Album Gallery
100 Proof
A2 Since You Been Gone (Clyde Wilson, Ronald Dunbar 3:50)
A3 Nothing Sweeter Than Love (Clyde Wilson 3:50)
A4 Ghetto Girl (A. Bond, C. Wilson, G. Perry 3:47)
B1 Words (B., R. & M. Gibb 3:56)
B2 I Don't Care If I Never Get Over You (A. Bond, C. Wilson, R. Dunbar 3:59)
B3 Don't Scratch Where It Don't Itch (A. Bond, G. Johnson, G. Perry 3:46)
B4 Don't You Wake Me (A. Bond, G. Perry 3:39)
B5 Never My Love (Don & Rich Addrisi 4:02)
Label: Hot Wax – HA714
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul, Funk
100 Proof Aged In Soul's self-titled album, released in 1973 on Hot Wax Records, is the group's second and final studio album before they disbanded that year. It is a funk and soul album, primarily known for being produced by the Motown songwriting team Holland-Dozier-Holland's independent label.
The album features the group's signature sound of smooth soul alternating with energetic funk, built on distinctive lead vocals from members Joe Stubbs and Clyde Wilson (Steve Mancha). The record, like their debut, heavily leverages proverbs and idioms in its lyrical content.
100 Proof Aged In Soul is a gritty, soulful work that reached #40 on the R&B charts. It features the hit single "Everything Good Is Bad" which reached #15 on the R&B charts and #45 on the pop charts in the USA.
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.
4 For The Road
2 Shake Me, Wake Me (Wake Me When It's Over) (Holland/Dozier/Holland)
3 Baby I Need Your Lovin' (Holland/Dozier/Holland)
4 In The Still Of The Night (Carmichael)
5 Ain't No Woman (Like The One I Got) (Lambert/Potter)
6 When She Was My Girl (Gottlieb, Blatte)
7 Ask The Lonely (Hunter, Stevenson)
8 I've Got You Under My Skin (Cole)
9 Bernadette (Holland/Dozier/Holland)
10 It's The Same Old Song (Holland/Dozier/Holland)
11 Walk Away Renee (Calili, Brown, Sansone)
12 Reach Out, I'll Be There (Holland/Dozier/Holland)
13 Standing In The Shadows Of Love (Holland/Dozier/Holland)
14 I Can't Help Myself (Holland/Dozier/Holland)
15 (I Can't Get No) Satisfaction (Jagger/Richards)
16 Jumpin' Jack Flash (Jagger/Richards)
Label: Sunset Blvd Records – CD-SBR-7940
Format: CD, Album
Country: US
Released: 2019
Genre: R&B Soul
Style: Soul, Motown
The album 4 For The Road by the Four Tops is a live concert recording featuring the original lineup performing a collection of their greatest hits and some popular covers. Released in 2019 by Sunset Blvd Records, it has been generally well-received by fans for showcasing the group's enduring vocal talent and stage presence, though it is not a traditional studio album from their prime Motown era.
Reviews and fan discussions indicate that the album is valued primarily as a memento of the Four Tops' live performances, with several key points emerging:
Critics and fans praise the superb vocal performances, with Levi Stubbs' powerful lead vocals and the group's sophisticated, tight harmonies being a consistent highlight.
The album is essentially a "greatest hits live" package, featuring many of their most iconic Motown singles like "Reach Out I'll Be There," "I Can't Help Myself (Sugar Pie, Honey Bunch)," and "Bernadette". It also includes covers such as "MacArthur Park," "(I Can't Get No) Satisfaction," and "Jumpin' Jack Flash".
The album is noted for its clear, remastered audio quality, which enhances the listening experience of a live recording.
It is considered a must-have for serious fans of the Four Tops and Motown music, offering a different perspective on their classic tracks compared to the studio versions.
4 For The Road is a solid live album that successfully captures the energy and vocal prowess of the Four Tops in a concert setting. While it may not offer new studio material, it serves as an excellent showcase of the group's timeless appeal and their ability to perform their extensive catalog of hits masterfully for decades.
5-10-15-20-25-30 Years Of Love
Written-By – Archie Powell, Tony Boyd 3:00
A2 Sweet Magic
Written-By – Archie Powell, Tony Boyd 2:34
A3 For You
Written-By – Van McCoy 2:45
A4 Fiddle De De
Written-By – Joe Cobb, Van McCoy 2:40
A5 Why Are You So Good To Me
Written-By – Joe Cobb, Van McCoy 2:54
A6 This Is My Dream World
Written-By – Archie Powell, Billy Shorter, Tony Boyd 4:20
B1 Triangle Of Love (Hey Diddle Diddle)
Written-By – Joe Cobb, Van McCoy 3:10
B2 Girl You Cheated On Me
Written-By – Archie Powell, Tony Boyd 3:15
B3 How Can You Say You're Leavin'
Written-By – Charles H. Kipps Jr. 2:20
B4 It's All Over
Written-By – Archie Powell, Tony Boyd 2:19
B5 I'm Still Dancing
Written-By – Joe Cobb, Van McCoy 2:35
B6 Gotta Keep Movin'
Written-By – Van McCoy 2:20
Label:
Sussex – SXBS 7005
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Soul
Style: Seventies Soul, Sweet Soul
The album 5-10-15-20-25-30 Years of Love is a 1971 sweet soul classic by the American vocal group The Presidents, known for its hit title track that celebrates the enduring nature of love and commitment over time. The album was produced by Van McCoy and is a significant example of early 1970s soul music.
The album is an early '70s soul masterpiece that features smooth vocals and a classic R&B sound. The music has an infectious, lively rhythm, and the lyrics often focus on themes of love, relationships, and nostalgia. The title track was a major success, peaking at number 11 on the US Billboard Hot 100 and number 5 on the R&B chart, and earned a Grammy nomination.
The Hit Single: "5-10-15-20 (25-30 Years of Love)" was a significant R&B and pop success, reaching #5 on the R&B charts and #11 on the Billboard Hot 100.
The renowned Van McCoy (famous for "The Hustle") produced the track, lending it a signature sweet, soulful sound.
The Presidents were a vocal trio from Washington, D.C., featuring members Tony Boyd, Archie Powell, and Billy Shorter.
While known primarily for this single, it's celebrated as a defining sweet soul tune, capturing the era's sound with its romantic lyrics about growing love.
Fans and critics view it as a quintessential '70s soul track, excellent for its smooth vibes and nostalgic appeal.
In essence, if you enjoy classic R&B and soul with a mellow, romantic touch, this Presidents' record is a highly recommended listen.
A Change Is Gonna Come
2 Music
Arranged By [Background Arrangement] – Bobby Ross Avila, Leela James
Producer – Bobby Ross Avila and Iz
Producer [Lead Vocal Production] – Leela James, We Fly Music
Written-By – Leela James, Louis "Buster Brown" II, Scott "Shavani" Parker 4:03
3 Good Time
Legal [Sample Clearance Services] – James Rainey, Music Resources, Inc., Robin Hill
Producer – Comissioner Gordon
Producer [Lead Vocal Production] – Comissioner Gordon, Leela James
Written-By – Gordon Williams, Kenton Nix, Leela James, Puff Johnson 4:16
4 Ghetto
Producer – Jerry "Wonder" Duplessis, Wyclef Jean
Producer [Lead Vocal Production] – Jerry Wonder, Leela James, Wyclef Jean
Written-By – Jerry Duplessis, Leela James, Wyclef Jean 4:47
5 Slappy Interlude 0:57
6 Soul Food
Producer – Raphael Saadiq
Producer [Lead Vocal Production] – Leela James, Raphael Saadiq
Written-By – Leela James, Raphael Saadiq 3:18
7 Rain
Co-producer – Jake & The Phatman
Producer – Raphael Saadiq
Producer [Lead Vocal Production] – Leela James, Raphael Saadiq
Written-By – Leela James, Raphael Saadiq 5:48
8 Married Interlude 1:40
9 When You Love Somebody
Arranged By [Background Arrangement] – Leela James, Puff Johnson
Producer – Commissioner Gordon
Producer [Lead Vocal Production] – Comissioner Gordon, Leela James
Written-By – Gordon Williams, Leela James, Puff Johnson
Written-By [Elements Of "I Love You More Than You'll Ever Know"] – Al Kooper 4:30
10 Mistreating Me
Arranged By [Background Arrangement] – Leela James
Producer – Aaron Harris, Comissioner Gordon
Producer [Lead Vocal Production] – Comissioner Gordon, Leela James
Written-By – Aaron Harris, Ahmad Lewis, Leela James 5:13
11 Don't Speak
Arranged By [Background Arrangement] – Leela James, Renee Neufville
Co-producer – Leela James
Producer – Comissioner Gordon
Written-By – Eric Stefani, Gwen Stefani 5:39
12 Bummy Interlude 0:52
13 My Joy
Arranged By [Background Arrangement] – Leela James
Producer – James Poyser, Vikter Duplaix
Producer [Lead Vocal Production] – Comissioner Gordon, James Mtume, Leela James
Written-By – Carvin Haggins, James Poyser, Leela James, Tend Lewis, Vikter Duplaix 4:57
14 It's Alright
Arranged By [Background Arrangement] – Anthony Mills, Leela James
Co-producer – Leela James
Producer – Comissioner Gordon, Kanye West
Producer [Lead Vocal Production] – Comissioner Gordon, Leela James
Written-By – Gordon Williams, Kanye West, Leela James, Renee Neufville 4:03
15 Didn't I
Producer – Comissioner Gordon, Kanye West
Producer [Lead Vocal Production] – Comissioner Gordon, Leela James
Written-By – Kanye West, Leela James
Written-By [Portions Of "I Can't Fake It Anymore"] – D. Monda, T. Taylor 3:17
16 Prayer
Producer – Chucky Thompson
Producer [Lead Vocal Production] – Comissioner Gordon, Leela James
Written-By – Chucky Thompson, Leela James, Puff Johnson 6:02
17 I Know I've Been Changed Interlude 2:05
18 A Change Is Gonna Come
Producer, Producer [Lead Vocal Production] – Comissioner Gordon, Leela James
Written-By – Sam Cooke 3:36
19 Long Time Coming
Co-producer – Leela James
Producer – Comissioner Gordon
Written-By – Gordon Williams, Leela James
Written-By [Portions Of "The Truth"] – Dwight Grant, Graham Nash, Kanye West 4:01
Label: Warner Bros. Records – 9362-48027-2
Format: CD, Album
Country: Europe
Released: 2005
Genre: R&B Soul
Style: Neo Soul, Contemporary R&B
Leela James' debut album, A Change Is Gonna Come, was a powerful introduction, hailed for its raw, classic soul sound, authoritative vocals, and a welcome return to traditional R&B amidst pop music. Critics loved her "muscular, soulful" style and dedication to preserving classic soul, though some felt its length or a few tracks were minor drawbacks, overall marking it a strong statement that established her as a major new voice in soul, even if mainstream success was slow.
James was seen as regenerating and maintaining traditional American soul music with a contemporary edge, standing out from the pop-heavy scene.
Her "husky, leathery" voice and soulful delivery were consistently praised, drawing comparisons to legendary soul singers.
While featuring her own writing, the album included notable covers like Sam Cooke's title track, blending old-school vibes with modern sass.
Despite not initially hitting big with masses, it was a remarkable feat, proving her vocal talent and establishing her path for future releases like My Soul.
It received glowing reviews, with some outlets giving it perfect scores (5 stars). Reviewers found it a refreshing and uncommercialized blend of R&B, Gospel, and soul. A few found it lengthy or noted occasional "whining baby pitches" on some tracks, but these were largely overshadowed by the album's strengths.
In essence, A Change Is Gonna Come was a significant, soulful statement, positioning Leela James as a vital artist committed to authentic, classic soul music for a new generation.
A Day In The Life
Bass, Guitar – Chalmers Alford
Engineer – Alex Sok
Programmed By – Ali Shaheed Muhammad 5:15
2 Georgy Porgy
Guitar [Solo] – Kenya B.
Producer – Somethin' For The People
Programmed By [Keyboards], Drum Programming, Recorded By – Sauce
Vocals [Featuring] – Faith Evans 4:40
3 Spend My Life With You
Engineer – Andrew Haller
Engineer, Instruments [All] – Demonte Posey
Vocals [Featuring] – Tamia 4:35
4 Something Real
Backing Vocals – Fuzzy, Shari Watson, Tracy Nelson
Guitar, Producer, Programmed By [Keyboards], Drum Programming – Kenya B.
Keyboards – Leslie Butler
Producer – Somethin' For The People
Programmed By [Keyboard], Drum Programming, Recorded By – Sauce 4:33
5 Loving Your Best Friend
Producer – Jerry Duplessis, Wyclef Jean
Recorded By – Chris Theis 4:20
6 When You Think Of Me
Drum Programming – Brian Frazier Moore
Engineer – Carlos "Storm" Martinez, Jon Smeltz
Engineer [Assistant] – Pascal Volberg
Guitar – Isaac Phillips
Keyboards, Electric Piano [Fender Rhodes] – James Poyser
Recorded By – Andy Salas
Recorded By [Assistant] – Dav Dar
Vibraphone, Vocals [Featuring] – Roy Ayers 5:43
7 Lamentation
Cello – Heidi Vincent
Engineer – David Kennedy
Guitar – Eddie "Spanky" Alford
Instruments [All Other] – Ali Shaheed Muhammad 4:06
8 Dust In The Wind
Backing Vocals, Bass, Programmed By [Keyboards], Drum Programming – Brian Alexander Morgan
Producer – Brian Alexander Morgan
Recorded By – Brian Alexander Morgan, Larry Funk, Nat Foster
Recorded By [Assistant] – Charity Lomax, Delee Har, Steve MacAuley 4:30
9 Why You Follow Me
Bass, Guitar – Eddie "Spanky" Alford
Engineer – David Kennedy
Instruments [All Other] – Ali Shaheed Muhammad
Percussion – Marlon Simon
Piano – Edsel Gomez, James Poyser 5:24
10 Come As You Are
Arranged By [Strings] – Larry Gold
Engineer – Eric Benét
Engineer, Guitar [Nylon] – George Nash Jr.
Synthesizer [Bass Synth], Drums, Engineer, Piano [Acoustic] – Demonté Posey 5:11
11 Love The Hurt Away
Drums, Engineer, Organ [B-3], Electric Piano [Wurlitzer] – Demonté Posey
Engineer – Eric Benét
Engineer, Guitar [Acoustic, Funk Box] – George Nash Jr. 5:24
12 Ghetto Girl
Engineer – Eric Benét, George Nash Jr.
Engineer, Keyboards [Rhodes], Organ [B-3] – Demonté Posey
Guitar [And Solo] – Jazzy G
Keyboards – Leslie Butler
Producer, Drum Programming – Sauce
Vocals [Featuring] – Me'Shell NdegéOcello 4:11
13 Love Of My Own
Arranged By [Strings] – Larry Gold
Bass – Isaac Phillips
Drums – Brian Frazier Moore
Electric Piano [Fender Rhodes], Synthesizer – James Poyser
Engineer – Carlos "Storm" Martinez, Jon Smeltz
Engineer [Assistant] – Pascal Volberg
Twelve-String Guitar, Electric Guitar – Jef Lee Johnson 5:40
Bonus Track:
14 Spend My Life With You Remix featuring Terry Dexter 4:33
Label: Warner Bros. Records – 9 47072-2
Format: CD, Album
Country: US
Released: 1999
Genre: R&B Soul, Funk
Style: Neo Soul, Contemporary R&B
Eric Benét's A Day in the Life is a highly praised smooth R&B/soul album, celebrated for its mature, "grown 'n' sexy" vibe, sophisticated arrangements, and heartfelt lyrics, blending classic '70s soul with contemporary grooves, featuring standout duets like "Spend mMy Life With You" with Tamia and "Georgy Porgy" with Faith Evans, making it a fan favorite and critically acclaimed for its timeless quality and strong musicianship.
Sophisticated, smooth R&B and Soul, with deep funk and jazz influences, reminiscent of 70s soul, with clean, simple arrangements that keep the focus on Benét's voice and the emotional depth, avoiding trendy gimmicks.
Praised for Benét's warm, captivating voice and clever, intimate songwriting that conveys strong feelings.
Considered a classic that holds up well over time, showcasing Benét as a premier, albeit often underrated, R&B vocalist.
Fans and critics alike adore the album for its musical quality, emotional resonance, and timeless "old-fashioned soul" feel, making it a staple for romantic evenings and a testament to Benét's enduring talent. It's often described as music for "fine wine and soft lighting".
A Heart Full Of Song
Written-By – C. Carter, C. Wilkins 2:50
2 Nothing Ventured Nothing Gained
Written-By – M. Percy 2:40
3 Come Back Baby
Written-By – R. Charles 5:23
4 I Thought It Was Over
Written-By – G. Jackson, J. Easley 2:35
5 Don't Bother Me
Written-By – J.A. Cook, C. Carter 2:55
6 All Messed Up
Written-By – C. Carter 2:47
7 Heart Full Of Songs
Written-By – C. Wilkins, G. Jackson 3:23
8 Danger Point
Written-By – B. Cauley, C. Wilkins, G. Jackson 2:48
9 Jenning's Alley
Written-By – C. Carter 6:07
10 Shoulder To Cry On
Written-By – A. Maxey, C. Carter 3:25
Label: ABC Records – ABCD-943
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Southern Soul
Clarence Carter's A Heart Full of Song captures him in fine form, offering classic Southern Soul with signature "love-rat" narratives, bluesy grooves, and soulful guitar, featuring standout tracks like "Shoulder to Cry On" and heartfelt ballads, delivering a solid, authentic experience for fans of deep soul, even if less famous than his early Fame Records hits. It showcases his consistent ability to blend gritty emotion and smooth grooves, proving his enduring appeal in the soul genre.
The album leans into the Southern Soul sound perfected at FAME Studios, delivering raw emotion and tight musicianship. Expect classic Carter themes of love, cheating, and heartbreak, delivered with his distinctive, anguished vocals and narrative style.
The recording captures the "stylistic recording ambiance of Muscle Shoals" where much of Carter's work was produced, featuring strong instrumentation and a focus on his distinct vocals.
It's considered a solid, essential listen for soul fans, highlighting his consistent quality even years into his career.
A Heart Full of Song is a testament to Carter's enduring soul, a record that feels both familiar and fresh, solidifying his place as a master storyteller in soul music, blending danceable funk with poignant ballads.
A Lady In The Street
Written-By – Denise Lasalle 3:44
A2 This Bell Was Made For Ringing
Written-By – Frederick Knight 4:30
A3 Don't Mess With My Man
Written-By – Denise Lasalle 4:44
A4 Lay Me Down
Written-By – Frank Johnson, Shirley Johnson 4:25
B1 Down Home Blues (X Rated)
Written-By – George Jackson 6:16
B2 I Was Not The Best Woman
Written-By – Denise Lasalle 3:55
B3 Come To Bed
Written-By – Phillip Mitchell 4:05
B4 I Was Tellin' Him About You
Written-By – Denise Lasalle 3:46
Label: Malaco Records – MAL 7412
Format: Vinyl, LP, Album
Country: US
Released: 1983
Genre: R&B Soul
Style: Southern Soul, Blues
Denise LaSalle's A Lady in the Street is a quintessential Southern Soul/Blues album showcasing her raw, narrative songwriting, sensual voice, and deep emotional connection to relatable, often gritty, relationship themes, offering professional pleasures and capturing life's complexities with authentic feeling, even if early critics noted her focus on songwriting over vocal acrobatics.
Fans praise it as a blues classic for its honesty, emotional depth, and timeless appeal, making it a go-to for blues lovers seeking genuine feeling.
LaSalle shines as a gifted storyteller, weaving tales of love, heartache, and everyday struggles with vivid detail.
Her voice is described as sensual, warm, and wise, perfectly suited for the deep, Memphis-style funk and soul sound of Malaco Records.
The album delves into the emotional realities of life, exploring inner feelings and relatable situations, making her subjects' experiences feel authentic.
Expect classic Southern Soul and Blues, characterized by soulful grooves, bluesy instrumentation, and LaSalle's distinctive vocal delivery.
Listeners connect with the raw, honest portrayal of life and love, finding solace and recognition in her lyrics. Considered an "Oldie But Goodie," it remains a favorite for fans of classic blues and soul music. The music effectively captures the blues spirit, providing comfort and connection for those feeling down.
In essence, A Lady in the Street is a strong, emotionally resonant blues-soul record that solidified Denise LaSalle's reputation for powerful songwriting and heartfelt delivery.
A Man In Love
A2 Together We Can Do Anything K. Floyd 2:20)
A3 Heartaches (K. Floyd, L. Milton 2:40)
A4 You've Been Good To Me, Thank You (K. Floyd, L. Milton 2:16)
A5 Take The Place Of A Dying Man (K. Floyd 2:37)
B1 This Is Our Last Night Together (K. Floyd, M. Rebennack 2:38)
B2 You Got The Love I Need (K. Floyd, L. Milton 2:30)
B3 Love Ain't What It Used To Be (K. Floyd, L. Milton 2:31)
B4 I Can't Get Enough Of Your Love (K. Floyd, L. Milton 2:36)
B5 Groov-A-Lin (K. Floyd, M. Rebennack 2:30)
Label: Pulsar Records – AR-10602
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul
Style: Southern Soul
A Man in Love is the debut studio album by the American soul singer-songwriter King Floyd, released in 1969 on the Pulsar record label. The album did not receive much attention at the time of its initial release.
Primarily a Soul album, with pop-oriented elements, it was produced with Harold Battiste in Los Angeles and featured songs co-written with fellow New Orleans musician Mac Rebennack (Dr. John).
In 1971 Motown Records re-released the album under the title Heart of the Matter on their V.I.P. label. The LP was the last album released on the V.I.P. label.
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
A2 Weekend Lover (Al Hudson, Cuba Gregory, Irene Perkins, Maurice Gregory, Valdez Brantley 4:00)
A3 Let's Talk featuring Al Hudson & Lorrie Tice (Hugh Morton, Maurice Gregory 3:34)
A4 Get Up Off It (Hugh Morton, Maurice Gregory 4:49)
A5 Say You Will featuring Al Hudson & Jeanette Mack (Al Hudson, Cuba Gregory, Irene Perkins, Maurice Gregory, Valdez Brantley 4:51)
B1 Love At The Count Of 3 (Al Hudson, Cuba Gregory, Irene Perkins, Maurice Gregory, Valdez Brantley 4:31)
B2 Pleasure Seeker (Al Hudson, Cuba Gregory, Irene Perkins, Maurice Gregory, Valdez Brantley 4:12)
B3 U, Me & The Other Guy (Dave Roberson 5:20)
B4 You're Not My Problem (Al Hudson, Cuba Gregory, Irene Perkins, Maurice Gregory, Valdez Brantley 3:25)
B5 Must'a Been Crazy (Al Hudson, Lanar Brantley, Theodore Thomas Jr., Valdez Brantley 4:37)
Label: Capitol Records – C1-48990
Format: Vinyl, LP, Album
Country: US
Released: 1988
Genre: R&B Soul
Style: Disco Funk
A New Beginning is the final studio album by American R&B and funk band Al Hudson and One Way. The album is rooted in the genres of funk and soul, characteristic of the band's late-era work.
The album explores various facets of contemporary R&B and funk for the late 1980s. A notable track, "Get Up Off It," is described as a "dope late era electro funk track" that features lush vocoder and human beatbox effects.
While specific critical reviews are limited, the band in this period was known for navigating the evolving sound of funk in the 80s, blending live instrumentation with electronic and synthesized elements.
The album's lead track "Driving Me Crazy" was Al Hudson and One Way's last charting single . Released in 1988, the song peaked at number 75 on the US R&B chart. Following the release of this album on Capitol Records in 1988 the band disbanded, though they later reformed in 2019.
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.
A New Beginning For Jackie Ross
A2 Can This Be Love (J. VanLeer, M. Fein)
A3 The People Some People Choose To Love (J. Weatherly)
A4 The People (Vamp) (J. VanLeer)
B1 I Who Have Nothing (Lieber-Stroller)
B2 Will You Love Me Tomorrow
B3 You Got Your Hooks In Me (B. Sigler)
B4 Only Time Has Changed (A. Peyton)
B5 The World Needs More People Like You
Label: Golden Ear Records – GE-2282
Format: Vinyl, LP, Album
Country: US
Released: 1980
Genre: R&B Soul
Style: Eighties Soul
A New Beginning For Jackie Ross is a modern soul and crossover R&B album that blends traditional soul with jazz, funk, and club influences. Produced by James Van Lear, it is known as a rare and sophisticated work in Ross's discography.
The album features a mature sound that some reviewers from Funk My Soul compare to Marlena Shaw in the late 1970s, with a clear influence from the Philly International sound of that era. It showcases Jackie Ross's depth of emotion and versatility with a mix of slow, stirring ballads and more upbeat, funky numbers.
The record was originally released on Golden Ear Records in 1980 and has since become a sought-after item for fans of both traditional soul and rare groove music. It has recently been reissued for the first time in analogue form by P-Vine Japan.
The album includes original tracks and covers of popular songs, expertly arranged by Ben Wright and Jimmy Van Leer.
A Portrait Of The Tams
A2 Greatest Love (Joe South 2:28)
A3 Makin' Music (Ray Whitley 2:59)
A4 You've Got Control Of My Soul (Ray Whitley 2:22)
A5 You Got The Power (Ralph Flynn 2:41)
B1 Sunshine, Rainbow, Blue Sky, Brown-Eyed Girl (Ray Whitley 2:09)
B2 Soul Brother (Ray Whitley 2:34)
B3 Whose Little Girl Are You (Ray Whitley 2:00)
B4 Trouble Maker (Ray Whitley 1:48)
B5 What Do You Do (Ray Whitley 2:20)
B6 There's A Great Big Change In Me (Julius Cobb 3:20)
Label: ABC Records – ABCS-673
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul
Style: Southern Soul
A Portrait of the Tams is an album by Southern soul group The Tams, which came out during their time on the ABC-Paramount label. While it may not have had the same mainstream success as their earlier singles like "What Kind of Fool (Do You Think I Am)," the album is part of their extensive catalog that solidified their legacy in the "beach music" scene. Reviews are scarce, but fans have noted the album features the band's signature smooth sound and was created during a period when the group was still actively touring and recording.
The album was released in 1969, near the end of the Tams' time with ABC-Paramount before they moved to the Lowery's 1-2-3 label. This was a period when they continued to produce music, though their biggest chart successes came earlier in the decade.
The Tams are known for their smooth soul sound and were a major influence on the "beach music" genre, particularly in the Southeast U.S.. A Portrait of the Tams is part of this body of work that showcased this signature sound.
While less famous than their 1960s hits, this album contributes to their lasting legacy, which includes a continued presence on the music scene for decades, their induction into the Georgia Music Hall of Fame, and a revival of their music through films like Shag.
Aaliyah
Composed By – S. Garrett, T. Mosley
Featuring – Timbaland 4:02
2 Loose Rap
Composed By – E. Seats, R. Stewart, S. Garrett
Featuring – Static
Instruments played by E. Seats, Rapture 3:50
3 Rock The Boat
Composed By – E. Seats, R. Stewart, S. Garrett
Instruments played by E. Seats, Rapture 4:34
4 More Than A Woman
Composed By – S. Garrett, T. Mosley 3:49
5 Never No More
Composed By – S. Anderson, S. Garrett
Keyboards [Keys] – Renzo Pryor
Strings – The Black Orchestra 3:58
6 I Care 4 U
Composed By – M. Elliott, T. Mosley 4:33
7 Extra Smooth
Composed By – E. Seats, R. Stewart, S. Garrett
Instruments played by E. Seats, Rapture 3:55
8 Read Between The Lines
Composed By – S. Anderson, S. Garrett
Horns – Ron Blake 4:20
9 U Got Nerve
Composed By – B. Bush, E. Seats, R. Stewart
Instruments played by E. Seats, Rapture 3:43
10 I Refuse
Composed By – J. Walker, S. Garrett
Instruments played/programmed by Rockstar 5:57
11 It's Whatever
Composed By – E. Seats, R. Stewart, S. Garrett
Instruments played by E. Seats, Rapture 4:08
12 I Can Be
Composed By – D. Babbs, S. Anderson
Guitar – Sean Cruse 2:59
13 Those Were The Days
Composed By – E. Seats, R. Stewart, S. Garrett
Instruments played by E. Seats, Rapture
Mixed By – Dino "The Cut" Johnson 3:24
14 What If
Composed By – D. Babbs, J. Walker
Instruments played/programmed by Rockstar 4:25
15 Try Again
Engineer – Senator Jimmy D
Lyrics By – Static 4:05
Label: Virgin – CDVUSY199
Format: CD, Album
Country: Europe
Released: 2001
Genre: R&B Soul
Style: Contemporary R&B
Aaliyah's 2001 self-titled album is widely considered a masterpiece and a bold, forward-thinking project that redefined contemporary R&B. Critics lauded its experimental production, artistic maturity, and cohesive sound, with some calling it one of the best R&B records of its time.
The album is praised for its "cybernated sonic freakiness" and "futuristic" sound that still doesn't sound dated today. It features a unique blend of R&B, hip-hop, pop, and electronic music, incorporating fragmented beats, distorted guitars, and unusual vocal arrangements. The influence of this sound can be heard in many subsequent R&B and pop artists.
The album showcased a significant evolution for Aaliyah as an artist and a woman, moving beyond her earlier work. Critics noted her newfound confidence, the sophisticated subject matter of the lyrics (mostly written by Static Major), and a more mature, secure vocal delivery.
Unlike some albums that are just a collection of singles, Aaliyah is described as a cohesive body of work where each song tells its own story. The production choices, primarily handled by Timbaland and Static Major, create a consistent and innovative sonic landscape.
Tragically, it became her final album released in her lifetime, but its profound impact on R&B and pop music cemented her legendary status, influencing artists like Beyoncé and Rihanna,
ABC
Written-By – The Corporation™
2:42
A2 One More Chance
Written-By – The Corporation™
2:56
A3 ABC
Written-By – The Corporation™
2:38
A4 2-4-6-8
Written-By – L. Ware, P. Sawyer
2:48
A5 (Come Round Here) I'm The One You Need
Written-By – Holland/Dozier/Holland
2:40
A6 Don't Know Why I Love You
Written-By – D. Hunter, L. Hardaway, P. Riser, S. Wonder
3:15
B1 Never Had A Dream Come True
Written-By – H. Cosby, S. Wonder, S. Moy
2:52
B2 True Love Can Be Beautiful
Written-By – B. Taylor, J. Jackson
3:07
B3 La-La Means I Love You
Written-By – T. Bell, W. Hart
3:01
B4 I'll Bet You
Written-By – T. Clinton, S. Barnes, P. Lindsey
3:17
B5 I Found That Girl
Written-By – The Corporation™
2:42
B6 The Young Folks
Written-By – A. Story, H. Gordy 2:58
Label: Motown – MS-709
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul
Style: Pop Soul, Motown
ABC is the second studio album by The Jackson 5, released by Motown on May 8, 1970. It is considered a definitive work of the group's early "bubblegum soul" sound and cemented their status as international superstars.
The album peaked at number 4 on the Billboard Pop Albums Chart and topped the Billboard Black Albums chart.
It features two of the group's signature songs and consecutive number one singles on the Billboard Hot 100: "ABC" and "The Love You Save". Both singles famously unseated The Beatles' "Let It Be" from the top spot.
The album perfectly captures the raw and fresh talent of the young group, especially the then 11-year-old lead vocalist Michael Jackson, whose charismatic and soulful performance belied his age.
Much of the album was produced by the Motown songwriting and production team known as "The Corporation" (Berry Gordy, Freddie Perren, Alphonzo Mizell, and Deke Richards), who crafted an infectious blend of funk, R&B, and pop.
ABC remains one of The Jackson 5's most popular and enduring efforts, highly regarded for its upbeat energy and timeless appeal. The title track was inducted into the Grammy Hall of Fame in 2016.
Reviewers at the BBC and Apple Music praise the album for its "beautiful bubblegum soul" and the "happy frenzy of handclaps, stride piano and popcorn rhythms" that showcase the group's vitality and Michael's burgeoning talent.
Ace In The Hole
2 Three People Sleeping In My Bed
3 Hurt By Love
4 In Need Of A Good Woman
5 My Baby's Cheating On Me
6 Rocking Chair
7 Careless
8 Bartender Blues
9 I Love Stealing It
10 Happy
11 Running In Life
12 Stone Cold Lover
13 Equal Opportunity - Solo
Label: Ace Records (3) – ACE MUSIC 2066
Format: CD, Album
Country: US
Released: 1995
Genre: R&B Soul, Blues
Style: Southern Soul
Willie Clayton's 1996 album, Ace In The Hole, is considered a strong and commercially successful release in the Southern Soul/soul-blues genre, drawing praise for its authentic blues tracks and hit single "Equal Opportunity". The album largely reworks material from his earlier releases, combining proven hits with new collaborations.
The album is noted for consolidating successful songs from previous EPs and singles, ensuring a strong collection of material.
Ace In The Hole was a major seller for the Ace label, largely due to the success of the track "Equal Opportunity".
The album is characterized by Clayton's soulful and tasteful vocal performances, covering songs previously recorded by his fellow label artists like Ronnie Lovejoy and Robert "Duke" Tillman.
Reviewers highlight the album's authentic blues track "Bartender Blues," which is described as truly embodying the genre.
A key addition to this release is a duet version of "Three People (Sleeping in My Bed)" featuring vocals by Lynn White.
Overall, the album is appreciated by fans of deep soul and blues for its solid tracks and cohesive sound, despite the fact that many songs had appeared on earlier, less widely distributed recordings.
Acoustic Soul
2 Video
Mixed By – Mike Shipley
Recorded By – Kevin Haywood
Written-By – C. Broady 4:09
3 Promises
Drums – Steve Grossman
Mixed By – Blue Miller
Percussion – Dave Spak, Terry MacMillan
Recorded By [Assistant] – Jason Breckling
Written-By – P. Lackee 4:37
4 Brown Skin
Mixed By – Alvin Speights
Organ, Drums, Percussion – Mark Batson 4:56
5 Strength, Courage & Wisdom
Synthesizer, Mellotron – Mark Batson 4:57
6 Nature
Arranged By [String Arrangement] – Mark Batson
Bass – Avery Johnson
Cello – Nioka Workman
Viola – Judeth Insel
Violin – Kelly Hall-Tompkins, Marlene Rice 4:24
7 Back To The Middle
Backing Vocals [Additional Background Vocals], Programmed By – Blue Miller
Percussion – Steve Grossman 5:11
8 Ready For Love
Cello – John Catchings
Mixed By – Dave Way 4:28
9 Interlude 1:24
10 Always In My Head
Contractor [String Contractor] – Larry Gold
Drums – Ralph Rolle
Engineer [Additional] – Larry Philabaum, Louis Scalise
Organ, Organ [Wurlitzer] – Larry Goldings
Percussion – Bashiri Johnson
Producer, Programmed By, Conductor [Strings], Recorded By, Mixed By, Bass – Bob Power
Recorded By [Strings] – Jon Smeltz 4:40
11 I See God In You
Backing Vocals [Background Vocals] – India.Arie
Mixed By – Kevin Haywood
Mixed By, Programmed By – Carlos Broady
Recorded By – Mark Niemiec
Recorded By [Vocals], Backing Vocals [Background Vocals] – Blue Miller 3:17
12 Simple
Arranged By [Vocal Arrangement] – India.Arie, Tony Harrington
Written-By – The Unit 3:26
13 Part Of My Life
Written-By, Guitar – T. Harrington 4:03
14 Beautiful
Mixed By, Celesta [Celeste] – Mark Batson
Written-By – K. Hicks 4:06
15 Outro 1:17
16 Wonderful (Stevie Wonder Dedication)
Backing Vocals [Background Vocals] – Duane Covert, Joyce Simpson, Laurnea Wilker-Hymen
Percussion – India.Arie
Written-By – C. Barnes 5:30
Label: Motown – 440 013 770-2
Format: CD, Album
Country: US
Released: 2001
Genre: R&B Soul
Style: Neo Soul, Contemporary R&B
India.Arie's debut album, Acoustic Soul, is widely considered a neo-soul classic that was both a commercial success and a critical darling. Released in 2001, it was praised for its organic sound, empowering lyrics, and Arie's "velvet smooth" vocals, offering a refreshing alternative to the more commercial R&B of the era.
The album's central themes revolve around self-love, inner beauty, and empowerment, with the hit single "Video" serving as a thesis statement against the superficiality often seen in R&B music videos. This message resonated strongly with a wide audience and has been cited as an inspiration for modern concepts like "Black Girl Magic".
As the title suggests, the album is built around Arie's acoustic guitar, which was a unique approach in 90s/early 2000s R&B. This choice, combined with an organic production style, gives the album a warm, natural feel that stands out from the heavily produced, machine-beat R&B of the time.
Critics consistently lauded the honesty, strength, and wisdom in Arie's songwriting, noting her ability to blend personal narratives with universal truths. Songs like "Brown Skin" and "Strength, Courage & Wisdom" were highlighted as particularly strong examples of her thoughtful and relatable lyricism.
Arie's voice is frequently described as "beautiful," "soulful," and "sublime". Her musical style, which blends neo-soul, folk, and R&B, drew comparisons to artists like Tracy Chapman and Stevie Wonder, the latter of whom she pays tribute to on the bonus track "Wonderful".
The album was a major commercial success, certified double platinum by the RIAA, and earned an impressive seven Grammy nominations in 2002, including Album of the Year and Best New Artist. Despite not winning any awards at the time—a result widely considered a major snub—its critical acclaim and impact were undeniable.
Acoustic Soul is regarded as a formidable debut that shaped the neo-soul genre and inspired future artists. Its focus on self-worth and raw, authentic artistry has ensured its enduring status as a cherished album among fans and critics alike.
Act 1
A2 I Don't Want To Know What You Do To Me (Raeford Gerald 2:59)
A3 Still Water (Frank Wilson, William Robinson 5:06)
A4 Goodbye Love (We're Through) (Andrew Smith, Bob Babbitt, Perry Boyd 2:13)
A5 Friends Or Lovers (Raeford Gerald 3:18)
B1 It's The Same Old Story (Cleveland Parker, Doug Nordli, Raeford Gerald, Roger Terry 3:08)
B2 You Didn't Love Me Anyhow (Andrew Smith, Bob Babbitt, Perry Boyd 4:33)
B3 Love's Got Your Mind (Andrew Smith, Bob Babbitt, Perry Boyd 2:32)
B4 Bump'n From The Middle (Raeford Gerald, Rob Dixon 3:29)
B5 Tom The Peeper (Raeford Gerald 2:16)
B6 Do You Feel It (Raeford Gerald 2:54)
Label: Spring Records – SPR 6704
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Funk
The album Act 1 by the band Act 1 is a soul and funk album, primarily known for its melodic dance tracks. The group was a studio project featuring members Raeford Gerald, Roger Terry, Reggie Ross, and George Barker.
The album features a classic 1970s sound, incorporating compositions from noted writers and producers like the legendary Funk Brother Bob Babbitt. While not a major commercial success at the time, some of its tracks have gained recognition over the years.
This disco-funk record was produced by Raeford Gerald and was originally released on the Spring label and is known for its danceable and groovy sound, making it a notable record for collectors of funk and disco.
Characterized by strong compositions, melodic arrangements, and a prominent 70s groove. Some tracks feature horn arrangements.
The album includes the band's hit single "Tom The Peeper" which reached #40 in the UK Top-40 Pop charts, as well as "Friends Or Lovers" which was the band's biggest selling single in the US.
Adrenalin
Bass – Marcus Miller
Drums – Lenny White
Guitar – David Bendeth
Keyboards – John Cleveland Hughes
Written-By – D. Bendeth 6:25
A2 Breakdown
Bass – Randy Bramwell
Drums – David Span
Guitar – David Bendeth
Keyboards – John Cleveland Hughes
Percussion – Memo Acevedo
Written-By – D. Bendeth 3:54
A3 Easy Ridin'
Bass – Marcus Miller
Drums – Lenny White
Guitar – David Bendeth
Keyboards – John Cleveland Hughes
Vocals – The Boyer Brothers
Written-By – Bob Boyer, D. Bendeth 2:49
A4 Lock Stock & Barrell
Bass – Randy Bramwell
Drums – David Span
Guitar – David Bendeth
Keyboards – John Cleveland Hughes
Percussion – Memo Acevedo
Saxophone – John Johnson (5)
Written-By – Carlos Garnett, Dwight Brewster 4:13
A5 Dr. Dimento
Drums – Billy Cobham
Guitar – David Bendeth
Written-By – D. Bendeth 0:42
B1 Feel The Real
Bass – Randy Bramwell
Drums – David Span
Guitar – David Bendeth
Handclaps – David Bendeth, John Cleveland Hughes
Keyboards – John Cleveland Hughes
Percussion – Memo Acevedo
Vocals – The Boyer Brothers
Written-By – Bob Boyer, D. Bendeth 6:09
B2 Copycat
Bass – Marcus Miller
Drums – Billy Cobham
Guitar – David Bendeth
Keyboards – John Cleveland Hughes
Written-By – D. Bendeth 5:27
B3 Bozonoknowz
Bass – Marcus Miller
Drums – Billy Cobham
Guitar – David Bendeth
Keyboards – John Cleveland Hughes
Saxophone – John Johnson
Trumpet – David Dunlop
Written-By – John C. Hughes 3:16
B4 Count Me Out
Bass – Randy Bramwell
Drums – David Span
Guitar – David Bendeth
Keyboards – John Cleveland Hughes
Written-By – D. Bendeth 4:00
B5 Turbocharger
Drums – Billy Cobham
Guitar – David Bendeth
Written-By – D. Bendeth 0:52
B6 Calm
Guitar – David Bendeth
Piano – John Cleveland Hughes
Strings – John Cleveland Hughes
Written-By – John Hughes 2:53
Label: Sidewalk – SWK 2004
Format: Vinyl, LP, Album
Country: UK
Released: 1979
Genre: R&B Jazz, Funk, Soul
Style: Jazz-Funk, Disco
David Bendeth's 1979 album Adrenalin is a well-regarded jazz-funk/soul album, appreciated by users for its high-quality production and uptempo, funky grooves, though professional critical reviews are sparse in readily available sources.
The album primarily falls into the jazz-funk and soul categories, with elements of disco. It is known for its energetic, "funky jazz" sound.
User ratings on sites like Discogs are positive, with average ratings often exceeding 4 out of 5 stars, indicating strong appreciation among fans of the genre.
A significant factor in the album's appeal is the involvement of top-tier American session musicians, including bass player Marcus Miller and drummer Billy Cobham. The production quality, by Alan Caddy, is also frequently praised by listeners.
The album spawned the successful single "Feel the Real," which was a number 1 hit on the UK Dance Chart and reached number 44 on the UK Singles Chart. This track has since been sampled and remixed by numerous DJs and artists.
For enthusiasts of late-1970s jazz fusion and funk, Adrenalin is considered a "stunning LP". Its enduring appeal lies in its tight musicianship, excellent production, and infectious dance-oriented sound, making it a cult classic that has been sampled and appreciated for decades.
Ahead of Our Time
A2 The Way We Were (A. Bergman M. Bergman, Hamlisch 2:49)
A3 Ahead Of Our Time (Smith 2:13)
A4 Remember The Rain (Smith 3:58)
A5 Does Your Mama Know About Me? Chong, Baird 3:56)
B1 Child (Smith 3:25)
B2 If By Chance (Durham, Ellis, Smith 2:43)
B3 Mirror, Mirror (Smith 2:25)
B4 See My Love Growin' Old (Ellis 4:15)
B5 You're My Only World (Clinton* 2:55)
Label: RCA Victor – APL1-1189
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul
Liner Notes read:
"From Chicago, legendary birthplace of the urban blues style which became the sound of the Fifties and Sixties, the 21st Century arrives letting us know how tomorrow sounds today. The children of the Seventies have seen more of civilization and life than any previous generation. A song heard here by the 21st Century describes growing up with "a man on the moon and hippie communes" echoing the frustrations of young people who see themselves being handled a world they did not create; yet all the while their music speaks loudly with the joy of youth. Surrounded since birth by a sophisticated musical tradition, they have learned to sing with intensity and feeling about today and tomorrow. Listen ... and welcome to the 21st Century!"
Ahead of Our Time is a 1970s Chicago soul album by the group 21st Century, known for its strong vocal harmonies and a sound that blends righteous, Temptations-esque tracks with spacey, mellow songs that highlight their falsetto vocals. It is a harmony soul record that fits within a trend of young, Chicago-based soul groups from that era, alongside acts like The 5 Stairsteps.
The lyrics are noted for reflecting the experience of youth in the 1970s, dealing with growing up surrounded by significant global events and societal changes like "a man on the moon and hippie communes," while still retaining a joyful youthful energy.
Al Green is Love
A2 Rhymes 3:33
A3 The Love Sermon 6:36
A4 There Is Love 3:03
A5 Could I Be The One 4:05
B1 Love Ritual 4:18
B2 I Didn't Know 7:47
B3 Oh Me, Oh My (Dreams In My Arms) 2:45
B4 I Gotta Be More (Take Me Higher) 2:45
B5 I Wish You Were Here 3:17
Written-By – A. Green (tracks: A1 to A4, B1 to B3, B5), E. Randle (tracks: A3), M. Hodges (tracks: A1, A2, B3), W. Mitchell (tracks: A1, A3, A5, B3, B5), Y. Mitchell (tracks: B4)
Label: Hi Records – SHL 32092
Format: Vinyl, LP, Album
Country: US
Released:1975
Genre:R&B Soul
Style: Seventies Soul, Southern Soul
Al Green Is Love is the ninth studio album by soul singer Al Green, released in August 1975 on Hi Records. It is a classic of Southern soul, blending Green's signature sensual vocal style with deep emotional and spiritual themes, and features the collaborative production of Willie Mitchell and the backing of the tight Memphis Hi Rhythm Band.
The album epitomizes the smooth, lush, orchestral soul sound that Green and Mitchell perfected in the early 1970s. The sound is built on the subtle, groove-oriented foundation of the Hi Rhythm Section (including brothers Charles, Leroy, and Teenie Hodges). This is layered with rich string arrangements by James Mitchell and vibrant accents from The Memphis Horns.
Green's vocal performance is a highlight, moving effortlessly from an understated, intimate delivery to a soaring, emotive falsetto.
The album explores love in its various forms, blending secular passion with spiritual introspection. The lyrics touch on joy, vulnerability, and devotion, reflecting Green's personal turmoil and deepening religious inclinations following a traumatic 1974 incident involving his then-girlfriend.
The album was a critical and commercial success, becoming Green's final of six consecutive albums to hit number 1 on the Billboard Top Soul LPs chart.
Critics praised the record for its "rare unity of feeling and mood, and a refinement of style," recognizing it as one of the final masterpieces of Green's secular soul era before his full transition to gospel music in the mid-1970s.
In essence, Al Green Is Love delivers high-quality, signature Al Green soul, offering both danceable grooves and heartfelt reflections on love, all wrapped in impeccable production.
Alice Clark
A2 Looking At Life (John Bromley, Petula Clark 3:10)
A3 Don't Wonder Why (Leonard Caston 3:22)
A4 Maybe This Time (John Kander, Fred Ebb 3:18)
A5 Never Did I Stop Loving You (Juanita Fleming 2:34)
B1 Charms Of The Arms Of Love (Bobby Hebb 2:38)
B2 Don't You Care (Bobby Hebb 2:49)
B3 It Takes Too Long To Learn To Live Alone Leon Carr, R.I. Allen 3:34)
B4 Hard Hard Promises (Bobby Hebb 3:05)
B5 Hey Girl (Earl DeRouen 3:16)
Label: Mainstream Records – MRL 362
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul
Alice Clark's self-titled 1972 album is a highly regarded, cult-classic soul-jazz masterpiece that has achieved legendary status among collectors after going largely unnoticed upon its initial release. It is widely considered one of the best soul albums ever recorded.
Clark's vocals are described as superb, powerful, emotive, and soaring, possessing an "Aretha-grade soulfulness" with the controlled serenity of Roberta Flack or Dionne Warwick. Her voice is a perfect mixture of love, pain, longing, and hope.
Produced by Bob Shad and arranged by jazz veteran Ernie Wilkins, the album features lush production that allows Clark's vocals to take center stage against a rich musical backdrop. The backing tracks include gospel-influenced organs, hazy horns, and a tight rhythm section featuring session aces like drummer Bernard Purdie and guitarist Cornell Dupree.
The album is an emotional ode to the peaks and valleys of love and heartbreak. The music can be both funky and laid-back, featuring heartfelt ballads and energetic soul numbers.
Despite being a commercial flop at the time of its release, the album gained popularity decades later, particularly in the UK's Northern soul and Acid Jazz scenes. It is now a highly sought-after collector's item.
All My Life
Written-By – Gamble & Huff 6:49
A2 All My Life
Written-By – John Davis 6:45
A3 I Love Makin' Love To You
Written-By – B. Weisman, Evie Sands, R. Germinaro 4:34
A4 Baby I'm The One
Written-By – A. Brown, Dee Ervin 3:45
B1 When Love Is New
Written-By – Gamble & Huff 7:13
B2 One Broken Heart
Written-By – John Davis 4:57
B3 All I Need Is You Tonight
Written-By – M. Steals & M. Steals 4:07
B4 This Is What You Mean To Me
Written-By – B. Eli, T. Collins 3:00
Label: Old Town Records
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul, Funk
Style: Seventies Soul, Disco
All My Life is an album that marks a shift for the veteran jazz and R&B singer Arthur Prysock into a smooth soul/disco sound. Produced by John Davis in Philadelphia, the album embraces a softer, more orchestral form of disco, often compared to the style of Barry White.
Primarily Funk / Soul and Disco, blending Prysock's signature distinctive baritone with a contemporary, dance-oriented sound.
The album includes the surprise disco hit "When Love Is New," which became a successful single and is considered a "proto-disco anthem".
The record was conceived and recorded in Philadelphia, leveraging the "Philly soul" sound popular at the time. It features a rich soundbed of strings and percussion from session musicians like members of John Davis and The Monster Orchestra.
Prysock, known for his older, wiser stature as a singer, delivers lyrics that balance a mature perspective on love and life with the "fire in your eyes" themes of disco music, often featuring a spoken "rap" portion in tracks like "All My Life".
The album is noted for its ability to seamlessly incorporate Prysock's classic, warm vocal style into a modern R&B and disco context, making it a unique entry in his discography.
The album has been reissued by labels like Big Break Records (BBR), often including bonus tracks (such as the single version of "When Love Is New") and detailed liner notes that provide context on the album's merits and the singer's career.
Anacostia
Written-By – R. Sinclair, T. Williams, T. Boyd 3:48
B2 What Kind Of Love
Written-By – Richard Harris, Van McCoy 3:42
B3 I Can't Stop Loving Her
Written-By – R. Sinclair, T. Williams, T. Boyd 4:37
B4 Words Spoken Softly At Midnight
Written-By – Charles H. Kipps Jr. 3:19
B5 Baby I'm Available
Written-By – Van McCoy 3:10
Label: MCA Records – MCA-2269
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Funk
The 1977 self-titled album by Anacostia is a well-regarded record in the soul and funk genres, known for its smooth tunes and ballads reminiscent of other vocal groups from the era. The album has received a generally positive reception among fans of the genre, often praised for its "wonderful" sound and "groove".
Reviewers and music enthusiasts generally consider the album to be a quality release within the soul/disco era. The lyrics of the nine tracks on the album consistently focus on the "ups and downs of love".
The album is a collection of smooth soul funk tunes and ballads. Its sound is often compared to other influential groups like the Stylistics, the Chi-Lites, and the Spinners.
It sounds "wonderful from the remastered CD" version, suggesting a high-quality production that has held up over time. Leaves listeners wanting more, offering a delightful, swaying, soulful groove.
Reissued on CD with bonus tracks, it's considered a must-have for 70s soul fans, offering excellent production and smooth, danceable tunes.
On music database sites like Discogs, the album has an average user rating of 3.88 out of 5 stars from 17 ratings.
Angie
Written-By – Angela Bofill 5:43
A2 This Time I'll Be Sweeter
Written-By – Gwen Guthrie, Pat Grant 4:18
A3 Baby, I Need Your Love
Written-By – Angela Bofill 4:12
A4 Rough Times
Written-By – Valerie Simpson, Nickolas Ashford 4:36
B1 The Only Thing I Would Wish For
Written-By – Angela Bofill 4:22
B2 Summer Days
Written-By – Timothy 5:10
B3 Share Your Love
Written-By – Derrik Hoitsma 5:12
B4 Children Of The World United
Written-By – Angela Bofill 5:48
Label: Arista GRP – GRP 5000
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul, Jazz
Style: Smooth Jazz, Soul, Ballad, Disco
Angela Bofill's 1978 debut album, Angie, is a sophisticated blend of jazz, soul, Latin, and smooth R&B, featuring her distinctive, powerful vocals and stellar musicianship from jazz legends like Dave Grusin, Steve Gadd, and Eric Gale. It marked the arrival of a unique artist, incorporating jazz fusion and heartfelt ballads like "This Time I'll Be Sweeter," establishing her as a significant voice in urban contemporary music and earning acclaim on jazz and R&B charts.
Produced by GRP Records founders Dave Grusin and Larry Rosen, who assembled an elite session band, it showcases Bofill's distinctive, powerful, and melodic voice, with arrangements featuring jazz-fusion elements and heartfelt ballads.
Includes the charting R&B hit "This Time I'll Be Sweeter" and tracks like "Share Your World" and "Children Of The World United".
While some find the production "cheesy" or dated by today's standards, others praise its clarity and the rich sound stage, especially on remastered versions, noting the beautiful instrumentation like the flute.
It announced Bofill as a unique talent, bridging jazz and urban contemporary audiences with her Latin-infused soul, making her a pioneering Latina artist in these genres.
Angie is considered a cornerstone album in smooth R&B/jazz, a fantastic showcase for Angela Bofill's unique talent, and a soulful listen that remains highly recommended by fans.
Ashanti
Featuring [Containing Elements] – Ashanti, Black Child, Cadillac Tah
Mixed By – Brian Springer
Performer [Containing Elements] – Big Pun, Cadillac Tah, Ja Rule, Ja Rule
Producer – 7, Chinky, Irv Gotti
Written-By – 7 Aurelius, A. Parker, A. Douglas, C. Rios, I. Lorenzo, J. Atkins, J. Cartagena, R. Gill, T. Crocker, T. Green
Written-By [Containing Elements] – P. Walcot 1:25
2 Foolish
Instruments [All] – 7
Mixed By – Supa Engineer Duro, Irv Gotti
Performer [Containing Sample] – El DeBarge
Producer – 7, Irv Gotti
Recorded By – Milwaukee Buck
Recorded By [Assisted By] – Terry "Murda Mac" Herbert
Written-By – 7Aurelius, A. Douglas, E. Jordan, I. Lorenzo, M. DeBarge 3:47
3 Happy
Bass – Darwin Johnson
Instruments [All] – Chink Santana
Mixed By – Brian Springer, Irv Gotti
Producer – Chink Santana, Irv Gotti
Recorded By – Milwaukee Buck
Recorded By [Assisted By] – Charles "Chee" Heath
Written-By – A. Parker, A. Douglas, I. Lorenzo, R. Calhoun 4:22
4 Leaving (Always On Time Part II)
Featuring – Ja Rule
Guitar – Rob Bacon
Instruments [All] – 7.
Mixed By – 7., Brian Springer, Irv Gotti
Mixed By [Assisted By] – Chris Dela Pena
Producer – 7, Irv Gotti
Recorded By – Asif Ali
Recorded By [Assisted By] – Jeremy Makenzie
Written-By – 7Aurelius, A. Douglas, I. Lorenzo, J. Atkins 3:55
5 Narrative Call (Skit) 0:36
6 Call
Instruments [All] – 7
Mixed By – 7, Brian Springer, Irv Gotti
Producer – 7, Irv Gotti
Recorded By – Milwaukee Buck
Recorded By [Assisted By] – Terry "Murda Mac" Herbert
Written-By – 7Aurelius, A. Douglas, I. Lorenzo, J. Atkins 5:05
7 Scared
Featuring – Irv Gotti
Instruments [All] – Chink Santana
Mixed By – Brian Springer, Irv Gotti
Producer – Chink Santana, Irv Gotti
Recorded By – Milwaukee Buck
Recorded By [Assisted By] – Charles "Chee" Heath
Written-By – A. Parker, A. Douglas, I. Lorenzo 4:43
8 Rescue
Guitar – Rob Bacon
Instruments [All] – 7.
Mixed By – 7, Brian Springer, Irv Gotti
Mixed By [Assisted By] – Chris Dela Pena
Producer – 7., Irv Gotti
Recorded By – Milwaukee Buck
Recorded By [Assisted By] – Terry "Murda Mac" Herbert
Written-By – 7Aurelius, A. Douglas, I. Lorenzo 7:25
9 Baby
Co-producer – 7.
Instruments [All] – Chink Santana
Mixed By – Supa Engineer Duro, Irv Gotti
Producer – Chink Santana, Irv Gotti
Programmed By [Additional] – 7.
Recorded By – Milwaukee Buck
Recorded By [Assisted By] – Charles "Chee" Heath
Written-By – 7Aurelius, A. Parker, A. Douglas, B. Jordan, I. Lorenzo, M. Dean 4:25
10 Voo Doo
Instruments [All] – 7.
Mixed By – 7., Brian Springer, Irv Gotti
Mixed By [Assisted By] – Chris Dela Pena
Producer – 7., Irv Gotti
Recorded By – Milwaukee Buck
Recorded By [Assisted By] – Terry "Murda Mac" Herbert
Written-By – 7Aurelius, A. Douglas, I. Lorenzo 4:42
11 Movies
Co-producer – Jared Thomas, Reggie Wright
Instruments [All] – 7.
Mixed By – 7., Brian Springer, Irv Gotti
Mixed By [Assisted By] – Chris Dela Pena
Producer – 7., Irv Gotti
Recorded By – Milwaukee Buck
Recorded By [Assisted By] – Terry "Murda Mac" Herbert
Written-By – 7Aurelius, A. Douglas, I. Lorenzo, J. Thomas, R. Wright 4:09
12 Fight (Over Skit) 1:18
13 Over
Drums [Live] – Chink Santana
Instruments [All] – Chink Santana
Mixed By – Brian Springer, Irv Gotti
Mixed By [Assisted By] – Chris Dela Pena
Producer – Chink Santana, Irv Gotti
Recorded By – Milwaukee Buck
Recorded By [Assisted By] – Charles "Chee" Heath
Written-By – 7Aurelius, A. Douglas, I. Lorenzo 5:34
14 Unfoolish
Instruments [All] – 7.
Mixed By – 7., Brian Springer, Irv Gotti
Mixed By [Assisted By] – Chris Dela Pena
Percussion – Butch Smalls
Performer [Containing Sample] – El DeBarge, The Notorious B.I.G.
Producer – 7., Irv Gotti
Recorded By – Milwaukee Buck
Recorded By [Assisted By] – Terry "Murda Mac" Herbert
Written-By – 7Aurelius, A. Douglas, C. Wallace, D. Jones, E. Jordan, I. Lorenzo, M. DeBarge, R. Kelly, S. Combs 3:14
15 Shi Shi (Skit) 0:15
16 Dreams
Bass Guitar, Acoustic Guitar – Rob Bacon
Drums – Trevor Lawrence Jr.
Electric Guitar [Star] – 7.
Grand Piano – 7., Kenneth Crouch
Instruments [All] – 7.
Mixed By – 7, Brian Springer, Irv Gotti
Producer – 7., Irv Gotti
Recorded By – Brian Springer
Recorded By [Assisted By] – Chris Dela Pena
Vocals [Additional] – Courtnie Cox, Janae Huff, Jasmine L. Morris, Kevin T. Green, Steven Cox
Written-By – 7Aurelius, A. Douglas, E. DeBarge, I. Lorenzo 4:18
17 Thank You
Mixed By – Brian Springer, Irv Gotti
Mixed By [Assisted By] – Chris Dela Pena
Producer – Ashanti
Recorded By – Asif Ali
Recorded By [Assisted By] – Jeremy Makenzie
Written-By – A. Douglas 1:47
Label: Murder Inc Records – 586 830-2
Format: CD, Album
Country: Europe
Released: 2002
Genre: Hip Hop, Funk, Soul, Pop
Style: Contemporary R&B
The 2002 self-titled debut album by Ashanti was a massive commercial success, though critical reviews were mixed, often praising its catchy, hip-hop-infused R&B production while noting the singer's vocal limitations and lack of a unique artistic identity.
Critics like those at Slant Magazine and Pitchfork found the songs "infectious and fine-tuned" but often derivative of other R&B divas like Mary J. Blige. Some reviewers felt Ashanti's "sweet but slight soprano" lacked the "grit and power" to carry an entire album, coming off as a passive imitation of the hip-hop soul style.
The album was generally praised for its "bass-heavy, slow-burning R&B grooves" and "bristling live instrumentation" courtesy of producer Chink Santana and others from the Murder Inc. label. However, some critics found the overall sound repetitive, a "pleasing blur" across its 17 tracks.
Ashanti wrote all of the album's tracks, which focus heavily on themes of love, heartbreak, and difficult relationships. While some found the narratives relatable, others criticized the "juvenile songwriting" and thin lyrics.
The album debuted at No. 1 on the Billboard 200 with over 500,000 copies sold in its first week, a record at the time for a debut female artist. It was certified triple-platinum in the US.
It spawned major hit singles, including the chart-topping "Foolish," which heavily sampled DeBarge's "Stay With Me" and The Notorious B.I.G.'s "One More Chance" (Remix), along with other top hits "Happy" and "Baby".
The album earned Ashanti a Grammy Award for Best Contemporary R&B Album, among other nominations.
Despite critical reservations at the time, the album is now often viewed through the lens of early 2000s nostalgia and is recognized as a significant work that solidified the blend of hip-hop and R&B that dominated the era. Artists like SZA have cited Ashanti's minimalist style as an influence.
At Last!
2 My Dearest Darling (E. Bocage, P. Gayten 3:01)
3 Trust In Me (Schwartz, Ager, Wever 3:08)
4 A Sunday Kind Of Love (Leonard, Belle, Prima, Rhodes 3:15)
5 Tough Mary (C. Uto 2:24)
6 I Just Want To Make Love To You (W. Dixon 3:03)
7 At Last (Warren, Gordon 3:00)
8 All I Could Do Is Cry (B. Davis 2:57)
9 Stormy Weather (Arlen, Koehler 3:07)
10 Boy Of My Dreams (Charles Clapp 2:21)
Label: Argo – LPS 4003
Format: Vinyl, LP, Album
Country: US
Released: 1960
Genre: R&B Soul
Style: Sixties Soul, Blues
At Last! is the debut studio album by American blues and soul artist Etta James, released in November 1960 on Argo Records, a subsidiary of Chess Records. The album is widely celebrated as a cornerstone of blues and soul history, renowned for its varied program of music, emotional intensity, and James's powerful vocal performance.
Producers Phil and Leonard Chess aimed for crossover appeal, backing James's raw, gospel-infused voice with sophisticated orchestral arrangements conducted by Riley Hampton. The album seamlessly blends blues, R&B, soul, jazz standards, and doo-wop, defying easy categorization.
Critics laud James's "fiery growl" and nuanced phrasing, which expertly transition from powerful blues shouting to subtle, airy tenderness. Her delivery is considered fearless and raw, bringing authenticity and emotional depth to every track.
The album features James's signature song, the title track "At Last," which became a timeless classic and a popular choice for weddings despite its modest initial pop chart performance. Other notable tracks include the R&B hits "All I Could Do Was Cry" and "Trust in Me," as well as covers of classics like "Stormy Weather" and "I Just Want to Make Love to You".
At Last! is consistently ranked among the greatest albums of its era. Rolling Stone has included it on its "500 Greatest Albums of All Time" list, and Pitchfork named it one of the best albums of the 1960s. Its emotional honesty and artistry continue to influence generations of singers.
The album captures Etta James at her peak, showcasing her versatility and emotional range in a "swinging and varied program" that remains a definitive work of American music.
B. Y. O. F. (Bring Your Own Funk)
Written-By – Cleveland Horne, Dennis Coffey, James Epps 5:11
A2 I Just Want To Love Ya Baby
Written-By – Cleveland Horne, Dennis Coffey, James Epps 5:04
A3 Shout (Let It All Hang Out)
Written-By – Cleveland Horne, Dennis Coffey, James Epps 4:53
B1 Cold And Windy Night
Producer – James Epps
Written-By – Dennis Coffey, James Epps, Lawrence Perry 4:25
B2 Sexy Lady
Written-By – Cleveland Horne, Dennis Coffey, James Epps 4:31
B3 Realize (When You're In Love)
Producer – James Epps
Written-By – Cleveland Horne, Dennis Coffey, James Epps, Paul Scott 3:20
B4 B.Y.O.F. (Bring Your Own Funk)
Written-By – Cleveland Horne, Dennis Coffey, James Epps 6:02
Label: Westbound Records – WT 6108
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Funk
B.Y.O.F. (Bring Your Own Funk) is a 1978 album by the American R&B and soul group the Fantastic Four, released on the Westbound Records label. The album marked a stylistic shift for the group, moving away from their traditional 1960s soul roots to embrace the emerging and heavier funk and disco sounds of the late 1970s.
The album is a notable "lost classic" that incorporates the influence of Parliament-Funkadelic and blends organic grooves with the use of new studio tools and instruments, resulting in a forward-thinking, "futuristic" sound. It is recognized for its transition into the R&B sounds that would become prevalent in 1980s music.
The album features a raw, hard-funk sound, especially in tracks like "Super Lover," "Sexy Lady," and the intense "Shout (Let It All Hang Out)". It was produced and arranged by the Motown/Funk Brothers legend Dennis Coffey.
In essence, B.Y.O.F. captures the Fantastic Four evolving from their classic Motown roots into a more modern, synth-driven funk era, a must-have for collectors of late 70s soul and funk.
Back To Basics
2 Prayer Changes Things 4:30
3 It's Time To Do It 4:50
4 A Completed Woman 4:14
5 We're Gonna Have A Baby 4:50
6 It's Time To Do It (Reprise) 0:52
7 One Life, One Love 3:20
8 Yield Not To Temptation 5:04
9 In His Precense 4:35
10 Whole Lotta Shakin' Goin' On 4:04
11 Back To The Basics (There's No Other Way) 6:39
Label: Epic – EK 48786
Format: CD, Album
Country: US
Released: 1991
Genre: R&B Soul
Style: Gospel, Soul, New Jack Swing
Back to Basics, released around 1991, is a pop-soul-gospel album by Phil & Brenda Nicholas praised by some for dropping fussy arrangements, featuring catchy tracks like "How Long Can This Go On?", inspiring ballads like "Prayer Changes Things", and emotional depth, though one reviewer found the sentimentality and monologues cheesy despite solid music. It balances catchy danceable soul with inspirational themes, making it appealing to existing fans, even if some tracks feel a bit bland or overly sentimental.
A move away from overproduction, focusing on catchy pop-soul with danceable beats and soulful ballads. Highlights are:
"How Long Can This Go On?" is noted as a potential radio hit with a great dance beat.
"Prayer Changes Things" offers soulful inspiration.
"We're Gonna Have a Baby" showcases their personal lives.
Some found the spoken monologues embarrassing and overly sentimental. A few tracks are considered bland soul, despite good vocals from Brenda.
Fans enjoyed the return to basics and the mix of upbeat and ballad tracks. It was seen as a solid effort for fans, balancing popular appeal with spiritual themes.
The album is considered part of their broader discography that explores deep emotions, including their experience with their son's Down Syndrome in later works.
Back To Me
Written-By – Charles Harmon, Claude Kelly 3:57
2 Bittersweet
Written-By – Charles Harmon, Claude Kelly 3:57
3 Man Of The House
Written-By – Ryan Williamson, Shaffer Smith 3:21
4 Who's Been Lovin' You
Written-By – Carlos McKinney, Rico Love 3:39
5 Collard Greens & Cornbread
Written-By – Andrew "Pop" Wansel, Nickolas Ashford, Valerie Simpson, Tiwa Savage, Warren "Oak" Felder 3:52
6 Teach Me
Written-By – Fantasia Barrino, James Ho, Jessyca Wilson, Kawan Prather 4:14
7 Move On Me
Written-By – Fantasia Barrino, James Ho, Jessyca Wilson, Kawan Prather 4:10
8 Trust Him
Written-By – Alonzo Mario Stevenson, Herbert Rooney, Tiffany Villarreal, Tony Reyes 3:12
9 The Thrill Is Gone
Written-By – Burt Bacharach, Hal David, James Ho, Jessyca Wilson, Kawan Prather, Thomas Callaway 3:39
10 Falling In Love Tonight
Written-By – Daniel Morris, James Scheffer, Rico Love 4:00
11 Even Angels
Written-By – Heather Bright, Jeremy Reeves, Jonathan Yip, Ray Romulus 4:04
12 I'm Here
Written-By – Allee Willis, Brenda Russell, Stephen Bray 5:29
Label: J Records – 88697-66528-2
Format: CD, Album
Country: US
Released: 2010
Genre: R&B Soul
Style: Contemporary R&B
Released on August 24, 2010, Back To Me is the third studio album by American R&B artist and American Idol winner Fantasia Barrino. The album is described as her most "down-to-earth" and "organic" work, featuring a mix of modern R&B, classic soul, and gospel influences.
The project was largely conceived after Fantasia’s starring role as Celie in the Broadway musical The Color Purple, which contributed to a more mature and focused sound.
The album emphasizes live arrangements and "old school" grooves reminiscent of 1960s and 70s R&B. Notable producers include Chuck Harmony, Ne-Yo, Claude Kelly, and Jim Jonsin.
Critics praised Fantasia's "sandpapery" and "rough-hewn" vocals, particularly on raw, unadorned tracks like "Bittersweet".
Track Highlights
"Bittersweet": The lead single, which earned Fantasia a Grammy Award for Best Female R&B Vocal Performance.
"I'm Doin' Me": An anthem of independence following a personal rough patch.
"The Thrill Is Gone": A collaboration with Cee-Lo Green that highlights her vocal grit.
"Collard Greens & Cornbread": A throwback track built on a Marvin Gaye and Tammi Terrell sample.
"I'm Here": A bonus studio version of her signature song from The Color Purple.
The album debuted at number two on the US Billboard 200 and number one on the Billboard R&B/Hip-Hop Albums chart. It received a Grammy nomination for Best R&B Album.
The album's title was suggested by comedian Steve Harvey during a visit to his radio program, representing Fantasia's return to her musical roots after years of personal and professional challenges.
Back To Stay
A2 Sweet Loving Pair (Bill Williams, Jr., Marshall McQueen, Jr., Winston Ray Williams 3:15)
A3 Show Me That You Care (Leon Haywood, Marshall McQueen, Jr. 3:23)
A4 Let Them Walk (Sonny Thompson 2:52)
A5 Fair Warmin' (Marshall McQueen, Jr. 2:52)
B1 One Way Ticket To Loveland (Jimmy Lewis, Leon Haywood 3:00)
B2 Make Me Yours (Bettye Swann 2:56)
B3 Long As There's You (I Got Love) (Leon Haywood, Marshall McQueen, Jr. 7:52)
B4 There Ain't Enough Hate Around To Make Me Turn Around (Leon Haywood 3:12)
Label: 20th Century Records – T-411
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul
The 1973 album Back To Stay by Leon Haywood is considered a strong example of 1970s pop soul and features his signature blend of smooth ballads and mid-tempo funk.
The album is characterized as a "70s soul timepiece" with pleasing examples of 70s pop soul. Haywood was known for his "cheerful derivations of '70s mid-tempo funk and romantic ballads, usually embellished by smooth string charts".
The track "Long As There's You (I Got Love)" is a notable love song featured on the album. The album also features interesting cover versions of other artists' work, including a "great version of Bettye Swann's 'Make Me Yours'" and an "adventurous take on Gene McDaniels' 'One Hundred Pounds Of Clay'".
The arrangements are often handled by the legendary Gene Page, contributing to the record's polished, professional sound.
While the album itself didn't feature Haywood's biggest commercial hits, it set the stage for his later success. His most famous track, "I Want'a Do Something Freaky To You," appeared on his next album (Come and Get Yourself Some), but its style is consistent with the sound developed during this period. That track would later become massively influential when sampled by Dr. Dre and Snoop Dogg for the iconic hip-hop track "Nuthin' But a 'G' Thang".
Overall, Back To Stay is a well-regarded album for fans of classic 70s R&B and soul, showcasing Haywood's talent as a singer, songwriter, and arranger. You can often find it bundled with Keep It In The Family on platforms like Amazon.
Back To The World
A2 Future Shock 5:24
A3 Right On For The Darkness 7:30
B1 If I Were Only A Child Again 2:53
B2 Can't Say Nothin' 5:20
B3 Keep On Trippin' 3:16
B4 Future Song (Love A Good Woman, Love A Good Man) 5:00
Written by Curtis Mayfield.
Label: Curtom – CRS 8015
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul
Released in 1973, Back to the World is the fourth solo studio album by American soul and funk artist Curtis Mayfield. It serves as a semi-concept album addressing the struggles of African American soldiers returning from the Vietnam War to a country plagued by poverty and social neglect.
The title refers to "The World," GI slang for America. The album explores the disillusionment of veterans returning to find "no job, no woman, no money".
Like his earlier work, the album features "message songs" that tackle industrialization, environmental concerns, and the human condition.
It was Mayfield's first studio effort following his massive success with the Super Fly soundtrack, continuing its cinematic, orchestral-funk style.
The album is characterized by Mayfield’s signature fragile falsetto, wah-wah guitar lines, lush string arrangements by Richard Tufo, and heavy percussion.
Featured musicians include guitarist Phil Upchurch, bassist Lucky Scott, keyboardist Rich Tufo, and percussionist Henry Gibson.
Tracklist Highlights:
"Back to the World": A soulful title track that contrasts upbeat arrangements with lyrics about the difficulties of veteran life.
"Future Shock": A high-energy funk track later covered by Herbie Hancock; it uses science-fiction metaphors to describe social upheaval.
"Right On for the Darkness": An intense, cinematic epic known for its moody, building arrangement and heavy bass.
"If I Were Only a Child Again": A more optimistic, jubilant funk number expressing a desire for innocence.
"Can't Say Nothin'": A largely instrumental, "sleek and stylish" funk workout.
"Keep on Trippin'": A mellow, psychedelic soul-ballad co-written with Phil Upchurch.
"Future Song (Love a Good Woman, Love a Good Man)": A gospel-influenced track emphasizing spiritual and personal connection.
The album was a significant success, peaking at number 1 on the Billboard Top R&B Albums chart and reaching number 16 on the Billboard 200. It remains a definitive example of socially conscious 1970s soul.
Bad Boys
Written By – Benatar-Pryor-Payne-Senogles 3:42
2 We're Having Fun
Written By – Derrell,Mark,Randy,James & Bobby DeBarge 3:34
3 You're A Big Boy
Written By – D. & J. DeBarge 4:32
4 You're Not The Only One
Written By – Gibbs-Williams 3:10
5 All Over
Written By – J. DeBarge 4:24
6 Say You Do
Written By – R. DeBarge-J. DeBarge 4:25
7 I Got You Babe
Written By – B. DeBarge 4:38
8 Take It To The Top
Written By – M. DeBarge-Pryor 3:19
9 Every Time I Think Of You Written By – J. DeBarge
4:29
Label: Striped Horse – SHL 2004
Format: Vinyl, LP, Album
Country: US
Released: 1987
Genre: R&B Soul, Funk
Style: Eighties Soul, Synth-pop
DeBarge's Bad Boys (1987) is generally seen as a decent, but not spectacular, late-era album, showcasing the group's continued talent despite personal struggles, with highlights like the funky "You're Not the Only One" and Bobby DeBarge's soulful ballads, though it lacked the commercial success of their earlier hits and didn't chart well, marking a decline before the group disbanded.
Released after El and Bunny left for solo careers, featuring Mark, Randy, James, and Bobby, with Chico joining later, it retains their signature blend of R&B, funk, and pop, with strong synth bass and perky guitars.
Standout Tracks:
"You're Not the Only One": Praised for its pure '80s pop feel with funky flourishes, noted as the album's best by some.
"I Got You Babe": A strong ballad led by Bobby DeBarge's hypnotic vocals, reminiscent of his work with Switch.
"Dance All Night" & "Take It To The Top": Fun tracks with catchy synth bass and energy.
Considered decent, proving the family's talent even with internal issues, but not essential for casual listeners; it's for dedicated fans curious about their later work.
It's the final studio album before the group's dispersion, with legal troubles and changing tastes contributing to its quiet end, despite the enduring legacy of their earlier work.
In summary, Bad Boys is a solid entry for deep-cut fans, offering glimpses of DeBarge's consistent musical ability amidst personal challenges, even if it wasn't a major commercial comeback.
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.
Be Thankful For What You Got
Bass – Hugh McDonald
Drums – Al Price
Engineer, Mixed By – Carl Paruolo
Guitar – Pal Rakes
Written-By – William DeVaughn 5:35
A2 We Are His Children
Bass – Hugh McDonald
Drums – Al Price
Engineer – Carl Paruolo
Guitar – Pal Rakes
Mixed By – Doug Fern
Written-By – William DeVaughn 5:14
A3 Blood Is Thicker Than Water
Bass – Hugh McDonald
Drums – Al Price
Engineer, Mixed By – Carl Paruolo
Guitar – Pal Rakes
Written-By – Pal Rakes, Russ Faith 7:19
A4 Kiss And Make Up
Bass – Hugh McDonald
Drums – Al Price
Engineer – Carl Paruolo
Guitar – Pal Rakes
Mixed By – Doug Fern
Written-By – William DeVaughn 2:48
B1 Be Thankful For What You Got
Arranged By [Arranging Assistance] – Allan Felder
Bass – Rusty Jackman
Drums – Earl Young
Engineer, Mixed By – Joe Tarsia
Guitar – Bobby Eli, Norman Harris
Written-By – William DeVaughn 7:12
B2 Sing A Love Song
Bass – Hugh McDonald
Drums – Al Price
Engineer, Mixed By – Carl Paruolo
Guitar – Pal Rakes
Written-By – Frank Fiorvanti, William DeVaughn 3:26
B3 You Can Do It
Bass – Hugh McDonald
Drums – Al Price
Engineer, Mixed By – Carl Paruolo
Guitar – Pal Rakes
Written-By – William DeVaughn 3:38
B4 Something's Being Done
Bass – Hugh McDonald
Drums – Al Price
Engineer – Carl Paruolo
Guitar – Pal Rakes
Mixed By – Doug Fern
Written-By – William DeVaughn 3:44
Label: Roxbury Records – RLX 100
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Philly
William DeVaughn's 1974 debut album, Be Thankful for What You Got, is widely considered a soul classic, though many critics and fans note the rest of the album struggles to match the iconic status and quality of its massive title track. The album is a quintessential piece of Philadelphia soul, featuring the legendary MFSB session musicians.
The song "Be Thankful for What You Got" is universally lauded as a sublime, enduring soul hit with an uplifting, socially conscious message, often compared to the work of Curtis Mayfield. Its lyrics ("Diamond in the back / sunroof top / diggi'n the scene with a gangsta lean") are among the most famous couplets in R&B history. The single was a huge commercial success, selling nearly two million copies and reaching number one on the US Billboard R&B chart.
Reviews of the full album are more mixed. Some consider the entire record to be a superb, laid-back listen that perfectly captures the "Philadelphia Soul signature" with rich arrangements and a great groove. However, a common criticism is that the other tracks are often "one-note" or feel like rewrites of the title track, lacking variation. The general consensus is that while the album is solid and well-produced, the monumental shadow of its hit single makes the rest of the content seem merely "okay" by comparison.
The album is praised for its production quality, recorded at Sigma Sound Studios with members of MFSB, providing a smooth and rich sonic experience. The long track lengths (many over five minutes) are noted for their deep grooves and intricate arrangements.
Despite its uneven critical reception as an album, the impact of the title song has made the record an important artifact for soul music aficionados. The song has been extensively covered and sampled by artists across genres, including Massive Attack, N.W.A., and Arthur Lee & Love, cementing its lasting cultural relevance.
Overall, the album is a must-have for fans of 1970s soul and R&B, primarily for its brilliant title track and the strong Philly soul production throughout, showcasing DeVaughn as a unique voice in soul music with impeccable Philly Soul backing.
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.
Be With Me
Written-By – B. Griffin, S. Barnes 4:57
A2 Stone's Throw From Heaven
Written-By – B. Griffin 3:05
A3 Hold Me Tighter In The Rain
Written-By – B. Griffin, D. Griffin 5:29
A4 Love Is Not A Word
Written-By – S. Barnes 5:52
B1 The Beat Is Getting Stronger
Written-By – B. Griffin, S. Barnes 4:33
B2 2nd Day Love Story
Written-By – B. Griffin 6:04
B3 Breaking Out
Written-By – B. Griffin, J. Gadson 6:30
B4 Understand
Written-By – B. Griffin 4:53
Label: Columbia – FC 37745
Format: Vinyl, LP, Album
Country: US
Released: 1982
Genre: R&B Soul
Style: Eighties Soul, Funk, Disco
Billy Griffin's 1982 solo debut, Be With Me, is praised as a classic disco-soul/funk record, bridging the gap from the dying disco era to the burgeoning 80s sound, featuring the hit "Hold Me Tighter in the Rain" and strong tracks like "2nd Day Love Story," but some listeners find the consistent falsetto delivery a potential turn-off, though it's generally a well-regarded, smooth, and danceable album.
The album spawned the major UK hit "Hold Me Tighter in the Rain," a soulful, danceable track that was popular in Europe.
Griffin, formerly of The Miracles, sings the entire album in a distinctive falsetto, sometimes compared to Sylvester, which can be polarizing for some but defines the album's sound.
Produced with John Barnes (later of Michael Jackson fame), it features heavyweights like Randy Jackson, Ed Greene, and Gerald Albright, giving it a high-quality, funky feel.
A blend of upbeat dance tracks like the title track and "Breaking Out," smooth mid-tempo grooves such as "Understand," and heartfelt ballads like "2nd Day Love Story".
Considered a memorable disco-soul album, especially appreciated in reissues with bonus tracks for fans of 80s dance music and Griffin's unique style.
A pleasant, sweet listen with great lyrics and orchestration, offering a smooth, soulful experience for fans of 80s dance and R&B.
Bell’s Cellar of Soul - Volume 2
Producer – M. E. Seahorn
Producer, Arranged By – A.Toussaint
Written-By – Allen Toussaint
A2 Sonny Fisher – Oh Love This Is Sonny
Producer – Randy Stewart
Written By – Al Stewart, Sonny Fisher
Written-By – Al Stewart, Sonny Fisher
A3 Lee Dorsey– Wonder Woman
Producer – A.Toussaint, M. E. Seahorn
Written-By – Allen Toussaint
A4 Zilla Mayes– All I Want Is You
Producer – M. E. Seahorn
Producer, Arranged By – A.Toussaint
Written-By – Allen Toussaint
A5 Mighty Sam– Nothing But The Truth
Producer – Papa Don
Written-By – Hirst, Ruvin
A6 Lee Dorsey And Betty Harris– Love Lots Of Lovin'
Producer – M. E. Seahorn
Producer, Arranged By – A. Toussaint
Written-By – Allen Toussaint
A7 Al Greene– A Lover's Hideaway
Producer – Curtis Rodgers, Palmer James
Written-By – P. James
A8 Melvin Davis– Love Bug's Got A Bear Hug
Producer, Arranged By – Coffey, Theodore
Written-By – Melvin Davis
B1 Eddie Holman– I'm Not Gonna Give Up
Arranged By – Luther Randolph
Producer – Harthon Productions
Written-By – E. Holman
B2 The Incredibles– Standing Here Crying
Arranged By – Jerry Long
Producer – Cal Waymon, Madelon Baker
Written-By – Cal Waymon
B3 Lee Jones And The Sounds Of Soul– On The Other Side
Producer – Chips Moman
Written By – Jones-Thomas-Wheatley
B4 Lee Dorsey And Betty Harris– Take Care Of Our Love
Producer – M. E. Sehorn
Producer, Arranged By – A. Toussaint
Written-By – Allen Toussaint
B5 Van And Titus– Cry Baby Cry
Arranged By [Horns] – Charles Chalmers
Producer – Buzz Cason, Mac Gaydon
Written-By – Cason, Gaydon
B6 Jimmy And Louise Tig And Company– A Love That Never Grows Cold
Producer – Papa Don
Written-By – Toney
B7 Spencer Wiggins– The Power Of A Woman
Arranged By – Al Danto
Producer – Quinton Claunch, Rudolph Russell
Written-By – Q. Claunch
B8 Faye Adams– Shake A Hand
Written-By – J. Morris
Label: Bell Records – MBLL 107
Series: Bell's Cellar Of Soul
Format: Vinyl, LP, Compilation
Country: UK
Released: 1968
Genre: R&B Soul
Style: Rhythm & Blues, Soul
Bell's Cellar of Soul - Volume 2 is a vintage 1968 UK mono vinyl compilation album featuring a variety of American soul artists and tracks, many of which were considered too niche for single release in the UK at the time but became popular on the Northern Soul scene.
The album is a compilation of 16 soul tracks that were popular on the burgeoning UK soul scene in the late 1960s. It was part of a landmark series that helped establish Black American music in Britain, curated by Derek Everett and Trevor Churchill.
The tracks are a mix of up-tempo, dance-floor favorites and soulful ballads. The album has been praised for its high quality and for featuring songs that have endured and maintained their musicality over decades.
Benny And Us
Congas, Percussion – Nicky Marrero
Written-By – Ned Doheny 4:33
A2 Fool For You Anyway
Soloist, Guitar – Jim Mullen
Written-By – Mick Jones 5:38
A3 A Star In The Ghetto
Arranged By [Strings, Horns] – Arif Mardin
Congas – Ray Barretto
Written-By – Phillip Mitchell 7:01
A4 The Message
Recorded By – Bobby Warner
Written-By – White, King 5:17
B1 What Is Soul
Written-By – Ben E. King, Bob Gallo 4:34
B2 Someday We'll All Be Free
Arranged By [Strings] – Cengiz Yaltkaya
Recorded By – Bobby Warner
Written-By – Donny Hathaway, Edward Howard 5:13
B3 Imagine
Arranged By [Strings] – Arif Mardin, Cengiz Yaltkaya
Written-By – John Lennon 4:56
B4 Keepin' It To Myself
Congas, Percussion – Nicky Marrero
Written-By – A. Gorrie 4:30
Label: Atlantic – SD 19105
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Funk
Benny and Us, a 1977 collaboration between Scotland's funk masters Average White Band (AWB) and soul legend Ben E. King, is a critically well-received, funky soul album showcasing King's smooth vocals over AWB's tight grooves, featuring hits like "Get It Up For Love" and "A Star In The Ghetto," though some critics note it leans heavily on covers, functioning as great bonus material for AWB fans but less original for King.
It successfully merged Ben E. King's iconic, smooth vocals with AWB's signature tight funk rhythms, creating a rich, soulful sound.
The album produced popular tracks like "Get It Up For Love" (a funkier take on Ned Doheny's original) and the soulful "A Star In The Ghetto" (later a hit for Tata Vega).
A significant portion of the album consists of covers, including Foreigner's "Fool For You Anyway," which AWB transformed into a heavy R&B ballad, highlighting King's vocal power.
While not always seen as a peak original work for both artists, it's praised for its strong performances, excellent production (by Arif Mardin), and as a great addition to both discographies, especially for fans of 70s funk and soul.
The album performed well, reaching #33 on the Pop charts and #14 on the R&B charts in the US. Fans consistently praise the music quality and the production, often noting that "every track is a winner".
Benny and Us is considered a quality fusion, offering a delightful mix of funky instrumentals and soulful ballads, making it a beloved record for fans of both AWB's groove and Ben E. King's timeless voice.
Bill Brandon
A2 Just Can't Walk Away (Bill Brandon, Lorraine Johnson 3:32)
A3 You Don't Have To Say (Archie Jordon 3:34)
A4 Hands Full Of Nothing (Michael Kunze 4:32)
B1 We Fell In Love While Dancing (Jesse Boyce, Moses Dillard 6:10)
B2 Baby, Love Is A Two Way Street (Don & Dick Addrisi 2:57)
B3 You Made My Life So Bright (Bill Brandon 3:42)
B4 No Danger Of Heartbreak Ahead (Sam Dees 4:00)
Label: Prelude Records – PRL 12149
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Disco
Bill Brandon's self-titled 1977 album is a rare and highly regarded soul and disco LP that has become a "connoisseur's dream" among collectors. It is Brandon's sole full-length album and is noted for its superb late 70's soul sound and the production work of Jesse Boyce and Moses Dillard.
Primarily soul and disco-dance, appealing especially to "steppers" (fans of a specific style of dance), the original vinyl release on the Prelude label was exceptionally rare and had not been repressed on vinyl until a legitimate reissue in 2021 by Canadian music powerhouse Unidisc.
The album was produced by the cult production team of Jesse Boyce and Moses Dillard, with additional production on two tracks by Piedmont Recording Corp.. It features a number of noted session players and horn and string arrangements by Harrison Calloway and Bob Holmes.
The album includes his biggest hit, the popular track "We Fell in Love While Dancing," which was also released as a 12-inch version and a promo single. Other notable tracks include "Can't We Just Sit Down and Talk It Over" and "Hands Full of Nothing".
It is considered an "essential" addition to any serious soul fan's collection, praised for its top-shelf quality and consistency.
Bingo
Arranged By – Norman Harris
Producer – Baker, Harris, Young, Sigler
Written-By – Allan Felder, Bunny Sigler, Norman Harris 3:15
A2 Someone's Waiting
Arranged By – Norman Harris
Producer – Baker, Harris & Young Productions, Inc.
Written-By – Allan Felder, Bunny Sigler, Norman Harris 3:37
A3 Will You Be Mine
Arranged By – Ronald Baker
Producer – Baker, Harris & Young Productions, Inc.
Written-By – Norman Harris, Ronald Baker 3:37
A4 Little Red Riding Hood
Arranged By – Ronald Baker
Producer – Baker, Harris & Young Productions, Inc.
Written-By – Allan Felder, Bunny Sigler, James Sigler 3:40
A5 Bingo
Arranged By – Norman Harris
Producer – Baker, Harris & Young Productions, Inc.
Written-By – Allan Felder, Bunny Sigler, Norman Harris 5:19
B1 Once More With
Arranged By – Ronald Baker
Producer – Baker, Young & Harris Productions, Inc.
Written-By – Ronald Baker 3:22
B2 God Gave Me Everything
Arranged By – Norman Harris
Producer – Baker, Harris, Young, Bunny Sigler
Written-By – Allan Felder, Bunny Sigler, Norman Harris 3:56
B3 Where There Is Love
Arranged By – Bruce Hawes, Talmadge Conway
Producer – Bruce Hawes, Charles Simmons
Written-By – Bruce Hawes, Charles Simmons, Joseph B. Jefferson 3:53
B4 What More Can A Girl Ask For
Arranged By – Norman Harris
Producer – Baker, Harris & Young Productions, Inc.
Written-By – Allan Felder, Norman Harris 3:40
B5 Don't Take Your Love
Arranged By – Ron Kersey
Producer – Baker, Harris & Young Productions, Inc.
Written-By – Allan Felder, Bunny Sigler, Ron Kersey 3:00
B6 Broken Home
Arranged By – Vincent Montana
Producer – Baker, Harris & Young Productions, Inc.
Written-By – Allan Felder, Norman Harris 3:28
Label: Janus Records – JXS-7006
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Philly Soul
Bingo, the fourth album by The Whispers, is widely considered a "hidden gem" and arguably the best album of their early career. It is praised by critics and fans for its strong Philly Soul sound, lush arrangements, and the group's "peerless" vocal performances.
The album is lauded as a high point in the group's catalog that unfortunately suffered from a lack of promotion upon its initial release, preventing it from achieving the commercial success it deserved.
The move to Philadelphia for production resulted in a lush, string-drenched sound featuring the legendary M.F.S.B. house band (Baker, Harris, Young rhythm section, Vince Montana Jr. on vibes, etc.). This musical backdrop is described as "soulful and jazzy" and a "potent musical partnership" with The Whispers' vocals.
Reviewers highlight the group's "tight, tender and thankful harmonies" and the "power, passion and sincerity" of the lead vocals, noting a "vocal masterclass" on tracks like "God Gave Me Everything".
User reviews describe the album as a "well rounded release" for any 70s soul/funk fan, with "smooth and moody tunes" and a "big studio sound" that make it enjoyable and timeless.
Specific songs consistently receive praise, including "A Mother For My Children" (an "uptempo start" with "hurt and despair" in the vocal), the moving and dramatic "Someone's Waiting," and the joyful "Where There Is Love," an "infectiously catchy slice of Philly Soul".
Overall, Bingo is highly regarded as an album of immense quality and an essential listen for fans of The Whispers or 1970s R&B and Soul music.
Bittersweet
A2 Love Me To The Max (Herman Chaney, Rene Moore, Angela Winbush 5:46)
A3 True Love Is Bittersweet (Kathy Wakefield, Lamont Dozier 4:41)
A4 Tough Act To Follow (Lamont Dozier 3:51)
B1 I Got It All With You (Lamont Dozier 4:33)
B2 We're Just Here To Feel Good (Lamont Dozier 4:42)
B3 Let Your Love Run Free (Rene Moore, Angela Winbush 4:44)
B4 Fly Away Little Birdsong Judy Wieder, Lamont Dozier 5:14)
Label: Warner Bros. Records – BSK 3282
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Seventies Soul
Dozier's sixth solo studio album Bittersweet showcases his smooth vocal style and features a blend of soulful and bouncy tracks, including elements of disco and slow jams that he became known for in his solo career following his departure from Motown. The overall sound is characterized by rich rhythm sections and string arrangements.
Bittersweet was produced by Frank Wilson, with various rhythm and string arrangements handled by Ronald Coleman, Bruce Miller, and Webster Lewis.
Described as a "dark little groover" and a "key crossover work," the album showcases a more complex and sophisticated musical style for the former Motown songwriter and producer.
