M
A Million To One
Written-By – T. Randazzo, V. Pike 3:25
A2 It's The Only Way
Written-By – W. Lovett 2:50
A3 Back Up
Written-By – Kenneth Kelly 2:38
A4 You On My Mind
Written-By – Edward Bivins 1:59
A5 Fever
Written-By – E. Cooley, J. Davenport 2:41
A6 Do You Ever
Written-By – Myrna March 2:40
B1 Strange Old World
Written-By – Richard Taylor 2:22
B2 One Life To Live
Written-By – W. Lovett 2:24
B3 Blackbird
Written-By – R. Hayes 3:03
B4 Cry If You Wanna Cry
Written-By – B. Keyes, M. March 2:41
B5 Teenage Liberation
Written-By – K. Nash, C. Reid, E. Bivins, K. Kelly 2:36
B6 I Can't Stand For You To Leave Me
Written-By – M. Taylor 2:34
Label: DeLuxe – DLP 12004
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul
A Million To One is the fourth album by the American R&B vocal group The Manhattans, released in 1972 on the DeLuxe label. It is a significant album as it was the first following the death of original lead singer George "Smitty" Smith and the introduction of new lead Gerald Alston, who helped define the group's future sound.
The album showcases the Manhattans' versatility, combining the "deep soul" ballads for which they became known as the "Kings of the Slow Jams" with more uptempo, funk-influenced tracks. The production, while professional, retains an "indie approach" that allowed the group's harmonies to shine, paving the way for their highly successful Columbia Records era in the mid-to-late 70s.
The album features stirring, emotional slow-tempo tracks like the title song, "A Million to One," and "It's the Only Way," which highlight Alston's powerful lead vocals and the group's signature smooth harmonies.
The Manhattans demonstrate a more driving, rhythmic side on tracks such as "Back Up" and the "psychedelic rock-dancer" titled "Teenage Liberation".
The songs explore classic soul themes of love, heartbreak, and resilience, with tracks like "Cry If You Wanna Cry" and "One Life to Live" conveying deep emotion.
A New Beginning
Producer, Arranged By – Dale Warren
Written-By – Dale Warren, John Gary Williams, William Brown 6:00
A2 I'm So Glad I Fell In Love With You
Arranged By – Bobby Manuel, Dale Warren
Producer – Bobby Manuel, Ron Capone
Written-By – Bobby Manuel, Dale Warren, John Gary Williams 2:12
A3 Seeing Is Believin'
Arranged By – Dale Warren, Darryl Carter
Producer – Al Jackson, Darryl Carter, Fred Briggs
Written-By – Darryl Carter, Fred Briggs, Michael Williams 5:54
A4 I'll Still Be Loving You
Arranged By – Dale Warren, Darryl Carter
Producer – Al Jackson, Darryl Carter, Fred Briggs
Written-By – Darryl Carter, Fred Briggs 3:40
B1 Gone! The Promises Of Yesterday
Producer, Arranged By – Dale Warren
Written-By – Dale Warren, Kent Arnold, Robert Dunson 3:41
B2 I Forgot To Be Your Lover
Producer, Arranged By – Dale Warren
Written-By – Booker T. Jones, William Bell 4:45
B3 I'm Afraid Of Losing You
Arranged By – Dale Warren
Producer – Al Jackson, Darryl Carter
Written-By – Darryl Carter, Helen Washington 3:52
B4 Destination
Producer, Arranged By – Dale Warren
Written-By – Dale Warren, Joan Albright 4:52
Label: Volt – VOS-6020
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul, Funk
A New Beginning is a 1973 soul and funk album by The Mad Lads, characterized by its mature, and at times moody, soundscapes following John Gary Williams' return from incarceration. The album, released on the Volt label (a Stax subsidiary), failed to produce any major hits but is considered one of Stax's last classic albums by some reviewers.
The sound was shaped by producer and arranger Dale Warren, with backing from prominent Stax studio musicians like Donald "Duck" Dunn (bass) and Al Jackson (drums). Reviewers note a very mature and sometimes moody sound, which was a change from their earlier work, influenced by the aging group members and Warren's direction. The album features unconventional elements like spoken word intros on some tracks.
While it didn't achieve commercial chart success, it is appreciated by soul lovers for its unique sound that was "a bit ahead from the mainstream formula of soul r&b at that time".
In essence, A New Beginning captured The Mad Lads' evolution into a more complex, modern soul-funk sound, reflecting both personal changes and evolving musical trends of the early 70s.
Bail Out For Fun!
A2 Life Is What You Make It 4:13
A3 Cried My Last Tear 4:40
A4 Moonfunk 4:35
B1 Fun 3:10
B2 You Don't Have To Be Lonely 3:50
B3 Trying For Days 6:45
B4 Everything Begins With You 3:40
Label: Capricorn Records – CP 0125
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Funk
Maxayn's Bail Out For Fun! album is praised as a soulful, funky, rock-infused gem, the third album from the legendary group, known for its lean band sound, prominent keyboards, and Maxayn Lewis's powerful vocals, offering a mix of originals and covers (like D.J. Rogers' "Bail Out" and Buddy Miles' "Life is What You Make It"), standing out with its sophisticated funk/rock blend, though it was somewhat lost in the shuffle upon release.
A blend of funk, soul, and rock, featuring strong keyboards, a tight band, and sometimes electronic touches, reminiscent of Sly & The Family Stone, with soulful ballads and energetic funk.
Reviewers note that the keyboards, handled by the talented Andre Lewis, are more central to this album than the guitars were on previous Maxayn records. This shift increases the funky feel of the record.
The production style, featuring cool flanged-out effects and reminiscent of Sly Stone, is highlighted as a key element of the album's sound. Maxayn Lewis is a standout, described as sultry and powerful, channeling Aretha Franklin and Roberta Flack.
Highlights include the funk-infused "Life is What You Make It," the soulful "Cried My Last Tear," the lively "Fun," and their own "Trying for Days" in a new jam.
Though not a huge commercial hit initially, it's celebrated as a timeless classic, showcasing the band's musicianship and paving the way for future acts like Mother's Finest and Andre Lewis's work as Mandré.
Fans and critics laud it as a stellar soul/funk album, a "killer" record that's both deep and groovy, often grouped with their excellent debut and Mindful in reissues like "Reloaded: The Complete Recordings".
The music remains fresh and forward-sounding, a testament to the band's talent and production.
Embrya
1 Everwanting: To Want You To Want 7:32
2 I'm You: You Are Me And We Are You (Pt Me & You) 6:33
3 Luxury: Cococure 5:32
4 Drowndeep: Hula 5:41
5 Matrimony: Maybe You 4:38
6 Arroz Con Pollo 2:57
7 Know These Things: Shouldn't You 5:14
8 Submerge: Til We Become The Sun 6:26
9 Gravity: Pushing To Pull 6:13
10 Eachhoureachsecondeachminuteeachday: Of My Life 5:52
11 Embrya 3:03
Label: Columbia – CK 68968
Format: CD, Album
Country: US
Released: 1998
Genre: R&B Soul
Style: Neo Soul
Released on June 30, 1998, Maxwell’s sophomore album Embrya is widely regarded as a groundbreaking but divisive masterpiece that prioritized atmospheric "vibes" and deep grooves over the traditional song structures of his debut. While initially polarizing to critics, the album has undergone a massive modern reappraisal as a visionary precursor to modern alternative R&B.
Moving away from the jazz-soul accessible style of Maxwell's Urban Hang Suite, Embrya features heavy basslines, lush string arrangements, and a "submerged," aquatic production style.
Critics and fans note that the album emphasizes feeling and instrumentation over distinct melodies, creating a "dreamlike state".
The album explores abstract themes of love, spirituality, and "rebirthing"—Maxwell defined the title as a transition toward a "broader perception".
Many contemporary critics were confounded by the "obtuse" lyrics and lack of radio-friendly singles. Reviews were mixed, with some calling it "pretentious" while others, like Rolling Stone, praised the lush backdrops but found the songs difficult to distinguish.
