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Upload your resume - Let employers find you. Area Leader Tocaya Organica. Designer 3Q Digital 12 reviews. Designer - 3Q Digital - Burlington, Vermont. Phospholutions - Long Island, New York. Roots in journalism, advertising or both. Our audio team is tiny, but mighty , and this person will be both a creator and evangelist, able to spread enthusiasm What is the interview process like?
What benefits does the company provide? Seattle, Washington - Mighty AI. Use for to create your resume on Indeed and apply to jobs quicker. Grab Some Holiday Gifts! Any year pres s s s s s s s. Set a product alert. About Product Alerts Alerts let us notify you when products that match criteria you provide come in stock — such as artist or title. A wonderful snapshot of work by the mighty Roots crew — featuring rare remixes, alternate versions, never released tracks and more — handpicked by?
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Rather than going the traditional "best of" route, the Roots have assembled a collection that is more of a companion piece and refresher course than a beginners guide. They haven't made it easy for the mainstream to catch up with their evolving greatness so far, and they don't start with this set — despite the title! A wonderful snapshot of the earlier genius of the Roots!
Black Uhuru vocalist Don Carlos and harmony group Culture go together like milk and honey, bread and butter and well, roots and culture for that matter! Though you might hope that this set is a collaboration between the roots giants, it's actually a split record, with both Carlos and Culture taking turns with producer Junjo Lawes and the crack Roots Radics rhythm team, which sounds like a recipe for success to us!
With Dancehall dominating the Kingston music scene, pure roots albums like this mighty effort were less common than they had been just a short time earlier, but this set shines even brighter for that reason, though it'd be no slouch even out of context! LP, Vinyl record album Cover has an old Randy's price sticker.
LP, Vinyl record album Cover has light wear. A landmark blend of gospel spirit and 70s soul — and one of the greatest moments ever from The Mighty Clouds Of Joy! Like so many other soul artists before them, these guys have voices that are steeped in the best traditions of gospel — but rather than giving up their roots and going secular, they just cut this set with the best Philly soul help of the time — arrangements from Wade Marcus, and a smoking Sigma Sound lineup that includes work from Norman Harris, Vince Montana, Bobby Eli, Ronnie Baker, and Earl Young — all of whom give the record the vibe of the best Philly International material from the time!
Reginald Chapman plays a bass trombone here — but at a level that's a lot groovier than just about anyone else we've ever heard on the instrument! Chapman takes the unlikely horn into some wonderfully soulful territory — almost using its depth to create a leaner take on bigger brassier modes — which he then blends with some other horns and some mighty nice keyboards! Imagine a small funk combo echoing Nola roots , but with a warmer vibe overall — thanks to the keys — and you'll only get part of the unique flavor of the album.
The mighty debut album from African disciples Culture pairing up with the Mighty Two, Joe Gibbs and Errol Thompson is one of the landmark sets of roots reggae, a defining moment of the genre dropped during the year when two sevens clashed. And though the apocalypse didn't rain down from the skies in '77, this album was certainly a world-changing event, one of the finest moments in Kingston's rich musical history!
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Gibbs provides the trio with a set of uplifting rhythms over which to harmonize, and Culture comes correct on every track, combining a tightly harmonized approach with a rawer, roots ier sound. LP, Vinyl record album. A mighty pairing of talents — the great Willie Dixon on bass and vocals, plus Memphis Slim on piano — captured together in a lean quintet that also features Wally Richardson on guitar and Al Ashby on tenor sax!
The approach here is great — more folksy and unfettered — with less of the tighter mode that would be used at Chess Records, and more of an appreciation of the roots of both players — who are really allowed their personal space on the set. CD Spine has a cutout notch.
They might be borrowing her band, but they sure can't dampen her soul — because Sharon Jones is strongly back in action, and sounding funkier and more deeply soulful than ever! Given that Sharon wasn't singing back in the 60s, it's hard to think we'd be calling her the real deal — but in a world of crossover classic-copping soul singers, or slightly rewarmed older acts, Jones is a true treat through and through — the kind of soul singer whose work still recalls the best era of the funky 45 underground!
