Willy Turner, everyone was relieved to learn last week, is still alive. After the news spread, some folks even started gathering music and boomboxes to give to the man known around 14th Street NW as Black Cat Bill.

Amid all the excitement, however, comes some bad news. Last Friday, Turner was moved from Deanwood Rehabilitation and Wellness Center to critical care at Prince George's Hospital Center. Hospital staff couldn't share any details about Turner's illness due to HIPAA regulations, and I haven't been able to get in touch with Turner's family, but I did visit him yesterday. He was unable to speak, but could respond with hand and foot movement. It appears his condition, whatever it is, is stabilizing.

Luckily, he's got a boombox in his hospital room, and staff have been playing some of the funk mixtapes donated by supporters. Andy Bowen, a local writer and activist, has been coordinating music donations and visits. (Email him at andymbowen@gmail.com to help out.)

When Turner gets back to his room in Deanwood, he'll have some pretty cool stuff to listen to. Word of Turner's condition and affection for James Brown reached the sister of the Godfather of Soul. Deanwood resident Sherice Muhammad found my original story on a local listserv, and reached out to her friend Fannie Brown-Burford, James Brown's younger sibling. Muhammad writes: "When I read the email requesting the James Brown cassettes for Mr. Turner, I called Fannie because she has cassettes of James' music. She was enthusiastic. So, she's putting a special package together for Mr. Turner."

Check back here for any updates on Turner.

Brown works at the Vancouver firm Bing Thom Architects, and supervised the construction of Arena Stage's new Mead Center for American Theater, which opened to great fanfare last fall. If you were at the Mead Center yesterday when the earthquake hit, you would have noticed that its dramatic glass exterior was moving.

This was intentional. Although the Mead Center wasn't designed to be earthquake-proof, it is hurricane-proof. For the project, Brown's firm wanted a very lightweight facade that would allow passersby to see inside—the building contains Arena's historic Fichandler and Kreeger theaters—but still support the larger structure.  So the Bing Thom team designed a system that allows the glass walls to move like curtains, four inches in and out. Brown says they can withstand 80 mph winds. "Now we know it can survive a 6.0 earthquake," Brown says.

We'll be hearing more from Bing Thom Architects soon: The firm is designing the art museum-cum-hotel-cum-residences that prominent art collectors Mera and Don Rubell are building at the site of the Randall School in Southwest. But that's still a few years away.

Photo courtesy Arena Stage.

One of the original '70s punk outfits, The Slits toured with The Clash and pushed out female-friendly art rock for years. Sadly, founder Ari Up passed away just last month, but her fearless spirit lives on in her curious and adventurous music.

Five badass Brits formed their "boy/girl revolution" in early '90s London, and the short-lived Huggy Bear put out a few awesome tunes before the members parted ways. The feedback-laden fury of "Her Jazz" pulls no punches, and here's a riotous live performance of the track.

Katy Otto has long fought for female justice, be it through social work, the positive messages of her myriad bands, or simply her role in running an awesome independent label. Her band Trophy Wife keeps it simple: two rad women kicking ass on their respective instruments. Come watch them do just that AND learn about the history of Riot Grrrl for free at St. Stephen's on Friday.

Reid's professional career began at 16 as the house drummer of Harlem's Apollo Theater, with his first recording a year later behind Motown's Martha and the Vandellas. (Reid would eventually play on a number of Motown sessions, including the Vandellas' monster 1964 hit "Dancing in the Street.") From there, however, his work took a sharp left turn; after graduating from Adelphi University in 1965, Reid spent three years studying rhythm and percussion in Africa, working with—among others—Nigerian musician and activist Fela Kuti.

Upon returning to the U.S. he began working with similarly radical (in both music and politics) artists, including James Brown, Randy Weston, Ornette Coleman, Henry Threadgill, Sun Ra, and Miles Davis. After a brief career interruption in 1969, when he was arrested for draft refusal, Reid became an active participant in New York's 1970s loft-jazz scene; he played on the recently rereleased 1977 opus Odyssey of the Oblong Square.

In recent years, Reid gained an appreciative following among post-rock audiences via his collaborations with electronic musician Kieran Hebden—better known as Four Tet. Hebden and Reid were responsible for the two-volume The Exchange Session CDs, as well as two other discs.

Reid's legacy, while not well-known, is tremendous. He will be missed.

