Searing work from this legendary group – and a set that stands as a stunning tribute to the raw power of the Northwest scene at its best! Don & The Goodtimes cut some material later that was a bit more produced in the studio – but much of the music here is raw, raunchy, and very garagey – the sorts of cuts that would have the group playing non-stop parties on the coastal scene that would go way into the wee hours of the night – all with a hard-burning sense of energy that matches famous scenemates like The Sonics, Wailers, and Kingsmen – the last of whom had ties to the group. The group pick up a bit of Cali pop as the tunes move on, but still keep that dark edge that makes them so great – a vibe that hardly seems to be promising good times at all – as you'll hear on cuts that include "The Witch", "Jolly Green Giant", "You Were Just A Child", "Straight Scepter", "Blue Turns To Grey", "Hey There Mary Mae", "Little Sally Tease", "Tall Cool One", "Long Green", "Make It", and "You Did It Before". CD

Smooth and soulful guitar work from Cornell Dupree – a player who recorded on countless sessions as a studio sideman, but didn't break out as a leader until the late 70s! The set has a full sound that's in the mode of the larger Kudu/CTI productions of the time – an approach that takes larger orchestrations and uses them as the backdrop for Dupree's work on guitar, often with a fair bit of keyboard support on Rhodes,Korg and piano from Mario Sprouse, who arranged the set. The set's made up of pop tunes from the day, and will remind you of 70s am radio at some level, which for us isn't a terrible thing, though there is a commercial sheen to the whole affair that still has a touch of what we love about the funky dancefloor style of David Matthews during the same stretch – and the album features a total of 7 tracks that include "Stayin' Alive", "Slip, Slidin' Away", "How Deep Is Your Love", "Lovely Day", "Boogie Nights", "It's So Easy", and "Shake It Well". CD

Smooth and soulful guitar work from Cornell Dupree – a player who recorded on countless sessions as a studio sideman, but hardly ever got to work as a leader on his own! The album's got a full sound that's kind of a step beyond the Kudu/CTI sound of the time – an approach that takes larger orchestrations and uses them as the backdrop for Dupree's work on guitar, often with a fair bit of keyboard support from Mario Sprouse who arranged both albums on the set. The fullness resonates with the funky dancefloor style of David Matthews during the same stretch – a bit commercial at times, but still with plenty of nice instrumental touches. Includes "The Creeper", "Two Doors Down", "Peg", "On & On", "The Closer I Get To You" and "Hey Girl". CD

A late 60s soundtrack by Serge Gainsbourg – but a record that's easily as great as any of his studio albums from the same time! The bulk of the album has a spare, punctuated groove that's somewhat funky – quite a bit like Melody Nelson in its sense of space and timing – and its sex-heavy groove that bubbles up nicely from the bottom of bassy backings and mod orchestrations. Serge sings a bit – as does Anna Karina and Jean-Claude Brialy, Gainsbourg's co-stars in the film – and the orchestrations on the record were handled by Michel Colombier, and easily rank as some of his greatest work ever! Titles include both vocal and instrumental versions of "Sous Le Soleil Exactement", "Pas Mal Pas Mal Du Tout", "Boomerang", "Un Jour Comme Un Autre", "Ne Dis Rien", "Roller Girl", "GI Jo", "Pistolet Jo", "Photographes Et Religieuses", "Rien Rien J'Disais Ca Comme Ca", and "Un Poison Violet C'Est CA L'Amour". CD

Crucial work from Joe Gibbs – dub material that maybe made him one of the true giants of the genre at the time – with a sublime righteous sound that's still a standard-setter all these many years later! Joe works with plenty of studio help from Errol Thompson – and the pair create these spare instrumental grooves that are never too over-adorned, and which instead have this great head-nodding focus on the core elements that make them so great – so that while the bass bubbles and snare snaps lightly, you can focus on the sonic splendor of an echoey piano line, a scratchy guitar part, or just the overall vibe of the groove! Titles on this second chapter include "Chapter Two", "The Marriguna Affair", "My Best Dub", "Angola Crisis", "Peeping Tom", "Outrage", "Idlers Rest", "Third World", "Heavy Duty Dub", "Musical Arena", "Mackarus Serenade",and "Jamaican Grass". LP, Vinyl record album

A compelling title – as the record was recorded at Nola Penthouse Studios in New York, one of the hippest places to lay down tracks at the time – but the cover shows an image of the Playboy building in Chicago, famous from the TV show Playboy's Penthouse, Hugh Hefner's first foray into television! The actual music is equally compelling too – as the record is one of Ahmad's first non-trio sessions, and features some great larger arrangements from Joe Kennedy – backing the trio of Jamal, Vernel Fournier, and Israel Crosby with some light strings that create a wonderfully dreamy feel! Ahmad's piano glides along wonderfully in such a setting – set free a bit more than usual, and really sounding great on tracks that include "Ivy", "Comme Ci, Comme Ca", "Tangerine", "Never Never Land", "Ahmad's Blues", and "Seleritus". CD

