S
2nd Resurrection
Backing Vocals – Ivory Davis
Backing Vocals, Arranged By – Stairsteps
Drums – Alvin Taylor
Guitar – Dennis Burke
Keyboards – Billy Preston
Lyrics By – Clarence Burke, Jr.
Music By, Lyrics By, Lead Vocals, Lead Guitar, Bass – Kenneth Burke 3:39
A2 Pasado
Backing Vocals – Ivory Davis
Backing Vocals, Arranged By – Stairsteps
Drums – Alvin Taylor
Keyboards – Billy Preston
Lyrics By, Lead Vocals, Acoustic Guitar – Clarence Burke, Jr.
Music By, Acoustic Guitar – James Burke
Percussion, Horns [Univox] – Ricardo Marrero
Twelve-String Guitar – Steve Beckmeier 3:09
A3 Theme Of Angels
Backing Vocals, Arranged By – Stairsteps
Bass – Kenneth Burke
Drums – Alvin Taylor
Keyboards, Arranged By – Billy Preston
Music By, Acoustic Guitar – James Burke 3:19
A4 Lifting 2nd Resurrection
Backing Vocals, Arranged By – Stairsteps
Bass – Kenneth Burke
Drums – Alvin Taylor
Keyboards – Billy Preston
Lead Guitar – Steve Beckmeier
Lyrics By, Lead Vocals, Percussion – Clarence Burke, Jr.
Music By, Lyrics By, Lead Vocals, Guitar – Dennis Burke
Percussion – Ricardo Marrero 3:45
A5 Time
Backing Vocals, Arranged By – Stairsteps
Bass – Kenneth Burke
Drums – Alvin Taylor
Guitar – James Burke
Guitar, Effects [Mu-tron] – Dennis Burke
Lyrics By – Syreeta Wright
Music By, Lyrics By, Lead Vocals – Clarence Burke, Jr.
Saxophone, Soloist – Stomach 3:48
B1 Throwin' Stones Atcha
Backing Vocals – Ivory Davis
Backing Vocals, Arranged By – Stairsteps
Bass – Kenneth Burke
Drums – Alvin Taylor
Guitar – Dennis Burke
Keyboards – Billy Preston
Music By, Lyrics By, Lead Vocals, Guitar – Clarence Burke, Jr. 3:04
B2 Far East
Arranged By – Stairsteps
Bass – Kenneth Burke
Drums – Alvin Taylor
Keyboards – Billy Preston
Music By, Acoustic Guitar, Percussion – Clarence Burke, Jr.
Percussion – Ricardo Marrero
Soloist [Super Phaser Solo] – Steve Beckmeier 1:06
B3 In The Beginning
Backing Vocals – Ivory Davis
Backing Vocals, Arranged By – Stairsteps
Bass – Kenneth Burke
Drums – Alvin Taylor
Guitar – Dennis Burke
Keyboards – Billy Preston
Music By, Lyrics By, Lead Vocals – Clarence Burke, Jr. 2:53
B4 Tell Me Why
Backing Vocals, Arranged By – Stairsteps
Drums – Alvin Taylor
Guitar – Dennis Burke
Keyboards – Billy Preston
Music By, Lyrics By, Lead Vocals, Lead Guitar, Bass – Kenneth Burke 4:31
B5 Salaam
Arranged By – Stairsteps
Drums – Alvin Taylor
Guitar – Clarence Burke, Jr.
Keyboards – Billy Preston
Lead Guitar – Dennis Burke
Music By, Guitar, Bass – Kenneth Burke
Percussion – Ricardo Marrero 4:34
Label: Dark Horse Records – SP-22004
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Funk
The album 2nd Resurrection by the Stairsteps is a critically acclaimed 1976 soul/funk classic, widely considered an under-appreciated masterpiece by fans and critics. It marked a significant shift for the group (formerly The Five Stairsteps) towards a more mature, sophisticated, and experimental sound, moving past their earlier "bubblegum" pop-soul image.
It is often described as a "long lost classic" and a "jewel" of mid-70s R&B. Reviewers note that the music was ahead of its time, with an eclectic and melodic composition that still sounds fresh decades later. One review from Mojo magazine in 2001 even named it one of the "100 best soul albums of all time".
The album is praised for working as a cohesive listening experience rather than just a collection of singles, highlighting the group's artisan musicianship.
It features a slick, West Coast soul sound, with a more mature feel compared to their earlier work like "O-o-h Child".
It was released on George Harrison's Dark Horse label and co-produced by Billy Preston (who also played keyboards) and Robert Margouleff.
Margouleff and Malcolm Cecil, known for their groundbreaking work with Stevie Wonder, programmed the T.O.N.T.O synthesizer, contributing innovative and experimental elements to the album's sound.
2nd Resurrection is a must-listen for fans of 70s soul and funk, offering a deeply satisfying and artistically rich experience that transcends its era.
The album was long out of print on physical media but has seen several reissues on both CD and vinyl, including a gold vinyl release for Record Store Day in 2023, making it accessible to new listeners. You can find various versions available through online retailers like Amazon or music databases like Discogs.
2nd Wave
Arranged By – Surface
Arranged By [String Arrangements], Synthesizer [String Synthesizer] – Bobby Wooten
Cymbal [Cymbals] – Bob Brockman
Engineer – John Falzarano "Flaz"
Engineer [Mix Engineers] – "Bassie" Bob Brockman
Guitar – David Townsend
Keyboards, Synth [Synth Bass], Drum Programming – Brian Simpson
Lead Vocals [Lead], Backing Vocals [Background Vocals] – Bernard Jackson
Saxophone [Sax] – Pic
Written-By – B. Jackson 4:53
A2 Closer Than Friends
Arranged By – Surface
Engineer [Mix Engineers] – "Bassie" Bob Brockman
Lead Vocals [Lead], Backing Vocals [Background Vocals] – Bernard Jackson
Piano [Acoustc Piano], Synthesizer [Synthesizers] – Vassal Benford
Synth [Synth Bass], Drum Programming – Pic
Synthesizer, Electric Piano, Drum Programming – David Townsend
Written By – B. Jackson-D. Townsend
Written-By – B. Jackson, D. Townsend 4:44
A3 Can We Spend Some Time
Arranged By – Surface
Drum Programming – Pic
Electric Piano, Guitar – David Townsend
Engineer [Mix Engineers] – "Bassie" Bob Brockman
Lead Vocals [Lead], Backing Vocals [Background Vocals], Guitar, Electric Bass – Bernard Jackson
Synthesizer [String Synthesizer], Synthesizer [Synthesizers] – Vassal Benford
Written-By – B. Jackson 4:30
A4 You Are My Everything
Arranged By – Surface
Backing Vocals [Background Vocals], Guitar – David Townsend
Engineer [Mix Engineers] – Carl Beatty
Guest [Our Guest Vocalist], Vocals [Our Guest Vocalist] – Regina Bell
Lead Vocals – Bernard Jackson
Synth [Synth Bass], Backing Vocals [Background Vocals], Percussion, Drum Programming, Flute – Pic
Synthesizer [Synthesizers] – Vassal Benford
Synthesizer [Synthesizers], Backing Vocals [Background Vocals] – Everett Collins
Written By – D. Conley-E. Collins-D. Culler-D. Townsend
Written-By – D. Conley, D. Townsend, D. Culler, E. Collins 4:28
B1 I Missed
Arranged By – Surface
Engineer [Mix Engineers] – Carl Beatty
Guitar – David Townsend
Horns, Synthesizer – Vassal Benford
Lead Vocals [Lead], Backing Vocals [Background Vocals] – Bernard Jackson
Sounds [Orchestral Hits], Drum Programming – Pic
Synth [Synth Bass], Arranged By [Drum Arrangement], Programmed By [Programming] – Everett Collins
Written By – D. Conley-B. Jackson-E. Collins
Written-By – B. Jackson, D. Conley, E. Collins 4:56
B2 Black Shades
Arranged By – Derrick Culler, Len-Thom
Backing Vocals [Background Vocalists] – Cheryl Maynard, Derrick Culler, Kathy Cat-Nip Griffin, Lauri Hawes, Lisa Stevens, Starlena Yung
Backing Vocals [Background Vocals] – David Townsend, Pic
Effects [Air Filter Voice], Drum Programming [Drum], Programmed By [Computer Programming] – Gene Lennon
Engineer [Mix Engineers] – "Bassie" Bob Brockman
Keyboards, Guitar, Synth [Synth Bass], Drum Programming – Joshua Thompson
Lead Vocals [Lead], Backing Vocals [Background Vocals], Rap – Bernard Jackson
Saxophone [Sax] – Larry Conley
Written By – J. Thompson-D. Culler-G. Lennon
Written-By – D. Culler, G. Lennon, J. Thompson 4:57
B3 Hold On To Love
Arranged By – Surface
Engineer [Mix Engineers] – "Bassie" Bob Brockman
Guest [Our Guest Vocalist], Vocals [Our Guest Vocalist] – Regina Bell
Lead Guitar, Synthesizer [Synthesizers] – Vassal Benford
Lead Vocals [Lead], Backing Vocals [Background Vocals] – Bernard Jackson
Percussion – Everett Collins
Synth [Synth Bass], Flute, Drum Programming – Pic
Synthesizer, Guitar, Drum Programming – David Townsend
Written By – D. Townsend-B. Jackson-D. Conley
Written-By – B. Jackson, D. Conley, D. Townsend 4:10
B4 Where's That Girl
Arranged By – Surface
Arranged By [Arranged], Conductor [Conducted Strings] – Bobby "Maestro" Wooten
Engineer [Mix Engineers] – Carl Beatty
Guitar, Synthesizer [Synthesizers] – David Townsend
Lead Vocals [Lead], Backing Vocals [Background Vocals] – Bernard Jackson
Synth [Synth Bass], Drum Programming – Pic
Written By – D. Townsend-D. Conley-B. Jackson
Written-By – B. Jackson, D. Conley, D. Townsend 4:31
Label: Columbia – FC 44284
Format: Vinyl, LP, Album
Country: US
Released: 1988
Genre: R&B Soul, Pop
Style: Soul, Contemporary R&B
Surface's 1988 album, 2nd Wave, is generally regarded by fans and critics as a strong sophomore effort, and by some aficionados, their finest work. The album solidified their style of smooth, contemporary R&B and soul, yielding multiple major hit singles and achieving platinum sales.
