PROFESSOR LETT AND STUDY - LOVE SERENADE (BEANTOWN 1978) Jap mastering cardboard sleeve

From the rear cover liner notes...
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"Professor Lett And Study is the most fascinating new recording group to emerge in ages, and no connoisseur of music can afford to miss this album".
Mattie Swaine
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"Professor Lett and Study's debut album is loaded with originality, each idea fully realized and perfectly on target".
E.R. Stone
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BO DIDDLEY - ANOTHER DIMENSION (CHESS 1971) Jap mastering cardboard sleeve

Funky Bo Diddley – one of Bo's key early 70s sessions for Chess Records – all of which have him stepping out in a much harder groove than years past! The sound here is relatively tight – with Diddley guitar and vocals on top of some larger arrangements from Bob Gallo – backings that mix together sounds from contemporary rock and soul, but always with an ear for the roots that Bo inspired in the first place – put forward towards a new generation with nicely kicking rhythms and really fuzzy guitars! The standout number here is the break classic "Go For Broke" – a drum-heavy instrumental that's worth the price of the record alone – and other titles include the great original "Pollution", plus versions of "The Shape I'm In", "Down On The Corner", "Lodi", "Bad Side Of the Moon", and "Bad Moon Rising".
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SUPREMES - WHERE DID OUR LOVE GO (MOTOWN 1964) Jap mastering cardboard sleeve

In the spring of 1964, The Supremes recorded the single "Where Did Our Love Go". The song was originally intended by Holland-Dozier-Holland for The Marvelettes, who rejected it. Although The Supremes disliked the song, the producers coerced them into recording it. In August 1964, while The Supremes toured as part of Dick Clark's Caravan of Stars, "Where Did Our Love Go" reached number one on the US pop charts, much to the surprise and delight of the group. It was also their first song to appear on the UK pop charts, where it reached number three.
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"Where Did Our Love Go" was followed by four consecutive US number-one hits: "Baby Love" (which was also a number-one hit in the UK), "Come See About Me", "Stop! In the Name of Love" and "Back in My Arms Again". "Baby Love" was nominated for the 1965 Grammy Award for Best Rhythm & Blues Recording...
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DIANA ROSS & THE SUPREMES - REFLECTIONS (MOTOWN 1967) Jap mastering cardboard sleeve + 2 bonus

Diana Ross & the Supremes "Reflections" was the first regular studio LP to display the new billing of the group formerly known as "The Supremes". It contains the singles "Reflections", "In and Out of Love", and "Forever Came Today." Also included are covers of songs made famous by Martha and the Vandellas ("Love (Makes Me Do Foolish Things)") and The 5th Dimension ("Up, Up and Away"). Also present are songs written by other famous names, including "Bah-Bah-Bah" co-written by Motown songstress Brenda Holloway with her younger sister, Patrice, an original Smokey Robinson compostion titled "Then", and "What the World Needs Now Is Love" by Burt Bacharach and Hal David, which Motown planned to release as a single in the spring of 1968, but cancelled. It also contains a cover of Bobbie Gentry's "Ode to Bille Joe", whose original recording kept the single #2 "Reflections" from peaking at the top spot on the Billboard Hot 100 in September 1967, and #1 on Cashbox.
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The album includes the final songs the Supremes recorded with their main creative team of Holland–Dozier–Holland before the three writers/producers departed Motown over royalty and title disputes. Although Florence Ballard recorded some of this album before being fired from the group in June 1967, her replacement Cindy Birdsong along with Mary Wilson recorded several songs and appears on the album cover. One of the album's singles, "Forever Came Today", was later covered by The Jackson 5 on their 1975 album Moving Violation...
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MAXINE BROWN - OUT OF SIGHT (EPIC 1968) Jap DSD mastering cardboard sleeve + 2 bonus

Miss Brown Is no newcomer to the hit charts, having been there with Chuck Jackson and alone on another label, but she is a newcomer to EPIC, and this LP marks her debut.
She is never sounded better. Listen to her wail "Sunny" as though it belonged to her from the beginning, and her treatment of Percy Sledge's "When A Man Loves A Woman" is a pure gem.
Hear "In My Entire Life" to Know that Maxine Brown has a hot package on her hands...[Billboard, July 1968]

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THE NEW VIBRATIONS - THE NEW VIBRATIONS (OKeh 1966) Jap DSD mastering cardboard sleeve + 10 bonus

Killer "Okeh" soul by this great group from the 60s!! The record covers both sides of The Vibrations' bag – from mellow moody vocal group standards, to uptempo groovers – of the sort that have always made the group a favorite with the Northern Soul scene! The album's a nice departure from the group's earlier work, as it shows them really locking in some great harmonies on the mellower cuts – but still able to really let loose when they want to! Titles include great versions of the cuts "Secret Love" and "Everybody Loves A Lover" – plus the tracks "Soul A Go Go", "Gonna Get Along Without You Now", "Forgive & Forget", and "For Your Love". CD features a whopping 10 bonus tracks – including "Cause You're Mine", "Remember The Rain", "Love In Them There Hills", "Talkin Bout Love", "End Up Crying", "Pick Me", and "You Better Beware".
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THE ARTISTICS - GET MY HANDS ON SOME LOVIN' (Okeh 1966) Jap DSD mastering cardboard sleeve