By 2025, Embrya is frequently cited as a classic that was "ahead of its time". Retrospective reviews from outlets like Pitchfork and Uncut (which ranked it #110 on its best of the '90s list in 2024) highlight it as a pioneer of the "moody and sparse" alt-R&B sound later popularized by artists like Frank Ocean and Miguel.
Standout Tracks:
"Luxury: Cococure": The lead single, noted for its funky bassline and being one of the few tracks with mainstream appeal.
"Submerge: Till We Become the Sun": Frequently cited as a fan-favorite "underwater" masterpiece that builds slowly with synths and keys.
"Matrimony: Maybe You": A more melodic ballad that retains some of the debut's warmth.
"Eachhoureachsecondeachminuteeachday: Of My Life": A standout falsetto performance widely considered the album's most accessible track after the singles.
The album is credited with expanding the boundaries of neo-soul by incorporating elements of psychedelia, dub, and electronic music.
Despite the critical split, it debuted at #3 on the Billboard 200 and won the 1999 Soul Train Music Award for Best Male Soul/R&B Album.
Retrospective reviews often compare its experimental nature to D'Angelo’s Voodoo, viewing it as a liquid, atmospheric counterpoint to Voodoo's "desiccated funk".
Falling In Love With A Dream
A2 You Got It (R. Taylor, G. Moody, G. Carmichael 6:07)
A3 Ain't Gonna Be A Next Time (P. Adams 3:36)
B1 Just In The Nick Of Time (P. Adams 3:34)
B2 Let's Make Love (G. Carmichael, R. Love 3:21)
B3 Nothing To It (K. Seymour 3:15)
Label: Almeria Records, Inc. – AL-501
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Disco
The 1977 (some sources list 1978) album Falling In Love With A Dream by Magnetic Touch is a rare and highly regarded soul and disco album, produced by the legendary New York dance music production team of Patrick Adams and Greg Carmichael. It is the only album released by the group, which featured a male and female vocal mix.
The album is considered a "soulful masterpiece" with a cohesive sound characteristic of Adams and Carmichael's work (also known for their P&P Records and the group Inner Life). The production style is noted for its distinctive use of "punchy" synthesizers and elastic basslines, creating a unique disco and garage sound.
The tracks range from mid-tempo mellow disco to upbeat, driving funk and Philly soul-inspired dancers, with reviewers noting a lack of filler.
Free And In Love
Written-By – C. Hampton, H. Banks 4:02
A2 I'm Free
Written-By – Levi Monroe, Millie Jackson 3:00
A3 Tonight I'll Shoot The Moon
Written-By – L. Struzick, S. Storm 3:08
A4 There You Are
Written-By – K. Sterling, Millie Jackson 4:02
A5 Do What Makes The World Go Round
Written-By – Clarence Reid 4:05
B1 Bad Risk
Written-By – B. Clements, P. Mitchell 4:26
B2 Feel Like Making Love
Written-By – N. Ralphs, P. Rogers 4:57
B3 Solitary Love Affair
Written-By – B. Kennedy, G. McKinney 3:48
B4 I'm In Love Again
Written-By – K. Sterling, Millie Jackson 7:21
Label: Spring Records – SP-1-6709
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre:
R&B Soul
Style: Soul, Funk
Millie Jackson's 1976 album Free And In Love received a mixed but generally positive reception, with critics and fans praising her vocal performance and some individual tracks, though many felt it did not reach the classic status of her preceding concept albums, Caught Up and Still Caught Up. The album is noted for its exploration of a woman's journey to find love after freeing herself from a complicated affair, a thematic continuation of her previous works.
The album follows the narrative arc established in Caught Up and Still Caught Up. While the previous albums focused on the "other woman" dynamic and its emotional turmoil, Free And In Love shifts the focus to a newly liberated woman re-entering the dating world and seeking a meaningful relationship, a concept appreciated by some reviewers.
Recorded at the Muscle Shoals Sound Studios, the album features a blend of deep soul, R&B, and some disco elements, backed by the distinctive Muscle Shoals band. Some critics found the musical direction "directionless" at times, mixing strong soul ballads with what they considered mediocre disco tracks. The album incorporates heavy, "whammy" guitar sounds which were relatively new to soul records at the time.
Key Tracks:
"There You Are": Widely considered one of the standout tracks, praised as a sexy soul song that features a classic Millie Jackson monologue, where she spots a potential man of her dreams at a party.
"Feel Like Makin' Love": A cover of the Bad Company rock song, which was a surprising and "heavy" choice for a soul album. This track received mixed opinions; some praised her gutsy interpretation, while others felt it was a low point.
"A House for Sale": A uptempo tune that was a draw for some buyers, showcasing her versatility.
"I'm In Love Again": Noted for being a "talking blues" track that features her signature narrative style and vocal power.
While individual tracks are highly regarded and showcase Jackson's powerful voice and songwriting skills, the album as a whole is often viewed as less cohesive and impactful than her landmark Caught Up. Fan reviews on platforms like Amazon are largely positive, with many calling it an "excellent soul album" and a great addition to a collection.
Heat Wave
Written-By – Holland-Dozier-Holland 2:39
A2 Then He Kissed Me
Written-By – Spector-Greenwich-Barry 2:30
A3 Hey There Lonely Boy
Written By – Shuman-Carr 2:31
A4 More
Written-By – Oliviero, Newell, Ortolani 2:13
A5 Danke Schoen
Written-By – Kaempfert, Gabler 3:03
A6 If I Had A Hammer
Written By – Hays-Seeger 2:14
B1 Hello Stranger
Written-By – Lewis 2:38
B2 Just One Look
Written By – Carroll-Payne 2:32
B3 Wait Till My Bobby Gets Home
Written By – Spector-Greenwich 2:16
B4 My Boyfriend's Back
Written By – Feldman-Goldstein-Gottehrer 2:07
B5 Mockingbird
Written By – Foxx/Foxx 2:30
Label: Gordy – GLP 907
Format: Vinyl, LP, Album
Country: US
Released: 1963
Genre: R&B Soul
Style: Sixties Soul, Motown
Martha & The Vandellas' 1963 album, Heat Wave, is praised as an essential, confident early Motown release, anchored by Martha Reeves' powerful vocals and Holland-Dozier-Holland's dynamic, sax-driven production, though it's an uneven mix of classic covers and the iconic title track, cementing their place as a top girl group despite filler songs. Reviewers highlight the energy of the title track, strong harmonies, and the band's developing sound, but note some covers fall flat, making it a beloved but imperfect gem.
The Title Track, "(Love Is Like a) Heat Wave" is universally acclaimed as a standout, praised for its propulsive energy, catchy hooks, and explosive arrangement.
Martha Reeves' strong, confident lead vocals are seen as the heart of the group, bringing life to the tracks.
The album showcases early Motown hallmarks, featuring baritone sax, tambourines, and driving rhythms. The tight, precise backing vocals from Rosalind Ashford and Annette Beard are a major highlight.
While containing classics, the album mixes its hits with lesser-known covers of 1963 pop hits (like "My Boyfriend's Back," "Danke Schoen"), which some find clogs the album's flow.
Some cover versions are considered only for die-hard fans, lacking the freshness of the original hits or the group's signature sound.
Overall, Heat Wave is considered a vital early Motown record, offering a confident, energetic, and exhilarating listen, even if it isn't a perfectly cohesive album; its highs, especially the title track, are legendary.
Heaven
A2 Greasy 5:11
A3 Saying It With Music 5:34
A4 Song For My Soul 4:56
B1 Scorpio Stew 4:13
B2 Maya Mosquito 3:49
B3 Diego Shuffle 4:20
B4 Heaven Prelude 3:35
Label: Tabu Records – BQL1-1996
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Jazz Soul
Style: Caribbean Jazz-Funk
Michael Boothman's Heaven album is a highly sought-after Caribbean jazz-funk record that fuses elements of soul, funk, jazz, gospel, disco, and pop. Known for its sophisticated arrangements and tropical feel, the album has become a collector's item among vinyl enthusiasts.
The album is a pioneering example of Caribbean jazz fusion, blending American soul and jazz styles with influences from calypso and soca, indigenous music of Trinidad and Tobago.