The album was a significant commercial success, selling over a million copies and peaking at number five on the US R&B chart and number 56 on the US pop chart. It produced an impressive run of successful singles, including "Closer Than Friends" (their first R&B number one), "I Missed," and "Shower Me with Your Love" (their biggest pop hit at the time).
The trio, composed of Bernard Jackson, David Conley, and David Townsend, earned respect for delivering fashionable, well-crafted songs with a touch of class and melody that didn't abandon their soul roots. The music is characterized by 80s elements like synths and drum machine patterns, offering a blend of R&B, soul, and pop.
Lead singer Bernard Jackson's vocals are frequently praised as excellent, with critics noting he gave his all to every track, whether a hit single or an album filler.
Ron Wynn from AllMusic highlighted "Shower Me with Your Love" and "You Are My Everything" as standout tracks, while others point to the smooth, mellow tunes like "Can We Spend Some Time" and the strong dance track "I Missed".
Some reviews note that while the album is good, it occasionally leaned heavily into pop to achieve mass appeal, which slightly diluted its core R&B identity for some listeners. The heavy 80s production can feel a bit dated when listening today.
Overall, 2nd Wave is a highly regarded album that successfully showcased Surface's talent for creating memorable, high-quality R&B and soul music. It is considered a classic of late 1980s R&B, celebrated for its strong songwriting, excellent vocals, and numerous hit singles that have remained memorable for fans of the era.
Be What You Are
Written-By – C. Hampton, H. Banks, R. Jackson 5:01
A2 If You're Ready (Come Go With Me)
Written-By – C. Hampton, H. Banks, R. Jackson 4:27
Love Comes In All Colors / Tellin' Lies (8:49)
A3 Love Comes In All Colors Written-By – Bettye Crutcher
A4 Tellin' Lies
Written-By – Carl Smith
A5 Touch A Hand, Make A Friend
Written-By – C. Hampton, H. Banks, R. Jackson 4:02
A6 Drown Yourself
Written-By – Bettye Crutcher 4:39
B1 I Ain't Raisin' No Sand
Written-By – Darryl Carter, Mack Rice 6:32
B2 Grandma's Hands
Written-By – Bill Withers 2:41
B3 Bridges Instead Of Walls
Written-By – C. Hampton, H. Banks, R. Jackson 4:03
B4 I'm On Your Side
Written-By – C. Hampton, H. Banks, R. Jackson 3:57
B5 That's What Friends Are For
Written-By – Mark Rice 4:12
B6 Heaven
Written-By – Terry Manning 3:35
Label: Stax – STS-3015
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul, Southern Soul-Gospel
Be What You Are released in 1973, is a highly regarded Southern Soul album by The Staple Singers that successfully built upon the commercial and critical success of their previous work, Be Altitude: Respect Yourself. It is celebrated for its blend of social commentary, gospel roots, and deep Stax soul grooves, featuring powerful vocals from Mavis Staples and distinctive guitar work from Pops Staples.
Critics generally consider Be What You Are to be a strong entry in the group's discography, with some user and retrospective reviews rating it as one of the greatest soul albums of the 1970s. The album is praised for:
The album maintains the signature Stax sound, featuring the tight and funky instrumentation of the Muscle Shoals Rhythm Section.
Mavis Staples' magnificent lead vocals, full of emotion and feeling, are a consistent highlight, complemented by the unified family harmonies and Pops Staples' blues-drenched guitar.
The songs are noted for their positive and empowering messages, continuing the group's tradition of blending spiritual, social, and political consciousness within a universally accessible soul/gospel framework.
The album features several tracks that became significant hits, solidifying the group's crossover appeal:
"If You're Ready (Come Go with Me)": This track was a major hit, reaching number one on the R&B chart and number nine on the Billboard Hot 100. It is a standout example of the album's gospel-infused soul, essentially a gospel song refitted for secular charts.
"Touch a Hand, Make a Friend": Another successful single, this song climbed to number three on the R&B chart and number 23 on the Hot 100, exemplifying the album's optimistic and communal themes.
"Be What You Are" (title track): This self-empowering, anthemic track serves as an apt follow-up to the theme of "Respect Yourself".
Be What You Are is highly recommended for fans of 70s soul and gospel music, offering a timeless listening experience that has not aged. The production is clean and lets the voices shine, making it a definitive example of Southern Soul at its peak.
Blowin’ Smoke
A2 Go Go Train 3:20
A3 Annie Lee 3:35
A4 Tell Me Baby 3:15
A5 How Many More Times 3:27
A6 Straighten Up Baby 4:58
B1 I Wanna' Do It To You Baby 3:35
B2 Teach Me How To Love You 3:25
B3 I'm Gonna Leave You Baby 4:53
B4 Put Your Lovin' Arms Around Me 3:40
B5 I'm Gonna Put You Down 4:20
Label: Big Town – BT-1001
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Blues
Style: Modern Electric Blues
Blowin' Smoke is the debut album by West Coast blues singer and guitarist Smokey Wilson, released in 1977 on the Big Town label. The album is considered a "masterpiece" of intense, funky modern blues, merging Wilson's Southern blues roots with the soulful currents of the 1970s Los Angeles scene.
The album is acclaimed for its "wild, droning vocals that sound like a mix between Howlin' Wolf and Elmore James" and a groove that features a "messy funky blues beat". It's praised for an "exhilarating" rush of energy and crispness that avoids the commercial clichés of the era. The tracks on the album range from funk blues to shuffles and slow blues, showcasing a tough and gutsy performance from Wilson.
The album delivers powerful, aggressive modern blues with a "messy funky blues beat". Reviewers on sources like Amazon.de commend its "energetic, unpolished Chicago Blues from the late 70s".
The album is considered a "masterpiece" by some descriptions, offering an "exhilarating" rush of energy and a "crispness" that blows listeners away. It is generally seen as Smokey Wilson's best album by some fans.
On Discogs, different releases of the album hold an average user rating of around 4.05 to 4.06 out of 5 stars, based on a small number of ratings (around 18-20).
Dance To The Music
A2 Higher 2:46
A3 I Ain't Got Nobody (For Real) 4:24
A4 Dance To The Medley:
Music Is Alive, Dance In, Music Lover 12:13
B1 Ride The Rhythm 2:46
B2 Color Me True 3:08
B3 Are You Ready 2:48
B4 Don't Burn Baby 3:12
B5 Never Will I Fall In Love Again 3:24
(All songs written by S. Stewart)
Label: Direction – 8-63412
Format: Vinyl, LP, Album
Country: UK
Released: 1968
Genre: R&B Soul
Style: Soul, Funk, Rock
Dance to the Music is the second studio album by Sly & The Family Stone, released in April 1968. It is considered a seminal work that helped lay the groundwork for the development of funk music and popularize the subgenre of psychedelic soul. The album is known for its exuberant sound, which blended R&B, soul, pop, rock, and gospel influences in a unique, integrated approach.
The album is a "psychedelic sun splash" of bright melodies, horn lines, fuzz guitar, and heavy bass, with a tight rhythm section.
The top ten hit single "Dance to the Music" was highly influential, introducing the band's innovative style to a wide audience and prompting other R&B artists (like The Temptations and the Jackson 5) to adopt the "psychedelic soul" sound.
The band was a groundbreaking multi-ethnic, gender-integrated group, a "comfortable rainbow coalition" that was reflected in the music's harmonious, democratic sound, where each instrumental voice was carefully articulated.
The title track famously introduces the band members by name and instrumental role. Other tracks feature a mix of uplifting party messages ("Higher," "Ride the Rhythm," "Are You Ready") and some more somber social commentary ("Color Me True", "Don't Burn Baby").
The album features significant amounts of scat singing, prominent instrumental solos, and Larry Graham's innovative "slapping technique" on bass, which became synonymous with funk music.
Though some critics consider the album itself a bit uneven compared to its more focused successors like Life and Stand!, its best moments were intense and influential, establishing the band's vibrant and innovative presence in music history.
Dance to the Music helped popularize the psychedelic soul subgenre and influenced many other artists, including The Temptations and Diana Ross & the Supremes, who began creating similar-sounding material.
Dancing And Singing For You
A1 Dancing And Singing (Is What Its All About) (Joseph J. Carter 5:51)
A2 Super Sensuous Woman (Joseph J. Carter 4:33)
A3 Get Up Everybody (Ronnie R. Cokes 4:29)
A4 If You Can't Stand The Heat (Jessie T. Pryor 3:17)
Singing For You
B1 I Want To Sing This Song For You (Joseph J. Carter 4:11)
B2 Loneliness Has Got Me Down (Anthony Garrison 3:57)
B3 Love You One More Time (Joseph J. Carter 3:58)
B4 Make The Most Of It (Willie McWhite 4:59)
Label: Dynamic Artists Records And Tapes – DA 1002
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul, Pop
Style: Soul, Funk, Disco
Dancing and Singing for You is a 1978 funk and soul album by the band Starfire, featuring a mix of up-tempo dance tracks and ballads. The album, produced by Joe Carter, is notable for its dynamic performances, including lead singer Rudy Leaper's strong vocals and bassist Antwan Garrison's playing, and its well-crafted side one featuring songs like "Get Up Everybody". While the ballad side two is considered weaker by some critics, the album is a strong example of the 1970s disco-funk sound.
The album is split into two distinct styles. Side one features strong, up-tempo funk and disco tracks, while side two is composed mostly of ballads.
Lead singer Rudy Leaper was noted for his strong voice, capable of handling both the dance tracks and the ballads. Antwan Garrison was the dynamic bassist, who also provided backing and some lead vocals.
Reviewers generally found the funk side to be strong and engaging, particularly the track "Get Up Everybody". The ballad side was considered less consistent, with some tracks running out of steam, though "Loneliness Has Got Me Down" was a standout.
Doin’ It
Written-By – William Robinson
A2 Sunshine Of Your Love
Written-By – Eric Clapton, Jack Bruce, Peter Brown
A3 That Love That A Woman Should Give To A Man
Written-By – Andy Badale
A4 Hurtin'
Written-By – Ben Raleigh, H.B. Barnum
A5 Loveland
Written-By – Ed Townsend
A6 Little Things Mean A Lot
Written-By – C. Stutt, E. Linderman
B1 Light My Fire
Written-By – Doors
B2 You
Written-By – Howlett Smith, Leroy Ruffin
B3 If I Could
Written-By – Ben Raleigh, H.B. Barnum
B4 Who's Sorry Now
Written-By – B. Kalman, Harry Ruby, Ted Snyder
B5 Then I'll Be Happy
Written-By – Lou Brown, S. Clare
Label: Mothers Records & The Snarf Company – MRS-71
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul
Style: Sixties Soul. Jazz
Spanky Wilson's 1969 album Doin' It is a highly-regarded "sister soul masterpiece" known for its groovy rhythms, powerful vocals, and funky arrangements. It is considered a sought-after record among soul and funk collectors.
