High Flyer From May 2016

This is probably the first and rarest bootleg LP of Jimi Hendrix! Originally released in April 1970, 4000 Jamaican pressing copies reported but probably far less, it sported a plain jacket and black center labels. A number of copies were circulated and sold with Black Panther propaganda inside. The title came from the enclosed slip of paper which stated: "This Flyer is for the man who walked into a pad at Woodstock, raised his axe and talk to the people around him, and they talked together". The album contained 4 untitled jams, a long affair which dominate side 1 and 3 shorter pieces on side 2, including "Flying", the only one with lyrics. Recorded in September 1969 at Shokan House around Woodstock, the jams featured unknown Welsh pianist Mike Ephron with Juma Sultan on flute and percussion and Jerry Velez also on percussion.

2011 five CD anthology from the British rockers that collects all of the songs they recorded for Chrysalis Records from 1973 to 1979. This set chronologically charts UFO's career including 1979's hit single 'Doctor Doctor,' as well as the tracks that made them staples on FM radio during the '70s. This collection boasts a previously unreleased concert from UFO's debut U.S. tour, recorded in 1974 at Atlanta's Electric ballroom, as well as BBC radio sessions. 81 tracks total.

Like other releases from the U.K.-based Soul Jazz label – such as Philadelphia Roots or New Orleans Funk – the 17-track Miami Sound: Rare Funk & Soul from Miami Florida 1967-1974 prides itself on its obscurity, digging out tracks that have been lost to all but the fanatically dedicated collector. That's Soul Jazz's stock in trade: They occasionally feature hits, but they're regional hits, and none of the material on any of their collections is readily available on CD. While there's the occasional feeling that sides are chosen for obscurity's sake, it's often overshadowed by the consistency of the material; it all sounds of a piece, due to the compilers' expert ears and their desire to hold the groove above all other considerations. This is appropriate especially for Miami Sound, since the city's soul was as groove-oriented as New Orleans, but considerably more splashy, stylish, streamlined, hard, and sleek – the kind of grooves that work really well as recordings, which is why this may be the best installment yet of Soul Jazz's soul-oriented compilations. Each cut here has a bright neon glow and deep danceability that point the way to disco, and while that can sometimes get a little samey on the instrumentals – with the notable exception of Timmy Thomas' rampaging "Funky Me," whose beat even points the way toward electro – what makes this collection a real delight is the abundance of great songs. Little Beaver is deservedly a respected cult figure and George and Gwen McCrae are both represented with good early cuts, but the real finds are Joey Gilmore's deep soul, Frank Williams & the Rocketeers' vocal sides, and especially James Knight & the Butlers, whose two tracks, "Save Me" and "Fantasy World," are pure dynamite, a pair of the best unheard soul of the '70s and reason enough to get this collection.

Like other releases from the U.K.-based Soul Jazz label – such as Philadelphia Roots or New Orleans Funk – the 17-track Miami Sound: Rare Funk & Soul from Miami Florida 1967-1974 prides itself on its obscurity, digging out tracks that have been lost to all but the fanatically dedicated collector. That's Soul Jazz's stock in trade: They occasionally feature hits, but they're regional hits, and none of the material on any of their collections is readily available on CD. While there's the occasional feeling that sides are chosen for obscurity's sake, it's often overshadowed by the consistency of the material; it all sounds of a piece, due to the compilers' expert ears and their desire to hold the groove above all other considerations. This is appropriate especially for Miami Sound, since the city's soul was as groove-oriented as New Orleans, but considerably more splashy, stylish, streamlined, hard, and sleek – the kind of grooves that work really well as recordings, which is why this may be the best installment yet of Soul Jazz's soul-oriented compilations. Each cut here has a bright neon glow and deep danceability that point the way to disco, and while that can sometimes get a little samey on the instrumentals – with the notable exception of Timmy Thomas' rampaging "Funky Me," whose beat even points the way toward electro – what makes this collection a real delight is the abundance of great songs. Little Beaver is deservedly a respected cult figure and George and Gwen McCrae are both represented with good early cuts, but the real finds are Joey Gilmore's deep soul, Frank Williams & the Rocketeers' vocal sides, and especially James Knight & the Butlers, whose two tracks, "Save Me" and "Fantasy World," are pure dynamite, a pair of the best unheard soul of the '70s and reason enough to get this collection.

Cutting away all of Marty Robbins' rock & roll, Hawaiian and cowboy recordings, Bear Family's four-disc box set Country (1960-1966) contains nothing but his straight country and country-pop recordings of the early '60s. During that era, Robbins was one of the most popular performers in country music, scoring an impressive series of Top 10 hits and pop crossovers like "Don't Worry" and "Devil Woman," which are all included on this set. Where many Bear Family sets are so thorough and complete, they merely wind up being exhausting, Country (1960-1966) is entertaining from start to finish, since it is sequenced in a logical, listenable order and doesn't dwell on the rarities. Any serious fan of Robbins will find the set an essential addition to their library, and it is arguably the finest Robbins box Bear Family has released.

Glenn Barrie Shorrock is an English-born Australian singer-songwriter. He was a founding member of pop/rock groups The Twilights, Axiom, Little River Band, and post LRB spin-off trio Birtles Shorrock Goble, as well as being a solo performer. Shorrock was inducted into the Australian Recording Industry Association (ARIA) Hall of Fame as a solo artist in 1991 and as a member of Little River Band in 2004. In May 2001 the Australasian Performing Right Association (APRA), as part of its 75th Anniversary celebrations, named "Cool Change" as one of the APRA Top 30 Australian songs of all time.