Halloween is not my bag.

That said, I’ve long enjoyed what we have for you tonight on The Midnight Tracker. It’s something in the spirit of the season.

It is, of course, “Tales of Mystery and Imagination,” the first album by the Alan Parsons Project. It’s a prog rock concept album based on Edgar Allan Poe’s stories.

In the mid-’70s, Parsons was highly regarded for his work as an engineer on LPs by the Beatles, Paul McCartney, the Hollies and Pink Floyd. He then became a producer and created “Tales of Mystery and Imagination” with Eric Woolfson, who pitched him the idea.

More than 200 musicians played on this 1976 album, which was arranged by Andrew Powell. It was recorded and mixed at Abbey Road Studios in London from July 1975 to January 1976.

Tonight, we feature Side 1 of “Tales of Mystery and Imagination.” Its five cuts:

– The instrumental “A Dream Within a Dream.”

– “The Raven,” the tune everyone has come to know from this album. Though it’s gotten much free-form FM and classic radio play, it wasn’t the single.

– “The Tell-Tale Heart,” with Arthur Brown — yes, as in The Crazy World of Arthur Brown — on vocals.

– “The Cask of Amontillado,” my favorite.

– “(The System of) Doctor Tarr and Professor Fether,” which was the single when this was released as summer arrived in 1976.

Hope you dig it.

“A Dream Within a Dream,” “The Raven,” “The Tell-Tale Heart,” “The Cask of Amontillado” and “(The System of) Doctor Tarr and Professor Fether,” the Alan Parsons Project, from “Tales of Mystery and Imagination,” 1976. This is Side 1. It runs 20:34.

-30- in the newspaper business once meant the end of the story.

Today is the 30th of September, the last night of the month.

So why not go for a 30-year-old record for tonight’s side on The Midnight Tracker?

It’s a record that, even though released in 1979, scarcely sounds dated. It’s one of our favorites, a record my wife and I had in our individual collections long before we ever merged them.

“Look Sharp” by Joe Jackson was — and is — a wonderfully intelligent though cynical mashup of pop, rock, ska, reggae and jazz.

Our copies of “Look Sharp” are among the early pressings — a package that consisted of two 10-inch EPs with a small “Look Sharp!” pin. Mine still has the pin. Janet’s pin is gone, and the picture of Joe Jackson on the flip side of her album has light blue crop marks from where she once used it to illustrate a review of the album.

One of the first shows we ever saw together was Joe Jackson. We were sooooo sophisticated then, heading to Minneapolis to see him at the Guthrie Theater on a Sunday night in October 1979. That ticket cost $7.50, or about $22 in today’s dollars. A bargain either way.

The lineup we saw that delightful night is the one you hear on this side: Jackson on piano, Graham Maby on bass, Gary Sanford on guitar and Dave Houghton on drums, with all on vocals.

Dig it!

“Happy Loving Couples,” “Throw It Away” and “Baby Stick Around,” Joe Jackson, from “Look Sharp,” 1979. This is Side 2 of the first 10-inch EP. It runs 8:24.

Tonight on The Midnight Tracker, we have a side that will allow you to do just that. Instantly.

Curtis Owsley has been gone almost 40 years now — stabbed to death in an argument outside his apartment in New York City in August 1971 — and there are many who don’t know about King Curtis.

He was a tenor sax player, first with Lionel Hampton’s jazz band in the early ’50s, then as one of the greatest jazz, rock, soul and R&B session men around from the late ’50s on.

King Curtis also made a name for himself with a bunch of terrific solo records from 1959 until his death. In the three years I’ve been crate digging, I’ve come across exactly one. I bought it. This is it.

Mostly instrumental, as are all of Curtis’ records, “Instant Groove” lives up to its name from the sizzling first cut.

Time to get your groove on, instantly, with Side 1 of this great album.

That is Curtis on tenor sax, of course. On two cuts — “Foot Pattin’” and “Games People Play — that is Duane Allman on lead guitar.

There are two funky Curtis originals — the title cut and “Foot Pattin’.” There are covers of tunes done first by Jimi Hendrix, Glen Campbell, Joe South and Sly and the Family Stone.

“Instant Groove,” “Hey Joe,” “Foot Pattin’,” “Wichita Lineman,” “Games People Play” and “Sing A Simple Song,” King Curtis, from “Instant Groove,” 1969. It runs 18:39.

Tonight’s side on The Midnight Tracker is one that dates to the ’70s, of course, but one I only recently started digging.

Our friends over at Popdose have been publishing a must-read series of memoirs by producer Tom Werman. Among the groups Werman worked with during the ’70s was Mother’s Finest. He wrote about them, and that’s how I came to learn about them.