The album is a distinct move toward a "straighter soul market" compared to her earlier work, featuring mid-tempo soul, heavy brass, and fuzzy guitar elements. Reviewers praise its "groovy and cute" vibe, highlighting the powerful horn section and sharp cutting guitars.
Spanky Wilson's vocals are consistently praised for being soulful, powerful, and charming, as if the "God of Soul had descended upon her".
The arrangements by H.B. Barnum are described as superb, contributing significantly to the album's appeal.
The 11-song album features original tracks and several notable covers that have become classics in their own right:
"You": A popular, funky powerhouse cut with a fat drum beat that has been sampled by hip-hop artists.
"Loveland": A track widely recognized as a "free soul classic".
The album includes notable funk arrangements of Cream's "Sunshine of Your Love" (which has been widely sampled over the years) and The Doors' "Light My Fire".
Specific tracks like "On the Morning After," "Love is Like An Old Man," and "Last Day of Summer" are also cited as special gems within the set.
Doin' It has maintained a strong reputation, as evidenced by its high average user rating on music databases like RateYourMusic (4.48/5) and its consistent reissues. The album's enduring popularity is also clear from its high "want list" count among collectors.
Double Dynamite
A2 Said I Wasn't Gonna Tell Nobody (Hayes & Porter 2:36)
A3 That's The Way It's Gotta Be (Jones & Caple 2:34)
A4 When Something Is Wrong With My Baby (Hayes & Porter 3:14)
A5 Soothe Me (S. Cooke 2:30)
A6 Just Can't Get Enough (Isbell, Jones 2:01)
B1 Sweet Pains (Hayes & Porter 2:33)
B2 I'm Your Puppet (Penn, Oldham 3:03)
B3 Sleep Good Tonight (Wells, Parker, Catron 2:40)
B4 I Don't Need Nobody (To Tell Me 'Bout My Baby) (Jones, Parker, Catron 2:55)
B5 Home At Last (Toombs 3:03)
B6 Use Me (Hayes & Porter 2:30)
Label: Stax – S712
Format: Vinyl, LP, Album
Country: US
Released: 1966
Genre: R&B Soul
Style: Sixties Soul, Southern Soul
Double Dynamite is the second album by the American soul duo Sam & Dave, released in late 1966 on the Atlantic-distributed Stax label. The album is considered an explosive Stax soul classic that cemented the duo's signature gospel-influenced, call-and-response vocal style and significant crossover appeal.
The album is a quintessential example of Southern Soul and Memphis Soul, showcasing the raw, energetic Stax sound. Their performances embodied the "secularization of gospel" into popular music, earning them nicknames like "The Sultans of Sweat" and, of course, "Double Dynamite".
The record was largely driven by the burgeoning songwriting team of Isaac Hayes and David Porter. They provided much of the strong material that, along with the duo's powerhouse vocals, set the bar for the genre.
As with most Stax recordings, the duo was backed by the impeccable Stax house band, which included members of Booker T. & the M.G.'s. The album helped establish Sam & Dave as major stars, with several singles clicking with both R&B and Pop audiences.
Floy Joy
Written-By – W. Robinson 3:20
A2 Floy Joy
Written-By – W. Robinson 2:34
A3 A Heart Like Mine
Written-By – R. White, W. Robinson 3:06
A4 Over And Over
Written-By – W. Robinson 3:15
A5 Precious Little Things
Written-By – M. Tarplin, P. Moffett, W. Robinson 3:24
B1 Now The Bitter Now The Sweet
Written-By – C. Franklin, W. Robinson 5:20
B2 Automatically Sunshine
Written-By – W. Robinson 2:35
B3 The Wisdom Of Time
Written-By – C. Burston, P. Moffett, W. Robinson 3:07
B4 Oh Be My Love
Written-By – W. Robinson, W. Moore 3:25
Label: Motown – M751L
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul, Motown
Floy Joy is a well-regarded post-Diana Ross Supremes album, praised for Smokey Robinson's strong production, blending soulful pop with catchy R&B, featuring standout tracks like the title hit, "Automatically Sunshine," and "Your Wonderful, Sweet Sweet Love," but also noted for some felt inconsistencies and Jean Terrell's vocals sometimes mimicking Ross, though many fans love its warm sound and strong harmonies.
It marked a successful era for the Mary Wilson-led lineup before lineup changes, showcasing their vocal chemistry and creative evolution, notes this Amazon UK review and this Facebook post.
Smokey Robinson's production captured the hypnotic rhythms of previous hits like "Nathan Jones," providing a strong vehicle for the group's vocals.
The album is celebrated for the interplay between Jean Terrell and Mary Wilson, particularly on the title track and "Automatically Sunshine," showcasing their strong harmonies.
Though Lynda Lawrence was on the cover, Cindy Birdsong sang lead on all tracks as she was pregnant and declined the photo.
Some felt Jean Terrell's vocals were too much like Diana Ross, trying too hard to capture that familiar sound. Jean Terrell herself felt the style was a step backward to the 60s Motown sound.
While not a "monster hit," the album was the group's second biggest-selling release of the 70s, charting at number 54 on the Billboard 200.
All in all, a strong album for the post-Ross era, considered a favorite by many fans, especially for its smooth R&B/soul vibe and the harmonies of the new lineup.
Foot Stompin’ Music
A2 Love In The Moonlight (Renee M. Sabala, Sidney Barnes 3:42)
A3 Get On Up And Dance To The Boogie (Or The Boogie Man Will Get Cha) (Sidney Barnes 5:11)
A4 Disco Queen Dance With Me (Sidney Barnes 6:15)
B1 Hold On I'm Comin (Isaac Hayes-David Porter 5:02)
B2 Gonna Make You My Wife (Renee M. Sabala, Sidney Barnes 3:09)
B3 Your Love Is So Good To Me (Renee M. Sabala, Sidney Barnes 6:11)
B4 Summer Sunshine (Sidney Barnes 3:15)
Label: Parachute Records – RRLP 9009
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Disco Funk
Sidney Barnes's album Foot Stompin' Music is a a fantastic disco/funk record that provides a cohesive listening experience of catchy, soulful tunes. Released on Parachute Records (a Casablanca Records affiliate), the album captures a vibrant production style characteristic of the late 1970s R&B scene.
It is primarily a soul and funk album with some disco elements. The album is a joy to listen to, featuring catchy tunes, smooth yet vibrant production, and a sound designed to get people on the dance floor.
"Foot Stompin' Music," is one of Barnes's most well-known songs, characterized by an engaging, funky rhythm, a strong drum beat, and a distorted guitar riff. The repetitive and catchy chorus encourages listeners to dance.
Sidney Barnes is a respected figure in soul music, known primarily as a prolific songwriter for other artists, including Marvin Gaye and Van McCoy, before pursuing a solo R&B career. This album is a testament to his creative model of funk.
Reviewers have noted the album's strong coherence as a whole, which they find to be a rare quality for albums from that era.
Genesis
Written-By – Sam D. Bell 8:24
A2 Don't Take My Sunshine
Written-By – Bobby Newsome 3:59
A3 Hearsay
Written-By – John Colbert, Norman West 3:38
A4 All That Shines Ain't Gold
Written-By – John Gary Williams, Tommy Tate 3:55
A5 It Hurts Me To My Heart
Written-By – Bettye Crutcher 3:00
B1 I'm Loving You More Everyday
Written-By – James Mitchell 4:52
B2 Just The One (I've Been Looking For)
Written-By – A. Isbell, E. Floyd, S. Cropper 3:20
B3 Never Get Enough Of Your Love
Written-By – Eddie Floyd 4:22
B4 All Day Preachin'
Written-By – Bettye Crutcher, Bobby Manuel 3:55
B5 Get Up About Yourself
Written-By – Carl Hampton, Homer Banks, Raymond Jackson 4:12
Label: Stax – STS 3003
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul, Deep Soul
Released in 1972 on Stax Records, Genesis is widely regarded as one of the most creative and soulful releases by The Soul Children. The album showcases a transition from their raw, early Memphis sound toward a more sophisticated and modern vocal style.
The album is heavily rooted in gospel, even more so than typical Stax recordings of that era. Tracks like "I Want To Be Loved" and "Don't Take My Sunshine" are noted for their fervent "church-hewn" wailing and belting.
A core strength is the interplay between the four leads—two male (J. Blackfoot, John Colbert) and two female (Shelbra Bennett, Anita Louis). J. Blackfoot’s raspy, Otis Redding-esque baritone and Shelbra Bennett’s aching alto provide a distinctive, "incendiary" contrast.
Mentored by the legendary team of Isaac Hayes and David Porter, the album features "Isaac Hayes-ian" arrangements with shimmering strings and moody, atmospheric textures on tracks like "It Hurts Me to My Heart".
Key Tracks:
"Hearsay": A standout #5 R&B hit, this track features hard-socking funk rhythms in the style of Sam & Dave.
"I Want to Be Loved": An eight-minute opening epic that reworks a Willie Hightower original into a slow-burning, ethereal soul experience.
"All Day Preachin’": A high-energy gospel-soul jam written by Bettye Crutcher.
Critical Reception
Collectors often cite it as a "stone-cold classic soul slab" and a "monumental" side-A listening experience. The album is frequently paired with their 1974 follow-up, Friction, on single-disc CD reissues available through retailers like Amazon. Dusty Groove, or specialized soul outlets like Soul Brother Records.
The album marked a more sophisticated, yet still deeply soulful, direction for the group, proving their strength as a premier Stax act after the departure of Sam & Dave.
In essence, Genesis is considered a definitive deep Southern Soul record, capturing The Soul Children at their fiery best with a mix of chart-toppers and enduring album cuts.