A Chicago R&B and soul group discovered by Major Lance, the Artistics were formed in 1958 at Marshall High School. They sang at the 1960 Democratic Convention and backed Lance before recording for Okeh in 1963. Original lead vocalist Robert Dobyne joined founding members Aaron Floyd, Curt Thomas, Laurence Johnson, and Jesse Bolian in 1963.
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Their early recordings for Okeh included the singles "Get My Hands on Some Lovin" and "This Heart of Mine" in 1964 and 1965. Former El Dorado Marvin Smith replaced Dobyne in 1964. The Artistics joined Brunswick in 1966, and scored their biggest hit with "I'm Gonna Miss You," which was also the title of their debut album for the label. They had three more moderate hits for Brunswick in the late '60s and early '70s. Smith left in 1967, though he continued singing on studio recordings. Tommy Green and Fred Pettis also served as lead vocalists until the group disbanded in 1973. ~ Ron Wynn, All Music Guide
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MAJOR LANCE - UM UM UM UM/BEST (OKeh 1963) Jap DSD mastering cardboard sleeve + 6 bonus

Blessed with a warm, sweet voice, Major Lance was one of the leading figures of Chicago soul during the '60s and the top-selling artist for OKeh Records during the decade. Lance not only had a lovely voice, but his material was excellent. During the height of his success, the majority of his songs were written by Curtis Mayfield and produced by Carl Davis, and the pair developed a smooth, Latin-flavored sound that was punctuated by brass and layered with vocal harmonies, usually from the Impressions. It was urban, uptown soul and while it was considerably less gritty than its Southern counterpart, its breezy rhythms and joyous melodies made songs like "The Monkey Time" and "Um, Um, Um, Um, Um, Um" some of the most popular good-time R&B of its era. Major Lance's career declined significantly after he parted ways with Mayfield and Davis in the late '60s, but his classic OKeh recordings remain some of the best-loved soul music of the decade.
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In 1962, Lance was signed to the revived OKeh Records, based on his connections with Otis Leavill and, especially, Curtis Mayfield, who signed with the Impressions to ABC Records and had hits with his own group. Later that year, Lance recorded his first single, "Delilah," for the label. Like most of the Major's material, the song was written by Mayfield who, along with OKeh president Carl Davis and arranger Johnny Pate, developed a distinctive, Latin-tinged sound for the record, filled with sliding trombones and a light-stepping rhythms in order to distinguish Chicago soul from its counterparts in the South, New York, Detroit, and California. Though "Delilah" wasn't a hit, Lance's second single, "The Monkey Time," was a monster. Released in the summer of 1963, "The Monkey Time" reached number two on the R&B charts and number eight pop, establishing not only Lance as a singer but the revitalized OKeh Records as a pop music force. "Hey Little Girl" was a Top 15 pop and R&B hit later that year, followed by the Top Ten "Um, Um, Um, Um, Um, Um" early in 1964.[allmusic]
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LEWIS SISTERS - WAY OUT...FAR (LIBERTY 1959) Jap mastering cardboard sleeve

Helen and Kay Lewis', two sisters from Michigan, names cropped up on Motown albums and some single releases in the '60s, such as Gladys Knight & the Pips' "Just Walk in My Shoes." But their careers didn't begin at Motown, rather, in the '50s as jazz singers and songwriters. After high school, Kay attended Michigan State University and earned a degree in music; Helen graduated from UCLA with the same degree.
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In 1955, Kay, whose primary instrument is guitar, moved to California to join her sister Helen who plays piano. They befriended jazz pianist Les McCann in 1958 and he got them a deal with Liberty Records where they recorded a jazz album entitled Way out...Far. McCann played piano on the session and Paul Horn played alto sax. Next came a few sides for Chess/Checker records, including "Come on Let's Stroll," which found its way onto the Checker LP Hits That Jumped in 1959. A year later they cut what Kay describes as a weird album for Verve Records. The Russ Garcia produced Voices, Strings and Percussions was quite odd, Garcia used the sisters' voices like violins on the 1960 album of Tchaikovsky songs.
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They met Hal Davis in California and through Davis' partner Marc Gordon, got them inked to Motown in 1963 as recording artists, but their only releases as artists came two years later on the company's VIP subsidiary. "He's an Oddball" b/w "By Some Chance" and "You Need Me" b/w "Moonlight on the Beach" were good records, different from their early jazz and voice albums, more mainstream. 11 days before the release on their final single, Kay's daughter Little Lisa emerged on VIP as well with "Hang on Bill" b/w "Puppet on a String" (August 20, 1965). The dynamic sisters appeared with Chris Clark on Clark's November, 1965, single "Do Right Baby, Do Right." Nothing hit with much authority and no more recordings were issued. Helen and Kay's songs were being snapped up mostly as album cuts by other artists including the Miracles' "Baby, Baby" and Edwin Starr and Blinky's LP Just We Two which featured "Can't We Be Strangers Again" and "I See a Rainbow."...[All Music Guide]
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LEE WILEY - NIGHT IN MANHATTAN (COLUMBIA 1951) Jap mastering

"Lee Wiley was one of the greatest and most neglected American vocalists. Wiley began in the early '30s as a torch singer and was a formative influence on the young Billie Holiday. Wiley also pioneered the concept of the "composer's songbook" with her 1939 Cole Porter and Gershwin sets for the specialized Liberty Music Shop label. Still, it wasn't until the early '50s that Wiley recorded again in a commercial setting worthy of her stature.
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Several disparate Columbia sessions make up NIGHT IN MANHATTAN. One session features a small string section, another the great trumpeter Bobby Hackett, and another the piano team of Stan Freeman and Cy Walter. Still, the eventual LP was held together by Wiley's stylistically consistent and utterly honest delivery, an approach to song (and life) both wistful and sophisticated at once. "I've Got a Crush on You" rivals Sinatra's celebrated 1945 version (again with Hackett providing the trumpet obligato), but it is the moving, emotionally stripped-down versions of "How Deep is the Ocean," "Time on my Hand" and "More Than you Know" that provide the key to her art."(Joe Sarno, Muze)
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