Bittersweet
Written-By – General Johnson, Greg Perry 5:21
A2 So Glad You're Mine
Written-By – General Johnson, Greg Perry 4:15
A3 Working On A Building Of Love
Written-By – Holland-Dozier-Holland 3:55
A4 I'm A Sign Of Changing Times
Written-By – General Johnson, Greg Perry 5:42
A5 Elmo James
Written-By – General Johnson, Greg Perry 4:18
B1 I'm On My Way To A Better Place
Written-By – General Johnson, Greg Perry 4:04
B2 Bittersweet
Written-By – General Johnson, Greg Perry 5:09
B3 Saginaw County Line
Written-By – General Johnson, Greg Perry 4:09
B4 Weary Traveler
Written-By – General Johnson 5:12
Label: Invictus – ST-9801
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul, Funk
Chairmen of the Board's 1972 album Bittersweet is praised as a strong soul record with funky, heavy grooves, showcasing General Johnson's powerful vocals and strong songwriting from Holland-Dozier-Holland (HDH) and the group, featuring standout tracks like "I'm On My Way to a Better Place," "Elmo James," and "Working On A Building Of Love," despite not yielding major hits, it's noted for its depth, incorporating gospel, Sly Stone-esque funk, and even a quirky anti-war track, making it a solid, engaging listen for soul fans.
A heavy, funky soul sound with a fuzzy edge, reminiscent of other Invictus label artists, blending gospel and evolving 70s funk. General Johnson's passionate, soaring vocals are a major strength, elevating the material.
The album explores diverse themes, from gospel fervor ("Working On A Building Of Love") to Sly Stone influences ("I'm A Sign Of Changing Times") and even a strange anti-war song ("Men Are Getting Scarce").
Critics praise Bittersweet as the group's most consistent album to that point, benefiting from the departure of member Eddie Custis, which allowed them to focus on original, contemporary soul rather than middle-of-the-road ballad covers.
Overall, Bittersweet is seen as a strong, consistent album that goes beyond the group's hit singles, offering a funkier and more socially conscious sound. The album has a solid average user rating of over 4 stars out of 5 on platforms like Discogs.
Black Soul
A2 Dakar Sound (Pelon, R. Tweston 3:07)
A3 Black Soul Music (Black Soul, G. Musso 4:45)
A4 Moog Melody (R. Tweston 4:30)
B1 Black Brothers (Black Soul, R. Tweston 7:21)
B2 Africa Africa (Black Soul, R. Tweston 4:00)
B3 Mangous Ye Black Soul, R. Tweston 6:08)
Label: Beam Junction – BJ 5002 LP
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Afro Funk Soul
Black Soul's 1977 self-titled album is a smooth, dancefloor-oriented Afro-Funk record, featuring a mix of new material and re-edited tracks from their previous release.
The US release on the Beam Junction label features a special mix of the track, "Mangous Ye," originally from their 1975 debut album "Brazil Africa". It was mixed at Sigma Sound Studios in Philadelphia by the legendary disco producer Tom Moulton, intended to give it more of a dancefloor groove.
The album's sound is compared to the work of artists like Manu Dibango.
Black Widow
Written-By – Lalo Schifrin 4:15
A2 Flamingo
Written-By – Ed Anderson, Ted Grouya 4:28
A3 Quiet Village
Written-By – Les Baxter 3:59
A4 Moonglow / Theme From Picnic
Written-By – DeLange, Mills, Hudson 5:36
B1 Jaws
Written-By – J. Williams 5:47
B2 Baia
Written-By – A. Barroso, R. Gilbert 4:03
B3 Turning Point
Written-By – Lalo Schifrin 3:28
B4 Dragonfly
Written-By – Lalo Schifrin 5:15
Credits:
Alto Saxophone – Joe Farrell
Arranged By, Conductor – Lalo Schifrin
Backing Vocals – Patti Austin
Baritone Saxophone – Pepper Adams
Bass – Anthony Jackson
Bass Trombone – Dave Taylor
Congas – Carlos Martin (tracks: A2 to B4)
Design [Album] – Rene Schumacher
Drums – Andy Newmark
Engineer [Assistant] – Liz Saron, Matt Murray
Engineer, Mastered By – Joe Jorgensen
Flute – George Marge, Jerry Dodgion, Joe Farrell
Flute [Solo], Soloist [Flute] – Hubert Laws (tracks: B1)
Guitar – Eric Gale (tracks: A3), John Tropea
Guitar [Solo], Soloist [Guitar] – Jerry Friedman (tracks: A3)
Keyboards – Clark Spangler, Lalo Schifrin
Lacquer Cut By – J.G.
Percussion – Carter Collins, Don Alias, Sue Evans
Photography By [Cover Photography] – Pete Turner
Photography By [Liner Photography Of Lalo Schifrin] – Duane Michals
Producer – Creed Taylor
Trombone – Barry Rogers, Billy Campbell, Wayne Andre
Trumpet – Jon Faddis
Violin – Charles Libove, David Nadien, Emanuel Green, Harold Kohon, Harry Lookofsky, Matthew Raimondi, Max Ellen, Paul Gershman
Label: CTI Records – CTI 5000
Series: CTI PS
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: Jazz, Funk, Soul
Style: Jazz-Funk, Disco
Lalo Schifrin's 1976 album Black Widow is a standout jazz-funk/disco record, known for its dynamic arrangements, stellar session musicians (like Eric Gale, Steve Gadd, Joe Farrell), and successful incorporation of film themes, most notably the hit disco version of Jaws. Reviews highlight its sharp brass, deep bass, energetic grooves, and sophisticated take on 70s funk, making it a compelling listen for fans of the era and Schifrin's broader work, even if it steps away from his vintage exotica sound.
It features lush orchestration, deep grooves, and shimmering synthesizers, balancing catchy melodies with complex arrangements, and boasts a legendary lineup including Eric Gale (guitar), Steve Gadd (drums), Hubert Laws (flute), and Joe Farrell (sax/flute).
It integrates famous movie themes like Jaws, The Eagle Has Landed, and Rollercoaster, adding a disco flair. The Jaws single was a disco hit, charting in the UK, and the album performed well on jazz and R&B charts.
The album is praised as a "mixed bag" but ultimately a strong effort from a masterful composer, offering both energetic workouts and sophisticated listening.
Often reissued as a two-fer with his Towering Toccata album, providing excellent value. Original LPs were limited, but CD reissues (like the Robinsongs release) often include bonus tracks from the same sessions, offering more depth.
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).
Blue Moods
Written By – G. Ingram/K. Stevens 5.22
A2 Spend The Night
Written-By – K. Stevens 6.48
A3 Shine
Written-By – K. Stevens, R, Anderson 4.41
B1 Night Moves
Written-By – A. Sojka 5.40
B2 Passionate
Written-By – K. Stevens, R. Anderson 6.00
B3 Too Much Too Soon
Written-By – A. Sojka, K. Stevens, R. Morrison 5.04
B4 Cannot Live Without Your Love 4.52
Written-By – K. Stevens
Label: Jam Today – KENI LP1
Format: Vinyl, LP, Album, Stereo
Country: UK
Released: 1987
Genre: R&B Soul
Style: Eighties Soul
Keni Stevens' debut album, Blue Moods, is a 1987 UK soul/jazz-funk record known for its smooth, captivating sound and sophisticated production by Andy Sojka. The album has been described as a "lifestyle record" that blends R&B influences with a Caribbean syncopation, appealing across the UK.
Blue Moods is a standout release in the UK soul scene of the late eighties. The album is often described by fans as "soothing and captivating". Stevens himself has noted that the album was very much a reflection of the 80s environment and his life at the time, indicative of the soulful sounds popular during that era.
The album received significant public and critical acclaim upon its release in 1987 on the Jam Today label, following the success of its 12-inch singles.
The most high-profile track on the album is the sultry, mid-tempo ballad "Cannot Live Without Your Love". This single helped propel the album's success and was featured on several popular soul compilation albums.
Expanded editions of the album feature additional bonus and remix tracks. You can often find the track listing and purchase options on sites like Discogs or Amazon.
Bo and Ruth
A2 To Make You Love Me (Bo Kirkland, R.L. Kirkland, Charles Gentry 3:40)
A3 Train Of Desire (Bo Kirkland, Charles Gentry, Hense Powell 3:24)
A4 You're Gonna Get Next To Me (Bo Kirkland, R.L. Kirkland, Hense Powell, Ruth Davis 7:10)
B1 We Got The Recipe (Bo Kirkland, R.L. Kirkland, Hense Powell, Ruth Davis 2:56)
B2 Easy Loving (Freddie Hart 3:24)
B3 Sure Got A Thing For You (Bo Kirkland, R.L. Kirkland, Hense Powell 3:23)
B4 Can You Feel It (Bo Kirkland, R.L. Kirkland, Charles Gentry, Hense Powell 3:42)
B5 Grandfather Clock (Bo Kirkland, R.L. Kirkland, Frank Slay 3:33)
B6 Stay Out Of My Kitchen (If You Can't Stand The Heat) (Bo Kirkland, R.L. Kirkland, Hense Powell 2:55)
Label: Claridge Records – CL-1002
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul
The album Bo & Ruth by Bo Kirkland and Ruth Davis is a classic soul and funk record, widely regarded as an overlooked gem of the era. It features a smooth, mellow sound, blending southern soul influences with a modern, R&B/disco vibe.
The album is notable for its excellent use of the duet format, where Bo Kirkland (also known as Mike James Kirkland) provides lead vocals in a warm style, complemented by Ruth Davis's strong support vocals. Bo Kirkland was the primary creative force behind the set, which was arranged by Hense Powell.
Released on the Claridge Records label (and EMI International in the UK), the album includes several US R&B chart singles and was a significant UK club hit, particularly the track "You're Gonna Get Next to Me". The music is characterized by its soulful and funky grooves, appealing to fans of 1970s R&B.
The album has been reissued in various formats, notably as part of the compilation CD You're Gonna Get Next to Me: The Complete Claridge Recordings, which includes additional singles and solo tracks.
Bobby Boyd
A2 Good Woman 4:45
A3 Happy Hooker 5:50
A4 Ain’t What You Know 2:30
B1 Girl, I Can Feel Ya 3:35
B2 How Do You Hang On To A Dream 3:45
B3 Let Bygones Be Bygones 5:00
B4 To Be In Love With Yourself 3:55
B5 On This Side Of Town 3:35
B3 Written by Harvey Fuqua. All other tracks written by Bobby Boyd.
Label: Tiger Lily Records – TL 14066
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul
Bobby Boyd's self-titled album is a highly acclaimed but initially obscure soul and funk "hidden gem", primarily produced by jazz legend George Benson. Originally released on the small, poorly distributed Tiger Lily label, it achieved wider recognition decades later through a 2023 remastered reissue.
The album is praised by critics and collectors for its sophisticated arrangements and blend of musical styles, featuring soulful ballads highlighting Boyd's emotive vocals, combined with upbeat funk grooves with jazzy elements showcasing his instrumental talent as a vocalist and saxophonist.
The production of the album includes significant contributions from notable artists besides Benson, such as Harvey Fuqua, Ralph MacDonald, Roberta Flack, Anthony Jackson, Steve Ferrone, and Earl Klugh.
Bodacious
A2 You Are The One (Williams 5:21)
A3 Don't Say No (Taylor 5:04)
A4 C'est La Vie (Pain, Holding, Nevil 4:22)
B1 The Last Time I Made Love (Mann, Barry, Weil 3:14)
B2 Danger Zone (Abrahams, Williams, Lyle, Haynes 5:49)
B3 Dark And Lonely Nights (Freeman, Osborne, Giancaterino 4:12)
B4 You Do It (Allen, Struzick, Van Hoy 4:16)
Label: Capitol Records – TOL L 7123441
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: R&B Soul
Style: Eighties Disco Funk
American R&B/soul Gospel singer Beau Williams' Bodacious! album is known for its strong fusion of funk, soul, and contemporary R&B, showcasing Williams' powerful vocal abilities. The title "Bodacious" is defined on the album notes as "Outright, unmistakably remarkable, noteworthy, completely unmitigated".
The album was produced by Alan Abrahams and featured a high-profile lineup of Los Angeles session musicians, including:
Bassists: Nathan East, Abraham Laboriel, Freddie Washington
Guitarists: Lee Ritenour, Ray Parker Jr., Paul Jackson Jr.
Keyboardist: Bobby Lyle
Drummer: Leon "Ndugu" Chancler
Arranger: Gene Page
Before this album, Beau Williams gained recognition as a teenager singing gospel music and appeared on the Star Search television show in 1984, where he notably defeated the thirteen-week champion Sam Harris.
The album has been digitally remastered and reissued on CD by labels like Funky Town Grooves.
Born Again
A2 Time Is Love (D. Jordan, P. Adams 3:30)
A3 Good Men Don't Grown On Trees (D. Jordan, J. Barnes, J. Thorpe 3:20)
A4 You Are Just A Living Doll (D. Jordan, P. Adams 4:35)
A5 Wishful Thinking (D. Jordan, P. Adams 4:40)
B1 You Owe It To Yourself (Part I) (D. Jordan, P. Adams 5:25)
B2 You Owe It To Yourself (Part II 3:00)
B3 No If's, And's, Or But's (D. Jordan, P. Adams 3:40)
B4 I Just Make Believe (I'm Touching You) (D. Jordan, P. Adams 3:45)
Label: Perception Records – PLP-39
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul
Soul singer J.J. Barnes' Born Again album marked a stylistic shift from his earlier Northern soul sound to a heavier, more righteous, and introspective soul and R&B style and is known for its deep, emotive performances that reflect the artist's experiences and characterized by slow, soulful tracks and emotionally honest lyrics.
The album is considered a "comeback" album, showcasing a more introspective side of the artist. The music is described as a testament to the enduring power of soul music and a story of personal transformation.
The album is noted for its mature and weighty sound, featuring deep soul tracks and strong, trademark vocals from Barnes. The arrangements were handled by notable figures including Patrick Adams, Eumir Deodato, and Tony Bell. Critics have described it as a "must own album for anybody that takes their R&B seriously".
Later reissues are sometimes titled Born Again, Again!
Brook Benton Today
Written-By – Tony Joe White 3:51
A2 My Way
Written-By – C. François, J. Rivaux, Paul Anka 5:33
A3 Life Has Its Little Ups And Downs
Written-By – Margaret Ann Rich 3:45
A4 Can't Take My Eyes Off You
Written-By – Bob Crewe, Bob Gaudio 2:44
A5 We're Gonna Make It
Written-By – Billy Davis, Carl Smith, Gene Barge, Raynard Minor 3:07
B1 A Little Bit Of Soap
Written-By – Bert Russel 3:56
B2 Baby
Written-By – Brook Benton 4:33
B3 Where Do I Go From Here ?
Written-By – Brook Benton, James Shaw 3:09
B4 Desertion
Written-By – Dorian Burton, Herman Kelly 4:30
B5 I've Gotta Be Me
Written-By – Walter Marks 3:42
Label: Cotillion – SD 9018
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul
Style: Rhythm & Blues, Soul
Brook Benton Today, released in 1970, was a significant comeback album for Brook Benton on Atlantic Records, featuring his massive hit "Rainy Night in Georgia" and showcasing a mature, soulful sound with Arif Mardin's lush arrangements, blending pop, soul, and R&B with country touches, solidifying his relevance beyond earlier hits.
The album's centerpiece was the iconic "Rainy Night in Georgia," a huge crossover success that topped R&B charts and reached #4 on the Pop charts, revitalizing Benton's career.
Arif Mardin produced the album, guiding Benton into a richer, more sophisticated sound that moved past earlier country clichés, featuring a small combo and The Sweet Inspirations on vocals.
It masterfully mixed Southern Soul, Pop-Soul, and R&B, with covers of "My Way" and "I Gotta Be Me" gaining new depth and soul-country arrangements.
Benton's warm, world-weary vocals delivered heartfelt and existential interpretations, adding depth to both covers and his own compositions like "Baby" and "Where Do I Go From Here".
The album itself reached #27 on the US Pop charts and #4 on the R&B charts, marking a major commercial resurgence for Benton in 1970.
In essence, Brook Benton Today presented a seasoned artist delivering powerful, emotionally resonant performances that brought him back to the forefront of popular music.
Bubble Gum
A2 Learn To Live (Bill Eriksen 3:33)
A3 Sexy Girl (Dennis Grant, J.D. Burrise 3:23)
A4 Quit It (A.D. Burrise, Bill Eriksen, J.D. Burrise, Mike Micenheimer 2:26)
A5 Falling In Love (Henry Anaden, J.D. Burrise 6:43)
B1 Truth, Trust, Love & Happiness (J.D. Burrise, Robert E. Clark 3:31)
B2 Rule Of Mind (Henry Anadon, J.D. Burrise 5:06)
B3 Suburban Blue (Bill Eriksen 3:45)
B4 We Need Love (A.D. Burrise, J. D. Burrise 3:49)
Label: Ritetrack Record Co. – RKA-01M
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul, Funk
Bubble Gum is the first album by the funk and soul band The 9th Creation, known for its jazzed-up funk and being a treasure trove of sampled beats and breaks.
Released on the PYE label in Europe and Ritetrack in the US after the initial plan with Bill Withers' Sussex label fell through, the album is often compared to groups like Tower of Power and Earth, Wind & Fire. It is considered a "lost treasure" of 1970s soul music and features high-quality soul and funk tracks.
Despite its high quality and a dedicated fan following., the band and album did not achieve mainstream commercial success.
Call Me
A2 Have You Been Making Out O.K. (Green 3:42)
A3 Stand Up (Green 3:25)
A4 I'm So Lonesome I Could Cry (Williams 3:10)
A5 Your Love Is Like The Morning Sun (Green 3:09)
B1 I Am (Come And Take Me) (Green, Hodges 4:14)
B2 Funny How Time Slips Away (Nelson 5:33)
B3 You Ought To Be With Me (Green, Jackson, Mitchell 3:15)
B4 Jesus Is Waiting (Green 5:36)
Label: Hi Records – XSHL 32077
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B, Seventies Soul
Style: Southern Soul
Al Green's 1973 album Call Me is widely regarded as his masterpiece, praised for its inventive and assured "Hi" studio sound that blends Southern soul with country influences. The album includes the hits "Call Me(Come Back Home)," "Here I Am (Come and Take Me)" and "You Ought To Be With Me," along with unique country covers of Hank Williams' "So Lonesome I Could Cry" and Willie Nelson's "Funny How Time Slips Away". Green's signature whispering, emotive vocals and the sophisticated, lush production by Willie Mitchell are key to the album's enduring appeal.
Can’t Slow Down
Written-By – David Cochrane, Lionel Richie 4:42
A2 All Night Long (All Night)
Written-By – Lionel Richie 6:22
A3 Penny Lover
Written-By – Brenda Harvey-Richie, Lionel Richie 5:30
A4 Stuck On You
Written-By – Lionel Richie 3:10
B1 Love Will Find A Way
Written-By – Greg Phillinganes, Lionel Richie 6:12
B2 The Only One
Written-By – David Foster, Lionel Richie 4:15
B3 Running With The Night
Written-By – Cynthia Weil, Lionel Richie 5:55
B4 Hello
Acoustic Guitar – Tim May
Written-By – Lionel Richie 4:07
Label: Motown – STMA 8041
Format: Vinyl, LP, Album
Country: UK
Released: 1983
Genre: R&B Soul
Style: Soul, Disco, Pop
Can't Slow Down, released in October 1983 on Motown Records, is Lionel Richie's second and most commercially successful solo album. The album effectively blends R&B, pop, soft rock, and adult contemporary styles, appealing to a massive mainstream audience. It is widely considered his career masterpiece.
The album sold over 20 million copies worldwide and reached number one on the Billboard album chart. It spent an entire year in the Top 10 of the Billboard 200.
Can't Slow Down won the prestigious Grammy Award for Album of the Year in 1985, beating out major contenders like Bruce Springsteen's Born in the U.S.A. and Prince's Purple Rain.
Richie worked with producers James Anthony Carmichael and David Foster to create a commercially potent mix of slow grooves, catchy pop songs, and smooth ballads, drawing comparisons to the broad appeal of Michael Jackson's Thriller.
Five singles from the album became top ten hits on the Billboard Hot 100 chart, showcasing the album's remarkable consistency and hit-making craft.
"All Night Long (All Night)": A massive, infectious international dance-pop anthem featuring a Caribbean-inspired breakdown. It reached number one in the US.
"Hello": A classic, smooth, and emotive ballad that topped the charts and became one of Richie's signature songs, despite a video that became a "laughing stock in some quarters".
"Stuck on You": A country-tinged love song that reached number three.
"Running with the Night": A sleek, upbeat track with a late-night feel, featuring a guitar solo by Steve Lukather. It peaked at number seven.
"Penny Lover": A sweet and beguiling ballad that reached number eight on the charts.
The album's success cemented Lionel Richie's status as one of the definitive pop and R&B superstars of the 1980s.
Catch A Fire
A2 Slave Driver 2:53
A3 400 Years 2:45
A4 Stop That Train 3:55
A5 Baby We've Got A Date (Rock It Baby) 3:56
B1 Stir It Up 5:32
B2 Kinky Reggae 3:36
B3 No More Trouble 3:51
B4 Midnight Ravers 5:09
Written by Bob Marley (tracks: A1, A2, A5 to B4), Peter Tosh (tracks: A3, A4)
Label: Island Records – ILPS-9241
Format: Vinyl, LP, Album
Country: UK
Released: 1973
Genre: Reggae
Style: Roots Reggae
Catch A Fire, the 1973 major-label debut for The Wailers on Island Records, is widely considered a foundational classic and one of the greatest reggae albums of all time. Critics acclaim it for its cohesive sound, powerful political messages, and its crucial role in bringing reggae to an international audience.
The album is monumental for popularizing reggae globally. Island Records founder Chris Blackwell added R&B and rock overdubs to the original Jamaican recordings to make the sound more accessible to American and English audiences, a decision that successfully transformed the genre's commercial prospects.
The record features a polished yet raw sound, blending the core Wailers' tight rhythm section (the Barrett brothers) and rich harmonies with progressive lead guitar work and keyboard embellishments from session musicians. The music is described as tough-minded and articulate, mixing anger and frustration with joy and hope.
The lyrics are a heartfelt mix of personal and political statements.
Political songs like "Slave Driver" (where the album title's phrase "Catch a Fire," meaning "burn in hell," originates) and Peter Tosh's "400 Years" and "Stop That Train" address themes of oppression, slavery, and social injustice.
Love songs such as the hit "Stir It Up" (written by Marley, but a hit for Johnny Nash first) and "Baby We've Got a Date" provide a more mellow, laid-back contrast.
While often associated primarily with Bob Marley, reviews highlight the significant contributions of all original members, especially Peter Tosh and Bunny Wailer (Livingston), who each take lead vocals on key tracks. It is the last album featuring the original Wailers trio before creative tensions led to Tosh and Livingston pursuing solo careers.
Catch A Fire is consistently ranked highly on "greatest albums of all time" lists, including Rolling Stone's 500 Greatest Albums of All Time. Its innovative production and potent songwriting are credited with creating a new market for reggae music.
The album has been reissued multiple times, with the Deluxe Edition (including a 2023 50th-anniversary version) being particularly praised for offering both the widely-released international mix and the less-produced, raw original Jamaican versions, providing different perspectives on the music's development.
The original 1973 pressing famously came in an iconic, expensive-to-produce cover shaped like a Zippo lighter, which has since become a collector's item.
Caught In A Crossfire
2 Bottom Line
3 Drifting Apart
4 Love Me Right
5 If You Can't Help Me Baby
6 Somebody Done Messed Up
7 Don't Make Me Pay For His Mistakes
8 Walkin' The Back Streets And Crying
9 Caught In A Crossfire
Label: Ichiban Records – ICH 1128
Format: CD, Album
Country: UK & US
Released: 1991
Genre: R&B Soul, Blues
Style: Nineties Soul-Blues
Caught In A Crossfire is a 1991 studio album by American soul and blues singer Vernon Garrett, released on the Ichiban label. The album is considered a very consistent work within the soul-blues genre, featuring a perfectly mastered sound and Garrett's deep, gutsy vocals.
The album is a blend of modern electric blues, retro-soul, and traditional soul music. It was produced and supervised by multi-instrumentalist Gary "B.B." Coleman, who helped create a solid and well-produced collection of tracks.
The record is characterized by a strong soul-blues style with convincing titles that highlight Garrett's vocal command and the tight musicianship backing him.
Key tracks often noted from the album include "Bottom Line," "Drifting Apart," "If You Can't Help Me Baby," "Don't Make Me Pay for His Mistakes," and the title track "Caught in a Crossfire".
The general consensus among reviews points to Caught in a Crossfire as an outstanding album that deserved more attention than it received commercially. It is considered a solid, enjoyable record for those who appreciate authentic soul and blues music.
Central Heating
Written-By – R. Temperton 6:36
2 Send Out For Sunshine
Written-By – R. Temperton 4:26
3 Central Heating
Written-By – R. Temperton 4:44
4 Happiness Togetherness
Written-By – J. Wilder, Jr. 4:00
5 The Groove Line
Written-By – R. Temperton 4:19
6 Mind Blowing Decisions
Written-By – J. Wilder, Jr. 4:17
7 The Star Of A Story
Written-By – R. Temperton 5:41
8 Party Poops
Written-By – R. Temperton 3:51
9 Leavin' For A Dream
Written-By – R. Temperton 3:24
11 The Groove Line (12" Disco Version)
Written-By – R. Temperton 7:26
12 Mind Blowing Decisions (12” Disco Version)
Written-By – J. Wilder, Jr. 7:31
Label: GTO – GTLP 027
Format: Vinyl, LP, Album
Country: UK
Released: 1977
Genre: R&B Soul, Funk
Style: Disco, Funk, Soul
Heatwave's Central Heating album is widely acclaimed as a funk-disco masterpiece, praised for its flawless production, timeless grooves, killer singles like "The Groove Line," and stunning ballads such as "Mind Blowing Decisions" and "The Star of a Story," showcasing tight musicianship, great vocals, and Rod Temperton's brilliant songwriting, though noted for its lack of horns and some critics finding it too polished for its era, with AllMusic giving it 5 stars and Robert Christgau a C-.
The album received universal praise for its quality, with AllMusic calling it a near-perfect R&B gem and Virgin Encyclopedia giving it 5 stars, though Robert Christgau found it somewhat shallow disco.
It features major dance hits like the infectious "The Groove Line" and the soulful mid-tempo "Mind Blowing Decisions". with Rod Temperton's signature songwriting and arrangements, blending dancefloor fillers with beautiful, atmospheric ballads.
It highlights tight, funky musicianship, excellent vocals from the Wilder brothers, and a clean, well-produced sound, often without heavy brass.
Reviewers note its enduring appeal, with tracks like "The Star of a Story" feeling both nostalgic and fresh. Considered a complete album with no weak tracks, perfect for late-night listening.
In Summary, Central Heating is seen as Heatwave's definitive work, capturing the peak of their funk-disco sound with sophisticated production and enduring hits, cementing their legacy before lead singer Johnnie Wilder's accident and Rod Temperton's departure for Quincy Jones.
Change
Written-By – Bob Carter, David Grant 3.52
A2 Change
Written-By – David Grant, Roy Carter 3.55
A3 The Touch
Written-By – Bob Carter, David Grant 4.21
A4 Take Us Back
Written-By – Bob Carter, David Grant 4.07
B1 Under One Flag
Written-By – David Grant, Roy Carter 4.27
B2 Emblems
Written-By – David Grant, Roy Carter 4.02
B3 Thank You
Written-By – Carrie Gray*, David Grant, Martin Taylor 5.09
B4 Ultimate Love
Written-By – David Grant, Roy Carter 4.35
Label: Polydor – POLH 37
Format: Vinyl, LP, Album
Country: UK
Released: 1987
Genre: R&B Soul, Pop
Style: Dance-pop, Soul
David Grant's Change album, released in 1987 by Polydor, is a UK vinyl LP blending Electronic, Funk, and Soul/Pop, featuring tracks like the title song "Change," "Before Too Long," and "The Touch," known for its picture sleeve and inclusion of lyric inner, showcasing a distinct 80s British pop sound with smooth vocals and rhythmic grooves.
The album is known for its highly innovative music and production style, leveraging then-advanced digital techniques and sampled sounds. Grant delivers a strong, soulful vocal performance throughout the tracks. The music has been described as "stop and go", suggesting a rhythmic and dynamic quality.
A solid UK production, offering a polished sound with catchy hooks. The title track "Change" and "Fire Me Up" were prominent singles, with extended "Alternate Mixes" available on 12" vinyl for clubs.
In essence, Change is a staple of 80s UK soulful pop, perfect for fans of smooth, synth-driven R&B and dance music from that era.
Changes
2 Good To Be Back Home (C. Bradley, D. Guy, H. Steinweiss, L. Michels, T. Brenneck, V. Axelrod 3:04)
3 Nobody But You (C. Bradley, D. Guy, H. Steinweiss, L. Michels, N. Movshon, T. Brenneck 4:00)
4 Ain't Gonna Give Up (C. Bradley, D. Guy, H. Steinweiss, L. Michels, N. Movshon, T. Brenneck 3:56)
5 Changes (Ward, Butler, Osbourne, Iommi 5:46)
6 Ain't It A Sin (B. Profilio 3:52)
7 Things We Do For Love (T. Brenneck, WC Schalda 3:31)
8 Crazy For Your Love (C. Bradley, T. Brenneck 4:21)
9 You Think I Don't Know (But I Know) (D. Guy, L. Michels, T. Brenneck, V. Axelrod 3:30)
10 Change For The World (C. Bradley, H. Steinweiss, L. Michels, N. Movshon, N. Wray, T. Brenneck 3:36)
11 Slow Love (P. Schalda, T. Brenneck, WC Schalda 3:38)
Label: Dunham – DUN-1005, Daptone Records – DAP-041
Format: CD, Album
Country: US
Released: 2016
Genre: R&B Soul
Style: Soul, Funk
Changes is the third album by American funk/soul singer Charles Bradley, released on April 1, 2016, via Daptone Records' Dunham imprint. It is a deeply personal and emotional album that features his signature powerful, raspy "Screaming Eagle of Soul" vocals, moving from a sound strictly reverent to '60s soul to something more distinctly his own.
The album is named for Bradley's popular and acclaimed cover of the Black Sabbath song "Changes". Bradley was deeply affected by the lyrics, which he connected to the passing of his mother and the significant shifts in his life, giving his rendition a profound, heartbreaking vulnerability and soul not found in the original.
While firmly rooted in the vintage soul aesthetic of the 1960s and 70s, the album also incorporates elements of psychedelic bass, organ trills, and horn jabs, giving it a more modern and cohesive feel than his previous works. Produced by Thomas Brenneck, the record features contributions from a variety of Daptone house bands, including the Menahan Street Band, the Dap-Kings, the Budos Band, and The Extraordinaires.
Lyrically, the album is highly personal and emotional, touching on themes of love, loss, social justice, and personal transformation. Songs like "Change for the World" carry a powerful, almost sermonic message about social issues and the need for love.
The album was generally well-received by critics, holding an aggregate score of 80 on Metacritic. Reviewers praised Bradley's conviction, the raw power of his voice, and the album's ability to feel both vintage and thrillingly alive.
Changes solidified Charles Bradley's individual artistic voice, showcasing him as a formidable artist in his own right rather than just an impersonator, and remains one of his most recognized and beloved works.
Changin’ Times
A2 Comin' Home (Ike White, John (Obee) O'Brian 3:54)
A3 Antoinette (Ike White 8:48)
B1 I Remember George (Ike White 9:58)
B2 Happy Face (Ike White 5:12)
B3 Love And Affection (Doug Rouch, Greg Errico, Ike White 5:37)
Label: LAX Records – GG 58007
Format: Vinyl LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Funk
Changin' Times is an extraordinary and rare 1974 funk, soul, and R&B album recorded under unique circumstances: entirely inside a maximum-security prison in California. Ike White, a musical prodigy serving a life sentence for murder, recorded the acclaimed album with producer Jerry Goldstein (known for his work with War and Sly and the Family Stone).
The album is praised for its high production quality and is noted for its blend of musical styles, drawing comparisons to artists like Jimi Hendrix and Gil Scott-Heron. Ike White showcased his talent by performing vocals, guitar, and keyboards on the record. The music is described as "spiritual funk" with powerful tracks that stand the test of time.
It was the first-ever commercial album recorded inside an American prison. A mobile recording unit was brought into the prison for the project.
Though it fell into obscurity after its initial release, the album was critically acclaimed at the time. The track "Love and Affection" became popular as a sampling source for hip-hop artists like Ice Cube and Snoop Dogg, contributing to the album's later cult status.
Superstar Stevie Wonder became a big fan of the album and even helped arrange for White's legal representation, which eventually led to his early release from prison. It features a heavy focus on soul and funk with tight instrumentation and production, often leaving listeners wondering why there wasn't more music from the artist.
The album and the enigmatic story behind it are the subject of a highly-rated 2019 documentary, The Changin' Times of Ike White, which further explores the musician's life, his sudden disappearance after prison, and his complex personality.
The original vinyl release is a sought-after collector's item.
Chapter 8
Written-By – Michael Powell 4:46
A2 Ready For Your Love
Written-By – David Washington 4:30
A3 Come On Dance With Me
Written-By – Derek Dirckson 3:39
A4 We Need Love
Written-By – Michael Powell 5:48
B1 I Go Disco
Written-By – Derek Dirckson 5:10
B2 I Just Wanna Be Your Girl
Written-By – Michael Powell 5:03
B3 Come And Boogie
Written-By – David Washington, Michael Powell 3:50
B4 Let's Get Together
Written-By – Michael Powell 3:36
Label: Ariola Records America – SW 50056
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre:
R&B Soul
Style: Soul, Disco, Funk
The 1979 self-titled album Chapter 8 is the debut studio album by the Detroit-based soul and funk band Chapter 8. It is primarily known for featuring the future superstar Anita Baker as one of the lead vocalists.
The album is a sophisticated collection of smooth soul and R&B tunes characterized by quality songwriting, jazzy touches, and a classy sound. It offered a taste of the "sultry, velvet-toned, smoky alto sound" that would later define Anita Baker's solo career. Though only a modest commercial success at the time, it has since become a classic among R&B collectors.
The album included several minor R&B chart hits: "Ready for Your Love" (a duet between Baker and Lyles); "I Just Want to Be Your Girl" (led by Baker); "Don't You Like It".
Shortly after the album's release, Ariola Records was acquired by Arista Records. Arista executives made the notable decision to drop Chapter 8 from the label, reportedly because they felt Anita Baker lacked "star potential". Baker went on to prove them wrong, achieving massive solo success in the 1980s with multi-platinum albums like Rapture.
Choosing You
Written-By – Bernard Thompson, Lenny Williams 3:21
A2 Look Up With Your Mind
Soloist, Flute – William "Bill" Greene
Written-By – Frank Wilson, Judy Wieder 4:40
A3 Choosing You
Soloist, Guitar – Ray E. Parker Jr.
Written-By – Lenny Williams 6:13
A4 Riding The High Wire
Written-By – Frank Wilson, John Footman, Judy Wieder 4:30
B1 Please Don't Tempt Me
Written-By – Art Posey, Frank Wilson, Josef Powell 7:52
B2 I've Been Away From Love Too Long
Written-By – Art Posey, Josef Powell 4:08
B3 Trust In Me
Written-By – Frank Wilson, John Footman, Terri McFaddin 4:14
B4 Problem Solver
Written-By – David Stallings, Lenny Williams 3:50
Label: ABC Records – AB-1023
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Disco
Lenny Williams' 1977 album Choosing You is widely considered a classic of 70s soul and funk, praised for its uplifting, positive vibe, strong dance tracks, and showcasing Williams' powerful, gospel-influenced vocals.
The album was a commercial and critical turning point in Williams' solo career after his departure from Tower of Power.
The LP reached No. 25 on the US Top R&B Albums chart. The title track and "Shoo Doo Fu Fu Ooh!" were particularly popular in clubs and on R&B radio, helping to establish his solo presence. His next album, Spark of Love, would go gold.
Reviewers consistently highlight Williams' "athletic" and unique "fiercely disjointed falsetto style," noting that the album provides an excellent platform for his vocal range, especially on ballads like "Trust in Me" and "I've Been Away For Too Long".
The album is characterized as uptempo, with strong dance and soul-funk cuts. It features high-quality instrumentation, including a notable contribution of signature horn sounds from his former bandmates in the Tower of Power horn section on some tracks. The production by Frank Wilson is also well-regarded.
Many appreciate the album for its positive and spiritual messages on tracks like "Look Up With Your Mind" and "Problem Solver", finding it an inherently "cheery" and "uplifting" listen.
Key Tracks:
"Choosing You": The title track is a popular, hooky, and dance-floor-oriented example of late 70s soul.
"Shoo Doo Fu Fu Ooh! (Oh Yes)": An upbeat, happy singalong track that became one of Williams' signature songs.
"Look Up With Your Mind": Described as a spiritual song with a positive message, often cited as one of the best tracks on the album.
"Problem Solver": A powerful closing track and a signature song for Williams, showcasing his strong vocals.
Overall, the album is considered an essential listen for fans of 70s soul and funk music. Physical and digital copies can often be found on music retail sites like Amazon.
Cissy Houston
Written-By – Burt Bacharach, Hal David 2:15
A2 Didn't We
Written-By – Jim Webb 3:35
A3 I'll Be There
Written-By – Bobby Darin 2:45
A4 Any Guy
Written-By – Melanie Safka 3:35
A5 When Something Is Wrong With My Baby
Written-By – David Porter, Isaac Hayes 3:20
B1 Be My Baby
Written-By – Ellie Greenwich, Jeff Barry, Phil Spector 3:28
B2 This Empty Place
Written-By – Burt Bacharach, Hal David 2:38
B3 The Long And Winding Road
Written-By – John Lennon, Paul McCartney 3:05
B4 Medley He - I Believe
Written-By – Al Stillman, Ervin Drake, Irvin Graham, Jack Richards, Jimmy Shirl, Richard Mullan 3:10
Label: Janus Records – JLS 3001
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul
Style: Seventies Soul
Cissy Houston's 1970 self-titled debut on Janus Records, also known by its UK title Presenting Cissy Houston, is widely regarded as a masterclass in gospel-infused soul. Released following her departure from The Sweet Inspirations, the album showcases her transition from a premier background vocalist to a "bold, righteous lead".
Critics often highlight the album's sophisticated balance of "New York class" and "southern soul".
Houston's delivery is characterized by its enormous feeling, rooted in her gospel background. Reviewers note her ability to be nuanced and beautiful in quieter registers while maintaining a "metallic sheen" that provides immense power during climaxes.
The orchestrations by Bert DeCoteaux are praised for being "state-of-the-art" for the time, allowing Houston to stand at the forefront while providing dramatic swells when needed.
While the tracklist consists largely of covers, critics argue that her "gospel-ish" interpretations make well-worn pop and soul tunes sound fresh.
The album features several standout interpretations of contemporary hits and standards:
"I'll Be There" & "Be My Baby": These tracks became minor hits for Houston during her Janus era.
"I Just Don't Know What to Do with Myself": A notable Bacharach-David cover that showcases her intricate phrasing.
"He / I Believe": A soul/gospel medley often cited as one of her "deepest" performances.
In 2025, the album is celebrated as a foundational piece of soul history. A deluxe double-album reissue titled Legacy: The Complete Janus Works was released in April 2025 to commemorate her career following her passing in late 2024.
Retrospective reviews often note that while Houston "fell through the cracks" of mainstream superstardom at the time, this album remains a "must" for fans of classic soul and those looking to hear the vocal blueprint for her daughter, Whitney Houston.
Closer To You
Written-By – Dash Crofts, James Seals 4:55
A2 Cause You're Mine Now
Written-By – Dan Daley 3:31
A3 A Lover's Question
Written-By – Brook Benton, Jimmy Williams 4:34
A4 How Can I Be A Witness
Written-By – R.B. Hudmon 4:10
B1 Bringing You Your Love
Written-By – Bettye Crutcher 3:30
B2 This Could Be The Night
Written-By – Dan Daley 3:45
B3 Can't You See I Love You
Written-By – Bettye Crutcher, R.B. Hudmon 3:53
B4 I'm Everything You Need
Written-By – Bettye Crutcher 3:11
B5 Groovin' On My Baby's Love
Written-By – Robert L. Holmes, Ted Jarrett 4:29
Label: Cotillion – SD 5204
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre:
R&B Soul
Style: Seventies Soul
The 1978 album Closer To You by R.B. Hudmon is a highly regarded work in the soul music genre, often described as one of the best Motown long-players ever released, despite its release on the Cotillion label. The album is praised for its blend of 1970s soul sounds, quality original songs, and R.B. Hudmon's "introspective vocal style".
Reviews highlight the album as a cohesive and essential listen for soul music enthusiasts.
It is considered an album to "listen to time and again," with many of its best cuts compiled onto the final set.
The record effectively balances mid-paced tunes, where Hudmon is noted to be most at home, with an enjoyable uptempo track, "If You Don't Cheat On Me".
The tracks are noted for their fine soul, with David Porter's "Ain't No Need Of Crying" and "Holdin' On" receiving specific mention for their quality.
Several tracks from the album were released as 7-inch singles, though many are primarily known within the Soul/Northern Soul collector's scenes rather than as major mainstream chart hits.
"How Can I Be a Witness" was a regional hit released originally in 1974 on Tomahawk Records, and re-released in 1975 (Truth Records) and 1976 (Atlantic Records) due to its popularity. It is often described as a superb, laid-back soul track and is a standout song.
"This Could Be The Night" Released as a single on Atlantic in 1977, this "superb, laid back soul-disco jam" was also included on the album.
Cloudy
A2 Creepin' (Stevie Wonder 3:53)
A3 Feel Like Making Love (Eugene McDaniels 6:39)
A4 Make Love To Your Mind (Bill Withers 5:16)
A5 Afraid Of Losing You (M. Sutton, P. Sawyer 2:33)
B1 Let It Flow (B.R. Wright, Martin McNichols, T. W. Stewart 6:53)
B2 Boy You're Growing On Me (B.R. Wright, R. C. Marks, T.W. Stewart 2:31)
B3 Reachin' Out For Your Love ("Touch Me Baby") (Johnny Bristol 2:58)
B4 Woman Driver (S. Eaton, T. Eaton 3:48)
B5 Let It Flow Tamiko (B.R. Wright, Martin McNichols, T. W. Stewart 4:45)
Label: Atlantis Records II – ATL-715
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul
Tamiko Jones' Cloudy album, released in 1977 on the Atlanta-based independent label Atlantis II, is a disco and soul. The album is noted for its slinky, sultry style that effectively merges traditional soul vocals with a more contemporary, orchestra-heavy disco sound.
Tamiko Jones personally put the album together, which features arranging help from Paul Riser and Tommy Stewart. It is characterized by Jones' sultry, sensual and soulful vocals with a "been-there-and-back" quality.
The album includes tight rhythm parts, notable keyboard work, and sweeping strings that give it an orchestral, Salsoul-like feel.
Jones was not only the producer but also the owner of the Atlantis II label, whose output was largely limited to her own releases.
The album marks a transition point in Jones' career towards a more dance-oriented, disco sound, leading up to her later hit "Can't Live Without Your Love". The track "Let It Flow" became a notable dance floor classic.
Come Get It!
A2 You And I 8:04
A3 Sexy Lady 3:49
A4 Dream Maker 5:14
B1 Be My Lady 4:46
B2 Mary Jane 4:58
B3 Hollywood 7:25
B4 Stone City Band, Bye! 1:06
Label: Gordy – G7-981R1
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
Rick James's 1978 debut album Come Get It! is a vibrant "punk-funk" fusion that blends funk, disco, and soul with a brash, rock-influenced energy. The album, a commercial success, established James's unique sound and flamboyant persona, and features two of his most iconic songs, "You and I" and "Mary Jane".
The album introduced Rick James's self-proclaimed "punk-funk" style, characterized by aggressive energy, a heavier guitar sound, snappy basslines, and a rock-star personality.
It is primarily a funk and soul album, but also incorporates elements of P-Funk, disco, and even reggae. The arrangements are tight, featuring crisp horn sections, synth-bass grooves, and a punchy, danceable quality.
The album explores various themes, including love and relationships in tracks like "You and I," an homage to marijuana in "Mary Jane," and an open letter to his mother about his ambitions of fame in "Hollywood".
Reviewers praise James's passionate vocals and the interesting vocal lines, often in coordination with backup vocalists.
Key Tracks
"You and I": A monumental, eight-plus-minute track that was James's first R&B chart-topper. It is praised for its "colossal synth-bass groove" and James's "boa-tossing vocal panache".
"Mary Jane": A breezy, signature tune and homage to marijuana, it features a romantic string section, airy flutes, and a strong Fender bass thrum, eventually incorporating a scratchy reggae vibe.
"Hollywood": This song fades out with a swaying reggae beat and serves as a personal statement about James's aspirations for success.
The album was a critical and commercial triumph, earning double platinum certification and successfully launching Rick James's prolific career at Motown's Gordy subsidiary.
Come Get To This
Written-By – Marvin Gaye 3:00
A2 All My Love Comes Down
Written-By – B. Page, G. Page 4:03
A3 Don't Let Me Be Lonely Tonight
Written-By – James Taylor 3:21
A4 If I Ever Lose This Heaven
Written-By – L. Ware, P. Sawyer 4:35
A5 Happy Tears
Written-By – B. Page, G. Page 4:06
B1 Houdini Of The Midnite Hour
Written-By – B. Page, G. Page 3:27
B2 This Time Last Summer
Written-By – Jim Web 4:00
B3 He Called Me Baby
Written-By – Harlan Howard 3:51
B4 Like A Circle Never Stops
Featuring – Jennifer Hicklin, John Merlino, Kevin Ward
Written-By – B. Page, G. Page 3:30
B5 Boogeyin' All The Way
Written-By – B. Page, G. Page 3:22
Label: Capitol Records – ST-11386
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul, Pop
Style: Seventies Soul, Jazz
Nancy Wilson's 1975 album Come Get to This is a successful shift into contemporary R&B and soul, earning praise for its lush production and strong vocals, though some critics initially found it inauthentic compared to her jazz roots. Highlights include her cover of James Taylor's "Don't Let Me Be Lonely Tonight," the funky "Boogeyin' All The Way," and the Marvin Gaye-penned title track, all arranged by Gene Page. The album was commercially successful, reaching the #14 spot on Billboard's Soul chart, and has since been recognized as one of her greatest works.
Many reviewers praised the album's tight arrangements, soulful and powerful vocals, and its funky R&B sound. It was a commercial success, reaching No. 14 on the Billboard Soul chart. Over time, it has been recognized as one of Wilson's most significant albums.
Some critics initially felt the album's move toward R&B and disco was a calculated attempt to maintain popularity and was less authentic than her jazz work. Some critics noted that while Come Get to This was a great album, its predecessor, All in Love Is Fair, was more cohesive. The sound quality of the recording itself has been praised, with the mix, balance of instruments, and clarity of vocals receiving high marks.
Key tracks
"Don't Let Me Be Lonely Tonight": A strong and gutsy cover of the James Taylor song.
"Houdini Of The Midnight Hour": A standout track with a strong arrangement, considered a highlight by some critics.
"Boogeyin' All The Way": Described as fine and funky, it's the album's finale and a fan favorite.
"He Called Me Baby": A notable track featured on the album.
Title track, "Come Get to This": Written by Marvin Gaye, the title track is a highlight of the album.
The album's legacy has grown significantly over time:
It has been noted as one of the most sampled records in hip-hop music.
It was nominated for Album of the Year at the 18th Annual Grammy Awards in 1976.
It was inducted into the Grammy Hall of Fame in 2004 and included in the Library of Congress' National Recording Registry in 2007.
Music outlets like AllMusic praise the album's "lush and expressive R&B" that bridges the gap between jazz and soul audiences.
Comin’ Down On You
A2 Touchin' You (D. Jordan, P. Adams 3:20)
A3 Too Sad To Tell (M. Irby, Jr., T. Philips 2:25)
A4 Second To None (M. Irby, Jr. 3:40)
A5 Romance Without Finance (D. Jordan*, P. Adams 2:40)
B1 Leaving Him Tomorrow (E. Wagman, T. Kaye 4:10)
B2 No Deposit, No Return (D. Jordan, P. Adams 2:40)
B3 Eye Doctor (M. Irby, Jr. 4:10)
B4 Jeremiah (M. Irby, Jr. 4:00)
Label: Today Records – TLP 1007
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul
Comin' Down On You is an acclaimed soul/funk album by singer Debbie Taylor, notable as an important early production effort by the legendary Patrick Adams. The record stands out as her primary legacy in the soul scene and is prized by collectors for its raw, authentic East Coast sound.
The album features a raw, hard soul production style, typical of the Today/Perception labels at the time. The sound is described as having a "rough-edged" quality, particularly on the mellower ballads, similar to Adams' work with the group Black Ivory.
Taylor's singing is characterized as "earthy," "personal," and completely authentic, avoiding common soul clichés. The jacket notes describe her as "a beautiful human being, holding nothing back - giving it all".
Coming Back
2 When A Woman's In Love 4:52
3 Sweet Ecstasy 3:38
4 Tell Me Why 4:38
5 Where Is Your Love 4:57
6 Getting On With My Own Life 5:37
7 You Threw Our Love Away 4:30
8 Somewhere Alone Tonight 4:05
9 Free 3:30
10 Merry Go Round 4:25
11 Could Have Been Right 4:56
12 All I Want 4:20
Label: ARP – ARPCD 02
Format: CD, Album
Country: UK
Released: 1992
Genre: R&B Soul, Funk
Style: Downtempo, Contemporary R&B
Coming Back is the fifth studio album by the American R&B vocal trio The Jones Girls, released in 1992. The album marked a reunion for the sisters (Shirley, Valorie, and Brenda) after the group had effectively disbanded in the mid-1980s when lead singer Shirley Jones pursued a solo career.
The album's creation was inspired by a successful live concert the group performed at the Dominion Theatre in London in 1992. This live event led them to collaborate with various musicians and producers involved in the burgeoning British R&B music scene at the time, including Jazzie B of Soul II Soul, Errol Henry, Steve Carmichael (The Affair), and Funhill.
Coming Back is described as an underrated soul album of the 1990s, blending their classic Motown and Philly soul harmonies with contemporary R&B production.
The album represents The Jones Girls' engagement with the U.K.'s exploding R&B and electronic music scene at the time. The group worked with producers and musicians such as Jazzie B (Soul II Soul), Errol Henry, Steve Carmichael, and Funnell.
It is considered an overlooked gem of the 1990s soul music.
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Coming Back For More
Written-By – Paul Mitchell, William Bell 3:28
A2 If Sex Was All We Had
Written-By – Paul Mitchell, William Bell 6:19
A3 Relax
Written-By – James McDuffie, Paul Mitchell, William Bell 3:01
A4 You Don't Miss Your Water
Written-By – William Bell 5:03
A5 Malnutrition
Written-By – William Bell 3:06
B1 Coming Back For More
Written-By – Paul Mitchell, William Bell 3:15
B2 Just Another Way To Feel
Written-By – Paul Mitchell 6:05
B3 I Absotively, Posolutely Love You
Written-By – Paul Mitchell, William Bell 3:18
B4 I Wake Up Cryin'
Written-By – Burt Bacharach / Hal David 3:52
B5 You've Really Got A Hold On Me
Written-By – William "Smokey" Robinson 3:03
Label: Mercury – SRM-1-1146
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Southern Soul
Coming Back for More is a soul album by American singer William Bell, often noted as his commercial and artistic peak. It was released on the Mercury label and produced by Bell himself and Paul Mitchell.
Billed on its original release as Bell's comeback album, Coming Back for More showcases a distinct 1970s soul sound, moving away from his earlier Stax Records Memphis/Southern Soul style. The album is characterized by Bell's warm, soulful voice shining through tracks that mix traditional soul with funk influences and lush string arrangements.
The album's success was driven largely by its biggest single, "Tryin' to Love Two," which was his most commercially successful song and a Top 40 hit, reaching number 10 on the Billboard R&B chart. The album itself peaked at No. 63 on the Billboard 200 chart.
Most of the songs on the album were written by Bell and co-producer Paul Mitchell, and it also features remakes of his early Stax hit "You Don't Miss Your Water" and the Smokey Robinson classic "You've Really Got a Hold on Me".
Considered a strong entry in his catalog, a great representation of 70s soul, and a testament to Bell's lasting appeal as a soul singer, Coming Back for More is a beloved album for its blend of classic soul emotion with 70s production, solidifying William Bell's status as a timeless artist, especially for fans of melodic, heartfelt soul music.
Coming Home
Written-By – Taj Jackson, Mikkel S. Eriksen, Tor Erik Hermansen 3:20
2 Sweet Vacation
Written-By – Robert Ozuna, Lionel Richie, Raphael Saadiq 3:55
3 Why
Written-By – Chuckii Booker, Lionel Richie, Sean Garrett 4:01
4 What You Are
Written-By – Jermaine Dupri, Johnta Austin, Manuel Seal 4:13
5 Up All Night
Written-By – Chuckii Booker, Lionel Richie, Sean Garrett 3:36
6 I'm Coming Home
Written-By – Chuckii Booker, Lionel Richie 4:18
7 All Around The World
Written-By – Lionel Richie, Roberto Sam Screnci 3:34
8 Out Of My Head
Written-By – Lionel Richie 3:16
9 Reason To Believe
Written-By – Dallas Austin, Lionel Richie, Tony Reyes 4:47
10 Stand Down
Written-By – Dallas Austin, Lionel Richie 4:03
11 I Love You
Written-By – Lionel Richie 4:13
12 I Apologize
Written-By – Jerry Duplessis, Latavia Parker, Wyclef Jean 3:38
Label:
Island Def Jam Music Group – B0006484-02
Format: CD, Album
Country: US
Released: 2006
Genre: R&B Soul
Style: Soul, Contemporary R&B
Coming Home (2006) is Lionel Richie's eighth studio album, marking a return to his R&B and soul roots with contemporary production, blending smooth vocals, heartfelt lyrics, and collaborations with hitmakers like Stargate, Jermaine Dupri, and Dallas Austin, featuring singles like "I Call It Love" and "Why". The album showcases his classic style alongside modern sounds, appealing to both longtime fans and new listeners of 2000s R&B.
Producers: A mix of legends and modern hitmakers, including Stargate, Rodney Jerkins, Raphael Saadiq, Chuckii Booker, and Richie himself.
Features a blend of Richie's signature romantic ballads with more rhythmic, modern R&B tracks, maintaining his soulful essence, led by the popular "I Call It Love" and the emotional "Why".
A successful comeback album that re-established Richie's relevance in the contemporary music scene, offering familiar melodies with a fresh sound.
In essence, Coming Home is described as a soulful journey back to form for Lionel Richie, successfully merging his classic appeal with current R&B trends, making it a beloved addition to his discography.
Could It Be Magic
A2 Never Repay Your Love (B. Hawes 3:49)
A3 Could It Be Magic (A. Anderson, B. Manilow 4:48)
A4 Stop And Think It Over (J.B. Jefferson, S. Marshall 4:21)
A5 There Will Never Be Another (A. Felder, A. White, R. Tyson 3:50)
B1 Never Let You Get Away From Me (A. Felder, B. Sigler, N. Harris, R. Tyson 3:01)
B2 Love Grows Strong (P. Terry, T. Conway, T. Life 7:26)
B3 Yes You Need Love (B. Hawes, C. Simmons, S. Marshall 3:34)
B4 I'm So Much In Love With You (S. Marshall, T. Wortham 4:44)
B5 Only Child's Play (P. Terry, T. Conway, T. Life 4:03)
Label: Philadelphia International Records – PZ 33841
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Disco
The album Could It Be Magic by Anthony White is a classic Philly Soul and modern soul record released on the Philadelphia International Records label. Released in 1976 (some sources also list late 1975), this was White's only album release and is a smooth soul set produced and arranged by the Gamble & Huff team, featuring White's deep, rich vocals.
The album showcases the signature Philadelphia International sound, with lush arrangements, strong grooves, and a mix of ballads and uptempo soul tracks. Music critics consider it an excellent example of 70s Philly soul and a "masterpiece" by some fans. The material on the album highlights an early turn for the label towards the modern soul style that would continue into the 1980s.
The album was primarily recorded at Sigma Sound Studios in Philadelphia, Pennsylvania, a hub for the Philly Soul sound. The production quality is high, characteristic of the era and the label's output.
Cross My Heart
A2 Tell Me The Truth (Billy Stewart 2:47)
A3 Fat Boy's Boogaloo (Billy Stewart 2:37)
A4 Why Do I Love You So (Stewart, Miner, Marks 3:30)
A5 Crazy 'Bout You Baby (Dorian Burton, Herman Kelly 2:35)
A6 Tell It Like It Is (Calvin Ruffin 3:05)
B1 Why Am I So Lonely (Billy Stewart 2:13)
B2 I'm In Love (Oh Yes I Am) Billy Stewart 2:55)
B3 You've Got Such Good Lovin' (Leonard Caston, Lloyd Weber 3:04)
B4 What Have I Done (Curtis McCormick, Fred Cash 2:48)
B5 By The Time I Get To Phoenix (J. Webb 4:05)
B6 How Nice It Is (Billy Stewart 3:05)
Label: Chess – CH 50059
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Sixties Soul
Cross My Heart by Billy Stewart is a 1974 posthumous compilation album featuring R&B and Northern Soul tracks recorded on the Chess label during the 1960s. It was not a contemporary studio album released during his lifetime, but rather a collection of previously recorded material released after his death in a 1970 car accident.
The album showcases Billy Stewart's unique, idiosyncratic vocal style, which included "word-doubling," scatting, and trilling his lips. The tracks feature brassy arrangements that blend soul with big-band jazz elements, and Maurice White of Earth, Wind & Fire plays drums on some tracks.
Critics and fans appreciate the album for capturing Stewart's unique talent and for its well-crafted soul ballads and mid-tempo ditties. The songs are known for their strong instrumental support (including horns and string sections) and Billy Stewart's powerful, soulful vocals. The original title track "Cross My Heart" is a romantic ballad about finding lasting love, described as a "tearjerker" with a "soulful howl" on the fade.
The album has often been reissued, sometimes combined with his 1966 album Unbelievable as a two-for-one CD compilation titled Unbelievable / Cross My Heart: The Chess Masterpieces.
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.
Darrell Randle – Do You Remember The Good Times
Written-By – Darrell Randle 6:12
A2 Keep Me Running
Rap – Tony Haynes
Written-By – Phillip Bailey, Robert Brookings, Tony Haynes 4:52
A3 Choose Your Lover
Rap – Tony Haynes
Written-By – Darrell Randle 4:36
A4 Don't Tempt Me
Written-By – Darrell Randle, Sheldon M. Reynolds 4:01
B1 Take A Ride
Written-By – Darrell Randle, Sheldon M. Reynolds 5:46
B2 Victim Of Love
Written-By – Darrell Randle 4:52
B3 Everlasting Love
Lead Vocals – Darrck M. Laughlin, Sheldon M. Reynolds
Written-By – Darrell Randle, Donald Tavie, Nidra Sylvers 4:28
Label: Macola Record Co. – SR-3000
Format: Vinyl, LP, Album
Country: US
Released: 1987
Genre: R&B Soul, Funk
Style: Electronic, Funk
Boogie/modern soul on legendary west coast label Macola Records. Plenty of heat for the funksters and slow jammers alike. Hard to come by!
The album is a notable record within the funk genre released by Macola, a record company known for distributing various independent and niche releases, particularly in the 1980s.
Dave Godin's Deep Soul Treasures (Taken From The Vaults) Vol. 1
2 Timmy Willis– Easy As Saying 1-2-3 (Timmy Willis 3:05)
3 Zerben R Hicks And The Dynamics– Lights Out (Larry Banks 2:51)
4 Irma Thomas– Anyone Who Knows What Love Is (Will Understand) (Jeannie Seeley, Judith Arbuckle, Pat Sheeran, Randy Newman 2:57)
5 Jean Wells– Have A Little Mercy (Clyde Otis, Dorian Burton 2:35)
6 Dori Grayson– Try Love (Willie Ray James 2:36)
7 Brendetta Davis– I Can't Make It Without Him (Barry White, Vernon Jones 3:09)
8 Kenny Carter– Showdown (Larry Banks, Milton Bennett 2:49)
9 Larry Banks– I'm Not The One (Fred Skau, Joan Banks, Larry Banks 2:54)
10 Jimmy Holiday– The Turning Point (Jimmy Holiday 2:46)
11 The Incredibles– Standing Here Crying (Cal Waymon 2:29)
12 The Just Brothers– She Broke His Heart (Fred Bridges, Richard Beasley 2:27)
13 The Untouchables– You're On Top (Brice Coefield, Chester Pipkin 2:28)
14 Reuben Bell And The Casanovas– It's Not That Easy (Reuben Bell 2:24)
15 Van & Titus– Cry Baby Cry (Buzz Cason, Mac Gayden 3:21)
16 Jean Stanback– I Still Love You (Edgar Campbell 2:30)
17 Bessie Banks– Try To Leave Me If You Can (I Bet You Can't Do It) (Frank Green, Herman Wesley Kelley 4:34)
18 Raw Spitt– Songs To Sing (Jerry Williams, Troy Davis 4:16)
19 Lee Moses– How Much Longer (Must I Wait) (Lee Moses 2:36)
20 Billy Young (2)– Nothing's Too Much (Nothing's Too Good) (William D. Young 2:06)
21 Sam & Bill– I Feel Like Cryin' (Jesse Wilson 2:32)
22 Eddie & Ernie– I'm Goin' For Myself (Bert Keyes 3:35)
23 The Knight Brothers– Tried So Hard To Please Her (Elward Tobe, James Leon Diggs, Patricia Stokes 2:37)
24 Pearlean Gray & The Passengers– The Love Of My Man (Ed Townsend 2:48)
25 Jaibi– You Got Me (Herman Wesley Kelley, Larry Banks 2:36)
Label: Kent Soul – CDKEND 143
Series: Dave Godin's Deep Soul Treasures
Format: CD, Compilation
Country: UK
Released: 1997
Genre: R&B Soul
Style: Southern Soul, Deep Soul
Dave Godin's Deep Soul Treasures Vol. 1 is an acclaimed compilation album that curates a selection of rare, emotionally intense "deep soul" ballads from the 1960s, a style of music characterized by its heart-wrenching themes of love, loss, and life.
The album, released in 1997 by Kent Records, was a "labour of love" for the compiler Dave Godin, a prominent figure in the British Northern Soul scene who coined the term "deep soul". The tracks are not typically well-known hits, but rather overlooked "treasures" that Godin believed possessed a profound emotional honesty and intensity. The music has been described as an "uncompromising style" which, like the blues, adheres to a strict code of ethics in its raw expression of feeling. Godin considered this music a form of "therapy," allowing listeners to confront difficult emotions through the artistic expression of the performers.
The album features 25 tracks from various artists, including Irma Thomas, Bessie Banks, and Eddie & Ernie. Some of these artists made their UK debut with this compilation.
Deliver The Word
A2 In Your Eyes 4:22
A3 Gypsy Man 11:35
B1 Me And Baby Brother 3:30
B2 Deliver The Word 7:48
B3 Southern Part Of Texas 6:22
B4 Blisters 2:21
Written-By – War [B3 Written-By Jerry Goldstein]
Label: United Artists Records – UA-LA128-F
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul, Jazz-Funk
Deliver the Word is a critically acclaimed 1973 album by War, praised for its seamless fusion of funk, soul, jazz, Latin, and rock. While some critics don't consider it their absolute best work (often ranking it below The World Is a Ghetto or All Day Music), it is a highly regarded, strong contender that solidified the band's commercial success.
The album is a prime example of War at their best, blending diverse musical styles into a cohesive, laid-back "low-rider" groove that is both experimental and highly effective.
Engineered by Chris Huston, the album is noted for its exceptional audio quality, featuring rich, punchy bass, clear instrumentation, and significant dynamic range. The musicianship of the integrated, multi-talented band is a consistent highlight.
Standout Tracks:
"Gypsy Man": An over 11-minute "sprawling epic" and fan favorite, it evolves from a simple beat into a relentless, conga-driven groove, showcasing Lee Oskar's harmonica and ensemble vocals. It's often cited as one of their best recordings.
"Me and Baby Brother": A classic, funky track and a studio recording of a live staple, praised for its rhythm and energy.
"Deliver the Word": The title track is a sublime, jazz-infused ballad that delivers social commentary along with a great tune.
The track "In Your Eyes" is occasionally mentioned as a weaker or "off-center" track due to a prominent synthesizer riff that some find annoying.
Deliver the Word successfully followed up the band's massive hit The World Is a Ghetto, becoming their third consecutive gold LP. It delivers a compelling vibe and a groove that is hard to resist, making it an essential listen for fans of funk and jazz-rock fusion. Many reviewers highly recommend the album for its immersive, rich sound experience, particularly on good quality vinyl pressings.
Delores Hall
A2 Born To Be Free 5:50
A3 Snapshot 7:58
B1 I Can't Live Without Your Love 7:24
B2 Sing A Happy Song 4:00
B3 Never Gonna Let You Go 4:15
B4 Like A Promise 4:38
Label: Capitol Records – ST-11997
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Seventies Soul, Disco, Funk
Delores Hall's self-titled 1979 album, released on Capitol Records, is an excellent disco, funk, and soul record that showcases her powerful vocals and a rich musical arrangement. The album blends R&B ballads with upbeat dance-oriented tracks.
The album features a mix of R&B, soul, funk, and disco styles, reflecting the popular sounds of the late 1970s. It was produced by Robert Thiele Jr. and Mark Kamins, with notable musical contributions, including background vocal arrangements by the legendary Luther Vandross.
The tracks were recorded at mediaound and the Record Plant in NYC, with mastering by Tom Coyne at Frankford/Wayne Mastering Labs.
Several songs from the album were released as singles and are considered highlights:
"Snapshot" This track is a popular and well-regarded disco song, often highlighted for its infectious rhythm and Hall's powerful delivery.
"I Can't Live Without Your Love" Another significant single, this track has a strong dance groove.
"Born to Be Free" This track is a testament to the human spirit's resilience, with a memorable and uplifting chorus.
"Never Needed You Anyway" The album opens with this track, which also saw a single release.
The album is praised for its range of styles, allowing Hall's expressive and powerful voice to shine on everything from dynamic dance numbers to soulful ballads. The overall reception from collectors and fans is very positive, with high average ratings on music databases like Discogs.
Devotion
Arranged By [Horns] – Bobby Martin
Written-By – Abraham J. Miller, Jr., Jeffrey L. Osborne, John T. McGhee 5:18
A2 Share My Love
Arranged By [Strings] – James E. Davis
Written-By – Alvino M. Bennett
Written-By, Arranged By [Horns] – Henry E. Davis 4:20
A3 Stand Up L.T.D.
Arranged By [Horns] – Jake Riley
Written-By – L.T.D. 4:43
A4 Say That You'll Be Mine
Arranged By [Strings] – Bobby Martin
Written-By – Jeffrey L. Osborne
Written-By, Arranged By [Horns] – Henry E. Davis 5:04
B1 Dance 'N' Sing 'N'
Arranged By [Strings] – Bobby Martin
Written-By – Jeffrey L. Osborne
Written-By, Arranged By [Horns] – Jake Riley 5:32
B2 Sometimes
Arranged By [Horns, Strings] – Bobby Martin
Written-By – William M. Osborne, Jeffrey L. Osborne 3:09
B3 Promise You'll Stay
Arranged By [Strings] – Bobby Martin
Written-By, Arranged By [Horns] – Jeffrey L. Osborne, James E. Davis 3:20
B4 Stranger
Arranged By [Horns, Strings] – James E. Davis
Written-By – Jake Riley, Jeffrey L. Osborne 4:29
B5 Feel It
Arranged By [Strings] – Bobby Martin
Written-By, Arranged By [Horns] – William M. Osborne, Carle W. Vickers 3:44
Label: A&M Records – SP-4771
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Seventies Soul, Disco, Funk
L.T.D.'s 1979 album, Devotion, is a key R&B/Funk release featuring Jeffrey Osborne on lead vocals, known for danceable tracks like "Dance 'N' Sing 'N'" and soulful singles such as "Stranger," showcasing the band's signature blend of upbeat funk and smooth ballads, cementing their status as a prominent '70s group before Osborne's departure, with the album hitting #5 on the R&B charts.
A strong mix of infectious funk rhythms and classic soulful ballads, characteristic of L.T.D.'s sound., showcasing their ability to deliver both dancefloor fillers and heartfelt slower songs, it Reached #5 on the R&B Albums chart and #29 on the Billboard 200.
Devotion highlighted L.T.D.'s musical versatility, with fans praising its energetic funk and Osborne's smooth delivery.
It was a significant album leading up to Jeffrey Osborne's eventual departure, with some suggesting a slight shift in focus, though still maintaining high quality.
The album is often bundled with other L.T.D. classics like Something to Love and Shine On, making it a staple for fans of '70s R&B.
While some reviews noted the album felt slightly "uneven" and hinted at Jeffrey Osborne's potential disinterest near the end of his tenure with the group, it is still considered a "must have album" from the band's catalog by fans and critics. The album's strong tracks and the quality of Osborne's vocals contributed to its commercial success and lasting appeal within the R&B community.
Different Strokes For Different Folks
A2 Daddy Please Don't Go Out Tonight (Eva Darby 4:30)
A3 Why Did You Put Shoes Under My Head (Don Covay 3:42)
A4 Stop By (Don Covay, Jimmy Norman 3:20)
A5 Bad Luck (Don Covay 4:15)
A6 Hitching A Ride (Peter Callander, Mitch Murray 3:50)
B1 Standing In The Grits Line (Don Covay 4:15)
B2 In The Sweet Bye & Bye (Don Covay 7:15)
B3 Ain't Nothing A Young Girl Can Do (Don Covay 3:05)
B4 If There's A Will There's A Way (Don Covay, Donny Hathaway 3:33)
B5 What's In The Headlines (Don Covay 4:45)
Label: Janus Records – JLS-3038
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul, Funk
The album Different Strokes for Different Folks by Don Covay and The Jefferson Lemon Blues Band is a 1972 release that presents an eclectic blend of funk, soul, gospel, rock, and blues, known for its raw, gritty, and hardened edge. It is considered a hidden gem that bridged the gap between different musical styles of the era.
Following his departure from Atlantic Records, Don Covay, an immensely influential songwriter known for hits like Aretha Franklin's "Chain of Fools," released this album as his second collaboration with the Jefferson Lemon Blues Band on the Janus label. The album was largely recorded at the prestigious Muscle Shoals Studios in Alabama, utilizing the renowned studio musicians known as the Swampers.
The record stands out for its versatile sound, blending Southern R&B with a distinct, raw vibe that defies easy categorization. Covay's vocals range from a gritty, powerful tone in hard funk tracks like "Hitching a Ride" to a warm, gentle touch in ballads such as "Stop By". The songwriting is also notable for its depth, as seen in "Daddy, Please Don't Go Out Tonight," which tells the poignant story of a veteran adjusting to civilian life, and the socially conscious "What's In The Headlines".
Do Me Right
A2 Wear This Ring (With Love) (A. Tilmon, J. Mitchell 3:13)
A3 Long Live The King (A. Tilmon, S. Beatty, T. Grazcyk 3:30)
A4 What You Gonna Do About Me (. Garrett 3:17)
A5 You Can't Take This Love For You, From Me (A. Tilmon, S. Beatty, T. Grazcyk 3:12)
A6 Just Now And Then (A. Tilmon 3:21)
B1 Lee (A. Tilmon, S. Beatty, T. Grazcyk 2:48)
B2 If I Lose Your Love (A. Tilmon, J. Mitchell 3:16)
B3 And I Love Her (J. Lennon, P. McCartney 3:15)
B4 I Can't See Myself (Doing Without You) (W. Garrett 3:18)
B5 Holding On (H. Weems, N. Toney 2:42)
B6 Admit Your Love Is Gone (A. Tilmon, S. Beatty, T. Grazcyk 3:11)
Label: Westbound Records – WB 2006
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Soul
Style: Seventies Soul
Do Me Right is the debut studio album by American vocal group the Detroit Emeralds, released in 1971 through Westbound Records. The album is an "unmistakable classic of sophisticated soul" and is recognized for its impeccable songwriting, vocal arrangements, and a strong backing band. It successfully launched several chart hits.
The album was produced by Katouzzion, with arrangements and conducting by A. Tilmon, S. Sanders, and W. Mitchell.
It produced several successful singles, including the title track, "Do Me Right," which reached No. 7 on the R&B chart, and "Wear This Ring (With Love)," which reached No. 18 on the R&B chart. Other tracks like "If I Lose Your Love" also charted.
The album was a commercial success, reaching No. 23 on the R&B albums chart and No. 151 on the Billboard 200.
Do You Still Feel The Same Way
A2 Do We Have A Future 2:25
A3 You Came Just In Time 2:37
A4 She Don't Have To See You 3:10
A5 You Can Only Do Wrong So Long 2:39
A6 You Can't Have Your Cake (And Eat It Too) 3:31
B1 You Brought It All On Yourself 3:49
B2 That's All A Part Of Loving Him 3:15
B3 That's How Strong My Love Is 3:16
B4 Hit And Run Lover 2:30
B5 Everybody's Got A Little Devil In Their Soul 3:36
Written by Bobby Patterson (tracks: A1 to B2, B4, B5), Jerry Strickland (tracks: A1 to B2, B4, B5), Roosevelt Jamison
Label: Soul Power – LPS 3316
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Southern Soul
Tommie Young's 1973 album Do You Still Feel The Same Way is a highly regarded classic of Southern Soul music, celebrated for her powerful, gospel-rooted vocals and raw emotional intensity. Critics and fans praise it as a hidden gem that deserved more recognition upon its initial release.
Young's voice is the centerpiece of the album, drawing frequent comparisons to a young Aretha Franklin due to its power, scale, and deep gospel influence. However, some reviewers note her style is a little more "down-home" and avoids the "over-souling" indulgences that could sometimes be attributed to Franklin. Her ability to convey raw emotion is consistently highlighted as a major strength.
The album is a quintessential example of early 1970s Southern Soul. It was produced by Bobby Patterson, who co-wrote most of the tracks, at the Jewel label in Shreveport, Louisiana. The production features sympathetic horns, harmonizing backup vocals (including Dorothy Moore), and arrangements that perfectly complement Young's punchy, expressive singing.
Key Tracks:
The title track and opener, "Do You Still Feel The Same Way", showcases her soaring, powerful vocals.
"That's How Strong My Love Is", an O.V. Wright classic, is noted as a beautiful soul ballad where she displays both power and tenderness.
"Hit and Run Lover" is a lively, mid-tempo track that gained popularity in the 1990s "free soul" scene.
"She Don't Have to See You (To See Through You)" is a standout "cheating song" that exemplifies the album's strong lyricism and emotional delivery.
Despite being recorded for a minor label in an era saturated with talented female soul singers, the album has built a strong reputation over time. Retrospective reviews often group Tommie Young with other great soul divas like Millie Jackson, Denise Lasalle, and Shirley Brown.
Overall, Do You Still Feel The Same Way is considered a superb, timeless Southern Soul record that has aged well. It is a highly recommended listen for "real soul lovers" who appreciate music "dripping with emotion". Many reissues are available for purchase from retailers like Amazon or Dusty Groove.
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.
Don’t Burn Me
A2 (You Bring Me) Joy 3:52
A3 I Wanna Get Next To You 3:20
A4 I Could Never Love Nobody Like I'm Lovin' You 3:21
A5 Come With Me 2:20
A6 Love Me Now 3:22
B1 Wrapped Up In Your Love 4:21
B2 Sweetness 3:24
B3 Come By Here 3:26
B4 My Love For You Won't Die 3:20
B5 I'd Be Satisfied 2:41
B6 Don't Burn Me 2:55
Written by Paul Kelly
Label: Warner Bros. Records – BS 2689
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul
Paul Kelly's 1973 album, Don't Burn Me, stands out as a soulful, gospel-tinged record that was ahead of its time, blending lover-man vibes with deep-cut emotional themes, making it a highly sought-after gem for its heartfelt lyrics and powerful delivery, especially significant for its rarity on vinyl before digital availability. While some reviews focus on later works or general Kelly style, Don't Burn Me is lauded as a deeply satisfying listen for fans of soul, gospel, and poignant storytelling, showcasing Kelly's early mastery of universal themes with a uniquely personal touch.
It mixes soul and Southern Gospel with folk and country, showcasing Kelly's rich vocal performance and instrumental arrangements.
The album tackles personal struggles and universal feelings, with tracks exploring addiction, love, and human frailty, reflecting Kelly's ongoing theme of chronicling life.
Even early on, Kelly used evocative lyrics to create vivid scenes, though some later songs might leave gaps for listener interpretation, a signature trait.
Originally a vinyl-only release, it became a collector's item, but its availability via digital downloads made it accessible to a wider audience.
The album is seen as a pivotal early work, demonstrating the depth and breadth that would define Kelly's long and influential career.
In essence, Don't Burn Me is a treasured piece of Paul Kelly's catalog, celebrated for its exquisite soul-gospel fusion and profound, resonant songwriting, making it a must-hear for any serious fan of Australian music or classic soul.
Don’t Look Back
02 Love Is A Beautiful Thing (S. Swirsky 5:28)
03 Waiting On You (A. Green, D. Steele 3:30)
04 What Does It Take (A. Green, D. Steele 4:13)
05 Keep On Pushing Love (A. Green, A. Baker, L. Golden, T. Farragher 5:09)
06 You Are My Everything (A. Green 5:18)
07 One Love (A. Green, D. Steele 3:46)
08 People In The World (Keep On Lovin' You) (A. Green, D. Steele 4:08)
09 Give It Everything (A. Green, D. Steele 5:34)
10 Your Love (Is More Than I Ever Hoped For) (A. Green, D. Steele 5:08)
11 Fountain Of Love (A. Glass, J. Roberts 4:59)
12 Don't Look Back (R. White, W. "Smokey" Robinson 4:40)
13 Love In Motion (A. Roman, A. Jacobson, E. Chase 4:33)
Label: RCA/BMG – 74321 16310 2
Format: CD, Album
Country: Europe
Released: 1993
Genre: R&B Soul
Style: Southern Soul
Don't Look Back is a 1993 album by Al Green, notable as his first full-fledged soul album since the late 1970s, marking a significant return to secular music after over a decade focused on his ministry and gospel recordings.
The album features a contemporary 1990s feel and arrangements while maintaining Green's signature soulful vocals. It is a blend of traditional soul with contemporary pop, electronic, house, and disco elements, reflecting the production styles of the early 90s. The production, handled by various individuals including Terry Manning and Arthur Baker, incorporates synthesizers and programmed beats, giving it a distinct feel from his classic 1970s work with Willie Mitchell.
Despite the updated sound, Green's voice remains a central element, described as still powerful and capable of delivering the tenderness and emotion that defined his career. The album includes eight songs written or co-written by Green, alongside covers such as the title track, a version of the Smokey Robinson song.
Don't Look Back has been described as a positive, upbeat album by critics and fans, though it remains a lesser-known part of his extensive discography compared to his 1970s hit albums.
Al Green's album Don't Look Back was never released in the United States as a standalone album because its tracks were incorporated into his subsequent 1995 US release, Your Heart's in Good Hands.
The 1993 album was released by RCA exclusively in Europe. When Green signed a new deal with MCA Records for his return to secular music in the US, the decision was made to repackage most of the material for the American market.
Eight of the thirteen tracks from Don't Look Back were included on the 1995 US album Your Heart's in Good Hands. The US album supplemented these tracks with two new, exclusive songs produced by Narada Michael Walden and DeVante Swing.
Critics noted that the various producers involved in the European album had different visions, attempting to fit Green's voice into contemporary 90s pop and R&B styles, which some felt denied him the improvisational freedom of his classic work. The subsequent US release aimed for an urban contemporary sound that was potentially more focused for the American audience at the time.
As a result, Don't Look Back was only available in the US as an import album, leaving five of its original songs unreleased in the US market on an official album until digital releases and reissues became more common.
(Review provided by SoulYears.com)
Don’t You Know
Written-By – Eddie John, Erma Reese 7:39
A2 I'm Running
Written-By – Carlene MacLinen, Dan Japlin, Jean-Marc Willa-Roza 5:34
A3 Don't You Know
Written-By – Carlene MacLinen, Dan Japlin, Jean-Marc Willa-Roza 4:08
B1 Get It Together
Written-By – Vladimir Cosma 6:41
B2 I Just Ask Me When
Written-By – Arthur Young 3:46
B3 Passing Dreams
Written-By – Frank Abel 4:26
B4 Honey Child
Written-By – Arthur Young 3:40
Label: Barclay – 90050
Format: Vinyl, LP, Album
Country: Canada
Released: 1978
Genre: R&B Soul. Disco
Style: Disco, Dance
Brenda Mitchell's 1978 disco and R&B album Don't You Know is a minor classic in disco circles, primarily appreciated for its strong production, infectious grooves, and dancefloor appeal.
While professional, in-depth critic reviews from its initial release are scarce in the available records, the album is highly regarded by soul and funk enthusiasts for specific standout tracks.
The album receives generally positive, albeit limited, user ratings on platforms like Discogs, with an average of 3 out of 5 stars from a small number of ratings.
It is considered a niche, but valuable, piece of 70s funk and disco. The production was handled by French producer Pierre Jaubert.
The record is fundamentally about the beat and the groove, which is characteristic of the best disco music where production often took precedence over the artist.
Some listeners have noted that specific tracks, like the title track, sound remarkably modern and innovative for a 1970s release.
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.
Dry Your Eyes
Written-By – Payton, Coates 2:30
A2 Walk On By
Written-By – Bacharach - David 2:27
A3 God Only Knows
Written-By – Wilson, Asher 2:10
A4 Who's Lovin' You
Written-By – Robinson 3:10
A5 Summertime
Written-By – Gershwin 3:40
A6 Where Did Our Love Go
Written-By – Holland - Dozier - Holland 2:05
B1 Just Once In A Lifetime
Written-By – Payton, Coates 2:40
B2 Forever
Written-By – Holland, Holland, Gorman 2:25
B3 Stay Together Young Lovers
Written-By – Ellison, Bell 2:55
B4 Hey Boy
Written-By – Payton, Coates 1:55
B5 Oh Lord What Are You Doing To Me
Written-By – Keyes, Dixon 3:10
B6 The Wash
Written-By – Payton, Coates 2:10
B7 When You're Gone 2:35
Written-By – Bob Finiz, and Lenny Pakula
Label: Dionn Records – LPS 2000
Format: Vinyl, LP, Album
Country: US
Released: 1967
Genre: R&B Soul
Style: Sixties Soul, Philly Sweet Soul
Brenda & The Tabulations' "Dry Your Eyes" album (1967) is a highly-regarded early Philly Soul/Sweet Soul record, praised for Brenda Payton's beautiful lead vocals, rich male harmonies, and Van McCoy's songwriting, featuring the massive hit "Dry Your Eyes," alongside soulful originals like "The Wash," and great covers, making it a must-have for fans of classic 70s soul despite being from '67, showcasing a unique, heartwarming sound.
The group masterfully blended soft, sweet melodies with deep, heartfelt soul, creating a unique, often poignant sound.
Brenda Payton's lead voice is consistently praised as a major strength, perfectly suiting the material.
The dynamic interplay between Payton and the male Tabulations (Eddie Jackson, Maurice Coates, Jerry Jones initially) provided rich, distinctive backing.
While the title track was self-penned, the album features killer cuts by legendary songwriter/producer Van McCoy ("Lies Lies Lies," "Always and Forever").
Reviewers often note the group's overlooked status despite their quality, with this album being a prime example of their greatness.
Key Tracks:
"Dry Your Eyes": The iconic, heartbreaking title track and their first major pop/R&B hit (Pop #20, R&B #2).
"The Wash": Another standout original showcasing their signature sound.
"Just Once in a Lifetime": A deeply soulful track.
Covers: Strong renditions of classics like "Don't Make Me Over" and "California Dreaming".
The album is considered essential listening for soul fans, a classic piece of early Philly Soul, and a testament to a group that deserved far more mainstream recognition. It's seen as a benchmark for its era's male/female vocal group dynamic.
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".
Energy of Love
Arranged By – Bobby Martin
Written-By – K. Gamble, L. Huff 3:33
A2 Rainy Days And Mondays
Producer, Arranged By [Produced And Arranged By] – Vince Montana
Written-By – P. Williams, R. Nichols 6:28
A3 A Nice Girl Like You
Arranged By – Bobby Martin
Producer [Produced By] – Gamble-Huff
Written-By – K. Gamble, L. Huff 3:30
A4 Jan
Arranged By – Jack Faith
Producer – Bruce Hawes
Written-By – M. Gaye 4:35
A5 Be Thankful For What You Got
Producer, Arranged By [Produced And Arranged By] – John Davis (5)
Written-By – W. De Vaughn 3:13
B1 What's Easy For Two Is So Hard For One
Arranged By – Bobby Martin
Producer [Produced By] – Gamble-Huff
Written-By – W. Robinson 3:19
B2 Lonely Lonely
Arranged By – Bobby Martin
Producer [Produced By] – Gamble-Huff
Written-By – K. Gamble, L. Huff 3:19
B3 Everyone's A Star
Producer, Arranged By [Produced And Arranged By] – John Davis (5)
Written-By – J. Davis 5:42
B4 Plain Ol' Fashioned Girl
Arranged By – Bobby Martin
Producer [Produced By] – Gilbert-Life
Written-By – C. Gilbert, T. Life 2:50
B5 Be On Time
Arranged By – Bobby Martin
Producer [Produced By] – Gamble-Huff
Written-By – K. Gamble, L. Huff 4:54
Label: Philadelphia International Records – PIR 80401
Vinyl, LP, Aston Clinton Pressing
Country: UK
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Philly Sound
The Intruders' 1974 album, Energy of Love, was their final recording with Philly International/TSOP, showcasing their evolved Philly Soul sound with mellow, sophisticated vibes, featuring tracks like the Gamble & Huff-penned "Energy of Love" and a funky cover of "Be Thankful for What You Got". Backed by M.F.S.B., the album captured a blend of smooth harmonies and heartfelt vocals, bridging early ballads with mature '70s soul, though it wasn't as commercially successful as prior efforts before the group disbanded.
It's considered a strong example of the mature Philadelphia Soul sound, recorded at Sigma Sound Studios. It marked their last work with producers Kenny Gamble & Leon Huff, who contributed to several tracks, and featured the legendary M.F.S.B. session musicians, including the Baker, Harris, Young rhythm section, www.jazzmessengers.com “Electronic” Eli, and Montana Jr.
Bobby Martin arranged most tracks, with contributions from Hawkes and Montana Jr.
While it did not achieve the commercial success of their earlier releases, the album is highly regarded by Philly Soul enthusiasts. Critics have noted the group's "glowing harmonies" and "charming" vocals, especially on the remakes. Despite strong tracks, the album's release came as musical tastes were shifting towards disco, which may have impacted its performance.
Especially For You
Written-By – Philippe Wynn 3:38
A2 Real Love
Written-By – Russ Stringer 3:31
A3 You're So Wonderful
Written-By – Al Perkins 2:40
A4 Feelings
Written-By – Morris Albert 5:55
B1 Baby Let Me Love You
Written-By – Al Perkins 3:22
B2 Trying To Prove My Love
Written-By – Al Perkins 2:38
B3 Disco Lover
Written-By – Al Perkins 2:47
B4 Let's Disco
Written-By – Al Perkins 2:45
B5 When Something's Wrong With My Baby
Written-By – I. Hayes/D. Porter 2:36
Label: ABC Records – AB-1001
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Disco
Especially For You is the 1977 debut album by the Detroit-based R&B/funk group Al Hudson & The Soul Partners. It is considered a classic example of 1970s soul, disco, and funk grooves.
The album features a mix of mid-tempo soul, upbeat funk, and disco tracks. It is noted for its quality 70s grooves, characterized by solid, "bone-fat" drums, relaxed melodies, tight arrangements, and soulful vocals. The production was handled by Al Perkins, with arrangements by Jimmy Roach, and the recording took place at United Sound in Detroit.
The music on the album showcases an evolution from the funk bands of the previous generation to a more sophisticated, dance-oriented sound, which later paved the way for the group's transition into the successful funk band One Way in 1979.
Especially For You is a sought-after album for fans of Detroit modern soul and funk. It, along with their second 1977 album Cherish, has been reissued on CD, often as a combined package, to the delight of collectors. The work on this album helped establish the group's core sound before they achieved international chart success with hits like "You Can Do It" as One Way.
Extension Of A Man
Bass – Russ Savakus, Stanley Clarke
Cello – Charles McCracken, George Ricci, Kermit Moore
Clarinet – V. Abato
Conductor – Gene Orloff
Drums – Grady Tate
Flute – Hubert Laws
French Horn – Jim Buffington, Julius Watkins, Tony Miranda
Harp – Gloria Agostini
Oboe – H. Schuman
Reeds – Romeo Penque, Seldon Powell, William Slapin
Trombone – Dominick Gravine, Garnett Brown, Paul Faulise, Wayne Andre
Trumpet – Ernie Royal, Joe Newman
Violin – Emanuel Green, Harry Lookofsky, Julien Barber, Noel DaCosta, Sanford Allen, Theodore Israel 5:33
A2 Someday We'll All Be Free
Written-By – Edward Howard 4:17
A3 Flying Easy 3:11
A4 Valdez In The Country 3:32
A5 I Love You More Than You'll Ever Know
Drums – Fred White
Guitar – Hugh McCracken
Organ – Donny Hathaway
Saxophone – David Newman
Written-By – Al Kooper 5:20
B1 Come Little Children
Bass – Donny Hathaway
Clarinet – Seldon Powell
Drums – Fred White
Guitar – Joseph Bishop, Phil Upchurch
Trombone – Garnett Brown
Trumpet – Joe Newman 4:31
B2 Love, Love, Love
Written-By – J.R. Bailey 3:22
B3 The Slums
Acoustic Guitar – Keith Loving
Alto Saxophone – Phil Bodner
Backing Vocals – Jimmy Douglass, Mario "Big M" Medious, Richard Wells, William "Mac" McCollum
Electric Guitar – Cornell Dupree
Tenor Saxophone – Seldon Powell
Trombone – Tony Studd 5:09
B4 Magdalena
Banjo – Hugh McCracken
Bass – Gordon Edwards
Clarinet – Phil Bodner, Seldon Powell
Drums – Grady Tate
Guitar – Hugh McCracken
Piano [Tack] – Donny Hathaway
Trombone – Tony Studd
Written-By – Danny O'Keefe 3:06
B5 I Know It's You
Arranged By – Arif Mardin
Backing Vocals – Cissy Houston, Myrna Smith, Sylvia Shemwell
Bass – Stanley Clarke
Drums – Rick Marotta
Producer – Jerry Wexler
Written-By – Leon Ware 5:13
Label: ATCO Records – SD 7029
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul
Extension of a Man is the third and final solo studio album by American soul artist Donny Hathaway, released in 1973. It is a critically acclaimed and highly ambitious work that showcases his exceptional versatility as a singer, songwriter, arranger, and multi-instrumentalist, blending soul, R&B, jazz, gospel, and classical music elements.
The album is known for its bold eclecticism and emotional depth, touching on themes of love, spirituality, and social justice. It is considered both epic and intimate, a testament to Hathaway's ability to infuse personal vulnerability into a grand musical vision. Key aspects include:
The album notably opens with the six-minute "I Love the Lord; He Heard My Cry (Parts I & II)," an instrumental piece arranged by Hathaway for a 45-piece orchestra, which serves as a powerful, cinematic overture.
Hathaway seamlessly moves between musical styles, from the folk-tinged soul of "Someday We'll All Be Free" to smooth jazz-fusion in "Valdez in the Country" and the driving funk of "The Slums".
His performances are deeply rooted in gospel and blues traditions, evident in tracks like the doleful "I Love You More Than You'll Ever Know".
The album carries strong autobiographical overtones, reflecting Hathaway's struggles with mental illness and his pursuit of artistic freedom.
The album features several standout compositions and performances:
"Someday We'll All Be Free": Co-written by Hathaway and Edward Howard, this track is a powerful ballad that has become one of his most beloved and enduring songs, blending personal hope with universal themes of freedom.
"Love, Love, Love": One of the album's charting singles, this is a smooth and sublime love song with an R&B groove.
"The Slums": A raw, streetwise funk track that revisits the socially conscious themes of his earlier hit, "The Ghetto".
"Valdez in the Country": A smooth jazz-fusion instrumental that highlights Hathaway's electric piano improvisation skills.
Though not a major commercial success at the time of its release, Extension of a Man has grown in stature over the years and is now considered a soul classic and a vital part of Hathaway's limited but influential body of work. It is seen as a "testament" to his remarkable legacy and a blueprint for future generations of R&B and soul artists. Noted musicians such as a young Stanley Clarke on bass and Fred White (later of Earth, Wind & Fire) on drums contributed to the album's rich sound.
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.
Father’s Children
Music By – Father's Children, Jerome Morene
Words By – David Oliver 4:00
A2 Hollywood Dreaming
Written-By – Father's Children 4:44
A3 Dance Do It
Written-By – Father's Children 3:26
A4 Wild Woman
Music By – Father's Children
Words By – Edward Davis, Father's Children 5:35
A5 Music Use It
Music By – Father's Children, Wayne Henderson
Words By – Father's Children 3:31
B1 Got To Get Away
Music By – Father's Children
Words By – Nick Smith 4:34
B2 Gone Bad
Written-By – Father's Children 3:36
B3 My Grandma
Music By – Father's Children
Words By – Nick Smith 4:25
B4 Music For Your Mind
Music By – Father's Children
Words By, Music By – Nick Smith 2:38
B5 You Can Get It
Written-By – Father's Children 4:10
Label: Mercury – SRM-1-3755
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
The self-titled 1979 album by Father's Children is a rare groove and a cult classic in the underground soul circuit, known for its polished funk and soul sound. Overlooked at the time of its initial release on Mercury Records, it later gained popularity among dance club DJs.
The album primarily features a blend of soul, funk, and R&B, characterized by "high steppin' rhythms, tight, funky arrangements and... gorgeous gospel-influenced vocal harmonies".
