The debut album from Tyrone Davis – a supreme achievement for the Chicago soul scene of the late 60s, and a record with a sound that would set the standard for years to come! Tyrone had been bumping around as a blusier singer before this set – but here, working with arrangements by Don Myrick and Willie Henderson, he gets a sound that's sweet and soaring – taking a rough-spirited soul, and recasting it in a sweeter sound for the 70s. Tyrone's not lapsing into bluesy cliches here, and instead keeps things wonderfully soulful by hitting a loping groove that picks up his beat and gives the songs a nice lilt. You can hear this to best effect on the title track "Can I Change My Mind", but all tracks are great – including "She's Looking Good", "Call On Me", "Open The Door To Your Heart", and "Have You Ever Wondered Why?". LP, Vinyl record album

Sublime work from Morgana King – a set that continues the unique mellow vocal tradition begun on her Reprise sides of the 60s, and continued strongly well into the 70s on Paramount and other labels. The setting's somewhat spare here – a small group with guitar, electric piano, bass, drums, and percussion – all used nicely alongside King's vocals in a warm, pillowy quality that glides with a gentle groove and a great sense of grace and presence. The tracks are mosly mellow, and Morgana delivers those great King-styled vocals we love so much – an approach that's unlike any other singer we can think of, and which is right at home here. Titles include "Everything Must Change", "Give Me The Simple Life", "Love Song", "Out Of Nowhere", and "This Masquerade". LP, Vinyl record album

... 7-inch, Vinyl record

A sweet Atlantic soul groover from Brother Jack McDuff – and a set that has him tightening up his Hammond sound from his earlier years at Prestige Records! The tunes here are short and punched-up – almost instrumental soul numbers in their construction, but still filled with plenty of jazz – thanks to Jack's mad solos on organ, and some killer drums from Joe Dukes and Bernard Purdie! Other players include George Coleman on tenor, Cornell Dupree on guitar, and Buddy Lucas on baritone sax – and arrangements are by JJ Jackson and Jack himself. Titles include "Hotcha", "Down In the Valley", "Same Old Same Old", "No Tears", "What'd I Say", "Gonna Hang Me Up A Sign", and "Minha Saudade". LP, Vinyl record album

2LP set that brings together 2 (then) unreleased sessions recorded by Sam Rivers for Blue Note during the mid 60s! The first album was later issued as Dimensions & Extensions – and features Sam Rivers starting to stretch out and get kind of free in a bit of a Blue Note late 60s New Thing mode, but still hanging back from the freer side he'd explore on later recordings for Impulse. James Spaulding, Donald Byrd, Julian Priester, and Cecil McBee are in the larger piano-less band which Rivers would later move away from as he started playing in more trio and small group settings. 6 tracks in all: "Precis", "Paean", "Effusive Melange", "Involution", "Afflatus" and "Helix". Next up is extremely dark material recorded by Andrew Hill as a leader, but featuring Rivers on tenor – a quartet date that's filled with jagged edges and bold fragments of sound! There's a really strong new thing vibe going on here – at a level that matches the brilliance of Hill's Smokestack album, but which is perhaps even better, given Rivers' sharp lines on tenor! As with many of the best Blue Note sets in this mode, the bass and drums almost get equal space with the main solo instruments – so that the percussion of JC Moses and bass of Walter Booker often hang out in space, shaping the sound of the record on their own, as all players contribute equally to the structure of the songs. Hill wrote all the numbers on the set, and titles include "Violence", "Pain", "Illusion", "Hope", "Lust", and "Desire". LP, Vinyl record album

Warm and wonderful soul from David Ruffin – key proof that the singer could keep on going strong, long after his earlier fame at Motown! The record's got a new sense of sophistication that really breaks David into new territory – a style that's nicely different than the backings Ruffin got from Van McCoy in his later Motown years – and which opens up a more mature sound, courtesy of producer Don Davis – who's casting Ruffin in the same blend of rough and smooth that worked so well for The Dramatics! There's a sophistication here that's completely sublime – a sound that's right up there with Leroy Hutson or Leon Ware – and most tunes hit a mellow or midtempo mode that's totally great! Tracks include "Chain On The Brain", "Break My Heart", "Morning Sun Looks Blue", "Let Your Love Rain Down On Me", "So Soon We Change", and "Sexy Dancer". LP, Vinyl record album

