the tracks demonstrate just how fierce these dudes were early on! The eerie organ, tribal thump of the drums, fuzzed out guitar and sneering vocals are in full glory here. This is a necessary set for longtime fans and would even serve a solid into to the uninitiated – and Light In The Attic has done an impeccable job with the booklet, photos and overall presentation. Pure greatness! Titles include "Monk Time", "Love Came Tumblin Down", "Boys Are Boys", "Space Age", "We Do Wie Du", "I Hate You", "Pretty Suzanne", "Higgle-Dy-Piggle-Dy", "Hushie Pushie", "Oh, How To Do Now" and more from the '65 demos, plus 2 tracks from the a single recorded by the pre-Monks moniker "The 5 Torquays" in '64: the earlier version "Boys Are Boys" plus "There She Walks". CD

The only solo record by Memphis/Muscle Shoals session hero and songwriter Spooner Oldham! Spooner's organ and piano sessions and knack for soulful songwriting with partner Dan Penn will forever cement his legend in the southern soul AND rock canons, but he rarely sought a spotlight of his own. This rarity is really something special! The first half is a stylistically diverse snapshot of his songwriting side, with some lesser remembered tunes he wrote or co-wrote, sung with folksy charm. The back half is a sweet, largely instrumental medley version of some huge songs he originally played on for others. A low key gem! Includes "The Lord Loves An Rolling Stone", "Life's A Package Of Puzzles", "Julie Brown's Forest", "Easy Listening" a great instrumental medley of "When A Man Loves A Woman", "Cry Like A Baby", "Respect" and other soulful tunes and "Will The Circle Be Unbroken". CD

A five-track EP, but a set that also packs the power of most full albums of soul we've heard from the 70s – thanks to a deep level of quality throughout! The material was originally recorded for RCA in 1975, at a time when Robbie Hill's Family Affair were the backing group for The Main Ingredient – and had not only close ties to the group musically, but also got their help in supporting this recording! Vocals are by members of the Hill family, but have this great mix of deep tones and soaring highs that really recalls the more famous trio – but served up here with wickedly funky backings that have got to be some of the heaviest sounds recorded for RCA at the time! The whole thing feels like a sweet stash of rare indie soul records from the time – the best bits you might find on a Numero label collection, for example – and titles include "Peace Of Mind", "Don't Give Up", "Gotta Get Back", "I'll See You", and "Love Is Waiting For You". CD

An amazing second set from Sixto Rodriguez – recorded in the legendary Landsdowne Studios in London, with a groove that's a great extension from his debut! All of Rodriguez's best elements are in place here – his folksy guitar, personal lyrical style, and surprisingly biting approach to a variety of topics – and the London setting provides him with an even more sophisticated backdrop than before, one that creates a rich palette of sounds that takes the music in some really wonderful directions! There's a bit of strings at times, but most instrumentation is by a small combo – which includes Chris Spedding on guitar and Tony Carr on percussion – so that Rodriguez's vocals and guitar are really right up front in the mix, recorded with a brilliant balance between sharpness and compassion. Titles include "Climb Up On My Music", "Silver Words", "Heikki's Suburbia Bus Tour", "I Think Of You", "To Whom It May Concern", "Halfway Up The Stairs", and "Cause". LP, Vinyl record album

The weird, raw and legendary debut of teen trio The Shaggs – recorded in a single day and issued by the Third World label back in the day, before slowly building a devoted cult following over the years! The Shaggs story of a young girl group and their dad manager dreaming big and hoping for stardom, but the stunningly primitive sound actually makes the patron saints of outsider art rock and indie rock to come – it's messy and amazing to this day! Odd and hypnotic, it's an outsider classic unlike any other. Includes "Philosophy Of The World", "That Little Sports Car", "Who Are Parents", "My Pal Foot Foot", "My Companion", "I'm So Happy When You're Near", "Things I I Wonder", "It's Halloween", "Why Do I Feel?", "What Should I Do", "My Companion", "Sweet Thing", "We Have A Savoir" and more. LP, Vinyl record album

A fantastic follow-up to the legendary Philosophy Of The World album by The Shaggs – the enigmatic trio of Dot, Betty, and Helen Wiggin – three sisters all recorded by their father, who had the foresight to capture their simple but undeniable musical brilliance! The trio's first album is much more widely circulated, and has influenced decades of musicians and listeners – and the group here are slightly evolved – better musicians, sweeter singers, but still very much in the same territory of naive expression and completely charming presentation! The album was put together in the early 80s, after the successful reissue of their debut – and features a mixture of home tapes and other rare recordings – with titles that include "Wheels", "Shaggs Own Thing", "Painful Memories", "Gimme Dat Ding", "I Love", "My Cutie", "Paper Roses", and a version of "My Pal Foot Foot". CD features four bonus tracks – "Love At First Sight", "Sweet Maria", "Missouri Waltz", and "Wipe Out". CD

A fantastic follow-up to the legendary Philosophy Of The World album by The Shaggs – the enigmatic trio of Dot, Betty, and Helen Wiggin – three sisters all recorded by their father, who had the foresight to capture their simple but undeniable musical brilliance! The trio's first album is much more widely circulated, and has influenced decades of musicians and listeners – and the group here are slightly evolved – better musicians, sweeter singers, but still very much in the same territory of naive expression and completely charming presentation! The album was put together in the early 80s, after the successful reissue of their debut – and features a mixture of home tapes and other rare recordings – with titles that include "Wheels", "Shaggs Own Thing", "Painful Memories", "Gimme Dat Ding", "I Love", "My Cutie", "Paper Roses", and a version of "My Pal Foot Foot". LP features the bonus track "Love At First Sight". LP, Vinyl record album

The great lost folk rock album from Jim Sullivan – who himself, literally went lost several years later – a set that's beautiful, yet just loose and ragged enough! It's a bit of a hybrid of folk and country rock, particularly in the acoustic guitars and laidback, warm vocals by Sullivan – but it's also got some Cali warmth – sweet strings and some horns and flute, pairing up with the looser, back porch style at the core quite wonderfully. Some great players from the LA studio scene played on the sessions – including members of the iconic Wrecking Crew – and it sounds like it! UFO came out on the small Monnie label, made hardly a dent, and after another record for the Playboy label, Sullivan disappeared, never to be heard from again in 1975 – lending a bit of a spooky air to the album, but the backstory truly not relevant to the quality – it's excellent, with or without the lore! Includes "Jerome", "Plain As Your Eyes Can See", "Roll Back The Time", "Whistle Stop", "Highways", "UFO", "So Natural", "Johnny", "Sandman" and more. CD

