A side each of these two important talents in blues – presented here in a format that makes the record a real double-header! Side one features Big Bill Broonzy in the lead – working with sweet electric lines on guitar alongside acoustic and his own really rich vocals – plus this very cool rhythm accompaniment from Washboard Sam, whose instrument has a way of coming across like some quickly snapped snare drum! Sam takes the lead on side two – singing and playing his instrument – and is joined on a few tracks by Broonzy's guitar and some piano from Memphis Slim. Big Bill titles include "Lonesome", "Little City Woman", "Romance Without Finance", and "By Myself" – and Washboard Sam numbers include "Never Never", "Minding My Own Business", "I'm A Lonely Man", and "Horseshoe Over My Door". LP, Vinyl record album

One of Donald Byrd's first albums on Blue Note – tight, soulful, and a firm statement of hardbop truth – a record that showed that Byrd was firmly on the map! The ensemble features Jackie McLean on alto, and the rhythm section includes Duke Pearson, Doug Watkins, and Lex Humphries – all of whom bring in a sense of lyrical interplay that really shows off a newer side of Byrd's trumpet that didn't emerge in earlier 50s recordings – one that opens up in the individuality of the Blue Note mode, and shakes off some of the more academic trappings of his early work with Gigi Gryce. All tunes are proud originals by Byrd himself – written with a real sense of color, tone, and timing – and titles include "Bup A Loup", "Funky Mama", "Lament", and "Amen". CD

One of Donald Byrd's first albums on Blue Note – tight, soulful, and a firm statement of hardbop truth – a record that showed that Byrd was firmly on the map! The ensemble features Jackie McLean on alto, and the rhythm section includes Duke Pearson, Doug Watkins, and Lex Humphries – all of whom bring in a sense of lyrical interplay that really shows off a newer side of Byrd's trumpet that didn't emerge in earlier 50s recordings – one that opens up in the individuality of the Blue Note mode, and shakes off some of the more academic trappings of his early work with Gigi Gryce. All tunes are proud originals by Byrd himself – written with a real sense of color, tone, and timing – and titles include "Bup A Loup", "Funky Mama", "Lament", and "Amen". CD

The first four albums from this crucial group – along with four more CDs of rare live material too! First up is the self-titled Cactus – the first album from this legendary group – an important American hard rock powerhouse, driven by the famous rhythm duo of Tim Bogert on bass and Carmine Appice on drums – both of whom roll out of the gate here with amazingly frenetic energy! They're maybe only topped by the guitar work of Jim McCarty, whose searing lines are clearly learned from blues inspirations, then turned up in both speed and power – to match the vocals and harmonica of Rusty Day! There's nothing going on here that sounds like blues rock at all – even though the set begins with a cover of "Parchman Farm" – next to other titles that include "My Lady From South Of Detroit", "No Need To Worry", "You Can't Judge A Book By The Cover", and "Let Me Swim". On One Way Or Another, Cactus are totally at the top of their game – and the guitar of Jim McCarthy really sets the record on fire, right from the very first note – at a level that should have made Jim one of the real guitar hero legends of his generation! Yet there's also power from the whole group going on too – tight rhythms from the team of Carmine Appice and Jim Bogert, the latter of whom starts to bring in his own vocals a fair bit more, offering backup to the raspy lead of Rusty Day. And while there's a few currents that show their older influence from blues, the sound here is massively hard rock all the way through – making the record a great illustration of the way that slavish blues rock gave birth to a fresh new jamming sound in a matter of just a few short years. Titles include "Rockout Whatever You Feel Like", "Song For Aries", "Feel So Bad", "Rock N Roll Children", and "Hometown Bust". Restrictions is next, and despite the title, there's no restrictions at all – as Cactus seem to be even more confident, more able to stretch their wings and fly than ever before – even adding in some extra piano and keyboards at points to the core guitar-heavy sound of the quartet! All the group's best elements are very firmly in place – searing guitar, righteously confident vocals, and a strutting sensibility that makes this early 70s album way ahead of the game in terms of territory that so many bigger groups would later copy for their own classic records. Titles include "Guiltless Glider", "Evil Alaska", "Sweet Sixteen", "Bag Drag", "Restrictions", and "Mean Night In Cleveland". Ot N Sweaty is a record that's got a bit of a shift in the classic Cactus lineup – as the group's still driven strongly by the work of Carmine Appice on drums and Tim Bogert on bass, but get guitar power from Werner Fritzschings, who's a pretty amazing player – next to some added keyboards from Duane Hitchings, and vocals from Peter French – a singer who's ballsy power might be even more in line with the group than their previous lead singer! The album's got an unusual approach in that side one was recorded live, side two in the studio – each with a nicely different flavor as a result – on titles that include "Swim", "Our Lil Rock N Roll Thing", "Bedroom Mazurka", "Telling You", "Bad Stuff", and "Bringing Me Down". 8CD set is overflowing with great material – bonus tracks added to three of the four albums in the collection, than a further 4CDs worth of live material – titled Fully Unleashed – The Live Gigs Vols 1 & 2. The live material is great – and really shows the tightness of the group at their best! CD

Rare late 60s work from guitar genius Jerry Cole – and even more compelling than his famous records from earlier in the decade! This collection unearths a lost side of Jerry's career – tripped-out psych instrumentals from 1967 and 1968, recorded under a variety of different aliases – like The Generation Gap, Projection Company, Stone Canyon Rock Group, and T-Swift & The Electric Bag – all groups that didn't exist in real life, but were album-based studio projects by Cole! Jerry's brought a lot more fuzz to the sessions than on his surf and hot rod instrumental tracks – but the groove is mighty tight throughout, with almost a funky undercurrent to some of the best tracks – kind of an American equivalent to the UK freakbeat modes of the period, served up by Cole and a host of tight LA studio musicians. Great stuff throughout – all pulled from the Custom Records catalog – and titles include "Tune Out Of Place", "Fool's Luck", "Wild Times", "Hard Times", "What's Your Bag", "Our Man Hendrix", "Red Eyes", "I Love You I Do", "Expo In Sound", and "The Stinger". CD

Maybe one of the greatest jazz albums of all time – a real breakthrough moment for the legendary John Coltrane, and the blueprint for generations of jazz records to come! Trane was already breaking down plenty of boundaries before Love Supreme – but he knocked it out of the park for the album – which is a full-length suite of spiritual expression, one that gives even greater focus and message to Coltrane's long-spiralling style of soloing on the tenor sax! The group here is the classic quartet – McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums – taking Trane up to the heavens on waves of modal energy, but also holding his spirit closer to the planet than on some of later, more outside performances. There's a slight bit of vocalization on the record – that chanted energy that imbues the set with so much love – and movements include "Acknowledgement", "Resolution", "Pursuance", and "Psalm". LP, Vinyl record album

In 1994 when everyone seemed to be turning hardcore, Common Sense wasn't having it – and gave the world this superb second album that formed a key part of his soon-to-be huge legacy! The album's very near and dear to our Chicago-born hearts – and is filled with introspective tales of growing up and living on the South Side, given perfect support by the production of No ID – a real overlooked hero of this generation! The album was made with little regard to trends of the time, and that's given it a timeless quality that really holds on over the years – maybe even more so than some of Common's later, bigger records. The set features two guest appearances by Y-Not aka Twilight Tone – and titles include "I Used To Love HER", "Book Of Life", "Chapter 13", "Nuthin' To Do", "In My Own World (Check The Method)", "Maintaining", "Communism", "Watermelon", "Thisisme", and "Sum Sh*t I Wrote". (And bonus trivia – Chicago station WHPK, a breeding ground for Dusty Groove, even gets a mention on the set!) LP, Vinyl record album