... 12-inch, Vinyl record

... 7-inch, Vinyl record

... 7-inch, Vinyl record

... 12-inch, Vinyl record

... LP, Vinyl record album

UK soul from Joyce Bond – with titles that include "You Don't Stand A Chance", "Wind Of Change", "Freedom Train", "It's Got To Be You", "First In Line", "Make Me Yours", "Oh Darling", and "Take Care Of Your Homework". LP, Vinyl record album

Collection of Sam Cooke's wonderful soul for RCA, compiled just after his untimely death. The set's divided into more uptempo numbers on the first side, and Sam's great ballads on the flip, all with his rich voice ringing clearly on top. Features "Shake", "Yeah Man", 'Win Your Love For Me", "It's Got The Whole World Shakin", "A Change Is Gonna Come", "I'm Just A Country Boy" and "Ease My Troublin Mind". LP, Vinyl record album

... 7-inch, Vinyl record

... LP, Vinyl record album

... 12-inch, Vinyl record

... 7-inch, Vinyl record

... 7-inch, Vinyl record

A strange film, but a great soundtrack! George Duning came up with an excellent batch of jazzy tracks for the film – and most of them swing hard and tightly, with strong jazzy solos, in a manner that's similar to some of Mancini's best scores of the late 50s. A number of tracks have odd "Eastern" touches in the melody – mostly through the use of percussion – and this makes the jazzy tracks even nicer, and gives them a strange feel that's similar to some of the "east meets jazz" albums on Verve during the 60s. Titles include "Aberdeen Caper", "Gwenny Lee", "At The Namcock", "Groove For Suzie", and "Hit The Road To Dreamland". Towards the end of the soundtrack, some cuts have a more orchestral feel, and this is in keeping with the change of mood in the film. LP, Vinyl record album

A great back to basics set from Edo G and Insight Innovates – part of a recent run of records on the scene that really seem to redirect hip hop to more straightforward modes – not at a retro level, but in a style that reminds us that at the core, the music is best when it's got a strong focus on beats and quality rhymes! Neither artist is out to change the world, but together they've got a way of uniting hip hop history with a contemporary sensibility – no fuzz or fluff, just tight at the core, and all the way through. Titles include "Just Listen", "Unite & Let's All Get Down", "It Takes Progress", "Good In Goodbye", "Never Too Late To Correct Mistakes", "Choose Your Path", and Set It Off", a tribute to Big Daddy Kane! LP, Vinyl record album

One of the few larger group Bill Evans sessions from the later years – an album that features sax and flute from Larry Schneider and trumpet from Tom Harrell – in addition to core trio instrumentation from Bill on piano, Marc Johnson on bass, and Joe LaBarbera on drums. The added horns really make the session sparkle – and although those players aren't on every number in the record, when they do show up they really help change the sound nicely from overly familiar Evans trio modes. Bill plays a bit of electric piano on the set – especially beautifully on the track "Only Child" – and other titles include "Comrade Conrad", "Peri's Scope", "We Will Meet Again", "Bill's Hit Tune", "Laurie", "Five", and "For All We Know". LP, Vinyl record album

An amazingly beautiful set of tracks from Art Farmer – playing here with superb accompaniment from a young Harold Mabern on piano, in a laidback quartet format that really lets Art open up! Art's playing is fresh and creative throughout – never too over the top, and always blown with that subtle genius that he was bringing to his work in the 60s – a pure exercise in understatement, with a quality that seems to make the notes fall out of the air by themselves. Rhythm is by Tommy Williams on bass and Roy McCurdy on drums – and the choice of material includes Tom McIntosh's great composition "The Day After", plus Art's "Punsu" and "Kayin" – and versions of "Change Partners", "Blue Room", and "Nobody's Heart". LP, Vinyl record album

A landmark LP by this famous Philly trio who forever went onto change the face of club music! The record is pre-disco, but has a great strident soul sound, augmented by tight Norman Harris arrangements. Features the famous title hit – "Armed & Extremely Dangerous" – a great one in the "crime" soul subgenre, plus "Smarty Pants", "Newsy Neighbors", and lots more. LP, Vinyl record album