Rare east coast rock from mid 60s Queens, NY by The Vagrants – Forest Hills High School alum who deliver raw, fuzz guitar & organ garage firebombs and sweeter, more tuneful melodies with pretty much equal excellence! The group cut a slew of great singles for Southern Sound, Vanguard, and ATCO – making quite a splash in NY and bare a ripple anywhere else at the time. We're frankly kinda stunned that their Nuggets track was the only thing we'd heard before this great compilation from our friends at Light In The Attic. Includes a nice booklet with notes by Mike Stax (of Ugly Things) and reminiscences from the late Johnny Ramone – a fellow Forest Hills High student and Vagrants fan. Very highly recommended! Titles include "Oh, Those Eyes", "You're Too Young", "I Can't Make A Friend", "Young Blues", "The Final Hour", "Your Hasty Heart", "Respect", "Beside The Sea", "A Sunny Summer Rain", "And When It's Over" and "I Don't Need Your Loving. CD

A great mixture of organic ideas and electric sounds from Japanese pioneer Hiroshi Yoshimura – a set that follows the cycle of "green" through a progression of really lovely little instrumentals – somewhere between the minimalist experiments of Brian Eno in the late 70s, and some of the other Japanese electronic music of the time – but with this special quality that really makes the album a cut above the rest! The overall style is a bit hard to peg – this isn't electronic rock or computer pop, but it's also not highbrow minimalism better – a really special set of sounds on titles that include "Sleep", "Sheep", "Creek", "Feel", "Green", and "Teevee". CD

A great mixture of organic ideas and electric sounds from Japanese pioneer Hiroshi Yoshimura – a set that follows the cycle of "green" through a progression of really lovely little instrumentals – somewhere between the minimalist experiments of Brian Eno in the late 70s, and some of the other Japanese electronic music of the time – but with this special quality that really makes the album a cut above the rest! The overall style is a bit hard to peg – this isn't electronic rock or computer pop, but it's also not highbrow minimalism better – a really special set of sounds on titles that include "Sleep", "Sheep", "Creek", "Feel", "Green", and "Teevee". LP, Vinyl record album

A great criss-crossing of modes at the end of the 60s – music that has roots in country, but which comes off with plenty of funk and soul as well – in styles that were burning strong from LA on eastward, all the way across the south at the time! Some of the grooves here might fall into the "swamp rock" mode of the time – while others showcase hip LA artists mixing rootsy elements with tighter studio production – and a few more have genre-crossing country artists trying on some more soulful modes for good measure. The range of work is really great – and quite surprising, too – and the whole thing's got a great look that really illuminates the music within. Titles include "Northeast Texas Women" by Willis Allan Ramsey, "Nobody" by Larry Williams & Johnny Watson, "Collection Box" by Thomas Jefferson Kaye, "Me & Mr Hohner" by Bobby Darin, "Hunger Child Blues" by Townes Van Zant, "California Women" by Hoyt Axton, "Pay Day Give Away" by Bill Wilson, "Shotgun Willie" by Willie Nelson, "Cajun Moon" by JJ Cale, "Sumpin Funky Going On" by Donnie Fritts, and "Don't Let Me Down" by Dillard & Clark. CD

A really special look at the sound of the Pacific Northwest – served up here on a host of rare recordings from legendary Seattle producer Kearney Barton – all pulled from never-issued tapes that were stored at his home for decades, and released here to the public for the first time ever! The music is a really great mix of modes – rare funk and soul, trippy psych, and some of the leaner, meaner cuts that first put the northwest scene on the map at the start of the 60s – music that spans a much wider spectrum than you might expect from a city like Seattle – a huge cultural cache that really reflects the wider musical version of Barton! The spirit's a fair bit like some of the best genre-crossing Numero compilations from years back – and the whole thing's overstuffed with rare nuggets we'd never have heard otherwise, backed up with plenty of notes on the music, and on Barton himself. Titles include "Happy" by Secret Dynamics, "Looking Through Eyes Of Glass" by Ann Wilson & The Daybreaks, "Sticky" by James Henry & The Olympics, "Occupation Soul" by Occupation Soul, "Wrong Age" by Muf, "High Flyer" by Magic Ferns, "All My Nights All My Days" by The Wailers, "Qui El Petit" by Wilkins, "Everybody Knows" by Sweet Rolle, "Hold To God's Unchanging Hand" by Beacon Hill First Baptist Choir, "Mmm Mmm Mmm" by Dave Lewis, and "Don't Ask Me" by Tiki & The Fabulous. CD

A really special look at the sound of the Pacific Northwest – served up here on a host of rare recordings from legendary Seattle producer Kearney Barton – all pulled from never-issued tapes that were stored at his home for decades, and released here to the public for the first time ever! The music is a really great mix of modes – rare funk and soul, trippy psych, and some of the leaner, meaner cuts that first put the northwest scene on the map at the start of the 60s – music that spans a much wider spectrum than you might expect from a city like Seattle – a huge cultural cache that really reflects the wider musical version of Barton! The spirit's a fair bit like some of the best genre-crossing Numero compilations from years back – and the whole thing's overstuffed with rare nuggets we'd never have heard otherwise, backed up with plenty of notes on the music, and on Barton himself. Titles include "Happy" by Secret Dynamics, "Looking Through Eyes Of Glass" by Ann Wilson & The Daybreaks, "Sticky" by James Henry & The Olympics, "Occupation Soul" by Occupation Soul, "Wrong Age" by Muf, "High Flyer" by Magic Ferns, "All My Nights All My Days" by The Wailers, "Qui El Petit" by Wilkins, "Everybody Knows" by Sweet Rolle, "Hold To God's Unchanging Hand" by Beacon Hill First Baptist Choir, "Mmm Mmm Mmm" by Dave Lewis, and "Don't Ask Me" by Tiki & The Fabulous. LP, Vinyl record album