One of our favorite-ever keyboard albums – a rare lost session from pianist Pete Jolly – one of his only electric dates, and a completely improvised set of grooves! Pete plays electric piano, organ, and even a bit of musette – jamming in the studio with help from Chuck Berghofer on bass, Paul Humphrey on drums , John Pisano on guitar, and Milt Holland and Emil Richards on percussion – all of whom bring in some sly, subtle touches to the grooves that are totally great! The album's much more open than other keyboard dates from the time – almost in the territory of some of Herbie Hancock's most experimental work, but a fair bit more groove-based too – given that the album's filled with short, funky tracks all the way through. There's some echoes of Bob James work to come – and given the 1970 date of the record, it could almost be said that Jolly predates a whole host of 70s keyboard talents – setting his mark with this uniquely laidback set of tracks. Titles include the classic "Plummer Park", plus "Rainbow", "Seasons", "Indian's Summer", "Pete Jolly", "Leaves", "Springs", "Bees", and "Sand Storm". LP, Vinyl record album

A live album, but one that's every bit as essential to the Led Zeppelin catalog as any of their studio albums from the 70s! In fact, the album may well be more important on its own – as it marked a real high point for the double-length live album in rock music – not just because it features lavish packaging and great presentation – but also because, like the film, it's filled with really long, unusual takes of the group's classics – most of which diverge very strongly from their studio versions! The real highlight here is the set's classic "Moby Dick", which features one of the greatest drum solos ever set to wax – and other tunes include "Rain Song", "Whole Lotta Love", "Stairway To Heaven", "No Quarter", and "Dazed & Confused". CD

Back when the young Rick Nelson first started singing, he just seemed like an overnight flash in the pan – a TV star who got the chance to get in the studio – yet over the years, Nelson continued to grow and mature as a singer – so that the later work here is surprisingly great, and way different than Rick's teen pop of the late 50s! It probably helps that Nelson's got a bit of a twang to his voice – which almost makes his work in here as an early precursor to country rock – or at least a cat on the west coast scene who had ears for some rootsier sounds – maybe a bit like Mike Nesmith would when he was in the Monkees a few years later. The choice of songs here is great – 26 tracks from a big run of albums done for Decca – and titles include "String Along", "Truck Drivin Man", "For You", "Fools Rush In", "Look At Mary", "Garden Party", "Feel So Good", "For Emily Whenever I May Find Her", "Night Train To Memphis", "Hello Mary Lou Goodbye Heart (live)", "Stop By My Window", "Don't Blame It On Your Wife", and "Hey There Little Miss Tease". CD

One of the funkiest records ever cut by studio jazz genius Janko Nilovic! This set definitely earns the "soul" in the title – as Janko blends his usual mad mix of studio sounds with some heavier 70s elements – including a fair bit of fuzzy guitar, funky beats, and some nice horn fills. About half the tracks on the album benefit from this sort of approach – kind of a cross between blacksploitation soundtrack scoring and the tighter instrumental moods of work by The Duke of Burlington. The other half is more in Janko's usual bag – nicely groovy jazz numbers, some with a slinky 70s edge! Titles include "Hippocampus", "Open Country", "Crazy Enterprise", "Drug Song", "Soul Impressions", "Man Of Genius", "Push Push", and "Family Tree". LP, Vinyl record album

One of the coolest projects ever from funky sound library genius Janko Nilovic – and one of his most-sampled records too! The albums maybe even more offbeat than some of Janko's previous projects – as it features a studio group, named Mad Unity, with a very heavy lineup of keyboards next to some tight bass, drums, percussion, and even a bit of trumpet! There's maybe a bit more unity to the record, given the ensemble instrumental approach – and there's female singers at a few spots, who deepen the soulful vibe of the set. The real appeal, though, is Janko's mad keyboards – which almost hit Marc Moulin/Placebo level, in the way that they can bring all these weird spacey touches to the grooves. Titles include "Funky Tramway", "Flemish Suite", "Sitting Bull", "Gipsy Funk", "Atomium 82", "Disconnected Song", "Little Butcher's Street", "Fish Market", and "Underground Party". LP, Vinyl record album

A true pleasure indeed – easily one of the greatest records ever by the Ohio Players, and a perfect summation of all things great in their groove! The album's a landmark effort – even for the heady days of the early 70s – as the Players manage to bring together a fair bit of jazz with their famous guitar-driven funk – all in a blend that's a lot more sophisticated than most other funk combos of the time, from the rhythms at the bottom to the instrumentation on the top! There's a darkness here that's undeniable – but the album's also not just a head trip into the fuzziest reaches of the studio – as the jazzier inflections help illuminate the farthest corners, and really bring the whole album back to focus with a wonderfully redemptive groove! Psychedelic elements are still all over the place, but also used sparingly enough to be most effective – a brilliant balance that few groups of this type were ever able to muster. Titles include the classic "Funky Worm", with the wild moogy bit that's been sampled loads of times over the years by a gazillion hip hoppers – plus loads of other nice ones, like the slow bonking funker "Pride & Vanity", the wild "Walt's First Trip", and the groovy "Laid It" – as well as "Pleasure", "Paint Me", "Our Love Has Died", and "Walked Away From You". LP, Vinyl record album