An excellent set by Grant Green – recorded in 1964, but not issued until close to 1980, when Blue Note first pulled it out of the vaults, and dropped it on the world! The session's a great one – with an unusual lineup that features Green's guitar in a sextet, with McCoy Tyner on piano, James Spaulding on alto, Joe Henderson on tenor, Bob Cranshaw on bass, and Elvin Jones on drums – a really wonderful group who help bring something different to the proceedings – helping showcase the great change in Green's second chapter for Blue Note. The album's got a mix of modal grooving and piano-driven hardbop – with a harder groove than some of Green's other non-organ sides for Blue Note. Titles include "Solid", "Minor League", "Ezz Thetic", "Grant's Tune" and "The Kicker". LP, Vinyl record album

The great live compilation of classic Hendrix – pulled from incendiary performances at Isle Of Wight in 1970 and other benchmark west coast gigs from '68 to '70! It's as fine of a snapshot of Jimi as you could really hope for, as it features numbers that showcase his fiery blues psych side that pretty much single-handedly change rock guitar forever after, as well as more loosely furnished bluesy jams that demonstrate his love for the blues legends before him. So, it's Jimi paving the way and showing love for his predecessors – and historical importance aside, it's simply great stuff! Some gigs have Noel Redding on bass and others have Billy Cox. Includes "The Queen", "Sgt Pepper's Lonely Hearts Club Band", "Little Wing", "Fire", "Red House", "Johnny B Goode", "Lover Man", "Blue Suede Shoes" and "Voodoo Child (Slight Return)". LP, Vinyl record album

Milt Jackson's third album for CTI – part of a wonderful run that really helped him redefine his sound in the 70s! The album's got the electric approach you'd expect from the label – a great change from the sound of Jackson in the Modern Jazz Quartet, and a surprisingly great setting for his wonderful work on vibes! Milt's laidback style is perfect for the CTI mode – open, flowing, and filled with great tones – matched up here with sax work by Jimmy Heath, bass by Ron Carter, piano from Cedar Walton, and drums by Mickey Roker – a perfect setting to let loose in a way he rarely did on his earlier albums. The whole set's great – and titles include "Lost April", "Rerev", "The Metal Melter", "The Steel Bender", and "I'm Not So Sure". LP, Vinyl record album

Michael Jackson's last album with his famous family – a set of electric 80s soul that's a bit different than Jackson's well-known solo work! In a way, the later Jacksons albums almost feel like a place where Michael can try out some ideas that don't fit as tightly into the overall sound of his own records – and there's definitely more diversity here than before – a shift between gentle ballads, beat-heavy tunes, and even a few rockish/poppish moments. Of course, we should probably be crediting the other Jacksons for their help in the sound here too – as they're certainly credited on the cover – but there's also less of the "many parts as one" sound than before, so it's hard to tell how they're working together. Titles include "The Hurt", "Wait", "Torture", "One More Chance", "Body", "We Can Change The World", and "State Of Shock", the big single, which features a guest appearance by Mick Jagger. LP, Vinyl record album

"This here is the victory lap," raps Hov midway through The Black Album, probably the most consistent front-to-back listen of all his albums. One of the nicest things about the Black Album is the brevity – with a very manageable 14 tracks, no guest rhymers, and a consistent overall sound and mood thanks in part to strong production by Kanye West, 9th Wonder, Neptunes, Timbaland, Eminem, Rick Rubin and DJ Quik. It's a wildly disparate cast behind the boards, but this thing flows incredibly well thanks to Jay-Z's predetermined mission to make a great album, not just a hot record. We may still have to lean towards Blueprint as his late masterpiece, but this is way up there. "December 4th", "What More Can I Say?", "Encore", "Change Clothes", "Dirt Off Your Shoulder", "Threat", "Moment Of Clarity", "99 Problems", "Justify My Thug", "Lucifer", "Allure", "My First Song", and a couple of brief interludes. LP, Vinyl record album

Early genius from these Bay Area stalwarts – one of the greatest rock records of its time! Surrealistic Pillow is the second Jefferson Airplane album, but they took a number of huge creative leaps in the 8 months or so between their debut record and this one. This one is where they're joined by psych siren Grace Slick, but it's not just the line-up change that sets it apart. Surrealistic Pillow is a perfect title, as it's comforting and disorienting at the same time. It's also the magical confluence of wildly different spirits – with standout contributions by the entire band. Titles include the seminal "White Rabbit" – plus "Embryonic Journey", "3/5 Of A Mile In 10 Seconds", "DCBA 25", "How Do You Feel", "Today", "She Has Funny Cars", and "Plastic Fantastic Lover". LP, Vinyl record album

