Iron Force
Stay

“This record has brought about no end of frustration for me, both in terms of finding a copy and finding information. I’ve been in touch with a family member of one of the alleged members, now deceased, who can confirm that they were a musician and in bands, but not the name of this particular band. It’s enough to convince me, at least, that its very likely a Chicago group. Even more bewildering is the split-personality of the contents, the A-side being a sublime of amateur ballad, replete with mastering issues that make the finished product sound chopped up as if Madlib had a chance to edit just a small portion of it. The B-side is Hendrix-inspired biker rock, sounding (flatteringly) like a Lenny Kravitz demo.”
  

The Beast
I’m Going Back To The Back Of The Woods

This Ain’t No Ride It’s Suicide

“The term “real people” is thrown around sort of ludicrously in the world of collecting obscure music… this is more like “unreal people” I suppose. While I managed to track down the artist, he’s completely unwilling to discuss it, and a Google Earth view of his home indicates that the “Back Of The Back Of The Woods” isn’t just a song title. “This Ain’t No Ride It’s Suicide” is probably the better “song” but both are fairly equally mystifying.” 
 

Muse
Sunshine Road

“Jimi Hendrix obviously looms large on the creators of this 45, of course, although he has veered well off into their own territory. Largely mysterious, although some of the musicians pop up later on some pretty surprisingly commercial-sounding house records from the mid-90s.”
 

Soul Revival
Do What You Gotta Do

“Delightfully amateurish funk from the Chicago South Side. Mainly the Walker family and a few of their teenage friends, this has thus far evaded the scouring efforts of soul collectors fanatical for Cash Records’ other (still rare) singles like Skip Drake and IJ Harris.”
 

Wee
Try Me

 
“The most succinct and perfect document of Norman Whiteside’s songwriting genius. Whether you have the LP, the original 45, the Numero single, or the Jazzman version (all slightly or drastically different versions) you really can’t go wrong or fail to move a dance floor.”