Curtis Mayfield's classic Superfly soundtrack might be the benchmark reference for this two-CD set of funky soul from the mid-'60s to the mid-'70s; in fact, one cut from that soundtrack, "Give Me Love," appears on the compilation. Most of it, though, is of far more obscure recordings in the genre, focusing most deeply on the early '70s, when blaxploitation movies pushed this sort of music to the peak of its popularity. Besides Mayfield, few of these artists had hits, and even the ones recognized by soul fans -- Maceo & All the King's Men, Pee Wee Ellis, Bobby Womack, Garnet Mimms, Allen Toussaint, a Tina-less Ike Turner, and Big Al Downing -- tend to be on the cultish side. On one hand, the scope of this anthology is admirable: Ace Records in particular has issued numerous similar collections, but those tend to be licensed from one or two labels in particular, whereas this thing culls tracks from all over the place. On the other hand, it's not this fuzzily defined genre at its best, and certainly not something to revere on a pedestal alongside Superfly, the Temptations' "Papa Was a Rollin' Stone," or Isaac Hayes' "Theme from Shaft." It's more journeyman vault clips from the time during which funk, soul, and urban African-American social consciousness were blending more than they ever had before or since. It's nicely atmospheric, grooving stuff, spiced with the odd standout like Womack's anguished small hit "Nobody Wants You When You're Down and Out," Marie Knight's tense 1965 cover of "Cry Me a River" (the oldest song on the set, and not one of the more typical), the Five Stairsteps & Cubie's "Don't Change Your Love" (a 1968 recording that anticipates aspects of the Jackson 5), Patti Jo's ultra-high-pitched "Ain't No Love Lost," the Golden Toadstools' spooky ballad "Weeping River," Warren Lee's decent James Brown imitation "Mama Said We Can't Get Married," and the Classic Example's "That's Groovy" (with its hazy high harmonies). There are too many faceless instrumentals, however, and the original release info in the liners could certainly have been more complete, though the generous running time (of just over two hours) compensates. ~ Richie Unterberger, All Music Guide