The third album of fierce, funky dub from The Revolutionaries – music that's great enough on its own, even without its promise of undressing your dance partner! The work here is in the best territory of classic dub – clear, clean rhythms that have a power in their starkness – then given some slight additional twist by the studio work of Scientist, who never goes as far out here as in some of his later work – and realizes that he can do a hell of a lot with just a little, by inflecting all the right moments on the instrumental tunes. Titles include "Friction Dub", "Runnings", "Germain Style", "DJ's Special", "Murderous Dub", "Gully Bank Rock", and "Hostile Behaviour". CD

One of those records that makes you sit up and say "Hey, who the hell is this guy?" – because the music's so great, right from the start – the record really grabs you by the ears and makes you take notice! Pianist Irv Rochlin never recorded much as a leader, but he's really on fire here – working in a "live in studio" setting with a trio that really snaps and crackles along with his great lead – a deftly swinging approach to jazz piano that can come on strong, and keep burning with a strong sense of soul throughout! Trio members include Harry Emmery on bass – whose sound is wonderful, and really rounds out the groove – and tight drummer Eric Ineke, who's always great in a setting like this. Titles include the very groovy "Only Ludwig Knows", a great take on "Little B's Poem", and the tracks "Four On Six", "A Plan For The Future", "Quirine", and "Pepito's Rib". CD

The first album from guitarist John Tropea – an ace 70s session musician, who played on countless records for other folks – and a surprisingly great leader and arranger in his own right too! Tropea's working here in a vibe that's clearly influenced by the CTI sound – smooth but funky fusion – laid down in prime studio conditions, but still nicely soulful throughout, and without any of the BS that crept into other overly-jamming or too-slick records from the time. Guitar's the lead solo instrument on the set, but the album has a lot of other strong work by players that Deodato, Steve Gadd, Rick Marotta, and Rubens Bassini – making for a very tight set that's stood up wonderfully through the years. Titles include "The Bratt", "Tambourine", "7th Heaven", "The Jingle", "Just Blue", "Muff", and "Dreams". CD

A lost southern soul album from the 70s – recorded down at Muscle Shoals by singer Sandra Wright, and originally intended for release on Stax Records – but never issued at the time! Sandra's a great singer – deep soul, but with a touch of class, too – and the approach here shows that maturing Muscle Shoals sound, recorded at the Broadway Studio by David Johnson – at a level that's a bit in the Ann Sexton side of the spectrum – a sparkling, sophisticated feel that almost reminds us of the best female soul coming from Detroit or Chicago at the time, but with a slightly deeper range. Stax issued a few singles, but never issued the full album – which makes this one even more of a treasure for collectors of that time! Titles include "Wounded Woman", "The Sha-La Bandit", "Midnight Affair", "I Come Running Back", "I'm Not Strong Enough To Love You Again", "Please Don't Say Goodbye", and "A Man Can't Be A Man". LP, Vinyl record album

The great pianist Denny Zeitlin works here in three wonderful ways – solo, duo, and trio – and comes across sounding wonderful throughout! The solo pieces are especially beautiful, as they were captured at a piano studio in the Bay Area, and have a wonderfully resonant sound – a great reminder of what Zeitlin can do on the keyboard, even without any other musician along for the ride! Yet the other material is pretty great too – a continued set of piano/drum explorations with percussionist George Marsh – and live trio material with Buster Williams on bass and Matt Wilson on drums. Titles include "Only One", "Music Box", "Ambush", "A Raft A River", "Johnny Come Lately", "Limburger Pie & Beeswax Crust", "Weirdo", and "Excursion". CD

Fantastic sounds from the years before reggae became the international sound of Jamaica – music from the island nation's jazz scene, which was at the crossroads of so many different styles of music – jazz from the north, Latin rhythms from Cuba and Puerto Rico, and a fair bit of other Caribbean sounds too – all of which filter through the wonderful collection of music on the set! The title breaks down the different genres featured – but there's often a surprisingly unified feel to the whole record too – one that stands partly as a testament to the musical strengths of all the performers involved! In the days before Trojan and Studio One, Federal Records was an important Jamaican label – and did an especially great job of capturing some of the sounds that were part of that nation's club culture and resorts in the 60s. Titles include "Angelima" and "Like Falling In Love" by Ernest Ranglin, "Profile Cha Cha" and "Rhumbina" by Cecil Lloyd & The Starline Troubadors, "Estrellita" and "I Love Paris" by The Lennie Hibbert Combo, "Tis Wonderful" by Eric Grant, "Linstead Market" by Baba Motta & Ernest Ranglin, "Wheel & Turn Me" by Bertie King, "Go Fife Go" by Count Owen, "Mango Walk" by Bertie King & Ernest Ranglin, "String Of Pearls" by Auldey Williams & His Orchestra, "Solas Market" by Baba Motta, and "Monday Monday" by Winston Turner Quintet. LP, Vinyl record album

