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Funk from Seattle? Hardly seems likely – but prepare to be amazed! The funky reissuers at Light In The Attic, in collaboration with Mr Supreme, have unearthed a treasure trove of rare singles and groovers for the set – all obscure local recordings from the Emerald City scene, most of which never made it past the Pacific Northwest to the national charts. Back in the day, Seattle was a real cross-cultural hotbed – filled with folks who'd picked up and moved out from points east, settling in the Central District, working for Boeing, and reveling in the freedom of the new city to find their own groove. This set does a great job of documenting the flowering of eastern-styled funk in Seattle's growing scene of the late 60s – and features a range of tracks that run from deep funk to hard soul, sock-boogaloo, and even a bit of hard-handed piano jazz! The package features a great set of notes on the music, and a long set list that includes "Louie Louie" by The Topics, "Brighter Tomorrow" by Soul Swingers, "This Is Me" by Cookin Bag, "Bold Soul Sister Bold Soul Brother" by Black On White Affair, "Cissy Strut" by Johnny Lewis Trio, "Stop Losing Your Chances" by Cold Bold & Together, "I Just Want To Be" by Robbie Hill, "Wheedle's Groove" by Annakonda, "Hey Jude" by Overton Berry Trio, and "A Little Love Affair" by Patrinell Staten. CD

Enigmatic folk rock and soulful bluesy vocals from Karen Dalton – her legendary lost 1971 album that's credited with inspiring some the most idiosyncratic work by folk rock superstars and contemporary freak folk heroes alike! Karen was a fixture on the 60s NY folk scene – Dylan even gives her props in his Chronicles Vol 1 memoirs – but she rarely recorded. Her voice carries a huge Billie Holiday influence – but the delivery is wholly unique in her earthy folk phrasing, a real dip back into Harry Smith territory. Her guitar and banjo picking is strong, too! In My Own Time was recorded for Paramount at the end of 1970 and beginning of '71, with really rich and surprisingly soulful backing on an interesting selection of material written or popularized by Dylan & The Band, George Jones, Paul Butterfield, and even a folksy soul take on "When A Man Loves A Woman". Light In The Attic shines a huge light for this reverential reissue – pristinely remastered, with a thick booklet of liner notes by Lenny Kaye, Nick Cave and Devendra Banhart. Other tracks include "Something On Your Mind", "In My Own Dream", the traditional "Katie Cruel", "One Night Of Love" and "Are You Leaving For The Country". CD

A soul record we'd put up there with some of our favorites produced in Chicago during the early 70s – a gospel album from Pastor TL Barrett, but one that's gone on to legendary status among funk and soul collectors over the years! Barrett works here with his Youth For Christ Choir, of Mt. Zion Baptist Church – a south side ensemble that's filled with genuine spirit and passion, aimed towards lofty ideals – but set up with some deep secular soul production touches and instrumentation that keep things razor sharp throughout! The album was cut at the affordable Sound Market Studio – but behind the soaring, spirited lead and chorus vocal arrangements are players supervised by Chess Records sax player and arranger Gene Barge – with other Chess players Richard Evans and Phil Upchurch on the sessions too. Raw drums, grooving organ, and incredible bass lines lay the foundation, but it's the voices that really shine on this completely wonderful, totally essential set! Titles include "Like A Ship", "Wonderful", "It's Me O Lord", "Ever Since", "Nobody Knows", "Joyful Noice", "Medley/Dr. Watts Hymn & The Disciples Prayer" and "Blessed Quietness". CD

Never-heard sounds from Lynn Castle – a singer who was maybe more famous in 60s LA for her work as a hair stylist – even though she spent her free time turning out really beautiful songs like these! Castle only ever issued one 45 on Lee Hazlewood's label – but the work here is mostly from earlier demos she cut with legendary producer Jack Nitzsche – who wisely leaves Lynn to mostly stand out in the lead on vocals and guitar – which makes for music that's surprisingly dark-tinged overall, and quite different than you might expect from her sexy look on the cover! The vocals are often quite moody – almost in Nico territory, but more tuneful overall – and the songs are incredibly haunting, maybe along the lines of some of the Leonard Cohen material from the early days. Titles include "The Stranger", "The Puppet", "The Forest", "New York", "I'm Getting Tired", "She Thinks She Feels", "Rose Colored Corner", and "Lonesome Lookout". The set also includes both sides of Castle's only single on LHI – produced by Hazlewood, backed by Last Friday's Fire – and titled "The Lady Barber" and "Rose Colored Corner". CD