An overlooked gem on Stax Records – one of the only records ever cut by Bettye Crutcher – also a songwriter with the label, but a hell of a singer on her own! Bettye's got a style here that's very unique – still in a Stax mode, but a bit more sophisticated too – with a subtle groove that almost feels like some of the best female soul singers coming out of the Chicago scene at the time! Sir Mack Rice co-wrote most of the tunes with Bettye – and they've got a vibe that's really great – and which has made the record a real standout from Stax over the years – really unified, and really deep – in a way that goes past any easy hit modes or cliches. Titles include the sublime track "Sunday Morning's Gonna Find Us In Love" – plus "Long As You Love Me", "A Little Bit More Won't Hurt", "Passion", "Call Me When All Else Fails", and "Up For A Let Down". CD features lots of bonus tracks too – all previously unissued – including "So Glad To Have You", "Don't You Think It's About Time", "We've Got Love On Our Side", "Make A Joyful Noise", and demo versions of "Walk On To Your New Love" and "I Forgive You". CD

Four classic albums from Jackie DeShannon – all in a single set! First up is Me About You – sophisticated Jackie at her best – working with great arrangements from Jack Nitzsche and Nick DeCaro – both cats from the California scene we can really trust for "cut-above" pop work like this – music that goes way past the simple sounds of DeShannon's start – into cool adult territory that really makes the album great. Jackie's vocals are surprisingly soulful in the setting – even more so than before – and the tunes include lots of gems, including versions of Van Dyke Parks' "High Coin", John Sebastian's "Didn't Want To Have To Do It", and Tim Hardin's "Baby Close Its Eyes". Also includes "I Keep Wanting You", "Me About You", and "Nicole". Next is Laurel Canyon – heady work from Jackie DeShannon's later years in 60s pop – an album with themes and styles that go way beyond her earlier recordings – as you might guess from the hip Laurel Canyon reference in the title! Jackie's working here in a mode that's much more strongly in a singer-songwriter style than before – with arrangements and backings that are a lot more organic, and less pop-tuned than ever – almost in a Laura Nyro approach on some numbers. As usual, a good portion of the tracks were written by Jackie herself – including "Holly Would", "Come & Stay With Me", "LA", "Too Close", and "Laurel Canyon" – and the album also features a few well chosen tracks by other writers too, like "Bitter Honey" by Paul Williams & Roger Nichols, "I Got My Reason" by Barry White, and "You've Really Got A Hold On Me" by Smokey Robinson. Put A Little Love In Your Heart is quite possibly the last great hit from singer Jackie DeShannon – an album built around the righteous spirit of the title track – filled with really wonderful original tunes penned by Jackie and soul singer Jimmy Holiday! The album may well be the best to explore the space between pop and soul that often characterized Jackie's work – and the overall sound is somewhat similar to some of Dusty Springfield's best pop/soul work from the same stretch. 10 of the album's 12 tracks are originals by Holiday and DeShannon – all set to soaring orchestrations by James Langeford, which often have a pronounced influence from the sound of Atlantic Records in the late 60s! Titles include "Put A Little Love In Your Heart", "You Are The Real Thing", "River Of Love", "Movin", "You Can Come To Me", "You Have A Way With Me", and "I Let Go Completely". To Be Free is an interesting little record – with kind of a crossover California soul feel overall – recorded with Rene Hall arrangements that echo a few rootsy modes at times, mixed in with fuller orchestrations that step a bit back towards Jackie's earlier years on Imperial – a surprisingly nice blend, with a fresh sound for the 70s. The album features a number of great tracks co-written with Jimmy Holiday – a fellow Imperial talent – and titles include "Mediterranean Sky", "Sooner Or Later", "What Was Your Day Like", "Livin On The Easy Side", "Brighton Hill", and "When Morning Comes Again". CD

One of our favorite records of all time! We've got to admit, this one's an acquired taste, but if you dig cool LA studio pop from the early 70's, this record's a real treasure! Nick DeCaro was probably best known to the world as an instrumental arranger for A&M (he did a lot of the Claudine Longet albums), but this record from the early 70's has him singing in a set of cool spacey tracks that mix studio pop and jazz for a sound that's unlike anything else we've ever heard before. Nick's backed by a tight group that includes LA jazz players like Arthur Adams, Wilton Felder, Paul Humphrey, Harvey Mason, and David T. Walker – and the sound is very compressed, very laidback, and very very hip. Tracks include "Under The Jamaican Moon", "Wailing Wall", and great versions of "Getting Mighty Crowded" and Stevie Wonder's "Angie Girl". Remember, it's an acquired taste, but if you like stuff like middle period Steely Dan or Maria Muldaur, you'll really dig this one! LP, Vinyl record album

Way more pop than jazz from Deodato – a record that has the keyboardist working with a trio of younger vocalists who alternate lyrics on each track in the set! The approach here takes off from Deodato's strong soul production and arranging work of earlier years, but has a bit more of a crossover sound overall – still echoing strains of his R&B side in the rhythms, yet exposing the real agenda a bit more in the lead vocals of the tunes. Keyboards aren't nearly as important to the sound as the drum programs on the record – and titles include "Everybody Wants To Be My Girl", "Where Can You Run", "When A Lover Says Goodbye", "Forever For You", "Stay With Me", and "Somewhere Out There". CD

An album that's a really beautiful showcase for the reed work of Sam Gendel – as he plays here alongside guitarist Fabiano Do Nascimento, who really seems to unlock a different side in Sam's music! The album's got a lean vibe – very similar to some of Fabiano's other records, which we love – and Gendel blows soprano sax, but in this gentle way that's almost flute-like – skipping and lilting around the acoustic guitar at the core, as the pair play without any other backing at all! The record is another feather in Fabiano's cap, and has us really appreciating Gendel more than before – thanks to titles that include "Astral Flowers", "Ate De Manha", "Poeira", "Tupi", "Daiana", "Foi Boto", and "Capricho". CD

An album that's a really beautiful showcase for the reed work of Sam Gendel – as he plays here alongside guitarist Fabiano Do Nascimento, who really seems to unlock a different side in Sam's music! The album's got a lean vibe – very similar to some of Fabiano's other records, which we love – and Gendel blows soprano sax, but in this gentle way that's almost flute-like – skipping and lilting around the acoustic guitar at the core, as the pair play without any other backing at all! The record is another feather in Fabiano's cap, and has us really appreciating Gendel more than before – thanks to titles that include "Astral Flowers", "Ate De Manha", "Poeira", "Tupi", "Daiana", "Foi Boto", and "Capricho". LP, Vinyl record album

A pair of classics from Earth Wind & Fire – back to back on a single CD! First up is Spirit – a big hit for the group – and a great album of smooth funky soul! Spirit is a perfect example of the way that Earth Wind & Fire could tighten things up, yet still keep them real – holding onto the deeply spiritual side that first made them great – but also focusing their energy towards a wider audience that showed their influence for years! Of course, with Charles Stepney helping out on production, it's hard to miss – and he's one of the few cats who could handle a blend like this so well. The compression in the band's playing is impeccable – with just the right mix of spacey spiritualism, sophisticated jazzy playing, and a straight ahead love of the soulful hook. Includes the instrumentals "Biyo" and "Departure", plus the vocal tracks "Earth Wind & Fire","Burnin Bush", "Spirit", "Imagination", and "Getaway", all produced to perfection by Maurice White and Charles Stepney! That's The Way Of The World may be Earth Wind & Fire's ultimate moment of the 70s – and a perfect blending of all their influences that stands as a lasting tribute to their super-huge effect on soul music! The record features all aspects of the band coming into perfect cohesion – bassy funk, mellow soul, and Afrocentric jazz – all expertly handled by the great Charles Stepney, who still has the same rich talent for blending styles that he had while working at Chess/Cadet during the glory days of the late 60s. Some of these songs have been played to death (and covered so much) over the years that it's often easy to forget what a crowning moment this was for former underground soul heroes Earth, Wind & Fire – but we'll never cease to be amazed at the power of their mid-70s work, and this album's the best of the best. Titles include "Shining Star", "That's The Way Of The World", "Reasons", "Africano", "See The Light", and "Happy Feelin". CD

A great tribute to the late bassist Jimmy Blanton – served up by his old boss Duke Ellington, working here on piano alongside the bass of Ray Brown! This spare piano/bass session is a rarity in Duke's catalog – and it's a real later gem that captures the warmth and imagination of the Ellington piano sound in a near-solo setting. Brown's tones are round and nicely soulful – always a treat, even if not entirely in Blanton's spirit – and titles include "Pitter Panther Patter", "Do Nothin Till You Hear From Me", "Sophisticated Lady", "See See Rider", and "Fragmented Suite For Piano & Bass" – a great extended piece that takes up all of side two! CD

