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The end of the stairway for Led Zeppelin! A couple of bluesy covers, a strong folk-styled original – and some tried-and-true Zeppelin stormers – on a fairly succinct final album. Early on are a couple of comparatively meditative numbers, and album builds to an exciting, hard-rocking end. Includes "We're Gonna Groove", "Poor Tom", "I Can't Quit You Baby", the Bonham showpiece "Bonzo's Montreaux", "Wearing And Tearing" and more.

Led Zeppelin's final album of the 70s! The band was conscious as ever of modern studio sounds by the this point – and they find a way to deliver their hard blues-inspired heavy rock with some new wave synth and other late 70s touches. It works pretty well, and with songs as great as "Fool In The Rain" and "All My Love" on the record, they really couldn't go wrong. Other titles include "In The Evening", "South Bound Suarez", "Carouselambra", and "I'm Gonna Crawl".

Led Zeppelin walk back just a bit on their more stylistically sprawling tendencies for this one – and it's a fine set of hard-grooving rock from these uber-legends! We're not sure if they got some of the more ambitious ideas out of their system with Physical Graffiti, or if they just simply wanted to get out there and kick ass this time, but that's indeed what they do. It's still got some longer songs and complicated changes – this is Led Zeppelin, after all – and the lack of over-played classic rock radio fodder actually makes this one a better listen nowadays than the more iconic albums. Includes "Achilles Last Stand", "For Your Life", "Nobody's Fault But Mine", "Candy Store Rock", "Hots On For Nowhere" and "Tea For One".

Arguably one of the greatest double-live albums of the classic rock generation – filled with extra long takes of Led Zep classics, most of which diverge very strongly from their studio versions! The real highlight here is the set's classic "Moby Dick", which features one of the greatest drum solos ever set to wax – but other tunes include "Rain Song", "Whole Lotta Love", "Stairway To Heaven", "No Quarter", and "Dazed & Confused".

Led Zeppelin's final album of the 70s! The band was conscious as ever of modern studio sounds by the this point – and they find a way to deliver their hard blues-inspired heavy rock with some new wave synth and other late 70s touches. It works pretty well, and with songs as great as "Fool In The Rain" and "All My Love" on the record, they really couldn't go wrong. Other titles include "In The Evening", "South Bound Suarez", "Carouselambra", and "I'm Gonna Crawl".

The last-ever live performance of the legendary Dave Brubeck Quartet with Paul Desmond – recorded in 1967, but issued here for the first time ever! The group was the stuff of legend in the 50s and 60s – Dave's incredible approach to piano and time signatures, supported by amazing rhythm progressions from bassist Eugene Wright and drummer Joe Morello – topped by some completely sublime work on alto sax by the mighty Paul Desmond! Throughout the 60s, the group really expanded their sound wonderfully – through a set of richly exploratory albums for Columbia Records, taking their core approach into a wide range of new styles and formats that really made for some beautiful music. Here, they deliver a stellar swan song – working in a live performance that brings back a few classics, and also shows some of the new territory they'd taken too – all recorded beautifully, at a level that makes the record a perfect pairing with their studio albums for Columbia – almost as if the label had been holding back a gem after all these years. Titles include "For Drummers Only", "La Paloma Azul", "Three To Get Ready", "Someday My Prince Will Come", "I'm In A Dancing Mood", "Set My People Free", "Take Five", and "You Go To My Head".

Soaring work from the legendary John Coltrane Quartet – a session that was incredibly far-reaching for the time, and which originally was unissued until after the time of Coltrane's death! The record's got the group really pushing forward strongly – hitting a Love Supreme mode, but also showing even some of the sharper edges that John would explore with the group after this one – a beautiful swan song to the lineup of McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums. Things soar with a hell of a lot of spirituality, yet never get too overindulgent to lose their groove – and titles include "Amen", "Dearly Beloved", "Ascent", "Attaining", and "Sun Ship".

A hugely expanded version of this legendary album – one that features loads of unreleased tracks that show the whole thing coming together in the studio! The set's filled with soaring work from the legendary John Coltrane Quartet – a session that was incredibly far-reaching for the time, and which originally was unissued until after the time of Coltrane's death! The record's got the group really pushing forward strongly – hitting a Love Supreme mode, but also showing even some of the sharper edges that John would explore with the group after this one – a beautiful swan song to the lineup of McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums. Things soar with a hell of a lot of spirituality, yet never get too overindulgent to lose their groove – and titles include "Amen", "Dearly Beloved", "Ascent", "Attaining", and "Sun Ship". CD features complete takes of some tracks that were cut off on the original LP release, plus other versions that show a strong development of the music!

The tenor sax here makes the album a standout – as John Coltrane still works with Miles Davis on 2 tracks for the record, but Blue Note stalwart Hank Mobley joins in on the rest! The approach is similar to that of the classic Coltrane/Davis years – and in a way, the record's kind of a swan song to that period – one of the last studio session that Miles would cut in such an unabashedly sweet and lyrical way. And while Mobley's always better known for his harder-blown notes at Blue Note, he sounds totally great here next to Davis – really keeping up the gentle spirit and spaciousness of the record, and working with a gentleness that surpasses even his work on the legendary Soul Station album. Rhythm is by the trio of Wynton Kelly, Paul Chambers, and Jimmy Cobb – and titles include Miles' classic version of "Someday My Prince Will Come", plus "Old Folks", "Teo", "Drad-Dog", and "Pfrancing".