It features soaring guitar work from Boothman, complemented by lush arrangements from keyboardist Leon Pendarvis that incorporate strings and distinctive, sweetly scatting wordless background vocals by singers including Lou Courtney, Edna Holt, and Lani Groves.
Recorded live at RCA Studios in New York, the executive production by Clarence Avant retains an authentic 1970s sound.
Standout tracks that exemplify the album's unique sound include the title track "Heaven", "Saying It With Music", and "Diego Shuffle".
The album is credited with helping to broaden perceptions of Caribbean music and place Caribbean Jazz proudly on the map. A remastered version was released on streaming platforms in 2022, 45 years after its original vinyl release.
Help Us Spread The Message
A2 Let There Be Peace 3:15
A3 Lovely 3:58
A4 Evil Vibrations 3:43
A5 Help Us Spread The Message 4:57
B1 Everybody Groove 3:23
B2 I've Really Got The Feeling 2:59
B3 Star Children 3:01
B4 Fly Away With Me (Instrumental) 4:43
B5 Ain't That Away (To Spend Our Day) 4:29
Label: Sun Glo Records Inc. – SG-456
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Funk
Help Us Spread The Message by Mighty Ryeders is a classic 1970s funk and soul album praised for its sophisticated arrangements and infectious grooves, described as a "rare groove" treasure. It features a wide range of songs, from the well-known "Evil Vibrations" (sampled by De La Soul) to upbeat funk, jazz-influenced tracks, and ballads like "Lovely".
The album is noted for its tight musicianship, innovative use of instruments like the Clavinette and Fender Rhodes, and is a beloved and highly sought-after record among music collectors. It blends funk, soul, jazz, and disco with a "righteous" and "rough-edged" edge, often compared to bands like Earth, Wind & Fire, but with its own unique sound.
Signature tracks:
"Evil Vibrations": A standout track that has been widely sampled and covered.
"Let There Be Peace": Praised for its intricate interplay between horns and the Clavinette, tight rhythm section, and harmony vocals.
"The Mighty Riders": Features sharp guitars and a powerful bass groove.
"Help Us Spread The Message": The title track is described as a superb funk tune that builds from a slower tempo to a more uplifting feel.
"Lovely": A standout ballad with smooth chorus work.
The album is recognized for its high-level musicianship, including excellent bass lines, tight drumming, and skilled use of keyboards like the Clavinette and Fender Rhodes.
Initially not a huge commercial success, it has gained a cult following over time, becoming a "rare groove" classic due to its quality and sample history, making it a "funk treasure" for many.
High On The Sea
Written-By – Jimmy Briggs 1:23
A2 Skull Stone (To The Bone)
Written-By – Linus Ceph 4:38
A3 Let Love Stand
Written-By – Linus Ceph 2:58
A4 Man & Child
Written-By – Linus Ceph 3:55
A5 Well Phase I
Written-By – Linus Ceph 3:40
B1 Malfunction
Written-By – Linus Ceph 2:54
B2 Academy Awards
Written-By – Jimmy Briggs 4:20
B3 When You're A New Born Child
Written-By – Linus Ceph 2:55
B4 Until Tomorrow
Written-By – Linus Ceph 3:01
B5 Well Phase II
Written-By – Linus Ceph 4:52
Label: Sussex – SRA -8028
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre:
Seventies Soul
Style: Soul, Funk
High On The Sea is a soulful and obscure funk and R&B album by the group Masterfleet, originally released in 1973 (with some pressings in 1974). It was issued through Sussex Records, a label known for artists like Bill Withers and Dennis Coffey.
The album is characterized by a "groovy" mixture of funk and soul. It features a sophisticated arrangement including horns, strings (violin, viola, cello), harp, and synthesizers like the Arp and Clavinet.
Produced and arranged by Jimmy Briggs, the album includes contributions from jazz saxophonist Charles Owens and bassist Jerry Knight.
In essence, "High On The Sea" is a well-regarded niche album for fans of vintage psychedelic rock, appreciated for its atmospheric quality and strong melodies, but lacks extensive mainstream critical coverage.
I Believe
A2 Swing Low, Sweet Chariot 4:03
A3 How Long Has It Been Since You Prayed 4:02
A4 He's Got The Whole World In His Hands 2:59
A5 I Believe 2:08
A6 Ride The Chariot 2:12
B1 He Gave Me You 2:34
B2 You Better Mind 2:29
B3 When I've Done The Best I Can 4:25
B4 I'm Going To Work Until The Day Is Done 2:29
B5 If I Can Help Somebody 3:50
B6 Everytime I Feel The Spirit 2:15
Label: United Artists Records – UAS 6187
Format: Vinyl, LP
Country: US
Released: 1962
Genre: R&B Gospel
Style: Gospel
Marv Johnson's I Believe album marked his departure from early Motown success, returning to gospel roots with producer George Fowler, away from Berry Gordy's direct influence, offering a chance for his voice to shine but often struggling with strained falsetto and weak delivery, described by some as a less successful, chaotic effort compared to his later Motown work, though still showcasing his vocal talent.
Handled by George Fowler, it aimed for a different sound than the burgeoning Motown style.
Reviews note Johnson's voice often strains for notes, becoming weak by the end, with some critics finding it a poor performance, while others appreciate the raw emotion.
Released when his Motown connection was fading, it's seen as a transitional or less polished work, especially compared to his subsequent return to Motown later.
While it allowed Johnson's voice to be heard, it's often viewed as an underwhelming or messy record that doesn't match the quality of his future Motown releases.
It's considered a significant shift from his prior United Artists albums, highlighting his vocal ability but also its limitations on that particular project.
In Summary, I Believe is a religiously themed album that let Marv Johnson's voice take center stage but is generally regarded as a weak, strained, and chaotic release, lacking the polish and strength of his later, iconic Motown recordings.
I Can Make It Good For You
A2 Maybe Tonight (Annette Cascone, Bruce Nazarian 3:50)
A3 It's My Life (Jeff Lorber, Kathy Wakefield 3:45)
A4 Keep It To Yourself (Annette Cascone, Bruce Nazarian 4:15)
A5 I Wanna Be Yours (Bob Marlette, Norman Saleet 3:10)
B1 To The Letter (Annette Cascone, Bruce Nazarian, Ken Williams 4:15)
B2 A Love Of Your Own (Hamish Stuart, Ned Dahney 4:05)
B3 Heaven (Bruce Nazarian, Ronn Matlock 3:53)
B5 Fallin' In Love (Bruce Nazarian, Ronn Matlock 3:45)
Label: Island Records – 90897-1
Format: Vinyl, LP, Album
Country: US
Released: 1988
Genre: R&B Soul, Funk
Style: Eighties Soul, Dance
Millie Scott's album I Can Make It Good for You is a release in the contemporary R&B, Soul, and Funk genres, known for its stylish and seductive blend of upbeat dance tracks and smooth ballads. It was her second and final studio album.
The album is characterized by its glossy, digitally-produced sound, a signature of producer Bruce Nazarian's work, which utilized the Synclavier Digital Made System and Direct-To-Disk Digital Multitrack recording. The production style has been described as an "electric funk" and "pure disco" sound on many tracks.
Reviewers note that the album features a strong sequence of four energetic dance tracks on what was the A-side of the vinyl release, before transitioning to a slightly slower tempo on the B-side, which includes more balladic material. The overall feel is one of sophisticated R&B/Soul, with Scott's breathy, expressive vocals a key element.
While the album did not chart nationally, two singles managed to appear on Billboard's Hot Black Singles chart:
"It's My Life" (peaked at #90)
"A Love of Your Own" (peaked at #66)
A third single, "To the Letter", failed to chart.
The production values and general style were consistent with the dance-oriented hits from her successful 1987 debut album, Love Me Right, such as "Automatic" and "Ev'ry Little Bit".
It’s Time
A2 Stoned World (Charles Mann, Dave Crawford 3:13)
A3 Laugh (Charles Mann, Dave Crawford 3:15)
A4 (You Think) You're Doin' It On Your Own (Dave Crawford 5:03)
A5 The Master Plan (Dave Crawford 4:02)
B1 Mighty Cloud Of Joy (Dave Crawford 5:10)
B2 Everything Is Going Up (Dave Crawford 4:08)
B3 Heart Full Of Love (Ermant Franklin 3:30)
B4 Time (Dave Crawford 3:36)
Label: ABC Dunhill – DSX-50177
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Gospel, Soul
It's Time is the album that marked the Mighty Clouds of Joy's intentional and successful crossover from traditional gospel to a contemporary soul and funk sound. Recorded in Philadelphia with top-tier musicians, the album is highly regarded as one of the best gospel/soul fusion records of its era.