A rare 70s reunion for the Poll Winners trio of Barney Kessel, Ray Brown, and Shelly Manne – one that has them all looking a bit shaggy on the cover, but still plenty darn tight in the grooves of the record! There's a really nice change here from the earlier sound of the group – longer tracks than before, played with a bit more sense of freedom by all players involved – but still with that tight comraderie that made the trio so great in the first place. Manne's rhythms are showing some of the looser modes of his later years – and that space is filled nicely by Kessel's still firm guitar lines and Brown's increasingly warm bass. Titles include "Blue Boy", "Caravan", "Someday My Prince Will Come", "Two Cents", and "One Foot Off The Curb". LP, Vinyl record album

A tight date from 1977, and one that follows nicely in the spirit of King's later Stax sides, but with a slightly smoother groove. There's a bit of the Detroit 70s mode going on in the set – that rough-and-smooth quality that you'd find on a Don Davis production, which proves to be a wonderful blend for King's music, especially on some of the album's funkier numbers. Titles include "Chump Change", "You Upset Me Babe", "Let Me Rock You", "Boot Lace", "Love Mechanic", "Call My Job", and "Good Time Charlie". LP, Vinyl record album

A standout classic from Fern Kinney – and a set that not only marked a big moment of evolution for southern soul, but also for the Mississippi scene as well! The set was recorded at the Malaco studios in Jackson, but has a vibe that's much closer to some of the TK Records material from Miami – that maturation of southern soul during the disco era – as warmer, more modern touches came into play with rootsier styles of vocals! Mike Lewis handled the string arrangements – giving the record the same disco vibe as some of his other work of the time, including Anita Ward's big debut – and Fern's vocals have this higher range than usual for a southern singer – almost more innately tuned towards clubby rhythms. Titles include a big hit remake of King Floyd's "Groove Me" – really marking the change from the original version – plus "Baby Let Me Kiss You", "Pillow Talk", "Sun Moon Rain", "Angel On The Ground", and "Under Fire". LP, Vinyl record album

Gladys Knight steps out on her own – in her very first solo album, after years of recording with The Pips! The change has maybe a bit more focus on Knight's incredible vocals in the lead, but the approach is also strongly similar to the best work with The Pips at the same period – with the Jim Gilstrap singers providing backup vocals, but at a lighter level, with less harmonies that soar out – so that Knight really carries the tunes in a wonderful way. Most tracks are in that mellow mode that Gladys was really doing so well in the 70s – and titles include "I'm Coming Home Again", "I'm Still Caught Up With You", "The Way It Was", "I'll Take a Melody", "Love Gives You The Power", and "Sail Away/Freedom For The Stallion". LP, Vinyl record album

A record that really has Alexis Korner stretching out from the straighter blues of his 60s material – using his fantastic style on a set of tunes that show as much New Orleans influence as you might guess from the title – but also an evolved British roots rock quality too! The group is very interesting – relatively lean, and with loads of saxophone solos from Mel Collins – the reedman who made some early 70s King Crimson albums so great – plus second guitar from Peter Thorup, who also adds a bit of slide, and makes for a strongly guitar-based groove amidst some of the slightly funky rhythms. Titles include "Gospel Ship", "Lo & Behold", "County Shoes", "Don't Change On Me", "Rock Me", and "Sweet Sympathy". LP, Vinyl record album

The wonderful first solo album from Nils Lofgren – done with this lean, tight sound that's nicely different than his previous work with Grin – and which really lets Nils show off all the best sides of his vocals and guitar! The group is just a core trio with Wornell Jones on bass (later of solo funk fame) and the great Aynsley Dunbar on drums – a player whose compact energy really brings a nice kick to the tunes, without ever overdoing things at all! Nils himself is stunningly charming on vocals – and also handles guitar, piano, and organ – as well as backup vocals, through the magic of overdub. In an era of rock overindulgence, the intimacy of the record is a really welcome change – although Lofrgren manages to come across with a real fullness too – almost like Todd Rundgren's self-created projects. Titles include "Keith Don't Go", "Back It Up", "One More Saturday Night", "Be Good Tonight", "Can't Buy A Break", "Duty", and "The Sun Hasn't Set On This Boy Yet". LP, Vinyl record album