One of the most jazz-based groups of the German prog scene of the early 70s – heard here on a rare outing that features Mal Waldron playing electric piano with the group! Despite Waldron's presence, though, the real keyboard star of the set is Jimi Jackson – who plays mellotron and organ on the record, and sounds especially wonderful on the side-long track "The Call" – a fantastic 17-minute track that arose out of collective improvisations by the group! Instrumentation on the whole set is great – and includes the keyboards, plus heavy bass, vibes, marimba, guitar, sax, and even a bit of electric violin! Titles include "Radio Marrakesch/Orient Express", "Dreaming Girls", and "The Call". CD

A really great record, and maybe one of the few hip hop soundtracks to get at the real feel of the music on the streets – maybe no surprise, as the film for which it was created did the same thing! This isn't a fluffed-up Hollywood take on hip hop, with mainstream soul thrown into the mix – as the record was put together by Fab 5 Freddy and Chris Stein – the latter of whom really invests in his hip hop cred away from Blondie, and also provides some cool guitar bits and effects in the music too! There's some great freestyle bits and turntable tracks that really get at the underground side of the music that was alive and well at the time – and titles include "Wild Style Theme Rap 1" by Grandmaster Caz & Chris Stein, "Basketball Throwdown" by Cold Crush Bros & The Fantastic Four, "Stoop Rap" by Double Trouble & Rodney Cee, "Rammellzee & Shock Dell at the Amphitheatre" with Grandmixer DST, "Wild Style Subway Rap 2" by Grand Master Caz & Chris Stein, and "Cold Crush Brothers At The Dixie". LP, Vinyl record album

The final studio album from Family, and a set that really has the group coming down strongly on all the best elements they crafted together on previous records! The vocals of Roger Chapman, as always, are a real charm – some of the most distinct of his generation, and perfectly at home in rootsier modes and more hard rocking passages – which are balanced out nicely on the record, and given a lean push forward with great guitars and keyboards – but never in a style that's too polished or commercial. In fact, given the lack of huge chart success for the group – at least on our side of the ocean – it's a strong testament to the quality of their work that they kept on going this strongly. Titles include the instrumental "Banger", plus "Sweet Desiree", "Suspicion", "Leroy", "Buffet Tea For Two", "Boom Bang", and "It's Only A Movie". LP, Vinyl record album

The final studio album from Family, and a set that really has the group coming down strongly on all the best elements they crafted together on previous records! The vocals of Roger Chapman, as always, are a real charm – some of the most distinct of his generation, and perfectly at home in rootsier modes and more hard rocking passages – which are balanced out nicely on the record, and given a lean push forward with great guitars and keyboards – but never in a style that's too polished or commercial. In fact, given the lack of huge chart success for the group – at least on our side of the ocean – it's a strong testament to the quality of their work that they kept on going this strongly. Titles include the instrumental "Banger", plus "Sweet Desiree", "Suspicion", "Leroy", "Buffet Tea For Two", "Boom Bang", and "It's Only A Movie". 2CD edition features lots of bonus tracks – the single cuts "Drink To You" and "Stop This Car" – and early versions of "Boom Bang", "Suspicion", and "Stop This Car" – plus 14 more live tracks all recorded for the BBC in 1973! CD

The album begins with the side-long "Kalakuta Show" – one of the most powerful tunes ever recorded by Fela Kuti, as it describes a police attack on his compound and all the violence that followed – but all while Tony Allen and Africa 70 serve up these amazing riffing grooves that are topped by Fela's work on tenor and vocals! The flipside is an equally powerful political message – the great "Don't Make Ganran Ganran", a commentary on wealth inequality in Nigeria – and a cut that's every bit as great a groover as the first! The back cover also includes "real picture of police raid on Kalakuta Republic Africa 70 House and Fela's wound after". LP, Vinyl record album

An incredibly haunting session that has Stan's edgey alto fronting some of Russ Garcia's arch-modernist string arrangements – similar to those that he contributed to other Verve albums of the same style. Getz maintains a wonderfully breathy tone that floats above the orchestrations, and the album's a real winner that shows a side of Stan that wasn't always captured by Verve. Titles include "Round Midnight", "Nature Boy", "It Never Entered My Mind", and "Early Autumn". LP, Vinyl record album

A real oddity from George Harrison – a record of abstract electronics, cut right around the same time as his bigger mainstream solo hits! The record is a highly experimental one – a session that has Harrison working with Bernie Krause, and exploring territory that's much more in the late 60s Limelight Records mode than it is that of Apple – which is quite possibly why the label is listed as "Zapple", not "Apple"! Each tune takes up a full side of the album – and builds slowly out of soundshapes and textures, very much in the manner of some of the best work from the academic electronic music centers in the US at the time. And while the album may be a bit loose and unfocused overall, it's actually got a really appealing quality that we love a lot – a sense of free and naive exploration that's pretty great. Titles include "Under The Mersey Wall" and "No Time Or Space". LP, Vinyl record album

A real standout in the early career of trumpeter Freddie Hubbard – a very unique session that has him working with some larger arrangements in the background – blowing these magical solos over the top, while still hitting a great edge with the rest of the musicians as well! There's a sound here that's unlike anything else we can think of – including other big band trumpet dates of the time – partly because the set features a fair bit of arrangements by Wayne Shorter – a very rare side of his talents, but one that's equally as soulful as his sublime small group albums of the time. The record has an undeniable depth right from the start – magical, mystical, and very soulful – with a group that includes Eric Dolphy and Wayne Shorter on saxes, Curtis Fuller on trombone, Cedar Walton on piano, and Reggie Workman on bass. Tracks include "Chocolate Shake", "Thermo", "Clarence's Place", and "Aries". CD

A real standout in the early career of trumpeter Freddie Hubbard – a very unique session that has him working with some larger arrangements in the background – blowing these magical solos over the top, while still hitting a great edge with the rest of the musicians as well! There's a sound here that's unlike anything else we can think of – including other big band trumpet dates of the time – partly because the set features a fair bit of arrangements by Wayne Shorter – a very rare side of his talents, but one that's equally as soulful as his sublime small group albums of the time. The record has an undeniable depth right from the start – magical, mystical, and very soulful – with a group that includes Eric Dolphy and Wayne Shorter on saxes, Curtis Fuller on trombone, Cedar Walton on piano, and Reggie Workman on bass. Tracks include "Chocolate Shake", "Thermo", "Clarence's Place", and "Aries". CD

One of the funkiest entries in this killer Madlib sound library series – thanks to some mighty heavy drums from J-Zone! The set begins with a rock-solid break right from the start, then keeps on going strongly in a similar mode – mixing warmer keyboards, guitar lines, and even a bit of kalimba into the mix from time to time – but all with a lean energy that shows the influence of beatmaking on the process of live funk, and not the other way around! The vibe is much less slavish to 70s sound library material, but equally funky – and the shift makes for a real standout session, with titles that include "Shiva Strut", "Mr Mean", "Seebourg", "Intoxicated Skull", "Oyster Sammich", "Truck Stop", "Gangsta Boogie", "Side Eye", "Nasty Popcorn Ceiling", and "Shirley Got Bigger". LP, Vinyl record album

Plenty plenty soul here – as Milt Jackson's moving away from the Modern Jazz Quartet, and working with a great group of players that really expand his sound! The session's a bit like some of Milt's soul jazz work for Riverside and other labels – in that it's got rhythms, timings, and solos that all are much more gutbuckety than you'd expect from the other side of his career – a real nod towards the nascent soul jazz sound in the late 50s, served up with lots of undercurrents from R&B and gospel in the mix. Side one features players that include Ronnie Peters on alto sax, Frank Foster on tenor, and Sahib Shihab on baritone – plus Horace Silver on piano – and Silver makes a return appearance on side two, alongside a group that includes Lucky Thompson on tenor and Joe Newman on trumpet. Titles include "Plenty, Plenty Soul", "Boogity Boogity", "Heartstrings", "Sermonette", "The Spirit Feel", "Ignunt Oil", and "Blues At Twilight". LP, Vinyl record album

