Classic power pop from The Rezillos – a record with guitars fast and hard enough to almost be late 70s punk rock, but which often comes off with a more playful, whimsical new wave sort of approach! Tracks are short and hook-heavy – produced by Bob Clearmountain with that razor-edged quality he brought to his best work of the time – and the trading off of lead vocals between Fay Fife and Eugene Reynolds makes the record hang nicely in a space between Blondie and The Ramones! Titles include "Flying Saucer Attach", "No", "Top Of The Pops", "2000 AD", "It Gets Me", "Glad All Over", and "Cold Wars". LP, Vinyl record album

Four lost albums from David Blue – a really compelling singer/songwriter, ripe for rediscovery! First up is These 23 Days In September, recorded for Reprise – a really moody little record from David Blue – a folksy singer who's got a style that definitely lives up to the melancholy promise of his name! Blue's definitely an artist with a difference – working in the familiar mode of vocals and acoustic guitar, but with an edge and distinctness that really sets him apart from the folkies of a few year before – that sense of different that really set apart a new wave of contemporaries, like Leonard Cohen, Fred Neill, or Tom Rapp. Titles include "These 23 Days In September", "The Sailor's Lament", "Scales For A Window Thief", "You Will Come Back Again", "Slow & Easy", and "The Grand Hotel". Stories is an overlooked early set on Asylum – the kind of really special singer/songwriter material that really set the label apart at the start of the 70s! David Blue has this compelling vocal style that's moody, but down to earth – inflected here and there with guitar contributions from Ry Cooder, who's understated, but really brings out some special qualities in the tunes. Jack Nitzsche adds in some light strings at points – but overall, things are pretty spare and personal – and titles include "Looking For A Friend", "Another One Like Me", "Sister Rose", "The Blues", "Come On John", "Marianne", and "Fire In The Morning". Nice Baby & The Angel shows David Blue really starting to get some star power in his mix – a fuller set, produced by Graham Nash – with work from Nash on guitar, plus more guitar from Dave Mason and David Lindley – in a nice mix of roots elements, but which never overwhelm that unique sense of songwriting and vocals that set David Blue apart from the rest. Titles include "Darlin Jenny", "Troubadour Song", "Train To Anaheim", "True To You", "On Sunday Any Sunday", and "Outlaw Man". On the cover of Cupid's Arrow, David Blue might look a bit cheesy, what with his open shirt and all – but he's definitely the real deal, and very down to earth in his singer/songwriter approach – with a quality that's only underscored by the lineup on the set – a group that features Levon Helm on drums, Jesse Ed Davis on guitar, David Lindley on mandolin and slide, and Barry Goldberg on piano and organ, and also handling production of the album too. The shift from David's roots is a bit like that taken by other contemporaries who once started in more folksy territory, then found a new way to grow in the west coast singer/songwriter scene – and that means that things are more electrified, but still quite far from mainstream music – with original tunes from Blue throughout, and titles that include "I Feel Bad", "Maria Maria", "Primeval Tune", She's Got You", "Tom's Song", and "Run Run Run". CD

A classic slice of Jamaican roots – and an essential record from the godlike hands of Lee Perry! The set was produced by Perry at Black Ark – and instantly became the stuff of legend, even though the initial version of the album got very limited exposure – which has led to years of differing reissues and versions of the record! Yet the core sound is always very much in place, no matter what the setting – very spiritual lyrics from the group themselves, set to nicely stripped-down rhythms and instrumentation that are a great contrast to the wave of more polished international reggae releases that were garnering mainstream attention at the time. The lasting power of the set is proof that maybe when it comes to roots, you've got to really go to the roots to get it right – as you'll hear on classic tracks that include "La La Bam Bam", "Fisherman", "Congoman", "Children Crying", "Open Up The Gate", and "The Wrong Thing". LP, Vinyl record album

First up is Can't Stand The Rezillos – a record with guitars fast and hard enough to almost be late 70s punk rock, but which often comes off with a more playful, whimsical new wave sort of approach! Tracks are short and hook-heavy – produced by Bob Clearmountain with that razor-edged quality he brought to his best work of the time – and the trading off of lead vocals between Fay Fife and Eugene Reynolds makes the record hang nicely in a space between Blondie and The Ramones! Titles include "Flying Saucer Attach", "No", "Top Of The Pops", "2000 AD", "It Gets Me", "Glad All Over", and "Cold Wars". Next is Mission Accomplished – a fierce little live set from The Rezillos – one that comes as quite a surprise, since the group had only issued one studio set before – but a great choice overall, as the live setting really seems to set them on fire! Things here are harder, faster, and sharper than on their debut – with more punk speed and energy in the guitars, even if the songs themselves are more in a power pop mode – as tuneful as they are quick-moving! The concert was actually the group's last – recorded at a time when they'd announced a breakup – and that maybe gives the whole thing an urgency that was missing before, and which really makes us wish they'd kept recording. Titles include "Top Of The Pops"," Mystery Action", "Somebody's Gonna Get Their Head Kicked In Tonite", "Thunderbirds Are Go", "No", "Teenbeat", "Ballroom Blitz", "Destination Venus", and "Culture Shock". CD

A classic slice of Jamaican roots – and an essential record from the godlike hands of Lee Perry! The set was produced by Perry at Black Ark – and instantly became the stuff of legend, even though the initial version of the album got very limited exposure – which has led to years of differing reissues and versions of the record! Yet the core sound is always very much in place, no matter what the setting – very spiritual lyrics from the group themselves, set to nicely stripped-down rhythms and instrumentation that are a great contrast to the wave of more polished international reggae releases that were garnering mainstream attention at the time. The lasting power of the set is proof that maybe when it comes to roots, you've got to really go to the roots to get it right – as you'll hear on classic tracks that include "La La Bam Bam", "Fisherman", "Congoman", "Children Crying", "Open Up The Gate", and "The Wrong Thing". LP, Vinyl record album

Very noisy work from the Soviet scene of the 70s – modern music experiments on the ANS synthesizer, which was one of the darker forces in electronic music at the time! The set really showcases the new wave of avant inspiration that was brewing up after so many years of Soviet-promoted more mainstream modes – and at times, there's a denseness and power to the pieces that almost make you feel as if there were some secret underground corner of the scene, just waiting for a moment like this to unfurl a very rich musical message! The set features two tracks by famous film composer Eduard Artemiev – "Mosaic" and "Twelve Looks At The World Of Sound" – and other cuts include "Stream" by Alfred Schnittke, "Birds Singing" by Edison Denisov, "Sacrament" by Ole Buloshkin, and "Vivent Non Vivente" by Sofia Gubaidulina. CD