While rooted in traditional gospel, the album fully incorporates R&B, soul, funk, and rock influences, a pioneering move for a gospel group at the time. This innovative style helped the group reach a wider, mainstream audience.
The album was produced by Dave Crawford and recorded at the legendary Sigma Sound Studio in Philadelphia, featuring the distinct "Philly Soul" sound. Noted musicians like Norman Harris, Bobby Eli, and Earl Young contributed to its rich, dynamic sound.
It includes the hit single "Time," which became a crossover success, peaking at No. 32 on the Billboard R&B chart and No. 102 on the US Hot 100. Other essential tracks include the uptempo "Mighty Cloud of Joy," "Stoned World," and "Everything is Going Up".
Mavis Staples
Written-By – W. Hutchison 2:48
A2 Sweet Things You Do
Written-By – A. Isbell, B.T. Jones, E. Floyd 2:38
A3 The Choking Kind
Written-By – Harlan Howard 3:24
A4 You're Driving Me (To The Arms Of A Stranger)
Written-By – F. Briggs 3:23
A5 A House Is Not A Home
Written-By – Burt Bacharach-Hal David 4:27
B1 Security
Written-By – Otis Redding 2:47
B2 Son Of A Preacher Man
Written-By – J. Hurley, R. Wilkins 2:17
B3 Pick Up The Pieces
Written-By – D. Davies, F. Briggs, K. Barker 3:06
B4 Chained
Written-By – F. Wilson 2:50
B5 Good To Me
Written-By – J. Green, Otis Redding 3:15
B6 You Send Me
Written-By – L.C. Cook 2:56
Label: Volt – VOS 6007
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul
Style: Southern Soul
Mavis Staples' 1969 self-titled solo debut album was a critical success that showcased her powerful and experienced voice in a new soul context, moving beyond the gospel roots of The Staple Singers.
Cashbox magazine published a glowing review in June 1969, predicting the album's appeal could easily extend to the "underground/contemporary market".
Reviewers consistently praised Staples' "trained, experienced and powerful voice" and her ability as an "unparalleled interpreter of deep soul music".
The press almost unanimously praised the album, with some reviewers in later years even stating it was one of the best releases from the label it was on.
The album marked a deliberate shift for Mavis into a more mainstream soul sound, produced by Steve Cropper and featuring the Stax session band, including Booker T. & the M.G.s members like Donald "Duck" Dunn, at the Stax studios in Memphis.
The record is categorized as Southern Soul, an evolution from the delta-influenced gospel sound of her family group. Her performance was noted for its "sincerity and emotional sensitivity," delivering an intense, powerful sound that remained authentic to her gospel background while embracing the soul genre.
Despite strong critical praise, the album struggled commercially at the time of its release, largely due to a lack of defined radio format and airplay. However, the album helped re-establish her solo career trajectory and is now recognized as an artistic triumph, demonstrating her versatility and enduring vocal power that has influenced generations of artists.
Maze Featuring Frankie Beverly
Composed By – Frankie Beverly 5:19
A2 Happy Feelin's
Composed By – Frankie Beverly 7:10
A3 Color Blind
Composed By – Frankie Beverly 3:22
A4 Lady Of Magic
Composed By – Frankie Beverly 4:45
B1 While I'm Alone
Composed By – Frankie Beverly 4:35
B2 You
Composed By – Frankie Beverly 8:24
B3 Look At California
Composed By – Frankie Beverly 9:27
Label: Capitol Records – ST-11607
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Funk
The self-titled debut album, Maze Featuring Frankie Beverly, was a critical and commercial success within the soul and R&B world, praised for its organic sound, smooth grooves, and strong musicianship. The album established the group's signature style and earned them a devoted fanbase.
The album is noted for its blend of soul, funk, and subtle jazz stylings that avoided the prevailing disco trends of the era. The sound is described as "raw soul" in its original form, characterized by smooth, simmering grooves and rich instrumentation that has a timeless quality.
Frankie Beverly is highlighted as a talented singer and the sole songwriter for all tracks, delivering sincere, smooth, and sometimes rugged vocals that anchor the band's sound.
The entire seven-piece band, including the prominent bass work of Robin Duhe and the keyboards of Sam Porter, is lauded for its tight, cohesive performance.
Though Maze rarely crossed over to pop radio, this album and subsequent releases were huge hits on the R&B charts and became a foundational soundtrack for Black American culture, frequently played at family events and cookouts.
The album produced several classic tracks that became fan favorites and R&B hits:
"Happy Feelin's": An upbeat, seven-minute opus with strong keyboards and drum kicks that takes listeners on an "R&B voyage".
"While I'm Alone": Considered an "ultimate anthem" by some reviewers, praised for its powerful combination of background and lead vocals over commanding instrumentation.
"Lady of Magic": A perfect track that highlights Beverly's smooth vocals and rhythm guitar work.
"Look at California": A nine-minute opus that features a unique structure, starting with a mellow vibe before transitioning into a funkier, "War-type" groove.
Overall, the album is considered a "priceless" and "essential" debut that launched the journey of one of the most enduring soul groups in history.
Mel and Tim
Written-By – Mark James 3:56
A2 The Same Folk
Written-By – Phillip Mitchell 3:36
A3 Oh How I Love You
Written-By – Phillip Mitchell 3:17
A4 Yes We Can-Can
Written-By – Allen Toussaint 4:12
A5 I Would Still Be There
Written-By – B. Clements, P. Mitchell 3:54
B1 Making Love Is My Thing
Written-By – Phillip Mitchell 3:38
B2 It's Those Little Things That Count
Written-By – Phillip Mitchell 3:12
B3 Ain't No Love In My Life
Written-By – Phillip Mitchell 3:45
B4 That's The Way I Want To Live My Life
Written-By – Phillip Mitchell 3:06
B5 Forever And A Day
Written-By – B. Clements, P. Mitchell 4:43
Label: Stax – STS-5501
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Southern Soul
The 1973 self-titled album by Mel & Tim, released on Stax Records, is a quality soul album that is highly regarded by fans of the genre, though it was a commercial failure at the time of its release.
The album features strong songwriting, primarily by Phillip Mitchell, and high-quality production, with critics noting the rich textures of piano, guitar licks, strings, and punchy horns. The duo's cool harmonies and soulful lead vocals are a highlight.
The album's ballads, such as"Keep the Faith", "I Would Still Be There" and "It's Those Little Things That Count," are generally considered the set's outstanding cuts, offering a "deep, balladic stillness".
While known for their ballads, the album also includes strong up-tempo numbers like the "bristling" closer "Forever And A Day". A version of Allen Toussaint's "Yes We Can-Can" is praised for capturing a loose, syncopated New Orleans feel, despite being recorded in Muscle Shoals.
Despite its initial poor sales and the lack of impact from its singles, the album has gained a reputation as a "lovely album" and a "gem" among soul enthusiasts, serving as a reminder of the duo's significant talent before they faded from the music scene.
The album has experienced a resurgence in interest in recent years, particularly the track "Keep The Faith". This song has been sampled by various hip-hop producers, most notably by Madlib for his 2000 Quasimoto album The Unseen, introducing the track to a new generation of listeners.