Heavy heavy funk from the Louisiana scene of the late 60s and 1970s – and a great collection that really gets past the dominance of the New Orleans sound! The set moves way past the Crescent City to uncover a wealth of great bits recorded in smaller studios located in Shreveport, Lake Charles, and a variety of tiny scenes in the southwest side of Louisiana – and the result is a great batch of tunes with a really gritty, down-n-dirty sound! There's a wealth of great funky styles in the set – including James Brown-inspired jammers, southern soul burners, and some other great modes that show that Louisiana's got a heck of a lot more to offer than just New Orleans funk. Titles include work from the Anla, Murco, Soul International, Goldband, and Tic Toc labels – a total of 22 cuts that include "Soul Time" by Ernest Thomas, "Soul Feeling (parts 1 & 2)" by Eddy G Giles, "Soul Brothers Testify (part 1)" by Chester Randles Soul Senders, "Soul Power" by Abraham & The Casanovas, "Put It On" by Count Rockin Sidney with The Dukes, "Fix It" by Clifton White & His Royal Knights, "Miss Hard To Get" by Dennis Landry, "No Sad Times" by Johnny Truit, "Black Water Gold" by African Music Machine, and "I Got A Groove" by JJ Callier. CD

Exactly the kind of work that made Finland such an interesting jazz scene in the 70s – bursting with new inspiration, and with a style that was different than most of the rest of the European scene! The first half of the set features an all star quartet improvising beautifully together – a group that features Juhani Aaltonen on tenor, Esa Helasvuo on piano, Teppo Hauta Aho on bass, and Edward Vesala on drums – although the album features no tenor on the first track, and no piano on the other two! Aaltonen is at his sharpest here – really crafting some dark lines in the more spacious moments, with sound that might even more captivating than his studio releases. Titles include "Osa", "Bhanki", and "Hymni Isannoitsijalleni". Next is the group of drummer Edward Vesala – a leader who always had a very open ear for the work of his associates – as you'll definitely hear in this set! The group's got some wonderful interplay on the horns – as the lineup features Simo Salminen on trumpet, Mircea Stan on trombone, and the trio of Juhani Aaltonen, Pentti Lahti, and Paroni Paakkunaninen on saxes and flute. The tracks are all originals by Vesala – who's got a very compelling way of putting together a tune – almost painterly at times, with the soloists filling in lots of bold colors by themselves. Antero Honkanen plays electronics on one track – and titles include "The Wind", "Nan Madol", and "Areous Vlor Ta". CD

An insane classic from one of the wildest funk bands ever! According to reports, George Clinton and the band cut this set in a marathon 48-hour stretch in the studio – working like mad all night and day long, after dropping a motherlode of some mighty fine acid! We don't know if that story's entirely true, but the music on the album certainly backs it up – as it's some of the band's freest, most open-ended, most heavy-jamming work ever recorded! Guitars dominate over funky bass and drums – and the whole thing's an amazing blend of music, swirled together into a non-stop psychedelic party that includes P-Funk gems like "Funky Dollar Bill", "Free Your Mind", "Eulogy and Light", and "I Wanna Know If It's Good To You". LP, Vinyl record album

Ramsey Lewis in two modes – both of them great! The set's got Ramsey working with two different producers, each on a different side of the record – and both of them bring a nice inflection to the soulful groove that Lewis had already developed at Columbia Records! Side one's done with Larry Dunn, who brings in some Earth Wind & Fire talent in the studio – and puts Ramsey in that tight, funky, soul-based groove he always did so well with the group – cast here in that great Columbia Records blend of acoustic piano and electric backings, which always seemed to create a deeper soul than other fusion modes of the time. Side two features Allen Toussaint working with Ramsey – definitely bringing up some New Orleans funk influences from the Crescent City – yet also keeping things nicely electric too, very much in the mode that Toussaint used best at Warner Brothers at the end of the 70s. Titles include "Whisper Zone", "High Point", "Looking Glass", "Come Back Jack", "Hell On Wheels", and "Colors In Space". LP, Vinyl record album

A very cool compilation of vocal tunes from western films – all themes written by Morricone, and sung by a range of singers that really makes for some fantastic work! The recordings of the set are mostly from the very late 60s and very early 70s – and although the themes are western-oriented, there's also kind of a chorale and spooky vocal approach to many of them, linking the work a lot to Morricone's other work of the time. Includes a sublime version of "Ballad of Sacco & Vanzetti" by Scott Walker that's almost worth the price of the CD alone, plus the 3 part version of the theme by Joan Baez from the original soundtrack. Other titles include "Faith" by Rocky Robers, "Messico Che Vorrei" and "Corri Uomo Corri" by Christy, "A Gringo Like Me" and "Per Un Pugno Di Dollari" by Peter Tevis, "Angel Face", "The Return Of Ringo", and "Eye For An Eye" by Maurizio Graf, "Vamos A Matar Companeros" by Studio Choir, and "Death Rides A Horse" by Raoul. CD

One of the ultimate moments from the legendary Lee Scratch Perry – the set of recordings that shut down the Black Ark studios – and which helped build a bridge to the European scene that would help keep Perry's music alive for the next few decades! The sound of the album is even more far-reaching than some of Lee's earlier recordings – opened up in a new freedom that's much more aimed at album-oriented styles – heard best on the album's long opening number "Bed Jammin", and spun out over some great numbers that really showcase Perry's incredible talents in the studio! Titles include "Untitled Rhythm", "Give Thanx To Jah", "Easy Knocking", "Who Killed The Chicken", "Babylon Cookie Jar A Crumble", and "Some Have Fe Halla". LP, Vinyl record album

