Roberta Flack Best of

Pioneering funk/R&B band Mtume, featuring the group’s eleven US charted singles including the classic, ‘Juicy Fruit’ along with selected album cuts from the team’s five Epic LPs as well as three bonus tracks from the sole solo album by female lead vocalist, Tawatha.

French guitarist/producer U-Nam is again standing tall and looming large on the smooth jazz scene with another creative gem called C’est Le Funk. In addition to dazzling us with his graceful and funky instrumental work (and one funky delivery with vocals from Tim “TiO” Owens), the album is loaded with strong production and presence. Wasting no time putting the groove into high gear from the start, the guitarist leads off with a driving track called “Smoovin’,” continues plowing ahead with the party groover “Something’s Up” and strutting right through the super-funky, hook-rich title track which features Nivo Deux (Nivo Deux is actually a project organized by U-Nam and wife Shannon Kennedy focusing on the incorporation of 80’s Pop, Smooth Jazz, and Electro-Funk).

Collection of 30 CDs on various styles (Love, Movies, R&B, Country, World and Rock). Although you may find the collection a bit outdated since the release is from 2001, it contains some great songs… so enjoy.

Chad Mitchell Trio, The - Blowin' In The Wind
FLAC | Artwork | 24Bit 96kHz: 689 MB | 16Bit 44.1kHz: 194 MB
Cat#: Toshiba, Kapp KP-7222 | Country/Year: Japan 196_, 1963
Genre: Folk | Hoster: Filesonic/Uploaded

The Chad Mitchell Trio were a North American vocal group who gained notoriety during the 1960s. They performed folk songs, some of which were traditionally passed down and some of their own compositions. They became popular in some quarters, and were particularly notable for performing satirical songs that criticized current events during the turmoil in the United States following the cold war and a time of unrest brought about the civil rights movements and the Vietnam War, unlike the typical 'folk music' and singer-songwriter musicians of their time.

Decades before Corey Harris, Guy Davis, and Keb' Mo' wed the Delta blues to various folk forms, there was Taj Mahal. Almost from the very beginning, Mahal provided audiences with connections to a plethora of blues styles. Further, he offered hard evidence connecting American blues to folk styles from other nations, particularly, but not limited to, those from the West Indies and various African countries, bridging gaps, highlighting similarities, and establishing links between many experiences of the African diaspora…