Miles
Backing Vocals, Arranged By [Backing Vocals] – Miles Jaye
Drum Programming – Michael Claxton
Electric Guitar, Acoustic Guitar, Bass Guitar – Jeff Lee Johnson
Engineer – Bob Brockman, Peter Diorio, Ron Banks
Engineer [Assistant] – Arthur Zarratte, Brian McIntire, Brook Hendricks, Ryan Dorn
Keyboards, Producer [Rhythm Tracks] – Hubert Eaves III, Michael Claxton
Producer – Hubert Eaves III
Vibraphone – Roy Ayers
Written-By – M. Claxton 5:00
A2 Lazy Love
Backing Vocals, Bass Guitar, Drum Programming, Drums, Synthesizer, Violin – Miles Jaye
Engineer – Joe Alexander
Producer – M. Jaye
Written-By – M.J. Davis 5:32
A3 Special Thing
Backing Vocals, Organ – Miles Jaye
Bass Guitar – Doug Grigsby
Drum Programming, Synthesizer – Miles Jaye, Raymond Jones
Engineer – Larry DeCarmine
Engineer [Assistant] – Jim Campbell
Guitar – Ron Jennings
Producer – M. Jaye, R. Jones
Written-By – M.J. Davis, R. Jones 4:44
A4 I've Been A Fool For You
Acoustic Guitar, Electric Guitar – Jeff Lee Johnson
Backing Vocals – Annette Hardeman, Charlene Holloway, Cynthia Biggs
Bass Guitar – Steve "Sea Bass" Green
Drums – Clifford "Pete" Rudd
Engineer – Mitch Goldfarb
Engineer [Assistant] – Brook Kendricks, Jim Campbell
Percussion – Dexter Wansel
Piano, Synthesizer – Miles Jaye
Producer – D. Wansel, M. Jaye
Written-By – M.J. Davis 6:02
B1 I Cry For You
Acoustic Guitar, Electric Guitar – Jeff Lee Johnson
Backing Vocals – Annette Hardeman, Charlene Holloway, Cynthia Biggs
Bass Guitar – Steve "Sea Bass" Green
Drums – Clifford "Pete" Rudd
Engineer – Mitch Goldfarb
Engineer [Assistant] – Jim Campbell
Percussion – Dexter Wansel
Piano – Miles Jaye
Producer – D. Wansel, M. Jaye
Synthesizer – Dexter Wansel
Written-By – M.J. Davis 4:16
B2 Come Home
Acoustic Guitar, Electric Guitar – Jeff Lee Johnson
Backing Vocals – Miles Jaye
Drum Programming, Synthesizer – Miles Jaye, Raymond Jones
Engineer – Charlie Singleton, Larry DeCarmine
Engineer [Assistant] – Jim Campbell, Lewis Tadgett
Producer – M. Jaye, R. Jones
Soprano Saxophone – Branford Marsalis
Written-By – M.J. Davis, R. Jones 4:04
B3 Happy 2 Have U
Acoustic Guitar, Electric Guitar – Jeff Lee Johnson
Backing Vocals – Rachelle Ferrell, Tenita Jordan
Drum Programming, Organ, Synthesizer – Miles Jaye
Electronic Drums [Tom Drums] – James Carter
Engineer – Larry DeCarmine
Engineer [Assistant] – Jim Campbell
Producer – J. Carter, M. Jaye
Programmed By [Synth Horn] – Jim Campbell
Written-By – J. Carter 3:49
B4 Desiree
Acoustic Guitar, Electric Guitar – Jeff Lee Johnson
Backing Vocals – Miles Jaye, Rachelle Ferrell
Bass Guitar, Drum Programming, Synthesizer – Miles Jaye
Engineer – Larry DeCarmine
Engineer [Assistant] – Brook Hendricks, Jim Campbell
Producer – M. Jaye
Written-By – M.J. Davis 5:29
Label: 4th & Broadway – BRLP 515
Format: Vinyl, LP, Album
Country: UK
Released: 1987
Genre: R&B Soul
Style: Eighties Soul
The 1987 album Miles by Miles Jaye is widely regarded as a classic R&B and soul album, primarily praised for Jaye's brilliant, emotional baritone vocals, which often draw comparisons to Teddy Pendergrass. The album is highly rated by fans for its smooth, quality production.
Jaye's voice is consistently highlighted as exceptional, full of emotion, and a strong point of the record.
The album blends smooth R&B, soul, and elements of new jack swing on some tracks. It's considered a staple of 80s "quiet storm" or "grown man" music.
Several songs receive frequent mention as fan favorites:
"Let's Start Love Over": A major highlight and a popular 12-inch single that many fans bought the album specifically for.
"I've Been a Fool for You": Noted for its perfect production, excellent vocals, and instrumentation (keyboards, percussion).
"Lazy Love": Another well-regarded track.
While the album did not achieve massive mainstream success in the US, particularly compared to major label releases, it developed a strong cult following and is considered a "hidden gem" among soul enthusiasts. Reviewers appreciate the entire album, finding few "duds" and often loving 80% or more of the tracks.
The general consensus among listeners is that Miles is an excellent, classic album from an underrated artist, offering a timeless and smooth listening experience. The album is available on various platforms, including Apple Music and physical media via retailers like Amazon.
Miracles
A2 Love Doctor 3:52
A3 The Magic Of Your Eyes (Laura's Eyes) 4:08
A4 Freeway 4:19
B1 Hot Dance 2:59
B2 Mean Machine 3:16
B3 Sad Rain 4:16
B4 Reach For The Sky 3:42
The 1978 album Miracles by The Miracles received mixed to positive reviews, generally praised for its strong harmonies and Billy Griffin's excellent lead vocals, but some critics felt it lacked a cohesive direction and did not reach the high standard of their previous albums City of Angels and Love Crazy.
The album is considered "just ok" by some fans, who felt it was a somewhat sad end to an era for the group. The consensus is that while it has great moments, it is not their best work.
One reviewer noted that the direction of the songs felt unfocused, with the album perhaps trying too hard to achieve chart success, which ultimately lowered its overall quality.
Despite the criticisms, other users praised it as an "excellent album" and a worthy conclusion to their long career, highlighting the great harmonies and music overall. One particularly enthusiastic review even called it the "best album they ever made," though noted it was a "secret" as few people were aware of its existence.
The album was produced entirely by original member Pete Moore, with all songs co-written by Moore, Billy Griffin, and Donald Griffin. It features notable guest appearances, including Stevie Wonder on keyboards, David Foster on rhythm arrangements, and harpist Dorothy Ashby.
Specific tracks highlighted as strong points include "I Can't Stand It," "Love Doctor," "Sad Rain," "Reach for the Sky," and "The Magic Of Your Eyes (Laura's Eyes)".
The 1978 album Miracles was reportedly never officially released in the United States at the time of its initial release, adding to its relative obscurity.
Overall, the album is seen as a worthwhile listen primarily for fans of the post-Smokey Robinson iteration of the group, particularly to experience Billy Griffin's vocal performance, but it is generally not considered one of The Miracles' landmark releases.
Label: Columbia – JC 34910
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Disco
Mosley and Johnson
A2 Money's Runnin' Funny 3:15
A3 Runnin' In & Out Of My Life 3:59
A4 Modern Times 3:30
A5 Baby Come Back 3:40
B1 Are You Gonna Throw Down 3:12
B2 Savin' Up 3:50
B3 Show Me 3:44
B4 Music From My Soul 3:51
B5 I Love You (Yes I Do) 3:35
Label: Muscle Shoals Sound Records – MSS 2203
Format: Vinyl, LP
Country: US
Released: 1987
Genre: R&B Soul
Style: Southern Soul, Funk
The 1987 self-titled album by R&B duo Mosley & Johnson (Sam Mosley and Bob Johnson) is a critically well-regarded record in the soul and blues genres, particularly noted for its strong harmony vocals and classic sound.
The album was released on Muscle Shoals Sound Records (MSS Records) and distributed by Malaco Records, a label known as "The Last Soul Company" for its dedication to Southern soul.
The duo, who previously recorded as Sam and Bob & The Soulmen and Mojoba, were known for a sound compared to a "down home Sam & Dave". The 1987 album featured a mix of mid-tempo soul and R&B tracks, leaning into the traditional blues sound that defined their style.
The album is particularly noted for the strength of Sam Mosley's lead vocals and the impressive harmonies provided by Bob Johnson, which many critics find define their sound.
Reviewers highlight the record's authentic deep soul feel, which captured the essence of the artists' earlier live performances and recordings from the 1970s. The style is characterized as raw, honest, and timeless, avoiding the more polished production trends of the late 1980s.
Standout tracks from the album include "Rock Me," "Money's Runnin' Funny," and "Baby Come Back". "Rock Me" was also released as a 12-inch single that same year.