It was produced by Wayne Henderson of The Crusaders, who augmented the core group with session musicians and backup vocalists, including members of Side Effect. The production, recorded in Los Angeles, was noted for a polished "L.A. gloss" that contrasted with the grittier sound of their earlier, unreleased D.C. recordings.
Despite not achieving commercial success upon release, the album became a "rare groove" classic, cherished by collectors and DJs for its quality and scarcity.
The track "Hollywood Dreaming" has become the album's most celebrated song, alongside other highlights like the mid-tempo "Got to Get Away" and the upbeat funk shuffle "You Can Get It".
In essence, it's a soulful, funky gem that blended raw D.C. spirit with professional polish, delivering deep grooves and beautiful vocals that resonated more years later than it did upon release
Feel It
A2 Your Eyes Say Goodbye 4:31
A3 You're What's Been Missing From My Life 2:59
A4 Daily News (Vocal) 4:46
A5 All In A Day's Love 2:43
B1 Feel It 3:20
B2mWarm Inside 3:32
B3mLove, Won't You Stay (Eugene Lemon) 3:05
B4 Daily News (Instrumental) 3:11
Written-By – Leroy Burgess (tracks: A2, A4, B2, B4), Michael Gately (tracks: A1, A3, A5, B1), Robert John (tracks: A1, A3, A5, B1), Russell Patterson (tracks: A2, A4, B2, B4), Stuart Bascombe (tracks: A2, A4, B2, B4)
Label: Buddah Records – BDS 5644
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
Feel It is the third album by American soul/R&B vocal group Black Ivory. The album is noted for marking a transition in the group's style, blending their signature warm, emotional soul sound with the emerging East Coast club soul style.
The album was produced by Robert John, with rhythms arranged by Leroy Burgess and strings/horns arranged by Patrick Adams.
While the group was known for being "heavy on ballads" in earlier works, this album successfully integrated a more danceable club sound.
Feel It is considered an overlooked gem that represents a stylistic evolution for the group, moving from their earlier ballad-heavy approach to a more soulful and danceable style.
AllMusic critic Andrew Hamilton described the album as "good or better than the previous two," noting the strength of its ballads like "Will We Ever Come Together".
Feels Good To Feel Good
Written-By – Garry Glenn 3:26
2 Torch For You
Written-By – Garry Glenn 3:58
3 Running Away
Written-By – Dianne Quander, Garry Glenn 4:06
4 Out Of A Dream
Written-By – Dianne Quander, Garry Glenn 3:34
5 I'm Still Waiting
Written-By – Dianne Quander, Garry Glenn 3:54
6 Feels Good To Feel Good
Featuring – Sheila Hutchinson
Written-By – Dianne Quander, Garry Glenn 4:07
7 You Don't Even Know
Written-By – Garry Glenn, Michael Logan 3:55
8 Lonely Night
Written-By – Garry Glenn 4:12
9 Can't Get Enough Love
Written-By – Garry Glenn 4:08
10 Love Makes It Right
Written-By – Garry Glenn 2:36
Label: Motown – 6234ML
Format: Vinyl, LP, Album
Country: US
Released: 1987
Genre: R&B Soul
Style: Eighties Soul
Feels Good To Feel Good is a 1987 R&B and soul album by singer-songwriter Garry Glenn, released on the Motown label. It is recognized as an "excellent mid 80s soul set" and a "surprising gem" within the contemporary R&B genre of the era.
The album features a sophisticated, mature, and laidback quality, which critics note helps it stand apart from some of the more formulaic 80s soul releases at the time. Garry Glenn wrote or co-wrote all of the songs on the album, showcasing his talent for songwriting and production. The music is characterized by midtempo and mellow soul notes, blending funk and soul influences. The title track, "Feels Good To Feel Good," features a guest vocal appearance by Sheila Hutchinson (of the Emotions).
Though the album was reportedly lost in the shuffle at Motown upon its initial release, it has since been recognized as a standout album for lovers of R&B and soul music. Glenn is also known for co-writing the hit song "Caught Up In The Rapture," which was famously recorded by Anita Baker.
Finders Keepers
A2 Your Kind Of Lovin' (Leo Graham, Paul Richmond 4:43)
A3 I'm Gonna Put A Spell On You Leon Bryant 5:50)
A4 Are You Ready (Until Tonight) (Leon Bryant 3:15)
B1 You're My Everything (Leo Graham, Paul Richmond 4:31)
B2 Honey (Eddie FIsher, Leo Graham 3.25)
B3 I Can See Me Loving You (Leon Bryant 4:18)
B4 Never (Leo Graham, Paul Richmond 4:10)
Label: De-Lite Records – DSR 8507
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: R&B Soul
Style: Eighties Disco Funk Soul
American R&B and modern soul singer Leon Bryant's Finders Keepers album is noted for its blend of uptempo and midtempo songs, which have been described as sounding fresh many years after its initial release.
It contains popular tracks like "I'm Gonna", which has been described as superb. The title track, "Finders Keepers", is a notable song with lyrics that use the common saying as a metaphor for winning over someone who is unappreciated by their current partner.
The album has also been reissued in various formats, sometimes as a 2-in-1 package with Bryant's self-titled 1981 album or his 1994 Mighty Body album, often including bonus tracks.
Finis
Written-By – F. Hamilton 5:00
A2 Making Love
Written-By – A. McKay, L. Starr 3:40
A3 Lovers
Written-By – D.P. Bryant, F. Henderson, G. Doty, T. Haynes 4:44
A4 You Owe It All To Love
Written-By – A. McKay, D.P. Bryant, T. Haynes 3:26
A5 Blame It On The Night
Written-By – R. Preston, S. Torano 3:47
B1.1 Percussion Intro 1:59
B1.2 Call Me
Written-By – B. Wolfer, F. Henderson 4:44
B2 Vina Del Mar
Written-By – A. McKay, E. Bulling 0:47
B3 Crush On You
Written-By – S. Wonder 4:03
B4 I'd Rather Be Gone
Written-By – D. Lambert, J.C. Crowley 3:40
B5 School Girl
Written-By – A. Hampton, A. McKay, F. Hamilton, G. Doty 5:19
Label: Motown – STML 12191
Format: Vinyl, LP, Album
Country: UK
Released: 1983
Genre: R&B Soul
Style: Eighties Soul, Funk, Boogie
Finis Henderson's 1983 self-titled album, Finis, is a well-regarded 80s soul/R&B gem, praised for Henderson's powerful vocals and smooth, polished production (especially by EWF's Al McKay), featuring hits like "Skip To My Lou" and "Call Me", with tracks like "Lovers, Blame It On The Night" also highlighted as fan favorites, making it a hidden classic for soul/AOR fans despite not launching him into superstardom.
Henderson's incredible voice is a major highlight, with consistent praise for his talent.
The album features a slick, detailed 80s production, often compared to yacht rock due to its smooth grooves, with Al McKay's involvement noted.
"Skip To My Lou" and "Call Me" were big dance floor and radio successes, driving the album's appeal. Tracks like "Lovers, Blame It On The Night" and "I'd Rather Be Gone" are considered strong, underrated songs.
A sweet spot for 80s soul, R&B, and AOR (Adult Oriented Rock) enthusiasts, even if it wasn't a massive mainstream breakout.
Considered a classic by fans, showcasing great musicianship and detailed arrangements, a high point in Henderson's career.
The album delivers polished, sophisticated 80s soul with strong hooks, capturing a moment in time and highlighting Henderson as a vocalist who perhaps deserved more mainstream success.
First Impressions
A2 Same Thing It Took (Chuck Jackson, Ed Townsend, Marvin Yancy 4:58)
A3 Old Before My Time (Ed Townsend 5:26)
A4 First Impressions (Ed Townsend 4:59)
B1 Groove (Ed Townsend 5:18)
B2 I'm So Glad Van McCoy 3:16)
B3 How High Is High (Ed Townsend 4:42)
B4 Why Must A Love Song Be A Sad Song (Ed Townsend 4:58)
Label: Curtom – CU 5003
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul
First Impressions is a 1975 album by the R&B group The Impressions, released after their initial lineup with Curtis Mayfield had disbanded. The album, which featured a new lineup and production, is a collection of "modern soul" tunes showcasing the group's ability to continue grooving. Unlike their earlier debut, this later album features songs produced and recorded in a different era, highlighting the group's evolution.
Released on the Curtom label in 1975, the album is a classic example of the Impressions' post-Curtis Mayfield sound in the mid-70s. Reviewers from sources like Dusty Groove describe it as a great album featuring a solid harmony soul approach and "smooth groove tunes". The sound is characterized by a mix of light and breezy melodies combined with solid grooves.
The album was produced with input from Ed Townsend, Chuck Jackson, Marvin Yancy, and Van McCoy. It was a moderate success, reaching #115 on the US Pop charts and #13 on the US R&B charts.
The album's title track was a major hit single in the UK, reaching #16 in the Pop charts. The album features two other songs that were significant R&B hits in the US, having been released on an earlier album as singles, namely "Sooner or Later" and "Same Thing It Took".
First Love
Written-By – Jeffery Singleton, Wayne Douglas, Jr. 4:03
A2 Can't Get Enough Of Your Love
Written-By – Derek Gasque, Teddy Rouche, Wayne Douglas, Jr. 3:42
A3 Come Be My Lady
Written-By – Jeffery Singleton, O. T. Sykes, Wayne Douglas, Jr. 4:35
A4 Licensed To Love
Written-By – Wayne Douglas, Jr. 4:03
B1 My First Love
Written-By – Leon Watson, O. T. Sykes, Wayne Douglas, Jr. 4:16
B2 Stone Crush On You
Written-By – Leon Watson, Wayne Douglas, Jr. 5:10
B3 You Bring Out The Best In Me
Written-By – Leon Watson, Wayne Douglas, Jr. 4:02
B4 Something's Burning
Written-By – Avelio King, Jeffery Singleton, Robert Singleton, Tim Hinson, Wayne Douglas, Jr. 3:57
Label: Fun City Records – FC 441
Format: Vinyl, LP, Album
Country: US
Released: 1981
Genre: R&B Soul
Style: Disco Funk, Boogie
The First Love album by O.T. Sykes is a highly regarded 1981 soul and R&B record, celebrated by connoisseurs for its smooth, heartfelt vocals and polished production.
O.T. Sykes, an American soul and R&B singer who was famously nicknamed "The Singing Dentist" because he maintained his dental practice throughout his music career.
A blend of smooth R&B, funk, and soul, the album is classified as a classic of crossover soul and funk, with influences of disco and jazz. It is noted for its "warm and vibrant" music, perfect production, and precise performances.
It was written, played, and produced by Sykes and Jeffrey Singleton, utilizing the talent of the rich music scene in Memphis, TN.
Reviewers and listeners consider it a "very soulful LP" that stands the test of time. Sykes is respected for making high-quality music without selling out to the mainstream pop market. The vocals and lyrics are often described as "amazing".
The album was written, played, and produced by Sykes himself alongside Jeffrey Singleton and other top musicians from the rich Memphis, Tennessee music scene.
The album is praised for its authentic, "true soul music" sound, steering clear of the overcrowded pop market of the time. It features a range of tracks, from upbeat, infectious tunes to soul-stirring ballads, all showcasing Sykes' emotive style and smooth vocal delivery. The lyrics explore the highs and lows of love with warmth and sincerity.
Original copies of the vinyl LP are difficult to find and command high prices among collectors (often hundreds of dollars), leading to several welcome reissues by labels like Everland.
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.
Fly Me To The Moon
Written-By – B. Howard 2:09
A2 Baby! You Oughta Think It Over
Written-By – B. Womack 2:37
A3 I'm A Midnight Mover
Written-By – B. Womack, W. Pickett 2:02
A4 What Is This
Written-By – B. Womack 2:32
A5 Somebody Special
Written-By – B. Womack 2:57
A6 Take Me
Written-By – D. Ervin 2:34
B1 Moonlight In Vermont
Written-By – J. Blackburn, K. Suessdorf 2:33
B2 Love, The Time Is Now
Written-By – B. Womack, J. Holiday 3:19
B3 I'm In Love
Written-By – B. Womack 2:41
B4 California Dreamin'
Written-By – John Phillips 3:32
B5 No Money In My Pocket
Written-By – B. Womack, J. Holiday 3:05
B6 Lillie Mae
Written-By – Don Juan, Vee Pea 2:12
Label:
Minit – LP-24014, Minit – LP 24014, Minit – LP24014
Format:
Vinyl, LP, Album, Stereo, Research Craft Press
Country: US
Released: 1968
Genre: R&B Soul
Style: Sixties Soul
Bobby Womack's debut solo album, Fly Me to the Moon, is considered a groundbreaking and classic soul record that established his unique vocal talent and innovative arrangements. It received critical acclaim for its bold reinventions of popular songs and Womack's powerful, ad-lib driven soul style.
The album is noted for transforming established songs, making them distinctly Womack's own. His cover of the title track, originally a jazz standard, featured a "magnificent tonal shift" and a "soul-swing of the arrangement" that critics praised for blowing "all the originals out of the water". Similarly, his slowed-down, horn-accented version of The Mamas & the Papas' "California Dreamin'" is widely considered the definitive soul interpretation.
Womack's singing is celebrated for its raw, "church" quality, characterized by ad-libs, staggered phrasing, and a gritty voice that commands attention. He creatively used the spaces between musical phrases for improvisation, a style reminiscent of Sam Cooke and Otis Redding, which critics found inventive and engaging.
The album successfully blends elements of soul, R&B, jazz, and blues, showcasing Womack's versatility and establishing his signature sound.
While perhaps not an immediate massive commercial hit compared to later albums like The Poet, the album achieved moderate success and laid the foundation for his long and influential career. It is highly regarded by fans and music enthusiasts, with strong average ratings on music databases.
In summary, the album is highly recommended for fans of classic soul music and is praised for its demonstration of Womack's talent as both a powerful vocalist and an innovative arranger. The album is considered an essential piece of his early work.
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.
Force Of Nature
Producer, Mixed By – Budda
Recorded By – Storm Jefferson 3:10
2 My Freak
Engineer – Bob Tucker
Mixed By – Dino "The Cut" Johnson, Gabe Chiesa
Producer – Caviar, Overdose 4:08
3 Maybe I Deserve
Mixed By – Kevin Jackson, Scott Wolfe
Recorded By – Scotty Beats 5:01
4 Can't Get Down
Mixed By – Dino "The Cut" Johnson
Producer, Instruments – E. Seats, Rapture
Recorded By – Michael Conrade 5:04
5 Designated Driver
Mixed By – Gabe Chiesa
Producer – Overdose
Producer, Keyboards, Percussion – Caviar
Recorded By – Scott Wolfe 4:14
6 What, What, What
Producer, Mixed By – Budda
Recorded By – Storm Jefferson
Vocals [Additional] – Digital Black 3:15
7 Lady On My Block
Producer, Mixed By – Budda
Recorded By – Storm Jefferson 4:46
8 Want You Now
Mixed By – Ben Garrison
Producer – Budda
Recorded By – Chris Puram 4:05
9 Street Life
Engineer – Bob Tucker
Engineer [Assistant] – Peter Dirado
Mixed By – Dino "The Cut" Johnson, Gabe Chiesa
Producer – Caviar, Overdose
Strings [Arranged & Recorded] – Paul Riser 3:39
10 Slowly
Engineer, Mixed By – Scott Wolfe
Instruments [Played & Programmed] – Rockstar 6:08
11 Kill 4 You
Engineer – Wayne Allison
Mixed By – Ausha Keys
Producer, Instruments – E. Seats, Rapture Stewart 4:30
12 Let It Go
Producer, Mixed By – Budda
Recorded By – Eric Pitts 3:48
13 Bounce & Grind
Instruments [Played & Programmed] – Rockstar
Producer – Rockstar
Recorded By, Mixed By – Scott Wolfe 5:12
14 I Don't Wanna Be Lovin' You
Keyboards – Lorenzo Pryor
Mixed By – Ausha Keys
Producer, Keyboards – Budda
Recorded By – Carlos Warlick 4:30
Label: Blackground Records – 7243 8 50404 2 9
Format: CD, Album
Country: US
Released: 2001
Genre: R&B Soul, Funk
Style: Contemporary R&B
Tank's debut album, Force of Nature (2001), is widely praised as a strong R&B entry, marking him as a major talent with hit ballads like "Maybe I Deserve" and "Slowly," showcasing his vocal power, soulful depth, and vulnerability, though some critics found early tracks weaker, the overall consensus points to a solid foundation for his career with diverse moods and impressive production.
It Established Tank as a significant R&B artist with its successful launch and Gold certification and featured popular tracks "Maybe I Deserve" and "Slowly," showcasing vulnerability and vocal prowess.
The album gighlighted Tank's powerful voice and soulful delivery, setting a high standard, offering a mix of slow jams and upbeat tracks, with some tracks drawing comparisons to D'Angelo.
Many reviewers, including AllMusic and fans, rate it highly (e.g., 5/5 stars from AllMusic), recognizing its impact. Some felt the beginning was rough but the second half was stronger, while others felt it wasn't his best work compared to later albums but was still essential.
Best Tracks (Fan & Critic Picks):
"Maybe I Deserve" (a standout ballad)
"Slowly" (showcasing vocal power)
"I Don't Wanna Be Lovin' You" (a mellow mid-tempo)
"Want You Now" (sensual with great lyrics)
In essence, Force of Nature is seen as a defining R&B album, launching Tank's celebrated career with emotional depth and musical quality.
Fourplay
Arranged By – Leon Mitchell
Producer – Norman Harris
Written-By – J. Hendricks, M. Farrow, N. Harris 5:55
A2 Handy Man
Arranged By – Leon Mitchell
Producer – Ron Tyson
Written-By – E. Moore, R. Tyson 2:58
A3 Why Do You Have To Leave
Arranged By – Jack Faith
Producer – Bundino Productions
Written-By – B. Sigler 4:16
A4 Falling In Love
Arranged By – Jack Faith
Producer – Ron Tyson
Written-By – E. Moore, R. Tyson 5:26
B1 Newsy Neighbors
Arranged By, Producer – Norman Harris
Written-By – A. Felder, N. Harris 4:52
B2 Perfect Lover
Arranged By, Producer – Ron Kersey
Written-By – B. Turner, J. Akines, J. Bellmon 5:03
B3 There Is No Reason
Arranged By, Producer – Ron Kersey
Written-By – B. Gray 4:25
B4 There's Something Missing
Arranged By, Producer – Bruce Hawes
Written-By – B. Evans, G. Hendricks, M. Hugee 4:38
Label: Salsoul Records – SA 8501
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Disco
Fourplay is the second studio album by the American soul/disco vocal quartet Double Exposure, released in 1978 on the Salsoul Records label. It features a blend of Philly Soul, disco, R&B, and funk music produced by notable figures like Norman Harris, Ron Tyson, and Ron Kersey.
The album is known for carrying on the "best tradition of the east coast scene" with rich rhythms and soaring harmonies that made the group a favorite on the Salsoul label. While it includes rolling grooves suitable for club dancing, it also features special ballads, providing a strong mix of dance tracks and slower songs. One review noted the high quality of "singing" on the record, distinguishing it from albums that relied more on chanting or background warbling.
The album was produced as a 12" vinyl LP and has been re-released in expanded editions as part of the group's Salsoul recordings compilation. A sought-after item for collectors, representing peak 70s disco-soul, with later expanded releases adding value with remixes.
In essence, Fourplay is a quintessential Salsoul release, capturing the era's vibrant soul and disco scene with memorable hooks and polished production.
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.
Friend
Written-By – G. Bonds, J. Williams, Jr. 2:45
A2 Raining On A Sunny Day
Written-By – R. Daniels 3:38
A3 Sweeter Than Sweetness
Written-By – C. Whitehead, J. Williams, Jr. 2:59
A4 Sidewalks Fences And Walls
Written-By – J. Williams, Jr., M. Gimbel 2:53
A5 I Did The Woman Wrong
Written-By – C. Whitehead, J. Williams, Jr., T. Davis 2:45
B1 Yours Love
Written-By – H. Howard 2:59
B2 Laid Back And Easy
Written-By – J. Williams, Jr., K. Shelton 2:32
B3 You And Me Together Forever
Written-By – J. Roach 3:10
B4 Ain't Nothing In The News (But The Blues)
Written-By – J. Williams, Jr. 2:46
B5 Did I Come Back Too Soon (Or Stay Away Too Long)
Written-By – C. Whitehead, G. Bonds, J. Williams, Jr. 3:05
Label: Mankind – M 204
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Soul
Style: Seventies Soul, Southern Soul
Freddie North's 1971 album Friend is an underground Southern soul hit, highly regarded for its blend of deep soul and country influences, featuring North's "smoky, baritone voice" and the major R&B hit "She's All I Got".
The album is a quintessential example of deep Southern soul, drawing favorable comparisons between North and soul legend Jerry Butler. Critics praise the record for its brooding, lamenting country-soul ballads and brass-infused renditions of tracks, produced by the legendary Jerry Williams Jr., better known as Swamp Dogg.
The album is anchored by its two hit singles:
"She's All I Got": This track was North's biggest commercial success, reaching #10 on the Billboard R&B chart and #39 on the Hot 100, and is considered an "all-time soul smash".
"You and Me Together Forever": The second single from the album, this song peaked at #26 R&B.
The collaboration with producer Swamp Dogg was instrumental in defining the album's sound. The production style for the hit single was described as "pleading, brass-infused".
Though North only had one more chart hit after this album, Friend has endured as an underground favorite and a significant piece of 1970s soul music. Reissues of the album have been made available in remastered formats, indicating continued interest from deep soul fans.
For fans of classic, deep Southern soul, Friend is highly recommended. It successfully merges the Nashville country session sound with gritty R&B vocals, offering a powerful listening experience highlighted by a standout hit single. On platforms like Discogs, user ratings average a respectable 4.25 out of 5 stars.
Funk In A Mason Jar
A2 Till You Take My Love (David Foster, Harvey Mason 3:30)
A3 Space Cadets (Dave Grusin, Harvey Mason, Louis Johnson, Ray Parker 3:32)
A4 Freedom Either Way (Harvey Mason, S. Mason 3:30)
A5 Funk In A Mason Jar (Harvey Mason 1:50
B1 What's Going On? (Alfred Cleveland, Marvin Gaye, Renaldo Benson 8:23)
B2 Set It Free (Eva Ein, Kenny Loggins 5:49
B3 Phantazia (Dave Grusin 4:25)
B4 Liquid (Harvey Mason 4:37)
Label: Arista – AB 4157
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: Jazz, Funk / Soul
Style: Soul-Jazz, Smooth Jazz, Jazz-Funk
Funk in a Mason Jar is a 1977 jazz-funk album by drummer and composer Harvey Mason. The album is known for its blend of funk, disco, and soul, and it features Mason's original compositions alongside a notable, extended instrumental rendition of Marvin Gaye's "What's Going On" with George Benson on guitar. The album's commercial success was significant, reaching the Top 40 on the R&B charts and the Top 10 on the jazz charts.
The album features a wide array of acclaimed guest musicians, including members of Earth, Wind & Fire, Tower of Power, and other prominent session players.
The album marked a commercial breakthrough for Mason, solidifying his reputation as a skilled composer and producer in addition to being a renowned drummer. It is considered a classic of the 1970s jazz-funk era.
Funk Reaction
Written-By, Arranged By – Brad Baker, Lance Quinn 5:57
2 For The Love Of It
Tenor Saxophone [Solo] – Eddie Daniels
Written-By, Arranged By – Brad Baker, Lance Quinn 7:11
3 Babbitt's Other Song
Arranged By – Brad Baker
Tenor Saxophone [Solo] – Eddie Daniels
Written-By, Arranged By – Babbitt 6:20
4 It's Changed
Arranged By – Lonnie Smith 6:11
5 When The Night Is Right
Arranged By – Lonnie Smith
Piano [Solo] – Yaron Gershovsky 7:06
6 All In My Mind
Written-By, Arranged By – Lonnie Smith 5:43
Label: Lester Radio Corporation – LRC 9317
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Jazz, Funk, Soul
Style: Jazz-Funk, Funk, Disco
Lonnie Smith's 1977 album Funk Reaction is a well-regarded jazz-funk classic that fully embraces the late-1970s soul, funk, and disco sound. The album is highly regarded by fans of the genre for its strong grooves, excellent musicianship, and danceable tracks, though some jazz purists might find it leans more towards commercial funk than traditional organ jazz.
The album is a quintessential example of '70s jazz-funk, incorporating elements of cosmic disco, psychedelic soul, and mellow grooves. It moves away from Smith's earlier soul-jazz roots toward a slicker, band-oriented project.
It features top-tier session musicians, including Steve Gadd on drums, Bob Babbitt on bass, and Lance Quinn on guitar, with arrangements by Brad Baker. The collective talent contributes to the album's tight and professional sound.
The standout track is often cited as the "superb disco-funk nugget" title track, "Funk Reaction". Other notable tracks include:
"All In My Mind": The only track written by Smith on the album, described as having a beautiful, Stevie Wonder-esque soulful quality. "Babbitt's Other Song" and "For the Love of It": Classic jazz-funk tracks featuring stellar tenor saxophone solos by Eddie Daniels. "When The Night Is Right": A slick, guitar-led "floater".
Reviews are generally positive, especially among fans of jazz-funk and rare groove, who praise its "mind-blowing" grooves and appeal. It's considered an "indispensable" record for enthusiasts of the funky, groovy style. One critique notes that while expertly performed, it can sometimes feel like "starsky and hutch type lounge music" to some palettes.
The album is often cited as a forefather of the Acid Jazz genre and has seen a resurgence in interest, with its tracks being sampled in rap, dance, and house music.
In summary, Funk Reaction successfully delivers a strong, dancefloor-friendly blend of jazz and funk that remains highly collectable and influential today.
G.C. Cameron
Arranged By – Wade Marcus
Producer – Lawrence Brown, Terri McFaddin
Written-By – Lawrence Brown, Terri McFaddin, Victor Caston 3:30
A2 Me And My Life
Arranged By – Coleridge-Taylor Perkinson, Paul Riser
Producer – T-Boy Ross, Leon Ware
Written-By – T-Boy Ross, Douglas Gibbs 3:39
A3 If I Ever Lose This Heaven
Arranged By – James Carmichael
Producer – Hal Davis, James Carmichael, Winston Monseque
Written-By – Leon Ware, Pam Sawyer 3:20
A4 Include Me In Your Life
Arranged By – Gene Page
Producer – Hal Davis, Winston Monseque
Written-By – Marilyn McLeod, Mel Bolton 4:11
A5 Don't You Want To Give It Up
Arranged By – Mark Davis
Producer – G.C. Cameron
Written-By – G.C. Cameron 3:13
B1 Truly Blue
Arranged By – Wade Marcus
Producer – Lawrence Brown
Written-By – Lawrence Brown, Terri McFaddin 2:59
B2 The Joy You Bring
Arranged By – Mark Davis
Producer – G.C. Cameron, Mark Davis
Written-By – G.C. Cameron 3:21
B3 Share Your Life (Let Me In)
Arranged By – Gene Page
Producer – G.C. Cameron, Hal Davis, Iris Gordy
Written-By – Elgie Stover, Kenneth Stover 3:58
B4 Strong Love
Arranged By – James Carmichael
Producer – G.C. Cameron, Iris Gordy
Written-By – G.C. Cameron 3:33
B5 It's So Hard To Say Goodbye To Yesterday
Producer, Arranged By – Freddie Perren
Written-By – Christine Yarian, Freddie Perren 3:10
Label: Motown – M6-855S1
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul
G.C. Cameron's self-titled album (often grouped with his later Shadows or Love Songs & Other Tragedies) is generally viewed as a solid, soulful effort showcasing his versatile voice, though perhaps not a universal classic; fans praise his signature smooth delivery, rich vocals, and standout tracks like "Foolish," "My House," and the beautiful ballad "Falling Bridges," while some find it a bit too contemporary or lacking the raw edge of his earlier work, fitting well into late-era Motown/Mowest soul.
Reviewers consistently highlight Cameron's soulful, gravelly, and powerful voice, noting his ability to soothe, growl, and deliver with versatility.
It features modern soul elements, including synth beds and contemporary beats, alongside classic soul instrumentation like warm Rhodes pianos and soulful sax.
The album reflects the Mowest sound (a Motown subsidiary), which some find slightly "samey" or less authentic Motown compared to earlier eras, though it's still considered good soul music.
A must-have for devoted fans who appreciate his voice and want to explore his solo work beyond The Spinners. A "quite good" album, but maybe not a "standout" unless you're already a fan, with some finding it pleasant but a bit generic at times.
Garland Green
A2 You Make Me Feel So Good (D. Perry, L. Harper 4:17)
A3 Don't Tell Me, Let Me Guess (Lamont Dozier 4:08)
A4 Always (Lamont Dozier 4:56)
B1 Nobody Ever Came Close (Lamont Dozier 5:22)
B2 System (Lamont Dozier 4.33)
B3 Love's Calling (Lamont Dozier 4:50)
B4 These Arms (Greg Perry 4:56)
Label: Ocean Front Records – OF 100
Format: Vinyl, LP, Album
Country: US
Released: 1983
Genre: R&B Soul
Style: Eighties Disco Funk Soul
Garland Green's 1983 self-titled album is an obscure, Los Angeles-produced modern soul record released on the independent Ocean-Front Records label. The album is noted for its smooth, slick arrangements by the legendary Motown songwriter Lamont Dozier, which are balanced by Green's raw, soulful vocals.
The album was produced by Lamont Dozier and Arleen Schesel (who later married Green). Dozier was also responsible for the background vocal arrangements, while Hense Howell handled the rhythm arrangements with Dozier.
It's overall sound is very similar to Dozier's own work from the early 1980s, offering a departure from Green's earlier, classic Chicago and Northern soul style. It blends a modern soul feel with a hint of a Southern influence.
The album features a lineup of session musicians, including Freddie Washington on bass, David Williams and Kevin Moore on guitar, and Quintin Denard on drums.
While the album itself did not achieve major national success, it included the single "Trying to Hold On to My Woman," a re-worked version of a song Dozier had a hit with a decade earlier, which peaked at number 63 on the R&B chart.
The album has become something of a collector's item, often available as a used vinyl record album from specialized retailers like Dusty Groove. An expanded version of the LP was released in 1991 on the Love LA Music label.
Generally Speaking
Written-By – G. Johnson, G. Perry 4:16
A2 God's Gift To Man
Written-By – G. Johnson, G. Perry 3:57
A3 It Was Almost Something
Written-By – R. Miner, W. Weatherspoon 3:06
A4 Every Couples' Not A Pair
Written-By – A. Bond, G. Johnson, G. Perry 4:42
A5 All We Need Is Understanding
Written-By – E. Wayne, R.Dunbar 2:55
A6 Everything's Tuesday
Written-By – D. Dumas, E. Wayne, R. Dunbar 3:05
B1 I Never Get Tired Of You
Written-By – G. Johnson, G. Perry 5:21
B2 My Credit Didn't Go Through
Written-By – G. Johnson, G. Perry 3:37
B3 Things Are Bound To Get Better Later On
Written-By – G. Johnson, G. Perry 6:14
B4 Mary Lou Thomas
Written-By – G. Johnson, G. Perry 5:02
Label: Invictus – ST-9803
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul
General Johnson's 1972 debut solo album, Generally Speaking, is a classic of Detroit soul that maintains the recognizable sound of his group, Chairmen of the Board. The album has received mixed to positive reactions, often praised by fans of the genre and his work with Chairmen of the Board.
The album is noted for its smooth, upbeat soul sound, characteristic of the work Johnson did with Chairmen of the Board and the Holland-Dozier-Holland-owned Invictus label. It successfully captures the classic 70s soul vibe.
The album features several notable tracks, including "All We Need Is Understanding" and "Every Couple's Not A Pair". It also comprises four tracks otherwise credited to the Chairmen, such as the hit "Everything's Tuesday".
One review from Record Collector Magazine describes the album as "solid" and praises Johnson's voice, noting that the music "addresses your hopes and fears directly", however, some individual listener reviews have found the tracks "disappointing" or "not what I expected," suggesting that while it has its strong moments, not every song resonates equally with all listeners.
The album has been reissued multiple times, including as a 180gm vinyl LP, indicating its lasting appeal among soul music enthusiasts.
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.
Get Up And Get Down
A2 Brothers Guiding Light– Getting Together
A3 Al Downing– I'll Be Holding On
A4 Joe Tex– Cat Got Her Tongue
A5 King Floyd– Can You Dig It?
A6 Aaron Neville– Hercules
A7 Cissy Houston– Midnite Train To Georgia
A8 Annette Snell– You Oughta Be Here With Me
B1 Whispers– A Mother For My Children
B2 Roy C– Got To Get Enough (Of Your Sweet Stuff)
B3 Etta James– Out On The Streets Again
B4 Joneses– Hey Babe (Is The Gettin' Still Good)
B5 Don Covay– It's Better To Have (And Don't Need)
B6 Ohio Players– Streakin' Cheek To Cheek
B7 Dramatics– Choosing Up On You
B8 Little Anthony & Imperials– La La La At The End
Label: Philips – 9299 160
Format: Vinyl, LP, Compilation
Country: UK
Released: 1974
Genre: R&B Soul
Style: Seventies Soul
The album Get Up And Get Down (Philips 9299 160, UK release) is a 16-track vinyl LP compilation of soul and funk music from the 1970s.
This compilation is generally well-regarded by collectors for its selection of quality tracks from various soul and funk artists. It is appreciated for capturing the essence of the genre during that era and features tracks by notable artists such as Etta James, Al Downing, Joe Tex, and the Ohio Players. The album offers a good mix of well-known and rarer tracks, making it a valuable addition for fans of the genre.
The album is a sought-after item for vinyl enthusiasts, with copies in good condition fetching a respectable price on the second-hand market. The average rating for this release on Discogs is 3.6/5 based on a small number of ratings, indicating general satisfaction among owners. The packaging features a fully laminated picture sleeve.
Gimme Something Real
A2 Time 4:40
A3 Have You Ever Tried It 3:25
A4 Gimme Something Real 6:33
B1 Can You Make It Brother 4:27
B2 I'm Determined 3:18
B3 Ain't That Good Enough 3:12
B4 I Need Your Light 3:41
B5 Anywhere 5:00
Written-By – Ashford And Simpson (tracks: A1 to B2, B4, B5)
B3 Written-By – Joshie Armstead, Nickolas Ashford, Valerie Simpson
Label: Warner Bros. Records – BS 2739
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul
Gimme Something Real is the 1973 debut album for Ashford & Simpson as recording artists for Warner Bros. Records, showcasing their signature blend of sophisticated, soulful R&B and funk, moving from mellow grooves to driving anthems like the standout title track and "Have You Ever Tried It," establishing them as powerful vocalists and performers beyond their legendary songwriting for Motown, featuring intimate storytelling and elegant arrangements.
It marked their transition from behind-the-scenes Motown hitmakers (for artists like Diana Ross, Marvin Gaye & Tammi Terrell) to a formidable recording duo, saving some of their best material for themselves.
The album mixes mellow soul, intimate ballads, and funky, uptempo numbers with deep grooves, featuring intricate songwriting and rich instrumentation.
It is a seminal release that saw the duo transition from their established "joyous pop formula" at Motown to developing a more mature "quiet storm" soul template. It is a sophisticated collection of songs that allowed them to showcase their talents as recording artists, performing their own material.
Considered a hidden gem and an essential listen for fans, highlighting their raw talent and paving the way for their future success as recording artists, even if it wasn't an immediate chart-topper.
Later CD releases offer bonus tracks and new interviews, making this classic album more accessible.
Girlfriend’s Boyfriend
2 We've Got The Power 4:26
3 Only Takes One Touch 4:16
4 Does It Matter 5:57
5 Girlfriend's Boyfriend 4:57
6 I'm Sorry 5:26
7 Pass It On 4:02
8 All This Love That I'm Givin 4:00
9 (You Make Me Feel Like A) Natural Woman 5:07
10 Treat Me Like A Queen 4:42
11 Funky Sensation (Original) 5:29
12 Gotta Get Tough 3:20
13 Keep The Fire Burning 5:45
Label: Ichiban Records – ICH 1511-2
Format: CD, Album
Country: US
Released: 1998
Genre: R&B Soul
Style: Nineties Funk Soul
Girlfriend's Boyfriend is an R&B, soul, dance, and house album by American soul singer Gwen McCrae, and produced by Stevie V. and Billy Osborne, featuring re-recordings of her hits like "Keep The Fire Burning" and "Funky Sensation," along with new tracks. While initially released in 1996 by the British label Homegrown, it was reissued in the U.S. in 1998 by Ichiban.
The album blends McCrae's classic, raspy, and soulful vocals with contemporary dance and club-oriented production, appealing to fans of both rare groove/classic soul and modern dance music. The sound is characterized by funky, solid beats, infectious grooves, and deep basslines. The album also features a re-recording of her classic hit "Keep The Fire Burning," along with several remixes. The title track, "Girlfriend's Boyfriend," explores a narrative of being in love with a friend's partner.
The album captures McCrae's enduring popularity in the UK dance and soul scenes of the 1990s and helped cement her legacy as a significant influence in popular R&B dance music.
Give Me Your Love
Written-By – B. Mason 8:56
A2 When I Fall In Love
Written-By – E. Heyman, V. Young 4:03
A3 Everything I Own
Written-By – D. Gates 3:54
A4 Let Me In Your Life
Written-By – Bill Withers 3:52
B1 Bed And Board
Written-By – Flax, Lambert 3:29
B2 Who Will You Hurt Next
Written-By – B. Mason 3:20
B3 You Can Be With The One You Don't Love
Written-By – B. Mason 4:21
B4 Out Of This World
Written-By – J. Bishop 3:30
B5 Give Me Your Love
Written-By – C. Mayfield 2:58
Label: Buddah Records – BDS 5117
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul, Philly
Barbara Mason's Give Me Your Love is a landmark soul album, marking her transition from teen sensation to mature R&B artist, featuring Curtis Mayfield's iconic title track and lush Philly soul production (MFSB players), praised for its emotive vocals, sophisticated arrangements (strings, horns), and deep lyrical themes on adult love, cementing it as a classic with standout tracks like the epic "Yes, I'm Ready" and "Bed and Board".
It moved away from her earlier teen hits to explore complex, adult romantic relationships, with Mason taking charge in her lyrics.
The album heavily featured the classic Sigma Sound Studios setup, with MFSB musicians (Baker, Harris, Young), Don Renaldo's strings, and the Sweethearts of Sigma, giving it a rich, lush sound.
Mayfield wrote and produced the title track, adding a tougher, funkier edge, though the album balances this with sweeter Philly soul.
Standout Tracks: "Yes, I'm Ready" (a revamped, epic version of her earlier hit), the heartbreaking "Bed and Board," "Let Me In Your Life," and "Who Will You Hurt Next" are frequently highlighted.
The original vinyl featured a risqué pop-up picture of Mason in a man's shirt, making second-hand copies rare.
Considered by many critics and fans to be Mason's best work and a defining soul album of the era. Reviewers consistently praise Mason's stunning, heartfelt, and emotive voice.
In essence, Give Me Your Love is celebrated as a seamless blend of powerful vocals, sophisticated production, and mature songwriting, making it a must-have for soul music enthusiasts.
Givin’ It Back
Written-By [Machine Gun] – Jimi Hendrix
Written-By [Ohio] – Neil Young 9:13
A2 Fire And Rain
Written-By – James Taylor 5:29
A3 Lay Lady Lay
Written-By – Bob Dylan 10:22
B1 Spill The Wine
Written-By – Dickerson, Miller, Brown, Scott, Oskar, Jordan, Allen 6:32
B2 Nothing To Do But Today
Written-By – Stephen Stills 3:42
B3 Cold Bologna
Written-By, Lead Guitar – Bill Withers 3:03
B4 Love The One You're With Congas – Buck Clarke
Written-By – Stephen Stills 3:40
Label: T-Neck – TNS 3008
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Soul
Style: Seventies Soul, Funk
Givin' It Back is a highly regarded Isley Brothers album, praised for its innovative funk and psychedelic soul reinterpretations of popular rock and folk songs, successfully bridging rock and soul genres. Critics and fans highlight the passionate vocals, superb musicianship (featuring the younger Isley brothers including Ernie on guitar), and the creative arrangements that make the covers sound like original works.
The album is widely recognized for its bold concept: a Black R&B act covering popular songs by white rock and folk artists such as Stephen Stills, Neil Young, and Bob Dylan, turning the tables after white acts had successfully covered their earlier hits like "Shout" and "Twist and Shout".
Reviewers note the album's success in blending genres, describing it as a "mildly more psychedelic funk take on the folk/soul movement". The production is praised for capturing a warm, clear sound that enhances the soulful vocals while maintaining the original rock energy.
The Isley Brothers are lauded for their "impassioned, soulful and intelligent interpretive vocalizing". The album marked the first full appearance of the younger members (Ernie and Marvin Isley, and cousin Chris Jasper), whose contributions, especially Ernie's "soaring guitar," are seen as crucial to the album's dynamic sound and a precursor to the band's successful "3+3" era.
Impactful Song Choices: Specific tracks receive frequent praise for their powerful reimagining:
"Ohio" / "Machine Gun" medley: This combination of the Crosby, Stills, Nash & Young protest song and the Jimi Hendrix track is described as "mind blowingly powerful" and an "explosive, evocative" entry into Vietnam-era protest music.
"Lay Lady Lay": The Isleys' ten-minute, almost bossa nova, version of the Bob Dylan tune is considered "hypnotic" and an "absolute dream".
"Spill the Wine": Their version, which features the originally rapped elements sung, is seen as a successful and fully reinvented cover.
While most praise the re-interpretations, a few critics, such as Robert Christgau, found some tracks (like "Fire and Rain" and "Lay Lady Lay") more powerful in their "understated originals," though they still lauded the Isleys' energy on hits like "Spill the Wine".
User reviews on sites like Amazon and Discogs are overwhelmingly positive, with many giving the album a perfect 5.0 rating. Fans frequently describe it as a "brilliant album of covers," "utterly fantastic," and a "statement record" that remains relevant today. Users often mention the high quality of specific pressings (vinyl and CD) and the album's ability to blend different musical elements seamlessly.
Good Thang
A2 Who Loves You 12:20
B1 Space People 4:31
B2 Party Time 5:10
B3 Love Me Girl 5:05
B4 Funky Lady 5:55
Written by Frederick Tyrone Crum, Keith Harrison, Ralph Aikens, Jr. Robert Neal, Jr., Roger Parker.
Label: She Records SH 741
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Funk
Faze-O's Good Thang, released in 1978, is a classic funk/soul album known for its infectious grooves, smooth harmonies, and tight musicianship, following up their hit Riding High, offering danceable jams like the title track and "Who Loves You," showcasing Ohio Players' production influence with precise horns and driving rhythms, creating a funky yet heavenly mood.
Key Characteristics:-
Sound: Groovy, soulful, dance-oriented, with strong horn arrangements and prominent keyboards.
Production: Heavily influenced by The Ohio Players (producer Clarence Satchell was involved), featuring precise rhythm sections and layered instrumentation.
Vibe: Aims for a "funky but heavenly mood," balancing upbeat tracks with smoother, mellower moments.
Notable Tracks:- "Good Thang": The muscular title track with an infectious groove; "Who Loves You": A standout track featuring sharp horns and a pulsating rhythm; "Party Time": A slower, impressive jam.
It's the sophomore album from the Cleveland-based group, following their breakthrough debut Riding High. While a solid effort, it didn't replicate the massive success of Riding High, though it solidified their sound.
Faze-O's music, especially "Riding High," became heavily sampled by later artists, introducing them to new generations. Good Thang remains a beloved record for fans of late '70s funk and soul.
While Good Thang did not achieve the same massive commercial success as the band's debut album and its hit single "Riding High," it is considered a quality, danceable record that is a must-listen for fans of classic funk and soul.
It showcases the band's invention and quality within the funk genre. The album has been included in several modern compilations alongside Riding High and their third album, Breakin' the Funk, bringing Faze-O's complete work to new audiences.
Gotta Groove
A2 If This World Were Mine 3:10
A3 In The Hole 2:54
A4 Funky Thang 3:09
A5 Jiving Around 3:15
A6 Grab This Thing 2:14
B1 Don't Stop Dancing (To The Music) Part 2 2:21
B2 Street Walker 3:20
B3 Yesterday 3:19
B4 Humpin' 2:44
B5 Hey Jude 6:04
Label: Volt – VOS-6004
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul, Funk
Style: Seventies Soul
The Bar-Kays' 1969 album Gotta Groove is a pivotal, hard-driving funk/soul masterpiece, marking the band's strong comeback after the tragic plane crash with Otis Redding, blending deep Stax grooves with Sly Stone-inspired psychedelia and fiery horn arrangements, featuring standout tracks like the two-part "Don't Stop Dancing (To the Music)" and instrumental jams like "In the Hole," solidifying their place as funk pioneers despite modest chart success initially.
The album serves as a powerful testament to the surviving members, Ben Cauley and James Alexander, rebuilding the band and returning to the studio with new talent, including working with Isaac Hayes.
It's known for its incredibly funky, instrumental focus, deep grooves, and psychedelic twists, influenced by Sly & the Family Stone, especially on "Don't Stop Dancing (To the Music)".
Tracks like "In the Hole" showcase heavy guitar riffs, lurching horns, and a vicious funk feel, while "Funky Thang" adds psych-blues rock.
The album highlights the band's musicianship, with great drumming (Willie Hall), sassy sax, and solid basslines, even covering Beatles tunes like "Yesterday" and "Hey Jude" instrumentally.
While not a massive pop crossover at the time, Gotta Groove became a seminal funk record and paved the way for the later, more commercially successful disco-funk era of the Bar-Kays in the mid-70s.
Often called one of the funkiest, hardest-driving LPs from Stax. Reissues are popular, though quality of pressings can vary.
Considered a must-have for funk enthusiasts, even with its initial limited chart run. In essence, Gotta Groove is a gritty, soulful, and revolutionary record that defined a new era for the Bar-Kays, cementing their place in funk history with infectious grooves and undeniable resilience.
Greatest Hits
2. My Song 03:45
3. Do What You Gotta Do 03:18
4. Touch And Go 03:08
5. Bachelor Man 02:00
6. Be Concerned 03:10
7. Having A Party 03:12
8. Love Me Gentle, Love Me Blind 03:59
9. I Stand Accused 03:30
10. You Do The Right Things 02:39
11. Show And Tell 03:28
12. Broken Home 03:43
13. Keep On Loving You 04:18
14. Shake Me, Wake Me (When It's Over) 03:03
15. Queen Of The Ghetto 02:53
16. I'm A Weak Man 03:24
17. I'm Out To Get You 03:36
18. Poor Side Of Town 03:53
19. How's Your Love Life 02:48
20. Willoughby Brook 03:41
21. Moonlightin' 03:37
22. Medley: I Won't Last A Day / Let Me Be The One 05:53
23. Going Through The Motions 03:17
24. Brother, Where Are You 03:44
25. Born On The Bayou 02:56
Label: Good Time
Released: 2024
County: US
Genre: R&B Soul
Style: Seventies Soul
This double-disc album features 25 tracks, including Al Wilson's signature #1 hit, "Show and Tell".
The album is available for purchase on CD from Amazon.com, and as high-quality digital files from Bandcamp.
DOWNLOAD IN MP3, FLAC AND MORE HERE
Happy Endings
A2 God Only Knows (Brian Wilson) 3:18
A3 The Things I Say To His Shoulder 4:10
A4 Bedroom Eyes 3:52
A5 Keep It Up 3:23
B1 Just A Little Piece Of You (Stevie Wonder) 3:35
B2 Don't Let It End ('Til You Let It Begin) 3:18
B3 As Far As We Can Go 4:41
B4 Happy Endings 3:53
Label: Fantasy – F-9480
Format:Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul
Happy Endings is an album that marks a significant shift from Betty Everett's earlier Chicago soul sound to a smoother, more sophisticated mid-70s soul style. The album features lush arrangements by Gene Page, known for his work with Barry White, and production by both Gene and Billy Page.
The record is characterized by a warm, smooth R&B and soul sound, with a slightly funky edge, that allowed Everett to showcase her voice as a rich and mature soul singer. Critics noted that the production provided the professional setting necessary for Everett's finest work, a contrast to the production issues some felt plagued her earlier career.
The album includes an eclectic mix of songs, featuring several tracks written by the Page brothers, as well as covers of other artists' work.
Happy Endings is considered a "real sleeper" with many great moments, appreciated for its polished production and Everett's strong vocal performance. The album was later reissued on CD in a combined release with her 1974 album Love Rhymes.
Hard Not To Like It
Written-By – Victor Carstarphen 3:39
A2 Disco Showdown
Written-By – Gene McFadden & John Whitehead, Victor Carstarphen 3:01
A3 Disco Fever
Written-By – Gene McFadden & John Whitehead, Victor Carstarphen 4:08
A4 On The Radio
Written-By – Victor Carstarphen 4:30
B1 It's Hard Not To Like You
Written-By – F. Smith, H. Preston, Gene McFadden & John Whitehead 4:00
B2 There's No Other Like You
Written-By – Gene McFadden & John Whitehead, Victor Carstarphen 4:43
B3 Real Good Feeling
Written-By – Gene McFadden & John Whitehead, Victor Carstarphen 3:41
B4 I've Been Missing You
Written-By – D. Brown, Gene McFadden & John Whitehead, T. Wallington 3:57
Label: Philadelphia International Records – PZ 34855
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Philly, Disco
Hard Not to Like It by Archie Bell & The Drells is considered a solid Philly Soul/Disco album, showcasing their successful transition to the sound of Gamble & Huff, with strong two-step soul on the second side complementing disco efforts on the first, featuring highlights like "It's Hard Not To Like You" and "There's No Other Like You" for true fans, though it's often part of compilations like the Where Will You Go When The Party's Over CD.
The album successfully captured the era's dance trends, balancing catchy disco with classic, smooth Philadelphia soul sounds.
Side two is particularly praised for its easy, soulful two-step tracks, perfect for dancing.
Notable Tracks: "It's Hard Not To Like You," "There's No Other Like You," and "Real Good Feeling" are highlighted as great examples of their sound.
It's often found on CD compilations alongside albums like Where Will You Go When The Party's Over, offering a strong collection of their later work.
While maybe not as iconic as their earlier hits like "Tighten Up," it's seen as a strong, enjoyable album that represents the group's mature sound and appeal to disco fans, making it a good listen for fans of 70s funk and soul.
Hard To Stop
A2 Sweet Wonder (Betty Wright, Joanne Shelby, Willie Clarke 2:26)
A3 The Experts (Clarence Reid, Willie Clarke 3:02)
A4 We The Two Of Us (Betty Wright, Willie Clarke 3:00)
A5 Let Me Go Down (Al Kooper 2:57)
B1 Gimme Back My Man (Billy Kennedy 3:28)
B2 Who'll Be The Fool (Clarence Reid, H. W. Casey, Willie Clarke 3:17)
B3 The Babysitter (Betty Wright, Clarence Reid, Willie Clarke 3:02)
B4 If You Think You've Got Soul (Clarence Reid, Willie Clarke 2:15)
B5 It's Hard To Stop (Doing Something When It's Good To You) (Betty Wright, Clarence Reid, Willie Clarke 3:14)
Label: Alston Records – SD 7026
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul
Hard To Stop is a funk-driven Southern soul album and the third studio album by American soul singer Betty Wright, who was a teenager at the time. Produced by Clarence Reid and Willie Clarke, among others, the record is known for its strong, consistent songwriting and diverse musical styles.
The album showcases Wright's bold "soul sister" style, blending powerful vocals with a raw, gospelfied sound. While it features the laid-back, mellow keyboard touches and subdued horn passages characteristic of Miami soul, it also incorporates funky numbers, smooth ballads, and even a Latin-tinged dance track.
The producers sought to build on the success of her massive hit "Clean Up Woman" (from the previous album I Love the Way You Love), including tracks like "Gimme Back My Man" and the single "The Babysitter" that use a similar rolling groove and theme. Wright also co-wrote four songs on the album, demonstrating maturity beyond her years. A notable cover is her soulful rendition of Helen Reddy's feminist anthem "I Am Woman".
While Hard To Stop did not achieve the massive commercial success of her previous album's hit single, critics praise it as one of her most consistent and strong records in the Alston catalog. It is a classic example of early 70s female Southern soul and is considered a must-have for fans of the genre. The album's title track, "It's Hard to Stop (Doing Something When It's Good to You)," also served as a successful single, peaking at #12 on the R&B charts.
Haven’t You Heard
Backing Vocals – Lillo Thomas, Paul Laurence
Guitar – Ed "Speedy" Walker, Mike Campbell (3)
Written-By, Arranged By, Instruments [All Other] – Paul Laurence 7:01
A2 She's Not A Sleaze
Arranged By, Programmed By [Synthesizer Programming], Instruments [All Other] – Paul Laurence
Guitar – Mike Campbell
Lead Vocals, Backing Vocals – Freddie Jackson, Lillo Thomas, Paul Laurence
Vocals [With] – Freddie Jackson, Lillo Thomas
Written-By – A. Moore, F. Jackson, P. Laurence 4:54
A3 You Hooked Me
Bass – Russell Blake
Drums – Terry Silverlight
Guitar – Ira Siegel
Guitar [Solo] – Joe Marno
Written-By, Arranged By, Keyboards, Backing Vocals – Paul Laurence 5:48
A4 Good & Plenty
Arranged By – Paul Laurence, Timmy Allen
Guitar [Solo] – Joe Marno
Synthesizer [All Other Synthesizers], Programmed By [Synthesizer Programmer] – Robert Aries
Synthesizer [Bass] – Paul Laurence
Written-By – P. Laurence, T. Allen 5:49
B1 Racism!!!
Backing Vocals – Freddie Jackson, Lillo Thomas, Ondrea Dawkins, Paul Laurence, Regi King
Written-By, Arranged By [All Instruments], Programmed By [All Programming], Instruments [All], Performer [All Arrangements, Programming and Instruments Performed By] – Paul Laurence 5:09
B2 Haven't You Heard
Bass – Timmy Allen
Guitar – Ira Siegel
Written-By, Instruments [All Other] – Paul Laurence 4:07
B3 There Ain't Nothin' (Like Your Lovin')
Arranged By [Additional Synthesizer Arrangements], Instruments [Additional] – Steve Goldman
Written-By, Arranged By [Synthesizer Arrangements], Performer [All Instruments Performed By], Instruments [All Instruments Performed By], Backing Vocals – Paul Laurence 4:45
B4 I'm Sensitive
Bass – Timmy Allen
Guitar – Ira Siegel
Written-By, Arranged By, Programmed By [Synthesizer Programming], Instruments [All Other] – Paul Laurence 4:12
Label: Capitol Records – ST-12407
Format: Vinyl, LP, Album
Country: US
Released: 1985
Genre: R&B Soul
Style: Eighties Soul
Paul Laurence's 1985 debut solo album, Haven't You Heard, is generally regarded by fans and critics as a strong collection of 80s funk and soul, though it achieved limited commercial success at the time of its release.
Critics and fans praise the album for its excellent musicianship, mastery of recording technology, and positive, socially conscious lyrics. The album is considered a "fan favorite" among those who followed the "Hush Productions" sound of artists like Freddie Jackson and Lillo Thomas, for whom Laurence produced many hits.
However, some contemporary reviews note that while the uptempo material is strong and works well on the dance floor, the ballad material can be weaker in comparison. Despite its critical appreciation among soul enthusiasts, the album barely charted, largely due to a lack of marketing and promotion from his label, which preferred keeping Laurence as a behind-the-scenes hitmaker for other artists.
The album is known for several standout tracks that have become enduring favorites among soul lovers:
"Strung Out (Freebase)": A moody, impactful track that serves as a warning about crack cocaine addiction. It is often cited as a stunning track and worth getting the album for alone.
"She's Not A Sleaze": An uptempo song featuring traded lead vocals with Freddie Jackson and Lillo Thomas, dealing with the theme of not judging a girl by her appearance.
"There Ain't Nothin' (Like Your Lovin')": A classic electro-soul track with a nice guitar accent that remains a strong "floorfiller" to this day.
"Good & Plenty": An uptempo track that describes a positive, fulfilling love.
"Racism (Sucks!!)": A track that tackles the issue of racism head-on with a cool instrumental backing.
"You Hooked Me": One of the album's few ballads, showcasing Laurence's mellow mood and vocal dexterity.
Haven't You Heard is a cherished record for connoisseurs of 1980s R&B/soul music, highlighted by strong uptempo material and thoughtful lyrics. It is well worth exploring for fans of the era's sound, and the expanded editions, available on platforms like Amazon, include valuable bonus mixes.
He Is The Light
A2 True Love (Al Green, Willie Mitchell 4:27)
A3 He Is The Light (Julius Bradley 3:20)
A4 I Feel Like Going On (Al Green 3:09)
A5 Be With Me Jesus (Sam Cooke 2:50)
B1 You Brought The Sunshine (Elbernita Clark 5:05)
B2 Power (Al Green, Willie Mitchell 5:18)
B3 Building Up (Al Green 3:07)
B4 Nearer My God To Thee (Al Green, Public Domain 3:46)
Produced by Willie Mitchell and released under the title of "Going Away" in the UK.
Label: A&M Records – SP-5102
Format: Vinyl, LP, Album
Country: US
Released: 1985
Genre: R&B Gospel
Style: Eighties Gospel Soul
He Is the Light is a gospel and soul album by Al Green, notable for reuniting him with producer Willie Mitchell, who was the creative force behind his classic 1970s hits. Released on A&M Records, the album successfully blended Al Green's signature southern soul style with his commitment to gospel music.
The album is characterized by a sparse, crisp production style that many found refreshing compared to other mid-1980s music, featuring the return of the Hi Rhythm Section's solid bass and drums. Mitchell's production wisely invoked the sound that made Green famous, particularly on standout tracks featuring punchy horn lines and searing strings reminiscent of his Hi Records catalog.
Primarily Gospel and Soul, with elements of Funk, the album focuses on themes of faith, redemption, and spiritual guidance, reflecting Green's transition to a career as an ordained minister in the late 1970s.
It was a commercial success in the gospel market, peaking at No. 11 on the Billboard Top Gospel Albums chart. Critics praised Green's excellent and inspired vocal performances.
Head Hunters
Written-By – B. Maupin, H. Mason, H. Hancock, P. Jackson 15:41
A2 Watermelon Man
Arranged By – Harvey Mason
Written-By – H. Hancock 6:29
B1 Sly
Written-By – H. Hancock 10:18
B2 Vein Melter
Written-By – H. Hancock 9:10
Label: Columbia – KC 32731
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Jazz
Style: Jazz-Funk
Herbie Hancock's 1973 album Head Hunters is widely regarded as a classic and a landmark in the jazz-funk and jazz fusion genres. It was a massive commercial and artistic success, becoming one of the best-selling jazz albums of all time and greatly influencing funk, soul, and hip-hop music.
Critics widely praise the album for breaking new ground by merging jazz improvisation with the deep, infectious grooves of funk, inspired by artists like Sly Stone and James Brown. Its innovative use of synthesizers, particularly the iconic ARP bassline on "Chameleon," has made it a touchstone for future genres like electronic music and hip-hop.
Reviewers note that while the album is far more accessible and "danceable" than Hancock's previous avant-garde work (such as Sextant), it maintains a high level of musicianship and complex rhythmic interplay. This balance made it appealing to both jazz enthusiasts and mainstream audiences.
The band, known as The Headhunters (featuring Bennie Maupin, Paul Jackson, Bill Summers, and Harvey Mason), receives high marks for their chemistry and individual performances, particularly Paul Jackson's fat, groovy bass work and Harvey Mason's innovative drumming.
Some jazz purists at the time decried the shift as "selling out" due to its commercial appeal and simpler, groove-based structure compared to his more complex earlier works. However, many modern critics argue that Hancock managed to keep his musical dignity intact, creating a unique and compelling sound.
Key Tracks:
"Chameleon": The album opener is its most famous track, instantly recognizable by its distinctive, infectious synthesizer bassline. Reviewers highlight the track's engaging solo sections and how it builds from a simple groove into a full jam session.
"Watermelon Man": A complete re-imagining of Hancock's 1962 classic, this version features an African-influenced, tribal introduction using beer bottles and vocal bursts, evolving into a slow-burning funk track.
"Sly": A tribute to Sly Stone, this track is noted for its high energy, fast-paced drumming, and complex rhythmic interplay between clavinet, electric piano, and Bennie Maupin's soaring saxophone.
"Vein Melter": The album closer is a more laid-back, spacey, and atmospheric piece, described as a "futuristic loungey" track with a smooth, slow groove that effectively winds down the album.
The album reached platinum status and peaked at number 13 on the Billboard 200 chart, a phenomenal success for a jazz album.
Head Hunters was added to the U.S. Library of Congress's National Recording Registry of "culturally, historically or aesthetically important" sound recordings and was inducted into the Grammy Hall of Fame in 2009.
It was ranked number 254 in Rolling Stone magazine's 2020 revision of the 500 Greatest Albums of All Time.
Hear Me Out
Written-By – Simmons, D. James, L. James 3:32
A2 Once In A While
Written-By – Butch Ingram 4:11
A3 Yesterday's Song
Written By – Barry, Williams 4:30
A4 Success
Written-By – D. James, L. James 6:33
B1 Taxi - Greyhound Station
Written-By – Burton, Terry 3:50
B2 I'll Be What You Want
Written-By – Butch Ingram 4:00
B3 Hard And Heavy
Written-By – Barrow, McLean 4:03
B4 Then You Can Tell Me Goodbye
Written-By – John Loudermilk 3:50
B5 It's A Shame
Written-By – Butch Ingram 3:39
Label: Fantasy WMOT Records – F-9561
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul, Funk
Style: Seventies Soul, Disco
David Simmons' debut album, Hear Me Out, was released in April 1978. A Philadelphia-based soul, disco, and funk artist, Simmons delivered a project that collectors and critics often categorize as a "hidden jewel" of the era.
Modern retrospective reviews praise the album's flawless mix and production, noting that it captures a perfect 1978 rock-soul sound. The record is characterized by a mix of uptempo funky soul and Ray Charles-style soul ballads.
Simmons is noted for having a familiar yet distinctive soul voice. His performance on the album is often described as smooth and professional, fitting the high standards of late-70s R&B production.
The album maintains high standing among collectors on platforms like Discogs, where it holds an average rating of 4.29 out of 5 stars based on community feedback.
Listeners frequently praise Simmons as a "huge talent" and "as good as it gets" for soul vocalists. His voice is often compared to Teddy Pendergrass, though fans appreciate that he maintained his own identity rather than becoming a mere sound-alike.
Specific tracks cited for their impact include "Will They Miss Me" and "Love Tonight," both of which gained significant traction among soul fans in the UK.
The album is noted for its high-quality production typical of the WMOT label, featuring "melodic riffage," "solid drums and bass," and "clever techniques" with synths.
On collector platforms like Discogs, the album maintains a strong reputation: One version holds an average rating of 4.29/5 based on user ratings. Other listings show ratings as high as 5/5, reflecting deep appreciation from the niche soul community.
Collector Status: Reviews from buyers on eBay and Amazon often describe it as a "classic" and a must-have for fans of Philadelphia soul.
While he remains relatively "unknown" to mainstream audiences, he is highly regarded by soul enthusiasts who consider his work some of the "hidden jewels of soul and disco"
Hearsay
A2 (What Can I Say) To Make You Love Me
Arranged By [Rhythm Arrangements By] – Jam & Lewis
Arranged By [Vocal Arrangements By] – Alexander O'Neal, Jam & Lewis
Backing Vocals – Lisa Keith
Musician, Drum Programming, Programmed By [Keyboard Programming], Keyboards, Percussion – Jimmy Jam
Musician, Percussion, Backing Vocals – Terry Lewis
Written-By – James Harris III And Terry Lewis 4:25
A3 Intro 0:57
A4 Hearsay
Arranged By [Rhythm Arrangements By] – Jam & Lewis
Arranged By [Vocal Arrangements By] – Alexander O'Neal, Jam & Lewis
Handclaps – Jellybean, Jam & Lewis, Kelli Anderson, Popeye
Musician, Drum Programming, Programmed By [Keyboard Programming], Keyboards, Percussion – Jimmy Jam
Musician, Percussion, Backing Vocals – Terry Lewis
Written-By – James Harris III And Terry Lewis 4:01
A5 Intro 0:13
A6 The Lovers
Arranged By [Rhythm Arrangements By] – Jam & Lewis
Arranged By [Vocal Arrangements By] – Alexander O'Neal, Jam & Lewis
Handclaps – Jellybean, Jam & Lewis, Kelli Anderson, Popeye
Musician, Backing Vocals – Cherrelle, Lisa Keith, Randy Ran
Musician, Drum Programming, Programmed By [Keyboard Programming], Keyboards, Percussion – Jimmy Jam
Musician, Percussion – Steve Hodge
Musician, Percussion, Backing Vocals – Terry Lewis
Written-By – James Harris III And Terry Lewis 4:38
A7 Intro 0:45
A8 Fake
Arranged By [Rhythm Arrangements By] – Jam & Lewis
Arranged By [Vocal Arrangements By] – Alexander O'Neal, Jam & Lewis
Backing Vocals [Fake Fellas] – James "Popeye" Greer, Jellybean Johnson, Jerome Benton, Jimmy Jam, Terry Lewis
Musician, Drum Programming, Programmed By [Keyboard Programming], Keyboards, Percussion – Jimmy Jam
Musician, Percussion, Backing Vocals – Terry Lewis
Written-By – James Harris III And Terry Lewis 3:56
A9 Intro 0:37
A10 Criticize
Arranged By [Rhythm Arrangements By] – Jellybean Johnson
Arranged By [Vocal Arrangements By] – Alexander O'Neal, Jellybean Johnson, Lisa Keith
Musician, Backing Vocals – Lisa Keith
Musician, Drum Programming, Programmed By [Keyboard Programming], Keyboards, Guitar, Drums, Percussion – Jellybean Johnson
Musician, Drum Programming, Programmed By [Synth Programming], Keyboards – Jimmy Jam
Written-By – Alexander O'Neal, Garry Johnson 4:07
B1 Intro 0:26
B2 Never Knew Love Like This
Arranged By – Alexander O'Neal, Cherrelle, Jam & Lewis
Arranged By [Rhythm Arrangements By] – Jam & Lewis
Arranged By [Vocal Arrangements By] – Alexander O'Neal, Jam & Lewis
Musician, Backing Vocals – Randy Ran
Musician, Drum Programming, Programmed By [Keyboard Programming], Keyboards, Percussion – Jimmy Jam
Musician, Lead Vocals, Backing Vocals – Cherrelle
Musician, Percussion, Backing Vocals – Terry Lewis
Musician, Soloist [Saxophone Solo], Saxophone – David Eiland
Written-By – James Harris III And Terry Lewis 5:09
B3 Interlude 0:17
B4 Sunshine
Arranged By [Rhythm Arrangements By] – Jam & Lewis
Arranged By [Vocal Arrangements By] – Alexander O'Neal, Jam & Lewis
Musician, Backing Vocals – Randy Ran, Randy Ran
Musician, Drum Programming, Programmed By [Keyboard Programming], Keyboards, Percussion – Jimmy Jam
Musician, Percussion, Backing Vocals – Terry Lewis
Written-By – James Harris III And Terry Lewis 5:59
B5 Interlude 0:19
B6 Crying Overtime
Arranged By [Rhythm Arrangements By] – Jam & Lewis
Arranged By [Vocal Arrangements By] – Alexander O'Neal, Jam & Lewis
Musician, Drum Programming, Programmed By [Keyboard Programming], Keyboards, Percussion – Jimmy Jam
Musician, Percussion, Backing Vocals – Terry Lewis
Written-By – James Harris III And Terry Lewis 4:55
B7 Intro 0:24
B8 When The Party's Over
Arranged By [Rhythm Arrangements By] – Jam & Lewis
Arranged By [Vocal Arrangements By] – Alexander O'Neal, Jam & Lewis
Musician, Backing Vocals – Randy Ran
Musician, Drum Programming, Programmed By [Keyboard Programming], Keyboards, Percussion – Jimmy Jam
Musician, Percussion, Backing Vocals – Terry Lewis
Written-By – James Harris III And Terry Lewis 3:29
Label: Tabu Records – FZ 40320
Format: Vinyl, LP, Album
Country: US
Released: 1987
Genre: R&B Soul
Style: Eighties Soul, Contemporary R&B
Alexander O'Neal's Hearsay album is widely hailed as a masterpiece of 80s R&B/soul, praised for its seamless blend of danceable funk hits like "Criticize" and "Fake" with heartfelt ballads, all held together by Jam & Lewis's tight production and O'Neal's flawless, powerful vocals. The album functions as a conceptual "night out," building from lively party tracks to mellow endings, featuring iconic duets with Cherrelle and remaining fresh and relevant decades later, solidifying its status as a filler-free, classic album that brought soul to the mainstream dance floor.
The album tells a story, transitioning from high-energy dance tracks ("Intro," "Hearsay," "Fake," "Criticize") to more romantic, slower numbers ("Never Knew Love Like This," "Crying Overtime," "Sunshine"), creating a cohesive listening experience.
The legendary production duo provided their "finest and tightest" work, delivering catchy beats, hook-laden songs, and ample space for O'Neal's voice, making it sound both distinctly 80s and timeless.
O'Neal's voice is consistently praised as powerful, soulful, explosive, and perfectly suited to the tracks, showcasing his mastery.
Tracks like "Fake" (a surprise #1 hit), "Criticize," and "What Can I Say (To Make You Love Me)" became massive hits, especially in the UK, making O'Neal a household name.
The collaboration with Cherrelle on "Never Knew Love Like This" is a standout, highlighting their complementary voices.
Reviewers call it an absolute masterpiece, a career high for O'Neal, and a perfect album with no weak tracks. Despite its 80s sound, critics note it hasn't dated and sounds as fresh today as it did upon release.
While perhaps dismissed by some "cognoscenti," it was adored by the masses and sold incredibly well, especially in the UK, where it went multi-platinum.
Overall: Hearsay is considered Alexander O'Neal's definitive work, a perfectly crafted album that blended sophisticated R&B with undeniable dancefloor appeal, cementing its place as a beloved classic.
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.
Heaven
Written-By – B. Winans, K. Thomas 4:42
A2 Celebrate New Life
Written-By – B. Winans, K. Thomas 3:44
A3 Lost Without You
Written-By – B. Winans, K. Thomas 4:12
A4 You
Written-By – Winans, Thomas, Kibble, Lawrence 4:43
A5 Wanna Be More
Written-By – Benjamin Winans 4:40
B1 Hold Up The Light
Guest, Vocals – Whitney Houston
Written-By – B. Winans, P. Bady 4:52
B2 Meantime
Written-By – B. Winans, K. Thomas 5:06
B3 Don't Cry
Written-By – B. Winans, K. Thomas 4:19
B4 Trust Him
Written-By – B. Winans, K. Thomas 4:30
B5 Bridge Over Troubled Water
Written-By – Paul Simon 3:52
Label: Capitol Records – C1 90959
Format: Vinyl, LP, Album
Country: US
Released: 1988
Genre: R&B Soul, Gospel
Style: Soul, Christian
BeBe & CeCe Winans' 1988 album Heaven is a pivotal contemporary gospel record, celebrated for its stunning vocal harmonies, innovative blend of pop production with Christian themes, and influential sound that paved the way for modern gospel, even drawing minor criticism for being "too pop," but solidifying their status as innovators with hits like the title track and guest spots from Whitney Houston.
The album showcases the signature, breathtaking harmonies and interplay between BeBe and CeCe's voices.
It masterfully merged popular music production values with faith-based lyrics, pushing the boundaries of gospel music.
While some keyboard sounds are dated by today's standards, the production was lush and impactful, featuring BeBe's songwriting and a blend of funky and ballad styles.
Heaven helped usher in a new era of contemporary gospel, influencing artists like Kirk Franklin and Sounds of Blackness, and setting the stage for the Winans' successful solo careers.
Critics lauded it as some of their best work, solidifying their role as gospel innovators, though some questioned if its contemporary sound was "Christian enough".
Overall, Heaven is a beloved classic in the gospel world, recognized for its timeless vocals, groundbreaking sound, and lasting impact, making it a must-listen for fans of the duo and contemporary Christian music.
Hell
A2 Hell (James Brown 5:03)
A3 My Thang (James Brown 4:20)
A4 Sayin' It And Doin' It (James Brown 3:05)
A5 Please, Please, Please (James Brown 4:07)
B1 When The Saints Go Marching In (Traditional 2:43)
B2 These Foolish Things Remind Me Of You (H. Link, H. Marvell, J. Strachey 3:14)
B3 Stormy Monday (Aaron Walker 3:15)
B4 A Man Has To Go Back To The Cross Road Before He Finds Himself (James Brown 2:52)
B5 Sometime (James Brown 4:15)
C1 I Can't Stand It "76" (James Brown 8:10)
C2 Lost Someone (Lloyd Stallworth, Bobby Byrd, James Brown 3:35)
C3 Don't Tell A Lie About Me And I Won't Tell The Truth On You James Brown 5:05)
D1 Papa Don't Take No Mess (Fred Wesley, James Brown, John Starks 13:51)
Label: Polydor – PD 2-9001
Format: 2 x Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Funk
Hell is a double album by James Brown that stands as one of his most diverse and audacious artistic statements, blending hard-edged funk with social commentary, soul ballads, and spirituals. It is known for its raw energy, innovative grooves, and experimental elements that marked a pivotal moment in his transition to a more expansive sound in the 1970s.
The album is a sprawling exploration of funk and soul, incorporating elements of jazz, gospel, and even salsa. It features the signature "Minister of New New Super Heavy Funk" sound, characterized by stripped-down, rhythmically driven tracks where instruments and vocals act as a percussive counterpoint.
The album's title and music reflect the social and political unrest of the mid-1970s United States. The title track, "Hell," offers empathy towards those born into poverty, "paying bills from the day you're born, little brother, 'til your body starts getting old". The album also includes defiant political commentary and protest anthems.
Brown is backed by his exceptional band, The J.B.'s, including Maceo Parker on saxophone, Fred Wesley on trombone/arrangements, and guitarist Jimmy Nolen. The album showcases their ferocious precision and ability to navigate the eclectic material with extended jam sessions and improvisation.
The cover artwork for the album was designed by Joe Belt and features Bosch-inspired visuals, matching the album's dark, aggressive energy and cinematic scope.
Hell is considered a masterpiece in James Brown's extensive catalog, building on the success of the previous year's The Payback while pushing the boundaries of his music into new, more experimental territory. It solidified his role as Soul Brother Number One and the Godfather of Soul, whose influence on funk and subsequent genres like hip-hop is immeasurable.
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.
Hey Girl Don’t Bother Me!
Written-By – Mac Davis 2:21
A2 Go Away Little Girl
Written-By – Goffin-King 2:13
A3 What Kind Of Girl Are You?
Written-By – Ray Whitley 1:55
A4 Hey Little Girl
Written-By – Buddy Funk 2:31
A5 Why Did My Little Girl Cry?
Written-By – Harry Middlebrooks 2:11
A6 Hey Girl Don't Bother Me
Written-By – Ray Whitley 2:25
B1 Silly Little Girl
Written-By – Joe South 2:36
B2 Candy
Written-By – Kramer, Whitney, David 2:15
B3 My Lady Elaina
Written-By – Judy Thomas 2:08
B4 Melancholy Baby
Written-By – Burnett, Morton 2:21
B5 She's Funny That Way
Written-By – Clark, Whiting 2:07
B6 Anna (Go To Him)
Written-By – A. Alexander 2:45
Label: ABC-Paramount – ABC 499
Format: Vinyl, LP, Album, Mono
Country: US
Released: 1964
Genre: R&B Soul
Style: Sixties Soul
Hey Girl Don't Bother Me! is a classic 1964 R&B and soul album featuring the group's signature vocal harmonies and beach music sound.
The album features 10 tracks, including their popular single of the same name. The track "Hey Girl Don't Bother Me" was originally a US R&B chart hit, later reaching number one in the UK charts in 1971.
Reviewers praise the album for its great sound and nostalgic appeal, capturing the essence of 1960s soul and R&B. The lead singer's distinctive voice is often highlighted as making even average songs sound great. The album is considered a must-have for soul and R&B collectors, especially those interested in the "Carolina shag" dance scene, where The Tams' music was very popular.
Hey Girl Don't Bother Me!
Hey Girl Don't Bother Me! (ABC-Paramount, ABC 499) is a classic 1964 R&B and soul album featuring the group's signature vocal harmonies and beach music sound.
Album Details
Artist: The Tams
Title: Hey Girl Don't Bother Me!
Label: ABC-Paramount
Catalog Number: ABC 499 (mono version; ABCS 499 is the stereo version)
Format: 12" Vinyl LP, Album, Mono
Release Year: 1964
Genre: Rock, Funk / Soul, Pop, with influences of Northern soul and beach music
Physical Description: Black vinyl record with a cardboard sleeve case. The cover was designed by Steve Madison, with liner notes by Rick Ward.
Tracklist
The album features 10 tracks, including their popular single of the same name. The track "Hey Girl Don't Bother Me" was originally a US R&B chart hit, later reaching number one in the UK charts in 1971.
Critical Reception
Reviewers praise the album for its great sound and nostalgic appeal, capturing the essence of 1960s soul and R&B. The lead singer's distinctive voice is often highlighted as making even average songs sound great. The album is considered a must-have for soul and R&B collectors, especially those interested in the "Carolina shag" dance scene, where The Tams' music was very popular.
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.
His California Album
Written-By – D. Malone, O. Perry 3:32
A2 Up And Down World
Written-By – D. Malone, V. Morrison 3:33
A3 It's Not The Spotlight
Written-By – B. Goldberg, G. Goffin 3:52
A4 (If Loving You Is Wrong) I Don't Want To Be Right
Written-By – L. Ingram, M. Rice 3:50
A5 Goin' Down Slow
Written-By – J. D. Odom 5:35
B1 The Right Place At The Right Time
Written-By – D. Malone 2:55
B2 Help Me Through The Day
Written-By – L. Russell 3:50
B3 Where Baby Went
Written-By – D. Malone 3:19
B4 Friday The 13th Child
Written-By – D. C. Thomas 3:14
B5 I've Got To Use My Imagination
Written-By – B. Goldberg, G. Goffin 4:14
Label: ABC/Dunhill Records – DSX-50163
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul, Blues
Style: Rhythm & Blues, Soul
Bobby "Blue" Bland's 1973 release, His California Album, is widely considered a "lost classic" and a masterpiece of gritty, urban crossover soul. It marked a significant artistic shift, moving from his raw, Houston-based sound to a more polished, Los Angeles studio production, which garnered critical acclaim and commercial success.
Reviews of His California Album are overwhelmingly positive, with many fans and critics rating it as one of the best soul-blues albums ever recorded.
The album is frequently described as a "masterpiece of gritty crossover soul" that successfully merges deep Southern soul and blues with the smooth, laid-back feel of L.A. production.
Bland's vocal performance is universally praised. His "exquisite, huskily expressive voice" delivers powerful lyrics with raw honesty, emotion, and elegance, backed by a stellar cast of L.A. session musicians including Larry Carlton and Dean Parks on guitar.
Despite being a product of its time (the 1970s), reviewers note the album has a "timeless quality" that sounds fresh decades later.
It is considered a landmark recording in Bland's discography, showcasing a creative renewal and a sophisticated urban sound while retaining his soulful essence.
His California Album is considered an essential listen for fans of soul and blues music, capturing a transformative period in Bobby "Blue" Bland's career where his powerful voice blended seamlessly with sophisticated studio production to create an enduring work of art.
Hot Night Tonight
2 I Love To Make Love (Lee Errol Anthony 5:03)
3 I Let A Good Man Go (4:44)
4 Never Found A Man (Isbell Alvertis, Jones Booker T. Jr., Floyd Eddie Lee 4:13)
5 Hot Night Tonight (Barbara Lynn 4:45)
6 Don't Hit Me No More (Charles Scott Boyer Jr. 4:45)
7 Hear From My Daddy (Barbara Lynn 4:57)
8 When Something's Wrong (Isaac Hayes/David Porter 3:36)
9 It's Been So Long - (Barbara Lynn 4:02)
10 Lynn's Blues - (Barbara Lynn 5:17)
11 You're The Man (Extended Version) - (Barbara Lynn 5:31)
12 What I Need Is Love (Barbara Lynn 3:52)
Label: Antone's Records – ANT0047
Format: CD, Album
Country: US
Released: 2000
Genre: Rhythm & Blues
Style: R&B Soul Blues
"Hot Night Tonight" by Barbara Lynn is a 2000 release that features her signature soulful blues sound, blending R&B, blues-rock, and New Orleans R&B styles. It was her first full-fledged studio album in over two decades, following a long hiatus from the music business.
The album is characterized as "soulful blues," distinct from typical blues by placing less emphasis on the guitar and more on Lynn's vocal stylings. It has been compared to the classic Stax/Volt sound, "amped up a bit with more guitars".
The album features a mix of her older songs (like "You're the Man") and new originals, all highlighting her voice and left-handed guitar playing.
The title track is included, alongside others such as "I Love To Make Love," "I Let A Good Man Go," and "Lynn's Blues".
One unique aspect noted in reviews is the appearance of Lynn's son, Bachelor Wise, who performs a rap on the album's opening track, a feature that some found worked well with the tune.
Reviewers praised the album as a great recording from an "underrated and overlooked soul performer". It is recommended for those looking for a different, more soulful type of blues.
The album can be purchased from Amazon on CD or MP3 download by clicking the image below.
Howard Hewett – It’s Time
2 Crystal Clear 4:49
3 This Love Is Forever 5:38
4 Your Body Needs Healin' 4:40
5 For The Lover In You 6:58
6 I Wanna Know You 5:33
7 Say Good-Bye 4:18
8 How Do I Know I Love You 4:19
9 A Love Of Your Own 4:58
10 Just To Keep You Satisfied 4:41
11 On & On 5:35
12 Amazing Grace (Interlude) 1:41
13 Call His Name 4:32
Label: Caliber Records – 69052-1008
Format: CD, Album
Country: US
Released: 1994
Genre: R&B Soul
Style: Downtempo, Soul
Howard Hewett's It's Time album, often noted as a standout solo effort from the former Shalamar vocalist, is praised for its smooth, soulful R&B and quiet storm vibes, showcasing his pure, soaring voice on seductive ballads perfect for relaxation or romance, featuring standout tracks like "Crystal Clear" and "For The Lover In You," solidifying his status as a top-tier R&B talent.
The album consistently delivers smooth, mellow R&B, ideal for chilling, cruising, or intimate moments.
Fans consistently highlight Hewett's beautiful, clear, and soulful voice, noting how he uses it to mimic instruments and pierce the soul.
The music creates a "mood for love," with themes of romance and connection throughout.
Notable Tracks:
"Crystal Clear": Sets the tone for the album's romantic feel.
"For The Lover In You": A popular, extended track that embodies the album's sensual essence.
"Your Body Needs Healin'": A fan favorite that contributes to the album's relaxing atmosphere.
Many listeners consider it one of his most underrated projects, filled with infectious music. Praised as "pure class" and a fantastic, relaxing listen. Great for long drives, quiet nights, or just unwinding.
Overall, It's Time is seen as a quintessential Howard Hewett album, proving his enduring talent for delivering soulful, well-crafted R&B with a distinct romantic flair, even if it sometimes flies under the radar compared to his Shalamar hits or other solo efforts.
Hung Up On You
A2 I Don't Want To Lose You (Butler, Wade, Callier 3:43)
A3 Whatever's Fair (Wade, Callier 3:36)
A4 Storm (Butler, Wade 3:04)
A5 Free Yourself (Jackson, Jones, Wade, Mixon Jr, Callier 2:37)
B1 Dip, Dip, I've Got My Hands Full (Butler, Blumenberg 3:55)
B2 (What Do You Do) When Your Baby's Gone (Billy Butler 4:40)
B3 You Keep Running Away (B. Butler, Blumenberg, J. Butler 2:58)
B4 Now You Know (Wade, Callier 3:48)
B5 You Can't Always Tell (Butler, Jackson, Wade, Callier 3:06)
Label: Pride – PRD-0018
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Sweet Soul, Funk
The album Hung Up On You by Billy Butler & Infinity is a 1973 (or 1974 in some regions) release that is considered a Chicago soul masterpiece, blending sweet soul ballads with energetic funk tunes. It was the sole LP released by the group, which featured Billy Butler (brother of the famous soul singer Jerry Butler) alongside members Errol Banks, Phyllis Knotts, and Larry Wade.
The album is noted for showcasing the full range of Butler's musical palette beyond his earlier Motown-influenced 1960s work. It includes a mix of sweet soul ballads and funkier material, with driving rhythms and soulful melodies.
Though perhaps under-appreciated at the time of its initial release, the album is highly regarded by soul music enthusiasts and collectors. Reissues have helped it gain recognition as a classic example of 1970s soul, praised for its exceptional songwriting, arrangements by Jerry Long, and production.
I Appreciate
Written-By – Al Hudson, Kevin McCord 8:00
A2 Appreciation
Engineer [Remix] – Taavi Mote
Remix – Louil Silas, Jr.
Written-By – Kevin McCord, Ralph Ernest 5:00
A3 Say That
Written-By – Kevin McCord 4:17
B1 My Guy
Written-By – Al Hudson, Irene Perkins 4:06
B2 Just Can't Stay Away
Written-By – C. Jackson, M. Yancy 5:30
B3 Just Praying
Written-By – Al Hudson, Irene Perkins 4:54
B4 Don't Do Me This Way
Written-By – Kevin McCord 4:10
Label: MCA Records – MCA-5485
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: R&B Soul
Style: Seventies Soul, Disco, Funk
I Appreciate, is a well-regarded R&B/soul record, known for its smooth grooves, powerful vocals, and successful singles like "Don't Stop What You're Doin'," "I Just Can't Stay Away," and "If You Play Your Cards Right," solidifying her solo success after her One Way fame, with fans loving its blend of soulful ballads and disco/boogie elements.
I Appreciate was her highest-charting album on the R&B charts, reaching #12, and marked her first appearance on the Billboard 200 (peaking at #186).
It spawned popular tracks that became staples on radio, including the romantic ballad "I Just Can't Stay Away" and the uplifting "Don't Stop What You're Doin'".
While containing soulful ballads, the album also featured disco/boogie influences, showcasing Myers' versatility and strong vocal delivery.
Listeners often praise the album for its nostalgic appeal and smooth, soulful sound, with many rediscovering it and appreciating its enduring quality.
Why it's Appreciated:
Vocal Power: Myers' rich, soulful voice shines throughout, delivering emotive performances on tracks like "Don't Do Me This Way".
Timeless Feel: The production blends classic 80s R&B with timeless soul, making it a favorite for those who enjoy vintage sounds.
Legacy: I Appreciate is considered a significant part of her solo career and a highlight from her successful 1980s run with MCA Records.
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 Belong To You
A2 A Real Man (Douglas Smith, Randy Hall 4:20)
A3 I Belong To You Glen Burris, Randy Hall 5:23)
A4 A Gentleman (Glen Burris, Randy Hall 4:12)
A5 Older Woman, Younger Man (Randy Hall 4:18)
B1 Feel My Eyes (Randy Hall, Robert Irving III 5:12)
B2 Glamour Boy (J.D. Nicholas, Randy Hall 4:33)
B3 She's My Little Star (Randy Hall 3:45)
B4 I Want To Touch You (Douglas Smith, Randy Hall 4:45)
Label: MCA Records – MCA-5504
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: Eighties R&B Soul
Style: Electronic Disco Funk
I Belong to You is the debut solo album by American singer, guitarist, and producer Randy Hall, released on the MCA label. The album is a contemporary R&B record with strong influences of funk, electro-funk, and soul, capturing the essence of mid-1980s R&B music.
The album was produced by Ray Parker Jr., and his production style is notably present throughout the record, particularly in the arrangements. Hall's vocals have been noted for their dynamic range and ability to evoke comparisons to other prominent '80s artists like Michael Jackson, Prince, and Michael McDonald.
It features a mix of powerful electro-funk tracks and grooving ballads and includes his biggest hit to date, the opening song "I've Been Watching You (Jamie's Girl)". Other highlights include the title track, the funky "A Real Man," and the ballad "I Want To Touch You".
Before his solo debut, Randy Hall was known for his work with the funk band Pleasure and was a key collaborator in Miles Davis's early 1980s comeback.
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".
I Can’t Stop
02 Play To Win (A. Green, W. Mitchell 4:38)
03 Rainin' In My Heart (A. Green, W. Mitchell 4:45)
04 I've Been Waitin' On You (Al Green 3:43)
05 You (A. Green, W. Mitchell 4:29)
06 Not Tonight (A. Green, W. Mitchell 4:25)
07 Million To One (A. Green, W. Mitchell 4:52)
08 My Problem Is You (A. Green, W. Mitchell 6:28)
09 I'd Still Choose You (A. Green, W. Mitchell 4:05)
10 I've Been Thinkin' Bout You (Al Green 4:04)
11 I'd Write A Letter (Al Green 3:53)
12 Too Many (Al Green 4:01)
Label: Blue Note – 7243 5 93556 2 7
Format: CD, Album
Country: US
Released: 2003
Genre R&B Soul
Style: Southern Soul
I Can't Stop is a studio album by American soul singer Al Green, notable for marking his return once again to secular music and reuniting him again with his classic 1970s producer, Willie Mitchell.
The album was recorded at the same Memphis facility (Royal Recording Studios) and used many of the same musicians and recording techniques as his seminal 1970s hits, resulting in a sound that effortlessly revives the "warm, sexy vibe and urbane yet funky" feel of his classic work. The production features the signature elements of a deep groove, punchy horns, strings, and Green's "transcendently expressive voice," which critics noted was still strong, with his falsetto intact.
I Can't Stop was a highly anticipated and commercially successful 2000s "comeback" album. It received generally positive reviews, with many critics praising the quality of the songwriting and Green's strong vocal performance. Some even described it as being "as good as anything he recorded back in the early '70s".
It was Green's highest-charting album since 1975, peaking at number 53 on the US Billboard 200. The album was nominated for a Grammy Award for Best R&B Album in 2004, and the title track received a nomination for Best Traditional R&B Performance.
Overall, the album is celebrated for its successful recreation of the classic Southern soul sound and for proving that Green's charisma and vocal ability remained undiminished after two decades of focusing mainly on gospel music, thus confirming his position as one of the greatest male soul singers of all time.
(Review provided by SoulYears.com)
I Had To Fall In Love
A2 No One Like My Baby (Fred Bliffert 3:45)
A3 Rising Cost Of Love (Bobby Martin, Zane Grey, Len Ron Hanks 3:34)
A4 Change Up (Zane Grey, Len Ron Hanks 5:00)
B1 How Can You (Live Without Love) (Zane Grey, Len Ron Hanks 3:21)
B2 I Had To Fall In Love (Benny Gallagher, Graham Lyle 4:16)
B3 That's The Way Love Grows (Chris Rae, Frank McDonald, Gerry Shury 3:30)
B4 You've Been So Good For Me (Zane Grey, Len Ron Hanks 4:23)
B5 No Limit (Zane Grey, Len Ron Hanks 3:19)
Label: A&M Records – SP-4676
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Disco
I Had to Fall in Love was the sole solo album released by former Supremes lead singer Jean Terrell. Released in 1978 on the A&M label, the album features a blend of soul, R&B, jazz, and disco-inspired tunes that allowed Terrell to showcase vocal strengths and a range largely unseen during her time with the Supremes.
The Bobby Martin produced album is a collection of romantic love songs featuring good production quality and Terrell's "pure gold" vocals. It is noted for being musically different from the Motown sound she was known for, incorporating a jazzy and soulful feel. The production also features members of the A&M band L.T.D.
The album includes several standout tracks, such as the minor R&B hit "Don't Stop Reaching for the Top" (which peaked at #72 on the R&B charts), "How Can You Live without Love," "That's the Way Love Grows," and "No Limit", which is regarded a modern soul classic by many UK soul fans. The title track itself was a single release and is a melodic love song that establishes the album's theme.
Unfortunately, the album did not receive extensive promotion because Terrell decided to turn her back on secular music shortly after its release due to her religious beliefs as a Jehovah's Witness, which prevented her from promoting it in the standard way (e.g., extensive touring). This lack of promotion meant the album failed to make a significant impact on charts at the time, although it has since become a sought-after item for collectors and fans of classic 70s soul.
I Love You So
Written-By – C. Jackson, M. Yancy 4:49
A2 You're So Good
Written-By – F. Freeman, H. Nehls 3:23
A3 It's Been You
Written-By – C. Jackson, M. Yancy 4:53
A4 Your Lonely Heart Written-By – N. Cole 4:45
A5 The Winner
Written-By – C. Jackson, G. Barge, M.Yancy 3:40
B1 Oh, Daddy
Written-By – C. McVie 4:03
B2 Sorry
Written-By – C. Jackson, J. Dixon, M. Yancy 4:45
B3 Stand By
Written-By – M. Yancy, N. Cole 4:19
B4 Who Will Carry On
Written-By – N. Cole 3:36
Label: Capitol Records – SO-11928
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Seventies Soul, Disco
Natalie Cole's 1979 album I Love You So is regarded by fans as a classic late-70s R&B/soul record, notable for its blend of disco and funk elements and for being certified Gold by the RIAA. While major music critic reviews are scarce in the search results, user ratings suggest a generally positive reception, with a current average of 4.1/5 on Discogs.
Overview of Critical and Fan Reception
The album is recognized for its quintessential late-70s sound, incorporating significant R&B, soul, and disco influences, produced by Chuck Jackson, Marvin Yancy, and Gene Barge. The production style is consistent with the successful formula of her earlier albums.
The title track itself is highlighted as a great disco song, and another standout track frequently mentioned is "Your Lonely Heart," which Natalie Cole penned herself. The album's only major single was "Stand By," which reached number 9 on the U.S. R&B chart. The album also features "Oh, Daddy," a song written by Christine McVie of Fleetwood Mac.
I Love You So performed well commercially, peaking at number 52 on the Billboard 200 and number 11 on the Billboard R&B Albums chart. It was RIAA-certified Gold, though it didn't reach the Platinum status of some of her earlier works like Thankful.
