Love How You Feel by Sharon Redd is a vibrant collection of dancefloor-oriented disco and pop recordings that highlights the powerful voice and energetic performance style of one of the most respected figures in early 1980s club music. Released in 1992 by Unidisc, the album compiles extended mixes, club versions, and standout tracks that capture the spirit of classic post-disco and electro-influenced dance music. Sharon Redd delivers soulful vocals filled with confidence and emotional intensity, supported by infectious grooves, driving basslines, and polished production that remains timeless for fans of vintage club sounds. Songs such as “Activate,” “You’re A Winner,” and the title track “Love How You Feel” showcase her signature combination of uplifting melodies and danceable rhythms. The inclusion of remix and dub versions adds additional depth for DJs and collectors interested in extended arrangements and underground club aesthetics. Blending disco energy with early electronic dance influences, Love How You Feel remains an essential release for fans of classic dance music and powerful female vocal performances.

The Best Of Gina T.: I Love To Love You is a polished early 90s compilation highlighting the catchy dance-pop and Europop style that made Gina T. a recognizable name in continental club music. Released in 1992, the collection gathers many of her best-known recordings, combining sleek electronic production, melodic hooks, and romantic themes with the glossy energy of late 80s and early 90s Euro-disco. Gina T.’s distinctive vocal style gives the songs personality and charm, while synthesizers, drum programming, and upbeat arrangements keep the momentum strong throughout. Popular tracks such as In My Fantasy, Tokyo By Night, and the title song reflect the era’s crossover appeal between radio pop and dancefloor sounds. This compilation serves as an accessible introduction to her catalog and a nostalgic listen for fans of classic European dance music from a colorful and melodic period.

"Sam" Thing Remixed is a sought-after Japan-only remix compilation centered on Samantha Fox’s late-1980s dance-pop era. Originally issued as a limited edition release and long out of print, the album gathers rare extended mixes and club versions of some of her most recognizable singles. The collection captures the vibrant crossover between mainstream pop, hi-energy club music, house rhythms, and polished synth-pop production that defined the period. Samantha Fox’s confident vocal presence remains at the center of each track, while the remixes expand the originals with longer intros, heavier basslines, dance breaks, and DJ-friendly arrangements. Highlights include multiple versions of “Nothing's Gonna Stop Me Now,” the energetic “Naughty Girls” mixes, and the medley-style “Fox Hunt Mix.” The sequencing offers nonstop momentum, making the album both a collector’s item and an enjoyable dancefloor retrospective. For fans of 1980s pop remix culture, this release remains a valuable and entertaining rarity.

Nice N Naasty (Expanded Edition) is a comprehensive reissue that highlights The Salsoul Orchestra’s signature blend of disco, funk, and soul, presented with enhanced sound quality and additional bonus material. Originally rooted in the golden era of disco, the album showcases the group’s lush orchestral arrangements, combining sweeping strings, punchy brass sections, and groove-driven rhythm lines. The expanded edition enriches the listening experience by including extended 12-inch disco mixes, offering deeper immersion into the dancefloor-oriented sound that defined the Salsoul style. Tracks like “Nice ‘N’ Naasty” and “It’s Good For The Soul” exemplify the band’s ability to fuse sophistication with infectious rhythm, while instrumental pieces demonstrate their musicianship and production finesse. This edition serves both as a nostalgic journey for longtime fans and an accessible introduction for new listeners seeking classic disco with a polished and timeless feel.

Let's Clean Up The Ghetto + Live On Stage is a powerful compilation that brings together some of the most influential artists associated with the Philadelphia International Records sound, highlighting both socially conscious studio recordings and classic live performances. Originally rooted in the landmark 1977 project led by Gamble & Huff, the album reflects a period when soul music carried strong messages of unity, responsibility, and community uplift. The title track stands as a defining moment, featuring an all-star lineup delivering a compelling call for social change backed by rich orchestration and a signature Philly soul groove. The collection continues with standout contributions from Teddy Pendergrass, Billy Paul, The O'Jays, and others, blending lush arrangements, strong vocal performances, and deep emotional expression. The live selections further emphasize the timeless appeal of the Philadelphia sound, capturing the energy and sophistication of classic soul at its peak.