In My Shoes
Backing Vocals [Background Vocals] – Shaila Prospere
Bass, Drum Programming – Michael Daley
Keyboards – Michael Daley, Rickardo Reid
Producer [Produced By] – Michael Daley
Recorded By [Recorded], Mixed By – Michael Daley
Written-By – M. Daley, S. Prospere, W. Lawes
2 Reoccurring Dream
Backing Vocals [Background Vocals] – Rickardo Reid, Shaila Prospere
Bass, Drum Programming – Michael Daley
Keyboards – Rickardo Reid
Producer [Produced By] – Michael Daley
Recorded By [Recorded], Mixed By – Michael Daley
Written-By – M. Daley, S. Prospere
3 Sorry
Backing Vocals [Background Vocals] – Marsha, Sean Cummings (2), Shaila Prospere
Bass, Drum Programming – Michael Daley, Wayne Lawes
Keyboards – Michael Daley, Rickardo Reid
Post Production [Additional Production By] – Wayne Lawes
Producer [Produced By] – Michael Daley, Wayne Lawes
Recorded By [Recorded], Mixed By – Wayne Lawes
Written-By – M. Daley, S. Prospere, W. Lawes
4 How Much
Backing Vocals [Background Vocals] – Shaila Prospere
Bass, Drum Programming – Michael Daley, Wayne Lawes
Guitar – Stanley Andrew
Keyboards – Rickardo Reid
Producer [Produced By] – Michael Daley, Wayne Lawes
Recorded By [Recorded], Mixed By – Michael Daley, Wayne Lawes
Written-By – M. Daley, R. Reid, S. Prospere, S. Andrew, W. Lawes
5 Mistakes
Backing Vocals [Background Vocals] – Shaila Prospere
Bass, Drum Programming – Michael Daley
Keyboards – Michael Daley
Producer [Produced By] – Michael Daley
Recorded By [Recorded], Mixed By – Michael Daley
Written-By – Belmaati, Francis, Hansen
6 Imagine That
Backing Vocals [Background Vocals] – Sean Cummings (2), Shaila Prospere
Bass, Drum Programming – Michael Daley
Guitar – Stanley Andrew
Keyboards – Rickardo Reid
Producer [Produced By] – Michael Daley
Recorded By [Recorded], Mixed By – Michael Daley
Written-By – M. Daley, S. Prospere
7 Good Guys
Backing Vocals [Background Vocals] – Shaila Prospere
Bass, Drum Programming – Michael Daley
Keyboards – Rickardo Reid
Mixed By – Wayne Lawes
Producer – Michael Daley
Recorded By – Michael Daley
Written-By – M. Daley, S. Prospere, W. Lawes
8 Do What I Do
Backing Vocals [Background Vocals] – Shaila Prospere
Bass, Drum Programming – TuffStuff
Keyboards – Tuffstuff
Mixed By – Michael Daley
Producer [Produced By] – TuffStuff
Recorded By – Tuffstuff
Recorded By [Additional Recording By] – Michael Daley
Written-By – E. Pellius, S. Prospere
9 Found Out
Backing Vocals [Background Vocals] – Shaila Prospere
Bass, Drum Programming – Michael Daley
Keyboards – Michael Daley
Producer [Produced By] – Michael Daley
Recorded By [Recorded], Mixed By – Michael Daley
Written-By – M. Daley, S. Prospere, W. Lawes
10 Protecting My Heart
Backing Vocals [Background Vocals] – Shaila Prospere
Bass, Drum Programming – Wayne Lawes
Keyboards – Rickardo Reid
Producer [Produced By] – Wayne Lawes
Recorded By [Recorded], Mixed By – Wayne Lawes
Written-By – M. Daley, S. May, W. Lawes
11 Tell Me Why
Backing Vocals [Background Vocals] – Shaila Prospere
Bass, Drum Programming – Michael Daley
Guitar – Stanley Andrew
Keyboards – Rickardo Reid
Producer [Produced By] – Michael Daley, Wayne Lawes
Recorded By [Recorded], Mixed By – Michael Daley, Wayne Lawes
Written-By – M. Daley, S. Prospere
12 Crazy
Backing Vocals [Background Vocals] – Rickardo Reid, Shaila Prospere
Bass, Drum Programming – Michael Daley
Guitar – Stanley Andrew
Keyboards – Michael Daley, Rickardo Reid
Producer [Produced By] – Michael Daley
Recorded By [Recorded], Mixed By – Michael Daley
Written-By – M. Daley, S. Prospere
13 In My Shoes
Backing Vocals [Background Vocals] – Rickardo Reid, Shaila Prospere
Drum Programming – Michael Daley, Wayne Lawes
Keyboards – Rickardo Reid
Producer [Produced By] – Michael Daley, Wayne Lawes
Programmed By [Bass Programming] – Rickardo Reid
Recorded By [Recorded], Mixed By – Michael Daley, Wayne Lawes
Written-By – M. Daley, R. Reid, S. Prospere, W. Lawes
14 Love's Not A Friend Of Mine
Backing Vocals [Background Vocals] – Shaila Prospere
Bass, Drum Programming – Michael Daley
Keyboards – Rickardo Reid
Producer [Produced By] – Michael Daley
Recorded By [Recorded], Mixed By – Michael Daley
Written-By – M. Daley, S. Prospere
Label: Full Crew – FC CD01
Format: CD, Album
Country: UK
Released: 2000
Genre: R&B Soul
Style: Soul, Contemporary R&B
Shaila Prospere's debut album, In My Shoes, is an acclaimed UK street soul/contemporary R&B record praised for its quality songwriting, strong melodies, and Prospere's expressive, top-notch vocals. Critics and fans alike highlight its refreshing subtlety in a period of over-sensationalized R&B.
The album is noted for a "back in the day" feel, where melodies and songwriting are as crucial as the beats. Reviewers describe it as a distinctly soulful and "mellow" collection of tracks with a laid-back groove.
Prospere's vocal ability is consistently praised. Critics have described her voice as "excellent" and "top notch," noting how she "mesmerized" audiences with her control and stage presence.
Production chores were handled by the UK's Full Crew, resulting in a cohesive and impressive collection of UK soul music.
While rooted in soul and R&B, the album incorporates various influences, including an 80s UK feel mixed with contemporary flavors and samples from classic artists like the Jones Girls.
It was received with critical acclaim in both the UK and Japan and is considered a classic within the soul radio community, with tracks still played years after its initial release.
Incredible
Written-By – Phillip Ingram 4:11
A2 Testify
Written-By – Ali-Ollie Woodson, Otis Williams 4:24
A3 On And On
Written-By – Ken Curry, Phillip Ingram 4:00
A4 Right Stuff
Written-By – Randy Henderson, Ronnie Phillips, Scherrie Payne 3:27
B1 Touch Me Up
Written-By – Rusty Hamilton, Randy Henderson, Scherrie Payne 3:20
B2 Work It Out
Written-By – Ali-Ollie Woodson 4:40
B3 Hot Flash
Written-By – Randy Henderson, Scherrie Payne 3:59
B4 Get Closer
Written-By – J.G. Hall, Joel Wertman, Luther Rabb 3:33
Label: Superstar International Records – SSLP-52
Format: Vinyl, LP, Album
Country: US
Released: 1987
Genre: R&B Soul
Style: Eighties Soul, Pop, Dance
Scherrie Payne's 1987 solo album Incredible (sometimes referred to as her only solo album after her time with the Supremes) is a product of its era, characterized by catchy, high-energy 1980s synth-pop with a strong dance/funk foundation. Reviews for the album are generally mixed, with critics and fans noting that while it has some great tunes and slick production, it doesn't fully showcase Payne's powerful vocal range.
The album is described as 100% 1980s pop music, heavily reliant on synthesizers, but of a high order. It features an energetic, joyful atmosphere with addictive grooves and melodies, containing enough funk that some argue a more natural sound could have made it a disco hit in the late 1970s.
Payne, known as "the little lady with the big voice" during her time with the Supremes, has an exceptional vocal range. However, some reviewers feel the 80s production style and material didn't allow her to showcase the full extent of her talent.
Fans of energetic 80s pop music often love the album, calling it a "gem" with depth in the compositions and great emotional expression. It's considered comparable to other successful female pop acts of the day like Madonna and Whitney Houston in style.
Other reviews state the album features "average songs" and "average 80s arrangements". One critic suggested Payne deserved better material that matched the quality of her voice and her work with the 70s Supremes.
The production is noted as "slick and powerful". When the album was reissued on CD, some reviewers pointed out a lack of bonus tracks, despite the existence of 7'' and 12'' mixes.
Overall, Incredible is an album that divides opinion, but it is a significant part of Scherrie Payne's solo career and her only full-length solo album.
Innervisions
A2 Visions 5:17
A3 Living For The City 7:26
A4 Golden Lady 5:00
B1 Higher Ground 3:54
B2 Jesus Children Of America 4:04
B3 All In Love Is Fair 3:45
B4 Don't You Worry 'Bout A Thing 4:55
B5 He's Misstra Know-It-All 6:06
Label: Tamla – T 326L
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Soul, Motown
Innervisions is Stevie Wonder's highly acclaimed sixteenth studio album, which marked his full transition from a Motown child prodigy to a mature, socially conscious artist with complete creative control. Widely considered a masterpiece, the album is celebrated for its innovative blend of musical styles and its deep, complex lyrical themes.
The album is an amalgam of soul, funk, jazz, rock, Latin rhythms, and reggae influences. It made groundbreaking use of synthesizers, particularly the revolutionary T.O.N.T.O. (The Original New Timbral Orchestra) system, which heavily influenced the future sound of commercial soul and Black music.
Wonder wrote, produced, and arranged almost all the songs, and famously played nearly all the instruments on most tracks, showcasing his virtuosic talent on keyboards, drums, harmonica, and more.
The nine-track album is known for its powerful and poetic lyrics that tackle serious social and political issues of early 1970s America.
Innervisions was a critical and commercial success, peaking at number four on the Billboard Pop LPs chart and winning Album of the Year at the 16th Grammy Awards, the first time a Black artist had won the award.
It is consistently ranked among the greatest albums of all time, including at number 34 on Rolling Stone's "The 500 Greatest Albums of All Time" list in 2020. Its enduring relevance and artistic scope continue to inspire musicians across genres.
