Gene Russell signed Kellee Patterson to Shadybrook in 1976, after the demise of his Black Jazz label.
Three years on from her Maiden Voyage LP, he engineers and plays piano, but Kellee is running the show, with her own arrangements and production.
More bang-on covers, including a killer, sleazy Barry White and a rough Mister Magic (both revived by Jazzman a decade ago), to put a dip in the hip of all b-boys and girls, and I Love Music on speed.
William Upchurch is here, from Motown; Marlo Henderson, who plays guitar on Off The Wall; Don ‘Tabu’ Cunningham…

An impressive survey of nine LPs — epochal, ringing classics like Cod’ine and Universal Soldier in with her satire, protest and general hippie shit; covers of Joni, Neil Young (with the man himself), Leonard Cohen.

Three chilled, heavy dubplates deployed by Junjo’s Volcano and Hyman Wright’s Jah Life soundsystems, back in the day, on John Holt’s Chanting rhythm.

A spectacular patchwork of thirty-eight choice cuts of Japanese noir and porno soundtracks.

Wicked EP!
Lloyd Parks’ soulful sufferers, beautifully sung — a worthy reggae answer to Joe Bataan’s sublime Ordinary Guy — plus a deadly dub, with mad effects; then a melodica outing by Augustus Pablo, with clavichord; and finally the gob-smacking leave-the-studio-sah excursion.
Trumps trumping trumps.

Gorgeous…and backed with rudeboy anthem A Man Of Chances.
Two counts of murder.

‘You think you can hold me down, you think you can tie me down… I’m a man for chances.’

Absolute murder.
A searing, haunting song about abuse, bitter disappointment, and heartbreak, set to a tough, chunky Jimmy Radway rhythm, with edgy organ and dread trombone.
Hortense Ellis is rawly, indelibly authentic: this is her best record by miles.
Plus some stone-classic Big Youth on the flip, ecstatically riding a lethal dub of the same megaton Fe Me Time rhythm.
Killer.

Her third Columbia, from 1970.
With Muscle Shoals crew on side one — Roger Hawkins, Eddie Hinton, Barry Beckett and co — and a lineup convening the Armenian oud-plyer Ashod Garabedian, Duane Allman and Alice Coltrane, on side two.
‘I love my country as it dies in war and pain before my eyes. I walk the streets where disrespect has been. The sins of politics, the politics of sin, the heartlessness that darkens my soul… on Christmas.’

Highly eclectic solo and soundtrack work, including two unreleased Can remixes and a collection of soundtrack pieces personally compiled by long-term collaborator Wim Wenders.

Paul Whiteman aka Paul Blackman with a self-doubting, heartfelt lover’s lament, with moody, Sounds From The East backing vocals, over a deadly rhythm. Correctly matched with its masterful dub, too; subtler and gentler than the Tubby’s excursion on Meets Rockers Uptown.

Plenty of TKOs — the Colombian opener, for example — beautifully presented.
A moving, mind-boggling testament to Afrobeat, with shout-outs from Ghana, Trinidad, the US and elsewhere.