The self-titled debut “Mystic Merlin” is a strong representation of early 80s soul-funk transitioning from the disco era into a more groove-oriented boogie sound. Released originally in 1980 and later reissued, the album showcases the band’s polished musicianship, tight rhythm section, and smooth vocal delivery. Tracks like “Burned To Learn” and “Don’t You Want To Be A Star” highlight infectious basslines and dancefloor-ready arrangements, while “Dreams” and “Just Can’t Give You Up” lean into more expansive and melodic compositions. The album balances upbeat funk energy with soulful ballad elements, creating a diverse and engaging listening experience. The bonus tracks included in the reissue provide additional value, featuring alternate single and extended versions that emphasize the band’s versatility and appeal to collectors. Overall, the album stands as a key example of the post-disco evolution into sophisticated 80s funk and soul.

“Sixty Thrills A Minute” by Mystic Merlin is a vibrant fusion of early 80s funk, soul, and disco, capturing the transitional sound between the late disco era and the emerging boogie style. Known for their smooth grooves and polished production, the band delivers a collection of tracks driven by tight rhythm sections, infectious basslines, and rich vocal harmonies. The title track stands out as an energetic opener, while songs like “Hideaway” and “Got to Make It Better” showcase a blend of dancefloor appeal and melodic sophistication. “Goddess of the Boogie” highlights the group’s ability to stretch into extended funk territory with layered instrumentation and groove-focused arrangements. The album balances upbeat tracks with more atmospheric moments such as “Haunting You (Crystal Ball),” adding depth to the overall experience. With the inclusion of a bonus single version, this reissue offers both collectors and fans a complete look at Mystic Merlin’s distinctive sound.

“Make It Last Forever” is a standout disco-soul album by Donna McGhee, originally released in 1978 and later reissued with bonus material. Produced by the legendary Greg Carmichael and Patrick Adams, the album is a prime example of late-70s New York disco, blending lush orchestration, deep grooves, and soulful vocals. McGhee’s voice carries both warmth and power, perfectly complementing the sophisticated arrangements and extended dancefloor compositions. The title track is a classic, featuring hypnotic rhythms and layered instrumentation that build gradually into an immersive groove. Tracks like “Do As I Do” and “It Ain’t No Big Thing” highlight the album’s seamless fusion of funk basslines and disco energy. The inclusion of bonus tracks, such as re-edits and single versions, adds further value for collectors and DJs. This release remains an essential piece of disco history, celebrated for its elegance and enduring dance appeal.

“Duke Ellington Meets Coleman Hawkins” is a historic collaboration between two towering figures of jazz, bringing together Ellington’s sophisticated orchestral swing language and Hawkins’ pioneering tenor saxophone voice. The album features a stellar ensemble of Ellington Orchestra alumni, including Johnny Hodges, Harry Carney, Lawrence Brown, and Ray Nance, creating a rich and textured big-band-influenced sound within a small-group recording context. Hawkins’ warm, robust tone blends seamlessly with Ellington’s elegant piano voicings and compositional framework, resulting in performances that balance structure with expressive improvisation. The repertoire highlights Ellington’s signature compositions, each interpreted with a refined sense of swing, blues feeling, and harmonic depth. The interplay between soloists reflects a mature and conversational approach to jazz, emphasizing musical dialogue over technical display. “Duke Ellington Meets Coleman Hawkins” stands as a classic meeting of jazz giants, capturing the essence of swing-era sophistication and early modern jazz evolution.

“Western Suite” is a landmark recording by Jimmy Giuffre that explores a chamber-like approach to jazz, blending cool jazz sensibilities with early post-bop experimentation. The album is characterized by its unusual instrumentation of clarinet, saxophones, guitar, and trombone, creating a sparse yet highly expressive sonic palette. Giuffre’s writing emphasizes counterpoint, thematic development, and spacious arrangements, allowing each instrument to contribute equally to the musical conversation. Jim Hall’s understated guitar work and Bob Brookmeyer’s warm trombone lines complement Giuffre’s reed playing, resulting in a subtle and highly interactive ensemble sound. The “Western Suite” suite itself evokes imagery of the American West through melodic motifs and rhythmic storytelling, while the remaining tracks continue the album’s blend of blues influence and modern jazz abstraction. This recording is widely regarded as a forward-thinking work that helped bridge cool jazz aesthetics with more exploratory forms of jazz chamber music.