Betty Davis was one of the nastiest ladies in 70s soul – and this is one of her greatest albums – a killer batch of funky tracks all the way through! Betty has a sound like nobody else – and she takes heavy drums, throbbing bass, and ripping guitars – all as a hard and funky backing for raunchy, raspy vocals that are belted out with a slinky, sexy sort of sound! Davis' vocals are unlike anyone else we can think of – easily some of the most badass work you'll ever find on record – and the tracks are a mix of hip themes about sex, gal power, and struttin your stuff – all delivered by a righteous woman who can definitely do just that! The album features the classic break tracks "If I'm In Luck I Might Get Picked Up" and "Steppin in Her I Miller Shoes", but every cut is a funky monster – including "Ooh Yea", "In The Meantime", "Your Man My Man", and "Anti Love Song". A great one if you dig hard female soul, heavy funky guitars, or both at the same time! LP, Vinyl record album

Killer work from Betty Davis – one of the most impressive female funk talents ever! If you ever needed a definition of funk, this record may well be it – snapping drums, sharp-edged guitars, and sex-filled basslines that slink and slide all over the bottom of the grooves – a perfect setting for Betty's incredible vocals – which themselves have a smokey, raspy quality that's completely unique! At times, Davis is almost speaking, but at others she's practically screaming – belting out the lyrics in a way that makes you feel like you're sharing some space with her at the end of the bar as she gets more and more wound up about issues and people who are on her mind. And as if the vocals weren't enough, the backings are incredible too – filled with drum breaks and basslines that few other albums can match – all wrapped around badass tunes that include "Shoo-B-Doop & Cop Him", "He Was A Big Freak", "70's Blues", "Git In There", "Special People", "Don't Call Her No Tramp", and "Your Mama Wants Ya Back". LP, Vinyl record album

Damn! Here's a record we wish we'd been treasuring for years and years, but it came into our lives more than 40 years after it was recorded, released and largely forgotten – a masterpiece of funky country rock & soul from Jim Ford! '69's Harlan County is a record that brings so many styles into the mix that it could make you dizzy if it wasn't all so perfectly grounded by gritty southern roots, R&B and swampy rock – plus Ford's vocals, which range from wildly bugged out to richly emotional. We hear he once dated Bobbie Gentry and that makes some creative sense, given the blend of country roots and worldly smarts. You can actually compare him to lots of folks. He is as omnivorous of country, rock and southern soul in all its forms as Charlie Rich, but Ford's nowhere nearly as restrained by convention – and he's drawing from deeper wells of funk and soul. Tony Joe White comes to mind, too, as do a number of Muscle Shoals soul singers of the era. That said, Ford's his own animal! We came in late, but we'll love this record for the remainder of our time on earth. Some famous fellows played on the sessions, but we won't name them, 'cuz Ford deserves all credit from us. Includes "Harlan County", "I'm Gonna Make Her Love Me", "Dr Handy's Dandy Candy", "Working My Way To LA", "Spoonful", "To Make My Life Beautiful" and more. LP, Vinyl record album

The very first Free Design album, recorded in 1967 for Project 3 records – and darn tough to find in any format! The album is a swirling mix of vocal harmonies and cute little tuneful songs, sung by the group in a style that's sort of a mix between the Hi-Los and The Singers Unlimited – but with a strangely hip and naive quality that's never been duplicated since! Includes the tracks "A Man & A Woman", "Michelle", "Don't Turn Away", "My Brother Woody", "Make The Madness Stop" and more! CD features 2 bonus tracks – mono versions of "Proper Ornament" and "Kites Are Fun". CD