Werman describes seeing Mother’s Finest for the first time in its hometown of Atlanta:

“I think it’s fair to say that this band, about whom we knew nothing in advance, fairly incinerated the stage. Fronted by a tiny package of dynamite named Joyce Kennedy and her husband Glenn, this was basically a black hard rock band, years before the days of Living Colour. The bass player, Wizard, went on to play bass for Stevie Nicks. He was a tall, grinning man whose physical dominance made the bass guitar appear as a toy in his giant hands. He just slapped that instrument silly. The drummer and lead guitar player were white, but in this band, the music was really dark gray – their main influence was Zeppelin, but with a very high funk quotient.”

Werman wrote again about Mother’s Finest when he listed some “greatest misses,” or songs he produced and liked that weren’t hits. I left a comment, and he wrote back: “It’s good to know that you like it. Decidedly dated at this point, but pretty interesting for its time.”

Never having heard it until now — it’s no surprise that we wouldn’t have heard much black funk-rock in central Wisconsin in the mid-’70s — it’s still pretty interesting.

Fortunately, I found two of their first three LPs for Epic Records while crate-digging earlier this summer. I’m still on the lookout for another highly recommended by Werman and others — their second album, “Another Mother Further.”

Sit back and enjoy, as I did, Side 1 from their first album for Epic, produced by Werman.

“Fire,” “Give You All The Love (Inside Of Me)” and “Niggizz Can’t Sing Rock & Roll,” Mother’s Finest, from “Mother’s Finest,” 1976. It runs 17:01.

The buy link is to an import CD with two live tracks. It was released last year.

Enjoy also this video clip of “Truth’ll Set You Free,” one of Werman’s “greatest misses.” You’ll see why they were so great live.

Longtime readers of our other blog — AM, Then FM — may recall a regular feature from its first year. Every Sunday was Sleepy Sunday, on which we rolled out a tune from one of our faves, roots legend Sleepy LaBeef.

Born in Smackover, Arkansas, he stands a solid 6-foot-6 and belts out rockabilly, roots, blues, country and gospel tunes in a deep, smoky baritone while raking away on his guitar. He’s 73 and still touring, albeit at his pace.

When I last saw Sleepy live two years ago, I chatted with him briefly and told him what I was doing, putting his songs out there on the Web for all to hear. “Keep it up!” he roared.

So tonight on The Midnight Tracker, we bring you a Sleepy summer night. It’s a live side, and live is the only way to experience Sleepy LaBeef, American treasure.

Sleepy’s great live album, “Nothin’ But the Truth,” was recorded live at Harper’s Ferry in Allston, Massachusetts, on Oct. 22, 1985 — a Tuesday night, just like tonight.

It’s Side 2, so we’re arriving midway through the show. Sleepy’s starting to crank it up on the first tune, a cover of an Otis Blackwell song. Listen for him to holler for “Piano!” about 2 minutes in. Then — bang! bang! bang! — he covers Bo Diddley, Rockin’ Sidney Simien and Johnny Cash. Now you know why Sleepy is called “The Human Jukebox.”

Sleepy’s in high gear by the time he wraps up the show with a closing medley of “Jambalaya,” “Whole Lotta Shakin’ Goin’ On,” “Let’s Turn Back the Years,” “Hey, Good Lookin’” and “Folsom Prison Blues.”

You will find it anything but sleepy.

“Let’s Talk About Us,” “Gunslinger,” “My Toot-Toot,” “Ring of Fire” and “Medley,” Sleepy LaBeef, from “Nothin’ But the Truth,” 1987. It runs 23:47.

Much of what I know about about soul music comes from listening first to AM radio in the early ’70s, then FM radio for the rest of the decade. However, mine tends to be a wide but shallow pool at times.

I plead guilty as charged when it comes to the Chi-Lites. I long knew them only for their smooth, gentle love songs, the radio hits — “Have You Seen Her” from 1971 and “Oh Girl” from 1972.

A short while back, I heard “(For God’s Sake) Give More Power To The People,” a powerfully funky protest song featuring Creadel “Red” Jones’ bass voice. A bass? With the Chi-Lites? Head asplode. It’s from 1971, done along the lines of the stuff done by the Temptations at the time, and oh, how I dug the Temptations.

So I started digging — and digging for — the Chi-Lites, who came out of Chicago and worked together for a decade before hitting it big in the early ’70s. I recently found tonight’s record for a dollar. It’s a delightful mix of those smooth, sweet sounds and the funkier stuff.

