Mickey Finn

Quite agree, Dave - for me this period was when he was at the top of his game, making great records in his own name as well as producing the likes of Cheryl Lynn, Aretha, Dionne ... quite a tonic considering how electronic and programmed most production was going at the time. The contribution of Marcus Miller was crucial imho.

21st century Chic:

Must admit when I saw the subject heading I thought immediately of these:

I remember Norman Jay's Original Rare Groove Show at the Bass Clef on Monday nights: https://www.independent.co.uk/life-style/dying-note-of-a-10-year-jam-session-hoxton-became-a-mecca-for-jazz-fans-when-peter-ind-opened-the-1435496.html

Yes indeed Dave. I'm sure I heard that off Ralph Tee who tends to know about these things.

Philippe Wynne of the Spinners released an LP in 1977 that was partly recorded at Sigma Sound, featuring the Sweethearts and was mostly mixed by Joe Tarsia. This song was written by Bruce Hawes, Charles Simmons and Joseph Jefferson:

Have we missed the Jacksons, who recorded 2 LPs at Sigma Sound? "Let me show you the way to go" was the big hit, and "Living together" got airplay. It formed the basis of a much-played bootleg covered up as Black Disco, "Real good time" that I remember Ian Dewhirst raving about at the time (maybe 8 years ago now). No wonder - it's brilliant: There's also film footage of the Jacksons recording at Sigma Sound:

Real Gone Music recently reissued an anthology of Dusty Springfield's Sigma Sound recordings:

Co-produced by Gilda Woods in 1974, Bobby Newton recorded this Gamble-Hurtt-Sigler tune, arranged by Mike Terry:

Terry Collins on US Kwanza 1973 was a Bobby Eli credit:

The MoJazz label of the 1990s started very strongly and then quickly fizzled out. Steve McKeever was a main mover behind it and was associated with various quality releases of the time, but it's quite likely that the move to "urban" styles, conveniently cheaper to make (until the name producers starting costing more than full orchestras) put paid to the Norman Connors type of productions that promised so much at the beginning. I think the second album by Impromp2 was the final release for the imprint. Speaking of unreleased stuff, there's supposed to be a full album by Jean Carne in the PIR vaults. Tawatha Agee was signed to PIR at the time she did backing vocals for Jennifer Holliday's "I'm on your side" album in 1991. Brenda and the Tabulations' "I keep coming back for more" LP from 1977 was recorded at Sigma Sound, produced by John Davis, Bobby Eli and Norman Harris...

Are you sure? Phyllis appeared on the title track of Norman Connors' "Remember who you are" album on MoJazz in 1993, after having already released 2 full albums on the reactivated PIR, with another to follow before she died and then the posthumous "Forever with you". MoJazz was launched in 1992 with guitarist Norman Brown's debut album, produced by Connors. Before PIR Phyllis was in an unhappy marriage with Arista, who eventually booted her to make way for some unknown called Whitney Houston.

So did Wilson Pickett for Atlantic in 1970:

Nancy Wilson recorded an album produced by Gamble and Huff for Capitol in 1970:

Melba Moore's "Portrait" LP in 1977 on Buddah was produced by McFadden & Whitehead

Geraldine Hunt's son Freddie James recorded an LP partly at Alpha International studios in 1981, and although there's no credit you would put money on the solo belonging to Vincent Montana, Jr.

Norman Harris produced an LP for Blue Magic on Capitol in 1981: