With her sex-positive image, unbridled confidence and elite lyricism, Foxy Brown’s ‘Ill Na Na’ became the blueprint for female MCs in hip-hop.
An unexpected soul-jazz pairing brought a new Hot 100 entry in 1968.
The newly solo Supreme charts with the album of her first TV special.
The haunting keyboard motif, the tortured vocal and the unforgettable falsetto combined for an early 1960s pop classic.
'Don't Leave Me This Way' prompted Thelma's close-fought UK chart battle with Harold Melvin and the Bluenotes, but in the US, she won hands down.
In the spring of 1970, the band's fans got a taste of their in-concert sound on disc.
Count Basie, Louis Armstrong, Jack McDuff and many others recorded 'Hey Lawdy Mama' before Steppenwolf rocked it up.
More than just the man that discovered Elvis Presley, Sam Phillips know the roots of American music better than most, having grown up in the Deep South.
The album continued Thompson's working relationship with American producer Mitchell Froom, who had taken over the role from Richard's old Fairport Convention colleague Joe Boyd.
The 1973 album 'Eat It' saw the British rock band growing ever more confident and autonomous.
Written by Pam Belford and Dean Dillon, the song was a clever take on the old romantic idea of a pair of lovers who can never quite say goodbye.
The post-Walsh line-up of the Cleveland rock continued with a fifth chart album in 1972.
'Enlightened Rogues' included original material such as Dickey Betts’ ‘Crazy Love’ and a cover of B.B. King’s ‘Blind Love.'
New chart entries kept coming despite Hank's sad demise, with 'Kaw-Liga' and 'Your Cheatin' Heart' both hitting the country chart of 21 February 1953.
Harvey’s was an improbable tale of dues-paying from the mid-1950s onwards, before he found belated stardom as the leader of the Sensational Alex Harvey Band.
The sophomore album 'Grand Funk' saw the trio expanding on the confidently hard-rocking sound of their debut release.