A classic slice of Jamaican roots – and an essential record from the godlike hands of Lee Perry! The set was produced by Perry at Black Ark – and instantly became the stuff of legend, even though the initial version of the album got very limited exposure – which has led to years of differing reissues and versions of the record! Yet the core sound is always very much in place, no matter what the setting – very spiritual lyrics from the group themselves, set to nicely stripped-down rhythms and instrumentation that are a great contrast to the wave of more polished international reggae releases that were garnering mainstream attention at the time. The lasting power of the set is proof that maybe when it comes to roots, you've got to really go to the roots to get it right – as you'll hear on classic tracks that include "La La Bam Bam", "Fisherman", "Congoman", "Children Crying", "Open Up The Gate", and "The Wrong Thing". 2CDs worth of material are gathered here, including extended mixes and hard-to-find B-sides, with a fat booklet filled with notes and photos. Includes the essential "Fisherman", "Sodom & Gomorrow", "Can't Come In", "Open the Gate" & "Congoman" (which is also served up in a 12" & Chant version), plus "Bring the Macka Back". 17 cuts in all! CD

Two rare Charlie Parker albums in a single set! First up is Bird On 52nd Street – one of the more obscure Charlie Parker sessions of the 40s – at least in the original release! The material was recorded in 1948, on a home tape recorder, but not issued until after his death – part of a huge wave of Charlie Parker material that hit the market at the end of the 50s and start of the 60s! The sound here is quite raw – made even more so by the recording quality – but it also offers up a good illustration of the sheer power of Bird back in the day, the kind of bold, bracing energy that made even more than the regular jazz world sit up and take notice. The group's a quintet – with Miles Davis on trumpet, Duke Jordan on piano, Tommy Potter on bass, and Max Roach on drums – and there's been a few tape tricks in the mastering, in order to come up with a better version of some of the recordings. Tracks are short – in true bebop format – and titles include "Night In Tunisia", "Dizzy Atmosphere", "Out Of Nowhere", "My Old Flame", "How High The Moon", "This Time The Dream's On Me", "Hot House", and "Chasin The Bird". Next is Bird At St Nicks – a posthumous issue of an early 50s live set by Charlier Parker – one of the many that were rushed to the public in the years after his early death. The set, like many of the other live ones from the time, isn't recorded that well – but the music is still pretty wonderful. There's a real focus on Bird in the way the microphone was set up – so although you hear the rest of the band comping in the background, the album almost works like a session of solo sax work by Parker – as his alto is right out front in the mix, playing with a faltering style at times – but in a way that only seems to deepen our vision of his genius. Players include Red Rodney on trumpet and Al Haig on piano – and titles include "Ornithology", "Star Eyes", "Visa", "I Didn't Know What Time It Was", and "Confirmation". LP, Vinyl record album

More Afro Funk than the soul jazz you might guess from the group's name – but that's OK with us, because the record's plenty darn great! Souljazz Orchestra are one of the best of the current wave of Afro combos to hail from Canada – and they manage to get an incredible full sound from a surprisingly small range of instruments – usually just 3 saxes, a trumpet, keyboards, and percussion – but played with a sense of power to earn them the "orchestra" in their name! There's a definite Fela influence going on here – grooves that move fast with very skittish rhythms – snaking out with great horn bits and keyboard lines. But the overall approach is a bit tighter too – much more focused at times, on slightly shorter tunes, about half of which are vocal numbers. The Latin-inflected "Little Habana" has the group breaking format a bit – and other tunes include "Mista President", "The Blind Leading The Blind", "Insurrection", and "Mojuba". 8 tracks in all! LP, Vinyl record album

A bold statement from the legendary David S Ware Quartet of the early 90s – one of the most powerful forces on the American scene of the time! Ware's own blowing on tenor sax is tremendous enough – a key inheritor of the energy of John Coltrane and Pharoah Sanders – but when backed by pianist Matthew Shipp, bassist William Parker, and drummer Whit Dickey, his sound is at its fullest – propelled forth on waves of sound and spirit, ever-searching, but never losing itself in the heavens! Tracks are long and freely creative – and titles include "Inverse Alchemy", "Cocoana", "Earthquation", and "Ideational Blue" – as well as 2 beautiful extrapolations on "Tenderly"! CD

A pair of overlooked female soul gems – back to back on a single CD! The first album is It Must Be Love – sweet late 70s modern soul from Alton McClain & Destiny – a great little female vocal trio with a sound that ranges from lightly funky with jazzy flourishes, to soaringly soulful! The group kind of follow in a tradition started by Honeycone and First Choice, and improved upon by The Emotions – and like that latter group, the girls move from the easier disco tracks that you'd normally expect, into a range of soulful styles that all come off equally well with their vocal technique. Webster Lewis handled some of the nice string arrangements – and players include Wah Wah Watson on guitar and Lee Ritenour on keys. titles include "Crazy Love", "Sweet Temptation", "Taking My Love For Granted", "My Empty Room", "Push & Pull", and "The Power Of Love". More Of You is one of the best records by this great little modern soul trio who should have gone onto bigger and better things. The session's got a strong mellow groove, typical of some of the non-hit soul coming out of labels like Polydor and Capitol at the end of the 70s – and tracks include "Stares & Whispers", "Love Waves", "More Of You", "99 1/2", "You Bring Me To My Morning Light", and "Thank Heaven For You". CD