An album that definitely lives up to its title – as the set is definitely a turning point in the career of John Mayall, and the debut of brand new lineup that helped move his music past a the straighter sound of American blues! There's still plenty of blues at the core – and great vocals and harmonica from the leader – but the lineup also features no drums at all, which gives very open space to freeplay between the acoustic guitar of Jon Mark, the bass of Steve Thompson, and the wicked work of Johnny Almond on tenor, alto, and flute! The jazzy elements that Almond brings to the music are wonderful – and really open up the sound, and showcase a whole new side of Mayall's talents too – as the group here play live at the Fillmore East, on titles that include "The Laws Must Change", "California", "I'm Gonna Fight For You JB", "Room To Move", and "Saw Mill Gulch Road". LP, Vinyl record album

Wild electric work from Les McCann – an album of free, open sounds that's quite a change from his styles of the 60s – and from most of his other work of the 70s too! Side one features an extended 26 minute track titled "The Lovers" – a slow-building number that has Les on sublime Fender Rhodes, as things build slowly with this really spiritual current that comes from the addition of Yusef Lateef on reeds, Cornell Dupree and David Spinozza on guitar, Corky Hale on harp, and both Bernard Purdie and Alphonse Mouzon on drums! The track is loose, but builds into some great funky moments – almost a keyboard version of electric Miles Davis at the time, but a lot more soulful. And side two continues the heavy keyboard vibe – with a killer remake of Les' classic "Beaux J Poo Poo" and a similar "Poo Pye McGoochie", both with the kind of choppy funky grooves Les laid down with Eddie Harris a few years prior! LP, Vinyl record album

A great Latin groove from the mighty Les McCann – a smoking set that adds in extra percussion from Willie Correa – who gives the record a sound that's quite a change from the usual McCann groove! The percussion is wonderful throughout – and given that the great Paul Humphrey is already playing drums in the trio, the whole thing's got a rhythmic zest that never lets up – way different than just the usual "with conga" style you'd hear on a Prestige Records piano trio record – and instead a groove that's definitely dedicated to the boldest Latin piano modes of the time! The track list includes a lot of originals, such as "McCanna", "Zulu", "Bastuto Baby", "Shaam-Pu II", and "Narobi Nights" – plus versions of "Que Rico" and "It Had Better Be Tonight". LP, Vinyl record album

The first album from the team of Marilyn McCoo & Billy Davis Jr – and a set that's arguably even more soulful than their work together in The 5th Dimension! The pair are lucky to have Groovesville soul maestro Don Davis at the helm – helping them hit a more mature, more contemporary sound that mixes equal parts club rhythms with some of the smoother styles of the late 5th Dimension years. McCoo's vocals are especially wonderful – classy, but always quite heartfelt – at a level that almost comes across like some of the best Philly International vocalists of the same period – especially on the soaring disco numbers! Titles include "You Can't Change My Heart", "You Don't Have To Be A Star", "We've Got To Get It On Again", "Easy Way Out", "My Love For You", and "I Hope We Get To Love In Time". LP, Vinyl record album

A key change for John McLaughlin – post-Mahavishnu, post-Shakti, and very much the electric guitarist promised in the title! The album's one of McLaughlin's more professional fusion outings of the 70s, but still has some of the earthiness of his roots – and despite a rather large lineup that includes players from both previous groups, plus some 70s fusion superstars, John still manages to make the album come across with a nicely personal feel. Guitars are acoustic and electric, six string and twelve – and titles include "Miles Davis", "Guardian Angels", "Singing Earth", "The Dark Prince", "The Unknown Dissident", and "Desire & The Contorter". LP, Vinyl record album

The start of a legend – and the very first album by Sergio Mendes' Brasil 66 group, proudly brought to the world through the godlike talents of a young Herb Alpert! Sergio was no stranger to the recording studio by the time of this set, but the record marked a real shift in his music – a change from the mostly-instrumental bossa modes he first forged back in Brazil, and a shift to warmer, sweeter pop with a nice sunny California finish – done through unique production techniques and the group's trademark two-lady lead vocals! The sound is tremendous, and is possibly heard in its purest form here – simple, focused, and given that near-perfect A&M sound through Herb's production skills. Titles include the classics "Daytripper", "Aqua De Beber", "O Pato", "Berimbau", "Mas Que Nada", and "The Joker". LP, Vinyl record album