Sunny wonderfulness from one of the grooviest vocal groups of all time! This is Free Design's legendary album for children – referred to in the title as "very important people" – and it's a strangely hip set of tracks designed to get the kids to open up in a groovy late 60s kind of way. Given that the Free Design always sounded like a bunch of hippy kids, the setting is perfect for them – and they dreamily make their way through a great set of nearly all original tracks that sparkle with an innocent charm that's slyly deeper than you'd guess from the kid-orientation of the set! Original titles include "Love You", "Kites Are Fun", "Daniel Dolphin", "Ronda 'Go Round", "Bubbles", "Little Cowboy", and "Scarlet Tree". LP, Vinyl record album

One of the wildest of the classic Free Design albums, and one that will leave you scratching your head – thinking that these guys were either the biggest acid freaks around, or the most simplistic kiddie-minded adults you'll ever meet! We don't know what got into the water in the studio on this one, but the group are really expanding their minds here – taking on some groovy-as-groovy can be material – all with the sweet mixture of harmony vocals, easy instrumentation, and hippie-era naivete! The titles alone state the case – with tunes that include "Stay Off Your Frown", "Bubbles", "Kije's Ouji", "That's All, People", and "Butterflies Are Free" – plus a great cover of "Raindrops Keep Falling On My Head". CD features the bonus tracks – "To A Black Boy", which is previously unreleased, and "Butterflies Are Free (single version)". CD

Sweet and lovely pop from Francoise Hardy – one of the best early albums she recorded in France, and a sparkling batch of all-original tracks that show that Hardy was as much of a songwriter as she was a singer – something that most of her contemporaries couldn't claim! Francoise has some groovy pop backing on all cuts – but the real strength of the material is from her vocals and guitar work, both of which come off as fragile and confident at the same time – that balance that always made Hardy way more than just the hit singer of the week, and which makes an album like this stand out strongly. The set's got loads of nice tracks – and titles include "Ce Petit Coeur", "L'Amite", "Je T'aime", "Ce N'Est Pas Un Reve", "Les Temps Des Souvenirs", "Dis-Lui Non", and "Tout Ce Qu'on Dit". CD

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

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". Features two bonus tracks – "Moochie Ladeux" and "The Lone Ranger". 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! 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 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

The third in a series of unearthed archival release of treasures by 60s folk singer, guitarist and banjo player Karen Dalton from Delmore Recordings – and it's also the third completely beautiful and revelatory Karen Dalton release from Delmore Recordings! For years, Dalton was best known by her peers in the early 60s folk community, particularly the Greenwich Village scene, where she was beloved by Dylan and other soon-to-be giants. Thanks in no small part to the great stuff brought to light by Delmore and the stellar Light In The Attic reissues, she's finally getting an audience beyond pivotal fellow musicians, which is truly thrilling. 1966 features songs recorded that year in her cabin in Summerville, Colorado – between the Green Rocky Road recordings of a few years earlier and the recordings that would make up her first official album, which wouldn't be released until '69. She's sometimes accompanied by Richard Tucker on guitar and vocal duets. Karen was infamously self-conscious on stage and in the studio, so these informal home recordings find her at her intimate, soulful best. Includes one the best versions of Tim Hardin's "Reason To Believe" we've ever heard, plus "Katie Cruel", "Cotton Eyed Joe", "Green Rocky Road", "God Bless The Childen", "Other Side To This Life", "Don't Make Promises", "Mole In The Ground", "Misery Blues", "Little Bit Of Rain" and more. Also includes excellent notes by Ben Edmonds. CD