A Friday item, in which we feature a playlist suggested by one of our critics—or by a friendly guest.

Christian McBride has laid down records with so many jazz icons that to list them here would be sort of obnoxious. (It would also require us to discuss the latter-day work of Sting.) Suffice it to say that whatever jazz greats were alive in the ’90s, McBride played with them—and made their records a better place to spend some time.

Mike West, City Paper's jazz guy-in-chief, calls McBride "the most revered bass player of his generation."

More important, perhaps, is McBride's statesmanlike work as a bandleader and composer. McBride's new band, Inside Straight, which backs him on this year's Kind of Brown, represents a return to a traddier brand of music (what the bassist describes as "right down the pike, straight-ahead, swinging jazz") after the forward-leaning funk of the Christian McBride Band. Not to say that the dude's playing it safe or anything...but if John McLaughlin wanders into Blues Alley this weekend, he's not gonna hear anything to turn his hair unwhite.

Still! A man's allowed his guilty pleasures. In anticipation of his four sets this weekend, I phoned McBride to solicit a playlist of his favorite non-jazz songs. Predictably, they're heavy on the low end. (Hey, a bassist has to look out for his own.) Also predictably, one of the songs is by Sting.

Playlist & videos below the interview.

Washington City Paper: You've said that the inspiration for Inside Straight was so that they'd let you back into the Village Vanguard. How did it turn into an album?

McBride: Well, we should clarify—it wasn't that I was banned from the Vanguard; I just hadn't played there for a long time. And I thought that was a gross oversight on my part that I hadn't. What am I doing? I'm supposed to be a jazz musician, and I haven't been back to the Vanguard? That's inexcusable! But of course, I had to put a certain band together to play the Vanguard.

And then?

Then it took about a year for us to play again, and it was determined that my next CD would be with that band. We played the Monterey Jazz Festival, and it was in that run in Monterey that we had a "name the band" contest, and we had submissions sent to my Website to name the band. Anyway, this couple sent "Inside Straight," and I thought, "That's perfect." Philosophically and everything.

And what happened to the Christian McBride band?

Well, everybody seemed to really like the quintet—even for a month after the initial vanguard arrangement, the guys in the band, the people in the jazz community...plus it was also a combination of the guys in the CMB, in the old band, getting so busy doing other projects, it became increasingly difficult to get all the guys together at the same time. Ron Blake joined the Saturday Night Live band 4 seasons ago, which pretty much eliminated his being able to work on Friday and Saturday. And what kind of band doesn't work on Friday and Saturday?

Were you tempted to sneak some dirty fusion into your first set at the Vanguard?

[Laughs] No, no, no, no, no, no. That is not the place to do that. I didn't need to do that. That's what I'd had the CMB for.

So we asked you to put together these "top 10 favorite non-jazz songs." First of all, you cheated. You tried to sneak in a second Stevie Wonder song at the end.

Oh, did I send you 11? I'm sorry!

It's cool. The other artist you doubled up on is James Brown. Is that just 'cuz you played with him, or....

He's been my childhood hero—he has been the central focus of my entire musical universe since I was 8 years old.

Wow.

I saw him perform live when I was a kid and I became obsessed with his music. Obsessed might not be a good word—I'm at, like, a historian status now. I like to think I'm part of this James Brown Experts task force. There's this guy named Alan Leeds who does a lot of essays on James Brown...anyway, I'm part of their little circle now, so James is my hero.

What happened when you were 8?

I saw him at the Academy of Music in downtown Philly. It ruined me.

So you picked "Soul Power." Have you seen the new flick? The one from Zaire 74?

Oh yeah, I saw Soul Power before it came out—I told you, I'm part of the James Brown Elite task force, so I had a chance to see one of the test runs before it hit the theaters. That is a really, really great documentary. Everybody in that movie is in peak form...from Bill Withers to Big Black and the Fania All-Stars.

On "Every Little Thing," Sting seems to be playing an upright. That why you chose it?

No, out of all the Police hits, that just seemed to be my favorite one. I just gravitate towards it. [Laughs] And when i joined Sting's band and we'd play that song, I'd have try really hard not to smile too much. It's just such a cute song.

How's Sting as a bass player? You teach him anything?