A nice one! The MJQ record for the Beatles' label, and the record's one of their most interesting in years! The production's pretty straight, but the group's playing in a cool open-ended style that still has elements of their earlier work, but which really makes things a lot more interesting than some of the Atlantic recordings. Milt Jackson's vibes have a bit more of a bell-like quality on some parts, and the rhythm team of Percy Heath and Connie Kay kick it with a soul jazz vibe on a few numbers – a nice change from the sleepier rhythms of earlier albums. Titles include "The Blue Necklace", "Exposure", "Jasmine Tree", and "Three Little Feelings". LP, Vinyl record album

One of the nicest early albums by this great 70s soul collective – featuring a strong mix of funk and mellow soul tracks, with backing by the Nite Liters on some tracks, and production by the great Harvey Fuqua throughout! Titles include "Wild Flower", "It's Been A Long Time", "Keep On Doing It", "Pains of Love", "Ain't No Change", and "Heaven Says". LP, Vinyl record album

A sweet groover from Esther Phillips – done in a style that's much more club-oriented than before, but which we find ourselves liking quite a lot! Given that Esther had explored other modes quite thoroughly on other 60s and 70s sessions, the change here is actually a nice one – and the overall presentation is handled with a good sense of class and poise by Harvey Mason, who produced the session, and gives the record a sound that's hip enough to make it work. Esther sound especially great on the album's sweet stepper "Bedtime Stories", but other cuts are nice too – and titles include "Our Day Will Come", "Oo Oop Oo Oop", "Love Makes A Woman", "Mr Melody", and "I'll Close My Eyes". LP, Vinyl record album

The fantastic debut of The Pointer Sisters – an album that's a lot deeper than most of their crossover pop from years to come! At the time of the album's release, the trio were a badass group of female singers on the Bay Area scene – out to redefine the role of the girl group in soul – working not only with righteous power that was a real change from modes of the 60s – but also this trans-temporal quality that had them reaching back with ease for references from decades past, which also includes a surprising amount of jazz! The highlight here is the group's classic funky break version of Allen Toussaint's "Yes We Can Can" – and other titles include "Naked Food", "Wang Dang Doodle", "Sugar", "Pains & Tears", "Jada", "River Boulevard", and "Cloudburst". LP, Vinyl record album

A soulful 70s outing from pianist Freddie Redd – one of his few albums as a leader from the decade, and a tight trio outing recorded for the tiny Interplay label! Freddie's touch on the keys here still has some of the modern flourishes of his earlier work for Blue Note – but he's also got a more rounded sound overall, and a more relaxed approach to the piano that makes for a nice change, and which really suits the manner of his trio partners Henry Franklin on bass and Carl Burnett on drums. Titles include a number of great Redd originals – "Play Piano Play", "Waltzing In", "On Time", and "Braziliana" – plus versions of "I'll Keep Loving You" and "Round Midnight". LP, Vinyl record album

A nice change from some of Sam Rivers' more extended modes of the time – with tracks that are a bit shorter, with a bit more focus – yet still a relatively loose approach overall! The album features a few differeing trios – with Rivers on flute, tenor, soprano sax, and piano – plus Richard Davis, Cecil McBee, or Avild Andersen on bass – and either Norman Connors, Warren Smith, or Barry Altschul on drums. Titles include "Amber", "Rose", "Mauve", and "Violet". LP, Vinyl record album

One of the strangest acts to come from Motown in the early 80s – and almost more of a new wave record than a soul one! The standout hit here is the title track "Somebody's Watching Me" – an odd electro tune that has Rockwell speaking/singing these paranoid lyrics with a vague British accent – but which has Michael Jackson coming in on the chorus to warm up the tune! Sadly, Michael's gone for the rest of the record – so Rockwell takes center stage with tunes that have a soul-based take on styles heard more familiarly by Human League or Ultravox at the time – and which display the real Anglophile bent in American pop at the time. Still, there's a few nice electro moments – and titles include "Obscene Phone Caller", "Change Your Ways", "Runaway", "Wasting Time", and "Knife". LP, Vinyl record album