The album is considered a must-have for fans of Cole's 70s output and great 70s music in general. It is sometimes packaged in compilation reissues alongside albums such as Thankful and Don't Look Back, where its production quality in remastered form is often praised.
In summary, I Love You So is a strong and enjoyable entry in Natalie Cole's discography, showcasing her powerful vocals within the popular R&B/disco sound of the era, even if it is less critically discussed in major publications than her Unforgettable... With Love album from the 90s. Fans appreciate the album's classic feel and several strong tracks.
I Need You
A2 I'll Go Anywhere 4:25
A3 I Just Want To Thank You Lord 4:43
A4 Let The Spirit Fall On Me 5:04
B1 Same Old Song 2:51
B2 God Will Make A Way Somehow 2:49
B3 Satisfied With Jesus 3:34
B4 I'll Live For Him Always 3:23
B5 Keep On Working For The Lord 3:00
Label: Creed Records – CREED 3097
Format: Vinyl, LP, Album
Country: US
Released: 1980
Genre: R&B Gospel
Style: Gospel, Soul
Rev. Isaac Douglas's album I Need You is a regarded as a raw gospel soul gem known for its powerful vocal performances and blend of traditional and contemporary gospel styles.
Released on Creed Records in 1980, I Need You features the signature sound of Rev. Isaac Douglas, who was known for his deep, strong voice and ability to blend traditional black gospel with contemporary influences like soul, pop, R&B, and even disco. This approach was part of a movement within the gospel community at the time to reach a broader, more mainstream audience, a philosophy championed by Douglas and his contemporaries like the New York Community Choir.
While formal critical reviews from major publications are limited, contemporary opinions from music enthusiasts and in gospel circles are very positive. The album is appreciated for being "lyrically and musically outstanding," and it holds a place of fond memory for many who grew up with 1980s Christian music. The album captures the energetic and boundary-pushing spirit of early 80s gospel music, which some found refreshing and others controversial for its integration of secular music styles. Douglas's unique vocal stylings are frequently praised for their "control, stamina, and growl/squall".
I Need You remains a collectible album and a definitive example of Rev. Douglas's impactful career.
I Put A Spell On You
Written-By – Hawkins 2:33
A2 Tomorrow Is My Turn
Written-By – Aznavour, Stellman, Stéphane 2:43
A3 Ne Me Quitte Pas
Words By [French Words By] – Jacques Brel 3:27
A4 Marriage Is For Old Folks
Written-By – E. Shuman, L. Carr 3:22
A5 July Tree
Written-By – E. Merrian, I. Jurist 2:40
A6 Gimme Some
Written-By – A. Stroud 2:58
B1 Feeling Good
Written-By – A. Newley, L. Bricusse 2:52
B2 One September Day
Written-By – R, Stevenson 2:47
B3 Blues On Purpose
Written-By – R. Stevenson 3:18
B4 Beautiful Land
Written-By – A. Newley, L. Bricusse 1:55
B5 You've Got To Learn
Written-By – C. Aznavour 2:40
B6 Take Care Of Business
Written-By – A. Stroud 2:04
Label: Philips – PHS 600-172
Format: Vinyl, LP, Album
Country: US
Released: 1965
Genre: R&B Jazz, Blues
Style: Soul-Jazz, Piano Blues
Nina Simone's 1965 album, I Put a Spell on You, is a highly acclaimed, eclectic masterpiece balancing pop accessibility with deep emotional complexity, featuring iconic hits like the powerful title track and "Feeling Good," showcasing her versatility with jazz, R&B, and show tunes, and despite some minor filler tracks, it's considered a cornerstone of her discography and essential listening for its raw vocal delivery and consistent quality.
It's noted as one of her most accessible albums, bringing her closer to pop, but still retaining her signature dark, urgent, and soulful edge, making it a great entry point.
The album Contains two of her most famous songs, the intense "I Put a Spell on You" and the celebratory "Feeling Good," both delivered with unmatched vocal power.
It blends jazz instrumentals ("Blues on Purpose"), French chanson ("Ne Me Quitte Pas"), standards, and R&B, showcasing her broad range.
Songs tackle heartbreak, frustration, and freedom, with Simone's expressive voice giving life to potentially light material.
Reviewers praise its well-crafted nature, calling it one of her most consistent works, though a few tracks like "Marriage Is for Old Folks" are sometimes seen as weaker.
Often ranked among her best and most important albums, praised for its directness and replay value. In essence, I Put a Spell on You is a pivotal album, capturing Nina Simone at a moment where she successfully merged pop appeal with her profound artistic identity, making it a must-have for fans of jazz, soul, and powerful vocal performances.
I’ll Be Home For Christmas
2 I'll Be Home For Christmas (Kim Gannon, Walter Kent 3:04)
3 I'm In Love (Bobby Ross Avila, Carla Carter, Issiah J. Avila, James Q. Wright, James Harris III, Terry Lewis 4:10)
4 Have Yourself A Merry Little Christmas (Hugh Martin, Ralph Blane 4:17)
5 Santa Claus Is Coming To Town (Haven Gillespie, J. Fred Coots 4:01)
6 Isley Christmas Medley
(Written-By [Joy To The World] – Isaac Watts; Written-By [The First Noel & Gloria In Excelsis Deo] – Traditional; Written-By [What Child Is This?] – William Chatterton Dix 5:51)
7 What Can I Buy You (James Q. Wright, James Harris III, Terry Lewis 4:26)
8 The Christmas Song Featuring, Guitar by Doc Powell (Mel Tormé, Robert Wells 4:27)
9 White Christmas (Irving Berlin 3:33)
10 Silent Night (Franz X. Gruber, Josef Mohr 4:12)
Label: Def Soul – B0009913-02
Format: CD, Album
Country: US
Released: 2007
Genre: R&B Soul
Style: Soul, Holiday
I'll Be Home for Christmas is the Isley Brothers' 31st studio album and their first holiday release, blending classic R&B and soul with traditional Christmas music. Released on October 9, 2007, the album features lead vocals by Ronald Isley with production by Jimmy Jam & Terry Lewis.
The album is a mix of popular Christmas standards and two original songs, "I'm in Love" and "What Can I Buy You". It is characterized by lush production, smooth R&B arrangements, and Ronald Isley's distinctive, sultry vocals, which critics noted were well-suited for holiday classics. The overall feel is described as a soulful and professional take on seasonal sounds, providing a warm, at-home listening experience.
I'll Be Home for Christmas received largely positive reviews from music critics. It debuted and peaked at number 38 on the US Top R&B/Hip-Hop Albums chart. Reviewers highlighted the balance between secular and spiritual tracks and praised the quality of the arrangements and performances, especially Ronald Isley's vocal delivery.
I’m A Loser
A2 I Can't Do Without You (George Jackson, Ronald Townsend 2:06)
A3 Feet Start Walking (Gary Bonds, Jerry Williams, Jr. 2:28)
A4 Ghost Of Myself (Jerry Williams, Jr. 3:06)
A5 Your Best Friend (Jerry Williams, Jr., Larry Harrison 2:48)
A6 The Feeling Is Right (George Jackson, Mickey Buckins 2:44)
B1 I Don't Care Anymore (Gary Bonds, Jerry Williams, Jr., Maurice Gimbel 3:05)
B2 Congratulations (Baby Gary Bonds, Jerry Williams, Jr., Maurice Gimbel 2:00)
B3 We're More Than Strangers (Gary Bonds, Jerry Williams, Jr. 3:28)
B4 Divorce Decree (Jerry Williams, Jr., Maurice Gimbel 2:28)
B5 How Was I To Know You Cared (Gary Bonds, Jerry Williams, Jr. 2:38)
B6 To The Other Woman (I'm The Other Woman) (Gary Bonds, Jerry Williams, Jr. 2:55)
Label: Canyon Records LP-7704
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul
Style: Southern Soul, Deep Soul
Doris Duke's album I'm a Loser is widely considered a deep soul masterpiece and, by some critics like the late Dave Godin, the "greatest deep soul album of all time". The album is highly praised for its emotional intensity, raw vocals, and cohesive narrative dealing with love, betrayal, and heartbreak.
Critics universally laud the album, highlighting Doris Duke's authentic and powerful vocal performance. The album is praised as a raw and unflinching look at relationship failures, with Duke singing every word with palpable pain, conviction, and truth. Listeners often feel the sense of loss, anger, and heartbreak in her voice, which many critics note is a testament to her storytelling ability.
I'm a Loser is considered one of soul music's first concept albums, focusing on the story of a wronged woman across its twelve tracks. The songs create dramatic mini-narratives, such as a woman discovering her partner's infidelity ("To the Other Woman (I'm the Other Woman)") or her descent into prostitution after moving to the city ("I Don't Care Anymore").
Produced and largely written by the innovative Jerry "Swamp Dogg" Williams Jr., the album features superb musicianship with a Southern soul sound. The arrangements combine a punchy rhythm section, Hammond organ, and dramatic strings to create a moody and atmospheric backdrop that perfectly complements the lyrical themes. Notably, Duane Allman of the Allman Brothers Band contributed guitar work to several tracks.
Despite critical acclaim, the album was not a commercial success at the time due to the collapse of its label, Canyon Records. However, it has gained a cult following and immense respect over the decades, leading to several reissues by labels like Ace/Kent Records.
I’m In Heaven
A2 I Just Can't Say Goodbye (J. Davis 4:56)
A3 You Got To Know Better (G. Jackson, P. Jackson 3:25)
A4 Anything (M. Steals-M. Steals 4:19)
B1 You Got Nowhere To Come (G. Jackson, Hailstock, P. Jackson 4:43)
B2 I Love You Pretty Baby (G. Jackson, Brevard, P. Jackson 4:40)
B3 One Half As Much (M. Steals-M. Steals 3:24)
B4 Love Me Tonight (M. Steals-M. Steals 4:55)
1 Label: Midland International – BKL1-1821
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Philly Soul
The album I'm In Heaven by the Philly soul/disco band Touch of Class is known for its smooth, lushly orchestrated sound, heavily influenced by the Philadelphia soul style. The album was produced by John Davis and features various members of the legendary Salsoul Orchestra, including Vince Montana on vibraphone.
The record is characterized by soaring, groovy arrangements that blend R&B, soul, pop, and disco elements. Critics and soul fans have praised its plush instrumentation, often comparing its sound to the work of producer Thom Bell. The title track itself is noted for having a beautiful instrumental break featuring the vibraphone. The group's vocal style is described as sometimes fragile, but generally well-suited to the robust, dance-oriented grooves provided by Davis's production.
Expanded and remastered editions of the album often include bonus tracks such as "Said It Before," "God Bless Me," and various 7" and disco versions of the main songs.
I’m In Need Of Love
Arranged By, Keyboards – L. Leon Pendarvis
Backing Vocals [Background Singers] – Carl Hall, Peggy Blue
Bass – Bob Babbit
Drums – Andrew Smith
Guitar – David Spinozza, Glen Goins
Percussion – Arthur Jenkins
Vibraphone [Vibes], Timpani – Dave Carey 5:40
A2 Since I First Laid Eyes On You
Arranged By, Keyboards – L. Leon Pendarvis
Bass – Bob Babbit
Drums – Andrew Smith
Guitar – Glen Goins, Jerry Friedman
Percussion – Arthur Jenkins
Vibraphone – Dave Carey
Vocals [Background] – Carl Hall 3:44
A3 What Do You Want Me To Do
Arranged By – Jerry Ragovoy
Bass – Bob Babbit
Drums – Andrew Smith
Guitar – Keith Loving
Keyboards – L. Leon Pendarvis
Percussion – Ralph MacDonald
Vocals [Background] – Carl Hall 2:50
A4 The Best Thing A Man Can Ever Do For His Woman
Arranged By, Keyboards – L. Leon Pendarvis
Bass – Bob Babbit
Drums – Andrew Smith
Guitar – Glen Goins, Jerry Friedman
Percussion – Arthur Jenkins
Vibraphone [Vibes] – Dave Carey
Vocals [Background] – Carl Hall, Natalie Venable 5:08
A5 I Will, If You Will
Arranged By [Rhythm Arrangements], Keyboards – L. Leon Pendarvis
Bass – Bob Babbit
Drums – Andrew Smith
Guitar – David Spinozza, Glen Goins
Horns, Strings – Larry Wilcox
Percussion – Arthur Jenkins
Vibraphone [Vibes] – Dave Carey
Vocals [Background] – Carl Hall, Natalie Venable 4:50
B1 Somebody New Is Lovin' On You
Arranged By [Rhythm Arrangments], Keyboards – L. Leon Pendarvis
Bass – Bob Babbit
Drums – Andrew Smith
Guitar – David Spinozza, Glen Goins
Horns, Strings – Jerry Ragovoy
Vibraphone [Vibes] – Dave Carey
Vocals [Background] – Carl Hall, Peggy Blue 5:29
B2 I'm Serious About Lovin' You
Arranged By – Jerry Ragovoy
Bass – Bob Babbit
Drums – Andrew Smith
Guitar – David Spinozza, Glen Goins
Horns, Strings – Larry Wilcox
Keyboards – L. Leon Pendarvis
Percussion – Arthur Jenkins
Vocals [Background] – Carl Hall, Natalie Venable 4:55
B3 I Don't Need Nobody Else
Arranged By – Jerry Ragovoy
Bass – Bob Babbit
Drums – Andrew Smith
Guitar – Keith Loving
Keyboards – L. Leon Pendarvis
Percussion – Ralph MacDonald
Vocals [Background] – Carl Hall 3:34
B4 Just To Let Him Break Your Heart
Arranged By, Keyboards – L. Leon Pendarvis
Bass – Bob Babbit
Drums – Andrew Smith
Guitar – Glen Goins, Jerry Friedman
Vibraphone [Vibes] – Dave Carey
Vocals [Background] – Carl Hall, Natalie Venable 4:23
B5 I'm In Need Of Love
Arranged By [Rhythm Arrangements], Keyboards – L. Leon Pendarvis
Bass – Bob Babbit
Drums – Andrew Smith
Guitar – Glen Goins, Keith Loving
Horns, Strings – Larry Wilcox
Vibraphone [Vibes] – Dave Carey
Vocals [Background] – Carl Hall, Peggy Blue 4:14
Label: Epic – KE 33011
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul
Lou Courtney's 1974 album I'm In Need of Love is a highly regarded, albeit under-appreciated, masterpiece of 1970s soul music. Often described as some of the best modern soul ever made, the album is celebrated for its lush arrangements, soulful vocals, and emotionally resonant lyrics.
The album is a cult classic and is considered an essential record for soul fans, with Blues & Soul magazine reportedly rating it the "best soul album of all time".
Co-produced by the legendary Jerry Ragovoy and arranged by Leon Pendarvis, the album features sophisticated "New York soul" with rich instrumentation, including full strings and horns. The production is noted for its quality and depth, allowing each song to have its own unique groove while maintaining a cohesive feel.
Courtney's vocals are described as superb, expressive, emotive, and intensely soulful. The album's themes revolve around love, commitment, heartache, and life, delivered with authenticity and emotional honesty.
Despite its high quality, the album did not achieve the commercial success of contemporary artists like Marvin Gaye, leading many to consider it vastly underrated.
In summary, I'm In Need of Love is a hidden gem in 70s soul, praised by critics and fans alike as a deeply moving and musically accomplished work.
I’m Still Waiting
Producer, Written-By – Deke Richards 3:35
A2 Surrender
Written-By – N. Ashford - V. Simpson 2:53
A3 I Can't Give Back The Love I Feel For You
Written-By – N. Ashford - V. Simpson, B. Holland 3:06
A4 Remember Me
Written-By – N. Ashford - V. Simpson 3:16
A5 And If You See Him
Written-By – N. Ashford - V. Simpson 2:50
A6 Reach Out I'll Be There
Written-By – Holland-Dozier-Holland 4:50
B1 Didn't You Know (You'd Have To Cry Sometime)
Written-By – N. Ashford - V. Simpson 2:56
B2 A Simple Thing Like Cry
Written-By – N. Ashford - V. Simpson 2:56
B3 Did You Read The Morning Paper?
Written-By – N. Ashford - V. Simpson, Monica 3:53
B4 I'll Settle For You
Written-By – N. Ashford - V. Simpson 2:58
B5 I'm A Winner
Written-By – N. Ashford - V. Simpson 3:05
B6 All The Befores
Written-By – N. Ashford - V. Simpson 4:35
Label: Tamla Motown – STML 11193
Format: Vinyl, LP, Album
Country:UK
Released: 1971
Genre: R&B Soul
Style: Seventies Soul, Motown
The UK album titled I'm Still Waiting is the third solo studio album by Diana Ross, released in October 1971 by Tamla Motown. It is the British release of her US album Surrender, retitled and with the hugely successful title track added to the listing.
The album's title track, "I'm Still Waiting," became Diana Ross's first solo number-one single in the UK after BBC Radio 1 DJ Tony Blackburn heavily promoted it on his radio show. The song had originally appeared on her 1970 album Everything Is Everything in the US.
Due to the single's massive success in the UK, the Surrender album was reissued there under the I'm Still Waiting title and included the hit song, reaching the top 10 on the UK album charts and earning a silver disc for sales. The original UK vinyl release (catalogue number STML 11193) came in a picture sleeve, sometimes with a textured finish.
The album is a collection of sophisticated soul tracks and ballads, showcasing Ross's vocal performances as she continued her solo career post-Supremes. It was primarily produced by Ashford & Simpson, with Deke Richards producing the title track. The album features several other significant tracks, including the top 20 hit single "Remember Me" and "Reach Out I'll Be There," a cover of the Four Tops' hit.
While not a massive U.S. pop hit (peaking at #56), the Surrender album (i.e. this album minus the track "I'm Still Waiting") was crucial in establishing Ross as a formidable solo soul vocalist, laying groundwork for her later superstardom. It captures a moment before she became a global movie star, focusing purely on her vocal gifts and emotional delivery.
I’ve Been Here All The Time
A2 You Were Made For Me (Sam Cooke 3:57)
A3 Oh Baby, You Can Depend On Me (Luther Ingram 2:08)
A4 My Honey & Me (John McFarland, Luther Ingram 3:15)
A5 I'll Just Call You Honey (J. Baylor, J. Northern, L. Ingram, R. Stewart 2:51)
A6 Since You Don't Want Me (Luther Ingram 4:18)
B1 Missing You (John McFarland, Luther Ingram 3:24)
B2 I'll Love You Until The End (James Banks, Johnny Baylor 3:43)
B3 Be Good To Me Baby (Johnny Baylor 4:11)
B4 Pity For The Lonely (Dorian Burton, Gertrude Jones 2:46)
B5 To The Other Man (J. Baylor, J. Northern, L. Ingram, R. Stewart 4:00)
B6 Ghetto Train (J. Baylor, J. Northern, L. Ingram, R. Stewart 3:46)
Label: KoKo – KOS-2201
Format: Vinyl, LP
Country: US
Released: 1972
Genre: R&B Soul
Style: Southern Soul
Luther Ingram's debut album, I've Been Here All the Time, is a classic of Southern Soul music, known for its emotional depth and a sound heavily influenced by the Stax Records scene in Memphis.
The album was released in 1971 (though some sources list early 1972) on the KoKo label, which was owned by his producer Johnny Baylor and closely affiliated with Stax Records. It showcases Ingram's powerful and emotive vocals over rich Southern Soul arrangements, featuring a blend of smooth ballads and mid-tempo grooves.
The rhythm sections included top-tier musicians like the Bar-Kays, and Isaac Hayes' backing band the Movement. The album also features Hayes' backing group Hot Buttered Soul.
In line with many soul albums of the era, the LP primarily served as a compilation of previously released 45 rpm singles, rather than a single cohesive artistic statement like the concept albums that groundbreaking artists like Isaac Hayes and Marvin Gaye were producing at the time.
The album features several significant tracks that became R&B hits, including:
"Ain't That Loving You (For More Reasons Than One)"
"You Were Made for Me"
"Pity for the Lonely"
"To the Other Man"
"I'll Love You Until the End"
The album's success laid the groundwork for his biggest hit, "(If Loving You Is Wrong) I Don't Want to Be Right," which was released shortly after and often paired with this album on later CD reissues.
I’ve Been Lonely For So Long
A2 This Is My Song Of Love To You (Frederick Knight 3:14)
A3 Take Me On Home Witcha (Aaron Varnell, Frederick Knight, Sam Dees 3:20)
A4 Friend (Frederick Knight 3:28)
A5 I Let My Chance Go By (Harrison Calloway 3:54)
A6 Your Love's All Over Me (Aaron Varnell, Frederick Knight, Jesse Boyce, Sam Dees 2:46)
B1 Pick'um Up, Put'um Down (Jerry Weaver 3:21)
B2 Now That I've Found You (Brenda Yancy, Tommy Tate 3:02)
B3 Lean On Me (Aaron Varnell, Frederick Knight 3:04)
B4 Trouble (Aaron Varnell, Frederick Knight 3:)
B5 Someday We'll Be Together (Harvey Fuqua, Jackie Beaver, Johnny Bristol 4:14)
Track Listing:
Label: Stax – STS-3011
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Southern Soul
I've Been Lonely For So Long is Frederick Knight's 1972 debut album for Stax Records, featuring the signature title track, a soulful and country-tinged R&B ballad that became a major hit. The album is known for its slow-burning, soulful feel, with Knight's high-end falsetto vocals supported by rich organ and instrumentation that shows some influence from the Muscle Shoals sound.
The album showcases Knight's high-register vocals, which range from weary and mature to a distinctive, airily light high voice. The instrumentation heavily features an organ, creating a bubbling, energetic texture, along with prominent guitar work from Jesse Carr. The overall sound is organic and authentic, diverging slightly from the more trademark styles of the time.
The album is characterized by its deep, soulful sound, with a heavy emphasis on organ and a unique, twangy, falsetto delivery from Knight.
The title track was a major success, reaching number 8 on the U.S. R&B charts and number 27 on the Billboard Hot 100 pop charts. It was also a chart hit in the UK.
The album marked Knight's breakthrough and helped establish him as a solo artist, even though he would later find more fame as a prolific songwriter and producer for others.
The album is considered a Southern Soul classic, known for its deeply soulful, slow-burning feel, and features a distinctive blend of smooth and raw instrumentation that has been compared to the Muscle Shoals sound.
I’ve Been Loving You Too Long To Stop Now
Written-By – Bacharach
A2 Everybody's Needed
Written-By – Toney Jnr.
A3 The Thrill Is Gone
Written-By – Benson, Pettite
A4 Everything I Own
Written-By – Gates
A5 My Girl
Written-By – White, Robinson
B1 Make It Easy On Yourself
Written-By – Bacharach, David
B2 I've Been Loving You Too Long
Written-By – Butler, Redding
B3 Is It Because I'm Black
Written-By – Watts, Jones, Johnson
B4 For Your Precious Love
Written-By – Brooks, Butler, Brooks
Label: Contempo – CLP 511
Format: Vinyl, LP
Country: UK
Released: 1975
Genre:
R&B Soul
Style: Southern Soul, Deep Soul
Oscar Toney Jr.'s 1975 album, often linked to the Contempo Sessions (re-released as 'Loving You Too Long'), was a significant deep soul release, praised for Toney's powerful vocals on great ballads and soulful tracks, with reviewers calling it some of the best London-recorded deep soul, though later CD reissues add bonus tracks that slightly alter perception of the original, solidifying his status as a soulful powerhouse despite being overlooked in some soul histories.
The original 1975 LP (on Contempo Records) was heralded for its authentic, heartfelt deep soul sound, with tracks like "I've Been Loving You Too Long" (a cover of Otis Redding's classic) extended for dramatic effect.
Oscar Toney Jr. was known for his incredible voice, delivering emotional depth on ballads, making these sessions standout recordings.
These tracks were recorded in London, showcasing a classic Southern soul vibe produced in the UK, and were considered top-tier soul by critics like Alan Lewis.
This album cemented his reputation as a soulful balladeer, though he remained somewhat under the radar compared to bigger names.
Reviewers highlight the powerful vocals and deep soul feeling, even noting that some tracks on later reissues might feel less cohesive than the originals, but still exceptional.
Reissues (like the Shout! Factory release) feature bonus alternate mixes and unreleased tracks, offering a comprehensive look at this significant period, even if the original flow is slightly altered.
Some critics suggested these could be some of the best deep soul recordings ever made in London.
In essence, the 1975 album (Contempo Sessions) is a must-have for deep soul fans, showcasing Oscar Toney Jr.'s incredible vocal talent on raw, emotional tracks that define the genre, despite being somewhat an "oddity" in soul music history.
Ian Foster
Arranged By [Rhythm] – Carl McIntosh, Jim Salamone, Nick Martinelli, Randy Cantor
Written-By – Ian Foster 5:06
A2 Heaven (Sent Your Love To Me)
Arranged By [Rhythm] – Carl McIntosh, Jim Salamone, Nick Martinelli, Randy Cantor
Featuring – Patrice Hawthorne
Written-By – Ian Foster 5:56
A3 This Time
Arranged By [Rhythm] – Doug Grigsby
Written-By – Ian Foster 5:12
A4 We've Lost This Feeling
Arranged By [Rhythm] – Jim Salamone, Randy Cantor
Backing Vocals – The Bryant Ensemble Choir
Written-By – Ian Foster 5:05
A5 Without Your Love
Arranged By [Rhythm] – Jim Salamone, Randy Cantor
Written-By – Daryl Burgee, Doug Grigsby, Ian Foster 5:25
B1 Don't Hide Your Love
Arranged By [Rhythm] – Jim Salamone, Randy Cantor
Written-By – Ian Foster 5:55
B2 Tell Me It's True
Arranged By [Rhythm] – Jim Salamone, Randy Cantor
Written-By – Ian Foster 3:59
B3 You Make All The Right Moves
Arranged By [Rhythm] – Jim Salamone, Randy Cantor
Written-By – Andy Goldmark, Ian Foster 6:15
B4 Ooh Wee Baby
Arranged By [Rhythm] – Jim Salamone, Randy Cantor
Written-By – Ian Foster 5:09
Label: MCA Records – MCA-42002
Format: Vinyl, LP, Album
Country: US
Released: 1987
Genre: R&B Soul, Funk
Style: Eighties Soul, Boogie, Disco
The 1987 self-titled album by British soul artist Ian Foster is a highly regarded, though commercially overlooked, "lost gem" of late-1980s R&B and Neo-Soul. Produced by Nick Martinelli, the album is praised for its high-quality production and strong material.
The album is considered classic R&B, soul, and boogie, often compared favorably to acts like Loose Ends and 52nd Street. Foster's vocal style has been noted as being very similar to Carl Macintosh of Loose Ends.
Reviewers consistently highlight the superb quality of Nick Martinelli's production, which is described as hitting "all the right spots" for the era's sound.
Despite its musical quality, the album received poor promotion and did not fare well commercially upon its initial release, leading to its status as a "slept-on" or rare find among soul enthusiasts.
For fans of 1980s R&B and UK soul, Ian Foster's 1987 album is considered a must-have for its authentic, high-quality sound that has stood the test of time. Its lack of mainstream success at the time makes it a valued discovery for collectors and soul music enthusiasts.
If Walls Could Talk
A2 Baby I Love You (Jimmy Holiday 2:44)
A3 Let's Get Together (Piano – Donny Hathaway) (Morris Dollison 3:00)
A4 Things That I Used To Do (Eddy (Guitar Slim) Jones 3:50)
A5 Kansas City (Willie Littlefield 3:02)
B1 Poor Man (Butler, Blumenberg, Campbell 2:42)
B2 Blues Get Off My Shoulder (Robert Parker 3:20)
B3 I Play Dirty (Pearl Woods 2:23)
B4 Good To Me As I Am To You (Franklin, White 2:44)
B5 Your Precious Love (Morris Dollison 2:43)
B6 I Don't Know (B. Stevenson, B. Benton 2:20)
Label: Checker – LPS-3012 DJ
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul Blues
Style: Electric Blues, Chicago Blues
If Walls Could Talk is a 1969 soul-blues album by Little Milton that blends R&B with blues, featuring his powerful vocals and signature guitar playing. The album is known for its mix of soulful ballads and uptempo tracks, including the stirring title track, the popular "Baby I Love You," and "Let's Get Together," showcasing his hybrid style that appealed to both blues and soul fans.
The album is a powerful blend of electric blues and soul music, representative of the soul-blues style. It features the signature sound Little Milton developed on the Checker Records label, with a combination of straight blues and brassy soul arrangements.
The album helped solidify Milton's position as a prominent figure in the soul and blues scenes. Some reissued versions include bonus tracks, such as "Grits Ain't Groceries," which was a significant hit in the UK.
Imaginary World
Written-By – M. Dollison 3:03
A2 Happy In Love
Written-By – G. Daly, M. Dollison, Z. Prather 3:59
A3 I Can't Get Used To Being Alone
Written-By – M. Dollison 3:03
A4 Crossing Over
Written-By – A. Brown, A. Lewis, G. Brown, J. Brown, R. Brown 3:28
B1 Imaginary World
Written-By – A. Brown 3:40
B2 When I Need You
Written-By – A. Hammond, C. B. Sager 3:33
B3 Never Had A Love
Written-By – G. Brown 2:59
B4 Listen
Written-By – G. Brown 3:04
B5 When Your Love's Not There
Written-By – L. Dollison, M. Dollison 3:27
Label: United Artists Records – UA-LA828-G
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
The 1978 album Imaginary World by the funk/soul group Family Brown is a sought-after record known for its specific musical style rather than extensive critical reviews. It is primarily recognized as a collectors' item within the soul, funk, and disco genres.
It's their only album, making it a collector's item, particularly for rare groove enthusiasts. The group, originally known as Carla And The Compacts, featured members like Joseph Brown (who played with Side Effect/Starguard) and Tracey Brown, who later found solo success.
The album is considered a "sought after rare groove" item by collectors, with specific tracks like "Never Had a Love" and the title track being popular.
On music database sites like Discogs, the album generally holds a high average user rating (e.g., 4.66/5 from 38 ratings), indicating strong appreciation among those who own and rate it.
Descriptions from sellers and music snippets suggest a sound rich in "waves of rhythmic downtempo" and "funky grooves". The tracks are characterized as having a "mystic, noir quality" with "plenty of room for exploration".
Imaginary World is an album that is more of a hidden gem for fans of vintage funk and soul, appreciated for its deep grooves and production, rather than one that received widespread mainstream critical analysis at the time of its release. You can find more details and user ratings on its Discogs entry.
Impact
Lead Vocals – Damon Otis Harris, John Quintin Simms
Written-By – Bobby Eli, Charles Kelly 6:08
A2 Taboo
Lead Vocals – Damon Otis Harris
Written-By – Bobby Eli, Len Barry 4:46
A3 Friends
Lead Vocals – John Quintin Simms
Written-By – Bobby Eli, Terry Collins 3:03
A4 Give A Broken Heart A Break
Lead Vocals – Damon Otis Harris
Written-By – Bobby Eli, Len Barry 5:57
B1 One Last Memory
Lead Vocals – Charles Timmons, Damon Otis Harris
Written-By – Bobby Eli, Len Barry 5:30
B2 Love Attack
Lead Vocals – John Quintin Simms
Written-By – Bobby Eli, Len Barry 3:30
B3 Winning Combination
Lead Vocals – Charles Timmons, Damon Otis Harris, John Quintin Simms
Written-By – Bobby Eli, Phil Hurtt 3:30
B4 Man And Woman
Lead Vocals – Damon Otis Harris
Synthesizer [Moog] – Dexter Wansel
Written-By – Bobby Eli, Vinnie Barrett 4:00
B5 It Only Happens In The Movies
Lead Vocals – Damon Otis Harris, John Quintin Simms
Written-By – Bobby Eli, Lee Philips 3:18
Label: ATCO Records – SD 36-135
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Philly Soul
The 1976 self-titled album by the soul group Impact is considered an excellent example of mid-1970s Philly Soul and early disco. The album is highly regarded by fans of the genre for its strong material, excellent production, and first-class vocals.
The album features a distinct mid-70s Philly Soul sound with early disco vibes. The use of falsetto vocals throughout much of the album contributes significantly to its disco feel.
The group was assembled by Damon Harris after his departure from The Temptations. His sweet falsetto is a highlight of the record. The material was penned by notable writers like Len Barry, Phil Hurtt, and Bobby Eli, with production also handled by Bobby Eli.
Despite the strong material and production, the album commercially failed to make a significant impact on the charts at the time of its release, leading the label to drop the group. In retrospect, reviewers feel the album deserved greater success and wider recognition for the talented group.
Standout songs mentioned in reviews include the opener "Happy Man", "Taboo", "It Only Happens In The Movies", "Friends", and "Love Attack".
The album is described as a fun, very likeable, and "artistic treasure" that instantly transports the listener back to the best sounds of the 70s. It is a recommended listen for those who appreciate male vocal groups and the classic Philly sound.
In Between The Heartaches - The Soul of a Diva
2 If You Ever Change Your Mind (David Batteau, Richard Calhoun, Scott Shelley 2:58)
3 Hottest Love Around (D. James, S. Shifrin 4:30)
4 Do You Love Him (Fast Version) (Morr, Matthas 3:26)
5 Sleep On It (Andrew Kastner, Larry McNally 3:20)
6 Can't Live Without You (T. Wright 3:14)
7 Soon Come Again (Extended Mix) (Larry Alexander, Sandy Torano 6:22)
8 In Between The Heartaches (Burt Bacharach, Hal David 3:45)
9 In Search Of My Heart (McCoy Tyner 7:06)
10 Sacred Kind Of Love Featuring Grover Washington, Jr. (K.C. Porter, K. Rybar, S. McKinney 5:39)
11 Magic Mona (Casey James, Jack Robinson, Leroy M. Bell, Thom Bell 3:27)
12 Don't Tell Me, Tell Her (Doug James, Sandy Linzer 6:11)
13 Be One (Bill Lee Sr. 4:34)
14 Everything I Have Is Good (Pam McDonald, Pharoah Sanders 6:00)
15 Springs Arrival (Jon Lucien 2:56)
16 I'll Be Around (McCoy Tyner, S. Clarke 6:12)
Label: Expansion – CD EXCL 6
Format: CD, Compilation
Country: UK
Released: 2003
Genre: R&B Soul, Jazz
Style: Soul, Jazz-Funk
In Between The Heartaches is a well-regarded compilation album that features a mix of previously unreleased songs, collaborations, and obscure cuts, primarily from the earlier part of Phyllis Hyman's career. It is particularly prized by fans for shedding light on the "missing pieces" of her musical legacy and showcasing her versatility across soul, jazz, R&B, and funk genres.
The album gathers material from her time with various labels and producers, including tracks from her collaborations with jazz artists like McCoy Tyner, Norman Connors, Pharoah Sanders, and Grover Washington Jr.. It also includes soundtrack contributions like "Magic Mona" and several tracks that were shelved by her label, Arista, at the time.
Critics and fans consistently praise Hyman's vocal prowess, describing her voice as unique, powerful, sensual, and emotionally expressive. Reviewers note her ability to infuse deep feeling into every song, making the listening experience often "mesmerizing" and poignant.
The album offers a diverse range of styles, highlighting Hyman as a "renaissance woman" who could handle everything from jazz-inflected ballads to funk and gospel. The compilation helps illustrate the breadth of her talent beyond her more mainstream R&B hits.
Overall, the album is a strong addition to a Hyman fan's collection, although some minor criticisms exist regarding the inclusion of a few tracks that some feel don't match the quality of her best work. A common point of concern is that some tracks suffer from "sub-par 70's quality" production and lack proper re-mastering, which can affect the overall listening experience.
The album is considered an essential item for serious collectors and fans as it provides access to material that might have otherwise remained in the vaults, further cementing her legacy as a formidable and underappreciated vocalist. In short, In Between The Heartaches is a valuable compilation that provides a deeper look into the artistry of Phyllis Hyman, offering a rich listening experience for those who appreciate her powerful voice and diverse musical talents.
In My Mind
Written-By – Drew Ramsey 4:06
2 Am I Worth It
Written-By – J. Smith, J. Campbell, W. Campbell 3:21
3 Wait A Minute
Written-By – Jazz Nixon, Tamara Savage 3:31
4 I Didn't Mean To
Written-By – A. Butler, K. Phillip, S. Smith, S. Johnson 3:54
5 How Many Ways
Written-By – A. Palmer, C. Solo, H. Headley, K. Ellie, L. Daniels, Sky, S. Marsden 3:18
6 Back When It Was
Written-By – C. Love, L. Nix, J. Smith, L. Jefferson 4:27
7 What's Not Being Said
Written-By – James Q. Wright, James Harris, III, Terry Lewis 4:35
8 Losing You
Written-By – Heather Headley 3:47
9 Rain
Written-By – H. Headley, M. Gregory, O. Burrell, A. Kelly, V. Nobles 3:12
10 The Letter
Written-By [Uncredited] – Marcus Allen 4:16
11 Me Time
Written-By – Babyface, Gregg Pagani 3:48
12 Change
Written-By – E. Dawkins, H. Headley, W. Campbell 3:18
Label: RCA – 82876 64492-2
Format: CD, Album
Country: US
Released: 2006
Genre: Hip Hop, Funk, Soul, Pop
Style: Neo Soul, Contemporary R&B
In My Mind is the second studio album by Trinidadian-American singer Heather Headley, released by RCA Records on January 31, 2006. A follow-up to her Grammy-nominated debut This Is Who I Am, the album is a contemporary R&B and soul record that functions as a "soulful, sonically charged diary" exploring the major themes of relationships, confidence, family, and self-improvement.
A team of notable producers including Jimmy Jam & Terry Lewis, Lil' Jon, Ne-Yo (who co-wrote and produced the title track), and Babyface contributed to the album's sound.
In My Mind is characterized by Headley's powerful, "gargantuan voice" and a mature R&B sound. Critics noted that Headley sounds more assured on this album, delivering an elegant and musical set of arrangements. The songs are often described as relatable and confessional, covering emotional ground from love and cheating to breakups and self-realization.
While some reviews found the album to be a generic "adult" R&B diva album, the strength of Headley's vocals and the emotional depth she injects into the songs were widely praised. The album incorporates a variety of musical styles, including lush piano ballads, dancehall/reggae-infused tracks, and a closing gospel-lite song, showcasing her versatility.
The title track and lead single, a piano ballad co-written by Ne-Yo, which became a significant hit, peaking at number seventy-five on the Billboard Hot 100.
The album successfully built on Headley's debut and was considered to have passed the "sophomore jinx" with flying colors by many fans and critics. The dual-disc version of the album also includes behind-the-scenes footage for an immersive experience.
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.
Incredible
Written-By – P. Hodges, WM. Stevenson 4:07
A2 I Should Stay
Written By – J. Gerard, WM. Stevenson 2:51
A3 Signal Yout Intention
Written-By – Richard Henn 3:00
A4.1 Medley: Rock Me Baby / Steamroller
Written-By – R.B. King, James Taylor, J. Josea 3:39
A5 Oh
Written By – J. Gerard, WM. Stevenson 3:01
B1 Little By Little (Bit By Bit)
Written-By – Colbert, WM. Stevenson 4:02
B2 If You Wanna Love Me
Written-By – Colbert, Hurst, WM. Stevenson 3:42
B3 Can't Be Alone
Written-By – S. Friedman, WM. Stevenson 3:33
B4 You Take My Love For Granted
Written-By – L. Perry 2:45
B5 Love Was Just A Word
Written-By – WM. Stevenson 3:02
Label: 20th Century Records – T-425
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul
Incredible, the 1973 debut album by vocal trio Hodges, James & Smith, is a smooth blend of orchestrated soul, mid-tempo R&B, and pop-soul, featuring lush arrangements with electric piano, organ, and layered guitars, showcasing their tight harmonies on tracks like "Turn The People On," though it was a solid effort that didn't become a major commercial success.
A sophisticated mix of soul, pop-soul, and R&B, with rich backing from LA session musicians giving it a jazzy feel, it emphasizes the trio's impressive vocal harmonies.
Produced by William Stevenson, who crafted a polished sound with intricate arrangements.
While well-regarded by some for its quality, it struggled to find a wide audience, leading to its quick disappearance from mainstream attention, but the group continued performing and releasing music.
Incredible is considered a key album for collectors of 70s soul and funk, appreciated for its strong vocal performances and production quality, though the group was generally considered "unsung" and overshadowed by more famous acts like the Supremes and Earth, Wind & Fire. It can be found on platforms like Discogs where fans can view its various releases and credits.
Ingredients In A Recipe For Soul
Written-By – Harlan Howard 2:06
A2 Where Can I Go?
Written-By – Leo Fuld, Sigmunt Berland, Sonny Miller 3:29
A3 Born To Be Blue
Written-By – Mel Tormé, Robert Wells 2:53
A4 That Lucky Old Sun
Backing Vocals – The Jack Halloran Singers
Written-By – Beasley Smith, Haven Gillespie 4:20
A5 Ol' Man River
Backing Vocals – The Jack Halloran Singers
Written-By – Hammerstein-Kern 5:35
B1 In The Evening (When The Sun Goes Down)
Written-By – Leroy Carr 5:50
B2 A Stranger In Town
Written-By – Mel Tormé 2:25
B3 Ol' Man Time
Written-By – Cliff Friend 2:25
B4 Over The Rainbow
Backing Vocals – The Jack Halloran Singers
Written-By – E.Y. Harburg, Harold Arlen 4:07
B5 You'll Never Walk Alone
Written-By – Rodgers & Hammerstein 3:53
Label: ABC-Paramount – ABC-465
Format: Vinyl, LP, Album, Mono
Country: US
Released: 1963
Genre: R&B Soul
Style: Rhythm & Blues, Soul
Ray Charles’ 1963 album, Ingredients in a Recipe for Soul, is widely regarded as a masterful consolidation of the genre-blending style he pioneered earlier in the decade. Peaking at No. 2 on the Billboard charts upon its release, the album established a definitive template for his later career by successfully mixing country, jazz, standards, and R&B into a singular "Ray Charles" sound.
Critics frequently highlight the album as a "neglected masterpiece" that proved Charles was no longer just an R&B artist but a "genre unto himself".
Reviews consistently praise Charles’ "malleable, commanding voice" and "immense inner confidence," which allow him to breathe new life into older standards.
The album features sophisticated, less "syrupy" orchestral work compared to his previous efforts, with arrangements from Marty Paich, Benny Carter, and Sid Feller.
While generally acclaimed, some critics find the backing vocalists—specifically the Jack Halloran Singers—to be "whitebread" or "stark" in contrast to Charles’ soulful grit, particularly on tracks like "Ol' Man River".
Key Tracks:
"Busted": A major hit described as "jazzy and tough," often cited as the album's definitive single.
"That Lucky Old Sun": Widely considered a masterpiece for its emotional delivery and powerful climax.
"Ol' Man River": A controversial but striking reinterpretation that remains a focal point for discussion among reviewers.
"Born to Be Blue": A Mel Tormé cover that showcases Charles' "after-hours ballad" style.
In 2025, the album received its first official vinyl reissue in over 50 years, featuring fully restored and remastered audio produced in cooperation with the Ray Charles Foundation. This reissue includes bonus tracks such as a bluesy cover of Johnny Cash's "Ring of Fire" and a duet with Margie Hendrix on "My Baby (I Love Her, Yes I Do)".
Inner Spectrum
Composed By – N. Ashford & V. Simpson 5:00
A2 Don't Let Me Be Lonely Tonight
Composed By – J. Taylor 4:22
A3 If You Were There
Composed By – E. Isley, M. Isley, C. Isley 4:00
A4 Moving On
Composed By – A. Johnson, R. Gay 4:19
B1 Pickup
Composed By – A. Johnson, E. Zant 3:02
B2 Me And My Love
Composed By – A. Johnson 3:31
B3 Easy
Composed By – D. Leroux 3:58
B4 I Don't Want To Play Around
Composed By – A. Johnson, E. Zant 7:33
Label: Atlantic – SD 7299
Format: Vinyl, LP, Album, PR
Country: US
Released: 1974
Genre:
R&B Soul
Style: Seventies Soul
The 1974 debut album Inner Spectrum by Ace Spectrum is highly regarded by soul collectors and fans of 70s funk and soul for its gorgeous vocal harmonies, "Philly Soul" sound, and strong songwriting. Though the group never achieved massive commercial success, the album is considered their best work by many.
The album is praised for its classic 70s funk and soul sound, with a distinct "Philly-style" arrangement that has been compared to The Stylistics and The Isley Brothers. It features a mix of smooth, slow jams and up-tempo tracks.
Ace Spectrum was known for changing lead singers on different tracks and avoiding the common "high-voice technique" of the era, showcasing versatile vocal prowess across the album. The use of backing strings is a key part of their sound.
Reviewers consistently label the album as "underrated" and a "lost" classic that deserves more recognition. It has garnered significant interest among Northern Soul collectors over the decades.
Specific tracks that frequently receive praise:
"Don't Send Anybody Else," penned by the legendary Nickolas Ashford and Valerie Simpson, is a standout opening track that many feel should have been a bigger hit.
Their "between the sheets" cover of James Taylor's "Don't Let Me Be Lonely Tonight" is often cited as a definitive version and a perfect slow groove..
For fans of vintage soul music, Inner Spectrum is considered a must-listen that captures the essence of 70s harmony and smooth jams. Its blend of original compositions and well-executed covers, combined with the group's vocal talents and lush arrangements, makes it a highly sought-after record by collectors and a deeply cherished album by its listeners.
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)
Intimate Moments
Producer – Al Goodman
Written-By – A. Goodman, B. Shepherd 5:07
2 Rockin You Tonight
Producer – George Kerr
Written-By – A. Egans, Cirocco, S. Wright 5:02
3 Give Me Your Love
Producer – Rhani Harris
Written-By – A. Goodman, B. Brown, R. Song 4:14
4 Girl I Want To Be The One
Producer – Rhani Harris
Saxophone, Soloist – Marion Meadows
Written By – P. Kearney
Written-By – A. Goodman, B. Brown, E. Young 5:21
5 Someone's Missing Your Love
Producer – Al Goodman
Saxophone, Soloist – Najee
Written-By – A. Goodman, H. Ray, W. Morris 6:46
6 This Is The Last Time
Producer – Rhani Harris
Written-By – A. Goodman, B. Brown, R. Song 4:26
7 I've Been Good To You
Producer – Al Goodman
Written-By – S. Robinson 4:43
8 Long Gone
Producer – Ted Wizard Mills
Written By – A. Mathews
Written-By – T. Mills 5:41
9 My Shining Star
Producer – Al Goodman
Written-By – B. Shepherd 5:01
10 Deeper And Deeper
Producer – George Kerr
Rap – Sinful
Saxophone – Daryl Dickerson
Written-By – G. Karukas, R. Boustead 4:22
11 Girls
Producer – George Kerr
Rap – Sinful
Written-By – A. Goodman, H. Ray, V. Dodson, W. Morris 4:11
12 When The Party's Over
Producer – Al Goodman
Rap – Alpyne, Bliss (93), Izzy Blue
Written By – R. Rocco Musacchia 4:58
13 Drive Me Crazy
Producer – Rhani Harris
Written-By – A. Goodman, B. Brown, H. Ray, R. Song 6:00
14 Any Kind Of Love
Producer – George Kerr
Saxophone – Daryl Dickerson
Written-By – B. Robert, Carole Bayer Sayer, J. Ingram 5:30
15 We Fall Down
Producer – George Kerr
Written-By – Mattews Kyle David 5:03
Label: Orpheus Records – 802469090024
Format: CD, Album
Country: US
Released: 2003
Genre: R&B Soul
Style: Soul
Ray, Goodman & Brown's "Intimate Moments" album is generally well-received by fans as a solid return to form for the classic soul trio, blending signature smooth harmonies with new soulful tracks, though some listeners find modern rap elements distracting; it's praised for nostalgic vibes, solid originals like "Girl I Want to Be the One," and showcasing their enduring vocal talent despite minor critiques over contemporary additions.
The album, produced by George Kerr, aims to capture the spirit of their past success while incorporating some modern sounds, including rap, which polarized some long-time fans.
Tracks like "Girl I Want to Be the One" and "Someone's Missing Your Love" are highlighted as strong, original soul compositions that resonate with their established style.
Fans enjoy the album for bringing back memories of their heyday with The Moments, praising the group's ability to deliver smooth, heartfelt R&B and soulful ballads.
While some appreciate the up-tempo tracks and rap inclusion as fresh, others felt it ruined the classic vibe, calling it "garbage" or an unwelcome distraction.
Released in 2002, it followed their successful backing vocals for Alicia Keys and marked a significant project for the group after their time as The Moments, showcasing their enduring appeal in the R&B landscape.
Intimate Moments offers a blend of classic RG&B soul with contemporary touches, succeeding for many in delivering soulful originals and nostalgic harmonies, even if the integration of rap isn't universally loved.
Intimately
A2 I'm Here 3:37
A3 I Was Blessed (The Day I Found You) 3:53
A4 I Thought Of You Today 5:44
B1 You Make Me Happy 3:32
B2 It Scares Me So 3:23
B3 Use It 5:14
B4 I Wanna Baby You 3:54
B5 Crazy 'Bout You Baby 5:28
Label: Parachute Records – RRLP 9012
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Southern Soul, Disco
Randy Brown's Intimately album is primarily a smooth and deep soul record, celebrated by purists for its consistent quality. It was released on the Parachute label and features production and songwriting from Homer Banks and Chuck Brooks.
The album features smooth soul music with elements of funk and disco. The style is often compared to the mid-1970s work of artists like Lou Courtney or Ronnie McNeir, known for being both smooth and deep at the same time.
The record was produced by Homer Banks and Chuck Brooks, with arrangements by Paul Riser, and continues the "sexy seduction style songs" from Brown's previous album, Welcome to My Room, focusing on great love songs with compelling structures.
A range of skilled musicians contributed to the album:
Bass: Eddie Watkins Jr.
Drums: James Gadson
Guitar: Chuck Brooks, Paul Jackson Jr., Tim May
Keyboards: Greg Phillinganes, Larry Farrow, Sylvester Rivers
Background Vocals: Brenda Russell, Elaine Hill, Maxine Anderson, Michele Aller, Patti Brooks, Sharon Lee Williams
For more information on the release details and different versions of the album, you can check the entries on Discogs by clicking the image below.
Investigation No.1
A2 Close To You (B.Bacharach, H. David 5:07)
A3 Black Bag (Len Woods 3:20)
A4 Think It Over (Len Woods 3:25)
B1 Modesa (Len Woods 4:59)
B2 Your Game (Len Woods 4:16)
B3 Get Down Philly Town (Len Woods 2:59)
B4 It Ain't Right (Len Woods 3:07)
Label: C.R.S. – CRS-01
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Funk
The album Investigation No. 1 by Carl "Sherlock" Holmes is a highly sought-after funk and soul classic from 1972, celebrated for its strong rhythm section, smoking funk breaks, and Latin-tinged jams.
Primarily considered a classic of the funk and soul genres, the album is a favorite among DJs and collectors, particularly for its "smoking" breaks. All but one of the tracks were written by songwriter Len Woods.
Notable tracks praised in reviews include the funk workouts "Black Bag," "Investigation," "Get Down Philly Town," and "It Ain't Right". The song "Modesa" is highlighted as a syncopated, Latin-inspired jam. The album also features some mellow numbers, such as "Think It Over" and "Your Game".
The original C.R.S. LP is extremely rare. Reissues by labels like Tramp Records and Dynamite Cuts have made the material more accessible to a wider audience, sometimes including bonus tracks that were previously only available on 45 rpm singles.
Carl Holmes was a seasoned guitarist who had previously recorded for labels like Atlantic and Verve and even gigged with Jimi Hendrix.
Investigation No. 1 was the only record released by his band "The Sherlock Holmes Investigation" before they disbanded, making it their definitive statement and a cult classic in the funk community.
The album generally holds a high rating among collectors and fans, with an average rating of 4.56/5 on Discogs based on user ratings.
It Ain’t Where You Been
It Must Be Magic
Backing Vocals – Diedra Joseph, Glenn Carl Leonard, Jackie Ruffin, Jill D. Jones, Melvin Franklin, Mickey Boyce Hearn, Otis Williams, Teena Marie 6:03
A2 Revolution
Backing Vocals – Arnell Carmichael, Darren Carmichael, Julia Waters Tillman, Maxine Waters Willard, Pattie Brooks, Phillip Ingram 4:27
A3 Where's California
Arranged By [Vocals] – Mickey Boyce Hearn
Backing Vocals – Julia Waters Tillman, Maxine Waters Willard, Pattie Brooks
Keyboards – Scott Markus DeTurk 5:24
A4 365
Arranged By [Rhythm] – Rick James
Arranged By [Vocals] – Mickey Boyce Hearn
Backing Vocals – Glenn Carl Leonard, Jill D. Jones, Melvin Franklin, Mickey Boyce Hearn, Otis Williams, Teena Marie 4:10
A5 Opus III (Does Anybody Care)
Arranged By [Vocals] – Teena Marie
Harp – Lloyd Lindroth 1:27
B1 Square Biz
Backing Vocals – Diedra Joseph, Jackie Ruffin, Jill D. Jones, Mickey Boyce Hearn, Rick James, Teena Marie
Guitar – Josef Andre Parson
Synthesizer, Arranged By [Rhythm] – Allen McGrier
Vocals [Vocal Percussion] – Anthony Brockert, Christopher Anthony Boehme 6:13
B2 The Ballad Of Cradle Rob And Me
Backing Vocals – Glenn Carl Leonard, Melvin Franklin, Mickey Boyce Hearn, Otis Williams, Teena Marie
Bass – Charles A. Glenn Jr.
Voice [Party] – Anthony Brockert, Dwayne Wedlan, Ginny Pallante, Grayland Taylor, Ray Townsend 3:42
B3 Portuguese Love
Backing Vocals – Jill D. Jones, Mickey Boyce Hearn, Teena Marie
Vocals [Male Adlib] – Rick James 7:47
B4 Yes Indeed
Keyboards – Patrice Rushen 4:57
Label: Motown – STML 12154
Format: Vinyl, LP, Album
Country: UK
Released: 1981
Genre: R&B Soul
Style: Eighties Soul, Funk
Teena Marie's 1981 album It Must Be Magic is widely considered a masterpiece and a classic of the R&B, soul, and funk genres, often hailed as the best of her four albums for Motown. It received positive critical reception upon release and continues to be highly regarded for its artistic vision and powerful vocals.
Critics and fans praised the album for several key reasons:
Marie wrote and produced the entire album herself, a groundbreaking achievement for a female artist in the male-dominated R&B genre at the time. This allowed her to fully realize her own blend of soul, funk, R&B, and jazz, showcasing immense talent and ambition.
The album is noted for its ability to seamlessly transition between high-energy funk/dance tracks and powerful, emotive ballads, displaying a "boundary-lessness of spirit".
It features some of Marie's most enduring and signature songs, including the funky "Square Biz" (which includes an early female rap) and the "quiet storm" classic ballad "Portuguese Love".
The album's lyrics tackle thoughtful and complex subjects, such as racism in the liner notes and the murder of John Lennon in the track "Revolution". This added a layer of substance and socio-political awareness that resonated with audiences.
Marie's vocals are frequently described as powerful, stunning, and soaring, drawing comparisons to artists like Minnie Riperton.
It Must Be Magic was a commercial success, becoming Marie's highest-selling album for Motown. It peaked at number 2 on the R&B Album chart, earned her her first gold record, and received a Grammy nomination for Best Female R&B Vocal Performance.
In review, the consensus is that It Must Be Magic is a landmark album that solidified Teena Marie's status as a trailblazing, self-sufficient artist. It's a cohesive work that successfully blends diverse musical styles and lyrical depth, making it an essential listen for any R&B or funk enthusiast.
It’s Cool
2 Magic Man
3 If I Had My Way
4 Feelings
5 Tell Me When It Hurts
6 I Won't Remember Ever Loving You
7 Baby I Love Your Way
8 Someone Saved My Life Tonight
9 Got To Find Me An Angel
10 Come To Me
11 Open Up Your Heart
12 Unchained Melody
13 Love Woke Me Up This Morning
14 At Last
15 I Got It Bad Feelin' Good
16 Everything Must Change
17 If You Walked Away
18 Love Goes Out Of The Loving
Label: Charly Records – CHARLY 305
Format: CD, Compilation
Country: Europe
Released: 1992
Genre: R&B Soul
Style: Downtempo Soul
The 1992 album It's Cool by the late soul singer Walter Jackson is a compilation of previously recorded tracks rather than a new studio album. The available information indicates it is generally well-regarded by a small number of user ratings, with an average of approximately 4.7 out of 5 stars on platforms like Discogs.
Walter Jackson, a Chicago soul singer active primarily in the 1960s and 70s, died in 1983. The 1992 release on Charly Records is a post-mortem compilation featuring his characteristic soul ballads and smooth, powerful vocals. It includes a mix of his well-known songs and possibly some deeper cuts.
He is known as an "underrated artist" and a "Chicago soul singer with a sweet but powerful voice". Fans often praise his brilliant way with a song and his classic soul sound. The It's Cool compilation likely appeals to lovers of classic soul music who appreciate his signature ballad style and R&B chart hits from the 1960s and 1970s.
Overall, while not a new artistic statement from Jackson (due to his passing years earlier), the It's Cool compilation is valued by soul music enthusiasts as a quality collection of his work. On Discogs, the album holds a strong average rating, suggesting that fans of Jackson's work appreciate the collection.
It’s Just A Matter Of Time
Written-By – B. Patterson 2:40
A2 I Get My Groove From You
Written-By – B. Patterson 3:25
A3 Make Sure You Can Handle It
Written-By – B. Patterson 2:45
A4 Everything Good To You (Don't Have To Be Good For You)
Written-By – B. Patterson 2:56
A5 How Do You Spell Love
Written-By – B. Patterson, J. Strickland, M. Boxley 2:25
A6 Recipe For Peace
Written-By – B. Patterson 3:20
A7 Take Time To Know The Truth
Written-By – B. Patterson, J. Strickland 3:37
B1 It Takes Two To Do Wrong
Written-By – B. Patterson, J. Strickland 2:09
B2 She Don't Have To See You (To See Through You)
Written-By – B. Patterson, J. Strickland 3:25
B3 Right On Jody
Written-By – J. Beach, J. Strickland, R. Bell 3:05
B4 I Just Loved You Because I Wanted To
Written-By – B. Patterson, J. Strickland 2:25
B5 One Ounce Of Prevention
Written-By – B. Patterson, J. Strickland 3:00
B6 This Whole Funky World Is A Ghetto
Written-By – B. Patterson 3:45
Bobby Patterson's 1972 album It's Just a Matter of Time is widely considered a cult classic in the R&B and soul communities. Critics praise its stylistic breadth, catchy songwriting (almost entirely by Patterson himself), and raw, gritty groove.
Reviewers consistently describe the album as an essential listen for soul fans, highlighting its versatility and enduring appeal.
The album has been referred to as a "stone soul masterpiece, full of grit and groove". Its quality is such that some sources suggest it would have made Patterson a cult figure even if it were his only release.
The record is praised for its "breathtaking stylistic breadth," which seamlessly blends different soul subgenres. This includes everything from funky soul workouts and romantic ballads to socially conscious anthems.
Critics point to Patterson's "knack for writing catchy songs" and his "appealing vocals" as key strengths.
It’s So Good
A2 Lovin' You 4.58
A3 Don't Change 4.44
A4 I Can't Get Enough Of Your Love 4.36
B1 It's Your Life 5.44
B2 Video 4.25
B3 All I Can Do 4.20
B4 My Heart Still Beats 6.15
Label: Empie Records – em-101
Format: Vinyl, LP, Album
Country: US
Released: 1987
Genre: R&B Soul
Style: Eighties Soul, Funk
The 1987 album "It's So Good" by Daveon (Overton) on Empie Records (EM-101) is considered a "Funk/Soul chef d'oeuvre" by some collectors and a high-quality, top-notch record from start to finish.
Daveon, a member of the group Smoke City, released this LP as one of three superb solo releases in 1987, showcasing his talents as a gifted singer, songwriter, and arranger.
The album is appreciated for its depth and consistent quality, blending funk and soul elements. On the record collecting website Discogs, the album holds an average rating of 4.67 out of 5 stars based on a small number of ratings, indicating strong positive reception among owners.
Reviews highlight the album's strong funk and soul production with catchy, hypnotic beats and meaningful lyrics. It is praised for holding a "top-notch level from the first to the last song".
The album is generally considered a highly valuable and well-produced work within the funk/soul genre, particularly for fans of late-80s R&B and funk music.
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".
It’s Too Late
A2 I'm Gonna Love You (R. Bateman 2:10)
A3 Baby Don't You Weep (F. Bridges, H. Smith 2:09)
A4 Peacebreaker (W. Pickett 2:37)
A5 I'm Down To My Last Heartbreak (D. Irwin, J. Willingham 2:49)
A6 R.B. Special (R. Bateman 2:26)
B1 I Can't Stop (W. Schofield 2:32)
B2 It'll Never Be The Same (Wallace 2:35)
B3 Baby Call On Me (D. Mancha 2:25)
B4 Give Your Lovin' Right Now (W. Witherspoon 2:25)
B5 It's Too Late (W. Pickett 3:03)
Label: Double-L Records – DL-2300
Format: Vinyl, LP, Album
Country: US
Released: 1963
Genre: R&B Soul
Style: Sixties Soul
It's Too Late is the debut solo album by American soul singer Wilson Pickett, released in 1963 on the Double L Records label. The album is a notable representation of Pickett's early work, showcasing his raw talent and powerful, gospel-influenced vocals before he achieved massive success with later hits like "In the Midnight Hour".
The album primarily features a mix of R&B and soul. The production is relatively simple and straightforward, with producers experimenting with different sounds, including a Motown feel on some tracks and a James Brown-like groove on the title track.
Pickett's emotive and powerful vocal delivery is the standout element, which foreshadowed his significant influence on countless artists in the soul and R&B genres.
It's Too Late captures Pickett's transition from the R&B group the Falcons to a solo career. While not as commercially successful as his later Atlantic Records releases, it is an influential album for fans and collectors of early soul music and paved the way for his future success.
The album opens with the smoldering ballad "If You Need Me", which became a moderate hit for Pickett and was also famously covered by Solomon Burke and the Rolling Stones. The title track, "It's Too Late," also became a significant R&B hit.
t's Too Late is seen as a testament to Pickett's early potential and a key album for fans of early R&B and soul. It helped pave the way for his subsequent signing with Atlantic Records and his rise to fame.
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Jaisun
A2 You're All I Need To Get By (Nicholas Ashford, Valerie Simpson 2:59)
A3 No Other Arms (Patrick Mitchell 2:44)
A4 Reach For The Sky (Jaisún Johnson, William "Mickey" Stevenson 4:16)
B1 Keepin' It To Myself (Alan Gorrie 3:24)
B2 Closet Man (David Foster, Donny Gerrard, Eric Mercury 3:35)
B3 Shackin' Up (William "Mickey" Stevenson 4:13)
B4 Try And Understand (William "Mickey" Stevenson 4:54)
Label: Jett Sett – JS-1001
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Modern Soul
Jaisun Johnson's 1977 album Jaisun, released on the Jett Sett label, is a smooth modern soul record, known for its professional and sophisticated sound. It is generally characterized by mid-tempo grooves, avoiding the typical disco material of the era to focus on more developed settings that showcase the artist's vocal range.
Jaisun provides a warm, smoky, and professional vocal performance, which has been compared favorably to contemporaries like Marlena Shaw in particular, as well as Patti Austin, and Angela Bofill.
The album features arrangements by notable talents, including Mickey Stevenson, Greg Middleton, and David Foster.
Several of the backing tracks on Jaisun's album were also used on Jaye P. Morgan's record from around the same time, with Jaisun's voice being the primary difference. One track, "Keepin' It To Myself," was also reworked by the Average White Band on their Benny & Us album.
The album's standout track is the superb, sultry ballad "Try and Understand" which is Jaisun's only charting single, reaching #42 on the R&B charts.
The album is quite rare now and is considered a quality find for collectors of smooth, professional 70s soul music. It can probably be found on Discogs, and you can search for it by clicking on the Discogs image below.
Janice
A2 Goody Two-Shoes (Janice Barnett, Reggie Saddler 6:11)
A3 I Told You So (Janice Barnett, Reggie Saddler 3:32)
A4 Take Me Away (Janice Barnett, Reggie Saddler 4:57)
A5 Him (Green, Sutton, Fuqua, Barnett 4:56)
B1 If I Had Known (I'd Be Gone) (Janice Barnett, Reggie Saddler 4:02)
B2 Love On The Line (Sutton, Fuqua 5:34)
B3 You're Letting Me Go (Janice Barnett, Reggie Saddler 3:46)
B4 I Should Have Left You (Sutton, Fuqua, Pollard, Mills 5:49)
Label: Fantasy – F-9492
Format: Vinyl, LP, Album
Country: US
Released: 1975
The 1975 album by Janice Barnett, simply titled Janice (sometimes referred to as Janice (The Group)), is a superior soul/funk record and a treasured collector's item among soul and beach music fanatics. Though it achieved no initial commercial success, it is now considered a prime example of mid-70s soul.
The album is a mix of funk and soul with uptempo, sometimes Salsoul-like, disco elements. It features lush harmonies and a tight sound, combining a catchy groove with Philly-style brass and strings arrangements. The overall sound has been described as a "total gem of a soul/disco record" with an "earthy brand of soul".
It was produced by the legendary ex-Motown writer and producer Harvey Fuqua for Fantasy Records. The rhythm arrangements were handled by Fuqua and Reggie Saddler, while strings and horns were arranged and conducted by Wade Marcus.
Janice Barnett, a former beauty queen and model, provides "torridly impassioned" lead vocals, with a raspy soul voice often compared to Gladys Knight.
Notable tracks include the northern soul/beach music club floor-fillers "I Told You So" and "If I Had Known (I'd Be Gone)", the sweet soul ballad "Goody Two Shoes", and the gospel-tinged "Him".
The album represents the complete recorded legacy of the group, which sadly lacked commercial breaks at the time of its release. Barnett later had a successful career as a gospel artist and an actress.
The main group members were:
Janice Barnett: Lead vocals, baritone vocals
Reggie Saddler: Lead guitar, baritone background vocals (and Janice's husband)
Freddie Morrison: Bass, second tenor vocals
Norman Ferrington: Drums, percussion
William Acosta: Keyboards, first tenor vocals, Spanish vocals
The album has been digitally remastered and reissued on CD by BGP Records, making it more accessible to modern soul aficionados. You can find more details and track listings on sites like Discogs.
Jaye P. Morgan
A2 Keepin' It To Myself (Alan Gorrie 3:27)
A3 Here Is Where Your Love Belongs (Bill Champlin 4:29)
A4 Closet Man Foster, (Gerard, Mercury 3:38)
A5 It's Been So Long (Stevie Wonder 5:36)
B1 Let's Get Together (Kerr, Gross, Barnes 3:50)
B2 Can't Hide Love (Skip Scarborough 4:52)
B3 You're All I Need To Get By (Ashford & Simpson 3:24)
B4 It All Goes Round (David Foster 6:14)
Label: Candor Records – C-1001
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre:
R&B Soul
Style:
Seventies Soul, Soul-Jazz
Jaye P. Morgan's 1976 self-titled album is a cult classic private press that serves as a "missing link" between classic soul and sophisticated funk/disco, featuring an extraordinary lineup of top Los Angeles studio musicians and early production work by the then-unknown David Foster.
Originally a popular music singer and actress known for her appearances on game shows like The Gong Show, Jaye P. Morgan made a bold move with this self-released album to reinvent herself as a soulful, mature funk artist.
The album is noted for the following features: It delivers "pure, undiluted funk music" with a breezy "California feel". The sound alternates between up-tempo funk tracks and soulful mid-tempo ballads, embodying a transition between 1970s soul and sophisticated disco. It has been described as a "perfect white soul album".
The album was the first full-blown production by David Foster, who would go on to become a superstar producer (co-writing Earth, Wind & Fire's mega-hit "After The Love Has Gone" two years later). The high production budget and use of legendary Sound City Studios made it one of the most expensive private presses of its era.
The album features an "elite group" of L.A. session musicians, often referred to as a "who's who" of the 70s Californian scene. Notable contributors include:
Guitars: Ray Parker Jr., Lee Ritenour, and Jay Graydon.
Drums: Harvey Mason, Jeff Porcaro, and Ed Greene.
Keyboards/Arrangements: David Foster.
Backing Vocals: Bill Champlin and Kenny Loggins.
Horns: Members of Tower of Power.
The album went largely unnoticed upon its initial limited release but has since become a "holy grail" for collectors and "groove diggers" due to its exceptional sound quality, lush ambiance, and the star power of its uncredited musicians at the time. It has been reissued by the label Wewantsounds on vinyl and CD.
Jimmy Ruffin
A2 You And Me Together (Roach)
A3 Boy From Mississippi (Ruffin)
A4 Family Affair (Stone, Stewart)
A5 Tears Of Joy (Ruffin)
A6 Walk Down The Road Of Life Together Ruffin
B1 What You See Ain't Always What You Get (Sigler, Bailey)
B2 Crying Laughing Loving Lying (Siffre)
B3 Thank You Girl (Ruffin)
B4 Super Brother (Ruffin)
B5 Mother's Love (Ruffin)
Label: Polydor – 2383-240
Format: Vinyl, LP
Country: UK
Released: 1973
Genre: R&B Soul
Style: Seventies Soul
Jimmy Ruffin's self-titled 1973 album was his first post-Motown solo release and was issued exclusively in the UK and Japan on the Polydor label. The album features the singer's signature heartfelt soul style, recorded across sessions in Detroit and Philadelphia.
The album showcased Jimmy Ruffin's smooth, powerful vocal delivery in a sophisticated soul style. A notable track on the album is "Tears of Joy," which Ruffin co-wrote and produced with Jimmy Roach, also contributing guitar work to the recording.
The album also featured the track "Tell Me What You Want," which was a hit single in the UK, reaching #39 on the Pop charts, and #5 in the USA dance chart. The record is considered a lesser-known but stellar work from this era of his career.
John Gary Williams
A2 I'm So Glad Fools Can Fall In Love 4:13
A3 Honey 6:37
A4 Loving You (It Ain't Easy) 2:44
B1 Ask The Lonely 3:31
B2 How Could I Let You Get Away 4:00
B3 Open Your Heart (And Let Love Come In) 3:12
B4 The Whole Damn World Is Going Crazy 3:10
Producers – John Gary Williams, Willie Hall
Label: Stax – STS-5503
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul, Sweet Soul
The 1973 self-titled album by John Gary Williams is widely considered an "overlooked gem" of early 1970s soul music, praised for its lush, orchestral arrangements, Williams' smooth vocals, and a poignant blend of romantic and socio-political themes. The record has gained a cult following since its initial failure to sell due to Stax Records' distribution problems at the time of its release.
Reviews highlight the album's sophisticated production, which incorporated sweeping strings, soaring brass parts, and funky bass lines, drawing comparisons to contemporaries like Marvin Gaye, Curtis Mayfield, and Isaac Hayes.
Williams' voice is often described as effortless and committed, fitting somewhere between Eddie Kendricks and Curtis Mayfield. He handles both smooth ballads and up-tempo funk tracks with ease.
The album is noted for its "lush strings" and "innovative guitar flourishes," creating an opulent yet understated sound that epitomizes the late-period Stax style. The use of the Memphis Symphony Orchestra added a rich, cinematic quality.
Before recording a 1973 solo album for Stax, John Gary Williams had been a member of the Mad Lads, who recorded singles for the label starting in the mid-'60s. The Mad Lads had a more traditional black vocal group sound than most of the other acts on Stax's roster, and had only limited success, though "Don't Have to Shop Around" was a pretty big R&B hit, stopping just shy of the Top Ten. Williams had to leave the group to serve in the military from 1966 to 1968, rejoining the Mad Lads upon his return from Vietnam and remaining in the act until they split in 1972.
Shortly afterward, Williams began a solo career, producing most of his self-titled 1973 album himself, as well as writing about half the material. An average sweet soul effort paced by his high vocals, it made no commercial impact, perhaps due at least in part to Stax's own faltering fortunes at the time. Williams did manage a 1975 single on Stax's Truth subsidiary before its parent label closed down soon after its release.
Though not a major effort in the scheme of either early-'70s soul or the Stax catalog, it's a pleasant assortment of sweet soul tracks, with a slightly earthier edge than many recordings in the genre boasted. Most of the songs are upbeat romantic numbers highlighting Williams' smooth, high vocals, inserting covers of songs by the Four Tops, the Spinners, and (more unexpectedly) Bobby Goldsboro.
The most impressive cuts, by a long shot, are the ones that steer away from the usual romantic themes to make general social observations. The opener "I See Hope" is a lively, dramatic expression of optimism; the closing "The Whole Damn World Is Going Crazy," in contrast, reflects the pessimism infiltrating much early-'70s soul, the gently percolating grooves and soaring strings offsetting lyrics of confusion at the backstabbing state of the modern world.
The 2010 CD reissue on BGP adds historical liner notes and both sides of the subsequent single "Come What May"/"Just Ain't No Love Without You Here," two midtempo tunes with a similar vibe to those on the album.
Journey To The Light
Lead Vocals – Belita Woods
Written-By – Gerald P. Kent 3:44
A2 Loving Just You
Lead Vocals – Trenita Womack
Written-By – Belita Woods, Ken Harris, Larry Sims 4:31
A3 Every Time I See You, I Go Wild!
Lead Vocals – Belita Woods, Deon Estus
Written-By – Henry Cosby, Stevie Wonder, Sylvia Moy 6:14
A4 Brand New Day
Lead Vocals – Belita Woods
Written-By – Charles (Chuck) Overton, Gerald P. Kent, William L. Wooten, III 3:23
B1 Journey To The Light
Lead Vocals – Belita Woods
Written-By – Jeryl Bright 5:19
B2 If You Ever Need To Cry
Lead Vocals – Belita Woods
Written-By – Belita Woods, William L. Wooten, III 6:30
B3 We're On Our Way Home (Part 2)
Lead Vocals – Belita Woods
Written-By – Gerald P. Kent 2:50
B4 Positive Thinking
Lead Vocals – Deon Estus
Written-By – Deon Estus 4:31
Label: Tabu Records – JZ 35327
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Disco
Brainstorm's 1978 album Journey To The Light is a highly regarded, sophisticated R&B, jazz-funk, and soul album that is widely considered their best work by fans and critics. While it was a commercial failure at the time, failing to produce a major hit like their debut single, it has since become a cult classic praised for its rich musicianship and Belita Woods' stunning vocals.
The album is noted for being musically richer and more sophisticated than the band's debut, Stormin'. It blends R&B, soul, funk, and jazz, making it difficult to pigeonhole into a single category like "disco".
Reviewers consistently highlight the superb musicianship of the self-contained band, particularly the strong bass lines from Deon Estus and the powerful vocals of lead singer Belita Woods.
Many reviews mention the album's initial lack of commercial success, attributing it to its departure from the more breezy disco sound of their previous hit, "Lovin' You Is Really My Game". It is often described as an overlooked or "sleeper" album that deserved more attention.
The title track, "Journey to the Light," and "We're On Our Way Home" became underground classics in the New York dance scene (specifically "Loft" and "Garage" classics), appreciated for their jazzy, ethereal grooves that reward repeated listens.
Reviewers often praise specific tracks for their quality:
"Journey to the Light": The title track is described as sinuous, urgent, and delightful.
"We're On Our Way Home": A "killer jazzy R&B groove" that has an almost ethereal feel.
"If Ever You Need To Cry": A mid-tempo deep soul track that gives listeners "chills" with Woods' vocals and the band's instrumental skills.
"Brand New Day": Noted for its uplifting, positive quality and impressive orchestration.
Journey To The Light is an album that warrants repeated listening and is best appreciated as a cohesive, brilliant work rather than a collection of potential hit singles. It is a must-have for collectors of sophisticated 70s soul, funk, and jazz fusion who appreciate strong musical arrangements and exceptional vocal performances. The CD reissues are also highly praised for their excellent remastering and informative liner notes.
Just Coolin’
2 Just Coolin' Featuring – Heavy D 4:19
3 Gotta Get The Money 4:45
4 Take Your Time 5:04
5 Join In The Fun 3:28
6 Let's Get Romantic 4:23
7 Feel Real 5:52
8 Smilin' 4:18
9 Start Me Up Again 4:18
10 Loveable 5:23
11 Addicted To You 3:52
Eddie Levert Sr. (tracks: 11), Gerald Levert, Marc Gordon
Label: Atlantic – 7 81926-2
Format: CD, Album
Country: US
Released: 1988
Genre: R&B Soul, Hip Hop
Style: Contemporary R&B, Swing
LeVert's 1988 album Just Coolin' was a well-received commercial success that critics at the time praised as the group's best to date. It leans heavily into the late-80s new jack swing sound on its uptempo tracks and features signature smooth R&B ballads, with a strong showcase of the trio's vocal harmonies and songwriting abilities.
Rolling Stone Album Guide noted that with this album, "the beats are bigger, the funk is deeper, and LeVert seems in the process of reinventing its whole sound". USA Today called it the group's "best to date" and praised the "delicious" ballads.
Contemporary reviews often highlight the album for successfully navigating the popular music styles of 1988, which saw the commercial rise of hip-hop and new jack swing acts like Guy.
The album follows a traditional R&B format, placing the faster tracks at the beginning and slowing down for the ballads on the second half.
Uptempo Tracks: The title track, "Just Coolin'" (featuring Heavy D), was a significant hit and is considered an early popular R&B/Hip-Hop collaboration. Other tracks like "Pull Over" and "Gotta Get The Money" embrace the infectious, high-energy new jack swing style. While some of these beats haven't aged perfectly in terms of timelessness, the genuine energy of the performances keeps them entertaining.
Ballads: The slow jams, such as "Let's Get Romantic," "Start Me Up Again," and "Loveable," are frequently praised for their excellent songwriting and the trio's superb vocal performances. These songs are often described as quintessential "grown folk" or "baby making music" of the era.
Other Styles: The song "Join In The Fun" stands out for its 80s funk/pop flavor, which some critics find less dated than the new jack material, even featuring a salsa-style intro.
Overall, while some critics felt it lacked the "sense of adventure" of their previous album, The Big Throwdown, Just Coolin' is considered a solid, high-quality contemporary R&B album that captured LeVert at a pivotal moment in their career and the genre's evolution. The album is available for purchase on various platforms, including Amazon and Discogs.
Just Enough To Get Me Cool
A2 Being For Real Is Where It Is 3:25
A3 One Way Ticket To Love 3:23
A4 I'm Gonna Walk Right Out Of Your Life 3:40
A5 Your Love Is The Kind I've Been Waiting For 3:53
B1 Fighting A Losing Battle 3:20
B2 I'm Afraid To Let You Into My Life 3:44
B3 What Is Love Without An Understanding 3:20
B4 The Sun Is Always Shining 3:30
B5 Shake Down 2:27
Label: October Records Inc. – ORI-3001
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Funk
Freddie Waters's 1977 album Just Enough To Get Me Cool is a cult classic among Southern Soul and Northern Soul enthusiasts, particularly noted for its rare groove and deep soul tracks.
The album is a highly sought-after collector's item, especially on vinyl, and is not widely known among the general public.
The limited number of user ratings on sites like Discogs and Rate Your Music indicate a strong appreciation among a niche audience, often giving it high marks (an average of 4.57/5 stars from 7 ratings on Discogs).
Key Tracks and Highlights
"I'm Afraid To Let You Into My Life": This track is often highlighted as a wonderful vocal performance that is "soul-soothing". It was a regional hit for Waters when released as a single on the October label.
"Just Enough To Get Me Cool" (title track): Described by some as a "proper funky little number" that blends funk and disco elements. It features a "super cool drum groove," a catchy bass line, and an excellent brass section, making it an engaging and danceable tune.
"Bigger And Better": The flipside to his second single on the Abet label, this mid-tempo soulful dancer gained significant popularity in the UK Northern Soul scene in the 1980s.
Just Enough To Get Me Cool is considered a hidden gem that showcases Waters' rich, soulful voice and the quality production of the Nashville R&B scene of the late 1960s and 1970s. While Freddie Waters never achieved household name status, some critics suggest that with a few good breaks, he could have been a major force in the soul world. The album is cherished for its authentic, heartfelt soul music that has stood the test of time for dedicated fans.
Keep On Keeping On
A2 You're The One (George Frye 5:33)
A3 Keep On Keeping On (Turner, George Frye 5:56)
B1 The Screw (George Frye 6:02)
B2 Daddy's Home (Bassett, Sheppard 4:10)
B3 The Screw Reprise (George Frye 0:45)
B4 You're All My Dreams George Frye, T.L. Ray 6:49)
Label: Beach City Records – SF-16
Format: Vinyl, LP, Album
Country: US
Released: 1981
Keep Smilin’
A2 Picture Us (B. Sigler, U. Dozier, P. Hurtt 2:35)
A3 Keep Smilin' (A. Felder, B. Sigler 5:57)
A4 That's How Long I'll Be Loving You (B. Sigler 2:54)
A5 I Lied (A. Felder, B. Sigler, N. Harris, R. Kersey 3:57)
B1 Things Are Gonna Get Better (A. Felder, B. Sigler, R. Kersey 2:58)
B2 Sweeter Than The Berry (B. Sigler, D. Jones, Sr. 4:40)
B3 Your Love Is Good (A. Felder, B. Sigler, N. Harris 2:55)
B4 Somebody Free (Bunny Sigler, J. B. Jefferson 4:19)
B5 Love Train (K. Gamble, L. Huff 7:07)
Label: Philadelphia International Records – KZ 33249
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul
Keep Smilin' is a 1974 (sometimes listed as 1975) album by Bunny Sigler, a prominent figure in the Philly Soul music scene. Released on the Philadelphia International Records (PIR) label, the album features a blend of solid R&B, Soul, and early Disco styles.
The album is known for its strong Philly soul groove, with arrangements by notable musicians like Norman Harris and Ronnie Baker. The production, handled by Sigler himself, showcases the classic "Sound of Philadelphia," recorded at the famous Sigma Sound Studios. The tracks have an uptempo, pre-disco feel that avoids the excesses of his later work.
A significant aspect of Keep Smilin' is the instrumentation provided by the group Instant Funk on two key tracks, "Keep Smilin'" and "Sweeter Than the Berry". The title track, "Keep Smilin'", co-written by Sigler and Allan Felder, is considered one of his best works. The album also includes Sigler's churchy ballad cover version of The O'Jays' hit "Love Train".
Keepin’ Up With The Joneses
A2 Fire 2:50
A3 Our Love Song 7:25
A4 Hey Babe (Is The Gettin' Still Good?) Part 1 3:32
A5 Hey Babe (Is The Gettin' Still Good?) Part 2 2:05
B1 Sugar Pie Guy (Part 1) 3:40
B2 Sugar Pie Guy (Part 2) 3:45
B3 I Promise You 4:47
B4 Baby Don't Do It 2:58
B5 Please Let Me Stay 4:15
(Written by Glenn Dorsey and Wendell Noble)
Label: Mercury – SRM-1-1021
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre:
R&B Soul
Style: Seventies Soul, Disco
The 1974 debut album by The Joneses, Keepin' Up With The Joneses, is a highly regarded Philly soul record, praised for its blend of deep vocals, disco, funk, and sweet soul, featuring strong slow jams and charting singles.
The album is characterized as classic Philly soul, with lush arrangements and an unrelenting backbeat that shifts between disco and funk. It blends touches of doo-wop and sweet soul, showcasing the versatility of the Baltimore studio musicians who played on it.
Key Tracks:
"Sugar Pie Guy" (Parts 1 & 2): This uptempo number is the group's most remembered recording and a major club hit, praised for its catchy, "sugary" blend of disco and funk. Reviewers note that the 45 rpm version has an even harder bass and drum sound compared to the album versions.
"Please Let Me Stay": Highlighted as a standout slow jam on the LP, this track is a "sweet song" with changing vocal deliveries. It is described as a "sleeper joint" on an album full of charting singles.
"Hey Babe (Is The Gettin' Still Good?)": Another club hit that contributed to the album's success.
The album is considered excellent by some sources and has a high average user rating on platforms like Discogs, with ratings around 4.3 to 4.6 out of 5 stars across various releases. It's seen as a reflection of a band successfully keeping up with the changing musical styles of the mid-70s.
Kool and The Gang
Written-By – Kool And The Gang 2:59
A2 More Funky Stuff
Written-By – Kool And The Gang 2:52
A3 Jungle Boogie
Backing Vocals – Don Boyce
Written-By – Kool And The Gang, Ronald Bell 3:08
A4 Heaven At Once
Backing Vocals – Rory Bell
Written-By – Kool And The Gang, Robert Kool Bell, Ronald Bell 5:00
A5 Hollywood Swinging
Written-By – Kool And The Gang, Ricky West 4:35
B1 This Is You, This Is Me
Backing Vocals – Tomorrow's Edition
Written-By – George Brown, Kool And The Gang 5:23
B2 Life Is What You Make It
Written-By – Dennis Thomas, Kool And The Gang 3:54
B3 Wild And Peaceful
Written-By – Kool And The Gang, Ronald Bell 9:30
Label: De-Lite Records – DEP-2013
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Funk, Seventies Soul
Kool & The Gang's 1973 album Wild And Peaceful is widely considered a classic and essential work of 70s funk, praised for its infectious grooves, strong instrumentation, and the seamless blend of funk, soul, and jazz elements. It was a commercial breakthrough for the band and includes several of their most iconic hits.
Critics and fans generally agree that Wild And Peaceful captures Kool & The Gang at their raw, "street funk" peak before their later, more polished pop-soul era. The album is highly regarded for its ability to deliver danceable, high-energy funk while also showcasing the band's musical maturity and jazz fusion roots.
The album is often cited as a definitive 70s funk record, ranking alongside works by artists like Parliament/Funkadelic, War, and the Commodores. Reviewers from sources like JazzMusicArchives.com note the music is raw, urban, and made for dancing.
Reviewers praise the band's versatility, noting the tight, sharp horn sections and excellent guitar and bass work. The album successfully bridges the gap between their early jazz background and a committed funk sound.
Wild And Peaceful was a major commercial breakthrough, featuring three hit singles: "Funky Stuff", "Jungle Boogie", and "Hollywood Swinging". These tracks are consistently highlighted as some of the best funk songs ever recorded.
The album is structured around a "wild" side (the funk hits) and a "peaceful" side (the jazzier, more atmospheric tracks), a concept that is appreciated by some for its contrast.
Standout Tracks:
"Jungle Boogie": Frequently described as a masterpiece and one of the best funk tracks of all time, known for its iconic, driving groove and growly vocals from roadie Don Boyce.
"Hollywood Swinging": Praised for its catchy groove, festive atmosphere, and lead vocals by keyboardist Ricky Westfield, it was the band's first R&B number one hit.
"Funky Stuff": A simple, catchy, high-energy track with great percussion and horn arrangements.
"Wild & Peaceful" (title track): The closing, 9.5-minute instrumental track is noted as a jazz-fusion excursion that harks back to the band's jazz roots, featuring excellent solos on flute and saxophone and a serene, dynamic quality.
Overall, Wild And Peaceful is an essential listen for funk enthusiasts, offering a blend of hard-hitting dance tracks and more experimental, jazz-infused pieces that showcase the band's instrumental prowess.
Lalah Hathaway
Arranged By – Andre Fischer, Jerry Hey
Bass – Neil Stubenhaus
Drums – Jeff Porcaro
Engineer, Mixed By – Al Schmitt
Keyboards – Randy Kerber
Producer – Andre Fischer
Saxophone – Marc Russo
Synthesizer – Larry Williams
Vocals [All Vocals] – Lalah Hathaway
Written-By – B. Russell, D. Foster 3:38
A2 Heaven Knows
Backing Vocals – Jean McClain
Bass, Keyboards, Drum Programming – Derek Bramble
Coordinator [Production Coordinator] – Marsha Burns
Engineer [Additional Engineering] – Mike Mancini
Engineer [Assistant Engineers] – James Johnson, Kyle Bess, Stephen Harrison
Engineer, Mixed By – Jeff Balding
Keyboards – Monty Seward
Lead Vocals – Lalah Hathaway
Producer – Derek Bramble
Written-By – D. Bramble 5:18
A3 Baby Don't Cry
Backing Vocals – Angela Winbush
Lead Vocals, Backing Vocals – Lalah Hathaway
Mixed By – Jeff Lorenzen
Producer, Arranged By – Angela L. Winbush
Recorded By – Dennis Stefani, Mitch Gibson
Synthesizer [Additional Synthesizers], Programmed By [Additional Programming] – Jeff Lorber
Synthesizer [Synthesizers], Keyboards, Drum Programming – Angela Winbush
Written-By – A. Winbush 4:03
A4 Smile
Arranged By – Andre Fischer, Jerry Hey
Bass – Jim Haslip
Drums – Will Kennedy
Engineer [Additional Engineers] – Doug Rider, Richard McKernan, Steve Sykes
Engineer, Mixed By – Al Schmitt
Guitar – Dean Parks
Keyboards – Russell Ferrante
Percussion – Luis Conte
Producer – Andre Fischer
Saxophone – Marc Russo
Vocals [All Vocals] – Lalah Hathaway
Written-By – M. Scott, R. Ferrante 4:54
A5 U-Godit Gowin On
Backing Vocals – DeBorah J.R. Cooper
Engineer – Craig T. Cooper, Robert ("B-B-B-B-Bob") Biles
Engineer [Assistant Engineer] – Darin Prindle
Handclaps [The "Gowin' On" Clappers (4-Reel)] – Josina Elder, Phaenicia Grant, Shiro Stokes, Wendi Williams
Handclaps [The "Gowin' On" Clappers] – Antoinette Brown, Cat Miller, Deborah J.R. Cooper, Denise Stewart, 4-Reel, Gerald Farwell, Jai Diamond, Kelvin McKisic, Kirtland, Maria A. Manning, Robbie Casey, Bullet Harris
Instruments [All Instruments] – Craig T. Cooper
Lead Vocals, Backing Vocals – Lalah Hathaway
Mixed By – Craig T. Cooper, Robert ("B-B-B-B-Bob") Biles
Producer, Arranged By – Craig T. Cooper
Written-By – C.T. Cooper, D.J.R. Cooper 3:26
B1 Obvious
Engineer – Robert ("B-B-B-B-Bob") Biles
Engineer [Assistant Engineers] – Al Singleton, Karen Shellenberger
Instruments [All Instruments] – Craig T. Cooper
Mixed By – Robert ("B-B-B-B-Bob") Biles
Producer, Arranged By – Craig T. Cooper
Vocals [All Vocals] – Lalah Hathaway
Written-By – C.T. Cooper, D.J.R. Cooper, D.A. Stewart 5:15
B2 Stay Home Tonight
Arranged By – Andre Fischer, Jerry Hey
Backing Vocals [Uncredited] – Natalie Cole
Bass – Neil Stubenhaus
Drums – Will Kennedy
Guitar – Donald Griffin
Keyboards – Russell Ferrante
Producer – Andre Fischer
Recorded By, Mixed By – Al Schmitt
Saxophone – Marc Russo
Synthesizer – Larry Williams
Vocals [All Vocals] – Lalah Hathaway
Written-By – M. Blockson 4:15
B3 I'm Coming Back
Arranged By [Additional Arrangements By] – Andre Fischer
Drums, Percussion – Andre Fischer
Engineer, Mixed By – Jeffrey "Woody" Woodruff
Guitar – Michael Thompson
Keyboards, Drum Programming [DMX Programming] – Gary Taylor
Post Production [Additional Production] – Andre Fischer
Producer, Arranged By – Gary Taylor
Synthesizer [Synthesizers] – Marc Hugenberger
Vocals [All Vocals] – Lalah Hathaway
Written-By – G. Taylor 5:36
B4 Sentimental
Instruments [All Instruments] – Chuckii Booker
Mixed By – Craig Burbridge
Producer, Arranged By – Chuckii Booker
Recorded By – Rob Seifert
Recorded By [Assisted By] – Anthony Jeffries, Mike Scotella
Vocals [All Vocals] – Lalah Hathaway
Written-By – C. Booker 3:50
B5 I Gotta Move On
Arranged By [Additional Arrangements By] – Andre Fischer
Engineer, Mixed By – Jeffrey "Woody" Woodruff
Flute [Flutes], Strings, Programmed By [Additional Programming] – Jeff Lorber
Post Production [Additional Production By] – Andre Fischer
Producer, Arranged By – Angela L. Winbush
Saxophone – Sam Riney
Synthesizer [Additional Synthesizers], Keyboards [Additional Keyboards], Drum Programming [Additional Drum Programming] – Andre Fischer
Synthesizer [Synthesizers] – Larry Steelman
Synthesizer [Synthesizers], Keyboards, Drum Programming – Angela Winbush
Vocals [All Vocals] – Lalah Hathaway
Written-By – A. Winbush 4:44
Label: Virgin – 91382-1
Format: Vinyl, LP, Album
Country: US
Released: 1990
Genre: R&B Soul
Style: Neo Soul, Contemporary R&B
Lalah Hathaway's self-titled debut album, Lalah Hathaway (1990), received generally positive reviews, with critics praising her strong voice and R&B sound. The material was considered memorable when paired with the right production.
Hathaway was recognized for her significant vocal range, charisma, and passionate delivery. Her voice was described as a lovely contralto with a unique warmth.
The album established a contemporary R&B sound, which was a strong start to her career. The track "Heaven Knows" was a highlight, along with "Baby Don't Cry" and "It's Something".
The quality of the album was noted as varying, depending on the specific writers and producers for each song. While Hathaway delivered strong performances, the material didn't always match her talent.
The album was successful enough to create pressure for a strong follow-up, which eventually led to her later releases exploring various genres like jazz and neo-soul, demonstrating her versatility.
Overall, the debut album was seen as a solid foundation that showcased Lalah Hathaway's potential, even if some tracks were considered routine. It successfully launched her career and set her on a path to develop her own soulful identity.