A set of incredible records from Charles Mingus – all presented together in one mighty nice package! First up is Mingus Moves – a fantastic fresh new chapter in the career of Charles Mingus – a set that features the addition of two key players who would really shape his sound in the 70s – Don Pullen on piano and George Adams on tenor, both completely wonderful here! The group also features excellent trumpet from Roland Hampton, a player we don't know from many other settings – and the set also features some really nice vocal work from Honi Gordon and Doug Hammond. Titles include "Canon", "Moves", "Wee", "Flowers For A Lady", "Opus 3", and "Newcomer". CD also features bonus tracks – "Big Alice" and "The Call". Changes is key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Sue's Changes", "Devil Blues", "Remember Rockefeller At Attica", "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. On 3 Or 4 Shades Of Blues, Charles Mingus is returning to the soulful gospel-influenced mode he swung big in the early 60s! The record's something of a later predecessor of the classics Blues & Roots for Atlantic and Mingus (x5) for Impulse – and the style is slightly less dramatic, but still quite steeped in soulful explorations that feature plenty of notes from the bluer side of the spectrum! Players include George Coleman and Ricky Ford on tenor, Jack Walrath on trumpet, and Larry Coryell on guitar – and titles include new takes on "Better Git Hit In Your Soul" and "Goodbye Porkpie Hat" – plus"Nobody Knows", "Noddin Ya Head Blues", and "Three Or Four Shades Of Blues". Next is Cumbia & Jazz Fusion – one of the most enigmatic albums that Charles Mingus ever recorded – especially in his later years! The set features two very long tracks done by Mingus for use in a film about cocaine traffic between New York and Columbia – but considering the nature of the music, and the freely exploratory style, both numbers here stand very well on their own! Although touched with some of the Latin influences you might expect from the title, the sounds are often darker and more brooding than, say, the Mingus style on the classic Tijuana Moods set. And instead, there's a very serious soundtrack-like vibe going on through most of the set – larger jazz orchestrations used to beautifully underscore subtle themes, and breakout solo moments from players who include Mauricio Smith on flute, Paul Jeffrey on tenor sax, Jack Walrath on trumpet, and Jimmy Knepper on trombone. The album also features a fair bit of added percussion – and features two long tracks, "Cumbia & Jazz Fusion" and "Music For Todo Modo". Me Myself An Eye is complicated later work from Charles Mingus – a great illustration of the way his power to command a large ensemble never wavered as the years went on! The album features two different large groups of players – filled with modernists young and old – including Ricky Ford, George Coleman, and Michael Brecker on tenors; Ronni Cuber and Pepper Adams on baritone; Randy Brecker and Jack Walrath on trumpets; Lee Konitz on alto, Larry Coryell on guitar, Slide Hampton on trombone, and Eddie Gomez on bass. Side one features the 30 minute track "Three Worlds Of Drums", and side two contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is one of the last albums Charles Mingus ever gave us – before departing this planet way way too soon! The set shows the increasing sophistication of Mingus' music in these later years – a mode that almost echoes the path that Duke Ellington would take in his final decade – a move towards some larger-form material that still holds onto all the raw energy of the early days, but finds a way to not only bridge larger musical ideas – but musical generations as well! As part of this, the set's got a wonderful lineup – with Lee Konitz on alto, Pepper Adams on baritone sax, George Coleman on tenor, Eddie Gomez on bass, and Joe Chambers on drums – and titles include the long title track, "Something Like A Bird", split up over 2 sides of the LP, plus "Farewell Farwell". CD

Famous radio recordings of the legendary Charlie Parker – captured at the Royal Roost nightclub in the late 40s – blasting out with incredible power over the airwaves in the New York scene! The presentation of the material here includes bits of announcer patter – mostly from Symphony Sid, who's really one of those guys that you've gotta hear to believe – a surprisingly wonderful combination with Bird's famous alto sax – presented here in a milieu that really lets you hear the raw power of both Parker's music and the way in which he was put forward to audiences at the time! LP, Vinyl record album

The first three albums of Japanese noise legends Ruins, all presented in a single set – sounds that are as powerful and mindblowing as when they were first unleashed to the world back in the 80s! The style here is still completely revolutionary – even though so many others have tried to copy it over the years – sounds that were born in punk, but inflected by noise and free jazz – often moving at a blistering pace that's as breathtaking as it is bold! We might make some slight comparison between these guys and the Pussy Galore/Royal Trux generation of American noise guitar – but Ruins are also completely different, and made waves from halfway around the globe that are still being felt today. 51 tracks in all – with titles that include "Crisis", "Human Being", "Entropy", "Makarom Iyaike", "Government", "Grudge", "Divide", "Octopus", "Amalgam", "Infect", "Dadaism", and "Flagment". CD

Mindblowing music from the legendary Scott Walker – a set that's even darker and more powerful than Drift – but which also shows a new sort of sensitivity as well! Walker's musical journey has been amazing – from teen idol to crooning poet to country singer, new wave experimentalist, and the incredibly artistic and reclusive talent of recent decades. Yet Bish Bosch is something completely new entirely – a record that bursts out with noise one minute, then shifts to sparely expressive passages the next – all in ways that kind of recapture the poetic charm of the initial Walker solo records, while wrapping it up with all the fiercely artistic energy of the later ones. There's a very abstract vibe to the record at points – not rock, never pop, and not even anything close to the vocalizations you'd hear from anyone except the most experimental or avant artists – yet somehow still in that amazingly deep tone that Walker could craft when singing for a mainstream audience. These contradictions, and many others, are what really make the record sparkle – and tracks include "See You Don't Bump His Head", "Corps De Blah", "Phrasing", "The Day The Conducator Died", "Tar", "Dimple", and "Epizootics". CD

A pair of groundbreaking records from King Sunny Ade – both of which represent a new wave of interest in African music after the initial burst of the Fela Kuti generation! First up is Synchro System – fantastic work from King Sunny Ade – one of his first truly global releases, and an album that marked a whole new sound in his music! Sunny had been issuing lots of his own records back home in Nigeria – but this set has the juju master working in London, with really fantastic production that pushes his sound in really great ways – echoey waves of basslines and percussion, subtle but powerful vocals, and percolating guitar that takes on a whole new sonic sensibility in the setting! There's a richness to the texture that's amazing – almost as if Brian Eno produced – and titles include "Synchro Feelings Ilako", "Mo Ti Mo", "Penkele", "Maajo", "Synchro System", "E Saiye Re", "Tolongo", "E Wele", and "Synchro Reprise". Next up is Aura – a crucial record in the early days of the global scene in the 80s – a set that lifts the music of King Sunny Ade from its roots in Nigeria, and mixes it up with some fresh elements that really open things up for a world's worth of ears! The approach isn't commercial – at least not in the modes of the later world music years – but there's occasional elements that echo the beat culture rising up in New York and London, mixed with the warmer sounds that were always at Sunny's music – especially that way of making the acoustic percussion and basslines come together in flowing waves of completely sublime sound! All tracks are nice and long – and titles include "Gboromiro", "Oremi", "Ire", "Iro", "Ogunja", and "Ase". CD

