Audrey Powne's stunning debut album, From The Fire, is set to be one of those must have LPs in any music lover's collection. Something of an auteur release it features nine tracks all composed by Audrey, with all string arrangements and all produced by her. Audrey's decision to produce the whole album herself came from a desire to take creative control of her music and apply techniques developed from the influences of the producers she had previously worked with. If all of the above were not enough Audrey also wrote the lyrics for those tracks on which she sings, and as a multi-instrumentalist contributes piano, Rhodes and organ. She also features as a trumpeter with dextrous and soaring solos as evidenced by the two single releases so far; Feed The Fire and the title track, From The Fire.

Besides recording several respected EPs for Chain Reaction under the confusingly titled production concern known as Various Artists, Berlin's Torsten Pröfrock co-owns (with Sasha Brauer) Din Records, home to releases by excellent, respected producers Monolake, Pole, and Arovane. Pröfrock entered the Berlin electronics scene first by shopping at the Berlin record store Hard Wax while working toward his economics degree. By 1994, he worked at Hard Wax as well, growing closer to the store's base for legendary productions on the Basic Channel/Chain Reaction family of labels. Pröfrock also began producing and released his first Various Artists project, 1995's 1-7, on Chain Reaction. (He also recorded two singles for the label as Resilient and Erosion.) The continuation piece 8, 8.5, 9 appeared on England's Fat Cat label in 1997, highlighting the producer's subtle ambient sense and reliance on a restrictive frequency range – all middles, no highs or lows. Later that year, Chain Reaction compiled his work on the Decay Product compilation, and Fat Cat expanded 8, 8.5, 9 to an EP for Profrock's second CD release.

Back to Black is the second and final studio album by English singer and songwriter Amy Winehouse, released on 27 October 2006 by Island Records. The album spawned five singles: "Rehab", "You Know I'm No Good", "Back to Black", "Tears Dry on Their Own" and "Love Is a Losing Game". Back to Black was acclaimed by music critics, who praised Salaam Remi and Mark Ronson's production, as well as Winehouse's songwriting and emotive singing style. At the 50th Annual Grammy Awards ceremony, Back to Black won Best Pop Vocal Album and was also nominated for Album of the Year. At the same ceremony, Winehouse won four additional awards meaning that she ties with five other artists as the second-most awarded female in a single ceremony. The album was also nominated at the 2007 Brit Awards for MasterCard British Album and was shortlisted for the 2007 Mercury Prize. Back to Black sold 3.58 million copies in the UK alone, becoming the UK's second best-selling album of the 21st century. Worldwide, the album has sold over 12 million copies.

Nearly forgotten by all but serious soul fans, Back Up Train is Al Green's debut. Released in 1967, when he was still billed as "Al Greene" and before he worked with producer Willie Mitchell, the record is a perfectly serviceable slice of slightly sweet period soul - perhaps a little generic, but never less than pleasant. Much of the record was either written or co-written by the album's producers, Palmer E. James and Curtis Rodgers, who were not just part of Hot Line Records, but in the Creations, Green's previous backing band. Though they're fine as producers, they didn't have strong material as songwriters, never producing something as limber and memorable as Green's lone songwriting credit, "Stop and Check Myself." Musically, this number, along with a few other cuts, suggest the tight, sexy sound of his seminal Hi albums, but they're nowhere near as seductive as those slow grooves, nor are they as effortless…

All four of Janet Jackson's albums released during the 2000s debuted near or at the top of the Billboard 200, as ensured by a legion of devotees. They lacked the staying power of the Control-to-Velvet Rope run, however, and quickly slipped out of view. Jackson left two labels during the decade and dealt with personal matters that included the death of brother Michael. Seven years after Discipline, Jackson returns recharged, and on a BMG-supported label she established, with Jimmy Jam and Terry Lewis – the demigods central to her best work – as well as a small crew of additional associates, as her collaborators. The three singles that immediately preceded Unbreakable were clearly chosen for their range.

In a society defined by our greatest and worst moments, out of chaos comes Letters from a Black Widow – a definitive statement of perseverance and liberation from Grammy-winning singer/songwriter and multi-instrumentalist Judith Hill. The album’s 12 songs masterfully reveal themes she’d explored only in therapy and nightmares. Stories of resistance, hard-won clarity and redemption are delivered through an unshakable soul, funk and blues foundation that resonates with a defiant, beautiful power.

Dr. John finally struck paydirt here and was certainly In the Right Place. With the hit single "Right Place Wrong Time" bounding up the charts, this fine collection saw many unaware listeners being initiated into New Orleans-style rock. Also including Allen Toussaint's "Life," and a funky little number entitled "Traveling Mood," which shows off the good doctor's fine piano styling, and with able help from the Meters as backup group, In the Right Place is still a fine collection to own.

What’s Love Got To Do With It the soundtrack album to her 1993 bio-pick featuring re-records of Ike and Tina classics and other covers has been given the Deluxe Edition treatment. What’s Love Got To Do With It (30th Anniversary Edition) will be released on multi-formats including the 4CD + DVD Deluxe package featuring CDs of the Original Album Remastered, B-sides, Remixes and Rarities, ‘What’s Love, Live’ plus a DVD with ‘What’s Love, Live’ from Blockbuster Pavillion, San Bernadino, California. 15th September 1993 plus promo videos. The 2CD version will have the Original Album Remastered and an additional CD of B-sides, Remixes and Rarities and the 1LP will be the Original Album Remastered.