Let It In
Lead Vocals – Babi Floyd
Written-By – D.J. Michaels, M. Barkan 5:45
A2 Never (Gonna Let You Go)
Lead Vocals – Gwen Guthrie
Written-By – Deborah McDuffie, Misha Segal 4:03
A3 Do It For Love
Lead Vocals – Vivian Cherry
Written-By – Carl Hampton, Homer Banks 3:46
A4 A Penny For Your Thoughts
Lead Vocals – Ken Williams
Written-By – Michael J. Breene 3:49
B1 It Discos To Show Ya
Lead Vocals – Janet Wright
Written-By – Misha Segal, Tasha Thomas 4:53
B2 Let's Let Love (Come Between Us)
Lead Vocals – Damaris, Ken Williams
Written-By – William Seidman, Gordon Grody 3:39
B3 Georgy Porgy
Lead Vocals [Uncredited] – Luther Vandross
Written-By – David Paich 7:25
Label: RCA Victor – AFL1-3393
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Disco, Funk, Boogie
The album Let It In by the one-off disco/funk assemblage Charme was released in 1979 on the RCA Victor label. The record is a notable piece of late 70s soul and funk, primarily recognized for featuring early-career lead vocals from uncredited session singers, including the legendary Luther Vandross and Gwen Guthrie.
Let It In is considered a significant modern soul and boogie groove album. It is praised for its slick production, particularly the catchy mid-tempo numbers and sophisticated arrangements by producer Misha Segal. The album has a runtime of approximately 34 minutes.
The album is most famous for its cover of the Toto song "Georgy Porgy," which features prominent, uncredited lead vocals by Luther Vandross. This track is a popular soulful boogie cover and was later re-released when Vandross became world-famous.
Gwen Guthrie provides lead vocals on the track "Never (Gonna Let You Go)". Other notable tracks include the title track "Let It In" and "Do It For Love".
Let Me Be Yours
Written-By – Paul Lawrence Jones III 5:23
A2 Trust Me
Written-By – Freddy Jackson, Paul Lawrence Jones III 3:59
A3 Who Do You Think You Are?
Written-By – Paul Lawrence Jones III 5:10
A4 Just My Imagination (Running Away With Me)
Written-By – Barrett Strong, Norman Whitfield 4:53
B1 Hot Love
Written-By – Lillo, Paul Lawrence Jones III 4:43
B2 (You're A) Good Girl
Written-By – Paul Lawrence Jones III 5:25
B3 Joy Of Your Love
Written-By – Paul Lawrence Jones III 4:55
B4 Let Me Be Yours
Written-By – Lillo, Paul Lawrence Jones III 5:15
Label: Capitol Records – ST-12290
Format: Vinyl, LP, Album
Country: US
Released: 1983
Genre: R&B Soul
Style: Eighties Soul, Contemporary R&B, Boogie
Let Me Be Yours is the 1983 debut studio album by American R&B singer Lillo Thomas, released under Capitol Records. The album is characterized by its early 1980s post-disco and boogie sound, blending smooth R&B with electronic production elements like synthesizers and drum machines.
The album is a mix of soul, funk, and boogie, often compared to the style Michael Jackson popularized in the late 1970s.
It was primarily produced and co-written by Paul Laurence (credited as Paul Lawrence Jones III), a key figure in the "Hush Productions" sound of the 80s.
The album features backing vocals from notable artists such as Freddie Jackson and Melba Moore.
It reached #23 on the Billboard R&B Albums chart. It spawned two notable Billboard R&B singles: "(You're A) Good Girl", a mid-tempo track that peaked at #22 and "Who Do You Think You Are", an upbeat dance cut that peaked at #68.
Soul fans generally hold the album in high regard, often citing it as a classic 1980s R&B "groover" with high production value.
Let Me Ride
Arranged By – Tom Tom 84
Written-By – L. Honore, T. Washington 1:32
A2 (So You Think) Somethin's Missin'
Arranged By – Tom Tom 84
Written-By – R. Bennett 2:19
A3 Win Or Lose
Arranged By – James Mack
Written-By – S. Dees 3:06
A4 Gimme Some
Arranged By – James Mack
Written-By – R. Bennett 3:32
A5 Feeling Like I Don't Belong
Arranged By – Tom Tom 84
Written-By – D. Butler 3:22
A6 Let Me Ride
Arranged By – James Mack
Written-By – R. Bennett 3:55
B1 Learnin'
Arranged By – Tom Tom 84
Written-By – C. Winbush, D. Butler, M. Butler, R. Bennett, R. Butler, S. Beasley 3:18
B2 Good Guys Don't Always Win
Arranged By – James Mack
Written-By – S. Dees 3:28
B3 Fool Or Your Man
Arranged By – James Mack
Written-By – S. Dees 3:21
B4 I've Got Mine
Arranged By – Tom Tom 84
Written-By – D. Butler 3:30
B5 If By Chance
Arranged By – James Mack
Written-By – D. Butler 5:24
Label: Chi Sound Records – CH-LA691
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Funk
Windy City's 1977 album Let Me Ride is an underrated "hidden gem" of Chicago soul/funk, praised by critics and crate diggers for its blend of polished production and raw emotion. It is the group's only album and has gained a cult following since its initial release on the Chi-Sound label.
Reviews highlight the album as a masterpiece of tension, seamlessly mixing sophisticated arrangements with a raw, gritty edge that feels more like an East Coast indie project than a typical polished Chicago record.
Subtlety and Emotion of The tracks, particularly the title track "Let Me Ride," are not designed to dominate the charts but to connect with the listener on a deeper, more emotional level. The album is filled with strong songwriting, arrangements, and incredible vocals that convey a wide range of emotions.
The music is a definitive document of the "pre-Go-Go" Washington D.C. sound, blending deep soul, R&B, and funk elements. Unlike looser, jam-heavy funk, the album is built on a rigid, percussive structure, showcasing a disciplined yet soulful approach.
Produced by respected industry executives Carl Davis and Otis Leavill, the album manages to keep the band's edge while still having a smooth, professional quality.
The album is often described as a "Holy Grail" for collectors and a quiet favorite among soul purists who appreciate music that reveals its depth upon close listening. It is often cited as being better than many more commercially successful soul/funk albums of the era.
Notable Tracks:
"Let Me Ride" The title track is noted for its yearning quality and open-ended hope.
"Windy City Theme (Introduction)" A well-known track often associated with DJ Norman Jay.
"Good Guys Don't Always Win" Another frequently mentioned standout track.
"Win or Lose" Highlighted as a key track by fans.
Overall, the album is highly regarded by soul and funk aficionados for its unique sound and emotional depth, a record that "doesn't need to shout to prove its worth". It is available on various vinyl and digital reissues.
Let’s Fall In Love
A2 Just One Look
A3 I'm In The Mood For Love
A4 Because Of You
A5 Time After Time
A6 Will You Love Me Tomorrow
B1 Close Your Eyes
B2 True Love
B3 We Belong Together
B4 When I Fall In Love
B5 I Will Watch Over You
Label: CBS – 62966
Format: Vinyl, LP
Country: UK
Released: 1967
Genre: R&B Soul
Style: Sixties Soul
Peaches & Herb's 1967 album, Let's Fall in Love, is noted for its smooth soul sound, showcasing the duo's chemistry on romantic ballads and uptempo reinterpretations, especially their successful cover of the standard "Let's Fall in Love," blending classic R&B with contemporary production; it marked the end of their original lineup but highlighted their strengths in delivering sweet, heartfelt performances that resonate with fans for nostalgia and classic sound, even if later hits overshadowed it.
The album solidified their image as a romantic vocal duo, featuring lush arrangements and strong vocals from Herb Fame and Francine "Peaches" Hurd.
The title track, a cover of the 1934 standard, became a significant crossover hit, reaching #11 R&B and #21 Pop, establishing them as a popular act.
Producer Van McCoy gave the classic songs a modern touch, making them feel "cinematically arranged" and fitting the era's evolving urban sound, with some tracks like "I'm in the Mood for Love" getting horn-fueled, uptempo makeovers.
Listeners often connect deeply with the album for its nostalgic value, evoking memories of young love and romance, making it a beloved collection for fans of classic soul.
This was the final album with the original Peaches (Francine Hurd); she left the music business in the early '70s, leading to lineup changes for future hits like "Shake Your Groove Thing" and "Reunited".
Overall, Let's Fall in Love is cherished for its sweet, romantic vibe and successful updates of standards, capturing Peaches & Herb at the peak of their original run, even as their later disco-era hits would bring them wider fame.
Life Is Not Easy... Without You
A2 Chuga Chuga 4:24
A3 Wop That Wandy 5:30
A4 Smoke 3:19
B1 Sunshine Of My Life 9:16
B2 I Feel You When You're Gone 4:02
B3 I've Learned My Lesson 6:43
Written By – The Gangsters (tracks: A2 to A4, B2, B3), E. Sanders (tracks: A1), Stevie Wonder (tracks: B1)
Label: Heat – HTH-002
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Funk, Disco
The 1979 album Life Is Not Easy Without You by the Ohio-based Chicago Gangsters is considered a "lost treasure" and "hidden gem" among funk and soul enthusiasts, though it received limited critical or commercial attention upon its initial release. Professional reviews often highlight its gritty, authentic late-'70s funk sound and "streetwise soul".
The album blends funk, soul, and R&B, offering deep grooves and a raw, genuine feel. It is noted for its "after-hours swagger" and lack of slick, over-produced polish often found in popular soul/disco of the era.
It flew largely "under the radar" at the time of its release, and even contemporary online reviews are sometimes described as not thinking it is "anything special". However, the album has a cult following among soul fans, with some calling it an all-time favorite soul album for its "passion, instrumentation, and vocals".
The album was recorded after the band returned from the bustling Chicago music scene to their native Ohio, and the music reflects tales of city life and heartbreak. It features a raw, genuine, and urgent sound that stands out in the soul genre. Despite not achieving significant critical or commercial attention upon its initial release, it has since gained a reputation as a "lost treasure" and a "hidden gem" among funk and soul enthusiasts.
It is praised for its passionate instrumentation, including horn sections and electric bass, and distinctive vocals. It is considered the band's final statement, encapsulating a tough yet tender funk style.
Life, Love And Faith
A2 Am I Expecting Too Much 2:47
A3 My Baby Is The Real Thing 3:03
A4 Goin' Down 2:56
A5 She Once Belonged To Me 2:49
A6 Out Of The City (Into Country Life) 3:34
B1 Soul Sister 2:47
B2 Fingers And Toes 4:05
B3 I've Got To Convince Myself 2:40
B4 On Your Way Down 3:58
B5 Gone Too Far 3:26
B6 Electricity 2:29
Label: Reprise Records – MS 2062
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul, Funk, Blues
Style: Bayou Funk
Life, Love and Faith is Allen Toussaint's acclaimed solo album, a funky, soulful, and idiosyncratic journey blending New Orleans R&B with emerging funk, showcasing his genius as a singer-songwriter beyond his famous production work, featuring deep grooves, poignant lyrics, and legendary musicians like The Meters' George Porter Jr. and Leo Nocentelli. It's considered one of his best, a landmark album that's simultaneously soulful, rocking, and deeply personal, highlighting his multifaceted talent with songs like "On Your Way Down" and "Electricity".
It seamlessly fuses heavy soul, rocking R&B, early funk, and distinctive New Orleans flavor, creating a sound that was fresh and unique for its time.
While known as a producer, this album cemented Toussaint's own artistry, featuring his expressive vocals and piano amidst complex arrangements.
The album features extensive instrumentation, with Toussaint contributing on piano, acoustic guitar, harmonica, and vocals. The legendary New Orleans funk band The Meters serves as the backing band, with notable members including George Porter Jr. on bass and Joseph "Ziggy" Modeliste on drums, providing a deep, driving groove.
The lyrics explore universal themes with profound, often melancholic, observations on life, love, and the human condition, delivered with Toussaint's characteristic restraint.
Regarded as a cornerstone album, it stands out from typical NOLA releases and is celebrated for its intelligent songwriting and atmospheric depth, making it essential listening.
It includes fan favorites like the bluesy "On Your Way Down," the energetic "Electricity," and soulful gems such as "Soul Sister" and "Fingers And Toes".
The record captures Toussaint's "idiosyncratic vision" with a blend of topical socio-political commentary and personal expressions of love and urban life. His vocals are often described as reticent or shy, but deeply felt, adding a personal touch that sets it apart from typical New Orleans releases of the era.
Life, Stranger Than Fiction
2 Bring You Down 4:49
3 Slow Down (Get A Grip) 4:40
4 Skin On My Skin 5:18
5 Cut It Loose 4:33
6 There Will Come A Day 5:36
7 Castles In The Air 5:46
8 Got To Know 4:52
9 Reach Out 6:16
10 Rivers Runnin' Black 6:46
11 On The Road (Part One) 4:24
12 On The Road (Part Two) 4:16
Label: Talkin' Loud – 586 056-2
Format: CD, Album
Country: UK
Released: 2001
Genre: Jazz, Funk
Style: Jazz-Funk, Soul
Life, Stranger Than Fiction is Incognito's eighth studio album, a jazz-funk and R&B fusion project that showcases the band's signature sound with a new set of vocalists. The album, led by Jean-Paul "Bluey" Maunick, is known for its high production quality, rich live instrumentation (including horns and drums), and a mix of soulful tracks and instrumentals.
The album is a fine example of the Incognito acid-jazz-funk sound, with a slightly greater slant towards R&B compared to some of their previous efforts. The overall feel is described as warm, rounded, and delicately crafted, with every instrument given its own space within busy arrangements.
The production by Bluey Maunick is consistently praised as superb across all 14 tracks, providing a master class in contemporary music orchestration.
The album features a new batch of vocalists, including Kelli Sae and Dianne Joseph, with a push towards more male vocals. This change carries on the Incognito tradition, despite the absence of frequent collaborator Maysa.
The title and tracks reflect aspects of Bluey Maunick's life and experiences.
Notable Tracks:
"Stay Mine": A highlight and strong opener with the instantly recognizable Incognito style.
"Worlds Collide" & "Castles In The Air": Described by some reviewers as masterpieces of soul and jazz fusing with orchestration and stunning vocal arrangements.
"Rivers Runnin' Black": A mainly instrumental track that serves as a benchmark for the band's instrumental prowess on all their albums.
"Down to Earth": The closing title track, noted for its gentle intro that builds into a driving bass and funk rhythm, featuring the vocal power of Sarah Brown and Roy Ayers' vibes.
Reviews of Life, Stranger Than Fiction are generally positive among fans, who appreciate its consistency and quality. While some find certain tracks less impactful or the R&B slant a departure, most agree it is a solid addition to the Incognito collection. It is celebrated for its musicality, rich sound, and ability to keep the "struggling flame of acid-jazz fanned".
Light Of The World
2 DreamsN. McKrieth, P. Williams (6:44)
3 Who Are You (Who Do You Think You Are?) Light Of The World 5:48)
4 Midnight Groovin' (V. Castellano 6:22)
5 Aspects (N. McKrieth 3:16)
6 Mirror Of My Soul (J.P. Maunick, V. Castellano 4:28)
7 Liv Togevver (The Greater London Funkathon) (Light Of The World, V. Castellano 5:02)
Label: Ensign – ENVY 7
Format: Vinyl, LP, Album
Country: UK
Released: 1979
Genre: Jazz, Funk, Soul
Style: Jazz-Funk
Light Of The World's self-titled 1979 album is the debut release from the British jazz-funk band and is considered a pioneering work in the UK's burgeoning Brit-funk scene. The album features a mix of electrified sounds, traditional instruments, and synthesizers, characteristic of the genre at the time.
The album is a foundational piece of the Brit-funk movement, influenced by American jazz-funk acts like Kool & the Gang (from whose album Light of Worlds the band took their name) and Earth, Wind & Fire.
It includes the track "Swingin'", which was the band's debut single, a significant dance-floor hit, and reached number 45 in the UK charts. The album was produced by Vincent Castellano.
The original band members included Wellington, Baptiste, and McKreith, who later went on to form the offshoot group Beggar & Co.
The album sleeve notably featured a pre-stardom headshot of the UK soul singer Sade. The release of the album was reportedly marred by the death of one of the band members, Etienne, during a promotional tour.
Livin’ For You
Written-By – A. Green, W. Mitchell 3:09
A2 Home Again
Written-By – A. Green 3:56
A3 Free At Last
Written-By – A. Green 3:26
A4 Let's Get Married
Written-By – A. Green 5:28
A5 So Good To Be Here
Written-By – A. Green, M. Allen 2:40
B1 Sweet Sixteen
Written-By – A. Green 3:26
B2 Unchained Melody
Written-By – A. North, H. Zaret 5:33
B3 My God Is Real
Written-By – K. Morris 2:43
B4 Beware
Written-By – A. Green 8:12
Label: Hi Records – ASHL 32082
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul, Southern Soul
Al Green's 1973 album Livin' For You is widely considered a strong, essential work from the peak of his career, praised for its smooth Southern soul sound and Al Green's passionate, emotive vocals. It was a major commercial success, topping the US R&B charts and reaching number twenty-four on the Billboard Pop charts.
The album represents the artistic apogee of the collaboration between Al Green and producer Willie Mitchell at Hi Records. They perfected a signature sound: a tight, uncluttered rhythm section provided by the Hi Rhythm Section (including the Hodges brothers and, on some tracks, Al Jackson Jr.) augmented by lush string and horn arrangements.
Reviewers consistently highlight Green's exceptional vocal performance, which ranges from tender, understated pleas to powerful, gospel-tinged exclamations. His voice is described as soaring with emotion, passion, sadness, and regret.
Some critics note that the album marks a slight shift towards a more polished, "easy-listening" sound compared to his earlier, rawer work, with less of the "bestiality" or "animal nature" found in classic soul. This polished sound, however, is precisely what many fans adore, considering it "gorgeous soulful funky melodious heaven".
Green wrote or co-wrote most of the tracks on the album. The album features a single cover, a slow, emotive rendition of "Unchained Melody," which is considered a masterpiece by some and a "bore" by others, highlighting a point of critical division on the album's direction. The inclusion of a passionate gospel track, "My God Is Real," also signals the direction his life and music would take soon after.
The album is known for its major hits and deep cuts: "Livin' For You", The title track and a number one US R&B single, it is a beautiful opening track featuring gentle horns, a Hammond organ, and emotive vocals. "Let's Get Married": A joyous, upbeat track with masterclass horns and backing vocals, described as a powerful "pleading paean to love and happiness". "Free At Last" and "Beware" - These original tracks are praised for their emotional depth, with "Beware" being an eight-minute extended jam that allows the band to stretch out into jazz-funk territory, showcasing their versatility.
Overall, Livin' For You is a highly regarded album that successfully bridges sixties soul and seventies pop, capturing Al Green at the pinnacle of his commercial and artistic powers.
Lonely and Blue: The Deepest Soul of Otis Redding
Written-By – Jones, Floyd 2:56
A2 Gone Again
Written-By – Rock, Redding 2:22
A3 Free Me
Written By – Bishop - Tommy
Written-By – Lawson 3:08
A4 Open The Door (Skeleton Key Version)
Written-By – Redding 2:26
A5 A Waste Of Time
Written-By – Redding 3:17
A6 These Arms Of Mine
Written-By – Redding 2:33
B1 I've Been Loving You Too Long (To Stop Now)
Written-By – Redding 3:15
B2 Everybody Makes A Mistake
Written-By – Isbell, Floyd 3:23
B3 Little Ol' Me
Written-By – Redding, Cropper 3:11
B4 I've Got Dreams To Remember (Rougher Dreams)
Written-By – Redding 3:34
Label: Volt – STX-34165-01
Format: Vinyl, LP, Compilation
Country: US
Released: 2013
Genre: R&B Soul
Style: Sixties Soul, Southern Soul
Lonely & Blue: The Deepest Soul of Otis Redding is a compilation album that gathers Otis Redding's most emotional, heartbreaking slow soul ballads and presents them as if it were a classic, single-themed album he might have released during his lifetime. The collection focuses exclusively on the theme of sorrow, lost love, and yearning, providing a cohesive listening experience.
The album was conceived by producer David Gorman with the goal to "create the best album Otis never made" by focusing on a specific mood rather than being another "hits" compilation. The packaging was also intentionally designed to look and feel like a vintage late-'60s Stax/Volt LP, complete with simulated ring wear on the cover, to enhance the illusion of a forgotten classic. Released in 2013, the album includes tracks recorded between 1962 and 1967.
The compilation features a mix of well-known hits and lesser-known songs that fit the album's theme of deep sorrow and blue emotions.
Customers and reviewers praise the album for its excellent sound quality and for showcasing Redding in top form as a balladeer. Reviewers describe the music as "soul deep" and "heartbreaking," providing comfort and companionship in shared feelings of loss. The focused theme is consistently noted as a strength, allowing listeners to experience the depth and beauty of his most emotional performances in a new context.
Love And More
Arranged By [Rhythm], Keyboards – Leon A. Huff
Arranged By [Strings, Horns] – John R. Faith
Bass – Jimmy Williams
Drums – Quinton Joseph
Horns, Strings – Don Renaldo And His Horns And Strings
Producer, Written-By – Kenneth Gamble, Leon A. Huff 4:26
A2 Extraordinary Girl
Arranged By [Rhythm], Keyboards – Leon A. Huff
Arranged By [Strings, Horns] – John R. Faith
Bongos, Congas – Leonard 'Doc' Gibbs, Jr.
Drums – Quinton Joseph
Guitar – Cecil Womack, Dennis Harris
Horns, Strings – Don Renaldo And His Horns And Strings
Producer, Written-By – Kenneth Gamble, Leon A. Huff 5:10
A3 I'm The Kind Of Man (Every Mother Wants Her Daughter To Love)
Arranged By [Rhythm], Keyboards – Leon A. Huff
Arranged By [Strings, Horns] – John R. Faith
Bass – Jimmy Williams
Drums – Quinton Joseph
Horns, Strings – Don Renaldo And His Horns And Strings
Producer – Kenneth Gamble, Leon A. Huff
Written-By – Cary Gilbert, Kenneth Gamble, Leon A. Huff 3:46
A4 Everybody's Dance Krazy
Arranged By [Rhythm], Keyboards – Leon A. Huff
Arranged By [Strings, Horns] – John R. Faith
Bass – Jimmy Williams
Drums, Percussion – Quinton Joseph
Guitar – Cecil Womack, TJ Tindall
Producer – Kenneth Gamble, Leon A. Huff
Written-By – Cary Gilbert, Kenneth Gamble, Leon A. Huff 5:30
B1 Summer Fling
Arranged By – John R. Faith
Bass – Jimmy Williams
Drums – Quinton Joseph
Guitar – Russell Evans
Horns, Strings – Don Renaldo And His Horns And Strings
Producer – Eddie Levert, Walter Williams
Written-By, Keyboards, Synthesizer – Matthew Rose 4:55
B2 I Really Need You Now
Drums – Clifford Pete Rudd
Guitar – James Herb Smith, Marc Ruben
Percussion – Mark Dauberman
Producer, Arranged By, Orchestrated By, Keyboards, Synthesizer – Dexter Wansel
Written-By – Cynthia Biggs, Dexter Wansel 4:12
B3 Love You Direct
Bass, Keyboards, Synthesizer – Dean Gant
Drums – Stephen Ferrone
Guitar – David Williams
Producer, Arranged By – Keni M. Burke
Written-By – Allan Felder, Keni M. Burke 3:55
B4 Let Me Show You (How Much I Really Love You)
Bass – Douglas Wimbish
Drums – Daryl A. Burgee
Guitar – Bernard A. McDonald
Keyboards – Walter "Bunny" Sigler, James Sigler
Producer, Synthesizer – Walter "Bunny" Sigler
Written-By, Arranged By – James Sigler 3:54
B5 Give My Love To The Ladies
Arranged By – James Sigler
Bass – Douglas Wimbish
Drums – Daryl A. Burgee
Guitar – Dennis Harris
Keyboards – Walter "Bunny" Sigler, James Sigler
Producer, Synthesizer – Walter "Bunny" Sigler
Written-By – Bunny Sigler, Marvin Morrow 4:15
Label: Philadelphia International Records – FZ 39367
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: R&B Soul
Style: Eighties Soul, Philly
Love and More is considered by fans to be a solid album showcasing The O’Jays' timeless voices, despite not producing any major chart hits. Professional critical reviews are sparse, but user opinions suggest it is an "underrated" work of 80s quiet storm R&B.
It marked a transitional period for the band and the Philadelphia International label, which was experiencing distribution issues at the time.
The album is generally seen as a collection of smooth grooves and slow jams, fitting the "quiet storm" R&B style popular in the 1980s. Fans appreciate it for highlighting the group's signature, lived-in voices.
Several user reviews on platforms like Discogs describe the album as "criminally underrated" and "pretty good," especially certain standout tracks.
Specific songs like "Extraordinary Girl", "I'm The Kind Of Man (Every Mother Wants Her Daughter To Love)", and "Love You Direct" are noted by fans as strong, well-executed numbers that found their place in the 80s music landscape.
Released in the mid-80s, Love and More followed the height of The O'Jays' success with Gamble & Huff in the 1970s, a period when artists like Michael Jackson and Prince were redefining the music industry.
Some critics felt that by the 80s, the group's sound was being left behind and that subsequent albums didn't stand up to the radical stylists of the new era. However, the album is still considered an enjoyable listen for fans of the band's core vocal talent and classic R&B sound.
In summary, Love and More is seen as a decent effort from a legendary group, best enjoyed by existing fans who appreciate their vocal prowess over groundbreaking new material. It's a testament to their consistent talent rather than a landmark album in their discography.
Love And Touch
Written-By – L. Graham 4:19
A2 Close To You
Written-By – L. Graham, M. Koen 4:07
A3 Why Is It So Hard (To Say You're Sorry)
Written-By – D. Miller, L. Graham 5:33
A4 You're Too Much
Written-By – D. Miller, L. Graham 3:47
B1 Put Your Trust In Me
Written-By – L. Graham 5:00
B2 Givin' Myself To You
Written-By – L. Graham 4:00
B3 Wrong Doers
Written-By – L. Graham 4:55
B4 Beware, Beware
Written-By – J. Sibley, L. Graham 4:27
Label: Columbia – PC 34268
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Southern Soul, Disco
Tyrone Davis's Love & Touch is celebrated as a soulful, mellow pivot from his earlier Dakar Records work, showcasing his trademark sweet vocals with superb band musicianship, offering an addictive, relaxing soundtrack blending soul with smooth jazz elements that marked a fresh, evolving chapter in his career on Columbia Records, noted for its emotional depth and positive vibe.
The album is a quintessential example of Chicago soul, with production heavily influenced by Leo Graham, who wrote or co-wrote all the material. The sound is noted for being sophisticated, smooth, and danceable, moving into a more "discofied" soul style compared to his earlier work.
Davis's vocals are consistently praised for being "sweet and soulful" and "relaxed". The backing band also receives commendation for superb musicianship.
The album produced two successful singles:
"Give It Up (Turn It Loose)" was a major hit, reaching No. 2 on the Billboard Hot Soul Singles chart and No. 39 on the Billboard Hot 100.
"Close to You" reached No. 33 on the soul singles chart.
User and retrospective reviews are overwhelmingly positive, with ratings on platforms like Discogs averaging over 4 out of 5 stars. Fans consider it a great addition to any soul collection, appreciating the evolving sound and consistent quality of Davis's performance.
In summary, Love And Touch is a highly regarded album that successfully transitioned Tyrone Davis to a new record label, blending classic soul with contemporary (for the time) R&B and disco elements. It is viewed as a creative and commercial highlight in his extensive discography.
Love Games
Arranged By – Lew Warburton
Composed By – Macaulay
Composed By, Producer – R. Greenaway 3:04
A2 Like Sister And Brother
Arranged By – Bert De Coteau
Composed By – Cook, Greenaway, Stephens
Producer – Billy Davis, R. Greenaway 3:20
A3 I'm Ready (To Make A Fool Of Myself Again)
Arranged By – Chris Gunning
Composed By – Cook, Greenaway, Stephens
Producer – R. Greenaway 3:00
A4 If You're Gonna Love Me
Arranged By – Lew Warburton
Composed By – R. Cookaway, Macaulay
Producer – Billy Davis, R. Greenaway 3:41
A5 The Cut Is Deep
Arranged By – Lew Warburton
Composed By – H. Barter, R. Barter
Producer – R. Greenaway 3:58
A6 I Can't Get Away From You
Arranged By – Lew Warburton
Composed By – H. Barter
Producer – R. Greenaway 2:20
B1 Kissin' In The Back Row Of The Movies
Arranged By – Tony King
Composed By, Producer – T. Greenaway, Macaulay 3:27
B2 I'm Free (For The Rest Of Your Life)
Arranged By – Bert De Coteau
Composed By – Cook, Greenaway, Stephens
Producer – Billy Davis, R. Greenaway 3:11
B3 I Can't Live Without You
Arranged By – Chris Gunning
Composed By – Cook, Greenaway, Stephens
Producer – R. Greenaway 3:06
B4 If It Feels Good (Do It)
Arranged By – Bert De Coteau
Composed By – Cook, Greenaway, J Rae
Producer – Billy Davis, R. Greenaway 3:24
B5 A Blessing In Disguise
Arranged By – Lew Warburton
Composed By – Mason
Composed By, Producer – R. Greenaway 2:52
B6 Down On The Beach Tonight
Arranged By – Lew Warburton
Composed By – Macaulay
Composed By, Producer – R. Greenaway
Producer – Billy Davis 3:00
Label: Bell Records – BELLS 246
Format: Vinyl, LP, Album
Country: UK
Released: 1975
Genre: R&B Soul
Style: Soul, Pop
The 1975 album Love Games by The Drifters is a studio album that blends the group's classic smooth, buttery harmonies with contemporary musical styles of the era, specifically funk, Philly soul, and disco.
Following a chart success in 1972, the Johnny Moore-led version of The Drifters, based in London, collaborated again with producers Roger Cook and Roger Greenaway. Their goal was to update the group's sound for the mid-1970s, primarily using various single A- and B-sides.
The album features the Drifters' vocals alongside contemporary production. Critical reactions were varied; some found the blend of classic harmonies and modern production effective, while others thought the songs were uninspired and too reliant on musical trends of the time, making the group seem out of place.
The album charted moderately in the UK, reaching number 51 and earning a Silver certification, showcasing the group's evolving sound in the mid-70s, though it didn't chart in the US despite their legendary past hits.
The key hit singles associated with this era and album were:
"Love Games": The title track itself reached a peak position of #33 on the UK Official Charts in August 1975.
"Kissin' In The Back Row Of The Movies": This single was a major hit, peaking at #2 in the UK charts in 1974, prior to the album's release.
"Down On The Beach Tonight": Another Top 10 hit, this track reached #7 on the UK charts in late 1974.
"There Goes My First Love": Released as a single after the album in August 1975, it became a significant hit, reaching #3 in the UK.
"Can I Take You Home Little Girl": This single achieved a peak position of #10 in the UK charts towards the end of 1975.
Another hit, "You're More Than A Number In My Little Red Book," reached #5 in the UK in late 1976 and was included on subsequent repackaged albums, though it was released after the initial Love Games album.
Love Is Here And Now You’re Gone
A1b Wings Upon Your Horn (Loretta Lynn)
A2a Monologue: Hoping (L. Dinsdale)
A2b Love Is Here And Now You're Gone (Eddie Holland, Lamont Dozier & Brian Holland)
A3a Monologue: Final Attempt (L. Dinsdale)
A3b Can't Last Much Longer (Allen Toussaint)
A4a Monologue: The Next Time! (L. Dinsdale)
A4b That's Understanding (Dave Crawford, Willie Martin)
B1 I'm Gonna Run Away From You (Bert Berns 2:49)
B2 Ain't No Soul (Left In These Old Shoes) (Arthur Resnick, Joseph Levine 2:18)
B3 A World You Left Behind You (Jane McNealy 4:44)
B4 Never No More (Tami Lynn 2:49)
B5 Mo Jo Hanna (Andre Williams, Barbara Paul, Clarence Paul 3:23)
B6 One Night Of Sin (Anita Steinman, Dave Bartholomew, Pearl King 2:53)
Label: Cotillion – SD 9052
Format: Vinyl, LP, Album, St
Country: US
Released: 1972
Tami Lynn's Love Is Here & Now You're Gone (1972) is a deep, conceptual soul album known for its unique blend of intimate spoken-word interludes (monologues) narrating a breakup, interspersed with powerful Southern soul and funk tracks, featuring production by Jerry Wexler, Tom Dowd, and Bert Berns. Side One tells a fragmented love story with "Introduction," "Hoping," "Final Attempt," and "The Next Time," while Side Two shifts to regular songs like her soulful "I'm Gonna Run Away From You" and funkier numbers. It's praised for its raw emotion, personal feel, and classic soul sound, often compared to artists like Candi Staton, though some listeners find the monologues disjointed.
Side One presents a four-part narrative about a failed love affair, broken by Tami Lynn's spoken-word interludes that feel like therapy sessions. It melds deep soul, funk, and country-soul influences, with a raw, intimate, and sometimes stark delivery.
A rare groove classic from Cotillion Records, with notable producers, it includes the UK pop and northern soul hit "I'm Gonna Run Away From You," a cover of Allen Toussaint "Can't Last Much Longer", and funkier tracks like "That's Understanding".
The album offers a deeply personal, chills-inducing listen, capturing a private moment in a captivating way, making listeners feel like they're eavesdropping on a heartfelt confession, as described by Dusty Groove.
Love Is The Key
A2 Skyboat (J.D. Clemmons, R. Alred Jr. 4:33)
A3 To Get To Heaven (D. Patton, R.D. Wells 2:42)
A4 It's So Lonely (R. Alred Jr., R. O'Connor 3:11)
A5 One Way Or The Other (J. Reed, P. Leka 3:18)
B1 So Much Love To Give (J. Reed, R. O'Connor 3:17)
B2 You Got To Get Up R. Alred Jr., R. O'Connor 3:19)
B3 Beautiful Lady (J.D. Clemmons 3:48)
B4 Supreme Being (J.D. Clemmons 4:26)
B5 Love Is The Key (D. Patton 4:29)
Label: Manhattan Records – MR-LA899-H
Format: Vinyl, LP, Album
Country: US
Released: 1978
The album Love Is the Key by the Dynamic Five (featuring Robert "Red" Alred Jr.) is a 1978 smooth soul, funk, and disco album that has become a rare and highly sought-after collector's item. It was released on the Manhattan Records label, distributed by United Artists.
The album is primarily known for its smooth soul sound of the late 1970s. A single from the album, "Lover's Lullabye," was released in 1979. The album itself has gained notoriety in the decades since its release, fetching high prices in online auctions due to its rarity, with one original copy reportedly selling for over $6,000.
The group experienced musical hurdles, making this album a testament to their talent that might have been overlooked at the time. The scarcity of the original vinyl and the addition of extended edits on CD releases make it a significant piece for collectors.
In essence, Love Is The Key is a beautiful, classic soul album that stands out as a rare find from the era, capturing the essence of late '70s R&B.
Love Lessons
Written-By – G. Worthy, L. Wedgeworth 5:54
A2 Make Love
Written-By – Hal S. Batt, HotSauce, Isaac Gilyard 4:35
A3 Good Thing Goin On
Featuring – Billy Paul
Written-By – Jeff McDuffy, Linwood Ross, Terry Price Grant 4:35
A4 So I Can Love You
Written-By – Sheila Hutchinson 4:15
A5 Have I Told You That I Love You
Written-By – Ezara Sanders, Hal S. Batt 4:48
B1 No One Does It Better
Written-By – K. Harris, L. Robinson, T. Haynes 4:17
B2 Fallin' For You
Written-By – Ezara Sanders 4:37
B3 It's Not For Me To Say / Chances Are
Written-By – A. Stillman, R. Allen 4:39
B4 Misty
Written-By – Erroll Garner, Johnny Burke 5:35
B5 Someone To Watch Over Me
Written-By – George and Ira Gershwin 4:35
Label: Moja Entertainment Group – MEG25719032
Format: CD, Album
Country: US
Released: 1995
Genre: R&B Soul, Jazz
Style: Smooth Jazz, Soul, Funk
Jean Carne's Love Lessons is praised as a strong return to her soulful roots, showcasing her rich voice with romantic ballads, classic Philly Soul influences, and surprising jazz standards, delighting longtime fans with its blend of contemporary grooves and timeless vocal artistry, solidifying her status as a versatile R&B/Soul icon. Critics highlight her powerful vocals, deft handling of both uptempo numbers and slow jams, and inclusion of jazz standards like "Misty," proving her versatility.
Reviewers consistently marvel at Carne's exquisite, five-octave voice, noting its beauty and ability to convey deep emotion.
The album delivers strong soul tracks, both fast and slow, staying true to the Philly Soul sound that defined her early career.
The inclusion of standards like "Misty" and "Someone to Watch Over Me" showcases her versatility and jazz roots, drawing comparisons to vocalists like Phyllis Hyman and Nancy Wilson.
The production, while modern for its time, still carries echoes of her work with Gamble & Huff's team and collaborator Dexter Wansel, especially in its lush arrangements.
A notable feature is the duet with Billy Paul on "Good Thing Goin' On," a perfect match for both singers.
Listeners found it a worthy purchase, a satisfying listen that recaptured the magic of her earlier work while introducing new material, making it a great choice for both longtime fans and new listeners.
In essence, Love Lessons is seen as a triumphant album that lets Jean Carne shine, blending modern R&B with classic soul and jazz, affirming her place as a significant voice in American music.
Love Man
Written-By – Cullipher, Otis Redding, Steve Cropper 2:15
2 (Your Love Has Lifted Me) Higher And Higher
Written-By – Carl Smith, Gary Jackson 3:03
3 That's A Good Idea
Written-By – Otis Redding 2:17
4 I'll Let Nothing Separate Us
Written-By – Otis Redding 2:51
5 Direct Me
Written-By – Otis Redding, Steve Cropper 2:18
6 Love Man
Written-By – Otis Redding 2:17
7 Groovin' Time
Written-By – Otis Redding, Steve Cropper 2:46
8 Your Feeling Is Mine
Written-By – Otis Redding 2:19
9 Got To Get Myself Together
Written-By – Otis Redding 2:25
10 Free Me
Written-By – Gene Lawson, Otis Redding 3:06
11 A Lover's Question
Written-By – Brook Benton, Jimmy Williams 2:52
12 Look At That Girl
Written-By – E. Morris, R. Stewart 2:36
Label:
Atco Records – SD 33-289
Format:
Vinyl, LP, Album
Country: US
Released: 1969
Genre:R&B Soul
Style: Sixties Soul, Funk
Love Man is a highly regarded posthumous album that showcases Otis Redding at his most energetic, with critics praising its raw groove and a number of strong original performances, though some note it is not as consistently brilliant as his essential earlier works like Otis Blue.
Critics generally praised the album's instrumental energy and Redding's vocals. Rolling Stone highlighted several strong performances, while AllMusic acknowledged the energy but found the album less consistent than earlier releases. Q magazine described the album as showcasing "Redding at his up-tempo frantic and frenetic best". Many listeners consider it among his best posthumous releases, noting its high-energy and danceable nature, although they often recommend starting with his core albums.
Notable tracks include the title track "Love Man," a Top 20 R&B hit, and a spirited cover of Jackie Wilson's "(Your Love Has Lifted Me) Higher and Higher". "Direct Me" is often cited as a standout Memphis soul track with excellent guitar work, and "A Lover's Question," a cover of a Brook Benton ballad, was another R&B hit. The album also features "I'm a Changed Man," which includes Redding experimenting with scat singing.
Love Maze
Written-By – Harold G. Scott 5:21
A2 Wrap Me In Love
Written-By – Mary Williams, Mack Rice 2:32
A3 Let Me Be The One
Written-By – Paul Williams, Roger Nichols 4:09
A4 Something So Right
Written-By – Paul Simon 6:03
A5 At Last
Written-By – Harry Warren, Mack Gordon 2:57
B1 You Make The Sunshine
Written-By – Leon Moore 4:56
B2 You Make Me Love You
Written-By – Leon Moore 3:12
B3 Come On Y'All
Written-By – Cleophas Fultz, Leon Moore 4:10
B4 Trust In Me
Written-By – Gene Schwartz, Milton Ager, Ned Weaver 3:48
B5 People Make The World Go Round
Written-By – Linda Creed, Tom Bell 6:37
Label: We Produce Records – XPS-1903
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul
The 1974 album Love Maze by The Temprees is a highly-regarded example of classic "sweet soul" and Memphis soul, known for its smooth melodies, excellent vocal harmonies, and sparse production that highlights the trio's singing talent. It has a strong reputation among fans of vintage soul music.
Reviews from fans and critics consistently praise the album for its authentic sound and the quality of the group's performances:
The album is noted as a key, early example of "sweet soul," a style that later influenced other vocal groups like the Stylistics.
The trio, featuring Jasper "Jabbo" Phillips' falsetto lead, is at its best on emotional ballads. The voices are prominent and effective, a result of the production style that is not heavily orchestrated.
Many fans who owned the original album in the 70s still cherish it, calling it "criminally underrated" and "beautiful from start to finish". It is considered a must-have for collectors of the genre.
Love Maze is a strong entry in The Temprees' catalog, appreciated for its beautiful harmonies and deep soul feel, standing as a testament to the smooth vocal group tradition of the 1970s.
Love On A Mountain Top
Written-By – Cason, Gayden 2:54
A2 Somewhere My Love
(Lara's Theme From "Dr Zhivago")
Written-By – Jarre, Webster 2:17
A3 Sandy
Written-By – Cason, Wilkin 3:28
A4 The Moment Of Truth
Written-By – Cason 2:52
A5 The Letter
Written-By – Wayne Carson 2:02
A6 Love On A Mountain Top
Written-By – Cason, Gayden 2:25
B1 My Rainbow Valley
Written-By – Cason, Gayden 3:30
B2 Never My Love
Written-By – Dick Addrisi, Don Addrisi 3:23
B3 Rachel The Stranger
Written-By – Cason, Gayden 2:29
B4 I Can't Get Over How You Got Over Me
Written-By – Paxton 2:29
B5 The Dance Of Love
Written-By – M. Whitson 2:15
B6 Branded !
Written-By – Cason, Gayden 2:55
Label: Monument – MNT 65956
Format: Vinyl, LP, Album
Country: UK
Released: 1974
Genre: R&B Soul
Style: Northern Soul, Ballad
Robert Knight's Love on a Mountain Top album (often bundled with Everlasting Love) showcases his smooth, soulful vocals, blending pop and soul with tracks like the rediscovered Northern Soul classic "Love on a Mountain Top" and the hit "Everlasting Love," offering a charming, nostalgic listen, especially for fans of vintage soul and Northern Soul, though some early critical reviews noted it as pleasant but predictable.
The title track, "Love on a Mountain Top," became a major UK hit in the 70s after being embraced by Northern Soul DJs, long after its 1968 original release, highlighting its enduring appeal.
The album features Knight's signature strong vocals and sweet arrangements, reminiscent of The Miracles' "Tracks of My Tears," notes Goldmine Magazine.
There are different album configurations, with some reissues adding tracks like "The Moment Of Truth," making them comprehensive collections, say Discogs and Discogs.
While adored by fans, some contemporary reviews called tracks "predictable but nonetheless charming," with a Smash Hits writer finding it similar to another disco track, Wikipedia.
Why You'd Like It: You're a fan of classic 60s/70s soul, pop, and Northern Soul. You appreciate strong, clear vocals over catchy melodies. You're looking for a feel-good, nostalgic album for relaxed listening.
In essence, it's a beloved collection of sweet, melodic soul tunes, anchored by iconic tracks that define Robert Knight's legacy, says Rate Your Music and Goldmine Magazine.
Love On Delivery
A2 Love On Delivery (L.O.D.) (J.R. Bailey, K. Williams 5:30)
A3 Now You've Taken Your Love (E. Simmons, H. Edwards, J. Simmons, J. Pridgen 5:40)
A4 Are You Ready (Here I Am) (E. Simmons, H. Edwards, J. Simmons, J. Pridgen 3:39)
A5 She's My Summer Breeze (J.R. Bailey, K. Williams 4:23)
B1 All Day, All Night (E. Simmons, H. Edwards, J. Simmons, J. Pridgen 3:31)
B2 One Into One (E. Simmons, H. Edwards, J. Simmons, J. Pridgen 4:15)
B3 Telephone Lover (J.R. Bailey, K. Williams 4:03)
B4 How Could We Let The Love Get Away (E. Simmons, H. Edwards, J. Simmons, J. Pridgen 4:12)
B5 Three Steps From True Love (J.R. Bailey, K. Williams 3:43)
Label: Capitol Records – ST-11460
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul
Love On Delivery, released in 1975 on Capitol Records, was the debut album by the obscure but highly regarded male vocal quartet The Reflections. It is considered a modern soul classic and a sought-after record by collectors.
The album is a blend of 1970s soul, funk, and disco, noted for its strong vocals and production. The Reflections, who had previously served as background vocalists for artists like Melba Moore (who provided a snippet on the back cover), delivered a set of quality 70s soul tracks.
It produced two popular singles: "Three Steps From True Love" which was a Top Ten hit on the US R&B charts, and "She's My Summer Breeze" which gained popularity in the UK rare groove scene.
The album's production credits include J.R. Bailey, Jerome Gasper, and Ken Williams, with mixing by Skip Juried.
Love On Delivery is a key vinyl record from the 70s, celebrated for its infectious grooves and sophisticated vocal arrangements, making it a prized find in soul music circles.
Love To The World
Written-By – L. Mizell, F. Mizell, R. Mizell 5:07
A2 Time For Pleasure
Written-By – L. Mizell, F. Mizell, R. Mizell 5:20
A3 Love Ballad
Written-By – S. Scarborough 4:35
B1 Get Your It Together
Written-By – H. Davis, J. Osborne 4:48
B2 Let The Music Keep Playing
Written-By – H. Davis 4:22
B3 The Word
Written-By – L. Mizell, F. Mizell, R. Mizell 5:30
B4 Love To The World Prayer
Voice [Children] – Barbara Dice, Carolyn Dice, John "Bunky" Butler
Written-By – L. Mizell, F. Mizell, R. Mizell 3:49
Label: A&M Records – SP-4589
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul
The L.T.D. album Love to the World is a critically acclaimed 1976 R&B/Soul record that transformed the band's career, largely due to the soaring vocals of lead singer Jeffrey Osborne and successful production by the Mizell Brothers. The album is celebrated for its mix of orchestral funk, disco grooves, and standout ballads.
The album was a breakthrough for the band, reaching No. 7 on the R&B albums chart and No. 52 on the Billboard 200. It established L.T.D. as a major force in 70s soul.
Critics and fans widely praise Jeffrey Osborne's "magical" and "spell-bounding" vocal performances, which are considered a highlight and helped put him on the map as a standout vocalist.
Produced by the acclaimed Larry and Fonce Mizell, the album features "sumptuously opulent and heavily orchestrated disco-soul" that elevated the band's existing sound. The production effectively combines the band's funky musicianship with a more refined, professional studio aesthetic.
Key Tracks:
"Love Ballad": This "Ultimate Slow Jam" became an R&B chart-topper and a Top 20 Pop hit, widely regarded as one of the greatest love songs of all time.
"Love To The World": The "glorious, uplifting, soulful" title track is a spiritual, funky message song that became a huge hit and the group's signature tune.
"The Word" and "Get Your It Together": These tracks are noted for their infectious grooves, demonstrating the band's strong musical chops and the Mizell brothers' distinct production influence.
The album is considered a "jewel" and a "perfect album" by many fans, praised for its fresh, bold, and consistent sound. It is seen as a landmark album that successfully blended different genres of the era (soul, funk, disco, jazz) and has stood the test of time as an essential piece of 70s R&B history.
One minor criticism in some CD reissues is the short running time (just over half an hour), which some reviewers felt offered less value for money compared to other releases. However, the music itself consistently receives high ratings from listeners and critics alike.
Love Wars
Electronic Drums [Linn Drum] – Art Wood 5:58
A2 Express Myself
Percussion – Paulinho Da Costa
Written-By – Friendly Womack II 4:52
A3 Baby I'm Scared Of You 5:38
Written-By – Cecil Womack and Linda Womack
A4 T.K.O.
Lead Vocals – Curtis Womack
Written-By – Eddie "Gip" Noble 4:14
B1 A.P.B.
Bass – Nathan East
Written-By – Friendly Womack, Sr. 5:31
B2 Catch And Don't Look Back
Keyboards – Denzil Miller
Written-By – Naomi Womack 5:26
B3 Woman
Percussion – Paulinho Da Costa 4:17
B4 Angie
Written-By – Keith Richards, Mick Jagger 2:55
B5 Good Times
Written-By – Bobby Womack 3:06
Label: Elektra – 9 60293-1
Format: Vinyl, LP, Album
Country: US
Released: 1983
Genre: R&B Soul
Style: Eighties Soul, Funk
Love Wars (1983) is the iconic debut album from the husband-and-wife duo Womack & Womack, a warm, soulful R&B record blending deep soul with 80s textures, featuring the hit title track, the gritty "Baby I'm Scared of You," and their take on Cecil's "TKO," offering sophisticated, heartfelt songs often compared to Ashford & Simpson with a unique Womack family touch, hailed as a critical favorite and a classic.
A fusion of classic deep soul, contemporary R&B, with subtle 80s electronic elements, providing a rich, warm backdrop to their passionate vocals.
Explores love and relationships with depth, featuring soulful duets and personal storytelling, notes BBC.
Notable Tracks:
"Love Wars": The gospel-infused, synth-accented title track.
"Baby I'm Scared of You": A funky, dramatic duet.
"T.K.O.": A powerful version of Cecil's hit originally for Teddy Pendergrass.
"Express Myself": Features a preacher-style intro and soulful delivery.
Produced by Stewart Levine with a talented lineup including Neil Larsen, James Gadson, and Nathan East, it's ranked highly by publications like NME, praised for its consistent quality across all tracks, and remains a beloved staple of soul music.
The album and its singles, especially 'Love Wars', were particularly popular and influential in the UK.
In essence, Love Wars is celebrated as a richly authentic, emotionally resonant soul masterpiece that uses contemporary production to serve timeless songwriting and performance, making it a must-listen for soul music fans.
Lovin’ Man
A2 Don't Give Up On Us 4:45
A3 Don't Let Nobody Hold You Down 4:30
A4 Don't Worry 3:14
B1 Touch Down 4:10
B2 Love Take 2 4:20
B3 Weigh All The Facts 4:25
B4 Love Me All Over 4:00
Label: Mercury – 422-818 479-1 M-1
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: Electronic, Funk / Soul
Style: Soul, Funk
Lovin' Man is a 1984 solo album by American R&B and soul artist L.J. Reynolds, who is best known as the lead vocalist for the vocal group The Dramatics. The album is considered a modern soul and funk record.
The album features several tracks produced by Reynolds himself and showcases his unique vocal style. While the original 1984 LP contained 8 tracks, later remastered and expanded CD editions include bonus tracks, bringing the total to 12.
One notable inclusion is a remake of his own self-penned song "Key to the World," which was a track he first recorded for his 1981 Capitol debut solo album and remained popular with his audience during live performances. The album is a key part of his solo discography between his time with The Dramatics and his later solo work.
While L.J. Reynolds had some successful singles as a solo artist, his 1984 album Lovin' Man did not make it into the major US Billboard album charts.
He released several solo albums throughout the 1980s that were critically well-received within the soul community, but according to sources, he never achieved a major hit album that "exploded" on the charts as a solo artist. However, some of his solo singles released around that period, such as "Key to the World" and "Touch Down," did manage to reach the R&B Top 30 chart.
Luther featuring Luther Vandross
Bass – Wilbur Bascombe
Congas – Pablo Rosario
Drums – Andrew Smith
Guitar – Jeff Mironov, Jerry Friedman, Lance Quinn
Keyboards – Nat Adderley, Jr., Pat Rebillot
Lead Vocals – Luther Vandross
Percussion – David Friedman, Pablo Rosario 5:29
A2 The 2nd Time Around
Bass – Wilbur Bascombe
Congas – Pablo Rosario
Drums – Andrew Smith
Guitar – Jeff Mironov, Jerry Friedman, Lance Quinn
Keyboards – Nat Adderley, Jr., Pat Rebillot
Lead Vocals – Luther Vandross
Percussion – David Friedman, Pablo Rosario
Soprano Saxophone [Solo] – George Young 6:25
A3 I'll Get Along Fine
Bass – Wilbur Bascombe
Congas – Pablo Rosario
Drums – Andrew Smith
Guitar – Jeff Mironov, Jerry Friedman, Lance Quinn
Keyboards – Nat Adderley, Jr., Pat Rebillot
Percussion – David Friedman, Pablo Rosario
Vocals – G. Diane Sumler, Luther Vandross 4:07
A4 Everybody Rejoice
Bass – Wilbur Bascombe
Congas – Pablo Rosario
Drums – Andrew Smith
Guitar – Jeff Mironov, Jerry Friedman, Lance Quinn
Keyboards – Nat Adderley, Jr., Pat Rebillot
Lead Vocals – Luther Vandross
Percussion – David Friedman, Pablo Rosario 3:21
B1 Emotion Eyes
Bass – George Murray
Drums – Andy Newmark, Daryl R. Brown
Guitar – Carlos Alomar
Keyboards – Nat Adderley, Jr.
Lead Vocals – Luther Vandross
Percussion – Pablo Rosario 5:58
B2 This Strange Feeling
Bass – George Murray
Drums – Andy Newmark, Daryl R. Brown
Guitar – Carlos Alomar
Keyboards – Nat Adderley, Jr.
Lead Vocals – Anthony Hinton, Luther Vandross
Percussion – Pablo Rosario 4:44
B3 It's Good For The Soul (Parts I And II)
Bass – George Murray
Drums – Andy Newmark, Daryl R. Brown
Guitar – Carlos Alomar
Keyboards – Nat Adderley, Jr.
Lead Vocals – Anthony Hinton, Luther Vandross
Percussion – Pablo Rosario 8:42
Label: Cotillion – SD 9907
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre:R&B Soul
Style: Seventies Soul, Funk, Disco
The 1976 self-titled album Luther is the debut album by the group Luther, which featured a young Luther Vandross as lead vocalist, songwriter, and producer. It is a quintessential piece of mid-1970s soul and disco-flavored R&B that serves as a foretaste of Vandross's later solo genius.
Luther was released in June 1976 on Cotillion Records, an imprint of Atlantic Records. The album showcased Vandross's "unmistakable warm unique honeyed vocals" at a young age, alongside group members Anthony Hinton, Diane Sumler, Theresa V. Reed, and Christine Wiltshire.
Though the album did not initially sell well enough to chart and the group was eventually dropped by the label, it has gained recognition over time as a foundational work in Vandross's career.
Notable Tracks
"Funky Music (Is a Part of Me)": This was the album's most famous track and a hit in underground nightclubs. Vandross had previously reimagined this song with David Bowie into "Fascination" for Bowie's 1975 album Young Americans, where Vandross also contributed background vocals and arrangements.
"Everybody Rejoice (A Brand New Day)": The album features the only available recording of Vandross's rendition of this key song from the Tony Award-winning Broadway musical The Wiz.
"The 2nd Time Around": This track was later re-recorded by Vandross as "The Second Time Around" and included as the closing song on his successful 1988 solo album Any Love.
The biggest selling single from the album was "It's Good for the Soul (Pt. 1)", which was the most successful single by the group, peaking at number 28 on the R&B chart.
After decades of being largely unavailable (as Vandross bought back the rights), the album was officially reissued commercially for the first time in over forty years in April 2024 by Legacy Recordings.
Overall, the album stands up well almost 50 years after its release, offering a fascinating foretaste of the superstar Vandross would become and highlighting his talent as a comprehensive artist from a young age.
(Provided by Soulyears.com)
Made In New York
A2 E Carnival (Van Gibbs 5:01)
A3 My Space (Rob Crocker 4:57)
A4 I Do Love You (Regina Werneck 4:09)
B1 Made In New York (Tania Maria 4:08)
B2 Together (Jake Holmes 4:44)
B3 Forock (Agostinho Reis 2:58)
B4 Walking In The Rain (Regina Werneck 6:41)
Label: Manhattan Records – ST53000
Format: Vinyl, LP, Album
Country: US
Released: 1985
Genre: R&B Soul, Jazz, Latin
Style: Jazz-Funk, Latin Jazz
Tania Maria's 1985 album Made in New York was generally well-received by critics and audiences, noted for successfully balancing her established Brazilian jazz style with contemporary American soul, funk, and pop influences.
The album was a key release that helped further increase Tania Maria's international popularity and exposure in the US market.
Critics highlighted the album's successful fusion of styles, describing it as an '80s set that combined her "wonderfully jazz-based way of singing" with "soulful currents". It incorporates elements of jazz, Latin, funk/soul, Afro-Cuban, and pop, showcasing her versatility.
The album features production input from fellow Brazilian artist Eumir Deodato, which helped shape the polished, soulful sound. Reviewers noted Maria's confidence in moving in "pop streets" while maintaining her unique style, adding a modern touch without sacrificing her core artistic identity.
User reviews often praise the album as "pure, elegant, Brazilian Jazz" and "hot, danceable, samba-beat Latin jazzzz!", appealing to a wide range of listeners.
The album holds a respectable average user rating, with a 3.83/5 on Discogs and a 4.2/5 on Amazon, indicating positive reception among fans. One aggregate review site gives a critic score of 60/100 based on a single review.
While her previous album Come With Me (1983) is often considered her breakout "calling card" due to the enduring classic title track, Made in New York is recognized as a strong follow-up that cemented her place in the international jazz and soul scenes.
Overall, Made in New York is considered a solid, enjoyable entry in Tania Maria's discography, effectively blending her Brazilian roots with contemporary American sounds of the era.
Made To Be Loved
2 Never Stop Loving You 3:44
3 Don't Think I Won't Leave 5:09
4 What About You 4:26
5 All Up In Your Love 3:38
6 Mama 4:12
7 As One 4:29
8 The Wedding Song 4:48
9 You're The Best Thing 5:06
10 This Time Next Year 4:43
11 She's Mine 4:39
12 I Don't Think So 4:13
13 A House Is Not A Home 4:32
14 Hypnotized 3:30
Label: It's Soul Time – STCD-001
Format: CD, Album
Country: US
Released: 2005
Genre: R&B Soul
Style: Soul
Made To Be Loved, released in 2005, marked a welcome return for the classic 1970s soul group The Persuaders. Reviews largely praise the group's enduring vocal talents and harmonies.
Critics agree the group's harmonies remain excellent, even decades after their peak. The addition of new lead singer Tony "Showtime" Riley, noted for his resemblance to The Dells' Marvin Junior, brought a gritty, soulful edge to the album's sound.
A frequent criticism is the use of largely synthetic or programmed instrumentation. Reviewers suggest the material would have benefited from a live band to match the warmth and power of the vocal performances.
Standout songs often mentioned in reviews include the strong opener "A Woman Was Made to Be Loved," the uptempo "I Don't Think So," and "Don't Think I Won't Leave". The socially conscious "All The People" (featuring original member Willie B. Holland) and a cover of "A House Is Not A Home" also received positive mentions.
The album is seen as a worthwhile effort and a pleasant surprise for longtime fans of 70s soul. While not perfect, it is considered a solid, enjoyable record that highlights the timeless quality of classic soul sensibilities. The Soul Express review goes as far as to say listeners would need "little or no persuading" to purchase the CD.
The album, with 15 cuts, was considered slightly long by some, who felt a more concise 10 or 11 tracks would have made for a stronger overall product.
Overall, Made To Be Loved is recommended for soul enthusiasts who appreciate strong group harmonies and a classic sound, provided they can overlook some of the modern production choices.
Make Time For Love
Producer, Arranged By – Jon Nettlesbey, Terry Coffey 4:20
2 Make The Time For Love
Producer, Arranged By – Jon Nettlesbey, Terry Coffey 5:46
3 Kissing You
Producer, Arranged By – Keith Washington, Trey Stone 4:53
4 Are You Still In Love With Me
Producer, Arranged By – Barry J. Eastmond 5:07
5 When You Love Somebody
Producer – Laney Stewart 4:42
6 Ready, Willing And Able
Producer – Laney Stewart 4:55
7 I'll Be There
Producer, Arranged By – Barry J. Eastmond 4:48
8 When It Comes To You
Producer, Arranged By – Barry J. Eastmond 4:44
9 Lovers After All
Producer – Paul Laurence 4:47
10 Closer
Producer, Arranged By – Keith Washington, Trey Stone 5:01
Label: Qwest Records – 7599-26528-2
Format: CD, Album
Country: Europe
Released: 1991
Genre: R&B Soul
Style: Contemporary R&B
Keith Washington's 1991 debut album, Make Time for Love, was a resplendent showcase for his rich vocals, featuring the iconic Grammy-nominated ballad "Kissing You," which became his signature, alongside other strong tracks like "When You Love Somebody," earning praise for excellent production and smooth R&B/soul style reminiscent of Luther Vandross, solidifying his place as a notable balladeer of the era.
Reviewers consistently praised Washington's captivating voice, smooth delivery, and masterful use of vibrato, comparing him favorably to Luther Vandross.
The album spawned the massive hit "Kissing You," a soulful classic that topped R&B charts, plus other popular singles like "When You Love Somebody" and the title track, pushing the album to Gold status.
The arrangements and production were described as excellent, perfectly complementing Washington's vocals and fitting the smooth R&B sound of the early 90s.
The album blended classic R&B and soul, offering a "relaxing aural experience" and showcasing a timeless quality that still resonates today, despite being a product of its time.
Make Time for Love established Washington as a promising new voice in R&B, with "Kissing You" remaining a definitive track in his career.
Fans and critics widely regarded Make Time for Love as a strong debut, celebrated for its romantic themes, superb musicianship, and Keith Washington's impressive vocal performance, making it a beloved album in the smooth R&B/soul genre.
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.
Meet The Temptations
A2 I Want A Love I Can See (Wm. Robinson 2:29)
A3 Dream Come True (Berry Gordy, Jr. 2:54)
A4 Paradise (Berry Gordy, Jr. 2:49)
A5 May I Have This Dance (Bradford, Whitfield 2:09)
A6 Isn't She Pretty (Gordy, Kendrick, Williams 2:41)
B1 Just Let Me Know (Berry Gordy, Jr. 2:48)
B2 Your Wonderful Love (Berry Gordy, Jr. 2:50)
B3 The Further You Look, The Less You See (Whitfield, Robinson 2:17)
B4 Check Yourself (Gordy, Bryant, Franklin, Williams 2:44)
B5 Slow Down Heart (Wm. Robinson 2:27)
B6 Farewell My Love (Berry Gordy, Jr. 2:25)
Label: Gordy – 911
Format: Vinyl, LP, Album
Country: US
Released: 1964
Genre: R&B Soul
Style: Sixties Soul, Motown
Meet the Temptations is a celebrated debut album from 1964 that serves as a strong introduction to the group's talent, featuring their first hit single, "The Way You Do the Things You Do".
While it showcases the classic Motown sound and the group's vocal versatility, including leads from David Ruffin, the album also includes material recorded with former member Al Bryant.
Many reviewers praise its quality, though some note that the group's sound would evolve and become even more sophisticated on later albums.
Reviewers describe it as a "wonderful introduction" and a "remarkable introduction" to one of music's greatest groups. The album highlights the diverse talents within the group, with different members singing lead, most notably David Ruffin on a few tracks.
It includes the group's first major hit, "The Way You Do the Things You Do". The album features material recorded with original member Al Bryant before he was replaced by David Ruffin in late 1963.
The album is a quintessential example of the early, "golden age" of Motown, with high-quality musicianship. Some lyrics are described as "cute" and "endearing," fitting the time period and style of early Motown.
While a great album, some critics note that Meet the Temptations is less polished than their later work, which saw their sound become more complex and socially conscious.
Meeting Of The Minds
Arranged By – Michael Omartian
Lead Vocals – Levi Stubbs
Written-By – D. Lambert / B. Potter 4:29
A2 Midnight Flower
Arranged By – Michael Omartian
Lead Vocals – Levi Stubbs
Written-By – M. Jackson, R. Dozier 4:03
A3 The Well Is Dry
Arranged By – Michael Omartian
Lead Vocals – Levi Stubbs
Written-By – D. Lambert / B. Potter 3:48
A4 Love Ain't Easy To Come By
Arranged By – Dennis Lambert, Don Hockett
Lead Vocals – Levi Stubbs
Written-By – D. Lambert / B. Potter 3:38
A5 No Sad Songs
Arranged By – Gil Askey
Lead Vocals – Lawrence Payton
Written-By – C. Leonard, L. Perry, R. Foster 5:14
B1 Right On Brother
Arranged By – Jimmie Haskell
Lead Vocals – Levi Stubbs
Written-By – D. Lambert / B. Potter 4:05
B2 Tell Me You Love Me (Love Sounds)
Arranged By – Gil Askey
Lead Vocals – Lawrence Payton
Vocals [Female Vocal] – Sylvia Smith
Written-By – A. Cleveland, L. Payton 3:30
B3 All My Love
Arranged By – Gil Askey
Lead Vocals – Lawrence, Levi, Obie
Written-By – R. Benson, V. Benson 4:29
B4 I Found The Spirit
Arranged By – McKinley Jackson
Lead Vocals – Lawrence Payton
Written-By – R. Benson, V. Benson 3:54
B5 Meeting Of The Minds
Arranged By – Michael Omartian
Lead Vocals – Levi Stubbs
Written-By – D. Lambert / B. Potter 4:22
Label:
Probe – SPBA 6283, Probe – 0C 064 ? 95401
Format:
Vinyl, LP, Album
Country: UK
Released: 1974
Genre: R&B Soul
Style: Seventies Soul
Meeting of the Minds is the fourteenth studio album by American soul music vocal group the Four Tops, released in 1974 on the Dunhill label. It primarily features funk and soul styles, continuing their post-Motown sound established with Keeper of the Castle.
The album attempts to extend the pop/R&B sound the Four Tops were exploring at the time but was met with some criticism for having formulaic songs and listless production. Despite this, it features some standout tracks and is noted by some fans for a touch of an "acid experimental sound" that differs slightly from their earlier work. Unlike many previous Four Tops efforts, this album features other group members, such as Lawrence Payton and Renaldo Benson, singing lead vocals on certain songs, rather than solely Levi Stubbs.
Key Tracks and Themes:
"One Chain Don't Make No Prison": The opening track starts with a promising guitar riff but suffers from weak lyrics, testing Levi Stubbs' credibility according to one review.
"Midnight Flower": This song has a faint Oriental motif and features mature, gritty lyrics about having a hots for a prostitute.
"The Well Is Dry": Reminiscent of their dramatic work with Holland-Dozier-Holland, but with a perfunctory arrangement that makes it sound somewhat artificial.
"Tell Me You Love Me (Love Sounds)": Considered the best track by some, it features Lawrence Payton on lead vocals with a breezy L.A. pop/R&B arrangement.
"I Found the Spirit": Co-written by Renaldo "Obie" Benson, this is one of several soul gems on the album, which also includes funky and slow jam tips.
The album was produced by Dennis Lambert, Brian Potter, and Steve Barri. The Four Tops members at the time were Renaldo "Obie" Benson, Abdul "Duke" Fakir, Lawrence Payton, and Levi Stubbs.
A decent album for Four Tops fans, but not a massive seller, considered by some as a continuation of the sound from Keeper of the Castle, but feeling a bit listless at times.
In summary, Meeting of the Minds captures The Four Tops evolving in the mid-70s, delivering solid soul with some strong moments but lacking the consistent magic of their earlier work.
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.
Midnight Desire
Written-By – Chuck Brooks, Homer Banks 3:16
A2 We Ought To Be Doin' It
Written-By – Chuck Brooks, Homer Banks 4:46
A3 Things That I Could Do To You
Written-By – Chuck Brooks, Homer Banks 3:31
A4 You're So Good
Written-By – Chuck Brooks, Homer Banks 6:39
A5 With Your Love
Written-By – C. Brody, D. Witherspoon, Jr., K. Coleman, R. Brown 3:48
B1 Without You (I Can't Make It Through The Night)
Written-By – Chuck Brooks, Homer Banks 4:12
B2 The Next Best Thing To Being There
Written-By – Chuck Brooks, Homer Banks 7:14
B3 Do You Love Me?
Written-By – Chuck Brooks, Homer Banks 5:08
B4 Love Be With You
Written-By – Chuck Brooks, Homer Banks 4:52
Label: Chocolate City – CCLP 2010
Format: Vinyl, LP, Album
Country: US
Released: 1980
Genre: R&B Soul
Style: Soul, Funk, Disco
Randy Brown's 1980 album Midnight Desire is considered an essential soul reissue by critics and a "classic old school soul" album by fans, praised for Brown's remarkable voice and a mix of bouncy tracks and big ballads.
The album is described as having "plenty of soul goodies," specifically highlighting the "bouncy" track "Love Formula" and the "big ballads" "You're So Good" and "The Next Best Thing To Being There". While some tracks like "The Things I Could Do For You" and "Love Be With You" are noted as being "almost throwaway disco," critics agree that Brown's "remarkable voice carries it all through". The album, along with its companion album Welcome to My Room (with which it is often reissued on CD), represents the pinnacle of his musical career.
Reviewers consistently praise Brown's incredible and powerful voice, with one user rating him as highly as Luther Vandross, calling him an "underated artist magnificent soul".
Fans refer to the album as "classic old school soul," indicating its enduring appeal among soul aficionados.
One critical note from an AOR (Album Oriented Rock) reviewer pointed out that some CD reissues of the combined Welcome to My Room and Midnight Desire albums have an edited version of the ballad "The Next Best Thing To Being There" to fit everything on one disc. This suggests that for some dedicated fans, the original vinyl version, which runs for over 7 minutes, is the preferred format for the full experience of that specific track.
Overall, the album is a respected work within the soul and funk genres, primarily celebrated for Randy Brown's exceptional vocal performance.
Midnight Ride
A2 All Time Loser (Ian Levine 6:26)
A3 Trusted Friend (Vince Willis 6:29)
A4 You Are The Music Within Me (Danny Raye Leake, Ian Levine 3:30)
B1 Spend A Little Time With Me (Fiachra Trench, Ian Levine 6:11)
B2 Can't Help Being Guilty (Ian Levine 5:16)
B3 Twenty Four Hours A Day (Danny Raye Leake, Ian Levine 3:19)
B4 It's So Hard Getting Over (Vince Willis 4:03)
Label: United Artists Records – UAS 30144
Format: Vinyl, LP, Album
Country: UK
Released: 1978
Genre: Electronic, Funk / Soul, Pop
Style: Seventies Soul, Funk, Disco
Midnight Ride by Barbara Pennington is a classic 1978 studio album in the Soul and Disco genres.
The album is considered a "fan favorite" and a classic of its era. It features a blend of pulsating dance tracks and soulful performances. The music often incorporates extensive arrangements, including strings, synthesizers, and horns, common in the disco production of the late 1970s. It is highly regarded for showcasing Pennington's vocal talent in the context of lush, dance-oriented production.
The album has been digitally remastered and re-released in various formats over the years, including CD and digital download. It can be purchased through online retailers and music marketplaces such as Amazon and Discogs.
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.
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
Miz Lena’s Boy
Written-By – Shapiro, Pickett 2:52
A2 Memphis, Tennessee
Written-By – Berry 3:50
A3 Soft Soul Boogie Woogie
Written-By – Goodman, Seals, Jennings 2:37
A4 Help Me Make It Through The Night
Written-By – Kristofferson 3:00
A5 Never My Love
Written-By – D. Addrisi, D. Addrisi 4:26
B1 You Lay'd It On Me
Written-By – Shapiro, Covay, Pickett 3:16
B2 Is Your Love Life Better
Written-By – Raleigh, Fox 3:15
B3 Two Women And A Wife
Written-By – Shapiro, Pickett 2:45
B4 Why Don't You Make Up Your Mind
Written-By – Shapiro, Pickett 2:45
B5 Take The Pollution Out Your Throat
Written-By – Shapiro, Pickett 2:45
Label: RCA Victor – APL1-0312
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style:
Seventies Soul, Funk
Wilson Pickett's Miz Lena's Boy is a funky, gritty RCA album showcasing his return to raw soul, featuring hard-hitting tracks like "Iron It Out" and bluesy ballads like "I Was Too Nice," alongside interesting covers (a jazzy "Memphis, Tennessee") and passionate performances, solidifying his powerful, consistent delivery even in his 70s era.
It's considered one of his funkiest 70s albums, digging back into his powerful, raw soul style. Tracks like the brass-driven "Iron It Out" and the bassline-heavy "Take a Closer Look at the Woman You're With" highlight his energetic funk.
Pickett delivers deeply emotional blues ballads, with "I Was Too Nice" being a standout, featuring horns and organ, reminiscent of his earlier hits.
Co-arranged and co-produced by Brad Shapiro and Pickett in Nashville, the album has a raw, funky sound that one source vividly describes as everything Pickett sings sounding like it was "soaked in grits and bacon fat"
The album includes covers such as an edgy take on The Association's "Never My Love," a bizarre jazz-fusion "Memphis, Tennessee," and a fiery "Help Me Make It Through the Night".
Like many of his later works, it features strong musicianship, likely with Muscle Shoals session players, keeping pace with Pickett's intense delivery.
While maybe more a collection of great tunes than a concept album, it's praised for Pickett's usual high level of skill and passion.
Overall: Miz Lena's Boy is a strong entry in Pickett's discography, capturing his signature gruff voice and soulful power with plenty of funk and blues, making it a rewarding listen for fans.
Modern Soul Connoisseurs
2 Gloria Scott– A Case Of Too Much Lovemaking
3 Gene Chandler– Let Me Make Love To You
4 Beloyd– Get Into Your Life
5 Marvin Gaye– Come And Get To This
6 Timothy Wilson– It's Love Baby
7 Lawrence Payton– Tell Me You Love Me
8 Bobby Hutton– Wanting You, Needing You
9 The Topics– Booking Up Baby
10 Randy Brown – I Was Blessed The Day I Found You
11 Bottom & Company*– Gonna Find A True Love
12 Mojoba– I Know
13 Jesse James – If You Want A Love Affair
14 Brenda Lee Eager– When I'm With You
15 Howard Johnson– Keeping Love New
16 Jean Terrell– No Limit
17 Booker T. Jones– The Best Of You
18 Barbara Brown – Pity A Fool
19 Carolyn Sullivan– Dead
20 Dee Dee Warwick– I Haven't Got Anything Better To Do
Label: Spectrum Music – 544 973-2
Format: CD, Compilation
Country: UK
Released: 2002
Genre: R&B Soul
Style: Seventies Soul
The 2002 compilation album Modern Soul Connoisseurs has received overwhelmingly positive reviews from fans and collectors, generally considered a high-quality, essential collection of modern and crossover soul tracks curated by Northern Soul expert Richard Searling.
Reviewers widely praise the album as "pure gold" from start to finish and a "stunning collection of modern soul classics". It is frequently described as an "essential" part of any soul fan's collection, particularly for those interested in the modern end of Northern Soul or tracks that are otherwise hard to find on vinyl.
The album is noted for its quality curation, typical of Richard Searling's work. One user described it as "utterly brilliant" and a compilation that "really stands up" over time. The general consensus is that it is a "great comp" featuring first-class material.
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.
Music Of Passion
2 Strangers Into Lovers 3:13
3 I Need To See You Again 4:37
4 Second Chance At Love 3:21
5 Positive Reaction 3:55
6 I Got His Feeling For You 4:10
7 You Be Here For Me 3:55
8 I Can Love You Better 3:09
Label: Encore Records
Format: Vinyl, LP
Country: US
Released: 1985
Genre:
R&B Soul
Style: Eighties Soul, Disco Funk
Music of Passion is a rare modern soul and disco/funk/boogie album by Percy Larkins released in 1985 on the Encore Records label. The album a highly regarded and highly sought-after within the modern soul music community.
It features a blend of R&B, soul, disco, and funk styles and is known for its smooth, contemporary sound typical of mid-80s soul music. One notable uptempo track mentioned in descriptions is "Positive Reaction."
The album's standout track, however, is "I Need To See You Again", released as a 7-inch vinyl single in 1982 - a soul-stirring duet ballad characterized by Larkins' emotive vocals and responses from an unnamed female vocalist. It has been described as a deep soul track of "beautiful heartbreaking pure emotion".
The lyrics delve into themes of yearning, loss, and the intense desire for reconnection with a loved one. The track features a melodic arrangement that complements the emotional weight of the lyrics, including a "fantastic use of organ" in the background.
A Facebook post suggests the song was written after the tragic death of Larkins' daughters, adding a profound layer of tragedy and personal loss to the music, making the emotion palpable to listeners.
Music-Music
A2 Music-Music (L. Price 4:17)
A3 Love Music (B. Potter, D. Lampert 3:45)
A4 Mr. & Mrs. Untrue (I. Levine, T. Wine 3:27)
B1 Street Love (G. Alexander 3:45)
B2 You Brought It On Yourself (S. Dee 3:45)
B3 Uphill Peace Of Mind (F. Knight 4:16)
B4 N'sele L. (Price 3:17)
Label: LPG Records – LPG-001LP, Don – LPG-001LP
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre:
R&B Soul
Style: Seventies Soul, Funk, Disco
The album Music-Music by Lloyd Price is a mellow, soulful R&B record with an undercurrent of disco groove, originally released in the mid-1970s on Price's own TSG Records label.
Released in the Mid-1970s, during the height of the disco boomm it primarily features a mellow, soulful sound with Caribbean flavors and a modern R&B feel, different from his earlier rock and roll hits. It blends his distinctive New Orleans R&B style with a disco groove.
Released on TSG Records, a label founded by Lloyd Price and boxing promoter Don King, the album blends the artist's New Orleans R&B sound with late 1970s soul and disco influences.
Described by reviewers as a "killer of an album" and a "superb album full of mellow and soulful sounds".
Originally released as an LP (vinyl record album). It has since been reissued in various formats, including remastered CDs and LPs.
Musical Massage
A2 Instant Love (Jackie Hilliard, Leon Ware 3:27)
A3 Body Heat (Bruce Fisher, Leon Ware, Quincy Jones, Stan Richardson 4:50)
A4 Share Your Love (T-Boy Ross, Leon Ware, Pam Sawyer 3:30)
A5 Holiday (Leon Ware 3:25)
B1 Phantom Lover Jackie Hilliard, Leon Ware 3:52)
B2 Journey Into You (Leon Ware, Terri McFaddin 4:04)
B3 Musical Massage (Leon Ware 3:47)
B4 French Waltz (Leon Ware 2:02)
B5 Turn Out The Light (Leon Ware, Minnie Riperton, Richard Rudolph 4:01)
Label: Gordy – G6-976S1
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Motown
Leon Ware's Musical Massage is a 1976 soul album praised as a sensual, sensual masterpiece and a cult classic that was overshadowed by Marvin Gaye's I Want You, for which Ware was a key songwriter. The album is noted for its smooth, lush orchestrations, Ware's velvety vocals, and a luxurious, funky sound that is often compared to Gaye's work, but with a distinct and equally compelling quality. Key tracks include "Body Heat," "Instant Love," and the title track, "Musical Massage".
The album is a prime example of 1970s soul, with a sensual, luxurious feel driven by plush string arrangements and a tight rhythm section featuring musicians like James Gadson and Chuck Rainey. It's often described as both seductive and funky.
Ware's vocals are smooth and captivating, often compared to Marvin Gaye's, though with his own distinct and mellifluous tone. He is also accompanied by a female choir and features duets with Minnie Riperton and Bobby Womack.
Musical Massage was recorded shortly after Ware helped shape Marvin Gaye's I Want You, and the two albums share a similar vibe, with many songs from Musical Massage originally intended for the Gaye project. Ware's album was released to little fanfare, possibly due to its similarity to Gaye's more commercially successful album.
Despite its initial lack of commercial success, Musical Massage has gained a dedicated following over time and is now recognized as a cult classic and a watermark for both Ware and Motown.
Musical Menu~Always Together
A1 Always Together (Bobby Miller 3:04)
A2 Hallways Of My Mind (Bobby Miller 3:05)
Lunch
A3 Believe Me (Bobby Miller 2:58)
A4 I Want My Momma (Bobby Miller 2:29)
A5 Agatha Van Thurgood (Bobby Miller, Sidney Barnes 2:40)
Dinner
B1 Hallelujah Baby (Bobby Miller 2:48)
B2 Good-bye Mary Ann (Marijohn Wilkin, Wilson Fred Burch 2:19)
B3 Does Anybody Know I'm Here (Bobby Miller 3:15)
Cocktails
B4 Make Sure (You Have Someone Who Loves You) (Bobby Miller 2:34)
B5 I Can't Do Enough (Bobby Miller 3:30)
Label: Cadet – LPS-822
Format: Vinyl, LP, Album
Country: US
Released: 1968
Genre: R&B Soul
Style: Sixties Soul
The Dells Musical Menu / Always Together is a classic R&B and soul album released in 1968 on the Cadet record label. It is notable for its blend of powerful ballads, driven by lead vocalist Marvin Junior's distinctive voice, and several surprisingly diverse, up-tempo, and even funky tracks.
The album is a key release that captured The Dells at their prime, following their breakthrough hit "There Is". It was produced by Bobby Miller, with arrangements and conduction by the legendary Charles Stepney.
While The Dells were famous for ballads, this album broadens their style to include more varied tempos. It features the instantly recognizable lead vocals of Marvin Junior and excellent group harmonies.
The original vinyl LP featured a distinctive, somewhat bizarre gatefold cover art that depicted the group as a "musical menu," being sprinkled from salt and pepper shakers onto a plate.
The album is structured with interlude titles like "Breakfast," "Lunch," "Dinner," and "Cocktails" interspersed between the songs.
The album was a top-ten R&B hit, though it had more modest success on the pop charts.
My First Time Around
Written-By – Clarence Reid, Willie Clarke 2:04
A2 Funny How Love Grows Cold
Written-By – Clarence Reid, Willie Clarke 2:51
A3 I'm Gonna Hate Myself In The Morning
Written-By – Arthur Alexander, Dale Ward 2:11
A4 Circle Of Heartbreak
Written-By – Betty Wright 2:58
A5 Sweet Lovin' Daddy
Written-By – Clarence Reid, Willie Clarke 2:25
A6 Cry Like A Baby
Written-By – Dan Penn, Spooner Oldham 2:34
B1 Watch Out Love
Written-By – Wright, Shapiro, Clarke 2:41
B2 He's Bad, Bad, Bad
Written-By – Clarence Reid, Willie Clarke 2:22
B3 I Can't Stop My Heart
Written-By – Jackie Avery 3:24
B4 I'm Thankful
Written-By – Alexander, Cooke, Alaimo 2:03
B5 The Best Girls Don't Always Win
Written-By – Clarence Reid 3:08
B6 Just You
Written-By – Sonny Bono 3:06
Label: ATCO Records – SD-33-260
Series: Alston Record Series
Format: Vinyl, LP, Album
Country: US
Released: 1968
Genre: R&B Soul
Style: Seventies Soul, Southern Soul
Betty Wright's debut album, My First Time Around (1968), is considered an essential Southern Soul record featuring strong songs and mature vocal performances that belied her young age of 14 at the time of recording. Critics and fans praise the album for its great production, the power of Wright's voice, and its lack of "filler" tracks.
Reviewers consistently note Wright's exceptional vocal abilities, which were considered well beyond her years. Her powerful high register and wide range allowed her to sing about adult themes convincingly, leading some to initially assume she was an older artist.
The album, produced by Clarence Reid and Willie Clarke, is lauded for its superb production, which showcases classic late 1960s Atlantic soul at its best. Some reviewers specifically highlight the quality of the mono mixes and recent remasters.
Wright's songwriting skills are also recognized, including the track "Circle of Heartbreak" which she wrote herself at age 14. The album contains her first chart single, "Girls Can't Do What the Guys Do". While some sources found the lyrics of the latter slightly chauvinistic given her typical assertive style, the album as a whole features strong, engaging material.
The album is highly recommended by fans and experts alike, with a strong average user rating on platforms like Discogs (4.67/5). It is described as a "gem," an "absolute essential in any Soul music lovers' record collection," and a fantastic debut from start to finish.
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.
Mystic Dragons
A2 To Get Love (You Must Give Love) (Bobby Eli, Vinnie Barrett 5:19)
A3 See The Bedroom (Keith Beaton (The Duke), Ted "Wizard" Mills 3:22)
A4 Mother Funk (Bobby Eli, Len Barry 5:55)
B1 Summer Snow (Bobby Eli, Len Barry 5:01)
B2 Rock N Roll Revival (Eli, Barrow, Barry 4:30)
B3 It's Something About Love (Keith Barrow 4:25)
B4 Making Love To A Memory (Bobby Eli, Len Barry 3:05)
B5 Spark Of Love (Ted "Wizard" Mills 3:21)
Label: ATCO Records – SD 36-140
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul
Blue Magic's Mystic Dragons (1976) is a Philly Soul album that blended their signature smooth harmonies and romantic themes with a bolder, funkier edge, featuring richer arrangements and heavier grooves alongside heartfelt ballads, with standout tracks like the funky "Freak N Stein" and soulful "Summer Snow," all guided by Bobby Eli's arrangements.
THe album evolved from earlier mellow sounds to incorporate heavier funk, deeper grooves, and fuller arrangements, creating a "trippy feel" that matched the album art, while maintaining the group's hallmark heartbreakingly beautiful vocal harmonies.
It was produced by Bobby Eli, a notable figure in the Philadelphia soul music scene. It features a large ensemble of musicians, contributing to the rich, layered sound characteristic of the genre at the time. The LP is known for both uptempo, dancable tracks like "Freak-N-Stein" and smoother ballads.
The album artwork illustration was created by Janet Espenshade, with art direction and design by Arnie Roberts. The album reached #170 on the U.S. Billboard 200 and #44 on the U.S. R&B charts in 1976.
Najee’s Theme
Day Side
A1 Feel So Good To Me 4:35
A2 Najee's Theme 4:33
A3 For The Love Of You (Drums – Richie Ruiz) 4:58
A4 Can't Hide Love (Drums – Omar Hakim) 5:06
A5 We're Still Family 4:52
Night Side
B1 Sweet Love 4:44
B2 Betcha Don't Know (Piano [Acoustic] – Rahni Song) 5:48
B3 What You Do To Me (Drums – Ralph Rolle, Piano [Acoustic] – Lesette Wilson) 5:09
B4 Mysterious 3:58
Alto Saxophone, Soprano Saxophone, Flute, Keyboards, Drum Programming – Najee
Art Direction – Henry Marquez
Bass Guitar – Barry Johnson
Coordinator [Administrator] – Anne L. Thomas
Coordinator [Production] – Zack Vaz
Design – Carol Chen
Direct Metal Mastering By – ZJack
Engineer – Andre DeBourg, Arthur Zarate, Kurt Upper, Larry DeCarmine, Roey Shamir
Engineer [Assistant] – Anthony Saunders, Howard Sutherland, Hugh "Big Beat" Nanton, Luiz duRocher
Executive-Producer – Beau Huggins
Guitar – Fareed
Keyboards [Bass] – Kris Kellow, Wayne Brathwaite
Keyboards [Bass], Vocals – Regis Branson
Keyboards, Keyboards [Bass], Programmed By [Synthesizer], Drum Programming, Backing Vocals – Rahni Song
Keyboards, Programmed By [Synthesizer], Drum Programming – Charles Elgart
Management – Hush Productions
Percussion – Peter Tateo
Photography By – Carol Weinberg
Producer – Charles Elgart (tracks: A3, A4, B3, B4), Najee (tracks: A3, A4, B3, B4), Rahni Song (tracks: A1, A2, A5, B1, B2)
Vocals – Andricka, Billy Rucker, John White, Karen Marshall, Scott White, Tanya Willoughby, Tracey Clay, Vanessa Anderson
Vocals, Percussion – Zachary Harris
Written-By – A. Baker (tracks: B1), C. Elgart (tracks: A3), G. Bias (tracks: B1), L. Johnson (tracks: B1), Najee (tracks: A3, B3), Onaje Allan Gumbs (tracks: B3), Rahni Song (tracks: A1, A2, A5, B2), R. Branson (tracks: A3), Skip Scarborough (tracks: A4), Wayne Brathwaite (tracks: B4), Zack Vaz (tracks: A1)
Label: EMI America – ST-17241
Format: Vinyl, LP, Album
Country: US
Released: 1986
Genre: Jazz, Funk, Soul
Style: Smooth Jazz, Jazz-Funk
Najee's 1986 debut album, Najee's Theme, is a highly successful and acclaimed record in the smooth jazz and R&B genres, noted for its blend of soulful saxophone melodies with slick, funky grooves. It was a significant debut, achieving commercial success and establishing Najee's long-lasting career.
The album has been well-received by critics and fans, earning a 4.5 out of 5 stars from publications like The Urban Music Scene. Reviewers praise its ability to balance original compositions with standout cover songs, all anchored by Najee's versatile saxophone and flute playing.
The album is considered a key example of 80s dance-driven, synth-laden smooth jazz, offering a sound that is both relaxing and funky. The production, particularly by Rahni Song, is described as tastefully and thoughtfully done, with no compromise on musicianship.
The title track, "Najee's Theme", is a highlight, featuring Najee's smooth, bluesy tenor over a soft, percussive funk cushion. The album also features two popular cover songs that are often noted as fan favorites: "Sweet Love" (originally by Anita Baker) features Najee's soprano sax flurries over lush orchestrations. "Can't Hide Love" (originally by Earth, Wind & Fire) is a more organic, ballad-style track featuring live drums by Omar Hakim, allowing Najee to shine.
Najee's Theme was a remarkable accomplishment for a debut record, reaching number one on the contemporary jazz album charts for Billboard and solidifying Najee's status in jazz music circles.
User reviews on platforms like Amazon and Discogs largely echo critical praise, with many listeners giving the album five stars. Fans describe the album as "pure bliss," "wonderful to listen to," and a "master class" in smooth jazz. Many appreciate the nostalgic "summer time feeling" the album evokes and the quality of the musicianship.
Overall, Najee's Theme is regarded as a classic debut album that effectively showcased Najee's talent and set the benchmark for his long and successful career.
Naturally
Arranged By [Horns, Rhythm] – Tony Coleman
Arranged By [Horns, Rhythm], Written-By – Leon Haywood 5:28
A2 Daydream
Arranged By [Horns, Rhythm] – Tony Coleman
Arranged By [Horns, Rhythm], Written-By – Leon Haywood 5:22
A3 That's What Time It Is
Arranged By [Horns, Rhythm] – Leon Haywood, Tony Coleman
Written-By – James Ingram 4:05
A4 Love Is What We Came Here For
Arranged By [Horns, Rhythm] – Leon Haywood, Tony Coleman
Written-By – Bunny Sigler, Phil Hurt 4:55
B1 If You're Lookin' For A Night Of Fun (Look Past Me, I'm Not The One)
Arranged By [Horns] – Tom Tom 84
Written-By – Leon Haywood 5:29
B2 Who You Been Giving It Up To?
Arranged By [Horns, Rhythm], Written-By – Leon Haywood
Arranged By [Horns] – James Mitchell
Arranged By [Strings] – Gene Page 2:51
B3 Lover's Rap
Arranged By [Horns, Rhythm] – Tony Coleman
Arranged By [Horns, Rhythm], Written-By – Leon Haywood 6:56
Label: 20th Century Fox Records – T-613
Format: Vinyl, LP, Album
Country: US
Released: 1980
Genre: R&B Soul
Style: Eighties Soul, Disco
Leon Haywood's Naturally (1980) is a pivotal album in late '70s/early '80s soul and funk, acclaimed for its smooth grooves, catchy hooks, and hits like "Don't Push It, Don't Force It," blending signature Haywood funk with disco-infused production and featuring notable contributions from keyboardist George Duke and guitarist Michael McGloiry. While some listeners find it uneven or dated ("soup"), it's celebrated by fans as a quintessential funk/soul classic, showcasing Haywood's knack for crafting infectious tracks and memorable ballads, making it a must-have for genre purists despite mixed reviews on deeper tracks.
The album captures Haywood's mid-tempo funk and soulful ballads, often compared to Marvin Gaye, with lush strings and arrangements.
It features two massive crossover hits: the funky "Don't Push It, Don't Force It" and "If You're Looking for a Night of Fun (Look Past Me, I'm Not the One)".
Incorporates modern elements for its time, like synths and Chic-style guitar riffs, making it danceable and radio-friendly.
George Duke (keyboards) and Michael McGloiry (guitar) were crucial to the album's polished sound. Keyboards: Leon Haywood, Tony Coleman, and a young James Ingram (who also provided backing vocals). Rhythm Section: James Gadson (drums), David T. Walker (guitar), and Scott Edwards/Rick Jones (bass).
Despite the era, many find it a "20th Century Classic" and an unmissable record for funk and soul lovers and is considered a landmark album for its successful blend of smooth soul, irresistible funk, and early '80s production, solidifying Leon Haywood's legacy as a master of the genre, even if not every track hits the same high notes as its iconic singles.
Need To Know You Better
Featuring, Written-By – Kenny Stover 5:25
A2 I Love To See You Dance
Featuring, Written-By – Kenny Stover
Written-By – Hazel Peterson 4:50
A3 Trying To Kick The Habit
Featuring – Harold Johnson
Written-By – Larry Brown, Terri McFaddin 2:43
A4 Dancin' On
Featuring – Michael Sutton
Written-By – Harold Johnson, Brenda Sutton-Michael Sutton 4:07
A5 Sticks And Stones (But The Funk Won't Never Hurt You)
Written-By – Brenda Sutton-Michael Sutton 3:46
B1 New Frontiers
Written-By – Jermaine Jackson, Maureen Bailey, Michael McGloiry 5:38
B2 Sunshine Love
Featuring – Brenda Sutton
Written-By – Dave Pruitt, Kenny Stover 3:21
B3 You Dance Into My Life
Featuring – Harold Johnson
Featuring, Written-By – Larry Brown
Written-By – Terri McFaddin 3:29
B4 Mighty Good Friends
Written-By – Brenda Sutton-Michael Sutton 2:53
B5 Strokin'
Featuring – Kenny Stover
Written-By – Harold Johnson 2:55
Label: Motown – M7-906R1
Format: Vinyl, LP, Album, Stereo
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Disco, Funk
The 1978 album Need To Know You Better by the group Finished Touch is a well-regarded record in the soul and disco genres, often praised for its "Philly-styled" production and strong musicianship. It is an underground classic for collectors of funk, soul, and disco.
The album is noted for its high-energy disco sections mixed with soulful elements, including a driving bass and string swirls. One review describes it as a "really kool Philly styled disco production on Motown," which is well-orchestrated and soulful.