As the liner notes on the Brunswick Records album jacket say: “Eugene Record, Marshall Thompson, Robert ‘Squirrel’ Lester and Creadel ‘Red’ Jones are the four stars of this amazing quartet.” Record sings lead, Thompson and Lester complement him and Jones’ bass anchors it all.

In the late ’50s, Record and Lester started out with another singer, Clarence Johnson, in a group called the Chanteurs. Thompson and Jones were a group called the Desideros. About 1960, they joined forces and became the Hi-Lites. In 1964, they became Marshall and the Chi-Lites, the latter reflecting their Chicago roots. Not long after, Johnson left the group, and they went simply as the Chi-Lites. It wasn’t until they signed with Brunswick Records in 1968 that they started to make it nationally. Their peak years were 1969 to 1973.

Thompson and Lester continue to perform as the Chi-Lites along with Frank Reed, who joined them as lead singer almost 20 years ago, after Record left the group. Record and Jones have since died.

Enough talk. As those liner notes say, “stoke up your stereo and treat yourself to a generous helping” of the Chi-Lites. Here’s Side 1.

“Yes I’m Ready (If I Don’t Get To Go),” “We Are Neighbors,” “I Want To Pay You Back,” “Have You Seen Her” and “(For God’s Sake) Give More Power To The People,” the Chi-Lites, from “(For God’s Sake) Give More Power To The People,” 1971. It runs 20:40.

Record — the lead singer — also produced this album, did some of the arrangements and wrote or co-wrote seven of the nine songs.

Work has worn me out this week. Hard to say why. Tonight’s side on The Midnight Tracker is just what’s needed to recharge my batteries.

I came across “Ecology” by Rare Earth while crate digging last year. I snatched it right up. It wasn’t until later that I realized how hard it is to find these days.

Rare Earth, of course, is the R&B/funk/soul band long wrongly thought to be the only white act on a Motown label. According to the band’s official history, Motown signed other white acts, but Rare Earth was the only successful one, having honed its chops by covering Motown tunes as a Detroit bar band in the ’60s.

Tonight, we have Side 1 of “Ecology.” It’s a bit of a departure for us because it has just three cuts, and I’m sure you know two of them. We usually don’t go with such familiar stuff. In this case, it’s interesting to hear those familiar cuts as they were laid down on the vinyl almost 40 years ago.

The ones you know — “Born To Wander” and “(I Know) I’m Losing You” — are sandwiched around “Long Time Leavin’,” which I remember from those long-ago nights of free-form FM radio.

I never get tired of Gil Bridges’ sweet flute and Eddie Guzman’s laid-back congas on “Born To Wander,” which was written by producer Tom Baird. Nor do I get tired of Kenny James’ Hammond organ solo on “Long Time Leavin’.”

Side 1 ends with a cover of the Temptations’ “(I Know) I’m Losing You.” Rare Earth’s scorching 10-minute-plus jam has it all — driving wah-wah and trippy slide guitars by Rod Richards, echoed vocals, extended high-hat drum breaks by Pete Rivera, killer conga lines and some cookin’ Hammond organ.

That tune was produced by the great Norman Whitfield, who also produced the Tempts. The single edit of Rare Earth’s version reached No. 7 in the pop charts in the summer of 1970 … one spot higher than the Tempts’ version at this time of year in 1966.

Enjoy the trip back.

“Born To Wander,” “Long Time Leavin’” and “(I Know) I’m Losing You,” Rare Earth, from “Ecology,” 1970. It’s out of print. Side 1 runs 18:36.

Rare Earth is still touring, with Bridges still leading the band. However, he’s the only one in the current lineup who also played on “Ecology.”

As usual, the inspiration for tonight’s side came from elsewhere. It popped to mind last week when we wrote about legendary session guitarist Chris Spedding over at our other blog — AM, Then FM.

Spedding played on two of Harry Nilsson’s biggest records — “Nilsson Schmilsson” in 1971 and “Son of Schmilsson” in 1972. The former was Nilsson’s pop breakthrough, delivering the hit singles “Without You,” “Coconut” and “Jump Into The Fire.” The latter didn’t wow anyone at the time and delivered only “Spaceman” as a single.

Nilsson went off the deep end on “Son of Schmilsson,” indulging his whims and creating an irreverent, eccentric, sometimes rude album.

Its forays into questionable taste include lyrics certain to get no airplay — even now, in the case of “You’re Breakin’ My Heart” (“You’re tearin’ it apart/so f*ck you”) and perhaps “Take 54.” (“I sang my balls off for you, baby”)

Another song starts, then ends abruptly when Nilsson belches.

A senior citizens’ choir sings along on a tune proclaiming “I’d rather be dead/than wet my bed.” Ah, they must have been good sports.