A real breakthrough in female soul for the 70s – the initial album from Labelle – a set that's very different material than the group were doing on their girl group singles in the 60s! The trio here is legendary – Patti Labelle, Nona Hendryx, and Sarah Dash – three tremendous singers all working together at a level that really sets the standard for bad-rapping female soul in the 70s! We're not sure what happened with Patti and the group between their 60s material and this set – but whatever it was, it was something great – a turn towards a style that would keep them in the record racks for years! Titles include "Too Many Days", "Running Out Of Fools", "When The Sun Comes Shining Through", "Heart Be Still", and a nice version of "Time & Love". LP, Vinyl record album

Wonderful work from Harry "Little" Caesar – a singer who made some great R&B singles for the west coast scene in the 50s, but hardly ever got his due on the other side of the US! Harry's got a nicely rough edge in his vocals – a style that reminds us a lot of the best male singers at King, like Roy Brown or Wynonie Harris – and although Caesar's perhaps not as raw and raunchy as the latter, he often covers similar down-to-earth topics in his tunes – material that makes these sides a real joy to rediscover! As the title implies, the work here was recorded for a handful of different labels – Modern, Dolphin, and Downey – and together, the tunes paint a vivid picture of this under-discovered talent from LA – a picture that's expanded on nicely by Billy Vera's notes as well. CD features 26 tracks in all – including "Cadillac Baby", "Don't Mention The Blues", "Lying Woman", "Atomic Love", "Going Down To The River", "Move Me", "Personal Question", "Tried To Reason With You Baby", and "What Are They Laughing About" – plus numbers sung with The Turbans, including "The Nest Is Warm", "No No Cherry", and "Tick Tock A Woo". CD

The secret history of Chicago house music – a side of the scene that's even more obscure than its many rare records or long-departed clubs! The book is a fantastic follow up to the first volume – and like that one, features rare flyers, posters, and ads for some of the underground Chicago house music events and venues – some of them legitimate entertainment venues, but others more obscure hole-in-the-wall places – including some churches that were surprising hosts to house music events back in the day! The book has no text, but features full color reproductions of dozens of flyers and posters – most of them very detailed and vibrant, with loads of information on obscure artists, DJs, and other forces helping to make house music happen – often emblazoned with addresses that will come as a real surprise if you only know the Chicago of the 21st Century! A beautiful book – and one that makes us proud to call Chicago our home. Book

Two unusual Herbie Mann albums – back to back in a single set! The first Reggae album has a surprisingly strong mix of 70s modes – as the funky flute of Herbie Mann takes on some of the nascent reggae grooves of the time – with results that are a lot nicer than you might expect! There's some core rhythms on the record from Tommy McCook, but Herbie's regular keyboardist Pat Rebillot also adds in some surprisingly nice lines too – making the whole thing way more than just another session cut down in Kingston. One real surprise is a very extended take on "My Girl", which runs for over 18 minutes and takes up all of side two – and other cuts include "Rivers Of Babylon", "Swinging Shepherd Blues", and "Ob La Di". Reggae II is a lesser-known follow-up to Herbie Mann's first album of reggae-styled instrumental grooves – and one that's every bit as sweet as the first! Like that record, the approach here is one that has Mann working with Kingston-bred rhythms from a lineup that includes Winston Wright on organ, Jackie Jackson bass, and Michael Richard on drums – mixed with tenor from Tommy McCook and trumpet from Bobby Ellis – then given a slight fusion vibe from Mann's frequent 70s musical partner Pat Rebillot on a variety of keyboards! Herbie's flute snakes into the groove in this warm, easygoing way – very open in tone, and a surprisingly good fit for an instrument that isn't often used in such a setting. Titles include "Down On The Corner", "Cecilia", "I Know", "Stoned By You", "Bend Down Low", and "So Get It While You Can". CD

A bit more of a high concept album than some of Wynton Marsalis' previous efforts – a set with a few more added horns on side one, and an extended suite on side two! The work definitely shows Wynton's increasing concern with jazz history – his desire to embrace, and sometimes represent, decades of past musical expression in his work – a real Lincoln Center sort of impulse, but one that still comes off relatively well here, and without as much hoke as you'd expect. Side one has Wynton working with regular pianist Marcus Roberts, plus Todd Williams on tenor and soprano sax and Wes Anderson on alto – and side two features a completely different group, much more in an older-styled jazz vein – with Michael White on clarinet, Danny Barker on banjo, Teddy Riley on trumpet, and Freddie Lonzo on trombone. Titles include "The Majesty Of The Blues", "Hickory Dickory Dock", and the expanded "New Orleans Function" suite. CD

A real treasure from the great tenorist Hank Mobley – and a record that shows him really opening up his sound in his later years at Blue Note! The album's got some key rhythmic elements that come both from the drumming of Billy Higgins and piano of Cedar Walton – both players who bring in a sense of lyricism that really opens up Hank's horn, and which also sets the trumpet of Donald Byrd free as well – in territory that really resonates with some of Donald's own excellent Blue Note material from the mid 60s! The album's one of those great Blue Note dates that was recorded in the 60s, but not issued until many years later – and really makes for a richer side of Mobley's catalog – a new great level amidst all those already wonderful records. Titles include "Bossa For Baby", "Soul Time", "No Argument", and "A Dab Of This & That". CD

A real lost gem from Motown – and a whole lot more! Greetings! We're The Monitors is the only full album ever cut by The Monitors – a 3-man, 1-woman vocal group who were in a popular Motown mixed harmonies mode. The quartet had a wonderfully strong vocal presence – blasting away at most tracks with a strength that groups like The Miracles or Gladys Knight & The Pips could never match – and like those groups, they bridge that key period between late doo wop-oriented harmonies, and tighter 60s group soul. The LP brings together singles the Monitors cut for Motown during the previous few years, but it also works extremely well as a unified album – and it's a refreshing change from some of the oft-heard Motown material. Titles include "Greetings (This Is Uncle Sam)", "Number One In Your Heart", "Bring Back The Love", "Step By Step (Hand In Hand)", and "Baby Make Your Own Sweet Music". This incredible anthologogy from Kent starts off with that album and includes 12 unissued tracks – a whole album's worth – plus 2 B-Sides. Unissued tracks include "Too Busy Thinking About My Baby" , "The Letter", "Poor Side Of Town", "Anything", "Guilty" and more. 26 tracks in all! CD

A real classic from one of our favorite artists of the 60s! Fred Neil is best known to the world as the man who wrote "Everybody's Talkin", which was used excessively in the film Midnight Cowboy (although his version in the film was sung by Nilsson) – but he's a hell of a great artist on his own, a real revolutionary that we'd rank right up there with someone like Tim Hardin or Nick Drake. This Capitol album has Fred playing in a very relaxed studio vibe – with some spare backing, and edgey playing that opens up a side of him that we've rarely heard elsewhere – all in a session that was largely improvised, and designed to recreate the feel of his legendary live shows. The tracks are fairly long, and include titles like "Felicity", "Send Me Somebody To Love", "Looks Like Rain", and "Fools Are A Long Time Coming". LP, Vinyl record album

Maybe not a "world" of piano, but a real classic from Phineas Newborn – a record that marks a harder, more soulful sound than some of his 50s work – shaking free from some of his flowery touches on the keys, and digging much deeper into the groove of his Memphis roots! The sound here is really tremendous – boldly leaping forth from the keys with a strength that's really surprising – but still sensitive enough to slide in a few more contemplative notes when the moment calls – sometimes while Newborn is still racing down the keys at breakneck speed! Rhythm on both sides is great – with Paul Chambers & Philly Joe Jones on side one, and Sam Jones and Louis Hayes on side two – and titles include "Cheryl", "Manteca", "Oleo", "Dahoud", "Cabu", and "For Carl". LP, Vinyl record album