A fantastic later album from Gil Scott-Heron – a set that came out in the mid 90s, at a time when Gil had been away from the studio for many years – but definitely hadn't lost any of the qualities that made him so great in the first place! Despite the space of a decade, the album picks up right where the Arista records left off – and in fact, maybe even gives things a deeper, jazzy current after the last few – just the right sort of production to support both Gil's message in his lyrics, and the jazz vocal style that always makes that message come across so well. The album's got a nice extended track called "The Other Side", plus nice ones like "Don't Give Up", "Spirits Past", and "Spirits". CD

A surprisingly sweet solo effort from Beach Boy Dennis Wilson – a record of surprising depth and darkness, and arguably stronger than most of the albums at the time from the larger group! Dennis produced the album himself, with some executive help from James William Guerico – whose guidance here seems key, given the overall quality of the set. There's some echoes of Beach Boys' styles in the music, but the sound is much more personal as well – Wilson's ragged vocals in the lead on all numbers, sometimes upfront and fragile, sometimes given a bit more umph through the use of processing – at that level that the whole group would often experience in the studio during the 70s. The album's as much of a showcase for Dennis' writing skills as it is for his vocals – and songs are co-written with co-producer Gregg Jakobson, as well as Carl Wilson, Mike Love, and Karen Lamm-Wilson. Titles include "River Song", "Friday Night", "Thoughts Of You", "Dreamer", "Time", "You And I", and "What's Wrong". This limited version of the expanded Legacy edition is really amazing – with a huge booklet of notes and photos, as well as essays on Dennis' music – plus session bonus tracks that include "Mexico", "Holy Man", "Only With You", and "Tug Of Love". Also features a full bonus CD with the sessions for the unreleased Bambu album – with tracks that include "School Girl", "It's Not Too Late", "Under The Moonlight", "Are You Real", "He's A Bum", "Cocktails", "I Love You", "Constant Companion", and "Time For Bed". CD

Heavy heavy funk from the Louisiana scene of the late 60s and 1970s – and a great collection that really gets past the dominance of the New Orleans sound! The set moves way past the Crescent City to uncover a wealth of great bits recorded in smaller studios located in Shreveport, Lake Charles, and a variety of tiny scenes in the southwest side of Louisiana – and the result is a great batch of tunes with a really gritty, down-n-dirty sound! There's a wealth of great funky styles in the set – including James Brown-inspired jammers, southern soul burners, and some other great modes that show that Louisiana's got a heck of a lot more to offer than just New Orleans funk. Titles include work from the Anla, Murco, Soul International, Goldband, and Tic Toc labels – a total of 22 cuts that include "Soul Time" by Ernest Thomas, "Soul Feeling (parts 1 & 2)" by Eddy G Giles, "Soul Brothers Testify (part 1)" by Chester Randles Soul Senders, "Soul Power" by Abraham & The Casanovas, "Put It On" by Count Rockin Sidney with The Dukes, "Fix It" by Clifton White & His Royal Knights, "Miss Hard To Get" by Dennis Landry, "No Sad Times" by Johnny Truit, "Black Water Gold" by African Music Machine, and "I Got A Groove" by JJ Callier. LP, Vinyl record album

The second smoking Live Oblivion set from Brian Auger and crew – twice as long, and maybe even twice as funky as the first! The tunes on here all really push the ten minute mark – stretching out the original Auger conception on studio sides, and featuring plenty of room for really wicked solo work on organ and electric piano! The live setting seems to inspire the group to even greater new heights – and there's an intensity here that makes for some really great moments. Titles include the wonderful break-heavy version of "Compared To What" – plus "Second Wind", "Maiden Voyage", "Straight Ahead", and "Inner City Blues". CD

One of a handful of late 50s albums that Chet Baker recorded for Riverside – all of which are some of his last great 50s work in the studio, before a shift in the 60s to a wider-ranging approach to his music! The style here is definitely in the "classic" Baker mode set down for Pacific Jazz – but a bit more fleshed out by the other players in the set – who seem to push a bit more personality into the tunes, and not just let Chet's trumpet dominate. The sound is soft and gentle – as you'd expect from the title – and other players include Bill Evans, Pepper Adams, Kenny Burrell, Paul Chambers, Connie Kay and Philly Joe Jones – all bringing a bit of a New York undercurrent to the west coast Baker solo style. Titles include "How High the Moon", "It Never Entered My Mind", "If You Could See Me Now", "You'd Be So Nice To Come Home To", "Time On My Hands", and "You And The Night And Music". CD features 1 bonus track – "Early Morning Mood". CD

With players like these, the life of a trio must be a great one – and the album's one part of a two-day recording session done by pianist Paul Bley, bassist Steve Swallow, and saxophonist Jimmy Giuffre! The "trio" tag is somewhat misleading at times – because the album's often a gathering of all three players in the studio, rather than a continuous collaborative effort. Some tracks have a single player, working alone – while others sneak in a duet, and others then follow a trio format – and the album's a great illustration of the sharp talents that all players still had at this point in their career! Giuffre's especially great – and works here on both clarinet and soprano sax – and given that Swallow had been a key part of Jim's trio in years back, many moments often sound like a revival of the more "out" Giuffre trio sides, with the addition of Bley's great tones on piano. This second volume features the "Sunday" session – with titles that include "Things", "Fallen Statue", "Play Ball", "Scrambled Legs", "Where Were We", "Mephisto", and "Tango Del Mar". CD