Sweet sounds from a real golden age in Japanese music – a time when the scene had picked up plenty of influences from the US scene, but was carefully crafting some great styles of their own! The music here has touches of jazz, fusion, soul, and AOR – but there's a special balance that's a bit different than American chartbound material of the time – tight, but never too slick – and with a great ear for allowing the more interesting sides of the music to come forth in all the best ways – so that although catchy, the tunes aren't just going slavishly for a hook or a hit! There's a lot of resonance in the instrumentation with some of the scene that had Japanese jazz musicians working with American fusion players – but the overall approach is maybe more soul-based overall. An even deeper set than the first volume – with titles that include "Kanpoo" by Yumi Murata, "Hidari Mune No Seiza" by Tetsuji Hayashi, "Yubikiri" by Eiichi Ohtaki, "Vibration" by Kimiko Kasai, "Pink Shadow" by Bread & Butter, "The Tokyo Taste" by The Sadistics, "Blind Curve" by Momoko Kikuchi, "Skyfire" by Eri Ohno, and "Rainy Saturday & Coffee Break" by Junko Ohashi & Minoya Central Station. LP, Vinyl record album

A look at Memphis soul music that goes way beyond any Stax, Goldwax, or Atlantic Records collections you might own – partly because all of the tracks here are from a time in the city when all those other labels had stopped recording! Memphis is usually remembered for a 60s/early 70s stretch when the city was brimming over with record labels, studios, and top soul talent – but that latter aspect of the scene didn't stop when the record companies went bust – and instead, it just went underground, as lesser-known artists kept on developing great new sounds and styles! As you'd guess from the title, most of the work here is in a modern soul mode – often with rhythms that have a bit of boogie or club in the mix, but also with some of that developing southern soul approach that was maybe more strongly associated with the Malaco label down in Jackson. The scope of music is great, and the set's got very detailed notes on this under-documented time in the history of Memphis soul music – to support a great tracklist that includes "Can We Melt The Ice" by Morris, "You Mean Everything To Me" by Sweet Pearl, "The Doctor" by LA, "Stone Crush On You" by OT Skyes, "What Does It Take To Know A Woman Like You" by Greg Mason, "Always" by Silk Satin & Lace, "Right Thing" by Kick, "Convict Me" by Libra, "Slice Of Heaven" by Cato, "I'm Choosing You" by Magic Morris, "No Seat Dancin" by Frankie Alexander, and "Keep It To Yourself" by Captain Fantastic & Starr Fleet. CD

A look at Memphis soul music that goes way beyond any Stax, Goldwax, or Atlantic Records collections you might own – partly because all of the tracks here are from a time in the city when all those other labels had stopped recording! Memphis is usually remembered for a 60s/early 70s stretch when the city was brimming over with record labels, studios, and top soul talent – but that latter aspect of the scene didn't stop when the record companies went bust – and instead, it just went underground, as lesser-known artists kept on developing great new sounds and styles! As you'd guess from the title, most of the work here is in a modern soul mode – often with rhythms that have a bit of boogie or club in the mix, but also with some of that developing southern soul approach that was maybe more strongly associated with the Malaco label down in Jackson. The scope of music is great, and the set's got very detailed notes on this under-documented time in the history of Memphis soul music – to support a great tracklist that includes "Can We Melt The Ice" by Morris, "You Mean Everything To Me" by Sweet Pearl, "The Doctor" by LA, "Stone Crush On You" by OT Skyes, "What Does It Take To Know A Woman Like You" by Greg Mason, "Always" by Silk Satin & Lace, "Right Thing" by Kick, "Convict Me" by Libra, "Slice Of Heaven" by Cato, "I'm Choosing You" by Magic Morris, "No Seat Dancin" by Frankie Alexander, and "Keep It To Yourself" by Captain Fantastic & Starr Fleet. LP, Vinyl record album

Seattle funk & soul in superbly classic form – and it's all new recordings – featuring a roster of first wave Seattle scene figures and engineered by the the legendary Kearney Barton! All the cuts were recorded in 2008 at Audio Recording, where it all went down in the first place, as chronicled on Light In The Attic's excellent Wheedle's Groove compilation – and this all new set features many of the players from the mid 60s through early 70s Emerald City scene, working as an all star band on funky originals and covers! It's incredible stuff, from the Hammond B3 & Moog funk instrumental "Babyback", to a gospel funk take on "Jesus Christ Pose" featuring Pastor Pat Wright (aka Northern Soul legend Patrinell Staten) and the Total Experience Gospel Choir, to the gritty soul of "HOE" featuring Ural Thomas on vocals and backing by the Muscle Shoals Horns, an anthemic spacey keyboard workout on Marc Moulin's "Humpty Dumpty" and much more. Producer Dynomite D does a wonderful job of putting the pieces together, and the players include members of Black On White Affair, Cookin' Bag, Cold Bold and Together, with Overton Berry on piano, keyboard maestros Ron Buford and Greg Davison, drummers Robbie Hill and John Lee Rodde, vocalists Ural Thomas and Broham (Larry Hammond, Leonard Hammond & Curtis Hammond Jr), guitarists Johnny Horn, Herman Brown and Coleman Brown, bass player Bob Lovelace and others. Other tracks include "Sea Of Glass", "Fools Gold", "Everything Good Is Bad", "Rainy Sea" and "Baddest". CD

A second set of grooves from the Seattle scene – and a much-needed follow-up to the first Wheedles Groove compilation! This set picks up where the last one left off – still digging the funk and soul of the 70s, but also following the scene into clubby territory, modern soul, and boogie too – with a range of under-discovered gems that groove right into the mid 80s! Just about all the work here is new to our ears – pulled from obscure indie singles from the city's small labels – and served up in some surprisingly sophisticated styles that match all the poise and class of the best Cali soul of the time. Light In The Attic have done a really wonderful job with the package – deep notes that really match the research that went into the record – but a sense of funk and flair that makes the whole thing way more than just a history project. The grooves are totally great – a really fresh discovery, especially if you dig 80s boogie and club – and tracks include "Don't Lose Your Love" by Don Brown, "Get Off The Phone" by Epicentre, "Trouble In Mind" by Malik Din, "Love One Another" by Frederick Robinson III, "I Don't Wanna Lose Your Love" by Bernadette Bascom, "I'm Through With You" by Romel Westwood, "Holding On" by Unfinished Business, "You Turn Me On (Portland session mix)" by Push, "I Wonder Love" by Seattle Pure Dynamite, "Darlin Oh Darlin" by Steppen Stones, and "Let's Backtrack" by Cold Bold & Together. CD