(Review provided by Soulyears.com)
Mighty Love
Written-By – B. Hawes, C. Simmons, J. Jefferson 4:20
A2 Ain't No Price On Happiness
Written-By – B. Hawes, C. Simmons, J. Jefferson 4:05
A3 I'm Glad You Walked Into My Life
Written-By – B. Hawes, C. Simmons, J. Jefferson 4:55
A4 I'm Coming Home
Written-By – L. Creed, T. Bell 4:11
B1 He'll Never Love You Like I Do
Written-By – B. Hawes, C. Simmons, J. Jefferson 3:56
B2 Love Has Gone Away
Written-By – B. Hawes, C. Simmons, J. Jefferson 3:35
B3 Love Don't Love Nobody
Written-By – C. Simmons, J. Jefferson 7:12
B4 Mighty Love
Written-By – B. Hawes, C. Simmons, J. Jefferson 4:58
Label: Atlantic – SD 7296
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Philly
The Spinners' 1974 album, Mighty Love, is a Philly Soul masterpiece produced by Thom Bell, showcasing lush, polished arrangements with signature smooth harmonies, topping R&B charts with hits like the upbeat title track, the funky "I'm Coming Home," and the slow-jam classic "Love Don't Love Nobody," solidifying their place in soul music with stellar vocals from Bobby Smith and Philippe Wynne.
A prime example of Thom Bell's signature production sound, known for its sophistication and sweet, melodic arrangements at Sigma Sound Studios.
Blends upbeat, funky soul with smooth ballads, featuring lush strings, tight grooves, and sparkling instrumentation.
A showcase for the group's vocalists, especially Philippe Wynne's jazzy leads and Bobby Smith's soulful delivery, with Wynne's ad-libs shining on the title track.
Produced multiple major hits, including the uplifting title track, the bouncy "I'm Coming Home," and the enduring quiet storm ballad "Love Don't Love Nobody".
Reached #1 on the R&B Albums chart and #16 on the Billboard 200, with its singles dominating R&B and crossing over to Pop charts.
The album is a prime example of lush, sophisticated Philly soul, blending R&B, pop, and funk elements. It is noted for its polished orchestral arrangements and tight vocal harmonies.
Like their breakthrough self-titled album, it was produced by the legendary Thom Bell at Sigma Sound Studios in Philadelphia, a partnership that defined the Spinners' signature 1970s sound.
In essence, Mighty Love is considered an essential album for soul fans, a definitive work from the golden era of Philly Soul, brimming with polished arrangements and timeless melodies.
Music Of My Mind
Trombone, Soloist – Art Baron
Written-By – S. Wonder, S. Wright 7:21
A2 Superwoman
Guitar, Soloist – Buzzy Feiton
Written-By – S. Wonder 8:04
A3 I Love Every Little Thing About You
Written-By – S. Wonder 3:46
A4 Sweet Little Girl
Written-By – S. Wonder 4:54
B1 Happier Than The Morning Sun
Written-By – S. Wonder 5:18
B2 Girl Blue
Written-By – S. Wonder, Y. Wright 3:35
B3 Seems So Long
Written-By – S. Wonder 4:27
B4 Keep On Running
Written-By – S. Wonder 6:35
B5 Evil
Written-By – S. Wonder, Y. Wright 3:35
Label: Tamla – T 314L
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul, Electronic
Stevie Wonder's Music of My Mind (1972) is a landmark album, hailed as his creative rebirth where he gained full artistic control, showcasing genius fusion of funk, soul, jazz with pioneering synthesizer use (TONTO), and deeper social commentary, starting his legendary 70s run with reflective tracks like "Superwoman" alongside upbeat funk, even if some critics noted occasional self-indulgence or slower moments amidst its groundbreaking sound.
This was the first album under his new Motown deal, giving him unprecedented control and paving the way for his classic era. He pioneered the use of synthesizers (TONTO), blending them seamlessly with funk, R&B, and jazz for a unique, expansive sound.
The album moves beyond simple love songs, incorporating deep personal reflections (marriage struggles) and social commentary (like in "Evil").
It features rich harmonic sophistication, intricate arrangements, and a powerful, expressive vocal performance, with Stevie playing most instruments.
Acclaimed as a creative peak, proving R&B's artistic depth, though it wasn't a massive initial commercial hit, it laid the groundwork for future blockbusters.
My Music
A2 What The World Needs Now Is Love 4:27
A3 Sweet Love 2:34
A4 Because I Love You 4:09
A5 It Ain't Easy (Trombone – Jun Takash) 3:52
B1 You 4:11
B2 Just Us 2:58
B3 Yesterdays And Tomorrow 4:24
B4 Thank You Mother Dear 2:58
B5 Reason For The Reason 3:01
Label: Columbia – JC 35323
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Disco, Funk
Samuel Jonathan Johnson's 1978 album My Music is widely regarded as a cult classic and an "unheralded Soul/Jazz-Funk gem". His only full-length album, it is praised for its seamless blend of soul, funk, jazz, and romantic disco, with lush instrumentation and a genuine emotional warmth.
The album successfully navigates various styles, falling "halfway between the romantic disco opuses of Barry White and the seductive smooth jazz of Donald Byrd and Roy Ayers". It incorporates elements of spiritual soul, disco, quiet storm, and Philly soul.
Johnson, a keyboardist and singer, heavily utilizes wonderful keyboards, lush cinematic strings, horns, and a piano-assisted groove, often giving the music a spacey, orchestral feel.
Reviewers consistently describe the album as warm, enveloping, and sincere. The overall tone is one of love—for family, music, and romance—providing an emotional resonance that has helped it endure as a favorite among deep soul and funk enthusiasts.
Though it didn't achieve mainstream success upon release, the album found an audience steadily over time and has been sampled by various artists, including Q-Tip and Jadakiss. Reissues have helped it reach a wider audience beyond its original cult following.
Night Beat
A2 Lost And Lookin' (J. W. Alexander, Lowell Jordan 2:09)
A3 Mean Old World (Sam Cooke 3:44)
A4 Please Don't Drive Me Away (Charles Brown, Jesse Ervin 2:12)
A5 I Lost Everything (Ella Tate 3:19)
A6 Get Yourself Another Fool (Ernest Tucker, Frank A. Haywood 4:00)
B1 Little Red Rooster (Willie Dixon 2:50)
B2 Laughin' And Clownin' (Sam Cooke 3:34)
B3 Trouble Blues (Charles Brown 3:18)
B4 You Gotta Move (Sam Cooke 2:35)
B5 Fool's Paradise (Johnny Fuller 2:32)
B6 Shake Rattle And Roll (Charles Calhoun 3:22)
Label: RCA Victor – LPM-2709
Format: Vinyl, LP, Album
Country: US
Released: 1963
Genre: R&B Soul
Style: Sixties Soul
Sam Cooke's Night Beat (1963) is widely hailed as a masterpiece, a rare, intimate, small-group album showcasing his voice stripped of lush arrangements, revealing raw emotion, soulful blues, and profound melancholy over lost love, with standout tracks like "Lost and Lookin'" and "Laughin' and Clownin'," making it an essential, immersive listen for fans wanting to hear the deeper, sadder side of "Mr. Soul". Critics praise its mature, moody atmosphere, impeccable musicianship, and the poignant, almost hypnotic performance on sparse tracks, establishing it as a bluesy, deeply personal gem in his discography.
Unlike his pop hits, this album features minimal instrumentation (bass, drums, organ), creating a close, smoky, late-night feel perfect for intimate storytelling. The album explores grief, heartbreak, and resilience through a series of blues and spiritual-infused songs, showcasing Cooke's vocal power and vulnerability.
Reviewers consistently highlight Cooke's stunning voice, calling it "hypnotically haunting," "velvety," and "poised," allowing him to convey deep feeling effortlessly. It's considered a pivotal album that bridges his pop success with deeper R&B and blues roots, influencing later soul artists.
Many call it one of his finest hours, a true treasure for its rarity and depth. Described as genuine fun in the studio, offering a different, more personal side of the artist. The moodiness foreshadowed later works like "A Change Is Gonna Come".
It reveals the profound, sorrowful artistry beneath his famous upbeat singles. Its cohesive, low-key atmosphere makes for a deeply immersive listening experience. It proves Cooke's genius wasn't just in pop crossover but in delivering raw, soulful emotion.
Overall, Night Beat is an essential listen for any music enthusiast, showcasing Sam Cooke at his most authentic, soulful, and vocally brilliant.
Right On
A2 Then We Can Try Again 2:35
A3 Everybody's Got The Right To Love 2:36
A4 Wait A Minute Before You Leave Me 2:56
A5 You Move Me 2:45
A6 But I Love You More 3:15
B1 I Got Hurt (Trying To Be The Only Girl In Your Life) 2:30
B2 Baby Baby 2:42
B3 Take A Closer Look At Me 2:34
B4 Then I Met You 2:56
B5 Bill, When Are You Coming Back 3:20
B6 The Loving Country 3:45
Label: Motown – MS705
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul
Style: Seventies Soul
The Supremes' 1970 album Right On is a strong, eclectic soul record marking Jean Terrell's debut, featuring hits like "Up the Ladder to the Roof" and "Everybody's Got the Right to Love," praised for its rich harmonies and diverse sounds (blues, folk, rock), though some fans were surprised Mary Wilson wasn't featured more prominently on lead vocals. Critics noted its mature, earthy feel, moving away from Diana Ross's pop gloss, and its potential for hits, making it a significant and well-regarded entry in the post-Diana era.}
The album introduced Jean Terrell as the lead singer, marking a creative shift for the group after Diana Ross's departure.
It blended classic soul with blues, folk, and even psych-rock touches, creating a richer, earthier sound than their earlier work, with producers like Frank Wilson crafting ethereal soundscapes.
Singles like "Up the Ladder to the Roof" and "Everybody's Got the Right to Love" showcased strong potential and found success.
Jean Terrell's powerful, mature voice was highlighted, though some fans missed Mary Wilson taking more lead roles.
AllMusic gave the album a perfect 5 stars, with general consensus pointing to it as a strong, creative, and essential album for fans, even with its lineup change.
In summary, Right On is seen as a successful revitalization for The Supremes, proving they could evolve musically and commercially with Jean Terrell at the helm, despite initial fan expectations.
Shirley Brown
A2 When You Really Love Somebody (Bettye Crutcher 4:19)
A3 Said I Wasn’t Gonna Give You No More Love (Bettye Crutcher 3:29)
A4 I Need Somebody To Love Me (Harvey Mason 4:35)
A5 Givin' Up (Clyde Wilson, Herbert Ross 4:58)
B1 Long On Lovin' (Bettye Crutcher 2:54)
B2 Midnight Rendezvous (Goldberg, Seals, Williams 4:13)
B3 (I’ll Be Right Here) Lovin' You (Bettye Crutcher 3:53)
B4 A Mighty Good Feeling (Bettye Crutcher 5:30)
Label: Arista – AL 4129
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Southern Soul
Shirley Brown's self-titled 1977 album, released on Arista Records, is a solid Southern Soul and R&B record that leans heavily on her powerful, gospel-infused vocals, often drawing comparisons to Aretha Franklin. It was her second album overall and first for the new label after Stax Records went bankrupt.