It was never supposed to be like this: "(Sittin' on) The Dock of the Bay" was supposed to mark a beginning of a new phase in Otis Redding's career, not an ending. Producer/guitarist Steve Cropper had a difficult task to perform in pulling together this album, the first of several posthumous releases issued by Stax/Volt in the wake of Otis Redding's death. What could have been a cash-in effort or a grim memorial album instead became a vivid, exciting presentation of some key aspects of the talent that was lost when Redding died. Dock of the Bay is, indeed, a mixed bag of singles and B-sides going back to July of 1965, one hit duet with Carla Thomas, and a pair of previously unissued tracks from 1966 and 1967, respectively…

A much-needed look at an overlooked side of the genius of Quincy Jones – not his jazz work, not his productions for famous soul artists, but instead his huge legacy of soundtrack material – a part of Q's career that really took off in the 60s! By the time he started working in films, Jones had already had a decade under his belt as one of the hippest arrangers, leaders, and composers in jazz – and the film business really respected those talents, and allowed Quincy to bring some really fresh styles into play – modes that really opened up the vibe of American cinema, and also paved the way for the funky styles of the 70s! As that decade approached, Jones left behind the cinema to take on some more higher-profile records of his own – but all the charms of those great albums can be found here at their roots – in this stunning collection of soundtrack material, some of which has never been on CD. The package is way more than just a sampler – and includes an album's worth of material from the films The Pawnbroker, Slender Thread, Mirage, The Deadly Affair, In The Heat Of The Night, In Cold Blood, Walk Don't Run, The Italian Job, Lost Man, and John & Mary – plus two versions of the love theme from The Getaway, and a bonus CD with 18 tracks – titled Q's highlights, and featuring tracks from his Mercury records – plus more by Billy Preston, Arthur Prysock, Bill Cosby, Shirley Horn, Letta Mbulu, Toots Thielemans, and others. Even features the "Sanford & Son" and "Ironside" themes!

Part of a eight-album Donna Summer SHM-CD cardboard sleeve reissue series featuring albums "Love To Love You Baby", "A Love Trilogy", "Four Seasons Of Love", "Remember Yesterday", "Once Upon a Time", "Live And More", "Bad Girls", and "On The Radio".

His Majesty’s Pop Life (subtitled "The Purple Mix Club") is a compilation album of Prince’s studio work, initially released in 1985 as a promotional record in Japan only, following the commercial release of Around The World In A Day and its associated singles. At that time, it was Prince’s third promotional compilation album (after a 1984 sampler and Strange Tales From the Rain). His Majesty’s Pop Life was re-released worldwide in a limited quantity (14 000 copies) for the Record Store Day on 13 April 2019, becoming Prince’s eight compilation album and the fifth posthumous release. In 2020, the album received a wider retail release in Japan only, including its first release on CD.

The Eastern North Carolina Sacred Soul all stars, Dedicated Men of Zion are back with the follow up to their critically acclaimed, 2020 debut album, Can't Turn Me Around. The Devil Don't Like It picks up where we last heard DMZ, blending traditional sacred soul offerings with the fire and passion of a touring outfit. Backed by the Sacred Soul Sound Section and produced by Bible & Tire founder, Bruce Watson, these songs are presented just as they should be, with a precision of sound and style but as raw as the original recordings demand. These men did not come to play, they came to work for the Lord.

In the first half of the 1960s, Colpix and Dimension were record-label offshoots of Columbia Pictures; Colpix tended toward teen idols, while Dimension was mainly an outlet for the compositions of the Gerry Goffin/Carole King songwriting team. This 40-song double CD includes all the major hits on the labels by the Marcels, James Darren, Shelley Fabares, Paul Petersen, Little Eva, the Cookies, and Carole King herself, as well as quite a few rarities. Although the compilers have done a thorough job, the jumble of disparate styles – sappy teen-idol pop, rhythm and blues, girl groups, soul, even a garage band – makes for tough end-to-end listening. Several of the sides by Darren and Petersen are unbearably cloying; the ones by Fabares, Teddy Randazzo, and Sandy Stewart are barely any better. The hits by Little Eva and the Cookies, on the other hand, are great dynamic girl-group performances. And some of the rarities are pretty cool – Carole King's odd, almost folk-rockish flop single "He's a Bad Boy," Earl-Jean's original version of "I'm Into Something Good" (covered for a hit by Herman's Hermits), the Girlfriends' "My One and Only, Jimmy Boy" (the best Wall of Sound girl-group record not produced by Phil Spector), the little-anthologized Top Ten soul hit "Hey Girl" by Freddie Scott, rare sides by Lou Christie and Duane Eddy, a silly Beatle parody by Sonny Curtis, and extremely rare (if not terribly good) singles by David Jones and Michael Nesmith before they joined the Monkees.

Dr. John's Gumbo bridged the gap between post-hippie rock and early rock & roll, blues, and R&B, offering a selection of classic New Orleans R&B, including "Tipitina" and "Junko Partner," updated with a gritty, funky beat. There aren't as many psychedelic flourishes as there were on his first two albums, but the ones that are present enhance his sweeping vision of American roots music. And that sly fusion of styles makes Dr. John's Gumbo one of Dr. John's finest albums.