Overall, the 1987 album is considered a solid and authentic piece of Southern soul, appreciated by fans of the genre for its genuine feel and strong vocal performances.
Now Arriving
A2 Wild & Free (Curtis Mayfield 3:42)
A3 Chicago Disco (Barbara Acklin, Marvin Smith, Sylvia Lance, Wales Wallace 3:04)
A4 Do The Mess Around (Raymond Smith, Sylvia Lance 3:02)
A5 How My Love Goes (Bruce Davis, Cameron Davis, Doug Davis, Glen Davis 3:44)
B1 Think About The Love We Had (Jamal Trice, William Bickelhaupt 3:35)
B2 Troubles (Harry Belafonte 3:53)
B3 Love Pains (Jesse Boyce, Sanchez Harley 3:44)
B4 It's All Over
Label: Soul – S7-751R1
Format:
Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul
Major Lance's Now Arriving, released in 1978 on Soul Records, is a solid late-era soul/funk effort showcasing his enduring voice with a mix of slow jams, uptempo funk ("Chicago Disco," "Do The Mess Around"), and heartfelt ballads, a continuation of his classic Chicago Soul sound but with a late '70s polish, highly valued by collectors for its authentic sound and classic grooves, even if not as iconic as his '60s hits.
The albun blends classic soul feeling with late 70s production, featuring smooth grooves and danceable tracks alongside emotional ballads.
It is praised for its warm vinyl sound and authenticity, it's a cherished piece for fans of classic soul and Northern Soul.
While not his most famous work (often overshadowed by his earlier hits like "Um, Um, Um, Um, Um, Um"), Now Arriving serves as a strong testament to Major Lance's consistent talent, offering a timeless musical journey into funk and soul for longtime fans and new listeners alike, capturing the essence of his style.
So Good
Featuring – Courtney Pine
Written-By – M. Waters, P. Vale, S. Shifrin 4:22
A2 My One Temptation
Written-By – M. Leeson, M. Waters, P. Vale 4:34
A3 Nothing Hits Your Heart Like Soul Music
Vocals – Roger Christian
Written-By – M. Leeson, P. Vale 4:25
A4 Sway (Dance The Blues Away)
Written-By – M. Leeson, P. Vale 4:51
A5 Don't Give Me Up
Vocals – Will Downing
Written-By – M. Paris, P. Powell 3:39
B1 Breathe Life Into Me
Written-By – M. Leeson, P. Vale 4:58
B2 I'd Hate To Love You
Vocals [Spoken Intro] – The Wallen Sisters
Written-By – M. Waters, P. Vale 4:48
B3 Great Impersonation
Written-By – M. Leeson, P. Vale 3:42
B4 Words Into Action
Lead Vocals – Paul Johnson
Producer – Will Downing
Written-By – M. Leeson, P. Vale 4:47
B5 So Good
Written-By – M. Waters, P. Vale, S. Shifrin 4:52
Label: 4th & Broadway – BRLP 525
Format: Vinyl, LP, Album
Country: UK
Released: 1988
Genre: R&B Soul, Pop
Style: Contemporary R&B, Eighties Soul
Mica Paris's debut album, So Good (1988), is widely acclaimed as a classic BritSoul record, praised for its mature, soulful sound and Paris's powerful, velvety voice, which belied her young age (she was 19). Reviewers highlight its sophisticated mix of soul-pop, prominent sax from Courtney Pine, hits like "My One Temptation," and its timeless quality, with critics from AllMusic and Rolling Stone awarding it high marks (5 stars).
Critics consistently lauded Paris's voice, describing it as "pure velvet," powerful, and full of soul and conviction. AllMusic editor Alex Henderson praised her "fine range" and "earthy singer" style, comparing her favorably to Natalie Cole.
Reviewers considered the album a smooth, slick collection of songs that capably demonstrated Paris's immense talent early in her career. The singles were considered particularly strong, though a couple of album-only tracks were noted as slightly weaker by some.
Despite some industry initial hesitation about her crossover potential, the album's success cemented Mica Paris's place as a significant talent in the UK R&B scene of the 1980s. Retrospective reviews view the album as a classic of UK soul.
Solid
A2 Time 3:11
A3 Let Love Enter 2:54
A4 Treat Me Like A Man 4:02
A5 Solid 6:34
B1 Be My Girl 5:07
B2 You Haven't Made It To The Top 4:04
B3 Valentine Love 3:57
B4 Stay With Me This Summer 3:42
Label: Buddah Records – BDS 5662
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Funk
Michael Henderson's 1976 debut album, Solid, is widely praised as a strong, essential funk/soul/jazz fusion masterpiece, blending tight bass grooves, atmospheric synths, and soulful vocals reminiscent of Marvin Gaye and Stevie Wonder, offering a rich mix of mid-tempo funk, cinematic ballads, and compelling instrumentals that showcase his talents as bassist, singer, and producer, making it a standout debut for fans of 70s groove music.
The album seamlessly shifts between deep funk ("Make Me Feel Better," "You Haven't Made It To The Top"), smooth jazz-funk instrumentals ("Solid," "Time"), and lush, romantic soul ballads ("Treat Me Like A Man," "Stay With Me This Summer").
As a renowned bassist, Henderson shines, particularly on tracks like the exploratory title track and the atmospheric "Stay With Me This Summer," where his subtle playing stands out.
Henderson showcases his "fruity voiced" vocals and production skills, creating cinematic soundscapes with squiggly synths and rich harmonies, drawing comparisons to Stevie Wonder and Marvin Gaye.
Reviewers often call it an "unsung cinematic funk/soul/jazz masterpiece," a "killer album," and one of the best debuts, living up to its name.
Solid is considered a must-have for fans of '70s funk and soul, praised for its cohesive sequencing and rich blend of musical styles, making it a highly enjoyable and enduring listen.
Sophisticated Soul
Written-By – Wm. Robinson 2:30
A2 Destination: Anywhere
Written-By – Ashford, Simpson 2:35
A3 I'm Gonna Hold On Long As I Can
Written-By – Wilson, Manns 2:42
A4 Here I Am Baby
Written-By – Wm. Robinson 2:43
A5 You're The One For Me Bobby
Written-By – Wm. Robinson 2:29
A6 Reachin' For Something I Can't Have
Written-By – Weatherspoon, Dean, Weatherspoon 2:44
B1 Your Love Can Save Me
Written-By – Ashford, Simpson 2:34
B2 You're The One
Written-By – Wm. Robinson 2:47
B3 Don't Make Hurting Me A Habit
Written-By – Dean, Weatherspoon, Barnes 2:52
B4 What's Easy For Two Is Hard For One
Written-By – Wm. Robinson 2:39
B5 The Stranger
Written-By – I. Hunter 2:56
B6 Someway, Somehow
Written-By – Morris, Moy 2:27
Label: Tamla – TS286
Format: Vinyl, LP, Album
Country: US
Released: 1968
Genre: R&B Soul
Style: Sixties Soul, Motown
The Marvelettes' Sophisticated Soul (1968) is widely hailed as a standout, showcasing the group's mature, jazzier, and funkier direction, with strong vocals from Wanda Young and a shift towards richer, more complex Motown sounds, featuring hits like "My Baby Must Be a Magician," "Here I Am Baby," and "Destination: Anywhere". Critics praise its cohesive quality, great production, and how it moves beyond typical girl-group pop to a more adult, soulful groove, making it a beloved gem in their catalog.
The album marks a significant growth for the group, moving from bubbly pop to sophisticated, jazz-infused soul, with influences from funk and psychedelia.
Wanda Young's powerful, emotive lead vocals are a highlight, particularly on tracks like "Destination: Anywhere," with some calling it her best work.
It features memorable tracks like Smokey Robinson's "My Baby Must Be a Magician" and the funky "Here I Am Baby," showcasing varied styles, and is praised for its rich, complex arrangements and cohesive feel, making almost every track shine, unlike some other Motown releases.
It is often considered one of Motown's best albums, yet sometimes overshadowed by The Supremes or Martha Reeves, despite its quality.
Considered a must-have for soul fans, with strong ratings on sites like Discogs. A testament to Motown's musical growth in the late '60s, offering both mellow ballads and spunky dance tracks.