Rare lost work from Dennis Bovell – late 70s material cut at a time when Bovell's presence on the UK scene was really starting to make some waves – emerging production genius that maybe rivals that of Lee Scratch Perry right around the same time! There's a heavy dub approach going on here – those famous touches that Dennis would bring to others in more mainstream ways during the 80s, but which here has all the earthiness of underground dubplates and studio experiments! The artists vary from track to track, but there's a very unified approach that's pure Bovell, all the way – similar to the way that Perry can permeate the work of others so strongly. Titles include "Suffra Dub" by Dennis Bovell Dub Band, "Blood Dem" by Dennis Matumbi, "Come With Me" by Dennis Curtis, "Run Rasta Run" by African Stone, "Fire Dub" by Matumbi, "Take Dub" by Young Lions, "Dub Choice" by African Stone, "Cry" by Angelique, "Crying" by DB At The Controls, "Compelled" by Cosmic Idren, and "Jah Man" by Errol Campbell. CD

Rare 70s work by Bobby Byrd – sides done for the Brownstone and International label, most of which feature work by members of the James Brown universe, and some production by James Brown himself! The best tracks on the set are from the early 70s – and feature Bobby working in that incredibly tight, incredibly fast-grooving mode he first forged with James – heard to best effect on some key live recordings, and served up here in some equally great studio sides that feature help from Fred Wesley and Brown. A few other cuts keep the funky fire burning with some surprisingly nice Miami touches – with Clarence Reid on production, but Bobby more than strongly in the mix on some great vocals. There also appears to be a few tracks from later years – featuring Byrd with singers Vicki Anderson and Martha High, plus a group that also includes Bootsy Collins and Fred Wesley – and 2 more that are later live numbers. The set features 11 tracks in all, and is a great counterpart to Bobby's one and only album for the King label – with tracks that include "Never Get Enough", "Hang It Up", "Back From The Dead", "The Way To Get Down", "Feel Good Friday", "Sayin It & Doin It Are Two Different Things", "Let Me Know", and "Tell Me What's On Your Mind". CD

A sweet smooth later set from the great Bill Champlin – recorded as a solo set, in the years after his Sons Of Champlin group had gone by the wayside – in a polished blend of AOR and soul styles that really knocks it out of the park! Even back with Sons, Bill had a style that was nicely funky at the core – and that sound persists here, but in a setting that's got a bit more late 70s studio finesse – almost in Ned Doheny territory, but maybe a bit more hook-heavy overall. A real overlooked gem from the glory days of AOR – with tracks that include "What Good Is Love", "I Don't Want You Anymore", "Keys To The Kingdom", "We Both Tried", "Fly With Me", "Careless", and "Love Is Forever". CD

A double set of rare work from Kenny Dorham – two albums that both offer up wonderful live playing on the European scene of the early 60s! First up is Scandia Skies – a set that has Kenny Dorham playing on a set of extended live numbers that are all a fair bit different than his studio work in the US at the time! The date features twin trumpets, too – those of Dorham and Rolf Ericson, blowing together in a bold frontline, then breaking out for beautiful long solos that each have their own sort of voice – driven on nicely by rhythms from Tete Montoliu on piano, Niels Henning Orsted Pedersen on bass, and Alex Riel on drums! The recording quality is excellent, and there's a sharpness here that matches Dorham's hardbop best – but a freewheeling energy that really takes things even further. Titles include "Manha De Carnival", "Scandia Skies", "Solar", and "Woody N You". Next is Short Story – great live work from Kenny Dorham – wonderfully recorded by Danish Radio from an early 60s performance in Copehagen – one that also features flugelhorn from Allan Botschinsky as well! The mix of trumpet and flugelhorn is totally great – a shifting, shimmering palette of colors and sound that steps right out with a bold, righteous energy – that sense of force that Dorham was beginning to show in some of his American recordings too – before his studio appearances were cut down all too quickly. Rhythms are extremely tight too – with Tete Montoliu on piano, Niels Henning Orsted Pedersen on bass, and Alex Riel on drums – and the tracks are nice and long, with versions of "Short Story", "Bye Bye Blackbird", "Manha De Carnival", and "The Touch of Your Lips". CD

Life-changing music from Pierre Henry – one of the key French electronic music composers of the 20th Century – and an artist who went on to have a big impact in the 21st Century as well! This set mixes together key Henry compositions with nine never-released works – all remastered by Henry in his own famous studio – where he took up most of his later-life creative activity, after an initial association with the famous RTF Studio in Paris! The sounds here are incredible – truly an illustration of the genius of the man who once said "it is necessary to destroy music" – a thesis that Pierre expounds on more fully in the notes within. The package features a total of 29 works in all, presented on 12 CDs with a big booklet of notes – and works include "Chroniques Terriennes" (2016), "Etudes Transcendantes Pour Un Piano Imaginaire" (2015), "Grande Toccata" (2006), "Gymkhana" (1970), "Pleins Jeux" (2008), "Kyldex" (1973), "Une Tour De Babel" (1988), "La Reine Verte", "Rock Electronique" (1963), "Histoire Naturelle" (1997), "Facies" (1960), "Le Livre Des Morts Egyptien" (1988), "Fragments Pour Artaud" (1970), "La Noire A Soixante" (1961), "Deuxieme Symphonie" (1972), "Spatiodynamisme" (1953), and "Concerto Des Ambiguites" (1950). CD