Pre-boogaloo material from Pete Rodriguez – but still quite lively, in the manner of Joe Cuba, right before he cut his boogaloo sides! The album's a refreshing change from the early 60s pachanga groove – as Pete's group works hard on the percussion tip to strip down the grooves and give the proceedings a hard-edged finish. Vocals are by Richie Rodriguez and Alberto Gonzalez – and the album features two shorter descarga tracks, "Ya Tu Veras" and "La Magnifica", plus the tracks "Periquito", "Canallon", "No Quiero Lios", "Lo Se Todo", and "Oigan Companeros". LP, Vinyl record album

A smoking live performance from Diana Ross – a double-length set that offers up the lady in all full aspects of her glory! Ross sings not just in the clubby soul mode that made her a huge act at the time, but also brings in echoes of older Motown moments, plus a fair bit of jazz inspiration as well – a nod to her role in the film Lady Sings The Blues, but with a wider range too – a really great illustration of aspects of Diana's strengths that didn't always get their full due on record. Plus, the live backing brings a nice sort of spontaneity to the whole thing – lots of room for Diana's personality to shine through – on tracks that include "Love Hangover", "Girls", "Touch Me In The Morning", "Here I Am/I Wouldn't Change A Thing", and long medleys titled "The Point", "The Working Girls", "The Motown Story", and "One Giant Step". LP, Vinyl record album

One of the best-remembered albums from Greek singer Demis Roussous – a soulful 70s set that's quite a change from his early material in the group Aphrodite's Child! The set was recorded in the US, with warm soulful arrangements from Don Peake and Freddie Perren – who serve up some clubby modes at times that turn out to be a surprisingly great mix for Demis' voice, blended with some mellower moments that are in his more familiar mode as a solo singer. Titles include the great club classic "LOVE Got A Hold Of Me", plus "Life In The City", "Feel Like I'll Never Feel This Way Again", "The Other Woman", "I Just Live", "That Once In A Lifetime", and "This Song". LP, Vinyl record album

Stunning work from Rufus & Chaka Khan – still very much at the height of their powers on this late 70s release – and still doing things at a level that nobody else can touch! The blend of jazz and soul is completely sublime – given a bit of extra help on arrangements by Clare Fischer and Seawind, both talents who are also at their best during this 70s stretch too – but the real power still comes from the core energy of Rufus, and the way they can effortlessly fuse these slinky, soulful grooves – and, of course, from the massive Chaka Khan – every bit the shining jewel in the group's crown, yet still not broken off as a superdiva on her own. The whole thing's great – and titles include "Street Player", "Stranger To Love", "Turn", "Change Your Ways", "Take Time", "Turn", and "Best Of Your Heart". LP, Vinyl record album

The first record we've heard in years from Italian pianist Mario Rusca – and a set that really lives up to the strength of all of his classic material from back in the day! The album's a beautifully recorded set – done in mono, which seems to bring an even richer quality to the sound of the piano in the hands of Rusca – deep, round tones that ring out beautifully in a set that's heavy on original compositions – and which features work from Riccardo Fioravanti on bass and Tony Arco on drums. The spirit of the record is like one of those lost Italian jazz treasures from the 60s – the kind of record would normally change hands for hundreds of dollars – and the double-length set is overflowing with gems – on titles that include "Monocrhome Blues", "Double Horn", "Tempo Blues", "Blue Dream", and versions of "Infant Eyes", "Blues For Gwen", "Blues Walk", "Blue Minor", "Rachid", and "Bass Blues". LP, Vinyl record album

Slow slinking soul from Sam Salter – a mainstream set, but a pretty nice one too – thanks to a no-apologies approach to the ballads and mellow tracks that keeps the record firmly in check whenever it might falter! Sam's not the kind of singer who's going to change the world, but he does a pretty great job of what he does – and this album's a good reminder that there was some decent soul laying around at the bottom of the mainstream in the pre-Neo Soul years. Titles include "After 12 Before 6", in both regular and Ghetto Fabulous remixes – plus "It's On Tonight", "I Love You Both", "Give Me My Baby", "Thinkin & Trippin", "It Took A Song", "On My Heart", "Show You That I Care", and "Every Time A Car Drives By". LP, Vinyl record album