The Black Jazz recordings of Doug Carn are always a revelation – some of the most powerful, progressive work on the American underground of the early 70s – music that got Carn into way more record collections than you might expect! The sound here is a perfect summation of Doug's early genius – his own work on organ and keyboards, never overdone and mixed perfectly with a righteous array of acoustic sounds from Rene McLean on alto and tenor and Olu Dara on trumpet – both players who soar to the skies on waves of energy begun by Carn! Wife Jean Carn sings on a number of tracks – with this heavenly style that's mighty righteous – every bit as soulful as her later work at Philly International, but in a very different way. The set includes Doug's great reading of "Naima" – plus other wonderful cuts that include "Power & Glory", "Feel Free", "Jihad", "Fatherhood", and "God is One". LP, Vinyl record album

Was there ever such a great run of records as the legacy of Earth Wind & Fire at Columbia in the 70s and 80s? It's hard to imagine a better one – as the strength of this collection will attest! Earth Wind & Fire didn't start their career at Columbia, but they really took off at the label right away – finding new heights of pride, power, and righteous energy – and a way of combining all their best soul, funk, and jazz roots into something completely new – reaching a much wider audience with their message, yet still staying true to themselves as well – an amazing balance that never wavers throughout the set. The package is filled with classic albums – including Last Days & Time, Head To The Sky, Open Our Eyes, That's The Way Of The World, Gratitude, Spirit, All N All, I Am, Faces, Raise, Powerlight, Electric Universe, Touch The World, and Heritage – and also features the Best Of CD, with single mixes of bigger hits, and the bonus Constellations album too – with rare tracks, live tracks, and some Maurice White productions too. Every album comes in a tiny LP-styled sleeve – and the box has a booklet of notes as well! CD

Beautifully choppy jazz from Steve Grossman and his legendary 70s comrades Gene Perla and Don Alias – one of the heaviest hitting American combos of the time! The trio have a tight fusion sound that's as full-on as it is funky – and Grossman blows some amazing work on tenor and soprano sax that cut into the tunes with a really fierce bite – while Perla delivers these round, powerful basslines – and Don Alias alternates between free percussion and some driving funky drums! For this session, the group's joined by Jan Hammer on electric piano and moog, playing in a nicely restrained fashion that's not nearly as overblown as his later work, and which jams into the groove just perfectly – making for a sweet electric set that's a real standout of the 70s. The set includes the breakbeat track "Zulu Stomp", plus "Alodian Mode", "Haresah", and "Extemporaneous Combustion". LP, Vinyl record album

A really lovely set from Geoff Keezer – light and lyrical one minute, then ringing out with powerfully strong piano lines the next! There's a power here that really caught us by surprise – as Keezer takes off with majestic command of the keys on many of the set's numbers – one that comes across in waves of sound that almost recall Mulgrew Miller, but which also have the sonic ferocity of Stanley Cowell at his best. Yet at other times, there's a gentle, almost bell-like quality to the piano on the album – one that matches the forceful runs with introspective playing – creating a perfect balance that further deepens the overall sense of the set. Players include Tony Reedus on drums, James Genus on bass, and Rudy Bird on added percussion on a few tracks – and titles include "Consummation", "The Wild Line", "Accra", "Virgin Madris", and "Once Upon A Dream". CD

Two late albums from Charles Mingus – back to back on a single CD! Me Myself An Eye is complicated later work from Mingus – a great illustration of the way his power to command a large ensemble never wavered as the years went on! The album features two different large groups of players – filled with modernists young and old – including Ricky Ford, George Coleman, and Michael Brecker ont enors; Ronni Cuber and Pepper Adams on baritone; Randy Brecker and Jack Walrath on trumpets; Lee Konitz on alto, Larry Coryell on guitar, Slide Hampton on trombone, and Eddie Gomez on bass. Side one features the 30 minute track "Three Worlds Of Drums", and side 2 contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is one of the last Mingus albums ever recorded – large group material that's a lot more complex than his work from the 60s, performed by a variety of players from old and recent years, including Lee Konitz, Pepper Adams, George Coleman, Joe Chambers, Eddie Gomez, Ronnie Cuber, and others. The long title track is split up over 2 sides of the LP, and the remaining piece of the second side is given over to "Farewell Farwell". CD

The cover might look a bit understated, but the album's got plenty of depth and power – a rare set from the Texas underground of the early 80s – cut by a group who've clearly drunk deep from the same musical well that inspired Stevie Wonder, Roy Ayers, and other cosmic soul talents of the 70s! As with Stevie and Roy, there's plenty of jazzy currents in the music of The People's Workshop – warm keyboards, sweet sax and flute, and waves of color that really come through the grooves and illuminate the deeper spirit of the vocals. There's a sense of collaboration here that's really special – almost a James Mason vibe at times – all with a sense of sophistication that's quite different than the rootsier sounds you might normally expect from Texas soul groups. Titles include "Save Your Money", "A Song For The Children", "Love Love", "Let's Get High", "Chocolate Coated People Song", and "This Song". LP, Vinyl record album

A one of a kind record that still sparkles as brightly today as it did back in the late 60s – an amazing collaboration between Brazilian vocalist Elis Regina and Scandinavian jazzman Toots Thielemans – done in a style that easily makes it one of the best records ever from both artists! Elis is at the height of her jazzy late 60s powers here – working in a soaring, breezy sort of style – but one with a lot more depth and soul than some of her contemporaries. She brings a great deal of feeling to the tunes, but always without doing too much – and this leaves plenty of space for Toots to add his touches – on harmonica, guitar, and even a bit of whistling – which really sits in nicely with the grooves. The production and overall sound is sublime – one of those never matched again sort of studio dates – and titles include great versions of "Canto De Ossanha", "Wave", "Voce", "Wilsamba", "Five For Elis", "Volta", and "O Sonho". LP, Vinyl record album