A five-track EP, but a set that also packs the power of most full albums of soul we've heard from the 70s – thanks to a deep level of quality throughout! The material was originally recorded for RCA in 1975, at a time when Robbie Hill's Family Affair were the backing group for The Main Ingredient – and had not only close ties to the group musically, but also got their help in supporting this recording! Vocals are by members of the Hill family, but have this great mix of deep tones and soaring highs that really recalls the more famous trio – but served up here with wickedly funky backings that have got to be some of the heaviest sounds recorded for RCA at the time! The whole thing feels like a sweet stash of rare indie soul records from the time – the best bits you might find on a Numero label collection, for example – and titles include "Peace Of Mind", "Don't Give Up", "Gotta Get Back", "I'll See You", and "Love Is Waiting For You". LP, Vinyl record album

A soaringly soulful set from Lou Bond – a record that swells from an easygoing intimacy and a real warmth to grander scale string-laden grooves! At its core, the album is a bit akin to the folk soul of Terry Callier, and with the emotional resonance and social commentary of artists from Curtis Mayfield to Marvin Gaye. But since he's working here with the Stax crew, on their We Produce imprint, there's a bit more of a country feel to his work – plus he's got those Memphis Horns, with the gorgeous strings coming courtesy of the Memphis Symphony Orchestra. Bond is not an easy artist pin down, and he reaches far on this set, and his vocals roll for soulful storyteller to wordless emoting with equal greatness! Tracks include "Lucky Me", "To The Establishment", "Why Must Our Eyes Always Be Turned Backward", "Come On Snob" and "That's The Way I've Always Heard It Should Be". This Light In The Attic version includes the previously unreleased live "I'm Still In Love With You/Motherless Child" with just Lou's voice and some acoustic guitar. CD

A really amazing project – and a totally righteous little record – a set of songs all penned by Bob Dylan in the 60s, sung by a hip spiritual choir that includes performances from soul singers Clydie King, Merry Clayton, Edna Wright, and Gloria Jones! The mix of soul and gospel here is wonderful – very much in the spirit of The Voices Of East Harlem at the same time – with this progressive, positive vibe that goes way way past the original style of Dylan's music! Gene Page handled the musical arrangements, and Billy Page helped with the vocals – and together they really transform the compositions – creating a very different setting for the great lyrics of songs that include "The Mighty Quinn", "All Along The Watchtower", "Mr Tambourine Man", "Chimes Of Freedom", and "The Times They Are A Changin". A record that shouldn't work this well – but it does, and beautifully too! CD

The amazing Lizzy Mercier Descloux adds one more global feather to her cap with this sweet little album – a set recorded in Rio, with help from a host of Brazilian musicians – and some special guest work from legendary trumpeter Chet Baker too! The record warms up the sound a bit from some of Lizzy's earlier records – still quite creative in both the songwriting and overall approach, but almost given a warmer spin alongside instrumentation that includes accordion from Sivuca, cavaquinho from Alceu Maia, acoustic guitar from Neco, and percussion from Djalma Correa! Other instrumentation still includes some of the keyboards and rhythm lines you'd know from Lizzy's other Ze Record releases – and titles include "Simply Beautiful", "Fog Horn Blues", "My Funny Valentine", "One For The Soul", "A World Is A Wah", and "Scala Saga Samba". CD features the bonus tracks "Bravado" and "Let's Get It On". CD

Incredible work from the legendary Lee Hazlewood – music and images that blow away his previous generation of creation for MGM, Mercury, and Warner Brothers – served up here in a package that really captures all the genius of Hazlewood during these amazing years! The package features 4CDs, 107 tracks of music – 2CDs that include every single album, 45, and unreleased masters that Lee Hazlewood recorded for his own LHI imprint (including the full albums Cowboy In Sweden, Cowboy & The Lady, and Requiem For An Almost Lady) – 2 more CDs that feature all the key tracks from LHI artists like International Submarine Band, Sanford Clark, Honey LTD, Lynn Castle, Hamilton Streetcar, and many others – including 14 unreleased tracks. Then, you also get this incredible 172 page hardcover book – as bit as a giant LP box, with rare photos, liner notes, history, Lee Hazelwood timeline, and lots lots more. Then, you get the totally great film Cowboy In Sweden on a DVD – a rare 1970, hour-long film done by Lee in Sweden. And this special box also features a flexi-disc of rare studio chatter from Lee – and even a reproduction of his business card as well! This deluxe edition also includes 3 DVDs featuring the LHI catalog as both WAVs and MP3s – covering 17 albums and 140 A & B sides – EXCEPT the International Submarine Band album – plus it comes in a cloth bound clamshell box with 6 glossy LHI promo photos, and a Hazlewood airline ticket as well! CD

The bracing debut of Public Image Itd! First Issue is seriously one of the most stunning post punk albums of its time – and we think it's light years ahead of the Sex Pistols in terms of boundless creativity and originality. Given that the Pistols disintegrated mere months before First Issue was issued, this album is all the more amazing for how hugely different Public Image is – different from Lydon's own earlier revolutionary punk act and different from pretty much everything else on the late 70s landscape. The dissonant, driving post punk guitars and sneering vocals are recognizable, sure, but the dubby textures and more angular touches are so far outside the box and so hugely influential that it's hard to fathom myriad underground rock acts existing without it. Vital! This excellent 2CD expanded edition from Light In The Attic includes an hour long BBC interview from 1978 – and if you know anything about Mr. Lydon, you know that he's one hell of an interview – plus the rare B-Side "Cowboy Song". Other titles include "Theme", "Religion", "Religion II", "Annalisa", "Public Image", "Low Life", "Attack" and "Fodderstompf". CD

A rare early 70s record from guitarist, singer and songwriter Ray Stinnett – who was the guitar player for Sam The Sham & The Pharaohs at their wooliest and bulliest – and made this long-buried solo record for A&M in '71! Ray was born in Memphis, and after his success with Sam The Sham, he dropped out for a while in San Francisco before heading home to Memphis. A Fire Somewhere was recorded at Fame and Argent, and sure enough, it's got quite a swampy southern groove at times – but there's also some sparer acoustic numbers that carry a post-hippie vibe that he no doubt soaked up in San Francisco. It's hard to believe it's been shelved for such a long time! Includes "Salty Haze", "You Make Me-Feel", "Silky Path", "Wheel Of Time", "Stop", "Long Rivers Flow", "America", "You & I", "Honey Suckle Song", "Liberty High", "Natural High", "Love Is The Answer", "A Fire Somewhere" and "The Rain". CD