Lost grooves from Spanish Harlem – an incredible set of Latin Soul from The 107th Street Stickball Team! With a name like that, the group certainly aren't as well-remembered as contemporaries like Joe Bataan or Willie Colon, but they've got a soulful groove that definitely fits the style of the time – a sweet uptown blend of Harlem soul and Latin rhythms – with the same blend of sweet soul ballads and uptempo groovers you'd find on some of Bataan's classic albums for Fania Records! Bobby Marin put the whole album together, with a tight groove that's very similar to his work for Speed Records – played here by a group that includes Orlando Marin, Louie Ramirez, Ozzie Torrens, and Joey Pastrana – all kings of Latin Soul at the time! Vocalists include Butch Johnson and Danny Agosto – but there's a real group feel to the record, with lots of harmonies behind the lead – the kind of streetcorner soul you might have heard while catching a stickball game on one of the side streets up north of Harlem. Titles include "Toma Guajira", "Look To Me", "You Put A Hurt In My Heart", "Rhythm & Soul", "Mojo Shingaling", "Barbara With The Kooky Eyes", "Tell Her I Love Her", and "Let Me Do My Thing". CD features 3 bonus tracks by The Nitty Sextet, all previously unissued – "Nitty Boo Boo", "Something New", and "Say Listen". CD

A real sound library treasure from the UK scene of the 70s – a set that features two of that genre's heaviest talents – back to back on a single record! You probably know Alan Hawkshaw for his famous work on keyboards – including his classic organ riff on "The Champ" by The Mohawks – but here, he combines his keys with larger orchestrations on side one – making a bunch of short, groovy tunes that have the feel of a hip 70s soundtrack – stepping strings at some points, gently funky basslines at others, and just the right use of soaring woodwinds. Alan Parker takes over on side two, which is even groovier – as it features Parker in a small combo – serving up tunes that mix funky, slinky, and more lyrical modes – often with a light woodwind current over the top. Titles include "Monochrome", "Blue Shadow", "No Return", "Choctaw", and "Black Pearl" by Parker – and "Sunny Monday", "Tryst", "Next Stop LA", "Oh Militia", "The Vamp", "Collect", and "Miraculous Dream" by Hawkshaw. LP, Vinyl record album

A beautiful group soul vocals effort from the Persuasions in the early 70s – working in a throwback acapella mode, but still with a fresh feel – thanks to a hip dawn of the 70s sound, and a stripped-down feel that you'd probably have never gotten back in the day! It's amazing how fresh it sounds, even today – each individual voice captured with crystal clarity, and strong genuine emotion – with an honest and real sound that's not overly polished. Wonderful! Titles include "Chain Gang", "Walk On The Wild Side", "Gypsy Woman", "Another Night With The Boys", "Let It Be", "Don't It Make You Want To Go Home", and "The Sun". LP, Vinyl record album

The music of Sun Ra, taken into very different territory – every bit as cosmic as before, but maybe also a bit more down to earth in its presentation! Sun Ra classics are reworked here by a mix of different Brazilian musicians, with contributions from a few key American artists who really enrich the soulful qualities of the proceedings – with results that are tremendous, and which make the record one of the real standout projects in the long legacy of Red Hot recordings! The sounds here are all original, created for the project – and the Brazilian artists include some of our favorite underground talents of the past decade, mixed with a few who are more well-established, yet still very much on the left side of the spectrum! Titles include "Astroblack Orunmila" with Jazzmeia Horn & Orquestra Afrosinfonica, "Interstellar Low Ways" with Hamilton De Holanda Trio, "When There Is No Sun (Intergalactic version)" with Xenia Franca & Tigana Santana, "Eu Sou Um Instrumento" with Fabricio Boliveira & Jazzmeia Horn, "O Codigo" with Fabricio Boliveira & Edbrass Brasil, "Nature's God" with Meshell Ndegeocello & Munir Hossn, and "Nine Rocket For The Planet" with Meta Meta & Edgar. LP, Vinyl record album

A brilliant set with a real 60s modern feel overall – in case you couldn't guess from the hip cover image! The group's got a sound that's definitely in the sharper side of the Italian jazz spectrum – kind of a Basso-Valdambrini groove, but with some bolder tones at times – all handled wonderfully by a quintet that features Oscar Rocchi on piano, Sergio Fanni on trumpet, Hugo Heredia on flute and sax, Giovanni Tommasso on bass, and Gianno Cazzola on drums! The horn parts are especially great – coming together with some nice tension on the heads, the burning out into solos that are filled with soul and feeling – the kind of sparkling energy that makes digging up older Italian sessions like this so great. Titles include "Thema", "Elixir", "Preposition", "Action Up", "Kind Words", "Wafers", "Relax Love", and "Example". CD also features 6 bonus tracks too – "Nigredo", "Gold Fast", "Rubedo", "Solution", "Silver Bop", and "Sulphur". CD

A real classic from Marlena Shaw – a key 70s album that has the singer moving back to soul after some years in the jazz side of the spectrum – but with an approach that still holds onto all the sophistication she picked up along the way! The record's got some wonderful arrangements and production from Bert DeCoteaux – who brings Marlena into modern soul territory with some warm, sweet sounds that work perfectly in the mellow moments, and hit a few nice grooves too. A key illustration of the album's strength is the remake of "Go Away Little Boy" – done here with a great monologue in which Marlena kicks out her "little boy", then swoons as he begins to make love to her. That cut is kicked off by nicely mellow "Yu Ma", and other tracks include "No Deposit, No Return", "Sweet Beginnings", "Johnny", "Walk Softly", "The Writing Is On The Wall", "Look At Me Look At You", and "I Think I'll Tell Him". LP, Vinyl record album

A record that no home should be without – and a stunning set that still carries all the raw power it did way back in 1969! The album's an apocalyptic vision of the future – a future it helped to shape, give its influence over the years – and from start to finish, the whole thing is brilliant – from the raw energy of the band, to the sneering lyrics of Iggy Pop, to the perfect production by John Cale – who's opening up a whole new side of his genius with his studio work here. The set begins with the boldly declarative "1969" – maybe one of our favorite Stooges songs ever – then moves into the landmark "I Wanna Be Your Dog", over to the ten minute freakout of "We Will Fall", to the classic "No Fun", through the cuts "Real Cool Time", "Ann", "Not Right", and "Little Doll". Imitated by many, but never done this well again – and a record that will most likely still be blowing the minds of our grandkids! LP, Vinyl record album

What can we say? All the best-remembered club tracks by one of the world's most unique soul artists. We're much more partial to these soulful club cuts than his later hi-energy singles, though each side is mixed into a medley, with the first side featuring "Do You Wanna Funk", "Dance (Disco Heat)" and "You Make Me Feel (Mighty Real)", and the second featuring "I Need Somebody To Love Tonight", "Stars Intro", "Can't Stop Dancing" and "Stars". LP, Vinyl record album

An obscure one from Ted Taylor – a lot blusier than some of his earlier soul work from the 60s, but with some great funky touches that really make the record great! As with most of these Ronn/Jewel albums, there's no real credits, so we have trouble figuring out who helped Ted get his groove so strongly – but we can tell you that the album feels like a combination of Stax soul (ala Johnny Taylor) and west side Chicago soul (ala Tyrone Davis.) Includes the great cut "It's A Funky Situation", plus "Houston Town", "Who's Doing It To Who", "Papa's Gonna Make Love", "I Feel A Chill", and "This Is A Troubled World". CD

A wonderful set from Carroll Thompson, one that easily slides back and forth between easy rocking lover's numbers on the reggae front, and polished 80s commercial soul. The set was originally issued on the SG imprint, and fell unfairly into obscurity almost immediately, perhaps because Carroll didn't neatly fit into either the then-burgeoning UK soul scene or London's reggae happenings, which leaned more towards the rootsier side of the spectrum. But whatever vein she was mining, her sophisticated approach shines brightly in both her own production and arrangements, and her sweetly grooving vocals. A young Cleveland Watkiss makes a supporting appearance, as does heavyweight Kingston key-man Jackie Mittoo, but it's Thompson that's the real star here! There's 9 numbers on the original album, including "Word Of Love", "A Happy Song", "Change", "Stay With Me Tonight", "Music (It Will Never Die)", "Just A Little Bit", "Hoping On Love", "Dreams Of You" and "Your Love". 8 bonus tracks, too – including single mixes of Make It With You", "Honis I Do", "People Of The World", "Earth Man" and more. CD