Sweet Surrender
Bass – Bob Babbitt
Drums – Andrew Smith
Guitar – David Spinozza, Norman Harris
Keyboards – Pat Rebillot, Richard Tee
Percussion – Ralph MacDonald
Synthesizer – Stan Free
Written-By – Paul Kelly 3:55
A2 (Strange) I Still Love You
Bass – Bob Babbitt
Drums – Andrew Smith
Guitar – David Spinozza
Keyboards – Pat Rebillot, Richard Tee
Percussion – Ralph MacDonald
Written-By – Jerry Butler, Mikki Farrow, Norman Harris 3:30
A3 Come With Me
Bass – Bob Babbitt
Drums – Andrew Smith
Guitar – David Spinozza, Norman Harris
Keyboards – Pat Rebillot, Richard Tee
Percussion – Ralph MacDonald
Written-By – Paul Kelly 3:13
A4 Baby I'm-A Want You
Bass – Chuck Rainey
Drums – Bernard Purdie
Guitar – Cornell Dupree, David Spinozza
Keyboards – Richard Tee
Written-By – David Gates 3:03
A5 To Know You Is To Love You
Bass – Bob Babbitt
Drums – Andrew Smith
Guitar – David Spinozza, Norman Harris
Keyboards – Pat Rebillot, Richard Tee
Percussion – Ralph MacDonald
Synthesizer – Ken Bichel
Written-By – Stevie Wonder 3:28
B1 If I'm Still Around Tomorrow
Bass – Bob Babbitt
Drums – Andrew Smith
Guitar – David Spinozza, Norman Harris
Keyboards – Pat Rebillot, Richard Tee
Percussion – Ralph MacDonald
Synthesizer – Ken Bichel
Written-By – Ralph MacDonald, William Salter 3:09
B2 My Love
Bass – Bob Babbitt
Drums – Andrew Smith
Guitar – David Spinozza, Norman Harris
Keyboards – Pat Rebillot, Richard Tee
Percussion – Ralph MacDonald
Written-By – Paul McCartney & Linda McCartney 4:25
B3 Ridin' High
Bass – Chuck Rainey
Drums – Bernard Purdie
Guitar – Cornell Dupree, Hugh McCracken
Keyboards, Organ – Richard Tee
Percussion – Norman Pride
Written-By – Arif Mardin, Margie Joseph 3:24
B4 He's Got A Way
Bass – Jerry Jemmott
Drums – Bernard Purdie
Guitar – Cornell Dupree, Hugh McCracken
Keyboards – Richard Tee
Written-By – William Joel 3:45
B5 Sweet Surrender
Bass – Bob Babbitt
Drums – Andrew Smith
Guitar – David Spinozza, Norman Harris
Keyboards – Pat Rebillot, Richard Tee
Percussion – Ralph MacDonald
Written-By – David Gates 2:55
Label: Atlantic – SD 7277
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul
Margie Joseph's 1974 album Sweet Surrender is widely acclaimed as a superb piece of seventies soul music. Produced by the legendary Arif Mardin, it is praised for its strong, soulful vocals, excellent musicianship, and cohesive sound.
Reviewers consistently give the album high marks, often describing it as a "gem" of 70s soul.
Joseph's vocals are noted for their superior quality, described as strong, soulful, and mellow with gospel undertones. Her distinctive, recognizable style is a highlight of the record.
Arif Mardin's production and arrangements are frequently lauded as excellent, on par with his work for other major soul artists like Aretha Franklin. The album features top-tier session musicians and the background vocals of The Sweet Inspirations.
A standout feature of the album's production is how Mardin arranged the songs to flow continuously from one track to the next, creating an immersive musical journey.
The album produces two hit singles: Come Lay Some Lovin' On Me" (originally a Paul McCartney song), and "My Love" (also a Paul McCartney cover), which was the biggest hit of her career, reaching the top ten on the R&B chart and becoming a minor pop hit.
The album also includes covers of Bread's "Baby I'm-A Want You" and the title track "Sweet Surrender", a version of Billy Joel's "He's Got a Way", and a rendition of Stevie Wonder's "To Know You Is To Love You". An original song co-written by Joseph and Mardin, "Riding High", also features on the album. The album's material is considered a solid representation of her work during her time with Atlantic Records.
Tasteful Soul
Written-By – McPherson, Simmons, Silvester 3:10
A2 Magic Shoes
Written-By – McPherson, Simmons, Silvester 2:40
A3 I'm So Proud
Written-By – Mayfield 3:33
A4 Somebody's Been Sleeping
Written-By – Bond, Johnson, Perry 2:53
A5 Make It With You
Written-By – Gates 3:40
B1 Spinning Around (I Must Be Falling In Love)
Written-By – McPherson, Simmons, Silvester 3:12
B2 Need Her Love (Mr. Bugler)
Written-By – McPherson, Simmons, Silvester 3:14
B3 That's What Fate Will Do
Written-By – McPherson, Simmons, Silvester 3:30
B4 Look At Me
Written-By – Gates 3:03
B5 Searching
Written-By – MacDonald, Salter 3:28
Label: RCA Victor – LSP-4412
Format: Vinyl, LP, Album, Indianapolis Pressing
Country: US
Released: 1970
Genre: R&B Soul
Style: Seventies Soul
Tasteful Soul is the third studio album by American soul music group The Main Ingredient, released in 1970 on the RCA Victor label. The album is a meticulously crafted example of smooth, sweet soul, featuring creamy harmonies and sophisticated string arrangements by Bert DeCoteaux.
The album features the impassioned lead vocals of Donald McPherson, who also contributed several self-penned songs to the record before his untimely death from leukemia.
Critics note the album is a fine blend of effervescent uptempo tracks and tender ballads. The arrangements are described as "airy" with "smooth sweeping passages" that allow the vocals to float effortlessly.
The album is highly regarded for its quality material and lack of filler, with several standout tracks:
"Spinning Around (I Must Be Falling In Love)" - A dreamy R&B Top 10 hit single and a central anchor of the album.
"Make It With You" - The Main Ingredient's cover of the Bread original, noted by some as the best version of the song.
"I'm So Proud" - An "astounding" cover of the Curtis Mayfield song.
"Magic Shoes" - A track featuring magical harmonies cushioned by lush string arrangements.
"Somebody's Been Sleeping" and "Need Her Love" - Examples of the album's uptempo romps.
Tasteful Soul is considered by many fans and critics to be one of the group's best albums and a quintessential example of high-quality 1970s soul music.
The Moments On Top
Written-By – G. Kerr, S. Robinson 4:00
A2 I Can't Help It
Written-By – J. Bennett, S. Robinson 3:10
A3 To You With Love
Written-By – A. Goodman, B. Brown, S. Seiger 3:03
A4 That's How It Feels
Written-By – N Edmonds, S. Robinson 4:00
B1 Lucky Me
Written-By – G. Kerr, S. Robinson 3:08
B2 I Lost One Bird In The Hand (While Reaching For Two In The Bush)
Written-By – G. Kerr, S. Robinson 4:00
B3 Sweeter As The Days Go By
Written-By – S. Robinson 4:08
B4 The Ice Is Melting
Written-By – J. Harris, T. Henry 3:08
B5 Candy Shack
Written-By – A. Goodman, B. Brown, H. Ray 3:09
Label: Stang Records – ST-1002
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Soul
Style: Seventies Soul, Sweet Soul
The Moments' 1971 album, On Top, is considered a definitive example of symphonic or sweet soul, celebrated for its lush, string-laden arrangements, poignant themes of love and loss, and harmony-drenched vocals.
The album features rich orchestration, including swirling strings, horns, flutes, and a strong rhythmic foundation of breakbeats, piano, and guitar licks.
The songs explore the devastation of lost love and the complexities of romance, delivered with a yearning, emotive vocal style likened at times to The Temptations.
Most tracks were written in-house by the group and their collaborators, avoiding filler material and resulting in a cohesive suite of soul music.
It features the soulful tenor of Billy Brown and the group's signature harmonies, with some delivery reminiscent of The Temptations.