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The mighty Dap-Kings are in full force here — snapping along the groove with a range of classic soul influences — styles borrowed from Memphis, Miami, Muscle Shoals, and more — all sifted down to some of the tightest grooves any singer ever had the chance of working with! The production is amazing — as sharp-edged as the music — and handled by Bosco Mann with a sound that's as faithful to the roots as the cover might imply.
The mighty second chapter on the career of Frankie Laine — from the early 50s years when he exploded on the pop charts with material that drew on all the jazz and blues that lie in his roots! The styles here are greatly expanding — although still not as much in the country mode that Laine would follow later in his career — and the number of recordings is huge for such a short time span — proof that Columbia Records really knew they had a hot property on their hands.
There's loads of obscure material here, including some jazz sides and duets with other Columbia artists — including The Four Lads, Doris Day, Jimmy Boyd, and Jo Stafford — and as usual for Bear Family, the whole thing's packaged with a tremendous book that's as cool as the music itself! A trio of classic albums from Lakeside — representing the second slice of their work for the Solar Records label! The tracks manage to mix an 80s groove and soul without sounding cloying, and the band's vocals are always better than we remember them — with a strong harmony sound in the best moments that keeps things real.
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Keep On Moving Straight Ahead is a really well-titled album from the mighty Lakeside — as the record makes you think that the group were going to keep on going for many years — working in their own unique version of earlier funk modes — almost a tightening up of the Funkadelic style of the late 70s! The basslines are very much in charge, but like the George Clinton groups, they also have a great way of really bringing everything together at once — sly vocals, riffing guitar, sweet keyboards, and everything else that comes to groove — all hitting right on the money on titles that include "It's You", "Be My Lady", "All For You", "Anything For You", and "We Want You On The Floor ".
For Untouchables, the gangster image on the cover might be a tipoff to the sound — as Lakeside help forge the roots of g-funk with their classic bass-heavy sound on the album!
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The record's great — every bit as funky as previous Lakeside work in all the right parts, but also showing a greater development of the group past their funk roots — able to mix mellower moments with groovers, at that sublime level that Fatback hit when the 80s began! Seminal sounds from the mighty Machito — all recorded during those key years when he was having a huge impact on both the jazz and Latin scenes in New York! Much of the work here features that blend of Havana roots and bebop performance that Machito and Mario Bauza pioneered during the postwar years — music that definitely draws strongly from some of the bigger groups and smaller combos in the US at the time, but which mixes their jazz lines with some incredible percussion and very lively rhythms.
Rough-edged blues from the west side of Chicago — a stone classic from the mighty Magic Sam — a player who was taken from us all too soon! On the west side, they mix plenty of soul in with their blues — and you can definitely hear that on this stone smoker — a record that has roots in the same scene as Syl Johnson, whose modes definitely creep into the groove at times!
A really cool little album from the mighty Steve Miller — a set that's half live, half studio, and fully in possession of all Miller's mighty charms! The guitar is fantastic — and really stretches out on some of the longer tracks — but as always with Steve, he's never slavish to his blues-inspired roots — as he always pulls something new out of his bag, and manages to charm the songs tremendously with that great vocal approach of his!
It's that quality that's the real Miller magic — that style that helped really push Steve and a rare few of his scene past the cliches of the blues rock scene a few years before — embracing the future while still revering the past, to make music as fantastic as this! Tripped-out greatness from the mighty Augustus Pablo — maybe one of the few cats in the world who could make the melodica sound like a cool instrument!
This package digs deeper than some of the straight album reissues on the market — as the Pressure Sounds team have really unearthed some great cuts that originally only appeared as singles — 7" and 12" tracks that mix together heavy, dubby rhythms with Pablo's snakey lines on the breath-blown keyboard — all for a sound that's completely amazing. And as always, a deluxe Pressure Sounds package — with excellent notes! An amazing debut from Rufus — a group so great, they were virtually a genre unto themselves during the 70s!
CD Part of the Disco Fever 40 series! A sweet soulful stepper from the mighty Hank Crawford — a set that's got a bit of the bluesy lines promised by the title, but which also has some snappier soul jazz modes played by a larger ensemble! Hank plays a bit of piano, in addition to his trademark alto sax — and the set's got a style that bridges his roots with Ray Charles and some of the cooler, groovier modes of Atlantic Records jazz in the 60s.