A very unique take on a familiar jazz mode – and a record that's a lot hipper than you might expect! The tunes are all from Porgy & Bess, all the famous Gershwin numbers – but they're performed solo, in a very loose style by pianist Enrique Villegas – who actually delivers two different side-long readings of the themes, making for a record that's a real study in contrasts, and a great illustration of the improvisational genius of Villegas – a talent that sometimes gets overlooked on the global scene! The record's got a fascinating vibe – almost like when Dave Burrell takes on material from familiar sources – and Enrique weaves together strands from "Summertime", "My Man's Gone Now", "Bess You Is My Woman", "Oh Lawd I'm On My Way", "Bess Oh Where's My Bess", "There's A Boat That's Leaving Soon", and "It Ain't Necessarily So". CD

A vocal jazz classic! Joe Williams had come to great fame as the singer with the Basie band during the 50s, but this beautiful album is unlike his usual work with the group – and shows a sophisticated vocal side of Joe that's really amazing. The album was arranged by Jimmy Mundy, with lush backings that bring out a sensitive side to Joe's rich voice – heartbreaking on most tracks, as you'd probably guess by the album's title. The mix of ballads features a few familiar numbers from the late 50s, plus some real charmers from earlier years that Joe reinterprets on his own level. Titles include "What's New?", "A Man Ain't Supposed To Cry", "Say It Isn't So", "Can't We Talk It Over?", "I'm Through With Love", and "I'll Never Smile Again". A wonderful treasure from the years when Roulette was cutting some of the most sophisticated vocal sessions in America! LP, Vinyl record album

Wonderful stuff from Frank Zappa – a set that still has all the freak-out feel of the early years, yet which also shows a real maturation in his arrangement styles as well! The instrumentation is fantastic – not just great guitar from Frank, but heavy keyboards from George Duke, slide guitar from Tony Duran, raw drums from Aynsley Dunbar, and even some great horn arrangements that bring in a jazzy undercurrent that's mighty nice – almost grounding the free-form energy of the band's impulses with a sophisticated groove that really makes you take them seriously! Titles include the side-long "Big Swifty" – plus "Waka/Jawaka", "Your Mouth", and "It Might Be A One Shot Deal". LP, Vinyl record album

Wonderful stuff from Frank Zappa – a set that still has all the freak-out feel of the early years, yet which also shows a real maturation in his arrangement styles as well! The instrumentation is fantastic – not just great guitar from Frank, but heavy keyboards from George Duke, slide guitar from Tony Duran, raw drums from Aynsley Dunbar, and even some great horn arrangements that bring in a jazzy undercurrent that's mighty nice – almost grounding the free-form energy of the band's impulses with a sophisticated groove that really makes you take them seriously! Titles include the side-long "Big Swifty" – plus "Waka/Jawaka", "Your Mouth", and "It Might Be A One Shot Deal". LP, Vinyl record album

The hippest side of the late 60s Latin Soul years – work from a number of tiny little New York labels – all of which are a good deal rarer than some of the bigger indies of the time! The collection here is totally great, and totally fresh – filled with numbers that were not even hits back in the day, and which are almost the Latin counterpart to funky 45s! Most work is from the Speed and Ghetto labels, with a few more bits thrown into the mix as well – and tunes are both vocal and instrumental numbers, all put together with a heck of a lot of Spanish Harlem soul! Titles include "Heavy Together" by The Real Thing, "Hot Buns" by Willy Baby, "Spanish Maiden" by Tony Middleton with Chuito & The Latin Uniques, "Oye Tomasito" by Joe Pappy & His Combo, "Fishin With Sid" by Dave Cortez & The Moon People, "Shake It Don't Break It" by Pijuan, "Sweet Soul Music" by Milton Zapata, "The Four Corners" by Frankie Nieves, and "African Guajira" by Orquesta Olivieri. LP, Vinyl record album

A totally wonderful collection of work from Malaco Records – an imprint that's best known for its southern soul, blues, and gospel recordings – but one that's also got a fair bit of modern soul in its catalog as well! In fact, Malaco was really instrumental in helping move forward the torch of southern soul at a time when other bigger labels like Stax, TK, and Atlantic were really losing steam – and the cuts here are the cream of the crop from a time when Malaco was turning out some amazing sounds that rival the best modern soul from scenes in Chicago, New York, or Philly! If you only know the deep soul side of Malaco, you'll really be stunned here – and the set does a great job of pulling out some lesser-known recordings from the label, in the best Free Soul tradition. Over 80 minutes of music – with tracks that include "I Can't Do Enough For You Baby" by Tommy Tate, "Groovin" by Power, "I Need Your Love" by Patterson Twins, "Girl Overboard" by Dorothy Moore, "Get Up & Dance" by Freedom, "You Used To Be Mine" by Mosley & Johnson, "Make It With You" by Ruby Wilson, "I'm For Real" by King Floyd, "Give Me Your Love" by GC Cameron, "When Can We Do This Again" by ZZ Hill, "Let Your Love Rain Down On Me" by Jewel Bass, and "Pillow Talk" by Fern Kinney. CD

An under-documented side of the British folk scene of the 70s – recordings made by producer Bill Leader for his small Trailer Records imprint – done in the spirit of Leader's better-known work for Topic and Transatlantic in the 60s, but with an overall feel that's surprisingly intimate for the time! Despite the "leave-taking" in the title, the sound here is extremely folksy – no string overdubs, psychedelic influences, or rock-based instrumentation – and instead a mostly acoustic, stripped-down style that's a real return to folk roots. Many tracks have a strong focus on the voice, with just a bit of added guitar or percussion – and we'll be honest in saying that we'd never heard most of these artists before this set! Titles include "Never The Same" and "To Make You Stay" by Lal Waterson, "Annachie Gordon" and "Annan Water" by Nic Jones, "Adieu To Judges & Juries" by Dorothy Elliott, "The Kid On The Mountain" by Alastair Anderson, "Jock O Hazeldean" by Dick Gaughan, and "Niel Gow's Lament For His Second Wife" by Aly Bain. LP, Vinyl record album

A stunning little set from Incognito – the group's first full album on Talkin Loud records, and a set that's head and shoulders above their earlier jazz funk from the 80s! The sound here has a real "instant classic" quality – not just because it's dripping with the best references from the jazzier side of 70s soul (think Fantasy Records at its best!) – but also because it's so well put together, with a sense of instrumentation that's tight, yet an overall groove that's relaxed and fairly spontaneous – something that was quite rare at the time the record was released! Bluey is at the height of his powers here – stepping strongly into a run of great work that would last for well over a decade – and other key figures include Maysa Leak on vocals, Kevin Robinson on trumpet, and Graham Harvey and Peter Hinds on keyboards. Titles include a killer remake of Stevie Wonder's "Don't You Worry 'Bout A Thing", plus "Change", "Colibri", "Magnetic Ocean", "Closer To The Feeling", "Tribal Vibes", "Pyramid", and "I Love What You Do For Me". CD

The a-side's a familiar classic, but the b-side's our real favorite! "I Turned You On" has a nice slow sexy groove, with the kind of hook and power that made the Isleys so great in the early 70s! Wonderful stuff – and not easy to find on vinyl! 7-inch, Vinyl record

Could anyone ever utter a sexier line than "Don't go to strangers, come to me?" We think not, and it's material like that that makes the album a real killer from Etta Jones – one of her best from the 60s, cut when she was really developing her skills as a vocalist, but still had enough of an edge to be interesting. Backing is by a small group that includes Frank Wess, Roy Haynes, and Richard Wyands – and the album has a relaxed, jazzy quality that easily makes it one of the real standouts in Etta's career! Titles include "All The Way", "Where Or When", "Yes Sir, That's My Baby", "If I Had You", "Something To Remember You By", and "Don't Go To Strangers". LP, Vinyl record album