The record is often categorized as a blend of soul, disco, and funk, with some listeners also finding elements of jazz-funk, especially on tracks like "New Frontiers" and is considered somewhat "under the radar" by some collectors and is highly valued in the soul/funk community, with copies fetching good prices on the second-hand market.
It's an interesting release that showcases impressive songwriting and hints at great potential from the artist, making it a solid, engaging listen for fans of introspective music.
Night and Day
02 Now That Love Is Gone (Ed Adams, Julius Bradley, Willie Mitchell 3:59)
03 Love In The Fast Lane (Ed Adams, Willie Mitchell 4:21)
04 Just A Feelin' (Earl Randel, Willie Mitchell 4:17)
05 Let's Get Back Together (David Hudson, Willie Mitchell 3:54)
06 That's What Dreams Are Made Of (Ed Adams, Willie Mitchell 3:39)
07 You Make Me Feel (So Good Inside) (Lynda Harper 3:58)
08 Thin Line (Jackie Members, Richard Poindexter, Robert Poindexter 3:35)
09 Send Her Back (L. Harper, L. Johnson 4:08)
10 Night And Day (Lawrence E. Harper 4:26)
Label: Waylo – WAY 269507 2
Format: CD, Album
Country: US
Released: 1989
Genre: R&B Soul
Style: Southern Soul
The album Nite & Day (sometimes spelled Night and Day) by Southern Soul artist David Hudson is a 1980s R&B and soul record known for its smooth melodies, heartfelt lyrics, and classic instrumentation, created under the guidance of producer Willie Mitchell.
It showcases Hudson's talent as a singer-songwriter within the Southern Soul genre. It was originally recorded for the Waylo label and was later re-released in various formats, including an audiophile reel tape version in November 2024, transferred directly from the master tapes. The songs depict themes of love, romance, and passion.
The album was engineered and remixed by Willie Mitchell and P. Michael Allen at the Royal Sound Studios and features electric bass, drums, guitar, and keyboards/synthesizers.
The music is firmly rooted in the Southern soul genre, characterized by mellow tones, soulful instrumentation, and a focus on themes of love and romance.
Critics and fans praise Hudson's mature and emotive delivery, noting his ability to draw listeners into the narrative of each song.
The album is noted for its enduring quality, with the recordings still sounding vivid and relevant years after they were made.
While originally released on vinyl and CD in the late 1980s on the Waylo and Timeless labels, the album has seen a resurgence in niche markets, including a high-end audiophile reel-to-reel tape version released by STS Analog in 2024.
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.
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.
Now!
A2 Light My Fire 2:53
A3 The Grass Will Sing For You 4:39
A4 Feeling Good 3:14
A5 Hey Jude 4:03
B1 For Once In My Life 3:05
B2 I Understand 4:07
B3 By The Time I Get To Phoenix 3:42
B4 Don't Do To Me 2:14
B5 Little Green Apples 4:08
Label: Lloyd Price's Turntable – TTS-5001
Format: Vinyl, LP
Country: US
Released: 1969
Genre: R&B Soul
Style: Sixties Soul
Lloyd Price's "Now!" album, released on his own Turntable label, is an important Soul/R&B LP from the late 1960s, showcasing the iconic "Mr. Personality" in his own ventures after major pop chart success with hits like "Personality" and "Stagger Lee" for ABC-Paramount, featuring his signature blend of R&B, funk, and soul on his own imprint, a groundbreaking move for a Black artist then.
A notable aspect of the album is that it was recorded in Kingston, Jamaica, West Indies. The label was established by Price himself around the same time he opened a restaurant and nightclub of the same name in Manhattan.
While his ABC-Paramount hits were glossier, this album (and his own label's output) continued his energetic R&B/Soul style, reflecting his roots and expanding into funkier sounds.
In essence, Now! represents a pivotal moment where Lloyd Price took charge of his career, delivering powerful R&B and Soul on his own terms through his independent Turntable label.
On A New Street
A2 Lazy Susan (Linda Creed, Thom Bell 2:48)
A3 The Loneliest House On The Block (Allan Felder, Norma Harris 3:54)
A4 I Don't Have Time To Worry (Bruce Hawes 3:20)
A5 La La La At The End (James Grant 4:10)
B1 That's What Love Is All About (Souren Mozian, Teddy Randazzo, Victoria Pike 3:35)
B2 What Good Am I Without You (Teddy Randazzo, Victoria Pike 3:15)
B3 Sooner Or Later (Roger Joyce, Teddy Randazzo, Victoria Pike 3:00)
B4 Loving You Won't Hurt As Much Tomorrow (Roger Joyce, Teddy Randazzo, Victoria Pike 3:15)
B5 Heartaches Never Entered My Mind (Souren Mozian, Teddy Randazzo, Victoria Pike 3:38)
B6 Easier Said Than Done (Teddy Randazzo, Victoria Pike 4:15)
Label: Avco – AV-11012-598
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul, Sweet Soul
Little Anthony & The Imperials - On a New Street (1973) is a pivotal album for Little Anthony & The Imperials, lauded for successfully blending their classic smooth '60s sound with the lush, sophisticated Philly Soul of the '70s, thanks to producers Thom Bell (Stylistics, Spinners) and Teddy Randazzo (their longtime collaborator), offering standout tracks like the ethereal "I'm Falling in Love with You" and the melancholic "The Loneliest House on the Block," though some felt it didn't break through commercially due to market saturation.
The genius pairing of Thom Bell (known for his lush arrangements) and Teddy Randazzo (who guided their earlier hits) elevated the group's sound, notes Dusty Groove and The Second Disc.
Thom Bell Tracks (The "Philly Sound"): These tracks, like "I'm Falling in Love with You," capture the signature mellow, orchestrated sweetness of Philly Soul, akin to The Stylistics, featuring sweeping strings and keyboards.
Teddy Randazzo Tracks: Randazzo's contributions, such as "The Loneliest House on the Block," provided a fuller, almost Manhattans-esque sound, offering a warm contrast, according to Dusty Groove and Amazon UK.
The up-tempo numbers, especially, share the sweet soul vibe of The Spinners, with the group even covering their "Lazy Susan".
Many fans consider it a classic, showcasing the group's versatility and growth. Despite musical quality, the album and its single "Hold On" faced tough competition in the saturated mid-'70s sweet soul market, hindering its commercial success, writes Soul and Jazz and Funk.
Reviewers have given the album high ratings, with an average of around 4.4/5 stars on Discogs. The production by Thom Bell and Teddy Randazzo is a major highlight, with praise for the "slick, smooth, R&B soul" arrangements. The album's style is described as lush and sophisticated Philly soul, featuring the session musicians MFSB and Little Anthony's distinctive vocals. Standout tracks include "I'm Falling in Love with You," "The Loneliest House on the Block," "I Don't Have Time to Worry," and "La La La at the End". Despite not being a major commercial success initially, the album is now considered a "much-sought after" and "essential purchase" for soul music fans.
On The Loose
A2 What It Takes To Get A Good Woman... (That's What It's Gonna Take To Keep Her) (O.B. McClinton 2:59)
A3 Harper Valley P.T.A. (Tom T. Hall 3:36)
A4 What Am I Doing Wrong (John Footman 3:14)
A5 Breaking Up Somebody's Home (Denise La Salle 3:31)
B1 There Ain't Enough Hate Around (To Make Me Turn Around) (Lewis, Haywood 3:40)
B2 Your Man And Your Best Friend (Denise La Salle 3:01)
B3 Lean On Me (Bill Withers 4:07)
Label: Westbound Records – WB 2016
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul, Blues
Style: Southern Soul
On The Loose is the second album by American soul and blues singer Denise LaSalle, released in 1973 on the Westbound Records label. It is known for its raw Southern soul and Memphis soul sound, featuring a mix of LaSalle's originals and covers, and solidifying her reputation as a powerful force in the genre.
The album is a solid follow-up to her breakthrough debut, Trapped By a Thing Called Love, continuing with a strong collection of southern-fried blues and soul tracks. It was recorded in Memphis, utilizing the noted session musicians from Hi Records, the label famous for artists like Al Green. The arrangements were handled by Gene "Bowlegs" Miller and Willie Mitchell, contributing to the album's authentic, groove-centric Stax-y sound.
LaSalle's performances on the album are described as gospel-infused and blues-gritty, focusing heavily on "cheating songs" and tales of love on the rocks, a style that evoked comparisons to contemporaries like Millie Jackson and Betty Wright.
On The Loose is considered a classic of the soul-blues genre and is available on various formats, including vinyl and a popular CD compilation with her debut album. You can find more details on music databases like Discogs or find physical copies via sites like Dusty Groove
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On Top Of Clear
A2 Just Let Me Hold You For A Night (Kipps, Jr. 3:39)
A3 A Beautiful Glow (McCoy 4:29)
A4 Everybody's Got A Story (McCoy 4:30)
B1 Mysterious Lady (McCoy 4:49)
B2 This Time It's For Real (Fortune, Huff 5:20)
B3 Two Different Worlds (McCoy 4:38)
B4 Come Down To Earth (McCoy 5:45)
Label: RCA Victor – APL1-1400
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Disco
On Top of Clear, The Choice Four's 1976 album, is highly regarded by fans as a great, albeit under-sung, example of mid-70s soul and disco, heavily bearing the production stamp of the late Van McCoy.
The album is generally considered a solid effort by the Washington, D.C. soul quartet, known for their smooth harmonies and association with producer Van McCoy, who also worked with artists like David Ruffin and Melba Moore. While the group deserved greater commercial success, the album is appreciated for its quality production and strong tracks that blend soul and disco styles.
It is seen as a strong representation of its era, often compared in style to the sound of The Temptations or other contemporary soul/funk disco bands. The production work by Van McCoy is a key highlight, giving the album a distinct and polished feel. On music databases like Discogs, the album holds a favorable average rating from users, often around 4 out of 5 stars.
The album includes several notable tracks, some of which were released as singles:
"Hey, What's That Dance You're Doing"
"Just Let Me Hold You For A Night"
"Come Down to Earth"
"Two Different Worlds"
For fans of 1970s soul, funk, and early disco, On Top of Clear is considered a high-quality, worthwhile listen, praised for its excellent musicianship, strong vocals, and quintessential Van McCoy production. The album has been reissued on CD with bonus tracks, indicating continued collector interest in this overlooked gem.
One For The Road
A2 I'll Be Comin' Back 3:59
A3 Will She Meet The Train In The Rain ? 5:47
A4 Next Time I See You (I'm Gonna Be Ready) 3:25
B1 Love Is Magic (Instrumental) 4:35
B2 I Want To Live And Let Live (Love And Let Love All The Time) 3:15
B3 Come On Down (Get Your Head Out The Clouds) 3:31
B4 Love Got Me Tired (But I Ain't Tired Of Love) 4:36
B5 One For The Road 3:33
Label: Casablanca – NBLP 7009
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul
One For The Road is the debut 1975 solo album by American soul musician Greg Perry, celebrated as a cult classic and one of the great soul albums of all time. The album showcases Perry's lyrical ability and smooth vocals through songs that reviewers describe as telling a detailed, fictional story about a romantic bust.
The album is a masterpiece of vintage soul, funk, and R&B, with a mellow feel described as similar to the work of Leroy Hutson or Ronnie McNeir. It features superb production, noted for "hard-blown" horns placed low in the mix to create a "wall-of-sound" feel.
The ten tunes on the original LP are arranged to tell a continuous, engaging story from start to finish, exploring the intimate details and mistaken moves of a failing relationship from the protagonist's perspective.
It includes the notable two-step anthems "Variety Is The Spice Of Life" and "Come On Down (Get Your Head Out The Clouds)," which have become popular modern soul and boogie tracks.
The record features high-quality writing, playing, and production with a notable lineup of musicians, including Larry "Fatback" Tolbert on drums and Ray Parker on guitar, with horn and string arrangements by Paul Riser and David Crawford. The album was mixed by Grammy Award winner Reggie Dozier.
Perry was a major staff writer for Invictus/Hot Wax, co-writing hits for artists like the Chairmen of the Board and Freda Payne before releasing this solo work, which showcases his formidable songwriting talent.
Pain In My Heart
Written-By – Naomi Neville 2:22
A2 The Dog
Written-By – Rufus Thomas 2:30
A3 Stand By Me
Written-By – Ben E. King, Elmo Glick 2:45
A4 Hey Hey Baby 2:15
A5 You Send Me
Written-By – Sam Cooke 3:10
A6 I Need Your Lovin'
Written-By – Bobby Robinson, Don Gardner 2:45
B1 These Arms Of Mine 2:30
B2 Louie Louie
Written-By – Richard Berry 2:05
B3 Something Is Worrying Me
Written-By – Phil Walden
2:25
B4 Security 2:30
B5 That's What My Heart Needs 2:35
B6 Lucille
Written-By – Richard Penniman 2:25
Label: ATCO Records – 33-161
Series: Volt Series
Format: Vinyl, LP, Album
Country: US
Released: 1964
Genre: R&B Soul
Style: Southern Soul
Otis Redding's 1964 debut album, Pain in My Heart, is critically acclaimed as a foundational masterpiece of Southern Soul, showcasing the raw power and emotional depth of his voice that would define his short but legendary career. Backed by the stellar Stax rhythm section, Booker T. & the M.G.'s and the Memphis Horns, the album is celebrated for its unfiltered soul and energetic performances.
The album is widely recognized as marking the beginning of Otis Redding's distinctive style, paving the way for the soul music revolution that followed. Critics noted that he "hit the ground running" with an excellent set of soulful gems, showing no signs of being a newcomer.
Reviews consistently highlight Redding's "astonishing power, energy, and boldness". His delivery is described as raw and passionate, using his voice like a horn, swelling and decreasing in volume, and triumphing at "rendering agony".
The tight, groove-laden foundation provided by the Stax in-house band is a crucial element of the album's success, giving it an authentic, funky Memphis sound.
The album features a mix of Redding's own compositions, such as his first hit, the timeless ballad "These Arms of Mine," and the "electrifying" up-tempo groover "Security". These tracks sit alongside powerful covers of popular songs like Ben E. King's "Stand by Me," Little Richard's "Lucille," and Richard Berry's "Louie Louie," all of which he makes his own.
Pain in My Heart is considered more than just a debut; it is the first chapter of an unforgettable legacy. The album peaked at number 20 on Billboard's R&B chart and number 85 on the Hot 100, establishing Redding as a significant force in soul music. The title track, in particular, set the template for all his future ballads.
Overall, the album is regarded as a classic of the Southern Soul genre, a testament to Redding's immediate virtuosity and his profound emotional impact on listeners.
Party Girl
Written-By – Bunny Sigler 5:55
A2 My Heart Belongs To You
Written-By – Dennis Richardson, George Bell, Larry Davis 5:57
A3 Cause I Love, Love, Love You
Written-By – Kim Miller 5:55
B1 Workin' It Out
Written-By – Carole Bayer Sager, Marvin Hamlisch 4:20
B2 If You Are My Man
Written-By – Bunny Sigler 4:20
B3 Got Tu Go Disco
Written-By – John Davis 3:55
B4 Leap Tall Buildings
Written-By – Jimmy Sigler 4:58
Label: Casablanca – NBLP 7158
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre:
R&B Soul
Style: Seventies Soul, Disco, Funk
The 1979 album Party Girl by Pattie Brooks is a diverse and underrated record that blends disco, funk, pop, and R&B ballads, noted for its sophisticated musicianship and Brooks' strong, versatile vocals.
Released on the Casablanca label during the disco backlash, it did not achieve major commercial success at the time but has gained a reputation as a quality soul and disco album among fans.
The album stands out for attempting a broader range of styles than Brooks' earlier, more pure disco work. It incorporates funk grooves and emotional R&B ballads alongside the expected disco tracks.
The primary producer was Bunny Sigler, known for his work with Instant Funk and Salsoul, giving the album a distinct, high-quality sound. The track "Got Tu Go Disco" was produced by Jürgen Koppers.
Brooks is praised for her powerful and versatile vocal abilities, which allow her to effectively handle the album's varied musical genres, from upbeat dance tracks to more soulful ballads like "My Heart Belongs To You".
Retrospective comments from fans and music enthusiasts often lament that the album was released at a difficult time for disco music, which they feel led to it being an underrated record that deserved more attention.
Passionate Breezes
Backing Vocals – Charles Jackson, Ivory Stone Davis, Julia Tillman, Maxine Waters Willard, Melvin Britt
Written-By – C. Jackson, M. Yancy 4:29
A2 Love Of You
Backing Vocals – Ivory Stone Davis, Julia Tillman
Written-By – C. Jackson, M. Yancy 4:25
A3 Ooh Child
Backing Vocals – Charles Jackson, Lloyd Williams, Melvin C. Britt
Written-By – Reed, Barge, Jennings, Upchurch 3:35
Medley: (4:43)
A4a I'm In Heaven
Written-By – C. Jackson, M. Yancy
Backing Vocals – Maxine Waters Willard, Julia Tillman, Melvin Britt, Ivory Stone Davis
A4b You Are So Beautiful
Written-By – Billy Preston
B1 The Train
Backing Vocals – Charles Jackson, Melvin C. Britt
Written-By – C. Jackson, M. Yancy 4:50
B2 Tonight's The Night
Backing Vocals – Natalie Cole, Ricky Linton
Written-By – Rod Stewart 4:43
B3 Get On Down
Backing Vocals – Ivory Stone Davis, Julia Tillman, Melvin C. Britt
Written-By – Jackson, Barge, Yancy 5:33
B4 I Really Want You
Backing Vocals – Lloyd Williams, Melvin C. Britt
Written-By – C. Jackson, M. Yancy 3:51
Label: Capitol Records – SW-11775
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Ballad
Charles Jackson's 1978 album Passionate Breezes is highly regarded as a classic "Quiet Storm" smooth soul album. Critics and users praise it for its strong collection of ballads, Jackson's smooth vocals, and its role in defining its genre.
Charles "Chuck" Jackson was the lead singer of the R&B group The Independents. The group was active from 1971 to 1975 and had several hits on the US pop and R&B charts, most notably the gold-selling single "Leaving Me" in 1973.
His first solo album is considered a strong set, particularly for lovers of soul ballads. Reviewers from Soul and Jazz and Funk note its enduring quality and influence on the "Quiet Storm" genre. While considered a very good album, some user reviews suggest it may not be "essential" in an objective sense, though highly cherished by fans. The general consensus points to an average rating of around 3.97 out of 5 stars based on several user ratings.
Despite the album itself not achieving massive commercial success at the time of its release, Charles Jackson's talent as a songwriter was evident. He went on to achieve notable success writing songs for other artists, most notably Whitney Houston. The album is now appreciated as an overlooked gem from the late 70s soul era.
Passport To Ecstasy
A2 Passport To Ecstasy 3:55
A3 Let's Make Up 4:21
A4 Believe 5:22
B1 We're Movin' On 4:00
B2 Get On Up, Shake Some Butt 4:10
B3 Loving You 3:56
B4 I'm Gonna Have To Tell Her 4:21
B5 Passion And Promises 3:56
Written by Carl Hampton and Homer Banks
Label: Warner Bros. Records – BS 2993
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul. Funk
The album Passport To Ecstasy by the soul/funk duo Banks & Hampton (Homer Banks and Carl Hampton) was released in 1977 on Warner Bros. Records. It is known for its blend of soul, funk, and R&B and features songs that were a departure from their earlier instrumental work at Stax.
Music critics and fans often praise the album for its quality songwriting and solid groove, characteristic of the era's soul music. Homer Banks and Carl Hampton were prolific songwriters at Stax Records, and this experience is evident in the album's well-crafted tracks.
The album is described as having a modern soul sound for its time. One review noted that it was the first album where they had vocal songs rather than instrumentals, offering a different vibe compared to their previous work.
The album was produced by Brad Shapiro and written by Banks and Hampton, featuring a consistent, high-quality production.
While not a massive commercial success at the time, the album has gained a following over the years and is considered a "good album" that grows on the listener. The general consensus among collectors and soul music enthusiasts is that Passport To Ecstasy is a quality record, showcasing the duo's transition from Stax-era instrumentalists/songwriters to a vocal act on a major label. It is a sought-after item for vinyl collectors, especially those interested in 1970s funk and soul.
Past, Present And The Futures
Backing Vocals – Barbara Ingram, Carla Benson, Evette Benton
Producer – Sherman Marshall
Written-By – S. Marshall, T. Wortham 5:14
A2 Ain't No Time Fa Nothing
Producer – Charles B. Simmons, Joseph B. Jefferson
Written-By – C. B. Simmons, J. B. Jefferson 5:32
A3 Deep Inside Of Me
Producer – Cynthia Biggs, Kenneth Gamble, Ted Wortham
Written-By – C. Gilbert, C. Biggs, T. Wortham 4:58
A4 Sunshine And You
Producer – Douglas Brown, Terry Price, William Bloom
Written-By – D. Brown, T. Price, T. Wallington, W. Bloom 3:41
B1 Come To Me (When Your Love Is Down)
Producer – Charles B. Simmons, Joseph B. Jefferson
Written-By – C. B. Simmons, J. B. Jefferson, R. Roebuck 4:48
B2 You Got It (The Love That I Need)
Producer – Douglas Brown, William Bloom
Written-By – D. Brown, T. Price, W. Bloom 4:57
B3 (You're The One) Someone Special
Producer – Carl Gamble, Franki Smith, John L. Usry, Jr.
Written-By – B. Rivers, C. Gamble, F. Smith 4:17
B4 I Wanna Know; Is It Over
Producer – Douglas Brown, Frankie Smith, William Bloom
Written-By – D. Brown, F. Smith 4:30
Label: Philadelphia International Records – JZ 35458
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Philly
The album Past, Present and The Futures by The Futures is a well-regarded Philly soul project, praised for its strong vocal harmonies and classic Gamble & Huff production. The album is particularly known for the "rare groove" classic "Ain't No Time Fa Nothin'".
The album is described as a prototypical Gamble & Huff project, featuring excellent arrangements and strong material with the signature lush strings and horns of the Philadelphia International Records sound. The overall sound is smooth and features deep rhythms and soulful vocals.
Reviewers highlight the "searing falsettos," "deep resonating bass," and "smooth vocal harmonies" that blend influences from groups like The Temptations, The Dramatics, and Earth, Wind & Fire.
Standout Tracks:
"Ain't No Time Fa Nothin'": This track is a popular "rare groove" classic, described by one reviewer as a "hot to death disco banger" that makes them "feel 12 feet tall". Its popularity in the UK rare groove scene helped the album gain recognition years after its initial release.
"Party Time Man": This track was the album's single that hit the charts, known for its Philly funk influence.
"You Got It (The Love That I Need)": This track is a melodious, hand-clapping tune clearly influenced by mid-60s Temptations classics.
Despite the quality of the music, the album did not perform well commercially upon its initial 1978 release, potentially due to the changing musical trends at the time. It has since gained a reputation as a high-quality, underrated album among soul music enthusiasts.
Patti Austin
Producer – Quincy Jones
Written-By – Clif Magness, Glen Ballard 4:17
A2 Rhythm Of The Street
Producer, Written-By – Narada Michael Walden
Written-By – Jeffrey Cohen, Preston Glass 4:00
A3 All Behind Us Now
Producer, Written-By – David Pack 4:59
A4 Hot! In The Flames Of Love
Producer, Written-By – Narada Michael Walden
Written-By – Jeffrey Cohen, Preston Glass 3:59
A5 Change Your Attitude
Producer, Written-By – Clif Magness, Glen Ballard 3:41
B1 Shoot The Moon
Producer, Written-By – Glen Ballard, Glen Ballard 3:35
B2 I've Got My Heart Set On You
Producer – Ollie E. Brown
Written-By – David Bryant, Diane Warren 4:12
B3 Fine Fine Fella (Got To Have You)
Producer, Written-By – Ollie E. Brown
Written-By – Attala Zane Giles, Phillip Ingram 4:34
B4 Starstruck
Producer, Written-By – Narada Michael Walden
Written-By – Dwayne Simmons, Preston Glass 4:28
B5 Any Way You Can
Producer, Written-By – David Pack
Written-By – Michael McDonald 4:31
Label: Qwest Records – 1-23974
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: R&B Soul
Style: Eighties Soul, Downtempo
Patti Austin's 1984 self-titled Qwest album, produced by Quincy Jones, was a strong pop/R&B effort showcasing her powerful vocals, with Billboard and Cashbox highlighting tracks like "It's Gonna Be Special" for its pop crossover appeal, though critics like Ron Wynn found it good but not her absolute best, praising its musicality and Austin's range while pointing to other Qwest records as stronger.
Quincy Jones was a major force behind the album, lending his signature polished sound. "It's Gonna Be Special" was a standout, noted for its bright sound and high-powered performance, suggesting a strong pop direction.
While successful and well-received for its musicality and Austin's vocal prowess (notably in Billboard and Cashbox reviews), some critics felt it wasn't her pinnacle work on the label.
The album blended R&B, Pop, and smooth production, typical of Qwest Records at the time, aiming for broad appeal.
In essence, it's a solid, well-produced album that solidified her place in contemporary R&B/Pop, even if some critics reserved their highest praise for other albums in her discography.
Peabo
Arranged By – Gene Page
Performer [Rhythm Section] – Barry Beckett, David Hood, Jesse W. Carr, Jimmy R. Johnson, Roger Hawkins
Rhythm Section – Muscle Shoals Rhythm Section
Written-By, Composed By – Peabo Bryson 3:42
A2 Do You Believe In Love
Arranged By – Gene Page
Performer [Rhythm Section] – Barry Beckett, David Hood, Jesse W. Carr, Jimmy R. Johnson, Roger Hawkins
Rhythm Section – Muscle Shoals Rhythm Section
Written-By, Composed By – Paul Davis, Peabo Bryson 2:54
A3 It's Just A Matter Of Time
Arranged By – Gene Page
Performer [Rhythm Section] – Barry Beckett, David Hood, Jesse W. Carr, Jimmy R. Johnson, Roger Hawkins
Rhythm Section – Muscle Shoals Rhythm Section
Written-By, Composed By – Peabo Bryson 3:31
A4 I Can Make It Better
Arranged By – Michael Zager
Performer [Rhythm Section] – Bobbye Hall, David T. Walker, Edward Greene, Gary Coleman, Henry Davis, Ray Parker Jr., Ricahrd Littlefield, Sylvester Rivers
Rhythm Section – L.A. Rhythm Section
Written-By, Composed By – Peabo Bryson 5:08
A5 You Bring Out The Best In Me
Arranged By – Gene Page
Performer [Rhythm Section] – Bobbye Hall, David T. Walker, Edward Greene, Gary Coleman, Henry Davis, Ray Parker Jr., Ricahrd Littlefield, Sylvester Rivers
Rhythm Section – L.A. Rhythm Section
Written-By, Composed By – Peabo Bryson 3:57
B1 Smile
Arranged By – Michael Zager
Performer [Rhythm Section] – Freddie Birdwell, Freeman Brown, Jessie Boyce, John Helms, Sanchez Harley
Rhythm Section – Bottom & Co. Rhythm Section
Written-By, Composed By – Peabo Bryson 4:58
B2 Underground Music
Arranged By – Gene Page
Performer [Rhythm Section] – Barry Beckett, David Hood, Jesse W. Carr, Jimmy R. Johnson, Roger Hawkins
Rhythm Section – Muscle Shoals Rhythm Section
Written-By, Composed By – Peabo Bryson 3:31
B3 Lovely Lady
Arranged By – Gene Page
Performer [Rhythm Section] – Bobbye Hall, David T. Walker, Edward Greene, Gary Coleman, Henry Davis, Ray Parker Jr., Ricahrd Littlefield, Sylvester Rivers
Rhythm Section – L.A. Rhythm Section
Written-By, Composed By – Peabo Bryson 4:05
B4 Let The Music Play
Arranged By – Gene Page
Performer [Rhythm Section] – Bobbye Hall, David T. Walker, Edward Greene, Gary Coleman, Henry Davis, Ray Parker Jr., Ricahrd Littlefield, Sylvester Rivers
Rhythm Section – L.A. Rhythm Section
Written-By, Composed By – Peabo Bryson 3:21
B5 God Is On Our Side
Arranged By – Gene Page
Performer [Rhythm Section] – Beaver Parker, Peabo Bryson, Ronn Price, Thom Fowle
Rhythm Section – Bang Rhythm Section
Written-By, Composed By – Peabo Bryson 3:55
Label: Bullet Records – BT-7000
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul
Peabo Bryson's 1976 self-titled debut album, Peabo, was a strong introduction showcasing his rich baritone, blending lush soul ballads with uptempo funk/soul, featuring early R&B hits like "Underground Music" and "I Can Make It Better," and highlighting his versatility before his major Capitol success, setting the stage for his "King of Balladeers" reign.
It was his first release on Bullet Records, establishing his sound with diverse grooves. The album balanced sleek, synth-accented ballads (like "You Bring Out The Best In Me") with energetic, funky tracks (such as "Underground Music," "Smile," and "Let The Music Play").
Several singles, including "Do It with Feeling," "Underground Music," and "I Can Make It Better," were moderate R&B successes.
Reviewers praised his smooth, powerful voice, perfect for both romantic slow jams and upbeat dance tracks.
While not fully the "quiet storm" icon he'd become, Peabo showed his potential and was followed by his move to Capitol Records, where he'd achieve gold status with Reaching for the Sky.
The album is considered an important step in his artistic development, not yet the fully formed "quiet storm icon" he would become, but a great initial offering that contained a few of his most loved early songs and established the quality production and arrangements that would mark his career.
In summary, Peabo is a well-regarded debut that successfully balanced different soul styles, laying the groundwork for Bryson's significant success on Capitol Records that followed.
Peace and Understanding Is Hard To Find
Arranged By – James Carmichael
Producer – Gloria Jones, Pam Sawyer
Written-By – Gloria Jones, Pam Sawyer 3:35
A2 I Don't Need No Reason
Arranged By – James Carmichael
Producer – Hal Davis
Written-By – Leon Ware, Pam Sawyer 2:44
A3 It's Alright, Do What You Gotta Do
Producer – Willie Hutch
Written-By, Arranged By – Willie Hutch 3:29
A4 It's Too Late
Arranged By – Gene Page
Producer – Hal Davis
Written-By – Carole King, Toni Stern 2:54
A5 Soul Clappin'
Written-By – Autry DeWalt, Jerome Teasley, Victor Thomas 4:25
B1 I Can See Clearly Now
Written-By – Johnny Nash 3:18
B2 Gimme That Beat (Part 1)
Written-By – Arnold Langley, Autry DeWalt, Ronald Harville 3:27
B3 Gimme That Beat (Part 2)
Written-By – Arnold Langley, Autry DeWalt, Ronald Harville 2:48
B4 Country Boy
Written-By – Arnold Langley, Autry DeWalt, Victor Thomas 2:59
B5 Peace And Understanding (Is Hard To Find)
Written-By – Autry DeWalt, Jerome Teasley, Ronald Harville 3:05
Label: Soul – Tamla Motown – STML 11234
Format: Vinyl, LP, Album
Country: UK
Released: 1973
Genre: R&B Soul
Style: Seventies Soul, Motown
The 1973 album Peace & Understanding Is Hard to Find by Jr. Walker & The All Stars is a solid R&B/Soul record, though considered a minor commercial release at the time. It showcases Walker's consistent saxophone talent and features some strong tracks, but it lacked the unified style and hit potential of his earlier work.
The album is often praised by fans for maintaining the high standard of music expected from Jr. Walker, avoiding the "supper club" arrangements that sometimes affected other Motown artists' later work. His distinctive, blues-based saxophone riffs and raspy vocals are prominently featured.
The album did not have a single producer, which resulted in a less unified sound compared to previous efforts. Production credits include Hal Davis and Willie Hutch, among others. This stylistic variety means some tracks have a smooth, jazzy feel ("I Don't Need No Reason"), while others are more spirited funk tunes ("Soul Clappin'").
Despite its lack of massive commercial success, many consider the album an underrated record, praising its deeply jazzy undertones in even the smoothest songs and outstanding recorded sound quality.
The album was one of Jr. Walker's poorest selling LPs. The single "Gimme That Beat (Part 1)" only reached #101 on the Pop charts and #50 on the R&B charts. The title track and "I Don't Need No Reason" failed to chart as singles.
The album features credible cover versions that demonstrate Walker's ability to put his own stamp on popular material:
Overall, Peace & Understanding Is Hard to Find is a worthwhile listen for existing fans of Jr. Walker & The All Stars or Motown Soul, offering high-quality music and a range of styles, even if it lacks a massive hit single.
Peaceful
A2 Come Check Out This Love 4:30
A3 Peaceful 4:24
A4 It's Not Too Late (To Start Again) 3:33
B1 I'll Do Anything For You 5:02
B2 Since You Walked Out Of My Life 3:43
B3 Let Me Love You (Like You Want To Be Loved) 4:35
B4 Let's Go Home Together 5:22
Label: Marina Records – WML 5000
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
Al Johnson's 1978 album Peaceful is an acclaimed, underrated gem in 70s soul, praised for its consistent quality, rich Philly Soul/smooth funk sound, and standout tracks like "I've Got My Second Wind" and the title track, featuring top-tier musicians like Bernard Purdie & Leo Nocentelli for an "aural delight" with deep grooves and heartfelt ballads, making it a must-have for soul enthusiasts despite its minor label origins.
A smooth, soulful, Philly-Soul influenced, with funk undertones, described as having no "throw-away songs". Co-produced by Johnson himself with iconic singer Lloyd Price, recorded in NYC, New Orleans, and Virginia, notes Al Johnson - Peaceful - Vinyl LP - 1978 - JP - Reissue - HHV.
Features legendary players like drummer Bernard Purdie and guitarist Leo Nocentelli (from The Meters), contributing to its rich sound.
Standout Tracks: "I've Got My Second Wind," the soothing title track "Peaceful," "It's Not Too Late," and "Since You Walked Out of My Life" are frequently highlighted.
Though overshadowed by his later work (like with Norman Connors), Peaceful is considered an enduring classic for soul fans, finally seeing digital and reissue love.
Critics and fans call it a "masterpiece" and an "aural delight," noting its depth and quality. The album showcases Al Johnson's skills as a vocalist and writer before his major label success.
In essence, Peaceful is a highly recommended, quality soul album from an iconic era, perfect for fans of deep grooves and melodic storytelling.
Peddlin’ Music On The Side
A2 What Am I Gonna Do 'Bout You (Girl) (The Coke Song) 6:24
A3 Break The Ice 4:50
A4 Tear Down The Walls 4:02
B1 Going Back To My Roots 9:45
B2 Family 4:41
B3 Peddlin' Music On The Side 4:51
(All tracks written by Lamont Dozier)
Label: Warner Bros. Records – BS 3039
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul
Peddlin' Music On The Side is a critically acclaimed 1977 album by Lamont Dozier, widely regarded by fans as one of his best solo works. While it was not a major commercial success at the time, it is highly praised for its exceptional musicianship, strong songwriting, and the inclusion of the iconic track "Going Back to My Roots".
The album is considered an underappreciated classic of smooth soul and R&B. Reviewers and fans laud the record for its high-class production. The album, primarily produced by Stewart Levine, features top-quality arrangements that blend R&B, soul, and jazz elements.
Dozier is supported by a stellar line-up of musicians including Joe Sample and Wilton Felder of The Crusaders, Ray Parker Jr., and James Gadson.
Critics highlight Dozier's signature raspy vocals and the emotional depth of his delivery, which is described as being at the top of his form as a solo artist.
Despite its initial commercial disappointment, Peddlin' Music On The Side has gained a strong reputation over the years as a sophisticated, high-quality R&B album that perfectly marries musicianship and emotion. It's a cohesive and well-executed project that remains a favorite among soul and funk enthusiasts. You can often find the album and fan discussions on sites like Discogs and find various reissues available on platforms like Amazon.
Performance
Written-By – Chris Smither 8:24
A2 Performance
Written-By – Allen Toussaint 5:23
A3 Doing Our Thing
Written-By – A. Lee, C. Carter, C. McCants 3:34
B1 Disposable Society
Written-By – Eugene McDaniels 5:15
B2 Living Alone (We're Gonna Make It)
Written-By – Barnes, Lynn, Pendarvis 5:19
B3 Such A Night
Written-By – Mac Rebennack 3:20
B4 Can't Trust Your Neighbor With Your Baby
Written-By – Isaac Hayes/David Porter 3:53
Label: Kudu – KU 18
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul, Jazz
Style: Soul-Jazz, Jazz-Funk
Esther Phillips' 1974 album Performance is a highly regarded studio album that expertly blends funk, soul, and R&B with jazz and gospel influences. Despite the title, it is a studio recording, not a live album, and features Phillips' unique, "lustrous and gritty" soulful vocals backed by an impressive roster of Kudu "house" musicians.
Critics praise Performance as a strong entry in Phillips' Kudu discography, showcasing her ability to deliver emotionally intense vocals across various styles. The album generally has a slightly darker, less smooth sound compared to some of her other Kudu releases, with a notable R&B undercurrent.
The album successfully merges different genres, featuring danceable soul grooves, blues-infused tracks, and R&B numbers with a gospel feel.
Phillips' distinctive "taut, clipped voice" conveys a wide range of emotions, allowing her to truly inhabit the songs she interprets.
The album benefits from top-tier musicianship, with contributions from renowned artists such as Pepper Adams (baritone sax), Hubert Laws (flute), Bob James and Richard Tee (piano), Eric Weissberg (steel guitar), and Ralph MacDonald (percussion). The arrangements are tasteful and balance the orchestral elements with Phillips' voice.
While the entire album is considered a quality recording, specific tracks often highlighted in reviews include:
"Performance": The title track is an R&B number that features a noticeable country-flavored steel guitar, creating an interesting cross-genre sound.
"Such a Night": This track is noted for its "tack piano" work by Richard Tee.
"I Feel the Same" and "Living Alone (We're Gonna Make It)": These tracks are often cited as excellent examples of the album's strong material.
"Disposable Society": A funky, urban track where Phillips establishes a strong presence within the musical environment.
Overall, Performance is considered an excellent record that shows a mature, blues-savvy Phillips at the top of her game, delivering a compelling and varied set of songs with expert accompaniment.
Personal
Engineer – Richard Hollywood
Overdubbed By [Additional Overdubs By], Mixed By – Chris Porter
Producer – Junior Giscombe
Written-By – J. Giscombe, R. Smith 4:12
2 No More Tomorrows
Engineer – Richard Lengyel
Producer – Steve Jolley And Tony Swain
Written-By – S. Jolley / T. Swain 3:55
3 Masquerade
Engineer – Richard Lengyel
Producer – Steve Jolley And Tony Swain
Written-By – S. Jolley / T. Swain 4:46
4 In A Circle
Producer, Mixed By – Chris Porter
Written-By – P. Johnson, P. Powell 4:36
5 Who Shot Cupid
Producer, Mixed By – Chris Porter
Written-By – P. Johnson, P. Powell 4:07
6 Sweet Marinda
Producer, Mixed By – Chris Porter
Written-By – J. Giscombe, R. Smith 5:01
7 Not Enough Love In The World
Engineer – Richard Lengyel
Producer – Steve Jolley And Tony Swain
Written-By – B. Tench, D. Kortchmar, D. Henley 3:59
8 You're No Good
Engineer – Richard Hollywood
Mixed By – Chris Porter
Overdubbed By [Additional Overdubs By], Mixed By – Chris Porter
Producer – Junior Giscombe
Written-By – P. Johnson, P. Edwards 4:29
9 Father Father
Engineer – Paul Hunt
Mixed By – Chris Porter
Producer – Paul Johnson
Written-By – P. Johnson, P. Powell 4:33
10 Me Oh My
Producer, Mixed By – Chris Porter
Written-By – P. Johnson, P. Edwards 4:00
Label: CBS – 463284 2
Format: CD, Album
Country: Europe
Released: 1989
Genre: R&B Soul
Style: Eighties Soul, Gospel-Soul
Paul Johnson's 1989 album Personal is a highly regarded soul and gospel classic that failed to make a significant commercial impact at the time of its release, but has garnered a dedicated fanbase over the years.
The album is praised for being a complete exploration of soul music, blending classic soul with a fresh dash of gospel. Reviewers describe his voice as "brilliant" and "very soulful," with a quality that sends "tingles" down the listener's back, sometimes drawing comparisons to the high falsetto style of Earth, Wind & Fire's Philip Bailey.
Many fans consider Personal a "timeless gem" that deserved more recognition. It maintains a strong appeal for serious soul music enthusiasts.
While the entire album is generally well-received, the track "Half a world away" is frequently mentioned as a standout.
One professional review cited in the CD Review Digest Annual 1990 noted the album as a "rivetingly complete exploration of soul music that is light enough for mass appeal and involved enough to be of lasting value".
For fans of authentic, soulful music with a strong gospel influence, Personal is considered a must-have album that showcases Paul Johnson's exceptional vocal talent. Despite its initial lack of chart success, it has become a cherished classic among its target audience. You can often find copies of the album on marketplaces like Amazon or Discogs.
Phases Of Reality
A2 True Love Don't Come Easy (Harold Beane, William Bell 2:49)
A3 Fifty Dollar Habit (Horace Shipp, Jr., William Bell 3:33)
A4 What I Don't Know Won't Hurt Me (George Soule, Steve Wiggins 3:44)
B1 Phases Of Reality (William Bell 3:09)
B2 If You Really Love Him (George Soule, Terry Woodford 3:57)
B3 Lonely For Your Love (William Bell 2:45)
B4 The Man In The Street (Horace Shipp, Jr., William Bell 2:56)
Label: Stax – STS-3005
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Southern Soul
William Bell's 1972 album, Phases of Reality, is a Southern Soul masterpiece, noted for its thoughtful themes and Bell's understated yet powerful vocal delivery.
While not as widely remembered as it should be, the album is lauded for its perfect execution of great songs that tackle social consciousness alongside themes of love and pain, though its quirky, sci-fi-influenced cover was unusual for its time.
The Stax Records release is considered one of Bell's finest, characterized by a sound that sometimes leans towards the smoother style of Al Green and Hi Records.
The album explores life, love, pain, and the state of African-Americans in the early 1970s. Some songs have a specific social consciousness focus.
Critics praise Bell's ability to deliver subtle, thoughtful songs with emotional tenderness and "fire," despite being a less assertive vocalist than some of his peers.
The sound is rooted in Southern Soul, but with stylistic comparisons to Al Green and Hi Records due to its production and arrangements, notes Funk My Soul.
It was recorded in Muscle Shoals and features the Sweet Inspirations on the track "True Love Don't Come Easy," a notable mix of country and soul.
Despite its quality, the album is often underappreciated. It was Bell's final Stax album before the label closed.
Pieces Of A Dream
A2 Warm Weather 4:07
A3 Steady Glide 4:31
A4 Touch Me In The Spring 5:12
B1 All About Love 5:03
B2 Easy Road Home 4:00
B3 Lovers 4:09
B4 Body Magic 5:24
Label: Elektra – 6E-350
Format: Vinyl, LP, Album
Country: US
Released: 1981
Genre: R&B Jazz, Funk
Style: Jazz-Funk, Soul
The 1981 self-titled debut album by Pieces of a Dream is a seminal jazz-funk record, praised as a fresh, vibrant introduction to contemporary jazz, featuring mellow, keyboard-driven soundscapes (James Lloyd), soulful vibes, and standout tracks like the minor hit "Warm Weather," launching the group's acclaimed career under producer Grover Washington Jr.. It set the tone for their infectious, smooth jazz style that would define the 80s, offering a joyful, optimistic groove that appealed to R&B and jazz fans alike.
The album is characterized by its subtle, smooth, and funky jazz-fusion sound, heavily featuring keyboards, smooth basslines, and expressive sax.
Produced by legendary saxophonist Grover Washington Jr., who discovered the teenage trio, lending significant credibility and polish.
It marked the arrival of a major force in jazz-funk, with its energetic yet sophisticated grooves becoming a soundtrack for many and cementing their place as jazz-fusion architects.
Described as optimistic, joyful, and serene, offering an antidote to the blues with its accessible yet musically rich sound. In essence, the 1981 debut is a foundational album for modern smooth jazz, showcasing a young, talented group with a timeless sound that remains influential decades later.
Powerhouse
Written-By – Jeff Floyd 7:33
2 Funny Love
Written-By – Jeff Floyd 4:16
3 You're My Magic Girl
Written-By – Jeff Floyd, William Bell 3:37
4 Let's Git It On
Written-By – Jeff Floyd, William Bell 5:40
5 I'm Giving You My Private Number
Written-By – Jeff Floyd, William Bell 5:04
6 I'm Giving Up (All The Other Girls)
Written-By – Jeff Floyd, William Bell 4:55
7 Nobody Wants You
Written-By – Jeff Floyd 3:57
8 Try A Little Tenderness
Written-By – Harry Woods, Jimmy Campbell, Reginald Connelly 4:45
9 Face Down
Written-By – Jeff Floyd 3:59
10 All I Need
Written-By – Jeff Floyd, Phil Robinson 5:34
11 Party All Night
Written-By – Jeff Floyd 3:37
Label: Wilbe Records Inc. – Wil2002-2
Format: CD, Album
Country: US
Released: 2001
Genre: R&B Soul
Style: Southern Soul
Jeff Floyd's 2000 album, Power House, is a well-regarded Southern Soul/R&B record, highly popular for its blend of old-school soul vocals with a contemporary sound. It was produced and co-written by legendary Stax soul singer William Bell.
Reviews from listeners and music enthusiasts generally praise the album for its authentic, heartfelt delivery and strong songwriting:
The album's lead track "I Found Love (On a Lonely Highway)" became a significant regional "chitlin' circuit" hit and is frequently played on Southern Soul radio stations, achieving the status of a classic in the genre.
Floyd's voice is often compared to classic soul singers like Bobby Womack or David Ruffin of The Temptations. Fans appreciate his honest, enjoyable voice and the use of "funky live instrumentals".
William Bell's production is credited with effectively combining traditional R&B elements with a modern feel. Some reviewers note it has a low-budget, straight-from-the-heart feel, which is seen as a positive, authentic quality.
Many fans report the album has no "filler" tracks and is highly danceable and enjoyable for repeated listening. The album is described as "really good R&B for the 2000's".
The album is considered Jeff Floyd's breakthrough disc. For purchasing options, it is available on platforms like Amazon and Discogs.
Prodigal Sista
2 Made It Back
Featuring – Redman
Producer – Dodge 4:08
3 Rewind (Find A Way)
Producer – 2B3 4:28
4 Damn
Producer – 2B3 4:52
5 A.W.O.L.
Producer – Carl McIntosh 4:30
6 Sista, Sista
Producer – Hawk Wolinski, Definition Of Sound 4:42
7 Strong Hand
Producer – Ayatollah, Carl McIntosh 3:20
8 Greatest Day
Producer – Mike Spencer 4:16
9 That's Alright
Producer – 2B3 4:19
10 Tomorrow
Producer – Hawk Wolinski, Don-E 4:42
11 Send Me, Move Me, Love Me
Producer – 2B3 5:04
12 The Need Of You
Producer – Dodge 3:45
13 Good Morning World
Producer – Dodge 5:42
Label: EMI – 7243 4 96296 2 2
Format: CD, Album
Country: UK
Released: 1998
Genre: Hip Hop, Funk, Soul
Style: Contemporary R&B, UK Street Soul, Neo Soul
Beverley Knight's Prodigal Sista (1998) was a critically acclaimed triumph, hailed for its masterful blend of R&B, soul, and jazz-funk, showcasing Knight's exceptional vocal agility and powerful, honest lyrics, earning it MOBO Awards for Best Album and Best R&B Act, solidifying her as a leading British soul voice with hits like "Greatest Day" and "Gold".
Reviewers praised Knight's "bell-like" voice, noting her emotional depth, intricate harmonies, and raw honesty, calling her performances breathtaking.
The album successfully merged classic soul, contemporary R&B, funk, and gospel, moving beyond typical genre constraints with tracks like the jazzy "Same" and danceable "Whatever's Clever".
It was seen as a personal, healing journey, with songs like "Gold" exploring self-doubt and vulnerability with heartfelt lyrics, alongside empowering anthems.
Prodigal Sista won Best Album at the 1999 MOBO Awards, beating major US releases, and cemented Knight's status in the UK music scene.
Standout Tracks: "Greatest Day" (classic mix), "Gold," "Beautiful Contradiction," and "Damn" were frequently highlighted for their musicality and emotional impact.
Prodigal Sista is considered a definitive work, showcasing Beverley Knight's maturity and vision, offering both upbeat grooves and smooth, soulful ballads, making it a joy to listen to and a landmark in British soul music.
Rainbow Connection IV
Written-By – Robert Daniels 3:37
A2 Is It Love You're After
Written-By – Miles Gregory 5:01
A3 Shine Your Light
Written-By – Robert Daniels 5:26
A4 What You Waitin' For
Written-By – Norman Whitfield 8:54
B1 Bad Mother Funker
Written-By – Norman Whitfield 4:41
B2 You Can't Run From Yourself
Written-By – Norman Whitfield 5:43
B3 Lock It Down
Written-By – Miles Gregory 5:59
B4 Pazazz
Written-By, Producer – Michael Nash 4:47
Label: Whitfield Records – WHS 3387
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre:
R&B Soul
Style: Seventies Soul, Funk, Disco
Rose Royce IV: Rainbow Connection is the fourth album by the funk and soul band Rose Royce, released in August 1979 on the Whitfield label. The album features a mix of funk, soul, disco, and quiet storm tracks and was the final album to include lead singer Gwen Dickey before she began a solo career.
The album was primarily produced by Norman Whitfield, a key figure in the band's history. It was a commercial success, reaching #22 on the R&B albums chart and #74 on the Billboard 200. The album is noted for its soulful tracks and danceable funk, disco songs.
It album produced two singles, the most successful being "Is It Love You're After," which reached #13 on the UK Singles Chart. The ballad "I Wonder Where You Are Tonight" is also highly regarded by fans.
The album marked the end of an era as Gwen Dickey's final album with the group, cementing their sound before her departure.
Reaching For The World
A2 Where There's A Will - There's A Way (H. Melvin, M. & M. Steele 4:05)
A3 After You Love Me, Why Do You Leave Me (H.J. Melvin*, K. Gamble 4:42)
A4 Sandman (Hubert V. Yarborough 4:25)
B1 Hostage Part 1 & 2 (Hubert V. Yarborough 6:30)
B2 He Loves You And I Do Too (Harold J. Melvin 3:37)
B3 Big Singing Star (Harold J. Melvin 3:33)
B4 Stay Together (G. McFadden*, J. Whitehead, V. Carstarphen 5:00)
Label: ABC Records – AB-969
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul
Harold Melvin & The Blue Notes' Reaching For The World (1976/77) is a well-regarded, post-Teddy Pendergrass album marking their debut on ABC Records, praised for its lush Philly Soul sound, sophisticated arrangements, and strong performances by new lead David Ebo, blending upbeat dancers like the title track with soulful mid-tempo groovers like "After You Love Me, Why Do You Leave Me" and Sharon Paige duets, proving the group's enduring quality despite the lineup change.
It's significant as the first album after Teddy Pendergrass's departure, showcasing a shift with new lead David Ebo, though maintaining the classic Sigma Sound studio feel. Critics highlight its rich harmonies, melodic sophistication, and danceable rhythms, capturing the essence of mid-70s Philly Soul before disco fully took over.
Fans and reviewers appreciate its consistent quality, balancing personal and political themes with excellent pacing, making it a "lost classic" for many.
Reaching For The World is considered a strong album that successfully transitioned the group by featuring the talented David Ebo alongside the familiar tight harmonies and sophisticated production that defined Harold Melvin & The Blue Notes.
Reflections
Written-By – Davis 3:31
A2 Stop Half Lovin' These Women
Written-By – Lewis 3:50
A3 I Worry About You
Written-By – Mapp 4:55
A4 Wanting What You Can't Have (Having What You Don't Want)
Written-By – Williams, Johnson 3:11
B1 Heaven Bless This Home
Written-By – Wilson 4:02
B2 If You Really Love Your Girl (Show It)
Written-By – D. Bridges, F. Bridges, Benson, Thomas 6:35
B3 Never My Love
Written-By – Dick Addrisi, Don Addrisi 4:01
B4 Forgive And Forget
Written-By – Davis, Ross, Mack 4:21
Label: RCA Victor – APL1-2527
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Southern Soul
Johnnie Taylor's 1977 album Reflections is considered a strong, yet somewhat overlooked, chapter in his career, blending soulful roots with polished production by the legendary Don Davis, offering rich vocals on rootsier tracks than his later hits, and is noted for its quality despite not charting as high as some other releases like Eargasm or Rated Extraordinaire, with fans praising his timeless voice.
Don Davis's production provides a polished feel, bridging his Stax bluesier era and his Columbia smoother hits, making it a rootsier but still slick soul record.
Taylor's signature smooth, expressive voice shines, adding depth and sparkle to the material. It sits in an interesting spot in his discography, between major chart-toppers, making it a deeper cut for fans.
While not a huge chart success (peaking at #45 on R&B charts), it's highly regarded by those who discover it, often recommended for its quality.
In essence, Reflections is a solid, high-quality soul album showcasing Johnnie Taylor's enduring vocal talent with tasteful production from Don Davis, making it a rewarding listen for soul enthusiasts.
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.
Roberta Flack and Donny Hathaway
A2 You've Got A Friend (Carole King 3:24)
A3 Baby I Love You (Ronny Shannon 3:24)
A4 Be Real Black For Me (Mann, Hathaway, Flack 3:30)
A5 You've Lost That Loving Feeling (Mann-Weil, Spector 6:36)
B1 For All We Know (J. Fred Coots, Sam M. Lewis 3:38)
B2 Where Is The Love (Ralph MacDonald, William Salter 2:43)
B3 When Love Has Grown (Donny Hathaway, Eugene McDaniels 3:31)
B4 Come Ye Disconsolate (Traditional 4:50)
B5 Mood (Roberta Flack 7:00)
Label: Atlantic – SD 7216
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul
The critically acclaimed, Grammy-winning 1972 album by Roberta Flack & Donny Hathaway is known for its intimate chemistry, soulful arrangements, and a seamless blend of R&B, pop, folk, jazz, and gospel influences.
The album is noted for its "understated elegance and simmering passion," featuring quietly intense singing from Flack and gospel-influenced vocals from Hathaway. The rich, elastic voices of the duo match perfectly in close-knit harmony.
It successfully marries various genres, offering a unique sound that blends R&B with folk, jazz, blues, and classical elements, a reflection of their musical training at Howard University.
The album features creative interpretations of contemporary hits alongside original compositions. Covers include a slow-burning soul ballad version of The Righteous Brothers' "You've Lost That Lovin' Feelin'" and a definitive R&B/folk take on Carole King's "You've Got a Friend". Originals include the "Black is Beautiful" anthem "Be Real Black for Me".
The album's standout track was the runaway chart hit "Where Is the Love," a bittersweet lovers' plea that won the duo a Grammy Award for Best Pop Performance by a Duo or Group with Vocals in 1973.
The album's moods range from the funky "Baby I Love You" to the solemn hymn "Come Ye Disconsolate," closing with "Mood," a seven-minute, classically-derived instrumental piano duet showcasing their musical prowess.
The record is widely considered one of the all-time great duet albums in R&B history, capturing the essence of love, longing, and deep connection with a "divine match" of talent.
(Provided by SoulYears.com)
Rockie Robbins
A2 If I Ever Lose You (Rockie Robbins 4:20)
A3 Funk Street (Rockie Robbins 4:14)
A4 When I Think Of You (Rockie Robbins 4:30)
A5 I Love Only You (Rockie Robbins 4:00)
B1 Don't Deny Me (Rockie Robbins 4:25)
B2 Be Ever Wonderful (Larry Dunn, Maurice White 5:56)
B3 Sho' Is Bad (Richard Evans, Rockie Robbins 5:20)
B4 Miss Dynamite (Greg Crockett, Ray Gardner 5:12)
Label: A&M Records – SP-4758
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Disco Funk Soul
Rockie Robbins' 1979 self-titled debut album is a well-regarded piece of classic soul, praised for its smooth production and the singer's clear, sensual tenor. Though not a massive commercial success at the time, it is now considered an essential soul album by fans and critics alike.
The album is noted for its breezy, low-key R&B sound, reminiscent of artists like Peabo Bryson. Production by Chicago visionaries Richard Evans and Johnny Pate features "agile ivory tickling, bubbly bass and punchy horns" that complement Robbins' voice without overpowering it. The musicianship is considered high-quality, involving legendary session musicians.
Robbins' "glass clear tenor" is a central highlight, perfectly suited for the album's ballad selections. His delivery is described as sensual and unaffected.
While not a major commercial success, the album was critically appreciated for its smooth, breezy soul sound, often compared to the style of Peabo Bryson. The single "Be Ever Wonderful" was a minor R&B hit, reaching number 67 on the US R&B charts. The label's confidence in Robbins led to his more successful follow-up album, You & Me, the next year.
Ronnie McNeir
A2 Since I Don't Have Your Love (R. McClaine, R. McNeir 3:08)
A3 Now She's Gone (K. Weston, R. McNeir 3:51)
A4 I'm Your Lover (C. Coit, R. McNeir, W. Moore 3:27)
A5 Baby Come Back Home (H. Morrison, R. McNeir 4:29)
B1 Sagittarian Affair (R. McNeir 2:49)
B2 You Are Everything (H. Morrison, R. McNeir 3:15)
B3 Spirit Of Love (Vocals – Kim Weston) (A. Moore, R. McNeir 4:00)
B4 Nothing But A Heartache (N.J. Morrison, R. McNeir 2:57)
B5 Wendy Is Gone (M. Cummings, R. McNeir 2:45)
B6 Give Me A Sign (H. Morrison, R. McNeir 3:24)
Label: Prodigal – PLP-10007
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul
Ronnie McNeir's 1975 self-titled album, released on the Prodigal label, is a well-regarded record in the soul music scene, praised for its soulful vocals, emotional depth, and polished production. While it had limited initial commercial success, it has since become a sought-after item for soul enthusiasts and is critically acclaimed as one of his best solo works.
Reviews of the album highlight its mature and sophisticated blend of R&B, soul, and funk, with critics drawing comparisons to contemporaries like Leroy Hutson and Donny Hathaway.
McNeir's smooth, expressive, and unique voice is a central point of praise, particularly effective on the album's ballads and romantic songs. He is noted for his talent as a songwriter and arranger, having a hand in many of the tracks. The songs feature heartfelt lyrics addressing themes of love, loss, and social consciousness, a quality that critics appreciate.
The album is characterized by lush arrangements, incorporating rich brass sections, smooth strings, and intricate rhythms. The track "Nothing But A Heartache" is a standout example of the joyful, Philly-soul sound produced in Detroit. The production is described as polished and warm, capturing the essence of 1970s R&B music.
The album includes the much sought-after track "I'm Your Lover", which became a favorite on the Northern Soul scene in the UK, a testament to the album's lasting appeal. Other notable tracks mentioned in reviews include "Wendy Is Gone" and "A Sagittarian Affair".
Despite never making McNeir a household name at the time of its release, the 1975 album helped cement his reputation as a talented and versatile artist. The album's quality and the artist's enduring career (which later included becoming a member of the Four Tops) have led to renewed interest and reissues for new generations of soul fans. The album is highly rated among fans, with an average rating of 4.61/5 on platforms like Discogs.
Say My Friend
Bass, Written-By – Fonce Mizell
Drums, Written-By – Rodney Mizell
Guitar – Rance Allen
Keyboards, Written-By – Larry Mizell 3:56
A2 Reason To Survive
Bass – Rodney Mizell
Drums – Tom Allen
Guitar, Keyboards – Rance Allen
Written-By – Fonce Mizell 7:11
A3 Peace Of Mind
Drums, Bass – Rodney Mizell
Guitar – Rance Allen
Keyboards – Rance Allen
Keyboards, Written-By – Larry Mizell 5:11
B1 I'm Gonna Make It After All
Bass – Rodney Mizell
Drums – Tom Allen
Guitar, Keyboards – Rance Allen
Written-By – Rance Allen 5:33
B2 Got To Be Ready
Bass – Steve Allen
Drums – Tom Allen
Guitar, Keyboards, Written-By – Rance Allen 4:31
B3 You're My Everything
Piano – Rance Allen
Saxophone – Gary Bartz
Written-By – Rance Allen 5:10
B4 Truth Is Marching On (Outro)
Bass, Written-By – Fonce Mizell
Drums, Written-By – Rodney Mizell
Guitar – Rance Allen
Keyboards, Written-By – Larry Mizell 1:14
Label: Capitol Records – ST-11613
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul, Gospel
Style: Gospel-Soul, Funk
Say My Friend is a classic 1977 album by The Rance Allen Group, notable for being a soulful crossover gospel-funk collaboration produced by the highly regarded Mizell Brothers. It is widely considered one of the group's best and most soul-oriented recordings.
The album masterfully blends Rance Allen's powerful, "spacey" vocals and the brothers' musicianship with the Mizell Brothers' signature "jazz-funk" production style, characterized by "lilting arrangements and ethereal background vocals floating above spacey funk grooves".
While rooted in the group's gospel message, the music has a distinct 1970s soul and funk sound, making it a highly sought-after "rare groove" classic that bridges secular R&B and traditional black gospel music.
The song "Truth Is Marching On" was the only single from the album to make the R&B charts, peaking at number 100 in 1977.
Considered one of Rance Allen's finest moments, bridging his gospel background with contemporary soul music, it's a classic for fans of soul, gospel, and rare groove for its deep grooves and uplifting messages. It's celebrated for bringing high-quality, soulful production to gospel music.
In essence, Say My Friend is an essential listen for its incredible musicianship, spiritual depth, and influential fusion of gospel with 70s soul and funk. The album was reissued on CD for the first time by Soul Brother Records in 2007.
Say You Love Me Too
A2 Together We Make (C. Mann 3:30)
A3 Do It Again (D. Fagen, W. Becker 5:30)
A4 You Came Out Of Nowhere (C. Mann 3:16)
A5 Be Real Black For Me C. Mann, D. Hathaway, R. Flack 3:17)
B1 Say You Love Me Too (C. Mann, D. Crawford 3:34)
B2 I Can Feel It (C. Mann, D. Crawford 3:01)
B3 Very Lonely (C. Mann 3:32)
B4 If You Could See Me Now (H. Cosby, J. Bradford, J. Hinton 4:41)
B5 Stop (D. Crawford, J. Hinton 3:25)
Label: ABC Records – ABCX-786
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Philly Soul
Charles Mann's Say You Love Me Too album, released in the early 1970s, isn't heavily reviewed in mainstream music press today, but personal accounts praise it as a warm, feel-good, romantic record perfect for road trips, evoking strong feelings of love and nostalgia with its heartfelt, sing-along tracks that make listeners "smile and feel alive," positioning it as a cherished, personal classic rather than a chart-topping hit.
The album consistently brings joy, described as the "best 'road trip' record ever," resonating deeply with listeners experiencing love or fond memories.
It's a significant record for fans who've shared it with loved ones or used it to soundtrack important life moments, creating strong personal connections. Listeners love belting out every song, highlighting its accessible, joyful melodies and heartfelt lyrics.
Say You Love Me Too isn't a widely dissected classic; its appeal lies in deep personal connection, making it a beloved album for those who discovered it, often during formative years or significant life events, rather than a major critical darling.
Overall, the album is recommended for fans of 1970s soul and is often described as having an irresistible, jazzy quality that perfectly embodies the Philly soul aesthetic. It's a hidden gem for anyone seeking genuinely sweet, feel-good music from the era, perfect for happy, reflective listening.
Saying Something
Written-By – C. Kenner
A2 I Need You So
Written-By – Ivory Joe Hunter
A3 Please Don't Hurt Me
Written-By – Bob Tubert, Demetriss Task
A4 Cause We're In Love
Written-By – Joe Smith
A5 Don't Go
Written-By – V. Simpson, N. Ashford, J. Armstead
B1 Can't Let You Out Of My Sight
Written-By – Helen Miller, Roger Atkins
B2 I'm Satisfied
Written-By – V. Simpson, N, Ashford, J. Armstead
B3 Baby Take Me
Written-By – V. Simpson, N. Ashford, J. Armstead
B4 Never Had It So Good
Written-By – V. Simpson, N. Ashford, J. Armstead
B5 We Find Him Guilty
Written-By – V. Simpson, N. Ashford, J. Armstead
B6 The Real Thing
Written-By – V. Simpson, N. Ashford, J. Armstead
Label: Wand – WDS-669
Format: Vinyl, LP, Album
Country: US
Released: 1965
Genre: R&B Soul
Style: Sixties Soul
Released in 1965 on Wand Records, "Saying Something" is a highly-regarded soul duet album featuring Chuck Jackson and Maxine Brown. Critics and collectors frequently cite it as a classic of the mid-60s "uptown" soul production style, offering a more sophisticated alternative to contemporaneous "kiddie" male/female duets.
The album is noted for its "uptown" production, which provides a polished, professional edge that highlights the strengths of Wand's two premier vocalists.
Jackson and Brown are considered synonymous with quality in 60s soul music; their collaborations on Wand are particularly treasured by collectors of "real soul" and Northern Soul.
The album maintains strong user ratings across music databases, with an average rating of 4.33 to 5 stars on Discogs.
In essence, Saying Something is a cherished soul gem, a testament to the incredible vocal talent of Chuck Jackson and Maxine Brown, perfect for fans of classic 60s R&B.
For modern listeners, the original tracks are available through high-quality reissues:
CD Reissues: Kent Records released a comprehensive CD titled Saying Something / Hold On, We're Coming, which combines this album with their subsequent duet LP and includes rare solo bonus tracks.
Streaming/Digital: Tracks from the album are frequently featured on "Best Of" compilations available on Amazon and other digital platforms.
Scratch My Back
Written-By – David "Fathead" Newman, Jay Fleecewood, Tanyette Willoughby 5:51
A2 You Gotta Keep Gotta Keep Dancin'
Written-By – David "Fathead" Newman, Jay Fleecewood, Tanyette Willoughby 6:34
A3 Two Can Do It
Written-By – Tanyette Willoughby, David "Fathead" Newman, Jay Fleecewood 6:25
B1 Scratch My Back
Written By – Kevin Toney 5:52
B2 Rock Me,Baby (Like My Back Ain't Got No Bone)
Written-By – Bessie Scott, Kevin Toney 5:34
B3 After The Ball
Written-By – David "Fathead" Newman, Jay Fleecewood 3:40
Label: Prestige – P-10108
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Jazz, Funk, Soul
Style: Jazz-Funk, Disco
David "Fathead" Newman's Scratch My Back (1979) is a soulful, funky jazz album on Prestige Records, featuring his signature smooth saxophone over driving jazz-funk and disco grooves with tracks like "One Step At A Time" and the title track, showcasing his versatile sound and packed with groove-oriented tunes for a vibrant late-70s jazz-funk feel.
The album was recorded in March 1979 at Fantasy Studios in Berkeley, California, and was produced by Orrin Keepnews and William Fischer. The inclusion of disco and funk elements was noted by critics at the time, with one review lamenting that "disco madness has hit Newman full force". The arrangements, featuring work by William Fischer, support this stylistic direction.
The album features both instrumental tracks and vocal performances, notably with lead vocals by Bessie Ruth Scott on "Rock Me, Baby (Like My Back Ain't Got No Bone)".
Key Characteristics:- Vibe: Funky, tight, tasty, and groovy. Instrumentation: Focuses on Newman's alto and tenor saxophones with strong rhythm sections. Key Tracks: Includes "One Step At A Time," "You Gotta Keep Gotta Keep Dancin'," and the title track, "Scratch My Back". Production: Produced by Orrin Keepnews and William Fischer.
If you enjoy classic jazz-funk with prominent saxophone, this album delivers a solid mix of catchy basslines, soulful melodies, and danceable rhythms, making it a highlight in Newman's discography and a great listen for fans of the genre.
Secret Lover
A2 Your Real Good Thing's About To Come To An End (I. Hayes-D. Porter 5:07)
A3 There He Is (L. Weiss, L. Edwards 3:52)
A4 Let Me Wrap You In My Love (H. Straws, N. Dean 3:52)
B1 There's Fire Down Below (Clarence Reid 3:04)
B2 If You Don't See Me Again (Clarence Reid 3:40)
B3 Love The Hell Out Of Me (Clarence Reid 3:55)
B4 Secret Lover (Clarence Reid 4:00)
Label: Blue Candle – 55055
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Funk
Paulette Reaves' 1976 album Secret Lover is a respected record in the rare groove, soul, funk, and disco scenes, particularly known for its association with the vibrant "Miami Sound" produced by the T.K. Records affiliated Blue Candle label. Professional critical reviews are scarce in publicly available sources, but the album is highly regarded by collectors and fans of 70s soul.
The album is a quintessential piece of Miami soul, blending deep soul ballads with upbeat funk and disco elements. It captures the distinctive production style of the TK Records empire.
The title track, "Secret Lover," is a notable song, and other tracks like "Let Me Wrap You in My Love" gained traction on the rare groove scene. The track "You Are My Star" was also featured on a nineties compilation by Expansion Records.
Due to its niche appeal and the collectability of T.K. Records productions, the album is highly sought after by vinyl and soul music collectors, often commanding high prices for original pressings. It has been reissued in various formats, including Japanese import CDs.
The album is praised for its quality soul and funk tracks, showcasing Reaves' powerful vocals backed by the polished Miami studio sound. It is considered a solid, enjoyable listen for enthusiasts of the era and genre.
Secrets
A2 Secrets 4:29
A3 I Suppose (Bring Me To Your Love) 3:42
A4 I'm So Thankful 5:05
B1 Basin Street 5:05
B2 Count On Me 4:04
B3 The Chosen Ones 4:11
B4 Fever 4:11
Label: 411 Records – BLF 736
Format: Vinyl, LP, Album
Country: US
Released: 1985
Genre: R&B Soul
Style: Eighties Disco Funk
Linda Tillery's 1985 album Secrets is an eclectic mix of R&B, gospel, pop, jazz, and soul that generally received positive reviews, though some critics noted a clash between her powerful vocals and the slicker production style of some tracks. The album is widely considered a "Bay Area treasure" by fans and was a significant release that returned Tillery to the spotlight.
The consensus among reviewers is that Tillery's voice is the album's main strength. Her vocals are described as "sure, strong," "powerful," and having significant "gospel power" and "jazz phrasing".
Some tracks were produced by Tillery herself, including a gospel-soul arrangement of her song "I'm Thankful" and a rearranged version of the R&B standard "Fever". Other tracks were produced by Ray Obiedo, whose arrangements were noted as a more formulaic "bland pop-soul" style that Tillery's voice often transcended.
The album is praised for its diverse sound, which includes a mix of African American blues, R&B, and jazz elements. A review in The Washington Post highlighted a stylistic tension, noting that producer Ray Obiedo's "bland pop-soul" arrangements sometimes "slickened" the sound, but Tillery's "gritty lead vocal" managed to cut through the commercial pop style.
Seven Days Of Night
Written-By – Barbara Acklin, Carl Davis, Eugene Record 2:32
A2 Go With Love
Written-By – Burt Bacharach-Hal David 2:14
A3 Seven Days Of Night
Written-By – Carl Davis, Eugene Record 2:37
A4 Just Ain't No Love
Written-By – Carl Davis, Eugene Record 2:47
A5 Where Would I Go
Written-By – Burt Bacharach-Hal David 2:41
A6 Am I The Same Girl
Written-By – Eugene Record, W. Sanders 3:02
B1 Until You Return
Written-By – Barbara Acklin, Carl Davis, Eugene Record 3:06
B2 This Girl's In Love With You
Written-By – Burt Bacharach-Hal David 4:26
B3 Here Is A Heart
Written-By – Barbara Acklin, Carl Davis, Eugene Record 2:40
B4 Mr. Sunshine (Where Is My Shadow)
Written-By – Carl Davis, Eugene Record 2:37
B5 Love Had Come To Stay
Written-By – Barbara Acklin, Carl Davis, Eugene Record 3:06
Label: Brunswick – BL 754148
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul
Style: Sixties Soul
Barbara Acklin's Seven Days of Night (1969) is a standout Chicago soul album, praised for balancing sweet 60s girl-group vibes with emerging 70s soul power, featuring the iconic "Am I the Same Girl" (later instrumentalized as "Soulful Strut"), strong originals like the title track and "Love Had Come to Stay," and even surviving some heavy Bacharach/David covers with her soulful touch, making it essential listening for soul fans.
It captures the unique Chicago soul style, blending sweet melodies with powerful soul, notes Walmart.
Features great tracks like the title song, "A Raggedy Ride," "Mr. Sunshine," and the dreamy, haunting "Love Had Come to Stay," and the hit single "Am I the Same Girl", a soulful highlight, though Brunswick famously pulled her vocals for the instrumental hit "Soulful Strut" by Young-Holt Unlimited,.
While some find the Bacharach/David covers over-orchestrated (like "Go With Love"), her take on "This Girl's In Love With You" is noted for keeping ornamentation minimal, Funk My Soul.
A must-have album showcasing her songwriting and vocal talents, with modern reissues making it accessible.
In summary, Seven Days of Night is considered a vital Chicago soul album, demonstrating Acklin's versatility and talent as both singer and songwriter, bridging 60s sweetness with 70s soul depth.
Sex and Soul
A2 Got To Get Enough (Of Your Sweet Love Stuff) 2:46
A3 I'm Falling In Love Again 4:09
A4 I Found A Man In My Bed 2:38
A5 Those Days Are Gone 3:03
A6 She Kept On Walkin' 3:29
B1 I Wasn't There (But I Can Feel The Pain) 3:29
B2 I'm Gonna Love Somebody Else's Woman (Somebody's Lovin' Mine) 3:10
B3 I'll Never Leave You Lonely 3:33
B4 Open Letter To The President 3:09
B5 I'm Bustin' My Rocks (Working On The Chain Gang) 2:32
B6 Back Into My Arms 3:03
Produced, Written and Arranged by Roy C. Hammond
Label: Mercury – SRM-1-678
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Southern Soul
Roy C's Sex & Soul is a seminal Southern Soul/Funk album known for its raw, passionate vocals, deep grooves, and explicit "grown folks" themes of love, desire, and infidelity, blending fiery grit with smooth, sophisticated production reminiscent of early '70s Stax/Volt or Hi Records, featuring standout tracks like "Got to Get Enough (Of Your Sweet Love Stuff)" and the legendary "Don't Blame the Man". It's considered an underrated gem, perfect for soul fans seeking authentic, mature R&B with a distinctive West Indian flavor, making it essential for genre enthusiasts.
The album is considered deep, pure Southern soul, reminiscent of the Stax or Fame labels. It avoids the orchestral arrangements common in "bedroom soul" of the era (e.g., Barry White), instead focusing on a grittier sound with prominent guitars, organ, bass, drums, and horns.
Roy C. delivers his songs with "fiery conviction" and a raw, passionate grit, blending the intensity of Otis Redding with the smoother production of early-70s soul.
The album is notable for addressing adult themes of love, infidelity, and relationships in a direct, unpretentious manner, speaking to a "grown folks" audience. Roy C. also included socially conscious and political songs, such as "Open Letter to the President", which protested the Vietnam War.
Roy C. produced the album himself, contributing to its independent, unique sound, which some reviewers note has a "West Indian flavor". The simple instrumentation and production style were a contrast to some of the more excessive 70s trends.
Despite limited commercial chart success at the time, the album became a cult classic and is considered one of the most underrated soul albums of the early 1970s. It was the first in a trilogy of albums Roy C. released on Mercury, followed by Something Nice (1975) and More Sex & More Soul (1977).
Shaft Soundtrack
A2 Bumpy's Lament 1:49
A3 Walk From Regio's 2:22
A4 Ellie's Love Theme 3:16
A5 Shaft's Cab Ride 1:07
B1 Cafe Regio's 6:09
B2 Early Sunday Morning 3:47
B3 Be Yourself 4:27
B4 A Friend's Place 3:21
C1 Soulsville (Vocal) 3:47
C2 No Name Bar 6:09
C3 Bumpy's Blues 4:01
C4 Shaft Strikes Again 3:04
D1 Do Your Thing (Vocal) 19:38
D2 The End Theme 1:56
Label: Enterprise – ENS-2-5002
Format: 2 x Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Soul, Jazz, Funk
Style: Soul-Jazz, Soundtrack
The Shaft soundtrack by Isaac Hayes is a landmark double album that redefined film music with its pioneering blend of funk, soul, and lush orchestration. It is Hayes' best-known work and the best-selling LP in the history of Stax Records.
The album is a foundational work of blaxploitation cinema scores, known for its distinctive "wah-wah" rhythm guitar, prominent hi-hat cymbals, and a mix of deep grooves and sophisticated, cinematic soul.
The iconic title track was a massive commercial success, hitting number one on the Billboard pop chart. Hayes became the first African-American to win an Academy Award in a non-acting category when the song won Best Original Song in 1972.
While the title track and two other songs ("Soulsville" and "Do Your Thing") feature vocals, the majority of the album consists of instrumental score pieces that provide atmospheric and narrative texture for the film. These tracks showcase Hayes' versatility, incorporating elements of jazz, blues, and orchestral pop.
The soundtrack had a significant impact on music history, influencing the development of disco and becoming a rich source of samples for hip-hop artists. In 2014, the album was added to the National Recording Registry by the Library of Congress for being "culturally, historically, or aesthetically significant".
It was a major critical success, winning multiple Grammy Awards and a Golden Globe. The album is praised for its production quality and for transporting listeners back to the cool, urban atmosphere of the 1970s, making it a timeless classic.
Shake, Rattle and Roll
Written-By – Jesse Stone 2:17
A2 I've Been Loving You Too Long (To Stop Now)
Written-By – Jerry Butler, Otis Redding 3:17
A3 Love Got Me
Written-By – Arthur Conley 2:20
A4 A Change Is Gonna Come
Written-By – Sam Cooke 3:14
A5 Hand And Glove
Written-By – Arthur Conley 2:30
B1 Ha! Ha! Ha!
Written-By – Otis Redding 2:20
B2 You Don't Have To See Me
Written-By – Chris Harris, Ronnie Grier 2:54
B3 Baby What You Want Me To Do
Written-By – Jimmy Reed 3:00
B4 I'll Take The Blame
Written-By – Arthur Conley, Otis Redding 2:50
B5 Keep On Talking
Written-By – Dan Penn, Lindon Oldham 2:38
Label: ATCO Records – SD 33-220
Format: Vinyl, LP, Album, Stereo
Country: US
Released: 1967
Genre: R&B Soul
Style: Sixties Soul, Southern Soul
Arthur Conley's
Shake, Rattle & Roll album is a solid, but less iconic, follow-up to his debut Sweet Soul Music, showcasing his deep Southern soul and R&B talent with Otis Redding's production, featuring his own hit "Shake, Rattle & Roll" and other strong tracks, solidifying his place as a prime soul artist, though it didn't replicate the massive success of his first LP, remaining a cherished slice of classic soul for fans.
The album delivers that authentic, raw Southern soul sound, perfect for dancing and capturing the era's energy. Produced by Otis Redding, it carries that signature Stax/Muscle Shoals sound, full of grit and soul.
The cover of "Shake, Rattle & Roll" (originally Big Joe Turner's) was a moderate hit, bringing a rock & roll edge to his soulful style. While full of quality tracks and deep soul, it didn't reach the commercial heights of Sweet Soul Music, but it's highly regarded by soul enthusiasts.
Shake, Rattle & Roll is a must-have for fans of 1960s Southern soul, offering energetic, authentic performances that prove Arthur Conley was a major talent alongside his famous contemporaries, even if it's often overshadowed by his debut.
Reviewers and fans praise the album for its energetic feel, Conley's powerful vocals, and the excellent instrumentation characteristic of the Muscle Shoals sound, with some considering it on par with works by Otis Redding and Wilson Pickett.
She’s Gone
Arranged By – Alexander Hamilton
Written-By – William Bell 3:50
A2 She's Gone
Arranged By – Tom Sellers
Written-By – D. Hall-J. Oates 3:27
A3 Feel Like Makin' Love
Arranged By – Carmen Caramonica
Written-By – E. McDaniels 3:44
A4 Now You're Coming Back Michelle
Arranged By – Ian Freebairn-Smith
Written-By – B. Raleigh, H. David 3:04
A5 A Smile Can't Hide A Broken Heart
Arranged By – Alexander Hamilton
Written-By – Booker T. Jones, William Bell 2:02
A6 Hourglass
Arranged By – Ian Freebairn-Smith
Written-By – Pamela Phillips 2:25
B1 Let It Be Now
Arranged By – Tom Sellers
Written-By – David Pomeranz 3:45
B2 Got It Here To Give
Arranged By – Alexander Hamilton
Written-By – B. Olive, K. Nolan 2:52
B3 Baby You Don't Know How Good You Are
Arranged By – Ian Freebairn-Smith
Written-By – G. Williams, J. Barry 2:55
B4 Keep The Faith
Arranged By [Horns] – Ian Freebairn-Smith
Arranged By [Tracks] – Tom Sellers
Written-By – Mark James 3:17
B5 You're A Lady
Arranged By – Ian Freebairn-Smith
Written-By – Peter Skellern 4:35
Label: Bell Records – BELL 1318
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul
Lou Rawls' album She's Gone is an R&B and soul record that features his cover version of the Hall & Oates hit, as well as a blend of gospel soul, smooth tracks, and spoken-word segments.
The album captures Rawls during a transitional period in his career between his time with Capitol and his hugely successful tenure with Philadelphia International Records, which began two years later with All Things in Time. Reviewers have described the album as an "absolutely fantastic" listen, highlighting its diverse tracklist.
The record blends classic 1970s R&B sounds with Rawls' signature smooth baritone voice. Notable aspects of the album include:
Gospel Influence: The first track has been described as "gospel soul," connecting to Rawls' early roots in Chicago gospel groups.
Smooth Soul: Several tracks, such as "Makin' Love," offer a very smooth and mellow sound.
Spoken Word: The album also features spoken-word segments, a style Rawls was known for incorporating into his music.
The album features notable session musicians including Joe Sample, Larry Carlton, Ray Parker Jr., and David T. Walker. It was praised for the quality and variety of its material and vocal performances upon release.
In essence, She's Gone offers a nostalgic, classy listening experience, capturing Rawls' smooth elegance with an updated 70s soul sound that remains highly regarded by fans.
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.
Simon Sings
Written-By – Reed
A2 Misty Blue
Written-By – Montgomery
A3 It's Too Late, Baby (Too Late)
Written By – Brown, Johnson
A4 Standing In The Safety Zone
Written-By – Robinson
A5 In Reach Of Your Arms
Written-By – Chapel
A6 Lonely Man
Written-By – Donnell
B1 I'm Going Home
Written-By – Morrison
B2 Twinkle
Written-By – Lee
B3 Dreamin'
Written-By – DeVorzon, Ellis
B4 Looking Back
Written-By – Hendricks, Benton, Otis
B5 Funny How Time Slips Away
Written-By – Nelson
B6 She Went A Little Bit Farther
Written-By – Vickery, Kilgore
Label: Monument – SMO 5026
Format: Vinyl, LP, Album
Country: UK
Released: 1969
Genre: R&B Soul
Style: Southern Soul
Simon Sings is a soul and R&B album by American singer Joe Simon, released in 1969. The album, like others Simon recorded for the Nashville-based Sound Stage 7 label, was produced by John Richbourg for J.R. Enterprises Inc. and features a mix of deep, Southern-style ballads and uptempo tracks.
The album primarily features a blend of soul, R&B, and funk music. Simon's style is characterized by a "deep soul" sound with a "languid, velvet-smooth" baritone voice that effectively conveys a range of emotions, from introspective ballads to more uptempo dance numbers.
The recordings were made in Nashville and often feature arrangements by Bergen White and the session musicians known as The Music City Four/Five. This Nashville production often incorporated country influences into the soul sound, which was a signature of the Sound Stage 7 label under Richbourg.
Simon Sings was Joe Simon's third album for the Sound Stage 7 label, following Pure Soul (1967) and No Sad Songs (1968). Simon had a string of chart hits with the label during this period, including the Grammy-winning "The Chokin' Kind".
It captures Joe Simon at his soulful peak on Sound Stage 7, offering a definitive look at his versatile talent in the heart of Southern Soul music.
Sing A Song
A2 He Is Lord 4:57
A3 To Glorify Your Name 4:45
A4 It's Not Easy 6:05
B1 Have You Tried God 4:59
B2 The First Face I Want To See 5:50
B3 God's Got It 3:59
B4 He's Coming Back 3:53
Label: Beracah Records – BRI-2001
Format: Vinyl, LP, Album
Country: UK
Released: 1986
Genre: R&B Gospel
Style: Gospel, Soul
Candi Staton's 1986 album, Sing a Song, marked a significant success in her Gospel career, blending traditional hymns with contemporary praise/worship, featuring hits like "The First Face I Want to See," earning a Grammy nomination, and solidifying her transition to faith-based music with catchy arrangements and her powerful, raw soul voice, creating timeless tracks that resonated deeply with gospel audiences and beyond.
Following her earlier R&B/Soul success, Sing a Song was a crucial album in Staton's pivot to Gospel music, establishing her strong presence in that genre.
It produced successful tracks like the uplifting "The First Face I Want to See" and the contemporary "God's Got It," contributing to strong sales for the era.
The album featured heartfelt gospel themes, combining classic hymn arrangements with modern production, including fine string, horn (Ernie Watts), and backing vocals (The McCrarys).
It received a Grammy nomination, highlighting its importance and quality within the Gospel music scene.
The blend of Staton's signature soulful, powerful vocals with genuine spiritual messages made the album feel fresh and essential.
The album was released as a vinyl LP in 1990 in the UK under the title "Glorify" and re-released on CD in the early 2000s.
Sing A Song
A2 Sweet Music (Al Martinez 3:50)
A3 The Answer Is You (Mark Radice 5:09)
A4 Love Is Free (Mark Radice 3:51)
B1 Sing A Song (Ernest Straughter, Philip Bailey 3:40)
B2 Gonna Make Changes (Phyllis Hyman 3:58)
B3 Soon Come Again (Larry Alexander, Sandy Torano 3:33)
B4 Be Careful (How You Treat My Love) (Glenn 4:12)
B5 Here's That Rainy Day (James Van Heusen, Johnny Burke 3:00)
Label: Buddah Records – BDLP 4058
Format: Vinyl, LP, Album
Country: UK
Released: 1979
Genre: R&B Soul
Style: Seventies Soul, Disco
Sing a Song is the second studio album by American singer Phyllis Hyman, released in 1978 on Buddah Records. It primarily features sophisticated soul, quiet storm, smooth soul, and jazz-infused R&B tracks, showcasing Hyman's warm, flowing vocals and expansive contralto range.
The album had a complex release history due to Buddah Records being acquired by Arista Records shortly after its completion. Arista head Clive Davis reportedly deemed the album "uncommercial," so Sing a Song was released internationally (outside the US) as its own project. Many of the songs were subsequently included on Hyman's retooled US album, Somewhere in My Lifetime, released later in 1978 as her Arista debut.
The album is characterized by a blend of R&B and jazz idioms, with jazzy and funky elements woven into the arrangements. The instrumentation often includes keyboards and mellow rhythms that complement Hyman's powerful and emotive vocal style.
Sit On It!
Alto Saxophone – Fred Jackson
Arranged By [Horns] – Jerry Peters
Solo Vocal – Vennette Gloud
Tenor Saxophone – Ernie Watts
Trombone – George Bohanon
Trumpet – Nolan Smith 8:17
A2 Can't Hide Love
Solo Vocal – Afreeka Trees 5:07
A3 Cherrystones
Alto Saxophone – Kim Hutchcroft
Arranged By [Horns] – Alan Silvestri
Trumpet – Jerry Hey
Trumpet [First] – Chuck Findley 6:12
B1 My Place In Space 7:34
B2 Born To Groove/From You To Me To You
Solo Vocal – Afreeka Trees 6:45
B3 Slippery Hips 4:49
Arranged By – Alan Silvestri, Eugene McDaniels
Arranged By [Backround Vocals] – Carmen Twillie
Art Direction – Mike Doud
Backing Vocals – William Champlin, Carmen Twillie, Vennette Gloud
Bass – Abraham Laboriel
Drums – Lenny White
Engineer – Doug Rider
Engineer [Assistant] – Mike Beiriger, Robert Davenport, Steve Smith
Guitar – Alan Silvestri
Harmonica – Stanley Behrens
Organ, Synthesizer – Jimmy Smith
Percussion – Steve Forman
Photography By – Antonin Kratochvil
Piano – Herbie Hancock
Producer – Eugene McDaniels
Label: Mercury – SRM-1-1127
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: Jazz, Funk, Soul
Style: Jazz-Funk
Jimmy Smith's Sit On It! is a funky, Jazz-Funk Fusion album, showcasing his signature organ grooves alongside stellar session players like Herbie Hancock, Lenny White, and Abraham Laboriel, delivering danceable grooves like a sped-up "Can't Hide Love" and deep funk on tracks like "Slippery Hips," marking a more modern, fusion-oriented side compared to his earlier jazz, appealing to funk fans and jazz enthusiasts seeking '70s grooves.
A mix of organ-driven funk, soulful grooves, and fusion elements, often compared to Herbie Hancock's work of the era, and featuring Herbie Hancock (piano), Lenny White (drums), and Abraham Laboriel (bass).
It was Smith's third album for Mercury and showcased a different, funkier musical personality than his more traditional jazz works like Unfinished Business.
Fans and critics appreciate its funky energy and high-quality musicianship. It's seen as a solid entry in the jazz-funk genre, offering danceable tracks and classic Smith organ work.
Often bundled with Unfinished Business for reissues, allowing listeners to experience two distinct sides of his music.
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.
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.
Soul ’69
A2 Today I Sing The Blues (Curtis Lewis 4:22)
A3 River's Invitation (Percy Mayfield 2:38)
A4 Pitiful (Charlie Singleton, Rose Marie McCoy 3:01)
A5 Crazy He Calls Me (Bob Russell, Carl Sigman 3:24)
A6 Bring It On Home To Me Sam Cooke 3:39)
B1 Tracks Of My Tears (Tarplin, Robinson, Moore 2:53)
B2 If You Gotta Make A Fool Of Somebody (Rudy Clarke 3:06)
B3 Gentle On My Mind (John Hartford 2:26)
B4 So Long (Melcher, Harris, Morgan 4:33)
B5 I'll Never Be Free (Bernie Benjamin, George Weiss 4:11)
B6 Elusive Butterfly (Bob Lind 2:44)
Label: Atlantic – SD 8212
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul
Style: Soul/Jazz/Blues
Soul '69 is the fourteenth studio album by The Queen of Soul, Aretha Franklin, released in January 1969 by Atlantic Records. The album is notable for its strong jazz and blues influences and use of sophisticated arrangements, making it a stylistic departure from Aretha's previous, more characteristic soul albums.
While primarily a soul album, it prominently incorporates jazz and blues elements, featuring an eclectic mix of material that goes beyond standard soul fare. The arrangements often lean towards jazz, thanks to the presence of respected jazz musicians like Kenny Burrell, Ron Carter, Joe Zawinul, and David Newman.
The album is composed entirely of cover songs from a diverse range of artists - from Smokey Robinson to John Hartford - a collection chosen with Aretha's characteristically eclectic taste.
The album was critically well-received upon release; Rolling Stone journalist Stanley Booth described it as "quite possibly the best record to appear in the last five years".
It was Franklin's sixth album to reach number 1 on Billboard's R&B albums chart, though it ended her streak of Top Five pop albums, peaking at number 15 on the Billboard Top Pop Albums chart.
Despite its initial success and critical acclaim, the album is often considered one Aretha's most overlooked '60s albums, appealing more to the aficionado than a general audience.
Producers Tom Dowd and Jerry Wexler produced the album, capturing Aretha's powerful vocals and piano work at Atlantic Studios in New York.
Two singles were released from the album: "The Tracks of My Tears" and "Gentle on My Mind." Both were only moderately successful on the pop charts.
The album was re-released on CD by Rhino Records in the 1990s after being out of print for many years, and is now available to download from Amazon in high-quality MP3 format.
(Provided by SoulYears.com)
Soul Fever
Written-By – Rose Marie McCoy 3:15
A2 Daddy's House
Written-By – Hal Miller, Rose Marie McCoy 3:08
A3 You Used Me
Written-By – Don Pullen 3:35
A4 Your Thing Ain't No Good Without My Thing
Written-By – Don Pullen 2:24
A5 Snake In The Grass
Written-By – Don Pullen 2:39
A6 Your Key Don't Fit It Anymore
Written-By – Alecia Evelyn, Henry Glover 2:22
B1 Fever
Written-By – Cooley, Davenport 2:56
B2 I Don't Want Nobody To Have It But You
Written-By – Don Pullen 2:01
B3 We'll Cry Together
Written-By – Helen Miller, Rose Marie McCoy 3:12
B4 I'll Drown In My Tears
Written-By – H. Glover 2:37
B5 I Want My Freedom
Written-By – Don Pullen 2:28
B6 Try Me
Written-By – James Brown 2:35
Label: DeLuxe – DLP-12001
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul, Blues
Style: Soul, Funk
Marie "Queenie" Lyons' only album, Soul Fever, is a highly-regarded, "supremely funky and soulful affair" that has achieved cult classic status among funk and soul enthusiasts. Critics and listeners praise her powerful, raw, and captivating vocal performance.
Lyons is noted for her "high-decibel, full-throated vocals" that have a lot of "grit and character," drawing comparisons to early Mavis Staples, Tina Turner, and Aretha Franklin.
Despite being critically acclaimed upon release (Billboard listed it as a "four star" pick in the Soul category in 1970), the album never found a large audience, likely due to turmoil at the Starday-King label. It is now considered an essential, overlooked piece of soul history that "lives up to the hype" for collectors.
For fans of R&B and soul, Soul Fever is considered a must-have, delivering a thrilling vocal performance with a raw, natural voice that many find impossible to ignore. The quality of the tracks ensures it avoids the "one or two great songs and a lot of filler" fate of some obscure reissues.
You can often find reissues of the album on vinyl or CD from retailers like Amazon or check availability on Discogs.