The album is steeped in Southern soul, though some tracks like "Honey Babe" and "I Can't Move Mountains" show a move toward the popular disco sound of the era. The arrangements are noted for being very well done, providing a rich backdrop for her "heart-rending" and forceful singing style.
The album was produced by former Stax owner Jim Stewart and writer/producer Bettye Crutcher, with arrangements by Marvell Thomas and Lester Snell, who were session players at Stax. This continuity in production helped maintain her signature sound despite the label change.
The album did not make a significant impact on the charts, likely due to disco's dominance in 1977. However, it is highly regarded by some fans as an underrated or even her best album.
Key songs from the album include:
"Blessed Is the Woman (With a Man Like Mine)": This soul ballad was the lead single and reached No. 14 on the Billboard soul charts. It is a standout track that allows Brown to showcase her gospel-infused vocal power toward the end.
"Givin' Up": Her version of this song is considered "awesome" by reviewers.
"A Mighty Good Feeling": Another highly rated track on the album.
"I Need Somebody to Love": One of the album's hits, known for its soulful delivery.
For fans of classic Soul and R&B, particularly those who appreciate vocalists like Aretha Franklin and Gladys Knight, this album is often considered a must-have for its raw emotion and strong musical arrangements. You can explore available formats on sites like Discogs or Amazon.
Slave
A2 Screw Your Wig On Tite 5:29
A3 Party Hardy 3:42
A4 Son Of Slide 5:29
B1 You And Me 6:41
B2 Love Me 4:39
B3 The Happiest Days 5:17
B4 Separated 5:30
Written-By, Arranged By – C. Bradley, D. Webster, F. Miller, M. Adams, M. Hicks, O. Wilhoite, S. Washington, T. Dozier, T. Lockett, Jr.
Label: Cotillion – SD 5200
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Funk
Slave's self-titled 1977 debut album is widely considered a classic and essential masterpiece of heavy, unadulterated funk music. The album is highly regarded for its raw energy, tight musicianship (especially considering most members were still in high school), and for establishing the band as a major force in the Dayton, Ohio funk scene.
The album is noted as defining "monster funk," blending raw sound with a sleek, sophisticated feel. Its heavy approach was particularly appealing to young Black male audiences and heavy funk fans in general.
Reviewers consistently praise the band's musical talent. The standout elements are Mark Adams' "off the charts", slithering bass lines and Mark "Drac" Hicks' hard-rocking guitar solos, which are often compared to those of rock guitarists. The horn section also receives high marks for its tight and impressive arrangements.
The album's major hit, "Slide," is a classic track, instantly recognizable by its "funny bicycle horn" sound effect at the beginning and its irresistible groove. The song topped the US R&B charts and peaked at number 32 on the Billboard Hot 100.
The album was a commercial success, peaking at number six on the Billboard Top R&B/Hip-Hop Albums chart and reaching number 22 on the Billboard 200. It was certified Gold by the RIAA.
The album is notable because many of the band members were still in high school when it was recorded. The sound on this album is considered more aggressive and raw compared to their later, slicker releases.
A highly influential debut that proved Slave wasn't a one-trick pony, solidifying their place in funk history and achieving Gold status.
Soul Survivors
Arranged By – John Davis
Written-By – F. Beckmeier, N. Larsen 3:10
A2 Everything's Changing
Arranged By – Soul Survivors
Written-By – N. Larsen, R. Ingui 3:52
A3 City Of Brotherly Love
Arranged By – Bobby Martin
Written-By – C. Ingui, R. Ingui 3:23
A4 Virgin Girl
Arranged By – John Davis
Written-By – K. Gamble 4:28
A5 Beedo
Arranged By – John Davis
Written-By – C. Ingui, R. Ingui 3:09
B1 Start All Over
Arranged By – John Davis
Written-By – K. Gamble, N. Larsen 4:36
B2 Over My Head
Arranged By – Soul Survivors
Written-By – C. Ingui, R. Ingui 3:31
B3 Your Love
Arranged By – John Davis
Written-By – N. Larsen, R. Ingui 2:39
B4 Best Time Was The Last Time
Arranged By – Lenny Pakula
Written-By – C. Ingui, N. Larsen, R. Ingui 2:56
B5 Lover To Me
Arranged By – John Davis
Written-By – C. Ingui, N. Larsen, R. Ingui 3:01
B6 Soul To Soul
Arranged By – John Davis
Written-By – K. Gamble, L. Huff 3:19
Label: TSOP – KZ 33186
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Philly, Disco
The 1974 self-titled album by the Soul Survivors, released on Gamble & Huff's TSOP label, receive excellent reviews from critics at the time but was largely ignored by the public, ultimately leading to the group's temporary breakup.
The group included brothers Richie and Charlie Ingui. Richie co-wrote several songs on the album, including the single "City of Brotherly Love".
The album features a smooth, sophisticated Philly Soul sound, characteristic of producers Kenny Gamble and Leon Huff, who launched the "Sound of Philadelphia" with the group's earlier hits.
The album was praised by critics for its "excellent vocals," "clever lyrics," and overall quality. The single "City of Brotherly Love" barely made the charts.
Despite the positive reviews, the album failed commercially. The public seemed to want the earlier, more raw R&B sound of their breakout single, "Expressway to Your Heart," and was not receptive to the band's musical evolution toward the smoother Philly Soul style.
The album is now considered an excellent, if overlooked, part of the Soul Survivors' catalog and a notable piece of the rich Philadelphia soul music history. It marked a transition point in the band's career, highlighting their involvement with the burgeoning Gamble & Huff sound. Average ratings on music databases tend to be high among collectors, often above 4 out of 5 stars.
Special Delivery
A2 Day Dreamer (Chet Fortune, George Parker, Reginald Ross, Veronica Martin 3:40)
A3 Do It (George Parker 5:05)
A4 You Say (George Parker, Veronica Martin 5:45)
B1 This Kind Of Love (Chet Fortune, George Parker, Reginald Ross, Veronica Martin 4:46)
B2 I've Got To Be Free (George Parker 4:30)
B3 Oh Let Me Know It (Chet Fortune, George Parker, Reginald Ross, Veronica Martin 3:25)
B4 Get Up-Express Yourself (George Parker 7:05)
Label: Shield – SH 80,000
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Disco Funk
The 1978 self-titled album by Special Delivery (Shield – SH 80,000) is a soul and disco funk record, a "hidden masterpiece" that blends smooth melodies with funky, upbeat tracks.
The album, produced by George Parker, features a mix of soulful ballads and danceable disco-funk numbers. It was the group's release on the Shield record label after their time with Mainstream Records, and it did not feature former member Terry Huff.
The album is considered a rare and sought-after record by collectors, particularly within the sweet soul and funk genres. It has received positive feedback from users and collectors on Discogs: Across various releases of the album on Discogs, average ratings are high, with one version averaging 4.6/5 stars from five ratings and another averaging 4.28/5 stars from 29 ratings.
One user review describes it as a "Superb album from the beginning till the end" featuring "Great 70's midtempo soul". The positive sentiment highlights the album's consistent quality throughout its tracks.
If you're a soul/funk collector, this album is a highly recommended, albeit hard-to-find, piece with great music and sound.
Stronghold
A2 Surrender (B. Strong, B. Always 3:36)
A3 I Can't Let You Get Away (B. Strong, B. Always 3:58)
A4 Is It True (Barrett Strong 4:11)
B1 I Wanna Do The Thang (B. Strong, B. Always 4:43)
B2 There's Something About You (B. Strong, B. Always 3:45)
B3 Anywhere (Billy Always 3:23)
B4 Mary, Mary You (B. Strong, B. Always 2:45)
B5 I'm Gonna Take Care Of Business (B. Strong, B. Always 3:02)
Label: Capitol Records – ST-11376
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul
Barrett Strong's 1975 album Stronghold was his debut solo LP after leaving Motown and is recognized for showcasing a shift to a blend of rhythmic funk and rock.
The album marked a departure from the "orchestral soul" sound Strong helped pioneer as a songwriter at Motown. It incorporates a harder, funkier rock sound, reflecting the musical direction he and producer Norman Whitfield had explored with The Temptations.
The most notable single from the album was "Is It True," which helped the LP achieve some success on the charts.
The album is an important part of Strong's transition from a behind-the-scenes hit songwriter and his original Motown vocalist role to a solo artist with his own distinct voice and musical vision. He released the album under Capitol Records, having signed with Epic and later Capitol after his departure from Motown in the early 1970s.
It's considered a rare and valuable record, with sellers often noting its excellent condition for a 1978 vinyl, making it a prize for vinyl enthusiasts and soul music collectors.
Talking Book
Backing Vocals – Gloria Barley, Jim Gilstrap, Lani Groves
Bass – Scott Edwards
Congas – Daniel Ben Zebulon
Written-By – Stevie Wonder 2:45
A2 Maybe Your Baby
Guitar – Ray Parker, Jr.
Written-By – Stevie Wonder 6:45
A3 You And I
Written-By – Stevie Wonder
4:39
A4 Tuesday Heartbreak
Alto Saxophone [Alto Solo] – Dave Sanborn
Backing Vocals – Deniece Williams, Shirley Brewer
Written-By – Stevie Wonder 3:09
A5 You've Got It Bad Girl
Backing Vocals – Jim Gilstrap, Lani Groves
Congas – Daniel Ben Zebulon
Written-By – Stevie Wonder, Yvonne Wright 4:55
B1 Superstition
Saxophone [Sax] – Trevor Laurence
Trumpet – Steve Madaio
Written-By – Stevie Wonder 4:40
B2 Big Brother
Written-By – Stevie Wonder 3:35
B3 Blame It On The Sun
Backing Vocals – Jim Gilstrap, Lani Groves
Written-By – Stevie Wonder, Syreeta Wright 3:28
B4 Lookin' For Another Pure Love
Backing Vocals – Debra Wilson, Loris Harvin, Shirley Brewer
Lead Guitar [Lead Guitars] – Buzzy Feiten, Jeff Beck
Written-By – Stevie Wonder 4:45
B5 I Believe (When I Fall In Love It Will Be Forever)
Written-By – Stevie Wonder 4:48
Label: Tamla – T 319L DJ
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Soul, Motown
Stevie Wonder's 1972 album Talking Book is a universally acclaimed masterpiece, often cited as the beginning of his "classic period," praised for its innovative sound, artistic autonomy, and powerful blend of personal love songs with sharp social commentary.