Great post-Mahavishnu work from guitarist John McLaughlin – the debut of his excellent Shakti combo, a group who mixed Indian music with some tighter fusion moments! The style here is a lot leaner than some of McLaughlin's previous experiments – a small group lineup with violin from L Shankar, plus tabla, percussion, ghantam, mridangam, and John's guitar – all used together in really wonderful ways. The Indian roots of the music are often quite strong, and McLaughlin plays a fair bit of acoustic guitar in a respectful way that never intrudes too much on the other players – a huge change from his jamming fusion of the early 70s. The album features 3 long tracks – "Joy", "Lotus Feet", and "What Need Have I For This". LP, Vinyl record album

A west coast classic – featuring some of Bud Shank's best small group work of the mid 50s! The album has Shank playing in two different groups, one with Shorty Rogers on trumpet, one with the great Bill Perkins on tenor – and we'll be honest in saying that Perkins' tone is incredible, a perfect match for Shank's well-honed sound of the time – blown with a nice edge that really deepens the sound of the record – a slight sense of soul that goes past traditional west coast modes, and really fits Shank's sometimes-edgey playing. Rogers is still pretty great too – and the casual setting of the album is a refreshing change from some of his more over-arranged work for other labels at the time! Titles include "Casa De Luz", "Jasmine", "Left Bank", "Paradise", "Fluted Columns", and "Royal Garden Blues". LP, Vinyl record album

Bud Shank takes on the sounds of The Beatles – and a whole host of other 60s pop stars as well – all with results that are as jazzy as they are groovy! The album's one of a few that Bud cut for Liberty in this format – alto and flute spread out over fuller backings from Bob Florence, a great arranger who knows how to make things swing by bringing in some wonderful 60s touches! There's a bit of guitar at times, some compressed horns – ala A&M – and some overall mod rhythms that help change things up nicely from tune to tune. Titles include "Michelle", "Yesterday", "Blue On Blue", "Sounds Of Silence", "Turn Turn Turn", "As Tears Go By", and "Girl". LP, Vinyl record album

Horace Silver's last record for Blue Note – and an amazing end to his decades of work for the legendary label! The set's a perfect summation of all the new directions that Horace took in the 70s – new territory that's deeply spiritual, and undeniably righteous – yet which also has a fully focused approach too – one that's showcased here wonderfully in an expansive suite of tracks with a really positive message! The "strings" in the title isn't really accurate – as the set's more of a large arrangement session that feels Strata East spiritual – done in collaboration with Wade Marcus, but with jazzier, more acoustic tones than most of Marcus' other music. In addition to Silver's piano, key core players include Tom Harrell on flugelhorn, Larry Schneider on tenor and soprano sax, Ron Carter on bass, and Al Foster on drums – who play beautifully together, with a very fluid vibe. The set also features some key vocal passages at points – sung by Brenda Alford, Chapman Roberts, Carol Lynn Maillard, and a young Gregory Hines – on titles that include "The Soul & Its Expression", "Self Portrait No 1", "The Conscious & Its Desire For Change", "Inner Feelings", "Expansion", and "The Creator Guides Us". LP, Vinyl record album

A delightful little jukebox EP from one of Sinatra's greatest records ever – pure genius all the way through! Frank's backed here by the orchestra of Count Basie, with some incredible arrangements by Quincy Jones that really have a jazzy, syncopated kick to them. The move seems to be an unintentional way of covering for Frank's slightly failing pipes – but it also picks up on a seminal beat change in 60s pop, the same sort of gentle snapping groove that you'd find in the best work by Bacharach, a shift that really infuses Frank's vocals with a whole new sound, one that shows that he's ready to keep on growing and growing after being stuck in a Nelson Riddle rut. All tracks are superb – hip 60s pop and showtunes, like "Fly Me To the Moon", "More", "The Good Life", and "I Wanna Be Around". 7-inch, Vinyl record

A late 70s gem from the revived version of the Small Faces – a group who seem to have gone through the same maturity and richer understanding of their roots as the Faces – but who come across here in an even more sophisticated way! Steve Marriott's at the helm – on guitar and vocals – and has this understated approach that's a great change from the early days – as if he's got nothing to prove, but is completely confident in his way of putting a tune over – which makes the slight twang of most of these numbers wonderfully charming, and surprisingly solid. Titles include "High & Happy", "Saylarvee", "Find It", "Lookin For A Love", "Playmates", "Never Too Late", and "Tonight". LP, Vinyl record album