Uncut covers The Beatles: The Complete Story for this essential issue in their Ultimate Music Guide Series – focusing solely on their years as a band – with both classic interviews and new content from the expert team at Uncut! We saw the cover and wondered how they could pull this off – but they do it quite well, actually, by focusing square on John, Paul, George and Ringo as a band – and saving the solo output for another day. It features reviews of each Beatles era LP, from the raw debut of Please, Please Me to the Phil Spector polished swan song Let It Be – and also the best of later compilations like Past Masters, Anthology and others. Even better are the reprints of classic features from Uncut, Melody Maker and NME and the dozens of classic and rare photos of the group!

Soaring work from the legendary John Coltrane Quartet – a session that was incredibly far-reaching for the time, and which originally was unissued until after the time of Coltrane's death! The record's got the group really pushing forward strongly – hitting a Love Supreme mode, but also showing even some of the sharper edges that John would explore with the group after this one – a beautiful swan song to the lineup of McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums. Things soar with a hell of a lot of spirituality, yet never get too overindulgent to lose their groove – and titles include "Amen", "Dearly Beloved", "Ascent", "Attaining", and "Sun Ship".

Hard to go wrong with the insanity of this one! The record broke the bank of Genesis, but really allowed Peter Gabriel to trip out nicely as his swan song to the band.

The best in years from Dwele – who honestly has yet to really make any kind of a creative misstep – and Greater Than One is one of his greatest records to date! Detroit singer and producer Dwele has long balanced a love for classic soul of the Donny Hathaway school with contemporary, though wisely trend-skirting production – and he does that once again here. There's a more focused feel, and really strong, insistent songs this time out, too. Of course Dwele's voice is the greatest selling point, and it's layered beautifully throughout! Includes "Greater Than One Less Than Three", "Going Leaving", "Takes22Tango", "What You Gotta Do" with Raheem DeVaughn, "What Profit", "Obey", "Must Be" feat J Tait, L'Renee & Black Milk, "Swank" and "Patrick Ronald" feat Monica Blaire, "Frankly My Dear (I'm Bennett I Ain't Innit)" and more.

Great sounds from a very special place – that magical meeting point where country meets soul – a spot that was crossed surprisingly often in the southern soul scene of the 60s and 70s! The set's a great follow-up to the excellent first volume – and really does a wonderful job of showing the way that a country ethos could work equally well in soul music – with results that will definitely have you re-thinking your ideas of cultural separation in the south. Much of the work is from that great late 60s/early 70s point when the country soul genre was really maturing – moving past the earlier moments of Ray Charles or Brook Benton, and using the style to express a new level of lyrical sophistication – especially in songs of love lost. Titles include "Sweet Music Man" by Millie Jackson, "Don't You Ever Get Tired" by Bettye Swann, "I Hate You" by Bobby Bland, "Statue Of A Fool" by David Ruffin, "Tennessee Waltz" by Otis Redding, "Bad News" by Clarence Carter, "Sunday Morning Coming Down" by Hank Ballard, "But You Know I Love You" by Sweet Inspirations, "Please Help Me I'm Falling" by William Bell, "Sometimes" by Facts Of Life, "I'll Release You" by Ted Taylor, and "All I Have To Offer" by Eddie James.

A stellar collection of country soul by many of the greatest voices of any strain of soul music – Solomon Burke, Esther Phillips, Al Green, Bettye Swann, Percy Sledge, Little Milton, Candi Stanton and many more! A healthy portion of the material comes from the late 60s and early 70s – recordings that bring a depth of genuine soul to songs written or popularized by artists more often associated with the country charts. That said, it's soul music all the way – showing both the dexterity of these great soul singers and the adaptability of the such great songs. Includes "Detroit City" by Arthur Alexander, "He'll Have To Go" by Solomon Burke, "Take Time To Know Her" by Percy Sledge, "I Saw Me" by Esther Phillips, "Hangin' On" by Ann Peebles, "I'm So Lonesome I Could Cry" by Al Green, "Behind Closed Doors" by Little Milton, "Set Me Free" by Clarence Carter, "Yours, Love" by Joe Simon, "She Even Woke Me Up To Say Goodbye" by Brook Benton and more.

One of the coolest entries in the Late Night Tales series – but that's what we'd expect from Cinematic Orchestra! The collection not only shows the group's roots and inspiration in the work of a number of different artists – but also features an exclusive track as well – a great cover of "Talking About Freedom", done by Cinematic Orchestra just for this set! Other tracks include "You're Goin Miss Your Candyman" by Terry Callier, "Cumulus" by Imogen Heap, "Behold The Day" by Freedom Sounds, "Aht Uh Mi Hed" by Shuggie Otis, "Electric Counterpoint" by Steve Reich, "Black Swan" by Thom Yorke, "Auntie's Harp" by Flying Lotus, "Joga" by Bjork, "See Line Woman (voc)" by Songstress, "La Ritournelle" by Sebastien Tellier, and "South American Getaway" by Burt Bacharach.