The album is a pivotal work in 70s soul and R&B, celebrated for its timeless appeal and visionary use of synthesizers.
Critics and fans widely regard Talking Book as one of the greatest albums of all time, a work that solidified Wonder's genius as a singer, songwriter, and multi-instrumentalist.
The album was a breakthrough, marking Wonder's newfound artistic freedom from Motown's rigid "hit factory" system, allowing him to write, produce, and play most instruments himself. This autonomy resulted in a more personal and experimental sound.
Wonder's innovative use of electronic instruments like the TONTO synthesizer and Hohner clavinet created a unique sonic landscape that was far ahead of its time and still feels fresh today. This approach helped break the myth that R&B artists couldn't appeal to rock audiences.
Standout Tracks:
"Superstition": Iconic, funky, and instantly recognizable.
"You Are the Sunshine of My Life": A tender, beloved love ballad.
"Big Brother": A pointed, conscious critique of systemic oppression.
"Blame It on the Sun": An emotionally raw and regretful track.
In essence, Talking Book isn't just an album; it's a pivotal moment where Stevie Wonder fully unleashed his vision, creating a rich, soulful, and groundbreaking sonic world that remains essential listening
The Power Of Your Love
A2 Fill Me Up, Fill Me Up 3:12
A3 Do You Believe 7:28
A4 Thanks (Lyrics by Wayne Owens) 4:36
B1 Save My Lord 5:35
B2 Jesus, Oh I Love Him 5:46
B3 Amazin' Grace 6:15
B4 He's Alright 5:00
Written, Produced, Arranged, Design, Piano, Organ, Synthesizer [Arp], Electric Piano [Fender Rhodes], Clavinet by Calvin Bridges
Label: Birthright – BRS-4021
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Gospel, Soul, Funk, Disco
"The Power of Your Love" album, released in 1992 by Hills Christian Life Centre (now Hillsong Church), received a mixed-to-positive review from Cross Rhythms, praised for its exuberant, hard-rocking approach to worship music. The album was later certified gold in Australia.
In a 1993 review, Tony Cummings of Cross Rhythms rated the album 7 out of 10, highlighting the Australian group's willingness to use a "full hard rocking armoury of AOR" (Album-Oriented Rock) in their praise and worship music.
The album was praised for its energy and "exuberance," which was seen as a refreshing change from the more subdued British and American worship music of the time.
The album's title track, "The Power of Your Love" (written by Geoff Bullock), has become an enduring and globally recognized worship anthem, frequently covered by other artists.
The Sylvers
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre:
R&B Soul
Style: Seventies Soul, Funk
A1 Wish That I Could Talk To You
Written-By – Leon Sylvers III 3:37
A2 Fool's Paradise
Written-By – Leon Sylvers III 2:28
A3 Only One Can Win
Written-By – Leon Sylvers III 3:05
A4 I'm Truly Happy
Written-By – Jerry Peters
2:48
A5 Touch Me Jesus
Written-By – A. Bond, B. Holland, L. Dozier
3:45
B1 I Know Myself
Written-By – Leon Sylvers III
3:50
B2 Chaos
Written-By – Leon Sylvers III 4:25
B3 So Close
Written-By – Leon Sylvers III 2:59
B4 I'll Never Be Ashamed
Written-By – James Jonathan Sylvers 3:39
B5 How Love Hurts
Written-By – Leon Sylvers III 3:56
The Sylvers' 1972 self-titled debut is widely regarded as a sophisticated masterpiece of early 1970s soul and funk, often distinguished from the "bubblegum" pop associated with other family groups of the era. Produced by Jerry Butler and Keg Johnson, the album peaked at #15 on the Billboard R&B Album Chart and is celebrated for its intricate vocal arrangements and "lost soul" atmosphere.
Critics highlight the album's successful marriage of soul, pop, and studio experimentation. Unlike their later disco hits like "Boogie Fever," this debut features a "deeper, darker, and generally funkier" approach rooted in Southern soul.
The album is praised for its "off the charts" family harmonies and the brilliant songwriting of Leon Sylvers III, who would later become a legendary R&B producer.
While some modern reviews note minor mixing issues on the second half, the overall production is described as "delectable," guiding songs toward a "spooky" or "edgy" feel that set them apart from the Jackson 5.
Key Tracks:
"Wish That I Could Talk To You": A standout single noted for its smooth, youthful energy and Jackson 5-style charm.
"Only One Can Win": A fan and critic favorite, famously sampled by J Dilla on his album Donuts.
"Fool's Paradise": Described as a "funky message song" with heavy vocal harmonies.
"How Love Hurts": Cited as a "sleeper" highlight with a smooth, lovelorn sound that has also been frequently sampled in hip-hop.
"Touch Me Jesus": A Holland-Dozier-Holland cover described as a "joyous slice of gospel soul".
The album's drums and melodies have been heavily sampled by hip-hop artists, including J Dilla and Skyzoo, cement its status as a "crate-digger" essential.
Original pressings can be rare and expensive (often over $50); however, highly-rated reissues from labels like Mr Bongo (2019) have made the album accessible again on 180-gram vinyl.
Often overshadowed by the Jacksons, but beloved by fans for their distinct, powerful sound. In essence, the debut album was a powerful statement, establishing The Sylvers as a major talent with a unique, soulful voice in 70s R&B.
Think Of The Children
A2 I Know It's Love (J. Reid, M. Jones, W. Terry 2:30)
A3 Spread Your Love Around (A. Rackey, G. Taylor, W. Terry 2:57)
A4 Let's Change The Subject (R. Wynglas, W. Terry 4:11)
A5 Think Of The Children (A. Rackey, G. Taylor, W. Terry 4:03)
B1 Time For Us (A. Rackey, G. Taylor, W. Terry 3:18)
B2 Somebody Else's Woman (A. Rackey, G. Taylor, W. Terry 2:20)
B3 Why (R. Wynglas, W. Terry 3:17)
B4 Seeing You Through The Eyes Of A Blindman (A. Rackey, G. Taylor, W. Terry 2:35)
B5 Don't Call Me, I'll Call You (A. Rackey, G. Taylor, W. Terry 2:55)
B6 Come On Back (M. Jones, W. Terry 2:13)
Label: Hot Wax – HA 716
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul, Funk
The 1972 album Think Of The Children by Satisfaction Unlimited is considered a rare soul/R&B classic coveted by serious genre collectors, with reviewers praising its "funky rhythms, rich harmonies, and a timeless message".
The album is described as a transitional work in early-'70s R&B, blending lush vocal harmonies with tight, propulsive grooves. It captures a specific moment in Detroit soul legacy, moving the group from a "peppy girl group" sound (referencing their past as The Satisfactions) to a funkier, classier vibe with social commentary in the lyrics.
"Bright City Lights": This opening track is frequently highlighted as a standout, described as an "incredible soul/R&B classic" that evokes the feeling of an impoverished inner city in the early 1970s and contains "everything that made Motown great".
"Let's Change The Subject": Reviewers call this a "monster club cut". "Come On Back" and the title track, "Think Of The Children", are also noted as masterful classics.
The album is generally seen as an under-appreciated "lost opportunity" that deserved more commercial success. It is noted for its earnest conviction, innovative arrangements, and emotionally resonant music, making it a valuable listen for vintage soul fans.
This Is The Real Thing
A2 This Is The Real Thing (C. Matthews 4:55)
A3 Can We Do It Again (B. Sheppard, C. Matthews, F. Brown, Jr., S. Sheppard 4:59)
A4 Give Me That Lovin' (B. Sheppard, C. Matthews, S. Sheppard 4:28)
B1 She's Still My Girl (B. Sheppard, C. Matthews, S. Sheppard 4:47)
B2 Never Need Another Love (C. Matthews, S. Sheppard 4:42)
B3 You Are My Love (D. Miller, P. Ingram, S. Sheppard 4:25)
B4 Feel Like I'm In Love (C. Matthews 4:15)
Label: Columbia – BFC 40045
Format: Vinyl, LP, Album
Country: US
Released: 1985
Genre: R&B Soul
Style: Boogie, Funk, Disco
Skool Boyz' This Is The Real Thing (1985) was their final album, a follow-up to their self-titled debut, showcasing smooth, late-80s R&B/funk with strong ballads like "You Are the Best Thing in My Life" and "Nothin' Like a Slow Dance," but despite positive vibes and good production, its single "Superfine (From Behind)" failed commercially, leading to the group's disbandment, with critics noting their potential but ultimately underwhelming chart success despite catchy tunes.
Classic late 80s R&B/funk, leaning into smooth grooves and soulful ballads, carrying forward the sound from their earlier work. It features strong ballads and mid-tempo numbers, with tracks like "Before You Go," "You Are the Best Thing in My Life," and the energetic "Superfine (From Behind)" often mentioned.
Despite being well-received by fans of the genre and containing quality tracks, the album and its singles didn't chart well, failing to break through.
Considered the end of the road for the group, it's often remembered as a solid effort that just missed its moment in the spotlight, now available in remastered CD reissues alongside their debut.
The album captures the essence of a talented R&B group trying to make their mark with sophisticated production and heartfelt vocals, embodying that signature 80s sound before they disbanded.
We’ll Get Over
A2 Give A Damn 3:53
A3 Everyday People 3:09
A4 The End Of Our Road 3:03
A5 Tend To Your Own Business 2:20
A6 Solon Bushi (Japanese Folk Song) 2:38
B1 The Challenge 2:53
B2 God Bless The Children 3:14
B3 Games People Play 3:24
B4 A Wednesday In Your Garden 2:32
B5 The Gardner 2:16
B6 When Will We Be Paid 2:38
Label: Stax – STS 2016
Format: Vinyl, LP
Country: US
Released: 1969
Genre: R&B Soul
Style: Sixties Soul
We'll Get Over is the Staple Singers' second album for Stax Records, released in 1969. The album captures the group in a transitional phase, continuing to blend their gospel and folk roots with the contemporary Stax sound while exploring more secular "message songs" and cover material.