[Laughs] Ah, no—I was just there to play the parts. He's a good bass player. I mean, he certainly plays—he has a certain way that he likes his music played, and obviously nobody can do it better than him. So I was really honored that he asked me to play in his band. He would just sing. But there were a number of times...it was actually kinda cute—he was so used to singing and playing at the same time, there were moments where it was uncomfortable for him—so there were a number of times when he would put his bass on and turn the volume down. Because to only do one at a time was a struggle for him.

Public Enemy—that mainly a Philly thing, or does it go deeper?

That was my high school thing—I was class of 1989, and that was my high school's unofficial theme song. ?uestlove and I grew up together, we went to high school together—I mean, you remember, when Public Enemy came out they were huge. and ?uestlove and i just loved them. Fact, I remember seeing Flava Flav in a burger place in downtown Philly right around the time that "Fight the Power" came out. He was just crazy—that politically aware rap, that positive rap...man, this was one of the seminal songs of that era.

When's the last time you fought the power?

Oh, goodness—every day when my wife tells me what she wants me to do. My wife is the power.

Christian McBride's Friday "Non-Jazz Playlist":

1. Soul Power – James Brown

2. Got the Feeling – James Brown

3. Love TKO – Teddy Pendergrass

4. Every Little Thing She Does is Magic – The Police

5. Fight the Power – Public Enemy

6. If You Think You're Lonely Now, Wait Until Tonight – Bobby Womack

7. Lady in My Life – Michael Jackson

8. Ball of Confusion – Temptations

9. Fantasy – EWF

10. Summer Soft – Stevie Wonder

11. Superwoman – Stevie Wonder

Christian McBride and Inside Straight perform at Blues Alley at 8 p.m. and 10 p.m., tomorrow and on Sunday.

As approximately 62 of you know, I've been spinning a Friday Soul mix via the old Twitter account. Man is it groovy! I'm even linking to videos. The playlist so far:

1. Otis Redding, "Shake" (live at Monterey Pop, 1967)
2. Raphael Saadiq, "Let's Take a Walk"
3. Laura Nyro, "And When I Die"
4. James Brown, "Super Bad"
5. Buddy Guy, "Feels Like Rain"
6. Mofro, "Ho Cake"
7. James Cotton, Muddy Waters, Johnny Winter, "Got My Mojo Workin'" (hey, we're branching out)
8. The Impressions, "Long Long Winter"
9. Rod Stewart, "(Your Love Keeps Lifting Me) Higher and Higher"
10. Bettye LaVette, "You Don't Know Me At All"
11. Van Morrison, "I've Been Working"
12. Curtis Mayfield, "People Get Ready" (some live version from, I think, 1974)

Eclectic, see, yet accessible. But it ain't over 'til the fat lady sings! (No Aretha jokes, if ye please.) Just point the browser of your choice in this direction, make like a lemming, and follow along. Suggestions are appreciated. As are witty remarks concerning my inclusion of Rod Stewart...or the fact that a number of these tracks don't necessarily qualify as soul.

Below the jump: the remainder of the mix, updated incrementally.

13. JJ Grey, "The Sun Is Shining Down"
14. Al Green, "Get Back" (yep, that one)
15. The Acoustics, "I'm Gonna Stay In A Hurry"
16. Jackie Wilson & Count Basie, "In the Midnight Hour"
17. Sam Cooke, "Somebody Have Mercy" (live at the Harlem Square Club, 1963)

Photo by niecieden, Creative Commons attribution license

I saw Original P with openers Ken Staton and his James Brown Revue for free at Fort Dupont Park in Anacostia Saturday night July 18.  I was not intending to write it up, but it was such an exciting and interesting event that I gotta share.  Yes, it was just an oldies tribute show, but it was one with the headliners doing an impressive job of delivering the best of the P-Funk catalogue for the 4,000 or so folks in attendance, many of whom happily sang along.  Opener Ken Staton and his James Brown revue are a local act that did well-sung and played but otherwise unsensational takes on  James Brown hits.  "Original P" (photo is from a Baltimore 2007 show) is a large band that includes two founding singers from George Clinton’s 1955 formed Parliaments, Grady Thomas and Fuzzy Haskins, who stayed with George through the 1970s and beginning of the ‘80s glory days of Parliament and Funkadelic.  Likely, for financial reasons, they split off from George around 1998 with two other original Parliament vocalists, Calvin Simon and Ray Davis.  Since then, Simon left the group to become a gospel solo artist and Ray Davis died.  Their group does not include well-known George Clinton associates Bootsy Collins or Bernie Worrell. 