An incredible snapshot of the funky soul genius of Sly Stone in an early transitional period – featuring all the known recordings of his short-lived Stone Flower label and production house from 1969-1970! Sly was a rising star at this point, and while the Stone Flower Productions name had been established already for Sly & The Family Stone's work-to-date, there was a brief period when he and manager David Kapralik set out make Stone Flower an official management and production house – and recorded some great tunes with female vocal trio Little Sister, funky soul singer and harmonica player Joe Hicks and funk rock sextet 6ix – as well as some gems sung by Sly himself. Sly & The Family Stone were soon to take off in a really huge way, his business relationship with Kapalik was becoming strained, and other factors behind-the-scenes made it impossible for Stone Flower Productions to really take root, but this brief period is fantastic. We're so glad it's been dug up and collected here! The cuts are primarily written and produced by Sly Stone – with Sly out front on "Just Like A Baby", "Africa", "Spirit" and "Scared" – and other great tracks include "You're The One" and "Somebody's Watching You" by Little Sister, "Home Sweet Home (Part 2)" and "I'm Going Home (Part 1)" by Joe Hicks, "Trying To Make You Feel Good", "You Can, We Can" by 6ix and more. 18 tracks in all – with a nice booklet of notes by Alec Palao, and an interview with the elusive Sly Stone himself! LP, Vinyl record album

A gospel album from the end of the 70s, but a set that works equally well as a soul album too – thanks to the beautiful presentation of the grooves and the vocals! The vibe here is often laidback – more in a mellow Marvin Gaye sort of mode – surprisingly slinky and sexy for such a spiritual group, as are the lead vocals from Dave Kingsby – one of those singers who might have been huge, had he left the gospel field for the secular world! The group play their own instruments, and have this smooth, sweet vibe throughout – lots of keyboards that step underneath the vocals with a mix of midtempo and mellow modes – and production that's more early 70s than you'd guess from the date of the record – with almost a pre-modern soul sort of vibe. The whole thing's wonderful – and titles include "It'll All Be Over", "Do You Believe", "I Am On The Lord's Side", "We'll Understand", "Stop Today", and "Got A Right". CD

A gospel album from the end of the 70s, but a set that works equally well as a soul album too – thanks to the beautiful presentation of the grooves and the vocals! The vibe here is often laidback – more in a mellow Marvin Gaye sort of mode – surprisingly slinky and sexy for such a spiritual group, as are the lead vocals from Dave Kingsby – one of those singers who might have been huge, had he left the gospel field for the secular world! The group play their own instruments, and have this smooth, sweet vibe throughout – lots of keyboards that step underneath the vocals with a mix of midtempo and mellow modes – and production that's more early 70s than you'd guess from the date of the record – with almost a pre-modern soul sort of vibe. The whole thing's wonderful – and titles include "It'll All Be Over", "Do You Believe", "I Am On The Lord's Side", "We'll Understand", "Stop Today", and "Got A Right". LP, Vinyl record album

Warm, soulful sounds from a crucial time in the Japanese music scene – a 70s moment when the nation was finding a special groove of its own – but one that also drew heavily from American soul and jazz as well! It's no secret that the Japanese have always had a great love of American sounds – but by the mid 70s, that longtime love had also turned into some great homegrown sounds of their own – as Japan developed a number of its own strong soul singers, who were often backed by the ever-growing array of great jazz musicians, particularly those of the fusion side of the spectrum. Plus, there also seemed to be a lot more criss-crossing between Tokyo and US studios at the time – particularly those on the west coast – which resulted in a special blend of sounds that had all the class and cool of the Japanese urban scene, but also some of the sunniness of the west coast too. That special mix of music is perfectly summed up here – in a collection that offers up plenty of cuts that were never issued outside of Japan back in the day – with vocals both in English and Japanese, and plenty of grooves that are perfect for any fan of fusion-styled R&B. Titles include the classic "LA Nights" by Yasuko Agawa – plus "Say Goodbye" by Hiroshi Sato, "I Say Who" by Tomoko Soryo, "Sports Men" by Haruomi Hosoni, "Midnight Driver" by Minako Yoshida, "Machibouke" by Tazumi Toyoshima, "Exotic Yokogao" by Hitomi Tohyama, "Lady Pink Panther" by Shigeru Suzuki, "Drip Dry Eyes" by Yukihiro Takahashi, and "Bamboo Vendor" by Masayoshi Takanaka. CD

Sweet sounds from a real golden age in Japanese music – a time when the scene had picked up plenty of influences from the US scene, but was carefully crafting some great styles of their own! The music here has touches of jazz, fusion, soul, and AOR – but there's a special balance that's a bit different than American chartbound material of the time – tight, but never too slick – and with a great ear for allowing the more interesting sides of the music to come forth in all the best ways – so that although catchy, the tunes aren't just going slavishly for a hook or a hit! There's a lot of resonance in the instrumentation with some of the scene that had Japanese jazz musicians working with American fusion players – but the overall approach is maybe more soul-based overall. An even deeper set than the first volume – with titles that include "Kanpoo" by Yumi Murata, "Hidari Mune No Seiza" by Tetsuji Hayashi, "Yubikiri" by Eiichi Ohtaki, "Vibration" by Kimiko Kasai, "Pink Shadow" by Bread & Butter, "The Tokyo Taste" by The Sadistics, "Blind Curve" by Momoko Kikuchi, "Skyfire" by Eri Ohno, and "Rainy Saturday & Coffee Break" by Junko Ohashi & Minoya Central Station. CD

Sweet sounds from a real golden age in Japanese music – a time when the scene had picked up plenty of influences from the US scene, but was carefully crafting some great styles of their own! The music here has touches of jazz, fusion, soul, and AOR – but there's a special balance that's a bit different than American chartbound material of the time – tight, but never too slick – and with a great ear for allowing the more interesting sides of the music to come forth in all the best ways – so that although catchy, the tunes aren't just going slavishly for a hook or a hit! There's a lot of resonance in the instrumentation with some of the scene that had Japanese jazz musicians working with American fusion players – but the overall approach is maybe more soul-based overall. An even deeper set than the first volume – with titles that include "Kanpoo" by Yumi Murata, "Hidari Mune No Seiza" by Tetsuji Hayashi, "Yubikiri" by Eiichi Ohtaki, "Vibration" by Kimiko Kasai, "Pink Shadow" by Bread & Butter, "The Tokyo Taste" by The Sadistics, "Blind Curve" by Momoko Kikuchi, "Skyfire" by Eri Ohno, and "Rainy Saturday & Coffee Break" by Junko Ohashi & Minoya Central Station. LP, Vinyl record album