A bit more of a high concept album than some of Wynton Marsalis' previous efforts – a set with a few more added horns on side one, and an extended suite on side two! The work definitely shows Wynton's increasing concern with jazz history – his desire to embrace, and sometimes represent, decades of past musical expression in his work – a real Lincoln Center sort of impulse, but one that still comes off relatively well here, and without as much hoke as you'd expect. Side one has Wynton working with regular pianist Marcus Roberts, plus Todd Williams on tenor and soprano sax and Wes Anderson on alto – and side two features a completely different group, much more in an older-styled jazz vein – with Michael White on clarinet, Danny Barker on banjo, Teddy Riley on trumpet, and Freddie Lonzo on trombone. Titles include "The Majesty Of The Blues", "Hickory Dickory Dock", and the expanded "New Orleans Function" suite. LP, Vinyl record album

2 later albums from Curtis Mayfield – both recorded in the post-Curtom years! We Come In Peace is a set that originally got small indie circulation, yet one that shows that Curtis was still going strong into the 80s! Half the set echoes the upbeat dancefloor modes of the late Curtom years – the club-oriented groovers that Mayfield picked up during the disco years, but still managed to deliver with a surprising degree of soul, thanks to his classic vocals. Other tunes have a bit more of an 80s groove at points, but still a lot more warmth than chart soul of the time – minimal beats and keys, and rhythm that's never too stiff. The set's got a few gentler moments too – like the great "Baby It's You", and the cuts "This Love Is True" and "Everybody Needs A Friend" – both of which continue the warmer side of Mayfield's late 70s years. The set also features a remake of "We Got To Have Peace", and the cuts "Body Guard", "We Come In Peace", and "Breakin In The Streets". Take It To The Streets is later mellow magic from Curtis Mayfield – a set that has something of a quiet storm feel at times, which is a surprisingly great setting for Curtis' famous voice! The album's got a relatively laidback feel – never trying too hard for a hit, or to keep up with commercial soul of the time – and instead, Curtis just slides nicely into some sweetly stepping grooves that really bring out some of the best gentler sides of his groove. A few cuts get a bit uptempo, but never in a cloying way – almost with more of an early 80s club vibe at times – and titles include "Homeless", "Got To Be Real", "Do Be Down", "I Mo Git U", "Sucka", and "He's A Fly Guy". CD

A record that no home should be without – and a stunning set that still carries all the raw power it did way back in 1969! The album's an apocalyptic vision of the future – a future it helped to shape, give its influence over the years – and from start to finish, the whole thing is brilliant – from the raw energy of the band, to the sneering lyrics of Iggy Pop, to the perfect production by John Cale – who's opening up a whole new side of his genius with his studio work here. The set begins with the boldly declarative "1969" – maybe one of our favorite Stooges songs ever – then moves into the landmark "I Wanna Be Your Dog", over to the ten minute freakout of "We Will Fall", to the classic "No Fun", through the cuts "Real Cool Time", "Ann", "Not Right", and "Little Doll". Imitated by many, but never done this well again – and a record that will most likely still be blowing the minds of our grandkids! LP, Vinyl record album

A real standout session from Cal Tjader – a straight jazz side from the late 50s, recorded with a hip group that includes Vince Guaraldi on piano, Gene Wright on bass, and Al Torre on drums. Although Cal's possibly better-remembered for his Latin work of the time, the record is a good reminder that the Tjader approach to vibes worked equally well in a more standard jazz setting – especially when paired with the lightly lyrical piano genius of a young Vince Guaraldi! The set was captured live at the Blackhawk in San Francisco – practically home turf for Cal and the group – with a sound that's easy, laidback, and very nicely grooving! Titles include "Lover Come Back To Me", "Bill B", "Land's End", "Thinking Of You MJQ", and "Two For Blues Suite". CD

Wonderful stuff from Frank Zappa – a set that still has all the freak-out feel of the early years, yet which also shows a real maturation in his arrangement styles as well! The instrumentation is fantastic – not just great guitar from Frank, but heavy keyboards from George Duke, slide guitar from Tony Duran, raw drums from Aynsley Dunbar, and even some great horn arrangements that bring in a jazzy undercurrent that's mighty nice – almost grounding the free-form energy of the band's impulses with a sophisticated groove that really makes you take them seriously! Titles include the side-long "Big Swifty" – plus "Waka/Jawaka", "Your Mouth", and "It Might Be A One Shot Deal". CD

Numero Records parodies both the Las Vegas Grind series of compilations, and the 50s sci-fi artwork of EC Comics – and turns out a surprisingly great set of tracks in the process! The material here is from the more garagey side of the Numero spectrum – tracks that are heavy on twang and guitars – sometimes instrumental, sometimes with raw early rock vocals – all laid out in a rock-solid collection that maybe beats some of the more long-running compilation series of this nature. In keeping with those, Numero has been completely restrained on including any real information on the tracks – just a groovy little comic insert that follows in the style of the cover – alongside titles that include "Classie's Whip" by Classie Ballou, "The Grasshopper Twist" by The Blazers, "Jump Back" by Eugene Blacknell, "Rock & Roll Guitar" by Johnny Knight, "The Boogie Twist (part 1)" by Cal Valentine, "Slap Stick" by Dino & The Deltones, "Bui Bui" by L Hollis & The Mackadoos, "Hot Links" by Soul Heirs, and "Aw Shucks" by JJ Jones. CD

Think you know Stax Records? Guess again – as this mindblowing collection offers up a whole new side of Stax we've never heard before. Forget the hits, forget the overplayed oldies – this set's brimming full of deep soul gems from the legendary Memphis label – including a fair bit of heartbreaking tracks that go way beyond any southern soul cliches! The music is amazing – proof that Ace still really knows how to put together a compilation – and in addition to some real rarities, there's also some killers appearing here for the first time ever – making the whole thing essential to any fan of Stax – or southern soul in general. A massive amount of music, all of it great – and titles include "Stay Baby Stay" by Johnny Daye, "I've Done It Again" by The Charmells, "Move Over" by Soul Children, "Hold On This Time" by Chuck Brooks, "Groovin' On My Baby's Love" by Freddie Waters, "Make A Joyful Noise" by Bettye Crutcher, "The Fault Is Not In Me" by Sylvia & The Blue Jays, "A Love Affair Theat Bears No Pain" by Shack, "Two Fools" by Willie Singleton, "Let Em Down Baby" by Jimmy Hughes, "Love Changes" by Charlene & The Soul Serenaders, and "Woman Across The River" by Little Milton. CD

A contemporary group, but one who do a stunning job of cooking up 80s-styled club cuts – just the right balance of boogie, funk, and soul – all handled with a lean vibe that's like some of our favorite rare 12" singles from back in the day! Another Taste are a real group, not just a producer with beats, keyboards, and samples – and you can definitely hear their live interaction throughout – an extra-special sort of warmth that really knocks things out of the park, and which easily makes the album stand next to our favorites from the Capitol Rare generation! Titles include "Perfect Night", "Mad Honey Theme", "Time Is On Our Side", "Turn Up", "It Takes Time", and "Anything You Want". LP, Vinyl record album

Heavy duty hardbop – one of three amazing Epic Records sessions cut by drummer Dave Bailey! Dave didn't ever cut many sessions as a leader – but when he did, they really cooked hard – with a quality level and sharpness of vision that easily rivals the best on Blue Note or Prestige Records at the time! In fact, this album would have been right at home on either imprint – a smoking session of soulful hardbop, with very long songs that allow plenty of room for solos by players who include Charlie Rouse on tenor, Clark Terry on trumpet, Curtis Fuller on trombone, and Horace Parlan on piano – who are all in the group with Dave, alongside bassist Peck Morrison. There's a nicely unbridled feel to the whole set – a real "something extra" that's always made the album a treasure – and titles include the side-long 17 minute "Blues For JP", plus "Slop Jah", "Little Old Mongoose", and "Evad Smurd". LP, Vinyl record album