The title certainly gets it right — as the album definitely brings a bit of jazz into the mix for the great John Mayall — given that the set features strong work from funky jazz heavyweights Blue Mitchell on trumpet and Freddy Robinson on guitar! Both are musicians that we love for their late 60s records on their own, and they work mighty nicely here with Mayall in a live setting — alongside heavy saxes from Clifford Solomon, and lots of great guitar, harmonica, and piano from John Mayall himself!
The style is still more blues than jazz, but definitely shows an expanding style past the more slavish roots of Mayall's early years — especially reflecting his new interaction with the American scene after the breakup of the Blues Breakers. LP, Vinyl record album Limited edition! A trio of classic albums from The Whispers — with bonus tracks too! On the first set, the mighty group does way more here than just Whisper in your ear — as they're completely on top of their game, ending the 70s with a wickedly sharp sound that would help them stand strong for years to come!
The group started in fragile harmony soul modes, grew with confidence in the 70s, hit a bit of a dancefloor mode — and here step off with this mature style that's totally wonderful — the best of all worlds together as one — shaped by arrangements from Tom Tom 84, Gene Page, and Keni Burke! The Whispers album was one of a few to bear the group's name as its title — and it's also one of our favorite albums by The Whispers — a later gem with some really great songs, and a sound that shows the group strongly moving into hit territory!
In some way, the album's almost a return to the mellow harmony soul of the group's roots — slowing down the pace from the disco years to craft some extremely great ballads and midtempo numbers. There's still a bunch of great club tracks too — like the classic "And The Beat Goes On" — but in a way, our favorite tracks are the mellower ones, like "Lady", "I Love You", and the sublime, "A Song For Donny", a tribute to the late Donny Hathaway, written around the music of his classic "This Christmas".
On Imagination, the group takes off from the Philly groove style of their late 70s work, moving into a style that picks up all the best touches of the early 80s LA sound — electro keyboards, but not too much; quiet storm production, but not so much so that the album's smothered in it; and a professional approach to harmonies and songwriting that showed that the group was still an unstoppable force in soul music!
The Trojan vaults are deep, and mining them for this collection of mighty dubs is a task long overdue. CD Out of print.
Mighty Roots Ascension
Forget everything you know about ska music from recent years — no Mighty Mighty cliches, no retro-styled clunkers, no two-toned sounds at all — just the real deal, the roots of the style, served up here in classic recordings that go right to the source! These are the cuts that started it all — and which still sound way better to our ears than any of the countless imitations that have been crafted over the years — played with a freshness and a sharp edge that recent recordings can never hope to touch! The music here is the roots of reggae crafted in the soil of Kingston — recorded by the legendary Studio One Records, with all the soulful undercurrents you'd find in the rocksteady generation as well.
It's been a few years since Soul Jazz have served up a set of Jamaican grooves this tight — but it's been well worth the wait, given the track selection and always-stellar level of presentation from the label. LP, Vinyl record album Later pressing in a non-gatefold cover. The Levert bloodline runs mighty strong — with roots in the harmony sound of the O'Jays, reworked here to a beautiful new mode for the 80s — in a style that helped the group really revive vocal soul for the decade! At a time when so many other groups were just letting the beats and keyboards guide their vocals, Levert returned to the best sort of older soul modes — bringing back that classic east coast care with the lyrics to sit alongside backings that still have plenty of 80s electro soul elements.
The blend is great, and clearly an inspiration for a generation of copycat acts to come in the 90s — but never handled by any of them this well. LP, Vinyl record album Cover has a cutout notch, light wear, and a name in marker. Stephane San Juan is saved by the drums, although the image on the cover makes it look more like he's being attacked by them! But all kidding aside, the set's dedicated to the great Brazilian percussionist Wilson Das Neves — who's spirit is alive and well on the album — while Stephan not only handles some mighty tight drums, but also calls out the tunes with these wonderfully raspy vocals!
The style isn't exactly like Wilson's classic work, but definitely has that sweet mix of roots and contemporary elements he hit in the 70s — save for the fact that the grooves here are often a bit more complicated, and nicely can change up in the course of a single tune — which keeps things especially fresh. Gunesh might look a bit unusual on the cover — like some crazy mountain folk who've somehow gotten ahold of band instruments — but on the album, they've got this tight funky sound that's mighty nice — yet which is also still as unusual as their look!