Sampha's a singer who's always hard to peg, but one who grabs you right away – with a voice that's one of the most unique, distinct, and powerful in contemporary soul music – and which deserves to be heard in all its brilliance on a record like this! We're not sure how to describe what we like so much – there's a raspiness at times that make his lyrics almost feel conversational and up-close, and a touch of a London accent that makes familiar words a bit more meaningful, and maybe a slight sense of warmth amidst it all – an indication that Sampha's never too full of himself, even though you might guess that from his image on the cover! Production and instrumentation is nicely understated – really letting the voice flow over the keys and other elements – on titles that include "Spirit 2.0", "Wave Therapy", "Only", "Rose Tint", "Inclination Compass", "Stereo Colour Cloud", "Jonathan L Seagull", "Satellite Business", "Time Piece", "Only", and "Can't Go Back". LP, Vinyl record album

A surprising side of the legendary Stax Records – especially if you only know the Memphis powerhouse as an outlet for funk and soul! There was always a bit of crossover between country and soul – even in the early days, a label like King Records could easily handle both – or a company like Atlantic could find a way to make its soul singers handle country tunes with ease. Yet the approach here is pure country – tracks recorded during the final few years of Stax – at a time when the company was both growing strongly, thanks to the fame of Isaac Hayes and others – and also trying out new ideas to round out the strength of their operation. Given their proximity to Nashville, and the fact that Memphis studios like Sun or Ardent had handled country-styled sounds – the move seemed to be a good one, and definitely comes across here in the quality of the tracks! The music has a nice left-of-Nashville vibe – almost like some of the growing wave from Austin soon to come, but also a bit like the cooler indie 45 country market of the 70s – which is finally getting its due these days. Either way, the sounds here are way past the hits, and way past the more standard modes of the time – and show that Stax Records could bring as much of a magic touch to country as they could to other sounds they recorded. Titles include "Hippie From The Hills" by Roland Eaton, "The River's Too Wide" by Karen Casey, "That Glass" by Eddie Bond, "Sweet Country Music" by Becki Bluefield, "My Girl" by Danny Bryan, "Satisfied Woman" by Paige O'Brian, "All The Love You'll Ever Need" by Cliff Cochran, "A Mom & A Dad For Christmas" by Lee Denson, and "Truck Driver's Heaven" by Roger Hallmark. LP, Vinyl record album

The Black Jazz recordings of Doug Carn are always a revelation – some of the most powerful, progressive work on the American underground of the early 70s – music that got Carn into way more record collections than you might expect! The sound here is a perfect summation of Doug's early genius – his own work on organ and keyboards, never overdone and mixed perfectly with a righteous array of acoustic sounds from Rene McLean on alto and tenor and Olu Dara on trumpet – both players who soar to the skies on waves of energy begun by Carn! Wife Jean Carn sings on a number of tracks – with this heavenly style that's mighty righteous – every bit as soulful as her later work at Philly International, but in a very different way. The set includes Doug's great reading of "Naima" – plus other wonderful cuts that include "Power & Glory", "Feel Free", "Jihad", "Fatherhood", and "God is One". CD

Titles include "Europa & The Pirate Twins", "Flying North", "Weightless", "Leipzig", "Windpower", "Commercial Breakup", "Urges", "Airwaves", "Radio Silence" and "Cloudburst At Shingle Street". LP, Vinyl record album

A brilliant return to Montreux from Bill Evans – working here with a trio that includes some killer bass work by Eddie Gomez! The set's an acoustic one – despite its appearance on electric powerhouse CTI – but Evans' work on the piano has an electricity that's all its own, magically crafting waves and shapes of sound and tone. And despite the CTI setting, there's a nicely spacious sound to the way the album was recorded – one that's got a bit less of the "perfection" than on some of Bill's other 70s live dates – a sense of humanity that comes through wonderfully, and which makes this one a very special record! Titles include "Very Early", "34 Skidoo", "Israel", and "Peri's Scope". CD

A brilliant return to Montreux from Bill Evans – working here with a trio that includes some killer bass work by Eddie Gomez! The set's an acoustic one – despite its appearance on electric powerhouse CTI – but Evans' work on the piano has an electricity that's all its own, magically crafting waves and shapes of sound and tone. And despite the CTI setting, there's a nicely spacious sound to the way the album was recorded – one that's got a bit less of the "perfection" than on some of Bill's other 70s live dates – a sense of humanity that comes through wonderfully, and which makes this one a very special record! Titles include "Very Early", "34 Skidoo", "Israel", and "Peri's Scope". CD

A brilliant return to Montreux from Bill Evans – working here with a trio that includes some killer bass work by Eddie Gomez! The set's an acoustic one – despite its appearance on electric powerhouse CTI – but Evans' work on the piano has an electricity that's all its own, magically crafting waves and shapes of sound and tone. And despite the CTI setting, there's a nicely spacious sound to the way the album was recorded – one that's got a bit less of the "perfection" than on some of Bill's other 70s live dates – a sense of humanity that comes through wonderfully, and which makes this one a very special record! Titles include "Very Early", "34 Skidoo", "Israel", and "Peri's Scope". LP, Vinyl record album

Not the only time that Ella Fitzgerald recorded at the legendary Hollywood Bowl – but a fantastic unreleased set that has the singer serving up a stunning live version of her Irving Berlin Songbook material! The set features backings by Paul Weston, who'd handled the original record – who sounds far more groovy and swinging than on his own albums of the 50s, which were mostly mellower mood music. Instead, he does a great job of bringing out all the vibrancy in these songs – which got a tremendous update for a new generation on Ella's studio album, but sound maybe even more personal and powerful here. Titles include "Supper Time", "Heat Wave", "The Song Is Ended", "Cheek To Cheek", "I've Got My Love To Keep Me Warm", "Let's Face The Music & Dance", "Let Yourself Go", and "Puttin On The Ritz". LP, Vinyl record album

A real standout in the career of guitarist Grant Green – and that's really saying a lot, as every one of his albums is pretty darn special! The set's a trio date, but it's very different than the mode that Grant was using just a few years before – as it's an early pairing with organist Larry Young, and both players take off in all these really wonderful new directions – working with just the drums of Elvin Jones for accompaniment, a player whose Coltrane-trained sense of rhythm brings Green and Young to the height of their early powers! The songs are open and loose, and the set includes two killer early Young compositions – "Talkin About JC" and "Luny Tune" – plus takes on "People", "I'm An Old Cowhand", and "You Don't Know What Love Is". CD

A set of incredible records from Charles Mingus – all presented together in one mighty nice package! First up is Mingus Moves – a fantastic fresh new chapter in the career of Charles Mingus – a set that features the addition of two key players who would really shape his sound in the 70s – Don Pullen on piano and George Adams on tenor, both completely wonderful here! The group also features excellent trumpet from Roland Hampton, a player we don't know from many other settings – and the set also features some really nice vocal work from Honi Gordon and Doug Hammond. Titles include "Canon", "Moves", "Wee", "Flowers For A Lady", "Opus 3", and "Newcomer". CD also features bonus tracks – "Big Alice" and "The Call". Changes is key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Sue's Changes", "Devil Blues", "Remember Rockefeller At Attica", "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. On 3 Or 4 Shades Of Blues, Charles Mingus is returning to the soulful gospel-influenced mode he swung big in the early 60s! The record's something of a later predecessor of the classics Blues & Roots for Atlantic and Mingus (x5) for Impulse – and the style is slightly less dramatic, but still quite steeped in soulful explorations that feature plenty of notes from the bluer side of the spectrum! Players include George Coleman and Ricky Ford on tenor, Jack Walrath on trumpet, and Larry Coryell on guitar – and titles include new takes on "Better Git Hit In Your Soul" and "Goodbye Porkpie Hat" – plus"Nobody Knows", "Noddin Ya Head Blues", and "Three Or Four Shades Of Blues". Next is Cumbia & Jazz Fusion – one of the most enigmatic albums that Charles Mingus ever recorded – especially in his later years! The set features two very long tracks done by Mingus for use in a film about cocaine traffic between New York and Columbia – but considering the nature of the music, and the freely exploratory style, both numbers here stand very well on their own! Although touched with some of the Latin influences you might expect from the title, the sounds are often darker and more brooding than, say, the Mingus style on the classic Tijuana Moods set. And instead, there's a very serious soundtrack-like vibe going on through most of the set – larger jazz orchestrations used to beautifully underscore subtle themes, and breakout solo moments from players who include Mauricio Smith on flute, Paul Jeffrey on tenor sax, Jack Walrath on trumpet, and Jimmy Knepper on trombone. The album also features a fair bit of added percussion – and features two long tracks, "Cumbia & Jazz Fusion" and "Music For Todo Modo". Me Myself An Eye is complicated later work from Charles Mingus – a great illustration of the way his power to command a large ensemble never wavered as the years went on! The album features two different large groups of players – filled with modernists young and old – including Ricky Ford, George Coleman, and Michael Brecker on tenors; Ronni Cuber and Pepper Adams on baritone; Randy Brecker and Jack Walrath on trumpets; Lee Konitz on alto, Larry Coryell on guitar, Slide Hampton on trombone, and Eddie Gomez on bass. Side one features the 30 minute track "Three Worlds Of Drums", and side two contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is one of the last albums Charles Mingus ever gave us – before departing this planet way way too soon! The set shows the increasing sophistication of Mingus' music in these later years – a mode that almost echoes the path that Duke Ellington would take in his final decade – a move towards some larger-form material that still holds onto all the raw energy of the early days, but finds a way to not only bridge larger musical ideas – but musical generations as well! As part of this, the set's got a wonderful lineup – with Lee Konitz on alto, Pepper Adams on baritone sax, George Coleman on tenor, Eddie Gomez on bass, and Joe Chambers on drums – and titles include the long title track, "Something Like A Bird", split up over 2 sides of the LP, plus "Farewell Farwell". LP, Vinyl record album

Fantastic work from King Sunny Ade – one of his first truly global releases, and an album that marked a whole new sound in his music! Sunny had been issuing lots of his own records back home in Nigeria – but this set has the juju master working in London, with really fantastic production that pushes his sound in really great ways – echoey waves of basslines and percussion, subtle but powerful vocals, and percolating guitar that takes on a whole new sonic sensibility in the setting! There's a richness to the texture that's amazing – almost as if Brian Eno produced – and titles include "Synchro Feelings Ilako", "Mo Ti Mo", "Penkele", "Maajo", "Synchro System", "E Saiye Re", "Tolongo", "E Wele", and "Synchro Reprise". LP, Vinyl record album

The amazing first album from Big Star – a set that came out of nowhere, made hardly a ripple on the charts, yet went onto crash in big waves of sound for generations to come! The style here is unlike thing else before – hardly what you'd expect from the group's Memphis roots or Alex Chilton's previous performances – yet the group's music has become a generation-defining sound in the way it blends southern inflections with harder rock influences, and a lean, gritty quality that's arguably in a late 70s space between punk and power pop. Every element is wonderful – guitars that are powerful, but never indulgent – vocals that are moving, but never overly emotive – and a balance between sensitive and searing moments that even The Replacements could never hope to match. A landmark all the way through – with tracks that include "Feel", "Ballad Of El Goodo", "In The Street", "The India Song", "When My Baby's Beside Me", "Give Me Another Chance", "Don't Lie To Me", "Thirteen", "Watch The Sunrise", and "Try Again". LP, Vinyl record album

One of the darkest records we've ever heard from the Far Out label – a set that reminds us of some of the best Brazilian new wave that was showing up on compilations a few years back! Guitars are in the lead on most numbers – sometimes played with energy that's punkish, at other times psycheish – and the rhythms are quite powerful too – often a bit more complicated than standard Brazilian post-punk work, but equally driving. There's a bit of electronics in the mix at times – used sparely, again with sort of an early 80s vibe amidst the guitars – and the vocals are in Portuguese, with a pretty progressive sound. Titles include "Funeral", "LKJ", "Jazzhole", "Diretriz", "Tarde Demais", "Exprimental (Catnip)", and "Vamanda". CD

A brilliant meeting of the minds – one that features the coming together of some of the greatest talents on the current cosmic groove scene! Legends Of The Underground is a project spearheaded by Mark De Clive-Lowe, and featuring work from Domu, Seiji, and Bembe Segue – all of whom work with Mark in a set of blistering tunes that take the London sound of the past few years to the next level! There's an intensity and focus here that remind us of 4Hero at their Two Pages best – a sense of spacey jazz mixed with modern groove – all swirling to the skies on waves of power, life, joy, and energy. Vocals often have a floating, spiritual sort of quality – and the tunes dip and bubble nicely throughout. Titles include "The Divine Room", "The Gathering (parts 1 & 2)", "The Dark Room", "Anarchite City", and "Paradise Garden". CD