A great unearthed archival release of by 60s folk singer, guitarist and banjo player Karen Dalton from Delmore Recordings! For years, Dalton was best known by her peers in the early 60s folk community, particularly the Greenwich Village scene, where she was beloved by Dylan and other soon-to-be giants. Thanks in no small part to the great stuff brought to light by Delmore and the stellar Light In The Attic reissues, she's finally getting an audience beyond pivotal fellow musicians, which is truly thrilling. 1966 features songs recorded that year in her cabin in Summerville, Colorado – between the Green Rocky Road recordings of a few years earlier and the recordings that would make up her first official album, which wouldn't be released until '69. She's sometimes accompanied by Richard Tucker on guitar and vocal duets. Karen was infamously self-conscious on stage and in the studio, so these informal home recordings find her at her intimate, soulful best. Includes one the best versions of Tim Hardin's "Reason To Believe" we've ever heard, plus "Katie Cruel", "Cotton Eyed Joe", "Green Rocky Road", "God Bless The Childen", "Other Side To This Life", "Don't Make Promises", "Mole In The Ground", "Misery Blues", "Little Bit Of Rain" and more. Also includes excellent notes by Ben Edmonds. LP, Vinyl record album

Roky Erickson's fantastic early 80s material with The Aliens – tracks that were produced by Creedence Clearwater Revival's Stu Cook – with some of the most straight-forward and accessible rockers in Roky's canon, but still sporting his trademark eccentricity! Given his mythical personal history, you can easy describe Roky Erickson as "having demons" – but as you'll hear, he's also got two-headed dogs, vampires, zombies, fire demons, ghosts and Lucifer himself – just on this one record! The tracks have an odd release history – having been recorded in the late 70s, but not released until 1980 in the UK on the Five Symbols record, and in '81 as The Evil One LP, with an altered tracklist. This definitive Light In The Attic version gathers up all 15 amazing tracks from the Stu Cook sessions from '77-'79. Includes the legendary "Two Headed Dog" and many more tunes that are just as incredible! Titles include "I Walked With A Zombie", "Night Of The Vampire", "It's A Cold Night For Alligators", "Mine Mine Mind", "I Think Of Demons", "Creature With The Atom Brain", "Bloody Hammer", "Don't Shake Me Lucifer", "If You Have Ghosts" and more. LP, Vinyl record album

Raw and riveting gospel-folk-soul from Johnnie Frierson – only ever issued as a self-released cassette before this vital re-discovery by Light In The Attic! Johnnie is one of the vital, though relatively unknown voices in the Stax/Volt universe, working with a his sister Wendy Rene and in the group The Drapels in the late 60s, before going to Viet Nam and being pretty quite in the proceeding years. The songs Have You Been Good To Yourself and raw and direct, but anything but simple – just voice and guitar, but carrying such a depth of feeling. Truly wonderful stuff! Includes "Have You Been Good To Yourself", "Heavenly Father, You've Been Good", "Miracles", "Out Here On Your Word", "You Were Sent To This World", "Woke Up This Morning" and "Trust In The Lord". LP, Vinyl record album

A lost cosmic country rock relic from the early 70s – the ramshackle, hard grooving gem Grandma's Roadhouse by a group called Riley – named for leader Riley Watkins and featuring the great Gary Stewart, years before he revolutionized 70s honky tonk music out on his own! If anyone needed more evidence of the awesome talent bubbling under the surface in and around Nashville in the late 60s and early 70s, here's something incredible. The thing we love about the best music in the nascent country rock scene of the time, if it can be called that, is the lack of rules and prejudices about what can go into the pot. Riley delivers rambunctious roadhouse rock & roll, ornery honky tonk drinkin' & cheatin' songs, achingly effective Byrds-y & CSN-y harmonies, gritty southern soul style testifying, funk steeped bass, heavy drums...the whole hog! This one deserves mention alongside those "best" records, but it's almost totally unheard of to this point. Watkins sings and pens the more rocking and raucous numbers and you feel Gary's songwriting presence on the honky tonk styled songs with sweeter group harmonies. The warm, lived in vibe comes courtesy of the recording facility, Bradley's Barn – Owen Bradley's legendary space. The album comes to us thanks to Mark Linn on his Delmore label – where he also helped revive the legend of Karen Dalton, and Mark also produced the Kris Kristofferson demos for Light In The Attic. Titles include "Grandma's Roadhouse", "Picture", "Daddy's Come Home", "Love, Love You Lady", "Listen To My Song", "You Been Cheatin' On Me Honey", "Easly People", "Drinkin' Them Squeezin's", "Funky Tar Paper Shack" and "Field Of Green". CD has 3 bonus tracks: an alternate version of "Grandma's Roadhouse" plus "Cows & Dogs, Ducks & Hogs" and "Gotta Get Away". CD