I liked it all quite a bit when it came out. Of course, I was 15 at the time. I appreciate irreverence, but given some of the truly delightful songs on this record, all the wacky stuff seems a bit unnecessary now.

But as always, you be the judge as you listen to the somewhat more coherent Side 2.

“Spaceman,” “The Lottery Song,” “At My Front Door,” “Ambush,” “I’d Rather Be Dead” and “The Most Beautiful World In The World,” Harry Nilsson, from “Son of Schmilsson,” 1972. It runs 20:47.

All are written by Nilsson except for “At My Front Door,” which is a rollicking cover of the El Dorados’ R&B hit from 1955, a tune also known as “Crazy Little Mama.”

Tonight’s selection on The Midnight Tracker is one I’ve been seeking for some time. I found it last week in my local record dealer’s basement, filed with the jazz records.

But this isn’t a jazz record. Oh, no, no, it’s a delightful slice of Philly soul from 1972.

My search for this record began a year and a half ago, when my friend Larry over at the Funky 16 Corners blog dropped a tune from it. I’d never heard the tune, which really cooks, nor the story behind it.

After Billy Paul had a monster hit with “Me and Mrs. Jones” in 1972, producers Kenny Gamble and Leon Huff wanted to follow up with “Am I Black Enough For You,” which they also co-wrote. Paul thought it a bit strident, but Gamble and Huff prevailed. The follow-up stiffed. Paul has had a long career and at 74 is still going, but never really regained the lost momentum. For more, read Larry’s post. He’s much more knowledgeable about the matter than I am.

In any case, “Am I Black Enough For You,” with its sizzling vocals, horns, clavinet and percussion, has the feel of a lost classic. Please enjoy that cut and the rest of Side 2 of “360 Degrees of Billy Paul.”

“Am I Black Enough For You,” “Let’s Stay Together,” “Your Song” and “I’m Gonna Make It This Time,” Billy Paul, from “360 Degrees of Billy Paul,” 1972. It runs 22:20.

This side is further evidence of Paul’s greatness as a singer. Two of the four cuts are distinctive covers — Al Green’s “Let’s Stay Together” and Elton John’s “Your Song.” His upbeat take on “Your Song” is pretty sweet. The last cut, “I’m Gonna Make It This Time,” is another slice of smooth, slow soul in the same vein as “Me and Mrs. Jones.”

As we stagger to the end of another month, the idea for another side falls right into our lap. Again, as with Bob Seger in November, the inspiration is our pal Michael over at Fusion 45.

Last week over at F45, Michael served up “Never Been Any Reason” by Head East, saying it was “their one and only attempt to be REO Speedwagon (in terms of popularity, that is).”

Whether that’s so is debatable. It’s entirely possible, though, that Head East was influenced by REO (whose early stuff we dig and whose later stuff Michael digs). They certainly competed. Both were part of a thriving Midwest rock scene in the late ’60s and early ’70s.

In the early ’70s, the best stuff came out of Michigan — the MC5, Iggy and the Stooges, Bob Seger’s early bands and Grand Funk Railroad. By the mid-’70s, though, a bunch of different sounds came out of Illinois — REO, Styx, Head East, Starcastle. They weren’t as crunchy as the Michigan bands.

Still, Head East is not REO. Sure, lead singer John Schlitt brings to mind REO’s Kevin Cronin. Sure, keyboard player Roger Boyd brings to mind REO’s Neil Doughty. And so on. But we’ll let you be the judge of that, once you listen to tonight’s side.

You know “Never Been Any Reason,” so we’ll flip over the record and serve up Side 2 of “Flat As A Pancake.”

“Jefftown Creek,” “Lovin’ Me Along,” “Ticket Back To Georgia” and “Brother Jacob,” Head East, from “Flat As A Pancake,” 1975. It runs 19:00. Three of the four cuts were written by drummer Steve Huston, with “Lovin’ Me Along” by guitarist Mike Somerville.

There’s plenty of tasty organ work by Boyd on the first two cuts, “Jefftown Creek” and “Lovin’ Me Along.” Dig the Mellotron at the end of the latter. The last two cuts are piano-driven, with “Ticket Back To Georgia” seemingly inspired by the Allman Brothers’ quieter stuff and “Brother Jacob” hinting at gospel influences.

I saw Head East play at a festival in Madison, Wisconsin, in the late ’80s, a good decade past their prime. I thought it would be lame, and it was pretty good. You might find this side to be much the same.

Then go see Head East when they come to your town. They’re still out there touring, still playing some of the tunes from this side, with Boyd leading the way.