“In Monk's Mood” is a reflective and inventive tribute to the music of Thelonious Monk by saxophonist John Tchicai, blending Monk’s iconic compositional language with Tchicai’s free jazz sensibilities and post-bop sophistication. The album explores Monk’s distinctive melodic structures, rhythmic displacements, and harmonic quirks while allowing for open improvisation and reinterpretation. Tchicai’s alto saxophone voice brings a uniquely angular yet lyrical approach, often stretching Monk’s themes into freer territories without losing their structural identity. The supporting trio of George Colligan, Steve LaSpina, and Billy Drummond provides a flexible and responsive foundation, balancing groove, swing, and abstraction. Across the album, familiar Monk compositions are revisited with fresh harmonic perspectives and spontaneous interaction, resulting in a recording that feels both respectful and exploratory. “In Monk's Mood” stands as a thoughtful modern homage, bridging classic bebop tradition with free-form expression and contemporary jazz interpretation.

“Point in Time” showcases pianist Fred Hersch in a highly refined post-bop setting, blending lyrical sensitivity with sophisticated harmonic structures and modern improvisational interplay. The album features a strong ensemble including Rich Perry on tenor saxophone and Dave Douglas on trumpet, alongside Drew Gress on bass and Tom Rainey on drums, forming a responsive and cohesive group dynamic. Hersch’s compositions sit alongside reinterpretations of jazz standards and works by influential composers such as Wayne Shorter and Thelonious Monk, creating a balanced program of original voice and historical dialogue. The performances are marked by subtle rhythmic shifts, intricate harmonic layering, and an emphasis on conversational improvisation rather than overt virtuosity. Each track unfolds with clarity and emotional depth, reflecting Hersch’s reputation for elegance and restraint within the modern jazz piano tradition. “Point in Time” stands as a thoughtful and mature statement in contemporary jazz, emphasizing nuance, space, and collective expression.

“Unforeseen Blessings” is a powerful statement from The Leaders, a collective ensemble of highly respected jazz innovators coming together to explore modern post-bop and contemporary jazz language. Featuring prominent voices such as Lester Bowie, Arthur Blythe, Chico Freeman, Kirk Lightsey, Cecil McBee, and Don Moye, the album emphasizes collective improvisation, rich harmonic layering, and dynamic interplay between strong individual personalities. The compositions balance structured thematic material with open-ended sections that allow for expressive solo development and spontaneous group interaction. The trumpet and saxophone lines often engage in conversational exchanges, while the rhythm section provides both grounding and rhythmic elasticity. The album reflects the creative spirit of late 1980s jazz collectives, where experimentation and tradition coexist in a fluid musical dialogue. “Unforeseen Blessings” stands as a cohesive yet adventurous recording, highlighting the depth and versatility of its distinguished lineup.

“Sefira” is a deeply expressive and highly atmospheric jazz album by Yochk’O Seffer, blending improvisation with structured composition and a strong sense of Eastern European avant-garde influence. Known for his distinctive saxophone voice and experimental approach, Seffer crafts a sound world that moves fluidly between lyrical melodic passages and abstract, exploratory textures. The album emphasizes mood and tonal color, often building long-form developments that unfold gradually across each piece. Supporting musicians provide a subtle yet rich harmonic and rhythmic foundation, allowing Seffer’s saxophone to remain the central narrative voice. Throughout the record, elements of chamber jazz, progressive structures, and free improvisation intersect, resulting in a contemplative and immersive listening experience. “Sefira” stands as a refined example of modern European jazz artistry, balancing emotional depth with intellectual complexity while maintaining a cohesive sonic identity.

“In All Languages” by Ornette Coleman is a groundbreaking double album that presents two contrasting realizations of the same compositional material, showcasing both his acoustic quartet and electric ensemble, Prime Time. This dual-format concept highlights Coleman’s revolutionary Harmolodic philosophy, where melody, harmony, and rhythm coexist with equal freedom and fluidity. The first disc features the classic quartet with Don Cherry, Charlie Haden, and Billy Higgins, delivering a more traditional yet still highly exploratory free jazz approach rooted in acoustic interplay and spontaneous improvisation. The second disc with Prime Time introduces a dense, electric soundscape driven by multiple basses, guitars, and layered rhythms, pushing Coleman’s ideas into a funk-infused, avant-garde fusion territory. The contrast between the two ensembles creates a comprehensive view of Coleman’s artistic vision, bridging acoustic free jazz with electric experimentation. “In All Languages” stands as a defining statement of innovation, demonstrating his enduring influence on modern jazz and experimental music.