Amazing sounds from Nico – material recorded for the BBC during that wonderful early 70s stretch when she had firmly broken from the Velvet Underground, and was really making some mindbending music of her own! The vibe here is a lot like Desertshore – with very spare instrumentation made mostly from long lines on harmonium, providing very moody waves of sound next to the singer's incredible vocals – which have a more powerful, hypnotic quality in the setting than they ever did in a bigger group – a minimalist power that clearly owes a bit of a debt to Terry Riley and LaMonte Young, but which is definitely imbued with Nico's own strong spirit. The four tracks here are a crucial addition to her all-too-small catalog from the time – and titles include "No One Is There", "Frozen Warnings", "Janitor Of Lunacy", and "Secret Side". Only four tracks – but all of them are great! LP, Vinyl record album

A Spanish album that brings together two classic early records from this great guitarist! First up is the self-titled John Renbourn – the first full album from acoustic genius Renbourn – a set that would not only establish John's legacy for years to come, but also have a very strong impact upon the role of the guitar on the British scene too! The album's definitely in a mode that owes something to an American folk legacy – but it also really breaks from the past with unusual phrasings and colorings in Renbourn's guitar – certainly with an ear towards ancient English modes, but also at once very fresh and contemporary – a strong precursor to the waves of new acoustic talents that would flow from the UK a few years later, but maybe even more revolutionary – given that John's mostly just working here with his guitar and voice. Bert Jansch adds guitar to a few tracks – and titles include "Song", "Down On The Barge", "Plainsong", "Judy", "Beth's Blues", "Blue Bones", "Train Tune", "Winter Is Gone", and "Noah & Rabbit". Next is Another Monday – one of Renbourn's most obscure records, and a set that is mostly instrumental, with some completely fantastic work by Renbourn on guitar – but which also features a bit of guest vocals from singer Jacqui McShee – whose warmer presence next to John really makes for a nice pairing. The album's as powerful as it is subtle, really beautiful in its sense of variety – with titles that include "Buffalo", "One For William", "Lost Lover Blues", "Another Monday", "Day At The Seaside", "Nobody's Fault But Mine", and "Waltz". LP, Vinyl record album

The amazing first album from Big Star – a set that came out of nowhere, made hardly a ripple on the charts, yet went onto crash in big waves of sound for generations to come! The style here is unlike thing else before – hardly what you'd expect from the group's Memphis roots or Alex Chilton's previous performances – yet the group's music has become a generation-defining sound in the way it blends southern inflections with harder rock influences, and a lean, gritty quality that's arguably in a late 70s space between punk and power pop. Every element is wonderful – guitars that are powerful, but never indulgent – vocals that are moving, but never overly emotive – and a balance between sensitive and searing moments that even The Replacements could never hope to match. A landmark all the way through – with tracks that include "Feel", "Ballad Of El Goodo", "In The Street", "The India Song", "When My Baby's Beside Me", "Give Me Another Chance", "Don't Lie To Me", "Thirteen", "Watch The Sunrise", and "Try Again". LP, Vinyl record album

The amazing first album from Big Star – a set that came out of nowhere, made hardly a ripple on the charts, yet went onto crash in big waves of sound for generations to come! The style here is unlike thing else before – hardly what you'd expect from the group's Memphis roots or Alex Chilton's previous performances – yet the group's music has become a generation-defining sound in the way it blends southern inflections with harder rock influences, and a lean, gritty quality that's arguably in a late 70s space between punk and power pop. Every element is wonderful – guitars that are powerful, but never indulgent – vocals that are moving, but never overly emotive – and a balance between sensitive and searing moments that even The Replacements could never hope to match. A landmark all the way through – with tracks that include "Feel", "Ballad Of El Goodo", "In The Street", "The India Song", "When My Baby's Beside Me", "Give Me Another Chance", "Don't Lie To Me", "Thirteen", "Watch The Sunrise", and "Try Again". CD

An amazing start for this seminal group – material that appeared on the albums Freedom Sound, Lookin Ahead, Tough Talk, Heat Wave, Stretchin Out, The Thing, Uh Huh, Powerhouse, and Give Peace A Chance – plus some unissued tracks too! CD

A killer set by one of the greatest pianists of the postwar era – and one that features Horace Parlan's piano trading lines with the legendary Turrentine brothers (both Stanley & Tommy), playing here at the height of their powers! Tommy Turrentine's trumpet is especially great here – spurring on Stanley's tenor into a groove that's a lot deeper, and more soulful than usual – a perfect sound in the frontline, kicked up nicely by Horace Parlan's piano! Rhythm is from the team of George Tucker on bass and Al Harewood on drums – very tight and crackling throughout – and the album's easily one of the most cooking Blue Notes from the time. Titles include "Wadin", "Oh So Blue", "Speakin My Piece", "Up In Cynthia's Room", "Rastus", and "Borderline". CD

Groovewise, the record's a great one – one of the strongest in years from pianist Eric Reed – who works here in an open-ended live setting with Seamus Blake on tenor! The album's a great example of the way these Smoke Sessions records can really open up the right sort of artist – as Reed reminds us of his ability to soulfully swing and really get down to business – working here with Blake's tenor in these wide waves of sound on the groovers, then laying back into these complex lines in the more gentle passages – both aided nicely by the work of Ben Williams on bass and Gregory Hutchinson on drums. All tracks are nice and long – and really flow with the kind of magic that Eric brings to his performances in a club – and titles include "Powerful Paul Robeson", "Until The Last Cat Has Swung", "Ornate", "The Gentle Giant", "The Shade Of The Cedar Tree", "Una Mujer Elegante", and "Groovewise". CD

A nicely lean take on the music of West Side Story – done during part of a big late 50s wave of jazz-meets-Broadway albums – and served up by a group who often approached the material better than most! In previous years, Andre Previn could be more of a softer, mood-oriented pianist – but he's at his jazziest here, and works with wonderful dexterity next to the hip drum work of Shelly Manne, and the subtle but powerful bass of Red Mitchell – a player who may well be the real hero of the best trio dates like these! The tunes are familiar, but they're hardly a rehash of the themes – as Previn really takes off on his solos, with plenty of improvised moments – on titles that include "Cool", "Jet Song", "Something's Coming", "Gee Officer Krupke", "Maria", and "Tonight". LP, Vinyl record album