The album is often considered a solid, though somewhat overlooked, entry in the Staple Singers' discography compared to later classics like Be Altitude: Respect Yourself.
Critics highlight the album as an important musical step that pointed the way for their future commercial success. It features the classic Stax rhythm section, including Steve Cropper, Duck Dunn, and Al Jackson, Jr., providing a robust soul-funk backdrop to the group's powerful harmonies.
The album is noted for featuring the group primarily as "interpretive singers," concentrating largely on cover material given their unique Stax-era treatment.
The album's highlight is often cited as the original "When Will We Be Paid?" (written by Randall Stewart). Other notable tracks include their R&B influenced cover of Sly and the Family Stone's "Everyday People" and the self-written "Tend To Your Own Business," both considered classic Memphis-style soul-funk.
A unique and widely discussed element is "Solon Bushi," a traditional Japanese folk song sung in the original language, which is seen as a fascinating, albeit unusual, attempt to fuse different cultural sounds in keeping with the Staples' vision of human unity.
While some covers, like "Games People Play," are viewed by some critics as "milquetoast" or less innovative, the album is praised for its strong, socially conscious message songs that reflect the spirit of the times.
We'll Get Over was the last album to feature Pervis Staples before he left the group to pursue business ventures (he was replaced by his sister Yvonne). It remains a significant album for fans, showcasing the group's evolving sound and their powerful commitment to message-driven music during a pivotal era in American history.
When The Whistle Blows Anything Goes
A2 Please, Please, Please
A3 Too Many Fish In The Sea...Shake
A4 Dathon's Theme
A5 Taboo - India
B1 Expressway (To Your Heart)
B2 Respect
B3 A Change Is Gonna Come
B4 Hey Gyp
B5 The Rydle
Label: Crimson Records
Format: Vinyl, LP, Album
Country: US
Released: 1967
Genre:
R&B Soul
Style: Sixties Soul
The Soul Survivors' When the Whistle Blows Anything Goes is a pivotal blue-eyed soul/R&B album known for its energetic mix of organ-heavy covers and original tracks, featuring the crossover smash "Expressway (To Your Heart)," a precursor to the Philly Sound, blending raw R&B with garage rock energy and showcasing the powerful vocals of the Ingui brothers.
A fiery mix of blue-eyed soul, garage rock, and soul, with strong organ sounds, featurjng R&B standards like Otis Redding's "Respect" and Sam Cooke's "A Change Is Gonna Come," alongside originals, showing their versatility.
It is an important 1960s album that proved the band's depth beyond one hit, contributing to the Philadelphia soul sound.
The album is characterized by raw energy, powerful vocals, and distinctive organ arrangements, noted for its gritty, live feel.
Critics and fans view it as a classic debut, capturing the exciting transition of soul music in the late '60s, with its blend of covers and originals making it a standout.
Woman To Woman
A2 Long As You Love Me (Bettye Crutcher, Mack Rice 3:25)
A3 Stay With Me Baby (George David Weiss, Jerry Ragovoy 3:16)
A4 I've Got To Go On Without You (Al Jackson, Larry McIntosh 3:59)
B1 Woman To Woman (Eddie Marion, Henderson Thigpen, James Banks 3:54)
B2 So Glad To Have You (Arris Wheaton, Bettye Crutcher, Mack Rice 3:41)
B3 Passion (Arris Wheaton, Bettye Crutcher, Mack Rice 3:56)
B4 I Can't Give You Up (Frederick Knight 3:36)
B5 I Need You Tonight (Gregg Dempsey 3:14)
B6 Between You And Me (Al Jackson, Frederick Knight, Mack Rice 2:38)
Label: Truth Records
Format: Vinyl, LP, Album, Stereo
Country: US
Released: 1974
Genre: R&B Soul
Style: Southern Soul
Shirley Brown's 1974 debut album, Woman to Woman, is a classic soul masterpiece known for its raw emotion, powerful gospel-influenced vocals, and the chart-topping title track. The album is a collection of slow ballads and mid-tempo soul songs that explore the complexities of love, loss, and vulnerability.
The Title Track: The album's centerpiece and lead single, "Woman to Woman," is an iconic seven-minute "love-triangle melodrama" that opens with a legendary spoken-word monologue. In this intro, Brown calls her husband's mistress, Barbara, to firmly but calmly explain that the man they are involved with belongs to her. The song became a #1 hit on the US Billboard R&B chart and reached #22 on the Billboard Hot 100, and was Stax Records' final major hit before the label's financial collapse.
The record features deep, confessional soul music with a sound rooted in traditional R&B, utilizing the talents of the Stax house band, including Donald "Duck" Dunn on bass and Al Jackson Jr. on drums. The arrangements incorporate the Memphis Horns and strings, providing a rich, atmospheric backdrop for Brown's dynamic and passionate vocals.
The songs on the album, such as "It Ain't No Fun," "I've Got to Go on Without You," and "Between You and Me," focus on the emotional highs and lows of relationships. Critics have praised Brown's ability to convey deep feelings and heartfelt stories with force and conviction, making the music highly relatable to listeners then and now.
Words Don’t Say Enough
A2 People In Love (Barry Beckett, Jerry Weaver, Thomas Earl Jones III 2:39)
A3 We Are So In Love (Cornell Ward, Jerry Weaver, Leroy Thompson, Mary Gresham 4:46)
A4 Back Track (George Jackson, Thomas Earl Jones III 2:47)
B1 Words Don't Say Enough (Barbara Wyrick, Melissa Adamson 3:45)
B2 Absence (Jerry Weaver 2:55)
B3 I Would Have Loved You Just The Same (Jerry Weaver, Patricia Scott 4:00)
B4 Love Makes You Act Like That (J.W. Alexander, Jerry Weaver 3:02)
(Funk octet from Tuskegee, Alabama, U.S.)
Label: Parachute Records – RRLP 9004,
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul
The 1978 album Words Don't Say Enough by the soul-funk group 7th Wonder is a sought-after record in collector's circles, known for its versatile blend of funky dance tracks and melodic Southern Soul balladry. The album is generally viewed positively by fans and music enthusiasts, though professional critical reviews from the time are limited.
7th Wonder, a nine-member self-contained vocal and instrumental unit from Alabama, had a sound often compared to groups like Earth, Wind & Fire and Kool & the Gang. The album showcases their versatility in both upbeat funk tracks and smoother ballads.
The album generated R&B hit singles with the title track, "Words Don't Say Enough," and "My Love Ain't Never Been This Strong". These tracks helped establish the group after they signed with the Parachute label in 1978.
The album was primarily recorded at the renowned Muscle Shoals Studio with house musicians and featured production by Jerry Weaver. One music industry publication from 1978 described the title track as a "smooth soul" tune.
The band adopted the pyramid at Giza as a recurring brand image and used costumes in the tradition of ancient Egypt, tying into their name's reference to the seven wonders of the ancient world. The album was later combined with their second album, Thunder, for a CD reissue, making their music more accessible to fans.
Wounded Woman
A2 The Sha-La Bandit (J. Ferguson, W. Davis 3:23)
A3 I'm Not Strong Enough To Love You Again F. Johnson 3:05)
A4 I Come Running Back (B. Fair 2:42)
A5 Lovin' You, Lovin' Me (B. Wyrick 3:22)
B1 A Man Can't Be A Man (Without A Woman) 3:01
B2 Midnight Affair (D. Penn, R. Hall 3:23)
B3 I'll See You Through 3:26
B4 Please Don't Say Goodbye (B. Fair 3:03)
Recorded at Broadway Sound Studio,
1307 Broadway Street,
Sheffield, Alabama, USA, October 1974.
Previously Unreleased.
Label: Demon Records – FIEND 138
Format: Vinyl, LP, Album
Country: UK
Released: 1989
Genre: R&B Soul
Style: Southern Soul
The album Wounded Woman by Sandra Wright is considered one of the greatest "lost" deep Southern Soul albums of all time, highly regarded by collectors for its powerful vocals and classic 1970s Muscle Shoals sound.
The album was recorded in 1974 at Broadway Studios in Muscle Shoals, Alabama, and produced by David Johnson. It was licensed to the Truth subsidiary label of the legendary Stax Records. However, due to Stax's insolvency and subsequent demise, only a couple of 45 rpm singles were initially released, and the full album was shelved. It finally saw its first release in 1989 in the UK by Demon Records to immediate critical acclaim, becoming a highly sought-after collector's item.
It features nine (or ten, depending on the reissue) classic soul tracks, praised for their high quality and lack of "filler" songs. Sandra Wright's powerful vocals and "soul-fuelled" voice is a highlight of the album, demonstrating an impressive range and intensity. The instrumentation evokes the classic Muscle Shoals era, featuring a rich rhythm section with trumpet, organ, alto and tenor sax, electric piano, drums, guitar, and vibraphone.
The album balances bouncy, uptempo tracks that have become modern soul dancefloor favorites with deep, intense soul ballads.
Your Funny Moods
A2 Town Called No-where (James Purdie, Skip Mahoaney 4:31)
A3 Struggling Man (James Purdie, Skip Mahoaney 4:44)
B1 Your Funny Moods (James Purdie, Skip Mahoaney 7:11)
B2 I'm Looking Away From My Past (Ira Watson, James Purdie, Skip Mahoaney 2:33)
B3 Seems Like The Love We Had Is Dead And Gone (James Purdie, Skip Mahoaney 3:32)
B4 We Share Love (James Purdie, Skip Mahoaney 2:46)
Label: DC International Records, Inc. – DCI-LP 3001
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul
Your Funny Moods, the 1974 debut album by DC-based soul quartet Skip Mahoaney And The Casuals, is a highly regarded classic of socially-aware group harmony soul. Critics and fans praise the album for its rich, soulful sound, dazzling vocals, and tight instrumentation.
The album is considered "peak group harmony soul from the Chocolate City" (Washington D.C.). It captures the sound of 1970s black music responding to the social atmosphere of the era and stands as a significant marker of mid-'70s falsetto-based sweet soul.
The album is built around the "tremendous rhythms" and keyboard work of drummer James Purdie, with production by R. Jose Williams.
Often described as an "unheard classic," the album has gained a dedicated following over the years, with many listeners calling it one of the greatest soul albums of its time. The 50th-anniversary edition, remastered from the original analog tapes, has brought renewed attention to its quality.