Wearing floppy hats and late 70s era clothing (and who know what else—was that a diaper—as we were pretty far back for most of the show), Original P visually offered a bit of the late seventies craziness that was P-Funk.  The group included a dancing female dwarf, a keytar player, and various other instrumentalists.  They performed the occasionally meandering, gloriously ragged psychedelic funk-rock of Funkadelic and the catchy, often sampled for rap songs, funky r’n’b of Parliament.  While the lengthy guitar solo- filled numbers sent a percentage of attendees heading out early to beat the gridlock, some raw and gritty bass-filled jams like "Cosmic Slop" and "Standing on the Verge," inspired dancing.  You bet there was a call and response for “Tear the Roof off the Sucker” (“we don’t need no water, let the mother-f-er burn”).  This night was certainly memory lane for the mostly late 30s and up age crowd burning incense sticks and waving glow-in-the dark necklaces as the group rendered timeless hits such as "Flashlight," and "Atomic Dog," (yep, lots of barking).  However, this seemed to be more than an oldies show.  Ever since 1975’s Parliament album and song  Chocolate City, P-Funk has had a special relevancy for a large demographic in DC and a little bit of that post-riot era self-determination aura was present adding to the electricity in the air.
 
So one other thing, for what its worth, me and my two buddies were some of the only white folks there (I literally counted seven including us and not including the Park Service employees).  Yes, I recognize that African-Americans face this being the minority situation regularly and no, I am not trying to make any equivalence.  No, I do not want to get into a discussion of which ethnicities, races, and classes are mainly interested in whichever genres (and how country and metal get no respect either).  I know that some record-collecting geek purists do not bother with going out for retrospective oldies gigs.  Yes, a woman wanted to take her picture with us, and a guy wanted me to know that P-Funk members played guitar as well as Led Zeppelin, but most people paid us no mind. There were not many white folks in the audience when I saw P-Funk with special guest Sly Stone at the Capital Centre in 1981 either.  However, I thought that by now with P-Funk music having crossed over via association with the Red Hot Chili Peppers and countless George Clinton 930 club appearances, things would be different.  But I guess while I recognize that it is safe to go to old-school shows at Fort Dupont (me and my buddies have been there before), to many, I am guessing,  it is still just an un-gentrified not for "us" part of the city.  Or maybe there is less interest in P-funk from Caucasians than I thought (although the number of old-school funk dj events in hipster NW clubs would seem to suggest otherwise).  I have attended ‘70s velour soul oldies shows at Constitution Hall, and bluesy soul shows at Showplace Arena in recent years where I was also in the miniscule minority, so who knows.  I am not trying to pat myself on the back and nor am I “slumming,” I’m just a music fan.  But what I do know (if I must get on a soapbox) is that every time you read about Fort Reno and Wolf Trap shows symbolizing summer concerts in the DC area, you should also remember Carter Barron and Fort Dupont and hope they get mentioned too.

Oh, it's time to get out your X-Mas LPs. Two nights ago, Mingering Mike was having me track down "White Christmas" by the Drifters and a sweet James Brown yuletide favorite. Thank G-d for iTunes as the Drifters track was AWOL on Amazon. And thank G-d for Red Onion, the record shop just got in a batch of X-Mas favorites from the Beach Boys, Ernest Tubb, and Lou Rawls. Not to mention the Charlie Brown Christmas LP that everyone must listen to. If that's not your bag, he's got a special sale on most Numero LPs which make great gifts! And of course, tons more new arrivals:

ROCK:

BRUCE SPRINGSTEEN & THE E STREET BAND: LIVE/1975-85 (SEALED BOX SET)

THE DOORS: WEIRD SCENES INSIDE THE GOLD MINE

MANFRED MANN'S EARTH BAND: SELF-TITLED (1972)

SWAMP WATER: SELF-TITLED (1972, LINDA RONSTADT'S BACKING BAND)

BOB DYLAN: THE TIMES THEY ARE A-CHANGIN' (MONO, WITH INSERT)

BOB DYLAN: HIGHWAY 61 REVISITED (70'S STEREO PRESSING)

BOB DYLAN: THE TIMES THEY ARE A-CHANGIN' (70'S STEREO PRESSING)

BOB DYLAN: JOHN WESLEY HARDING (2 EYE, 360 STEREO PRESSING)

