Oliver Wang

In 1968, Dusty Springfield — then an established pop star in the U.K. — flew across the pond to conquer the U.S. by signing what was meant to be a long-term deal with Atlantic Records. The label sent Springfield down to American Sound Studio in Memphis, Tenn., hoping to impart some of the Southern soul magic that had worked so well for Wilson Pickett and Aretha Franklin. Those sessions are now collected in the new anthology Dusty Springfield: The Complete Atlantic Singles 1968-1971.

In the liner notes to John Coltrane's 1964 album Live At Birdland, Amiri Baraka (then writing as Le Roi Jones) contemplated the gift the saxophonist and his band offered with this music inspired by the horrific deaths of four Black girls in a Birmingham church bombing inspired by white supremacist hatred. "Listen," Baraka wrote. "What we're given is a slow delicate introspective sadness, almost hopelessness, except for Elvin [Jones], rising in the background like something out of nature... a fattening thunder, storm clouds or jungle war clouds.

In 1966, Betty Wright dropped by the offices of Deep City, a Miami label located in the back of Johnny's Records in her home neighborhood of Liberty City. She had been recently discovered by artist, songwriter and producer Clarence Reid, who wanted Deep City co-founder Willie Clarke to take a listen to Wright's singing chops. As recounted in journalist John Capouya's book, Florida Soul, Clarke was rehearsing with a band when he heard Wright singing over Billy Stewart's "Summertime" in another room: "The record was down low but she had overpowered his lead voice.

As a public figure, Kanye West sometimes seems to change course every other day. But where his musical output is concerned, his most consequential turning point came 10 years ago, by way of two very different albums.

From 1978 to 1984, Patrice Rushen recorded a series of hits for Elektra Records that helped define the sound of late-era disco and R&B.

In 1972, Marvin Gaye began recording a follow-up to his megahit album, What's Going On. He eventually laid down over a dozen new tracks, but personal and professional conflicts derailed the project. Most of the songs were never released except as bonus material on later anthologies. Now they've been assembled into one album called You're the Man, out Friday.

When The Internet first debuted in 2011, the common joke was that the musicians had picked an unfortunate name for fans who wanted to find anything about them on, you know, the Internet. But those cheap snickers quickly faded as the group's sly, slick funk sensibility took hold, even for search engines. Seriously, Google them.

When rapper Kool Keith and producer Dan the Automator recorded the original Dr. Octagon album in 1996, it felt like they invented a sub-genre of "weird rap." Keith already had a (poppa) large reputation as a wizard of non-sensical rhymes dating back to this days with New York's Ultramagnetic MCs.

The first thing you notice about almost any song by The Shacks is that voice. Singer Shannon Wise wields a mesmerizing wisp, silky and lambent, like curls of smoke swirling into a moonlight sky.

Sharon Jones went public with her battle with pancreatic cancer several years ago. Her travails became a central part of the 2015 documentary, Miss Sharon Jones, which followed her attempts to attend to her treatment while also touring and recording with the Dap-Kings. On the one-year anniversary of her death, those efforts come to life in the form of one final album: Soul of a Woman.

Spoiler alert: DAMN. opens with Kendrick Lamar narrating his own shooting death at the hands of a blind assailant. This seems to be a tradition amongst Los Angeles rappers: Lamar's most obvious predecessor, Ice Cube, rapped about dying at least three times on his first two albums. The shared message from both artists is that violent ends can arrive unexpectedly, especially if you're young, black and male.

Note: NPR's First Listen audio comes down after the album is released. However, you can still listen with the Spotify or Apple Music playlist at the bottom of the page.

In the last week of 2016, we're featuring just a few of the songs that, for whatever reason, never got their due this year.

"Never Be Another You" opens with a striking effect: It's like listening to lumbering footsteps splashing through puddles of reverb. That plinking sound — possibly from a vintage synthesizer or drum machine — is otherworldly, but the rich, earthy resonance of Lee Fields' vocals provides an anchoring counterweight; his voice is gravity.

The first time I ever saw Sharon Jones and the Dap-Kings perform was circa 2002 at the Elbo Room, a tiny venue in San Francisco's Mission District. If you've ever been there, you know the Elbo Room doesn't need many bodies to pack the floor, and with the Dap-Kings crowding the diminutive stage, the full intensity of their act filled the space from practically the first note. I was already familiar with the group through its early records, but hadn't fully appreciated how much power Jones could pack into her stout, 5-foot frame as she sang, sweated, stamped, strutted, slayed.

Note: NPR's First Listen audio comes down after the album is released. However, you can still listen with the Spotify playlist at the bottom of the page.

In 2013, Nicole Wray and Terri Walker teamed up to form Lady, a pair of new-school R&B singers kicking a decidedly old-school soul flavor. Since then, Walker's peeled off — leaving behind Lady Wray, who cheekily nods to her new solo act with the title of her forthcoming album Queen Alone.

Over the last 10 years, 1970s funk icon Betty Davis has enjoyed a renaissance of rediscovery. Her music has been lavishly reissued and anthologized, but for years the holy grail was a collection of songs she recorded for Columbia Records in the late '60s, several of which her then-husband, Miles Davis, helped to produce. For decades, no one could hear those songs — until now. The Columbia Years 1968-1969 captures an artist beginning to assert her own voice.

At some point in the 1960s, steel drum (a.k.a. pan) music became the Caribbean equivalent of cheesy Vegas lounge tunes: something only an ill-dressed tourist might fancy during a cruise ship port o' call. And true, there's probably a thousand bad pan covers of "Yellow Bird" out there, but the tradition is unfairly maligned.

The names James Brown and Apollo Theater have practically become synonymous; it's hard to think of one without the other. Beginning in 1963, Brown released three albums recorded there. But there was a fourth — recordings from Sept. 13 and 14, 1972 — that has been buried ever since. Now, Get Down with James Brown: Live At The Apollo Vol. 4 is finally out on vinyl, with a CD to follow this summer.

In the mid-1980s, Schyl Perry toiled as mortgage broker in a Bay Area real estate market that was still a generation away from going stratospheric. His million dollar dreams were less concerned with amortization tables and more obsessed with analog synthesizers as Perry built a small studio in his North Oakland garage. In 1987, Perry unleashed what he hoped would be his magnum opus, Million Dollar Ecstacy [sic], an album that 's best described as an outsider boogie funk new wave disco fusion project. Or something like that.

With its doo-wop harmonies and slow-grind rhythms, Charles Bradley's "Things We Do For Love," has the surprise charm of an overlooked jukebox ditty you used to save your extra change for. Bradley (a.k.a. "the Screaming Eagle of Soul") is usually known for his fiery funk sides and jagged, heart-rendering ballads, but with "Things We Do," his vocals are more restrained, easing into the pocket of the groove rather than thundering over it.