Soul Galore
A2 3 Days 1 Hour 30 Minutes (Alonzo Tucker, Edgar Campbell, Jackie Wilson 2:)
A3 I've Got To Get Back (Alonzo Tucker, Johnny Roberts, Nat Tarnopol 2:59)
A4 So You Say You Wanna Dance (Eddie Singleton, Jackie Wilson 2:23)
A5 Stop Lying (Russ Vincent 2:13)
A6 Let Me Build (G. Carroll, H. Walquer 2:45)
B1 Brand New Thing - Part 2 (Alonzo Tucker, Eddie O'Jay, Jackie Wilson, Johnny Michaels 2:40)
B2 Soul Galore (Eugene Hamilton 2:47)
B3 What's Done In The Dark (Will One Day Come To Light) (Alonzo Tucker, Eddie Singleton 3:00)
B4 I Got My Mind Made Up (Alonzo Tucker, Jackie Wilson 2:02)
B5 Everything's Gonna Be Fine (Alonzo Tucker, Jackie Wilson 2:36)
B6 Your Loss, My Gain (Eddie Singleton 2:40)
Label: Brunswick – BL 54120
Format: Vinyl, LP, Album
Country: US
Released: 1966
Genre: R&B Soul
Style: Sixties Soul
Jackie Wilson's 1966 album Soul Galore is a highly regarded collection of "Big City Soul" and classic Northern Soul tracks, praised by users and critics alike for its high energy and the artist's dynamic vocal performance. It is considered an essential listen within the Northern Soul genre.
The album is consistently described as a collection of up-tempo songs that are perfect for dancing, a key characteristic of Northern Soul music. One user noted that it "gives you a lift and makes you want to dance".
Critics and music descriptions refer to the tracks as "Big City Soul masterpieces" featuring classic "mod dancers". Reviewers acknowledge that while Wilson's ballads might showcase his technical range more fully, the raw, funky cuts on Soul Galore allow him to "belt it out" with immense energy, highlighting his one-of-a-kind ability.
The album (particularly reissues with bonus tracks) is valued for including rare and lesser-known LP tracks and single B-sides alongside well-known favorites, making it appealing to serious collectors and casual fans. Remastered versions of the album are praised for their superb sound quality.
Overall, Soul Galore is an energetic, highly-rated album that is a favorite among Northern Soul and R&B enthusiasts. It captures a specific, dynamic phase of Jackie Wilson's career and is celebrated for its consistently good tracks and dance appeal.
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.
Soulful Road
Written-By – Bruce Hawes, Charles Simmons, Joseph B. Jefferson 3:21
A2 I've Had Enough
Written-By – Bruce Hawes, Charles Simmons, Joseph B. Jefferson 3:54
A3 Darling Take Me Back
Written-By – Phil Terry, Talmadge Conway, Life 4:04
A4 Can't Survive Without My Sweets
Written-By – Bruce Hawes, Charles Simmons, Joseph B. Jefferson 3:36
A5 Got To Get You Back In My Life
Written-By – Phillip Pugh, Sherman Marshall 4:10
B1 Do You Remember Yesterday
Written-By – Kenny Gamble, Linda Creed, Thom Bell 4:38
B2 Only You
Written-By – Bruce Hawes, Charles Simmons, Joseph B. Jefferson 6:02
B3 Take My Hand
Written-By – Phil Terry, Talmadge Conway, Life 4:18
B4 Can't Go On Without You
Written-By – Bruce Hawes, Charles Simmons, Joseph B. Jefferson 4:34
B5 Love Is What You Make It
Written-By – Bruce Hawes, Charles Simmons, Joseph B. Jefferson 4:31
Label: Chelsea Records – CHL 500
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Philly Soul
New York City's Soulful Road is a key Philadelphia Soul album, known for its homage to The Beatles' Abbey Road on its cover and themes, featuring hit R&B singles like "Happiness Is" and "Love Is What You Make It," showcasing smooth vocals, strong production (though largely written by others), and representing the group's final effort with critical and modest chart success before they disbanded.
The album cover directly mirrors Abbey Road, with the band crossing Abbey Road in similar poses but opposite directions, and the tracklist mimicking its layout.
Produced, arranged and conducted by Thom Bell, the album is a prime example of the "Philly Sound," blending soul, disco, funk, R&B, and jazz with lavish string and horn arrangements. The production quality, largely thanks to Sigma Sound Studios and producer Thom Bell, is often praised for its "lush, soulful sound".
Soulful Road had limited commercial success compared to the band's debut, reaching the Top 50 on the US Top Soul Albums chart. The singles "Happiness Is" and "Love Is What You Make It" reached numbers 20 and 41, respectively, on the US R&B charts.
It's a prime example of the genre, noted for its lush arrangements and soulful vocals, cementing the group's importance in Philly Soul's development.
Despite limited mainstream success and the group splitting after its release, Soulful Road is considered a strong entry, ripe for modern reissue, highlighting New York City's talent.
In essence, Soulful Road is a well-crafted soul record with a clever Beatles twist, delivering smooth, chart-friendly tracks that solidified New York City's place in 70s soul music.
Soulin’
Written-By – J. W. Alexander, Lowell Jordan 2:37
A2 Love Is A Hurtin' Thing
Written-By – Bob Raleigh, Dave Linden 2:15
A3 So Hard To Laugh, So Easy To Cry
Written-By – Cecil Carter, Rich Askam 3:16
A4 You're The One
Written-By – Adolph Smith 2:35
A5 Don't Explain
Written-By – Arthur Herzog, Jr., Billie Holiday 3:01
A6 What Now My Love
Written-By – Carl Sigman, Becaud, Delanoe 3:56
B1 Memory Lane
Written-By – J.W. Alexander, Sam Cooke 2:16
B2 Old Man's Memories (Monologue) 2:18
B3 It Was A Very Good Year
Written-By – Ervin Drake 2:51
B4 Growing Old Gracefully (Monologue) 0:18
B5 Old Folks
Written-By – Dedette Lee Hill, Willard Robison 2:16
B6 Autumn Leaves
Written-By – Prevert, Mercer, Kosma 2:37
B7 On A Clear Day (You Can See Forever)
Written-By – Alan Jay Lerner, Burton Lane 2:36
B8 Breaking My Back (Instead Of Using My Mind)
Written-By – John Anderson, Lou Rawls Jr. 2:23
Label:
Capitol Records – T 2566, Capitol Records – T-2566
Format:
Vinyl, LP, Album, Mono, Scranton Pressing
Country: US
Released: 1966
Genre: R&B Soul
Style: Sixties Soul
Lou Rawls' 1966 album Soulin' is considered a classic and essential work in his discography, highly praised by critics and fans for its blend of soul, jazz, and R&B, featuring his powerful, unique baritone voice and storytelling style.
The album is noted for Lou Rawls' shift into soul material, where his gospel background shines through, moving beyond earlier jazz or blues progressions. The arrangements by David Axelrod are described as "super-tight" and jazzy, creating a sophisticated yet soulful sound.
Reviewers consistently highlight Rawls' exceptional vocal talent, describing his voice as "velvety," "captivating," and full of power and range. His ability to smoothly transition from gritty soul to silky jazz tones is a major strength of the album.
The album is famous for "Love Is a Hurtin' Thing," Rawls' first major R&B hit single that helped put him on the mainstream map. Another standout feature is his use of spoken monologues, particularly "Memory Lane," which sets up his version of "It Was a Very Good Year," a trademark of his live performances that connects deeply with the listener.
Soulin' established Lou Rawls as a major soul artist, paving the way for future Grammy wins and platinum albums by fully embracing soul music and showcasing his unique blend of vocal talent and captivating stage presence.
Speak Her Name
A2 Tear For Tear 2:30
A3 Not You 3:40
A4 After You There Can Be Nothing 2:45
A5 They Don't Give Medals (To Yesterday's Heroes) 2:41
B1 A Corner In The Sun 2:30
B2 My One Chance To Make It 2:43
B3 She's A Woman 2:27
B4 I'll Keep On Trying 2:20
B5 It's An Uphill Climb To The Bottom 2:49
Label: Okeh – OKS 14120
Format: Vinyl, LP, Album
Country: US
Released: 1967
Genre: R&B Soul
Style: Sixties Soul
Walter Jackson's Speak Her Name (the 1967 OKeh album, part of Ace/Kent's reissue trilogy) is hailed as a peak for the smooth, opulent soul baritone, blending sophisticated uptown soul with poignant Tin Pan Alley covers like "It's An Uphill Climb To The Bottom" and "A Corner In The Sun," showcasing his luxurious voice, powerful emotion, and rich arrangements, making it essential for soul fans despite its original album status being overshadowed by his hit singles.
Jackson's voice is described as a "luxuriously opulent and caressingly smooth" baritone, perfect for deep, emotional soul. The album features his signature smooth soul alongside covers of pop standards, adding depth with songs like "They Don't Give Medals To Yesterday's Heroes".
This album captures the finest of his OKeh recordings, considered by many to be his most significant work, compiled brilliantly by Tony Rounce.
The compilation Speak Her Name: The OKeh Recordings Vol 3 is praised for unearthing these gems and adding previously unissued tracks, solidifying Jackson's legacy as a great soul vocalist.
Speak Her Name is considered a masterpiece of soulful vocal performance, proving Walter Jackson was one of soul's most gifted singers, delivering poignant, beautiful music that stands the test of time.
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.
Spirit In The Dark
Written-By – Ahmet Ertegun, Betty Nelson 2:48
A2 The Thrill Is Gone (From Yesterday's Kiss)
Written-By – Art Benson, Dale Petite 4:40
A3 Pullin'
Written-By – Aretha Franklin, Carolyn Franklin, Jimmy Radcliffe 3:32
A4 You And Me
Written-By – Aretha Franklin 3:30
A5 Honest I Do
Written-By – Ewart Abner, Jr., Jimmy Reed 3:10
A6 Spirit In The Dark
Written-By – Aretha Franklin 3:59
B1 When The Battle Is Over
Written-By – Jessie Hill, Malcolm Rebennac 2:52
B2 One Way Ticket
Written-By – Aretha Franklin 2:48
B3 Try Matty's
Written-By – Aretha Franklin 2:28
B4 That's All I Want From You
Written-By – Fritz Rotter, M. Rotha 2:38
B5 Oh No Not My Baby
Written-By – Carole King & Jerry Goffin 3:10
B6 Why I Sing The Blues
Written-By – B. B. King, Dave Clark 3:08
Label: Atlantic – SD 8265
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul
Style: Seventies Soul
Spirit in the Dark is considered one of Aretha Franklin's most emotionally raw and overlooked masterpieces from her prime Atlantic era, praised for its deep integration of gospel and blues roots with powerful soul. Critics laud it as an exuberant and remarkably consistent effort, despite its lower commercial success compared to earlier albums.
The album is noted for being intensely personal and introverted, with many reviews speculating on the influence of the recent breakup of her marriage to Ted White. This personal turmoil results in a cathartic and authentic emotional delivery that some consider her "truest" record.
Franklin leans heavily into her gospel background, particularly in her piano playing and vocal delivery, while the backing band (including the Muscle Shoals Rhythm Section and Duane Allman on guitar) provides a raw R&B and blues foundation.
Franklin co-wrote five of the album's twelve tracks, her most on any single original album, and these originals ("Pullin'", "Spirit in the Dark") are highlighted as strong compositions that effectively showcase her talent.
The production, handled by Arif Mardin, Tom Dowd, and Jerry Wexler, is lauded for creating a rich, full sound that captures the energy of the sessions. The background vocals, in particular, function almost as a "latter day Greek Chorus," adding depth to Franklin's impassioned confessions.
Key Tracks:
"Don't Play That Song (You Lied)": A number one R&B and top 20 pop hit that sets a tone of excellence for the album.
"Spirit in the Dark": The funky, gospel-infused title track that became another major hit single and a classic.
"The Thrill Is Gone (From Yesterday's Kiss)": A chilling B.B. King cover given a powerful, world-weary interpretation that climaxes with an interpolation of "free at last".
"Pullin'": An infectious, gospel-rooted original composition featuring a joyous rhythm that builds to a feverish pitch.
Overall, Spirit in the Dark is a highly recommended, essential listen for soul fans, offering a masterclass in vocal performance and a compelling artistic statement that only grows in stature over time.
Step In To Our Life
Written-By – R. Flowers, W. Henderson 7:06
A2 For Real
Written-By – R. Flowers 3:50
A3 Give It To Me
Written-By – R. Flowers 3:25
A4 Ooh Baby
Written-By – R. Ayers 5:37
B1 Step In To Our Life
Written-By – W. Henderson 5:30
B2 Lovers Should Always Be Together
Written-By – W. Allen 6:31
B3 No Deposit No Return
Written-By – R. Ayers 2:44
B4 Take Your Funky Mind To The Disco
Written-By – W. Henderson 3:33
B5 Swarte
Written-By – W. Henderson 2:40
Label: Polydor – PD-1-6179
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Jazz, Soul
Style: Jazz-Funk, Disco
Roy Ayers & Wayne Henderson's Step Into Our Life (1978) is a classic, smooth jazz-funk fusion album, praised for its "Disco Jazz" vibe, blending mellow soulful sounds with warm jazz elements, featuring standout tracks like the groovy title track, funky "For Real," and catchy "Ooh Baby," representing a peak era for both jazz legends and laying groundwork for later Acid Jazz.
The album captures Ayers and Henderson as major figures in jazz-funk and soul-jazz, delivering a sound that was sophisticated yet accessible for its time.
It leans into Ayers' signature smooth, jazzy sound from albums like Vibrations, focusing on warm electric piano, vibes, and soulful vocals.
Standout Tracks:
"Step Into Our Life": Features a spine-tingling intro with harp and strings, leading into a chunky groove with great vibes and trombone solos.
"For Real": A funky ballad with excellent bass work by Nathaniel Phillips.
"Ooh Baby": A very catchy, infectious track.
The albumo Offers a mellow contrast to hectic times, allowing listeners to slow down with its rich instrumentation, including vibes, electric piano, and trombone.
Considered essential listening for fans of these artists and influential for later Acid Jazz, showcasing the exploration of new grooves in the late 70s.
A well-loved album that successfully merges jazz roots with soulful, funky, and even disco-infused grooves, making it a timeless piece of jazz fusion that remains popular and influential.
Steppin’ Out
Arranged By – Sylvester Rivers
Written-By – Marilyn McLeod, Pam Sawyer 3:21
A2 Hi !
Arranged By – Wade Marcus
Written-By – Barbara Mitchell, Vernessa Mitchell 2:41
A3 You Captured My Heart
Arranged By – Al Willis , Sylvester Rivers, William Bickelhaupt
Written-By – Al Willis , Troy Laws 3:24
A4 Didn't Wanna Tell You
Arranged By – William Bickelhaupt
Written-By – William Bickelhaupt 3:44
A5 Everytime I See You I Go Wild
Arranged By – Al Willis , William Bickelhaupt
Written-By – Henry Cosby, Stevie Wonder, Sylvia Moy 3:36
B1 Fly Little Blackbird
Arranged By – Al Willis , Sylvester Rivers
Written-By – Al Willis 5:01
B2 Beware
Arranged By – Sylvester Rivers
Written-By – Al Willis , Gwen Fuqua 3:26
B3 We Are The Future
Arranged By – Mel Bolton, Rene Hall
Written-By – Friendly Womack, Jimmy Holiday, Mel Bolton, Troy Laws 3:37
B4 Peaceland
Arranged By – Wade Marcus
Written-By – Barbara Mitchell, Michelle Martin, Vernessa Mitchell 3:24
Label: Gordy – G7-982R1
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Disco
High Inergy's second album, Steppin' Out, received a mixed critical reception at the time of its release, as it did not live up to the commercial success or critical praise of their hit debut album, Turnin' On. However, some modern personal reviews consider it a strong, cohesive album that can be played without skips.
The album did not perform as well commercially as their debut. Many contemporary music critics at the time "crucified" the album and subsequent releases, feeling the group's output was uneven due to working with a variety of producers. The consensus was generally that the quality suffered after the initial hit.
Some dedicated fans and modern reviewers praise Steppin' Out as a "phenomenal" or "great" album, often citing it as their second-best effort after their debut. These reviews highlight the group's strong and "heavenly" vocals and harmonies, finding the album flows easily from start to finish. The average user rating on Discogs is around 3.7 to 4 out of 5 stars across various releases.
The album was produced by the same team responsible for their hit debut and features several standout songs.
"Lovin' Fever": The album kicks off with this "sassy and percolating" track, written by the same Motown staff writers (Pam Sawyer and Marilyn McLeod) who penned their #1 single "You Can't Turn Me Off (In the Middle of Turning Me On)".
"Hi": A "sweet number" written by group members and sisters Barbara and Vernessa Mitchell.
The album is considered a good representation of the disco and R&B genres popular at the time of its release.
Stone Gon’
A2 Honey Please, Can't Ya See 5:05
A3 You're My Baby 8:58
B1 Hard To Believe That I Found You 6:49
B2 Never, Never Gonna Give Ya Up 7:59
Label: 20th Century Records – T-423
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
Arranged By – Gene Page
Arranged By, Producer, Written-By – Barry White
Artwork [Concept By] – Sound Packaging Corp.
Design [Album] – Craig Braun
Engineer – Frank Kegmer
Photography By – Norman Seef
Typography [Lettering By] – Bob Maile
Barry White's 1973 album Stone Gon' is widely considered a masterpiece of early '70s soul and funk, praised for its lush orchestrations, deep baritone vocals, and elongated, sensual compositions. It was a commercial success, reaching number one on the R&B albums chart.
Critics and fans view Stone Gon' as an essential, high-quality album from White's most prolific period. The album is noted for its pre-disco sound, where the lack of a simplified dance beat allowed White to showcase his "extraordinary feeling for making orchestrations".
It features a rich fusion of symphonic strings, "honeyed" rhythms, and funky guitars, creating a distinct "Love Unlimited" sound that is both grand and intimate. The production quality, especially the drums and bass, is often highlighted as superb.
White's signature deep, tranquil, and "amazing" voice is a central feature. His extended love monologues are considered a fascinating and unscripted part of his performance, adding to the album's romantic and "implicitly sexual" atmosphere without feeling cheesy.
The compositions are described as being of the highest quality, often featuring extended track lengths (most over six minutes) that allow the musical ideas to fully develop. Some critics mention that while the tracks are long, they maintain a high standard throughout.
For many listeners, the album evokes strong, positive memories, contributing to its enduring appeal and status as a treasured record.
The album features several tracks that maintain the high standard of his work, including two major R&B hits:
"Never, Never Gonna Give Ya Up": A significant hit single that is frequently cited as one of the album's best tracks, praised for its layered mid-tempo funk.
"Honey Please, Can't Ya See": Another chart-topping single, known for its "crawling, implicitly sexual" groove.
"Girl It's True, Yes I'll Always Love You": A sincere and sensitive love song that provides a different dimension to the album.
Overall, Stone Gon' is widely regarded as a significant album in Barry White's discography and a masterpiece of its genre, often recommended as an essential listen for fans of soul and R&B music.
Straight From The Heart
A2 Trouble, Heartaches & Sadness (Peebles, Bryant 2:37)
A3 What You Laid On Me (Peebles, Lasalle 2:22)
A4 How Strong Is A Woman (Crutcher 2:57)
A5 Somebody's On Your Case (Randle 2:35)
B1 I Feel Like Breaking Up Somebody's Home Tonight (Jackson, Matthews 2:28)
B2 I've Been There Before (Peebles, Bryant 3:06)
B3 I Pity The Fool (Malone 2:53)
B4 99 Pounds (Bryant 2:15)
B5 I Take What I Want (Porter, Hayes, Hodges 2:30)
Label: Hi Records – SHL 32065
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre:
R&B Soul
Style: Southern Soul
Straight From The Heart is the third studio album by American soul singer Ann Peebles, released in 1972 on the Hi Records label. The album is a seminal work of Memphis soul and is known for its hard-hitting, funky, and emotional sound.
The album is a rich blend of Southern soul, blues, and funk, characterized by a powerful, throbbing beat and sophisticated, well-balanced arrangements featuring a big band sound with prominent use of the Hammond and Hohner keyboards and strong brass sections. It was produced by the legendary Willie Mitchell at the Royal Recording Studios in Memphis and features the backing of the celebrated Hi Rhythm Section. The production is noted for perfectly balancing raw power and elegance.
Peebles' singing is described as sharp, gritty, and soulful, conveying a wide range of emotions from love's ache to fierce, provocative declarations of heartbreak and resilience. The songs explore themes of love, lost love, cheating, and female strength.
Straight From The Heart was well-received by critics and was a modest commercial success, becoming Peebles' first album to chart on the Billboard 200. Critics praised it as a triumph for Peebles and an illustration of how the Hi label had surpassed Stax as the premier source for quality Memphis soul in the early 1970s.
The album includes several notable tracks, some of which were minor hits or became influential in other music genres: "I Feel Like Breaking Up Somebody's Home Tonight": A fierce and provocative track that became an R&B Top 20 hit and was later covered by artists like Bette Midler.
Stranger
A2 Three Strikes On Me 5:15
A3 All My Friends Call Me A Fool 3:15
A4 This Is My Prayer 2:25
A5 Stranger 3:35
B1 Story Of My Love 2:25
B2 Darling I Love You 3:15
B3 Love, I Haven't Found You Yet 2:50
B4 This World (Is A Ball Of Confusion) 4:30
B5 You Beat Me Baby 3:15
Label: Soul International – SLP-100
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul
Larry Saunders' album, typically titled Stranger (or marketed as The Prophet of Soul - Stranger), is considered a rare gem and a soulful masterpiece by music enthusiasts and collectors. Recorded at the iconic Muscle Shoals studio, the album is highly regarded for its deep, profound vocals and a simple yet focused groove.
The album, originally released in the early 1970s, is an extremely rare piece of soul history. Reissues, such as those for Record Store Day, are highly sought after by collectors.
Saunders' vocal style is often compared to the likes of Donny Hathaway and Curtis Mayfield, though he maintains a unique sound. His voice "floats above and transcends the ethereal backing of the Muscle Shoals Rhythm Section".
Reviewers praise the beautifully written arrangements and the rich, authentic soul sound, noting that each track moves with grace and rhythm. The music blends smooth soul with a touch of funk.
Despite limited mainstream recognition during its initial release in the US (it was more well-received in the UK's Northern Soul scene), it has garnered an average rating of 4.55/5 stars on Discogs from 75 ratings, indicating high praise among dedicated fans.
The album includes the title track "Free Angela," which was sold to raise money for the National United Committee to Free Angela Davis, adding a layer of historical and social significance to the work.
For fans of '70s soul, Stranger is considered an essential listen. Its timeless appeal makes it perfect for both casual listening and deep dives into the genre, solidifying Larry Saunders' legacy as "The Prophet of Soul".
Stranger In The Night
A2 I'll Save Forever For You 5:15
A3 Stranger In The Night 4:04
A4 I Want To Be With You 4:47
B1 I Can't Stop This Feeling 3:28
B2 Be Right By Your Side 4:16
B3 Night On The Town 3:55
B4 I Feel Good 4:12
B5 I'll Make You An Offer 4:19
Written-By – A.Z. Giles, B. Osborne (tracks: A2 to B5), E. Fluellen (track: A1)
Label: Red Label – ST 73103
Format: Vinyl, LP, Album
Country: US
Released: 1985
Genre: R&B Soul
Style: Eighties Soul, Funk, Disco
Osborne & Giles' 1985 album, Stranger in the Night, is regarded by music enthusiasts and independent reviewers as a strong, niche modern soul and funk album with pop and disco elements. It is most known for its deep ballads and for its closing track, "I'll Make You an Offer," which was famously sampled by hip-hop producer 9th Wonder.
The album was the only release by the duo of Billy Osborne (brother of Jeffrey Osborne and former L.T.D. bandmate) and Attala Zane Giles (late of the R&B duo Deco).
The album is a collection of modern soul, funk, and disco tracks that lean into the meticulously sequenced pop sounds of the 1980s, drawing comparisons to groups like Shalamar.
Giles provides the lead vocals on most tracks, utilizing a rich falsetto that is a key feature of the album's sound, particularly on the ballads.
The album did not receive wide mainstream critical attention at the time of its release and reviews today mainly come from music collectors and independent blogs. Collectors often praise it as a "rare find" and a "must-have" for fans of vintage disco and soul LPs.
While not a massive mainstream success, it's a beloved find in the world of vintage soul/funk vinyl, appreciated by collectors for its authenticity and pure dance energy.
In essence, it's a rare but rewarding listen for fans of classic 80s funk and soul, offering genuine grooves and a taste of that era's dance music scene.
Street Corner Symphony
Written-By – R. White, W. Robinson
A1b Runaway Child, Running Wild
Written-By – N. Whitefield/B. Strong
A1c Cloud Nine
Written-By – N. Whitefield/B. Strong
Medley: (3:27)
A2 Buffalo Soldier
Written-By – Barnes, Lewis, Smith 3:10
A3 Good Times
Written-By – Sam Cooke 2:39
A4 I Could Never Love Another (After Loving You)
Written-By – Strong, Whitefield, Penzabene 3:30
A5 People Get Ready
Written-By – Curtis Mayfield 3:33
B1 Christian's Automobile
Written-By – J. Archie 2:02
B2 The Man In Me
Written-By – Bob Dylan 3:04
B3 Be Good To Me Baby
Written-By – Johnny Baylor 2:14
B4 So Much In Love
Written-By – Jackson, Williams, Stragis 2:10
B5a He Ain't Heavy, He's My Brother
Written-By – B. Russell, B. Scott
B5b You've Got A Friend
Written-By – Carole King
Medley: (3:45)
Label: Capitol Records – ST-872
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul, Blues
Style: Rhythm & Blues, Soul, Ballad
Street Corner Symphony by The Persuasions is widely praised as a classic a cappella album, showcasing stunningly tight harmonies and pure vocal talent on covers of soul, rock, and pop hits, with critics highlighting its authenticity, energy, and skillful renditions of songs like "Buffalo Soldier," "He Ain't Heavy, He's My Brother," and a Temptations medley, proving the power of voices without instruments. Reviewers call it a timeless collection, a masterclass in vocal arrangements, and a delightful listen for those tired of modern processed music, delivering genuine emotion and intricate rhythm.
The album is celebrated for its lack of instruments, relying solely on the "finest" human voice, delivering "stunningly tight and precise" four-part harmonies.
Reviewers note the "sheer joy," passion, and heart-wrenching blues and soulful crooning present in the performances, from "Buffalo Soldier" to "So Much In Love".
The group masterfully blends diverse tracks, harmonizing The Hollies' "He Ain't Heavy, He's My Brother" with Carole King's "You've Got A Friend" and covering Bob Dylan's "The Man in Me".
The album stands out as "real, old-fashioned, four-part harmony," with a virtuoso level of performance that leaves nowhere to hide, a contrast to more technologically covered-up music.
"Buffalo Soldier" is noted for sparking historical curiosity, teaching listeners about a little-known part of American history.
The Persuasions' talent is "graded 'excellent' by fans and peers," noted for rigorous rehearsals and a desire to excel in their niche genre.
Street Corner Symphony is considered a "terrific collection" and a must-listen, demonstrating the depth and versatility of the human voice in creating rich, compelling, and instrument-free music.
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.
Super Bad
Written-By – B. Massey, Lester McKenzie, R. Dukes
A2 Little Brother
Written-By – R. Shonn, W. Williams
A3 Crossroads Of Life
Written-By – E. Levert, F. Butler, W. Powell
A4 La-De-Da
Written-By – The O'Jays
A5 Peace
Written-By – Bradford Craig, H. B. Barnum
B1 Shattered Man
Written-By – Fred Butler, John Owens
B2 Your Turn This Time
Written-By – The O'Jays
B3 Just To Be With You
Written-By – B. Massey, B. Dukes
B4 Gotta Get My Broom Out
Written-By – The O'Jays
B5 Never Can Say Goodbye
Written-By – B. Massey, B. Dukes
Label: Little Star Records – LS-LP-1000-X
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Soul
Style: Philly Soul
Super Bad by The O’Jays, released in 1971 shortly before the group's massive success with Philadelphia International, is a highly regarded, though often overlooked, classic pre-Philadelphia International O'Jays funk and soul album. It is celebrated by fans and critics alike for its raw sound, deep grooves, and as a "hidden gem" in their discography.
The album is noted for its blend of funk, gospel, soul, and R&B, with prominent harmonies, tight horn lines, and sharp drums. It is considered more raw and deep-funk-oriented than their later, more polished Philadelphia International sound.
Users and reviewers often describe the album as a "first-class O'Jays set" and "one of the most influential vocal groups of the '60s with their original masterpiece". It holds an average user rating of 4.5/5 on some platforms, with listeners expressing high satisfaction with its quality and musical depth.
Reviewers highlight the melancholy feel of songs like "Little Brother" and "Shattered Man," alongside the soulful "La De Da" and "Never Can Say Goodbye".
Super Bad is considered a necessary collection for Philly Soul and rare groove enthusiasts, showcasing the group on the brink of superstardom. Its quality is such that some consider it a contender for their favorite O'Jays album overall, not just a precursor to their hits.
Overall, the consensus is that Super Bad is an excellent, essential album for any serious soul music enthusiast, often viewed as an overlooked masterpiece that captures a unique and influential period in The O'Jays' history. You can find more user reviews on sites like Discogs.
Supernatural
Written-By – Gwen Guthrie, Patrick Grant 4:11
A2 Supernatural Thing - Part II
Written-By – Gwen Guthrie, Patrick Grant 3:17
A3 Your Lovin' Ain't Good Enough
Written-By – Gwen Guthrie, Patrick Grant 4:59
A4 Drop My Heart Off
Written-By – Frederick Knight, Sam Dees 4:17
A5 Extra-Extra
Written-By – Sam Dees 3:50
B1 Do It In The Name Of Love
Written-By – Gwen Guthrie, Patrick Grant 4:23
B2 Happiness Is Where You Find It
Written-By – Bette Crutcher*, Frederick Knight, Sam Dees 3:36
B3 Do You Wanna Do A Thing
Written-By – Jesse Boyce, Richard Griffith, Sanchez Harley 4:30
B4 Imagination
Written-By – Ben E. King, Ben E. King, Jr. 3:38
B5 What Do You Want Me To Do
Written-By – Lou Courtney 3:18
Label: Atlantic – SD 18132
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul, Funk
Ben E. King's Supernatural album marked a comeback with its hit single "Supernatural Thing," showcasing a funkier, higher-pitched vocal style, but reviews are mixed, praising the fresh takes on classics like "Spanish Harlem" and "Don't Play That Song" with modern production (funk/disco), while some found the lush, 70s production overwhelmed his classic sound, making it more a nostalgic collection than groundbreaking, yet still worthwhile for fans and collectors.
"Supernatural Thing (Part 1)" was a major success, hitting #1 on R&B charts and #5 on the Billboard Hot 100, revitalizing his career.
The album blended King's iconic voice with contemporary 70s soul, disco, and funk, featuring new arrangements and guest musicians.
It included re-recorded versions of his hits like "Spanish Harlem," "Don't Play That Song (You Lied)," and "Amor," often with updated grooves, including flamenco guitar on "Spanish Harlem".
King often sang in a higher tenor range, a departure from his usual baritone, which was noticeable on the title track.
While some critics found the modern production a refreshing update, others felt the lushness detracted from the raw brilliance of his earlier work, making it a "shadow of his former self" in some views, though still enjoyable for fans.
Supernatural is often seen as a successful comeback that reintroduced Ben E. King to a new generation with updated sounds, proving his enduring appeal, even if it's not always seen as peak artistry compared to his '60s classics.
Later CD releases added tracks like a Drifters medley and a funky instrumental of "Supernatural Thing," enhancing its appeal.
Supernatural High
Arranged By [Rhythm] – Sigidi, Skip Scarborough
Written-By [Happy Days Are Here Again] – Yellen, Ager
Written-By [Happy Music (Dance The Night Away)] – Sigidi, Scarborough 5:52
A2 Pullin' Back
Written-By – G. Abbott, S. Scarborough 3:35
A3 Tell Me Please
Written-By – Skip Scarborough 3:40
A4 Just The Thought Of You (Supernatural High)
Written-By – L. Bell, T. Bell 6:15
B1 Livin' For The Beat
Written-By – G. Abbott, R. Cason 3:48
B2 Falling In Love
Arranged By [Rhythm] – Sigidi
Written-By – D. Williams, T. Stephens 4:00
B3 I'll Do Anything For You
Arranged By [Rhythm] – David N. Crawford
Written-By – D. Crawford, J. Evans 4:18
B4 Storybook Romance
Written-By – Scherrie Payne 5:30
Label: Capitol Records – ST-11864
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Disco
Supernatural High is the eighth studio album by American singer Freda Payne, released in 1978 on Capitol Records. The album features a blend of soul, funk, and disco music, with production handled by the renowned songwriter Skip Scarborough.
The album is noted for its mix of dance-oriented tracks and standout ballads. "Storybook Romance" was written by Payne's younger sister, Scherrie Payne, a former member of the Supremes. Scherrie also provided backing vocals for the album. The tracks "Pullin' Back" and "Livin' for the Beat" were co-written by Payne's then-husband, Gregory Abbott.
The medley of "Happy Days Are Here Again" / "Happy Music (Dance the Night Away)" and "I'll Do Anything for You" were released as singles, though neither managed to chart.
Producer Skip Scarborough was known for his work with Earth, Wind & Fire, including the hit "Can't Hide Love". Arrangements were partly handled by David Crawford.
While not a massive commercial success at the time, the album is cited by Payne herself as a personal favorite and is considered a treasured gem among her fans for its sophisticated sound.
Sweet ‘n’ Sour Rythm ‘n’ Blues
Written-By – Roshell Anderson 3:25
A2 Leaving Me
Written-By – J. Jiles, M. Barge 4:17
A3 The Chokin' Kind
Written-By – Harlan Howard 3:10
A4 Grapevine Will Lie Sometimes
Written-By – Roshell Anderson 3:52
B1 Dearest Darling
Written-By – Roshell Anderson 6:20
B2 What Do You Expect Of Me
Written-By – Roshell Anderson 4:14
B3 You Wouldn't Believe
Written-By – Carl Davis, Richard Parker 3:29
B4 Stop Doggin' Me
Written-By – A. Snider, Bettye Crutcher, Don Davis 4:11
Label: Ichiban Records – ICH 1035
Format: Vinyl, LP, Album
Country: US
Released: 1989
Genre: R&B Soul, Blues
Style: Southern Soul
The album Sweet 'n' Sour Rhythm 'n' Blues by Southern Soul singer Roshell Anderson is a 1989 release on the Ichiban Records label, featuring a blend of funk, soul, and blues. It is available on CD, LP vinyl, and cassette formats.
The album showcases Anderson's unique vocal style within the Southern Soul genre. The title suggests a mix of musical moods, likely ranging from upbeat, "sweet" soul tracks to more gritty, "sour" blues-infused songs. The album was released in the U.S. in 1989 (some sources indicate 1990) and contains original compositions by Anderson as well as covers.
Based on limited user ratings on the Discogs platform, the album holds a generally favorable reception among the few who have rated it, with one version averaging 4.5 out of 5 stars from four ratings.
Sweet Bitter Love
A2 Ac-Cent-Tchu-Ate The Positive
A3 Nobody Like You
A4 Today I Sing The Blues
A5 Sweet Bitter Love
B1 Try A Little Tenderness
B2 Skylark
B3 Johnny
B4 God Bless The Child
B5 If Ever I Would Leave You
Label: Columbia – PC 38042
Format: Vinyl, LP, Album, Compilation
Country: US
Released: 1982
Genre: Jazz, Soul
Style: Sixties Soul, Rhythm & Blues
"Sweet Bitter Love" is a compilation or reissue album that primarily features Aretha Franklin's early recordings from her time at Columbia Records in the mid-1960s, showcasing a different, more jazzy and sophisticated side of her voice before her iconic R&B/soul breakthrough at Atlantic Records.
Reviews from listeners are generally very positive, highlighting the raw talent and potential present in her youth, Many reviews praise her voice as "pure, sweet, and spectacular," showcasing a broad and expressive vocal range even at a young age.
Fans appreciate the album for offering a glimpse into "early Aretha Franklin's early songs," presenting a different musical style from her later, more famous soul work. The album is often described as a "must buy" for serious Aretha lovers or anyone who appreciates "just great singing".
The title track, "Sweet Bitter Love," is considered by some to be one of her best songs, noted for its emotional depth and the artist's personal connection to the lyrics.
The production quality is typical of its time (mid-60s Columbia sound) which some note can sound dated compared to her later, more dynamic Atlantic recordings.
The album leans towards a more "vocal jazz" or classic pop approach, rather than the R&B/soul style that would make her a superstar, a distinction that might surprise listeners only familiar with her hits like "Respect".
In summary, the album is a highly regarded look at the formative years of a legend, showcasing a beautiful, powerful voice in a different musical setting.
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.
Sweetest Piece Of The Pie
A2 Na Na Na Na Baby 4:05
A3 I Want Your Body 4:22
A4 Sweetest Piece Of The Pie 5:08
B1 Treat Me The Same Way 4:22
B2 We Got So Much To Stay Together For 3:33
B3 Foolish Man 3:20
B4 I Do Love You 4:20
B5 Just Ask Me 3:42
(All songs written by Willie Lester + Rodney Brown)
Label: Mainline Records – 12747
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
Sweetest Piece Of The Pie is a highly-prized 1978 album that is considered a classic and collectable modern soul gem by fans and reviewers, praised for its focus on mid-tempo R&B, steppers, and ballads rather than the pure disco sound of his later work.
Originally released in 1978 on the Mainline label, the album is noted for its Philly Soul sound, setting it apart from Bobby Thurston's subsequent, more disco-oriented Prelude LPs like You Got What It Takes and The Main Attraction. It features arrangements by Al Johnson, Rodney Brown, and Willie Lester.
While some early reviewers felt "Just Ask Me" was the only track of note, others strongly disagree, highlighting "Treat Me The Same Way" as an underrated modern soul tune and "We've Got So Much To Stay Together For" as an "achingly beautiful" soul ballad. A cover of the Billy Stewart classic "I Do Love You" is also considered "unmissable".
The original vinyl LP is a significant rarity, highly sought after by collectors, with some copies selling for hundreds of dollars. Its reissue on CD by Expansion Records was widely appreciated by fans.
Systematic
A2 If I Ever Lose This Heaven (L. Ware, P. Sawyer 5:09)
A3 Waiting To Touch (D. Griffin, L. Ware 4:40)
A4 This Ain't Puppy Love (D. Griffin, J. Schweigert 4:30)
B1 Electrified (D. Quander, G. Glenn, T. Cochran 4:05)
B2 Everybody Needs Somebody (C. Jackson, T. Cochran 4:28)
B3 Easy Thing To Say (D. Griffin 4:04)
B4 Can't Keep Running Away (D. Griffin, T. Cochran 4:17)
Label: Columbia – FC 39907
Format: Vinyl, LP, Album
Country: US
Released: 1985
Genre: R&B Soul
Style: Eighties Disco Funk
The 1985 album Systematic by Billy Griffin is a well-regarded R&B and dance-funk album, often praised by fans for its strong tracks, production, and Griffin's vocal performance.
Reviews of Systematic are generally positive, particularly among R&B and soul music enthusiasts:
The album is noted for bridging the gap between the late disco era and the 1980s dance sound. Griffin teamed up with producer and songwriter Leon Ware for this project, who helped define its sound.
Fans and critics often praise the album's production, highlighting the tight instrumentation.
Although not one of Griffin's major mainstream U.S. hits like "Hold Me Tighter in the Rain" or "Serious," the album is considered a "lesser known R&B track" gem from the era by those familiar with his work.
The title track itself is a standout, frequently mentioned for its exceptional quality and a "tight bass line". It was co-written by James Ingram and Leon Ware.
It's a sought-after album for those who appreciate deep cuts and classic sounds from that era.
Take A Look
Written-By – Naomi Neville 2:57
A2 Teasing, But You're Pleasing
Written-By – Naomi Neville 1:42
A3 I Haven't Got Time To Cry
Written-By – Mel Carter, Zelda Samuels 2:38
A4 You Don't Miss A Good Thing (Until It's Gone)
Written-By – Irma Thomas, Jerry Ragovoy 2:20
A5 Some Things You Never Get Used To
Written-By – Van McCoy 2:40
A6 Anyone Who Knows What Love Is (Will Understand)
Written-By – Seely, Arbuckle, Sheeran, Newman 2:30
B1 It's Starting To Get To Me Now
Written-By – Van McCoy 2:31
B2 Times Have Change
Written-By – Van McCoy 2:28
B3 He's My Guy
Written-By – Van McCoy 2:35
Label: Imperial – LP 12302
Format: Vinyl, LP
Country: US
Released: 1966
Genre: R&B Soul, Blues
Style: Sixties Soul, Deep Soul
The album Take A Look by Irma Thomas is widely considered a soul masterpiece and a definitive work by the "Soul Queen of New Orleans". Originally released in 1966 (not 1968), the album is celebrated for showcasing Thomas at the peak of her vocal prowess, blending deep soul with richer, uptown arrangements that include strings and backup vocals.
Thomas's rich, powerful, and natural voice, which is described as bringing a sense of "real understanding" and deep melancholy to her lyrics. Her delivery draws the listener into the song with an effortless, relaxed energy that only comes from a lifetime of performance.
The album successfully merges deep soul with fuller arrangements, pushing her sound towards uptown soul without becoming too pop-oriented. It features a mix of heartfelt, soulful ballads and some upbeat tracks. The production is noted for its stylish, tasteful statements from the backing band, particularly the guitar, Hammond organ, and saxophone.
While the original singles on the album didn't achieve massive mainstream commercial success compared to contemporaries like Aretha Franklin, the album has gained significant critical appreciation over time and is now considered an essential album for soul music lovers. The track "Anyone Who Knows What Love Is (Will Understand)" has garnered renewed attention and iconic status due to its feature in numerous episodes of the TV series Black Mirror.
The album is a de facto singles collection, with many tracks having previously appeared on 45s.
"Take a Look": The title track is an Allen Toussaint-penned "gem" that highlights Thomas's ability to deliver powerful soul.
"Anyone Who Knows What Love Is (Will Understand)": This timeless song, co-written by a young Randy Newman, is a major highlight and a classic of the genre.
"Wait, Wait, Wait": Another "real gem" written and produced by Allen Toussaint.
"I Haven't Got Time To Cry": A standout deep ballad that showcases her big-voiced style.
Overall, Take A Look is a highly regarded album that captures the raw, healthy voice of Irma Thomas and is considered a must-own for deep soul enthusiasts. You can explore the different releases on Discogs and purchase/download it on Amazon.
Take Me With You
Written-By – E. Wayne, R. Dunbar 2:41
A2 Son Of A Preacher Man
Written-By – J.D. Hurley, R.S. Wilkins 2:27
A3 Take Me With You
Written-By – E. Wayne, R. Dunbar 2:58
A4 Girls It Ain't Easy
Written-By – E. Wayne, R. Dunbar 3:11
A5 You've Made Me So Very Happy
Written-By – B. Gordy, Jr., B. Holloway, F. Wilson, P. Holloway 3:16
A6 Are You Man Enough, Are You Strong Enough?
Written-By – E. Wayne, R. Dunbar 3:15
B1 Aquarius
Written-By – G. MacDermot, G. Ragni, J. Rado 2:55
B2 Take My Love
Written-By – G. Perry, R. Dunbar 2:52
B3 While You're Out Looking For Sugar
Written-By – E. Wayne, R. Dunbar 3:13
B4 My Mind's On Leaving But My Heart Won't Let Me Go
Written-By – E. Wayne, R. Dunbar 2:55
B5 The Feeling's Gone
Written-By – E. Wayne, R. Dunbar 2:49
Label: Hot Wax – HA 701
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre:
R&B Soul
Style: Seventies Soul
Take Me With You is the 1970 debut album by the American female vocal trio Honey Cone, a classic of the Soul genre known for its blend of sweetness and a spunky, female-empowerment perspective. The album was the first release on the Hot Wax label, founded by the prolific songwriting and production team Holland-Dozier-Holland after their departure from Motown.
The album introduces Honey Cone's distinctive "soulful spunk," featuring songs that often adopt a "scolding tone" toward cheating or hypocritical men, using relatable old sayings and cliches. Lyrically, the album explores themes of heartbreak and female resilience. Musically, it reflects the influences of earlier Motown girl groups like Martha & the Vandellas, delivering a sound that combines polished soul vocals with a grittier edge.
The album features several notable original tracks and popular covers:
"While You're Out Looking for Sugar": The debut single, which peaked at No. 26 on the Billboard R&B chart, sets the album's tone with its narrative about a woman threatening to find a better man.
"Girls, It Ain't Easy": Another significant single, this track reached No. 8 on the R&B chart and is a prime example of the group's female-empowerment anthems.
"Sunday Morning People": This song addresses religious hypocrisy with direct lyrics about people who are devout on Sunday but unkind the rest of the week.
The album includes covers of popular hits from the era, such as Dusty Springfield's classic "Son of a Preacher Man" and The 5th Dimension's "Aquarius" from the musical Hair.
While not on the original album release, their later massive hit, the chart-topping "Want Ads," is often included as a bonus track on remastered reissues.
The majority of the album's original songs were written by the pseudonymous "Edyth Wayne" and Ronald Dunbar, with Holland-Dozier-Holland being the true force behind the "Edyth Wayne" alias due to legal constraints from their Motown departure. The album was produced by Stagecoach Productions Inc. with supervision by Edward J. Holland, Jr., and arrangements by Tony Camillo.
Take Me With You is a seminal work that effectively launched Honey Cone's career and established the signature sound of the Hot Wax label.
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
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.
Teddy Pendergrass
Written-By – K. Gamble, L. Huff 4:06
A2 Somebody Told Me
Written-By – K. Gamble, J. Whitehead, G. McFadden, V. Carstarphen 5:13
A3 Be Sure
Written-By – K. Gamble, L. Huff 5:17
A4 And If I Had
Written-By – K. Gamble, L. Huff 4:23
B1 I Don't Love You Anymore
Written-By – K. Gamble, L. Huff 3:59
B2 The Whole Town's Laughing At Me
Written-By – S. Marshall, T. Wortham 4:28
B3 Easy, Easy, Got To Take It Easy
Written-By – J. Whitehead, G. McFadden, V. Carstarphen 4:55
B4 The More I Get, The More I Want
Written-By – J. Whitehead, G. McFadden, V. Carstarphen 4:27
Label: Philadelphia International Records – PZ 34390
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Philly
Teddy Pendergrass's 1977 self-titled debut is a landmark R&B/soul album, marking a smooth, sophisticated, and sensual solo launch after leaving Harold Melvin & the Blue Notes, featuring hits like "The Whole Town's Laughing at Me" and "I Don't Love You Anymore," showcasing his powerful baritone and establishing his "Teddy Bear" persona with classic Philly Soul production and strong ballads.
Critics praise its blend of danceable uptempo tracks and heartfelt slow jams, though some note early disco influences and lyrical clichés, but universally acknowledge its immense impact and legendary status as a "killer album".
The album is classic R&B, Soul, with emerging disco elements, signature Philadelphia International lush strings, and rich production by Gamble & Huff.
Pendergrass's distinctive, raspy baritone shines, delivering both gritty emotional depth and smooth romanticism, elevating tracks with gospel-infused ad-libs.
The album produced three hits singles:- "I Don't Love You Anymore," "The Whole Town's Laughing at Me," and "The More I Get, the More I Want" all became major R&B hits, defining his solo sound.
Fans and critics love uptempo cuts like "You Can't Hide from Yourself" and "And If I Had," alongside ballads, finding gems even in lesser-known tracks like "Be Sure".
It Established Pendergrass as a solo superstar, setting the stage for his iconic "bedroom ballad" era and influencing countless artists, solidifying his "Black Elvis" image.
Considered a near-perfect, essential debut, a "killer album" with "all killer no filler". Perfectly balanced mature, sexy themes with sophisticated soul music. A strong start that immediately found its audience and proved his solo potential.
In essence, this album was the electrifying launch of a legend, delivering powerful soul music that cemented his place in R&B history.
Tell It Like It Is
Written-By – George Davis, Lee Diamond 2:41
A2 Why Worry
Written-By – George Davis, Lee Diamond 2:34
A3 She Took You For A Ride
Written-By – George Davis, Lee Diamond 3:18
A4 A Hard Nut To Crack
Written-By – George Davis, Lee Diamond 2:30
A5 You Think You're So Smart
Written-By – George Davis 2:34
A6 Jailhouse
Written-By – Aaron Neville 3:12
B1 Bet You're Surprised
Vocals – George Davis
Written-By – Tyler, Davis, Parker 2:55
B2 Love, Love, Love
Written-By – George Davis 3:21
B3 Since You're Gone
Written-By – George Davis 2:24
B4 Space Man
Written-By – Fred Caliste 2:40
B5 Hold On, Help Is On The Way
Vocals – "Red" Tyler, George Davis
Written-By – Tyler, Davis, Parker 2:23
Label: Par Lo – No. 1
Format: Vinyl, LP, Album
Country: US
Released: 1967
Genre: R&B Soul
Style: Sixties Soul, Rhythm & Blues
Aaron Neville's album, Tell It Like It Is (originally released on the Par-Lo label in 1967, following the hit single in November 1966), is a classic of New Orleans R&B and soul known for showcasing his unique, soaring falsetto. The album's strength lies in its centerpiece title track, widely considered a masterpiece of soul music.
The album is critically acclaimed primarily due to the strength of the titular song, "Tell It Like It Is," which reached No. 1 on the US R&B charts and No. 2 on the Billboard Hot 100.
Neville's voice is often compared to Sam Cooke in its sheer vocal refinement and emotional depth. His unique, angelic falsetto is a defining feature of the record.
The album blends various styles, including R&B, soul, and New Orleans funk, reflecting Neville's diverse musical background.
The original recordings are praised for their raw, honest feel, a result of the arrangements by George Davis and the backing by New Orleans session musicians like Deacon John (guitar) and Willie Tee (piano).
The title track is a poignant expression of love, vulnerability, and the necessity of honesty in relationships, a message delivered with heartfelt intensity.
Later reissues and compilations with the same name have sometimes received mixed reviews, often due to variations in track quality, the use of poor masters, or the inclusion of re-recorded versions. Some fan reviews suggest that the original 1967 album is the definitive version and that other compilations under the same name do not capture the same magic.
Overall, the original 1967 album is considered a foundational work in soul and R&B history, primarily driven by the strength of its iconic title track and Neville's exceptional vocal talent.
Tell Me A Lie
A2 Either Way We Lose (Jan Bidewell Buckingham*, Randy McCormick 3:22)
A3 Suspicions (David Malloy, Eddie Rabbitt, Even Stevens, Randy McCormick 4:14)
A4 You Seen One You Seen Em All (Sam Lorber, Tim DuBois 2:41)
A5 I Heard It Through The Grapevine (Barrett Strong, Norman Whitfield 3:22)
B1 Tell Me A Lie (Barbara Wyrick, Mickey Buckins 3:46)
B2 I Like It Like That (Barbara Wyrick, Suzy Storm 3:28)
B3 Before I Even Knew Your Name (Marty Panzer, Steve Dorff 3:22)
B4 I Can't Stop (Mickey Buckins, Randy McCormick 3:22)
B5 If I Were Your Woman (Clay McMurray, Gloria Jones, Pam Sawyer 3:17)
Label: Motown – 6000 ML
Format: Vinyl, LP, Album
Country: US
Released: 1982
Genre: R&B Soul
Style: Eighties Soul, Southern Soul
Bettye LaVette's 1982 Tell Me a Lie, her first album released on Motown, is considered an underrated gem, showcasing her raw, emotional, and "earthy" vocal power on tracks like the country-tinged "He Made a Woman Out of Me" and the quiet storm "Suspicions," proving her soulful versatility beyond the typical 80s sound, with critics praising her unique ability to inhabit and transform songs into deeply personal statements.
The album is noted for using top-tier Nashville and Memphis musicians to create a classic Southern soul feel, a departure from the typical Motown sound of that era. Producer Steve Buckingham recorded LaVette's vocals live with the rhythm section, giving the record an immediate, raw feel.
Critics consistently praise LaVette's "on top form" vocals, highlighting her ability to infuse lyrics with deep emotion and a "gritty edge". Her delivery is described as "earthy" and full of expression, making each song uniquely her own.
While on Motown, the album leans into contemporary soul, quiet storm, and even touches on country-pop (with Eddie Rabbitt's "Suspicions"), demonstrating LaVette's ability to adapt while retaining her unique flavor, according to Funk My Soul.
"He Made a Woman Out of Me" and "Do Your Duty" were R&B hits, while "I Like It Like That" (a precursor to Pointer Sisters hits) and the title track are often highlighted.
Though it only charted briefly, it gained cult status and is seen as deserving more recognition, with its 2008 CD reissue praised for great sound and liner notes by A. Scott Galloway.
Tell Me a Lie is a testament to LaVette's enduring talent, a soulful album that deserves to be rediscovered for its emotional depth and vocal mastery, despite its initial limited commercial success.
Tender Lover
Written-By – Babyface, D. Simmons, L.A. Reid 4:01
A2 Tender Lover
Performer [The Help], Backing Vocals [Background Vocals] – Troop
Written-By – Babyface, L.A. Reid, P. Smith 4:15
A3 Let's Be Romantic
Written-By – Babyface, D. Simmons 5:00
A4 Can't Stop My Heart
Performer [The Help], Backing Vocals [Background Vocals] – After 7
Written-By – Babyface, D. Simmons, L.A. Reid 4:31
A5 My Kinda Girl
Written-By – Babyface, D. Simmons, L.A. Reid 4:36
B1 Where Will You Go (Prelude)
Written-By – Babyface 0:37
B2 Whip Appeal
Written-By – Babyface, P. Smith 5:46
B3 Soon As I Get Home
Written-By – Babyface 5:05
B4 Given A Chance
Written-By – Babyface 4:20
B5 Sunshine
Written-By – Babyface 5:09
B6 Where Will You Go
Written-By – Babyface 5:08
Label: Solar – Z 45288
Format: Vinyl, LP, Album
Country: US
Released: 1989
Genre: R&B Soul
Style: Contemporary R&B, New Jack Swing
Babyface's 1989 debut solo album, Tender Lover, was a massive success, defining his smooth, romantic R&B sound with hits like "Whip Appeal," praised for its seamless production, velvety vocals, and irresistible slow jams, establishing him as a master craftsman of "unapologetic R&B" that still resonates today, a classic that set the standard for 90s romance.
Characterized by "brushed snares," "snappy pop beats," warm instrumentation (piano, sax), and signature velvet vocals, it was pure, polished R&B/Soul.
Focused entirely on love, from adoration to deeper devotion, with vivid storytelling.
Production of the album was a collaborative effort by L.A. Reid and Babyface, blending Reid's funkier uptempo tracks with Babyface's ballad expertise, resulting in high production quality.
It became a definitive album for smooth R&B, influencing countless artists and setting a benchmark for romantic music.
Fans find it timeless, with many songs (like "The Way You Love Me") still popular, showcasing its lasting appeal and Babyface's consistent talent.
Critics hailed the 2015 follow-up, Return of the Tender Lover, as a successful throwback, proving Babyface hadn't lost his touch, with its "masterfully crafted" love songs.
The Return album was celebrated as a "triumphant" return to his roots, full of "aural honey" and classic R&B feel-good vibes.
In essence, Tender Lover is a foundational R&B album, synonymous with sophisticated romance and expert musicianship, making its "return" in 2015 a welcome celebration of a beloved sound.
Thanks I Needed That
A2 A House Is Not A Home (Burt Bacharach / Hal David 3:17)
A3 I Don't See Me In Your Eyes Anymore (Brian Holland, Lamont Dozier, Scherrie Payne 3:44)
A4 Horse And Rider (Brian Holland, Lamont Dozier, Scherrie Payne 5:11)
A5 The Man I'll Never Have (Brenda Holt, Pearl Jones 3:08)
B1 Thanks I Needed That (Brian Holland / Lamont Dozier / Edward Holland, Jr.2:45)
B2 Giving Up The Ring (Brian Holland / Lamont Dozier / Edward Holland, Jr., Ty Hunter 2:39)
B3 Don't Let It Rain On Me (Brian Holland, Lamont Dozier, Scherrie Payne 3:28)
B4 Stealing Moments From Another Woman's Life (Brian Holland, Lamont Dozier 2:35)
B5 Let It Flow (Brian Holland, Lamont Dozier, Scherrie Payne 2:57)
B6 Don't Go Looking For Something (You Don't Want To See) (Edith Wayne, Ron Dunbar 3:33)
Label: Invictus – ST-9810
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul
Thanks I Needed That is the second and final album by the Detroit soul/R&B vocal group Glass House, released in 1972 on the Invictus label. Critical reception is generally positive, with praise for the strong vocals and production, though some critics felt it didn't quite reach the heights of their debut album or other label mates.
The album is rooted in soul and funk, featuring a solid rhythm section, horns, and strings on certain tracks, which gives it a full-bodied, high-energy sound. The group was known for its versatility, moving effortlessly between soul, funk, pop, and R&B styles.
The album is considered one of the great productions from the legendary Holland-Dozier-Holland label (Invictus). The production and arrangements are noted for their excellence, with one reviewer stating they could find no fault with the arranging throughout the two-disc set (referring to a reissue that combined their two albums).
Andrew Hamilton of AllMusic suggested that the album was "not as charming" as their debut LP, Inside the Glass House, and that the material didn't always fully showcase the singers' skills, though he still noted highlights. Other user reviews vary, from some considering it "good stuff" and a "treasure find" to a less enthusiastic opinion rating some songs as merely "average".
Overall, Thanks I Needed That is a well-produced and vocally strong album that is a worthy listen for fans of classic Detroit soul and funk.
The Beginning
Written-By – F. Johnson 3:47
A2 I'm His Wife (You're Just A Friend)
Written-By – C. Curry, W. Doggett 2:56
A3 Who's Gonna Love You
Written-By – C. Ivey, T. Brasfield 3:01
A4 You Can't Lose With The Stuff I Use
Written-By – C. Curry, W. Doggett 4:40
B1 Color My World Blue
Written-By – F. Johnson 2:46
B2 Be Serious
Written-By – C. Curry, Randy Layne 3:58
B3 I Want To Be Loved
Written-By – F. Johnson 3:12
B4 Sugar Daddy
Written-By – C. Curry, W. Doggett 4:01
B5 You've Been Doing Me Wrong For So Long
Written-By – F. Johnson, T. Woodford 2:56
Label: Sound Stage 7 – SS 1500
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre:
R&B Soul
Style: Southern Soul
Ann Sexton's 1977 album, The Beginning, is a sought-after Southern soul record appreciated for its raw emotion, powerful vocals, and a mix of upbeat dance tracks and smoother ballads that have gained a cult following in the Northern and Modern Soul scenes. It features her R&B chart hit "I'm His Wife (You're Just a Friend)".
The songs explore common soul music themes of love, relationships, and heartache. While her debut album Loving You, Loving Me was released in 1973, The Beginning followed several years later and featured production work by John Richbourg. Many tracks were co-written by Sexton and her husband, Melvin Burton.
Reviewers and fans consistently praise Sexton's powerful and emotional voice, often comparing her raw honesty and strength to artists like Aretha Franklin.
The album is highly regarded among Northern and Modern Soul enthusiasts for specific tracks. It's considered an "essential" collection for fans of rare and obscure soul.
Ann Sexton is often described as one of the most overlooked female Southern soul singers, making this album a valuable listen for genre aficionados.
The songs feature classic 70s soul musical stylings, including familiar bass lines and strong horn sections that evoke the era's classic sound.
The Best Thing That’s Happened To Me
A2 You Were Wrong (Z.Z. Hill 3:15)
A3 Your Love Makes Me Feel Good (Fred Hughes 3:00)
A4 My Adorable One (Clara Thompson, Irral Berger 3:10)
A5 Can I Get A Witness (Holland-Dozier-Holland 2:45)
A6 Love In The Street (A. Snyder, G. George 2:45)
B1 Your Love (Fred Hughes 2:47)
B2 Cause I Love You (Fred Hughes 2:53)
B3 Dream Don't Let Me Down (Fred Hughes 3:18)
B4 Friendship Only Goes So Far (J. Lewis 3:21)
B5 The Red Rooster (Willie Dixon 2:47)
B6 Ain't Nothing You Can Do (D. Molone, J. Scott 2:53)
Label: United Artists/Hill Records – UAS-5589
Format: Vinyl, LP, Album
Country: US Released: 1972
Genre: R&B Soul
Style: Southern Soul
Z.Z. Hill's The Best Thing That's Happened to Me (1972) is a pivotal soul/blues album, a strong blend of deep soul and emerging country-blues, showcasing Hill's powerful, heartfelt vocals, with notable tracks like the classic "Ain't Nothing You Can Do" (a Bobby Bland cover) and strong originals such as "Friendship Only Goes So Far," proving his versatility before his later mainstream success on Malaco Records, with reviewers praising its smooth production and authentic storytelling.
This United Artists release is celebrated for expertly mixing traditional soul with country-blues influences, a style Z.Z. Hill would later master. Critics highlight Hill's amazing voice and soulful delivery, noting his ability to convey raw emotion and storytelling.
The album features polished production, often with New Orleans session players like The Meters and producer Allen Toussaint, creating a rich, soulful sound. It marked Hill's move to a major label and foreshadowed the deep, uncompromising blues he'd deliver later in his career, establishing him as a major voice in Southern Soul.
Reviews describe it as a "soulful gem," a "well-judged mixture," and a strong album that bridges Hill's earlier work with his later iconic style, earning praise for its authenticity and musical quality.
The Blackbyrds
Bass – David Williams
Percussion – Ray Armando
Trumpet, Flugelhorn – Oscar Brashear
Written-By – Donald Byrd 5:27
A2 Gut Level
Written-By – Lincoln Ross 4:08
A3 Reggins
Bass – David Williams
Percussion – Ray Armando
Trumpet, Flugelhorn – Oscar Brashear
Written-By – Larry Mizell 4:05
A4 The Runaway
Bass – David Williams
Percussion – Ray Armando
Trumpet, Flugelhorn – Oscar Brashear
Written-By – Donald Byrd, Kevin Toney 4:13
B1 Funky Junkie
Written-By – Donald Byrd 7:01
B2 Summer Love
Written-By – Allan Barnes 5:08
B3 Life Styles
Bass – David Williams
Percussion – Ray Armando
Trumpet, Flugelhorn – Oscar Brashear
Written-By – Larry Mizell 3:13
B4 A Hot Day Today
Written-By – Barney Perry, Donald Byrd 3:16
Label: Fantasy – F-9444
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Jazz, Soul
Style: Jazz-Funk, Funk
The Blackbyrds' self-titled 1974 debut album on Fantasy Records (F-9444) is considered a classic and enduring jazz-funk masterpiece that successfully bridges the gap between pure jazz and accessible funk and soul. Produced by jazz legend Donald Byrd, the album is highly regarded for its tight musicianship and infectious grooves.
Critics and fans praise the album for its sublime mix of jazzy rhythms and soulful elements, highlighting the tight production and the band's instrumental prowess. The album has a "beautifully put-together feel" and is often cited as some of the finest groove-oriented jazz music ever recorded.
The record is a seminal example of 1970s jazz-funk fusion, blending R&B, soul, and funk with a jazz pedigree. The band, composed of Howard University students mentored by Donald Byrd, is noted for its tight, professional sound that is both technically proficient and full of energy.
While later albums had bigger hits, this debut was foundational, influencing British funk bands like Light of the World and Hi-Tension, and setting the stage for the group's future success.
Overall, The Blackbyrds is regarded as a brilliant and enduring debut that perfectly captures the optimism and rhythm of 1970s urban music. It successfully bridges the gap between serious jazz improvisation and popular, danceable funk. The album is widely considered a must-listen for fans of funk, soul, and jazz fusion, and is a key piece of the Blackbyrds' legacy.
The Bottom Line
A2 I Don't Do Windows 2:21
A3 That's The Way I Feel About Cha 4:24
A4 Your Good Thing Is About To End 4:56
A5 Let's Straighten It Out 3:47
B1 I Don't Know Why 3:19
B2 No Easy Way To Say Goodbye 4:00
B3 A Little More Time 5:22
B4 Since You Left These Arms Of Mine 3:41
B5 A Long Road 2:31
Label: Hi Records – HLP 6008
Format: Vinyl, LP
Country: US
Released: 1978
Genre: R&B Soul
Style: Southern Soul
The album generally receives positive reviews for its authentic soul sound, especially for a late-1970s release when disco was prevalent.
Critics consistently highlight Wright's exceptional vocal performances, noting his gospel roots, emotional delivery, and confidence that makes each song feel deeply personal.
Willie Mitchell's production work at the Hi Records studio is considered masterful, creating a "timeless quality" with a full band, seven-person horn section, and a string section, while still maintaining minimalism that keeps the focus on Wright's voice.
Standout tracks often mentioned include the title track, the upbeat "I Don't Do Windows," the powerful cover of "Let's Straighten It Out," and the emotional "No Easy Way To Say Goodbye".
Reviews often break down key songs:
"The Bottom Line" (title track): A strong, slow opening track with a classic Hi Records sound, showcasing Wright's powerful voice.
"I Don't Do Windows": The album's main up-tempo number, described as a "smart and sassy riot" and one of the best-known songs on the album.
The album features several covers:
"That's the Way I Feel About Cha" (Bobby Womack cover): Generally viewed as a commendable version, though some find Womack's original slightly better suited to his voice.
"Your Good Thing Is About To End" (Isaac Hayes/David Porter cover): An interesting, emotion-packed version with strong backing vocals.
"Let's Straighten It Out" (Benny Latimore cover): Often cited as the best of the covers, where Wright "really lets loose" and delivers a song with "deep blues foundation and a dark gospel urgency".
"A Little More Time": A poignant track that pays tribute to late musicians like Sam Cooke, Otis Redding, and Elvis Presley. The lyrics have been noted as slightly weaker than other songs, but the emotional build-up is powerful, especially given Wright's own death shortly after the album's release.
Overall, The Bottom Line is considered a must-have for fans of southern soul and deep R&B. It is an album that expertly balances ballads and up-tempo tracks, highlighting O.V. Wright's raw, passionate voice and Willie Mitchell's refined production skills. Despite never achieving massive commercial success at the time, it has developed a strong reputation and is praised as one of the best records of Wright's career, particularly his work with Hi Records.
The Brand New Z.Z. Hill
The Brand New Z.Z. Hill is a blues/soul/funk concept album by American singer Z.Z. Hill, highly regarded as one of his best works. It was produced, arranged, and conceived by the iconic producer Jerry Williams Jr., better known as Swamp Dogg, at the legendary Muscle Shoals studios in Alabama.
The album is a unique "blues/soul/funk concept album" (sometimes described as a "blues opera") that explores themes of love gone wrong, heartbreak, and second chances, featuring Z.Z. Hill's raw and emotional vocals.
The album is noted for its distinctive "Swamp Dogg vibe," combining classic Southern soul with bluesy guitars, Southern brass, and touches of funk.The first five tracks are loosely structured as a "Blues at the Opera" suite, featuring narrative elements and atmospheric production. The latter half of the album shifts to more traditional, hard-hitting Southern soul tracks.
The album was a commercial success for Hill, yielding the hit singles "The Chokin' Kind" and "Faithful and True," which helped define his soul-blues sound.
The original album consists of ten tracks. Remastered and reissued versions of the album often feature additional bonus tracks and alternate song versions.
The Brief Encounter
A2 Visions 4:46
A3 Smile 3:42
A4 Just One Moment 3:36
A5 Loving And Caring 4:05
B1 In A Special Kind Of Way 3:52
B2 Good Thing, Bad Thing 4:10
B3 Time Is Moving 4:42
B4 Get A Good Feeling 4:49
B5 We're Gonna Have A Good Time 3:41
(Written By Brief Encounter, Larry Bailey)
Label: Seventy Seven Records – 77-102
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul
The self-titled album by North Carolina funk and soul band The Brief Encounter, released in 1977 on Seventy Seven Records, is a highly sought-after and critically acclaimed "rare groove" masterpiece in the soul and funk community. The album is celebrated for its blend of infectious funk workouts and sublime soul ballads, all self-written by the band.
Original copies of the album are extremely rare and command high prices (often over $2000) on the second-hand market, contributing to its legendary status among collectors.
The album is a showcase of versatile 1970s R&B, drawing comparisons to acts like the Isley Brothers, Kool & the Gang, and the O'Jays. It is considered an "under-appreciated masterpiece" that has earned cult status. Critics and fans praise the album's warm, vintage 70s feel, the balance of sophisticated arrangements and raw funk elements, and the quality of both the upbeat tracks and the slower ballads.
The album effectively balances dynamic, up-tempo tracks with heartfelt, slower tunes. Due to its immense popularity and scarcity, the album has been reissued multiple times by labels such as P-Vine, Guerssen, and Athens of the North, allowing a wider audience to experience this "elusive soul classic".
The Brockingtons
A2 Love World (J. Brockington 2:30)
A3 Smackwater Jack (C. King-G. Goffin 2:35)
A4 Jeremiah (M. Irby Jr. 4:00)
A5 Please Come Back (M. Irby Jr. 3:50)
B1 Eye Doctor (M. Irby Jr. 4:10)
B2 Natural Woman (King-Goffin*, Wexler 3:10)
B3 I Just Got To Know (M. Irby Jr. 2:30)
B4 Pretty Thing (M. Irby Jr. 3:30)
Label: Today Records – TLP 1003
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul
"The Brockingtons" is a rare, self-titled 1972 album on the independent Today record label, primarily known as a collectible funk and soul record.
The album does not have widely published, in-depth professional reviews available in typical music databases or review sites, but it holds a positive reputation among collectors and fans of rare groove music.
The album is a straight soul record, often sought after by funk and rare groove enthusiasts. It is described as a high-quality example of 1970s soul music.
The album has a distinct early 1970s sound, characterized by rich, soulful arrangements and a prominent organ presence, often attributed to the band's connection to organist Julius Brockington. The music features a confident, "sophisticated funk" style that balances deep jazz sensibilities with earthier, danceable grooves. The arrangements are professional and structured, rather than loose jam sessions, highlighting the band's discipline and musicianship
Due to its independent label origins and age, original vinyl copies are rare and considered valuable among collectors.
While professional reviews from its original release year are scarce in search results, the album has a favorable average rating on community-driven music sites like Rate Your Music, with an average rating of 4.06 out of 5 stars based on 33 ratings. This indicates a positive reception among its niche audience.
The Deep Soul Of Stax
A2 William Bell– Bring The Curtain Down (Jones, Bell 2:27)
A3 Eddie Floyd– Why Is The Wine Sweeter (On The Other Side) (Jones, Floyd 2:43)
A4 Delaney & Bonnie– Hard To Say Goodbye (Bramlett, Radle, Bramlett 2:30)
A5 Booker T. & The M.G's– Soul Clap '69 (Jackson, Jones, Dunn, Cropper 2:40)
A6 Johnnie Taylor– Testify (I Wonna) (Taylor, Clinton 4:04)
A7 The Emotions– I Like It (Porter, Hayes 2:27)
A8 Isaac Hayes– Walk On By (Bacharach - David 4:20)
B1 Rufus Thomas– Do The Funky Chicken (Thomas 3:15)
B2 William Bell– Happy (Jones, Bell 2:34)
B3 Eddie Floyd– Don't Tell Your Mama (Where You've Been) (Jones, Floyd 3:55)
B4 Booker T. & The M.G's– Time Is Tight (Jones 3:08)
B5 J.J. Barnes– Baby, Please Come Back Home (Davis, Barnes 2:52)
B6 The Staple Singers– The Challenge (Crutcher, Banks, Jackson 3:40)
B7 Luther Ingram– Home Don't Seem Like Home (Baylor, Ingram 3:30)
Label: Stax – SXATS 1037
Format: Vinyl, LP, Album
Country: UK
Released: 1970
Genre:
R&B Soul
Style: Soul, Funk
The Deep Soul Of Stax is a rare, various artists compilation album released in the UK in 1970. It is a 12-inch vinyl record that showcases the raw, gritty Southern soul sound that defined the Stax Records label.
The album is a compilation of soul music tracks, focusing on the style associated with the Memphis-based Stax label. This style is noted for its church-based roots and emotional delivery.
The album features tracks from a variety of artists signed to Stax and its associated labels, typical of the compilations released by the label. It is known to include the track "Baby, Please Come Home" by J.J. Barnes.
Released as a UK pressing in 1970, it is considered one of the rarer Stax albums released in the United Kingdom. The release includes tracks that embody the 1960s and early 1970s soul and funk period of the label.
The album was issued as a 12-inch vinyl LP in a cardboard sleeve, with some pressings featuring a flipback laminated cover.
The Dells Vs. The Dramatics
Written-By – Tony Hester 4:39
A2 The Dells & The Dramatics– I'm In Love
Written-By – Tony Hester 3:21
A3 The Dramatics– Choosing Up On You
Written-By – Tony Hester 2:35
A4 The Dells– Strung Out Over You
Written-By – Fred Briggs 4:45
B1 The Dells– Playin' The Love Game
Written-By – Don Davis, Marv Johnson 4:25
B2 The Dramatics– Door To Your Heart
Written-By – Tony Hester 6:30
B3 The Dramatics– Don't Make Me No Promises
Written-By – Tony Hester 3:55
B4 The Dramatics– Tune Up
Written-By – Willie Schofield 3:45
B5 The Dells– I Wish It Was Me You Loved
Written-By – Jackie Avery 4:15
Label: Cadet – CA 60027
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul
The 1974 album The Dells Vs. The Dramatics is a collaboration album featuring two of the top soul groups of the era, and is generally considered a "sheer class" and "wonderful album" by fans of old-school harmony and deep soul.
The album is highly regarded for combining the talents of both groups and features a unique blend of styles. Many reviews praise the album for:
The record is noted as "old school harmonies at its best," highlighting the groups' ability to blend their distinct vocal styles effectively.
Fans describe the music as "soulful, memorable and timeless" and appreciate the deep, emotional vocals that both groups were known for.
For many listeners who grew up with this music, the album brings back powerful memories and rekindles a sense of nostalgia for a time when songs "had true meaning of love".
The Dells' tracks often feature Marvin Junior's "wonderfully gravelly baritone" and are considered by some reviewers to make the album feel predominantly like a Dells record.
The Dramatics bring their signature sound, characterized by "tight harmonies and signature switching of lead vocals". Their tracks add a smooth, yet soulful dimension to the album.
The album features a notable collaborative track: "Love Is Missing From Our Lives" - This song is a highlight and serves as a strong centerpiece for the combined effort of both groups.
Overall, the album is highly recommended for fans of 70s soul and R&B and is often viewed as a worthwhile purchase that effectively showcases the brilliance of both groups on shared ground. It is available on various platforms including Amazon and Discogs.
The Fantastics
A2 Sad Eyed Romany Woman 3:09
A3 Old Rags And Tatters 3:48
A4 Maria Maria 3:11
A5 People I've Got A Dream 2:39
A6 You've Got A Friend 3:28
B1 Love Me Love The Life I Lead 3:02
B2 Something To Remember You By 2:59
B3 I Can Feel The Warm 3:07
B4 Man Made World 2:26
B5 Just A Little Bit Harder 2:22
B6 Something Wonderful 3:18
Label: Bell Records – BELLS 200
Format: Vinyl, LP, Album
Country: UK
Released: 1972
Genre: R&B Soul, Funk
Style: Sixties Soul, Pop
The 1972 self-titled album by the British soul group The Fantastics (originally known as The Velours) is a Funk/Soul record released on the Bell Records label. The album solidifies the group's transition from performing covers of US Motown songs in UK clubs to recording original material, featuring production from top British songwriters.
The album is characterized by its smooth, pop-soul sound, reflecting the group's success on the British club and Northern Soul circuits. The production is clean and studio-oriented, differing from some of the more raw funk of the era. It includes both upbeat tracks and ballads, utilizing a full band arrangement with prominent horn sections.
While the album as a whole was part of their steady output in the UK, several individual tracks were released as singles and became popular.
It features the track "Something Old, Something New," which was a significant hit for the group, reaching number 9 on the UK singles chart in 1971. Another key track is "(Love Me) Love the Life I Lead," which charted in the US in 1972.
The album captures The Fantastics at a peak moment in their recording career after signing to Bell Records, highlighting their blend of pop sensibilities with a rich, soulful delivery.
The Finer Things In Life
Written-By – R. Simmons, V.F. Bell 3:44
2 Jammin' To The Bells
Written-By – F. Gordon, V.F. Bell 4:44
3 My All And All
Written-By – F. Gordon, V.F. Bell 3:48
4 Real Soon
Written-By – F. Gordon 4:10
5 When It All Falls Down
Written-By – M. Gabriel 3:56
6 Day By Day
Written-By – Robert L. Martin, E. Lemon 3:46
7 Love Toy
Written-By – V.F. Bell 3:36
8 Never Gonna Let You Go
Written-By – L. Quintyn, R. Dukes 3:39
9 Burning Up
Written-By – F. Gordon 4:39
10 Make You Mine Tonight
Vocals [Duet] – Alyson Williams
Written-By – C. Hayes, V.F. Bell 4:44
Label: Def Jam Recordings – DEF 450483 2
Format: CD, Album
Country: Europe
Released: 1987
Genre: R&B Soul
Style: Eighties Soul, Funk
Chuck Stanley's 1987 album, The Finer Things In Life, is highly regarded by fans as an essential tough street-soul and R&B masterpiece from the golden era, noted for its strong vocals and emotional depth. While professional critic reviews are scarce in the available search results, user reviews and music snippets describe it as a quality record that helped Def Jam branch from hip-hop into broader soul sounds.
The album is a blend of old-school R&B, soul, and dance-pop with a distinctive "tough" and "smooth" feel. Stanley, a biting tenor, is praised for his excellent vocals and ability to slide into falsetto, delivering songs with "true vocalistics, soul, and emotion".
Several songs are frequently highlighted as favorites among listeners:
"The Finer Things in Life": The title track is described as a "nonstop groove" with hard beats and clever lyrics.
"Jammin' To The Bells": Considered the R&B equivalent of LL Cool J's "Rock the Bells," this track was a "monster in New York" and a popular party jam.
"Day By Day": A slow jam featuring Stanley's falsetto, often mentioned as a standout track.
"My All and All" and "Never Gonna Let You Go": These slow jams are noted for their smooth feel and raw emotion.
"Make You Mine Tonight": A "high level bump-n-grind groovealation" duet with Alyson Williams that appeared on both artists' albums.
The album is considered a strong effort with some good sides, but some sources suggest it may have suffered from a lack of promotion at the time of its release, preventing it from making more noise on the charts. Despite this, its quality has given it a lasting appeal among R&B enthusiasts. Many fans wish Stanley had recorded more than this one definitive album.
The First Time We Met
Written-By – J. Jiles, M. Barge 3:23
A2 Our Love Has Got To Come Together
Written-By – C. Jackson, M. Yancy 3:13
A3 Can't Understand It
Written-By – C. Jackson, M. Yancy 2:45
A4 Just As Long As You Need Me (Part 1 & 2)
Written-By – C. Jackson, J. Butler, M. Yancy 6:08
B1 Leaving Me
Written-By – C. Jackson, M. Yancy 3:14
B2 Baby I've Been Missing You
Written-By – C. Jackson, M. Yancy 3:48
B3 I Love You, Yes I Do
Written-By – J. Jiles, M. Barge 2:50
B4 Couldn't Hear Nobody Say (I Love You Like You Do)
Written-By – C. Jackson, M. Yancy 4:31
B5 Here I Am
Written-By – C. Jackson, M. Yancy 4:18
Label: Wand – WDS 694
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul
The Independents' The First Time We Met showcases smooth, mixed-gender harmonies and lush strings, blending classic 70s soul with Philly-style sounds, featuring romantic themes and standout tracks like the laid-back "The First Time We Met," offering a nostalgic, melodic deep dive into a beloved but commercially limited R&B vocal group known for their heartwarming sound and memorable crossover hit "Leaving Me".
A defining feature is the rich, mixed-gender vocal blend (Chuck Jackson, Helen Curry, Eric Thomas, Maurice Jackson), reminiscent of 60s soul but with a distinct '70s feel.
The music is characterized by its smoothness, sweeping strings, and classic soul arrangements, with some modern reissues noting excellent sound quality despite minor original production artifacts like sibilance.
Lyrically, the focus is on love, romance, and reminiscence, typical of the era, but delivered with a genuine, heartfelt touch.
Highlight Tracks: "The First Time We Met" itself is a slower, evocative track, while the group's hit "Leaving Me" is a key inclusion on their compilations.
While the group never achieved massive commercial success beyond a few crossover hits, the album is considered a "hidden gem" of the era. It's a key record for fans of classic soul music, appreciated for its sophisticated arrangements and heartfelt performances.
The album generally receives high user ratings on music databases like Discogs. It is a foundational release in the group's short but impactful discography on Wand Records.
If you're looking for authentic, melodic 1970s soul with a unique, sweet vocal chemistry and a focus on classic themes, The First Time We Met (or their Greatest Hits) is a highly recommended, genuinely good listen for soul music aficionados.
The Hi Records 45’s Collection: Vol 1
2 Otis Clay – Let Me Be The One
3 Otis Clay – I Didn't Know The Meaning Of Pain
4 Otis Clay – If I Could Reach Out
5 Otis Clay – That Woman Don't Live Here No More
6 Otis Clay – You Can't Escape The Hands Of Love
7 Otis Clay – You Did Something To Me
8 Otis Clay – It Was Jeaslousy
9 James Fry – Tumbling Down
10 James Fry – Still Around
11 James Fry – Mam's Boy
12 James Fry – I've Got Enough
13 Ann Peebles – I Can't Let You Go
14 Ann Peebles– Heartaches, Heartaches
15 David Duke – Is It Over
16 Eddie McGee – What Made You Change?
17 Norm West – Hey Little Girl
18 Norm West – Baby Please
19 Syl Johnson – Anyone But You
20 Syl Johnson – I Want To Satisfy Your Every Need
21 Bobo Mr. Soul – She's My Woman
22 Bobo Mr. Soul – Hitch-hike To Heartbreak Road
Label: Hi Records – HIUKCD 135
Format: CD, Compilation
Country: UK
Released:
Genre: R&B Soul
Style: Southern Soul
The Hi Records 45’s Collection: Vol 1 compilation is generally well-regarded by soul music enthusiasts for its excellent selection of classic and rare tracks from the legendary Hi Records label. The collection is praised for highlighting a diverse range of artists beyond the label's biggest star, Al Green.
Reviewers on platforms like Discogs and Amazon give the album high ratings, typically around 4 to 5 stars, with the music itself being described as "pure gold" and "brilliant funky soul with attitude". The key appeal of this collection is its focus on the depth of the Hi Records catalog, presenting a comprehensive look at the label's output through original A and B-sides of singles.
The collection includes 44 classic and rare singles from artists such as Otis Clay, Ann Peebles, George Jackson, Syl Johnson, and others, covering a wide range of soul and R&B styles produced by the influential Willie Mitchell. The sound quality generally receives positive to mixed reviews. Some listeners find the mastering to be very good, offering clear sound for these classic recordings. However, other opinions suggest that a more modern, high-end remastering could improve the sound, noting the current quality is "not a complete disaster but a good remastering job would increase these excellent tracks ability to shine".
The album features a strong lineup of soul musicians, making it a valuable addition for collectors and fans of the genre.
The album successfully captures the authentic, deep soul sound that made Hi Records a legendary label, and it is a popular choice for those wanting to explore the label's history beyond the well-known hits.
The Jackson Southernaires
A2 Do Unto Others 3:10
A3 Waiting On The Lord 4:12
A4 Too Late (Part One) 6:35
A5 Too Late (Part Two) 4:57
B1 Sweet Hour Of Prayer 4:10
B2 Fill Me Jesus 4:15
B3 Keep On Praying 6:05
B4 Just Can't Make It By Myself 6:56
Label: Malaco Records – 4357
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Gospel
The Jackson Southernaires' 1978 self-titled album is celebrated for its blend of traditional black gospel with contemporary sounds, featuring popular tracks that became radio favorites . The album highlights the group's ability to connect with listeners through heartfelt "story songs" and showcases the soulful vocals of lead singer Huey Williams.
The album, released on the Malaco label, is particularly noted for the inclusion of the track "Just Can't Make It By Myself," which was a significant radio hit. The album also includes other notable songs such as "He Never Left Me Alone," "Do Unto Others," and the two-part "Too Late".
"Just Can't Make It By Myself": This track is a classic example of the group's ability to create an exciting and impactful performance, especially noted for the dynamic vocal entries. "Too Late": This heartwarming "story song" resonated deeply with their audience, a style the Southernaires were well-known for mastering.
While formal critical reviews from the time period are scarce in general knowledge databases, the album's success is evident in its enduring popularity and the group's overall impact on the gospel genre. At a time when gospel choirs were dominating, the Southernaires maintained their immense popularity with their unique quartet style.
The Lady Has Arrived!
A2 Baby Don't Let Me Down (Buddy Scott, Phil Medley 4:26)
A3 Day By Day/ My Sweet Lord (George Harrison, Stephen Schwartz 4:54)
A4 Happy Walk (Buddy Scott, Phil Medley 3:27)
B1 Strong Lovin' Man (Buddy Scott, Phil Medley 4:10)
B2 Who Are You Now (Bruce Hart, Stephen Lawrence 3:30)
B3 Let's Get Down To Business (James Coleman Dugan 4:36)
B4 Ain't No Pity In The Naked City Buddy Scott, Phil Medley 5:05)
Label: Pyramid – PY-9001
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Disco, Jazz
The Lady Has Arrived! is a 1976 album by American soul singer Pat Lundy, released on the Pyramid Records label. The album features a strong collection of soul and funk tunes, characteristic of the 1970s "post-Aretha" style, with some tracks having a funky tinge or disco elements.
The album is noted for Lundy's strong vocal performance over a solid batch of tunes. It is described as straightforward soul with a funky edge on several tracks. Pat Lundy was a vastly underrecognized singer who worked in soul, jazz, and disco throughout her career, and this album showcases her versatility in the soul and funk fields.
The Legendary Ben E. King
2 Don't Play That Song (You Lied)
3 Amor
4 Young Boy Blues
5 Goodnight My love
6 Spanish Harlem
7 How Can I Forget
8 It's All Over
9 I (Who Have Nothing)
10 The Last Dance For Me
11 I Count The Tears
12 This Magic Moment
Label: Javelin – HADCD 180
Series: Spotlight On
Format: CD, Compilation
Country: US
Released: 1998
Genre: R&B Soul
Style: Rhythm & Blues, Soul
The Legendary Ben E. King is a compilation album released in 1998 on the Javelin record label that features a collection of the R&B and soul singer's greatest hits, spanning both his solo career and his time as the lead singer of The Drifters.
The album primarily serves as a comprehensive overview of King's most iconic and influential tracks. It bridges the gap between the doo-wop era and the 1960s soul boom, showcasing his smooth, sophisticated vocals and the orchestrated productions that defined his sound.
The collection prominently features King's enduring classics, such as the soulful anthem "Stand by Me," "Spanish Harlem," and "Don't Play That Song (You Lied)". It also includes popular songs from his tenure as the Drifters' lead vocalist, like "Save the Last Dance for Me" and "This Magic Moment".
This compilation is designed for both casual listeners who want an appetizer of his best-known work and dedicated fans looking for a wide selection of his career-defining songs.
The compilation was re-released in 2021 with a bonus track "So Much Love" added, and is available to download as high quality digital files from streaming sites such as Spotify and Bandcamp.
(Review provided by SoulYears)
The Man!
Written-By – L. Hutson, M. Hawkins 6:17
A2 Gotta Move - Gotta Groove
Written-By – D. Reed, Q. Joseph, T. Green, Wm. Robinson 3:37
A3 Ella Weez
Written-By – L. Hutson, M. Hawkins 2:59
A4 Give This Love A Try
Written-By – E. Dixon, J. Thompson 3:34
B1 The Ghetto '74
Written-By – D. Hathaway, L. Hutson 4:32
B2 After The Fight
Written-By – D. Reed, Q. Joseph, T. Green, Wm. Robinson 3:15
B3 Could This Be Love
Written-By – L. Hutson, M. Hawkins 3:06
B4 Dudley Do-Right
Written-By – B. Davis (10), D. Reed, L. Hutson, Q. Joseph 3:44
Label: Curtom – CRS-8020
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Funk
Leroy Hutson's 1974 album, The Man!, marked a significant step in his sophisticated soul journey, blending Chicago/Impressions tradition with modern soul sounds, featuring smooth dancers like "Ella Weez," ballads such as "Give This Love a Try," and a notable cover of his Donny Hathaway-co-written "The Ghetto '74," showcasing his rich arrangements, versatility, and deep groove that paved the way for his even more acclaimed 1975 self-titled album, Hutson.
The album showcases Hutson's evolving sound, moving towards lush, orchestrated soul with intricate arrangements, notes Soul Brother Records and Record Collector Magazine.
It features a mix of styles, from upbeat modern soul and funk tracks like "Ella Weez" and "Could This Be Love" to poignant ballads like "Give This Love a Try," demonstrating his range as a singer, writer, and producer.
The album includes a version of "The Ghetto '74," a song Hutson co-wrote with Donny Hathaway, highlighting their close creative relationship and mutual influence.
While brilliant, critics often point to The Man! as a strong precursor, with its sound perfected and elevated on his subsequent, highly acclaimed albums, Hutson (1975) and Hutson II (1976).
Reviewers praise its exquisite arrangements, intimate sensuality, and deep grooves, comparing the feeling to being "wrapped in a warm embrace".
It's seen as a pivotal work, developing the "auteur-like vision" Hutson brought to his music, blending funk, smooth soul, and orchestral textures.
In essence, The Man! is a crucial listen for soul fans, capturing Leroy Hutson at a key moment as he honed his signature sound, delivering rich, classic 70s soul.
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 More You Do It
A2 Close To You (C. Jackson, M. Yancy 2:55)
A3 The More You Do It (The More I Like It Done To Me) (C. Jackson, M. Yancy 3:10)
A4 You Set My Sprits Free (C. Jackson, M. Yancy 6:48)
B1 You And Me (C. Jackson, M. Yancy 3:12)
B2 Love Won't Let Me Wait (B. Eli, V. Barrett 3:37)
B3 Lovin' Feelin' (B. Jackson 3:23)
B4 Won't You Come Stay With Me (C. Jackson, M. Yancy 3:27)
B5 Jive Talkin' (B. Gibb - R. Gibb - M. Gibb 2:59)
Label: Columbia – PC 34350
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul
Ronnie Dyson's The More You Do It (often bundled with Love in All Flavors) is praised for showcasing his incredible, smooth, soulful voice and lush 1970s Philadelphia-style production, featuring hits like the title track and gems like "I Think I'll Tell Her," making it a beloved collection for fans of classic soul, despite some reviewers finding it leaning towards the poppier, less gritty side of the spectrum, but still a testament to his vastly underappreciated talent.
Produced by Chuck Jackson & Marvin Yancy, the sound is characterized by rich arrangements, prominent female background vocals, and a polished, luxurious feel, similar to Natalie Cole's hits from that era.
The music serves as a perfect vehicle for Dyson's distinctive, emotive voice, allowing his purity and tenderness to shine.
Fans consistently laud his voice as phenomenal and the entire collection as enjoyable, with some calling it a "hidden talent" of soul music. Many feel Dyson deserved greater success, viewing him as one of soul's most underappreciated vocalists.
he production is seen as definitive luxury soul, offering a delightful experience for those who enjoy the smoother, Philly-soul sound of the mid-70s.
The More You Do It is considered a strong collection of classic soul, a wonderful legacy from a powerful male vocalist, perfect for anyone looking to discover or revisit Ronnie Dyson's smooth, captivating artistry.
The Neville Brothers
Written-By – Jerry Leiber, John Senbello, Mike Stoller, Ralph Palladino 3:10
A2 Washable Ink
Written-By – John Hiatt 3:59
A3 All Nights, All Right
Written-By – Weldon Dean Parks 3:46
A4 Audience For My Pain
Written-By – B. Goldberg, G. Goffin 3:58
A5 Break Away
Written-By – Charles Neville 4:31
B1 If It Takes All Night
Written-By – David Forman 4:04
B2 I'll Take My Chances
Written-By – Lewis Anderson, Susan Hackney, Tony Brown 3:13
B3 Vieux Carre' Rouge
Written-By – Charles Neville 4:22
B4 Arianne
Written-By – C. Roudey 4:45
B5 Speed Of Light
Written-By – Charles Neville 6:08
Label: Capitol Records – ST-11865
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Bayou Funk
The Neville Brothers' 1978 self-titled debut album was a critically praised effort that successfully captured the group's signature blend of New Orleans R&B, funk, and soul.
The album was highly regarded for bringing the rich musical legacy of New Orleans to a wider audience. Critics noted its "passionate funk" and "blues-soaked deep pocket grooves".
The album effectively showcased the distinct talents of all four brothers—Art, Charles, Aaron, and Cyril—uniting their individual styles for the first time as a single band.
While a hit with critics and fans in the know, it did not achieve the massive commercial crossover success of their later albums like Yellow Moon. The production by Jack Nitzsche was described as having "respectful rock moves" that were "purest gumbo by comparison" to later, more pop-oriented efforts.
The album was seen as an authentic representation of the Nevilles' live energy and deep connection to their native city's musical traditions.
Overall, the album is considered a foundational work for the group, solidifying their unique sound and establishing them as the "first family of New Orleans" R&B.
