A virtuoso pianist, Ferdinand Ries began composing piano sonatas at a time when the genre was undergoing significant changes from the models of Haydn and Mozart to new developments by Clementi, Beethoven and Hummel. Ries also pre-figures Schubert’s poignant harmonic language, Mendelssohn’s expressive sweetness and Chopin’s brilliant figurations, notably in The Dream. Opening with a stately polonaise in rondo form, Ries’s C major Sonata concludes with a thrilling perpetuum mobile finale. In his only named sonata, The Unfortunate, the influence of Beethoven’s Pathétique is apparent.

British singer Sandie Shaw had a string of girl group-styled singles in the mid-'60s before she retired in the early '70s. Shaw was discovered by pop singer Adam Faith in 1963, who led her to his manager, Eve Taylor; she released her debut single, "As Long as You're Happy," the following year. It didn't hit the charts, yet her next record, "(There's) Always Something There to Remind Me," hit number one in the U.K.; the single hit number 52 in the U.S., yet Shaw was never as big a star in the States as she was in the U.K. For the next three years, she had a string of hits – most of them written by her producer Chris Andrews – that kept her at the top of the charts. In 1967, Taylor began to move Shaw into cabaret territory; the approach proved a success when the Bill Martin/Phil Coulter song "Puppet on a String" hit number one. She recorded one more Coulter song, "Tonight in Tokyo," before returning to Chris Andrews. However, none of her further work with Andrews resulted in hit singles. Released in early 1969, her English version of the French "Monsieur Dupont" managed to crack the Top 20; it would turn out to be her last hit.

Since gaining fame as a member of Charlie Haden's excellent Quartet West, Alan Broadbent has seen his own catalog rise in stature. A welcome development, since a wider audience should check out the many fine recordings this unique pianist/composer/arranger has made. And in spite of the admission that his highly lyrical bent and soft touch come out of the work of Bill Evans, Red Garland, and Nat "King" Cole, among others, Broadbent is able to produce fresh solo conceptions and plenty of original material of his own. In fact, as the title implies, Personal Standards consists almost entirely of self-penned cuts, save for one by bassist Putter Smith. (This seamless piano trio is rounded out by drummer Joe LaBarbera.) Along with material also heard on various Quartet West recordings like "The Long Goodbye" and "Song of Home," the disc features a nice mix of ballads ("Ballad Impromptu"), mid- to up-tempo swingers ("Consolation"), as well as some blues ("Uncertain Terms").

Tony Joe White's self-titled third album, Tony Joe White, finds the self-proclaimed swamp fox tempering his bluesy swamp rockers with a handful of introspective, soul-dripping ballads and introducing horn and string arrangements for the first time. The album – White's 1971 debut for Warner Bros. – was recorded over a two-week period in December 1970, in two different Memphis studios (one was Ardent Studios, where Big Star later recorded their influential power pop albums). His producer was none other than London-born Peter Asher, who had just produced James Taylor's early hits for the label (he would continue to produce hits for Taylor and Linda Ronstadt on his way to becoming one of the most successful producers of the '70s). One can surmise that Warner Bros. may have put White and Asher together as a way for the producer to work his magic with an artist who had much promise.

Love broadened their scope into psychedelia on their sophomore effort, Arthur Lee's achingly melodic songwriting gifts reaching full flower. The six songs that comprised the first side of this album when it was first issued are a truly classic body of work, highlighted by the atomic blast of pre-punk rock "Seven & Seven Is" (their only hit single), the manic jazz tempos of "Stephanie Knows Who", and the enchanting "She Comes in Colors", perhaps Lee's best composition (and reportedly the inspiration for the Rolling Stones' "She's a Rainbow"). It's only half a great album, though; the seventh and final track, "Revelation", is a tedious 19-minute jam that keeps Da Capo from attaining truly classic status.