Big Fat Love Collins

This is the most comprehensive collection of the rockabilly era that was ever assembed in one box. On these 40CDs there are 1000 carefully chosen songs. A booklet is also included with information, biographies and many rare illustrations.

The set Roots N' Blues features many hours worth of early blues, folk/country and gospel recordings from a variety of American artists.

This is the most comprehensive collection of the rockabilly era that was ever assembed in one box. On these 40CDs there are 1000 carefully chosen songs. A booklet is also included with information, biographies and many rare illustrations.

"That'll Flat… Git It!" is one of the best compilations of the 1950's rockabilly. Each volume contains nearly 30 songs, mostly rockabilly classics and unknown great artists. In spite the tracks were remastered, you can hear some noise, especially in the end of the tracks. This is because many songs were taken from original vinyl singles.

NIGHT COMES DOWN continues RPM’s ongoing pedigree in creating bespoke Sixties compilations of rare British music aimed at discerning collectors. This 3-CD box set follows previous collections Looking Back (2011) and Keep Lookin’ (2014), which ran the gamut of musical styles which emanated from the UK, diverse and yet united in their dancefloor appeal, from the discotheques of the day to nouveau Mod clubs in the 21st century.

Thinking big, Bootsy Collins’ 2011 effort is a conceptual trip, a funky history lesson brought to life by the P-Funk veteran, his rock-solid band, and a slew of guest stars, ranging from rapper Ice Cube to professor Cornel West. In between, there’s funk-rock shredding from freaky and frequent collaborator Buckethead, some psychedelic storytelling by way of an old Jimi Hendrix interview, plus better-than-expected prose from both Rev. Al Sharpton (on the cultural magnificence of James Brown) and Samuel L. Jackson (on how the funk era was a Renaissance for the hood). Underneath it all, the P-Funk jams pop and stroll with that same old swagger, while Bootsy himself beams down his wild bits of Mothership wisdom, including “It’s recess time, so put a smile on your mind” (“Don't Take My Funk”) and “If you wanna lead the orchestra, you’re gonna have to turn your back to the crowd” (“Siento Bombo”).

As soul music moved into the early '70s, it became dominated by smoother sounds and polished productions, picking up its cues from Motown, Chicago soul, and uptown soul. By the beginning of the decade, soul was fracturing in a manner similar to pop/rock, as pop-soul, funk, vocal groups, string-laden Philly soul, and sexy Memphis soul became just a few of the many different subgenres to surface. Often, the productions on these records were much more polished than '60s productions, boasting sound effects, synthesizers, electric keyboards, echoes, horn sections, acoustic guitars, and strings.