The music scene in Williamsburg, Brooklyn, is one that's had an undeniable impact on cultural activity in recent decades – yet it's also one of those scenes that initially happened without most folks taking place – that is, it was a real artist and musician's scene, and not the kind that was easily open to outsiders until many years later! In this really well-done book, Cisco Bradley (who also gave us a great volume on William Parker) digs deep into the earliest days of the Williamsburg scene – that late 80s moment when Manhattan and other spots had become too expensive for the truly creative – and the other side of the East River emerged as a great place to move, live, and continue to make music. Bradley really gets at the criss-crossing elements of the scene at the time – and follows it well into the 21st Century, to a time when the changing real estate market in Brooklyn, and subsequent zoning changes, started to give Williamsburg the same creative fate as Soho, the East Village, and other important New York scenes in previous decades. Different initial chapters look at key spaces as forces – warehouses and lofts, clubs and galleries, and even pirate radio – and later chapters look at the larger forces causing change in the 21st Century. A really hefty book, as well-researched as it is well-written – 388 pages, softcover, with some black and white images. Book

A real hard-burner from Kenny Burrell – a set that was recorded for Blue Note in the guitarist's early career, but not issued by the label until the 70s – and even then only in Japan! Kenny's got the sharp edge and strong sense of leadership you'll hear on his classic Midnight Blue – and the lineup features strong tenor work from Hank Mobley, who seems to underscore the best elements in Burrell's tone – plus work from Horace Silver on piano – who plays with lots of soulful undercurrents, alongside Doug Watkins on bass, and Louis Hayes on drums! The record's got some slightly raspy edges, which may be why Blue Note originally held it back – but it's a real treasure for the deeper side of Kenny's tones – and titles include "Out For Blood", "Nica's Dream", "KB Blues", and "DB Blues". LP, Vinyl record album

One of Donald Byrd's first albums on Blue Note – tight, soulful, and a firm statement of hardbop truth – a record that showed that Byrd was firmly on the map! The ensemble features Jackie McLean on alto, and the rhythm section includes Duke Pearson, Doug Watkins, and Lex Humphries – all of whom bring in a sense of lyrical interplay that really shows off a newer side of Byrd's trumpet that didn't emerge in earlier 50s recordings – one that opens up in the individuality of the Blue Note mode, and shakes off some of the more academic trappings of his early work with Gigi Gryce. All tunes are proud originals by Byrd himself – written with a real sense of color, tone, and timing – and titles include "Bup A Loup", "Funky Mama", "Lament", and "Amen". CD

One of Donald Byrd's first albums on Blue Note – tight, soulful, and a firm statement of hardbop truth – a record that showed that Byrd was firmly on the map! The ensemble features Jackie McLean on alto, and the rhythm section includes Duke Pearson, Doug Watkins, and Lex Humphries – all of whom bring in a sense of lyrical interplay that really shows off a newer side of Byrd's trumpet that didn't emerge in earlier 50s recordings – one that opens up in the individuality of the Blue Note mode, and shakes off some of the more academic trappings of his early work with Gigi Gryce. All tunes are proud originals by Byrd himself – written with a real sense of color, tone, and timing – and titles include "Bup A Loup", "Funky Mama", "Lament", and "Amen". LP, Vinyl record album

In 1994 when everyone seemed to be turning hardcore, Common Sense wasn't having it – and gave the world this superb second album that formed a key part of his soon-to-be huge legacy! The album's very near and dear to our Chicago-born hearts – and is filled with introspective tales of growing up and living on the South Side, given perfect support by the production of No ID – a real overlooked hero of this generation! The album was made with little regard to trends of the time, and that's given it a timeless quality that really holds on over the years – maybe even more so than some of Common's later, bigger records. The set features two guest appearances by Y-Not aka Twilight Tone – and titles include "I Used To Love HER", "Book Of Life", "Chapter 13", "Nuthin' To Do", "In My Own World (Check The Method)", "Maintaining", "Communism", "Watermelon", "Thisisme", and "Sum Sh*t I Wrote". (And bonus trivia – Chicago station WHPK, a breeding ground for Dusty Groove, even gets a mention on the set!). This excellent 2LP deluxe vinyl reissue includes a side featuring 3 bonus tracks – "Resurrection 95", "Resurrection (Large Professor mix)", and "Resurrection (Extra P rmx)". LP, Vinyl record album

A stellar bit of boogie from Con Funk Shun – produced to perfection by Skip Scarborough, and done in a style that has lots of jazzy elements! The album was recorded well into the group's time on the Mercury label, but it's a real standout from the rest – thanks to an extremely well-written batch of tunes, and a mode of bass-heavy funk that avoids the cliches of other groups at the time – and goes for a more laidback style that sounds especially nice on the mellower numbers. Michael Cooper's great on lead vocals – and titles include "By Your Side", "Early Morning Sunshine", "Curtain Call", "Happy Face", "Juicy", "Lovestruck 1980", and "Honey Wild". LP, Vinyl record album

2 beautiful later albums from Deodato – back to back on one CD! Knights Of Fantasy is smoth and jazzy – done in an LA late 70s style that's kind of like work by Joe Sample or The Crusaders, but a bit more R&B oriented, and with a deeper soul style overall! You can definitely hear Deodato's growing taste for modern soul here – especially on the seminal club jammer "Whistle Bump", which is a tight keyboard-driven groove, with some sweeping strings underneath wah wah guitar. The cut's the real standout on the album – although there's a few other nice moments, like "Space Dust" and "Lovely Lady", which has a great mellow Bob James-ish sound. Night Cruiser is a key record in Deodato's move from funky jazz in the 70s to modern soul in the 80s – and one that showcases the best of his talents in both genres! The approach here is more tightly arranged and produced than that of his earlier CTI sides – but in a mode that's still plenty nice to our ears – as Deodato's uncanny sense of rhythm and timing is still very firmly in place, making the set way way more than just a smooth jazz album – and pushing it strongly into the realm of soulful spacey fusion! There's some really great tracks on the set – like the amazing "Skatin", a sweet keyboard number that's a perfect roller skating jam (in case you couldn't guess from the title) – plus "Love Magic", "Uncle Funk", "East Side Strut", and "Night Cruiser". 11 tracks in all! CD

Way more pop than jazz from Deodato – a record that has the keyboardist working with a trio of younger vocalists who alternate lyrics on each track in the set! The approach here takes off from Deodato's strong soul production and arranging work of earlier years, but has a bit more of a crossover sound overall – still echoing strains of his R&B side in the rhythms, yet exposing the real agenda a bit more in the lead vocals of the tunes. Keyboards aren't nearly as important to the sound as the drum programs on the record – and titles include "Everybody Wants To Be My Girl", "Where Can You Run", "When A Lover Says Goodbye", "Forever For You", "Stay With Me", and "Somewhere Out There". CD

A big hit for the group – and a great album of smooth funky soul! Spirit is a perfect example of the way that Earth Wind & Fire could tighten things up, yet still keep them real – holding onto the deeply spiritual side that first made them great – but also focusing their energy towards a wider audience that showed their influence for years! Of course, with Charles Stepney helping out on production, it's hard to miss – and he's one of the few cats who could handle a blend like this so well. The compression in the band's playing is impeccable – with just the right mix of spacey spiritualism, sophisticated jazzy playing, and a straight ahead love of the soulful hook. Includes the instrumentals "Biyo" and "Departure", plus the vocal tracks "Earth Wind & Fire","Burnin Bush", "Spirit", "Imagination", and "Getaway", all produced to perfection by Maurice White and Charles Stepney! LP, Vinyl record album

A real lost treasure from Art Farmer – a tremendous album that hardly ever shows up in the history books, and which, to our knowledge, has never properly been reissued! The set's a rare jazz side for the mostly-pop Scepter label – featuring Farmer at the head of a small group working with Tommy Flanagan on piano, Charles McPherson on alto, and either Steve Swallow or Ron Carter on bass. The album was done under the direction of Tom McIntosh – the brilliant young composer who had a magical talent for blending together modern and lyrical modes while still keeping a strong degree of soul. McIntosh contributed a few tunes to the set, as did Dennis Sandole – the nearly-forgotten trumpeter from the Philly scene of the 50s. There's a dark beauty to this session that surpasses even many other Farmer sides from the time – and titles include "Hyacinth", "Ally", "Happy Feet", "Minuet In G", and "Saucer Eyes". LP, Vinyl record album