A treasure trove of greatness from British folk rock legend John Renbourn – all of his late 60s solo work, done before moving on to greater fame in Pentangle! First up is There You Go – a rare one from singer Dorris Henderson and future Pentangle founder John Rensbourn! Florida born, LA raised singer Dorris Henderson moved to London in 1965 and was soon singing London's folk clubs, where she met Rensbourn. A solid mix of traditionals and then contemporary folk songs – stripped down and honest takes on "Saly Free And Easy", "Cotton Eyed Joe", "Mr Tamborine Man", "Going To Memphis", Something Lonesome", "Mist On The Mountain" and more. This edition includes bonus tracks from a rare 45 – "Hangman" and "Leaves That Are Green". Next is the self-titled John Renbourn from 1965 – a set that would not only establish John's legacy for years to come, but also have a very strong impact upon the role of the guitar on the British scene too! The album's definitely in a mode that owes something to an American folk legacy – but it also really breaks from the past with unusual phrasings and colorings in Renbourn's guitar – certainly with an ear towards ancient English modes, but also at once very fresh and contemporary – a strong precursor to the waves of new acoustic talents that would flow from the UK a few years later, but maybe even more revolutionary – given that John's mostly just working here with his guitar and voice. Bert Jansch adds guitar to a few tracks – and titles include "Song", "Down On The Barge", "Plainsong", "Judy", "Beth's Blues", "Blue Bones", "Train Tune", "Winter Is Gone", and "Noah & Rabbit". Bert & John is a hell of a collaboration between British legends Bert Jansch and John Renbourn – both working here together to completely redefine the sound of their music for the generation to come! This one album may well hold all the sense of subtle power and possibility that was about to flower in the Brit movement often known as "acid folk" – that reworking of older aesthetics with modern conceptions, and doing so mostly with their work on acoustic guitar – quite a feat, given the stripped-down instrumentation of the set! Bert sings a bit – in that incredible style of his – but the real attraction here is the guitar interplay, which is always fresh, never hokey, neither familiar American folk nor forced singer-songwriter backup material. Titles include a wonderful reworking of Charles Mingus' "Goodbye Pork Pie Hat" – plus "Red's Favourite", "Orlando", "Soho", "Piano Tune", "East Wind", "After The Dance", and "The Time Has Come". Another Monday is maybe the most obscure album in the collection – a set that is mostly instrumental, with some completely fantastic work by Renbourn on guitar – but which also features a bit of guest vocals from singer Jacqui McShee – whose warmer presence next to John really makes for a nice pairing. The album's as powerful as it is subtle, really beautiful in its sense of variety – with titles that include "Buffalo", "One For William", "Lost Lover Blues", "Another Monday", "Day At The Seaside", "Nobody's Fault But Mine", and "Waltz". Watch The Stars is another great collaboration with Dorris Henderson – an American singer, but one who moved to London in the 60s – where she cut this rare gem with guitarist John Renbourn! The album's got a righteous vibe that's hipper than the usual folk set – with some traditional tunes and some contemporary material – recorded with that amazing phrasing that made Renbourn's guitar so distinct right from the start, with lots of those jazzy currents we love so much – and which really fit the creative vocal approach of Henderson! Dorris also plays some autoharp, and there's a bit of bass in the backings – although overall the main focus here is on Renbourn's guitar and Henderson's vocals. Titles include "Come Up Horsey", "God Bless The Child", "Watch The Stars", "30 Days In Jail", "Mosaic Patterns", "Tomorrow Is A Long Time", and "There's Anger In This Land". Sir John A Lot Of is perhaps one of the best-known albums from British guitar legend John Renbourn – as it was issued widely in the US, and kept in print for a surprisingly long time over the years! The approach here is slightly different than Renbourn's previous records – a bit in the image presented by the cover, although with maybe not as slavish a sound – as John just uses the whole thing to go a bit more ancient than before, in ways that echo the time travel that the whole British folk scene was taking as the 70s approached. The tunes are done in ways that are really beautiful – still lots of the incredible guitar work that made Renbourn such a standout on the scene – plus flute from jazzman Ray Warleigh, who's very different here than usual – and spare use of finger cymbals, African drums, and glockenspiel by Terry Cox. Titles include "Morgana", "Transfusion", "The Trees They Do Grow High", "Sweet Potato", "Seven Up", and "White Fishes". 6CD box features all records in original artwork sleeves, with a booklet of notes – and bonus tracks that include "Message To Pretty", "The Waggoner's Lad", "Lucky Thirteen", "Blues Run The Game", "The Wildest Pig In Captivity (alt)", "Can't Keep From Crying", "Transfusion (alt)", and "The Leaves Are Green". CD

A very hip collection of work from the great Joe Turner – material that hasn't been easily issued elsewhere, and which fills in a key chapter of Joe's career! CD1 features vintage material, and is heavy on work from the postwar years, but before Turner rose to a second wave of fame on Atlantic Records – raw tracks recorded for labels that include Freedom and Stag, often with a style that's heavy on the jazzy arrangements that other jump blues artists were using at the time. CD2 features a variety of live recordings – from 1955, 1969, 1971, and 1985 – showing how strongly Turner held onto both his vocal powers over the years, and his ability to command a concert audience. Vintage cuts include "Still In The Dark", "Adam Bit The Apple", "Just A Travelin Man", "Jumpin At The Jubilee", "Around The Clock (part 1)", "Wine O Baby Boogie", "Christmas Date Boogie", and "Baby Won't You Marry Me". Live tracks include "Call The Plumber", "Chicken & The Hawk", "Honey Hush", "Mad Blues", "Chains Of Love", "Cherry Red", "Low Down Dog", and "Flip Flop & Fly". CD

Wonderfully weird work from the New York scene of the late 70s and early 80s – recordings that bristle with some of the best post-punk and new wave energy of the time, but which are much more obscure than most work you might know from other records! Some of the tracks here were done for NYC cable, others are more creative and almost experimental – and apart from a few rare singles that were issued at the time, almost all of the tracks appear here for the first time as a commercial release! Twinart are the group at the core, but plenty of other friends are along for the ride, including Jill Kroesen – and overall, there's a very progressive, girl-powered approach to the whole thing – on titles that include "Hands On Hands Off", "Instant This Instant That", "Double Shot Of Love", "You Got To Know", "Gassum", "Poodle Paper", "Dream On (demo)", "Honey You're So Mean", "Freak Of Nature (alt)", "Blinxong", and "Trashy Fashions" – plus a number of short "Itit" tracks. LP, Vinyl record album