ALLMAN BROTHERS BAND: AT FILLMORE EAST (FIRST PRESSING PINK LABEL CAPRICORN)

FOOD: FOREVER IS A DREAM (REISSUE OF THIS AMAZING PSYCH ALBUM)

TRAFFIC: THE LOW SPARK OF HIGH HEELED BOYS

PEARL JAM: VS. (I THINK THAT'S WHAT IT'S CALLED, THE ONE WITH THE SHEEP ON THE COVER)

BUDDY HOLLY: THE NASHVILLE SESSIONS

JOHN MAYALL: BLUES FROM LAUREL CANYON

THE JAMES GANG: YER ALBUM (SUPER CLEAN COPY OF THEIR FIRST ALBUM)

FANNY HILL: SELF-TITLED

SIMON & GARFUNKEL: COLLECTED WORKS (SEALED 5 LP BOX SET)

THE YOUNG RASCALS: SELF-TITLED (SUPER CLEAN MONO PRESSING)

JIMI HENDRIX: NINE TO THE UNIVERSE

JIMI HENDRIX: ROOTS OF HENDRIX

JIMI HENDRIX EXPERIENCE: ELECTRIC LADYLAND

JIMI HENDRIX EXPERIENCE: AXIS: BOLD AS LOVE

NEIL YOUNG: OLD WAYS

BEACON STREET UNION: EYES OF THE BEACON STREET UNION (BOSTON PSYCH)

THE SAVAGE YOUNG BEATLES: THIS IS THE... (RARE EARLY BEATLES RECORD ON SAVAGE, WITH PETE BEST, BEAUTIFUL COPY OF THIS RARE LP)

THE BEATLES: LET IT BE (RED APPLE LABEL)

THE BEATLES: REVOLVER

THE BEATLES: SGT. PEPPERS...

TRAVELING WILBURYS: VOLUME ONE (SEALED ORIGINAL)

THE WHO: TOMMY AS PERFORMED BY THE LONDON SYMPHONY ORCHESTRA

PINK FLOYD: DARK SIDE OF THE MOOD (COMPLETE WITH 2 POSTERS AND 2 STICKERS)

SNAFU: SELF-TITLED

J.D. BLACKFOOT: THE ULTIMATE PROPHECY (REISSUE)

PAUL REVERE & THE RAIDERS: IN THE BEGINNING (STEREO PRESSING OF THIS HARD TO FIND EARLY LP)

JOHN LENNON/YOKO ONO: HEART PLAY

SIMON & GARFUNKEL: BOOKENDS (360 STEREO PRESSING)

THE HOMBRES: LET IT ALL HANG OUT (VERVE FORECAST)

JEFFERSON AIPLANE: AFTER BATHING AT BAXTER'S (STEREO, BLACK LABEL WITH DOG AT TOP, BEAUTIFUL COPY OF THIS CLASSIC)

NEW ORDER: BROTHERHOOD

B-52's: SELF-TITLED

WILD SWANS: PEEL SESSIONS

MODERN ENGLISH: MESH & LACE (THIER FIRST ALBUM, KINDA SOUNDS LIKE JOY DIVISION)

STANTON MIRANDA: WHEELS OVER INDIAN TRAILS (FACTORY BENELUX)

TOM TOM CLUB: GENIUS OF LOVE 12" (PICTURE SLEEVE, LONG VERSION)

KLAUS NOMI: ICUROK/SIMPLE MAN 12"

GANG OF FOUR: AT THE PALACE (LIVE LP)

VOICE FARM: SELF-TITLED (SAN FRANCISCO POST PUNK)

MX-80 SOUND: HARD ATTACK

MX-80 SOUND: CROWD CONTROL

STINKY TOYS: SELF-TITLED (RARE FRENCH POST-PUNK)

THE REPLACEMENTS: SORRY MA, FORGOT TO TAKE OUT THE TRASH (TWIN-TONE)

STIFF LITTLE FINGERS: INFLAMMABLE MATERIAL (ROUGH TRADE)

STIFF LITTLE FINGERS: NOBODY'S HEROES (UK PRESSING)

MISSION OF BURMA: SIGNALS, CALLS, AND MARCHES (ORIGINAL ON ACE OF HEARTS)

FEAR: THE RECORD (ORIGINAL ON SLASH RECORDS)