A wild one! After the straight hard funk of some of his earlier recordings as a leader, Bernard "Pretty" Purdie breaks out here in a compelling album of soul jazz tracks done in a number of styles. The approach is sort of big studio funk – with some cuts that have a harder sound, and others that open up in a groove that's gotten a lot more complicated than the early days. Horace Ott arranges, conducts, and plays electric piano, and Richard Tee plays organ on a number of cuts – but the real charmer is Purdie, whose work on drums is always great! Funky tracks include "Heavy Soul Slinger", a medley of "What's Goin On" and Ain't No Sunshine", and "Good Livin". Also features a cover of Aretha Franklin's "Day Dreamin", plus the extended "Song For Aretha", which is Purdie's extended tribute to Aretha (with whom he'd recorded), and one that features a very strange monologue! LP, Vinyl record album

Two different concert recordings from the great Charles Mingus – recorded with the space of more than a decade between them, and showing the continual evolution of his genius! The first 2CDs bring together a sublime recording by German Radio in Bremen from 1964 – work that's from that important European tour that included the soon-to-be late Eric Dolphy on alto, flute, and bass clarinet – as part of a fiery sextet that also includes Johnny Coles on trumpet, Clifford Jordan on tenor, and Jaki Byard on piano. All players are fantastic – getting that push with Mingus that could often make soloists even more dynamic with the leader at the helm than on their own recordings – as you'll hear on the extended concert readings of "Hope So Eric", "Fables Of Faubus", "Parkeriania", and "Meditations On Integration" – plus a shorter solo by Byard. Mingus is at the helm of a different, but equally great group on the 1975 concert – with Jack Walrath on trumpet, George Adams on tenor, Don Pullen on piano, and Dannie Richmond on drums (as on just about every Mingus recording!) The politics of the 64 performance are still in place, with a slight shift – and they're mixed with some of the late Mingus' love of Duke Ellington, who gets a tribute here in a few spots, but with some great touches by Charles. Most tracks are nice and long – and titles include "Remember Rockefeller At Attica", "Devil Blues", "Duke Ellington's Sound Of Love", "Black Bat & Poles", "For Harry Carney", "Sue's Changes", and "Free Cell Block F Tis Nazi USA". CD

Tracks pulled from the original Fragile sessions, compiled by Trent Reznor and Atticus Ross. LP, Vinyl record album

Club funk remixes and bass heavy cosmic grooves from Bugz In The Attic – without a doubt one of our favorite remix and all around club groove aficionados of the past decade or so – making swirling stormers, hypnotic dubs, impeccable edits, and Bugged remixes of tracks by BB Boogie, Amy Winehouse, Mark Declive Lowe, Ruben Blades & Willie Colon and many more! As they did so well on the first Got The Bug compilation, the Bugz collection does a wonderful job of bringing their own cosmic sounds into a diverse batch of tune – splintering electro soul beatcraft, heavy bass, and insistent grooves galore! Includes remixes of a few Buz In The Attic tunes – including "Zombie" featuring Wunmi, "Expression" (Bugz Souled2Soul dub), and "Flappy Dayz" (Nauts 20:20 edit) – plus "Tell Him Again" (Bugz In The Attic remix) by BB Boogie, "In My Bed" (Bugz In The Attic dub) by Amy Winehouse, "Plastico" (Nautz vocal Ricanstruction) by Ruben Blades & Willie Colon., "Let Me Love You" (Bugz opaque remix) by Bunny Mack, "Smooth Criminal" (Bugz In The Attic vocal remix) by J Viewz and more. CD

Get those bass pedals out of the attic! Hubert Eaves lays down a very nice slightly-electro groove on this classic club track from James D-Train Williams. 12-inch, Vinyl record