A look at Memphis soul music that goes way beyond any Stax, Goldwax, or Atlantic Records collections you might own – partly because all of the tracks here are from a time in the city when all those other labels had stopped recording! Memphis is usually remembered for a 60s/early 70s stretch when the city was brimming over with record labels, studios, and top soul talent – but that latter aspect of the scene didn't stop when the record companies went bust – and instead, it just went underground, as lesser-known artists kept on developing great new sounds and styles! As you'd guess from the title, most of the work here is in a modern soul mode – often with rhythms that have a bit of boogie or club in the mix, but also with some of that developing southern soul approach that was maybe more strongly associated with the Malaco label down in Jackson. The scope of music is great, and the set's got very detailed notes on this under-documented time in the history of Memphis soul music – to support a great tracklist that includes "Can We Melt The Ice" by Morris, "You Mean Everything To Me" by Sweet Pearl, "The Doctor" by LA, "Stone Crush On You" by OT Skyes, "What Does It Take To Know A Woman Like You" by Greg Mason, "Always" by Silk Satin & Lace, "Right Thing" by Kick, "Convict Me" by Libra, "Slice Of Heaven" by Cato, "I'm Choosing You" by Magic Morris, "No Seat Dancin" by Frankie Alexander, and "Keep It To Yourself" by Captain Fantastic & Starr Fleet. CD

Two takes on a sweet soul gem – the original 1982 version by Milwaukee group The Majestics – who really knock it out of the park with this slow-stepping, badass groove – matched here by Badbadnotgood, who are joined by singer Jonah Yano – in a version that slightly updates the tune! Both sides are great mellow soul – served up here in a limited package! 7-inch, Vinyl record

A classic set from British singer/songwriter Michael Chapman – his last recorded for the Harvest Records label, but done in a way that has the sort of rootsy undercurrents you'd be more likely to find in work from the US! Chapman plays both acoustic and electric guitar, often blended together in ways that echo his folk roots, but push things into a headier space overall – especially when some of the larger arrangements come into the mix – used sparingly, but in ways that show the deeper currents of the lyrics. Paul Buckmaster handled these orchestrations, with just the right touch – and titles include "Polar Bear Fandango", "Indian Queens", "Wrecked Again", "Time Enough To Spare", "Night Drive", and "Mozart Lives Upstairs". CD

A near-perfect classic from the greatly under-appreciated Bobby Charles – a cat with who worked for Chess Records as far back as the 50s, but also managed to deliver this soul-drenched swamp rock gem in 1972! Bobby's got this great sense of delivery – a bit laidback and almost laconic, without some of the other cliches of some of his contemporaries – this mode that makes you feel like you're just happening upon the man in his best spirits – even though the record's filled with top-shelf work from a super-pro lineup that includes Dr John, Geoff Muldaur, Levon Helm, Rick Danco, and others. Danko and John Simon helped produce with Bobby – and the album's got the same sort of blend of southern rock, soul, and roots that you'd also find in the best work by Tony Joe White. Titles include "Street People", "Long Face", "I Must Be In A Good Place Now", "Let Yourself Go", "Grow Too Old", "I'm That Way", and "Tennessee Blues". LP, Vinyl record album

Fuzzy and genuinely well-crafted private press grooves from the Emerson brothers – with crazy good hooks, some surprisingly solid musicianship – and songs that range from straight-up catchy, though fuzz-drenched rock, to funk and soul! Donnie Emerson is the lead singer, guitarist and bass player, along with some synth – and on the best tunes, he's got a confident, laidback and warm style on vocals that truly doesn't feel the voice of a kid still in his teens – with brother Joe on drums and other friends on backing vocals here and there. Here's a record that profoundly transcends the private press novelty and the goofy jumpsuits they're rocking on the front cover! Includes "Good Time", "Give Me The Chance", "Baby", the instrumental groover "Feels Like The Sun", "Love Is", "Don't Go Lovin' Nobody Else", "Dream Full Of Dreams" and "My Heart". LP, Vinyl record album

The fab second album by the Free Design – one that has them moving confidently into the realm of groovy pop – magically touching songs with their unique innocent harmony approach, and completely transforming them in the process! The set includes wonderful versions of groovy 60s pop hits like "Windows Of the World", "Eleanor Rigby", and "California Dreamin" – but stands out even more for Chris Dedrick's original compositions – like "Quartet No 6 In D Minor", "A Leaf Has Veins", "An Elegy", "I Found Love", "You Could Be Born Again", and "Ivy On A Windy Day". Sublime throughout – and as the cover says – "The Freshest Sounds You've Ever Heard!" CD features 2 bonus tracks – "Close Your Mouth (It's Christmas)" and "Christmas Is The Day". CD

A landmark collaboration between Serge Gainsbourg and actress Jane Birkin – his paramour at the time, and a much younger woman! The pair come together beautifully here in a set of sensuous duets – tunes that have an open, honest approach to the relations between the sexes – yet never in any sort of cliched late 60s hippie-esque ways. This album is perhaps the archetypal Gainsbourg erotic effort – and it's filled with wonderful duets set to breathy, bouncy orchestrations – tunes that forged a whole new "adult" level in pop music – not just in France, but around the globe! The arrangements are amazing, and feature some of the weirdest instrumentation ever heard on a pop record – especially one that was as successful as this. Backings are by Athur Greenslade – and titles include the classic "69 Annee Erotique" and "Je T'Aime Moi Non Plus", plus "Jane B", "Elisa", "Orang Outan", "Les Sucettes", and "Manon". LP, Vinyl record album