The Pain Goes Deep (More Deep Soul Gems)
2 Linda Jones– Fugitive From Love 3:15
5 Little Archie– I Need You 3:06
4 100% Proof Aged In Soul– I Don't Care If I Never Get Over You 3:58
5 Annette Snell– You Oughta Be Here With Me 3:55
6 George Jackson– Aretha, Sing One For Me 2:53
7 Jean Plum– Loneliness 3:50
8 Melvin Davis– I'm Worried 3:33
9 Doris Duke– He's Gone 4:33
10 Big John Hamilton– Take This Hurt Off Me 2:25
11 Tyrone Davis– I Keep Coming Back 2:37
12 Charles Smith– I'm Useless 3:43
13 Leon Byrd– I Catch Myself Cryin' 2:47
14 The Whispers– Seems Like I Gotta Do Wrong 2:49
15 Betty Lavette– Let Me Down Easy 2:52
16 Aaron Neville– Been So Wrong 3:39
17 Laura Lee– I'll Catch You When You Fall 3:53
18 Sidney Joe Qualls– I'm Being Held Hostage 4:05
19 Quiet Elegance– You Got My Mind Messed Up 2:48
20 Tommie Young– She Don't Have Too See You (To See Through You) 3:09
21 Ann Sexton– I'm His Wife (You're Just A Friend) 2:53
22 Jackie Wilson– Just As Soon As The Feeling's Over 3:11
23 Joe Valentine– I Can't Stand To See You Go 2:57
24 Wilson Pickett– I'm Down To My Last Heartbreak 2:35
Label: Harmless – BACKB030
Series: Backbeats
Format: CD, Compilation
Country: UK
Released: 2011
Genre: R&B Soul
Style: Southern Soul, Deep Soul
The Pain Goes Deep (More Deep Soul Gems) is a compilation album of various artists within the southern/deep soul genre, part of the popular "Backbeats" series by the independent record label Backbeats.
The album focuses on "deep soul" and R&B, featuring tracks that are rich in raw emotion and powerful, soulful vocals.
The "Backbeats" series is designed to showcase quality music from various independent labels over the past 50 years, using original 12" or album versions of tracks.
As the title suggests, the collection features songs that deal with themes of heartbreak, pain, grief, and raw emotions, which are characteristic of the deep soul genre.
The album offers significant musical value, with over 75 minutes of music from various original artists.
The album is available to purchase on CD by clicking the Amazon image below, or may be purchased as digital downloads.
The Patterson Twins
Written-By – Finley Duncan, Ricky Vannoy 5:05
A2 He's A Loser
Written-By – G. Leinenweber, Troy Shondell 5:42
A3 How Long Must The Show Go On
Written-By – Skip Rogers 5:05
A4 A Good Thing
Written-By – Tom Bassfield 2:24
B1 Gonna Find A True Love
Written-By – John Helms, Terry Woodford 4:49
B2 Funk Machine
Written-By – Stan Bell, Troy Shondell 3:06
B3 You Give Me Someone To Love
Written-By – Stan Bell, Troy Shondell 3:52
B4 Disco Dream
Written-By – Troy Shondell 5:01
Label: Commercial – CDC-A784
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Disco, Funk
The 1978 album Let Me Be Your Lover by the Patterson Twins is a rare, cult-classic modern soul/disco album, highly praised by soul enthusiasts for its deep vocals and the standout track "Gonna Find A True Love". Critical opinions vary, with some reviewers lauding its passionate soulful sound while others find certain tracks, particularly the title song, dated or problematic in their lyrical themes.
The album is considered a quintessential "modern soul" rarity, blending deep Southern soul vocals with the mellow, late 1970s funk and boogie sound. The production quality on reissues is often praised for its excellence.
"Gonna Find A True Love": This track is universally regarded as a masterpiece and a modern soul classic, often cited as the primary reason for the album's high demand and frequent reissues. It has an "uplifting and irresistible" beat.
The album features a mix of groovy dance tracks like "Funk Machine" and ballads such as "He's A Loser". Reviewers note a diverse selection of songs, though some feel a few tracks suffer from generic "disco beat" arrangements.
One critical review notes that two songs, including the title track, use a "creepy" lyrical form that dates back to older blues songs, involving older men singing about underage girls, which can feel out of touch with modern or even contemporary disco-era sensibilities.
Originally released on the obscure Mississippi label Commercial, the album is extremely rare, with original LPs fetching high prices (upwards of £600-£700) online.
Discogs and Amazon user ratings are generally very positive, averaging around 4.4 to 4.6 out of 5 stars, indicating strong appreciation from fans and collectors.
In summary, the album is a must-have for modern soul collectors, primarily for the strength of its standout track and overall soulful vibe, though some lyrical content may be off-putting to some listeners.
The Persuaders
A2 Please Stay (Bob Hilliard, Burt Bacharach 3:40)
A3 If You Feel Like I Do (Jackie Members, Bobby Poindexter 6:05)
A4 Trying Girls Out (Jackie Members, Bobby Poindexter 4:07)
A5 Is It Too Heavy For You? (Jackie Members, Bobby Poindexter 2:44)
B1 Bad Bold And Beautiful Girl (Alton Watkins, Jackie Members, Nelson Daniels, Richard Poindexter, Robert Holloman, Bobby Poindexter 4:10)
B2 What Is The Definition Of Love? (Jackie Members, Bobby Poindexter 2:47)
B3 Love Goes Good When Things Go Bad (Jackie Members, Bobby Poindexter 2:41)
B4 I Want To Make It With You (Rich Barthlow, Robert Esenberg 4:35)
B5 You Still Love Me (After All You've Been Through) Jackie Members, Robert Poindexter 5:25)
Label: ATCO Records – SD 7021
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul
The Persuaders self-titled second album, released in 1973, features soulful R&B ballads and funk songs, with standout tracks "Peace In The Valley Of Love," and "Bad Bold And Beautiful Girl", both of which were released as singles and charted in both the R&B charts as well as the pop charts in the US. It was produced by the group's members Bobby Poindexter and Richard Poindexter, and is considered a classic vinyl record for collectors and soul music fans.
While it may not have received the massive commercial success of their previous album, "Thin Line Between Love and Hate," it is a well-regarded album for fans of the genre and is considered a must-have for fans of 1970s soul and R&B and a significant part of The Persuaders' discography.
The Players’ Association
A2 Moon In Pisces (Arranged By [Horn And Synthesizer] – Chris Hills 5:27)
A3 Let's Groove (L. Huff, G. McFadden. J. Whitehead, V. Carstarphen 7:16)
B1 Love Hangover (Marilyn McLeod, Pamela Sawyer 6:08)
B2 For The Love Of You (The Isley Bros. 6:13)
B3 Hustlin' (Arranged By [Horn And Synthesizer] – Chris Hills 4:22)
Label: Vanguard – VSD•79384
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Funk, Soul
Style: Jazz-Funk, Soul, Disco
The self-titled 1977 album by The Players' Association is a quintessential jazz-funk and disco record, known for blending the talents of seasoned jazz session musicians with the dance-oriented sound of the late 1970s.
The album was created by jazz drummer and producer Chris Hills and producer Danny Weiss as a New York-based studio project. It primarily features instrumentally-focused tracks that bridge the gap between sophisticated jazz musicianship and the commercial appeal of disco and funk. The sound is characterized by strong horn section arrangements, prominent bass lines, and synthesizer work.
The album effectively merges elements of jazz, funk, soul, and disco, appealing to both serious music fans and dancefloor crowds.
It features an impressive roster of New York session musicians, including saxophonists Joe Farrell and Bob Mover, trumpeter Jon Faddis, and keyboardist Mike Mandel.
The album includes original compositions and covers. The track "Moon In Pisces" is highlighted as a smooth jazz-funk jam, while their cover of "Love Hangover" (originally by the Supremes, popularized by Diana Ross) is noted for its powerful build-up and prominent saxophone and flute solos.
While another album released the same year, Born to Dance, is often associated with their major hit "Disco Inferno," the self-titled debut helped establish The Players' Association as a cult classic of the disco era, particularly popular in the UK club scene.
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 Rose Brothers
Written-By – Charles Richard Cason, Stacie Cason 5:18
A2 Burglar
Written-By – Charles Richard Cason 5:12
A3 One More Time
Written-By – Brian Short, Tom Campbell 3:55
A4 Wall To Wall Freaks
Written-By – Charles Richard Cason 6:48
B1 War Zone
Written-By – Charles Richard Cason 4:25
B2 I Get Off On You
Written-By – Charles Richard Cason 6:30
B3 Freeky Lover
Written-By – Charles Richard Cason 5:08
B4 The Edge Of Good-Bye
Written-By – Charles Richard Cason 4:43
Label: Muscle Shoals Sound Records – MSS 2201
Format: Vinyl, LP, Album
Country: US
Released: 1985
Genre: R&B Soul
Style: Eighties Soul
The Rose Brothers' 1985 self-titled album is a highly regarded release in the modern soul and funk genres, considered by some to be a "criminally underrated" classic. It is particularly popular in Japan, where it has been ahead of the curve in appreciation.
The album blends 1980s synth and electro sounds with traditional Southern Soul influences, released under the Malaco/Muscle Shoals Sound label. The production is noted for symbolizing the "heyday" of Malaco Records' urban releases.
Lead singer Greg Rose is praised for his deep baritone vocals, which are often compared to those of Teddy Pendergrass.
Several songs have received specific mention:
"I Get Off on You": An urban mellow track that reached #28 on the R&B charts.
"I Wanna Do Ya": Described as a sweet love song, considered a must-listen for fans of artists like Zapp and Roger Troutman.
"Burglar": An electro-funk track with a sound inspired by "Planet Rock".
"Wall to Wall Freaks" and "Freeky Lover": Other notable funk/soul tracks from the album.
The album is often rated very highly by fans and collectors, with user ratings on platforms like Discogs averaging 5/5 stars on some releases. Reviewers emphasize the quality of the slow jams and the overall cohesive 80s sound.
On Discogs, the album maintains a high average rating, with many users giving it a 5/5 standout score. Reviewers praise the "timeless" quality of the slow jams, which contrast with the "electro-number" energy found elsewhere on the record.
The Songstress
Written-By – Patrick Moten, Sandra Sully 4:59
A2 You're The Best Thing Yet
Written-By – Geronne C. Turner, Patrick Moten 5:32
A3 Feel The Need
Written-By – Patrick Moten 5:35
A4 Squeeze Me
Written-By – Patrick Moten 4:37
B1 No More Tears
Written-By – Michael Powell 5:52
B2 Sometimes
Written-By – Patrick Moten, Sandra Sully 5:52
B3 Will You Be Mine
Written-By – Carlos Turrentine, Patrick Moten 5:26
B4 Do You Believe Me
Written-By – Patrick Moten 3:54
Label: Beverly Glen Music – BG10002
Format: Vinyl, LP, Album
Country: US
Released: 1983
Genre: R&B Soul, Jazz
Style: Eighties Soul, Downtempo
The Songstress is the debut solo album by American R&B/soul singer Anita Baker, originally released in 1983 on Beverly Glen Music. It established her signature "quiet storm" sound, characterized by a smooth, sophisticated, and jazzy blend of soul and gospel influences.
The album was a deliberate departure from the prevailing trends of overly synthesized funk and disco music of the early 1980s. Instead, it featured a more organic, live band sound with a focus on heartfelt ballads and a mature, adult contemporary R&B style.
It prominently showcases Baker's powerful, deep, and silky smooth three-octave contralto vocal range, which critics praised for its emotional delivery and control.
The music blends traditional soul with significant jazz and gospel touches, defining the sophisticated sound that would make her famous.
The majority of the tracks were produced and written by Patrick Moten. The arrangements included a mix of smooth grooves and introspective ballads.
Elektra Records acquired the rights to the album and re-released it in 1991 to a wider audience after Baker achieved fame.
The album features several tracks that became R&B hits:- "Angel": A smash hit that reached number five on the Billboard Hot Black Singles chart; "No More Tears": Another successful single, peaking at number 49 on the R&B chart; "You're the Best Thing Yet": Reached number 28 on the R&B chart.
While not the massive commercial success of her follow-up, multi-platinum album Rapture (1986), The Songstress was a moderate success on the R&B charts and it helped define the quiet storm genre and laid the groundwork for her later international stardom.
The Songstress is considered essential listening for Anita Baker fans and aficionados of heartfelt soul ballads and quiet storm R&B. Though some general reviews find certain tracks a bit uneven or not as memorable as her later hits, the album is widely appreciated for its display of the raw talent that would soon make her a superstar.
The Soul Of Me
Written-By – I. and G. Gershwin 2:15
A2 Time After Time
Written-By – Cahn - Styne 2:37
A3 Hello Lover, Goodbye Tears
Written-By – Ott 2:43
A4 Lonely People Do Foolish Things
Written-By – Snyder, Ahlert 3:07
A5 I Want To Be Happy
Written-By – Caesar, Youmans 2:50
A6 It's The Talk Of The Town
Written-By – Neiberg, Livingston, Symes 2:27
B1 When Day Is Done
Written-By – DeSylva, Katscher 2:28
B2 Look For Me (I'll Be Around)
Written-By – Wood, Dee 3:02
B3 We've Come A Long Way
Written By – Segal, Wells 2:22
B4 Sweet Torture
Written-By – Chase 2:36
B5 Gotta Be This Or That
Written-By – Skylar 2:33
B6 You Can Have Him
Written-By – Cook 2:26
Label: RCA Victor – LPM-2945
Format: Vinyl, LP, Album, Mono
Country: US
Released: 1964
Genre: R&B Jazz
Style: Jazz, Soul
The Soul of Me is Ketty Lester's debut full-length album with RCA Victor, showcasing her transition toward a more R&B-oriented vocal jazz style.
The album is widely regarded as a "mellow blend of jazz and soul". Reviews highlight Lester's "rich, creamy voice" and emotive delivery, often comparing her vocal sophistication to that of Nancy Wilson and Dinah Washington, though with less emphasis on the blues.
Critics praise her "superb and emotive voice" and her ability to capture feelings of "longing and unrequited love".
The album features polished, larger-scale backings typical of 1960s RCA productions.
The album maintains solid community ratings, including a 3.32/5 on Rate Your Music (ranked #615 for 1964) and a 4/5 average on Discogs.
Released following her massive 1962 hit "Love Letters," The Soul of Me was one of two albums she recorded for RCA. While it did not match the commercial height of her earlier singles, it remains a "thoroughly enjoyable release" for collectors of vocal jazz and 1960s soul.
Today, vintage copies of the vinyl—both in mono and stereo—are sought after by collectors, typically priced between $20 and $25 for high-quality pressings.
The Soul Sessions
Acoustic Guitar – Angelo Morris
Written-By – Harlan Howard 3:35
2 Super Duper Love (Are You Diggin' On Me?) Pt. 1
Guitar – Angelo Morris
Percussion – Ignacio Nunez
Tambourine – Mike Mangini
Written-By – Willie Garner 4:20
3 Fell In Love With A Boy
Backing Vocals – Angie Stone
Bass – Adam Blackstone
Guitar – Kirk Douglas
Keyboards – James Poyser, Kamal
Producer, Drums – Ahmir '?uestlove' Thompson
Written-By – Jack White 3:38
4 Victim Of A Foolish Heart
Guitar – Angelo Morris
Written-By – Charles Buckins, George Jackson 5:31
5 Dirty Man
Acoustic Guitar – Jimmy Farkus
Guitar – Angelo Morris
Written-By – Bobby Miller 2:59
6 Some Kind Of Wonderful
Organ – Angelo Morris
Written-By – John Ellison 3:56
7 I've Fallen In Love With You
Arranged By [Strings] – John Angier
Backing Vocals – Deanna Carroll, Taneka Duggan
Bass – Steve Greenwell
Cello – Alan Stepansky, Leanne LeBlanc, Jenny Turner, Sarah Seiver
Drums – Ahmir '?uestlove' Thompson
Guitar – Mark Ciprit
Keyboards – Danny Pierre
Saxophone – Sam Furnace
Viola – Dawn Hannay, Karen Dreyfus, Robert Rinehart, Tom Rosenfeld
Violin – Liz Lim, Fiona Simon, Jenny Strenger, Jung Sun Yoo, Laura Seaton, Lisa Kim, Myung Hi Kim, Rob Shaw, Sandra Park, Sarah Kim, Sharon Yamada, Soo Hyun Kwon
Written-By – Carla Thomas 4:29
8 I Had A Dream
Written-By – Jon B. Sebastian 3:01
9 All The King's Horses
Organ – Angelo Morris
Written-By – Aretha Franklin 3:03
10 For The Love Of You (Pts. 1 & 2)
Keyboards – Angelo Morris
Written-By – Christopher Jasper, Ernest Isley, Marvin Isley, Kelly Isley, Ronald Isley, Rudolph Isley 7:33
Label: S-Curve Records – SC 42234
Format: CD, Album
Country: US
Released: 2003
Genre: R&B Soul, Funk
Style: Soul-Jazz, Contemporary R&B
Joss Stone's debut album, The Soul Sessions, is widely regarded as an impressive and surprising debut, showcasing a then 16-year-old British singer with a remarkably mature, rich, and gritty soul voice that belies her age. The album, a collection of classic 1960s and 70s soul covers, generally received positive reviews, though some critics found it lacked the "bite" of original material.
The consensus among reviewers is that Stone possesses a stunning and powerful voice with a natural soul inflection, often compared favorably to established soul divas. Her delivery is praised for being convincing, sincere, and smooth.
Produced by veteran Miami soul musicians like Betty Wright and Timmy Thomas, the album is a meticulous re-creation of the classic 70s soul sound. This authentic production was a major selling point, distinguishing her from contemporary pop acts of the time.
The album features covers of obscure and well-known soul tracks, including Harlan Howard's "The Chokin' Kind" and a re-imagined version of The White Stripes' "Fell in Love with a Girl" (retitled "Fell in Love with a Boy"). The latter track was often highlighted as a fresh and successful juxtaposition that blended well into the album's sound.
Critics lauded the album as an accomplished achievement, a pleasant journey back in time, and an excellent showcase for her raw talent. It was a commercial success, peaking high on both UK and US charts.
Some reviewers noted that, as a covers album, it felt a bit like an "artistic compromise" or a "covers band" performance lacking the personal touch of self-penned songs. A few felt her youth meant she couldn't fully inhabit the deep emotional experiences of some songs compared to seasoned veterans.
Ultimately, The Soul Sessions succeeded in establishing Joss Stone as a major new vocal talent and a force in the neo-soul genre, a success that her subsequent albums have often been measured against.
The Soul Sessions is considered a significant debut that established Joss Stone as a notable talent in soul and R&B music.
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.
The Way You Look At Me
2 Show Me 4:21
3 Blame It On Me 6:53
4 Love Games 3:51
5 The Way You Look At Me 4:03
6 Yesterday's Child 7:06
7 In My Little Wonderland 5:48
Label: Vision Quest – VQD 91587
Format: CD, Album
Country: US
Released: 1987
Genre: R&B Soul
Style: Eighties Soul, Funk
The 1987 album The Way You Look At Me by Jean Albert Renaud (often credited simply as Renaud) on the Vision Quest label (VQ91587) is a release in the Dance & Electronica, Soul, Disco, and R&B genres, primarily aimed at collectors of 80s dance music.
On Discogs, the album holds an average rating of 4.75 out of 5 stars based on a small number of user ratings (four ratings).
The album is described as showcasing Renaud's "unique style and musical talent" within the specified genres. The sound is likely characterized by deep weighted grooves, warm dynamics, and soulful elements typical of 80s deep house and techno noir, consistent with the Visionquest label's general profile.
The record is considered a desirable item for enthusiasts of 1980s dance and soul music, particularly due to its niche appeal and association with the Vision Quest label.
The Whole World’s Dancing
Arranged By – Norman Harris
Producer, Written-By – Bruce Gray, Norman Harris 7:02
A2 Teaser
Arranged By – George Bussey
Producer – Norman Harris
Written-By – Allan Felder, Norman Harris, Ron Tyson 6:16
A3 The Whole World's Dancing
Arranged By, Producer, Written-By – Ron Baker 6:03
B1 My Love, It's Never Been Better
Arranged By, Producer – Norman Harris
Arranged By, Producer, Written-By – Bruce Gray 5:36
B2 Soul Bones
Arranged By, Producer – Ron (Have Mercy) Kersey
Harmonica – Stevie Wonder
Horns – Maurice Spears & His Horns
Mixed By – Bob Hughes, G. McMillan
Strings – Paul Schorr & His Strings
Written-By – Leroy Green, Ron Kersey 5:35
B3 Love Magnet
Arranged By – George Bussey
Producer – Norman Harris
4:41
B4 More Good Times To Remember
Arranged By, Producer, Written-By – Ron Baker
Mixed By – Carl Paruolo 3:05
Label: Atlantic – SD 19210
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Seventies Soul, Disco
Released in 1979, The Whole World's Dancing is an album that showcases The Trammps' signature "live band Philly disco sound," combining uptempo dance tracks with a soulful funk element. While it didn't achieve the massive success of their earlier Disco Inferno album, it is generally well-regarded by fans of late 70s disco and soul music.
Critics and fans generally appreciate the album for its consistent quality dance grooves and solid musicianship. One review notes it as a "superb example" of their sound, full of "uptempo and soulful" energy. However, some critics found that the album's tracks, while good, struggled to capture the immense "dancefloor savvy" of their biggest hits, perhaps suffering from being released as the disco genre faced a significant backlash in mid-1979.
The album features several standout tracks that have become favorites among fans:
"Love Insurance Policy": A thumping disco-funk jam.
"Teaser": Another popular uptempo track.
"The Whole World's Dancing": The title song, known for its strong groove.
"Soul Bones": An "unusually funky offering" that features a harmonica solo from Stevie Wonder and was released as a single, charting on the Hot Soul Singles chart.
"Love Magnet": Another appreciated funk track.
The Whole World's Dancing is considered a quality, consistent effort that delivers plenty of "quality dance grooves" typical of the late 70s Philly disco sound. It is recommended for fans of the genre and the band's work, showcasing their ability to produce creative and worthy album tracks beyond just singles. User ratings on platforms like Discogs generally average over 4 out of 5 stars.
The Windows Of The World
Arranged By – Burt Bacharach 3:04
A2 Walk Little Dolly
Arranged By – Burt Bacharach 3:27
A3 The Beginning Of Loneliness
Arranged By – Burt Bacharach 3:30
A4 Another Night
Arranged By – Burt Bacharach 2:34
A5 The Windows Of The World
Arranged By – Burt Bacharach 3:23
B1 (There's) Always Something There To Remind Me
Arranged By – Burt Bacharach 2:59
B2 Somewhere
Arranged By – Peter Matz
Written-By – L. Bernstein, S. Sondheim 4:23
B3 You're Gonna Hear From Me
Arranged By – Peter Matz
Written-By – André Previn, Dory Previn 4:29
B4 Love
Arranged By – O. B. Masingill
Written-By – B. Kaempfert, M. Gabler 2:52
B5 What's Good About Goodbye
Arranged By – Peter Matz
Written-By – Harold Arlen, Lee Robin 2:41
Label: Scepter Records – SPS 563
Format: Vinyl, LP, Album
Country: US
Released: 1967
Genre: R&B Soul
Style: Sixties Soul, Pop
The Windows of the Worldis the eighth studio album by American singer Dionne Warwick, released on August 31, 1967, by Scepter Records. The album is primarily known for showcasing the successful collaboration between Warwick and the prolific songwriting and production team of Burt Bacharach and Hal David, who wrote six of the album's ten tracks.
The album blends Bacharach and David's sophisticated pop sound with a mix of original compositions and covers of stage and film songs. The production features lush arrangements, including orchestral elements, which were a hallmark of Bacharach's style at the time. The title track itself was a thematic departure for the songwriting duo, functioning as a subtle anti-war protest song inspired by Hal David's concerns about the Vietnam War.
The album is most famous for featuring the iconic hit single "I Say a Little Prayer," a track that became a top 10 hit and helped re-establish Warwick's commercial success at the time. The song's breezy arrangement was initially downplayed by Bacharach but proved to be very popular with disc jockeys and the public.
Considered a must-have for collectors, solidifying Warwick's status and proving that great music emerged even from the counter-cultural '60s.
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 Ann Peebles
A2 Crazy About You Baby Williamson 2:35)
A3 Make Me Yours (Swann 2:50)
A4 My Man-He's A Lovin' Man (Bennett, Matthew 2:14)
A5 Solid Foundation (Bryant, Jones 2:07)
A6 Chain Of Fools (Covay 2:45)
B1 It's Your Thing (O. Isley, R. Isley, R. Isley 2:32)
B2 Walk Away Sain 3:07)
B3 Rescue Me (Smith, Miner 2:27)
B4 Won't You Try Me Miller 2:55)
B5 Steal Away (Hughes 3:11)
B6 Respect (Redding 2:12)
Label: Hi Records – SHL 32053
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul
Style: Southern Soul
Ann Peebles' 1969 debut album, This Is Ann Peebles, is celebrated as a strong, classic Southern soul record that showcases her powerful, emotionally resonant voice and introduces her signature sound with the legendary Hi Records rhythm section.
The album is widely regarded as a wonderful foray into R&B soul, establishing Peebles as a seasoned professional even at the young age of 21. Critics note her potent voice, which perfectly balances sophistication and raw grit, capable of expressing a wide range of deep emotions.
The album greatly benefits from the tight, lean grooves provided by the Hi Rhythm Section and the production of Willie Mitchell at Royal Recording Studio in Memphis. This combination creates a timeless soul sound that became a hallmark of the label, also driving the success of artists like Al Gre
The record features a combination of original songs and covers of popular R&B hits of the day. While some critics felt the attempts at Aretha Franklin covers were a slight misstep, Peebles is praised for making other covers, like "It's Your Thing" and "Rescue Me," her own with her distinct phrasing and delivery.
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.
Tied Up
Backing Vocals – Edith Gardner, Sharon Ingram, Virginia Ingram
Written-By – Butch Ingram 6:56
A2 Don't I Ever Cross Your Mind 4:52
A3 All Of A Sudden Baby (Short Version) 3:54
B1 All Of A Sudden Baby 5:37
B2 Tied Up 5:07
B3 Winter Love 7:16
Label: Other End Records – OE BM-1
Format: Vinyl, LP, Album
Country: UK
Released: 1984
Genre: R&B Soul
Style: Eighties Soul, Disco, Boogie
Released in 1984 on West End Records (under the label Other End), Tied Up is a boogie and soul album that marked a distinct shift in Barbara Mason's career toward more modern electronic and post-disco sounds.
Mason herself noted in interviews that while the album was a major success overseas and reached number one in New York, it struggled to find a foothold across the rest of the United States because radio programmers felt the content did not fit their formats.
On enthusiast platforms like Discogs, the album holds a high community rating of approximately 4.32 / 5, indicating it has aged well among soul and boogie collectors.
The album is defined by its early-80s "boogie" production, featuring synth-heavy arrangements and Mason's signature frank lyrical themes.
"Another Man": The standout track and a pioneer in house and electronic music, known for its bold lyrics about a partner leaving for another man.
"Tied Up": The title track, which maintains the album's smooth yet upbeat rhythmic style.
"Winter Love": A longer, more atmospheric piece that showcases her vocal range in a mid-tempo setting.
Originally released as a vinyl LP, it is now a sought-after item for collectors of 1980s R&B.
The album has been digitally remastered and released on CD; however, some buyers have criticized certain editions for being on CD-R format rather than standard pressed CDs and for lacking detailed liner notes.
In summary, Tied Up is a key record in Barbara Mason's discography, showcasing her mature, provocative style and delivering a massive international hit, even if its US mainstream acceptance was limited initially.
Timothy Wilson
A2 It's Love Baby (Herschel Dwellingham, LaShonda Dupree, Maurice Rice 3:53)
A3 Keep It Up Don't Let It Go Down (Landy McNeal 4:59)
A4 Gotta Fall In Love Again (Bob Johnson, George Pettus 3:42)
B1 (Wear Your) Red Dress (Tight) (George Pettus 5:59)
B2 Follow Me (George Pettus 3:30)
B3 Who Babe Landy McNeal 3:20)
B4 We Just Can't Help It (George David Weiss, Hugo & Luigi 3:22)
Label: H & L Records – HL-69034
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Disco
Timothy Wilson's self-titled 1978 album, released on H&L Records, is a Funk/Soul record that incorporates elements of Disco. It features a blend of upbeat, dance-oriented tracks and soulful ballads. The album was Wilson's only full-length LP release during his career.
The album showcases Wilson's unique and soulful voice over arrangements that reflect the late 1970s' R&B and disco sound. The music features instrumentation common to the era, including electric piano, synthesizer, percussion, bass, guitar, and drums.
The production has a clean, professional feel, with recording taking place at H&L Sound Studios in Englewood Cliffs, New Jersey. Producers Herschel Dwellingham and Landy McNeal handled the production and arrangements.
While Timothy Wilson had several singles released throughout the 1960s, including the minor hit "Baby Baby Please" on the Buddah label, his 1978 album did not achieve major commercial success. However, the album has gained a following among collectors of R&B, soul, and disco music, with some tracks, particularly "Sugarland Express," becoming desirable finds in the collector's market.
To Know You Is To Love You
Written-By – C. Mann, D. Crawford 3:29
A2 Respect Yourself
Written-By – Luther Ingram, Mack Rice 5:13
A3 Who Are You
Written-By – D. Crawford, H. Johnson 3:55
A4 Love
Written-By – B. B. King 3:10
A5 I Can't Leave
Written-By – D. Crawford 4:13
B1 To Know You Is To Love You
Written-By – Stevie Wonder, S. Wright 8:42
B2 Oh To Me
Written-By – D. Crawford 4:27
B3 Thank You For Loving The Blues
Written-By – B. B. King 6:47
Label: ABC Records – ABCX-794
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Blues, Soul
Style: Electric Blues, Soul
B.B. King's album, To Know You Is to Love You, is a significant electric blues record known for its smooth, soulful Philadelphia soul sound, blending his signature guitar style with lush arrangements, featuring guest spots from Stevie Wonder and the Philly soul stars MFSB and the Memphis Horns, capturing King in a sophisticated, radio-friendly phase that connected blues with mainstream R&B.
While rooted in blues, it heavily incorporated the popular Philadelphia soul sound of the era, with rich orchestration and grooves.
The album was produced by Dave Crawford in Philadelphia and utilizes the talents of the house band for Philadelphia International Records, MFSB, as well as the Memphis Horns. This collaboration resulted in a rich, soul-infused sound, though some contemporary critics noted a difference between the more traditional blues tracks, where King's vocals soared, and the pop/soul-oriented songs
It notably featured Stevie Wonder on keyboards and percussion, alongside members of MFSB (Mother Father Sister Brother) and The Memphis Horns, providing a fuller, funkier backing.
King's emotive guitar playing ("Lucille") and vocals shine, singing deeply felt blues and soul tunes.
The album was a commercial success, showcasing King's ability to adapt and remain relevant by embracing contemporary soul production.
In essence, To Know You Is to Love You is a smooth, soulful bridge album where B.B. King's blues heart meets the vibrant R&B scene of the early 70s, creating a classic of his later career.
Together
A2 You And I 3:38
A3 Together 3:03
A4 Simple Life 3:18
A5 Sweet Lov'liness 2:59
B1 Wham Bam (Blue Collar Man) 2:43
B2 Come With Me 3:18
B3 Pretending 3:02
B4 Love Song 3:20
B5 Empty Hearts 3:44
B6 I Found The Secret 2:33
Label: Caribou Records – PZ 34471
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul
O.C. Smith's 1977 album Together (Caribou Records – PZ 34471) is a well-regarded soul/funk classic, noted for its strong musicianship and the minor chart success of its title track. While formal critical reviews from the time are scarce in the search results, contemporary reception among collectors is generally positive, with the album averaging over 4 out of 5 stars on music databases.
The album is appreciated in soul and funk circles, with some fans considering it an "underrated 70s soul funk classic". The title track "Together" was a notable success, reaching a Top 30 position on the UK Singles Chart in 1977 and making it to #62 on the US Soul chart. The song "Just Couldn't Help Myself" was also released as a B-side and is a catchy, relaxed mid-pacer.
It is praised for its production quality and the talented session musicians involved, which included members of Tom Scott's L.A. Express, such as Max Bennett (bass) and John Guerin (drums, production). The album also features songwriting contributions from notable artists like Joni Mitchell and Michael McDonald.
The album is considered an underrated 70s soul classic by some fans and collectors. You can find more detailed information and potentially purchase the record via online marketplaces like Discogs or eBay.
Tomorrow
A 2 Tomorrow 4:12
A 3 You Just Don't Wanna Be Loved 4:20
A 4 Uphold Me 4:05
A 5 Everything You Touch Is A Song 5:20
B 1 Love Is A Spirit 4:40
B 2 Bring Back The Days Of Yea And Nay 4:45
B 3 Lord I Believe 3:53
B 4 Trust In God 4:15
B 5 Golden Opportunity 4:19
(All tracks were written by Marvin Winans.)
Label: Light Records – LS 5853
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: R&B Gospel
Style: Soul, Gospel
Tomorrow, released in 1984 on Light Records, is the debut album by the American contemporary gospel quartet The Winans. It is considered a groundbreaking album in the gospel genre for its upbeat and contemporary R&B sound, earning The Winans the description of "Gospel Music's first 'boy band'".
The album was commercially and critically successful, with the title track winning a Grammy Award for Best Soul Gospel Performance by a Duo, Group, Choir or Chorus in 1985.
The album blends traditional gospel messages with a modern, urban sound, which helped it crossover into mainstream music charts. The lyrics, particularly on the title track, convey powerful messages about the urgency of accepting faith and making positive life choices today, as "tomorrow is not promised". Other songs address themes of God's grace, personal restoration, and the simplicity of faith.
Totally Involved
A2 There Ain't No Man That Can't Be Caught 3:16
A3 Is That Any Way To Treat A Lady 4:05
A4 How Long Is A Heartache Suppose To Last 3:48
B1 Thank You 3:54
B2 Go On Live Your Life 3:42
B3 That Won't Stop Me From Loving You 4:29
B4 Help Me Understand You 4:02
Produced, written and arranged by Jimmy Lewis
Label: Hotlanta – HA50000
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Southern Soul
Jimmy Lewis's 1974 album Totally Involved is a highly acclaimed Southern soul masterpiece, celebrated for its raw emotion, gritty vocals, and philosophical lyrics delivered with a "dyed in the red Georgia soil grit and passion". It is considered one of the greatest Southern soul albums of the 1970s.
Critics praise the album as a "veritable collage of sounds" that encapsulates a decade of Southern soul music.
Lewis is known for his "raspy-voiced monologue[s]" and "gritty, no-nonsense adlibs". His voice is described as "cracklin', gruffy, lowdown pipes" that deliver powerful, testifying vocals full of raw emotion.
The album blends various soul, R&B, and blues styles, ranging from lazy, bluesy beats with gospel influences to mid-tempo groovers with horns and xylophone. One track has a slight Philly Soul groove, but Lewis's vocals ensure it remains distinctly Southern.
Lewis is noted for his "philosophical musings" and "sermons" on life and relationships. He often overdubbed his own voice for a second vocal, adding punchy ad-libs that enhance the narrative.
The arrangements are described as rich and effective, featuring purring organs, sweet female backing vocals, jaunty guitars, incisive bass, and well-arranged strings.
Overall, Totally Involved is considered a landmark recording in Southern soul music, highly regarded by collectors and critics alike.
Touch Of Soul
Backing Vocals – Buz
Drum Programming, Keyboards – Lattrel
Drum Programming, Lead Vocals, Backing Vocals – Tracy
Guitar – John "Jubu" Smith
Keyboards, Organ [Hammond B-3], Drums, Backing Vocals – Timothy Christian Riley
Written-By – Lattrel, Timothy Christian Riley, Tracy 6:05
2 Stay With Me
Backing Vocals – Dion
Drum Programming, Keyboards – Timothy Christian Riley
Guitar [All], Bass – John "Jubu" Smith
Lead Vocals, Backing Vocals – Tracy
Saxophone – Vince Lars
Trumpet – Bill Ortiz
Written-By – John T. Smith, Timothy Christian Riley, Tracy 5:18
3 Special
Acoustic Guitar – John "Jubu" Smith
Backing Vocals – Buz
Bass – Derek "DOA" Allen
Drum Programming, Keyboards, Backing Vocals – Timothy Christian Riley
Lead Vocals, Backing Vocals – Tracy
Saxophone – Vince Lars
Strings – Claire Fischer
Trumpet – Bill Ortiz
Written-By – Fred Busby, Timothy Christian Riley 5:39
4 U Changed
Backing Vocals – Dion, Buz
Drum Programming, Keyboards – Lattrel
Drum Programming, Keyboards, Lead Vocals, Backing Vocals – Tracy
Keyboards – Timothy Christian Riley
Written-By – Dion Riley, Buz, Timothy Christian Riley, Tracy 5:13
5 Ridin'
Backing Vocals – Buz, Lattrel, Ramone Chester
Bass, Guitar – John "Jubu" Smith
Drum Programming, Keyboards – Timothy Christian Riley
Drums, Backing Vocals – Dion
Lead Vocals, Backing Vocals – Tracy
Written-By – Buz, Timothy Christian Riley 4:29
6 Light The Candles (Interlude)
Drum Programming, Keyboards, Backing Vocals – Tracy
Drum Programming, Keyboards, Words By [Spoken] – Lattrel
Guitar – John "Jubu" Smith
Written-By – John T. Smith, Lattrel, Tracy 1:05
7 Nature Rise
Backing Vocals – Buz
Drum Programming, Keyboards, Backing Vocals – Timothy Christian Riley
Guitar – John "Jubu" Smith
Lead Vocals, Backing Vocals – Tracy
Talkbox – Keith Crouch
Written-By – Timothy Christian Riley, Tracy 5:49
8 Touch Of Soul
Backing Vocals – Buz, LaDonna
Bass, Guitar – John "Jubu" Smith
Drum Programming, Keyboards, Drums, Clavinet – Timothy Christian Riley
Keyboards, Bass [Synth], Lead Vocals, Backing Vocals – Tracy
Saxophone – Vince Lars
Synth – Lattrel
Trumpet – Bill Ortiz
Written-By – D. Webster, Fred Busby, John T. Smith, M. Adams, M. Hicks, Raye Turner, S. Arrington, Timothy Christian Riley, T. Lockett, Tracy 4:26
9 A Sexy Solo (Interlude)
Instruments [All] – Timothy Christian Riley
Written-By – Timothy Christian Riley 1:38
10 All My Luv
Backing Vocals – Dion, Buz
Drum Programming, Keyboards, Backing Vocals – Lattrel
Electric Piano [Wurlitzer], Strings – Timothy Christian Riley
Guitar – James "Flatop" Jones
Keyboards, Lead Vocals, Backing Vocals – Tracy
Saxophone [Solo] – Vince Lars
Written-By – Lattrel, Tracy 5:04
11 Goin' On
Bass, Guitar – John "Jubu" Smith
Drum Programming, Electric Piano [Fender Rhodes], Lead Vocals, Backing Vocals – Tracy
Percussion – Dion (15)
Piano [Acoustic], Organ [Hammond B-3], Drums – Timothy Christian Riley
Strings – Lattrel
Trumpet [Solo] – Bill Ortiz
Written-By – John T. Smith, Tracy 4:32
12 That's How Love Goes
Backing Vocals – Fred "Buz" Busby
Drum Programming – Lattrel
Drum Programming, Keyboards – Timothy Christian Riley
Guitar – John "Jubu" Smith
Lead Vocals, Backing Vocals – Tracy
Rap – Big Will
Saxophone – Vince Lars
Written-By – Timothy Christian Riley, Tracy 5:22
13 Dog N' Me
Backing Vocals – Fred "Buz" Busby
Bass, Guitar – John "Jubu" Smith
Drum Programming, Keyboards – Timothy Christian Riley
Drums – Dion
Lead Vocals, Backing Vocals – Tracy
Written-By – A. Green, Fred "Buz" Busby, Timothy Christian Riley, W. Mitchell 4:00
14 Light The Candles (Reprise)
Drum Programming, Keyboards, Backing Vocals – Tracy
Drum Programming, Keyboards, Words By [Spoken] – Lattrel
Guitar – John "Jubu" Smith
Written-By – John T. Smith, Lattrel, Tracy 0:56
Label: Big Beat – 92655-2
Format: CD, Album,
Country: US
Released: 1996
Genre: Hip Hop, Funk, Soul
Style: RnB, Swing
Art N' Soul's Touch of Soul is praised as a classic, authentic R&B album with live instrumentation, evoking late '70s/early '80s vibes, filled with heartfelt love & relationship tales, standout tracks like "Ever Since You Went Away," and notable for its smooth vocals, jazz-infused arrangements, and rich sounds of real drums, bass, organs, and guitars.
Reviewers highlight its emotional depth, capturing joy, sorrow, lust, and lost love, making it a beloved gem for soul fans, despite its perceived under-promotion.
Featuring rich, live instrumentation (real drums, bass, Fender Rhodes, wah-wah guitars) creating a creamy, dreamy, authentic soul sound, it explores universal themes of love, heartbreak, regret, lust, and reconciliation with palpable emotion.
Standout Tracks: "Ever Since You Went Away" was a significant hit, charting on the Billboard Hot 100, while "Nature Rise" offers a curvy, jazzy feel.
Considered a high-quality, classic soul album by fans, wishing for more from the group. Features smooth, refined R&B vocals that convey deep feelings. Seen as a musical treasure that captures the essence of classic soul.
In essence, Touch of Soul is celebrated for delivering classic, heartfelt R&B with real instruments and compelling storytelling, making it a standout release from the mid-'90s.
Tower Of Power
Written-By – D. Garibaldi, E. Castillo, S. Kupka
5:03
A2 Clever Girl
Written-By – E. Castillo, S. Kupka, W. Fulton
2:52
A3 This Time It's Real
Written-By – D. Bartlett, E. Castillo, S. Kupka
2:52
A4 Will I Ever Find A Love?
Written-By – E. Castillo, S. Kupka
3:48
A5 Get Yo' Feet Back On The Ground
Written-By – W. Fulton
4:51
B1 So Very Hard To Go
Written-By – E. Castillo, S. Kupka
3:37
B2 Soul Vaccination
Written-By – E. Castillo, S. Kupka
5:10
B3 Both Sorry Over Nothin'
Written-By – E. Castillo, L. Williams, S. Kupka
3:22
B4 Clean Slate
Written-By – E. Castillo, S. Kupka, W. Fulton
3:20
B5 Just Another Day
Written-By – B. Conte
4:38
Label:
Warner Bros. Records – BS 2681
Format:
Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul, Jazz
Style: Jazz-Funk, Seventies Soul
The 1973 self-titled album by Tower of Power is widely considered their definitive and most successful work, a classic of the funk and soul genres. It is lauded for its superb musicianship, the powerful horn section, and the arrival of lead vocalist Lenny Williams, which created a potent mix of hard-driving funk and smooth soul ballads.
The album peaked at No. 15 on the Billboard LPs chart and achieved gold record status. Reviewers and fans consistently praise the record for its quality and variety, often calling it the "one to own" in their catalog.
The album showcases the "machine-gun" bass lines of Francis "Rocco" Prestia and the technical, precise drumming of David Garibaldi, which are often studied by musicians and considered foundational to funk drumming.
The iconic Tower of Power horn section provides a full, brassy bite and tight, punctuating lines that are a signature of the band's sound.
The addition of Lenny Williams' warm, powerful, and soulful voice is credited with elevating the band, providing the perfect element to synthesize their musical ideas.
The album successfully blends intense funk workouts with more tender, orchestral soul ballads, proving the band could handle diverse styles with energy and style.
The album features several tracks that became career-defining anthems and major hits:
"What Is Hip?": An undisputed funk anthem known for its staccato bass line, driving groove, and witty lyrics asking a perennially relevant question.
"So Very Hard to Go": A sublime, soulful ballad that became their highest-charting single, reaching No. 17 on the Billboard Hot 100.
"Soul Vaccination": A greasy, high-energy funk cut praised for its groove and socially conscious lyrics.
"This Time It's Real": A jaunty track that leans towards a Motown or Northern Soul shuffle, another successful single from the album.
Overall, the album is regarded as an all-killer, no-filler funk and soul classic that remains a must-have for fans of the genre.
Trying To Live My Life Without You
Written-By – Eugene Williams 2:48
A2 I Die A Little Each Day
Written-By – Don Bryant 2:40
A3 Holding On To A Dying Love
Written-By – George Jackson, James Dotson, Ronald Townsend 3:00
A4 I Can´t Make It Alone
Written-By – Darryl Carter, Johnny Keyes 2:50
A5 That´s How It Is
Written-By – Monk Higgins, Maurice Dollison 3:37
B1 I Love You, I Need You
Written-By – Archie Bradley, Julius Bradley 5:45
B2 You Can´t Keep Running From My Love
Written-By – Bernard Miller, Bill Taylor, Don Bryant 2:47
B3 Precious Precious
Written-By – Dave Crawford, Jackie Moore 3:14
B4 Home Is Where The Heart Is
Written-By – Bettye Crutcher 2:50
B5 Too Many Hands
Written-By – Eugene Williams , Mabon Hodges 2:43
Label: Hi Records – XSHL 32075
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Southern Soul
Otis Clay's 1972 album Trying to Live My Life Without You is considered a high-quality, essential piece of Southern soul music, lauded for its stellar production and Clay's powerful, gospel-infused vocals. Though it falls slightly short of a masterpiece for some critics, it is widely recommended as a great introduction to his work.
The album is a prime example of the signature Hi Records sound, expertly produced by Willie Mitchell and featuring the label's impeccable house band, including the Memphis Horns and the backing vocalists Rhodes, Chalmers, and Rhodes. Critics praise the album for:
Willie Mitchell's production brings out the best in Clay, blending traditional soul with smooth '70s elements, including string arrangements, which were contemporary at the time.
Clay's performance is consistently strong, featuring a "raspy edge" and a "disciplined verve" that showcases his gospel roots and makes his music incredibly worthwhile.
The tracks are well-chosen, offering a consistent listening experience where every song is at least good, with several standout numbers.
The title track became Clay's biggest R&B hit, and later gained even more mainstream recognition through a popular cover by Bob Seger, underscoring the song's broad, cross-genre appeal.
For fans of deep southern soul and Memphis R&B, Trying to Live My Life Without You is highly recommended. It showcases Otis Clay at his peak during his tenure at Hi Records, delivering "soul perfection" through a collection of quality tunes with an "unreal" feel.
The album is often available as part of a two-disc set with his other Hi album, I Can't Take It, which is an excellent way to discover his work.
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.
Two Sides Of Laura Lee
Written-By – H. Warren, M. Gordon 4:38
A2 Every Little Bit Hurts
Written-By – E. Cobb 6:08
A3 Guess Who I Saw Today
Written-By – E. Boyd, M. Grand 3:51
A4 Crumbs Off The Table
Written-By – E. Wayne, R. Dunbar, S. Payne 3:34
B1 If You Can Beat Me Rockin' (You Can Have My Chair)
Written-By – Holland, Dozier, Dunbar 2:52
B2 Workin' And Lovin' Together
Written-By – A. Bond, D. Brown, W. Weatherspoon 2:33
B3 Rip Off
Written-By – A. Bond, W. Weatherspoon 3:15
B4 When A Man Loves A Woman
Written-By – A. Wright, C. Lewis 5:19
B5 You've Got To Save Me
Written-By – D. Brown, W. Weatherspoon 3:16
Label: Hot Wax – HA 714
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul, Southern Soul, Funk
Laura Lee 's Two Sides Of Laura Lee (1972) is a celebrated soul/funk album, praised for showcasing her powerful, husky voice with classic tracks like the funky "Rip Off" and the soulful "Crumbs Off The Table," blending late 60s Southern soul with 70s funk from the Holland-Dozier-Holland Hot Wax label.
While some find the material formulaic compared to her Chess Records work, reviewers consistently laud her exceptional vocal performance, capturing both hard-edged funk and vulnerable ballads, making it a cornerstone of Southern soul and funk.
Lee's emotive, husky voice is the centerpiece, able to deliver both gritty funk and tender ballads with raw power.
The album perfectly captures the dynamic between soulful, string-laden ballads (Side 1) and hard-hitting, horn-driven funk stompers (Side 2).
It features essential deep soul cuts like "At Last," "Guess Who I Saw Today," "Every Little Bit Hurts," and the breakout funk hit "Rip Off".
Primarily produced by William Weatherspoon (formerly of Motown) for the Invictus/Hot Wax label.
The album truly embodies its title, presenting both her smooth, sentimental side and her tough, funky persona.
Considered a standout in soul music, often compared favorably to greats like Aretha Franklin for its depth and power. Many see Lee as an under-recognized talent whose work on this album deserves wider acclaim.
A must-have for fans of authentic Southern soul and funk from the era. In essence, Two Sides Of Laura Lee is celebrated as a definitive album, showcasing Lee's incredible vocal talent across two distinct but equally compelling sides of soul and funk music.
Unlimited Touch
A2 Private Party (B. Reid, R. Reid, W. Anderson 4:55)
A3 I Hear Music In The Streets (B. Reid, L. Underwood 6:50)
A4 Love To Share (L. Underwood 4:10)
B1 Happy Ever After (L. Underwood, R. Reid, S. Anderson 6:20)
B2 Searching To Find The One (B. Reid, L. Underwood, R. Reid, S. Anderson 5:03)
B3 Carry On (L. Underwood 4:46)
B4 In The Middle (B. Reid, L. Underwood, S. Anderson 5:40)
Label: Prelude Records – PRL 12184
Format: Vinyl, LP, Album
Country: US
Released: 1981
Genre:
R&B Soul
Style: Disco Funk, Boogie
The self-titled 1981 debut album by Unlimited Touch is a highly regarded post-disco boogie-funk classic, celebrated for its strong instrumental grooves and impact on dance music. It is considered by some to be the strongest LP release from the iconic Prelude label.
The album was formed and produced by key members of Crown Heights Affair—Lenny Underwood, William Anderson, and Ray and Bert Reid—and features the vocal talents of Audrey Wheeler and Stephanie James. It is known for a raw, funky production style that incorporated live instruments like Fender Rhodes piano and prominent, "slippery" synth bass lines, setting it apart from pure disco and aligning it with the emerging post-disco sound.
Critics and fans consistently praise the album's enduring quality and its ability to fill dancefloors decades later. It is often described as an excellent example of New York City's early 80s club sound and a favorite among DJs.
The album is primarily known for a few standout tracks that became club favorites:
"I Hear Music in the Streets": The "monster" track of the album, this single was a club hit in both the US and UK and is well-known for its infectious funk bass breakdown. It has been extensively sampled, notably in Paul Johnson's "Hear the Music" and Faith Evans' "All Night Long".
"Searching to Find the One": Another major club hit that reached number 29 on the UK charts, featuring a bumping guitar and bubbly synth bass.
"Love Explosion" and "Yes I'm Ready": Other strong cuts highlighted for the vocal performances of Wheeler and James.
"Feel The Music" and "Carry On": Praised for their funky grooves and jazzy piano elements.
Unlimited Touch is a bona fide dance classic that successfully bridges disco with early 80s boogie and funk. While the group did not achieve massive commercial success on the R&B charts, the album is a firm favorite among soul and funk enthusiasts and a quintessential piece of early 80s dance music history. Reissues of the album are available from labels like Unidisc.
Vesta
Backing Vocals – Bryan Loren, Vesta Williams
Instruments [All] – Bryan Loren
Producer – Billy Valentine, Bryan Loren
Written-By – Bryan Loren 4:11
A2 Sweet Thang
Backing Vocals – Billy Valentine, Bryan Loren, Vesta Williams
Instruments [All] – Bryan Loren
Producer – Billy Valentine, Bryan Loren
Written-By – Bryan Loren 5:08
A3 Don't Blow A Good Thing
Backing Vocals – Vesta Williams
Instruments [All] – Bryan Loren
Producer – Billy Valentine, Bryan Loren
Written-By – Bryan Loren 4:35
A4 Get Out Of My Life
Backing Vocals – Billy Valentine, Bryan Loren, Tami Meggett
Instruments [All] – Bryan Loren
Producer – Billy Valentine, Bryan Loren
Written-By – Bryan Loren, Tami Meggett 5:16
A5 I Can Make Your Dreams Come True
Backing Vocals – Bryan Loren, Vesta Williams
Instruments [All] – Bryan Loren
Producer – Billy Valentine, Bryan Loren
Written-By – Bryan Loren 3:41
B1 My Heart Is Yours
Backing Vocals – Alex Brown, Billy Valentine, Bryan Loren, John Valentine
Instruments [All] – Bryan Loren
Written-By, Producer – Billy Valentine, Bryan Loren 5:27
B2 You Make Me Want To (Love Again)
Arranged By [Strings] – Bryan Loren, Jeremy Lubbock
Backing Vocals – Billy Valentine
Instruments [All] – Bryan Loren
Producer – Billy Valentine, Bryan Loren
Written-By – Billy Valentine, Leon Ware 4:58
B3 It's You
Arranged By [Strings] – Jeremy Lubbock
Backing Vocals – Alex Brown, Billy Valentine, Marva Barnes
Bass – Nathan East
Drums – John Robinson
Keyboards – Randy Waldman
Producer – Billy Valentine, Bryan Loren, Jeremy Lubbock
Written-By – Leon Ware 3:50
B4 Don't Let Me Down
Arranged By – David Crawford, Vesta Williams
Backing Vocals – Vesta Williams
Bass [Synthesized] – Bryan Loren
Electronic Drums [Linn Drums] – Craig Cooper
Guitar – Charles Fearing
Keyboards – James McKinney
Percussion – Eric McCain
Producer – David Crawford
Synthesizer – Ian Underwood
Written-By – Louis Russell (2), Vesta Williams 4:12
B5 Once Bitten Twice Shy
Arranged By – David Crawford, Vesta Williams
Backing Vocals – Vesta Williams
Bass [Synthesized] – Laythan Armor
Electronic Drums [Linn Drums] – Craig Cooper
Electronic Drums [Synthesized Drums] – Jeff Lorber
Guitar – Charles Fearing
Percussion – Paulinho Da Costa
Producer – David Crawford
Soloist, Synthesizer – Patrice Rushen
Synthesizer – Ian Underwood
Written-By – Dean Gant, Vesta Williams 4:03
Label: A&M Records – SP-5118
Format: Vinyl, LP, Album
Country: US
Released: 1986
Genre: R&B Soul
Style: Eighties Soul, Funk
Vesta Williams' self-titled 1986 debut album, Vesta, is highly regarded for its powerful vocals and quality production, featuring a mix of uptempo R&B tracks and soulful ballads. Though some tracks are considered filler by a few critics, the standout songs and Williams' vocal prowess make it a cherished album among R&B fans.
Vesta marked the singer's debut on A&M Records and introduced her powerful, Chaka Khan-esque vocal style to a wider audience. The album was released around the same time as labelmate Janet Jackson's Control, and many fans feel that Williams was overlooked in terms of promotion and marketing dollars in comparison, despite the album's clear quality.
The album features production work from the likes of Bryan Loren and David Crawford, with mixing by Steve Hodge, giving it a sound often compared to the Jam & Lewis style popular at the time.
It achieved moderate commercial success, peaking at No. 43 on the Billboard Top R&B Albums chart. It spawned two notable R&B hits: "Once Bitten, Twice Shy" (peaked at No. 9 on R&B singles) and "Don't Blow a Good Thing" (peaked at No. 17 on R&B singles and No. 5 on the Hot Dance Club Play chart).
The album perfectly captures the late '80s R&B sound while showcasing Vesta's unique, commanding voice, and established her solo career after years as a sought-after background vocalist for artists like Chaka Khan and Sting.
Victim Of The Joke
Written-By – David Porter, Roni LeBeau, Ronnie Williams 2:26
A2 When You Have To Sneak (You Have To Sneak)
Written-By – David Porter, Ronnie Williams 3:29
A3 Help
Written-By – John Lennon, Paul McCartney 3:37
A4 I'm Afraid The Masquerade Is Over
Written-By – Allie Wrubel, Herb Magidson 9:43
B1 Storm In The Summertime
Written-By – David Porter, Ronnie Williams 5:45
B2 Pretty Inside
Written-By – David Porter, Ronnie Williams 3:33
B3 Human
Written-By – Luther Dixon 3:48
B4 Airplane Ticket, Bus Ride, Can I Borrow Your Car?
Written-By – David Porter, Ronnie Williams 3:46
Label: Enterprise – ENS-1019
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Soul
Style: Seventies Soul
David Porter's 1971 album, Victim of the Joke? An Opera, is highly regarded by critics and fans as an innovative and ambitious "orchestral soul" concept album that was ahead of its time. It is particularly praised for its complex arrangements, unique narrative structure, and standout track "(I'm Afraid) The Masquerade Is Over".
The album is notable for its use of spoken dialogue and sound effects between songs to tell the story of a love affair, effectively creating a "soul opera". This ambitious, theatrical approach was a groundbreaking move for a soul album at the time, leading to its description as a "unique rarity from the Stax vaults".
Critics highlight its complex, orchestral soul sound, which some compare to a modern Broadway musical or the work of Isaac Hayes and Barry White, but with a unique edge. While some find the orchestration occasionally overshadows the raw soul feel, the compositions themselves ("Storm In The Summertime," "Human") are considered great.
Porter's dramatic rendition of the standard "(I'm Afraid) The Masquerade Is Over" is universally considered a strong point and often cited as worth the price of the album alone. This track has achieved classic status and has been extensively sampled by numerous hip-hop and R&B artists, including The Notorious B.I.G., Wu-Tang Clan, and Mary J. Blige.
The album's grooves have been widely sampled by artists like the Wu-Tang Clan and Madlib, which speaks to its enduring influence and the quality of its production.
The album holds a high average rating among users on sites like Discogs (4.42/5) and receives enthusiastic customer reviews, with many praising its "fantastic" quality and "soul/funk masterpiece" status.
Despite not featuring the "flamboyance" of contemporaries like Isaac Hayes, David Porter successfully crafted a highly creative and influential album that has stood the test of time. While the spoken interludes might not be for everyone, the quality of the pop-infused soul music and Porter's expressive vocals make Victim of the Joke? An Opera a cherished and unique piece of soul music history.
Visions Of Paradise
A2 Absolutely, Positively, Baby (Maurice Irby, Jr. 4:20)
A3 Baby I Love You (Edna Toles 2:48)
A4 Stop Me (Edna Toles 3:55)
A5 Give It Up (Edna Toles 4:45)
B1 Second To None (Maurice Irby, Jr. 3:13)
B2 Won't You Stay (Maurice Irby, Jr. 3:29)
B3 It's Yours Baby (Edna Toles 2:37)
B4 Please Come Back (Maurice Irby, Jr. 5:34)
B5 I Just Got To Know (Maurice Irby, Jr. 2:36)
Label: Today Records – TLP-1013
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul
Visions of Paradise , released in 1973 on the Perception Records subsidiary label Today, is a highly sought-after, classic 70s soul and R&B album by former The Spoilers member Benny Johnson. It is his only known solo record.
The album is noted for its high-quality production and deep soul sound, often compared to the Memphis Hi Sound.
Johnson's "gutsy" and "smoky" voice is a central feature, drawing comparisons to revered artists like Al Green, Johnnie Taylor, Syl Johnson, and Jerry Butler.
The music features a full, tight band led by musical director and arranger Julius Brockington (The United Chair Band), complete with prominent horns, organ, and sublime backing vocals. The recording and mixing were engineered by George Massenburg.
The tracks vary from uptempo modern soul and two-step classics to mid-tempo tracks and ballads, many with a southern blues feel.
The album was a one-off for Johnson and has become an in-demand collector's item, with original vinyl copies commanding high prices. Reissues by labels like Soul Brother and BBE have made it more widely available to a modern audience.
Overall, Visions Of Paradise is an overlooked classic that is highly recommended for any serious fan of 1970s soul music. The album holds a high average rating of approximately 4.6/5 across various music sites.
Wade Flemons
Written-By – Grant, Oliver 2:18
A2 Easy Lovin'
Written-By – J. Stone 2:16
A3 Too Long Will Be Too Late 2:09
Written-By – O. Blackwell
A4 It's So Much Fun
Written-By – Benton, Otis 1:57
A5 Slow Motion
Written-By – O. Blackwell 2:04
A6 Goodnite It's Time To Go
Written-By – C. Carter, J. Hudson 2:03
B1 Here I Stand
Written-By – W. Flemons 2:20
B2 Don't Be Too Careless 2:12
Written-By – Staples
B3 What's Happening 2:19
Written-By – W. Bisson
B4 Purposely
Written-By – B. Williams, J. Lee 2:14
B5 The Angels Will Tell You
Written-By – B. Middleton, J. Lee 1:47
B6 The Baby Likes To Rock 2:28
Written-By – W. Flemons
Label: Vee Jay Records – LP 1011
Format: Vinyl, LP, Album, Mono
Country: US
Released: 1959
Genre: R&B Soul, Blues
Style: Soul, Rhythm & Blues
Wade Flemons' 1959 self-titled debut album is a seminal work of early R&B and Chicago soul, released by the legendary Vee-Jay Records.
The album captures Flemons' unique, "soothing" vocal style, which was noted for its warmth and emotional depth. The music is a blend of R&B, soul, and gospel influences, typical of the late 1950s Chicago scene.
The recordings featured his backing band, The Newcomers. Notably, a young Curtis Mayfield provided guitar work on specific tracks (such as "Goodnight, It's Time to Go").
The album includes his breakthrough single "Here I Stand," which reached No. 19 on the Billboard Hot Soul Songs chart. Another significant track is "Easy Lovin'," which became a Top Ten R&B hit.
While Flemons is often remembered for being a founding member and original lead singer of Earth, Wind & Fire in the early 1970s, this 1959 album established him as a significant solo artist in the late 1950s. Collectors value original pressings, often identifiable by the maroon Vee-Jay label.
Waiting For Little Milton
A2 Who Can Handle Me Is You (Ertha Chapple, Milton Campbell 3:06)
A3 Woman, You Don't Have To Be So Cold (Milton Campbell 3:43)
A4 The Thrill Is Gone (Rick Darnell, Roy Hawkins 6:27)
B1 Monologue 1 (Milton Campbell 3:24)
B2 That's How Strong My Love Is (Roosevelt Jamison 7:52)
B3 What It Is (Milton Campbell 3:22)
B4 Little Bluebird (B.T. Jones, David Porter, Isaac Hayes 6:40)
Label: Stax – STS-3012
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Soul-Blues, Southern Soul
Waiting for Little Milton is a 1973 album by blues and R&B artist Little Milton, showcasing his soulful vocals and a blend of urban blues, funk, and soul styles. Released on the Stax label, it is considered a key work in the transition towards the smoother, more polished soul sounds popular in the 1970s.
The album is primarily noted for highlighting Little Milton's expressive, mature vocals and his sweet guitar playing. While some reviewers find the production "a little too smooth" and the overall song quality slightly uneven compared to his earlier Chess/Checker recordings, the strength of the performances makes it a worthwhile listen for dedicated fans and blues enthusiasts.
The album primarily falls under the Soul-Blues, Southern Soul, and R&B genres, featuring elements of electric and modern electric blues. It features rich orchestrations, described by some as including "bouncing basslines, powerful vocals, sweet guitar licks and badass horns".
Standout tracks often mentioned by listeners include "The Thrill Is Gone," "That's How Strong My Love Is," and "Little Bluebird". The track "Monologue 1 / That's How Strong My Love Is" is an extended piece that combines spoken word with a musical performance.
The album has generally positive user ratings, with many praising its sound quality on various reissues and its raw emotional depth.
War Of The Gods
Written-By – B. Sigler, K. Gamble, L. Huff 6:13
A2 War Of The Gods
Written-By – K. Gamble, L. Huff 10:07
B1 The Whole Town's Talking
Written-By – K. Gamble, L. Huff 4:46
B2 I Was Married
Written-By – C. Gilbert, J. Arc, K. Gamble, L. Huff 7:19
B3 Thanks For Saving My Life
Written-By – K. Gamble, L. Huff 2:58
B4 Peace Holy Peace
Written-By – K. Gamble, L. Huff 6:53
Label: Philadelphia International Records – KZ 32409
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul, Philly Soul
Billy Paul's 1973 album War of the Gods is a highly regarded work of psychedelic and Philly soul, praised for its ambitious themes, versatile musicianship, and powerful vocals. Critics and fans view it as a standout, if underappreciated, record of its era.
The album was a commercial success, reaching number 12 on the Billboard Soul chart and number 110 on the pop chart. It is often considered Billy Paul's response to the socially conscious music themes of Marvin Gaye's What's Going On, exploring concepts of faith, war, and love.
The album is noted for its exploration of deep, quasi-spiritual themes, a departure from Paul's previous work. Produced by the legendary duo Gamble and Huff and arranged by Bobby Martin and Lenny Pakula, the album showcases the polished and sophisticated "Philly Sound".
The versatile house band M.F.S.B. provides a dynamic backdrop that seamlessly shifts between soul, jazz, funk, and rock influences.
Paul's performance is consistently described as powerful, emotive, and impassioned, utilizing his unique, jazz-tinged vocal style effectively across the six extended tracks.
While the single "Thanks for Saving My Life" was a top 40 hit, other tracks like the title suite "War of the Gods" (a ten-minute "magnus opus"), "The Whole Town's Talking", and "Peace Holy Peace" are often highlighted as album favorites.
Overall, War of the Gods is considered a deeply rewarding listen, praised for its artistic depth and a true "masterpiece album from start to finish" by many fans.
Warm And Soulful
A2 Looking For You (J. Ragovoy)
A3 It Won't Hurt (Half As Much) (B. Berns)
A4 It Was Easier To Hurt Her (B. Russell, J. Ragovoy)
A5 Thinkin' (C. Taylor, J. Ragovoy)
A6 Prove It To Me (E. Marshall, J. Ragovoy)
A7 More Than A Miracle (D. Pomus, J. Ragovoy)
B1 As Long As I Have You (B. Elgin, J. Ragovoy)
B2 One Girl (B. Russell, N. Meade)
B3 There Goes My Baby (Nelson, Treadwell, Patterson)
B4 It's Just A Matter Of Time (Hendricks, Benton, Otis)
B5 A Little Bit Of Soap (B. Russell)
B6 Look Away (B. Russell, N. Meade)
B7 I'll Make It Up To You (B. Raleigh, J. Ragovoy)
Label: United Artists Records – SULP 1145
Format: Vinyl, LP, Album
Country: UK
Released: 1966
Genre: R&B Soul
Style: Sixties Soul, Deep Soul
Warm And Soulful, is a deep and Northern soul album that showcases Garnet Mimms' powerful, gospel-rooted vocals applied to sophisticated New York R&B production. The LP is highly regarded by soul music connoisseurs for its collection of quality tracks from the mid-sixties.
The album compiles recordings made for the United Artists/Veep labels, featuring a blending of sounds compared to artists like Sam Cooke, Jackie Wilson, and Solomon Burke. Mimms' delivery on the tracks is characterized by critics as passionate and "gutwrenching," making the album a significant, though often criminally ignored by the masses, contribution to the soul genre. The production, at the hands of the talented team of Bert Berns and Jerry Ragovoy, provides a polished backdrop that perfectly suits Mimms' rich voice.
It features singles like "Looking For You" and "It Was Easier to Hurt Her," showcasing Mimms' signature "pleading, gospel-derived intensity" in songs that bridge the gap between gut-wrenching soul and more sophisticated, Motown-style sounds
We Belong Together
A2 I Love You I Want You (L.V. Johnson 3:56)
A3 Try A Little Tenderness (Woods, Campbell, Connaly 5:31)
A4 I'm A Lucky Guy (L.V. Johnson 4:30)
B1 I Don't Really Care (L.V. Johnson 5:13)
B2 The Whole Town's Laughing (Marshall, Wortham 5:46)
B3 Dancing Girl (L.V. Johnson 4:17)
B4 Danny Boy (Arranged by L.V. Johnson 5:16)
Label: Phono Records – 1001A/B
Format: Vinyl, LP, Album
Country: US
Released: 1981
Genre: R&B Soul
Style: Eighties Funk Soul
L.V. Johnson's 1981 album We Belong Together is a highly regarded, rare soul album, celebrated by fans and small record labels for its authentic, "handmade" production and classic soul-pop anthems.
The album is considered a "jewel" among collectors of mid-to-late 70s and early 80s soul/disco. It has a high average fan rating on sites like Discogs (4.61/5).
Reviewers consistently praise the album for its authentic, "handmade" quality, highlighting the talent and professionalism of the musicians involved. The sound is noted as perfect and well-crafted, allowing listeners to discover intricate details within each song.
Johnson's vocals are described as rich, fervent, and expressing deep emotions. The music creates an atmosphere of "utter joy and deep relaxation," offering relief and shining in "bright colors". It is an easy-listening record that avoids the superficiality of many pop productions from the era, suitable for both focused listening and parties.
We Belong Together is an album created with "love and passion" that is highly recommended for lovers of the softer side of soul music. While not widely reviewed by major contemporary music critics at the time, its reputation has grown significantly among modern soul and funk enthusiasts and collectors, who consider it a standout and timeless record in its genre. You can browse user ratings and details on Discogs.
We Go A Long Way Back
Written-By – Charles Love, Kitty Sears 8:07
A2 How Does It Feel
Bass – Eddie Watkins
Soloist, Alto Saxophone [Alto Sax Solo] – Don Myrick
Vocals [Female Vocalist] – Kitty Sears
Written-By – Charles Love, Curtis Love, Kitty Sears, Oscar Love 11:04
A3 We Go A Long Way Back
Soloist, Alto Saxophone [Alto Sax Solo] – Fernando Harkless
Written-By – Charles Love 4:54
B1 Funkin' Around
Soloist, Tenor Saxophone [Tenor Sax Solo] – Don Myrick
Written-By – McKinley Jackson, Ronald Wilson 6:41
B2 My Kind Of Woman
Bass – James Jamerson Jr.
Written-By – Ronald Wilson 4:42
B3 My Love Grows Stronger
Synthesizer – Paul Fox
Written-By – McKinley Jackson, Shirley Jones, Valorie Jones 6:16
B4 Nite Time Fun
Written-By – Charles Love 4:31
Label: T-Neck – FZ 38115
Format: Vinyl, LP, Album
Country: US
Released: 1982
Genre: R&B Soul
Style: Eighties Soul, Funk
Bloodstone's 1982 album We Go A Long Way Back is a well-regarded R&B/soul record noted for its blend of the group's classic 70s vocal harmonies with a more modern, early 80s funk sound. The album is often described as a tale of two sides, balancing soulful ballads with upbeat, danceable funk tracks.
Reviewers consistently praise the group's excellent harmonies and the emotional power of the lead vocals, especially on the slow jams. The vocal interplay is described as "peerless" and central to the album's success.
The album is considered eclectic, incorporating elements of doo-wop, soul, funk, jazz, and R&B. Side one of the original vinyl features the "old Bloodstone" sound with lush, understated arrangements, while side two introduces a "new Bloodstone" with a harder-driving, party-oriented funk sound.
It was produced by The Isley Brothers and utilized top session musicians, resulting in a polished and professional sound.
While it didn't replicate the massive success of their 1973 hit album Natural High, We Go A Long Way Back performed reasonably well, reaching number 11 on the US R&B album chart. The title track single was a top five R&B hit.
Standout Tracks:-
"We Go A Long Way Back": The title track and most successful single (reaching number 5 on the US R&B charts), praised for its slow, sultry, and impassioned fusion of doo-wop, soul, and jazz.
"Go On and Cry": An emotive and dramatic ballad featuring a "heartbroken, powerful" vocal performance.
"How Does It Feel": An eleven-minute epic known for its tender harmonies, jazzy guitar, and building drama.
"My Kind Of Woman": An uptempo, hook-laden dance track that is considered a "timeless" piece of the album's funk-oriented second half.
Overall, We Go A Long Way Back is viewed as a significant and versatile album in Bloodstone's discography, showcasing their ability to evolve with the times while staying true to their soulful roots. It is well-regarded by fans and critics for its strong songwriting and high-quality production.
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.
Weighing In
A2 Somebody To Love (Gary St. Clair, Tim O'Brien 3:19)
A3 Settle Me Down (John Stevenson 2:43)
A4 Things Are Changing (Donald Paschal 2:43)
A5 All For You (Keith Mansfield, Scott English 2:38)
A6 Listen To Me (Lola Cantrell, Ray Augustine 3:12)
B1 The Last Phonograph Record (William Justice, Robert Miller 2:38)
B2 You Do The Right Things (Leon Ware, Scott Barnes 2:44)
B3 The Magic Of Your Mind (Leon Ware, Scott Barnes 2:37)
B4 Amen Brother (Lola Cantrell, Ray Augustine 2:25)
B5 Keep On Loving You (Darrye Gene Brooks, Ugene Dozier, Ted Wilson 4:23)
B6 Quick Reaction (George Young, Harry Vanda 3:21)
Label: Rocky Road Records – RR 3600
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul
Al Wilson's 1973 album Weighing In is a smooth soul album showcasing his gritty, famed soul vocals, but generally contains material considered less impactful than his major hits. It was released as his second album on Rocky Road records, preceding the chart-topping Show and Tell.
Critics praise Wilson's consistent and arresting smooth, soulful voice. His distinctive style is noted for effectively capturing fans across different demographics.
The album is primarily categorized as smooth soul, infused with an essence of 1960s rock and R&B elements.
While Wilson's vocals are consistently strong, some reviews suggest that the album suffered from a lack of the "right material". One AllMusic review mentions that, aside from a couple of tracks, there "isn't much to write home about here, although Wilson's singing is always arresting, even if the songs seem to unravel almost before they can get off the ground".
Notable tracks often mentioned include the cover of Creedence Clearwater Revival's "Born on the Bayou," "All for You," and "The Magic of Your Mind".
For fans of Al Wilson's vocal style, Weighing In offers a solid performance, but it is generally considered a transitional or lesser-known album compared to the highly successful Show and Tell, which followed it in the same year. Retrospective reissues have highlighted its value to collectors and soul enthusiasts, especially the 50th-anniversary orange vinyl edition for Record Store Day in 2023.
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.
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.
Where I’m Coming From
A2 That Was Yesterday 3:25
A3 Society 4:20
A4 What You Don't Know 2:30
B1 It Really Hurts 4:00
B2 Helpless Man 5:00
B3 That's Where I'm Coming From 2:40
B4 Look At All The Lonely People 4:40
Label: ATCO Records – SD 7031
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Philly Soul
The album Where I’m Coming From by The True Reflection is an underrated soul gem from the 1970s, praised for its outstanding harmonies and beautiful slow jams.
Reviewers consistently highlight the group's "outstanding" vocals and harmonies, often drawing comparisons to other classic soul groups like The Delfonics, The Stylistics, or Blue Magic.
The slow jams and ballads are particularly well-received, described by one Amazon reviewer as "off the hook" and appealing for their themes of "longing, and lost love".
Released in 1973 by ATCO Records, the album features soulful and funky tracks that are seen as capturing the essence of the 1970s R&B era.
According to an Instagram post from a record seller, the album was released to "good reviews" at the time, though it only reached #140 on charts.
In essence, Where I'm Coming From seems to be a well-regarded, classic R&B album by a group often overshadowed by megastars, but beloved by those who know their deep cuts.
Where Is Love
A2 Make Love To Me 5:07
A3 Again 1:20
A4 No Use To Borrow 5:45
B1 Do That Again 4:10
B2 Blue 4:51
B3 Free To Fly 4:06
B4 Let's Get It Right 6:02
Label: Atlantic – 81807-1
Format: Vinyl, LP, Album
Country: US
Released: 1988
Genre: R&B Soul
Style: Disco, Dance
Blue Moderne's "Where Is Love" is an overlooked late-80s dance/soul masterpiece by producer ISH and vocalist Sandy Barber, praised for its hi-NRG, freestyle, house, and R&B fusion, featuring driving tracks like the title song and bonus mixes of "Through the Night," though some original releases were CDRs, it's a must-have for fans of classic dance music.
Blends hi-NRG, freestyle, house, and classic R&B/soul into a cohesive dance-pop sound.
Features the "stunning" voice of Sandy Barber (Sandy B.) and production from ISH (of Foxy, Company B fame).
Re-releases often add mixes of their earlier mid-80s club hit, "Through the Night".
Highly regarded by fans as an amazing, though overlooked, dance album from the era, with recent CD releases offering a chance for collectors to own it.
It's described as a "late-80s dance/soul opus," a "blast from the past" that still feels fresh, perfect for those who enjoy that specific blend of electronic dance and soulful vocals.
Why Must It End
2 That's Enough
3 Darling, Please Tell Me
4 Why Are You Afraid
5 Let Me Know
6 One Bo-Dillion Years
7 Fox Hunting On A Weekend
8 You Don't Move Me No More
9 Why Must It End
10 How Many Times Must I Knock
11 I'm Burning And Yearning (For You)
12 Standing In The Safety Zone
13 You're All I Need
14 My Pride Won't Let Me
15 Don't Forget The Soldiers (Fighting In Vietnam)
16 Tis Yuletide
17 That's It
18 In Time You'll See
19 Leave You In The Arms Of Your Other Man
20 Oo Wee Baby I Love You
Label: Soulscape Records – SSCD 7015
Format: CD, Compilation
Country: UK
Released: 2008
Genre: R&B Soul
Style: Southern Soul, Deep Soul
The album Why Must It End by Roscoe Robinson is a highly regarded compilation of his secular deep and Southern soul recordings from the late 1960s, praised for its collection of brilliant deep soul tracks and Robinson's exceptional vocal performances.
Music critics and soul music enthusiasts consider the album a must-have for fans of the genre, highlighting Roscoe Robinson as one of the great soul voices, on par with artists like Otis Redding and Johnnie Taylor. The album is a compilation, primarily of recordings for his own Gerri label and the Nashville-based Sound Stage 7 label between 1965 and 1969.
Robinson's voice is consistently described as a rich baritone, shining through both ballads and up-tempo numbers. Critics note his vocal approach is laid back yet expressive, delivering powerful, heartfelt performances.
The album is a prime example of Southern soul, featuring top-class studio musicianship, including the Memphis Boys. The arrangements effectively use strings to complement his vocals on ballads.
The title track, "Why Must It End," is singled out as a "brilliant Deep Soul opus". The CD also includes his million-selling hit "That's Enough," a "club classic" in the UK, and other highly regarded deep soul ballads like "Let Me Know" and "Leave You in the Arms of Your Other Man".
The Soulscape CD release, in particular, is noted for completing a valuable trio of consecutive releases for Southern soul fans and features informative liner notes. The collection offers a comprehensive look at his peak secular recording period.
In essence, the album is a highly recommended listen, showcasing the work of an outstanding vocalist and offering a superb example of classic deep soul music.
With You In Mind
A2 I Got It Bad And That Ain't Good 2:29
A3 It's All Over But The Crying 2:17
A4 I'm On The Outside (Looking In) 2:33
A5 I'm Calling You Baby 2:47
A6 Take Me Like I Am 2:45
B1 Get A Hold Of Yourself 2:00
B2 This Old World 2:45
B3 People Sure Act Funny 2:20
B4 At Last 2:30
B5 It's Hang Up Baby 2:17
B6 Hurt So Bad 2:47
Label: Veep – VPS 16528
Format: Vinyl, LP, Album
Country: US
Released: 1968
Genre: R&B Soul
Style: Rhythm & Blues, Sixties Soul
With You In Mind is a 1968 soul/R&B album by Jeanette "Baby" Washington, released on United Artists' Veep label, featuring solid soul tracks with arrangements by Henry Glover, showcasing her powerful vocals on hits like "All Around the World," a significant LP for fans of classic 60s female soul and funk.
The album features Baby Washington's distinctive, powerful soul vocals, accompanied by arrangements by Henry Glover. The music is a blend of funk, soul, and rhythm & blues, capturing the feel of late 1960s soul music.
It is considered a strong effort in 60s soul music, highlighting Baby Washington's emotive voice. It's praised as a "keeper" for collectors and fans of deep soul and funk, featuring powerful arrangements that complement her distinctive vocals.
The album was released with picture sleeves and remains sought-after by vinyl enthusiasts, particularly rare UK pressings.
Womagic
Written-By – J.L. Williams 4:22
A2 When The Weekend Comes
Written-By – B. Womack, H. Payne 5:33
A3 The Things We Do (When We're Lonely)
Written By – T. Snow-D. Pitchford 3:51
A4 I Can't Stay Mad
Written-By – B. Womack, H. Payne 4:13
B1 Can'tcha Hear The Children Calling
Written-By – B. Womack, H. Payne 4:34
B2 Outside Myself
Written-By – B. Rothstein, G.M. Elian, R. Ash 3:17
B3 I Ain't Got To Love Nobody Else
Written-By – C. Moore, L. Jones, R. Wrightsil 3:20
B4 More Than Love
Written By – B. Wood-R. Cooke-C. Wood 3:25
B5 It Ain't Me
Written-By – D. Kyles, M. Hodges 4:45
Label: MCA Records – MCA-5899
Format: Vinyl, LP, Album,
Country: US
Released: 1986
Genre:
R&B Soul
Style: Eighties Soul
The 1986 album Womagic is a unique entry in Bobby Womack's discography, noted for blending his traditional rhythm and blues attitudes with the contemporary quiet storm and dance funk production styles of the mid-80s. Critics generally view it as a strong late-80s outing, though some have mixed feelings about its thematic depth.
The album successfully merges organic, acoustic R&B elements with the electronic instrumentation and synth-funk prevalent in the 1980s.
Womack's signature powerfully raspy voice remains a highlight, carrying the material with a raw, personal conviction, making even diverse tracks sound distinctly his own.
The production is often described as "sizzling and sparking musically," with the live and electronic elements arranged cohesively.
While part of a strong run for Womack on the MCA label, these late-80s albums are sometimes considered "criminally underrated" by some fans and reviewers. The album holds a respectable average user rating of around 3.76/5 on sites like Discogs.
Thematically, the album touches on social issues such as poverty and runaway children, though some listeners felt these difficult subjects resulted in a heavily pained or weary outlook without offering enough positive release.
Overall, Womagic is remembered as an interesting and strong effort from Womack's later career, capturing a transitional sound in R&B while maintaining his distinctive artistic voice.
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.
Workin’ On A Groovy Thing
Written-By – Richard Wylie, Tony Hester 2:45
A2 Workin' On A Groovy Thing
Written-By – Neil Sedaka, Roger Atkins 3:03
A3 Make Me Your Baby
Written-By – Helen Miller, Roger Atkins 2:30
A4 Girls Need Loving Care
Written-By – Leo Porter, Ronald Miller 2:41
A5 I Remember The Feeling
Written-By – Rose Marie McCoy 2:31
A6 Baby, What Do You Want Me To Do
Written-By – Grant Higgins 2:37
B1 Make Me Belong To You
Written-By – Billy Vera, Chip Taylor 2:29
B2 Love Makes The World Go 'Round
Written-By – Deon Jackson 2:49
B3 I'll Make Him Love Me
Written-By – Helen Miller, Howard Greenfield 2:17
B4 Only All The Time
Written-By – J. J. Jackson, Ray Fox 2:06
B5 Sho-Nuff
Written-By – Richard Wylie, Tony Hester 2:34
B6 Thankful
Written-By – Barbara Lewis 2:46
Label: Atlantic – SD 8173
Format: Vinyl, LP, Album
Country: US
Released: 1968
Genre: R&B Soul
Style: Sixties Soul
Barbara Lewis's Workin' on a Groovy Thing (1968) is a beloved soul album, praised for its smooth, funky Detroit sound, showcasing her sophisticated vocals with strong horn arrangements, a departure from earlier Philly soul, delivering pure soul gold with hits like "Make Me Your Baby" for fans of classic R&B and Uptown Soul.
A shift towards a more solid, funky Detroit soul sound, featuring lush arrangements and powerful horns from the legendary Detroit Horns.
Don Davis production blended Detroit grit with Philly soul smoothness.
Lewis's signature smooth, suave, and sophisticated voice shines, making it a "must-have" for soul fans.
While specific professional reviews are scarce in snippets, fan sentiment on sites like Discogs shows high ratings (e.g., 4.75/5 stars) for its quality, calling it "pure soul gold".
Includes popular tracks like "Make Me Your Baby" and the title track, showcasing her range. It stands as a key album in her discography, following her earlier hits.
In essence, Workin' on a Groovy Thing is celebrated as a fantastic, soulful record, highlighting Barbara Lewis's talent with a fresh, funky, and undeniably groovy Detroit-infused sound.
Original vinyl pressings are considered "seldom available" and often command median prices around $34.94, with high-quality copies reaching over $50.
The album has been reissued on CD, notably as part of a 2012 limited edition remaster from Japan and as a double-disc set with her debut, Hello Stranger.
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.
You and Me Together Forever
Written-By – Dan Penn, Roger Hawkins 2:39
A2 All The Love I Got
Written-By – B. Gordy, B. Holland, J. Bradford 2:53
A3 A Man Can't Be A Man Without A Woman
Written-By – George Soule, Tommy Brasfield 2:45
A4 You Talk Too Much
Written-By – Jones, Hall 2:24
A5 Do Your Thing
Written-By – I. Hayes 2:15
B1 Silly Little Girl
Written-By – Joe South 2:27
B2 I Need Love
Written-By – Dave Prater, Sam Moore 3:10
B3 Still Thinking 'Bout You
Written-By – Bobby Woods, Johnny Christopher 2:28
B4 Why Love
Written-By – B. Emmons 2:34
B5 You And Me Together Forever
Written-By – J. Roach 2:28
Label:
Casablanca – NBLP 7011
Format:
Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul, Southern Soul, Disco
The 1975 album You & Me Together Forever features the second iteration of the soul duo, with singer Ben Moore (the new "Bobby Purify") joining James Purify. The album showcases a blend of funk and soul and is generally considered a solid, if not critically heavily reviewed, collection of tracks.
The music style leans toward classic Southern Soul, with Moore's "world weary, old school voice" providing an evocative vessel for stories about love and relationships. While some later recordings by the duo occasionally suffered from more "middle of the road" arrangements, the album is generally appreciated by fans of the genre.
The album includes a number of original songs and covers that highlight the duo's strong harmonies and production style.
"You And Me Together Forever": The title track, also released as a single in 1975, is a key song that captures the classic soul sound of the era.
"I Can't Stop," "All The Love I Got," and "A Man Can't Be A Man Without A Woman": These tracks contribute to the album's cohesive soul feel, celebrating themes of love and connection.
"Do Your Thing": This song was previously released as a single in 1974 and was a charting R&B hit, which speaks to the album's quality material.
The album is highly regarded by soul enthusiasts for its authentic sound, particularly the Ben Moore-era vocals and instrumentation that evokes late 1960s Muscle Shoals soul when "everything comes together".
It is considered a worthwhile record for collectors and fans of the funk/soul genre, often praised in seller descriptions and user forums for its quality.
You Don’t Have To Go
A2 You Don't Have To Go (Jimmy Reed 3:24)
A3 Misty Blue (Bob Montgomery 5:23)
A4 We've Got A Good Thing Going (Huey Meaux 3:37)
B1 Trying To Love Two (Paul Mitchell, William Bell 4:42)
B2 Sugar Coated Love (Barbara Lynn Ozen 3:29)
B3 You're Losing Me (Barbara Lynn Ozen 4:12)
B4 You'll Lose A Good Thing (Huey Meaux 4:20)
Label: Ichiban Records – ICH 1024
Format: Vinyl, LP, Album
Country: US
Released: 1988
Genre: R&B Soul
Style: Eighties Soul
You Don't Have to Go is an album by American rhythm and blues and electric blues singer-songwriter and guitarist Barbara Lynn. Released in 1991 on the Ichiban label, the album showcases Lynn's signature soulful voice and blues-infused guitar style, rooted in the Gulf Coast tradition.
The album is characterized by heartfelt lyrics, a rich bluesy sound, and crisp, understated guitar work, blending classic blues structures with a personal storytelling style.
The album is a testament to Lynn's legacy as a pioneering female musician who commanded the stage with her guitar in a male-dominated industry. Her approach balances innovation with tradition, delivering a collection that radiates sincerity and raw emotional resonance, moving fluidly through themes of heartbreak and resilience.
The title track, "You Don't Have to Go," is a prominent song that exemplifies her ability to combine heartfelt lyrics with a distinct R&B sound. The album is considered an essential R&B treasure for collectors and fans of authentic American music.
You’re My Lady
A2 Girl I've Been Trying To Tell You (Dennis Williams 2:53)
A3 Loving You Easy (Dennis Williams 4:08)
A4 You're My Lady (Ronald Millender 3:37)
B1 She Went Away (Nathaniel Hayden 3:21)
B2 God And You (Ronald Millender 2:14)
B3 Yeah, Yeah, Yeah (Nathaniel Hayden 3:09)
Label: TSG Records – 809
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul
The album You're My Lady by The Ultimates is a rare and highly sought-after sweet soul and R&B classic, originally released in 1976 (or 1978 on some pressings) on the TSG Records label.
The album is celebrated in the rare soul community for its easy, mellow soul sound and includes several notable tracks. It is considered a "super sweet ballad" plate (mezla plate in Japanese soul parlance) and has achieved cult status among collectors, with original pressings commanding high market prices.
Notable Tracks: "I Just Can't Stand It": A group-style ballad, originally a Millie Jackson song, that serves as a strong opener. "Girl I've Been Trying to Tell You": A track described as Philly-style medium soul that gained momentum over the years with rare soul enthusiasts.
Original pressings are extremely rare, but digital and vinyl reissues (like by P-Vine) make it accessible.
Overall Vibe: A great, lesser-known gem that's considered essential for rare soul collectors, delivering classic soul vibes without being overly soppy.
Young And Restless
A2 Now Or Never (A. Goodman*, H. Ray, W. Morris 4:48)
A3 Just Look Into His Eyes (A. Goodman, H. Goodman, W. Morris 4:15)
A4 We're So In Love (A. Goodman, H. Ray, W. Morris 3:18)
A5 I Love My Jim (A. Goodman, H. Ray, W. Morris 3:49)
B1 My Love Is On His Way (A. Goodman, H. Ray, W. Morris 4:27)
B2 That's How Some Men Are (A. Goodman, H. Ray, W. Morris 4:39)
B3 Our Way Of Loving (S. Lowe 4:44)
B4 Let's Make Up For Lost Time (S. Lowe 4:39)
Label: All Platinum – AP-3017
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Disco Soul
Retta Young's 1976 album Young and Restless is considered a high-quality "gem" of 70s modern soul and disco, particularly sought after by collectors of Northern Soul. It is praised for combining elements of soul and disco in a "supremely groovy" mid-70s mix.
The album blends R&B, modern soul, and disco. It features both uptempo, soulful dance tracks like "My Man Is On His Way" and "Really, Really", as well as slower, emotion-rich ballads such as "Our Way Of Loving" and "Now or Never". The overall sound has a brilliant, sometimes "Philadelphia International style" feel.
Reviewers and collectors generally regard the album highly, often giving it positive ratings (e.g., 4-5 stars on retail sites). It's described as an enjoyable album from start to finish, with some tracks being considered "Northern Soul Classics".
The original 1976 pressing on All Platinum Records became a rare collector's item, fetching high prices. Due to high demand, it was reissued for the first time in 2017 by Expansion Records on both vinyl and an expanded CD format.
Retta Young was the wife of Al Goodman of the group The Moments, who produced and engineered the album and wrote some of the tracks.
In summary, Young and Restless is a well-regarded album appreciated by fans of 1970s R&B, soul, and disco music.
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.
Your Precious Love
Written-By – B. Butler, J. Butler
A2 Don't Go (I Can't Bear To Be Alone)
Written-By – A. Goodman, N. Edmonds, S. Seiger
A3 Behold
Written-By – S. Robinson
A4 Stay With Me Forever
Written-By – G. Kerr, N. Edmonds, S. Seiger
B1 Not On The Outside
Written-By – L. Roberts, S. Robinson
B2 Dancing In The Street
Written-By – Gaye, Stevenson
Written-By [Uncredited] – Ivy Jo Hunter
B3 Let It Be Me
Written-By – G. Becaud, M. Curtis
B4 I Can't Make It Alone
Written-By – C. King, G. Goffin
B5 Doggin Me Around
Label: Turbo Records – TU-7007
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Southern Soul, Deep Soul
Linda Jones' Your Precious Love is a powerful deep soul album showcasing her signature raw, emotional vocal style, featuring classics like her rendition of "For Your Precious Love," "Dancing in the Street," and "Not on the Outside," solidifying her status as a legendary, albeit tragically short-lived, soul singer known for making standards her own right before her untimely passing from diabetes complications at age 27.
The album highlights Jones's intense, technically brilliant, and passionate delivery, where she'd often launch into the climax of a song, captivating listeners.
She famously reinterpreted existing hits, making them her own with compelling performances, notably "For Your Precious Love" (The Impressions) and "Dancing in the Street" (Martha and the Vandellas).
It's filled with emotionally resonant tracks, considered essential listening for soul fans, including "Not on the Outside" and "Stop Dogging Me Around".
Released near the end of her life, the album captured her incendiary talent at its peak, following her recent hit "Hypnotized," but her sudden death meant little documentation of her live power.
Jones died just as her career was soaring, making this and other late recordings poignant reminders of the superstar she was poised to become.
Zulema
A2 This Child Of Mine 2:45
A3 If I Loved You 2:43
A4 Maybe I'm Amazed 2:54
A5 If This World Were Mine 3:42
B1 Don't Be Afraid 2:38
B2 Why Do I Love You 2:55
B3 American Fruit, African Roots 5:20
B4 Ain't It Sad 2:19
B5 I Remember Mama 3:16
A3 Written-By – Oscar Hammerstein II, Music By – Richard Rogers
A4 Written-By, Music By – Paul McCartney
A5 Written-By, Music By – Marvin Gaye
Written-By – Zulema Cusseaux (tracks: A1, A2, B1 to B5)
Label: Sussex – SXBS 7015
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul
Zulema's 1972 self-titled debut album on Sussex Records is a rich, powerful soul record showcasing her soaring alto voice, blending gospel roots with sophisticated 70s soul, featuring her piano playing, covers like McCartney's "Maybe I'm Amazed," and profound tracks such as "American Fruit, African Roots," establishing her as a major voice in soul music.
It balances tender ballads with rhythmic soul, rich instrumentation, and powerful vocals, echoing influences like Roberta Flack and Aretha Franklin.
Zulema plays piano throughout, with arrangements featuring layered percussion (Ralph McDonald), guitar (Cornell Dupree, John Tropea), and bass (Gordon Edwards).
Her voice delivers energy and pride, drawing from gospel traditions with sophisticated arrangements.
She penned seven of the ten tracks, exploring themes of heritage, family, and love.
The album was produced and arranged by Bert De Coteaux, with Cissy Houston on backing vocals.
It Marked a powerful solo entry after her time with Faith, Hope & Charity, and positioned her as a formidable force in 70s soul and R&B.
The album garnered enough buzz to secure Zulema an opening spot on tour with major artists like Bill Withers and the Isley Brothers.