INTO ANOTHER: CREEPY EEPY

VARIOUS ARTISTS: THE PEOPLE'S RECORD (WARNER BROTHERS COMP FROM 1976)

VARIOUS ARTISTS: MIDDLE OF THE ROAD (WARNER BROTHERS COMP FROM 1972)

VARIOUS ARTISTS: APPETIZERS (WARNER BROTHERS COMP FROM 1973)

VARIOUS ARTISTS: I DIDN'T KNOW THEY STILL MADE RECORDS LIKE THIS (WARNER BROTHERS COMP FROM 1975)

VARIOUS ARTISTS: THE FORCE (WARNER BROTHERS COMP FROM 1974)

JAZZ:

PAUL BLEY/GARY PEACOCK/BARRY ALTSCHUL: JAPAN SUITE

DUKE ELLINGTON: THE WORLD OF... VOLUME 2 (2LP SEALED ORIGINAL)

CHICO HAMILTON: THE DEALER (IMPULSE RECORDS, WITH LARRY CORYELL & ARCHIE SHEPP)

CHARLIE BYRD: MORE BRAZILIAN BYRD

PAUL HORN: IN INDIA (2LP SEALED ORIGINAL, BLUE NOTE RE-ISSUE SERIES)

THELONIOUS MONK: WHO'S AFRAID OF THE BIG BAD MONK (2LP SEALED ORIGINAL)

BILLIE HOLIDAY: GOD BLESS THE CHILD (2LP SEALED ORIGINAL)

VARIOUS ARTISTS: BLACK GIANTS (COLUMBIA COMP. 2LP SEALED ORIGINAL)

STANLEY TURRENTINE: SALT SONG (SEALED ORIGINAL)

STANLEY TURRENTINE: DON'T MESS WITH MISTER T. (SEALED ORIGINAL)

STANLEY TURRENTINE: THE BADDEST TURRENTINE (SEALED ORIGINAL)

JOHN COLTRANE: THE GENTLE SIDE OF... (2LP SEALED ORIGINAL)

JOHN COLTRANE: THE BEST OF... HIS GREATEST YEARS (2LP SEALED ORIGINAL)

JOHN COLTRANE: THE BEST OF... HIS GREATEST YEARS, VOLUME 2 (2LP SEALED ORIGINAL)

JOHN COLTRANE: THE ART OF... THE ATLANTIC YEARS (2LP SEALED ORIGINAL)

VARIOUS ARTISTS: THE ATLANTIC FAMILY AT MONTREUX (WITH PASSPORT, HERBIE MANN, DON ELLIS...)

ARCHIE SHEPP: CRY OF MY PEOPLE (IMPULSE RECORDS, 1973)

JOHNNY GRIFFIN/JOHN COLTRANE/HANK MOBLEY: BLOWIN' SESSIONS (BLUE NOTE RE-ISSUE SERIES)

LEE MORGAN: SELF-TITLED (2LP SET ON GNP/CRESCENDO, EARLY 60's SESSIONS)

JOHNNY "HAMMOND" SMITH: STIMULATION (WITH FREDDIE McCOY, PRESTIGE BLUE LABEL, STEREO)

GABOR SZABO: HIGH CONTRAST (WITH BOBBY WOMACK, BLUE THUMB RECORDS)

GENE AMMONS: MY WAY (WITH IDRIS MUHAMMAD, PRESTIGE RECORDS

LUCKY THOMPSON: ILLUMINATIONS (2LP ON GROOVE MERCHANT, 1974)

MICHEL LEGRAND: LIVE AT JIMMY'S (FUNKY SET FROM 1975)

LEE KONITZ QUINTET: PEACEMEAL (MILESTONE RECORDS, 1969)

FUNK/SOUL/DISCO:

KONK: YOUR LIFE 12"

LAID BACK: KEEP SMILING (WITH WHITE HORSE)

EARL GRANT: SELF-TITLED (DECCA)

NORMAN CONNORS: ROMANTIC JOURNEY

THE PERSUASIONS: ACAPPELLA (STRAIGHT RECORDS, VG)

SARAH: VAUGHAN: A TIME IN MY LIFE (MAINSTREAM RECORDS)

VARIOUS ARTISTS: STARS OF THE APOLLO THEATRE (SEALED ORIGINAL)

ZULEMA: MS. Z

NINA SIMONE: BEST OF (PHILIPS RECORDS)

JAMES BROWN: SOUL SYNDROME (SEALED ORIGINAL)

FUNKADELIC: STANDING ON THE VERGE OF GETTING IT ON

BLUES:

WILLIE DIXON & MEMPHIS SLIM: WILLIE'S BLUES (SEALED OBC PRESSING)

BLIND LEMON JEFFERSON: KING OF THE COUNTRY BLUES (2LP YAZOO COMPILATION)

SUNNYLAND SLIM: SLIM'S GOT HIS THING GOIN' ON

LITTLE WILLIE JOHN: 15 HITS (KING RECORDS)

WILLIE DIXON: PEACE?