We love Lee Hazlewood – and this album is one of his best! The record's a stunning batch of Lee's original compositions – all wonderful examples of the way that Lee could take a postwar fascination with Western themes and images, and turn it on itself to reveal the anxieties and frustrations of the 60s generation – all with a smooth presentation and near-perfect backings from the legendary Billy Strange! If you ever needed proof of why Lee Hazlewood's so great, this album may well be it – a record we'd gladly trade for a dozen by other 60s singer/songwriters. Titles include "The Girls In Paris", "After Six", "In Our Time", "Jose", "The Old Man & His Guitar", "Dark In My Heart", and "The Nights". Fantastic stuff! Great reissue features three bonus tracks from Lee Hazlewood's Woodchucks – "Frenesi", "Muchacho", and "Batman". CD

Pure genius from Lee Hazlewood – one of his gems cut for MGM in the 60s, and a session that features some great small combo backings! The feel here is almost a jazz-inflected take on the slight country tinge of Lee's other work – a style that's as sophisticated and unique as Hazlewood's well-penned lyrics and amazing vocals. Lee's completely at home here – working with the great engineer Eddie Brackett, who's sound for his vocals is just about as great as could be hoped – the matchless blend of ice and embers that perfectly defines the Hazlewood sound. All tunes are originals by Lee – and tracks include "Shades", "This Town", "Stone Cold Blues", "Child", "Little War", "Hands", "Fort Worth", "Them Girls", and "Mannford Oklahoma". LP, Vinyl record album

A lost porno soundtrack from Bernard "Pretty" Purdie – and one of his greatest records ever! The album's amazing – a sweet batch of soulful funk, almost better put together than any of Purdie's more famous albums for Flying Dutchman or Prestige – with a mix of tight drums, sweet electric piano, and even some occasional lead vocals from Sandi Hewitt – who really adds a lot to the record! The album's got some monster funky cuts – the most noteworthy of which is "Hap'nin", a mad break track that really has Bernard going crazy on the drums! Other cuts include "Pass Me Not", "Lialeh", "Touch Me Again", "Conscious", and "Easy". CD

A fantastic early 70s album from Jim Sullivan – one of the few that he ever gave us before departing the planet, and a set that was one of a handful of albums issued by the Playboy Records imprint! The sound is a lot more rootsy than anything you'd ever hear at Hugh Hefner's mansion, though – very faithful to the spirit of Jim's classic UFO album, but also with these added light arrangements that really open up the lyrics too – in a way that maybe seems to let Sullivan focus even more strongly on his own vocal interpretation of his words, all with a sound that makes the whole thing one of the overlooked singer/songwriter masterpieces of the time. Arrangements are by Jim Hughart, who also plays bass in the core combo – and the songs are Jim Sullivan material of the highest quality – with titles that include "Amos", "Tea Leaves", "Don't Let It Throw You", "Lonesome Picker", "Sandman", "I'll Be Here", and "Plain To See". CD

Some of the most brilliantly baroque work ever recorded by Marcos Valle – an obscure 1970 album that collects together tunes from a few of his odd soundtrack experiments of the late 60s, plus a few others that are in a very similar vein! Marcos is really going over the top here – breaking way way out from his bossa roots, into a mode that has him pushing the envelope of Brazilian music to unheard of heights, with equal parts groove and sophistication, hardly ever matched by any other artist since! Things are funky one minute, groovy the next, and subtly sophisticated at other points – a completely captivating blend that's one of the best illustrations of Valle's genius we can think of. Titles include "Quarentao Simpatico", "Ele E Ela", "Dez Leis", "Freio Aerodinamico", "Os Grilos", "Suite Imaginaria", and "Esperando O Messias". Also includes the bonus track "Berenice"! New reissue features in-depth liner notes, song notes from Valle, and lyrics in English too! CD

A holy grail! This is one of Marcos Valle's best-ever albums – and it's certainly the one to best realize the larger scope he was heading for in the years after the bossa – that sublime mix of jazz and more expansive arrangements – a perfect fit for the growing sophistication of Valle's songwriting. The record is fantastic – done with a sweeping sound that still leaves us breathless after all these years – and put together with an approach to composition that is virtually indescribable. There's a huge amount of influences running through here, and the album is proof that Valle was one of Brazil's richest talents, never ceasing to perfect and transform his craft – even long after he could have rested on the laurels of his success! Tracks include "Democustico", "Revolucao Organica", "Vento Sul", "Paisagem De Mariana", and "Pista O2". CD features the bonus track "O Beato". CD

A totally hip instrumental album from Peter Walker – a Vanguard Records treasure that we'd rank right up there with the label's classics from Sandy Bull! Like Bull, Walker has a way of taking older folk instrumentation into richly psychedelic territory – working here on both the Indian sarod, and on acoustic guitar – both played in these long, modal styles – and mixed with light instrumentation from Jim Pepper on flute, John Blair on violin, and Jim Hotep on tabla. The songs are very spare, and very freewheeling – still with a rhythmic core, but also floating free to find their own energy too – but at a level that's not nearly as hippy-dippy as we make that sound! Walker's got these amazing sonic sensibilities – just like Bull – and titles include "Second Song", "Tear", "Southwind", "Barefoot", "Mixture", "Socco Chico", and "Circus Day". CD

A totally hip instrumental album from Peter Walker – a Vanguard Records treasure that we'd rank right up there with the label's classics from Sandy Bull! Like Bull, Walker has a way of taking older folk instrumentation into richly psychedelic territory – working here on both the Indian sarod, and on acoustic guitar – both played in these long, modal styles – and mixed with light instrumentation from Jim Pepper on flute, John Blair on violin, and Jim Hotep on tabla. The songs are very spare, and very freewheeling – still with a rhythmic core, but also floating free to find their own energy too – but at a level that's not nearly as hippy-dippy as we make that sound! Walker's got these amazing sonic sensibilities – just like Bull – and titles include "Second Song", "Tear", "Southwind", "Barefoot", "Mixture", "Socco Chico", and "Circus Day". LP, Vinyl record album

A great mixture of organic ideas and electric sounds from Japanese pioneer Hiroshi Yoshimura – a set that follows the cycle of "green" through a progression of really lovely little instrumentals – somewhere between the minimalist experiments of Brian Eno in the late 70s, and some of the other Japanese electronic music of the time – but with this special quality that really makes the album a cut above the rest! The overall style is a bit hard to peg – this isn't electronic rock or computer pop, but it's also not highbrow minimalism better – a really special set of sounds on titles that include "Sleep", "Sheep", "Creek", "Feel", "Green", and "Teevee". LP, Vinyl record album