A mid 70s meeting of two seminal blues talents from the Memphis scene – singer Bobby Blue Bland, and legendary guitarist BB King! The pair were both working for ABC at the time – major label fame after years woodshedding in the indies – and hitting well-deserved fame for their huge talents – still as fresh here as they were a decade before, and unmarred by any studio sanitization in this great live set! The record does an especially good job of bringing together the artists verbally – letting Bobby and BB open up and rap a bit during the songs – yet still having plenty of space to go into their own thing musically, too. Titles include "It's My Own Fault", "I'll Take Care Of You", "I'm Sorry", "3 O'Clock Blues", "Goin Down Slow", and a great long Medley track. CD

A big 70s classic from The Meters – a set that broke the group way out of the indie funk ghetto, and firmly put them on the map with a larger soul audience at the time! There's still plenty of roots in the music, but there's also a bit more attention to the overall song structure too – not just vamps or instrumental riffs, but more fully-formed numbers that are really coming together here – with great help in the studio from Allen Toussaint! The group has a nice guitar-heavy sound on the bottom – a style that's different than their rougher early recordings for Josie, but still done with just the right blend of New Orleans funk and nicely grooving soul – and titles include "Middle Of The Road", "Out In The Country", "Love Slip Upon Ya", "Running Fast", and their classic "Fire On The Bayou". Also features the bonus track "Running Fast", done in a longer version than on the LP! CD

heavier studio power they were allowed at the bigger label! The set was produced by Allen Toussaint during that time he was making big waves on the west coast – and he still retains some of the bite of the Sansu years, while also letting the group come across more as a soul group than just an instrumental funk act. The vocals are up more in the mix than before, but the razor-sharp funky instrumentation is still center stage – and titles include the incredible breakbeat cut "Just Kissed My Baby" – worth the price of the album alone – plus "Jungle Man", "Africa", "What'cha Say", and the perennial New Orleans favorite "Hey Pocky A Way". Also features the incredible funk jam "It Ain't No Use" – a monster track that's nearly 12 minutes long! Plus, the CD features 2 bonus tracks, single versions of "Hey Pocky A-Way" and "People Say"! CD

Damn great work from one of the greatest British tenorists of the 60s – reedman Dick Morrissey, an artist who never cracked our shores as strongly as Tubby Hayes or Ronnie Scott – but whose work is equally wonderful! Like both Hayes and Scott, Morrissey's got a way of mixing solid swing with a touch of modern – really taking Brit jazz to the next level with a recording like this – a smoking studio cooker with a rock-solid rhythm section! Most tunes are originals – played with tight changes that really make the most of Dick's sharp line on tenor – by a quartet that also includes Harry South on piano, Phil Bates on bass, and Jackie Dougan on drums. Titles include "The Goblin", "Serenata", "Down Home", "Skatin", "On The Spot", "There & Back", and "The Celt". CD

Some of the smokingest material ever recorded by British tenor player Dick Morrissey – and that's saying a hell of a lot, given the strength of his other albums! The date's got the same Storm Warning in the title as one of Dick's studio classics – but the record's something else entirely – a very open-ended live date, recorded a few years later – with loads of room for Morrissey to really open up and blow – showing off that amazing sense of tone and timing in ways that have us loving his music more than ever! The rhythm group is a key part of the success of the record – and features Harry South on piano, Phil Bates on bass, and the amazing Phil Seamen on drums – on long tracks that include "Altoitis", "Get Out Of The Country", "Sonny Boy", and "Storm Warning". CD

Never-issued material from the legendary Dick Morrissey – recorded for England's 77 Records at a time when Morrissey was at the height of his powers on the tenor! All tracks here are nice and long – really stretching out with an inventiveness that blows away even the level heard on Dick's famous studio albums – the kind of depth of feeling and imagination we're much more likely to hear from his contemporary Tubby Hayes – and proof that there's still plenty we've got to learn about British jazz! The group is great – Harry South on piano, Phil Bates on drums, and Phil Seamen on drums – giving Dick the kind of soulful swing that Tubby might normally get on some of his best records – and although the tracks on the set are listed here as "untitled" numbers – that's further proof that the music is fresh, and being discovered here for the first time! CD

Rare early 70s material – recorded in Deep South studios in Baton Rouge, with help from Snooks Eaglin on guitar – and up at Ardent Studios in Memphis, with more guitar from Eaglin, and drums from Joseph Zigaboo Modeliste! CD

Maybe not the first album by Queen, but the record that really put them on the map – as the group create a wonderful sense of interplay between all the elements that make them so great – while also using the studio in ways the group had never dared before – taking their transcendent sound to the skies, and forever changing the face of rock in the 70s! The highlight of this approach, of course, is the groundbreaking "Bohemian Rhapsody" – one of the most unlikely pop hits of the time – served up here alongside the easier hit "You're My Best Friend" – in a masterful assemblage of tracks that also includes "I'm In Love With My Car", "39", "Sweet Lady", "Seaside Rendezvous", "The Prophet's Song", "God Save The Queen", "Lazing On A Sunday Afternoon", and "Death On Two Legs". CD