A key track, "To You With Love", was famously sampled by J Dilla for the finale of his seminal album Donuts, highlighting the album's lasting impact on music production.
Overall, On Top is considered a masterpiece of 1970s soul, offering a profound and beautifully arranged musical journey through classic R&B themes.
The Soulful Moods Of Marvin Gaye
Written By – Allie Wrubel
Written-By – Herbert Magidson 5:01
2 My Funny Valentine
Written-By – Richard Rodgers/Lorenz Hart 3:33
3 Witchcraft
Written By – Cy Coleman
Written-By – Carolyn Leigh 2:28
4 Easy Living
Written By – Ralph Rainger
Written-By – Leo Robin 3:08
5 How Deep Is The Ocean (How High Is The Sky)
Written-By – Irving Berlin 3:12
6 Love For Sale
Written-By – Cole Porter 2:58
7 Always
Written-By – Irving Berlin 3:02
8 How High The Moon
Written By – Nancy Hamilton
Written-By – Morgan Lewis 2:33
9 Let Your Conscience Be Your Guide
Written-By – Berry Gordy 3:05
10 Never Let You Go (Sha-Lu Bop)
Written By – Anna Gordy
Written-By – Harvey Fuqua 2:45
11 You Don't Know What Love Is
Written By – Gene DePaul
Written-By – Don Raye 3:58
Label: Tamla – TM-221
Format: Vinyl, LP, Album
Country: US
Released: 1961
Genre: R&B Soul, Jazz
Style: Sixties Soul, Motown
The Soulful Moods of Marvin Gaye, his 1961 Tamla debut, is a fascinating but flawed album showing a young Gaye aiming to be a jazz-pop crooner like Nat King Cole, filled with Great American Songbook standards and light jazz arrangements, offering glimpses of his talent but contrasting sharply with his later R&B/soul stardom, making it more for diehard fans than a defining work. While pleasant and showcasing his versatile voice and occasional piano/drumming, reviewers find it somewhat uninspired "background music" with weak production and forgettable moments, though standout tracks like "Easy Living" hint at the genius to come.
Gaye wanted to be a jazz/pop vocalist, leading to an album of standards ("My Funny Valentine," "Love for Sale") rather than R&B.
Produced by Berry Gordy, it features early Motown instrumentation but lacks the signature Motown punch, with some finding the arrangements bland or the musicianship subpar.
He plays piano and drums, showing versatility, but often sounds like he's trying to fit into a difficult genre rather than defining it.
The album is not a classic but reveals potential, with tracks like "Easy Living" being highlights, while some R&B numbers (like "Stubborn Kind of Fellow") hint at his true future.
In essence, The Soulful Moods is a worthwhile listen to track Gaye's early journey, but it's not where his iconic sound was forged; that would come later with true Motown innovation.
Two Lovers And Other Great Hits
Written-By – William Robinson
A2 Guess Who
Written-By – Freed, Lane
A3 My 2 Arms-You=Tears
Written-By – Paul, Gaye, Stevenson
A4 Goody Goody
Written-By – Mercer, Malneck
A5 Stop Right There
Written-By – Wells, Franklin
B1 Laughing Boy
Written-By – William Robinson
B2 Looking Back
Written-By – Hendricks, Benton, Otis
B3 (I Guess There's) No Love
Written-By – Berry Gordy, Jr.
B4 Was It Worth It
Written-By – Berry Gordy, Jr.
B5 Operator
Written-By – William Robinson
Label: Motown – MT 607
Format: Vinyl, LP, Album
Country: US
Released: 1963
Genre:
R&B Soul
Style: Sixties Soul, Motown
Mary Wells' album Two Lovers and Other Great Hits is her third studio album, released by Motown in early 1963. Primarily written and produced by Smokey Robinson, it features her chart-topping R&B hit "Two Lovers" and helped establish her as Motown's first major female superstar.
The album is notable because, despite its "Greatest Hits" subtitle, most of the tracks were newly recorded material rather than a simple compilation of previous singles. The musical style is a blend of R&B, pop, and a touch of the jazzier rhythm and blues that preceded the signature Motown sound. It also features Wells branching into pop standards, a strategic move by Motown to push its artists into the mainstream showbiz arena.
All but one track were recorded at Motown's Hitsville U.S.A. studio. Backing was provided by the Joe Hunter Band, a prototype of the legendary Funk Brothers studio band.
Harmonies feature The Love-Tones, Wells' touring group (which included a young Eddie Kendricks of The Temptations on some tracks), and the studio backing singers The Andantes.
The album includes several notable songs:
"Two Lovers": The title track, a clever Smokey Robinson composition where the singer describes having two lovers who are revealed at the end to be the same person with a split personality. It reached #1 on the R&B chart and #7 on the Billboard Pop chart.
"Operator": The B-side to "Two Lovers," a song structured as an anxious one-sided conversation with a telephone operator.
"Laughing Boy": A follow-up single that also charted.
"My 2 Arms - You = Tears" and "Goody, Goody": Other tracks noted for their swinging arrangements and R&B feel.
The album debuted on the Billboard album chart on March 16, 1963, peaking at number 49 and remaining on the chart for eight weeks.
Welcome To Memphis
Lead Vocals – Wayne A. Reed
Written-By – Eaton, Moten, Sparks 4:40
A2 Hey Girl
Lead Vocals – William C. Brown III
Written-By – McDonald 4:38
A3 My Heart Belongs To You
Lead Vocals – Joyce D. Wright, William C. Brown III
Written-By – Collins, Toles 4:26
A4 When It's Right, It's Right
Lead Vocals – "The Shadow", Joyce D. Wright, William C. Brown III
Written-By – McDonald 4:08
B1 Let's Go Dancing
Lead Vocals – The Gentlemen, William C. Brown III
Written-By – Love 4:15
B2 Keep On (Doing It)
Lead Vocals – Ricardo "Rickey" V. Crawley
Written-By – Collins, Toles 4:27
B3 No Time For Tears (Think About The Good Days)
Lead Vocals – Joyce D. Wright, William C. Brown III
Written-By – Hale, Blumberg 4:43
B4 Time's Movin' On
Lead Vocals – William C. Brown III
Written-By – Alexander, Mitchell 4:53
Label: RCA Victor – AFL1-3221
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: Latin, Funk, Soul
Style: Soul, Funk, Disco
The Memphis Horns' 1979 album Welcome to Memphis is a soul and funk record that generally receives positive feedback from fans for its excellent sound and performances, although some critics find it a bit safe or conventional compared to their session work. The album showcases the duo's signature, bright horn sound, which dominated the tracks.
Fans praise the album as a great reminder of how good The Memphis Horns (Wayne Jackson on trumpet and Andrew Love on tenor saxophone) were, highlighting the excellent sound mix, great performances, and perfect song selection. The album is characterized by its soulful and funky style, which was typical of their work in the 1970s. The duo were known for their ability to blend their tones seamlessly, a quality that is evident in their autonomous releases.
While many appreciate the quality of the musicianship, one potential drawback noted by some is that the album can feel a bit "vanilla" or unoriginal, with conventional song choices. Some reviewers felt the tracks, which feature various guest vocalists, sound too much like the artists the Horns typically backed, rather than a distinct project for the duo themselves. The album is an enjoyable soul party, but perhaps lacks the raw, innovative edge of their iconic Stax-era session work for artists like Otis Redding and Sam & Dave.
The album includes several tracks that capture the essence of their sound:
"The Bottom Line": A track that features their classic horn lines.
"My Heart Belongs To You": A soulful tune demonstrating their ability to work with vocalists.
"Let's Go Dancing": A disco-infused number that fits the late 1970s era.
"Keep On Doing It": Another funky, upbeat track.
The album was one of several releases where the legendary Stax session players stepped out as their own act, showcasing their iconic "fat Memphis sound" with soulful, blues-infused instrumentals, blending R&B, soul, and jazz, offering a taste of their legendary session work on hits for others, but as a standalone record. It was part of a series of albums they released on RCA between 1976-1979, following hits like High on Music and Get Up and Dance, delivering that signature powerful, gospel-rooted horn sound
In essence, it's a chance to hear the legendary session players themselves blowing their own brand of authentic Memphis soul music.