A mindblowing musical discovery – funky music made in Canada by ex-patriot Jamaicans – easily some of the most obscure post-colonial grooves we've ever dug! The sound here is a lot less reggae-based than you'd expect – as most of the tunes are in a really nitty gritty funky 45 sort of mode – filled with strong influences from American soul of the late 60s and early 70s, but often done with a style that's a bit dirtier and fuzzier, especially at the bottom of the rhythms. There's a few traces of Jamaican production styles on the records, but overall the album's more like finding a lost stash of rare 45s from some smaller American funk scene – all work that's totally darn fresh, and beautifully presented here in a lavish booklet filled with enough notes and vintage images to rival the work coming out of the Numero camp of late! Great stuff all around, with titles that include "Chips Chicken Banana Split" and "Fugitive Song" by Jo Jo & The Fugitives, "Eternal Love" by The Sheiks, "Memories" by Noel Ellis, "Right On" and "I Wish It Would Rain" by The Cougars, "Grand Funk" by Jackie Mittoo, "Love Is The Answer" by Ram, "You're So Good To Me Baby" by Eddie Spencer, "Mr Fortune" by The Hitch-Hikers with Mighty Pope, "Fire (She Need Water)" by Wayne McGhie & The Sounds Of Joy, and "I Believe In Music" by Bob & Wisdom. CD

The first ever compilation of the best music made for MoWest – the eclectic, but still soulful cuts made when Berry Gordy Jr. relocated from Motown to the west coast in the early 70s – releasing cool and sometimes strange music with a soul background, yet toasted by LA sunshine! The MoWest subsidiary lasted just a few years, and gets overlooked in the canonization of Motown at it's most classic and revolutionary – but the legacy is pretty incredible. Funk, sunshine rock and soul fused adventurously by a stunningly diverse roster – late period Frankie Vallie & The Four Seasons (who's comp-opening track is a slept on sunshine pop-soul classic), breezy-jazzy-soul from Odyssey, the sister funk of Sisters Love, a stunning solo left turn from Spinners singer GC Cameron and more great stuff from Syreeta, The Commodores, Suzee Ikeda, Thelma Houston and others. We've been dying for a well selected MoWest comp like this for years, and Light In The Attic stepped to the plate and knock it right out of the park. The songs choices are great, the notes are great. . .everything about it is a win. Essential! Includes "You're A Song (That I Can't Sing)" and "The Night" by Frankie Valli & The Four Seasons, "Our Lives Are Shaped By What We Love" and "Broken Road" by Odyssey, "Don't You Be Worried" by The Commodores, "A Heart Is A House" Nu Page, "I Ain't Going Nowhere" by Thelma Houston, "I Can't Give Back The Love I Feel For You" by Suzee Ikeda, "You've Got To Make The Choice" and "Give Me Your Love" by The Sisters Love and more. CD

Warm, soulful sounds from a crucial time in the Japanese music scene – a 70s moment when the nation was finding a special groove of its own – but one that also drew heavily from American soul and jazz as well! It's no secret that the Japanese have always had a great love of American sounds – but by the mid 70s, that longtime love had also turned into some great homegrown sounds of their own – as Japan developed a number of its own strong soul singers, who were often backed by the ever-growing array of great jazz musicians, particularly those of the fusion side of the spectrum. Plus, there also seemed to be a lot more criss-crossing between Tokyo and US studios at the time – particularly those on the west coast – which resulted in a special blend of sounds that had all the class and cool of the Japanese urban scene, but also some of the sunniness of the west coast too. That special mix of music is perfectly summed up here – in a collection that offers up plenty of cuts that were never issued outside of Japan back in the day – with vocals both in English and Japanese, and plenty of grooves that are perfect for any fan of fusion-styled R&B. Titles include the classic "LA Nights" by Yasuko Agawa – plus "Say Goodbye" by Hiroshi Sato, "I Say Who" by Tomoko Soryo, "Sports Men" by Haruomi Hosoni, "Midnight Driver" by Minako Yoshida, "Machibouke" by Tazumi Toyoshima, "Exotic Yokogao" by Hitomi Tohyama, "Lady Pink Panther" by Shigeru Suzuki, "Drip Dry Eyes" by Yukihiro Takahashi, and "Bamboo Vendor" by Masayoshi Takanaka. LP, Vinyl record album

A look at Memphis soul music that goes way beyond any Stax, Goldwax, or Atlantic Records collections you might own – partly because all of the tracks here are from a time in the city when all those other labels had stopped recording! Memphis is usually remembered for a 60s/early 70s stretch when the city was brimming over with record labels, studios, and top soul talent – but that latter aspect of the scene didn't stop when the record companies went bust – and instead, it just went underground, as lesser-known artists kept on developing great new sounds and styles! As you'd guess from the title, most of the work here is in a modern soul mode – often with rhythms that have a bit of boogie or club in the mix, but also with some of that developing southern soul approach that was maybe more strongly associated with the Malaco label down in Jackson. The scope of music is great, and the set's got very detailed notes on this under-documented time in the history of Memphis soul music – to support a great tracklist that includes "Can We Melt The Ice" by Morris, "You Mean Everything To Me" by Sweet Pearl, "The Doctor" by LA, "Stone Crush On You" by OT Skyes, "What Does It Take To Know A Woman Like You" by Greg Mason, "Always" by Silk Satin & Lace, "Right Thing" by Kick, "Convict Me" by Libra, "Slice Of Heaven" by Cato, "I'm Choosing You" by Magic Morris, "No Seat Dancin" by Frankie Alexander, and "Keep It To Yourself" by Captain Fantastic & Starr Fleet. LP, Vinyl record album

The Ozarks set film Winter's Bone has a wonderful soundtrack, featuring regional vocalist/storyteller Marideth Sisco, MO fiddler Billy Ward, film costar John Hawkes (Saul on Deadwood) and others – including soundtrack composer and Tindersticks co-founder Dickon Hinchcliffe. Includes "Missouri Waltz" by Marideth Sisco, "High On A Mountain", "Fair And Tender Ladies"and "Ballad Of Jessup Dolly (The Wind And The Rain" by Marideth Sisco & Blackberry Winter, "Man On The Run" by Billy Ward, "Bred & Buttered" by John Hawkes, "Sleep Desert" by Lee Ann Sours & Brandon Wooden, "Angel Band" by Marideth Sisco & Dickon Hinchliffe and more. CD