A record that really lives up to its title – as it comes on with a sound so strong, so fierce, it can certainly be called an "attack"! The dub here isn't just the lazy-stepping, head-nodding variety – but very much on point and on the money – with the studio used almost as an additional instrument alongside the core rhythmic elements – which themselves have the best Channel 1 power of the studio's glory days in the 70s! And the lack of any vocals somehow makes the whole thing even more powerful – giving the spare instrumentation a hell of a lot of focus, in ways that so many later dub-imitators always tried to reach, but never did this well. Titles include "Semi Classical Natty Dub", "Skyjuice & Festival Dub", "Everybody Dubbin", "Dub For Marcus Garvey", "Is Dub I Deal With", "Dub Development", and "Musical Dub Attack". CD

Rare work from the early years of the Chicago house scene – a massive archeological project that pulls together tracks recorded in home studios on 4 track tapes! There's a spareness and sharpness here that's almost more Detroit than Chicago – a sound that clearly shows the influence of post-punk imports on the Windy City scene – that vibe that came to Trax via Wax Trax, but hardly ever made it to record in a form this clear! The package is a huge musical discovery – the sort of sounds you'd always imagined in Chicago, but never found laid out in such a primal format – proof that in the right corners, there was plenty of darkness in the scene. Titles include "Silence", "In The Valley", "Sex", "Moskaw", "It's A Crime", "Boing", "Look Into Your Eyes", "Sexual Behavior", and "I Have Always Wanted". CD

Beautifully laidback blowing from the great Ben Webster – captured here in perfect late 50s formation, with wonderful rhythm support from the Oscar Peterson Trio! The tunes aren't super-long, but still have a relatively open feel – possibly improvised in the studio, with a mellow but deeply soulful sound throughout, thanks to Webster's massive tone on the tenor sax. Peterson's on piano, and other players include Ray Brown on bass and Ed Thigpen on drums – and titles include "The Touch Of Your Lips", "When Your Lover Has Gone", "Bye Bye Blackbird", "How Deep Is The Ocean", "In The Wee Small Hours Of The Morning", "Sunday", and "This Can't Be Love". CD

An early trio session by Lester Young – recorded with Buddy Rich on drums! The record also features an obscure pianist named "Aye Guy" – Nat King Cole under another name! Guy and Young trade lines in a very nicely relaxed format, and even though the record's mostly all standards, the group works well with the material. The one original track – "Back To The Land" – is a live improvised one, recorded in the studio with no overdubs – and other titles include "I've Found A New Baby", "I Cover The Waterfront", and "Somebody Loves Me". CD

Wonderfully tripped-out pop from the late 60s – served up by a few famous names and an even better band of lesser-knowns – all of whom recorded for Warner Brothers and related labels at the time! The package does a great job of showing the "pop" side of psychedelia – a sound that's a lot harder than the Sunshine Pop end of the spectrum, but which also shares a similar love of groovy themes, sweet vocals, and cool production techniques! A few of the tunes get a bit way out, but most of the numbers manage to pack a whole trip's punch within a short little 3 or 4 minute song – leaving us to marvel even more at the deft economy in the studio, and the wonderful quality this kind of music had before it succumbed to too many of its own excesses. Titles include "Her Name Is A Melody" by Adrian Pride, "It's Love" by The Misty Wizards, "Break Away" by Next Exit, "Hallucinations" by Baker Knight & The Knightmares, "Your Love Belongs To Everyone" by The Coronados, "That's The Way It's Gonna Be" by Lee Mallory, "Wildflowers" by The Holy Mackerel, "Smell Of Incense" by West Coast Pop Art Experimental Band, "My Mind Goes High" by MC2, "Straight Aero" by Jeff Thomas, and "The White Pony" by Ellen Margulies. LP, Vinyl record album

A heady dip into the glorious work of soul music from Miami – the city that took the reigns for southern soul after initial waves of creativity in Memphis and Muscle Shoals! Miami's best known for its big disco hits of the mid 70s, but most of the music here is from the years before then – a time when Henry Stone and his early TK Records empire were drawing a lot of attention in the city, turning out some killer funk and soul – and also catching the interest of Atlantic Records, who began moving some of their artists down to Miami to record as well! The mix of modes here is wonderful – deep soul vocals, of the sort you'd know from Stax or Fame Records – mixed with newer modes of expression, currents of funk, and some killer studio techniques – all to serve a smoking batch of 20 tracks in all! Titles include "Winterman" by Charles Allen, "Africano" by Timmy Thomas, "Party Freaks" by Miami, "Clean Up Man" by Jimmy Bo Horne, "Concrete Jungle" by Little Beaver, "I Get Lifted" by Latimore, "Kisses Kisses Kisses"b y Lynn Williams, "Do It Again" by Paulette Reaves, "Ten Tons Of Dynamite" by Clarence Reid, "Jimmy Bo Charlie" by Robert Moore, "All This Love That I'm Giving" by Gwen McCrae, "Keep It Up" by Milton Wright, "Monkey Tamarind" by Beginning Of The End, "Free I'll Always Be" by Chocolate Clay, and "Burn The Candle" by Raw Soul Express. LP, Vinyl record album