LIL GREEN: ROMANCE IN THE DARK

FOLK/COUNTRY/BLUEGRASS:

JOHNNY CASH: THE HOLY LAND (WITH 3-D COVER)

JERRY JEFF WALKER: DRIFTIN' WAY OF LIFE (VANGUARD RECORDS)

VASSAR CLEMENTS: SELF-TITLED

DOC WATSON: GOOD DEAL!

DOC WATSON & SON: SELF-TITLED

RICHARD & MIMI FARINA: THE BEST OF (2LP SEALED ORIGINAL ON VANGUARD RECORDS)

OLA BELLE REED: SELF-TITLED (VANGUARD RECORDS, 1972)

LINDA COHEN: LAKE OF LIGHT (CREEPY FOLK WITH ELECTRONIC EFFECTS)

KENNETH THREADGILL: YESTERDAY & TODAY (PSG RECORDS, THE FATHER OF AUSTIN COUNTRY MUSIC)

KITTY WELLS: SELF-TITLED

MIKE ENIS AND COMPANY: POPULAR DANCE MUSIC OF THE INDIANS OF SOUTHERN ARIZONA

BERT JANSCH: CONUNDRUM

MIKE AULDRIDGE: BLUES AND BLUE GRASS (TAKOMA RECORDS, W. VASSAR CLEMENTS, LINDA RONSTADT...)

THE ORIGINAL CARTER FAMILY: MY OLD COUNTRY HOME (SEALED)

AVANT GARDE/CLASSICAL:

ERNESTO BITTETI: CONTEMPORARY MUSIC FOR GUITAR (SEALED ORIGINAL)

ALDO CICCOLINI: PIANO MUSIC OF ERIC SATIE VOL. 6 (SEALED ORIGINAL)
EVERYTHING YOU ALWAYS WANTED TO HEAD ON THE MOOG

ERIK SATIE: MURCURE & SOCRATE

NEW MUSIC OF CHARLES IVES (SEALED ORIGINAL)

GLENN GOULD: COMPLETE MOZART PIANO SONATAS VOL. 5 (WLP)

LUKAS FOSS: ECHOI/TIME CYCLE

INTERNATIONAL:

VARIOUS ARTISTS: LUPICINO (SONGS OF LUPICINO RODRIGUES BY CAETANO VELOSO, GAL COSTA AND OTHERS)

CHICO BUARQUE & MARIA BETHANIA: AO VIVO

BURNING SPEAR: MAN IN THE HILLS

JABULA: SELF-TITLED (AFRICAN)

SOUNDTRACKS:

THE MAGIC CHRISTIAN (SEALED APPLE ORIGINAL, WITH BADFINGER)

GREAT SCIENCE FICTION FILM MUSIC (JAPANESE COMP.)

2001: A SPACE ODYSSEY VOLUME 2 (SEALED ORIGINAL)

GET YOURSELF A COLLEGE GIRL (SONGS BY THE ANIMALS, STANDELLS, STAN GETZ/ASTRUD GILBERTO, JIMMY SMITH...)

MARAT SADE (MUSIC BY RICHARD PEASLEE)

CHRISTMAS:

RAMSEY LEWIS TRIO: SOUNDS OF CHRISTMAS

RAMSEY LEWIS TRIO: MORE SOUNDS OF CHRISTMAS

MERRY CAJUN CHRISTMAS

VINCE GUARALDI: A CHARLIE BROWN CHRISTMAS (ORIGINAL COVER)

ERNEST TUBB AND HIS TEXAS TROUBADOURS: BLUE CHRISTMAS (SEALED)

LOU RAWLS: MERRY CHRISTMAS HO! HO! HO! (PRODUCED BY DAVID AXELROD)

THE BEACH BOYS: CHRISTMAS ALBUM